One moment lost in thought, its hidden cause to trace.
[A volume of translations published in 1818, might have been called by anticipation, “Lays of many Lands.” At the time now alluded to, her inspirations were chiefly derived from classical subjects. The “graceful superstitions” of Greece, and the sublime patriotism of Rome, held an influence over her thoughts which is evinced by many of the works of this period—such as “The Restoration of the Works of Art to Italy,” “Modern Greece,” and several of the poems which formed the volume entitled “Tales and Historic Scenes.”
“Apart from all intercourse,” says Delta, “with literary society, and acquainted only by name and occasional correspondence with any of the distinguished authors of whom England has to boast, Mrs Hemans, during the progress of her poetical career, had to contend with more and greater obstacles than usually stand in the path of female authorship. To her praise be it spoken, therefore, that it was to her own merit alone, wholly independent of adventitious circumstances, that she was indebted for the extensive share of popularity which her compositions ultimately obtained. From this studious seclusion were given forth the two poems which first permanently elevated her among the writers of her age,—the ‘Restoration of the Works of Art to Italy,’ and ‘Modern Greece.’ In these the maturity of her intellect appears; and she makes us feel, that she has marked out a path for herself through the regions of song. The versification is high-toned and musical, in accordance with the sentiment and subject; and in every page we have evidence, not only of taste and genius, but of careful elaboration and research. These efforts were favourably noticed by Lord Byron; and attracted the admiration of Shelley. Bishop Heber and other judicious and intelligent counsellors cheered her on by their approbation: the reputation which, through years of silent study and exertion, she had, no doubt, sometimes with brightened and sometimes with doubtful hopes, looked forward to as a sufficient great reward, was at length unequivocally and unreluctantly accorded her by the world; and, probably, this was the happiest period of her life. The Translations from Camoens; the prize poem of Wallace, as also that of Dartmoor, the Tales and Historic Scenes, and the Sceptic, may all be referred to this epoch of her literary career.”—Biographical Sketch, prefixed, to Poetical Remains, 1836.
In reference to the same period of Mrs Hemans’ career, the late acute and accomplished Miss Jewsbury (afterwards Mrs Fletcher) has the following judicious observations:—
“At this stage of transition, her poetry was correct, classical, and highly polished; but it wanted warmth: it partook more of the nature of statuary than of painting. She fettered her mind with facts and authorities, and drew upon her memory when she might have relied upon her imagination. She was diffident of herself, and, to quote her own admission, ‘loved to repose under the shadow of mighty names.’”—Athenæum, Feb. 1831.]
MISCELLANEOUS POEMS.
LINES
WRITTEN IN A HERMITAGE ON THE SEA-SHORE.
O wanderer! would thy heart forget
Each earthly passion and regret,