In man’s life love is but an episode; in woman’s it is the entire action of the piece. With him it is but one act in the drama, with her it is the beginning, middle, and end. Man’s warfare with the world is like the battle array of the Romans—they had their first, second, and third rank. If the first was defeated it fell back into the intervals of the second, and both together renewed the attack; if vanquished again they were received into the wider intervals of the third, and the whole mass united made a more impetuous onset. Thus with man, if unsuccessful in Love he rallies on Ambition; if again defeated, he falls back with accumulated energy upon Avarice—the peculiar passion of old age. Not so with woman; upon her success as a wife and a mother, her whole happiness is risked. In her encounter with the world she has no passion in reserve; she concentrates her whole force into one line and trusts herself and her fortune upon the success of a single charge. If unfortunate in this venture, she has no place for retreat except the recesses of her own heart. Can we wonder, then, that disappointment in what she values the most, the utter blight of her hopes, affections driven back upon her heart, and trust betrayed, should excite those strong and fervent emotions which will not “down” at mortal bidding, but express themselves in song? or, that the wing of her spirit while brooding over the ruin of her peace, should gather strength for poetic flight? We do not know where we could have found a more complete illustration of these views than in the history of Mrs. Norton. The blow which blighted the fair promise of her spring, found her a poetess of some celebrity. She had given to the world many pieces, imbued with the warm sensibility, the pure, ardent, and devoted love of woman; but nothing which in sincerity, strength, fervor and truthfulness of passion, can compare with the “Dream”—gushing as it does from the heart of the betrayed wife and abandoned mother. We had intended to speak at some length of the characteristics of Mrs. Norton’s genius, but we believe that the same end will be accomplished more to the edification of our readers, by giving a short analysis of this beautiful poem. The story of the piece, is brief and simple, and was undoubtedly suggested to her mind by the association of contrast. We are presented with a widowed mother watching “her slumbering child, On whose young face the sixteenth summer smiled.” And we have the following exquisite family piece presented—“_O matre pulchrâ filia pulchrior._”