Say, why, sweetest floweret, the last of thy race,
Why lingerest thou here the lone garden to grace?
As I spoke, a rough blast, sent by winter’s own hand,
Whistled by me, and bent its sweet head to the sand;
I hastened to raise it—the dew-drop had fled,
And the once lovely flower was withered and dead.”
All her short pieces were composed with equal rapidity; and sometimes she wished that she had two pair of hands to record as fast as her muse dictated. These she composed wherever she chanced to be when the spirit of poesy came over her. In the midst of her family, blind and deaf to all around her, she held sweet communion with her muse. But when composing her longer poems, as “Amie Khan,” or “Chicomicos,” she required complete seclusion. She retired to her own room, closed the blinds, and placed her Æolian harp in the window. Her mother gives this graphic description: “I entered her room,—she was sitting with scarcely light enough to discern the characters she was tracing; her harp was in the window, touched by a breeze just sufficient to rouse the spirit of harmony; her comb had fallen on the floor, and her long, dark ringlets hung in rich profusion over her neck and shoulders; her cheek glowed with animation; her lips were half unclosed; her full, dark eye was radiant with the light of genius, and beaming with sensibility; her head rested on her left hand, while she 15 held her pen in her right. She looked like the inhabitant of another sphere. She was so wholly absorbed that she did not observe my entrance. I looked over her shoulder, and read the following lines:—
‘What heavenly music strikes my ravished ear,
So soft, so melancholy, and so clear?
And do the tuneful nine then touch the lyre,