It is an oft-quoted proposition of Rousseau, that “the glory of woman lies in being unknown.” If this be true, we shall deserve little credit for placing before the world these brief sketches of a few of the sex who have acquired celebrity among mankind. We are disposed to think, however, that the oracular words of the Genevan philosopher—though they may coincide with the despotism of the lords of creation, who would arrogate, not merely the sceptre of power, but the trump of fame, entirely to themselves—like most other oracles, are liable to many exceptions.

It may indeed be true that the happiness of women is generally to be found in the quiet of the domestic circle; but that all, without distinction, should be confined to it, and that whenever one of the sex departs from it, she departs from her allotted sphere, is no more true than a similar proposition would be of men. Elizabeth of England, though little to be esteemed as a woman, did as much credit to her sex as her father did to his; and while he enjoys the renown of having achieved the reformation in England, she is entitled to the credit of having been not only his superior as a sovereign, but one of the greatest sovereigns that ever occupied a throne. Joan of Arc performed achievements for her country scarcely less than miraculous; and Hannah More afforded, by her pen, more efficient protection to the three kingdoms against the volcanic shock of the French revolution than the entire army and navy of Great Britain.

While we repeat that, in general, women consult their true dignity and happiness by seeking a quiet domestic career, we still maintain that such among them as have endowments suited to exert a happy influence upon mankind at large, are as truly fulfilling their duty and their destiny, by giving them scope, as are the other sex in doing the same under the like circumstances. It is believed that the following pages, although they notice only a few of those women who have acquired a deserved celebrity, will furnish ample argument to sustain the ground we assume.

“There stood on the banks of the Saranac a small, neat cottage, which peeped forth from the surrounding foliage—the image of rural quiet and contentment. An old-fashioned piazza extended along the front, shaded with vines and honeysuckles; the turf on the bank of the river was of the richest and brightest emerald; and the wild rose and sweetbrier, which twined over the neat enclosure, seemed to bloom with more delicate freshness and perfume within the bounds of this earthly paradise. The scenery around was wildly yet beautifully romantic; the clear blue river, glancing and sparkling at its feet, seemed only as a preparation for another and more magnificent view, when the stream, gliding on to the west, was buried in the broad, white bosom of Champlain, which stretched back, wave after wave, in the distance, until lost in faint blue mists that veiled the sides of its guardian mountains, seeming more lovely from their indistinctness.”

A literary friend, to whom these verses were shown, felt some doubts as to Lucretia’s being the real author of the stanzas, and suffered them to appear. The feeling that her rectitude was impeached made the sensitive girl actually ill; but a poetic remonstrance, which she prepared on the occasion, removed every doubt.

From what has been before said, it must not be supposed that Lucretia was suffered to abandon herself to literary avocations. She had her prescribed tasks in sewing, and other customary employments, which she generally performed with fidelity and with wonderful celerity; sometimes, however, the voice of her muse struck her in the midst, and “enchanted she dropped each earthly care.” One day, she had promised to do a certain piece of sewing, and had eagerly run for her basket; she was absent long, and on her return found that the work was done. “Where have you been, Lucretia?” said her mother, justly displeased. “O mamma,” she replied, “I did forget; I am grieved. As I passed the window, I saw a solitary sweet pea. I thought they were all gone. This was alone. I ran to smell it, but, before I could reach it, a gust of wind broke the stem. I turned away disappointed, and was coming back to you; but as I passed the table, there stood the inkstand, and I forgot you.” The following beautiful verses insured the forgiveness of her mother:—

The noise made by her mother roused Lucretia, who soon afterwards brought her the preceding verses, with the following added to them, being an address to her Æolian harp:—

But above all other books she valued the Bible. The more poetical parts of the Old Testament she almost committed to memory; and the New Testament, especially those parts which relate the life of our Savior, was studied by her, and excited in her the deepest emotions. As an evidence of this we give the following verses, written in her thirteenth year:—

About the same period, life received for her a new object of interest. Her little sister Margaret, the frequent subject of her verses, was born. The following are among the earliest stanzas addressed to her:—

Lucretia was now placed in trying circumstances. Her mother, after the birth of Margaret, was very ill; the infant, too, was ill; and, to add to their misfortunes, the nurse was taken sick. Lucretia’s eldest sister had recently been married, and had removed to Canada; so that upon her devolved great and manifold duties.

In 1824, an old friend of her mother’s, Moss Kent, Esq., visited Plattsburg. He had never seen Lucretia, but had formed a high opinion of her genius from some of her productions, which had been shown to him by his sister. Her appearance at this time was well calculated to confirm his prepossessions in her favor. She is thus described by her biographer: “Miss Davidson was just sixteen. Her complexion was the most beautiful brunette, clear and brilliant, of that warm tint that seems to belong to lands of the sun, rather than to our chilled regions; indeed, her whole organization, mental as well as physical, her deep and quick sensibility, her early development, were characteristics of a warmer clime than ours: her stature was of the middle height; her form slight and symmetrical; her hair profuse, dark, and curling; her mouth and nose regular, and as beautiful as if they had been chiselled by an inspired artist; and through this fitting medium beamed her angelic spirit.”

She left home November 24, 1824, to appearance full of health and of delight at the opportunities of acquiring knowledge which were to be open to her. At parting she left the following verses:—

The following extracts from a letter to her mother tell us of the state of her feelings when established at the Seminary.

The journey homeward, though made in the heats of July, was attended with less suffering than was anticipated. “Her joy,” says her mother, “upon finding herself at home, operated for a time like magic.” The progress of disease seemed to be suspended. Those around her received new hope; but she herself was not deceived, and she calmly waited for that great change which for her possessed no terrors, for her hopes as to the future rested upon a sure foundation.

But one fear disturbed her, to which she refers in the following, the last piece she ever composed, and which is left unfinished:—

She died on the 27th August, 1825. Her literary labors will surprise all who remember that she had not yet reached her seventeenth birthday. They consist of two hundred and seventy-eight poetical pieces, of which there are five regular poems, of several cantos each; three unfinished romances; a complete tragedy, written at thirteen years of age; and twenty-four school exercises; besides letters, of which forty are preserved, written in the course of a few months, to her mother alone. Indeed, we cannot but look upon Lucretia Davidson as one of the wonders of humanity. Her early productions excited even the admiration of Byron; and the delicacy, dutifulness, and exaltation, of her character seemed almost to have realized angelic purity and beauty of soul, in a tenement of clay.

The little Margaret, as we have seen, was the object of Lucretia’s fondest affection. She used to gaze upon her little sister with delight, and, remarking the brightness and beauty of her eyes, would exclaim, “She must, she will be a poet!” She did not live to see her prediction verified, but to use her mother’s fond expressions, “On ascending to the skies, it seemed as if her poetic mantle fell, like a robe of light, on her infant sister.”

Though Margaret was but two years and a half old, the death of her sister made a strong impression on her, and an incident which occurred a few months afterwards showed that she appreciated her character. As Mrs. Davidson was seated, at twilight, conversing with a female friend, Margaret entered the room with a light, elastic step, for which she was remarked. “That child never walks,” said the lady; then turning to her, she said, “Margaret, where are you flying now?” “To heaven!” replied Margaret, pointing up with her fingers, “to meet my sister Lucretia, when I get my new wings.” “Your new wings! When will you get them?” “O, soon, very soon; and then I shall fly!” “She loved,” says her mother, “to sit, hour after hour, on a cushion at my feet, her little arms resting upon my lap, and her full, dark eyes fixed upon mine, listening to anecdotes of her sister’s life, and details of the events which preceded her death, often exclaiming, while her face beamed with mingled emotions, ‘O mamma, I will try to fill her place! Teach me to be like her!’”

“Her religious impressions,” says her mother, “seemed to be interwoven with her existence. From the very first exercise of reason, she evinced strong devotional feelings, and, although she loved play, she would at any time prefer seating herself beside me, and, with every faculty absorbed in the subject, listen while I attempted to recount the wonders of Providence, and point out the wisdom and benevolence of God, as manifested in the works of creation.”

About the age of six years, she began to exhibit a talent for rhyming. One of her earliest pieces, if not remarkable for poetical merit, is worthy of transcription, from the incident which gave occasion to its composition; it also exhibits in a striking manner that conscientiousness for which her sister was so distinguished, and a power of self-examination of rare existence in one so young.