To tire the Patience, than mislead the Sense.
And here give me leave to observe, that amongst the Ladies that have taken up the Pen, I never met with but two who deserved the Name of a Writer; the first is Madam Dacier, whose Learning Mr. Pope, while he is indebted to her for all the notes on Homer, endeavoured to depreciate; the second is Mrs. Catherine Philips, the matchless Orinda, celebrated by Mr. Cowley, Lord Orrery, and all the Men of Genius who lived in her Time.
I think this incomparable Lady was one of the first Refiners of the English Numbers. I cannot, except my own Country-woman Mrs. Grierson, find out another female Writer, whose Works are worth reading; she indeed had a happy and well-improved Genius!
The last glimpse we have of Mrs. Pilkington is most effective in the dramatic contrast it presents. On Thursday, April 12, 1750, John Wesley wrote in his Dublin Diary: "I breakfasted with one of the Society, and found she had a lodger I little thought of. It was the famous Mrs. Pilkington, who soon made an excuse for following me up stairs. I talked with her seriously about an hour: we then sung, 'Happy Magdalene.' She appeared to be exceedingly struck: how long the impression may last, God knows."[343]
Mrs. Mary Davys (fl. 1725)
Mrs. Mary Davys wrote a comedy produced at Lincoln's Inn Fields in 1716, and a didactic novel, The Reform'd Coquet, which appeared in 1724. Her Works, in two volumes, appeared in 1725. Miss Morgan says that the young lord who is the hero of The Reform'd Coquet, is one of the earliest examples in fiction of "the perfect prig of which Sir Charles Grandison is the consummate example."[344] She was the wife of the Reverend Peter Davys, master of the free school of St. Patrick's, Dublin, so she came into the circle of Swift. Dr. Ewen of Cambridge formerly had thirty-six letters from Swift to Mr. and Mrs. Davys. Mr. Davys died in 1698 and Mrs. Davys was "left to her own endeavours." In 1713 she wrote to Swift complaining that he had not written to her for four years. "I have honestly told her," he said, "it was my way never to write to those whom I am never likely to see, unless I can serve them, which I cannot her, etc. Davis the schoolmaster's widow."[345] She was not so fortunate as Mrs. Grierson and Mrs. Pilkington.
Mrs. Mary Mitchell Collyer (1716?-1762?)
Mrs. Collyer's publications were anonymous and she has been hardly more than a name in literary history. Recent investigations have, however, shown her to be of genuine importance, not merely as a writer of considerable ability, but especially as an author in whom romantic tendencies found early and well-defined statement.[346] Mrs. Collyer was the wife of Joseph Collyer, a compiler, translator, and publisher to whom her books have sometimes been attributed. Her son was Joseph Collyer, an engraver of merit. Mr. Collyer's income was apparently small, for Mrs. Collyer wrote for the support of her family. In the Dedication to her Death of Abel she said: "Placed by the hand of Providence at an humble distance from the Great, my cares and pleasures are concentrated within the narrow limits of my little family, and it is in order to contribute to the support and education of my children, I have taken up my pen."
The seven works attributed to Mrs. Collyer fall between 1743 and 1763. It is unnecessary to consider these works here in detail except so far as may serve to indicate their historical significance. For this purpose we may take up first the last of her books, the translations from the German, for it is on these that her modicum of fame has rested. When Mrs. Collyer translated Gesner's Der Tod Abels in 1761 and began Klopstock's Messiah the year after, she was a pioneer in a new kind of learning. The professed linguists seldom included German in their list, and German literature was practically unknown.[347] Mr. Haney, in his study of "German Literature in England before 1790," gives William Taylor of Norwich as "the first literary critic to attempt a systematic introduction of German literature into England," and Mr. Taylor's period of literary activity did not begin until 1790. Of the sporadic translations before that period, aside from scientific and theological works and a few hymns, Mr. Haney cites but two anterior to Mrs. Collyer's Death of Abel. There were few more popular works in the eighteenth century than this translation. There were eighteen editions in twenty-one years, and many later editions. It satisfied alike the pious reader and the lover of fiction. The Quarterly Review for 1814[348] says: "No book of foreign growth has ever become so popular in England as the Death of Abel. Those publishers whose market lies among that portion of the people who are below what is called the public, but form a far more numerous class, include it regularly among their 'sacred classics': it has been repeatedly printed at country presses with worn types and on coarse paper; and it is found at country fairs, and in the little shops of remote towns almost as certainly as the Pilgrim's Progress and Robinson Crusoe." Miss Hughes quotes numerous other testimonies to the same effect.