  Two years ago we concluded a slight notice of the poems of "Thomasine" (known in Ireland as Miss Olivia Knight, and in Australia as Mrs. Hope Connolly), with the following words: "A writer in the Irish Fireside said lately that Eva and Speranza had no successors. We could name, if we dared, three or four daughters of Erin whom we believe to be singing now from a truer and deeper inspiration and with a purer utterance." Happily, since these words were printed, two of these unnamed rivals whom we set up against the gifted wife of the new M. P. elect for Meath, and against the more gifted widow of Sir William Wilde, have placed their names on the title pages of collections of their poems. We allude, of course, to Katharine Tynan and Rosa Mulholland. Not only these whose place in literature is already secured, but higher than some to whom the enthusiasm of a political crisis gave prominence, we should be inclined to rank such Irish songstresses as the late Attie O'Brien and the living but too silent "Alice Esmonde." And then of Irishwomen living outside Ireland we have Fanny Parnell, Fanny Forrester, Eleanor C. Donnelly, and the lady whom we claim as our own in the title of this paper—Mrs. Mary E. Blake. Though the wife of a physician at Boston, she was born at Clonmel, and bore the more exclusively Celtic name of Magrath. Boston claims, or used to claim, to be the literary metropolis of the United States. A prose volume by Mrs. Blake and a volume of her poems lie before us, and for elegance of typography do credit to their Boston publishers. "On the Wing"—lively sketches of a trip to the Pacific, all about San Francisco and the Yosemite Valley, and Los Angeles, and Colorado, but ending with this affectionate description of Boston aforesaid: And now, as the evening sun drops lower, what fair city is this that rises in the east, throned like a queen above the silver Charles, many-towered and pinnacled, with clustering roof and taper spire? How proud she looks, yet modest, as one too sure of her innate nobility to need adventitious aid to impress others. Look at the Æsthetic simplicity of her pose on the single hill, which is all the mistaken kindness of her children has left of the three mountains which were her birthright. Behold the stately avenues that stretch by bridge and road, radiating her lavish favors in every direction; look at the spreading suburbs that crowd beyond her gates, more beautiful than the parks and pleasure grounds of her less favored sisters. See where she sits, small but precious, her pretty feet in the blue waters that love to dally about them; her pretty head, in its brave gilt cap, as near the clouds as she could manage to get it: her arms full of whatever is rarest and dearest and best. For doesn't she hold the "Autocrat of the Breakfast Table" and Bunker Hill, Faneuil Hall, and Harvard College? Do not the fiery eloquence of Phillips, the songs of Longfellow, the philosophy of Fisk, the glory of the Great Organ, and the native lair of culture, belong to her? Ah! why should we not "tell truth and shame the devil"—doesn't she bring us to the babies and the family doctor? But it is not as a writer of prose that Mrs. Blake has secured a niche in our gallery of literary portraits. Indeed, without knowing it, we have already introduced her poetry to our readers: for we are pleased to find in her volume of collected poems an anonymous piece which we had gathered as one of our "Flowers for a Child's Grave," from a number of The Boston Pilot as far back as 1870. We should reprint page 171 of this volume if it were not already found in our eighth volume (1880) at page 608. The division of Mrs. Blake's poems to which it belongs contains, we think, her best work. Her muse never sings more sweetly than in giving expression to the joy and grief of a mother's heart. The verses just referred to were the utterances of maternal grief: a mother's joy breaks out into these pleasant and musical stanzas:— My little man is merry and wise, Perhaps our Irish poetess in exile—Boston does not consider itself a place of exile—would prefer to be represented by one of her more serious poems; and probably she had good reasons for placing first in her volume the following which is called "The Master's Hand." The scroll was old and gray; O God whom we adore! Mrs. Blake in one point does not resemble the two Irish woman-poets—for they are more than poetesses—whom we named together at the beginning of this little paper. Ireland and the Blessed Virgin have not in this Boston book the prominence which Miss Mulholland gives them in the volume which is just issuing from Paternoster Square. The Irish-American lady made her selection with a view to the tastes of the general public; but the general public are sure to be won by earnest and truthful feeling, and an Irish and Catholic heart cannot be truthful and earnest without betraying its devotion to the Madonna and Erin. |
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