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larger works, "Romance and Reality," "Francesca Carrara," and "Ethel Churchill."
In these, as in L. E. L.'s Poetical works, the essential characteristics of genius are truly manifested. It is impossible to turn from their perusal without the conviction that their gifted author must be deeply imbued with the influences of intellectual beauty and general knowledge—profoundly skilled in the mysteries of the human heart—most accurate in her perception and delineations of the varied phases of human character, and keen-sighted in discriminating all the workings of the complicated machinery of motives and counter-motives in operation throughout the social system. These volumes embody much of philosophy and poetry; much of the ideal, and of practical common sense; deep thoughts and high, of intellectual musing, with the lighter sparkles of genuine wit, and truthful observations resulting from extensive knowledge of the world. In short, their pages are so frequently the exponents of the mind's loftiest thoughts, of the heart's deepest emotions, that it is evident their writer must have investigated as a philosopher, imagined and reflected as a poet, felt and endured as a woman.
The tendencies of these works are unquestionably of an enlightening and reflective order. The follies and meannesses and vices, that are so rife in the world, are displayed in their true aspects, fearlessly, yet with gentleness.
L. E. L.'s quick perception and refined taste are often evinced in her truly discriminating observations. Satire is far too harsh a term to apply to her genial spirited wit, which, like the summer evening lightning, playfully flashes, but hurts not,—too general in its diffusion for individual injury. It shows out indeed the clouds of faults, follies and discrepancies,
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