Chapter II: Introduction

Apart from the few papers relating to him that have survived since his death in 1778, little more is known of the Rev. Thomas Morrison of Great Torrington in Devon than the main facts of his life; among those papers, however, are some letters--written by Sir Joshua Reynolds and others--about his literary pursuits, in which Dr. Johnson was at one time briefly concerned.

He was born on March 26, 1705, at Midhurst in Sussex, the elder son of Thomas Morrison of that place and Sarah Bridges. As to his ancestry, the family seems to have claimed kinship with the Morrisons of Cassiobury Park in Hertfordshire. At the age of twelve he was entered as a scholar upon the foundation at Winchester, where he remained until his election in 1723 to a probationary fellowship of New College, Oxford; his admission as a full fellow followed in 1725. Having received his Bachelor's degree in 1727, he became M.A. in 1731, took orders, and was presented to the college living of Steeple Morden in Cambridgeshire.

It may also have been in 1731, though possibly earlier, that he went down into Devon to act as tutor to John Basset of Heanton Court near Barnstaple--a step which was, as things turned out, to make him a resident of that county for the rest of his life. His pupil's father had died in 1721, leaving a widow, Elizabeth, the only daughter and eventual heiress of Sir Nicholas Hooper, Sergeant-at-Law. Sir Nicholas, who had represented Barnstaple in seven successive parliaments and was a man of considerable wealth, died in May, 1731; almost exactly a year later, in May, 1732, his daughter, then thirty-seven years of age and described in a letter written at that time as a lady much admired for her piety, prudence and good conduct, was married to Thomas Morrison, then twenty-seven. Three children were born of their marriage: Mary in 1734, Eleanora in 1736, and Hooper in 1737. In the year following the birth of their son Mrs. Morrison died, presumably at Bath as she is buried in the Abbey Church of that city; on the tablet he placed there to her memory her husband said that she had been the best of wives who, for the few years she lived with him, not only made him a much happier man, but a better man, since not only had her rational and endearing conversation been the perpetual delight of his heart, but her exemplary conduct had likewise been the pleasing rule and constant direction of his life.

Upon his marriage Morrison had necessarily resigned his fellowship of New College, and two years later he also gave up the college living in Cambridgeshire; the benefices that he afterwards held were all in the diocese of Exeter. In 1736 he was made a prebendary of Exeter and became Rector of Wear Giffard; the following year, after obtaining a dispensation to hold the two livings together, he was also instituted to High Bickington, which, however, he resigned in 1742. In 1744 he became Rector of Littleham, soon afterwards resigning Wear Giffard; and finally, in 1758, after resigning Littleham in its turn, he was instituted to Langtree, of which parish he continued Rector until his death twenty years later. The presentations to these livings were made as follows: to Wear Giffard by Lord Clinton, Lord Lieutenant of the county from 1721 to 1733, whose seat was at Castle Hill near Barnstaple; to High Bickington and to Littleham by John Basset of Heanton--who was patron of half a dozen livings; to Langtree by John Rolle Walter of Bicton in South Devon and Stevenstone House near Great Torrington, Member of Parliament for Exeter.

These parishes all lie within six miles of Great Torrington where Morrison appears to have been resident from at least as early as 1750. In his answers to the Bishop's queries of 1744 he had, however, declared himself to be resident partly in Huntshaw, a parish adjoining Wear Giffard; and--for reasons of his health and the education of his children--partly at Westleigh on the mouth of the Torridge, a few miles off. In which intervening year he established himself at Great Torrington is not known.

Meanwhile, he had made two further marriages: in 1739 to Margaret, daughter of the Rev. Robert Ham and widow of John Ham of Widhays, who died in 1744; and in 1745 to Honour, daughter of Sir Thomas Bury and widow of the Rev. George Bussell, who died at Great Torrington in 1750. Both these later marriages were childless.

Hooper Morrison followed his father into the Church and became Rector of Atherington near Barnstaple. In 1769 he bought the property of Yeo Vale, some five miles from Great Torrington. Eleanora Morrison, who never married and seems to have lived with her father until his death, sat to Reynolds in her younger days; the portrait then painted, which was formerly at Yeo Vale, shows her in profile and wearing a blue velvet mantle edged with ermine.

There was also among the portraits at Yeo Vale a three-quarter length of an agreeable-looking man, apparently between thirty and forty years of age, shown wearing a red velvet cap and an unusual coat, like a full-skirted cassock made of blue satin; this portrait, the work of Hudson, was believed to represent Thomas Morrison.

Coming now to the letters, the earliest of these, written in February, 1753, is from Morrison to the Bishop of Exeter, Dr. Lavington, who two years before had published the third part of his book, _The Enthusiasm of Methodists and Papists Compared_. The letter is inscribed on the outside "Mr. Morrison's Ode," and must have been returned to its writer after the Bishop's death in 1762.

My Lord,

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'd, 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 Classicks, I have endeavour'd to
express my Sentiments of your Lordship's learned and acute
performance in the following Ode, 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 years, and believe me to be with the Highest
Respect,

Your Lordship's most oblig'd
and most obedient Humble Servant

T. Morrison.

My best Respects wait on your Lady and Miss Lavington.

Here follows the ode ("Reverendo admodum Episcopo Exoniensis in doctissimum adversus Methodistas Librum cui Titulus etc.") which begins:

Verende praesul, praesul amabilis,
Qui dulce rides, utiliter doces;
Jucunda permiscens severis,
Incolumi gravitate ludens,

Quia Methodistes scripta legens tui
Amoenitatem respuat ingeni,
Suumque vestro--vel reluctans--
Abstineat sociare risum?

and continues for a further sixteen stanzas.

There is nothing to show to whom the next letter was written, though, considering the later ones, it seems likely that it was addressed to Joshua Reynolds. It concerns a tragedy (on the subject of the Emperor Otho) of which Morrison was undoubtedly the author. John Beard, on whose behalf the letter was written in February, 1763, had become manager of Covent Garden Theatre in the previous year.

Sir,

Mr. Beard's attention to the Affairs of the Theatre having
entirely taken up his Time, during this Season, from which, as
yet, he is not releas'd, deprives him of the Pleasure of writing
to you, in Answer to the Letter you did him the Favour of
communicating from the Author of Otho; he, therefore, hopes you
will excuse his deputing me to convey to you the Opinion of his
Friends thereon; and if they differ in Sentiment with the Author,
it is with some Concern, as they wou'd rather give Approbation to
a Piece, which has, indeed, great merit in the Writing, but will
not suit the Taste of an English Audience.

How well, and with what Propriety, a Dramatic Piece may be
conducted wherein are very few Characters, it is not now intended
to be entered upon; but it is very certain, from the Want thereof,
many Productions have fail'd of their expected Applause; of which,
very many Instances might be produc'd; wherein that has been the
Chief, if not the only Defect. The French, indeed, tho' a Nation
of great Levity, can attentively listen to long declamatory
Speeches, when an English Audience wou'd fall asleep; who love
Action and Bus'ness, love Plot and Design; Variety of Incidents is
their Delight, but yet that Plot must be founded on Reason and
Probability, and conduce to the Main Action of the Drama. It is
the Advice of a celebrated Author, _Habitum hujus Temporis habe_;
the Taste of the Town, you know, Sir, right or wrong, must be
comply'd with; without which, to hope for Success, is striving
against the Stream, and however great the Merit of this Piece may
be, it must be confess'd, in this Particular, it is defective; nor
does there appear a Probability of that Defect's being corrected;
and even then it wou'd be esteem'd but a Copy of Cato.

From the Author's great Candour and Impartiality, remarkably shewn
thro' the whole Tenour of his Letter, it is hop'd a few additional
Remarks will not give Offence. [Here ensues a lengthy passage of
detailed criticism, at the end of which the writer continues:] It
wou'd greatly trespass on yours and the Author's Time to enlarge
on this Subject, as Mr. Beard cannot give him any Encouragement to
make Alterations. Undoubtedly there are several good Scenes, and
much good Writing, which deserve their proper Encomiums; and the
Perusal may give much pleasure in the Closet, but does not bid
fair for equal Reception on the Stage.

I cannot dismiss this without clearing up a mistake which the
Author is run into; tho' urg'd with the utmost Tenderness and
Delicacy imaginable; 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 accepted. Be assur'd, Sir,
every Piece must be determin'd by its own intrinsic Worth; and by
that must stand or fall. Such a Recommendation undoubtedly wou'd
raise the Expectation and, consequently, engage a more particular
Attention of the Manager, but the Piece must speak for itself; and
shou'd it not answer Expectation, might probably not appear in so
good a Light as it might deserve, purely from the Disappointment.

I have the Honour, Sir, of sending Mr. Beard's Compliments to
yourself and the Author, with the Assurance that he wou'd with
greater Pleasure accept than refuse the Piece, stood it within the
Probability of Success. At the same Time, tho' unknown, I beg
leave, with great Deference, to subscribe myself,

Sir, Your's and the Author's
very obedient, humble Servant,

J. Stede.

There now follow the three surviving letters from Joshua Reynolds in London to Thomas Morrison in Devon. Whether or not the two men had known each other before, they certainly met when Reynolds visited his sister, Mrs. Palmer of Great Torrington, during his Journey into the west country with Johnson in 1762. According to Reynolds' engagement book, Morrison was his host on August 27 of that year; while a letter written by Johnson, after returning to London, contains a message for "Dr. Morison" to say that a set of _Idlers_ was being sent to him with sincere acknowledgements of all his civilities. The first of Reynolds' letters is dated, at the end, August 16, 1766.

Dear Sir,

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 me, and the
consideration that this compliment is made me by Mr. Morrison
makes me at a loss in what manner to express the obligation I feel
myself under for so great a favour. I may truly say and without
affecting much modesty that I am not worthy of the attention you
please to honour me with.

As I have not had time yet to consider it as maturely as I intend
to do, I can only say in general terms that I admire it
exceedingly.

Here there is a break in the letter.

I am quite ashamed to have kept this Letter so long, which
proceeded from an expectation I dayly had of reading the Poem with
Mr. Johnson and Dr. Goldsmith but which I have not yet been able
to accomplish.

The former part of this Letter was wrote a few days after I had
the pleasure of seeing your Son; 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
sooner; and now that it is delay'd so long it has not answerd any
end except that I have the pleasure of saying, I find no cause on
a second and third reading to retract what I said in the former
part of the Letter, my own opinion is worth but little; but I hope
soon to have the pleasure of acquainting you with the approbation
of those Critics which it is some honour to please.

With great acknowledgment for the distinction you have been
pleased to honour me with,

I am with the greatest respect your
most obliged humble servant,

J. Reynolds.

I beg my compliments to Miss and Mr. Morrison.

To this Morrison evidently sent a reply expressing his pleasure at Reynolds' praise of the poem, for on January 8, 1767, Reynolds wrote again.

Dear Sir,

I am much obliged to you for the compliment you make me in
thinking my approbation of any value, to tell you the truth the
reason of my setting so little value on it myself, proceeds not so
much from modesty, or an opinion that I cannot feel the powers of
Poetry, or distinguish beauties from defects, but from a
consciousness that I am unable to determine (as all excellence in
comparative) what rank it ought to hold in the scale of Art; and
this judgement can be possess'd I think by those only who are
acquainted with what the world has produced of that kind.

I have lately had the pleasure of reading your Poem to several
friends, who have spoken much in its commendation, and Mr. Johnson
who is as severe a Critic as old Dennis approves of it very much,
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 next.

The Characters of the several Masters mention'd in the Poem are
truly drawn; and the descriptions of the several kinds of History
Painting shew great imagination and a thorough knowledge of the
Theory of the Art, and that this is deliver'd in Poetry much above
the common standard I have Mr. Johnson's word who concluded his
commendation with Imprimatur meo periculo which order if you have
no objection we will immediately put in execution.

I have scarce left room to subscribe myself

Yours,

J. Reynolds.

There is no record of any copy of the poem, either printed or manuscript, having been at Yeo Vale; but that the order had indeed been put in execution became apparent lately when Professor Hilles, on reading the above letter, recognized the identity of Morrison's poem with the _Pindarick Ode on Painting_ published in 1767.

The last of the three letters from Reynolds to Morrison is dated March 2, 1771. Notwithstanding the rejection of "Otho," its author had written a second tragedy, the manuscript of which was among the papers at Yeo Vale, according to a note made in 1917 by the late Major J. H. Morrison Kirkwood.

Dear Sir,

Nothing would give me greater uneasiness [than] if you should
suspect that my not answering your Letter proceeded from neglect,
it would be a shamefull return for the kindness I have allways
experienced from you, the truth is Mr. 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 wish, 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 Town. The last
time I saw him he told me he would write to you in a few days,
as by this time you have probably receiv'd his Letter, you have
a more explicit account than any I can give. In regard to the
hundred Pounds for which I told him you would let him have the
Tragedy, he said he fear'd that you suspected that he wanted to
decline receiving it, which was not the case, that he wish'd to
receive it and certainly would when those alterations were made,
that if he gave this sum for the Tragedy, he should probably
receive more profit from it than he had any right to, that he
never would receive any profit but as Manager.

I beg my Compliments to Miss Morrison and am with the
greatest respect your most humble and obedient servant

Joshua Reynolds.

On reading this, Morrison may well have thought that his tragedy was almost certain of acceptance; a few months later, however, he heard from George Colman, who had succeeded Beard as manager of Covent Garden Theatre in 1767. The letter is dated July 23, 1771, and its opening sentence is explained by the death of Colman's wife earlier in the year.

Sir,

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
business. I have however lately read your Tragedy over & over with
the strictest attention, and after considering it again & again,
not without a real partiality to the Author, & the strongest
desire of encouraging the most favourable idea of it, I am with
much concern obliged to declare it unfit for representation.

The first act is very excellent, & with a few slight alterations,
would be a most affecting opening of a Tragedy. In the second act
the scene of Iphigenia is also extremely beautiful and
interesting; but the other parts of the act have no dramatick
merit. The circumstance so much insisted on of Clytemnestra's
dressing (tho' I believe in Euripides) wd. appear ridiculous on
our stage: and the scenes of Memnon and Achilles are weak &
illwritten, tho' the entrance of Achilles at that juncture might
afford a spirited & interesting scene.

In these acts, as well as the two following, the conduct of the
fable is in general just: at least it is most wonderfully improved
since your first draught of the Tragedy: and yet the characters &
dialogue are so managed as to render the whole cold,
uninteresting, & totally destitute of that spirit essential to the
success of the Drama. The personages are all suffered to languish,
tho' in situations which require the utmost animation & force.
Clytemnestra & Iphigenia, though defective, are indeed better
sustained than the rest, but the consequence of the Atridae hardly
survives the first act, and Achilles never maintains any
consequence at all.

The same remark may in general be applied to the fifth act as to
the foregoing. The management of the catastrophe might perhaps
admit of alteration. The nature of the subject indeed renders it a
very nice point: tho' I think it would be very possible to give it
due warmth & interest, were the more arduous task accomplished of
perfecting the preceding parts of the Drama.

Believe me, Sir, that in this as well as in all my other Letters
to you, I have delivered my real sentiments, tho' it is not
without reluctance & regret on the present occasion. I had at
first some objections to the subject. These vanished; & 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
hand. I am sorry to pronounce it has failed: but _Ponere Totum_ is
the great secret; and in our exhibitions a common Dauber, possest
of that happy knack, will often be attended with tolerable
success, and exult at the failure of a superior artist who has
only laboured particular parts.

I am, Sir, your most obedient humble servant,

G. Colman.

This letter, which must have left its recipient without further hope for the production of his tragedy, is the last that remains.

Thomas Morrison died on July 20, 1778, and was buried beside his third wife in the churchyard at Great Torrington. The inscription on the tablet placed to his memory in the church nearby says of him that his diffusive charity and benevolence towards man, his amiable manners, the goodness of his heart and his exemplary conduct deservedly endeared him to all his acquaintance.

Hooper Morrison died in 1798; his only son, Thomas Hooper Morrison, in 1824; and his son's widow in 1861. The Yeo Vale property then passed to his son's niece, Eleanora Elizabeth Hammett, who was the wife of John Townsend Kirkwood, great-grandfather of the present writer, and the sole surviving child of Hooper Morrison's youngest--but only married--daughter.

J. T. Kirkwood
White's Club, London.

* * * *
* * * * *

A

PINDARICK

ODE

on

PAINTING.

Addressed To

JOSHUA REYNOLDS, Esq.

LONDON:
Printed for W. GRIFFIN, in Catharine-Street, Strand.
MDCCLXVII.
[Price One Shilling and Six-pence.]

THE
PREFACE.

As the subject of this Ode is, from the copiousness of it, almost an inexhaustible one (were I to take notice of all the minuter branches of this art, in which the several masters have distinguish'd themselves, such as the painting of fruit, flowers, still-life, game, buildings, ships, &c.) I have confin'd myself chiefly to the three greater species of it: namely, History (under which Battle-painting may justly be included) Landskip and Portraiture----and as, in a composition of this length, I imagin'd that the perpetual recurrence of the same measure in such a multiplicity of stanzas would have been rather languid and fatiguing, I have therefore indulg'd myself in many different kinds of metre; but, at the same time, have blended them as harmoniously as I could contrive; by which indulgence I have not only consulted my own ease, but hope I have likewise, in some degree, consulted the pleasure of the Reader, by entertaining his ear, at least, with a little variety of wild music, even if the composition should have no other sort of merit to recommend it.

A
PINDARICK ODE
ON
PAINTING.