In 1799, her thirty-eighth year, she gave to the world her first volume of plays on the Passions. It contained her two great tragedies on love and on hatred--"Basil" and "De Montfort;" and one comedy, also on love--the "Tryal." They were prefaced by a long, plausible introductory discourse, in which she explained that these formed but a small portion of an extensive plan she had in view, hitherto unattempted in any language, and for the accomplishment of which a lifetime would be limited enough. Her project we must very shortly describe as a design to write a series of plays, the chief object of which should be the delineation of all the higher passions of the human breast--each play exhibiting in the principal character some one great passion in all the stages of its development, from its origin to its final catastrophe; and in which, in order to produce the strongest moral effect, the aim should be the expression and delineation of just sentiments and characteristic truth, rather than of marvelous incident, novel situation, or beautiful and sublime thought.
Although published anonymously, this volume excited an immediate sensation. In spite of theoretical limitations, it was found to be as full of original power, and delicate poetical beauty, as of truth and moral sentiment. Of course the authorship was keenly inquired into. As the publication had been negotiated by the accomplished Mrs. John Hunter--herself a follower of the muses, and the author of several lyrical poems of great sweetness and beauty, which were set to music by Haydn--the credit was at first naturally given to her. But Joanna's incognito could not be long preserved; and the impression already made was deepened by the discovery, that this skillful anatomist of the heart of man, who had bodied forth creations bearing the stamp of lofty intellect and most original power, was a woman still young, unlearned, and so inexperienced in the world that it must have been chiefly to her own imagination and feeling she owed the materials which, by the force of her genius, she had thus so wonderfully combined into striking and lifelike portraits.
The band of distinguished persons--poets, wits, and philosophers--with which the beginning of the century was enriched, now crowded eagerly to welcome to their ranks this new and highly-gifted sister, and were received by her with simple but dignified frankness. The gay and fashionable also would fain have wooed her to lionize in their fevering circles; but her well-balanced mind, and intuitive sense of what is really best and most favorable to human happiness and progress, seem from the first to have secured her youthful female heart from being inflated by the incense offered to her on all sides. Though touched, and deeply gratified by the warmly-expressed approbation of those among her great contemporaries whose applause was fame, she could not be won from the quiet healthful privacy of her life to join frequently even in the brilliant society which now so gladly claimed her as one of its brightest ornaments. Equally unspoiled and undistracted, she kept the even tenor of her way. The tragedies contained in her first volume--among the greatest efforts of her genius--were undoubtedly written by her in the fond hope of their being acted. "To receive the approbation of an audience of her countrymen," she confesses in the preface, "would be more grateful to her than any other praise." Believing that it is in the nature of man to delight in representations of passion and character, she regarded the stage, when properly managed, as an admirable organ for the instruction of the multitude; and that the poetical teacher of morality and virtue could not better employ his high powers than in supplying it with pieces the tendency of which would be, while pleasing and amusing, to refine and elevate the mind. Mrs. Siddons was then in the very zenith of her power; and it was a glimpse of that splendid presence--