Such gloom she had in leaving Italy! So full she was of sad presentiment! Do you know she gave a Bible as a parting gift from her child to ours, writing in it 'In memory of Angelo Eugene Ossoli'—a strange, prophetical expression? That last evening a prophecy was talked of jestingly—an old prophecy made to poor Marquis Ossoli, 'that he should shun the sea, for that it would be fatal to him.' I remember how she turned to me smiling and said, 'Our ship is called the "Elizabeth," and I accept the omen.'

Now I am making you almost dull perhaps, and myself certainly duller. Rather let me tell you, dearest Miss Mitford, how delightedly I look forward to reading whatever you have written or shall write. You write 'as well as twenty years ago'! Why, I should think so, indeed. Don't I know what your letters are? Haven't I had faith in you always? Haven't I, in fact, teased you half to death in proof of it? I, who was a sort of Brutus, and oughtn't to have done it, you hinted. Moreover, Robert is a great admirer of yours, as I must have told you before, and has the pretension (unjustly though, as I tell him) to place you still higher among writers than I do, so that we are two in expectancy here. May Mr. Chorley's periodical live a thousand years!

As my 'Seagull' won't, but you will find it in my new edition, and the 'Doves' and everything else worth a straw of my writing. Here's a fact which you must try to settle with your theories of simplicity and popularity: None of these simple poems of mine have been favorites with general readers. The unintelligible ones are always preferred, I observe, by extracters, compilers, and ladies and gentlemen who write to tell me that I'm a muse. The very Corn Law Leaguers in the North used to leave your 'Seagulls' to fly where they could, and clap hands over mysteries of iniquity. Dearest Miss Mitford—for the rest, don't mistake what I write to you sometimes—don't fancy that I undervalue simplicity and think nothing of legitimate fame—I only mean to say that the vogue which begins with the masses generally comes to nought (Béranger is an exceptional case, from the form of his poems, obviously), while the appreciation beginning with the few always ends with the masses. Wasn't Wordsworth, for instance, both simple and unpopular, when he was most divine? To go to the great from the small, when I complain of the lamentable weakness of much in my 'Seraphim' volume, I don't complain of the 'Seagull' and 'Doves' and the simple verses, but exactly of the more ambitious ones. I have had to rewrite pages upon pages of that volume. Oh, such feeble rhymes, and turns of thought—such a dingy mistiness! Even Robert couldn't say a word for much of it. I took great pains with the whole, and made considerable portions new, only your favourites were not touched—not a word touched, I think, in the 'Seagull,' and scarcely a word in the 'Doves.' You won't complain of me a great deal, I do hope and trust. Also I put back your 'little words' into the 'House of Clouds.' The two volumes are to come out, it appears, at the end of October; not before, because Mr. Chapman wished to inaugurate them for his new house in Piccadilly. There are some new poems, and one rather long ballad written at request of anti-slavery friends in America.[[205]] I arranged that it should come next to the 'Cry of the Children,' to appear impartial as to national grievances....

Oh—Balzac—what a loss! One of the greatest and (most) original writers of the age gone from us! To hear this news made Robert and me very melancholy. Indeed, there seems to be fatality just now with the writers of France. Soulié, Bernard, gone too; George Sand translating Mazzini; Sue in a socialistical state of decadence—what he means by writing such trash as the 'Péchés' I really can't make out; only Alexandre Dumas keeping his head up gallantly, and he seems to me to write better than ever. Here is a new book, just published, by Jules Sandeau, called 'Sacs et Parchemins'! Have you seen it? It miraculously comes to us from the little Siena library.

We stay in this villa till our month is out, and then we go for a week into Siena that I may be nearer the churches and pictures, and see something of the cathedral and Sodomas. We calculated that it was cheaper to move our quarters than to have a carriage to and fro, and then Dr. Harding recommended repeated change of air for me, and he has proved his ability so much (so kindly too!) that we are bound to act on his opinions as closely as we can. Perhaps we may even go to Volterra afterwards, if the finances will allow of it. If we do, it may be for another week at farthest, and then we return to Florence. You had better direct there as usual. And do write and tell me much of yourself, and set me down in your thoughts as quite well, and ever yours in warm and grateful affection.

E.B.B.

To Miss Mitford

Florence: November 13, 1850 [postmark].

I meant to cross your second letter, and so, my very dear friend, you are a second time a prophetess as to my intentions, while I am still more grateful than I could have been with the literal fulfilment. Delightful it is to hear from you—do always write when you can. And though this second letter speaks of your having been unwell, still I shall continue to flatter myself that upon the whole 'the better part prevails,' and that if the rains don't wash you away this winter, I may have leave to think of you as strengthening and to strengthen still. Meanwhile you certainly, as you say, have roots to your feet. Never was anyone so pure as you from the drop of gypsey blood which tingles in my veins and my husband's, and gives us every now and then a fever for roaming, strong enough to carry us to Mount Caucasus if it were not for the healthy state of depletion observable in the purse. I get fond of places, so does he. We both of us grew rather pathetical on leaving our Sienese villa, and shrank from parting with the pig. But setting out on one's travels has a great charm; oh, I should like to be able to pay our way down the Nile, and into Greece, and into Germany, and into Spain! Every now and then we take out the road-books, calculate the expenses, and groan in the spirit when it's proved for the hundredth time that we can't do it. One must have a home, you see, to keep one's books in and one's spring-sofas in; but the charm of a home is a home to come back to. Do you understand? No, not you! You have as much comprehension of the pleasure of 'that sort of thing' as in the peculiar taste of the three ladies who hung themselves in a French balloon the other day, operatically nude, in order, I conjecture, to the ultimate perfection of French delicacy in morals and manners....

I long to see your papers, and dare say they are charming. At the same time, just because they are sure to be charming (and notwithstanding their kindness to me, notwithstanding that I live in a glass house myself, warmed by such rare stoves!) I am a little in fear that your generosity and excess of kindness may run the risk of lowering the ideal of poetry in England by lifting above the mark the names of some poetasters. Do you know, you take up your heart sometimes by mistake, to admire with, when you ought to use it only to love with? and this is apt to be dangerous, with your reputation and authority in matters of literature. See how impertinent I am! But we should all take care to teach the world that poetry is a divine thing, should we not? that is, not mere verse-making, though the verses be pretty in their way. Rather perish every verse I ever wrote, for one, than help to drag down an inch that standard of poetry which, for the sake of humanity as well as literature, should be kept high. As for simplicity and clearness, did I ever deny that they were excellent qualities? Never, surely. Only, they will not make poetry; and absolutely vain they are, and indeed all other qualities, without the essential thing, the genius, the inspiration, the insight—let us call it what we please—without which the most accomplished verse-writers had far better write prose, for their own sakes as for the world's—don't you think so? Which I say, because I sighed aloud over many names in your list, and now have taken pertly to write out the sigh at length. Too charmingly you are sure to have written—and see the danger! But Miss Fanshawe is well worth your writing of (let me say that I am sensible warmly of that) as one of the most witty of our wits in verse, men or women. I have only seen manuscript copies of some of her verses, and that years ago, but they struck me very much; and really I do not remember another female wit worthy to sit beside her, even in French literature. Motherwell is a true poet. But oh, I don't believe in your John Clares, Thomas Davises, Whittiers, Hallocks—and still less in other names which it would be invidious to name again. How pert I am! But you give me leave to be pert, and you know the meaning of it all, after all. Your editor quarrelled a little with me once, and I with him, about the 'poetesses of the united empire,' in whom I couldn't or wouldn't find a poet, though there are extant two volumes of them, and Lady Winchilsea at the head. I hold that the writer of the ballad of 'Robin Gray' was our first poetess rightly so called, before Joanna Baillie.