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prepared by great industry her volume of poems in less than four months, and had not taken time to reconsider them. They were not narrative pieces, in which the interest of the story carries you along in reading, whether the diction is perfected or not, but mostly short lyrical poems, and contemplative pieces, which are always much more effective when found amongst other descriptions of poetry or in a magazine, than when collected together in a volume. They were generally sad, a common fault with poetesses; but poor Elsie had more excuse for taking that tone than many others who have done so. She had to mourn the loss of fortune and the coldness of friends; the conduct of William Dalzell to her sister had made a deeper impression on her mind than on that of Jane. She had more capacity of suffering than Jane had, and when she took the pen in her hand, she felt that her life--and all life--was full of sorrow. Jane had induced Elsie to accompany her to the chapel, where she herself had learned her first lesson of submission and of Christian hope; but even in religion Elsie inclined to the contemplative and the tender rather than to the active and the cheerful side of it. She looked with far more intense longing to the Heaven beyond the earth than Jane did, and had not the interest in the things about her to make the dreariness of her daily life endurable. Her poetry had been her one resource; and that appeared to be very weak and contemptible in the opinion of those who ought to know. Whether the literary taster for the publisher last applied to was less engrossed with business than the others, or whether he thought it would do the aspiring poetess good to show her her faults, I cannot tell, but he wrote a long letter of critical remarks. There was one ballad--an idealization of the incident in Jane's life which had so much impressed Elsie, in which William Dalzell was made more fascinating and more faithless, and Jane much more attached to him than in reality--which this correspondent said was good, though the subject was hackneyed, but on all the others the sweeping scythe of censure fell unsparingly. "Her poems," he said, "were very tolerable, and not to be endured;" mediocrity was insufferable in poetry. The tone of them was unhealthy, and would feed the sentimentalism of the age, which was only another name for discontent. If poetesses went on as they were doing now-a-days, and only extracted a wail from life, the
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