sheets of warm, florid writing are here, in which the eye is caught by “sapphire,” “heliotrope,” “dragon,” “aloes,” “Magna Dea,” “limboes,” “stars,” and “purgatory,” but can connect all this, or any part of it, with no universal experience.
In short, Margaret often loses herself in sentimentalism. That dangerous vertigo nature in her case adopted, and was to make respectable. As it sometimes happens that a grandiose style, like that of the Alexandrian Platonists, or like Macpherson’s Ossian, is more stimulating to the imagination of nations, than the true Plato, or than the simple poet, so here was a head so creative of new colors, of wonderful gleams, — so iridescent, that it piqued curiosity, and stimulated thought, and communicated mental activity to all who approached her; though her perceptions were not to be compared to her fancy, and she made numerous mistakes. Her integrity was perfect, and she was led and followed by love, and was really bent on truth, but too indulgent to the meteors of her fancy.
FRIENDSHIP.
“Friends she must have, but in no one could find
A tally fitted to so large a mind.”
It is certain that Margaret, though unattractive in person, and assuming in manners, so that the girls complained that “she put upon them,” or, with her burly masculine existence, quite reduced them to satellites, yet inspired an enthusiastic attachment. I hear from one witness, as early as 1829, that “all the girls raved about Margaret Fuller,” and the same powerful magnetism wrought, as she went on, from year to year, on all
