Excellent Women Part 18

Mrs. Hemans found peculiar pleasure in reading and speaking German. "I am so delighted," she wrote, "when I meet with any one who knows and loves my favourite _scelenvolle_ (full of soul) German, that I believe I could talk of it for ever." Her sister remarks that her knowledge of the language seemed almost as if it had been born with her.

The poetess could write humorous prose as well as serious verse. Some of her letters written in 1822 give a very amusing description of the inconveniences she had to put up with whilst certain alterations were being made at Bronwylfa. She describes how at last she was driven to seek refuge in the laundry, from which cla.s.sical locality, she was wont to say, it could be no wonder if sadly _mangled_ lines were to issue. "I entreat you to pity me. I am actually in the melancholy situation of Lord Byron's 'scorpion girt by fire'--her circle narrowing as she goes--for I have been pursued by the household troops through every room successively, and begin to think of establis.h.i.+ng my _metier_ in the cellar; though I dare say, if I were to fix myself as comfortably in a hogshead as Diogenes himself, it would immediately be discovered that some of the hoops or staves wanted repair." "There is a war of old grates with new grates, and plaster and paint with dust and cobwebs, carrying on in this once tranquil abode, with a vigour and animosity productive of little less din than that occasioned by 'lance to lance and horse to horse.' I a.s.sure you, when I make my escape about 'fall of eve' to some of the green quiet hayfields by which we are surrounded, and look back at the house, which, from a little distance, seems almost, like Shakespeare's moonlight, to 'sleep upon the bank,' I can hardly conceive how so gentle-looking a dwelling can continue to send forth such an incessant clatter of obstreperous sound through its honeysuckle-fringed windows. It really reminds me of a pretty shrew, whose amiable smiles would hardly allow a casual observer to suspect the possibility of so fair a surface being occasionally ruffled by storms."

The lyric "The Voice of Spring" was written in 1823. It was followed by "Breathings of Spring." The season of spring had a marked influence upon her. It was, with all its joy and beauty, generally "a time of thoughtfulness rather than mirth." It has been well observed that autumn in one way is a more joyous time than spring. It reminds us that "we shall go to them," while in spring everything seems to say "they will not return to us."

"But what awakest thou in the _heart_, O Spring!

The human heart, with all its dreams and sighs?

Thou that givest back so many a buried thing, Restorer of forgotten harmonies!

Fresh songs and scents break forth where'er thou art-- What wakest thou in the heart?

Too much, oh, then too much! We know not well Wherefore it should be thus, yet, roused by thee, What fond, strange yearnings, from the soul's deep cell, Gush for the faces we no more may see!

How are we lamented, in the wind's low tone, By voices that are gone?"

In 1825 there appeared one of her princ.i.p.al works--the one she considered as almost, if not altogether, the best--_The Forest Sanctuary_. It related to the sufferings of a Spanish Protestant in the time of Philip II., and is supposed to be narrated by the sufferer himself, who escapes with his child to a North American forest. The picture of the burial at sea was the pa.s.sage of whose merits she had the highest opinion.

VI.

MOTHER AND DAUGHTER.

Another change of home took place in 1825. The new home was not more than a quarter of a mile from the old one. Rhyllon could be seen from the windows of Bronwylfa. It was a very different house. The former is described as a tall, staring brick house, almost dest.i.tute of trees; the latter as a perfect bower of roses, peeping out like a bird's-nest from amidst the foliage in which it was embosomed. The contrast is playfully depicted in a dramatic scene between Bronwylfa and Rhyllon. The former, after standing for some time in silent contemplation of Rhyllon, breaks out into the following vehement strain of vituperation:--

"You ugliest of fabrics! you horrible eyesore!

I wish you would vanish, or put on a vizor!

In the face of the sun, without covering or rag on, You stand and outstare me, like any red dragon."

And so on through many amusing and spirited lines, showing the lighter side of the auth.o.r.ess's character. Her sister describes this part of her life as perhaps the happiest of all, and this was produced to a great extent by her seeing the happiness of others, especially that of her boys. She was always ready to join them in their rambles and their sports. The mornings were spent in the instruction of her children, then in answering countless letters and satisfying the demands of impatient editors. And this done, she would revel in the enjoyment of fresh air.

"Soft winds and bright blue skies," she writes, "make me, or dispose me to be, a sad idler." For this reason she delighted in the rigour of winter, as being most conducive to literary productiveness.

A heavy sorrow was overshadowing this happy home. Between Mrs. Hemans and her mother there was the strongest bond of affection. In her poems there may be traced the intensity of this love. It is found in the simple lines, "On my Mother's Birthday," when the child was only eight years old, and, after incidentally appearing in many a poem, it is shown in all its intensity in the "Hymn by the Sick-bed of a Mother."

"Father, that in the olive shade, When the dark hour came on, Didst, with a breath of heavenly aid, Strengthen Thy Son;

Oh, by the anguish of that night, Send us down blest relief; Or to the chastened, let Thy might Hallow this grief!"

And if the flame of pa.s.sionate affection shone out in the time of fear and impending sorrow, no less was it seen after the dread hour had come.

What beauty there is in the lines ent.i.tled "The Charmed Picture":--

"Sweet face, that o'er my childhood shone, Whence is thy power of change, Thus ever shadowing back my own, The rapid and the strange?

Whence are they charmed--those earnest eyes?

I know the mystery well!

In mine own trembling bosom lies The spirit of the spell!"

[Ill.u.s.tration: Edna Hemans]

This mother patiently bore sickness for eight months, and then pa.s.sed away. Something of what this blow meant to the loving daughter may be gathered from her letters. But she knew where true comfort was to be found, and in alluding to the words of another setting forth the Divine consolation, she says, "This is surely the language of real consolation; how different from that which attempts to soothe us by general remarks on the common lot, the course of Nature, or even by dwelling on the release of the departed from pain and trial."

It was not surprising that her health, for a long time delicate, now showed signs of an alarming nature. She often had a complete prostration of strength, succeeded by a wonderful reaction.

VII.

REMOVAL FROM WALES.

The place of Mrs. Hemans in the literary world was established. As might be expected, friends.h.i.+ps were formed with those who had tastes in common. Amongst the number were Miss Baillie, Miss Mitford, Mrs. Howitt, Miss Jewsbury, and Dean Milman. From her friends she sought sympathy rather than praise. Always appreciative of words of encouragement, she gave back good exchange in the artless way into which she entered into the pursuits of her correspondents.

Her health continued to give great anxiety to her friends, and matters were not improved by the unconquerable dislike of the patient to the adoption of the necessary precautions and remedies. But in the midst of all her suffering her imagination was busy. Compositions were dictated to friends who sat by her bedside. Her amanuensis record--how the little song "Where is the Sea" came to her like a strain of music whilst lying in the twilight under the infliction of a blister.

In 1828 she published the _Records of Woman_, the work into which she said she had put her heart and individual feelings more than in anything else she had written. One verse amongst many others indicates the pressure put upon her feeble frame by the intensity of her activity of mind.

"Yet I have known it long; Too restless and too strong Within this clay hath been the o'ermastering flame; Swift thought that came and went, Like torrents o'er me sent, Have shaken as a reed my thrilling frame."

A severe trial was at hand. The home must again be changed and the beloved Wales left. The marriage of her sister and the appointment of her brother to an official post were the immediate cause. In which direction should she turn her steps with most advantage? The choice was determined by the consideration that at Wavertree near Liverpool she had several attached friends, that there she would meet with advantages for the education of her boys and also with more literary communion for herself.

The wrench from the "land of her childhood, her home, and her dead," was a hard one. She wrote, telling her friends how she literally covered her face all the way from Bronwylfa until her boys told her they had pa.s.sed the Clwyd range of hills. Then she felt that something of the bitterness was over.

"The sound of thy streams in my spirit I bear; Farewell, and a blessing be with thee, green land!

On thy hearths, on thy halls, on thy pure mountain air, On the chords of the harp, and the minstrel's free hand, From the love of my soul, with my tears it is shed, As I leave thee, green land of my home and my dead."

Her love for the people of Wales was not an unreciprocated love. Many of them rushed forward to touch the posts of the gate through which the poetess had pa.s.sed; and when, three years later, she paid a visit to St.

Asaph, came and wept over her, and entreated her to make her home among them again.

VIII.

WAVEETEEE.

Wavertree had its advantages, but it certainly had its disadvantages too. She was brought into a scene where all her precious time might have been absorbed in the trivialities of society. She was overwhelmed with offers of service and marks of courtesy. All the gaiety of a large town was open to her. Gladly would she, as one who had made her mark, have been received on all hands. But consideration of both time and inclination demanded that her life should be spent in a more retired way. She had a great distaste to "going out." And so the frivolous soon gave her up, and went their own way. Her dress was not rigorously correct; she seemed to have motives and pursuits unlike theirs. And so they did not desire her company any more than she found satisfaction in theirs. In the society of those with whom she had no interest in common she well describes her state as feeling herself more alone than _when_ alone. There was much to try her in the curiosity which prompted so many to call upon the strange poetess; but she treated this experience in a cheerful manner. She was pursued by alb.u.ms, their possessors all anxious to have something written on purpose for themselves. We can understand her humorous appeal to a friend "to procure her a dragon, to be kept in her courtyard."

The life at Wavertree was very different from that in Wales in many respects. She had to face the cares and vexations of domestic life, now that she lived alone in her own house. She had to bear her part in general society. The change was not a palatable one. "How I look back upon the comparative peace and repose of Bronwylfa and Rhyllon--a walk in the hayfield--the children playing round me--my dear mother coming to call me in from the dew--and you, perhaps, making your appearance just in the 'gloaming,' with a great bunch of flowers in your kind hand! How have these things pa.s.sed away from me, and how much more was I formed for their quiet happiness than for the weary part of _femme celebre_ which I am now enacting."

A visit to Scotland in 1829 was a great event in her life. She seemed to gain fresh energy and vigour. Edinburgh was ready with a hearty welcome.

Admiration was in danger of degenerating into adulation; as, for example, when a literary man, on his introduction to her, asked "whether a bat might be allowed to appear in the presence of a nightingale." On another occasion a man of eminence in the book world was honoured with a visit from her. Afterwards he was asked whether he had chanced to see the most distinguished English poetess of the day. "He made no answer,"

continued the narrator, "but taking me by the arm, in solemn silence, led me into the back parlour, where stood a chair in the centre of the room, isolated from the rest of the furniture: and pointing to it, said, with the profoundest reverence, in a low earnest tone. 'There _she_ sat, sir, on that chair!'" One of the brightest parts of this bright tour was that spent with Sir Walter Scott. The recollection of her walks and talks with the great man was always a treasured memory. And so were the words with which he parted from her. "There are some whom we meet, and should like ever after to claim as kith and kin; and _you_ are one of these."

In 1830 Mrs. Hemans published her volume of _Songs of the Affections._ The princ.i.p.al of the poems, "A Spirit's Return," was suggested as the result of a favourite amus.e.m.e.nt--that of winding up the evenings by telling ghost stories. A discussion arose as to the feelings with which the presence and the speech of a visitant from another world would be most likely to impress the person so visited. Mrs. Hemans contended that the predominant sensation would partake of awe and rapture, and that the person visited must thenceforward and for ever be inevitably separated from this world and its concerns--that the soul which had once enjoyed so strange and spiritual communion must be raised by its experience too high for common grief to perplex or common joy to enliven.

"The music of another land hath spoken.

No after-sound is sweet; this weary thirst!-- And I have heard celestial fountains burst.

What _here_ shall quench it?"