The Literati of New York/No. I

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May 1846, pp. 194-201


Some honest opinions at random respecting their autorial merits, with occasional words of personalty.

By Edgar A. Poe.

IN a criticism on Bryant published in the last number of this magazine, I was at some pains in pointing out the distinction between the popular "opinion" of the merits of cotemporary authors and that held and expressed of them in private literary society. The former species of "opinion" can be called "opinion" only by courtesy. It is the public's own, just as we consider a book our own when we have bought it. In general, this opinion is adopted from the journals of the day, and I have endeavoured to show that the cases are rare indeed in which these journals express any other sentiment about books than such as may be attributed directly or indirectly to the authors of the books. The most "popular," the most "successful" writers among us, (for a brief period, at least,) are, ninety-nine times out of a hundred, persons of mere address, perseverance, effrontery — in a word, busy-bodies, toadies, quacks. These people easily succeed in boring editors (whose attention is too often entirely engrossed by politics or other "business" matter) into the admission of favourable notices written or caused to be written by interested parties — or, at least, into the admission of some notice where, under ordinary circumstances, no notice would be given at all. In this way ephemeral "reputations" are manufactured which, for the most part, serve all the purposes designed — that is to say, the putting money into the purse of the quack and the quack's publisher; for there never was a quack who could be brought to comprehend the value of mere fame. Now, men of genius will not resort to these manœuvres, because genius involves in its very essence a scorn of chicanery; and thus for a time the quacks always get the advantage of them, both in respect to pecuniary profit and what appears to be public esteem.

There is another point of view, too. Your literary quacks court, in especial, the personal acquaintance of those "connected with the press." Now these latter, even when penning a voluntary, that is to say, an uninstigated notice of the book of an acquaintance, feel as if writing not so much for the eye of the public as for the eye of the acquaintance, and the notice is fashioned accordingly. The bad points of the work are slurred over and the good ones brought out into the best light, all this through a feeling akin to that which makes it unpleasant to speak ill of one to one's face. In the case of men of genius, editors, as a general [column 2:] rule, have no such delicacy — for the simple reason that, as a general rule, they have no acquaintance with these men of genius, a class proverbial for shunning society.

But the very editors who hesitate at saying in print an ill word of an author personally known, are usually the most frank in speaking about him privately. In literary society, they seem bent upon avenging the wrongs self-inflicted upon their own consciences. Here, accordingly, the quack is treated as he deserves — even a little more harshly than he deserves — by way of striking a balance. True merit, on the same principle, is apt to be slightly overrated; but, upon the whole, there is a close approximation to absolute honesty of opinion; and this honesty is farther secured by the mere trouble to which it puts one in conversation to model one's countenance to a falsehood. We place on paper without hesitation a tissue of flatteries, to which in society we could not give utterance, for our lives, without either blushing or laughing outright.

For these reasons there exists a very remarkable discrepancy between the apparent public opinion of any given author's merits and the opinion which is expressed of him orally by those who are best qualified to judge. For example, Mr. Hawthorne, the author of "Twice-Told Tales," is scarcely recognised by the press or by the public, and when noticed at all, is noticed merely to be damned by faint praise. Now, my own opinion of him is, that although his walk is limited and he is fairly to be charged with mannerism, treating all subjects in a similar tone of dreamy innuendo, yet in this walk he evinces extraordinary genius, having no rival either in America or elsewhere — and this opinion I have never heard gainsaid by any one literary person in the country. That this opinion, however, is a spoken and not a written one, is referable to the facts, first, that Mr. Hawthorne is a poor man, and, second, that he is not an ubiquitous quack.

Again, of Mr. Longfellow, who, although little quacky per se, has, through his social and literary position as a man of property and a professor at Harvard, a whole legion of active quacks at his control — of him what is the apparent popular opinion ? Of course, that he is a poetical phenomenon, as entirely without fault as is the luxurious paper upon which his poems are invariably borne to the public eye. In private society he is regarded with [page 195:] one voice as a poet of far more than usual ability, a skillful artist and a well-read man, but as less remarkable in either capacity than as a determined imitator and a dexterous adapter of the ideas of other people. For years I have conversed with no literary person who did not entertain precisely these ideas of Professor L.; and, in fact, on all literary topics there is in society a seemingly wonderful coincidence of opinion. The author accustomed to seclusion, and mingling for the first time with those who have been associated with him only through their works, is astonished and delighted at finding common to all whom he meets conclusions which he had blindly fancied were attained by himself alone and in opposition to the judgment of mankind.

In the series of papers which I now propose, my design is, in giving my own unbiased opinion of the literati (male and female) of New York, to give at the same time, very closely if not with absolute accuracy, that of conversational society in literary circles. It must be expected, of course, that, in innumerable particulars, I shall differ from the voice, that is to say, from what appears to be the voice of the public — but this is a matter of no consequence whatever.

New York literature may be taken as a fair representation of that of the country at large. The city itself is the focus of American letters. Its authors include, perhaps, one-fourth of all in America, and the influence they exert on their brethren, if seemingly silent, is not the less extensive and decisive. As I shall have to speak of many individuals, my limits will not permit me to speak of them otherwise than in brief; but this brevity will be merely consistent with the design, which is that of simple opinion, with little of either argument or detail. With one or two exceptions I am well acquainted with every author to be introduced, and I shall avail myself of the acquaintance to convey, generally, some idea of the personal appearance of all who, in this regard, would be likely to interest the readers of the magazine. As any precise order or arrangement seems unnecessary and may be inconvenient, I shall maintain none. It will be understood that, without reference to supposed merit or demerit, each individual is introduced absolutely at random.