Читать книгу Blackwood's Edinburgh Magazine, Volume 64, No. 398, December 1848 - Various - Страница 1

Felicia Hemans and the poetesses of England! Such would probably be the form in which the toast would run, if literary toasts were the fashion, or such a mode of compliment the one exactly suited to the case. Not that we would venture positively to assert that Mrs Hemans stands at the head of our poetesses, the first absolutely in point of genius, – though there is but one name, that of Joanna Baillie, which occurs to us, at the moment, as disputing with hers that pre-eminence, – but because she, in a more complete manner than any other of our poetesses, represents the mind, the culture, the feelings, and character, of the English gentlewoman. Her piety, her resignation, her love of nature and of home, – that cheerfulness easily moved by little incidents, that sadness into which reflection almost always settled, – all speak of the cultivated woman bred under English skies, and in English homes. Her attachment to the privacy of life, her wise dislike and avoidance of the éclat of literary renown, and the dull, dry, fever-heat of fashionable circles, tend to complete her qualifications as a fitting representative of her fair countrywomen. The cultivation of her mind, in its weakness as well as elegance, savoured, perhaps, too much of what we are compelled to call feminine. Alive at all times to beauty in all its forms, to music, to tender and imaginative thought, she seems to have been almost equally averse to whatever bore the aspect of an analysis of feeling, or an approach to a severe investigation of truth. Present her with the beautiful, but spare her all scientific dissection of it. Let the flower live as her companion; do not rend it to pieces to show its conformation. Let but the faith be tender and true to the heart, and disturb her not with rude inquiries whether it possess any other truth or not. That too much melancholy (at least for her own happiness) which is traceable in her poems, arose in part from events in her life, but in part, also, from this too partial and limited cultivation of the mind. The feelings were excited or refined, but the reasoning powers not enough called forth: no task-work was therefore given to the active intellect; and a mind that could not be at rest was left to brood over sentiments, either the sad heritage of all mortality, or the peculiar offspring of afflictions of her own. We are not imputing, in this remark, any shadow of blame to her; we make the remark because we think that, eminent as she was, she still suffered much from the unwise and arbitrary distinction which is made in the education of the two sexes.

The difference between the mental qualities of the sexes is owing, we apprehend, far more to education than to nature. At all events, there is no such natural difference as warrants the distinction we make in the mental discipline we provide for them. There are certain professional studies with which no one thinks of vexing the mind of any one, man or woman, but those who intend to practise the professions; but why, in a good English library, there should be one half of it, and that the better half, which a young woman is not expected to read – this we never could understand, and never reflect on with common patience. Why may not a Locke, or a Paley, or a Dugald Stewart, train the mind of the future mother of a family? or why may not an intelligent young woman be a companion for her brother or her husband in his more serious moods of thought, as well as in his gayer and more trifling? Would the world lose any thing of social happiness or moral refinement by this intellectual equality of the two sexes? You vex the memory of a young girl with dictionaries and vocabularies without end; you tax her memory in every conceivable manner; and at an after-age you give the literature of sentiment freely to her pillage; but that which should step between the two – the culture of the reason – this is entirely forbidden. If she learns a dozen modern languages, she does not read a single book in any one of them that would make her think. Even in her religious library, the same distinction is preserved. Books of sentimental piety – some of them maudlin enough – are thrust with kindest anxiety and most liberal profusion upon her: any work of theology, any work that discusses and examines, is as carefully excluded.

We are not contending that there is no difference whatever in the mental constitution of the two sexes. There may be less tendency to ratiocination in woman; there is certainly more of feeling, a quicker and more sensitive nature. One sees this especially in children. Mark them in their play-hours, in their holiday freedom, when they are left to themselves to find matter of enjoyment, – how much more pleasure does the girl evidently derive from any beautiful or living thing that comes before it than the boy! We have an instance of it almost as we write. There is a group of children on the beach. The little girl is in perfect ecstasies, as she looks at the sparkling waves that come bounding to her feet; she shouts, she leaps, she herself bounds towards them, then springs back as they approach, half frightened and half pleased – she knows not how to express her delight at this great playfellow she has found. Meanwhile the boy, her brother, does nothing but throw stones at it – of that he seems never wearied. The beach is a perfect armoury to him, and he pelts the graceful waves remorselessly. What is their grace to him? So, too, in an inland scene, a garden or a lawn, we have often noticed what exquisite pleasure a little girl will feel, as she watches a sparrow alight near her upon the ground, in search of crumbs or other food. Her little frame quite thrills as this other little piece of life comes hopping and pecking about her. She loads it, but with suppressed voice, with all the endearing epithets her vocabulary supplies. She is evidently embarrassed that they are so few: she makes up by their frequent repetition. She absolutely loves the little creature, with all whose movements she seems to have the keenest sympathy. Her brother, the boy, he has nothing for it but his unfailing stone, or he flings his hat at it. Unfailing, fortunately, the stone is not; for, if his skill as a marksman responded to his destructive zeal, there is nothing that a stone would kill that would be left alive, or that a stone would break that would be left whole. A mere blind animal-activity seems, at that very interesting age, to distinguish the future lord of the creation.

At an after period of life, when thought has educated the youth into feeling, the picture is often entirely reversed. Then, unless the man be bred up a mere pleasure-hunter, seeking what he calls amusement in town or country, the superior education he has received makes him the more feeling, the more imaginative, because the more reflective of the two. That brother who once shocked his little sister by his stupid and cruel amusements, now looks with something like contempt at the frivolous tastes and occupations – at the system of poor artificial enjoyments – to which that sister has betaken herself. Now, if they are at the sea-side together, it is he who finds companionship in the waves, who finds thought grow more expanded, freer and bolder, in the presence of the boundless ocean. She, too, dotes upon the sea, and sits down beside it – to read her novel. Now, if they ride or walk through the country together, it is his eye that sees the bird upon the bough – hers is on the distant dust some equipage is making.

But matters are mending, and will continue to mend. There are so many women of richly cultivated minds who have distinguished themselves in letters or in society, and made it highly feminine to be intelligent as well as good, and to have elevated as well as amiable feelings, that by-and-by the whole sex must adopt a new standard of education. It must, we presume, be by leaders of their own starting out of their own body, that the rest of the soft and timid flock must be led.

Yes, we are mending. Very different are our times from those when Madame de Genlis published her little work, De l'Influence des Femmes sur la Littérature Française comme Protectrices des Lettres, et comme Auteurs. She had to contend, with the same acrid energy, for the privilege of a lady to write, as a Turkish dame of the present century might be supposed to display, who should contend for the privilege of walking abroad unveiled, or rather unmuffled. And even she herself thinks it necessary to give certain rules to young women who write – as she would to young women who dance – how to comport themselves with consummate propriety; as not to enter into controversy, or use big words – in short, to deal with printer's ink without soiling the most delicate fingers. As to that argument drawn from the supposed neglect of domestic duties – which it seems, in those days just emerging from barbarity, was still heard of – she dismisses it very briefly. "Comme ces devoirs dans une maison bien ordonnée, ne peuvent jamais prendre plus d'une heure par jour, cette objection est absolument nulle." As there is much implied in that "maison bien ordonnée," and as Madame de Genlis did not write for simple gentle-folks, it is to be hoped that the one hour per diem may admit of extension without any forfeiture of literary privileges. In her time, too, there was thought to be a sort of feud between authors and authoresses – a thing which in our day, is quite inconceivable – for she writes, apropos of a charge of plagiarism, against La Fontaine, in the following indignant strain: – "Quelles que soient le bonhomie et la candeur d'un auteur, il sait que, par une loi tacite mais universelle, il est toujours dispensé de convenir qu'il doit à une femme une idée heureuse. Dans ce cas seulement le plagiat et le silence sont également légitimes."

We have changed all that: we have had too many instances of women of talent and of genius to doubt their ability to excel – we make no exception – in any branch of literature whatever. We give them, on the other hand, no monopoly of elegance or grace, or delicacy of touch, as some affect to do. These qualities they are very likely to display; but they will be superior in them to authors of the male sex, only just so far as they are superior to those authors in genius and talent. There is still a practice in many critics to detect the style feminine from the style masculine. The sooner this is laid aside the better. There are styles which, speaking metaphorically, one may say have a feminine grace, or a feminine weakness. Such an observation has been made, by Sir James Mackintosh, on the style of Addison. But to pretend to say of a given page of composition whether a man or a woman has penned it, is absurd. We often hear it said, that none but a woman could have written the letters of Madame de Sévigné. If Cowper had been a woman, people would have said the same thing of his letters. They are unrivalled, at least in our own language, for grace and elegance, and wit and playfulness. No woman, we believe – and the epistolary style is supposed to belong by especial right to the female pen – has ever written such charming letters as those to Lady Hesketh, and his old friend Thomas Hill. As to the letters of Madame de Sévigné, they so evidently come from a mother to a daughter, that it is impossible to forget for a moment the sex of the writer. But if the qualities which have given them literary celebrity are, to be pronounced feminine, half the literature of France is of the same gender. Still less can we tolerate the affectation that pretends to discern a certain weakness, a tremulousness of the hand, when the pen is held by a woman. There is grace and elegance, but, forsooth, a certain hesitation – a want of vigour and certainty of touch. Nonsense. Take Our Village, by Miss Mitford, and the Sketch-Book, by Washington Irving: they are both of the graceful and elegant order of style; but the lady writes the English language with far more freedom, ease, and vigour, than the gentleman. The poetic element is mingled in her diction with far more taste and judgment. It glitters through her prose as the sunlight in the green tree – throwing its gold amongst the foliage, yet leaving it the same green, and simple, and refreshing object as before.

No – we will grant to woman no monopoly in the lighter elegancies, and presume nothing against her ability to excel in the graver qualities of authorship. We have said that Mrs Hemans was peculiarly the poetess of her countrywomen, but we do not mean to imply by this that her style is peculiarly feminine – for we do not pretend to know what a feminine style is; we thus characterised her because the sentiments she habitually expresses are those which will almost universally find a response in the minds of her countrywomen.

It seems an ungracious thing to say, but we do wish that the biographical notice of Mrs Hemans, appended to the last edition of her works, had not been written by a sister. So near a relative may be presumed, indeed, to know more of the person whose life she undertakes to narrate than any one else; but she may not know what to tell us. Her very familiarity with the subject is against her: she cannot place it at a distance from her, and regard it with a freshness of view; she does not think of recording, she does not even remember, what to her has none of the interest of novelty. A sister who should give to any impartial biographer the materials he required of her, would be found to contribute far more to our knowledge of the person whose life was written, than by holding the pen herself. Besides, a sister can have none, and show none, but sisterly feelings; and though these are very proper and amiable, we want something more.

The two or three events which we learn from this biographical notice, and which bear upon the education of the poetess, are soon recorded, and they are the only class of events we feel particularly interested in. Felicia Dorothea Browne – such was the maiden name of Mrs Hemans – was born at Liverpool, 25th September 1793. She is described as distinguished "almost from her cradle by extreme beauty and precocious talents." When of the age of seven years, her father, who had been a merchant of considerable opulence, met with a reverse of fortune, and the family retired to Wales, "where for the next nine years they resided at Gwrych, near Abergele, in Denbighshire, a large old mansion, close to the sea, and shut in by a picturesque range of mountains," – a change of residence which was, at all events, highly propitious for the development of the poetic character. "In the calm seclusion of this romantic region, with ample range through the treasures of an extensive library, the young poetess passed a happy childhood, to which she would often fondly revert amidst the vicissitudes of her after-life. Here she imbibed that intense love of nature which ever afterwards 'haunted her like a passion,' and that warm attachment for the 'green land of Wales' – its affectionate, true-hearted people; their traditions, their music, and all their interesting characteristics – which she cherished to the last hours of her existence." A pleasant picture this – the large old house near the sea, and amongst mountains, with Welsh harpers and Welsh traditions, and great store of books, and the little girl ranging at will through all. This, and the picture we have of the young student conning her Shakspeare, her choicest recreation, "in a secret haunt of her own – a seat amongst the branches of an old apple-tree – where she revelled in the treasures of the cherished volume" – are all we learn of her childhood, and all perhaps that remained to tell.

Our poetess was very soon in print. Few have commenced their life of authorship so early. In 1808 some friends, "perhaps more partial than judicious," published a collection of her poems, written at and before the age of fourteen, in a quarto volume. "Its appearance" our fair biographer tells us, "drew down the animadversions of some self-constituted arbiter of taste." We never heard of any critics being constituted by royal patent, or any mode of popular election – certainly not by a committee of authors. Self-constituted! why did not the lady call him a self-conceited knave, while she was about it? Just or unjust, there would have been some meaning in the phrase, at least. We suspect, for our part, that these friends, "more partial than judicious," who published the rhymes of a young girl of fourteen in a quarto volume, were themselves strangely constituted arbiters of taste.

Not long after this first publication of her poems, the next great event of her life took place – her introduction to Captain Hemans. "The young poetess was then only fifteen, in the full glow of that radiant beauty which was destined to fade so early. The mantling bloom of her cheeks was shaded by a profusion of natural ringlets, of a rich golden brown; and the ever-varying expression of her brilliant eyes gave a changeful play to her countenance, which would have made it impossible for any painter to do justice to it." No wonder that so fair a being should excite the admiration of a gallant captain. And the love on both sides was ardent and sincere: it supported the absence of three years; for Captain Hemans, soon after their introduction, was called upon to embark with his regiment for Spain. On his return, in 1812, they were married. Of their domestic happiness, or unhappiness, nothing is said; but six years after, in 1818, we are simply told that the Captain went to Rome – and never returned. The separated pair never met again.

"To dwell on this subject," says her biographer, "would be unnecessarily painful; yet it must be stated, that nothing like a permanent separation was contemplated at the time, nor did it ever amount to more than a tacit conventional arrangement, which offered no obstacle to the frequent interchange of correspondence, nor to a constant reference to their father in all things relating to the disposal of her boys. But years rolled on – seventeen years of absence, and consequently alienation; and from this time to the hour of her death, Mrs Hemans and her husband never met again."

We are not in general anxious to pry into the domestic afflictions of any pair whom wedlock has mismatched. If we feel a little curiosity to know more than the sister has told us, in this instance, it is merely from a wish to learn how far the poetic temperament of Mrs Hemans could be assigned as the real cause of her matrimonial unhappiness. Did the Captain grow weary of the society of one whose feelings were pitched in too high a key for him to sympathise with? – was there too much of poetry mingled with the daily food of life?

Did he yearn for something more homely, as she, on her side, yearned for something more elevated? Had he been made to feel that he did not approach the ideal of her imagination, and that the admiration she once had given was withdrawn? Or should we say of her, in lines of her own: —

Of this perhaps some future biographer may tell us. There are many passages in her poetry which show an intense longing for the sympathy of other minds; which show that, while her feelings were of a rare order for their refinement and elevation, she yet sought – what for such a one it was difficult to obtain – for the kindred sympathy of others. She could not worship her goddesses alone. This tendency of mind many of her verses indicate; and there is one sweet little poem where, if our fancy does not mislead us, she secretly reproves herself for having exacted too much in this respect from others: we do not say from any one in particular, for the verses bear reference to a brother, not a husband. Yet some personal reminiscence, or regret of this kind, might lead to the strain of thought so beautifully expressed in the following lines: —

KINDRED HEARTS

We follow no further the events of her biography. We have here all that reflects a light upon the poems themselves. That Welsh life among the mountains – the little girl with her Shakspeare in the apple-tree – that beauty of fifteen, full of poetry and enthusiasm and love – marriage – disappointment – and the living afterwards, with her children round her, in a condition worse than widowhood; – here is all the comment that her biography affords on her sweet and melancholy verse.

And how vividly the verse reflects the life! How redolent of nature is her poetry! how true her pictures of mountain, and forest, and river, and sky! It requires that the reader should have been himself a long and accurate observer of rural scenes, to follow her imagination, and feel the truth of her rapid and unpretending descriptions. It is singular how, without the least apparent effort, all the persons she brings before us are immediately localised on the green earth – trees wave around them, flowers spring at their feet, as if this were quite natural and unavoidable. How sweet a part does the quiet charm of nature take in the piece called

THE VOICE OF HOME TO THE PRODIGAL

There is something very touching in the simplicity of these pleasures, contrasted with what imagination immediately suggests of the career and the tastes of the prodigal.

One great spectacle in nature alone, seems strangely to have lost its fascination upon our poetess – she never kindled to the sea. She seemed to view it as the image only of desolation and of ruin; to have associated it only with tempests and wreck, and have seen in it only the harmless waste of troubled waters. More than once she adopts a scriptural phrase – "And there shall be no more sea," as an expression of singular joy and congratulation. We question whether a single reader of her poems has ever felt the force of the expression as she did. The sea, next to the sky, is the grandest and most beautiful thing given to the eyes of man. But, by some perverse association, she never saw it in its natural beauty and sublimity, but looked at it always as the emblem of ruthless and destroying power. In The Last Song of Sappho, it is singular how much more the dread sea, into which Sappho is about to fling herself, possesses her imagination than the moral tempest within of that hapless poetess: —

And with what an indignant voice, and with what a series of harshest epithets, does she call upon the sea to deliver up its human prey, in the fine spirited poem, called —

THE TREASURES OF THE DEEP

But if she loved in nature, pre-eminently, the beautiful and the serene – or what she could represent as such to her imagination – it was otherwise with human life. Here the stream of thought ran always in the shade, reflecting in a thousand shapes the sadness which had overshadowed her own existence. Yet her sadness was without bitterness or impatience – it was a resigned and Christian melancholy; and if the spirit of man is represented as tossed from disappointment to disappointment, there is always a brighter and serener world behind, to receive the wanderer at last. She writes Songs for Summer Hours, and the first is devoted to Death! and a beautiful chant it is. Death is also in Arcadia; and the first thing we meet with in the land of summer is the marble tomb with the "Et in Arcadia Ego." One might be excused for applying to herself her own charming song, —

A WANDERING FEMALE SINGER

But with this mournful spirit we have no quarrel. It is, as we have said, without a grain of bitterness; it loves to associate itself with all things beautiful in nature; it makes the rose its emblem. It does so in the following lines to

THE SHADOW OF A FLOWER

We should be disposed to dwell entirely on the shorter pieces of Mrs Hemans, but this would hardly be just. There is one of her more ambitious efforts which, at all events, seems to demand a word from us. The Vespers of Palermo is not perhaps the most popular, even of her longer productions – it is certainly written in what is just now the most unpopular form – yet it appears to us one of the most vigorous efforts of her genius. It has this advantage too – it can be happily alluded to without the necessity of detailing the plot – always a wearisome thing, to both the critic, and the reader: every body knows the real tragedy of the Sicilian Vespers. The drama is unpopular as a form of composition, because the written play is still considered as a production, the chief object of which is missed if it is not acted; and the acting of plays is going into desuetude. When the acting of tragedies shall be entirely laid aside, (as it bids fair to be,) – that is, as an ordinary amusement of the more refined and cultivated classes of society – and the drama shall become merely a class of literature, like all others, for private perusal – then its popularity, as a form of composition, will probably revive. For there is one order of poetry – and that the more severe and manly – which seems almost to require this form. When an author, careless of description, or not called to it by his genius, is exclusively bent on portraying character and passion, and those deeper opinions and reflections which passion stirs from the recesses of the human mind, the drama seems the only form natural for him to employ.

The opinion we have ventured to express on the inevitable decease of the acting drama – of tragic representations – as a general amusement of an age increasing in refinement, will probably subject us, in certain quarters, to an indignant reproof. Shakspeare, and the legitimate drama! seems, with some, to have all the sacredness of a national cause. Shakspeare, by all means – Shakspeare for ever! eternally! – only we would rather read him – if we could creep up there – with little Felicia Browne, in the apple-tree. Shakspeare supports the stage – so far as it remains supported – not the stage Shakspeare. And can he support it long? Consider what sort of amusement it is which tragic representation affords – for of comedy we say nothing – consider that it must either thrill us with emotions of a most violent order, (which the civilised man in general avoids), or it becomes one of the saddest platitudes in the world. Your savage can support prolonged ennui, and delights in excitement approaching to madness; your civilised man can tolerate neither one nor the other. Now your tragedy deals largely in both. It knows no medium. Every body has felt that, whether owing to the actor or the poet, the moment the interest of the piece is no longer at its height, it becomes intolerable. You are to be either moved beyond all self-control, which is not very desirable, or you are to sit in lamentable sufferance. In short, you are to be driven out of your senses, one way or the other. Depend upon it, it is a species of amusement which, however associated with great names – though Garrick acted, and Dr Johnson looked on – is destined, like the bull-fights of Spain, or the gladiatorial combats of old Rome, to fall before the advancing spirit of civilisation.

But to Mrs Hemans' Vespers of Palermo. It was not the natural bent of genius which led her to the selection of the dramatic form; and when we become thoroughly acquainted with her temperament, and the feelings she loved to indulge, we are rather surprised that she performed the task she undertook with so much spirit, and so large a measure of success, than that she falls short in some parts of her performance. Nothing can be better conceived, or more admirably sustained, than the character of Raimond de Procida. The elder Procida, and the dark revengeful Montalba, are not so successfully treated. We feel that she has designed these figures with sufficient propriety, but she has not animated them; she could not draw from within those fierce emotions which were to infuse life into them. The effort to sympathise, even in imagination, with such characters, was a violence to her nature. The noble and virtuous heroism of the younger Procida was, on the contrary, no other than the overflow of her own genuine feeling. Few modern dramas present more spirit-stirring scenes, than those in which Raimond takes the leading part. Two of those we would particularly mention – one when, on joining the patriot-conspirators, and learning the mode in which they intended to free their country, he refuses, even for so great an object, to stain his soul with assassination and murder; and the other, where, towards the close of the piece, he is imprisoned by the more successful conspirators – is condemned to die for imputed treachery to their cause, and hears that the battle for his country, for which his spirit had so longed, is going forward. We cannot refrain from making a quotation from both these parts of the drama. We shall take the liberty of omitting some lines, in order to compress our extracts.

The conspirators have met, and proclaimed their intended scheme —

Our other extract is from a later scene in the drama, which we think very happily conceived. Raimond, accused of treachery, and condemned to die by his own father, is in chains and in prison. The day of his execution has arrived, but the Sicilians are called on to give battle before their gates; he is left alone, respited, or rather forgotten, for the present. His alternation of feeling, as he at first attempts to respond to the consolations of the priest Anselmo, and then, on hearing of the battle that is being fought for his country, breaks out into all that ardent love of glory, which was the main passion of his soul, is very admirably expressed.

Vittoria, who had taken a leading part in the conspiracy, now rushes in, bringing the intelligence that the Sicilians are worsted – are in flight. Procida still strives —

Vittoria, however, gives orders for his release, and he rushes forth to the field, where he turns the tide of battle, and earns that glorious death he sighed for.

The failure of the play at Covent Garden theatre was attributed, amongst the friends of the authoress, to the indifferent acting of the lady who performed the part of Constance. In justice to the actress, we must confess she had a most difficult part to deal with. There is not a single speech set down for Constance, which, we think, the most skilful recitation could make effective. The failure of Mrs Hemans, in this part of the drama, is not very easily accounted for. Constance is a gentle, affectionate spirit, in love with the younger Procida, and the unfortunate cause of the suspicion that falls upon him of being a traitor. It is a character which, in her lyrical effusions, she would have beautifully portrayed. But we suppose that the exclusion from her favourite haunts of nature – the inability of investing the grief of her heroine in her accustomed associations of woods, and fields, and flowers – the confinement of her imagination to what would be suitable to the boards of a theatre – embarrassed and cramped her powers. Certain it is, she seems quite at a loss here to express a strain of feeling which, on other occasions, she has poured out with singular fluency and force. Constance has no other manner of exhibiting her distress but swooning or dreaming, or thinking she must have been dreaming, and recovering herself to the remembrance of what no mortal so situated could ever have forgotten – the most common, and, to our taste, one of the most unfortunate expedients that dramatists and novelists have recourse to. We are loath to quote any thing half so uninteresting as instances of this practice; we shall content ourselves with giving, in a note below, two brief passages to exemplify what we mean.1

It ought to be borne in remembrance, however, that the Vespers of Palermo, although not the "first" with respect to publication, was the first written of Mrs Hemans' dramatic works. It was produced in solitude, and away from the bustle of theatres, and, be it also confessed, probably with a very scanty knowledge of what stage-representation required. Indeed, the result proved this to be the case. The Siege of Valencia, written on a different principle, although probably even less adapted for stage representation, possesses loftier claims as a composition, and, as a poem, is decidedly superior. Its pervading fault consists in its being pitched on too high a key. All the characters talk in heroics – every sentiment is strained to the utmost; and the prevailing tone of the author's mind characterises the whole. We do not say that it is deficient in nature – it overflows alike with power and tenderness; but its nature is too high for the common purposes of humanity. The wild, stern enthusiasm of the priest – the inflexibility of the father – the wavering of the mother between duty and affection – the heroic devotion of the gentle Ximena, are all well brought out; but there is a want of individuality – the want of that, without which elaboration for the theatre is vain, and with which, compositions of very inferior merit often attract attention, and secure it.

Passing over Sebastian of Portugal, and the two or three sketches in the Scenes and Hymns of Life, as of minor importance, De Chatillon is the only other regular drama that Mrs Hemans subsequently attempted. Unfortunately for her, the Vespers, although long prior in point of composition, had not been brought out when the Siege of Valencia was written; and, consequently, she could not benefit by the fate and failure which was destined for that drama. This is much to be lamented, for De Chatillon, as a play, far exceeds either in power and interest. The redundancies in imagery and description, the painting instead of acting, which were the weaker side of its precursors, were here corrected. It is unfortunate that it wanted the benefit of her last corrections, as it was not published till some years after her death, and from the first rough draft – the amended one, which had been made from it, having been unfortunately lost. But, imperfect in many respects as it may be found to be, it is beyond compare the best and most successful composition of the author in this department. Without stripping her language of that richness and poetic grace which characterises her genius, or condescending to a single passage of mean baldness, so commonly mistaken by many modern dramatists as essentially necessary to the truth of dialogue, she has in this attempt preserved adherence to reality, amid scenes allied to romance; brevity and effect, in situations strongly alluring to amplification; and, in her delineation of some of the strongest as well as the finest emotions of the heart, she has exhibited a knowledge of nature's workings, remarkable alike for minuteness and truth.

When we consider the doubtful success which attended the only drama of Mrs Hemans which was brought out, we cannot wonder that she latterly abandoned this species of writing, and confined herself to what she must have felt as much more accordant with her own impulses. The most laboured of all her writings was The Forest Sanctuary, and it would appear that, in her own estimation, it was considered her best. Not so we. It has many passages of exquisite description, and it breathes throughout an exalted spirit; but withal it is monotonous in sentiment, and possesses not the human interest which ought to have attached to it, as a tale of suffering. To us The Last Constantine, which appears to have attracted much less attention, is in many respects a finer and better poem. Few things, indeed, in our literature, can be quoted as more perfect than the picture of heroic and Christian courage, which, amid the ruins of his empire, sustained the last of the Cæsars. The weight of the argument is sustained throughout. The reader feels as if breathing a finer and purer atmosphere, above the low mists and vapours of common humanity; and he rises from the perusal of the poem alike with an admiration of its hero and its author.

The Last Constantine may be considered as the concluding great effort of Mrs Hemans, in what of her writings may be said to belong to the classical school. She seems here first to have felt her own power, and, leaving precept and example, and the leading-strings of her predecessors, to have allowed her muse to soar adventurously forth. The Tales and Historic Scenes, the Sceptic, Dartmoor, and Modern Greece, are all shaped according to the same model – the classical. The study of modern German poetry, and of Wordsworth, changed, while it expanded, her views; and the Forest Sanctuary seems to have been composed with great elaboration, doubtless, while in this transition state. In matter it is too flimsy and etherial for a tale of life; it has too much sentiment and too little action. But some things in it it would be difficult to rival. The scenery of Southern America is painted with a gorgeousness which reminds us of the Isle of Palms and its fairy bowers; and the death and burial at sea is imbued with a serene and soul-subduing beauty.

Diminishing space warns us to betake ourselves again to the lyrics and shorter pieces, where so much poetry "of purest ray serene" lies scattered. Of these we prefer such as are apparently the expressions of spontaneous feelings of her own to those which are built upon some tale or legend. It happens too, unfortunately, that in the latter case we have first to read the legend or fable in prose, and then to read it again in verse. This gives something of weariness to the Lays of Many Lands. Still less fortunate, we think, is the practice Mrs Hemans indulges in of ushering in a poem of her own by a long quotation – a favourite stanza, perhaps – of some celebrated poet. We may possibly read the favourite stanza twice, and feel reluctant to proceed further. For instance, she quotes the beautiful and well-known passage from Childe Harold upon the spring, ending with —

I turned from all she brought to all she could not bring;

and on another occasion, that general favourite, beginning —

And slight, withal, may be the things which bring;

and then proceeds to enlarge upon the same sentiments. Her own strain that follows is good – but not so good. Is it wise to provoke the comparison? – and does it not give a certain frivolity, and the air of a mere exercise, to the verse which only repeats, and modifies, and varies, so to speak, the melody that has been already given? Or if the quotation set out with is looked on as a mere prelude, is it good policy to run the risk of the prelude being more interesting than the strain itself? The beautiful passage from Southey —

They sin who tell us love can die, &c.,

is too long to be quoted as merely a key-note to what is to follow, and is too good to be easily surpassed.

But this is a trifling remark, and hardly deserving of even the little space we have given to it. It is more worthy of observation, that Mrs Hemans, a reader and admirer of German poetry, contrived to draw a deep inspiration from this noble literature, without any disturbance to her principles of taste. A careful perusal of her works, by one acquainted with the lyrical poetry of Germany, will prove how well and how wisely she had studied that poetry – drawing from it just that deeper spirit of reflection which would harmonise with her own mind, without being tempted to imitate what, either in thought or in manner, would have been foreign to her nature.

We fancy we trace something of this Teutonic inspiration in the poem, amongst others, that follows: —

THE SILENT MULTITUDE

In any notice of Mrs Hemans' works, not to mention The Records of Woman would seem an unaccountable omission. Both the subject, and the manner in which it is treated especially characterise our poetess. Of all these Records there is not one where the picture is not more or less pleasing, or drawn with more or less power and fidelity. Estimated according to sheer literary merit, it would perhaps be impossible to give the preference to any one of them. Judging by the peculiar pleasure which its perusal gave us, we should select, for our favourite, The Switzer's Wife. Werner Stauffacher was one of the three confederates of the field of Grutli. He had been marked out by the Austrian bailiff as a fit subject for pillage; but it was to the noble spirit of his wife that he owed the final resolution he took to resist the oppressor of his country. The whole scene is brought before us with singular distinctness. It is a beautiful evening in the Alpine valley, —

He then tells how the oppressor's envious eye "had been upon his heritage," and to-morrow eve might find him in chains. The blood leaves her cheek, and she leans back on the linden stem, but only for a moment; the free Alpine spirit wakes within her —

It is ever thus with all her women, – gentle, courageous, full of self-devotion, and, alas! of sorrow and suffering. This is her ideal of woman, from which she rarely departs – a heart, overflowing with tenderest affection – ill-requited – yet refusing to receive any earthly boon as a substitute for the returned affection it seeks. Fame is no compensation —

Genius when she sings to Love is made to say —

It is not often we find the superstitions of dark and ignorant ages dealt with in so gentle and agreeable a manner as by Mrs Hemans. She seizes, in common with others, the poetic aspect these present, but diffuses over them, at the same time, a refinement of sentiment gathered entirely from her own feelings. A subject which from another pencil would have been disagreeable and offensive to us, is made by her graceful touches to win upon our imagination. Witness the poem called The Wood Walk and Hymn; we will quote the commencement of it.

WOOD WALK AND HYMN

FATHER – CHILD

An eminent critic in the Edinburgh Review has spoken of the neatness and perfect finish which characterise female writers in general, and Mrs Hemans in particular. Now, these qualities imply a certain terseness and concentration of style, which is no more a peculiarity of all authoresses than of all authors, and which we should not pronounce to be peculiarly characteristic of Mrs Hemans' poetry. To us it often appears wanting in this very conciseness; we occasionally wish that some lines and verses were excluded – not because they are faulty in themselves, but because they weaken the effect, and detract from the vigour of the whole: we wish the verses, in short, were more closely packed together, so that the commencement and the close, which are generally both good, could be brought a little nearer to each other. It is not so much a redundancy of expression, as of images and illustrations, that we have sometimes to complain of in Mrs Hemans. She uses two of these where one would not only suffice, but do the work much better. There is a very pleasing little poem, called The Wandering Wind: we will quote – first, because it is thus pleasing; and, secondly, because we think it would have been rendered still more so had there been somewhat more of concentration and terseness in the style. The lines which we have printed in italics, and which contain the pith and marrow of the whole, would then have struck upon the ear with more distinctness and prominence.

THE WANDERING WIND

The verses beginning "I dream of all things free" might also be cited as an instance of this tendency to over-amplify – a tendency which seems the result of a great affluence of poetical imagery. This would be a more powerful poem merely by being made shorter. We wait too long, and the imagination roves too far, before we arrive at the concluding lines, which contain all the point and significance of the piece: —

Of the measures and the melody of a lyrical poet something is expected to be said. But what we feel we have chiefly to thank Mrs Hemans for here is, that, in the search after novelty and variety of metre, she has made so few experiments upon our ear, and that she has not disdained to write with correctness and regularity. She has not apparently laboured after novelties of this kind, but has adopted that verse into which her thoughts spontaneously ran. An author who does this is not very likely to select a rhythm, or measure, which is incongruous with the subject-matter of his poem; nor, do we think, could many instances of such a fault be detected in Mrs Hemans.

We will close our extracts with a strain that fairly exemplifies the serene and lucid current of sentiment, and the genuine natural pathos, of our poetess. It is thus she makes the Hebrew mother sing to her first-born, whom she has devoted to the Lord.

We must now draw to a conclusion. One great and pervading excellence of Mrs Hemans, as a writer, is her entire dedication of her genius and talents to the cause of healthy morality and sound religion. The sentiment may be, on occasion, somewhat refined; it may be too delicate, in some instances, for the common taste, but never is it mawkish or morbid. Never can it be construed into a palliative of vice – never, when followed out to its limits, will it be found to have led from the paths of virtue. For practical purposes, we admit that her exemplars are not seldom too ideal and picturesque. The general fault of her poetry consists in its being rather, if we may use the term, too romantical. We have a little too much of banners in churches, and flowers on graves, – of self-immolated youths, and broken-hearted damsels; – too frequent a reference to the Syrian plains, and knights in panoply, and vigils of arms, as mere illustrations of the noble in character, or the heroic in devotion. Situations are adduced as applicable to general conduct, which have only occurred, or could only have occurred, in particular states of society, and are never likely, from existing circumstances, to occur again. Far better this, however, than a contrary fault; for it is the purpose of poetry to elevate, and not to repress. Admitting that the effervescence is adventitious, still it is of virtuous growth, and proceeds from no distortion of principle. If not the reflection of human nature as it actually is, it is the delineation of the fata morgana of a noble mind – of something that occurs to us "in musings high," and which we sigh to think of as of something loftier and better, to which that nature would willingly aspire. We can readily conceive, that to a woman of the exquisite taste possessed by Mrs Hemans, any attempt at the startling or bizarre, either in conception or subject, was a thing especially to be avoided. We do not mean to imply by this, that, as every true poet must have, she had not a manner of her own. To this honour, no author of our day has higher or less equivocal claims. She knew what to admire in others, but she felt that she had a mission of her own. To substantiate this, we have only to suppose her productions blotted out from our literature, and then remark whether or not any blank be left; for, wherever we have originality, we have accession. We admit that originality is of all shades and grades, from a Burns to a Bloomfield, from a Crabbe to a Clare – still the names of the second and the fourth are those of true poets, as well as those of the authors of "The Cottar's Saturday Night," and "Sir Eustace Gray," – Parnassus, as Dr Johnson observes, having its "flowers of transient fragrance, as well as its cedars of perennial growth, and its laurels of eternal verdure." In the case of Mrs Hemans, this question is set at rest, from her having become the founder of a school, and that only eclipsed in the number of its adherents and imitators by those of Scott, Byron, and Wordsworth. In America especially has this been the case; a great part of the recent poetry in that country – more particularly that of its female writers – has been little more than an echo of her Records of Woman, and Lays of Many Lands, and lyrical strains; and, from Mrs Sigourney – "the American Mrs Hemans" – downwards, there are only corroborative proofs of a Cisatlantic fact, that no copyist, however acute and faithful, has ever yet succeeded in treading on the kibes of his master, far less of outstripping him in the struggle for excellence.

Like all original writers, Mrs Hemans has her own mode and her own province. In reading the poetry of Wordsworth, we feel as if transferred to the mountainous solitudes, broken only by the scream of the eagle and the dash of the cataract, where human life is indicated but by the shieling in the sheltered holm, and the shepherd boy, lying wrapt up in his plaid by the furze-bush, with his "little flock at feed beside him." By Scott we are placed amid the men and things of departed ages. The bannered castle looms in the distance, and around it are the tented plain – the baron and his vassals – all that pertains to "ladye-love and war, renown and knightly worth." We have the cathedral-pomp, and the dark superstition, and the might that stands in the place of right, – all the fire and air, with little of the earth and water of our elemental nature. The lays of Wilson reflect the patriarchal calm of life in its best, and purest, and happiest aspects – or, indeed, of something better than mere human life, as the image of the islet in the sunset mirror of the lake is finer and fairer than the reality. Coleridge's inspiration is emblemed by ruins in the silver and shadow of moonlight, – quaint, and queer, and fantastic, haunted by the whooping owl, and screamed over by the invisible nighthawk. Campbell reminds of the Portland vase, exquisite in taste and materials, but recalling always the conventionalities of art.

When placed beside, and contrasted with her great cotemporaries, the excellences of Mrs Hemans are sufficiently distinct and characteristic. There can be no doubt of this, more especially in her later and best writings, in which she makes incidents elucidate feelings. In this magic circle – limited it may be – she has no rival. Hence, from the picturesqueness, the harmony, the delicacy and grace, which her compositions display, she is peculiarly the poet of her own sex. Her pictures are not more distinguished for accuracy of touch than for elegance of finish. Every thing is clear, and defined, and palpable; nothing is enveloped in accommodating haze; and she never leaves us, as is the trick of some late aspiring and mystical versifiers, to believe that she must be profound because she is unintelligible. She is ever alive to the dignity of her calling, and the purity of her sex. Aware of the difficulties of her art, she aspired towards excellence with untiring perseverance, and improved herself by the study of the best models, well knowing that few things easy of attainment can be worth much. Her taste thus directed her to appropriate and happy subjects; and hence it has been, as with all things of sterling value, that her writings have not been deteriorated by time. They were not, like the ice-palace of the Empress Catherine, thrown up to suit the whim of the season, or directed to subjects of mere occasional interest, to catch the gale of a passing popularity. Mrs Hemans built on surer foundations, and with less perishable materials. The consequence is, that her reputation has been steadily on the increase. Of no one modern writer can it be affirmed with less hesitation, that she has become an English classic; nor, until human nature becomes very different from what it now is, can we imagine the least probability that the music of her lays will cease to soothe the ear, or the beauty of her sentiment to charm the gentle heart.