Various - Blackwood's Edinburgh Magazine, Volume 64, No. 398, December 1848

Yes, we are mending. Very different are our times from those when Madame de Genlis published her little work, De l'Influence des Femmes sur la Littérature Française comme Protectrices des Lettres, et comme Auteurs . She had to contend, with the same acrid energy, for the privilege of a lady to write, as a Turkish dame of the present century might be supposed to display, who should contend for the privilege of walking abroad unveiled, or rather unmuffled. And even she herself thinks it necessary to give certain rules to young women who write – as she would to young women who dance – how to comport themselves with consummate propriety; as not to enter into controversy, or use big words – in short, to deal with printer's ink without soiling the most delicate fingers. As to that argument drawn from the supposed neglect of domestic duties – which it seems, in those days just emerging from barbarity, was still heard of – she dismisses it very briefly. "Comme ces devoirs dans une maison bien ordonnée, ne peuvent jamais prendre plus d'une heure par jour , cette objection est absolument nulle." As there is much implied in that "maison bien ordonnée," and as Madame de Genlis did not write for simple gentle-folks, it is to be hoped that the one hour per diem may admit of extension without any forfeiture of literary privileges. In her time, too, there was thought to be a sort of feud between authors and authoresses – a thing which in our day, is quite inconceivable – for she writes, apropos of a charge of plagiarism, against La Fontaine, in the following indignant strain: – "Quelles que soient le bonhomie et la candeur d'un auteur, il sait que, par une loi tacite mais universelle, il est toujours dispensé de convenir qu'il doit à une femme une idée heureuse. Dans ce cas seulement le plagiat et le silence sont également légitimes."

We have changed all that: we have had too many instances of women of talent and of genius to doubt their ability to excel – we make no exception – in any branch of literature whatever. We give them, on the other hand, no monopoly of elegance or grace, or delicacy of touch, as some affect to do. These qualities they are very likely to display; but they will be superior in them to authors of the male sex, only just so far as they are superior to those authors in genius and talent. There is still a practice in many critics to detect the style feminine from the style masculine. The sooner this is laid aside the better. There are styles which, speaking metaphorically, one may say have a feminine grace, or a feminine weakness. Such an observation has been made, by Sir James Mackintosh, on the style of Addison. But to pretend to say of a given page of composition whether a man or a woman has penned it, is absurd. We often hear it said, that none but a woman could have written the letters of Madame de Sévigné. If Cowper had been a woman, people would have said the same thing of his letters. They are unrivalled, at least in our own language, for grace and elegance, and wit and playfulness. No woman, we believe – and the epistolary style is supposed to belong by especial right to the female pen – has ever written such charming letters as those to Lady Hesketh, and his old friend Thomas Hill. As to the letters of Madame de Sévigné, they so evidently come from a mother to a daughter, that it is impossible to forget for a moment the sex of the writer. But if the qualities which have given them literary celebrity are, to be pronounced feminine, half the literature of France is of the same gender. Still less can we tolerate the affectation that pretends to discern a certain weakness, a tremulousness of the hand, when the pen is held by a woman. There is grace and elegance, but, forsooth, a certain hesitation – a want of vigour and certainty of touch. Nonsense. Take Our Village , by Miss Mitford, and the Sketch-Book , by Washington Irving: they are both of the graceful and elegant order of style; but the lady writes the English language with far more freedom, ease, and vigour, than the gentleman. The poetic element is mingled in her diction with far more taste and judgment. It glitters through her prose as the sunlight in the green tree – throwing its gold amongst the foliage, yet leaving it the same green, and simple, and refreshing object as before.

No – we will grant to woman no monopoly in the lighter elegancies, and presume nothing against her ability to excel in the graver qualities of authorship. We have said that Mrs Hemans was peculiarly the poetess of her countrywomen, but we do not mean to imply by this that her style is peculiarly feminine – for we do not pretend to know what a feminine style is; we thus characterised her because the sentiments she habitually expresses are those which will almost universally find a response in the minds of her countrywomen.

It seems an ungracious thing to say, but we do wish that the biographical notice of Mrs Hemans, appended to the last edition of her works, had not been written by a sister. So near a relative may be presumed, indeed, to know more of the person whose life she undertakes to narrate than any one else; but she may not know what to tell us. Her very familiarity with the subject is against her: she cannot place it at a distance from her, and regard it with a freshness of view; she does not think of recording, she does not even remember, what to her has none of the interest of novelty. A sister who should give to any impartial biographer the materials he required of her, would be found to contribute far more to our knowledge of the person whose life was written, than by holding the pen herself. Besides, a sister can have none, and show none, but sisterly feelings; and though these are very proper and amiable, we want something more.

The two or three events which we learn from this biographical notice, and which bear upon the education of the poetess , are soon recorded, and they are the only class of events we feel particularly interested in. Felicia Dorothea Browne – such was the maiden name of Mrs Hemans – was born at Liverpool, 25th September 1793. She is described as distinguished "almost from her cradle by extreme beauty and precocious talents." When of the age of seven years, her father, who had been a merchant of considerable opulence, met with a reverse of fortune, and the family retired to Wales, "where for the next nine years they resided at Gwrych, near Abergele, in Denbighshire, a large old mansion, close to the sea, and shut in by a picturesque range of mountains," – a change of residence which was, at all events, highly propitious for the development of the poetic character. "In the calm seclusion of this romantic region, with ample range through the treasures of an extensive library, the young poetess passed a happy childhood, to which she would often fondly revert amidst the vicissitudes of her after-life. Here she imbibed that intense love of nature which ever afterwards 'haunted her like a passion,' and that warm attachment for the 'green land of Wales' – its affectionate, true-hearted people; their traditions, their music, and all their interesting characteristics – which she cherished to the last hours of her existence." A pleasant picture this – the large old house near the sea, and amongst mountains, with Welsh harpers and Welsh traditions, and great store of books, and the little girl ranging at will through all. This, and the picture we have of the young student conning her Shakspeare, her choicest recreation, "in a secret haunt of her own – a seat amongst the branches of an old apple-tree – where she revelled in the treasures of the cherished volume" – are all we learn of her childhood, and all perhaps that remained to tell.

Our poetess was very soon in print. Few have commenced their life of authorship so early. In 1808 some friends, "perhaps more partial than judicious," published a collection of her poems, written at and before the age of fourteen, in a quarto volume. "Its appearance" our fair biographer tells us, "drew down the animadversions of some self-constituted arbiter of taste." We never heard of any critics being constituted by royal patent, or any mode of popular election – certainly not by a committee of authors. Self-constituted! why did not the lady call him a self-conceited knave, while she was about it? Just or unjust, there would have been some meaning in the phrase, at least. We suspect, for our part, that these friends, "more partial than judicious," who published the rhymes of a young girl of fourteen in a quarto volume, were themselves strangely constituted arbiters of taste.