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Lélia, a female Faust or Manfred, a mysterious muse-like heroine, who one night sleeps on the heathery mountain-side, the next displays the splendor of a queen in palaces and fairy-like villas; her sorely tried and hapless lover, Sténio, the poet, who pours forth odes to his own accompaniment on the harp, and lingers the night long among Alpine precipices brooding over the abyss; Trenmor, the returned gentleman convict and Apostle of the Carbonari, whose soul has been refreshed, made young and regenerated at the galleys; and the mad Irish priest, Magnus, are impossible personages, inviting to easy ridicule, and neither wisdom nor folly from their lips is likely to beguile the ears of the present generation.
In my assiduous reading of the classics, the chief places were held among the Greeks by the masculine and noble figures of Hector, Achilles, Theseus, Oedipus; among the Scots by Trenmor, Fingal, Cuchullin; and among the Romans by Caesar, Brutus, Titus, and Cato. These characters influenced me to incline toward a somewhat bombastic system of gesticulation and a turgid delivery.
There was not a romance of Balzac and George Sand which the indefatigable little creature had not devoured by the time she was sixteen: and, however little she sympathised with her relatives at home, she had friends, as she said, in the spirit-world, meaning the tender Indiana, the passionate and poetic Lelia, the amiable Trenmor, that high-souled convict, that angel of the galleys, the fiery Stenio, and the other numberless heroes of the French romances.
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