Copy of Christmas classic for sale at auction house

Copy of Christmas classic for sale at auction house https://t.co/H8SUDeYD3V

— Scott Norsworthy 🇺🇸 (@Melvilliana) December 10, 2024

 

Chilton copy, found!

“There it is, the beginning of the modern Christmas” - read more about the story of this handwritten version of “A Visit From St. Nicholas” in the New York Times: https://t.co/a3jVI6bGz5

— Christie's Books (@ChristiesBKS) December 6, 2024

The Night Before Christmas (Cartoon) 1968

Toast to Southey by T. Romeyn Beck

 

Happy Saint Nicholas Day! On December 6, 1836 an intoxicating array of toasts were drunk at the annual banquet of the St. Nicholas Benevolent Society in Albany, NY; held that year at Congress Hall. Herman Melville, age 17, had recently re-enrolled at the Albany Academy when his… pic.twitter.com/QoxAWAEgKA

— Scott Norsworthy 🇺🇸 (@Melvilliana) December 6, 2024

Ovid's influence in "After the Pleasure Party"

This volume of PQ has the article by Walter Sutton, "Melvillle's 'Pleasure Party' and the Art of Concealment" in the July 1951 issue at pages 316-327. Discusses classical influences including (besides Plato and Aristophanes) the verse letter of "Sappho to Phaon" by Ovid in the…

— Scott Norsworthy 🇺🇸 (@Melvilliana) November 26, 2024

CORRECTION

Walter Sutton wrote the article titled "Melville's 'Pleasure Party' and the Art of Concealment" in Philological Quarterly Volume 30 Issue 3 (July 1951) pages 316-327. 

https://archive.org/details/sim_philological-quarterly_1951-07_30_3/page/316/mode/2up

WALTER not William. 

Cincinnati ENQUIRER review, Melville's 1857-8 lecture on "Statues in Rome"

As advertised, at 8 o'clock on Tuesday evening, February 2, 1858 Herman Melville gave his "Statues in Rome" lecture at Smith & Nixon's Hall in Cincinnati, Ohio. Contemporary newspaper accounts of Melville's lecture including the one transcribed herein were collected by researchers in the 1940's and '50's and incorporated in the reconstructed text offered by Merton M. Sealts, Jr. in Melville as Lecturer (Harvard University Press, 1957). Based on the prior work of Sealts, a composite version of "Statues in Rome" is presented with similarly reconstructed texts of Melville's two other lectures on the South Seas and Traveling in The Piazza Tales and Other Prose Pieces, 1839-1860, edited by G. Thomas Tanselle, Harrison Hayford, and Hershel Parker (Northwestern University Press and the Newberry Library, 1987). 

Cincinnati Daily Enquirer - January 30, 1858

A while back I found the previously un-located review of Melville's lecture on "Statues in Rome" in the Cincinnati Daily Times, transcribed on Melvilliana here:

• https://melvilliana.blogspot.com/2024/01/found-cincinnati-daily-times-review-of.html 

Below is my transcription of the review of "Statues in Rome" that appeared in the Cincinnati Daily Enquirer the day after Melville's lecture. Although it is well known to scholars from the clipping saved by family members, and excerpted in Jay Leyda's 1951 Melville Log (Volume 2, pages 590-591) I am prompted to give it here in full after realizing that the text presented as a bad and belated review of the Confidence-Man in Herman Melville: The Contemporary Reviews, edited by Brian Higgins and Hershel Parker (Cambridge University Press, 1995; paperback 2009) page 506 is from the editorial survey of Melville's literary career that introduces this otherwise favorable take on Melville's lecture. 

Talk about poisoning the well!

An earlier and more positive notice of Melville's Confidence-Man had appeared in the same newspaper on April 10, 1857, when the Cincinnati Daily Enquirer was edited by Alexander Walker (1819-1893). 

James J. Faran (1808-1892), co-owner with Washington McLean, was named on the masthead as sole editor when the review of "Statues in Rome," transcribed in full below, appeared in the Cincinnati Daily Enquirer on February 3, 1858. 

Y. M. M. L. Lecture. Herman Melville on "Statues in Rome."

Mr. Herman Melville has been well known for a dozen years past, both in this country and Europe, as the author of a number of tales, the most popular and best of which are stories of the sea, such as "Typee, "Omoo," and "Moby Dick." Of late years, Mr. M. has turned his attention to another species of composition more akin to the modern novel. "Pierre, or the Ambiguities," is an example of this; highly extravagant and unnatural, but original and interesting in its construction and characters. His last production, "The Confidence Man," is one of the dullest and most dismally monotonous books we remember to have read, and it has been our unavoidable misfortune to peruse, in the fulfillment of journalistic duty, a number of volumes through, which nothing but a sense of obligation would have sustained us. "Typee," one of, if not the first of his works, is the best, and "The Confidence Man" the last, decidedly the worst. So Mr. M.'s authorship is toward the nadir rather than the zenith, and he has been progressing in the form of an inverted climax. 

"Fayaway" is the most attractive and best-known character Mr. M. has drawn, and there are few who do not have sentimental recollections of the fair, lithe, graceful Indian girl, with all the instinctive delicacy and refinement and charmfulness, which the highest circles of society often fail to exhibit.

But to Mr. Melville's lecture, which he had often delivered in the cities of the East, and of which report has spoken very favorably. Smith & Nixon's Hall was about two-thirds filled with a highly intelligent and cultivated auditory, when the lecturer, an unremarkable, quiet, self-possessed-looking man, seemingly about thirty-five or six years of age, with  brown hair, whiskers and mustache, bronze complexion, above the medium stature, appearing not unlike the captain of an American merchantman, presented himself before them.

Mr. M. remarked, at the outset, that it might be supposed the only proper judge of statues would be a sculptor; but he believed others than the artist could appreciate and see the beauty of the marble art of Rome. All men admired and were drawn to flowers, though utterly destitute of a knowledge of botany. Burns' description of the daisy was far superior to that of Linnaeus; the world had given its verdict in favor of the poet.

On entering Rome, the visitor was greeted by thousands of statues, who, as representatives of the mighty past, hold out their hands to the present, and made the connecting link of centuries. The lecturer would not linger among the numerous statues of the Seven-hilled City, but hasten to the Vatican. There was Demosthenes, who resembled a modern advocate, face thin and haggard, and his body lean.  The arm that had gesticulated and swayed with its movement the souls of the Athenians, was small and shrunken. He looked as if a glorious course of idleness would be beneficial. Titus had a short, thick figure, and a round face, expressive of cheerfulness, good-humor and joviality; and yet all know how different was his character from this outward seeming. Socrates reminded one of an Irish comedian. Julius Caesar's bust indicated a practical, business-like turn of mind, and gave one the idea that he would make an excellent financier or President of the New York and Erie Railroad. Seneca wore a pinched and weasened appearance; would have made a good pawnbroker, and his semblance was just; but it was well known that he was avaricious and grasping, and dealt largely in mortgages and loans, and drove hard bargains even at that day. Nero was delicate in feature, and resembled a dissipated and fast young man--such as one meets on race-courses. Plato was a Greek Grammont or Chesterfield: his hair was oiled and pomatumed, and carefully parted as a modern belle's. He might have composed his works under the hand of the barber, or a modern valet-de-chambre.

The lecturer stated that five thousand Romans, habited in the costume of the present day, would not, if placed in the Corso, be recognized from our own countrymen.

Tiberius was handsome, was refined, and even pensive in expression. A lady had remarked in the lecturer's hearing: "Why, he does not look so bad." Had he looked badly, he would not have been Tiberius. He was melancholy without pity, and sensitive without affection. He was, perhaps, the most wicked of men. The Apollo was so wonderful a creation that it was impossible to give any idea of its sublimity; all admired, all were attracted to it; it was almost worshipped by every one who came within its presence. Visitors looked at it in silence and in awe. There seemed to be in the Apollo something that answered the divine longings of our nature, and which Faith told us could not be gratified on earth. The Venus--which was at Florence--was lovely, beautiful, but far less great than the Apollo. She was exceedingly refined, delicious in everything; but she was of the earth and Apollo was divine. The Laocoon was grand and impressive, and gained half its significance from its symbolism--the fable that it represented--humanity struggling with destiny. Otherwise it would be no more that [than] Paul Potter's "Boar Hunt" at Amsterdam.

The lecturer spoke in fervid and eloquent terms of the influence of the statues of Rome; of the delight they inspired and the instruction they furnished. They were the works of visionaries and dreamers, but they were realizations of soul, the representatives of the ideal. They were grand, beautiful and true, and they spoke with a voice that echoed through the ages. Governments had changed; empires had fallen; nations had passed away; but these mute marbles remained--the oracles of time, the perfection of art.

We boasted much of our progress, of our energy, of our achievements; but did all our triumphs equal those of the horses and divinities that stood there silent, the incarnations of grandeur and of beauty? The ancients lived while those statues endured, and seemed to breathe inspiration through that world, giving purpose, shape and impetus to what was created high, or grand, or beautiful. While the Colosseum stands, will Rome; and when Rome falls, the world.

We have no space to refer to all that Mr. Melville mentioned, but must say that his lecture, occupying nearly two hours in delivery, was exceedingly interesting and eloquent, abounding in admirable specimens of such word-painting as his best works contain. His discourse was classic and beautiful, and by far the best that has yet been delivered this season before the Library.

His delivery was, in some respects, agreeable, but not in others--it was monotonous and often indistinct, but not devoid of impressiveness, which sometimes approached the ministerially solemn. 

Related posts:

• Early notice of Melville's CONFIDENCE-MAN in the Cincinnati ENQUIRER
  https://melvilliana.blogspot.com/2024/11/early-notice-of-melvilles-confidence.html

• Found! Cincinnati Daily Times review of Melville's 1858 Statues in Rome lecture
  https://melvilliana.blogspot.com/2024/01/found-cincinnati-daily-times-review-of.html

• Can Art not life make the Ideal?
  https://melvilliana.blogspot.com/2015/02/can-art-not-life-make-ideal-herman.html

• Statuary of Rome, Melville's 1857 lecture in Boston https://melvilliana.blogspot.com/2019/10/statues-in-rome-lecture-boston-bee.html

Early notice of Melville's CONFIDENCE-MAN in the Cincinnati ENQUIRER, edited by Alexander Walker

A Mississippi River Landing
via The New York Public Library Digital Collections

This favorable notice of The Confidence Man: His Masquerade in the Cincinnati Daily Enquirer for April 10, 1857 is not reprinted or listed in Herman Melville: The Contemporary Reviews, edited by Brian Higgins and Hershel Parker (Cambridge University Press, 1995; paperback 2009). Contemporary Reviews on page 506 does give the negative evaluation that appeared the next year in the Cincinnati Daily Enquirer (February 3, 1858) trashing Melville's Confidence-Man as "one of the dullest and most dismally monotonous books we remember to have read." Although the editors of Contemporary Reviews do not indicate where they got it, the dismissive treatment of the Confidence-Man as the worst of Melville's increasingly bad books after Typee and Omoo, forms a kind of editorial preface to a longer review of Melville's 1858 lecture on Statues in Rome.

The earlier, more positive notice in the Cincinnati Enquirer commends the Confidence-Man as a "graphic" display of the social "amusement and fun" to be had when travelling by steamboat "on the Western Rivers." Found on newspapers.com and transcribed below.

Cincinnati Daily Enquirer - April 10, 1857

Book Notice.

THE CONFIDENCE MAN. By Herman Melville, author of "Omoo," "Typee," &c. New York: Dix, Edwards & Co. For sale by L. Danforth. Cincinnati: Rickey, Mallory & Webb.

Mr. Melville is known by the sketches of travel and adventure among the islands of the Pacific, to which he owes his earliest fame. In the work before us he has selected a home scene. The volume opens at St. Louis, and describes the incidents of a voyage down the Mississippi River. The author exhibits, with graphic accuracy, the peculiarities of some of those eccentric originals so often encountered on that frequent route of travel, with whom confinement on board the same steamer for days makes more or less of social intercourse a necessity, if it were not commonly, as in fact it is, a source of very great amusement and fun. The truth of this will be readily assented to by those who are familiar with steamboat travel on the Western Rivers, and none can finish the perusal of this volume without craving a practical relish of the entertainment it affords. 

10 Apr 1857, Fri The Cincinnati Enquirer (Cincinnati, Ohio) Newspapers.com

Very likely the change from mild praise to outright disdain for Melville's Confidence-Man in the pages of the Cincinnati Daily Enquirer from April 1857 to February 1858 reflects the change of editors during the same period of time. 

When the first notice of the Confidence-Man appeared on April 10, 1857, Virginia born lawyer and journalist Alexander Walker (1819-1893) aka "Judge" Walker had been editing the Cincinnati Daily Enquirer for two years. Walker was already the author of Jackson and New Orleans (New York: J. C. Derby, 1856). During the Civil War, the New York Times ("Affairs in New Orleans," September 11, 1862) would grudgingly acknowledge the ardent secessionist and influential editor of the New Orleans Delta as "one of the ablest writers and literary men the Southwest has produced." At that time, after the capture of New Orleans, Walker was still in prison, being held with other civilian detainees at Fort Massachusetts on West Ship Island, Mississippi.

New Orleans Daily Picayune - January 25, 1893

Near the end of August 1857, the Cincinnati Enqurier was jointly acquired by Washington McLean and former owner-editor James John Faran (1808-1892). Faran served as mayor of Cincinnati in 1855-1857, when Walker was editor of the Enquirer. 

The masthead named James J. Faran as chief editor of the Cincinnati Daily Enquirer when the review of Melville's lecture on "Statues in Rome" appeared on February 3, 1858, prefaced by a survey of Melville's books which estimated his last work the Confidence-Man as "decidedly the worst." 

Related post:

• Cincinnati ENQUIRER review, Melville's 1857-8 lecture on Statues in Rome https://melvilliana.blogspot.com/2024/11/cincinnati-enquirer-review-melvilles.html