A poet is, from the laws both of physiology and philology,—masculine. His vocation is manly, or rather divine. And we have never heard any traits of feminine character attributed to the great poet, (in the Greek sense,) the Creator of the universe. The muses are represented as females, but then they are the inspirers, never the composers, of verse. So should be the poet’s muse, as she is often the poet’s theme. There are higher themes, but of an abstract nature, in general: ethical, religious, metaphysical. Let female beauty then sit for her portrait instead of being the painter. Let poets chant her charms, but let her not spoil a fair ideal image by writing bad verses. If all were rightly viewed, a happy home would seem preferable to a seat on Parnassus, and the Fountain of Content would furnish more palatable draughts than the Font of Helicon. The quiet home is not always the muses’ bower; though we trust the muses’ bower is placed in no turbulent society. Women write for women. They may entertain, but cannot, from the nature of the case, become instructors to men. They know far less of life, their circle of experience is confined. They are unfitted for many paths of active exertion, and consequently are rendered incapable of forming just opinions on many matters. We do not include a natural incapacity for many studies, and as natural a dislike for many more. Many kinds of learning, and many actual necessary pursuits and practices, it is deemed improper for a refined woman to know. How, then, _can_ a female author become a teacher of men? Literature would miss many pleasant associations if the names of the best female writers were expunged from a list of classic authors, and the world would lose many delightful works—the novel of sentiment and the novel of manners, letter writing, moral tales for children, books of travels, gossiping memoirs—Mrs. Inchbald, Madame D’Arblay, Miss Edgeworth, Lady M. W. Montague, Miss Martineau, and Miss Sedgwick, with a host besides. Women have sprightliness, cleverness, smartness, though but little wit. There is a body and substance in true wit, with a reflectiveness rarely found apart from a masculine intellect. In all English comedy, we recollect but two female writers of sterling value, Mrs. Conley and Mrs. Guthrie, and their plays are formed on the Spanish model, and made up of incident and intrigue, much more than of fine repartees or brilliant dialogue. We know of no one writer of the other sex, that has a high character for humor—no Rabelais, no Sterne, no Swift, no Goldsmith, no Dickens, no Irving. The female character does not admit of it.