Friday, August 28, 2020

Saints as Syrens



Read at the École Biblique, Jerusalem on Friday, June 19, 2009 during the Seventh International Melville Conference, Melville and the Mediterranean


SAINTS AS SYRENS:

THE OLD FAITH AND MELVILLE’S NEW MYTHOPOEIA


When the saints go marching in Clarel (1876) they exemplify the bravery of unbounded, unsophisticated faith—a heroism of credulity, as it were—and affirm the catholicity of Melville’s aesthetic vision. The Roman Catholic bent is pronounced, as William Ellery Sedgwick found (213-17), and structural, in that the “poem-pilgrimage” happens, as Hilton Obenzinger has reminded us, in liturgical time (76). The favorable treatment of Catholicism is examined by William Potter as part of Melville’s larger fascination with “the intersympathy of creeds.” In a similar vein, Brian Yothers credits the sympathy for Catholicism, which for conservative Protestants in Melville’s day could still mean Sympathy for the Devil, as the impetus for the “broader consideration of religious pluralism” in Clarel. The high regard “for saints and icons” has been recognized by Vincent Kenny (140), and Joseph G. Knapp notices the “special fondness for Catholic saints” in Melville’s correspondence (99).

But no critic elaborates Melville’s affinity for saints as charmers, most obvious in versified views of Saints Louis, Francis, and Cecilia, and warm praise for virgin martyrs. Nehemiah is a “saint” but no siren. Even granting his credentials as a venerable wanderer, his lonely evangelism converts nobody. Catholic saints are the dangerous ones. Their seductive charms for a wayward Protestant like Rolfe (or Melville) are cheerfully confessed when Derwent the Anglican priest compares virgin saints to the sirens of classical mythology. Through Derwent, Melville contemplates a bold project of mythopoeia or “myth-making” in recommending Catholic “legends” as “the poet’s second mine,” a new treasure trove (better than the old Greek myths) awaiting versifiers in the sweet, non-sectarian future.

The French Biblical School makes a fitting place to consider Melville in relation to what he appreciatively called “the Old Faith.” Here we are doubly indebted to Dominicans: first, for the hospitality of this important center of Catholic biblical scholarship; and second, for the example of Henri–Dominique Lacordaire (1802-1861), who in the early 1840’s revived the formerly banned Dominican order in France. Melville’s sympathetic portrait of the Dominican in Clarel as “A champion of true liberty” draws heavily on the life and times of Father Lacordaire, memorialized by one biographer as “the tried champion of popular liberty” (Greenwell 130). As Dennis Berthold has suggested, the Dominican’s confidence in Rome oddly defies new strictures on the political authority of the Pope in recently unified Italy (359-366). And yet, the historical incongruity nicely registers the influence of Lacordaire, who died nearly a decade before the 1870 annexation of Rome. Lacordaire’s earlier activism in the cause of religious freedom, his memorable election in 1848 to the French National Assembly, his eloquence in the pulpit of Notre Dame, and even his rumored “austerities” in the exercise of monastic self-discipline—all widely reported in contemporary sources—gave Melville ample material for his characterization of the “Disinterested, earnest, pure / And liberal” exponent of Roman Catholicism.

What draws the Dominican into the narrative action of Clarel is a song, Ave maris stella, “Hail, thou Star of Ocean.” Rolfe leads off the Vespers hymn to Mary, in observance of a pilgrim rite at the Jordan River. Derwent and Vine join in. Hearing the hymn in three-part harmony, the Dominican strolls over for what Larry David would call a “stop and chat.” The French guest gets a canto (2.25) to make his case as a “staunch Catholic Democrat” for Roman orthodoxy: Catholicism appeals to the heart and offers supremely adaptable and enduring modes of consolation to suffering humans when protestant reform, scientific rationalism, and revolutionary politics fail to comfort.

After the “new St. Dominick” leaves, the long talk “Of Rome” (2.26) between Rolfe and Derwent elicits Derwent’s admiration for Catholic saints―especially “sainted virgin ones.” He pictures the virgin martyrs as temptresses, “syrens” more captivating than fabled sea nymphs like Parthenope whose sweet songs lured mariners to destruction (lines 71-72). But Derwent fears not the siren’s snare of Catholicism. Securely lashed to his liberal theology, the Anglican priest esteems miracle tales for their aesthetic merits, devoid of dogma:
Her [Rome’s] legends—some are sweet as May;
Ungarnered wealth no doubt is there....
When much that sours the sects is gone,
Like Dorian myths the bards shall own—
Yes, prove the poet’s second mine. (Clarel 2.26:86-93)
Although Derwent never precisely defines “legends,” the context suggests the genre of saints’ lives, conventionally termed legendaries. His enthusiasm for saints’ lives as a literary goldmine is Melville’s. Writing to his brother-in-law on “Saturday in Easter Week” 1877, Melville praised “legends of the Old Faith” as “really wonderful both from their multiplicity and their poetry” (Correspondence 452). To illustrate, he commended the biography of St. Elizabeth of Hungary by the Count of Montalembert, the same “book of the sainted queen” which he had presented in October 1875 to his cousin Kate.

Derwent’s notion of Catholic legends as the “second mine” of future poetry likely derives from this passage in the introduction, as translated by Mary Anne Sadlier:
With regard to poetry, it would be difficult to deny that [popular religious traditions] contain an inexhaustible mine….a source of poetry infinitely more pure, abundant, and original, than the worn-out mythology of Olympus. (Life of Saint Elizabeth, pages 88-89)
Along with the mine metaphor, Melville was impressed by the critique of “worn-out” Greek myths. Absent the scorn, Montalembert’s comment underlies Melville’s idea that for “multiplicity” and “poetry,” legendaries like the Life of St. Elizabeth “far surpasses the stories in the Greek mythologies” (Correspondence 452). Montalembert’s long introduction, an effusive overview of religion, politics, and art in the thirteenth-century, repeatedly extols the poetry in saints’ lives. By “poetry” he means chiefly the imaginative, romantic display of “charming incidents, illustrative of all that is freshest and purest in the human heart” (84). Replete with “ineffable sweetness” (90), tales of saintly bravery and piety reflect “the implicit faith” held by Christians of every class in medieval Europe. Nevertheless, the poetic charm of saints’ lives is also an inherent quality that exists “independent of their theological value” (88).

More debts to the Life of St. Elizabeth appear in the canto “Huts.” Melville’s main source, unidentified before now, for the ritual separation of lepers in the middle ages is chapter 24 on the heroine’s poverty and spiritual development. Elizabeth grew in humility and mercy through her irrepressible devotion to the poor and sick, lepers above all others. As Montalembert explains (296), believers in those days identified the leper with Christ on the authority of Isaiah 53:4: “…we have thought him as it were a leper, and as one struck by God and afflicted.” Melville adapts the verse and its medieval Christian exegesis in saying that Jesus “as a leper was foreshown” (1.25: 27).

From the solemn liturgy for the exile of lepers as described by Montalembert (294-298), Melville appropriated the Mass for the Dead, procession to the leper’s assigned dwelling place, ritual blessing of household utensils, and consecration of the hut with graveyard dirt. He borrowed the priest’s admonition, “Be thou dead to the world, living again to God,” as well as the closing benediction and provision of the leper’s hut with cross and alms-box. Melville’s “chance citation” (1.25: 79) of Sybella, sister to King Baldwin III of Jerusalem, again mimics Montalembert, who cited Sybella as a medieval “heroine of charity” for her saintly ministrations to the lepers of Palestine (297).

In focused takes on saints, Clarel further explores the possibilities for poetry mined from Catholic legends. St. Louis and St. Francis receive the most significant attention. Louis IX (1214-1270) of France, thirteenth-century king and crusader, was legendary for lifelong piety. We might find more to mourn than praise in some deeds of the historical Louis, who oppressed Jews to war on Islam. His two crusades were both disasters in deserts. Ironically, however, the spectacular failures of Louis in Africa heighten his appeal for Melville as a figure of the hapless enthusiast. Rolfe, wanting the confidence to journey through the Judean wasteland, invokes St. Louis as an icon of blind faith in blank places: “King, who betwixt the cross and sword / On ashes died in cowl and cord … St. Louis! rise, / And teach us out of holy eyes / Whence came thy trust.” In ten lines Melville glosses the archetypal virtues of Louis: his humility, symbolized by the monastic garb of “cowl and cord”; his courageous heart, seemingly undaunted by suffering; and his childlike trust, baffling in the face of unrelieved misery (2.13: 1-10).

Francis of Assisi (1182-1226) combines the “simple faith” of Louis with charm and love. Devoted spouse of poverty and now patron saint of animals and ecology, Francis lived on alms and preached to the birds, yet somehow reformed his world. Two cantos in book 4 of Clarel focus on St. Francis. In canto 13, the saint illumines Salvaterra, the Franciscan guide in Bethlehem. The noble-looking novice reminds the pilgrims of the young St. Francis (4.13: 176), but his zeal alarms them. Rolfe is pained by visual evidence of Salvaterra’s ascetic lifestyle. That, or his too-fervent belief in miracles also bothers Derwent, who kindly hopes the lad will learn to relax.

In the next Bethlehem canto, Rolfe approves the role of Franciscans as custodians of Christian shrines, justified he argues by the uniquely Christ-like life of the original begging friar:
Through clouds of myth investing him--
Obscuring, yet attesting him,
He burns with the seraphic glow
And perfume of a holy flower.
Sweetness, simplicity, with power! (Clarel 4.14: 69-73)
Melville’s phrase seraphic glow alludes to the reception of the stigmata as related in Bonaventure’s early Life of St. Francis. As Francis prayed on a mountain side for a physical experience of the crucifixion, his devotions became so heated they produced a “seraphic glow of longing” that transported him skyward (Salter 138). The crucified Jesus appeared to Francis in the likeness of an angel who imprinted on his body the five wounds of Christ’s Passion.

“Perfume” like “seraphic glow” marks the saint. But positive proofs of sainthood may overwhelm the mundane subject in divine attributes, “obscuring” the historical person while “attesting” the saint. Myths are all we know, “clouds of myths” to which Melville through Rolfe contributes. In times of spiritual dearth, as Northrop Frye argued, “poets have to hammer out their own archetypes…. hence the whole tradition of recreated mythology” (91). Here, myths that hallow Francis blur his ordinary humanness but confirm his best and most exemplary charms as Melville recreated them: “Sweetness, simplicity, with power!”

Derwent perceives the sweet humility of Francis as a feminine weakness, unbecoming in a “manly” man. Rolfe exalts the supposedly feminine side of Francis as entirely Christ-like. Derwent’s objection to sweet St. Francis betrays a gender bias or double-standard that Rolfe does not share, and forces Rolfe to defend compassion, sensitivity, and yielding love as redeeming Christian virtues. Rolfe rightly fears his case for Christian charity will seem “too orthodox” in its assumption of sinful human nature (4.15: 108). Rather than hear Rolfe preach on innate depravity, Derwent changes the subject. Still, Rolfe’s tribute to the “sweetness” of St. Francis echoes Derwent’s springtime simile, “sweet as May,” even if its inventor meant exclusively to honor women saints.

Of the women Cecilia enjoys the status of a favorite in Melville’s private calendar of saints. In Italy he had seen Raphael’s St. Cecilia, and he read and marked high critical praise for the painting in travel narratives, as Douglas Robillard has shown. And, as Robert K. Wallace reports, Melville owned a print of Cecelia after Domenichino. In Clarel Melville glances twice at Cecilia. Her stamped image, enthroned “'Tween angels with a rosy crown,” graces the cover of Rolfe’s hymnal. Attributes of Cecilia also convey the allure of Vine, whose uncanny “charm of subtle virtue” operates like
…that perfumed spell
Of Paradise-flowers invisible
Which angels round Cecilia bred. (Clarel 1.29: 24-26)
Timothy Marr reads these fragrant paradise flowers as a sign of Melville's "islamicist imagination," particularly evoking the cultural fascination with peris as beautiful and otherworldly female spirits. Another source for the scent of unseen “Paradise-flowers” is the section on Cecilia in the second volume of Anna Jameson’s Sacred and Legendary Art. As Jameson relates, Cecilia made a secret vow of chastity before marrying a wealthy Roman named Valerian. After converting and receiving baptism, Valerian found the maiden sanctity of his bride divinely approved by the presence of “an angel, who was standing near her, and who held in his hand two crowns of roses gathered in Paradise, immortal in their freshness and perfume, but invisible to the eyes of unbelievers” (585; emphasis mine). Chaucer’s “Second Nun’s Tale,” another possible source, lacks two words used by Melville, perfume and invisible, that are to be found in Jameson’s prose sketch of Cecilia, the first of “Four Great Virgins of the Latin Church” (along with Agnes, Agatha, and Lucia). Holy fragrance links Cecilia and Francis as bona fide saints, and reveals more than we knew of Melville’s reading in hagiography and art history.

Jameson’s influential study of Christian iconography contains saints’ lives in abundance, with rich treatments of virgin martyrs. But Melville leaves them alone, mostly. “Arm ye, forearm!” warned Derwent, urging Rolfe to beware those virgins, lest their heroism convert him. The allure is real, the response ambiguous. Even Rolfe, the most catholically inclined of the non-Catholic pilgrims, stops short of acceptance. For one thing, outright conversion would terminate his job as philosophical rover, a seeker not a finder. And Rolfe like Melville is enamored of myths and rituals from many cultures and eras, not exclusively Roman Catholic ones. To follow the example of, say Cardinal Newman or Orestes Brownson would be to stop wandering, which truly Melvillean pilgrims never do. Had Melville gone Catholic and systematically devoted himself to writing sonnets on Jameson’s virgin saints he would not be Melville. He would be…

Commander William Gibson, United States Navy (1825-1887). In 1877, just one year after the publication of Clarel (1876), this unsung navy poet quietly turned out nine sonnets collectively titled “The Brides of Christ.” The whole sequence was first published in the Catholic World, and then reprinted with other verses on saints including Francis of Assisi in the 1881 collection, Poems of Many Years and Many Places. Gibson’s major source for sonnets on Dorothea, Cecilia, Agnes, Catherine, Margaret, Barbara, Agatha, Lucia, and Ursula was Jameson’s Sacred and Legendary Art. The cycle offers both the “multiplicity” and “poetry” that delighted Melville in “Legends of the Old Faith.” As Derwent preferred, Gibson keeps the legends “sweet as May,” and remarkably innocent of Church doctrine.

Sweetness, simplicity, with power. Fragrance and fire. These distinguishing features of Rolfe’s feminized aesthetic also distinguish Gibson’s virgin saints. Childlike simplicity defines Agnes and Margaret. The martyred Agnes inherits pastoral “meads of asphodel,” eternally preserving her employment as Christ’s shepherdess: “I lead his lambkins by my lily bell, / Where the pomegranates shade the softest sward.” No virgin saint, says Gibson, is “more meek and mild / Than sweet St. Margaret.” Sweet but strong, too: she’s a “Daisy” who overmastered the dragon Satan. Other “Brides of Christ” blaze, like Francis in Clarel, with fire and fragrance. Dorothea the “little martyr-maid” commissions an angel “with hair like odorous flame” to confound doubters with the fragrant testimony of flowers and fruit from Paradise. Barbara, though “soft as rosy May,” is also the “Christian Bellona,” as terrifying as the Roman goddess of battle. Proving her might, a cannon blast of “instant fire” incinerates her murderous father. Agatha’s power lives on in her veil, a relic strong enough to thwart the destruction of a convent by arresting molten lava in full flow from Mount Etna: “That Red Sea curdled by Saint Agatha!”

Fire and fragrance are again conjoined in “The Ecstasy of St. Theresa,” too daringly erotic perhaps for the Catholic World but appended to “The Brides of Christ” in Gibson’s 1881 volume. Theresa, the foremost of “unworldly yearners” in Clarel (3.1: 14-15), “swim[s] in flowers and flames,” overwhelmed in the sensuality of her longing for Christ as mystical lover. Inspired by the Bernini sculpture in Rome, the sonnet likens the “voluptuous agony” of Theresa’s desire to the yearning “of pagan maidens” for Apollo. Christ as Apollo, and St. Barbara as war goddess creatively associate Classical and Christian ideals, much in the same way that Melville’s Rolfe, as Walter E. Bezanson notes, habitually links Christian traditions with settings and motifs from Greek mythology (NN Clarel 817; 831).

As we have seen, the mythology of Olympus seemed a “worn-out” mine to Montalembert and Derwent after him. Earnestly working that first mine of Greek myths, William Gibson had published some fine longer poems in Harper’s magazine on Persephone, Apollo and the Sibyl, and Empedocles. In Jameson’s sainted virgins, however, he found a “second mine” of poetic inspiration. So Gibson proved Melville right about the literary gold in “Legends of the Old Faith.” When prophesied by Derwent, the new “Era” of verse-making from “the poet’s second mine” was surprisingly imminent. Versified saints’ lives by Commander William Gibson, USN, would triumphantly enact the catholic mythopoeia that Melville projected in Clarel but relinquished to unknown bards and better days.

Works Cited

Bercaw, Mary K. Melville’s Sources. Evanston, Illinois: Northwestern University Press, 1987.

Berthold, Dennis. “‘The Italian turn of thought’: Risorgimento Politics in Clarel.” Nineteenth-Century Literature 59 (December 2004): 340-371.

Frye, Northrop. Northrop Frye’s Notebooks on Romance. Ed. Michael Dolzani. Toronto: University of Toronto Press, 2004.

Gibson, William. “The Brides of Christ.” I. St. Dorothea; II. St. Cecelia; III. St. Agnes. The Catholic World 25 (June 1877): 420-421.

_____. “The Brides of Christ.” IV. St. Catherine; V. St. Margaret; VI. St. Barbara. The Catholic World Volume 25 (July 1877): 556-557.

_____. “The Brides of Christ.” VII. St. Agatha; VIII. St. Lucia; IX. St. Ursula. The Catholic World Volume 25 (August 1877): 701-702.  
_____. Poems of Many Years and Many Places. Boston: Lee and Shepard; and New York: C. T. Dillingham, 1881. 
Goldman, Stan. Melville’s Protest Theism: The Hidden and Silent God in Clarel. DeKalb: Northern Illinois University Press, 1993.

Greenwell, Dora. Lacordaire. Edinburgh: Edmonston and Douglas, 1867.

Jameson, Anna. Sacred and Legendary Art. Third Edition. 2 vols. London: Longman, Brown, Green, Longmans, & Roberts, 1857.

Kenny, Vincent S. Herman Melville’s Clarel: A Spiritual Autobiography. Hamden, Connecticut: Archon Books, 1973.

Knapp, Joseph G. Tortured Synthesis: The Meaning of Melville’s Clarel. New York: Philosophical Library, 1971.

Marr, Timothy. The Cultural Roots of American Islamicism. Cambridge University Press, 2006.

Melville, Herman. Clarel: A Poem and Pilgrimage in the Holy Land. Ed. Harrison Hayford, Hershel Parker, and G. Thomas Tanselle. Evanston and Chicago: Northwestern University Press and the Newberry Library, 1991.

_____. Correspondence. Ed. Lynn Horth. Evanston and Chicago: Northwestern University Press and the Newberry Library, 1993.

Montalembert, Charles Forbes René. The Life of St. Elizabeth, of Hungary. Translated by Mary Hackett. Introduction translated by Mrs. J. Sadlier. New York: Sadlier, 1870.

Obenzinger, Hilton. American Palestine: Melville, Twain, and the Holy Land Mania. Princeton: Princeton University Press, 1999.

Parker, Hershel. Herman Melville: A Biography. 2 vols. Baltimore: Johns Hopkins University Press, 1996 and 2002.

_____. Melville: The Making of the Poet. Evanston, Illinois: Northwestern University Press, 2008.

Potter, William. Melville’s Clarel and the Intersympathy of Creeds. Kent, Ohio: Kent State University Press, 2004.

Robillard, Douglas. Melville and the Visual Arts: Ionian Form, Venetian Tint. Kent, Ohio: Kent State University Press, 1997.

Salter, Emma Gurney, ed. Life of Saint Francis by Saint Bonaventura. London: J. M. Dent, 1904.

Sealts, Merton M. Jr. Melville's Reading: Revised and Enlarged Edition. Columbia: University of South Carolina Press, 1988.

Sedgwick, William Ellery. Herman Melville: The Tragedy of Mind. Cambridge: Harvard University Press, 1944. Reprinted, New York: Russell & Russell, 1962.

Wallace, Robert K. “Melville’s Prints and Engravings at the Berkshire Athenaeum.” Essays in Arts and Sciences 15 (June 1986): 59-90.

Yothers, Brian. “‘Remember Hospitable Rome’: The Allure of Democratic Catholicism in Herman Melville’s Clarel.” Unpublished paper, presented at the 18th Annual Conference of the American Literature Association (Boston, MA), 24 May 2007.

_____. The Romance of the Holy Land in American Travel Writing, 1790-1876. Aldershot, Hants, England and Burlington, Vermont: Ashgate, 2007.
 Related posts:
  • Clarel's name
    https://melvilliana.blogspot.com/2019/11/clarels-name.html

Thursday, August 27, 2020

Melvilliana: Fake News from the Mediterranean

Melvilliana: Fake News from the Mediterranean: Some few weeks after the execution, among other matters under the head of News from the Mediterranean , there appeared in a naval chronicl...

Tuesday, August 25, 2020

Mariah Melville, Lady

Maria Gansevoort Melvill (Mrs. Allan Melvill), c. 1815
Courtesy National Gallery of Art, Washington
As old hands know, the Christian name of Herman Melville's mother Maria Gansevoort Melville (1791-1872) was pronounced "Mariah" with a long "i" as in "ice" and "nine." Like Mariah Carey. That's how the U. S. Federal Census for 1860 recorded her name, Mariah Melville.

Occupation:
"Lady."
United States Federal Census, 1860 via Ancestry.com 
https://www.ancestry.com/imageviewer/collections/7667/images/4237084_00369
1860 was the first year federal census takers asked about the occupations of women:
At the census of 1860 the inquiry relating to occupations, contained on the schedule for free inhabitants, was made to apply to each person, male or female, over 15 years of age, instead of being confined, as it was in 1850, to males only. --United States Census Office, Twelfth Census of the United States
Occupation? How else could the daughter of General Peter Gansevoort answer? Lady. Ditto for her daughters.

Mariah Melville, Lady, had just turned 69 years old in April 1860; her age is given as 68 on the federal census dated June 25, 1860. Maria's brother Herman Gansevoort, age 80, is named "Harman" and listed head of household at the Gansevoort mansion in Saratoga County. Also present at the Mansion House in 1860 were Herman Melville's sisters Augusta and Fanny (each a lady); along with Jane Taylor, eighteen years old and employed as domestic servant. "Serving," so not designated "Lady." Augusta (39 in June 1860) and Fanny (age 33) were both older than the Census for 1860 indicates.

Herman Melville's uncle Herman Gansevoort died in 1862. The 1865 State Census for Saratoga County in New York gives the name of Herman's mother as Maria G. Melville, now listed first as head of household.

New York, State Census, 1865 via Ancestry.com
https://www.ancestry.com/imageviewer/collections/7218/images/004238325_00021
Herman Melville's brother Thomas Melville is also there in 1865 with sisters Augusta and "Fannie V" (that is, Fanny P? for Priscilla?). Tom's occupation is "Sea Captain."

In 1860, Herman Melville's mother and daughters held the honorable and aristocratic occupation of "Lady." As far as I can tell, no other person in the town of Northumberland, Saratoga County was so designated in the U. S. Federal Census. By contrast, the 1870 Census assigns to Maria the ordinary and generic occupation of "Keeping house." The stated monetary value of that house was anything but commonplace, however: $50,000 in Real Estate; plus $5000 for the Personal Estate.

1870 United States Federal Census via Ancestry.com
https://www.ancestry.com/imageviewer/collections/7163/images/4277081_00740
Augusta and Frances were still "At home." Domestic servants in the household of "Mellville, Maria G." in 1870 were immigrants John Quinn (from Ireland, age 30) and Keziah Stoepal (England, age 17).

Concerning the cover addressed to "Miss Maria G. Melville" as described on WorthPoint:

https://www.worthpoint.com/worthopedia/bedford-mass-maria-melville-o-allan-1847212231

No family member would have called the mother of Herman Melville "Miss." The envelope postmarked from New Bedford is addressed to Herman's niece Maria G. Melville, daughter of his brother Allan Melville. Later Maria Gansevoort Morewood (1849-1935).

Monday, August 24, 2020

Author of travel romances

From The World's Progress: a Dictionary of Dates (New York: G. P. Putnam, 1861):




NATION.          NAME AND PROFESSION                          BORN.          DIED.
Amer.      Melville, Herman, author of travel-romances . . . . . 1819 ----------

Sunday, August 23, 2020

Harper & Brothers publish BATTLE PIECES

This day 154 years ago, Harper & Brothers published Herman Melville's collection of Civil War poems titled Battle-Pieces and Aspects of the War. From the New York Commercial Advertiser, August 23, 1866 via genealogybank.com:
New York Commercial Advertiser - August 23, 1866

NEW PUBLICATIONS.

HARPER & BROTHERS, New York
Publish this Day:

I. BATTLE PIECES
AND
ASPECTS OF THE WAR.

By HERMAN MELVILLE,
Author of "Typee," "Omoo," "Redburn," "Mardi," "Moby Dick," "Whitejacket," &c.
12mo, CLOTH, BEVELED EDGES, $1 75. 

Tuesday, August 18, 2020

Old Belsnickle in Baltimore

As indicated by the added subtitle in this 1841 reprinting of "A Visit from St. Nicholas," German immigrants in Baltimore would have recognized the fur-clad elf in Clement C. Moore's classic Christmas poem as an Americanized Pelznickel aka Belsnickle, the furry Nicholas. As explained by Phyllis Siefker in Santa Claus, Last of the Wild Men (McFarland, 1997 and 2006):
"Santa's forefather was the very unsaintlike  Furry Nicholas, a major player in winter festivals that have been transplanted from Europe to the rugged backwoods of Pennsylvania."
And Maryland, as shown by the expanded title for the poem as reprinted in the Baltimore Clipper on Christmas Day 1841: "A Visit from Saint Nicholas, or Old Belsnickle."

More recently, Tom A. Jerman in Santa Claus Worldwide (McFarland, 2020) describes Pelznickel as "one of the faux Nicholases created following the Reformation." As furry Nicholas displaced the banned Catholic saint, Pelznickel and similar figures
"assumed the role of a secular gift-giver and disciplinarian whereas the virtuous saint performed only good works and required a satanic assistant to do his dirty work."(Jerman, Santa Claus Worldwide, pages 29-30). 
Baltimore Clipper (Baltimore, Maryland) December 25, 1841
via GenealogyBank

A VISIT FROM SAINT NICHOLAS,

OR
OLD BELSNICKLE.


'Twas the night before Christmas, when all through the house
Not a creature was stirring, not even a mouse.
The STOCKINGS were hung by the chimney with care,
In hopes that St. NICHOLAS soon would be there;
The children were nestled all snug in their beds,
While visions of sugar-plums danced through their heads;
And Mamma in her 'kerchief, and I in my cap,
Had just settled our brains for a long winter's nap:
When out on the lawn there arose such a clatter,
I sprang from the bed to see what was the matter:
Away to the window I flew like a flash,
Tore open the shutters and threw up the sash.
The moon, on the breast of the new-fallen snow,
Gave the lustre of mid-day to objects below.
When, what to my wondering eyes should appear,
But a miniature sleigh and eight tiny reindeer,
With a little old driver, so lively and quick,
I knew in a moment it must be St. Nick.
More rapid than eagles his coursers they came,
And he whistled, and shouted, and call'd them by name:
"Now, Dasher! now, Dancer! Now, Prancer! Now, Vixen!
On! Comet, on! Cupid, on! Donder and Blixen--
To the top of the porch! to the top of the wall!
Now, dash away, dash away, dash away all!"
As leaves that before the wild hurricane fly,
When they meet with an obstacle, mount to the sky,
So up to the house-top the coursers they flew,
With the sleigh full of toys--and St. Nicholas too.
And then in a twinkling I heard on the roof
The prancing and pawing of each little hoof.
As I drew in my head, and was turning around,
Down the chimney St. Nicholas came with a bound.
He was dressed all in fur from his head to his foot,
And his clothes were all tarnished with ashes and soot;
A bundle of toys he had flung on his back,
And he look'd like a pedlar just opening his pack.
His eyes, how they twinkled! his dimples, how merry!
His cheeks were like roses, his nose like a cherry;
His droll little mouth was drawn up like a bow,
And the beard on his chin was as white as the snow.
The stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath.
He had a broad face, and a little round belly,
That shook, when he laugh'd, like a bowl full of jelly.
He was chubby and plump; a right jolly old elf:
And I laugh'd, when I saw him, in spite of myself.
A wink of his eye, and a twist of his head,
Soon gave me to know I had nothing to dread.
He spoke not a word, but went straight to his work,
And fill'd all the stockings; then turn'd with a jerk,
And, laying his finger aside of his nose,
And giving a nod, up the chimney he rose.
He sprang to his sleigh, to his team gave a whistle,
And away they all flew like the down of a thistle;
But I heard him exclaim, ere he drove out of sight,
"Happy Christmas to all, and to all a good night!"

-- Baltimore Clipper, December 25, 1841 

Friday, August 14, 2020

Three phantom pirates by Peterson

In 1865 Philadelphia publisher T. B. Peterson reprinted Melville's historical romance of Israel Potter (1854-5) under a different title, The Refugee. Melville complained more than once about the unauthorized publication of his work. The author of Israel Potter formally and finally disavowed The Refugee in a letter to the editor of the New York World, published there on January 28, 1876. Zachary Turpin first located Melville's epistolary "Protest," as discussed in Turpin's March 2017 Leviathan article, Melville's Letter to the World.

Turpin cites relevant lists of Peterson titles including The Refugee that appeared in 1876 editions of novels by E.D.E.N. Southworth. Years before, in back of the 1857 edition of Southworth's Vivia; or, The Secret of Power, T. B. Peterson & Brothers advertised a forthcoming edition of Israel Potter with a different title: Fifty Years in Exile.



Similarly converting Melville's original subtitles to main titles, Peterson also promoted cheap editions of The Confidence-Man as "The Masquerade" and The Encantadas (recently collected in The Piazza Tales) as "The Enchanted Isles." All three apparently unauthorized titles were listed among "Works in Press by the Best Authors" in Peterson's edition of Vivia (Philadelphia, 1857) by Emma D. E. N. Southworth. None of these titles was actually published in 1857 or any other year, so far as I can tell.


Fifty years in Exile. 

By Herman Melville, author of "Omoo," "Typee," etc. Complete in two volumes, paper cover, price $1.00; or in one volume, cloth, $1.25. 

The Masquerade. 

By Herman Melville, author "Typee," "Omoo," etc. Complete in two volumes, paper cover. Price $1.00; or in one vol., cloth, for $1.25.  

The Enchanted Isles.

By Herman Melville, author of "Omoo," “Typee," etc. Complete in two volumes, paper cover. Price $1.00; or in one vol., cloth, for $1.25
https://books.google.com/books?id=xK8edm7GYA4C&pg=PT12&dq#v=onepage&q&f=false

These phantom editions of works by Herman Melville are NOT listed with advertised titles in the first edition Vivia in the E.D.E.N. Southworth Collection at the University of South Carolina.

Coincidentally, the "author-hero" that Melville's author-hero Pierre writes about in the 1852 novel Pierre or The Ambiguities is also named Vivia.

Wednesday, August 12, 2020

BATTLE-PIECES in Major Farnsworth's St Louis Dispatch

The battle of Gettysburg, Pa. July 3d. 1863. Lithograph by Currier & Ives via Library of Congress
Transcribed below, this early notice of Herman Melville's Battle-Pieces and Aspects of the War appeared in the St. Louis, MO Dispatch on August 30, 1866.

Saint Louis Dispatch - August 30, 1866

NEW BOOKS

RECEIVED AT O'FALLON POLYTECHNIC
INSTITUTE.
BATTLE-PIECES AND ASPECTS OF THE WAR. By HERMAN MELVILLE. New York: Harper & Bros.
This is an exceedingly interesting grouping in rhyme of the scenes of the war, memorial and descriptive. Some of the pieces are very interesting; and in years to come will be perused as historic of war scenes. It is a neat, attractive volume, from which some choice literary flowers may be culled. 
The St. Louis Dispatch was then managed by Major Ezra Scollay Farnsworth (1830-1886), a wounded veteran of Gettysburg from Newton, Massachusetts.

Boston Herald - April 3, 1886
via GenealogyBank
 From the obituary of Maj. E. S. Farnsworth in the Boston Herald on April 3, 1886:
"... He was twice wounded. At the battle of Gettysburg he received a bad wound in the side, from which it was feared he never would recover. He managed to pull through, however, and returned to the field before he was fully recovered, and there is no doubt that this wound hastened his death. While in the army he had the reputation of being a cool and plucky soldier.... 
Deceased was always a stanch Democrat, and has been identified with the Democratic party for a long time.... After the close of the war, Maj. Farnsworth went to St. Louis, where he remained for about two years as business manager of the St. Louis Dispatch."

Saturday, August 1, 2020