BY LORD JEFFREY.

Women, we fear, cannot do every thing; nor every thing they attempt. But what they can do, they do, for the most part, excellently and much more frequently with an absolute and perfect success, than the aspirants of our rougher and ambitious sex. They cannot, we think, represent naturally the fierce and sullen passions of men nor their coarser vices nor even scenes of actual business or contention nor the mixed motives, and strong and faulty characters, by which affairs of moment are usually conducted on the great theatre of the world. For much of this they are disqualified by the delicacy of their training and habits, and the still more disabling delicacy which pervades their conceptions and feelings; and from much they are excluded by their necessary inexperience of the realities they might wish to describe by their substantial and incurable ignorance of business of the way in which serious affairs are actually managed and the true nature of the agents and impulses that give movement and direction to the stronger currents of ordinary life. Perhaps they are also incapable of long moral or political investigations, where many complex and indeterminate elements are to be taken into account, and a variety of opposite probabilities to be weighed before coming to a conclusion. They are generally too impatient to get at the ultimate results, to go well through with such discussions; and either stop short at some imperfect view of the truth, or turn aside to repose in the shade of some plausible error. This, however, we are persuaded, arises entirely from their being seldom set on such tedious tasks. Their proper and natural business is the practical regulation of private life, in all its bearings, affections, and concerns; and the questions with which they have to deal in that most important department, though often of the utmost difficulty and nicety, involve, for the most part, but few elements; and may generally be better described as delicate than intricate; requiring for their solution rather a quick tact and fine perception, than a patient or laborious examination. For the same reason, they rarely succeed in long works, even on subjects the best suited to their genius; their natural training rendering them equally averse to long doubt and long labour.

For all other intellectual efforts, however, either of the understanding or the fancy, and requiring a thorough knowledge either of man’s strength or his weakness, we apprehend them to be, in all respects, as well qualified as their perceptions of grace, propriety, ridicule their power of detecting artifice, hypocrisy, and affectation the force and promptitude of their sympathy, and their capacity of noble and devoted attachment, and of the efforts and sacrifices it may require, they are, beyond all doubt, our superiors.

Their business being, as we have said, with actual or social life, and the colours it receives from the conduct and dispositions of individuals, they unconsciously acquire, at a very early age, the finest perception of character and manners, and are almost as soon instinctively schooled in the deep and more dangerous learning of feeling and emotion; while the very minuteness with which they make and meditate on these interesting observations, and the finer shades and variations of sentiment which are thus treasured and recorded, train their whole faculties to a nicety and precision of operation, which often discloses itself to advantage in their application to studies of a different character. When women, accordingly, have turned their minds as they have done but too seldom to the exposition or arrangement of any branch of knowledge, they have commonly exhibited, we think, a more beautiful accuracy, and a more uniform and complete justness of thinking, than their less discriminating brethren. There is a finish and completeness, in short, about every thing they put out of their hands, which indicates not only an inherent taste for elegance and neatness, but a habit of nice observation, and singular exactness of judgement.

It has been so little the fashion, at any time, to encourage women to write for publication, that it is more difficult than it should be, to prove these truths by examples. Yet there are enough, within the reach of a very careless and superficial glance over the open field of literature, to enable us to explain, at least, and illustrate, if not entirely to verify, our assertions. No man, we will venture to say, could have written the Letters of Madame de Sevigné, or the Novels of Miss Austin, or the Hymns and Early Lessons of Mrs. Barbauld, or the Conversations of Mrs. Marcet. Those performance, too, are not only essentially and intensely feminine; but they are, in our judgment, decidedly more perfect than any masculine productions with which they can be brought into comparison. They accomplish more completely all the ends at which they aim; and are worked out with a gracefulness and felicity of execution which excludes all idea of failure, and entirely satisfies the expectations they may have raised. We might easily have added to these instances. There are many parts of Miss Edgeworth’s earlier stories, and of Miss Mitford’s sketches and descriptions, and not a little of Mrs. Opie’s, that exhibit the same fine and penetrating spirit of observations, the same softness and delicacy of hand, and unerring truth of delineation, to which we have alluded as characterizing the purer specimens of female art. The same distinguishing traits of woman’s spirit are visible through the grief and piety of Lady Russel, and the gayety, the spite, and the venturesomeness of Lady Mary Wortley. We have not as yet much female poetry; but there is a truly feminine tenderness, purity, and elegance in the Psyche of Mrs. Tighe, and in some of the smaller pieces of Lady Craven. On some of the works of Madame de Staël her Corinne especially there is a still deeper stamp of the genius of her sex. Her pictures of its boundless devotedness its depth and capacity of suffering its high aspirations its painful irritability, and inextinguishable thirst for emotion, are powerful specimens of that morbid anatomy of the heart, which no hand but that of a woman’s was fine enough to have laid open, or skilful enough to have recommended to our sympathy and love. There is the same exquisite and inimitable delicacy, if not the same power, in many of the happier passages of Madame de Souza and Madame Cottin to say nothing of the more lively and yet melancholy records of Madame de Staël, during her long penance in the court of the Duchesse de Maine.

We think the poetry of Mrs. Hemans a fine exemplification of Female Poetry and we think it has much of the perfection which we have ventured to ascribe to the happier productions of female genius.

It may not be the best imaginable poetry, and may not indicate the very highest or most commanding genius; but it embraces a great deal of that which gives the very best poetry its chief power of pleasing; and would strike us, perhaps, as more impassioned and exalted, if it were not regulated and harmonized by the most beautiful taste. It is singularly sweet, elegant, and tender touching, perhaps, and contemplative, rather than vehement and overpowering; and not only finished throughout with an exquisite delicacy, and even severity of execution, but infused with a purity and loftiness of feeling, and a certain sober and humble tone of indulgence and piety, which must satisfy all judgments, and allay the apprehensions of those who are most afraid of the passionate exaggerations of poetry. The diction is always beautiful, harmonious, and free and the themes, though of great variety, uniformly treated with a grace, originality, and judgment, which mark the same master hand. These themes she has occasionally borrowed, with the peculiar imagery that belongs to them, from the legends of different nations, and the most opposite states of society; and has contrived to retain much of what is interesting and peculiar in each of them, without adopting, along with it, any of the revolting or extravagant excesses which may characterize the taste or manners of the people or the age from which it has been derived. She has transfused into her German or Scandinavian legends the imaginative and daring tone of the originals, without the mystical exaggerations of the one, or the painful fierceness and coarseness of the other she has preserved the clearness and elegance of the French, without their coldness or affectation and the tenderness and simplicity of the early Italians, without their diffuseness or languor. Though occasionally expatiating, somewhat fondly and at large, among the sweets of her own planting, there is, on the whole, a great condensation and brevity in most of her pieces, and, almost without exception, a most judicious and vigorous conclusion. The great merit, however, of her poetry, is undoubtedly in its tenderness and its beautiful imagery. The first requires no explanation; but we must be allowed to add a word as to the peculiar charm and character of the latter.

It has always been our opinion, that the very essence of poetry apart from the pathos, the wit, or the brilliant description which may be imbodied in it, but may exist equally in prose consists in the fine perception and vivid expression of the subtle and mysterious analogy which exists between the physical and the moral world which makes outward things and qualities the natural types and emblems of inward gifts and emotions, or leads us to ascribe life and sentiment to every thing that interests us in the aspects of external nature. The feeling of this analogy, obscure and inexplicable as the theory of it may be, is so deep and universal in our nature, that it has stamped itself on the ordinary language of men of every kindred and speech: that to such an extent, that one-half of the epithets by which we familiarly designate moral and physical qualities, are in reality so many metaphors, borrowed reciprocally, upon this analogy, from those opposite forms of expression. The very familiarity, however, of the expression, in these instances, takes away its political effect and indeed, in substance, its metaphorical character. The original sense of the word is entirely forgotten in the derivative one to which it has succeeded; and it requires some etymological recollection to convince us that it was originally nothing else than a typical or analogical illustration. Thus we talk of a sparkling wit, and a furious blast a weighty argument, and a gentle stream without being at all aware that we are speaking in the language of poetry, and transferring qualities from one extremity of the sphere of being to another. In these cases, accordingly, the metaphor, by ceasing to be felt, in reality ceases to exist, and the analogy being no longer intimated, of course can produce no effect. But whenever it is intimated, it does produce an effect; and that effect we think is poetry.

It has substantially two functions, and operates in two directions. In the first place, when material qualities are ascribed to mind, it strikes vividly out, and brings at once before us, the conception of an inward feeling or emotion, which it might otherwise have been difficult to convey, by the presentiment of some bodily form or quality, which is instantly felt to be its true representative, and enables us to fix and comprehend it with a force and clearness not otherwise attainable; and, in the second place, it vivifies dead and inanimate matter with the attributes of living and sentient mind, and fills the whole visible universe around us with objects of interest and sympathy, by tinting them with the hues of life, and associating them with our own passions and affections. This magical operation the poet too performs, for the most part, in one of two ways either by the direct agency of similies and metaphors, more or less condensed or developed, or by the mere graceful presentment of such visible objects on the scene of his passionate dialogues or adventures, as partake of the character of the emotion he wishes to excite, and thus form an appropriate accompaniment or preparation for its direct indulgence or display. The former of those methods has perhaps been most frequently employed, and certainly has most attracted attention. But the latter, though less obtrusive, and perhaps less frequently resorted to of set purpose, is, we are inclined to think, the most natural and efficacious of the two; and it is often adopted, we believe unconsciously, by poets of the highest order; the predominant emotion of their minds overflowing spontaneously on all the objects which present themselves to their fancy, and calling out from them, and colouring with their own hues, those that are naturally emblematic of its character, and in accordance with its general expression. It would be easy to show how habitually this is done, by Shakspeare and Milton especially, and how much many of their finest passages are indebted, both for force and richness of effect, to this general and diffusive harmony of the external character of their scenes with the passions of their living agents this harmonizing and appropriate glow with which they kindle the whole surrounding atmosphere, and bring all that strikes the sense into unison with all the touches the heart.

But it is more to our present purpose to say, that we think the fair writer before us is eminently a mistress of this poetical secret; and, in truth, it was solely for the purpose of illustrating this great charm and excellence in her imagery, that we have ventured upon this little dissertation. Almost all her poems are rich with fine descriptions, and studded over with images of visible beauty. But these are never idle ornaments; all her pomps have a meaning; and her flowers and her gems are arranged, as they are said to be among Eastern lovers, so as to speak the language of truth and of passion. This is peculiarly remarkable in some little pieces, which seem at first sight to be purely descriptive but are soon found to tell upon the heart, with a deep moral and pathetic impression. But it is, in truth, nearly as conspicuous in the greater part of her productions; where we scarcely meet with any striking sentiment that is not ushered in by some such symphony of external nature and scarcely a lovely picture that does not serve as an appropriate foreground to some deep or lofty emotion. We may illustrate this proposition, we think, by the following exquisite lines, on a palm-tree in an English garden.

It waved not through an Eastern sky,
Beside a fount of Araby
It was not fanned by southern breeze
In some green isle of Indian seas,
Nor did its graceful shadows sleep
O’er stream of Africa, lone and deep.

But far the exiled Palm-tree grew
Midst foliage of no kindred hue;
Through the laburnum’s dropping gold
Rose the light shaft of orient mould,
And Europe’s violets, faintly sweet,
Purpled the moss-beds at his feet.

There came an eve of festal hours
Rich music filled that garden’s bowers:
Lamps, that from flowering branches hung,
On sparks of dew soft colours flung,
And bright forms glanced a fairy show
Under the blossoms, to and fro.

But one, a lone one, midst the throng,
Seemed reckless all of dance or song:
He was a youth of dusky mien,
Whereon the Indian sun had been
Of crested brow, and long black hair
A stranger, like the Palm-tree, there!

And slowly, sadly moved his plumes,
Glittering athwart the leafy glooms:
He passed the pale green olives by,
Nor won the chestnut-flowers his eye;
But, when to that sole Palm he came,
Then shot a rapture through his frame!

To him, to him its rustling spoke:
The silence of his soul it broke!
It whispered of his own bright isle,
That lit the ocean with a smile;
Ay, to his ear that native tone
Had something of the sea-wave’s moan!

His mother’s cabin home, that lay
Where feathery cocoas fringed the bay;
The dashing of his brethren’s oar;
The conch-note heard along the shore;
All through his wakening bosom swept;
He clasped his country’s Tree and wept!

Oh! scorn him not! The strength whereby
The patriot girds himself to die,
The unconquerable power, which fills
The freeman battling on his hills
These have one fountain deep and clear
The same whence gushed that child-like tear!