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Aaron Hill is usually recognized because of others' achievements, not his own. He is probably better known as one of Alexander Pope's targets in the Dunciad than for his own poetry. So, too, his role in the development of the periodical or the critical essay is obscured by the essays of his friend Sir Richard Steele. Similarly, in the history of eighteenth-century drama or theater management, one finds Hill overshadowed by Henry Fielding and David Garrick. Even Dorothy Brewster in her 1913 study of Hill added to the growing list of figures who stand out more clearly than he does. While she increased our understanding of the eighteenth-century impresario, she also offered a valuable perspective when she wrote: "Those who have written in recent years of Richardson and Fielding, of Pope and Thomson and Savage, have found Hill in their path." One might in all fairness ask, if others in the eighteenth century did all that Hill did--and did it better--why bother with him at all"
Brewster has already offered one answer: Hill is worth our attention because he was significant to others who better stood the test of time.
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