frolics, their confidences, their love-affairs, their griefs and illnesses and disappointments, it was she of whom Emily always spoke as "Sister Sue," who shared the overflow of the real hidden life of that unique genius in her stiff, clean, God-fearing New England home. When her mother's astonishment and amazed concern summed itself up in a shrill cry, "Why, Emily! How can you talk so!"—or when her father evidenced displeasure by taking his hat and cane and passing out the door in silence, leaving an emptiness indicative of reproof, a wordless censure more devastating to her than any judgment day—it was to Sister Sue she fled for safety. Her timid imaginings were horrors worse than any actual event or punishment could ascribe.
There is no legend in the family that her father ever reproved her or called her to account in her various mishaps with duty. Probably his habitual dealing with culprits was after his own wisdom of criminals, and he knew her nature well enough to administer only his stern silence in her case.
Up to the time of her going away to school she was of rather precocious mentality, somewhat sentimental and given to girlish outpourings written in the accepted verbosity of the style of the mid-century (1845). Her flowers already claim a distinct part in her life. It is interesting to note also that at fourteen she announces herself as a Whig. She is interested in all the village happenings and when her father gives her a piano her life becomes crowded. She goes to singing school quite rapturously, and makes an herbarium of great variety and beauty, spending many afternoons off on the hillsides for her wild specimens. In one of her earliest letters preserved she
