Stedman, Edmund Banker, Editor, Journalist, Literary Critic, Poet, War Correspondent. Born in Connecticut, Stedman’s merchant father died leaving the small child in the care of his mother, maternal grandfather, and lawyer uncle. Stedman’s childhood passed between his grandfather’s New Jersey farm and his uncle’s Connecticut residence. Much of Stedman’s literary education likely came from his mother, who herself was an author of both verse and essay. Stedman’s juvenilia consists of poetry inspired by the Romantics and Tennyson.  He attended Yale University but was expelled after a youthful indiscretion.  During this period he got married and began editing &lt;cite&gt;The Norwich Tribune&lt;/cite&gt; and then the &lt;cite&gt;Mountain County Herald&lt;/cite&gt;, after which he moved to New York and made a brief foray into the clock-making business (E. Bates &quot;Stedman&quot;).

Around 1859, Stedman&#039;s poetry became popular and he made the acquaintance of several members of  the Pfaff&#039;s coterie: travel writer Bayard Taylor, editor Richard Henry Stoddard, novelist and poet Thomas Bailey Aldrich, theater critic William Winter, and Walt Whitman. Stedman maintained a close friendship with Richard Henry Stoddard and his wife, Elizabeth Barstow Stoddard, throughout his life. When Richard Stoddard died in 1903, Stedman had spent the last year living with and helping care for the late author (“Richard Henry Stoddard,” Outlook, 217).  Along with Henry Clapp and Edward Howland, Stedman founded the &lt;I&gt;Saturday Press&lt;/i&gt; in 1858 (T. Miller 26).  He joined the staff of the &lt;cite&gt;New York World&lt;/cite&gt; in 1860.  He was less than impressed with his job as a journalist.  At one point he remarked that being a newspaper reporter &quot;is a shameful to earn a living&quot; (qtd. in L. Starr 6).  At the outbreak of the Civil War, he became a war correspondent, but his experiences during the war did not change his opinion of newspaper journalism, and he quit in 1863.  

He returned to New York City and embarked upon a career in the banking industry.  He eventually opened his own brokerage firm and remained active in this occupation (despite the disapproval of the Bohemian crowd) all his life.  He did not, however, give up his writing career; he published in a variety of venues, including &lt;I&gt;Vanity Fair&lt;/i&gt;, &lt;I&gt;Putnam&#039;s&lt;/i&gt;, &lt;I&gt;Harper&#039;s&lt;/i&gt;, &lt;I&gt;Scribner&#039;s&lt;/i&gt;, and the &lt;I&gt;Atlantic Monthly&lt;/i&gt;.  Stedman also contributed poems or &quot;interesting literary essays&quot; to the &lt;I&gt;New York Independent&lt;/i&gt; and the &lt;I&gt;North American Review&lt;/i&gt; (J. Derby 531).  Stedman later helped craft the canon of British and American literature by editing several large literary anthologies.  He devoted a full thirteen pages to Walt Whitman in his &lt;I&gt;Library of American Literature&lt;/i&gt; (all other writers received no more than three pages)  (G. Allen 534).  He also wrote introductions for reprinted editions of Elizabeth Barstow Stoddard&#039;s work (J. Barry 184).  Away from the publishing world, Stedman founded the Authors&#039; Club and headed the American Copyright League and the National Institute of Arts and Letters.  Reflecting on their friendship, William Dean Howells stated that, in Stedman, &quot;I found the quality of Boston, the honor and passion of literature, and not merely a pose of the literary life; and the world knows without my telling how true he has been to his ideal of it. His earthly mission then was to write letters from Washington for the New York World, which started in life as a good young evening paper, with a decided religious tone, so that the &lt;i&gt;Saturday Press&lt;/i&gt; could call it the Night-blooming Serious&quot; (&quot;First Impressions&quot; 70-71).

In 1877, Stedman visited Jersey City and renewed his acquaintance with Walt Whitman, whom he had met years earlier at Pfaff&#039;s.  Gay Allen notes that after this visit Stedman &quot;became an admirer and defender of the poet - though not always sufficiently ardent to satisfy him during his last years&quot; (479). In the fall of 1880, Stedman wrote one the most important articles published about Whitman for &lt;i&gt;Scribner&#039;s Magazine&lt;/i&gt;. Stedman attempted to &quot;praise [Whitman] judiciously,&quot; but he could not avoid criticizing Whitman&#039;s use of sex and sexual imagery. Whitman seems to have been divided in his reaction, but never fully trusted Stedman afterward (490).  Percy Boynton claims that in Stedman&#039;s critical work on Whitman &quot;he wrote no single essay which better demonstrated his wisdom, his sanity, and his charming suavity of mind and manner than his discussion of Walt Whitman.  Although he felt a native distaste for much of Whitman&#039;s writing and for the way most of it was done, he succeeded in applying a fair mode of criticism, and he did it in the manner of an artist and not as a counsel for the plaintiff.  Instead of beginning with cleverness and ending with truculence Stedman did himself the honor of coming out magnanimously with &#039;...there is something of the Greek in Whitman, and his lovers call him Homeric, but to me he shall be our old American Hesiod, teaching us works and days&#039;&quot; (334).


References & Biographical Resources\n";
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&lt;a href=&quot;/node/57864&quot;&gt;&quot;A Marriage and a Muss [from the New York Times].&quot; &lt;em&gt;New York Saturday Press&lt;/em&gt;, October 29, 1859, 4.&lt;/a&gt;
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&lt;a href=&quot;/node/55493&quot;&gt;Aldrich, Thomas Bailey. &quot;Letter, [1881 Oct.], Ponkapog, Mass., to Edmund Clarence Stedman, 1881. Ohio state Collection.&quot; &lt;em&gt;Letter, [1881 Oct.], Ponkapog, Mass., to Edmund Clarence Stedman, 1881. Ohio state Collection&lt;/em&gt;(1881).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Letter from Aldrich is addressed to him.&lt;/p&gt;
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&lt;a href=&quot;/node/55534&quot;&gt;Aldrich, Thomas Bailey, Mrs. (Lillian Woodman Aldrich). &lt;em&gt;Crowding Memories&lt;/em&gt;. Boston: Houghton, Mifflin, 1920.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;The Booths named both Stedman and his wife among those assembled the first time they visited the Stoddards.&quot;Next came Mr. Edmund Clarence Stedman, argumentative, alert, debonair.Mrs. Stedman was sketched in black and white, neutral and colorless&quot; (17).&lt;/p&gt;
&lt;p&gt;According to Mrs. Aldrich, the same year and month that Aldrich took over the editorship of the &quot;Atlantic Monthly&quot; from Howells, Oscar Wilde arrived in Boston and made a &quot;sensation.&quot;Of Wilde, Stedman wrote to Aldrich, &quot;This Philistine town [New York] is making a fool of itself over Oscar Wilde, who is lecturing on Art Subjects, appearing in public in extraordinary dress -- a loose shirt with a turn-down collar, a flowing tie of uncommon shade, velvet coat, knee breetches -- and often he is seen in public carrying a lily, or a sunflower, in his hand.He has brought hundreds of letters of introduction&quot; (246).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 17,222-224,246]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55726&quot;&gt;Allen, Gay Wilson. &lt;em&gt;The Solitary Singer: A Critical Biography of Walt Whitman&lt;/em&gt;. New York: MacMillan, 1955.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman is listed as one of the &quot;literary customers&quot; at Pfaff&#039;s (229).Allen writes that in 1877, Stedman visited Whitman in June, in Jersey City, when George W. Waters was painting his portrait.&lt;/p&gt;
&lt;p&gt;Stedman is listed among the &quot;active and honorary&quot; pallbearers at Whitman&#039;s funeral (594 n.153).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 229,479,490,534,594n153]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;59018&quot; about=&quot;/node/59018&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/59018&quot;&gt;&quot;Appletons&amp;#039; Cyclopaedia of American Biography, Volume I, Aaron-Crandall.&quot; In &lt;em&gt;Appletons&amp;#039; Cyclopaedia of American Biography, Volume I, Aaron-Crandall&lt;/em&gt;, edited by Wilson, James Grant and John Fiske. New York: D. Appleton &amp;amp; Co., 1888.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Appleton lists Stedman as a chief contributor to his publication&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/59022&quot;&gt;&quot;Appletons&amp;#039; Cyclopaedia of American Biography, Volume V, Pickering-Sumter.&quot; In &lt;em&gt;Appletons&amp;#039; Cyclopaedia of American Biography, Volume V, Pickering-Sumter&lt;/em&gt;, edited by Wilson, James Grant and John Fiske. New York: D. Appleton &amp;amp; Co., 1888.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 658(ill.)]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55848&quot;&gt;Baker, Portia. &quot;Walt Whitman and the Atlantic Monthly.&quot; &lt;em&gt;American Literature&lt;/em&gt; 6, no. 3 (1934): 283-301.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;He complained of hostility towards New York writers by the &lt;cite&gt;Atlantic Monthly&lt;/cite&gt;.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 298, 300]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55912&quot;&gt;Barry, John D. &quot;New York Letter.&quot; &lt;em&gt;Literary World&lt;/em&gt; 25, no. 12 (1894): 184-5.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman wrote the introductions to Mrs. Stoddard&#039;s novels when they were re-published (184).&lt;/p&gt;
&lt;p&gt;Barry paraphrases Stedman&#039;s thoughts about competition between periodicals: &quot;Mr. Stedman maintains, however, that each new periodical of genuine merit creates its own constituency without necessarily robbing its predecessors of any of theirs; so the multiplicity of our periodicals may, after all, be an unmixed blessing&quot; (185).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 184,185]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55819&quot;&gt;Belasco, Susan. &quot;From the Field: Walt Whitman&amp;#039;s Periodical Poetry.&quot; &lt;em&gt;American Periodicals&lt;/em&gt; 14, no. 2 (2004): 247-59.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman&#039;s poetry in &lt;cite&gt;Poems:Lyric and Idyllic&lt;/cite&gt; was also reviewed in the &lt;cite&gt;New York Times&lt;/cite&gt; in the column &quot;New Publications: The New Poets&quot; written by either William or John Swinton in which the third edition of &lt;cite&gt;Leaves of Grass&lt;/cite&gt; was reviewed poorly.Stedman&#039;s work was given notably less discussion but was also found &quot;lacking&quot; (255).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 255]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55903&quot;&gt;Boker, George H. &quot;George H. Boker Letters and Papers.&quot; &lt;em&gt;George H. Boker Letters and Papers&lt;/em&gt;(1849).&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55730&quot;&gt;Boynton, Percy Holmes. &lt;em&gt;A History of American Literature&lt;/em&gt;. New York: Gin and Company, 1919.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;&quot;[...] and some on the outskirts of &#039;Bohemia,&#039; were not too aggressively like Stedman, who admitted much later, &#039;I was very anxious to bring out my first book in New York in Boston style, having a reverence for Boston, which I continued to have&#039;&quot; (328).&lt;/p&gt;
&lt;p&gt;Boynton comments on Stedman&#039;s analysis of Whitman&#039;s work (334).&lt;/p&gt;
&lt;p&gt;Stedman&#039;s works &quot;&#039;Bohemia&#039; and &#039;Pan in Wall Street,&#039; though composed in this same general period, are far more sober, deliberate, and genuinely poetical.In both Stedman dealt with the romantic rather than with the ridiculous or contemptible in city life&quot; (335).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 135, 279, 324, 329, 331-336,385,399,453]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55939&quot;&gt;Cohen, Michael. &quot;E. C. Stedman and the Invention of Victorian Poetry.&quot; &lt;em&gt;Victorian Poetry&lt;/em&gt; 43, no. 2 (2005): 165-188.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/56162&quot;&gt;Congdon, Charles T. &lt;em&gt;Reminiscences of a Journalist&lt;/em&gt;. Boston: James R. Osgood, 1880.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 265, 274, 275]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/59024&quot;&gt;&quot;Death of Mrs. Stoddard.&quot; &lt;em&gt;New York Times&lt;/em&gt;, August 2, 1902, 9.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman is quoted in Elizabeth Stoddard&#039;s obituary as having styled the Stoddards as &quot;the most picturesque couple in America&quot; (9).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 9]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55872&quot;&gt;Derby, J.C. &lt;em&gt;Fifty Years among Authors, Books and Publishers&lt;/em&gt;. New York: G. W. Carleton and Co., 1884.&lt;/a&gt;
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&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Derby first met Stedman forty years prior to the writing of his book, when Stedman was seven years old.This meeting occured while Stedman and his widowed mother were on vacation; she was a poet, and became &quot;well and favorably known in literary circles&quot; (530).Derby notes that twenty years later, in 1860, &quot;young Stedman had begun to make his mark in literature, and now, a quarter of a century later still, he stands as is well-known in the front rank of American men of letters&quot; (530).Accoriding to Derby, Stedman comes from a long line of poets and men of letters.He attended Yale College in 1849, and was a member of &quot;the famous class of 1853&quot; (530).Stedman is also listed among the &quot;distinguished people of literary tastes&quot; whom he met at the Cary sisters&#039; home in the 1850s (250).He dedicated his 1884 &quot;collective edition&quot; of his poetry to his mother, Elizabeth Clementine Kinney: &quot;This Collection is Affectionately and Reverently Dedicated to my Myother, In Gratitude for Whatsoever I Inherit of Her Own Sweet Gift of Song&quot; (529).&lt;/p&gt;
&lt;p&gt;Stedman began newspaper work in 1852, in Norwich, Conn.After this, he edited the &lt;cite&gt;Herald&lt;/cite&gt; in Winsted, Conn.He moved to New York in 1855, where he became a member of the &lt;cite&gt;Tribune&lt;/cite&gt; staff in 1859, and later joined the editorial staff of the New York &lt;cite&gt;World&lt;/cite&gt;.He became the paper&#039;s war correspondent from 1861 to 1863; &quot;His description in that paper of the battle of Bull Run, was considered, at the time, the most graphic account given of that disastrous route of the Union army&quot; (531).&lt;/p&gt;
&lt;p&gt;Derby writes that Stedman&#039;s most recent publication venues have been Vanity Fair, Putnam&#039;s, Harper&#039;s, Scribner&#039;s, and the Atlantic Monthlies.Stedman also contributed poems or &quot;interesting literary essays&quot; to the New York &lt;cite&gt;Independent and North American Review&lt;/cite&gt; (531).&lt;/p&gt;
&lt;p&gt;Derby writes that Stedman&#039;s goal when arriving in New York was to support himself by living a literary life.His family scraped by with his income from journalistic work, however, until 1859, &quot;when he awoke one morning tofind himself famous as the author of the &#039;Diamond Wedding,&#039; a poem which he contributed to the New York &lt;cite&gt;Tribune&lt;/cite&gt; (531-532).According to Derby, this poem was written without the thought of publication, but when it was published in the &lt;cite&gt;Tribune&lt;/cite&gt;, it was well-liked a reprinted in several of the city&#039;s papers and in several editions of the &lt;cite&gt;Tribune&lt;/cite&gt;.&quot;The poet looked on it as a good joke at the time, as he considered it an inferior order of poetry, nothing more than a bright piece of society verse.It was copied throughout American and Europe, and republished in book-form by G.W. Carelton &amp;amp; Co.&quot; (532).Derby claims that part of the poem&#039;s popularity circles around &quot;the extraordinary marriage of the rich Cuban Oviedo to the beautiful Miss Bartlett.&quot;The bride&#039;s father, a Lieutennant Bartlett of the Navy, &quot;became very angry about the poem, because of all the sensation it caused in the fashionable world.&quot;Bartlett challenged Stedman to a duel, which Stedman accepted.Bartlett backed out, however, &quot;saying that he had come to the conclusin that Stedman&#039;s family was not equal to his in the social world&quot; (532).Derby reprints extracts from the &quot;Diamond Wedding on p. 532-533 to illustrate the cause of the controversy and interest in the poem.Later, Derby writes, Stedman met with the widowed Mrs. Oviedo, who was a fan of his work and &quot;had made up her mind that he would learn some time that she was not so foolish a woman she had been when a girl&quot; (534).A friendship formed between the poet, his wife, and the widow (also a published poet) (534).&lt;/p&gt;
&lt;p&gt;Derby also writes that during the Civil War, there was one point during which Stedman was &quot;in confidential relations with the government&quot; (534).&lt;/p&gt;
&lt;p&gt;Derby lists Stedman&#039;s &quot;hits&quot; as the &quot;Ballad of Lager Bier,&quot; &quot;How old Brown took Harper&#039;s Ferry&quot; (both published in a book by Scribner titled &quot;The Tribune Lyrics) (535).The second poem was written and published during the trial of Brown, and attracted a lot of attention (535).According the Derby, this poem also prompted the poet&#039;s friendship with Bayard Taylor, who would sometimes read it to audiences during his lectures.The two men met when Taylor returned to New York; Stedman asked Taylor about Stoddard, and Taylor introduced them, beginning their life-long friendships (535).Derby writes that both Stedman and Stoddard wrote prose and poetic tributes to Taylor after his death (535).&lt;/p&gt;
&lt;p&gt;At the time of his fame for his ballad &quot;How old Brown took Harper&#039;s Ferry,&quot;Stedman was appointed to the reporting staff of the &lt;cite&gt;New York Tribune&lt;/cite&gt; under Charles A. Dana (535).His first assignment was &quot;the interesting account of the death of Washington Irving&quot;; this was the only time Stedman ever saw Irving (536).&lt;/p&gt;
&lt;p&gt;Stedman gave up journalism a few years later and attempted to devote himself to literature.At that time, this line of work did not pay.&quot;He had saved a thousand dollars with which to begin operations in Wall Street, where he operated and became a popular and successful banker.Out of the one thousand dollars invested he soon made from ten to twelve thousand dollars.Mr. Stedman has often been criticised for being in Wall Street.He has been there solely for the purpose of having Sundays and evenings and summer vacations for poetry and critical literary work, which time he has studiously utilized&quot; (536).According to Derby, Mr. Stedman has kept his Wall Street operations small, earning an income sufficient to make his literary pursuits possible.Derby notes that Stedman makes a &quot;handsome&quot; salary from the copyrights of his poetry, which is quite popular.Derby also writes that &quot;His &#039;Victorian Poets&#039; shows him to be a master critic as well as a born poet.&quot;Stedman is also asked on a regular basis to contribute poems to magazines and newspapers, for which he can name his own price.Derby also writes of Stedman&#039;s forthcoming poetry to be published by Harper &amp;amp; Brothers around Christmas (536).According to Derby, the $50 a piece that Stedman charged for the two poems he provided was lower than the editor expected (537).Derby also speaks of Stedman&#039;s forthcoming &quot;Poetry in America,&quot; &quot;a companion volume to his &#039;Victorian Poets,&#039; which has been received with such great favor by the most eminent critics of this country and Europe&quot; (537).&lt;/p&gt;
&lt;p&gt;Derbyalso writes that Stedman and Ellen Mackay Hutchinson are compiling and editing &quot;another most important literary exercise&quot; in the form of &quot;a library of American literature from the earliest settlement to the present time.&quot;According to Derby, this &quot;library&quot; is comiled &quot;in ten elegant large octavo volumes of over five hundred pages each, illustrated with portraits of distinguished authors.A work of this kind is urgently called for by the literary intelligence of the country, and in the competant hands of its accomplished editors, a work of great value may be expected&quot; (537).&lt;/p&gt;
&lt;p&gt;Derby reprints Stedman&#039;s poetic tribute to Greeley p.138-140.Stedman, Taylor, and Stoddard were among the poets who wrote and read original poems at the funeral of William Cullen Bryant (169).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 138,169,241-242,250,526,529,530-37,603]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;55739&quot; about=&quot;/node/55739&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55739&quot;&gt;Donaldson, Thomas. &lt;em&gt;Walt Whitman the Man&lt;/em&gt;. New York; F.P. Harper, 1896.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Donaldson describes Stedman as a friend, supporter, and admirer of Whitman and claims his name is &quot;a synonym for elegance, purity of mind, and thorough cultivation, and the possession of the grace of harmonious and euphonious poetic diction&quot; (213).&lt;/p&gt;
&lt;p&gt;Donaldson also includes a letter from Stedman to Whitman (213-4).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 198,199,213-214,221]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55861&quot; about=&quot;/node/55861&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55861&quot;&gt;Folsom, Ed and Kenneth M. Price. &lt;em&gt;Re-Scripting Walt Whitman: An Introduction to His Life and Work&lt;/em&gt;. Malden, MA: Blackwell, 2005.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman in mentioned as a writer Whitman met at Pfaff&#039;s.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 61]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;57876&quot; about=&quot;/node/57876&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/57876&quot;&gt;Folsom, Ed and Kenneth M. Price. &quot;Walt Whitman.&quot; &lt;em&gt;The Walt Whitman Archive&lt;/em&gt;, January 1, 2006.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Whitman befriended Stedman while at Pfaff&#039;s.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60411&quot; about=&quot;/node/60411&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60411&quot;&gt;Ford, James L. &quot;Good By Bohemia.&quot; &lt;em&gt;The New York Tribune&lt;/em&gt;, January 11, 1922, Part 2, Page 1.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;55743&quot; about=&quot;/node/55743&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55743&quot;&gt;Greenslet, Ferris. &lt;em&gt;The Life of Thomas Bailey Aldrich&lt;/em&gt;. Boston: Houghton Mifflin, 1908.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;A member of Aldrich&#039;s &quot;nearer circle of contemporaries&quot; during his experience in the &quot;Literary Bohemia&quot; in New York (38).&lt;/p&gt;
&lt;p&gt;Greenslet notes, &quot;The three young men of the group that with Aldrich surivived the century, Stedman, Stoddard, and Mr. Winter, writers all of poetry and prose, have become familiar names.It is perhaps something more than a coincidence that all four were New England Boys&quot; (38-9).&lt;/p&gt;
&lt;p&gt;Greenslet reprints letters from Aldrich to Stedman on pp. 17,19-20,88-89,101-2,110,127-8, 133-134,138-40, 145-6,152, 154-7, 171-2, 196-7,213-5,234-5&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 17,19-20,38-39,43,88-89,101-102,110,127-8,133-134-138-140,145-146.152,154-7,171-172,196-197,213-215,234-235]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;58013&quot; about=&quot;/node/58013&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/58013&quot;&gt;Guarneri, Carl J. &lt;em&gt;The Utopian Alternative: Fourierism in Nineteenth-Century America&lt;/em&gt;. Cornell, NY: Cornell University Press, 1994.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 396]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60714&quot; about=&quot;/node/60714&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60714&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 12.&quot; &lt;em&gt;Diaries, Vol. 12&lt;/em&gt;(1860).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60715&quot; about=&quot;/node/60715&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60715&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 13.&quot; &lt;em&gt;Diaries, Vol. 13&lt;/em&gt;(1860).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60724&quot; about=&quot;/node/60724&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60724&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 14.&quot; &lt;em&gt;Diaries, Vol. 14&lt;/em&gt;(1860).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60732&quot; about=&quot;/node/60732&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60732&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 15.&quot; &lt;em&gt;Diaries, Vol. 15&lt;/em&gt;(1861).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60716&quot; about=&quot;/node/60716&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60716&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 16.&quot; &lt;em&gt;Diaries, Vol. 16&lt;/em&gt;(1861).&lt;/a&gt;
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&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60725&quot; about=&quot;/node/60725&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60725&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 17.&quot; &lt;em&gt;Diaries, Vol. 17&lt;/em&gt;(1861).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60718&quot; about=&quot;/node/60718&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60718&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 19.&quot; &lt;em&gt;Diaries, Vol. 19&lt;/em&gt;(1862).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60726&quot; about=&quot;/node/60726&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60726&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 21.&quot; &lt;em&gt;Diaries, Vol. 21&lt;/em&gt;(1862).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;li class=&quot;list-group-item&quot;&gt;
&lt;article data-history-node-id=&quot;60727&quot; about=&quot;/node/60727&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60727&quot;&gt;Gunn, Thomas Butler. &quot;Diaries, Vol. 22.&quot; &lt;em&gt;Diaries, Vol. 22&lt;/em&gt;(1863).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55744&quot; about=&quot;/node/55744&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55744&quot;&gt;Hahn, Emily. &lt;em&gt;Romantic Rebels; An Informal History of Bohemianism in America&lt;/em&gt;. Boston; Houghton Mifflin, 1967.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Hahn says he was a regular.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 20]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55805&quot; about=&quot;/node/55805&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55805&quot;&gt;Hemstreet, Charles. &quot;Literary New York: Its Landmarks and Associations..&quot; &lt;em&gt;Literary New York: Its Landmarks and Associations.&lt;/em&gt;(1903).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Mentioned as being among the assembled group at Pfaff&#039;s when Howells visited during his first New York trip (218).&lt;/p&gt;
&lt;p&gt;Hemstreet calls him a &quot;poet and financier.&quot;His offices were located on Broad Street, close to Wall Street (233). &lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 218,233,252]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55439&quot; about=&quot;/node/55439&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55439&quot;&gt;Howells, William Dean. &quot;First Impressions of Literary New York.&quot; &lt;em&gt;Harper&amp;#039;s New Monthly Magazine&lt;/em&gt;, June 1, 1895, 62-74.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Howells claimed that to be published in the &lt;cite&gt;Saturday Press&lt;/cite&gt; was to be in his &quot;company&quot; (63).&lt;/p&gt;
&lt;p&gt;Howells also mentions that he and Stedman shared their recollections of this time period before the publication of Howells&#039; piece (70).&lt;/p&gt;
&lt;p&gt;Howells states that in Stedman &quot;I found the quality of Boston, the honor and passion of literature, and not merely a pose of the literary life; and the world knows without my telling how true he has been to his ideal of it.His earthly mission then was to write letters from Washington for the New York World, which started in life as a good young evening paper, with a decided religious tone, so that the Saturday Press could call it the Night-blooming Serious&quot; (70-71).&lt;/p&gt;
&lt;p&gt;Howells remarks on Stedman&#039;s skill and talent at being a Washington correspondent.Howells also mentions that Stedman later obtained a seat on the New York Stock Exchange and went into the field of business. Howells says that the career change has allowed Stedman to &quot;mean something more single in literature than many more singly devoted to it&quot; (71).Howells mentions that he and another writer used to discuss Stedman&#039;s work and &quot;always decided that Stedman had the best of it in being able to earn his living in a sort so alien to literature that he could come to it unjaded, and with a gust unspoiled by kindred savors.But no man shapes his own life, and I dare say Stedman may have all the time been envying us our tripods from his high place in the Stock Exchange.What is certain is that he has come to stand for literature and to embody New York in it as no one else does.In a community which seems never to have had a conscious relation to letters, he has kept the faith with dignity and fought the fight with constant courage.Scholar and poet at once, he has spoken to his generation with authority which we can forgetonly in the charm which makes us forget everything else&quot; (71).&lt;/p&gt;
&lt;p&gt;Howells discusses meeting Stedman before either experienced any fame and how they would share writing with one another.It seems Stedman would advise Howells on publication venues (71).&lt;/p&gt;
&lt;p&gt;Howells also discusses Stedman&#039;s &quot;worldliness&quot; and his appearance when they first met (72).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 63,70-72,74(ill.)]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55807&quot; about=&quot;/node/55807&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55807&quot;&gt;&quot;In and about the City: Death of Charles I. Pfaff. Something about the Proprietor of the Once Famous &amp;quot;Bohemia.&amp;quot;.&quot; &lt;em&gt;New York Times&lt;/em&gt;, April 26, 1890, 2.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;The obituary identifies him as one of the &quot;Knights of the Round Table&quot; of the &quot;lions of Bohemia.&quot;&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 2]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55709&quot; about=&quot;/node/55709&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55709&quot;&gt;Lalor, Eugene T. &quot;The Literary Bohemians of New York City in the Mid-Nineteenth Century.&quot; Ph.D. Dissertation, St. John&amp;#039;s University, 1977.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Lalor places him in &quot;the &#039;genteel&#039; circle&quot; along with Stoddard, Taylor and Aldrich in contrast to the rowdy Bohemians.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 15,22,23,47]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55808&quot; about=&quot;/node/55808&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55808&quot;&gt;Lalor, Eugene. &quot;Whitman among the New York Literary Bohemians: 1859–1862..&quot; &lt;em&gt;Walt Whitman Review&lt;/em&gt; 25, (1979): 131-145.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Taylor, Stoddard, Aldrich, and Stedman are mentioned as the parties in New York involved in the &quot;inconsistent opposition&quot; to the third edition of &lt;cite&gt;Leaves of Grass&lt;/cite&gt; in 1859-1860.Lalor writes that &quot;It was chiefly against this ambivalent group and against the naysayers of New England that Clapp did battle for Whitman, with a characteristic originality of method which was both a tribute to the &lt;cite&gt;Press&lt;/cite&gt; at the same time it was a boon to Whitman&quot; (137).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 137]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60173&quot; about=&quot;/node/60173&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60173&quot;&gt;Lause, Mark A. &lt;em&gt;The Antebellum Crisis and America&amp;#039;s First Bohemians&lt;/em&gt;. Kent, OH: Kent State University Press, 2009.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60174&quot; about=&quot;/node/60174&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60174&quot;&gt;Levin, Joanna. &lt;em&gt;Bohemia in America, 1858-1920&lt;/em&gt;. Stanford: Stanford University Press, 2010.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55745&quot; about=&quot;/node/55745&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55745&quot;&gt;Levin, Joanna Dale. &quot;American Bohemias, 1858-1912: A Literary and Cultural Geography.&quot; Ph.D Dissertation; Stanford University, 2001.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman is mentioned as one of the &quot;mainstays of the &#039;genteel tradition&#039;&quot; who occasionally visited Pfaff&#039;s and later tried to dissociate himself from the group.This group&#039;s association with the Pfaffians &quot;helped define the genteel Bohemianism that would come into fashion in the 1870&#039;s and 1880&#039;s&quot; through their &quot;antipathy towards bourgeois materialism.&quot;He would become important in the post-bellum era (21).Levin also looks to Stansell&#039;s highlighting of Stemdan&#039;s claims that higher pay for literary and journalistic work would have made Bohemia and a Bohemain life necessary; he largely claims that many of them would have turned &quot;respectable&quot; if they had had the means (87).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 21,87-88]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55779&quot; about=&quot;/node/55779&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55779&quot;&gt;&quot;Literary News.&quot; &lt;em&gt;The Literary World&lt;/em&gt;, May 11, 1873, 189-192.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;A member of Clapp&#039;s &quot;cabinet&quot; in the &quot;Kingdom of Bohemia&quot; and at the &lt;cite&gt;Saturday Press&lt;/cite&gt;.The article describes his current whereabous as follows:&quot;Stedman, lately withdrawn from the prosaic arena of Wall Street, writes introspective verse, and holds solemn communion with departed magnates of the literary world.&quot;&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 192]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55940&quot; about=&quot;/node/55940&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55940&quot;&gt;Loeffelholz, Mary. &quot;Edmund Clarence Stedman&amp;#039;s Black Atlantic.&quot; &lt;em&gt;Victorian Poetry&lt;/em&gt; 43, no. 2 (2005): 189-204.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55772&quot; about=&quot;/node/55772&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55772&quot;&gt;Loving, Jerome. &quot;Walt Whitman: The Song of Himself.&quot; &lt;em&gt;Walt Whitman: The Song of Himself&lt;/em&gt;(1999): 568 p.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 236]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;59760&quot; about=&quot;/node/59760&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/59760&quot;&gt;Lukens, Henry Clay. &quot;American Literary Comedians.&quot; &lt;em&gt;Harper&amp;#039;s New Monthly Magazine&lt;/em&gt;, April 1, 1890, 783-797.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 795]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55929&quot; about=&quot;/node/55929&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55929&quot;&gt;Miller, Tice L. &lt;em&gt;Bohemians and Critics: American Theatre Criticism in the Nineteenth Century&lt;/em&gt;. Metuchen, NJ: The Scarecrow Press, 1981.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;One of the founders of the &lt;cite&gt;Saturday Press&lt;/cite&gt;.About the new publication, he wrote: &quot;The paper was usually hard up, and Mr. Clapp took in several business partners, one after the other.When he got what he called &#039;fresh blood,&#039; he used to divide it up among the boys&quot; (26).&lt;/p&gt;
&lt;p&gt;When Clapp committed himself to the New York City Asylum on Wards Island in 1874, he wrote to E. C. Clarence about his motivation, which was to &quot;get cleansed in the body . . . and clothed in my right mind&quot; (39).&lt;/p&gt;
&lt;p&gt;In a letter from William Winter to Stedman, dated May 1, 1863, Winter describes his social isolation: &quot;I am, as I ever was, something of a black sheep and none of our friends care to acknowledge me socially&quot; (79).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 25, 26, 39-40, 79, 82, 128]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55920&quot; about=&quot;/node/55920&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55920&quot;&gt;&quot;Notes.&quot; &lt;em&gt;The Dial; A Semi - Monthly Journal of Literary Criticism, Discussion, and Information&lt;/em&gt; 34, no. 407 (1903): 378.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman is mentioned as &quot;the closest of the poet&#039;s surviving friends.&quot;The writer quotes Stedman&#039;s remarks that Stoddard&#039;s poetry exhibited &quot;affluence, sincere feeling, strength, a manner peculiarly his own, very delicate fancy, and, above all, an imagination at times exceeded by that of no other American poet&quot; (378).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 378]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;59748&quot; about=&quot;/node/59748&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/59748&quot;&gt;&quot;Notes of the Week.&quot; &lt;em&gt;New-York Saturday Press&lt;/em&gt;, May 19, 1866, 4.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55766&quot;&gt;Parry, Albert. &quot;Garrets and Pretenders: A History of Bohemianism in America.&quot; &lt;em&gt;Garrets and Pretenders: A History of Bohemianism in America&lt;/em&gt;(1933).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;According to Parry, Stedman and Winter were not fans of Whitman at Pfaff&#039;s (39).When Clapp was attacked in the &lt;cite&gt;Round Table&lt;/cite&gt;, he fired back at &quot;bogus Bohemians&quot; like Stoddard and Stedman, writing:&lt;/p&gt;
&lt;p&gt;&quot;The fact is that the &lt;cite&gt;Round Table&lt;/cite&gt; came into the world because the bogus Bohemians have been expelled from the round table at Pfaff&#039;s and emigrated to Nassau Street.They are only attempting to ride into notoriety upon the back of Bohemia, as the snail in the fable rode upon the back of the hare.For the real Bohemia includes all the best writers in the metropolis&quot; (46).&lt;/p&gt;
&lt;p&gt;Parry mentions that Clapp might have &quot;felt qualms as to the wisdom of lingering behind in the doubtful company&quot; of several of the more &quot;mediocre&quot; Pfaffians who were still alive after the Civil War, including Stedman, who became a Wall Street broker &quot;to the detriment of his poetry&quot; (47).Parry also writes that &quot;Stoddard tried to wean such valued friends as O&#039;Brien, Stedman, and Taylor from the dissolute circle.O&#039;Brien resisted successfull, and died tragically, but Stedman and Taylor were easily led to respectibility&quot; (59).&lt;/p&gt;
&lt;p&gt;Parry also writes of how the Pfaffians used vaguely sexual descriptions to shock the outside public and discusses Stedman&#039;s &quot;Bohemia&quot;:&lt;/p&gt;
&lt;p&gt;&quot;In his early peom, &#039;Bohemia,&#039; E.C. Stedman sang of &#039;my Blanche...my sweetheart,&#039; who &#039;fairer to the eye than ever, moved along serene...a gypsy queen, born pricess of Bohemia.&#039;He mentioned a &#039;bookish Sybil -- she whose tongue the bees of Hybla must have fed,&#039; and the delighted Pfaffians must have recognized Ada in the portriat.He applauded a virtuous &#039;Rose, whose needle gains her bread,&#039; but in the same breath, this future churchman of Wall Street went mad -- oh, horrors! -- over &#039;wild Annette, danseuse and warbler and grisette, true daughter of Bohemia.&#039;Lest any doubts remain among the good burghers as to the true character and pastimes of these gypsy queens and grisettes at Pfaff&#039;s, Stedman painted the general setting in the colors of the &#039;careless scorn and freedom of Bohemia,&#039; where everything was full of the &#039;blithesome throng and joyance of Bohemia&#039;&quot; (56).&lt;/p&gt;
&lt;p&gt;Parry quotes Stedman&#039;s reflections about Pfaff&#039;s in the &lt;cite&gt;Herald&lt;/cite&gt; in 1890, at the death of Pfaff (61).&lt;/p&gt;
&lt;p&gt;Parry quotes Stedman in his review of historical assessments of Poe&#039;s Bohemianism.Stedman wrote in 1885 that the period between leaving Mr. Allan&#039;s house and his marriage was the &quot;profilgate phase&quot; of Poe&#039;s life; Stedman wrote: &quot;The time had come when Poe, with his sense of the fitness of things, could see that Bohemianism, the charm of youth, is a fram that poorly suits the portrait of a mature and able-handed man&quot; (3).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 3,39,41,46,47,56,59,61,127,181]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55765&quot;&gt;Pattee, Fred Louis. &quot;The Feminine Fifties.&quot; &lt;em&gt;The Feminine Fifties&lt;/em&gt;(1940).&lt;/a&gt;
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&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 293]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55257&quot; about=&quot;/node/55257&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55257&quot;&gt;Reid, Mary J. &quot;Stedman and Some of His British Contemporaries.&quot; &lt;em&gt;Overland Monthly and Out West Magazine&lt;/em&gt;, January 1, 1895, 17-24.&lt;/a&gt;
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&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 18 (ill)]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55919&quot; about=&quot;/node/55919&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55919&quot;&gt;&quot;Richard Henry Stoddard.&quot; &lt;em&gt;Outlook&lt;/em&gt; 74, no. 4 (1903): 216-18.&lt;/a&gt;
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&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;The obituary reports that Stedman was with Stoddard for the last year and was at his bedside the day Stoddard died.According to the obituary, Stedman defined Stoddard&#039;s characteristics as &quot;affluence, sincere feeling, strength, a manner peculiarly his own, very delicate fancy, and, above all, an imagination at times exceeded by that of no other American poet.This last quality pervades his more ambitious pieces, and at times breaks out suddenly in his minor efforts, by which he was best known&quot; (217).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 217]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55918&quot; about=&quot;/node/55918&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
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&lt;a href=&quot;/node/55918&quot;&gt;&quot;Richard Henry Stoddard.&quot; &lt;em&gt;Watchman&lt;/em&gt; 85, no. 21 (1903): 5-6.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;He is quoted as saying about Stoddard, &quot;No poet is more unequal; few have more plainly failed now and then.On the other hand, few have reached a higher tone, and a selection could be made from his poems upon which to base a lasting reputation.&#039;The Fisher and Charon,&#039; &#039;The Dead Master&#039; and &#039;The Hymn to the Sea&#039; are noble pieces of English blank verse, the secret of whose measure is given only to the elect; one is impressed by the art, the thought, the imagination, which sustain these poems, and the Shakespeare and Lincoln odes&quot; (5).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 5]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;60116&quot; about=&quot;/node/60116&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/60116&quot;&gt;Scholnick, Robert. &quot;Whitman and the Magazines: Some Documentary Evidence.&quot; &lt;em&gt;American Literature&lt;/em&gt; 44, no. 2 (1972): 222-246.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55879&quot;&gt;Sentilles, Renee M. &quot;Performing Menken: Adah Isaacs Menken and the Birth of American Celebrity.&quot; &lt;em&gt;Performing Menken: Adah Isaacs Menken and the Birth of American Celebrity&lt;/em&gt;(2003).&lt;/a&gt;
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&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;A regular in the bohemian circle at Pfaff&#039;s.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 142]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55758&quot;&gt;Stansell, Christine. &quot;Whitman at Pfaff&amp;#039;s: Commercial Culture, Literary Life and New York Bohemia at Mid-Century.&quot; &lt;em&gt;Walt Whitman Quarterly Review&lt;/em&gt; 10, no. 3 (1993): 107-126.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stansell writes that Stedman remembered the 1850s in New York as &quot;bleak&quot;:&quot;there was not much of a literary market at that time&quot; (121).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 121]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55757&quot;&gt;Starr, Louis Morris. &lt;em&gt;Bohemian Brigade; Civil War Newsmen in Action&lt;/em&gt;. New York: Knopf, 1954.&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman worked as a reporter for the &lt;cite&gt;Tribune&lt;/cite&gt; in 1860; he is quoted as remarking about being a newspaper reporter, &quot;it is shameful to earn a living in this way&quot; (6).&lt;/p&gt;
&lt;p&gt;In a discussion of the idea that &quot;To be a Bohemian affored license for all manner of youthful exuberances,&quot; Starr mentions that Stedman &quot;satirized a &lt;cite&gt;nouveau riche&lt;/cite&gt; wedding so pointedly in verse in the &lt;cite&gt;Tribune&lt;/cite&gt; that friends had to intervene to avert a duel with the bride&#039;s father&quot; (7).&lt;/p&gt;
&lt;p&gt;Starr writes that in the days prior to the Civil War, like many others in New York, the &quot;Pfaffians were exposed increasingly to the clamour of a world beyond their ken.Something like a revolution was afoot in the realm of journalism, a revolution that would lift these light-hearted pranksters from their subterranean retreat ad whirl them in its vortex.Soon O&#039;Brien, Aldrich, Thomson, Williams, and Stedman, together with others in Clapp&#039;s happy coterie--Charles G. Halpine (who stammered to fame at Pfaff&#039;s, speaking inadvertantly of &#039;H-H-Harriet Beseecher Bestowe&#039;), William Conant Church, William Swinton, E.H. House, Charles Henry Webb, a couple of artists, Frank H. Bellew and Thomas Nast: in all more than half of the identifiable clientele at the Cave--would take the field along with hundreds of other youths of like mind to participate in the greatest undertaking in the history of journalism&quot; (9).&lt;/p&gt;
&lt;p&gt;According to Starr, &quot;Ed Stedman of the &lt;cite&gt;World&lt;/cite&gt; got much of his inside information by serving at Attorney General Bates&#039;s pardon clerk&quot; (82).Stedman would later become &quot;digusted with the &lt;cite&gt;World&lt;/cite&gt; now that it was turning &#039;Copperhead&#039;&quot; and claim that the &lt;cite&gt;Tribune&lt;/cite&gt; under Dana was the best-edited paper (133).Stedman quit the &lt;cite&gt;World&lt;/cite&gt; in 1862, when in turned Democratic, labeling it a &quot;secessionist sheet&quot; (357).&lt;/p&gt;
&lt;p&gt;Stedman wrote to his brother of newspaper work: &quot;&lt;cite&gt;It does not pay&lt;/cite&gt;...It is better to be a tradesman&quot; (250).&lt;/p&gt;
&lt;p&gt;Stedman was a member of the large party of journalists that witnessed the first battle of Bull Run (43).Stedman was with Villard and House when Villard climbed a cherry tree, only to be knocked out of it, mouth full of cherries, by a &quot;terrific roar&quot; from the woods.Stedman also reported to his wife in a letter that during a prelimiary skirmish, when House &quot;had one ball whiz by his ear, got frightened, galloped 22 miles to Washington, and there reported 500 killed, and that the press had fled the field&quot; (44).Stedman was seen &quot;in the thick of it&quot; during the late afternoon battle &quot;grab the standard of the Massachusetts Fifth, &#039;waving it over him and pleading for the men to rally around him, but it was all in vain&#039;&quot; (47).Stedman&#039;s account of this battle ran in all six columns on the front pages of the &lt;cite&gt;World&lt;/cite&gt; and caused the issue to sell out (56).It was ranked among the paper&#039;s top pieces of reporting (332).Starr writes that Stedman&#039;s &quot;Bull Run was often cited as one of the most graphic of battle dispatches&quot; (357).&lt;/p&gt;
&lt;p&gt;After the defeat at Ball&#039;s Bluff, &quot;Ed Stedman rode forty-five miles to the scene at one clip, &#039;got bilious intermittenet fever,&#039; pieced the story together, rode back to Washington, wrote six columns with his head wrapped in a towel, and heard that &#039;the government has stopped the &lt;cite&gt;World&lt;/cite&gt; tonight and talks of interfering with men, because I got angry and told the truth about Ball&#039;s Bluff&#039;&quot; (Part of the material Starr quotes is from Stedman&#039;s collected letters) (58).&lt;/p&gt;
&lt;p&gt;Stedman was one of a group of reporters, who &quot;with varying degrees of enthusiasm&quot; got involved with the &quot;Chase-for-President&quot; campaign (312).Interestingly, however, Stedman and &quot;another innocent member of the committee inserted Winchell&#039;s &#039;confidential&#039; letter (known subsequently as the Pomeroy Circular) in the Washington &lt;cite&gt;Constitutional Union&lt;/cite&gt;.A letter that delcared Chase a candidate for the Presidency, openly criticized Lincoln, and called for a one-term limit.The publication of the letter more or less destroyed Chase&#039;s candidacy (313).&lt;/p&gt;
&lt;p&gt;After quitting the &lt;cite&gt;World&lt;/cite&gt;, Stedman maintained an &quot;occasional correspondence&quot; with the &lt;cite&gt;Times&lt;/cite&gt;, and then quit newspaper work in favor of a job as a Wall Street stockbroker.Starr calls him &quot;The Bard of Wall Street.&quot;Stedman worked as a stock broker for forty-five years, while also writing &quot;tolerable poetry and excellent criticism.&quot;Starr also writes, &quot;As the leader of the New York literary circle of his time, he was a paragon of gentility who, like his friend Thomas Bailey Aldrich looked back with incredulity at his Bohemian days at Pfaff&#039;s&quot; (357).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 6,7,9,43-47,56,58,82,94,95,112,133,250,266,312,313,332,357, Plate IX (ill)]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55359&quot; about=&quot;/node/55359&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55359&quot;&gt;Stedman, Edmund Clarence. &quot;Life and Letters of Edmund Clarence Stedman.&quot; In &lt;em&gt;Life and Letters of Edmund Clarence Stedman&lt;/em&gt;, edited by Laura Stedman and George M. Gould. New York: Moffat, Yard and Company, 1910.&lt;/a&gt;
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&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;article data-history-node-id=&quot;55854&quot; about=&quot;/node/55854&quot; class=&quot;node node--type-work node--view-mode-bibliography-link&quot;&gt;
&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/55854&quot;&gt;Stovall, Floyd. &quot;The Foreground of Leaves of Grass.&quot; &lt;em&gt;The Foreground of Leaves of Grass&lt;/em&gt;(1974).&lt;/a&gt;
&lt;/div&gt;
&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stovall mentions that Stedman recalled seeing Whitman at Pfaff&#039;s.&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 6]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/57450&quot;&gt;&quot;The Poems of Edmund C. Stedman.&quot; &lt;em&gt;New-York Saturday Press&lt;/em&gt;, April 14, 1860, 2.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;div class=&quot;node__content&quot;&gt;
&lt;a href=&quot;/node/59082&quot;&gt;&quot;The Young Men of the New York Press.&quot; &lt;em&gt;The Independent&lt;/em&gt;, June 17, 1866, 4.&lt;/a&gt;
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&lt;/article&gt;
&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;&quot;It is a striking fact that the number of young men prominently connected with the New York press as writers is greater now than at any former period...the chief editorial work in these journals is done by men between the years of twenty-five and forty&quot; (4).&lt;/p&gt;
&lt;p&gt;&quot;Edmund C. Stedman, the poet, is still in the early morning of his song&quot; (4).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 4]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/56562&quot;&gt;&quot;Three New York Poets.&quot; &lt;em&gt;Scribner&amp;#039;s Monthly&lt;/em&gt;, July 1, 1881, 469-472.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Stedman&#039;s poetry is compared to Arnold&#039;s: &quot;Mr. Stedman&#039;s &#039;Ballad of Larger Beer&#039; was a better piece of work than Arnold&#039;s &#039;Beer&#039;&quot; (470).&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 470]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55876&quot;&gt;Traubel, Horace. &quot;Intimate with Walt: Selections from Whitman&amp;#039;s Conversations with Horace Traubel, 1888-1892.&quot; In &lt;em&gt;Intimate with Walt: Selections from Whitman&amp;#039;s Conversations with Horace Traubel, 1888-1892&lt;/em&gt;, edited by Schmidgall, Gary. Iowa City: University of Iowa Press, 2001.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Whitman discusses how Stedman is the &quot;pick and treasure&quot; of the &quot;bitter&quot; New York Crowd and Whitman seems to be often critical of him and his personality.Whitman also refers to Stedman&#039;s ability as a literary critic: &quot;I don&#039;t think he fishes with a very deep sinker. [Edmund] Stedman doesn&#039;t seem to have vision, soul - depth of nativity - sufficient to make him capable of the highest interpretations.&quot;&lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: xxv,58,80,106-107,263]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/59772&quot;&gt;Twain, Mark. &quot;The Autobiography of Mark Twain.&quot; In &lt;em&gt;The Autobiography of Mark Twain&lt;/em&gt;, edited by Charles Neider. New York: HarperCollins, 2000.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 337, 469-470, 507]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/56492&quot;&gt;Whitman, Walt. &quot;Letter to Louisa Van Velsor Whitman, October 20, 1863.&quot; &lt;em&gt;Walt Whitman: The Correspondence&lt;/em&gt; 1, (1961): 166-169.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/56207&quot;&gt;Whitman, Walt. &quot;Letter to William D. O&amp;#039;Connor, September 15, 1867.&quot; &lt;em&gt;Walt Whitman: The Correspondance&lt;/em&gt; 1, (1961): 338-340.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/57764&quot;&gt;Wilson, Peter Lamborn. &quot;Stephen Pearl Andrews.&quot; In &lt;em&gt;Dictionary of Literary Biography, Volume 250: Antebellum Writers in New York, Second Series&lt;/em&gt;, edited by Kent P. Ljungquist. Detroit: Gale, 2001.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55290&quot;&gt;Winter, William. &lt;em&gt;Old Friends; Being Literary Recollections of Other Days&lt;/em&gt;. New York: Moffat, Yard and Company, 1909.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Winter writes that he knew Stedman as a poet before they met in 1862.Winter says that their acquaintance &quot;speedily ripened into a friendship that was never marred, notwithstanding our variant opinions as to literary matters and our invariably frank and explicit criticism of one another as votaries of the Muse.&quot;Winter claims that they would not have had a true friendship if they had not been able to speak honestly to one another.Winter notes that Stedman knew several authors and does not know how he interacted and critiqued them, but writes that Stedman was always both honest and considerate with him (297-298).&lt;/p&gt;
&lt;p&gt;Winter notes that Stedman characterized the &quot;peculiar period of literary transition in the chief city of America&quot; as &quot;&#039;that unfriendly time&#039; for letters.&quot;Winter remarks that Stedman &quot;lived in it and closely observed it&quot; (105).&lt;/p&gt;
&lt;p&gt;Winter remembers Stedman as &quot;one of the merriest of the company&quot; during a &quot;literary festival&quot; that was part of a visit from Oliver Wendell Holmes (124).&lt;/p&gt;
&lt;p&gt;Stedman and Woodbury edited the &quot;standard edition&quot; of Poe&#039;s works (33).&lt;/p&gt;
&lt;p&gt;Stedman was a member of Taylor&#039;s poetic group, along with Richard Henry Stoddard, Elizabeth Barstow Stoddard, Fitz Hugh Ludlow, George Henry Boker, Fitz-James O&#039;Brien, Christopher P. Cranch, and George William Curtis.Winter notes that at the time of his writing &quot;not one remains&quot; of this group (177).&lt;/p&gt;
&lt;p&gt;Of recent reviews he had received, Taylor wrote to Winter on October 2, 1873: &quot;Stedman wrote such praise of my Vienna Letters (the most ephemeral work) as would have seemed ironical from any but an old friend, without even hinting that he had ever heard of a poem which is worth all my correspondence, from first to last&quot; (173).Stedman is mentioned several other times in Taylor&#039;s correspondence.&lt;/p&gt;
&lt;p&gt;In a discussion of various writers&#039; composition habits, Winter writes: &quot;Edmund Clarence Stedman, whose poetic achievement made his name illustrious in American literature, told me that it was his custom to select with care the particular form of verse that he designed to use, and sometimes to invent the rhymes and write them at the ends of the lines which they were to terminate,--thus making a skeleton of a poem, as a ground-work on which to build.&quot;Winter appears to find this method a bit more structured that he envisions for poetic composition (156).&lt;/p&gt;
&lt;p&gt;Winter calls Stedman one of the &quot;masters of style&quot; in writing (243).&lt;/p&gt;
&lt;p&gt;Winter notes that Stedman, Stoddard, Taylor, and Boker were not associated with Clapp, the Bohemians, or the group that gathered during the time of &quot;The Saturday Press&quot; and Pfaff&#039;s Cave.These men did not lead Bohemian lifestyles and were not sympathetic to the lifestyle.Winter does note that &quot;Stedman, indeed, wrote a poem about Bohemia,--a poem which is buoyant with a gypsy spirit and a winning lilt; but it is one thing to write melodious verses about Arcadian bliss, and quite another thing to subsist from week to week on the precarious rations of a publisher&#039;s hack&quot; (178-179).&lt;/p&gt;
&lt;p&gt;Winter mentions that there was an &quot;brilliant assemblage convened at the Carnegie Lyceum, New York, to participate in a public service commemorative of the loved and honored poet Edmund Clarence Stedman&quot; on January 13, 1909.Winter remarks that during this event, several speeches were made about Stedman&#039;s career, including one that discussed his early writing days and erroniously linked him to the Bohemian group.Stedman passed away January 18, 1908, was associated in 1860 with the then religious newspaper, &quot;The New York World.&quot;Stedman had acquaintances in the Bohemian group, but he wasn&#039;t a member of the group.Winter recalls that Stedman had known Arnold since boyhood and also knew Whitman and Aldrich, but he really did not know any other members of the group.&quot;The literary circle to which Stedman gained access and which he pleased and adorned, was that which comprised Bayard Taylor, Richard Henry Stoddard, Mrs. Stoddard (the brilliant Elizabeth Barstow), George Henry Boker, and Lormier Graham,--a circle distinct from that of the contemporary Bohemia, and not propitious to it&quot; (292-293). &lt;/p&gt;
&lt;p&gt;Winter also notes that while Taylor, Stoddard, Stedman, Boker, Curtis, Ludlow, and the names of have been &quot;comingled with those of Clapp&#039;s Bohemian associates,&quot; they &quot;were not only not affiliated with that coterie but were distinct from it, and, in some instances, were inimical to it&quot; (295). &lt;/p&gt;
&lt;p&gt;While Stedman was still alive, the Author&#039;s Club, of New York, held a dinner to celebrate the publication of &quot;An American Anthology&quot; on December 6, 1900.Winter gave thekeynote address; he reprints the full text in his long section on Stedman (297-298).&lt;/p&gt;
&lt;p&gt;Winter reprints a letter from Stedman, p.335-336, that discusses the death of Albert H. Smyth and Winter&#039;s tribute to Smyth (335-336). &lt;/p&gt;
&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-field-mention-pages&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;[pages: 33,105,124,156,163,173,176,177,178-179,243,292-293,295,297-308,335-336]&lt;/div&gt;&lt;/div&gt;&lt;div class=&quot;views-field views-field-edit-node&quot;&gt;&lt;span class=&quot;field-content&quot;&gt;&lt;/span&gt;&lt;/div&gt;&lt;/p&gt;
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&lt;a href=&quot;/node/55748&quot;&gt;Wolle, Francis. &lt;em&gt;Fitz-James O&amp;#039;Brien: A Literary Bohemian of the Eighteen-Fifties&lt;/em&gt;. Boulder, Col.; University of Colorado, 1944.&lt;/a&gt;
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&lt;p class=&quot;list-group-item-text&quot;&gt;&lt;div class=&quot;views-field views-field-field-mention-note&quot;&gt;&lt;div class=&quot;field-content&quot;&gt;&lt;p&gt;Howells mentions him as part of the Pfaff&#039;s circle in &lt;cite&gt; Literary Friends and Aquaintances, a Personal Retrospect of American Authorship&lt;/cite&gt;. &lt;/p&gt;
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