She had made up her mind that it was a wise step to leave Wavertree.  At one time Edinburgh was thought of as a fit place for her residence.  But finally Ireland, and not Scotland, became the home of her latter days, one reason for this choice being that her brother would be near to give his advice and guidance as to her sons.  In 1831 she took up her abode in Dublin, where, whilst entering very little into general society, she much enjoyed intercourse with many kindred spirits whom she gathered around her.  Amongst her most valued friends were the Archbishop of Dublin and Mrs. Whately, from whom she met with marked kindness.  These years in Dublin have been described as the happiest as well as the last of her life.  Heading was perhaps more than ever a delight to her, especially of works of religious instruction and consolation.  Bishop Hall, Leighton, and Jeremy Taylor, and other old divines afforded her great strength and refreshment, whilst the Scriptures were her daily study and delight.  Wordsworth was the poet she loved best and read oftenest, never a single day during the last four years of her life being passed, unless sickness prevented, without her reading something of his.

X.

ASPIRATIONS DURING FAILING HEALIH.

“Nervous suffering” is a phrase that describes Mrs. Hemans’ state of health.  But still her mind was busy and her pen active, especially on subjects of a religious character.  “I now feel as if bound to higher and holier tasks which, though I may occasionally lay aside, I could not long wander from without some sense of dereliction.  I hope it is not self-delusion, but I cannot help sometimes feeling as if it were my true task to enlarge the sphere of sacred poetry, and extend its influence.”  In 1834 Hymns for Childhood and National Lyrics appeared in a collected form, and soon after the long-contemplated collection of Scenes and Hymns of Life.  The aim of these may be best expressed in her own words.  It was to enlarge the sphere of sacred poetry “by associating with its themes, more of the emotions, the affections, and even the pure imaginative enjoyments of daily life, than had hitherto been admitted within the hallowed circle.”

Two last works were to issue from her mind and heart.  The lyric “Despondency and Aspiration” was hoped to be her best production, as it was certainly her most laborious effort.  On it she was anxious to concentrate all her powers.  It was meant to be the prologue to a poetical work which was to be called The Christian Temple.  It was her purpose, “by tracing out the workings of passion—­the struggle of human affection—­through various climes, and ages, and conditions of life, to illustrate the insufficiency of any dispensation, save that of an ill-embracing Christianity, to soothe the sorrows, or sustain the hopes, or fulfil the desires of an immortal being whose lot is cast in a world where cares and bereavements are many.”  She was never to carry out this design.