At sixteen she married Mr. James Philips, Esquire, of Cardigan Priory, Wales. Her published work includes numerous brief poems, most of them of a personal nature, two plays translated from the French, and several letters to Sir Charles Cotterell. This is rather scanty productivity to serve as a basis for the great vogue Mrs. Philips certainly had, nor to the modern reader does the quality of the work sufficiently account for the enthusiasm it excited. Yet we have abundant testimony that the last ten years of her life were made brilliant by praise from the most authoritative sources. Sir Charles Cotterell, her intimate friend and the editor of her _Works_, said of her: "We might well have call'd her the English Sappho, she of all the Poets of former Ages, being for her Verses and her Virtues both, the most highly valued; but she has call'd herself ORINDA, a name that deserves to be added to the Muses, and to live with honour as long as they. Were our language as generally known to the world, as the Greek and Latin were anciently, or as the French is now, her Verses could not be confined within the limits of our Islands, but would spread themselves as far as the Continent has Inhabitants, or as the Seas have any Shore." Something must be allowed here for the enthusiasm of a friend and an editor, but other estimates were almost as extreme. The Earl of Orrery had thought that the high praise of her poems at court must be exaggerated, but when he came to know her and her writings the court eulogies were to him but "Imperfect Trophies," and he exclaimed, "If there be Helicon, in Wales it is." Henry Lawes and Dr. Coleman, the best composers of the day, set some of her poems to music. Cowley in two poems to her praised her for her spirit "so rich, so noble, and so high," her "inward Virtue," her "well-knit Sence," and for her poems in which were united all the excellences of both sexes. When her translation of _Pompey_ appeared in the Smock-Alley Theater, Dublin, the Earl of Roscommon wrote the Prologue and Sir Edward Dering the Epilogue, and the success of the play was assured by the enthusiastic support of the aristocracy of Dublin. In 1659 Jeremy Taylor dedicated to her his _Discourse of the nature, offices and measures of friendship_. Though she does not exactly fulfill the prophecy of Mr. Thomas Rowe, that "Orinda should be an ever-glorious name to ages yet to come," yet her fame was by no means confined to her own brief day. We hear echoes of it far down in the eighteenth century. The highest praise that could be given to any woman poet was to bracket her with Orinda. By the nineteenth century her vogue was almost extinct, but chance appreciation came from an unexpected quarter. Keats wrote to Reynolds in September, 1817:[108]