Awakening at the inspired strain,
Deemed their own Shakespeare lived again."
The year 1810 saw 'The Family Legend,' a play founded on a tragic history of the Campbell clan. Scott wrote a prologue and brought out the play in the Edinburgh Theatre. "You have only to imagine," he told the author, "all that you could wish to give success to a play, and your conceptions will still fall short of the complete and decided triumph of 'The Family Legend.'"
The attacks which Jeffrey had made upon her verse were continued when she published, in 1812, her third volume of 'Plays on the Passions.' His voice, however, did not diminish the admiration for the character-drawing with which the book was greeted, or for the lyric outbursts occurring now and then in the dramas.
Joanna's quiet Hampstead life was broken in 1813 by a genial meeting in London with the ambitious Madame de Staël, and again with the vivacious little Irishwoman, Maria Edgeworth. She was keeping her promise of not writing more; but during a visit to Sir Walter in 1820 her imagination was touched by Scotch tales, and she published 'Metrical Legends' the following year. In this vast Abbotsford she finally consented to meet Jeffrey. The plucky little writer and the unshrinking critic at once became friends, and thenceforward Jeffrey never went to London without visiting her in Hampstead.
Her moral courage throughout life recalls the physical courage which characterized her youth. She never concealed her religious convictions, and in 1831 she published her ideas in 'A View of the General Tenor of the New Testament Regarding the Nature and Dignity of Jesus Christ.' In 1836, having finally given up the long hope of seeing her plays become popular upon the stage, she prepared a complete edition of her dramas with the addition of three plays never before made public,--'Romiero,' a tragedy, 'The Alienated Manor,' a comedy on jealousy, and 'Henriquez,' a tragedy on remorse. The Edinburgh Review immediately put forth a eulogistic notice of the collected edition, and at last admitted that the reviewer had changed his judgment, and esteemed the author as a dramatist above Byron and Scott.
"May God support both you and me, and give us comfort and consolation when it is most wanted," wrote Miss Baillie to Mary Berry in 1837. "As for myself, I do not wish to be one year younger than I am; and have no desire, were it possible, to begin life again, even under the most honorable circumstances. I have great cause for humble thankfulness, and I am thankful."
In 1840 Jeffrey wrote:--"I have been twice out to Hampstead, and found Joanna Baillie as fresh, natural, and amiable as ever, and as little like a tragic muse." And again in 1842:--"She is marvelous in health and spirit; not a bit deaf, blind, or torpid." About this time she published her last book, a volume of 'Fugitive Verses.'
"A sweeter picture of old age was never seen," wrote Harriet Martineau. "Her figure was small, light, and active; her countenance, in its expression of serenity, harmonized wonderfully with her gay conversation and her cheerful voice. Her eyes were beautiful, dark, bright, and penetrating, with the full innocent gaze of childhood. Her face was altogether comely, and her dress did justice to it. She wore her own silvery hair and a mob cap, with its delicate lace border fitting close around her face. She was well dressed, in handsome dark silks, and her lace caps and collars looked always new. No Quaker was ever neater, while she kept up with the times in her dress as in her habit of mind, as far as became her years. In her whole appearance there was always something for even the passing stranger to admire, and never anything for the most familiar friend to wish otherwise." She died, "without suffering, in the full possession of her faculties," in her ninetieth year, 1851.
Her dramatic and poetical works are collected in one volume (1843). Her Life, with selections from her songs, may be found in 'The Songstress of Scotland,' by Sarah Tytler and J.L. Watson (1871).