That night, an hour after midnight, on the 2d of February, the summons came. She had been reading a little book—trying to read, rather—and as the clock was on the stroke of one she shut it up, and with some sudden mysterious rush of consciousness, having suffered greatly all the evening from oppressed breathing, she asked quietly of her mother, who was holding her in her arms:
"Do you think I am dying, mamma?"
"I think you are very, very ill tonight, my dear."
"Send for my sister. My feet are so cold—lift me up."
Her sister entering as they raised her, she said: "It has come at last."
And then, with so soft a change that the anxious eyes bent upon those sunken features could hardly detect the moment of her ceasing to breathe, death came to the beloved of so many hearts. The prayers of the Church, of which she was so devoted a child, were audibly uplifted throughout that closing scene; they were the last earthly sounds that can have reached the dulling ear. Opposite to her, as she lay upon her little bed, was a photograph from that loveliest image by Francia of the dead Saviour lying upon his mother's knees. At all times ardently religious, the last days of her frail life were elevated and cheered by the holy rites of her faith. As she lay in her coffin, a crucifix upon her breast, and camellias and violets sprinkled over her fair white garments, she looked the loveliest image of peace which a pure and pious life could bequeath to perishable clay. The delicate face was but little changed. Up to the very last it had retained its bright spiritual expression, just as her voice had retained its musical inflections, and her smile its blended charm of affectionate sympathy and childlike gaiety. In death that smile had vanished for ever, but something of its sweetness still lingered about the brow and mouth. The tapers for which she had asked a little while previously (for the due keeping of Candlemas-day) burnt at the head of the coffin, and shed their soft light down upon that still face. When at length it was covered up from mortal sight, and all that remained of her laid in the grave at St. Mary's Cemetery, the sun shone out with the first cheerfulness of early spring. Coming from behind a little cloud, that sunshine lit up the white vestment of the priest, who, standing by her coffin in the little chapel, spoke of the joyful resurrection of the children of God. There is a little garden upon that simple grave, where fresh flowers bloom every spring; and beside it many prayers are offered up with each returning season of the year.
But we must linger no longer on memories and associations which are almost too sacred for more than a passing word. To the world at large Miss Procter is known through her genius only; but it is, perhaps, not too much to say, that through it she is also endeared in a singular degree to thousands who never looked upon her face. To some consideration of her poems we will therefore address ourselves; the less reluctantly that they were truly so much a revelation of her life.
If canons of criticism be based on something deeper than mere superficial rules in regard to the expression of the sublime and youthful, it must be doubly interesting to trace the causes of a wide-spread popularity attaching to any series of works from the same pen. Such an appreciation cannot be won by a trick of form, or by a deliberate appeal to well-known popular sympathies. It must arise from the touching of universal emotions; from a true correspondence with those thoughts and feelings which are the heritage of the race under its most general conditions, or which have become the common property of a people in all its various grades of culture.
There are two theories regarding the nature of poetry and of that Genius which creates poetry, whether in literature or in the sphere of any art. They will never be harmonized; for, like many other opinions, doctrines, and theories, of which we are separately forced to acknowledge the truth, they are irreconcilable by any effort of the human understanding. One of these theories says that genius is rare, recondite, unusual; that its creations are, by the very nature of things, little likely to be appreciated; that, indeed, the higher and the deeper it is, the more likelihood there is that it will not be entered into by numbers. Such genius found its embodiment in the phantasmagoria of Blake, in the poetry of Shelley, in the profound insight of this or that thinker. It is the vivid but momentary flash of lightning irradiating a sombre sky; it is the gnarled and solitary pine; the deep still tarn upon the mountain-side; it is the vein of bright ore buried in the darkness of the mine; the electric thrill evoked from inert matter, interesting, delightful, and suggestive from the very strangeness of its apparition. Who shall deny this is one definition of genius, one way of picturing the idea of high art?