on hatred. The work was published anonymously, but its author was immediately sought after. Samuel Rogers reviewed it as the work of a man, and Sir Walter Scott was at first suspected of being the author. By one or two critics the volume was severely attacked; but it brought the author an acquaintance with Scott himself, which ripened into a warm friendship, lasting 'uninterruptedly for more than half a century.'
In an elaborate preface to the 'Plays on the Passions,' Miss Baillie defended herself for this somewhat novel venture in dramatic writing. Having first shown that the study of human nature and its passions has always had, and ever must have, an irresistible attraction for the individual man, the writer proceeds to maintain that the sympathetic instinct is our best and most powerful instructor. It teaches us to respect ourselves and our kind, and to dwell upon the noble, rather than the mean, view of human nature. Amidst all decoration and ornament in poetry, 'let one simple trait of the human heart, one expression of passion, genuine and true to nature, be introduced, and it will stand forth alone in the boldness of reality, whilst the false and unnatural around it fade away upon every side like the rising exhalations of the morning.' But the plays gave rise to much controversy. The tone and substance of the objections of hostile critics were thus summed up by Campbell (Life of Mrs. Siddons): 'If Joanna Baillie had known the stage practically, she would never have attached the importance she does to the development of single passions in single tragedies; and she would have invented more stirring incidents to justify the passion of her characters, and to give them that air of fatality which, though peculiarly predominant in the Greek drama, will also be found to a certain extent in all successful tragedies. Instead of this she tries to make all the passions of her main characters proceed from the wilful natures of the beings themselves. Their feelings are not precipitated by circumstances, like a stream down a declivity that leaps from rock to rock, but, for want of incident, they seem often like water on a level, without a propelling impulse.' In acting contrary to established usage the author no doubt handicapped herself from the point of view of the successful dramatist. By setting herself to delineate one master passion she deliberately put from her the means which generally insure dramatic success.
Yet the 'Plays on the Passions' attracted the notice of John Kemble, who determined to produce 'De Monfort' at Drury Lane Theatre, with himself and Mrs. Siddons in the chief characters. Every care was given to the representation of the tragedy, for which the Hon. F. North wrote a prologue, and the Duchess of Devonshire an epilogue. It was produced with much splendour in April 1800, but it failed to obtain a firm grasp upon the public. It ran, however, for eleven nights. It has been said that the passage in the play descriptive of Jane de Monfort formed the best portrait ever drawn of Mrs. Siddons herself; and 'it is probable that John Kemble and his sister had been present to the mind of Joanna when she composed the tragedy of "De Monfort."' The opinion of Mrs. Siddons upon the play may be gathered from an expression uttered by her in conversation with the author: 'Make me some more Jane de Monforts.'
Undeterred by adverse criticism, Miss Baillie, in 1802, issued a second volume of 'Plays on the Passions.' It included a comedy on 'Hatred,' a tragedy (in two parts) on 'Ambition,' and a comedy on the same passion. The comedy on 'Hatred,' with music, was produced at the English Opera House; but the tragedy on 'Hatred,' notwithstanding its admittedly fine passages, was too unwieldy for stage production.
Shortly after the appearance of this volume Mrs. Baillie and her daughters went to live at Hampstead; but in 1806 Mrs. Baillie died. The sisters then rented a new house in the neighbourhood of Hampstead heath, and this house they continued to occupy until they died. They were visited by many friends eminent in letters, in science, in art, and in society, and they were on very intimate terms with their neighbour, Mrs. Barbauld. Scott looked forward to a visit to his friends at Hampstead as one of the greatest of his pleasures, and Lord Jeffrey wrote, under date 28 April 1840: 'I forgot to tell you that we have been twice out to Hampstead, to hunt out Joanna Baillie, and found her the other day as fresh, natural, and amiable as ever, and as little like a tragic muse.' Two years later the whig editor again saw her (she being then eighty years of age), when he described her as 'marvellous in health and spirits, and youthful freshness and simplicity of feeling, and not a bit deaf, blind, or torpid.' Geniality and hospitality were the characteristics of the two sisters during their residence at Hampstead, and even when one became an octogenarian and the other a nonagenarian they could enter keenly into the various literary and scientific controversies of the day.
In 1804 Joanna published a volume of 'Miscellaneous Plays,' containing two tragedies, 'Kayner,' and 'Constantine Paleologus.' These plays were constructed more upon the
