Aaron Hill
Discover the life and work of Aaron Hill (1685–1750), an English poet, dramatist, librettist, and editor. Explore his biography, major writings, controversies, and his place in 18th-century letters.
Introduction
Aaron Hill (10 February 1685 – 8 February 1750) was a versatile figure in early 18th-century English literature: poet, dramatist, librettist, editor, and literary entrepreneur. Although his reputation has not remained as strong as some of his contemporaries, Hill’s activities shaped theatrical life, introduced adaptations of Continental drama, and engaged with issues of literary criticism and authorship.
His life is marked by ambition, experimentation, occasional failure, and a persistent belief in the social and moral purpose of letters.
Early Life and Education
Hill was born in London, in the Strand area, as the eldest surviving son of George Hill of Malmesbury, Wiltshire.
He received early schooling at Barnstaple grammar school, then at Westminster School in London. East (notably Constantinople / Ottoman Empire), under the patronage of a relative (Lord Paget) who was British ambassador there. A Full and Just Account of the Present State of the Ottoman Empire (1709).
These early travels helped shape his outlook and gave him a broader view of culture, power, and letters beyond Britain.
Literary and Theatrical Career
Theatre, Opera, and Libretti
At a relatively young age, Hill immersed himself in theatrical ventures. By his mid-20s he was manager of the Theatre Royal, Drury Lane. Handel’s opera Rinaldo in London, contributing a version of the libretto (though the precise extent of his input is debated).
Hill also produced or adapted dramatic works. For instance, his tragedy Elfrid, or The Fair Inconstant (1710), set in Saxon England, was one of his earlier theatrical successes. Zara (1736) and Mérope (1749), translating them into English versions for the stage.
However, Hill’s theatrical ventures were uneven in success—some projects floundered, and his managerial ambitions often outpaced sustainable returns.
Poems, Essays, and orial Work
In addition to drama and opera, Hill wrote poetry, though critics often regard his poetic output as of “variable quality.” The Poet’s Importance, a lyric in heroic couplets which arguesthe lofty role of poets (e.g. “Poets … Like suns … roll, immortal, o’er the wastes of time”).
He also launched and edited periodicals: The Plain Dealer (1724–1727) and The Prompter (1734–1736) among them.
Hill corresponded with contemporaries like Alexander Pope (with whom he had a rivalry over literary criticism), Samuel Richardson, and others. He was satirized by Pope in The Dunciad but later relations improved.
He also attempted several commercial and speculative enterprises—many of which failed. His ambition and energy often outstripped the financial results.
Personal Life & Later Years
In 1710 Hill married Margaret Morris (1694–1731).
Hill died on 8 February 1750 in London, and was buried in the west cloister of Westminster Abbey, alongside his wife (she had been buried earlier).
After his death, a posthumous collection The Works of the Late Aaron Hill (4 vols) was published (1753).
Literary Style, Themes & Criticism
Hill’s writing is ambitious and earnest. He often sought to assert that literature and drama had moral and public function. His dramatic adaptations aimed at bringing continental ideas into English theatrical culture.
However, his poetry has been criticized as uneven: some pieces are spirited and attractive, others overly ornate or forced. His engagements in rivalry (with Pope) and editorial ventures suggest a man sensitive to prestige, recognition, and influence.
His work on The Poet’s Importance reflects his view of poets as enduring figures who transcend mortality and shape fame over time. (Lines like “They roll, immortal, o’er the wastes of time” make explicit the poet’s aspiration).
He also displayed generous patronage toward younger writers, such as John Dyer, Eliza Haywood, David Mallet, James Thomson, and Edward Young.
Selected Works
Some notable works associated with Aaron Hill:
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A Full and Just Account of the Present State of the Ottoman Empire (1709) — non-fiction travel / cultural writing.
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Elfrid, or The Fair Inconstant (1710) — tragedy in the London theater.
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The Walking Statue; Or, the Devil in the Wine Cellar (1710) — a farce authored by Hill.
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Zara (1736) — adaptation from Voltaire’s Zaïre.
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Mérope (1749) — adaptation of Voltaire’s Mérope.
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The Plain Dealer (periodical, 1724–1727) & The Prompter (1734–1736) — his editorial ventures.
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The Progress of Wit (1730) — response to literary criticism and his controversy with Pope.
Legacy & Significance
Aaron Hill is not remembered today as one of the towering poetic geniuses of his age, but as a literary entrepreneur whose varied efforts exemplify the dynamic, transitional nature of early 18th-century British letters.
His significance lies in:
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Bridging English and Continental drama through his adaptations.
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Advocating for the public and moral dimension of literature.
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Supporting younger writers and sustaining literary networks.
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Engaging in early periodical culture and criticism.
His life also illustrates the perils and excitement of literary ambition: many schemes failed, yet he persisted in literary work, critique, and dramaturgy to the end.