Old Friends; Being Literary Recollections of Other Days

Winter claims of Aldrich, "No sweeter lyrical poet has appeared in America."

Daly worked at The Courier while Briggs was in charge of it.

William Winter recalls that Sol Eytinge married Margaret in Brooklyn in June of 1858 with Henry Ward Beecher performing the service and Doestick (Mortimer Thomson) acting as groomsman (p. 318). Winter also mentions that "[h]is widow, who survives, in serene age, long ago made a name In letters, by reason of her exceptional humor and her expert invention, particularly as a writer for the young, and to think of her is to recall many a convivial occasion that her generous hospitality provided and that her kindness and her genial wit enriched (p. 319)."

He is listed by Winter as one of the Bohemians who frequented Pfaff's Cave (88).

"The Saturday Press" was started by Clapp and Howland in 1858 (137).

Howland ("by whom the paper had been projected") is listed as one of the "friendly contributors" to the "Saturday Press," who "were glad to furnish articles for nothing, being friendly toward the establishment of an absolutely independent critical paper, a thing practically unknown in those days" (294-295).

Ludlow was a member of Taylor's poetic group, along with Richard Henry Stoddard, Elizabeth Barstow Stoddard, Edmund Clarence Stedman, George Henry Boker, Fitz-James O'Brien, Christopher P. Cranch, and George William Curtis.

Winter spells his name here as Henry Neill. Henry Neill and Frank Wood were "young journalists of fine ability," and "were frequently present" at Pfaff's. Winter continues, "both of them died in youth, with their promise unfulfilled" (65).

Winter mentions that during 1859-1860, Pfaff's basement resturant on Broadway was the meeting-place of Clapp and the Bohemians. "That genial being, long since gone the way of all mankind, had begun his business with a few kegs of beer and with the skill to make excellent coffee. Clapp, who subsisted chiefly on coffee and tobacco, had been so fortunate to discover the place soon after it opened. By him it was made known to others, and gradually it came to be the haunt of writers and artists, mostly young, and, though usually impecunious, opulent in their youth, enthusiasm, and ardent belief alike in a rosy present and a golden future. The place was roughly furnished, containing a few chairs and tables, a counter, a row of shelves, a clock, and some barrels. At the east end of it, beneath of the sidewalk of Broadway, there was a sort of cave, in which was a long table, and after Clapp had assumed the sceptre as Prince of Bohemia, that cave and that table were pre-empted by him and his votaries, at certain hours of the day and night, and no stranger ventured to intrude into the magic realm" (63-64).

He is listed by Winter as one of the Bohemians who frequented Pfaff's Cave (88).

Winter comments on Shanly's talent: "His poems called 'The Briar Wood Pipe' and 'Rifleman, Shoot Me a Fancy Shot' ought to long preserve his memory, and perhaps they will. To him it was a matter of indifference. I have never known a writer who was so abolutely careless of literary reputation: indeed, it was not until we had been acquainted for several months that I learned that he had written anything" (94-95).

Winter claims that Shanly never discussed his writings with him until Shanly was preparing to leave New York for Florida in 1875. During this conversation, Shanly asked Winter to be his "literary executor" in the event a publisher ever wanted to publish his works. Shanly died in Florida, April 14, 1875 (95).

In response to Howells' criticisms of the Bohemians and in a discussion of their writing, Winter states: "Revelry requires money: at the time Mr. Howells met those Bohemians, -- with the 'damp locks' and the 'frenzied eyes,' -- it is probably that the group did not possess enough money among them all to buy a quart bottle of champagne. Furthermore, they were writers of remarkable quality, and they were under the stringent necessity of working continually and very hard: and it seems pertinent to suggest that such a poem, for instance, as George Arnold's 'Old Pedagogue,' or Fitz-James O'Brien's Ode in commemoration of Kane, or Charles Dawson Shanly's 'Walker of the Snow,' is not to be produced from under the stimulation of alcohol. Literature is a matter of brains, not drugs. It would be equally just and sensible for American criticism to cherish American literature, and to cease from carping about the infirmities, whether actual or putative, of persons dead and gone, who can no longer defend themselves" (93).

Of the poets associated with the Bohemian period, Winter states that Shanly's name is one among a list of "names that shine, with more or less lustre, in the scroll of American poets, and recurrence to their period affords opportunity for correction of errors concerning it, which have been conspicuously made" (292).

C.D. Shanly is listed as one of the "friendly contributors" to the "Saturday Press," who "were glad to furnish articles for nothing, being friendly toward the establishment of an absolutely independent critical paper, a thing practically unknown in those days" (294-295).

Winter mentions that Clapp had made the acquaintance of Stoddard and that Stoddard sometimes contributed to Saturday Press.

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).

Winter claims of Aldrich, "No sweeter lyrical poet has appeared in America."