"It is written in a strain which must of necessity appeal to the sympathies of all grades of society, and at the same time it is eminently poetical, both in thought and rhythm."—Western Antiquary, August, 1886.
"A book like this forms an admirable corrective to the harsh and cold-blooded theories of such landlords as the Duke of Argyle on the rights of his class."—Cambridge Independent Press, August, 1886.
"There is a sonorous beauty, a classic dignity and depth of pathos throughout her four cantos, and a vivid and thrilling description is given of the industrious hamlets, the contented happy people, and the ruthless manner in which the evictions were effected by the stewards and ground-officers."—Elgin Courant, August, 1886.
TARANTELLA:
A Romance.
"The author of this two-volumed romance is favourably known by other works, and by her appreciative 'Life of George Eliot.' The strange effects of the bite of a tarantula spider, so firmly believed in by the Italian peasantry, and the marvellous power of musical enthusiasm, supply the motive of the story; and the characters are portrayed with great force, pathos, and a touch of homely humour."—Bookseller, Christmas, 1884.
"Miss Blind maybe congratulated on 'Tarantella,' her first novel. In the récit (as we have called it) of the musician, Emanuel Sturm, nearly all the interest of the book is concentrated. The violinist, poor and unknown, finds himself at Capri. Accident brings him, one evening, to a frightened group of women, one of whom has just been bitten by the tarantula, and, according to the popular superstition, he is implored to play, in order to drive the poison out of her. He refuses at first, but afterwaids consents, and, finding himself almost supernaturally inspired, plays an improvised 'Tarantella' throughout a whole stormy night, finally curing the girl. The tune thus strangely hit on spreads, and ultimately makes him famous, but the love he has conceived for his Antonella brings him almost as much misery as his music brings him fame."—Pall Mall Gazette, February 5, 1885.
"Admiration of the delicate sketching now in vogue should not blind us to the very opposite kind of charm of which 'Tarantella' is full. Entirely poetical in conception (save that it is not written in metre), 'Tarantella' is more essentially a poem than many a narrative written in smooth and elegant verse. . . . 'Tarantella' is indeed full of strange originality and scenic effects of uncommon powers. The dance among the ruins is not likely to be soon forgotten by the most unimaginative of readers, and it is rarely, we think, that in an English novel the psychology of the poetic temperament has been touched by a hand so delicate and at the .same time so strong."—Athenæum, January 17, 1885.
"There is abundant imagination, and the language is generally fresh and vigorous. . . . The author finds many opportunities of introducing scenes from German life, which are evidently written with intimate knowledge. . . . This is distinctly a novel to read."—Echo, June 16, 1886.
"This powerful and pathetic tale has carried us more completely out of ourselves and along with it than any work of fiction we have read for many a day. . . . Her (Miss Blind's) word-pictures glow with rich local colours; she is a complete mistress of the art of dramatic cause and effect. When once fairly under weigh, she never allows the interest to flag for a single moment. Thus it is only when we have laid down the final volume that we have time or inclination to
