Showing posts with label NYPL Digital Collections. Show all posts
Showing posts with label NYPL Digital Collections. Show all posts

Sunday, September 1, 2024

William Allen Butler's friendly notice of THE HOUSE OF THE SEVEN GABLES


As previously shown on Melvilliana, William Allen Butler (1825-1902) the Wall Street lawyer and genial satirist in prose and verse only served as an "occasional" New York correspondent for the Washington National Intelligencer in 1850-1 and most certainly did not write the long and largely favorable review of Moby-Dick, or the Whale attributed to him since 1953 in published Melville studies.

The real reviewer of Melville's "prose Epic on Whaling" in the regular "Notes on New Books" column of the National Intelligencer (December 16, 1851) was 
literary editor James C. Welling (1825-1894). 

Although William A. Butler never dreamed of writing the learned and perceptive review of Moby-Dick in the National Intelligencer, he probably deserves credit for another, more ordinary notice in the same newspaper: the friendly and favorable review of Hawthorne's The House of the Seven Gables that appeared on April 22, 1851 under the heading "New York Correspondence." 


Butler's first published letter to the National Intelligencer appeared on July 19, 1850 under the heading, "Cursory Notices of New Books, and Literary and Fine Art, in New York." Dropping Cursory, Butler or his editors gave subsequent letters the revised title, "Notices of New Books, Literature, and the Fine Arts in New York," shortened to "New Books, Literature, and the Fine Arts in New York" (Daily National Intelligencer, February 3, 1851), and then changed again to "Society, New Books, and the Fine Arts in New York" (February 11, 1851). Through February 1851, all of Butler's letters from New York were signed "Jacques du Monde," also Butler's pseudonym in verse contributions to the Literary World and other periodicals. 

The last letter from William Allen Butler to the National Intelligencer signed "Jacques du Monde" appeared on March 1, 1851, under the heading "New York Correspondence." A few more appeared after that under the same heading but without any signature. Several of these closely resembled the contributions from Butler aka "Jacques du Monde" in their contents and style of writing. The last anonymous contribution of "New York Correspondence" in the usual vein of William Allen Butler contains the glowing notice, transcribed below, of Hawthorne's most recent work The House of the Seven Gables. Extant notes to his old classmate and traveling companion George L. Duyckinck at NYPL provide documentary support for ascribing the Hawthorne notice to William Allen Butler.

One mention of Hawthorne occurs near the close of a letter to George L. Duyckinck dated April 3, 1851 and written at Willard's Hotel in Washington, D. C. where Butler had been staying with his wife Mary:

"The Scarlet Letter we have been reading. It is Hawthorne all over, & capital at that. I think it will do more for his reputation than anything else."

The clincher however is this short note dated April 14, 1851 wherein Butler asks Duyckinck to obtain for him a review copy of Hawthorne's latest work, doubtless meaning The House of the Seven Gables.

Citation: 

Manuscripts and Archives Division, The New York Public Library. "1843-1849" The New York Public Library Digital Collections. 1843 - 1849. https://digitalcollections.nypl.org/items/83e4c970-2731-0133-8a0e-58d385a7bbd0 

29 Wall St.
Ap. 14, 1851
Dear Duyckinck, 
Can you get me a copy of Hawthorne's Book? I will read & notice it incontinently. I believe I understood you that you had spoken to Fields about notices for the Intelligencer. If you can get it without any trouble please send it to the office & much oblige 
Yours Truly
Wm: Allen Butler 
By incontinently Butler meant "instantly," "immediately."

Evidently William Allen Butler got the book with the help of George L. Duyckinck and made good on his promise to "read & notice it" without delay. Five days after requesting a review copy, Butler worked a warm and generous treatment of Hawthorne's new book into his letter to the National Intelligencer dated April 19, 1851 and published there on April 22nd under the heading "New York Correspondence." Reprinted in the weekly edition of the same newspaper on April 26, 1851, this may have been the last of Butler's published contributions as an occasional correspondent of the Washington, D. C. National Intelligencer

This item is not recorded in Gary Scharnhorst's Nathaniel Hawthorne: An Annotated Bibliography of Comment and Criticism Before 1900 (The Scarecrow Press, Inc., 1988). 

Washington Weekly National Intelligencer
April 26, 1851 - via genealogybank.com

The House of the Seven Gables, a romance, by NATHANIEL HAWTHORNE. Boston. Ticknor, Reed & Fields.

A greater treat than this volume, fresh from the magic pen of HAWTHORNE and the dainty press of TICKNOR & CO., (a fit conjunction of author and publishers,) has not been given to the reading public for this long time. Mr. HAWTHORNE, after having occupied for a number of years the position of an occasional essayist, writing more from impulse than from any settled purposes or plans of authorship, and appealing necessarily to a limited class of readers, has emerged into a position far better suited to his breadth of genius, and taken his stand in the front rank of that class of writers of fiction with whom fiction is only the medium for the exhibition and analysis of human thought and passion. The Scarlet Letter, published about a year ago, was his first experiment in this new and enlarged sphere. It was a book which no man could read without acknowledging an unrivalled power in the author; a book of intense interest and pathos, not from any startling developments of plot or incident, but from its masterly painting of character and strange revelations of the human heart. It proved deservedly successful, and enlarged Hawthorne's sphere of readers and admirers from a New England to a national circumference. His present book is a pleasing authentication of the success of the former one, and will be eagerly sought after by all who have already made themselves familiar with the author.

The House of the Seven Gables is a New England story, true in all its details and descriptions as to its locale, and yet in its spirit and mode of treatment as far removed from the commonly received notion of New Englandism, and as dissimilar, as the castles of Niederwald are from the factories at Lowell. It is one of the peculiarities of our literature that in the midst and centre of the most practical and least romantic of communities, both in action and thought, we should find a writer like Hawthorne eliminating the elements of a purely imaginative tale from the life going on around him. He is thoroughly native in his taste in almost all his works, taking as their ground-work some local tradition of the old Puritan or Colonial times, and giving prominence to the characteristics and peculiarities of his immediate neighbors as the best material for his purpose. The House of the Seven Gables stands in a street of a Massachusetts town; its occupants are Miss Hepzibah Pyncheon, an old maid of veritable New England stamp, and Phoebe, her niece, and idealized "smart girl" such as one meets with, but entirely unidealized, all along  the valley of the Connecticut. The shadow of a curse has rested upon the old house, and pervaded its dark time-blackened interior, ever since the original Puritan proprietor built it over the spot of ground which he had wrested from the heirs of old Mathew Maule, who had been hung for witchcraft, and in one way or another has darkened the life of all its inmates. Miss Hepzibah Pyncheon is driven by her poverty to the sad extremity of keeping a shop in the once aristocratic mansion, and the story opens with the bitter experience of the worthy dame in this emergency. The old maid and her brother, a man whom an unjust sentence has kept thirty years in prison, and who comes home to the Pyncheon homestead a wreck and ruin, and his cousin, Judge Pyncheon, the respectable and moral wealthy citizen, but in reality the author of the convict's misfortunes, and his deadly enemy, are the principal characters, not forgetting a streak of sunlight, woven through the otherwise dark texture of the tale, in the person of Phoebe, a beautiful and complete character, who is the good genius of the story. The plot is simple, and the thread of the narrative even, its whole power lying in the marvellous chiaroscuro in which the characters are painted, and the subtle analysis presented thereby of thoughts and passions common to the race of man, of which the Pyncheons are only single embodiments and types. I can safely pronounce the House of the Seven Gables the most strikingly original romance of American authorship, viewed as a work of imaginative power, which has yet appeared.

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Friday, June 21, 2024

Pantomime with mock pier mirrors, seen by Helen Melville at the Boston Museum in January 1844

Interior Ornamented Wall with Windows and Pier-Glasses
Michelangelo Pergolesi via The Metropolitan Museum of Art

Helen Melville's Boston letters to her sister Augusta get well-deserved attention from John Bryant in the second volume of Herman Melville: A Half Known Life (Wiley Blackwell, 2021) at pages 1136-1144. Bryant focuses on Helen's lively and detailed descriptions of shows, plays, and tableaux vivants she experienced in private homes as well as theaters and other public venues. In a previous post on Melvilliana I transcribed Helen's letter to Augusta dated November 27, 1843, the one in which she writes about seeing Macready as Macbeth, twice:

Down the road I hope to transcribe more of Helen's extant letters in the Augusta Melville papers, now accessible via the New York Public Library Digital Collections. Here and now, I just want to change one word in the wonderful excerpt that Bryant has provided from Helen's letter to Augusta dated January 14, 1844. Helen is describing a magical scene with "mirrors" in the holiday pantomime "The Golden Axe," as performed at the Boston Museum. In this enchanting bit, two fairies are played by child actresses, one of whom plays the part of the other's reflection. 
"The one upon the stage would wind the garland about her head, and dance before the fire[?] between the mock mirrors." --Helen Melville to Augusta Melville, as transcribed in Herman Melville: A Half Known Life, Volume 2 (Wiley Blackwell, 2021) page 1142.  

Detail, letter from Helen Melville to Augusta Melville dated January 14, 1844, page 4
via The New York Public Library Digital Collections

Where Bryant gives the conjectural reading "fire[?]" I think the word Helen wrote is "pier."

PIER, n. [Sax. per, pere.] ... 3. A mass of solid work between the windows of a room.

PIER GLASS, n. A glass which hangs against a pier, between windows. 

-- Noah Webster's 1841 American Dictionary of the English Language, page 610. 

As Helen explained to Augusta, the staging "represented a parlour, containing among other furniture, two enormous mirrors from ceiling to floor." Two young performers only are mentioned (girls "not more than nine years old"): one fairy dancer in front of the full-length mirrors or rather faux-mirrors, and one playing her "shadow" or simulated reflection. The semblance of a solid mass or "pier" between the two mock mirrors would have enabled the "shadow" to appear behind each of the two mirrors as a perfectly reflected image of the supposedly real fairy. Some sort of wall or opaque structure between the two stage mirrors was required to effectively conceal the shadow-fairy's prior movements, so that the audience could only see her when she appeared in the frame of one or the other mirror. 



Images from this and other letters from Helen Melville (Griggs) in the Augusta Melville papers are accessible courtesy of The New York Public Library Digital Collections. Transcribed below, Helen's full report on The Golden Axe as given on the final page of her letter to Augusta of January 14, 1844:
We made up a party the other evening for the Museum to see the beautiful pantomime of the "the golden axe". I was really delighted, the fairy scenes were so lovely, the beautiful little girls, with long flowing ringlets, gossamer robes, and glistening jewels in their hair and on their garments. Their fairy wands, and light footsteps were really beautiful. The scenery was very appropriate, and the little creatures performed their parts admirably. One scene represented a parlour, containing among other furniture, two enormous mirrors from ceiling to floor. The frames only were real. The glass itself was only black gauze, woven tightly across them. One of these little creatures not more than nine years old, danced before them with a garland of flowers, and another behind them, mimicked so completely her motions, in every particular, that the illusion was perfect, you were sure it was her image in the glass. They were dressed exactly alike, and were the same size. The one upon the stage would wind the garland about her head, and dance before the pier between the mock mirrors. But the very instant she passed before either her little shadow on the other side appeared also. I never saw anything so perfect. Then we had Harlequin & Columbine which I have heard of forever but never saw before, and the farce of "Dr. Dilworth", which was very amusing.

Citation:

Manuscripts and Archives Division, The New York Public Library. "Melville (Griggs), Helen" The New York Public Library Digital Collections. 1835 - 1863. https://digitalcollections.nypl.org/items/5398c3b0-4711-0136-d653-7d8db716e78a

Bryant's excerpt in Herman Melville: A Half Known Life leaves out Helen's reference to "Dr. Dilworth." A Google-digitized 19th century Boston edition of the popular one-act Doctor Dilworth by John Oxenford is accessible online courtesy of HathiTrust Digital Library. The farce that Helen Melville found "very amusing" in the first month of 1844 opens with Syntax, devoted assistant of Dr. Dilworth, deep into Lindley Murray's Grammar and comically conjugating the verb "to love." That performance happened many years before Pip's more ominous conjugation of "to look" in Herman Melville's 1851 book Moby-Dick chapter 99, The Doubloon--as if the cabin boy, like Dilworth's earnest disciple, had "been studying Murray's Grammar."
In The Age and Stage of George L. Fox, 1825-1877 (Expanded Edition, University of Iowa Press, 1999) at page 26, Laurence Senelick reports that Caroline aka "Caddie" Fox and soon-to-be husband George C. Howard "were prominently featured in The Golden Axe, she as Sylva, Queen of the Fairies, and he as Colin, afterwards Harlequin; and throughout the season they were inseparable on stage and off."

Boston Evening Transcript - January 3, 1844

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Wednesday, June 12, 2024

Helen Melville in Boston, November 1843

Mr. Macready as Macbeth
London, England: Published by M. & B. Skelt [between 1840 and 1850]
Folger Shakespeare Library - Digital Collections - Folger Imaging Department

While Herman Melville was at sea in 1841-1844, his sister Helen Melville enjoyed long visits with Judge Lemuel Shaw and family in Boston. Over time Helen became good friends with Shaw's daughter Elizabeth aka "Lizzie," Herman's future wife Elizabeth Knapp Shaw Melville. The New York Public Library has six of Helen's letters from Boston in the Augusta Melville papers. Not counting one from Lansingburgh dated October 10, 1841 with news about the grand time she and her brother Gansevoort had in Lenox, Berkshire County, Massachusetts partying with the Sedgwicks, Shaws, and Charles C. Ingham the portrait painter; and two from Lansingburgh on January 24 and 28, 1843. Lizzie in turn made multiple visits to the Melville family in Lansingburgh, New York. 

Helen Melville's six letters from Boston in the Augusta Melville papers at NYPL are dated

  • January 24, 1842
  • February 16, 1842
  • March 7, 1842
  • November 27, 1843
  • December 1, 1843
  • January 14, 1844
Below is my transcription of the 4-page letter Helen wrote Augusta from Boston on November 27, 1843. I chose this one for the unique reminiscence of "poor Herman" and his mimicry of the witches in Shakespeare's Macbeth; for the interesting allusions to Fanny Elssler (Helen spelled the Austrian surname "Ellsler") and her Boston disciple Fanny Jones; and to verify Helen's mentions of another "Miss Shaw" in the house, not her friend Lizzie. Also I wanted to double-check Helen's reference to the character of Ophelia after I found it given as "lonely Ophelia" by John Bryant in the second volume of Herman Melville: A Half Known Life (Wiley Blackwell, 2021) at page 1139. 


At first glance it might look like "lonely" but Helen's word can only be lovely. The third letter is "v." Giving due credit to the "enormously fat, red necked, red armed, and red faced" Mrs. Anderson as a "good actress" and believable Lady Macbeth, Helen viewed her matronly physical appearance as disqualifying for the role familiarly known as "lovely Ophelia." (Then again, Mrs. Anderson, daughter of manager William Pelby and actress-artist Rosalie French Pelby, would always be Ophelia since that was her first name!)

Helen and company saw Macready and Mrs. Ophelia Pelby Anderson in Macbeth, and Fanny Jones the ballet dancer, at the National Theatre, then located on the corner of Portland and Traverse streets in the West End. The Tremont Theatre where Fanny Jones used to perform had been sold to Boston Baptists and would be converted into a church known as Tremont Temple. The final dramatic performance at the Tremont Theatre had taken place in June 1843, as recalled in The Bostonian Volume 1 (Boston: 1894-5). 

Hershel Parker tells about Helen and her developing intimacy with the Shaw family in chapter 15 of Herman Melville: A Biography Volume 1, 1819-1851 (Johns Hopkins University Press, 1996). See page 302 for specific quotes and discussion of the letter transcribed herein. 

Comments and corrections are welcome any time! 

Citation

Manuscripts and Archives Division, The New York Public Library. "Melville (Griggs), Helen" The New York Public Library Digital Collections. 1835 - 1863. https://digitalcollections.nypl.org/items/92011730-5d32-0136-4373-099142fea98d

***
Boston, Nov. 27th 1843.

Dear Gus,

I received your letter duly, a day or two after it was written, and was delighted to hear from home, for it was so long since I had had tidings from our little village. Your first two pages were very interesting to me, and Lizzie too, for she wanted very much to know how our two cavaliers bore the intelligence of our sudden departure. As to writing Jeanie, I don't know what to think about it; ask Mama what she would advise me to do. 

Macready the tragedian is has been here for a fortnight. The first night he played "Macbeth", and Mrs. Shaw sent out and bought tickets for all the young folks of the house including Miss Shaw who was to matronise us, and George Nourse who was to be our escort. We went in great spirits, all the first people of the town were there and Macready's performance was admirable. I have not been to the theatre since Fanny Kemble performed in Albany, so it had all the charm of novelty added to its other attractions, and I passed a delightful evening. The next evening we went to a small party at Mrs Dow's, Lizzie's Aunt, had dancing, a pretty little supper, oysters, ice-cream, and West India fruits, some fine music, and though there were not more than fifteen of us, we never got home until nearly twelve o'clock.

The next day Lizzie was taken with a dreadful toothache, and we were obliged to decline an invitation for the evening, as I did not wish to go alone. On Saturday morning of the same week, Kate Minot called and invited and invited us to a small party there; but the weather was very stormy. Lizzie was confined to her chamber, Miss Shaw was at Cambridge and the Judge & his lady, could not go on account of the recent death of a cousin. So I wrote a little note to Kitty in the afternoon, setting forth my numerous reasons for changing my mind, and staid at home to comfort Lizzie. 

On Monday morning Miss Mary Bigolo [Bigelow] called to know if I would come and take tea with them very sociably. I went and passed a delightful evening. There were three other young ladies, all with  their fancy work, around the table. I like Mrs. Bigolo, better than her daughters; the eldest one is the picture of Kate Yates. I never saw two people so much alike not only in person, but in mind and manners & disposition, too from what I can see. 

The same morning I arrived a pretty note from Miss Catharine Scholl Scollay, inviting me to meet the family party there, on Thanksgiving evening. No one but the large family circle, and "she looked upon me as a member of the family." As the invitation was given nearly a fortnight beforehand, she must have been desirous that I should accept it. I have had another since from Madam Heyward and may have still another before the day comes. Am I not in request?

On Wednesday evening of last week, Lizzie & I attended a party at Mr. Wales in Winter Street, and the next morning as she was threatened with another siege of toothache, I prevailed upon her to have it taken out. I had some difficulty in persuading her to "screw her courage to the sticking place", but at last succeeded, and she has felt quite happy since. The same evening Judge Shaw & his wife went out to make a long call upon some friend, and Lizzie and I sat in her room, where she preferred remaining for fear of taking cold in the "aching void", which the dentist had left in her mouth: when I was summoned down stairs to receive a gentleman, in about ten minutes another entered, and then still another, until Mr. Dow (Lizzie's Uncle) a very agreeable man, and Lemuel, I had five gentleman to entertain, all alone, but I flatter myself I did the honours of the house, to the satisfaction of all. They all laughed a great deal the next day, at the "gentleman's levee", I had held. 

One of the gentlemen was the Mr. Curtis who had called with Guert, he came with Guert's compliments to appoint another day for our navy yard expedition. We had fixed upon one the week before, but Mrs. Shaw lost a cousin & her funeral came upon the same day & hour; I could not bear the idea of going, especially as Mrs. Shaw disapproved of Lizzie going at that time; so I sat down the day before, and wrote Guert a very cousinly epistle, setting forth my reason for postponing our appointment, and hoping it would make no difference to him. We went this morning, & have just returned, Lizzie & I escorted by Mr. Thornton & Lemuel Shaw, but the particulars must be reserved for the next letter, for as Lizzie said we had a "most felicitous time". Guert came over with a Man of War's boat, five pr of oars only think! & Mr. Curtis. And Guert was as kind and polite as possible. 

On Friday morning early, I received a sweet note from Mrs Charles P. Curtis, saying that they were going to procure tickets for the Theatre that evening, and would be happy to see me at dinner at 5 o'clock.  
Boston Daily Atlas - Friday, November 24, 1843
via genealogybank.com
I accepted the invitation, you may be sure very gladly, went about half past four, dined by candle light, and rode to the Theatre, saw Macready again and was as much delighted as the first time; he is a most splendid actor. Unfortunately, the Manager of the Theatre, will not allow Miss Cushman, a distinguished tragic actress who accompanies him, to support the female characters, for fear it should injure his own daughter Mrs. Anderson. She is rather a good actress, but is an enormously fat, red necked, red armed, and red faced matron, who does very well as the stately Lady Macbeth, but makes a ridiculous figure as the "gentle Desdemona" or "lovely Ophelia". Her neck is as fat and red as a pulpit cushion, and the last time we sat in the box next to the stage, I had a full view of her, and in the most exciting parts, her complexion became so pitiably suffused, that I could not bear to look at her. The witch scenes were admirably got up, and when dancing about the "cauldron of hell-broth," one of the horrid creatures, puts in some terrible contribution, and enjoins it "to make the gruel thick & slab", I could not help thinking of poor Herman, who made it a favorite quotation, and talked about the "pilot's thumb, wrecked as homeward he did come", "eye of newt, toe of frog", &c.

The Witches in Macbeth
Alexandre-Gabriel Decamps (1803-1860)
Image Credit: The Wallace Collection

Mrs Curtis is a very sweet woman, and her husband is so intelligent & agreeable, that I quite like to go there. Aunt Scollay is very kind to me, and so is Miss Catharine. They are a delightful family.

Macready has a companion, a Mr. Ryder of Drury Lane, London, who takes the second characters. As MacDuff in the last scene, he and Macready go through a fencing match, and the former runs the latter his sword most furiously--under the latters arm, and deals him his deathblow. It is a most thrilling affair, and I was glad when the curtain dropped and my wearied eyes had rest. In the box opposite to us sat the Minots & Miss Sedgwick, who had arrived that afternoon. After the play, "Fanny Jones", a famous danseuse, who was attached to the Tremont Theatre came out upon the stage, danced one of Fanny Ellsler's dances, and beautifully, too, she took lessons of the "divine Fanny", when she was here. And she is grace itself. "Though 'sooth to say", now that my curiosity has been gratified, I never desire to see another public dancer, for it is most certainly an unfeminine display and I blushed for my sex, when I saw her with petticoats so brief, that they scarcely covered her knees, performing all kind of impossible feats and capers, for the amusement of a pit crowded with men, and the boxes with gaping spectators. Now dear Gus, I must stop for I have promised Lizzie a small space, and all the rest of my news I must postpone until the next letter. Guert says he is going to Waterford in about a week and will take my commands. I received a long letter from Gansevoort last week, & answered it immediately as he desired. All our Aunts send love to Mama & the girls, and believe me dear Gus, with love to dear Mama and all at home your own loving and devoted sister

Helen.

 My dear Gus,

I can only add a few lines to Helens already lengthened epistle to inform you of the universal propriety & decorum with which she conducts herself, to the admiration of all beholders, except myself, and I laugh in my sleeve whenever mother holds her up as a pattern which I am to endeavor to imitate, for I think to myself it is easy enough to be a pattern when you have no temptation to do evil. Oh dear! Helen has not left me half room enough. With love to all believe me yours with Love, Lizzie. 

My letters are terribly egotistical, but I somehow cannot help it. Give my love to Mr. Peebles and the Knickerbackers, and Mrs. Ives. Tell dear Mother I will write to her next.

I have half a thousand calls to return to day, so excuse the haste with which this is written.

* * * 

Letter from Helen Melville to Augusta Melville - November 27, 1843 - page 3 of 4
via NYPL Digital Collections

Related posts:

  • Pantomime with mock pier mirrors seen by Helen Melville at the Boston Museum
    https://melvilliana.blogspot.com/2024/06/pantomime-with-mock-pier-mirrors-seen.html

Monday, May 6, 2024

Why "On Onota's Graceful Shore" can't be the poem Melville read aloud in August 1851

Jay Leyda, The Melville Log Vol. 1 (Harcourt, Brace and Company, 1951) page 420

A digitized version of J. E. A. Smith's "On Onota's Graceful Shore" in the 1896 volume Souvenir Verse and Story is accessible via the Library of Congress. Image 30 of Souvenir verse and story : memorial of fifty years | Library of Congress

Read it closely and see, "On Onota's Graceful Shore" can't have been the poem Melville recited in the rafters of a barn on August 7, 1851. How so? Because nothing about it fits the description of form (epic, long, taking up a "stout" manuscript), content (ultra patriotic "glorification of the United States" with "polite slanging of all other nations") and meter ("heroic measure" = iambic pentameter) that Evert Duyckinck gave in a letter to his wife. Duyckinck had seen and heard Melville's performance in the loft with a group of summer excursionists. In giving the details to his wife, Duyckinck provided a sample of the favorable commentary that Melville had delivered in the form of affirming interjections like "great," "glorious," and "By Jove that's tremendous." As Duyckinck also reported, the "flattered" poet was there, too, listening to Melville's reading and dramatic asides while sitting "thoughtful on a hay tuft."
Smith's poem is a ballad of only 88 lines in mostly iambic tetrameter, remembering local hero David Noble and his brave, selfless actions during the American Revolution. 

The long poem in "heroic measure" glorifying the United States that Herman Melville read from with enthusiasm in August 1851 was "Destiny." Recently composed by Melville's future brother-in-law John Chipman Hoadley. 

Destiny. A Poem By John C. Hoadley. 1851
Gansevoort-Lansing collection. Manuscripts and Archives Division.
The New York Public Library. Astor, Lenox, and Tilden Foundations.

Transcribed here from the manuscript in the Gansevoort-Lansing collection at NYPL:
Hoadley felt encouraged by "Melville's hearty praises" for his unpublished "national poem," as he wrote Evert Duyckinck from Pittsfield MA on September 9, 1851.


Manuscripts and Archives Division, The New York Public Library. "Hoadley, John Chipman (1818-1886)" The New York Public Library Digital Collections. 1851. https://digitalcollections.nypl.org/items/d9236f50-693b-0133-a932-00505686d14e

Once again, John C. Hoadley not Joseph Edward Adams Smith was the "flattered author" of the poem Herman Melville recited aloud in the loft of a Berkshire barn on August 7, 1851. With gusto, as evidenced in dramatic asides like "great," "glorious," and "By Jove that's tremendous!"

United States National Flag 1851-1858
via The New York State Military Museum

So what?

  1. So Jay Leyda ID'd the wrong guy and wrong poem in The Melville Log Vol. 1 (Harcourt, Brace and Company, 1951) page 420, as did Merton M. Sealts, Jr. in The Early Lives of Melville (The University of Wisconsin Press, 1974) pages 29-30; and Hershel Parker after them. (Nobody's perfect!)
  2. So prosody is a thing. And meter matters every now and then. Score it New Critics 1, Melville Biographers 0
  3. So Herman Melville the great American writer was a great American patriot as well. In his prime, finally done with writing THE WHALE, Melville extolled a glorification of the United States in epic verse composed by his fellow citizen and townsman, and future brother-in-law.
  4. So Melville openly practiced what he had preached in the guise of A Virginian Spending July in Vermont: "Let America, then, prize and cherish her writers; yea, let her glorify them."
  5. So Hoadley was the "thoughtful sensible man" (Duyckinck's impression before learning his name) who afterwards guided the group to Ashley Pond. That the poet turned out to be so competent a "pilot" on the trip there makes a lot more sense now. Besides being an ambitious versifier and soon-to-be suitor, John Chipman Hoadley was an engineer and local expert on the water-works committee. Considering his well-documented civic and professional interest in the acquisition of Ashley Pond aka Lake Ashley as a potential water supply for the village of Pittsfield, Massachusetts, it's safe to say that Hoadley knew the way to Ashley Pond better than anybody.
  6. So Melville came to know Hoadley even earlier than previously thought.
  7. So let's give J. E. A. Smith a break and Melville, too. Smith only ever intended his ballad "On Onota's Graceful Shore" for a humble tribute or "souvenir" to the memory of farmer-soldier David Noble and his gallant deeds. This and all the fugitive pieces collected in Souvenir Verse and Story (1896) were offered mainly as "mementos of the past." Melville's vocal bursts of approval ("Great" "Glorious" "By Jove that's tremendous") would have sounded pretty weird and disrespectful if uttered after any of the 88 tetrameters that comprise Smith's modest ballad. Confronting the inaptness of Melville's recorded comments when applied to such "dreary poetry" as "Onota's Graceful Shore," Hershel Parker not unreasonably figured Melville must have been joking. "Deftly managing not to let Smith gain an inkling that he was being satirized," as Parker has it in Melville: The Making of the Poet (Northwestern University Press, 2008) page 28; reprinted in his Historical Note for the 2009 Northwestern-Newberry Edition of Published Poems, edited by Robert C. Ryan, Harrison Hayford, Alma MacDougall Reising and G. Thomas Tanselle. Happily, however, the author of Mardi: and a Voyage Thither was not one to mock the work of Joseph Edward Adams Smith or any less gifted writer in front of gathered neighbors and friends. By contrast, Hoadley's national poem in manuscript presented a different order of composition--not a song but a symphony had been at least attempted. Whatever its artistic merit, the completion of any work that ambitious and patriotic deserved respect. Evidently Melville gave "Destiny" its due, and then some. His comments, however extravagant or over-the-top they may sound now, were supportive and sincerely made. That Hoadley felt encouraged by "Melville's hearty praises" we know for certain, as he testified in his letter to Duyckinck on September 9, 1851, little more than a month after Melville's dramatic reading in the barn loft. Jay Leyda did not miss much of importance in the Duyckinck family papers at NYPL, but apparently he never ran into Hoadley's letter in the Literary Correspondence of Evert A. and George L. Duyckinck. It's not down in the 1951 Melville Log (Harcourt, Brace and World) or the 1969 reprint by Gordian Press with additional material. Or any Log-based biography, yet.

Related posts:

Tuesday, April 23, 2024

Friday, February 11, 2022

Isle of the Crux


Letters from Herman Melville's cousin Ann Marie Priscilla Melvill to Herman's sister Augusta are in the Augusta Melville papers, now accessible online courtesy of The New York Public Library Digital Collections. On May 23, 1853 Priscilla asked "Cousin Gus" to get and send "Herman's autograph" without telling him, "by any artifice." Priscilla got it somehow, and thanked Augusta "for the autograph" near the close of her next letter dated June 12, 1853. As Hershel Parker discovered, these two letters also mention a recently completed work titled "Isle of the Cross." 

Detail, letter to Augusta Melville dated May 23rd, 1853
NYPL Digital Collections
When will the "Isle of the Cross" make its appearance? I am constantly looking in the journals & magazines that come in my way, for notices of it.  

-- Priscilla Melville, writing to Augusta on May 23, 1853.  

Manuscripts and Archives Division, The New York Public Library. "Melvill, Ann Marie Priscilla "Priscilla"" The New York Public Library Digital Collections. 1848 - 1854. https://digitalcollections.nypl.org/items/8f0890a0-4711-0136-688f-311c2151302e

Hershel Parker on Isle of the Cross

    • Parker, Hershel. “Herman Melville’s The Isle of the Cross: A Survey and a Chronology.” American Literature 62, no. 1 (1990): 1–16. https://doi.org/10.2307/2926778.
    What happened to Isle of the Cross remains the greatest Mevillean mystery ever. Lost? Burned, or otherwise destroyed? Re-fashioned and/or re-titled?

    Wait, what exactly was this "Isle of the Cross," anyhow? Parker logically regards it as the product of Melville's work on the Agatha story that Melville pitched to his friend Nathaniel Hawthorne and later vowed (in December 1852) to work up himself, after Hawthorne declined. The title is suggestively close to "Isle of Shoals," the working title we know Melville wanted to use with Hawthorne's permission. Before Parker's discovery, there was "no evidence that Melville carried through his intention to write the story of Agatha Robertson," as Eleanor Melville Metcalf emphatically stated in Herman Melville: Cycle and Epicycle (Harvard University Press, 1953), page 144. Melville's granddaughter wrote that, well-knowing of (and reprinting!) the letter of April 20, 1853 from Herman's mother to her brother Peter Gansevoort, in which Maria Gansevoort Melville mentions "this new work, now nearly ready for the press," something that had "so completely absorbed" Melville" after the election of Franklin Pierce in November 1852. Mrs. Metcalf apparently did not know that in June 1853, several Massachusetts newspapers reported that Melville had gone to New York "to superintend the issue of a new work." The earliest of these newspaper announcements appeared in the Berkshire County Eagle on June 10, 1853; as Warren Broderick reports in the March 2021 issue of Leviathan. 

    Broderick, Warren F. "The Melville Family in Pittsfield Newspapers, 1848–1891." Leviathan, vol. 23 no. 1, 2021, p. 97-102. Project MUSEdoi:10.1353/lvn.2021.0007.

    Later that same year, in November 1853, Melville in a letter to the Harpers alluded to an unnamed book he had brought to New York in the spring but "was prevented from printing at that time."
     

    Chronology

    1. December 1852. Melville vows to write up the story of Agatha Hatch Robertson and call it the Isle of Shoals
    2. April 20, 1853. In a letter to her brother Peter Gansevoort, Melville's mother Maria mentions "this new work, now nearly ready for the press" that "so completely absorbed" her son all winter, since the November 1852 presidential election. 
    3. May 23, 1853. Herman's cousin Priscilla Melvill believes, evidently based on recent, inside information from Augusta Melville in Pittsfield, that a new work titled "Isle of the Cross" is completed and forthcoming. Priscilla refers again to "Isle of the Cross" in another letter to Augusta dated June 12, 1853. Both letters from Priscilla to Augusta are transcribed below.
    4. June 1853. From Pittsfield Melville travels to New York City "to superintend the issue of a new work."
    5. November 24, 1853. Melville offers Harper & Brothers a new book, "pretty well on towards completion," mostly about "Tortoise Hunting Adventure"; this letter opens with reference to another, different "work which I took to New York last Spring, but which I was prevented from printing at that time." [Quoted in Merton M. Sealts, Jr., Pursuing Melville, 1940-1980 (University of Wisconsin Press, 1982) page 224; full text in The Letters of Herman Melville, ed. William H. Gilman and Merrell R. Davis (Yale University Press, 1960) pages 164-5.]
    In The Encantadas and The Isle of the Cross: Melvillean Dubieties, 1853-54, American Literature
    Vol. 63, No. 2 (June 1991) pages 316-323, Basem L. Ra'ad argues for identifying "The Isle of the Cross" with the story of Hunilla in The Encantadas, first published in Putnam's Monthly Magazine under the title, "Norfolk Isle and the Chola Widow." 
    Basem L. Ra’ad. “‘The Encantadas’ and ‘The Isle of the Cross’: Melvillean Dubieties, 1853-54.” American Literature 63, no. 2 (1991): 316–23. https://doi.org/10.2307/2927169.
    Before and after Ra'ad, dozens of scholars also have noted affinities between the "Agatha story" as conceived by Melville and the tale of Hunilla in The Encantadas.
    Ra'ad shows what a great title "Isle of the Cross" makes for the intensely pathetic short fiction Melville published as "Norfolk Isle and the Chola Widow." Literally and figuratively, Melville's "Norfolk Isle" sketch has "Isle" and "Cross" written all over it. But "Norfolk Isle" as published in Putnam's is only a sketch. That's the main problem with Ra'ad's argument, since Herman's mother regarded the "nearly ready" work as a book-length project that had too intensely "absorbed" her son for many months (December 1852, then January, February, March, and April 1853). Informed to that effect by Augusta while domiciled with the rest of the Arrowheads in Pittsfield, cousin Priscilla in Canandaigua was looking for a new book. 

    Ra'ad also called out Parker for putting the title "Isle of the Cross" in italics. On this point Ra'ad was indubitably correct, since italicized titles conventionally designate published works. Fact check: whatever it was in May 1853, "Isle of the Cross" was never published as Isle of the Cross. We're talking about the reported title of a work in manuscript, still, not a printed book. Parker always knew that, of course, and would have to defend his deceptive and unorthodox usage as useful means to a noble end. Ideally, Parker's enthusiastic contravention of standard editorial practice aims to convey the real, historical existence of a once-tangible artifact. In reality, the italicized title finesses a gap in the available evidence and typographically magnifies Parker's already important discovery in the Augusta papers (or in Jay Leyda's Xerox copies of the Augusta papers). More recently, the pseudo-reality of Isle of the Cross has been photographically enhanced in one of the images accompanying Parker's article "A Mandate Fulfilled" in the June 2019 Leviathan.
    Parker, Hershel. "A Mandate Fulfilled (1965–2017): The Writings of Herman Melville."  Leviathan, vol. 21 no. 2, 2019, p. 14-20. Project MUSEdoi:10.1353/lvn.2019.0021.
    In Parker's creative visualization, pictures of fake spines titled "Isle of the Cross" and "Poems" augment those of real volumes in the completed series, The Writings of Herman Melville.

    Basem Ra'ad beautifully illuminates the Hunilla connections but glosses over solid evidence for a book-length work. Hershel Parker rightly insists on a book, but avoids confronting the glorious aptness of the title, "Isle of the Cross," to the story of Hunilla that Melville published in the April 1854 number of Putnam's magazine, within a year of Priscilla's  mentioning "Isle of the Cross." 

    This is what you call a Crux.

    A knotty point, a difficulty.... It does not refer to the cross, as an instrument of punishment; but to the crossing of two lines, called also a node or knot; hence a trouble or difficulty.  --Dictionary of Phrase and Fable
    My own solution, still, is largely and admittedly speculative. Although frankly conjectural, my idea about "Isle of the Cross" has the virtue of embracing both main lines of evidence, textual as well as historical. Here it is: 
    "Isle of the Cross" belongs to the matter of Tortoise Hunting. 
    What preoccupied Melville so intensely during January-April 1853, at noticeable risk to his health, was TORTOISE HUNTING. 

    What if the projected, never-completed book of Tortoise Hunting Adventures incorporated the core of what Melville wanted to do with the matter of Agatha, in the story of Hunilla? Remember how Moby-Dick was supposed to be nearly complete, but then wasn't? Much the same thing had happened before, with Melville's third book Mardi (1849). After Moby-Dick, it happened again with Pierre, too, done in January 1852 but re-done by "cobbling" (as Higgins and Parker have it in chapter 6 of Reading Pierre) a new manuscript with added passages about the hero as struggling novelist. The Hunilla story might likewise have expanded by essay-length additions into what eventually became "The Encantadas." In November 1853 Melville said he had two books on hand, one finished and one not. The unfinished and never-completed book most likely was the one about Tortoise Hunters, never quite Tortoise Hunters, centered perhaps around the matter of Hunilla, a reconceived "half-breed" Agatha. In that view, "Isle of the Cross" may be understood as an evolving storyline, not yet a full-length book. Yes, clearly, Augusta and Herman's cousin Priscilla took "Isle of the Cross" to be finished, a done deal. But Herman's sister Augusta and cousin Priscilla in May 1853 could have been wrong, just like Herman's wife Lizzie was wrong about Mardi in May 1848 when she informed her mother,
    "The book is done now, in fact...."
    Quoted in Merrell R. Davis, Melville's Mardi: A Chartless Voyage (Yale University Press, 1952), page 79.
    Likewise Moby-Dick was supposedly done in early 1851, but Melville kept adding and tinkering. His next book Pierre was supposed to be finished in January 1852 until Melville decided to make a novelist of its hero, which delayed publication to the end of July. Over time, perhaps, "Isle of the Cross" was submerged in "Tortoise Hunters" which morphed into the "Encantadas, or Enchanted Isles," a series of sketches published in Putnam's Monthly Magazine starting in March 1854. 

    Which would leave us then with a different finished book. Not "Isle of the Cross" = "Tortoise Hunting" but a different work that Melville took to New York in June 1853 but was for some unspecified reason "prevented from printing." What was it?

    I think the book that Melville was "prevented from printing" in June 1853 was to be titled 
    FRAGMENTS OF A MILITARY LIFE. 
    As Philip St. George Cooke revealed in a letter to John Pendleton Kennedy dated March 14, 1855, "Fragments of a Military Life" was the working title for a proposed mash-up of two magazine series that previously had been published in the Southern Literary Messenger, "Scenes and Adventures in the Army" (1842-3) and "Scenes Beyond the Western Border" (1851-3). Eventually the book got published as Scenes and Adventures in the Army (Philadelphia: Lindsay & Blakiston, 1857). 

    The 1842-3 magazine series had an even earlier incarnation in the Army and Navy Chronicle. In February 1840 the first of four western sketches entitled "Leaves from my Note-Book" appeared in the Army and Navy Chronicle (whose subscribers included the Albany Young Men's Association) over the signature of "Z."  These "Leaves" of "Z" were supplanted in the same journal by "Notes and Reminiscences of an Officer of the Army," signed "F.R.D." for First Regiment Dragoons. Here is how the writer handles the disrupted chronology and troublesome change of pseudonyms at the end of the first installment, June 18, 1840:
    Mr. Editor: Was it not unkind of " Z" to anticipate by several years the regular progress of my story? If I tire not by the way,—exposing, perhaps, your readers to that danger,—I shall prove Z to be neither the alpha nor omega of these veritable recollections. Your friend, F. R. D.
    Two years later, in 1842-1843 the combined "Leaves" and "Notes" were published after revision in the Southern Literary Messenger as Scenes and Adventures in the Army, Sketches of Indians, and Life Beyond the Border by a Captain of U. States Dragoons:
    1. Vol. 8 - June 1842 
    2. July 1842
    3. September 1842
    4. October 1842
    5. November 1842

    6. Vol. 9 - February 1843

    Installments of "Scenes Beyond the Western Border" in the Southern Literary Messenger, 1851-1853:


    "Scenes Beyond the Western Border" (1851-3) in the Southern Literary Messenger forms Part II of the book, Scenes and Adventures in the Army. The subtitle of the book version, Romance of Military Life, echoes the original working title for the book project, "Fragments of a Military Life."

    My conjecture of Melville's involvement as Cooke's ghost-writer or ghost-editor in 1851-3 would account for the otherwise mystifying prairie dialogues that occur in each of the thirteen installments of "Scenes Beyond the Western Border." Also the later deletion of bits in the magazine version that echo material in Moby-Dick and Pierre. The intriguingly Melvillean character of these intensely literary and philosophical dialogues will be explored in future Melvilliana posts on Substack, forthcoming at

    melvilliana.substack.com

    Meanwhile, I offer below my imperfect transcriptions of the two known letters at NYPL from Priscilla Melvill to Augusta Melville that explicitly mention "Isle of the Cross." Corrections and comments welcome here and now, or later on Substack.

    MAY 23, 1853

    [- Dear Gus' - Can you by any artifice procure me Herman's autograph - Send it, & say nothing to him]

    Ontario Female Seminary

    May 23rd '53 —

    -- My darling Cousin 'Gus' ---

    -- You gave a true seal of affection, by withdrawing from the gay bridal scenes by which you were surrounded, to pen that last sweet letter to your exacting cousin Priss.

    I become more & more convinced, that the crust of selfishness is gathering thickly around my heart with the rapid approach of age. I would make every effort to avoid this lamentable & almost inevitable consequence of the single state--indeed--poor solitary woman, after the attractive season of growth is past, is with precious few exceptions, sure to become the victim of its hardening influences--imagining that she is not properly appreciated-- & having her sensitive feelings constantly pain'd by slights where nothing of the kind was intended -- for instance when prompt attention is not accorded to my very deserving epistles.

    My dear cousin 'Gus,' I fully believe the sincerity of your professions of attachment to me-- that seemed grounded on the cherish'd memories of our earlier years--a sweet bond--that will be enduring as our existence here-- & destin'd I trust to be resum'd when we regain those whose presence among us made those memories sacred -- in the groves & bowers of Paradise--where our hearts will be no more wrung by sorrow & separation.

    Your frequent allusion to those happy times, assures me that they are hallow'd among your most cherish'd recollections & I will think of this sweet kind of sympathy ... harshly no more-- my dear Coz.

    As to my cousin Helen, I would not bring my direct accusations against her, for worlds--but only just insinuate that her letters are like heavenly messengers & such a lengthy interval has pass'd since she vouchsaf'd any declaration of herself to her mortal cousin that I am warranted in hoping that one of these celestial visitants will soon again, greet my delighted vision.

    You will laugh, & say that Priss' is soaring-- dear 'Gus' would that I could this moment soar far away, above the cares that weigh me down here. --but I have arriv'd at the conclusion, that my burden is becoming too oppressive--& am about decided on resigning my present post--tho' I may [seek a situation?] in the family of … [responsibility?].
    Such close confinement & constant attendance upon my duties has entirely un-nerved me & I've scarcely courage to await the close of the term in June. Perhaps I should do a foolish thing in giving up this situation, for any uncertainty. I wish I could be gifted on this occasion with superior wisdom, to see what would be for the best. You see, dear Gus' I pour my plaints into your sympathizing bosom without any scruples.

    When will the "Isle of the Cross" make its appearance? I am constantly looking in the journals & magazines that come in my way, for notices of it. Let us note Judge Shaw's visit to Europe as one of the remarkable events of 1853.

    I reciev'd a letter from Sister Helen, last week. They are all well. Kiss my Auntie for me. Now may you all enjoy pleasant dreams this night & accept the fond love of your Cousin Priss.
     ***

    JUNE 12, 1853

    Ontario Female Seminary

    June 12th '53 —

    My dear Cousin 'Gus' —

    — Just like yourself to answer my letter so promptly & I've allow'd you to think me regardless of that & of my Auntie's affectionate invitation so earnestly seconded from the depths of your warm heart--Coz--to visit "Arrowhead," if possible at an early day--for the reason, that I've been unable, 'till within a day or two, to name the time when I could enjoy that pleasure.

    Assure my Auntie that I thank her most sincerely, & Kate's absence from home would leave a nice vacancy for me--but it will be impossible for me to leave before the middle or last of August & perhaps by that time, space will be left for my corporeal frame, by some more fortunate coincidence, than the exile of one of my cousins. but should it be very inconvenient about that time be a frank good girl, & tell her.

    -no letter from Helen as yet -

    - dear cousin - my arrangements for visiting you are delay'd because I have decided--after a struggle between two necessities ---that in compassion to my health & spirits I must resign these cares & take my chances of providing for my bodily wants in some other way. Nothing suggests itself at present, but to improve that pleasant visit with you in endeavoring to procure board & a room (which I will furnish myself, at the cheapest possible rate, in the village & piece out a living with my needle--you may all think it a forlorn task but I should be much more independent & I would greatly prefer it to going into a family in any capacity. I have had trial of that. -- --& in consequence of my voluntary act I shall soon be a waif on the sea of fate.

    I am glad to hear such a favorable report of Lizzie She is really gathering quite a little family around her & Arrowhead mansion will hardly be spacious enough. The "Isle of the Cross" is almost a twin sister of the little one & I think she should be nam'd for the heroine if there is such a personage. The advent of the two are singularly near together. 
    Many thanks for the autograph. good night my dearest 'gus' Love to all from your affectionate cousin Priscilla. 

    Manuscripts and Archives Division, The New York Public Library. "Melvill, Ann Marie Priscilla "Priscilla"" New York Public Library Digital Collections. Accessed February 11, 2022. https://digitalcollections.nypl.org/items/8f0890a0-4711-0136-688f-311c2151302e

    By "the little one" Priscilla meant the Melville's new baby daughter Elizabeth "Bessie" Melville, born May 22, 1853. 

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