Early praise for Clement C. Moore's 1825 lecture on the Hebrew Bible

The professor shows that he has entered intimately into the spirit of Hebrew poetry....

With "Philo-Hebrœus," as the Christian contributor of this forgotten letter to the editors of the New York American subscribed himself--alluding perhaps to the Jewish philosopher Philo of Alexandria, sometimes called Philo Judaeus (Philo the Jew) or Philo Hebraeus, and self-identifying more generally as a friend or lover of the Hebrew language and people--I would heartily recommend Clement C. Moore's wonderful Lecture introductory to the course of Hebrew instruction as, among its many virtues, a strong inducement "to the study of Hebrew poesy." Although two centuries now have passed, the pseudonymous writer's insight that Professor Moore had "entered intimately into the spirit of Hebrew poetry" remains suggestive and potentially valuable I think for a better understanding of Moore's own poetry, including the world-famous rhymes describing A Visit from St. Nicholas.

The lecture so warmly endorsed by "Philo-Hebrœus" was delivered by Clement C. Moore at Christ Church in New York City on November 14, 1825, nearly three years after he wrote "Visit" aka "'Twas the Night Before Christmas" to entertain his kids.

New York Evening Post - November 14, 1825

In 1798 Clement C. Moore graduated from Columbia College, first in his class. In 1809 he published his important two-volume work, A compendious lexicon of the Hebrew language, duly honored as the "first work of the kind in America" in Allibone's Critical Dictionary of English Literature and British and American Authors Volume 2 (Philadelphia: J. B. Lippincott & Co., 1874) page 1351. In 1813 "Clem" married Catherine Elizabeth Taylor, called "Eliza" in the family circle, after a courtship that Moore allegorized in a seven-page manuscript poem, 

• Biography of the heart of Clement C. Moore
  https://melvilliana.blogspot.com/2017/01/biography-of-heart-of-clement-c-moore.html

The bride's version may be found in verses she wrote titled 

• Clement C. Moore, My Reasons for Loving
  https://melvilliana.blogspot.com/2017/12/clement-c-moore-my-reasons-for-loving.html

Upon receiving his honorary degree of L. L. D. from Columbia College in 1829, Moore was identified in at least one newspaper listing as "Clement C. Moore, Professor of Hebrew literature in the General Protestant Episcopal Theological Seminary, New-York" (Middlebury, Vermont American, August 19, 1829). When first appointed his formal title was "Professor of Biblical Learning." Later on, "Professor of Oriental and Greek Literature."

Here then is the full text of the published endorsement by "Philo-Hebrœus," transcribed below from the New-York American, for the country of Friday, December 16, 1825; found on genealogybank.com. At this time the editors being addressed were David Johnston Verplanck and Charles King, Moore's good friend and later president of Columbia College.

TO THE EDITORS OF THE AMERICAN.

Messrs. Editors— As I observe that you often appropriate a column of the first page of your paper to subjects connected with literature, and am persuaded that this contributes to make the American acceptable to a large class of your readers, I beg the favor of an insertion of the following remarks, if they should meet your approbation. If the object of them be not strictly and exclusively literary, it is however so closely associated with the best interests of learning, as to merit the attention of our enlightened and discriminating citizens.

The cause of literature and science is evidently gaining ground among us, and taking a stand somewhat proportioned to its elevated character and intrinsic value. The style of education in the more common schools is improving, and Columbia College is becoming better known, and consequently more highly appreciated, not only for the ability of its professors, but for the practical efficiency of its course of instruction; which, to say the least, in classical literature, yields the palm to none of her sister colleges in the United States. And there is in our city another institution which in time will have no little influence on its literary character—I mean the Episcopal Theological Seminary. I have silently, Messrs. Editors, watched the origin and progress of this school with no little interest; and although I freely acknowledge that the direct effect which it must produce upon the interests of the Episcopal church (of which I am a member,) in raising the literary and religious character generally of our clergy, constitutes in my mind its highest value, yet I beg leave to express the opinion that in a literary view merely, it is deserving of consideration. I have attended all its public exercises, and seldom have I come away without satisfaction, mingled however, (let me add without offence,) with no small portion of regret when I saw so few comparatively of the learned men of our city giving to those exercises the sanction of their presence. It is to me a gratifying circumstance that the necessary effect of the establishment of this Theological College will be to lessen the facilities of admission into the ministry to the unworthy, and to give the friendly hand of encouragement to the destitute and pious youth who is willing to pursue a laborious course of study, alike honourable to its projectors, and to those whose diligence and perseverance enable them to surmount its difficulties. I am glad to see that the faculty of this institution require, in addition to testimonials of moral and religious character, that the applicant for admission shall be able to read and analyze Latin and Greek classics, and possess a general knowledge of the principles of rhetoric and of natural and moral philosophy. This is as it should be. I hope they will never diminish their terms of admission; for in proportion to the requisitions not only demanded ostensibly, and on paper, but really secured by a careful and rigid examination in our higher schools, will be the attainments actually made in the lower. If this remark needed any illustration, it were easy to prove its truth by comparing the present state of our grammar schools with what it was some years ago, and tracing the difference to the increased requisitions of admission into Columbia College.

My attention has been directed to the subject of the Theological Seminary, from having lately read a "Lecture introductory to the course of Hebrew instruction," given in it by Professor Moore. In the present day, when so few of the middle-aged clergy of all denominations are well skilled in the language of the Old Testament, it is a circumstance both of surprise and gratification, that a layman of wealth, and family, and character, induced by no other considerations than the love of learning and of the Bible, should have acquired such accurate and extensive acquaintance with this most venerable and ancient tongue, as we know to be the case with this gentleman. Nor is it in Hebrew literature only that Mr. Moore's attainments are of the most respectable character. The purity and elegance of his composition, the soundness of his views, and the practical good sense of his reflections, mark the man of classical taste, of discriminating mind, and of sober judgment; and it is hoped that the example of one who can appreciate the excellencies of Greek tragedians and orators, and enjoy in his own language the author who is distinguished by a judge altogether competent, as "the greatest of all Italian and of all Christian poets,"🞷 will excite to the study of Hebrew poesy, not only the candidates for the ministry among us, but young gentlemen of leisure and literary taste.

It is with the view of promoting this object, that I beg leave to invite attention to the professor's lecture. It will abundantly repay the trouble of perusal. He examines some of the objections which are frequently urged against the study of Hebrew, makes some remarks on the origin and nature of the language, and notices the characteristics of its prose and poetry.

To every Christian who is persuaded of the divinity and inspiration of the scriptures, it must be undoubtedly a source of great satisfaction, that those sacred records are receiving increased attention in our country. The whole genius and character of the authors respectively, taken in connexion with their public and private history, as far as the imperfect remains of olden times will permit it to be investigated, and with the vast world of contemporary antiquity, is becoming more and more developed, opening before the inquirer a new scene of variegated attraction of splendid sublimity, which no one can enjoy but the indefatigable traveller who has mounted to the summit of this, to most men, new and glorious creation. As curious and interesting records of antiquity, the various works which the Old Testament contains are worthy of attention by the student, even if his object is confined to literary fame and mental improvement, "the volume of Hebrew Scriptures," as the lecturer well remarks in his introduction, "is a book, whose antiquity surpassing that of all others, should alone be a powerful title to the respect of mankind; a book, which has for ages excited the liveliest interest and keenest curiosity among the profane as well as the religious; among its opponents as well as its defenders; which affords to the curious rich treasures in various departments of literature, and which, even under all the disadvantages of translation, calls forth the admiration of the orator and the poet." And if this is the case, under the acknowledged disadvantages of a version, however excellent as a whole, our own confessedly is,✝ "what must have been the enjoyment of those to whom the lofty effusions of Isaiah, the divine strains of the royal Psalmist, and the unrivalled imagery of the book of Job, were addressed in their native language!" The professor shows that he has entered intimately into the spirit of Hebrew poetry, when he tells us, that its "blaze of magnificence arises not from the selection of words or arrangement of phrases, but is due to the subjects treated of, to the imagery employed, to the feelings which are expressed and awakened, to the boldness of its flights, the awfulness of the idea it presents, and to the immensity of its range, 'as high as heaven'—'deeper than hell.' The effect of this poetry upon the mind, resembles that produced by the view of the great works of nature; it is irregular, but with an irregularity which could not be changed without destroying its effect. It is the voice of the thunder or of the whirlwind which strikes our ear; it is the expanse of the firmament which meets our eye: all creation rises before us; it is the voice of nature inspired by nature's God."

The few specimens from professor Moore's Lecture which I have given, will I trust, excite sufficient interest in your readers to peruse the whole of it, and at the same time awaken an attention to Hebrew literature. While the poets of Italy receive from an enlightened community that attention which is due to the models of elegance and taste; while the range of German literature, as splendid as it is immense, is beginning to be traversed; while the monuments of Greek and Roman composition are advancing daily to that honorable station among us, which their unrivalled excellence demands, let us not pass unnoticed the less known and less eulogized but not less meritorious Hebrew poet. He will astonish by the grandeur of his conception and the splendour of his imagery; he will awaken feeling by the tenderness and resignation with which he opens the depths of his grief; and what must ever raise his value in the estimation of every one who thinks it important to mingle the utile with the dulce, he will communicate that instruction which will elsewhere be sought in vain; that wisdom which "is the brightness of the everlasting light, the unspotted mirror of the power of God, and the image of his goodness." 

PHILO-HEBRŒUS.

🞷 This is Schlegel's eulogy of Dante. See Lect. IX.

✝ On this point Mr. Moore has expressed himself with feeling and strength; and his remark cannot but give satisfaction to the mere English writer. 

New-York American for the country
December 16, 1825

Related posts: 

• Moore's 1825 Lecture Introductory to the Course of Hebrew Instruction, full text
  https://melvilliana.blogspot.com/2025/01/a-lecture-introductory-to-course-of.html 

• Clement C. Moore on Hebrew poetry
  https://melvilliana.blogspot.com/2017/03/clement-c-moore-on-hebrew-poetry-and.html

• Flash of Expression
  https://melvilliana.blogspot.com/2019/08/flash-of-expression.html 
  

Meandering through the meads in MARDI and Bartram's TRAVELS

 

Wondering if Melville read William Bartram's Travels 🤔🧐

Near the end of Mardi (1849) flowers flow like rivers and streams through meadows:
"Following the maidens, we now took our way along a winding vale; where, by sweet-scented hedges, flowed blue-braided brooks; their… pic.twitter.com/NkE4QnXP5i

— Scott Norsworthy 🇺🇸 (@Melvilliana) November 3, 2024

Tokens of ghostwriting

Now on Substack, just in time for Halloween! 👻✍

Tokens of ghostwriting by Scott Norsworthy

Writing, talking, and rewriting like Herman Melville in "Scenes Beyond the Western Border" (1851-1853). Chapter 2.

Read on Substack

Gottschalk reminiscence by Charles G. Whiting, with "Corrupt as Lima" quoted from MOBY-DICK

Signed "C. G. W." this reminiscence of the brilliant New Orleans-born pianist Louis Moreau Gottschalk by Charles Goodrich Whiting appeared in the Springfield Daily Republican (Springfield, Massachusetts) on January 29, 1870. Notices of Gottschalk's death in Rio de Janeiro, Brazil in December 1869 had reached the United States nine days before, via steamship. Responding to the sad news, Whiting offers a heartfelt tribute to Gottschalk's genius and patriotism, informed by random personal encounters with the celebrated pianist in 1862, while vacationing in Saratoga, New York. Whiting also shares a memorable story (extracted from the report of another, unidentified Saratoga tourist) about Gottschalk's fired-up playing of the Star Spangled Banner in Saratoga, around the start of the Civil War. 

Springfield Daily Republican - January 29, 1870
via genealogybank.com

For Melville fans, another point of interest in Charles G. Whiting's published tribute to Gottschalk will be found in a casual allusion to Moby-Dick, specifically Chapter 54: The Town-Ho's Story. After the Civil War and rumors of a scandalous romance in San Francisco, Gottschalk left the United States for South America, touring in Peru, Chile, Uruguay, Argentina and Brazil. According to Whiting,

"He found more luxurious rest in the city of the Incas, whose wickedness has become a proverb,--"Corrupt as Lima,"--or among the orange groves around Rio Janeiro."

Glossing Gottschalk's warm and apparently forgiving reception in Lima, Peru, Whiting quotes the expression "Corrupt as Lima" as a supposedly well-known "proverb" of sinfulness. However pervasive the association of Lima with immorality may have become, that particular way of expressing it with the simile, "Corrupt as Lima" was always Melville's own invention, creatively inspired by a passage in one of his favorite source-books, A Visit to the South Seas (New York: John P. Haven, 1831) by Charles S. Stewart. 

"Lima is said to be the most corrupt city on the continent—so much so that along the whole coast, I am told, the name alone is a proverb of sin. The walks of the avenue, as we drove through the gate, exhibited some specimens of the morals to be expected within, by several intoxicated officers, and three Dominican friars in the garb of their order, in very familiar conversation with persons of rather equivocal, or perhaps I should say, unequivocal appearance: several of whom, in gay attire, were lounging without protector or attendant on the sofas around."  -- Charles S. Stewart, A Visit to the South Seas Volume 1, page 157

Charles Goodrich Whiting would not have found the "proverb" expressed in just the way he quotes it, "Corrupt as Lima," outside of "The Town-Ho's Story" from Moby-Dick; or, The Whale in some version or other, as it first appeared in Harper's New Monthly Magazine for October 1851 or later in Chapter 54 of Moby-Dick. 

Transcribed below from the Springfield MA Daily Republican of January 29, 1870; this item was reprinted in the weekly edition of the Springfield Republican on February 4, 1870.

LOUIS MOREAU GOTTSCHALK 

Reminiscences from a Saratoga Season.  

So Gottschalk is dead! The passionate pulse is still, the generous heart is hushed, the poet-soul is fled. Some cannot think of anything in his varied and brilliant life, but one strange episode which banished him from the northern world's regard, four years ago in San Francisco. I knew about this man, though merely by observation, only three years previous to his fall,--if fall it were, and not a fatal mistake of the world's. It was at Saratoga in the hight of the season of 1862. He was of course an object of great interest to all the transient idlers, and I, idle like the rest, was drawn toward him irresistibly the first time I saw him. It was in a church, and a certain reverend beggar, with a wondrous gift of story-telling, was effectively stirring the sympathies of a large audience, even in a sweltering sultriness of air which invited sleep.

The usher inducted me into a pew where sat a young man, whose face would hardly have challenged a second glance, and whose presence even I did not at first heed. When my attention was drawn to him it was by a nervous motion of his fingers upon the seat before him, and I was struck by the rare refinement and delicacy of his hand. Hands have their expression no less truly than faces; Lavater said once that he would venture to pronounce upon the character of each person in a miscellaneous assembly, while passing around a contribution plate, and looking only on the hand as it dispensed or refused the chance of charity. This right hand was not slender, but its proportion and grace would not have shamed the immortality of marble. In its restlessness it showed as supple as silk, yet as strong as steel, and the nails were like shells, transparent and scrupulously trimmed. Then I scrutinized the man. Dark, wavy hair, a low brow, liquid and poetic eyes,--the only really fine feature his face held,--a handsome nose, though thick-nostriled as I once saw in a French sculpture of Apollo, a heavy moustache, a weak lower lip, a chin cleft with a deep dimple, and not too full cheeks,--these made his physiognomy. His dress was rich but not obtrusive or foppish, a large diamond shone on his left hand. It flashed across me, "This is Gottschalk!"

What impelled the artist to such a place, if he was merely a man of luxury and self-indulgence, is an enigma I should decline the attempt to solve. More astonishing than his presence was the emotion he plainly felt as the orator wrought up a painful tale of ruin and shame in the great city. I lost my interest in the story in watching the musician. And a lesser than Lavater would have been satisfied to call him "generous" on the evidence of the banknote he added to the collection of bits and fractions that followed the appeal.

I saw him often after that, and heard, too, many an incident of like tenor, testifying to a liberal, open-handed sharing of his rapidly gained fortunes with the needy; though I confess to having heard unpleasant tales enough about the unchecked riot of his passions. And yet in Saratoga he was the fast friend of the blind preacher, Rev. W. H. Milburn. Both were at the same Hotel--Union Hall--and they were much in each other's society; Mr. Milburn deeply loved music, and for his benefit Gottschalk's improvisations flowed freely. The pianist and the orator joined forces during this season in a charity entertainment, Gottschalk giving an hour's concert, Milburn his lecture on Milton.

I find in a letter written from Saratoga a description of an incident occurring there before my visit, but which I often heard alluded to by those present. It should be premised that the war had then but begun, and the old secesh element had not yet given place to the shoddy in that favorite resort of southern chivalry. Gottschalk was playing at a concert, a rare treat always. He had entranced all with his sensuous, brilliant, dreamy, gorgeous imagery of tone, his mastery of touch,--and now the struck into the "Star Spangled Banner." "The audience hissed him,--a thing unheard of, utterly out of his experience! They hissed him, as I said; the man turned, his face,--not a notable one,--flushed, his eyes flamed, intense scorn vibrated through his frame, he looked a lion! 'Now we shall hear playing,' whispered a friend at my elbow. And we did. He turned to his piano. Such a Star Spangled Banner I never before heard or shall hear again. The audience held their breath, patriots in despite of themselves. There followed Hail Columbia, and an interwoven rendering of other tunes, and mingling therein, still the Star Spangled Banner, glorious, unshaken, triumphant! They'll never try again to hiss down Louis Moreau Gottschalk!" One who never heard Gottschalk play cannot fully understand the possibilities of the piano. There is no one left like him. Sebastian Bach Mills plays mystically, Alide Topp is a marvel of artistic decision and delicacy, Ritter's splendid touch is a mere memory of Gottschalk's own,--but his genius has no successor. His vanity, which was undeniably great, as his kindliness of heart, always led him freely to display his marvelous talent for the entertainment of others. And the piano of Union Hall was a Mecca of music lovers the season through. Amid a society in which I never mingled, to be sure, but in regard to which I was more or less au fait, he was a prince.

A delicate courtesy or an ardent gallantry characterized his manner with women; and I have heard it said that his exquisite refinement rendered him the most dangerous assailant of woman's honor, and that he was not nearly so wicked as he might have been. His passions were like his birth, tropical; I have tried to believe less of their evil results than the gossip-mongers have bruited abroad, but the San Francisco story is not to be hid by any blind faith soever. Gottschalk's friends are said to claim that he was grossly abused at that time, and that all the damning record of lust, abduction, shame and hasty flight before the indignant avengers thereof, was half distortion, half fabrication. But they have not published their defensive version, and certainly since that hour he has never set  foot on northern shores. He found more luxurious rest in the city of the Incas, whose wickedness has become a proverb,--"Corrupt as Lima,"--or among the orange groves around Rio Janeiro.

But how magnificent, how enviable, his death-stroke! Leading a monster concert, stilling a storm of applause with the awful tenderness and mystery of his own inspired "La Mort," and amid the hushed listeners smitten by la mort in verity, and falling there, with a farewell clangor of chords he should never strike again on earth,--could ambition have wished a more ideal end to his life of prodigal passion and glowing genius?

C. G. W.

Springfield, January  28.

As recounted by C. G. Whiting, the hisses Gottschalk got from secesh-leaning listeners in Saratoga motivated a defiant performance of his patriotic composition "The Union: Concert Paraphrase on National Airs," still appreciated well into this our 21st century as A Rousing Anthem of National Unity. A similar anecdote circulated widely in Northern U. S. newspapers after an 1862 performance in Montreal, Canada.

12 Aug 1862, Tue St. Louis Globe-Democrat (St. Louis, Missouri) Newspapers.com

GOTTSCHALK ON THE UNION.-- During the late provincial tour of this celebrated pianist in the Canadas, he gave an exhibition of his patriotism to our neighbors. At his concert in Montreal, the house being crammed to overflowing, loud calls were made for "Dixie" as soon as the pianist took his seat. Such a reception for a moment naturally confused the pianist, but collecting his ideas at once, he faced his audience and sat in silence for a few moments, with folded arms. When the tumult ceased he turned to his piano and, as one of his companions says, played "Hail Columbia," the "Star Spangled Banner," and "Yankee Doodle," as they were never before played on that instrument. The audience was completely shamed, and acknowledging the rebuke, were liberal in their applause during the rest of the evening. It may not be generally known that Gottschalk is a native of New Orleans, and for this exhibition of his patriotism he should have full credit. After the concert, he remarked to a friend that he would have seen the audience in Tophet before he would have complied with their demand.

-- St. Louis Globe-Democrat, August 12, 1862.

In case you're wondering if Melville knew Gottschalk, the answer is "maybe." 

Taylor, Bayard, 1825-1878. A.L.s.(Bayard Taylor) to [Herman Melville];[New York] 24 Feb 1865., 1865.. Herman Melville papers, MS Am 188-188.6, MS Am 188, (339), Box: 7. Houghton Library.

Archived with Herman Melville papers at Houghton Library, Harvard University is an 1865 letter to Melville from Bayard Taylor naming Gottschalk as one of several members of "The Travellers" Club whom Melville might already know and enjoy socializing with. 

No. 139 East 8th St.
(Between B'way & 4th Avenue)
Feb. 24, 1865.

My dear Sir:

On Monday evening next, the 27th, "The Travellers" meet here, and it will give me great pleasure to see you among the guests of the Club. Many of the members are no doubt old friends of yours--Darley, Church, Bierstadt, Gottschalk, Cyrus Field, Hunt, Bellows and Townsend Harris. We simply meet to talk, winding up our evenings with a cigar and frugal refreshments.

Very truly yours,

Bayard Taylor.

-- printed text is available in Selected Letters of Bayard Taylor, edited by Paul C. Wermuth (Associated University Presses, 1997) on page 238; also in the 1993 Northwestern-Newberry Edition of Herman Melville's Correspondence, edited by Lynn Horth on page 696. 

New York Observer - March 23, 1865

Face-time with L. M. Gottschalk and other members of "The Travellers" seems at least conceivable. Newspaper ads confirm that Gottschalk at the time of Bayard's invitation to Melville was definitely still performing in New York City. In late February and March of 1865, "the most brilliant pianist that our country has produced" gave a series of "Farewell Concerts" at Niblo's Saloon. Early in April he would sail for California via Panama. 

As it happened, Gottschalk was still aboard the steamer Constitution when he learned that President Lincoln had been assassinated, as Barbara Cohen-Stratyner has related on the NYPL Blog in a moving 2015 post, An Incommensurable Grief... Louis Moreau Gottschalk on Lincoln's Assassination.

Related posts:

• Charles Goodrich Whiting, author of the memorial tribute to Melville
  https://melvilliana.blogspot.com/2016/08/charles-goodrich-whiting-author-of.html

• Also by Charles G. Whiting: Concerning Herman Melville
  https://melvilliana.blogspot.com/2016/08/also-by-charles-g-whiting-concerning.html

• Whiting on Elizabeth Stoddard and Melville
  https://melvilliana.blogspot.com/2020/07/whiting-on-elizabeth-stoddard-and.html

Prompt behind Melville's invented proverb "Corrupt as Lima" in Stewart's VISIT TO THE SOUTH SEAS Volume 1

 

Here is the source-text or prompt for Melville's invented proverb "Corrupt as Lima," twice uttered in Moby-Dick chapter 54 (The Town-Ho's Story) by one of Ishmael's supposed listeners and drinking companions at the "Golden Inn" in Lima, Peru.

From A Visit to the South Seas… pic.twitter.com/39wZtmQO9F

— Scott Norsworthy 🇺🇸 (@Melvilliana) October 2, 2024

Litanie Des Saints

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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