"To S. M. a young African Painter, on seeing his Works" Phillis Wheatley Tonya Howe Transcription, correction, editorial commentary, and markup Students of Marymount University James West Amy Ridderhof National Endowment for the Humanities Literature in Context
Marymount University Department of Literature and Languages 2807 N. Glebe Road Arlington, VA 22207 thowe@marymount.edu lic.open.anthology@gmail.com
Published by Literature in Context under a Creative Commons Attribution-ShareAlike 4.0 Unported License "To S. M. a young African Painter, on seeing his Works" Phillis Wheatley Poems on Various Subjects, Religious and Moral London Printed for A. Bell bookseller, Aldgate 1773 Page images are sourced from two copies of the first edition housed in the Library of Congress. Ann Arbor, MI University of Michigan Humanities Text Initiative 1999 Online SGML text from the University of Michigan HTI. SGML markup edited to conform to LiC parameters, including changes to element and attribute case, ligatures, and other special html characters. [9],124p., 18cm pp 114-115 English print single poem

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To S. M.

According to Africana: The Encyclopedia of the African and African American Experience, Scipio Moorhead was an enslaved artist, principally known for his painting of Phillis Wheatley, which became the basis for the frontispiece to her 1773 collection of poems. The frontispiece is included in this database. While no signed paintings by Moorhead survive, this poem by Wheatley may describe two of his works. Moorhead was owned by the Presbyterian minister John Moorhead of Boston and was likely tutored by Sarah Moorhead (Appiah and Gates 62).

 a young African Painter, on seeing his Works. TO show the lab'ring bosom's deep intent, And thought in living characters to paint, When first thy pencil did those beauties give, And breathing figures learnt from thee to live, How did those prospects give my soul delight, A new creation rushing on my sight? Still, wond'rous youth! each noble path pursue, On deathless glories fix thine ardent view: Still may the painter's and the poet's fire To aid thy pencil, and thy verse conspire! And may the charms of each seraphic theme Conduct thy footsteps to immortal fame! High to the blissful wonders of the skies Elate thy soul, and raise thy wishful eyes. Thrice happy, when exalted to survey That splendid city Wheatley refers to the heavenly city of "New Jerusalem," described in Revelation 21. As many scholars have noted, Christianity offered a not uncomplicated narrative of salvation and hope that was particularly resonant for the enslaved. She continues this metaphor of future bliss crowning current woe throughout this and other poems; see, for instance, lines 23-28, below., crown'd with endless day, Whose twice six gates on radiant hinges ring: Celestial Salem blooms in endless spring. Calm and serene thy moments glide along, And may the muse inspire each future song! Still, with the sweets of contemplation bless'd, May peace with balmy wings your soul invest! But when these shades of time are chas'd away, And darkness ends in everlasting day, On what seraphic pinions shall we move, And view the landscapes in the realms above? There shall thy tongue in heav'nly murmurs flow, And there my muse with heav'nly transport glow: No more to tell of Damon's tender sighs Damon is a typical name for a male lover in pastoral poetry, poetry that imagines romantic conflicts in bucolic or country settings. Wheatley frequently both references and draws on classical pastoral poetry throughout her Poems. For a deeper reading of Wheatley's use of the pastoral, see John C. Shield's scholarly essay, "Phillis Wheatley's Subversive Pastoral." , Or rising radiance of Aurora's eyes In Greco-Roman mythology, Aurora (called Eos in the Greek) personifies the dawn., For nobler themes demand a nobler strain, And purer language on th' ethereal plain. Cease, gentle muse! the solemn gloom of night Now seals the fair creation from my sight.