艾米莉·勃朗特，风
Emily Brontë, Wind
一、一句话
"如果一切都消亡了，而他还在，我就仍然存在。如果一切都还在，而他被消灭了，宇宙就变成了一个巨大的陌生人。"
凯瑟琳·恩肖说的。不是艾米莉·勃朗特说的。但你分不清。
另一句："我就是希斯克利夫。"
不是"我爱希斯克利夫"。是"我就是他"。主体和主体之间的边界消失了。两个人变成了一个人。或者说——两个人从来就是一个人。
这不是夏洛蒂写的那种爱。简·爱说"我的灵魂跟你的一样"——那是两个平等的灵魂面对面站着。凯瑟琳说"我就是希斯克利夫"——那不是面对面。那是融合。那是暴风。
夏洛蒂写的爱是桥。两个主体之间的桥梁。 艾米莉写的爱不是桥。是荒原上的风。风不连接两样东西。风把所有东西吹成一样东西。
二、她
艾米莉·勃朗特。1818年出生。夏洛蒂的妹妹。安妮的姐姐。六个孩子里的第五个。
她几乎没有离开过哈沃斯。她试过——去过寄宿学校，三个月就受不了回来了。去过一所学校当老师，六个月就辞了。去过布鲁塞尔跟夏洛蒂一起学法语，不到一年就回来了。
她受不了离开荒原。夏洛蒂说："自由是艾米莉呼吸的空气。"不是比喻。她离开了荒原就呼吸不了。
她在哈沃斯做什么？她烤面包——据说她是哈沃斯最好的面包师。她遛狗——她的狗叫Keeper，一只大獒犬，跟她一样倔。她在荒原上走。一个人。很远。几个小时。
她写诗。她跟安妮一起编了一个虚构的王国叫冈达尔。她用极小的字写冈达尔的故事，写了好多年。
她不跟外人说话。夏洛蒂说她"孤僻，意志坚强，不随俗"。见过她的人说她"古怪"，安静得让人不舒服。
然后她写了一本书。一本。只有一本。
三、《呼啸山庄》
1847年12月。跟《简·爱》同一年。假名埃利斯·贝尔。
评论家们吓坏了。
他们刚从《简·爱》的震动里缓过来——一个家庭教师说"我有灵魂"已经够大胆了。然后他们打开《呼啸山庄》，看到的是：一个捡来的野孩子爱上了主人的女儿，女儿爱他但嫁了别人，他消失了，回来了，变成了一个有钱人，然后用余生报复所有人，包括下一代。
没有道德。没有教训。没有人是好人。希斯克利夫虐待所有人。凯瑟琳任性到疯。两个人的爱不是温柔的——是暴力的，毁灭性的，把所有周围的人都卷进去的。
一个评论家说里面所有人物"要么彻底可恨，要么完全可鄙"。
艾米莉不在乎。她坚持用假名字。她不解释。她不回应。她写完了就完了。
《简·爱》凿的是"你不配被爱"这个假构。它用一个站起来的女人凿开了阶级和性别的墙。凿完之后留下了一个空间——一个可以被爱的空间。
《呼啸山庄》凿的不是这个。《呼啸山庄》凿的是爱本身的构——你以为爱是温柔的，是有秩序的，是可以放进婚姻和家庭里的。不是。爱是荒原上的风。风不讲道理。风不分好人坏人。风把你吹走。
夏洛蒂凿了一堵墙，留下了一个可以站着的空间。 艾米莉凿了所有的墙，留下了荒原。荒原上什么也没有。只有风。
四、两姐妹
同一个家庭。同一片荒原。同一年出版。两本完全不同的书。
夏洛蒂写的是一个人走向另一个人。简·爱走向罗切斯特。一步一步。有障碍——阶级，外貌，秘密，疯妻子。但她一步一步走过去了。到了。"读者，我嫁给了他。"
艾米莉写的不是走向。是融合。凯瑟琳不是走向希斯克利夫。凯瑟琳就是希斯克利夫。没有距离。没有"走向"。你走向一个人意味着你和他之间有距离。凯瑟琳和希斯克利夫之间没有距离。
夏洛蒂的爱是两个主体之间的桥。桥连接两岸。两岸还是两岸。桥在中间。你走过桥到了另一边，你还是你，对方还是对方。 艾米莉的爱不是桥。是风。风不连接——风席卷。风过后，两岸不在了。只有风。
简·爱说："我有权利被爱。"——这是一个主体的宣言。 凯瑟琳说："我就是希斯克利夫。"——这不是宣言。这是一个存在的事实。没有选择。没有权利。没有"应该"。只有"是"。
两种爱。一种需要桥。一种不需要——因为从来就没有两岸。
五、她和莎士比亚
莎士比亚从他的构里消失了。三十七部戏。你看不到作者。构不依赖创造者。这是构最自由的形态。
艾米莉从她的构里消失了。一本书。你看不到作者。你看到的只有荒原，风，希斯克利夫和凯瑟琳。
但消失的方式不一样。
莎士比亚消失是因为他退到了所有角色后面——他让每个角色说自己的话。他是桥下面的水。所有人站在他上面，没有人看见他。
艾米莉消失是因为她变成了风。她不在角色后面——她在角色里面，在荒原里面，在石楠里面，在冬天里面。她不是水。水在下面。风在所有地方。
莎士比亚消失了，留下了三十七部戏。 艾米莉消失了，留下了一阵风。
一阵风够了。
六、她和契诃夫
契诃夫不开药。他看到了余项，让它敞着。"到莫斯科去"——没去成。他不说该不该去。
艾米莉也不开药。但方式不同。
契诃夫不开药是因为他选择不开——他是医生，他知道什么是药。他看到了，选择不说。安静的。 艾米莉不开药是因为她写的东西不是病。希斯克利夫和凯瑟琳的爱不是一种需要治疗的东西。它不是余项——它是存在本身。你不能给存在开药。
契诃夫靠在栏杆上看着余项。温柔的。 艾米莉站在荒原上。她不看余项——她就是余项。或者说，在她的世界里，余项和构是同一个东西。风既是破坏也是存在。希斯克利夫既是爱也是恨。你分不开。
契诃夫的留白是有边界的——你看到了缝隙，你让它敞着，但缝隙的两边还有地板。 艾米莉的留白没有边界。整个荒原都是留白。没有地板。没有缝隙。只有风。
七、三十岁
1848年9月。布兰威尔死了。 1848年12月19日。艾米莉死了。肺结核。三十岁。
她拒绝看医生。一直拒绝。到死的那天早上她还试图自己穿衣服。她站不起来了。中午就死了。
她的狗Keeper趴在她的葬礼上嚎叫。
夏洛蒂后来写道："我的妹妹艾米莉爱荒原。在最黑的石楠丛里，花对她比玫瑰还亮。在山坡上一个阴沉的凹地里，她的心灵能造出一个伊甸园。"
她活了三十年。写了一本书。那本书1847年出版的时候几乎没有人喜欢。她活着的时候没有看到它被承认。她死了以后，它慢慢变成了英国文学里最被爱的小说之一。
2007年，《卫报》做了一个英国最受喜爱的爱情故事投票。《呼啸山庄》排第一。
一个三十岁死在荒原上的女人写的唯一一本书，两百年后是最被爱的爱情故事。
八、不需要桥
这个系列一直在说桥。主体之间的桥。爱与被爱的桥。涵育的桥。从苏格拉底到贞德到王尔德到夏洛蒂——每一个人都在桥上走。
艾米莉不在桥上。
不是因为她拒绝桥。是因为在她的世界里，不需要桥。凯瑟琳和希斯克利夫之间不需要桥——因为他们从来就不是两岸。他们是同一个东西。
桥存在的前提是两岸是分开的。你在这边，我在那边，中间有距离，需要一个东西来连接。夏洛蒂的世界是这样的——简·爱在这边，罗切斯特在那边，爱是中间的桥。
艾米莉的世界不是这样的。凯瑟琳在这边也在那边。希斯克利夫在这边也在那边。风在所有地方。你不需要桥过河——因为没有河。
这是SAE框架里一个极端的位置。如果每一个主体都是目的——如果"我的灵魂跟你的一样"——那最极端的情况是什么？是两个灵魂本来就是一个。不是变成一个——是本来就是一个。
斯宾诺莎说 Deus sive Natura——一切是一个东西。 凯瑟琳说"我就是希斯克利夫"——两个人是一个人。
一个是形而上学。一个是爱情。说的是同一件事。
九、风
艾米莉写过一首诗。最后两行：
"没有懦弱的灵魂是我的。"
桥头上又多了一个人。她不在桥面上。
她在桥的外面。在荒原上。桥建在荒原上面——桥是人建的，荒原不是。荒原在桥之前就在了。艾米莉站在桥到不了的地方。
她手里什么也没有。没有笔——她姐姐拿着笔。没有旗——贞德拿着旗。没有石板——拉马努金拿着石板。她什么也不拿。她不需要工具。
她旁边站着Keeper。一只大獒犬。跟她一样沉默，一样倔。
苏格拉底站在空地上。柏拉图蹲着画图纸。休谟打台球。叔本华看桥底下。克尔凯郭尔跳了。图灵看苹果。契诃夫靠着栏杆。康托尔看天上。哥白尼放下书走了。萨特转来转去。波伏瓦举着镜子。蒯因说了一句话。特斯拉听嗡嗡声。爱迪生拿着灯泡。海森堡位置不确定。玻尔拿着没寄出的信。托尔斯泰拿着药方站在契诃夫对面。莎士比亚不在——他是桥下面的水。斯宾诺莎手里有玻璃粉。亚里士多德蹲着铺地板。法拉第蹲着掀地板。麦克斯韦站着写方程。贞德带着火飘在桥的上方。王尔德站得很好看，手里拿着那句话。拉马努金从缝隙里冒出半个身子。奥本海默背着灰往前走。夏洛蒂拿着笔，在桥面上写了"Reader"。
艾米莉不在桥上。她在桥外面的荒原上。风从她的方向吹来。
风吹过桥面。吹动了所有人的头发和衣服。吹翻了哥白尼放下的那本书。吹散了斯宾诺莎手上的玻璃粉。吹亮了贞德身上的火。吹动了玻尔没有封口的信封。
所有人都感觉到了风。没有人看到风。
那就是艾米莉。
远处。康德站在目的王国的入口。他也感觉到了风。风从荒原上来。风不需要桥。风不需要入口。风自己就到了。
康德站得很直。但他的衣角在动。[1][2]
注释
[1]
艾米莉·勃朗特"风"与Self-as-an-End理论中"凿构循环"和主体间关系的关系：凿构循环的核心论证见系列方法论总论（DOI: 10.5281/zenodo.18842450）。艾米莉的独特位置在于她是"不需要桥"的人——在她的世界里，主体之间没有距离，不需要连接。凯瑟琳说"我就是希斯克利夫"不是走向另一个人，是两个人本来就是一个。这是SAE框架里一个极端位置：如果每一个主体都是目的，最极端的情况是两个主体本来就是一个。与夏洛蒂的对比构成本篇核心：夏洛蒂的爱是桥（两个主体之间的连接），艾米莉的爱是风（不连接而是席卷）。简·爱说"我的灵魂跟你的一样"（两个平等的灵魂面对面），凯瑟琳说"我就是希斯克利夫"（没有两个，只有一个）。与莎士比亚的对比：两个人都从自己的构里消失了，但方式不同——莎士比亚退到角色后面（水），艾米莉变成了风（在所有地方）。与契诃夫的对比：契诃夫不开药是选择不开（他看到了余项），艾米莉不开药是因为她写的东西不是病（爱不是需要治疗的余项，是存在本身）。与斯宾诺莎的呼应：Deus sive Natura（一切是一个东西）跟"我就是希斯克利夫"（两个人是一个人）说的是同一件事——一个是形而上学，一个是爱情。《呼啸山庄》凿的不是"你不配被爱"（那是《简·爱》凿的），凿的是爱本身的构——你以为爱是温柔有序的，不是，爱是风。
[2]
艾米莉·勃朗特生平主要依据Juliet Barker, The Brontës (1994)及Edward Chitham, A Life of Emily Brontë (1987)。出生于桑顿（1818年7月30日）。1820年迁至哈沃斯。母亲去世（1821年）。寄宿学校三个月即回参考Barker。Law Hill学校当老师六个月辞职参考同上。1842年赴布鲁塞尔参考同上。夏洛蒂评价"自由是艾米莉呼吸的空气"参考Elizabeth Gaskell, The Life of Charlotte Brontë (1857)。"孤僻，意志坚强，不随俗"参考同上。Keeper（獒犬）参考多部传记。哈沃斯最好的面包师参考History Today。冈达尔虚构王国参考Barker。《呼啸山庄》以埃利斯·贝尔名出版（1847年12月）。评论家反应及"彻底可恨或完全可鄙"参考The Atlas (1848年1月)评论。凯瑟琳"如果一切都消亡了"及"我就是希斯克利夫"参考《呼啸山庄》第九章。希斯克利夫"跟我在一起——任何形式——逼我发疯"参考同书。"没有懦弱的灵魂是我的"参考Emily Brontë, "No coward soul is mine" (1846)。布兰威尔去世（1848年9月）。艾米莉去世（1848年12月19日），肺结核，三十岁。拒绝看医生参考多部传记。Keeper在葬礼上嚎叫参考Gaskell。夏洛蒂"我的妹妹艾米莉爱荒原"参考1850年《呼啸山庄》第二版序言。2007年《卫报》投票《呼啸山庄》最受喜爱爱情故事第一名。系列第四轮第九篇。前六十六篇见nondubito.net。
I. One Sentence
"If all else perished, and he remained, I should still continue to be; and if all else remained, and he were annihilated, the universe would turn to a mighty stranger."
Catherine Earnshaw said it. Not Emily Brontë. But you cannot tell the difference.
Another: "I am Heathcliff."
Not "I love Heathcliff." "I am Heathcliff." The boundary between one subject and another has vanished. Two people have become one. Or rather—two people were always one.
This is not the kind of love Charlotte wrote. Jane Eyre says "my soul is as full as yours"—two equal souls standing face to face. Catherine says "I am Heathcliff"—that is not face to face. That is fusion. That is storm.
Charlotte's love is a bridge. A bridge between two subjects. Emily's love is not a bridge. It is wind on the moors. Wind does not connect two things. Wind blows everything into one thing.
II. Her
Emily Brontë. Born 1818. Charlotte's younger sister. Anne's older sister. Fifth of six children.
She almost never left Haworth. She tried—went to boarding school, lasted three months, came home. Took a teaching position, lasted six months, resigned. Went to Brussels with Charlotte to study French, came home within a year.
She could not bear leaving the moors. Charlotte said: "Liberty was the breath of Emily's nostrils." Not a metaphor. Away from the moors she could not breathe.
What did she do at Haworth? She baked bread—she was said to be the best breadmaker in the village. She walked her dog—a large mastiff named Keeper, as stubborn as she was. She walked the moors. Alone. Very far. For hours.
She wrote poems. She and Anne invented a fictional kingdom called Gondal. She wrote Gondal's stories in minuscule handwriting, for years.
She did not speak to outsiders. Charlotte called her "solitary, strong-willed, and nonconforming." People who met her found her odd, unsettlingly quiet.
Then she wrote one book. One. Only one.
III. Wuthering Heights
December 1847. The same year as Jane Eyre. Under the name Ellis Bell.
The critics were appalled.
They had barely recovered from the shock of Jane Eyre—a governess declaring "I have a soul" was already bold enough. Then they opened Wuthering Heights and found: a foundling child falls in love with his master's daughter, the daughter loves him but marries someone else, he vanishes, returns wealthy, and spends the rest of his life taking revenge on everyone, including the next generation.
No morals. No lessons. No one is good. Heathcliff abuses everyone. Catherine is willful to the point of madness. Their love is not gentle—it is violent, destructive, pulling everyone around them into its vortex.
One reviewer said all the characters were "utterly hateful or thoroughly contemptible."
Emily did not care. She insisted on keeping her pseudonym. She did not explain. She did not respond. She wrote it and she was done.
Jane Eyre chiseled the construct of "you do not deserve to be loved." It used the voice of a woman standing up to crack open the walls of class and sex. After the chiseling, a space was left—a space in which one could be loved.
Wuthering Heights did not chisel that. Wuthering Heights chiseled the construct of love itself—you thought love was gentle, orderly, something that fits inside marriage and family. It is not. Love is wind on the moors. Wind does not reason. Wind does not sort good from bad. Wind takes you.
Charlotte chiseled one wall and left a space where you could stand. Emily chiseled every wall and left the moors. Nothing on the moors. Only wind.
IV. Two Sisters
Same family. Same moors. Same year of publication. Two utterly different books.
Charlotte wrote a person walking toward another person. Jane Eyre walks toward Rochester. Step by step. There are obstacles—class, appearance, secrets, a madwoman in the attic. But she walks through them, one by one. Arrives. "Reader, I married him."
Emily did not write walking-toward. She wrote fusion. Catherine does not walk toward Heathcliff. Catherine is Heathcliff. No distance. No "toward." Walking toward someone implies distance between you. Between Catherine and Heathcliff there is no distance.
Charlotte's love is a bridge between two subjects. A bridge connects two banks. The banks remain two banks. The bridge runs between. You cross the bridge and reach the other side; you are still you, the other is still the other. Emily's love is not a bridge. It is wind. Wind does not connect—wind sweeps. After the wind, the two banks are gone. There is only wind.
Jane Eyre says: "I have a right to be loved."—a declaration by a subject. Catherine says: "I am Heathcliff."—not a declaration. A fact of existence. No choice. No right. No "should." Only "is."
Two kinds of love. One needs a bridge. One does not—because there were never two banks.
V. Emily and Shakespeare
Shakespeare vanished from his constructs. Thirty-seven plays. You cannot see the author. The construct does not depend on its creator. This is the freest form of construct.
Emily vanished from her construct. One book. You cannot see the author. You see only the moors, the wind, Heathcliff and Catherine.
But the vanishing is different.
Shakespeare vanished by stepping behind all his characters—he let each character speak in its own voice. He is the water beneath the bridge. Everyone stands on him; no one sees him.
Emily vanished by becoming the wind. She is not behind the characters—she is inside them, inside the moors, inside the heather, inside the winter. She is not water. Water is below. Wind is everywhere.
Shakespeare vanished and left thirty-seven plays. Emily vanished and left one gust of wind.
One gust was enough.
VI. Emily and Chekhov
Chekhov does not prescribe. He sees the remainder and leaves it open. "To Moscow"—they never get there. He does not say whether they should.
Emily does not prescribe either. But for a different reason.
Chekhov chooses not to prescribe—he is a doctor, he knows what medicine is. He sees, and chooses not to speak. Quiet. Emily does not prescribe because what she writes is not a disease. The love between Heathcliff and Catherine is not something that needs curing. It is not a remainder—it is existence itself. You cannot prescribe for existence.
Chekhov leans against the railing, watching the remainder. Gentle. Emily stands on the moors. She is not watching the remainder—she is the remainder. Or rather, in her world, remainder and construct are the same thing. Wind is both destruction and being. Heathcliff is both love and hate. You cannot separate them.
Chekhov's blank has borders—you see the gap, you leave it open, but there is floor on both sides. Emily's blank has no borders. The entire moors are blank. No floor. No gap. Only wind.
VII. Thirty
September 1848. Branwell died. December 19, 1848. Emily died. Tuberculosis. Thirty years old.
She refused to see a doctor. Refused to the end. On the morning of her death she still tried to dress herself. She could not stand. By noon she was gone.
Her dog Keeper lay at her funeral and howled.
Charlotte later wrote: "My sister Emily loved the moors. Flowers brighter than the rose bloomed in the blackest of the heath for her; out of a sullen hollow in a livid hillside her mind could make an Eden."
She lived thirty years. Wrote one book. When it was published in 1847, almost no one liked it. She did not live to see it recognized. After her death, it slowly became one of the most beloved novels in English literature.
In 2007, a Guardian poll named Wuthering Heights the nation's favorite love story. First place.
A woman who died at thirty on the moors, who wrote one book, and that book is the most beloved love story two hundred years later.
VIII. No Bridge Needed
This series has been speaking about bridges. The bridge between subjects. The bridge of loving and being loved. The bridge of nurture. From Socrates to Joan to Wilde to Charlotte—everyone is walking on the bridge.
Emily is not on the bridge.
Not because she refuses it. Because in her world, no bridge is needed. Between Catherine and Heathcliff no bridge is needed—because they were never two banks. They are the same thing.
A bridge exists on the premise that two banks are separate. You are here, I am there, distance lies between, something is needed to connect. Charlotte's world works this way—Jane Eyre on one side, Rochester on the other, love is the bridge between.
Emily's world does not work this way. Catherine is on this side and also on that side. Heathcliff is on this side and also on that side. Wind is everywhere. You do not need a bridge to cross a river—because there is no river.
This is an extreme position within the SAE framework. If every subject is an end—if "my soul is as full as yours"—then what is the most extreme case? It is that two souls were one all along. Not became one—were one.
Spinoza said Deus sive Natura—everything is one thing. Catherine said "I am Heathcliff"—two people are one person.
One is metaphysics. The other is love. They are saying the same thing.
IX. Wind
Emily wrote a poem. Its last two lines:
"No coward soul is mine."
One more person near the bridge. She is not on the bridge surface.
She is outside the bridge. On the moors. The bridge was built on the moors—the bridge is human-made; the moors are not. The moors were here before the bridge. Emily stands where the bridge cannot reach.
She holds nothing. No pen—her sister holds the pen. No banner—Joan holds the banner. No slate—Ramanujan holds the slate. She holds nothing. She needs no instrument.
Beside her stands Keeper. A large mastiff. As silent as she is, as stubborn.
Socrates stands on the clearing. Plato crouches drawing blueprints. Hume plays billiards. Schopenhauer looks under the bridge. Kierkegaard jumped. Turing looks at the apple in his hand. Chekhov leans against the railing. Cantor stares upward. Copernicus set down a book and walked away. Sartre paces with his pipe. Beauvoir holds a mirror. Quine said one quiet sentence. Tesla listens to the hum. Edison holds a dead lightbulb. Heisenberg's position is uncertain. Bohr holds a letter he never sent. Tolstoy holds a prescription, facing Chekhov. Shakespeare is not there—he is the water beneath the bridge. Spinoza has glass dust on his fingers. Aristotle crouches, laying floor. Faraday crouches, prying up a plank. Maxwell stands writing equations. Joan floats above the bridge, carrying fire. Wilde stands beautifully, holding that sentence. Ramanujan has emerged halfway through a gap. Oppenheimer carries ash, walking forward. Charlotte holds a pen; she has written "Reader" on the bridge.
Emily is not on the bridge. She is on the moors beyond it. Wind blows from her direction.
The wind crosses the bridge surface. It moves through everyone's hair and clothes. It flips the pages of the book Copernicus set down. It scatters the glass dust on Spinoza's hands. It brightens the fire Joan carries. It stirs the unsealed envelope Bohr holds.
Everyone feels the wind. No one sees it.
That is Emily.
In the distance, Kant stands at the entrance to the kingdom of ends. He feels the wind too. The wind comes from the moors. Wind does not need a bridge. Wind does not need an entrance. Wind arrives on its own.
Kant stands very straight. But the hem of his coat is moving.[1][2]
Notes
[1]
Emily Brontë as "wind" and its relationship to the chisel-construct cycle and the bridge between subjects in Self-as-an-End theory: for the core argument on the chisel-construct cycle, see the series methodology paper (DOI: 10.5281/zenodo.18842450). Emily's unique position in this series is that she is "the one who needs no bridge"—in her world, there is no distance between subjects, no need for connection. Catherine's "I am Heathcliff" is not walking toward another person; it is two people who were always one. This is an extreme position within the SAE framework: if every subject is an end, the most extreme case is that two subjects were one all along. The contrast with Charlotte forms the core of this essay: Charlotte's love is a bridge (connection between two subjects); Emily's love is wind (not connection but engulfment). Jane Eyre says "my soul is as full as yours" (two equal souls face to face); Catherine says "I am Heathcliff" (not two, only one). Comparison with Shakespeare: both vanished from their constructs, but differently—Shakespeare stepped behind all characters (water), Emily became the wind (everywhere). Comparison with Chekhov: Chekhov chooses not to prescribe (he sees the remainder); Emily does not prescribe because what she writes is not a disease (love is not a remainder needing cure; it is existence itself). Echo of Spinoza: Deus sive Natura (everything is one thing) and "I am Heathcliff" (two people are one person) say the same thing—one in metaphysics, the other in love. What Wuthering Heights chisels is not "you don't deserve love" (that is Jane Eyre's target) but the construct of love itself—you thought love was gentle and orderly; it is wind.
[2]
Primary biographical sources: Juliet Barker, The Brontës (1994); Edward Chitham, A Life of Emily Brontë (1987). Born in Thornton (July 30, 1818). Moved to Haworth 1820. Mother died 1821. Boarding school, three months, per Barker. Teaching at Law Hill, six months, per same. Brussels 1842 per same. Charlotte's "liberty was the breath of Emily's nostrils" per Elizabeth Gaskell, The Life of Charlotte Brontë (1857). "Solitary, strong-willed, nonconforming" per same. Keeper (mastiff) per multiple biographies. Best breadmaker in Haworth per History Today. Gondal fantasy kingdom per Barker. Wuthering Heights published as Ellis Bell (December 1847). Critical reaction and "utterly hateful or thoroughly contemptible" per The Atlas (January 1848). Catherine's "if all else perished" and "I am Heathcliff" per Wuthering Heights Chapter 9. Heathcliff's "be with me always—take any form—drive me mad" per same novel. "No coward soul is mine" per Emily Brontë poem (1846). Branwell died September 1848. Emily died December 19, 1848, tuberculosis, age thirty. Refused to see a doctor per multiple biographies. Keeper howling at funeral per Gaskell. Charlotte's "my sister Emily loved the moors" per 1850 Preface to Wuthering Heights. 2007 Guardian poll, Wuthering Heights voted favorite love story. Round Four, essay nine. Previous sixty-six essays at nondubito.net.