y Grizel's songs, originally
appeared in _Orpheus Caledonius_ (1725).

_Memoirs of the Lives and Characters of the Right Hon. George Baillie of
Jerviswood and Lady Grisell Baillie, by their daughter, Lady Murray of
Stanhope_, were printed in 1822. George Baillie's _Correspondence_
(1702-1708) was edited by Lord Minto for the Bannatyne Club in 1842. "The
Legend of Lady Grizelda Baillie" forms one of Joanna Baillie's _Metrical
Legends of Exalted Character_.

BAILLIE, JOANNA (1762-1851), British poet and dramatist, was born at the
manse of Bothwell, on the banks of the Clyde, on the 11th of September
1762. She belonged to an old Scottish family, which claimed among its
ancestors Sir William Wallace. At an early period she moved with her sister
Agnes to London, where their brother, Dr Matthew Baillie, was settled. The
two sisters inherited a small competence from their uncle, Dr William
Hunter, and took up their residence at Hampstead, then on the outskirts of
London, where they passed the remainder of their lives. Joanna Baillie had
received an excellent education, and began very early to write poetry. She
published anonymously in 1790 a volume called _Fugitive Verses_; but it was
not till 1798 that she produced the first volume of her "plays on the
passions" under the title of _A Series of Plays_. Her design was to
illustrate each of the deepest and strongest passions of the human mind,
such as hate, jealousy, fear, love, by a tragedy and a comedy, in each of
which should be exhibited the actions of an individual under the influence
of these passions. The first volume was published anonymously, but the
authorship, though at first attributed to Sir Walter Scott, was soon
discovered. The book had considerable success and was followed by a second
volume in 1802, a third in 1812 and three volumes of _Dramas_ in 1836.
_Miscellaneous Plays_ appeared in 1804, and the _Family Legend_ in 1810.
Miss Baillie herself intended her plays not for the closet but for the
stage. The _Family Legend_, brought out in 1810 at Edinburgh, under the
enthusiastic patronage of Sir Walter Scott, had a brief though brilliant
success; _De Monfort_ had a short run in London, mainly through the acting
of John Kemble and Mrs Siddons; _Henriquez_ and _The Separation_ were
coldly received. With very few exceptions, Joanna Baillie's plays are
unsuited for stage exhibition. Not only is there a flaw in the fundamental
idea, viz. that of an individual who is t