# Letitia Elizabeth Landon (L. E. L.) in Fisher's Drawing Room Scrap Book, 1838/Felicia Hemans

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* Artist: W. E. West - Engraved by: W. Holl
FELICIA HEMANS.
No more, no more—oh, never more returning,  Will thy beloved presence gladden earth; No more wilt thou with sad, yet anxious yearning  Cling to those hopes which have no mortal birth. Thou art gone from us, and with thee departed,  How many lovely things have vanished too: Deep thoughts that at thy will to being started,  And feelings, teaching us our own were true. Thou hast been round us, like a viewless spirit,  Known only by the music on the air; The leaf or flowers which thou hast named inherit  A beauty known but from thy breathing there: For thou didst on them fling thy strong emotion,  The likeness from itself the fond heart gave; As planets from afar look down on ocean,  And give their own sweet image to the wave.
And thou didst bring from foreign lands their treasures,  As floats thy various melody along; We know the softness of Italian measures,  And the grave cadence of Castilian song. A general bond of union is the poet,  By its immortal verse is language known, And for the sake of song do others know it—   One glorious poet makes the world his own. And thou—how far thy gentle sway extended!  The heart’s sweet empire over land and sea; Many a stranger and far flower was blended  In the soft wreath that glory bound for thee. The echoes of the Susquehanna’s waters  Paused in the pine-woods words of thine to hear; And to the wide Atlantic’s younger daughters  Thy name was lovely, and thy song was dear.
Was not this purchased all too dearly?—never  Can fame atone for all that fame hath cost. We see the goal, but know not the endeavour  Nor what fond hopes have on the way been lost. What do we know of the unquiet pillow,  By the worn cheek and tearful eyelid prest, When thoughts chase thoughts, like the tumultuous billow,  Whose very light and foam reveals unrest?
We say, the song is sorrowful, but know not  What may have left that sorrow on the song; However mournful words may be, they show not  The whole extent of wretchedness and wrong. They cannot paint the long sad hours, passed only  In vain regrets o’er what we feel we are. Alas! the kingdom of the lute is lonely—  Cold is the worship coming from afar.
Yet what is mind in woman, but revealing  In sweet clear light the hidden world below, By quicker fancies and a keener feeling  Than those around, the cold and careless, know? What is to feed such feeling, but to culture  A soil whence pain will never more depart? The fable of Prometheus and the vulture  Reveals the poet’s and the woman’s heart. Unkindly are they judged—unkindly treated—  By careless tongues and by ungenerous words; While cruel sneer, and hard reproach, repeated,  Jar the fine music of the spirit’s chords. Wert thou not weary—thou whose soothing numbers  Gave other lips the joy thine own had not. Didst thou not welcome thankfully the slumbers  Which closed around thy mourning human lot?
What on this earth could answer thy requiring,  For earnest faith—for love, the deep and true, The beautiful, which was thy soul’s desiring,  But only from thyself its being drew. How is the warm and loving heart requited  In this harsh world, where it awhile must dwell. Its best affections wronged, betrayed, and slighted—  Such is the doom of those who love too well. Better the weary dove should close its pinion,  Fold up its golden wings and be at peace; Enter, O ladye, that serene dominion,  Where earthly cares and earthly sorrows cease. Fame’s troubled hour has cleared, and now replying,  A thousand hearts their music ask of thine. Sleep with a light the lovely and undying  Around thy grave—a grave which is a shrine.
Felicia Dorothea Brown, was born at Liverpool, on the 25th of September, 1793; and married to Capt. Hemans, from whom she was afterwards separated. The simple fact of her separation from her husband afforded sufficient ground for melancholy reflection, at the same time that it renders intelligible to the reader, those touches of sadness, those shadows of deep and early disappointment, which render her poetry so congenial to the feelings of the sensitive and sorrowful. It is remarked of Mrs. Hemans, that of this affliction she never complained: if, however, the fountain of her sorrow was in one sense sealed, it found a natural outlet through the medium of verse, for never were the chords of human feeling touched by a hand more skilful in the native melody of grief, than by that of this gifted and high-souled woman.