Summary

Pen-portraits of literary women (1887)

She does not engross the conversation, but is more eager to listen than to talk. She has that delicate tact—which is one of the fine arts among women—to make others talk, suggesting topics the most rich and fruitful, and by a word drawing the conversation into a channel where it may flow with a broad, free current. Thus she makes you forget the celebrated author, and think only of the refined and highly-cultivated woman. You do not feel awed by her genius, but only quickened by it, as something that calls out all that is better and truer.
Source: Gutenberg

Pen-portraits of literary women (1887)

It is natural that in an age better calculated to understand her motives than that in which she lived, a vindicator should have arisen to call up out of the past, by the name of Mary Wollstonecraft, a spirit radiant and purified, like the soul of Ianthe in ‘Queen Mab,’ from every stain of earthliness. But to make the woman herself live before us, as she lived in Paris, in London, in those strange days of the close of the eighteenth century—that would be a task for a pen that has dealt with character under somewhat similar conditions—the pen of Ivan Turgenef.
Source: Gutenberg

Pen-portraits of literary women (1887)

Browning is, in many respects, the correlative of her husband. As he is full of manly power, so she is a type of the most sensitive and delicate womanhood. She has been a great sufferer from ill health, and the marks of pain are stamped upon her person and manner. Her figure is slight, her countenance expressive of genius and sensibility, shaded by a veil of long, brown locks; and her tremulous voice often flutters over her words, like the flame of a dying candle over the wick.
I have never seen a human frame which seemed so nearly a transparent veil for a celestial and immortal spirit.
Source: Gutenberg

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