"'The Prophecy of Saint Oran' is skilfully told and vigorously written. In the description of nature and scenery; in the delineation of character; and in the management of singularly difficult positions there is visible a firm and practised band, a bold and unmistakable power. 'The Street Children's Dance' not unworthily ranks with some of the touching pieces of Hood, Mrs. Barrett Browning, and others."—British Mall, September 1, 1881.
"The only excuse for street music that can reasonably be considered valid is the touching plea for public toleration which is embodied in Miss Mathilde Blind's poem, wherein the spectacle of poor children dancing round an organ is as pathetically moralized and as tender and full of loving pity as Mrs. Browning's 'Cry of the Children.'"—Daily Telegraph, September 1, 1881.
"The poem is rich in true description of sea and sky and mountain, and glows in sympathy with the deeper feelings which stir humanity. There has been published no poem of such creative suggestiveness as this for many a day, and we hope and believe that it is the precursor of other work by the same unfaltering hand. This poem is a true work of art, complete and beautiful. There is in the volume other work which shows a master's touch. . . ."—Manchester Examiner and Times, July 1, 1882.
"II y a là bien plus qu'une simple facilité de versification. Le récit du poeme d'ouverture est grand et fort, la manière de raconter est pleine de poésie et d'effet. Depuis la mort de Mrs. Barrett Browning, nous n'avons point eu de poesie aussi hautement inspirée qui ait jailli d'une source féminine."—La Livre, Paris, October 10, 1881.
THE HEATHER ON FIRE:
A Tale of the Highland Clearances.
"Miss Blind has produced one of the most noticeable and moving poems which recent years have added to our shelves. . . . As a singer with a message her attempt is praiseworthy, and her performance is fairly self-consistent. It is eminently homogeneous; the passion once felt, the inspiration once obeyed, the well-head pours forth its stream in a strong and uniform current, which knows no pause until its impulse ceases. . . . The story is pathetic at once in its simplicity and in its terror. . . . We congratulate the author upon her boldness in choosing a subject of our own time, fertile in what is pathetic, and free from any taint of the vulgar and conventional. Poetry of late years has tended too much towards motives of a merely fanciful and abstruse, sometimes a plainly artificial, character; and we have had much of lyrical energy or attraction, with little of the real marrow of human life, the flesh and blood of man and woman. Positive subject-matter, the emotion which inheres in actual life, the very smile and the very tear and heart-pang, are, after all, precious to poetry, and we have them here. 'The Heather on Fire' may possibly prove to be something of a new departure, and one that was certainly not superfluous."—Athenæum, July 17, 1886.
"Miss Blind has chosen for her new poem one of those terrible Highland clearances which stain the history of Scotch landlordism. Though her tale is a fiction it is too well founded on fact. . . . It may be said generally of the poem that the most difficult scenes are those in which Miss Blind succeeds best; and on the whole we are inclined to think that its greatest and most surprising success is the picture of the poor old soldier Rory driven mad by the burning of his wife. In his frenzy he mixes up his old battles with the French and the descent of the landlord's ejectors upon the village."—Academy, August 7, 1886.
