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Fellow in the Arts 1828-1831 (LEITERS 195 to 222)

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Fellow in the Arts 1828-1831 (LEITERS 195 to 222) v Fellow in the Arts 1828-1831 (LEITERS 195 TO 222) THE YEARS FROM 1828 TO 1831 were as happy as any Bryant had ever enjoyed and, despite growing responsibility for his newspaper, as carefree. Through his active part in the programs of the New York Athenaeum and the National Academy of Design, and his collaboration with writers and artists in preparing the successive Talisman volumes, he assumed a central role in the city's cul­ tural life. And his fondness for satire, indulged as a youth in "The Embargo," and as a village lawyer in newspaper essays and in his farce "The Heroes," found targets among the city's fashionables in "The Legend of the Devil's Pulpit," published in The Talisman, and in jeux d'esprit in the Evening Post, such as a verse lampoon of Fanny Wright and repeated spoofs of edi­ torial opponents. As the second Talisman appeared at the close of 1828, its creators formal­ ized their association in a "Sketch Club," or "Twenty-One," which provided convivial gatherings at the homes of its members in rotation, at which they exercised their artistic skills and put together another edition of their annual. The club's intimacy as well as its secrecy were fostered by its limitation to twenty-one members and its obscure announcements of weekly meetings published among the obituaries in the Evening Post. Its gatherings were for the most part frolicsome, with serio-comic themes proposed by the host for varied expression in sketches, verses, or prose articles. But its members also collaborated in more serious projects. Among these were a third Talisman early in 1830, and at the end of that year The American Landscape, a volume of landscape paintings by Cole, Durand, Weir, and others, engraved by Durand and accompanied by letterpress written by Bryant, and in 1832 two volumes of stories by Bryant, Leggett, Paulding, Sands, and Catharine Sedgwick, called Tales of Glauber-Spa. Bryant's appreciation of other arts was likewise quickened by friendships with their practitioners. Lorenzo Da Ponte and Manuel Garcia drew him to the Italian opera and the oratorio, which led him to review their performances in the Post. He found a warm friend in the young tragedian Edwin Forrest; when Forrest offered a prize in 1829 for the best play on an American ab­ original theme, Bryant headed the committee which chose John Stone's Meta­ mora, providing Forrest with his most popular starring vehicle. The following year Bryant chaired a similar group which selected James Kirke Paulding's The Lion of the West for the comedian James Hackett, who found, in Nimrod Wildfire, his most enduring role. When the Evening Post's veteran conductor William Coleman died in July 1829 Bryant became at once the editor-in-chief, soon engaging as his assist­ ant William Leggett, magazine editor and writer of tales, poems, and the- Fellow in the Arts 261 atrical reviews. Reluctant at first to discuss politics, Leggett quickly became, in Bryant's words, a "zealous democrat, and an ardent friend of free trade." Within two years Leggett had become a partner in the establishment. His help freed the senior editor from much daily tedium, allowing him more time to discuss in his leaders the central issues facing the new Democracy of Andrew Jackson. Soon after he joined the Post in 1826, Bryant had made it the "only journal north of the Potomac" to develop a rational argument against the pro­ tective tariff then in force. Now he joined his friends Verplanck and Churchill Cambreleng, Jackson leaders in Congress, in their opposition to federally fi­ nanced public works and the private Bank of the United States. As Bryant's editorials drew increasingly acrimonious replies from anti-administration edi­ tors, the saucy ribbing which had marked his earlier thrusts at his foes took on a sharper tone. The resulting exchange of insults in April 1831 reached its climax on the 20th, when editor Stone of the Commercial Advertiser printed the charge that Bryant was a liar, whereupon Stone's furious adversary horse­ whipped him the next morning on Broadway opposite City Hall. The explosion of a temper he had kept in close check since boyhood­ except in one rare instance at the Berkshire courthouse when he had threat­ ened to thrash an opposing lawyer "within an inch of his life"-was a chasten­ ing experience for Bryant. The account he gave his readers the next day, over his signature, of the quarrel and its causes, was both apology and justification. A few days later he urged his fellow-editors to heed Hamlet's advice to his players that "in the very torrent and tempest of passion, one should acquire and beget a temperance that may give it smoothness," and Samuel Johnson's admonition to his friend Boswell to "oppose, without exasperating." Bryant's remorse over his rage against Stone underlay his last-and probably best­ short story, "Medfield," published the following year. In his poem "The Future Life," composed a few years afterward, he wrote, "Wrath has left its scar-that fire of hell/ has left its frightful scar upon my soul." A later editorial asso­ ciate remarked of Bryant, "He impressed me as a man of strong feelings, who had at some time been led by a too explosive expression of them to dread his own passions, and who had therefore cultivated a repression which became the habit of his life." 262 LETTERS OF WILLIAM CULLEN BRYANT 195. To Richard H. Dana New York Feb. 16, 1828. My dear Sir. I am glad you are so well pleased with my review of your poems. It is pretty well received I believe by the reading world and thought a fair criticism. Mr. Walsh to be sure says that your poems are "too broadly and strongly eulogized," but Mr. Walsh's opinion on poetry you know is not worth any thing, and although it yet passes for more than it is worth, its real value is beginning to be better understood than formerly. Mr. Walsh is the greatest literary quack of our country and deserves to be taken down a peg or two. It would do him good for the creature really has some talent; and if he would be content to drudge in a plain way might be useful. I saw Mr. Greenough and am obliged to you for introducing me to so agreeable a man and one of such genuine tastes and right opinions.1 You must excuse me for not filling the sheet- In haste yrs. truly w C.BRYANT P. S. I ought to answer your question about the New York Evening Post. I am a small proprietor in the establishment, and am a gainer by the ar­ rangement. It will afford me a comfortable livelihood after I have paid for the 8th. part which is the amount of my share. 2 I do not like politics any better than you do-but they get only my mornings-and you know politics and a bellyfull are better than poetry and starvation. I should also express my pleasure at learning of the success of your poems in Boston. To confess to you the truth, I had strong misgivings as to their reception-very strong-but I knew that there had been a change in the tastes of the people there, and that the popularity of Wordsworth's poems whether real or factitious had prepared the way for you. As to their reception here, you know we are a prosaic money making community and nothing takes unless it be a new novel, or some work on a subject of im­ mediate interest-but they have been read with pleasure by the [few] who know how to value such things. We did what [we] could in the papers both before and after the work appeared. W C B. MANUSCRIPT: NYPL--GR DOCKETED: W C. Bryant Feb / 16-28 PUBLISHED (in part): Life, I, 235-236. I. Horatio Greenough (1805-1852, Harvard 1825), a young Boston sculptor home after brief study in Italy, was then on his way to Washington, where he would execute busts of John Quincy Adams and John Marshall, among others. Elected that year to honorary membership in the National Academy of Design, Greenough probably at­ tended one or more of the lectures Bryant gave before the academicians that month as their newly elected Professor of Mythology and Antiquities. Their meeting began a Fellow in the Arts 263 warm friendship unbroken until Greenough's death. See Letters of Horatio Greenough to His Brother, Henry Greenough, with Biographical Sketches and Some Contempo­ rary Correspondence, ed. Frances Boott Greenough (Boston, 1887), pp. 25, 28, 153; Morse Exhibition of Arts and Science Presented by National Academy of Design in Commemoration of the 125th Anniversary of its Founding ... (New York: National Academy of Design, 1950), p. 97; T. Addison Richards to Parke Godwin, January I, 1880, NYPL-GR. Bryant referred to his friend here as "Greenhow," probably asso­ ciating his name with that of Robert Greenhow (1800-1854), a New York physician of his acquaintance. 2. See 194.18. John Bigelow recorded that Henry Sedgwick lent Bryant $2,000 to buy this share. Bryant, p. 69n. 196. To Gulian C. Verplanck New York Feb 16 1828. My dear Sir, I have not written I believe since Mr. Herbert got his letter contain­ ing an account of the reception of his ode at the dinner at Washington. He was wonderfully delighted with it and so also were his friends.1 The artist who made Plutarch Peck's coat with his usual interest in every thing that relates to American letters called to obtain a sight of it2 and a copy was despatched to Mr.
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