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and judgment, assisted by the laws of suggestion,— by which are originated the beings of the mind. This attribute is developed in the works before us, primarily, in the conception of their subjects, but not less essentially in their mode of treatment,—in the forming and tracing out of scenes, circumstances and characters, and then in their keeping,—the consistency that is observed in their individual and relative adaptations. Diversity of subjects, richness of descriptions, variety of characters, with their appropriate qualities and sentiments, and a beauty of imagery, may be adduced as illustrative of the exercise of invention.
The facility with which so wide a diversity of subjects is successfully treated by L. E. L. evinces great vigour as well as versatility of imagination. Not only is this apparent in themes chosen by the poet's own sweet will, but in those involuntary tasks imposed on her in her literary vocation of illustrating pictures, and (if we may here use the phrase) of "working to order." There is no constraint, no laboured effort apparent; but so completely does genius overcome obstacles which to ordinary minds would seem insurmountable, that, in looking over the volumes of the "Drawing-room Scrap Book," for instance, one would suppose that the pictures had been subsequently introduced to illustrate the poems, instead of the poems being arbitrarily required at the convenience or will of the publisher. Especially is this the case with the Indian tale of "The Zenana." It is a long poem, written apparently without constraint; and yet the various accompanying pictures are all introduced into the body of the poem with so much tact, that one might fancy an artist had been employed to depict the most striking passages after they were written.
