Poems That Live
O touch me not, unless the soul Can claim my soul as thine:
Give me no earthly flowers that fade, No love, but love divine;
For I gave thee immortal flowers, That bloomed serene in heavenly bowers.
Look not with favor on my face, Nor answer my caress,
Unless my soul have first found grace Within the sight; express
Only the truth, though it should be Cold as the ice on northern sea.
O never speak of love to me, Unless the heart can feel
That in the face of Diety Thou wouldst that love reveal;
For God is love, and His bright law Should find our hearts without one flaw.
-Ella Dietz Glynes in the Indianapolis News.
Reading Eagle- Nov 24, 1895
In the ranks of advanced women thinking and reformers, there is no personality that better represents the highest type of the popular woman of the day than that of Ella Dietz Cylmer-actress, poet, philantropist, advocate of women's privileges and rights-and withal a womanly woman in dress and deportment. In appearance, Mrs. Clymer has a beauty, which picturesque quaintness of attire enhances. Wonderfully expressive brown eyes look out from beneath a low brow, on which fair wavy hair rests lightly. In the soft, dull lavender and gray gown she affects, with the silver chatelaine at the waist and lace at the wrists, she looks as if she might have stepped from some antique canvas. In personality she has the dignity and graciousness of the grande dames of the old regime. Never excited, irritated or agressive, never raising the tone of the clear voice that rings through the shrill chatter of women's gatherings, she forms a happy contrast to the denounced dictaterial type so common among the leaders of the women's movement. She is said to be the best parliamentarian of her sex, and those who have seen her marshalling the factions of Sorosis in array, understand how she has earned the title of honor. One of the secrets of Mrs. Clymer's success as a reformer is perhaps that, unlike her prototypes, she does not affect the brusquenses of masculinity, demanding consideration and attention, but rather, with the sweet persuasiveness of woman appeals most potently to her hearers. Her first efforts in this direction to the uplifting of the dramatic profession, which she embraced with success, until delicacy of constitution prevented her from fulfilling its actions. According to her theories, the stage should be subsidized by the government and made available to the masses, to whom it must stand in the relation of teacher of ethics, rather than as an amusement, and the calling of the actor should be considered as second to that of the priest. Religion should expouse the cause of the stage and make it an important ally in the salvation of the people from intemperance and vice. Only a woman could have dreamed of anything so poetical. As Pauline, Rosalind, Juliet and Marguerite she was successful in her poetical and imaginative characterizations, and when failing strength made acting impossible she turned her attention to writing. Her books were all published in London during her residence abroad, and are not as well-known here as among English critics. Among the most important are "The Triumph of Love", "The Triumph of Time", and "The Triumph of Life".
Very rarely does anyone hear from her any of the radical doctrines promulgated by the aggressive arguers for woman's equality, but when someone said to her not very long ago, "You are not one those masculine reformers I hope?" She answered very decidely, but smilingly, "I am a reformer to some extent, though I hope in consequence I have not ceased to be womanly. My life has been chiefly devoted to literary and artistic pursuits, but I sympathize very strongly with some of the reform movements. I have always believed since I have been old enough to think that woman should take her share of responsibility in helping govern her country, and I think woman's broadening sphere of usefullness today is the result of the agitation caused by the noble pioneer women who claimed the right of every woman to help frame the laws under which she lives. I cannot see how this country can ever attain the standards which our forefathers raised up for us unless woman's influence shall be brought to bear in some way upon the political life of the nation. I think for man's sake as well as her own, woman need to be recognized as part of the organized force in political life. My temperment being artistic, my active energies have been expended in the direction of art and literature: but I love my country too well not to think of the many problems that are today affecting it welfare and I hold dedicated opinions as to most of them."
end of story
She was 17 years of age when she married Edward M Clymer(he was 41). He was a member of the wealthy Clymer family of Berks County, Pa. They had one son, Edward Manuel Clymer. Her husband Edward died in 1883 and she then took up residence in London, England and there married Webster Glynes in 1898.
************************************************
The above story was transcribed from the local newspaper of Reading, Pa. Birthplace of her first husband Edward Clymer.
Further research facts include that Edward Clymer died in New York City May 25 1883 and New York, Passenger Lists, 1820-1957 show Ella M Clymer arriving from London in New York 18 June 1883. Possibly she was living or visiting in London when Edward died and returned in June to settle his estate.
''''''''''''''''''''''''''''''''''''''''''
Suggested edit: Source Woman of the Century/Ella Maria Dietz Clymer
Contributor: Elisa Rolle (48982101)
Suggested edit: Source Woman of the Century/Ella Maria Dietz Clymer
CLYMER, Mrs. Ella Maria Dietz, poet, born in New York City. Even as a child she showed many signs of that varied genius which has made her remarkable among the women of her time. Her father died while she was very young, and her mother at first objected to her selection of a theatrical career, but finally gave consent to her daughter's dramatic studies. Early in her teens she married the late Edward M. Clymer, of Pennsylvania, brother of Heister Clymer, who was a member of Congress for several years. Mrs. Clymer made her professional debut in New York, in 1872, as Pauline in the "Lady of Lyons." In the spring of 1874 she went to Paris, and in company of her brother and her sister, Miss Linda Dietz, so favorably known in America and in London, she spent some months in studying in the French school of dramatic art. She acted afterwards both in London and the provinces, and her performances of the principal Shakespearean parts were very highly commended. Her Juliet was spoken of as "a revelation, poetical and imaginative in the highest degree." In 1881 she brought out a version of "Faust," adapted by herself for the English stage, in which she played Margaret, and was called the very living reality of Goethe's heroine." The fatigue of stage life proved too much for Mrs. Clymer's delicate constitution, and she was obliged to abandon the profession. She continued her public readings, however, a department of the dramatic art in which she probably has no peer, and Moncure D. Conway gave expression to the general opinion when he wrote: "As a dramatic reciter and interpreter of modern ballad poetry she is unequaled." Nor was her dramatic gift her only one. She has talent as an artist and has composed many songs full of dainty grace and melody. Her first poems were published in 1873, and since then she has written frequently for the English and American press. In 1877 she published "The Triumph of Love" (London), and seven years later "The Triumph of Time" (London, 1884), soon followed by "The Triumph of Life" (London, 1885). These are mystical poems, composed of songs, lyrics and sonnets, ranging over the whole gamut of human and divine love, and marked by the same high qualities that distinguished all her work. Notwithstanding all this self-culture, she has not neglected humanity. While in London she was an enthusiastic member of the Church and Stage Guild, and of the religious guild of St. Matthews; she lectured before workingmen's clubs and took part in many other philanthropic undertakings. She has been connected with Sorosis since its beginning, in 1868, and on her return to New York, in 1881, was immediately put upon many of its committees, and served for two years as its president. She has been a leading factor in the Federation of Women's Clubs, which is doing so much to forward the harmonious work of the best women for their own highest good and in the interest of the world.
)
O touch me not, unless the soul Can claim my soul as thine:
Give me no earthly flowers that fade, No love, but love divine;
For I gave thee immortal flowers, That bloomed serene in heavenly bowers.
Look not with favor on my face, Nor answer my caress,
Unless my soul have first found grace Within the sight; express
Only the truth, though it should be Cold as the ice on northern sea.
O never speak of love to me, Unless the heart can feel
That in the face of Diety Thou wouldst that love reveal;
For God is love, and His bright law Should find our hearts without one flaw.
-Ella Dietz Glynes in the Indianapolis News.
Reading Eagle- Nov 24, 1895
In the ranks of advanced women thinking and reformers, there is no personality that better represents the highest type of the popular woman of the day than that of Ella Dietz Cylmer-actress, poet, philantropist, advocate of women's privileges and rights-and withal a womanly woman in dress and deportment. In appearance, Mrs. Clymer has a beauty, which picturesque quaintness of attire enhances. Wonderfully expressive brown eyes look out from beneath a low brow, on which fair wavy hair rests lightly. In the soft, dull lavender and gray gown she affects, with the silver chatelaine at the waist and lace at the wrists, she looks as if she might have stepped from some antique canvas. In personality she has the dignity and graciousness of the grande dames of the old regime. Never excited, irritated or agressive, never raising the tone of the clear voice that rings through the shrill chatter of women's gatherings, she forms a happy contrast to the denounced dictaterial type so common among the leaders of the women's movement. She is said to be the best parliamentarian of her sex, and those who have seen her marshalling the factions of Sorosis in array, understand how she has earned the title of honor. One of the secrets of Mrs. Clymer's success as a reformer is perhaps that, unlike her prototypes, she does not affect the brusquenses of masculinity, demanding consideration and attention, but rather, with the sweet persuasiveness of woman appeals most potently to her hearers. Her first efforts in this direction to the uplifting of the dramatic profession, which she embraced with success, until delicacy of constitution prevented her from fulfilling its actions. According to her theories, the stage should be subsidized by the government and made available to the masses, to whom it must stand in the relation of teacher of ethics, rather than as an amusement, and the calling of the actor should be considered as second to that of the priest. Religion should expouse the cause of the stage and make it an important ally in the salvation of the people from intemperance and vice. Only a woman could have dreamed of anything so poetical. As Pauline, Rosalind, Juliet and Marguerite she was successful in her poetical and imaginative characterizations, and when failing strength made acting impossible she turned her attention to writing. Her books were all published in London during her residence abroad, and are not as well-known here as among English critics. Among the most important are "The Triumph of Love", "The Triumph of Time", and "The Triumph of Life".
Very rarely does anyone hear from her any of the radical doctrines promulgated by the aggressive arguers for woman's equality, but when someone said to her not very long ago, "You are not one those masculine reformers I hope?" She answered very decidely, but smilingly, "I am a reformer to some extent, though I hope in consequence I have not ceased to be womanly. My life has been chiefly devoted to literary and artistic pursuits, but I sympathize very strongly with some of the reform movements. I have always believed since I have been old enough to think that woman should take her share of responsibility in helping govern her country, and I think woman's broadening sphere of usefullness today is the result of the agitation caused by the noble pioneer women who claimed the right of every woman to help frame the laws under which she lives. I cannot see how this country can ever attain the standards which our forefathers raised up for us unless woman's influence shall be brought to bear in some way upon the political life of the nation. I think for man's sake as well as her own, woman need to be recognized as part of the organized force in political life. My temperment being artistic, my active energies have been expended in the direction of art and literature: but I love my country too well not to think of the many problems that are today affecting it welfare and I hold dedicated opinions as to most of them."
end of story
She was 17 years of age when she married Edward M Clymer(he was 41). He was a member of the wealthy Clymer family of Berks County, Pa. They had one son, Edward Manuel Clymer. Her husband Edward died in 1883 and she then took up residence in London, England and there married Webster Glynes in 1898.
************************************************
The above story was transcribed from the local newspaper of Reading, Pa. Birthplace of her first husband Edward Clymer.
Further research facts include that Edward Clymer died in New York City May 25 1883 and New York, Passenger Lists, 1820-1957 show Ella M Clymer arriving from London in New York 18 June 1883. Possibly she was living or visiting in London when Edward died and returned in June to settle his estate.
''''''''''''''''''''''''''''''''''''''''''
Suggested edit: Source Woman of the Century/Ella Maria Dietz Clymer
Contributor: Elisa Rolle (48982101)
Suggested edit: Source Woman of the Century/Ella Maria Dietz Clymer
CLYMER, Mrs. Ella Maria Dietz, poet, born in New York City. Even as a child she showed many signs of that varied genius which has made her remarkable among the women of her time. Her father died while she was very young, and her mother at first objected to her selection of a theatrical career, but finally gave consent to her daughter's dramatic studies. Early in her teens she married the late Edward M. Clymer, of Pennsylvania, brother of Heister Clymer, who was a member of Congress for several years. Mrs. Clymer made her professional debut in New York, in 1872, as Pauline in the "Lady of Lyons." In the spring of 1874 she went to Paris, and in company of her brother and her sister, Miss Linda Dietz, so favorably known in America and in London, she spent some months in studying in the French school of dramatic art. She acted afterwards both in London and the provinces, and her performances of the principal Shakespearean parts were very highly commended. Her Juliet was spoken of as "a revelation, poetical and imaginative in the highest degree." In 1881 she brought out a version of "Faust," adapted by herself for the English stage, in which she played Margaret, and was called the very living reality of Goethe's heroine." The fatigue of stage life proved too much for Mrs. Clymer's delicate constitution, and she was obliged to abandon the profession. She continued her public readings, however, a department of the dramatic art in which she probably has no peer, and Moncure D. Conway gave expression to the general opinion when he wrote: "As a dramatic reciter and interpreter of modern ballad poetry she is unequaled." Nor was her dramatic gift her only one. She has talent as an artist and has composed many songs full of dainty grace and melody. Her first poems were published in 1873, and since then she has written frequently for the English and American press. In 1877 she published "The Triumph of Love" (London), and seven years later "The Triumph of Time" (London, 1884), soon followed by "The Triumph of Life" (London, 1885). These are mystical poems, composed of songs, lyrics and sonnets, ranging over the whole gamut of human and divine love, and marked by the same high qualities that distinguished all her work. Notwithstanding all this self-culture, she has not neglected humanity. While in London she was an enthusiastic member of the Church and Stage Guild, and of the religious guild of St. Matthews; she lectured before workingmen's clubs and took part in many other philanthropic undertakings. She has been connected with Sorosis since its beginning, in 1868, and on her return to New York, in 1881, was immediately put upon many of its committees, and served for two years as its president. She has been a leading factor in the Federation of Women's Clubs, which is doing so much to forward the harmonious work of the best women for their own highest good and in the interest of the world.
)
Poems That Live
O touch me not, unless the soul Can claim my soul as thine:
Give me no earthly flowers that fade, No love, but love divine;
For I gave thee immortal flowers, That bloomed serene in heavenly bowers.
Look not with favor on my face, Nor answer my caress,
Unless my soul have first found grace Within the sight; express
Only the truth, though it should be Cold as the ice on northern sea.
O never speak of love to me, Unless the heart can feel
That in the face of Diety Thou wouldst that love reveal;
For God is love, and His bright law Should find our hearts without one flaw.
-Ella Dietz Glynes in the Indianapolis News.
Reading Eagle- Nov 24, 1895
In the ranks of advanced women thinking and reformers, there is no personality that better represents the highest type of the popular woman of the day than that of Ella Dietz Cylmer-actress, poet, philantropist, advocate of women's privileges and rights-and withal a womanly woman in dress and deportment. In appearance, Mrs. Clymer has a beauty, which picturesque quaintness of attire enhances. Wonderfully expressive brown eyes look out from beneath a low brow, on which fair wavy hair rests lightly. In the soft, dull lavender and gray gown she affects, with the silver chatelaine at the waist and lace at the wrists, she looks as if she might have stepped from some antique canvas. In personality she has the dignity and graciousness of the grande dames of the old regime. Never excited, irritated or agressive, never raising the tone of the clear voice that rings through the shrill chatter of women's gatherings, she forms a happy contrast to the denounced dictaterial type so common among the leaders of the women's movement. She is said to be the best parliamentarian of her sex, and those who have seen her marshalling the factions of Sorosis in array, understand how she has earned the title of honor. One of the secrets of Mrs. Clymer's success as a reformer is perhaps that, unlike her prototypes, she does not affect the brusquenses of masculinity, demanding consideration and attention, but rather, with the sweet persuasiveness of woman appeals most potently to her hearers. Her first efforts in this direction to the uplifting of the dramatic profession, which she embraced with success, until delicacy of constitution prevented her from fulfilling its actions. According to her theories, the stage should be subsidized by the government and made available to the masses, to whom it must stand in the relation of teacher of ethics, rather than as an amusement, and the calling of the actor should be considered as second to that of the priest. Religion should expouse the cause of the stage and make it an important ally in the salvation of the people from intemperance and vice. Only a woman could have dreamed of anything so poetical. As Pauline, Rosalind, Juliet and Marguerite she was successful in her poetical and imaginative characterizations, and when failing strength made acting impossible she turned her attention to writing. Her books were all published in London during her residence abroad, and are not as well-known here as among English critics. Among the most important are "The Triumph of Love", "The Triumph of Time", and "The Triumph of Life".
Very rarely does anyone hear from her any of the radical doctrines promulgated by the aggressive arguers for woman's equality, but when someone said to her not very long ago, "You are not one those masculine reformers I hope?" She answered very decidely, but smilingly, "I am a reformer to some extent, though I hope in consequence I have not ceased to be womanly. My life has been chiefly devoted to literary and artistic pursuits, but I sympathize very strongly with some of the reform movements. I have always believed since I have been old enough to think that woman should take her share of responsibility in helping govern her country, and I think woman's broadening sphere of usefullness today is the result of the agitation caused by the noble pioneer women who claimed the right of every woman to help frame the laws under which she lives. I cannot see how this country can ever attain the standards which our forefathers raised up for us unless woman's influence shall be brought to bear in some way upon the political life of the nation. I think for man's sake as well as her own, woman need to be recognized as part of the organized force in political life. My temperment being artistic, my active energies have been expended in the direction of art and literature: but I love my country too well not to think of the many problems that are today affecting it welfare and I hold dedicated opinions as to most of them."
end of story
She was 17 years of age when she married Edward M Clymer(he was 41). He was a member of the wealthy Clymer family of Berks County, Pa. They had one son, Edward Manuel Clymer. Her husband Edward died in 1883 and she then took up residence in London, England and there married Webster Glynes in 1898.
************************************************
The above story was transcribed from the local newspaper of Reading, Pa. Birthplace of her first husband Edward Clymer.
Further research facts include that Edward Clymer died in New York City May 25 1883 and New York, Passenger Lists, 1820-1957 show Ella M Clymer arriving from London in New York 18 June 1883. Possibly she was living or visiting in London when Edward died and returned in June to settle his estate.
''''''''''''''''''''''''''''''''''''''''''
Suggested edit: Source Woman of the Century/Ella Maria Dietz Clymer
Contributor: Elisa Rolle (48982101)
Suggested edit: Source Woman of the Century/Ella Maria Dietz Clymer
CLYMER, Mrs. Ella Maria Dietz, poet, born in New York City. Even as a child she showed many signs of that varied genius which has made her remarkable among the women of her time. Her father died while she was very young, and her mother at first objected to her selection of a theatrical career, but finally gave consent to her daughter's dramatic studies. Early in her teens she married the late Edward M. Clymer, of Pennsylvania, brother of Heister Clymer, who was a member of Congress for several years. Mrs. Clymer made her professional debut in New York, in 1872, as Pauline in the "Lady of Lyons." In the spring of 1874 she went to Paris, and in company of her brother and her sister, Miss Linda Dietz, so favorably known in America and in London, she spent some months in studying in the French school of dramatic art. She acted afterwards both in London and the provinces, and her performances of the principal Shakespearean parts were very highly commended. Her Juliet was spoken of as "a revelation, poetical and imaginative in the highest degree." In 1881 she brought out a version of "Faust," adapted by herself for the English stage, in which she played Margaret, and was called the very living reality of Goethe's heroine." The fatigue of stage life proved too much for Mrs. Clymer's delicate constitution, and she was obliged to abandon the profession. She continued her public readings, however, a department of the dramatic art in which she probably has no peer, and Moncure D. Conway gave expression to the general opinion when he wrote: "As a dramatic reciter and interpreter of modern ballad poetry she is unequaled." Nor was her dramatic gift her only one. She has talent as an artist and has composed many songs full of dainty grace and melody. Her first poems were published in 1873, and since then she has written frequently for the English and American press. In 1877 she published "The Triumph of Love" (London), and seven years later "The Triumph of Time" (London, 1884), soon followed by "The Triumph of Life" (London, 1885). These are mystical poems, composed of songs, lyrics and sonnets, ranging over the whole gamut of human and divine love, and marked by the same high qualities that distinguished all her work. Notwithstanding all this self-culture, she has not neglected humanity. While in London she was an enthusiastic member of the Church and Stage Guild, and of the religious guild of St. Matthews; she lectured before workingmen's clubs and took part in many other philanthropic undertakings. She has been connected with Sorosis since its beginning, in 1868, and on her return to New York, in 1881, was immediately put upon many of its committees, and served for two years as its president. She has been a leading factor in the Federation of Women's Clubs, which is doing so much to forward the harmonious work of the best women for their own highest good and in the interest of the world.
)
O touch me not, unless the soul Can claim my soul as thine:
Give me no earthly flowers that fade, No love, but love divine;
For I gave thee immortal flowers, That bloomed serene in heavenly bowers.
Look not with favor on my face, Nor answer my caress,
Unless my soul have first found grace Within the sight; express
Only the truth, though it should be Cold as the ice on northern sea.
O never speak of love to me, Unless the heart can feel
That in the face of Diety Thou wouldst that love reveal;
For God is love, and His bright law Should find our hearts without one flaw.
-Ella Dietz Glynes in the Indianapolis News.
Reading Eagle- Nov 24, 1895
In the ranks of advanced women thinking and reformers, there is no personality that better represents the highest type of the popular woman of the day than that of Ella Dietz Cylmer-actress, poet, philantropist, advocate of women's privileges and rights-and withal a womanly woman in dress and deportment. In appearance, Mrs. Clymer has a beauty, which picturesque quaintness of attire enhances. Wonderfully expressive brown eyes look out from beneath a low brow, on which fair wavy hair rests lightly. In the soft, dull lavender and gray gown she affects, with the silver chatelaine at the waist and lace at the wrists, she looks as if she might have stepped from some antique canvas. In personality she has the dignity and graciousness of the grande dames of the old regime. Never excited, irritated or agressive, never raising the tone of the clear voice that rings through the shrill chatter of women's gatherings, she forms a happy contrast to the denounced dictaterial type so common among the leaders of the women's movement. She is said to be the best parliamentarian of her sex, and those who have seen her marshalling the factions of Sorosis in array, understand how she has earned the title of honor. One of the secrets of Mrs. Clymer's success as a reformer is perhaps that, unlike her prototypes, she does not affect the brusquenses of masculinity, demanding consideration and attention, but rather, with the sweet persuasiveness of woman appeals most potently to her hearers. Her first efforts in this direction to the uplifting of the dramatic profession, which she embraced with success, until delicacy of constitution prevented her from fulfilling its actions. According to her theories, the stage should be subsidized by the government and made available to the masses, to whom it must stand in the relation of teacher of ethics, rather than as an amusement, and the calling of the actor should be considered as second to that of the priest. Religion should expouse the cause of the stage and make it an important ally in the salvation of the people from intemperance and vice. Only a woman could have dreamed of anything so poetical. As Pauline, Rosalind, Juliet and Marguerite she was successful in her poetical and imaginative characterizations, and when failing strength made acting impossible she turned her attention to writing. Her books were all published in London during her residence abroad, and are not as well-known here as among English critics. Among the most important are "The Triumph of Love", "The Triumph of Time", and "The Triumph of Life".
Very rarely does anyone hear from her any of the radical doctrines promulgated by the aggressive arguers for woman's equality, but when someone said to her not very long ago, "You are not one those masculine reformers I hope?" She answered very decidely, but smilingly, "I am a reformer to some extent, though I hope in consequence I have not ceased to be womanly. My life has been chiefly devoted to literary and artistic pursuits, but I sympathize very strongly with some of the reform movements. I have always believed since I have been old enough to think that woman should take her share of responsibility in helping govern her country, and I think woman's broadening sphere of usefullness today is the result of the agitation caused by the noble pioneer women who claimed the right of every woman to help frame the laws under which she lives. I cannot see how this country can ever attain the standards which our forefathers raised up for us unless woman's influence shall be brought to bear in some way upon the political life of the nation. I think for man's sake as well as her own, woman need to be recognized as part of the organized force in political life. My temperment being artistic, my active energies have been expended in the direction of art and literature: but I love my country too well not to think of the many problems that are today affecting it welfare and I hold dedicated opinions as to most of them."
end of story
She was 17 years of age when she married Edward M Clymer(he was 41). He was a member of the wealthy Clymer family of Berks County, Pa. They had one son, Edward Manuel Clymer. Her husband Edward died in 1883 and she then took up residence in London, England and there married Webster Glynes in 1898.
************************************************
The above story was transcribed from the local newspaper of Reading, Pa. Birthplace of her first husband Edward Clymer.
Further research facts include that Edward Clymer died in New York City May 25 1883 and New York, Passenger Lists, 1820-1957 show Ella M Clymer arriving from London in New York 18 June 1883. Possibly she was living or visiting in London when Edward died and returned in June to settle his estate.
''''''''''''''''''''''''''''''''''''''''''
Suggested edit: Source Woman of the Century/Ella Maria Dietz Clymer
Contributor: Elisa Rolle (48982101)
Suggested edit: Source Woman of the Century/Ella Maria Dietz Clymer
CLYMER, Mrs. Ella Maria Dietz, poet, born in New York City. Even as a child she showed many signs of that varied genius which has made her remarkable among the women of her time. Her father died while she was very young, and her mother at first objected to her selection of a theatrical career, but finally gave consent to her daughter's dramatic studies. Early in her teens she married the late Edward M. Clymer, of Pennsylvania, brother of Heister Clymer, who was a member of Congress for several years. Mrs. Clymer made her professional debut in New York, in 1872, as Pauline in the "Lady of Lyons." In the spring of 1874 she went to Paris, and in company of her brother and her sister, Miss Linda Dietz, so favorably known in America and in London, she spent some months in studying in the French school of dramatic art. She acted afterwards both in London and the provinces, and her performances of the principal Shakespearean parts were very highly commended. Her Juliet was spoken of as "a revelation, poetical and imaginative in the highest degree." In 1881 she brought out a version of "Faust," adapted by herself for the English stage, in which she played Margaret, and was called the very living reality of Goethe's heroine." The fatigue of stage life proved too much for Mrs. Clymer's delicate constitution, and she was obliged to abandon the profession. She continued her public readings, however, a department of the dramatic art in which she probably has no peer, and Moncure D. Conway gave expression to the general opinion when he wrote: "As a dramatic reciter and interpreter of modern ballad poetry she is unequaled." Nor was her dramatic gift her only one. She has talent as an artist and has composed many songs full of dainty grace and melody. Her first poems were published in 1873, and since then she has written frequently for the English and American press. In 1877 she published "The Triumph of Love" (London), and seven years later "The Triumph of Time" (London, 1884), soon followed by "The Triumph of Life" (London, 1885). These are mystical poems, composed of songs, lyrics and sonnets, ranging over the whole gamut of human and divine love, and marked by the same high qualities that distinguished all her work. Notwithstanding all this self-culture, she has not neglected humanity. While in London she was an enthusiastic member of the Church and Stage Guild, and of the religious guild of St. Matthews; she lectured before workingmen's clubs and took part in many other philanthropic undertakings. She has been connected with Sorosis since its beginning, in 1868, and on her return to New York, in 1881, was immediately put upon many of its committees, and served for two years as its president. She has been a leading factor in the Federation of Women's Clubs, which is doing so much to forward the harmonious work of the best women for their own highest good and in the interest of the world.
)
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