,in the ,ode1 all dashes were printed as groups of #b-e hyphens4 ,this format has been retained4 ,brackets are in the original unless otherwise noted4 ,joshua ,reynolds was knighted in #agfi1 two years after this work was published4 ,the ,augustan ,reprint ,society ,,thomas ,,morrison ,a ,,pindarick ,,ode ,,on ,,painting ,addressed to ,joshua ,reynolds1 ,esq4 7#agfg7 ,with a preface by ,frederick ,w4 ,hilles and a biographical introduction by ,j4 ,t4 ,kirkwood ,publication ,number #cg ,los ,angeles ,william ,andrews ,clark ,memorial ,library ,university of ,california #aieb ,,general ,,editors ,h4 ,,richard ,,archer1 ,clark ,memorial ,library ,,richard ,c4 ,,boys1 ,university of ,michigan ,,ralph ,,cohen1 ,university of ,california1 ,los ,angeles ,,vinton ,a4 ,,dearing1 ,university of ,california1 ,los ,angeles ,,assistant ,,editor ,w4 ,,earl ,,britton1 ,university of ,michigan ,,advisory ,,editors ,,emmett ,l4 ,,avery1 ,state ,college of ,washington ,,benjamin ,,boyce1 ,university of ,nebraska ,,louis ,i4 ,,bredvold1 ,university of ,michigan ,,john ,,butt1 ,king's ,college1 ,university of ,durham ,,james ,l4 ,,clifford1 ,columbia ,university ,,arthur ,,friedman1 ,university of ,chicago ,,edward ,,niles ,,hooker1 ,university of ,california1 ,los ,angeles ,,louis ,a4 ,,landa1 ,princeton ,university ,,samuel ,h4 ,,monk1 ,university of ,minnesota ,,ernest ,,mossner1 ,university of ,texas ,,james ,,sutherland1 ,queen ,mary ,college1 ,london ,h4 ,t4 ,,swedenberg1 ,,jr41 ,university of ,california1 ,los ,angeles ,,corresponding ,,secretary ,,edna ,c4 ,,davis1 ,clark ,memorial ,library ,,preface ,the poem here reprinted has remained unread and1 with a single exception1 apparently unnoticed from the day it was published until the present4 ,it is printed from a copy which ,i acquired many years ago at a ,london bookstore and which for a while ,i thought unique4 ,i did not find it listed in the catalogues of the chief libraries of ,england or ,america1 nor in the various books on anonymous publications4 ,i have found no mention of it in the newspapers and magazines of the time1 no mention of it in contemporary letters or diaries4 ,the one man in ,england who took the trouble to record the ode for posterity was1 as might be expected1 ,horace ,walpole1 who in his manuscript ,books of ,materials merely noted that the poem had been published in #agfh 7,anecdotes of ,painting 444 ,volume the ,fifth1 ed4 ,hilles and ,daghlian1 ,yale ,university ,press1 #aicg74 ,when challenged to locate ,walpole's copy of the ode1 the greatest of modern collectors was able1 after perhaps forty-five seconds1 to say not only that it was in the ,houghton ,library at ,harvard but that on the title in ,walpole's hand was the information that the poem was published on the sixteenth of ,may1 a fact which would otherwise be unknown4 ,a third copy was in the possession of the late ,professor ,heidbrink of ,northwestern1 inscribed in a contemporary hand ,t4 ,m41 ,m4,a4 and thus1 possibly1 the author's own4 ,there are1 then1 three known copies extant4 ,doubtless others will be found1 bound up with pamphlets of the same vintage1 as yet uncatalogued4 ,what ,walpole did not know was the name of the author1 and quite possibly the ode would have remained unread and unnoticed for another two centuries had ,mr4 ,kirkwood not brought to light the letters which are first published in the introduction that follows4 ,from these letters and a few known facts the history of the ode seems clear enough4 ,reynolds had a number of relatives living in ,great ,torrington4 ,in the summer of #agfb when he and ,dr4 ,johnson went to ,devonshire they were entertained by ,morrison4 ,johnson's published letters prove that he did not forget ,morrison1 and ,reynolds was soon painting the portrait of ,morrison's daughter4 ,in the summer of #agff ,morrison sent his ode to ,reynolds4 ,the following ,january he learned that ,johnson1 as severe a ,critic as old ,dennis1 praised it and ordered it to be published4 ,reynolds himself must have arranged for the publication4 ,the publisher selected was ,william ,griffin1 who a few years later was to bring out some of ,sir ,joshua's ,discourses4 ,the work of the printer was only moderately well done4 ,it will be noted that whose 7second line of stanza ,v7 is obviously a misprint for whole1 that the second line has dropped out of stanza ,,xxxiv 7,mr4 ,kirkwood ingeniously suggests that ,morrison wrote3 for every trifler's breast_/,is by the hope of future fame possest71 and that in two places the number of a stanza has been omitted4 ,and yet the ode1 which is physically thinner as well as historically and aesthetically inferior to ,gray's famous odes1 is priced at #a_/f1 whereas the ,strawberry ,hill edition of ,gray's ,odes 7#ageg7 sold for but a shilling4 ,clearly ,morrison was not influenced by1 if familiar with1 ,the ,progress of ,poesy and ,the ,bard4 ,his ode is ,pindaric in the late seventeenth-century sense4 ,in his brief preface he explains that he has sought to please us with a little variety of wild music1 believing that the perpetual recurrence of the same measure in such a multiplicity of stanzas would have been rather languid and fatiguing4 ,an examination of the poem shows that ,morrison has carried his desire for variety to the extreme4 ,the poem consists of thirty-five stanzas1 not one of which repeats both the metrical pattern and rhyme scheme of any other4 ,the stanzas range from six to eighteen lines in length1 and the lines themselves from four short syllables to the long ,alexandrine4 ,at times one has the feeling that this love of changing rhythms and rhymes has improperly warped the meaning of a given passage4 ,the author shows his familiarity with the standard books on aesthetics4 ,in ,idler ,no4 #gf1 published in #agei1 ,reynolds laughed at those who by mastering a few phrases posed as connoisseurs4 ,he introduced a gentleman who had just returned from ,italy1 his mouth full of nothing but the grace of ,raffaelle1444 and the sublimity and grand contorno of ,michael ,angelo4 ,this gentleman criticised a ,vandyck because it had not the flowing line1 and of ,st4 ,paul preaching said1 what an addition to that nobleness could ,raffaelle have given1 had the art of contrast been known in his time6 but above all1 the flowing line4 ,morrison is familiar with the jargon1 as is seen throughout the ode4 ,at the beginning he displays wit in applying these phrases not to painting but to his verse3 ,with my easy flowing line ,to unite correctness of design4 ,and at the end he rather neatly twists the famous statement of ,appelles into a justification for his writing a poem to add to the reputation of a great painter4 ,the ode falls into two roughly equal parts4 ,in the first half the poet describes specific examples of what he calls ,history and ,landskip4 ,the battle painting sounds like something by ,il ,borgognone1 the crucifixion perhaps by ,guido ,reni4 ,the other painters are named--,vanderveld and1 inevitably1 ,claude4 ,the late ,miss ,manwaring would not have been surprised to learn that more space is devoted to ,claude than to the others4 ,then almost precisely at the half-way point a pleasing trance is interrupted by the portrait of a hoary sage1 perhaps1 ,mr4 ,kirkwood suggests1 the portrait ,reynolds had recently completed of the ,rev4 ,zachariah ,mudge1 then seventy-two years of age1 who had been since #agcg a fellow prebendary of ,morrison's at ,exeter1 and whom ,reynolds described as the wisest man he had ever met4 ,from this point on the poet addresses ,reynolds and incidentally describes with skill two of his most popular portraits1 ,lady ,sarah ,bunbury sacrificing to the ,graces 7exhibited in #agfe7 and ,garrick between ,tragedy and ,comedy 7exhibited in #agfb74 ,garrick was then at the height of his fame1 and this was the most notable of the many portraits painted of him4 ,lady ,sarah1 the bright ,lenox of stanza ,,xxiii1 was equally celebrated in her sphere4 ,among the bridesmaids at the wedding of ,george ,,iii she was1 in ,walpole's opinion1 the chief angel4 ,with neither features nor air1 nothing ever looked so charming as ,lady ,sarah ,lenox2 she has all the glow of beauty peculiar to her family4 ,she was the great granddaughter of ,charles ,,ii2 hence ,morrison's regal4 ,and in the poem as in the painting she is feeding the flame which does honor to the ,graces4 ,johnson's hostility to our ,pindarick madness is well known4 ,the first and obvious defect of ,dryden's ,threnodia is the irregularity of its metre4 ,the lax and lawless versification of this type of poetry1 he wrote in the ,life of ,cowley1 concealed the deficiencies of the barren1 and flattered the laziness of the idle4 ,one cannot but wonder therefore at his praise of ,morrison's ode4 ,to be sure1 ,reynolds quotes ,johnson as pronouncing it superior to any ,poem of the kind that has been publish'd these many years1 and ,johnson may well have considered praise of this sort as he did lapidary inscriptions4 ,it may be worth noting1 however1 that none of his recorded comments on ,pindaric verse antedate the publication of this ode4 ,conceivably he himself was unaware of his hostility until1 more than ten years later1 he was forced to criticise the poets who made the ,english ,pindaric popular4 ,perhaps too by ordering its publication he was saying indirectly what he had already expressed in many of his writings1 for example in ,rambler ,no4 #bc3 the publick1 which is never corrupted1 nor often deceived1 is to pass the last sentence upon literary claims4 ,if this is so1 a series like the ,augustan ,reprints necessarily deals with literary failures4 ,and yet ,morrison's ode is well worth reading today as a pleasing example of what ,i somewhat fearsomely term the baroque1 of what the cultured gentleman of that time regarded as a token of good taste4 ,long dormant1 it is here given new life4 ,who knows but that the prophecy made by ,morrison at the end of the poem may after all be fulfilled3 ,in the long course of rolling years1 ,when all thy labour disappears1 ,yet shall this verse descend from age to age1 ,and1 breaking from oblivion's shade1 ,go on1 to flourish while thy paintings fade4 ,frederick ,w4 ,hilles ,yale ,university ,postscript ,mr4 ,kirkwood has sent me information1 too late to be incorporated in the preface1 which adds to1 and in an important way corrects1 what ,i have written4 ,in the ,print ,room of the ,british ,museum there is an engraving by ,james ,watson ,from an ,original ,picture by ,vandevelde1 in the ,possession of ,mr4 ,reynolds4 ,every detail in the engraving tallies with ,morrison's word-painting of the ,vandevelde4 ,furthermore the description of a landscape by ,claude 7a ,view near ,castle ,gondolfo7 in the sale of ,sir ,joshua's collection of paintings in #agie suggests that this was the ,claude ,morrison had in mind when writing his ode4 ,in other words1 it is probable that all the paintings discussed in the poem had been seen by ,morrison in ,reynolds's house4 ,as to matters of fact1 the ode1 it turns out1 was not unnoticed in its day4 ,it was commented upon in both the ,critical and the ,monthly--not in #agfg but in #agfh4 ,the reviewer in the ,critical 7vol4 #be1 p4 #cic1 in the monthly catalogue for ,may7 wrote3 ,this is an elegant and ingenious descriptive poem4 ,the author supposes himself viewing several pieces of historic1 landskip1 and portrait painting2 and from thence takes occasion to represent the figures1 prospects1 and passions1 which the artist has exhibited4 ,as the poet has touched upon various topics1 he has very properly used many different kinds of metre4 ,the review in the ,monthly 7vol4 #ci1 p4 #caf1 in the monthly catalogue for ,october71 written by ,john ,langhorne1 as ,professor ,nangle's ,index shows1 was less favorable4 ,there is great variety in the numbers of this ode2 but1 in our opinion1 they are not combined in such a manner as to produce a natural or agreeable harmony4 ,there is sometimes1 too1 a falling off1 not far removed from the ,bathos4 ,thus1 when the ,author says his poetical ideas ,resistless on the rous'd imagination pour1 ,and paint themselves as lively as before2 we cannot help feeling the weakness of the latter verse4 ,yet there is poetry1 there is enthusiasm1 there is energy in this piece1 on the whole1 though it is not without many defects4 ,that these reviews appeared in ,may and ,october #agfh is compelling evidence for dating the pamphlet1 in spite of ,mr4 ,griffin1 #agfh4 ,walpole once more proves himself a reliable source4 ,why the publication was delayed for over a year will probably remain a mystery4 ,f4 ,w4 ,h4 ,,introduction ,apart from the few papers relating to him that have survived since his death in #aggh1 little more is known of the ,rev4 ,thomas ,morrison of ,great ,torrington in ,devon than the main facts of his life2 among those papers1 however1 are some letters--written by ,sir ,joshua ,reynolds and others--about his literary pursuits1 in which ,dr4 ,johnson was at one time briefly concerned4 ,he was born on ,march #bf1 #agje1 at ,midhurst in ,sussex1 the elder son of ,thomas ,morrison of that place and ,sarah ,bridges4 ,as to his ancestry1 the family seems to have claimed kinship with the ,morrisons of ,cassiobury ,park in ,hertfordshire4 ,at the age of twelve he was entered as a scholar upon the foundation at ,winchester1 where he remained until his election in #agbc to a probationary fellowship of ,new ,college1 ,oxford2 his admission as a full fellow followed in #agbe4 ,having received his ,bachelor's degree in #agbg1 he became ,m4,a4 in #agca1 took orders1 and was presented to the college living of ,steeple ,morden in ,cambridgeshire4 ,it may also have been in #agca1 though possibly earlier1 that he went down into ,devon to act as tutor to ,john ,basset of ,heanton ,court near ,barnstaple--a step which was1 as things turned out1 to make him a resident of that county for the rest of his life4 ,his pupil's father had died in #agba1 leaving a widow1 ,elizabeth1 the only daughter and eventual heiress of ,sir ,nicholas ,hooper1 ,sergeant-at-,law4 ,sir ,nicholas1 who had represented ,barnstaple in seven successive parliaments and was a man of considerable wealth1 died in ,may1 #agca2 almost exactly a year later1 in ,may1 #agcb1 his daughter1 then thirty-seven years of age and described in a letter written at that time as a lady much admired for her piety1 prudence and good conduct1 was married to ,thomas ,morrison1 then twenty-seven4 ,three children were born of their marriage3 ,mary in #agcd1 ,eleanora in #agcf1 and ,hooper in #agcg4 ,in the year following the birth of their son ,mrs4 ,morrison died1 presumably at ,bath as she is buried in the ,abbey ,church of that city2 on the tablet he placed there to her memory her husband said that she had been the best of wives who1 for the few years she lived with him1 not only made him a much happier man1 but a better man1 since not only had her rational and endearing conversation been the perpetual delight of his heart1 but her exemplary conduct had likewise been the pleasing rule and constant direction of his life4 ,upon his marriage ,morrison had necessarily resigned his fellowship of ,new ,college1 and two years later he also gave up the college living in ,cambridgeshire2 the benefices that he afterwards held were all in the diocese of ,exeter4 ,in #agcf he was made a prebendary of ,exeter and became ,rector of ,wear ,giffard2 the following year1 after obtaining a dispensation to hold the two livings together1 he was also instituted to ,high ,bickington1 which1 however1 he resigned in #agdb4 ,in #agdd he became ,rector of ,littleham1 soon afterwards resigning ,wear ,giffard2 and finally1 in #ageh1 after resigning ,littleham in its turn1 he was instituted to ,langtree1 of which parish he continued ,rector until his death twenty years later4 ,the presentations to these livings were made as follows3 to ,wear ,giffard by ,lord ,clinton1 ,lord ,lieutenant of the county from #agba to #agcc1 whose seat was at ,castle ,hill near ,barnstaple2 to ,high ,bickington and to ,littleham by ,john ,basset of ,heanton--who was patron of half a dozen livings2 to ,langtree by ,john ,rolle ,walter of ,bicton in ,south ,devon and ,stevenstone ,house near ,great ,torrington1 ,member of ,parliament for ,exeter4 ,these parishes all lie within six miles of ,great ,torrington where ,morrison appears to have been resident from at least as early as #agej4 ,in his answers to the ,bishop's queries of #agdd he had1 however1 declared himself to be resident partly in ,huntshaw1 a parish adjoining ,wear ,giffard2 and--for reasons of his health and the education of his children--partly at ,westleigh on the mouth of the ,torridge1 a few miles off4 ,in which intervening year he established himself at ,great ,torrington is not known4 ,meanwhile1 he had made two further marriages3 in #agci to ,margaret1 daughter of the ,rev4 ,robert ,ham and widow of ,john ,ham of ,widhays1 who died in #agdd2 and in #agde to ,honour1 daughter of ,sir ,thomas ,bury and widow of the ,rev4 ,george ,bussell1 who died at ,great ,torrington in #agej4 ,both these later marriages were childless4 ,hooper ,morrison followed his father into the ,church and became ,rector of ,atherington near ,barnstaple4 ,in #agfi he bought the property of ,yeo ,vale1 some five miles from ,great ,torrington4 ,eleanora ,morrison1 who never married and seems to have lived with her father until his death1 sat to ,reynolds in her younger days2 the portrait then painted1 which was formerly at ,yeo ,vale1 shows her in profile and wearing a blue velvet mantle edged with ermine4 ,there was also among the portraits at ,yeo ,vale a three-quarter length of an agreeable-looking man1 apparently between thirty and forty years of age1 shown wearing a red velvet cap and an unusual coat1 like a full-skirted cassock made of blue satin2 this portrait1 the work of ,hudson1 was believed to represent ,thomas ,morrison4 ,coming now to the letters1 the earliest of these1 written in ,february1 #agec1 is from ,morrison to the ,bishop of ,exeter1 ,dr4 ,lavington1 who two years before had published the third part of his book1 ,the ,enthusiasm of ,methodists and ,papists ,compared4 ,the letter is inscribed on the outside ,mr4 ,morrison's ,ode1 and must have been returned to its writer after the ,bishop's death in #agfb4 ,my ,lord1 ,since ,i had the honour of being with your ,lordship in ,exeter ,i have with great pleasure read over the third part of the ,enthusiasm of ,methodists and ,papists compar'd1 and as by having my ,boy at present under my own ,care ,i have been oblig'd to renew my acquaintance a little with the ,classicks1 ,i have endeavour'd to express my ,sentiments of your ,lordship's learned and acute performance in the following ,ode1 which if it should afford you a ,quarter of an ,hours ,amusement will be no little pleasure to me--that your ,lordship may read it with the more ,indulgence think that the ,scribbler of it has not attempted to write ,latin verse for above twenty years1 and believe me to be with the ,highest ,respect1 ,your ,lordship's most oblig'd and most obedient ,humble ,servant ,t4 ,morrison4 ,my best ,respects wait on your ,lady and ,miss ,lavington4 ,here follows the ode 7,reverendo admodum ,episcopo ,exoniensis in doctissimum adversus ,methodistas ,librum cui ,titulus etc47 which begins3 ,verende praesul1 praesul amabilis1 ,qui dulce rides1 utiliter doces2 ,jucunda permiscens severis1 ,incolumi gravitate ludens1 ,quia ,methodistes scripta legens tui ,amoenitatem respuat ingeni1 ,suumque vestro--vel reluctans-- ,abstineat sociare risum8 and continues for a further sixteen stanzas4 ,there is nothing to show to whom the next letter was written1 though1 considering the later ones1 it seems likely that it was addressed to ,joshua ,reynolds4 ,it concerns a tragedy 7on the subject of the ,emperor ,otho7 of which ,morrison was undoubtedly the author4 ,john ,beard1 on whose behalf the letter was written in ,february1 #agfc1 had become manager of ,covent ,garden ,theatre in the previous year4 ,sir1 ,mr4 ,beard's attention to the ,affairs of the ,theatre having entirely taken up his ,time1 during this ,season1 from which1 as yet1 he is not releas'd1 deprives him of the ,pleasure of writing to you1 in ,answer to the ,letter you did him the ,favour of communicating from the ,author of ,otho2 he1 therefore1 hopes you will excuse his deputing me to convey to you the ,opinion of his ,friends thereon2 and if they differ in ,sentiment with the ,author1 it is with some ,concern1 as they wou'd rather give ,approbation to a ,piece1 which has1 indeed1 great merit in the ,writing1 but will not suit the ,taste of an ,english ,audience4 ,how well1 and with what ,propriety1 a ,dramatic ,piece may be conducted wherein are very few ,characters1 it is not now intended to be entered upon2 but it is very certain1 from the ,want thereof1 many ,productions have fail'd of their expected ,applause2 of which1 very many ,instances might be produc'd2 wherein that has been the ,chief1 if not the only ,defect4 ,the ,french1 indeed1 tho' a ,nation of great ,levity1 can attentively listen to long declamatory ,speeches1 when an ,english ,audience wou'd fall asleep2 who love ,action and ,bus'ness1 love ,plot and ,design2 ,variety of ,incidents is their ,delight1 but yet that ,plot must be founded on ,reason and ,probability1 and conduce to the ,main ,action of the ,drama4 ,it is the ,advice of a celebrated ,author1 ,habitum hujus ,temporis habe2 the ,taste of the ,town1 you know1 ,sir1 right or wrong1 must be comply'd with2 without which1 to hope for ,success1 is striving against the ,stream1 and however great the ,merit of this ,piece may be1 it must be confess'd1 in this ,particular1 it is defective2 nor does there appear a ,probability of that ,defect's being corrected2 and even then it wou'd be esteem'd but a ,copy of ,cato4 ,from the ,author's great ,candour and ,impartiality1 remarkably shewn thro' the whole ,tenour of his ,letter1 it is hop'd a few additional ,remarks will not give ,offence4 ,here ensues a lengthy passage of detailed criticism1 at the end of which the writer continues3 ,it wou'd greatly trespass on yours and the ,author's ,time to enlarge on this ,subject1 as ,mr4 ,beard cannot give him any ,encouragement to make ,alterations4 ,undoubtedly there are several good ,scenes1 and much good ,writing1 which deserve their proper ,encomiums2 and the ,perusal may give much pleasure in the ,closet1 but does not bid fair for equal ,reception on the ,stage4 ,i cannot dismiss this without clearing up a mistake which the ,author is run into2 tho' urg'd with the utmost ,tenderness and ,delicacy imaginable2 ,i mean the ,supposition that a ,recommendation from a ,person of ,figure in the ,fashionable or the ,letter'd ,world is necessary for the having the ,piece accepted4 ,be assur'd1 ,sir1 every ,piece must be determin'd by its own intrinsic ,worth2 and by that must stand or fall4 ,such a ,recommendation undoubtedly wou'd raise the ,expectation and1 consequently1 engage a more particular ,attention of the ,manager1 but the ,piece must speak for itself2 and shou'd it not answer ,expectation1 might probably not appear in so good a ,light as it might deserve1 purely from the ,disappointment4 ,i have the ,honour1 ,sir1 of sending ,mr4 ,beard's ,compliments to yourself and the ,author1 with the ,assurance that he wou'd with greater ,pleasure accept than refuse the ,piece1 stood it within the ,probability of ,success4 ,at the same ,time1 tho' unknown1 ,i beg leave1 with great ,deference1 to subscribe myself1 ,sir1 ,your's and the ,author's very obedient1 humble ,servant1 ,j4 ,stede4 ,there now follow the three surviving letters from ,joshua ,reynolds in ,london to ,thomas ,morrison in ,devon4 ,whether or not the two men had known each other before1 they certainly met when ,reynolds visited his sister1 ,mrs4 ,palmer of ,great ,torrington1 during his ,journey into the west country with ,johnson in #agfb4 ,according to ,reynolds' engagement book1 ,morrison was his host on ,august #bg of that year2 while a letter written by ,johnson1 after returning to ,london1 contains a message for ,dr4 ,morison to say that a set of ,idlers was being sent to him with sincere acknowledgements of all his civilities4 ,the first of ,reynolds' letters is dated1 at the end1 ,august #af1 #agff4 ,dear ,sir1 ,the greatest compliment ,i have ever yet receiv'd for any fancied eminence in my profession has not been so flattering to my vanity as having had the honour to have so excellent a ,poem address'd to me as this really is which ,i have now before me1 and the consideration that this compliment is made me by ,mr4 ,morrison makes me at a loss in what manner to express the obligation ,i feel myself under for so great a favour4 ,i may truly say and without affecting much modesty that ,i am not worthy of the attention you please to honour me with4 ,as ,i have not had time yet to consider it as maturely as ,i intend to do1 ,i can only say in general terms that ,i admire it exceedingly4 ,here there is a break in the letter4 ,i am quite ashamed to have kept this ,letter so long1 which proceeded from an expectation ,i dayly had of reading the ,poem with ,mr4 ,johnson and ,dr4 ,goldsmith but which ,i have not yet been able to accomplish4 ,the former part of this ,letter was wrote a few days after ,i had the pleasure of seeing your ,son2 you have surely the greatest reason in the world to think me the most ill mannered as well as the most ungrateful person breathing in not returning my thanks sooner2 and now that it is delay'd so long it has not answerd any end except that ,i have the pleasure of saying1 ,i find no cause on a second and third reading to retract what ,i said in the former part of the ,letter1 my own opinion is worth but little2 but ,i hope soon to have the pleasure of acquainting you with the approbation of those ,critics which it is some honour to please4 ,with great acknowledgment for the distinction you have been pleased to honour me with1 ,i am with the greatest respect your most obliged humble servant1 ,j4 ,reynolds4 ,i beg my compliments to ,miss and ,mr4 ,morrison4 ,to this ,morrison evidently sent a reply expressing his pleasure at ,reynolds' praise of the poem1 for on ,january #h1 #agfg1 ,reynolds wrote again4 ,dear ,sir1 ,i am much obliged to you for the compliment you make me in thinking my approbation of any value1 to tell you the truth the reason of my setting so little value on it myself1 proceeds not so much from modesty1 or an opinion that ,i cannot feel the powers of ,poetry1 or distinguish beauties from defects1 but from a consciousness that ,i am unable to determine 7as all excellence in comparative7 what rank it ought to hold in the scale of ,art2 and this judgement can be possess'd ,i think by those only who are acquainted with what the world has produced of that kind4 ,i have lately had the pleasure of reading your ,poem to several friends1 who have spoken much in its commendation1 and ,mr4 ,johnson who is as severe a ,critic as old ,dennis approves of it very much1 he thinks it superior to any ,poem of the kind that has been publish'd these many years and will venture to lay a wager that there is not a better publish'd this year or the next4 ,the ,characters of the several ,masters mention'd in the ,poem are truly drawn2 and the descriptions of the several kinds of ,history ,painting shew great imagination and a thorough knowledge of the ,theory of the ,art1 and that this is deliver'd in ,poetry much above the common standard ,i have ,mr4 ,johnson's word who concluded his commendation with ,imprimatur meo periculo which order if you have no objection we will immediately put in execution4 ,i have scarce left room to subscribe myself ,yours1 ,j4 ,reynolds4 ,there is no record of any copy of the poem1 either printed or manuscript1 having been at ,yeo ,vale2 but that the order had indeed been put in execution became apparent lately when ,professor ,hilles1 on reading the above letter1 recognized the identity of ,morrison's poem with the ,pindarick ,ode on ,painting published in #agfg4 ,the last of the three letters from ,reynolds to ,morrison is dated ,march #b1 #agga4 ,notwithstanding the rejection of ,otho1 its author had written a second tragedy1 the manuscript of which was among the papers at ,yeo ,vale1 according to a note made in #aiag by the late ,major ,j4 ,h4 ,morrison ,kirkwood4 ,dear ,sir1 ,nothing would give me greater uneasiness than if you should suspect that my not answering your ,letter proceeded from neglect1 it would be a shamefull return for the kindness ,i have allways experienced from you1 the truth is ,mr4 ,coleman sic as well as myself is allways so full of business that ,i have not been able to meet with him so often as ,i could wish1 however when we do meet ,i have endeavourd to press him to complete the negociation by ,letter as ,i found it impossible to persuade you to come to ,town4 ,the last time ,i saw him he told me he would write to you in a few days1 as by this time you have probably receiv'd his ,letter1 you have a more explicit account than any ,i can give4 ,in regard to the hundred ,pounds for which ,i told him you would let him have the ,tragedy1 he said he fear'd that you suspected that he wanted to decline receiving it1 which was not the case1 that he wish'd to receive it and certainly would when those alterations were made1 that if he gave this sum for the ,tragedy1 he should probably receive more profit from it than he had any right to1 that he never would receive any profit but as ,manager4 ,i beg my ,compliments to ,miss ,morrison and am with the greatest respect your most humble and obedient servant ,joshua ,reynolds4 ,on reading this1 ,morrison may well have thought that his tragedy was almost certain of acceptance2 a few months later1 however1 he heard from ,george ,colman1 who had succeeded ,beard as manager of ,covent ,garden ,theatre in #agfg4 ,the letter is dated ,july #bc1 #agga1 and its opening sentence is explained by the death of ,colman's wife earlier in the year4 ,sir1 ,my last ,letter would very soon have been succeeded by another if a very unexpected most shocking domestick calamity had not rendered me wholly incapable of attending to every kind of business4 ,i have however lately read your ,tragedy over over with the strictest attention1 and after considering it again again1 not without a real partiality to the ,author1 the strongest desire of encouraging the most favourable idea of it1 ,i am with much concern obliged to declare it unfit for representation4 ,the first act is very excellent1 with a few slight alterations1 would be a most affecting opening of a ,tragedy4 ,in the second act the scene of ,iphigenia is also extremely beautiful and interesting2 but the other parts of the act have no dramatick merit4 ,the circumstance so much insisted on of ,clytemnestra's dressing 7tho' ,i believe in ,euripides7 wd4 appear ridiculous on our stage3 and the scenes of ,memnon and ,achilles are weak illwritten1 tho' the entrance of ,achilles at that juncture might afford a spirited interesting scene4 ,in these acts1 as well as the two following1 the conduct of the fable is in general just3 at least it is most wonderfully improved since your first draught of the ,tragedy3 and yet the characters dialogue are so managed as to render the whole cold1 uninteresting1 totally destitute of that spirit essential to the success of the ,drama4 ,the personages are all suffered to languish1 tho' in situations which require the utmost animation force4 ,clytemnestra ,iphigenia1 though defective1 are indeed better sustained than the rest1 but the consequence of the ,atridae hardly survives the first act1 and ,achilles never maintains any consequence at all4 ,the same remark may in general be applied to the fifth act as to the foregoing4 ,the management of the catastrophe might perhaps admit of alteration4 ,the nature of the subject indeed renders it a very nice point3 tho' ,i think it would be very possible to give it due warmth interest1 were the more arduous task accomplished of perfecting the preceding parts of the ,drama4 ,believe me1 ,sir1 that in this as well as in all my other ,letters to you1 ,i have delivered my real sentiments1 tho' it is not without reluctance regret on the present occasion4 ,i had at first some objections to the subject4 ,these vanished2 in the first draught there were here there some touches which inclined me to hope that the whole piece might be worked up by the same hand4 ,i am sorry to pronounce it has failed3 but ,ponere ,totum is the great secret2 and in our exhibitions a common ,dauber1 possest of that happy knack1 will often be attended with tolerable success1 and exult at the failure of a superior artist who has only laboured particular parts4 ,i am1 ,sir1 your most obedient humble servant1 ,g4 ,colman4 ,this letter1 which must have left its recipient without further hope for the production of his tragedy1 is the last that remains4 ,thomas ,morrison died on ,july #bj1 #aggh1 and was buried beside his third wife in the churchyard at ,great ,torrington4 ,the inscription on the tablet placed to his memory in the church nearby says of him that his diffusive charity and benevolence towards man1 his amiable manners1 the goodness of his heart and his exemplary conduct deservedly endeared him to all his acquaintance4 ,hooper ,morrison died in #agih2 his only son1 ,thomas ,hooper ,morrison1 in #ahbd2 and his son's widow in #ahfa4 ,the ,yeo ,vale property then passed to his son's niece1 ,eleanora ,elizabeth ,hammett1 who was the wife of ,john ,townsend ,kirkwood1 great-grandfather of the present writer1 and the sole surviving child of ,hooper ,morrison's youngest--but only married--daughter4 ,j4 ,t4 ,kirkwood ,white's ,club1 ,london4 99 99 99 99 99 99 99 99 99 ,a ,,pindarick ,,ode on ,,painting4 ,addressed ,to ,,joshua ,,reynolds1 ,esq4 ,,london3 ,printed for ,w4 ,,griffin1 in ,catharine-,street1 ,strand4 ,,mdcclxvii4 ,price ,one ,shilling and ,six-pence4 ,,the ,,preface4 ,as the subject of this ,ode is1 from the copiousness of it1 almost an inexhaustible one 7were ,i to take notice of all the minuter branches of this art1 in which the several masters have distinguish'd themselves1 such as the painting of fruit1 flowers1 still-life1 game1 buildings1 ships1 c47 ,i have confin'd myself chiefly to the three greater species of it3 namely1 ,history 7under which ,battle-painting may justly be included7 ,landskip and ,portraiture----and as1 in a composition of this length1 ,i imagin'd that the perpetual recurrence of the same measure in such a multiplicity of stanzas would have been rather languid and fatiguing1 ,i have therefore indulg'd myself in many different kinds of metre2 but1 at the same time1 have blended them as harmoniously as ,i could contrive2 by which indulgence ,i have not only consulted my own ease1 but hope ,i have likewise1 in some degree1 consulted the pleasure of the ,reader1 by entertaining his ear1 at least1 with a little variety of wild music1 even if the composition should have no other sort of merit to recommend it4 ,a ,,pindarick ,,ode ,,on ,,painting4 ,i4 ,sweet mimick art6 ,which to our ravish'd eyes1 ,from a few blended colours1 and the aid ,of attemper'd light and shade1 ,bid'st a new creation rise--- ,oh6 to this song of tributary praise1 ,which ,poetry thy sister art ,now with friendly homage pays1 ,could ,i contrive thy beauties to impart6 ,with my easy flowing line ,to unite correctness of design1 #aj ,and make a ,,titian's colouring conspire ,with ,,raphael's grace1 and ,,buanoroti's fire--- ,,ii4 ,and this moment ,i perceive 7,or does some illusion bless me1 ,some sweet madness now possess me87 ,my tumultuous bosom heave1 ,like the rapt ,,sibyll's when she feels the load1 ,the painful influence of th' in-rushing ,god--- ,,iii4 ,yes---once again with joy ,i find 7,nor think my friend th' assertion bold7 #bj ,this languid age-enfeebled mind1 ,as in life's prime1 it's powers unfold--- ,again th' ideal scenes arise1 ,the visions stream before my eyes1 ,resistless on the rous'd imagination pour1 ,and paint themselves as lively as before----- ,,iv4 ,but be this mental picture grac'd ,with all th' adornings fancy can bestow1 ,how is it's beauty now effac'd1 #cj ,how fast all it's splendor declines1 ,out-dazzled by those brighter lines ,which on yonder canvas glow---- ,v4 ,where---by th' ,historick pencil's aid ,whose ages are at once display'd--- ,some great event of ,rome or ,greece ,fills perhaps each high wrought piece--- ,there---some triumphal pomp proceeds--- ,there---th' impetuous battle bleeds--- ,mark6 while they engage ,what ardor what rage1 #dj ,how shields are clash'd with shields--- ,and with what force up-rais'd in air1 ,each warrior brawny arm stript bare1 ,darts th' keen spear1 or glittering faulchion wields1 ,and while it aims the stroke1 or while repels1 ,how justly each inflated muscle swells---- ,,vi4 ,with the same noble warmth imprest1 ,as with his ,lord the gallant beast ,was eager to acquire a name1 ,and combated like him for fame1 #ej ,see the generous steed ,fierce as ,,circe's high breed ,which she stole from her bright-flaming fire1 ,while he springs on the foe1 ,like the shaft from the bow1 ,scarce imprint the trod ground2 ,but curvet and bound ,as if drawn by a pencil of fire---- ,,vii4 ,but what endless length of verse ,can suffice me to rehearse #fj ,th' enliven'd action of the whole8 ,squadrons this way1 that way bending1 ,the depicted forms contending ,as instinct with real foul---- ,,viii4 ,nay---minutely to describe ,the varied helm1 peculiar shield1 ,the different aspect of each tribe ,which animates th' embattled field1 ,would ask the compass of an age1 ,to mark the whole---must drawl along #gj ,the tedious circumstantial song1 ,and haply languish through the thousandth page--- ,,ix4 ,but rapidly by ,painting's aid ,is this intelligence convey'd2 ,e'en in a single moment's space ,we see th' extensive plan unfold1 ,omitted not one trifling grace1 ,in full the complex tale is told2 ,the grand exploits of half an ,iliad rise1 ,and flash at once on our astonish'd eyes---- #hj ,x4 ,nor serves this sweet instructive art ,t' inform the intellect alone1 ,but often melts th' obdurate heart ,and wakes it's paenitential groan--- ,for when in some great ,master's draught1 ,with genius as with judgement fraught1 ,nail'd haply to th' accursed tree1 ,on his tenter'd wounds suspended1 ,every nerve with torture rended1 ,th' agonizing ,,god we see--- #ij ,supported by her weeping train ,while the dolorous mother stands ,with anguish'd features1 writhen hands1 ,expressing e'en superior pain2 ,who but must mingle in this scene of woe1 ,what breast can cease to heave1 what eye forbear to flow8 ,,xi4 ,but sorrow now o'erpow'rd by fear1 ,soon is check'd the starting tear1 ,while in yonder piece ,i view1 ,which ,,vanderveld's bold pencil drew #ajj ,through all it's gloom'd extent the ocean ,work'd into wild impetuous motion1 ,and with more dread t' impress the soul ,grimly frowns the lurid sky1 ,and the condensing vapours roll1 ,and the fork'd light'nings fly--- ,with shatter'd sails and low-bent mast ,drives before the whirling blast ,the fondering vessel---,hark6 ,i hear 7,or does the eye deceive the ear87 #aaj ,the thunder's voice1 the groaning air1 ,the billows loud roar ,while they break on the shore1 ,the cries of the wreck'd1 and their shrieks of despair4 ,,xii4 ,with pleasure now ,i turn my sight ,from horror and death to those scenes of delight1 ,where ,,claudio's pencil has essay'd ,with every heighten'd touch to trace ,the wide-stretch'd ,landskip's varied face1 ,and all it's sweet delusive skill display'd--- #abj ,,xiii4 ,how the genial colours warm us8 ,how the gay deceptions charm us8 ,the objects here advancing nigh ,as with brighter tints they bloom--- ,there receding from the eye ,as suffus'd with deeper gloom2 ,and1 while here to bound the scene1 ,their tops half-blended with the skies1 ,the misty mountains intervene1 ,or rocks in dim confusion rise2 #acj ,there the wild ocean terminates the view2 ,it's green waves mingling with th' aethereal blue--- ,,xiv4 ,and1 lo6 what numerous beauties grace ,th' enchanted intermediate space6 ,rivers winding through the vales1 ,here1 full in view2 there1 faintly shewn1 ,hillocks1 inter-mix'd with dales1 ,rural cotts at distance thrown--- ,there1 some foaming cataract pours ,from the steep cliff it's watery stores2 #adj ,here1 spreads it's gloom some awful grove1 ,through whose thick branches interwove1 ,while the sun darts his slanting beams1 ,delightful to the eye the yellowish lustre streams--- ,,xv4 ,above the strong illumin'd skies1 ,the clouds in shining volumes1 roll'd ,their fleecy skirts bedeckt with gold1 ,half-dazzle the spectator's eyes--- ,and does the real solar light ,flash at present on the sight8 #aej ,or1 does the pencil'd radiance only flow1 ,and flowing with such fervour beat ,that e'en with all the dog-days heat ,the sultry painting now appears to glow8 ,,xvi4 ,beneath some oak's projecting shade1 ,where the shot rays scarce passage find1 ,see many a rustick youth and maid ,in languid attitudes reclin'd---- ,mark6 with features all relenting1 ,and with down-cast eyes consenting1 #afj ,how each nymph listens to the amorous tale2 ,her half-bar'd bosom1 panting with desire1 ,expos'd1 as if to catch the cooling gale2 ,but more1 perhaps1 to fan the lover's fire4 ,,xvii4 ,ye dear deceptions6 how ye move ,the breast to long forgotten love8 ,luxurious scenes6 how ye excite ,the traces of distinct delight6 ,e'en now around this poor half-frozen heart ,agnizing it's accustom'd smart1 #agj ,like some mild lambent flame the passion plays2 ,and1 vanquish'd by ideal charms1 ,i sink in the imagin'd arms ,of some sweet ,,phillis of my youthful days4 ,,xviii4 ,but1 lo6 the ,portrait of yon hoary sage ,from whose grave lore ,i learnt in youth ,many a rigid moral truth1 ,frowns me again to cold unfeeling age--- ,how are the soft emotions checkt ,while tow'rd me he seems to direct1 #ahj ,as if alive1 his conscious eye2 ,at whose austere reproving glance1 ,i wake reluctant from my trance1 ,and feel with pain each pleasing passion die6--- ,,xix4 ,,venus yokes her purple doves1 ,in an instant dispossest1 ,all the little sportive loves ,hurry---hurry from my breast--- ,and the whole charming vision flits away ,like the night's golden dream at break of envious day-- #aij ,,xx4 ,poor human life6 how short the date ,assign'd thee by relentless ,fate6---- ,poor transient ,beauty6 tender flower6 ,still shorter thy allotted hour6---- ,then stretch the canvass---quick1 my ,friend1 ,thy pencil seize---thy work attend--- ,e'en exempt from deforming diseases1 ,how it fades by the torches of ,time2 ,every moment that flows ,steals the gloss from the rose2 #bjj ,then catch the bright hue while it pleases1 ,and fix the fair face in it's prime4 ,,xxi4 ,nay-- thus1 great ,artist1 has thy hand ,to half the high-born beauty of the land ,a permanence ensur'd1 ,and from th' attacks of wrinkling age1 ,and from the pustule's venom'd rage ,th' untarnish'd form secur'd--- ,,xxii4 ,it's dear resemblance has at least ,been in thy faithful lines exprest2 #baj ,in thy firm colours still persists to bloom2 ,nor does it cease the heart t' alarm1 ,nor does it cease the eye to charm1 ,e'en when the real ,fair is mouldering in her tomb-- ,,xxiii4 ,and eminent in beauty as in birth1 ,when the bright ,,lenox shall as well ,in the same gloomy mansion dwell ,and mingle with her kindred regal earth1 ,still in thy tints shall she survive1 ,with sweet attraction still engage1 #bbj ,still feed the flame as when alive1 ,and 7e'en improv'd by mellowing age ,each charm of person and of face7 ,still sacrifice to every grace--- ,,xxiv4 ,for we not see the outward form alone ,in thy judicious strokes defin'd1 ,but in them too---distinctly shewn--- ,the strong-mark'd features of the mind--- ,each charmer's attitude and air ,the internal character declare1 #bcj ,with ease the varied temper we descry1 ,the full-soul beaming from th' expressive eye--- ,,xxv4 ,here---in the sweetly pensive mein ,is the soft gentle ,nature seen1 ,and chaste reserve1 and modest fear1 ,and artless innocence appear--- ,there---the little fly coquet ,aiming her insidious glances3 ,for trapping hearts each feature set1 ,from the canvass makes advances1 #bdj ,nay---if we credit the delusive face1 ,she seems just springing to our fond embrace--- ,,xxvi4 ,and if such meaning can be thrown ,into the single form alone--- ,with what fresh rapture should we gaze1 ,how would thy kindling genius blaze1 ,to what superior heights aspire1 ,if working on some grand design1 ,where various characters combine ,to call forth all it's force1 and rouse thy native fire8--- #bej ,,xxvii4 ,and that thy hand can equally excel ,e'en in this noble part1 ,this shining branch of thy expressive art1 ,to it's own happy labour we appeal1 ,to that rich piece whose pleasing fiction ,and splendid tints with full conviction ,strike the spectator1 while he views ,,thalia and the tragick muse1 ,each eager on her side t' engage ,th' unrivall'd ,roscius of the ,british stage--- #bfj ,,xxviii4 ,stern and erect the buskin'd dame ,in high dramatick wrath appears1 ,with energy supports her claim ,and seems to thunder in his ears2 ,while the inveigling comick ,fair1 ,with aspect sly and artful air ,to draw her favourite to her arms ,strains every nerve2 but as she strives1 ,with the sweet attitude contrives ,t' impart the stronger influence to her charms-- #bgj ,,xxix4 ,betwixt them with distracted mein ,the object of their strife is seen2 ,his eyes with wild confusion roll1 ,mixt passions1 with alternate sway1 ,in his ambiguous features play1 ,and speak as yet the undetermined soul2 ,but that half-assenting leer1 ,obliquely on the little wheedler thrown1 ,portends1 though checkt with aukward fear1 ,that soon the apostate will be all her own-- #bhj ,,xxx4 ,spare1 ,oh6 ,time1 these colours2 spare 'em1 ,or with thy tend'rest touch impair 'em3 ,at least1 for some few centuries space1 ,shine they with unlessen'd grace6 ,they shall---yet1 ,oh6 these noble works at last ,must1 by the gathering mould o'ercast1 ,or rotted by the damps1 decay1 ,or by the air's corrosive power1 ,or e'en the slowly-fretting hour1 ,must every trace of beauty melt away4 #bij ,,xxxi4 ,when er'st ,,apelle's friend enquir'd1 ,why touch'd so oft in every part ,with repeated strokes of art1 ,the picture which already they admir'd1 ,the ,artist1 with becoming pride1 ,i'm ,painting for ,eternity1 replied4 ,,xxxii4 ,but vain1 great ,genius6 was thy boast2 ,long since th' eternal piece is lost---- ,thy ,,venus now no more expresses1 ,rising from her watery bed1 #cjj ,the moisture from her twisted tresses ,o'er her dazzling bosom spread--- ,no more thy colours bloom1 effac'd by age1 ,but in the poet's or th' historian's page4 ,,xxxiii4 ,oh then---reject not with disdain1 ,great ,artist1 this unpolish'd strain---- ,though happy while it may intend ,thy shining merits to display1 ,it may serve only in the end ,my own weak genius to betray1 #caj ,may shew with what presumption ,i aspire ,to build the rhyme ,and tow'er sublime ,with ,,pindar's vanity without his fire4 ,,xxxiv4 ,yet----confide----7for every trifler's breast7 ,and by this influence ,i presage ,in the long course of rolling years1 ,when all thy labour disappears1 ,yet shall this verse descend from age to age1 ,and1 breaking from oblivion's shade1 #cbj ,go on1 to flourish while thy paintings fade4 ,,xxxv4 ,if so---at present though thy hand ,may glory of itself command1 ,nor can the muse's laurels now1 ,though wove with nicer skill than mine1 ,help to adorn it1 while they twine ,round thy already loaden brow--- ,yes---if my presage is not vain--- ,yes---if this verse hereafter should remain--- #ccj 7,though now indeed as needless quite ,as at noon's blaze the taper's light7 ,it may then serve to aggrandize thy name1 ,and add some splendor to thy future fame4 ,,finis4 99 99 99 99 99 99 99 99 99 ,,publications ,,of ,,the ,,augustan ,,reprint ,,society ,where available1 ,project ,gutenberg e-text numbers are shown in brackets4 ,,first ,,year 7#aidf-aidg7 ,numbers #a-f out of print4 ,titles #a-d3 #a4 ,blackmore1 ,essay upon wit #acdhd #b4 ,flecknoe1 ,on wit2 ,warton1 ,the adventurer #adigc #c4 ,letter to ,a4 ,h4 ,esq41 concerning the ,stage 7#afih71 and ,richard ,willis' ,occasional ,paper ,no4 ,,ix 7#afih74 #adjdg #d4 ,cobb1 ,discourse on ,criticism and of ,poetry 7#agjg7 ,from ,poems ,on ,several ,occasions 7#agjg7 #adebh #e4 ,samuel ,wesley's ,epistle to a ,friend ,concerning ,poetry 7#agjj7 and ,essay on ,heroic ,poetry 7#afic74 #afejf #f4 ,representation of the ,impiety and ,immorality of the ,stage 7#agjd7 and ,some ,thoughts ,concerning the ,stage 7#agjd74 #aefef ,,second ,,year 7#aidg-aidh7 #g4 ,john ,gay's ,the ,present ,state of ,wit 7#agaa73 and a section on ,wit from ,the ,english ,theophrastus 7#agjb74 #adhjj #h4 ,rapin's ,de ,carmine ,pastorali1 translated by ,creech 7#afhd74 #addie #i4 ,t4 ,hanmer's 787 ,some ,remarks on the ,tragedy of ,hamlet 7#agcf74 #adhii #aj4 ,corbyn ,morris' ,essay towards ,fixing the ,true ,standards of ,wit1 etc4 7#agdd74 #afbcc #aa4 ,thomas ,purney's ,discourse on the ,pastoral 7#agag74 #aecac #ab4 ,essays on the ,stage1 selected1 with an ,introduction by ,joseph ,wood ,krutch4 #afcce ,,third ,,year 7#aidh-aidi7 #ac4 ,sir ,john ,falstaff 7pseud471 ,the ,theatre 7#agbj74 #aeiii #ad4 ,edward ,moore's ,the ,gamester 7#agec74 #afbfg #ae4 ,john ,oldmixon's ,reflections on ,dr4 ,swift's ,letter to ,harley 7#agab72 and ,arthur ,mainwaring's ,the ,british ,academy 7#agab74 #bejia #af4 ,nevil ,payne's ,fatal ,jealousy 7#afgc74 #afiaf #ag4 ,nicholas ,rowe's ,some ,account of the ,life of ,mr4 ,william ,shakespeare 7#agji74 #afbge #ah4 ,of ,genius1 in ,the ,occasional ,paper1 ,vol4 ,,iii1 ,no4 #aj 7#agai72 and ,aaron ,hill's ,preface to ,the ,creation 7#agbj74 #aehgj ,,fourth ,,year 7#aidi-aiej7 #ai4 ,susanna ,centlivre's ,the ,busie ,body 7#agji74 #afgdj #bj4 ,lewis ,theobold's ,preface to ,the ,works of ,shakespeare 7#agcd74 #afcdf #ba4 ,critical ,remarks on ,sir ,charles ,grandison1 ,clarissa1 and ,pamela 7#aged74 ,,in ,,preparation #bb4 ,samuel ,johnson's ,the ,vanity of ,human ,wishes 7#agdi7 and ,two ,rambler papers 7#agej74 #accej #bc4 ,john ,dryden's ,his ,majesties ,declaration ,defended 7#afha74 #aejgd #bd4 ,pierre ,nicole's ,an ,essay on ,true and ,apparent ,beauty in ,which from ,settled ,principles is ,rendered the ,grounds for ,choosing and ,rejecting ,epigrams1 translated by ,j4 ,v4 ,cunningham4 ,,in ,,preparation ,,fifth ,,year 7#aiej-aiea7 #be4 ,thomas ,baker's ,the ,fine ,lady's ,airs 7#agji74 #addfg #bf4 ,charles ,macklin's ,the ,man of the ,world 7#agib74 #addfc #bg4 ,frances ,reynolds' ,an ,enquiry ,concerning the ,principles of ,taste1 and of the ,origin of ,our ,ideas of ,beauty1 etc4 7#aghe74 #acdhe #bh4 ,john ,evelyn's ,an ,apologie for the ,royal ,party 7#afei72 and ,a ,panegyric to ,charles the ,second 7#affa74 #aghcc #bi4 ,daniel ,defoe's ,a ,vindication of the ,press 7#agah74 #adjhd #cj4 ,essays on ,taste from ,john ,gilbert ,cooper's ,letters ,concerning ,taste1 #crd edition 7#ageg71 ,john ,armstrong's ,miscellanies 7#aggj74 #acdfd ,,sixth ,,year 7#aiea-aieb7 #ca4 ,thomas ,gray's ,an ,elegy ,wrote in a ,country ,church ,yard 7#agea72 and ,the ,eton ,college ,manuscript4 #aedji #cb4 ,prefaces to ,fiction2 ,georges de ,scudery's ,preface to ,ibrahim 7#afgd71 etc4 #adebe #cc4 ,henry ,gally's ,a ,critical ,essay on ,characteristic-,writings 7#agbe74 #afbii #cd4 ,thomas ,tyers' ,a ,biographical ,sketch of ,dr4 ,samuel ,johnson 7#aghe74 #ce4 ,james ,boswell1 ,andrew ,erskine1 and ,george ,dempster4 ,critical ,strictures on the ,new ,tragedy of ,elvira1 ,written by ,mr4 ,david ,malloch 7#agfc74 #aeheg #cf4 ,joseph ,harris's ,the ,city ,bride 7#afif74 #bbigd ,william ,andrews ,clark ,memorial ,library3 ,university of ,california ,,the ,,augustan ,,reprint ,,society ,general ,editors ,h4 ,,richard ,,archer ,william ,andrews ,clark ,memorial ,library ,r4 ,c4 ,,boys ,university of ,michigan ,e4 ,n4 ,,hooker ,university of ,california1 ,los ,angeles ,,john ,,loftis ,university of ,california1 ,los ,angeles ,the ,society exists to make available inexpensive reprints 7usually facsimile reproductions7 of rare seventeenth and eighteenth century works4 ,the editorial policy of the ,society continues unchanged4 ,as in the past1 the editors welcome suggestions concerning publications4 ,all income of the ,society is devoted to defraying cost of publication and mailing4 ,all correspondence concerning subscriptions in the ,united ,states and ,canada should be addressed to the ,william ,andrews ,clark ,memorial ,library1 #bbje ,west ,adams ,boulevard1 ,los ,angeles #ah1 ,california4 ,correspondence concerning editorial matters may be addressed to any of the general editors4 ,the membership fee is #c4jj a year for subscribers in the ,united ,states and ,canada and #ae_/- for subscribers in ,great ,britain and ,europe4 ,british and ,european subscribers should address ,b4 ,h4 ,blackwell1 ,broad ,street1 ,oxford1 ,england4 ,publications for the sixth year #aiea-aieb ,transcriber's ,note3 ,see previous page for e-text numbers4 ,the present page seems to have been typeset earlier in the academic year4 7,at least six items1 most of them from the following list1 will be reprinted47 ,,thomas ,,gray3 ,an ,elegy ,wrote in a ,country ,church ,yard 7#agea74 ,introduction by ,george ,sherburn4 ,,james ,,boswell1 ,,andrew ,,erskine1 and ,,george ,,dempster3 ,critical ,strictures on the ,new ,tragedy of ,elvira 7#agfc74 ,introduction by ,frederick ,a4 ,pottle4 ,an ,essay on the ,new ,species of ,writing ,founded by ,mr4 ,fielding 7#agea74 ,introduction by ,james ,a4 ,work4 ,,henry ,,gally3 ,a ,critical ,essay on ,characteristic ,writing 7#agbe74 ,introduction by ,alexander ,chorney4 ,,john ,,phillips3 ,satyr ,against ,hypocrits 7#afee74 ,introduction by ,leon ,howard4 ,prefaces to ,fiction4 ,selected and with an ,introduction by ,benjamin ,boyce4 ,,thomas ,,tyers3 ,a ,biographical ,sketch of ,dr4 ,samuel ,johnson 7#aghe74 ,introduction by ,gerald ,dennis ,meyer4 ,publications for the first five years 7with the exception of nos4 #a-d1 which are out of print7 are available at the rate of #c4jj a year4 ,prices for individual numbers may be obtained by writing to the ,society4 ,,the ,,augustan ,,reprint ,,society ,,william ,,andrews ,,clark ,,memorial ,,library #bbje ,west ,adams ,boulevard1 ,los ,angeles #ah1 ,california ,make check or money order payable to ,,the ,,regents ,,of ,,the ,,university ,,of ,,california4 99 99 99 99 99 99 99 99 99 99 99 99 99 99 ,,errata 7,noted by transcriber7 ,editor's ,introduction ,this is an elegant and ingenious missing ,there was also among the portraits at ,yeo ,vale protraits ,pindarick ,ode ,with ,,raphael's grace1 and ,,buanoroti's fire--- spelling unchanged ,th' agonizing ,,god we see--- agnonizing ,th' untarnish'd form secur'd--- secur d ,when er'st ,,apelle's friend enquir'd1 spelling unchanged3 name is ,apelles ,missing ,stanza ,numbers ,stanza numbers ,x and ,,xxix are conjectural2 each is at the top of a page4 ,missing ,line ,numbers #acj2 #ahj1 #aij1 #bjj entire page2 #bej1 #bfj2 #caj ,augustan ,reprint ,society ,numbers #a-f out of print4 error for #a-d8