to a prose work [what is here quoted is introductory to a review of Romance and Reality,] the due quantum of laud and censure, then only thought of homage, and in verse only, we condescended to yield it. But the other day, in looking over some of our boyish effusions, we found a paper superscribed to L. E. L., and beginning with 'Fair spirit!'"
In this place, perhaps, it may be fitting to glance at one important characteristic of her writings, previous to the consideration of those maturer poems, the earliest of which, now on the eve of appearance, procured for her such deserved distinction. In the poetry of L. E. L., even at this early and happy period of her career, assuming that it has now in reality commenced, we detect, not unfrequently, examples of that which after wards cast a gloom over so much that she wrote, and was so justly complained of by those who took the deepest interest in the progress of her talents and reputation. The verses even of her gay and eager youth abound in distrusting views of life, in melancholy forebodings, and images of weariness and despondency. Whatever the subject of the song, baffled hopes and blighted affections would evermore thrust themselves between the singer and the light; and if they were not always seized upon as the theme, they were unfailingly associated with it, and introduced in the way of illustration or analogy. And here it may be desirable at once to impress upon the reader's mind the fact, that there was not the remotest connection or affinity, not indeed a colour of resemblance, between her every-day life or habitual feelings, and the shapes they were made to assume in her poetry. No two persons could be less like each other in
