lingered over a landscape "according to whether it fulfilled or not his 'picturesque rules', the topographical poet chose his subject by its ability to furnish him with apt images to 'moralize'." Later still, Rachel Trickett exposed the "innate absurdity" of the supposition "that the technique Dyer acquired as a painter could be reproduced with a kind of transliterated accuracy in language." Furthermore, it is a legitimate part of the poet's role to comment and "Dyer does in fact make a distinction between the visual and the perceptual by separating his passages of description and of moralizing". Tributes Verse tributes to “Grongar Hill” have been somewhat oblique. The second stanza of the young William Combe’s “Clifton” names as among the forerunners of his own prospect poem Pope's “Windsor Forest”; the “gentle spirit…who hail’d on Grongar Hill the rising sun”; and Henry James Pye’s “Faringdon Hill”. Later Combe was to avenge William Gilpin's insult to Dyer's poem by caricaturing his work in The Tour of Dr Syntax in Search of the Picturesque. Another youthful tribute to Dyer's poem occurs at the start of Coleridge's undergraduate squib “Inside the coach” (1791), which parodies the opening lines. In place of Dyer's “Silent Nymph with curious eye! Who, the purple ev'ning, lie”, he invokes the “Slumbrous God of half-shut eye! Who lovest with limbs supine to lie” (lines 5–6) as he vainly seeks rest on a night journey. During the 19th century there were two translations of Dyer's celebration of the Welsh countryside at the tail end of the Welsh literary renaissance. The first was the “Duoglott Poem, faithfully imitated” as Twyn Grongar by Rev. Thomas Davies in 1832. A second, Bryn y Grongaer, was written by William Davies (1831–1892) under his bardic name of Teilo. The site itself was painted early in the century by Henry Gastineau and later appeared as a woodcut in Wales Illustrated (1830). Although the poem was frequently anthologised, it did not appear as an individual work (apart from in the Welsh duoglott translation) until the scholarly edition of C. Boys Richard (Johns Hopkins Press, 1941). This was accompanied by a topographically incorrect woodcut taken from Dodsley's 1761 collection of Dyer's poems showing a riverside mansion at the steep foot of a castled hill. There were, however, several limited small press editions. These included the hundred copies from the Swan Press (Chelsea) in 1930; one illustrated with woodcuts by Pamela