Subjects, Religious and Moral was printed in 11 editions until 1816. In 1778, the African-American poet Jupiter Hammon wrote an ode to Wheatley ("An Address to Miss Phillis Wheatley"). His master Lloyd had temporarily moved with his slaves to Hartford, Connecticut, during the Revolutionary War. Hammon thought that Wheatley had succumbed to what he believed were pagan influences in her writing, and so his "Address" consisted of 21 rhyming quatrains, each accompanied by a related Bible verse, that he thought would compel Wheatley to return to a Christian path in life. In 1838 Boston-based publisher and abolitionist Isaac Knapp published a collection of Wheatley's poetry, along with that of enslaved North Carolina poet George Moses Horton, under the title Memoir and Poems of Phillis Wheatley, A Native African and a Slave. Also, Poems by a Slave. Wheatley's memoir was earlier published in 1834 by Geo W. Light but did not include poems by Horton. Thomas Jefferson, in his book Notes on the State of Virginia, was unwilling to acknowledge the value of her work or the work of any black poet. He wrote:Misery is often the parent of the most affecting touches in poetry. Among the blacks is misery enough, God knows, but no poetry. Love is the peculiar oestrum of the poet. Their love is ardent, but it kindles the senses only, not the imagination. Religion indeed has produced a Phyllis Whately but it could not produce a poet. The compositions published under her name are below the dignity of criticism. Style, structure, and influences on poetry Wheatley believed that the power of poetry was immeasurable. John C. Shields, noting that her poetry did not simply reflect the literature she read but was based on her personal ideas and beliefs, writes: "Wheatley had more in mind than simple conformity. It will be shown later that her allusions to the sun god and to the goddess of the morn, always appearing as they do here in close association with her quest for poetic inspiration, are of central importance to her."This poem is arranged into three stanzas of four lines in iambic tetrameter, followed by a concluding couplet in iambic pentameter. The rhyme scheme is ABABCC. Shields sums up her writing as being "contemplative and reflective rather than brilliant and shimmering." She repeated three primary elements: Christianity, classicism, and hierophantic solar worship. The hierophantic solar worship was part of what she