Wilkins, Edward (Ned) G. P. (1829-1861)

Anna Maria gives "Personne" fair warning about her response to what he might write about her in the future.

Arnold mentions the loss of Wilkins along with O'Brien.

Umos announces the Washington theater "with compliments to Personne" (2).

Clare defends her right to publish her opinions in her column and claims that they "will sometimes be diametrically opposed to those of the Editor, and Personne." She claims that neither man will take this personally or suffer any ill consequences from their difference of opinion (2).

He is listed as one of the "associates" of the Saturday Press. Derby notes that he is deceased at the time of his writing (232).

Figaro writes that "Dear old Ned Wilkins used to say that the only kind of entertainment he liked to write about was the Menagerie, because the animals were not jealous of each other" (4).

Wilkins is mentioned as one of "the best know writers who frequented that cozy corner [Pfaff's]." He is also referred to as the dramatic editor of the New York Leader and the author of articles signed "Personne."

Wilkins is mentioned as one of the Bohemians at Pfaff's "gossiped" about by Rufus B. Wilson in a "reminiscent letter to the Galveston News."

The article mentions that he, Ada Clare, "and the bucket of beer which Clapp used to carry into the office every afternoon" assisted Winter with the dramatic criticisms for the Saturday Press.

Hahn says he was a regular.

Whitman mentions in a notebook having run into Wilkins at Ada Clare's home.

Lalor cites Charlton's account that during the fight between Arnold and Whitman, "Ned Wilkins lost the power of his lungs for five minutes after tugging at the brawny arm of Walt" (135).

"Walt Whitman fondly remembered Edward "Ned" G.P. Wilkins as [...] 'noble, slim, sickish, dressy, Frenchy--consumptive in look, in gait, weak-voiced...'" But, according to Whitman, he was also "'a pungent and strong writer'" (59-60).

Edward is listed as a member of Clapp's "cabinet" in the "Kingdom of Bohemia" and at the Saturday Press. He is described as having "taken the road to dusty death."

In 1865 George Arnold described Wilkins as follows: "His complexion was light; his eyes were intensely blue and expressive, sometimes twinkling with plenitude of merriment. His features were sharply cut, and thorough-bred in mould; his skin, clear and delicate; his hair, which he parted nearly in the middle of a high forehead, was lustrous and wavy; and his mouth was partly concealed by a well-grown and becoming mustache, golden brown in color, and remarkably fine in texture. His hands were long, thin, and delicate as a girl's. His dress was always unexceptionable no matter what the occasion or the season, though his preference was generally for loose, rough, easy styles, which became him wonderfully" (44).

Wilkins "launched a campaign to expose what he called 'fillibusters' -- plagiarized scripts which kept being passed off as originals" (57). In the February 12, 1857, edition of the Saturday Press he chastised Laura Keene for "presenting three such pieces in one month" (57). He concluded by saying: "Filibuster as much as you please, ladies and gentlemen; success is nothing but success. But full houses will not buy literary reputation for borrowed plumes" (58).

After Wilkins' death, George Arnold noted that "His position was just assured and ripening. He was just coming into a handsome income from his manifold labors . . . Everything smiled upon him, and fortune was turning her wheel in his behalf, when--poof!--the candle is out!" (68).

O'Brien mentions that Wilkins is working on a new dramatic piece (3).

The "Obituary" names him as Clapp's chief assistant at the Saturday Press. Wilkins wrote "a series of free dramatic and musical criticisms that were much too independent for the Herald under the pen name "Personne" in the Saturday Press. Wilkins was the dramatic critic for the Herald.

Clapp and Wilkins are cited as the "organizers" of the "much wondered at, admired, and sought after" group of Bohemians.

Wilkins is mentioned as being the first Bohemian that passed away. He is described as "a very quiet Yankee, but a well informed and trusty wit."

His play, The Siam Light Guard, was performed Sept. 28, 1857, at Keene's. Wilkins also adapted Henriette. The adaptation of the play was originally billed as "translated from the French, and adapted to the American stage by a gentleman of this city" (308).

Odell also mentions that Wilkins was the dramatic critic for the Herald.

Wilkins wrote for the Saturday Press as "Personne" (24). After the Civil War, Wilkins was one of many who did not return to Pfaff's; he died of pneumonia (32). One of Clapp's memories of the high point of Pfaff's was "when Wilkins, like the maiden in the fairy tale, opened his lips and spake diamonds" (46).

Parry writes that Wilkins was the "pioneer" American "to die of stricken lungs in a damp garret while heavy rain and wind beat upon the roof." Parry continues: "He was the dandy of the crowd, and in this respect, too, he was a pioneer. For what American group of Bohemians since the Pfaff days has ever lacked its neatly dressed and well-mannered few to contrast with the wild hair, ways, and rags of the rest? Wilkins was the dramatic critic of the Herald and wrote one-act comedies. At one time, he was the pet of James Gordon Bennett, at another of Mme. Cora de Wilhorst, the opera singer. It was she who groomed him in his dress and manners and saw to it that the Pfaff crowd did not spoil him too much. But when, in the Spring of 1861, Ned fell ill none of his grand friends came to comfort him. It remained for the lowly Pfaffians to read Carlyle and the Bible to him in his closing hours" (50).

The letter to the Editor of the Saturday Press from Gayler discusses Personne's remarks about Many a Slip 'Twixt the Cup and the Lip (2).

The Feuilleton consists of letters to the Editor about Personne's writing in the Saturday Press (2).

Personne notes that the "dull week" in the theaters was more the type of week that Anna Maria enjoys than he does. Personne also announces that his "new five-act tragedy, Anna Maria, is nearly ready for the stage" (3).

Personne discusses his omission by Mr. Barney Williams. Personne also mentions the debate over his views and the quality of his writing currently going on between the "critics" at the Daily News and Spirit of the Times (2).

Quelqu'un compares himself to the "clever and witty" Personne, "who will weave the most delicate and graceful web in the world out of nothing" when discussing his difficulty writing about the dramatic world (3).

Quelqu'un claims that Personne has figured out the necessity of "appealing to the multitude of fools" and cites his most recent Feuilleton in the Leader as evidence, as Personne was called on to explain his remarks about Mrs. Wood (3).

Quelqu'un discusses Personne's decision to abandon the feuilleton because there was nothing interesting to write about (2).

Wilkins is listed as a regular in the bohemian circle at Pfaff's.

Wilkins is listed as one of Whitman's "boys" and one of Whitman's early defenders. Wilkins is described by Whitman as "noble, slim, sickish, dressy, Frenchy - consumptive in look, in gait: weak-voiced: oh! I think the weakest voice I ever knew in a man. But Ned was courageous: in an out and out way very friendly to Leaves of Grass: free spoken - always willing to let it be known what he thought: in fact, was what we nowadays call a dude: kid-gloved, scrupulous - oh! squeamish! - about his linen, about his tie - all that." Whitman also claims that "I never heard Ned say a foolish thing."

The author mentions the "delicate dramatic humors of 'Personne' as one of the features of the Saturday Press that "make up a paper of rare excellence."

Winter describes him as "a man of brilliant talent and singular charm." Winter became associated with Wilkins, a journalist, and the group of writers he was associated with in 1859-1860. Wilkins was raised in Boston and began his journalism career there. Winter met Wilkins when he was associated with "The New York Herald." Wilkins attracted the editor's, James Gordon Bennett, attention through an excellent piece about the Crystal Palace exhibit and Wilkins was rapidly advanced through the ranks of the paper. Wilkins was an editorial writer, musical, and dramatic critic (84).

According to Winter, "He was a fluent penman, direct, explicit, humorous, ready with a reason for every opinion that he pronounced, and fortunate in the possession of an equable temper and a refined taste." Wilkins' favorite author was Montaigne, which he could read in both French and English, and he also enjoyed Whittier's later poems; Winter highlights this because "every man is perceived, at least in part, by knowledge of his loves in literature as well as by knowledge of his friends" (84-84).

Winter describes Wilkins, noting that he was tall, but stooped, had a "delicate constitution," and was slightly deaf; Winter states that this condition could selectively worsen when Wilkins did not want to hear something or someone. Wilkins was also "tactful" and "elegant," which Winter claims, "For the discreet management of his talents and professional opportunities, as well as for the polish of his manners, he was somewhat indebted to the friendship of Mme. Cora de Wilhorst, a popular vocalist of the period...therein being fortunate; because no influence can be more auspicious for any clever youth than that of an accomplished woman, acquainted with the ways of the social world and sincerly desirious of promoting his welfare" (85-86).

Winter states that Wilkins lived in a house at the corner of Amity and Greene streets, which is still standing at the time of Winter's writing. Wilkins died at his home in the spring of 1861, from pneumonia. Winter remembers visiting him during his last week and reading to him during the night. Wilkins was buried in Chelsea Mass. (86-87).

Winter discusses Wilkins' relevance to his audience: "Is there any reason why readers of the present day should care to hear of him? I think there is. He was the first among American journalists to introduce into our press the French custom of the Dramatic Feuilleton. Many writers of this period are,--without being aware of it,--following an example that was set by him; writing about the stage and society in a facetious, satirical vein, striving to lighten heavy or barren themes with playful banter, and to gild the dreariness of criticism with the glitter of wit. Wilkins not only attempted that task, he accomplished it. His writings are buried in the files of 'The Herald,' 'The Saturday Press' and 'The Leader,' and they are buried forever. His comedy called 'Young New York' survives." The play was produced and acted in by Laura Keene, along with her most skilled comedians at the time (1856). Winter also notes that Wilkins not only wrote plays but was responsible for bringing the first version of Sardou's comedy "Les Pattes des Mouche" to America, at Wallack's, under the name of "Henriette" (the play is now known as "A Scrap of Paper") (87-88).

Wilkins "did not habitually frequent Pfaff's Cave, but he often came there, and his presence afforded a signal contrast with that of some of our companions" (88).

Winter states that the most "abrupt" contrast between personalities "was afforded by the restful, indolent, elegant demeanor of Wilkins, and the vital, breezy, exuberant, demeanor of Fitz-James O'Brien,--the most representative Bohemian writer whom it has been my fortune to know" (95).