Though many details about his early life are in dispute, scholars agree that Arnold was born in New York City and that his father may have been the Reverend George B. Arnold.
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Lalor discusses the impact of Whitman's associations with the Bohemians at Pfaff's, Henry Clapp, and the Saturday Press in helping to forward his poetic career and cement his reputation as a poet.
Taylor, Stoddard, Aldrich, and Stedman are mentioned as the parties in New York involved in the "inconsistent opposition" to the third edition of Leaves of Grass in 1859-1860. Lalor writes that "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 Press at the same time it was a boon to Whitman" (137).
Lalor desribes him as one of the "brightest lights" of the New York Boehmians (131). Lalor cites an "infamous indicent at Pfaff's" between Whitman and the "young poet-satirist" Arnold in 1862; "None of the participants emerged with much dignity":
"They were sitting opposite each other at the table, George was for rebellion and Walt was opposed...words grew hot. Walt warned George to be more guarded in his sentiments. George fired up more and more. Walt passed his 'mawler' toward George's ear. George passed a bottle of claret twoard the topknot of the poet's head. Paff made a jump and gave a yell of 'Oh! mine gots, mens, what's you do for a dis?' Clapp broke his black pipe while pulling at Arnold's coat-tail; Ned Wilkins lost the power of his lungs for five minutes after tugging at the brawny arm of Walt; and we all received a beautiful mixture of rum, claret, and coffee on the knees of our trousers. Everything was soon settled, and Walt and George shook hands, and wondered much that they were so foolish" (135-136).
Ada Clare, "Bohemian fellow traveler Adah Isaacs Menken," and
Lalor desribes him as one of the "brightest lights" of the New York Boehmians (131).
Lalor desribes him as one of the "brightest lights" of the New York Boehmians (131). Lalor writes that "at Pfaff's, he [Whitman] was a living shrine, a figure whom Henry Clapp, the recognized 'King of Bohemia,' would have liked to consider the ultimate Bohemian, whose success and artistry dictated adulation and deference" (133). Lalor writes that of all the people Whitman would encounter and associate with at Pfaff's, Clapp was the "individual most closely related" to him and "the most beneficial" (137). Lalor writes that of the "debts" Whitman owed to his "Bohemian interlude," they were "principally owed" to Henry Clapp (137).
Taylor, Stoddard, Aldrich, and Stedman are mentioned as the parties in New York involved in the "inconsistent opposition" to the third edition of Leaves of Grass in 1859-1860. Lalor writes that "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 Press at the same time it was a boon to Whitman" (137). Lalor infers that Clapp and Whitman met, Clapp introduced Whitman to Bohemia, and the two men worked together to publicize Leaves of Grass and Whitman; "Whitman seems to have had a sympathetic if somewhat aloof attitude towards his champion. However their initial meeting came about, it was certainly fortuitous for Whitman" (137). Lalor states that "In essence, what Clapp did for Whitman was make the public listen, to help others hear and hear about this new voice in literature" (137). While Lalor feels that it is an oversimplification to claim that the Saturday Press existed mainly for the exploitation of Whitman, he does argue that "without Clapp's assistance, Whtiman may not have achieved the recognition he did within his lifetime" (138). Lalor quotes Mabbott's estimation of the Saturday Press as "a smart New York paper" and Clapp as "brilliant and humorous, understood much of significance of Whitman" (138). Lalor also cites Emily Hahn: "if it hadn't been for Emerson's warm praise and Clapp's stubborn faith, even Whitman's self-confidence might have suffered. As it was, the staff of the Saturday Press made him a cause, publishing his work and declaring his genius" (138). Lalor also quotes Parry and Allen for perspectives about the influence of Clapp and the Press on Whitman's career (138). Lalor claims that "The aims and purposes of the Press were closely interrelated with the character of Clapp and he, its editor-publisher, regarded independence, a freedom of unbridled expression, as inherent" (140). As a show of support for Whitman, Clapp even allowed him use of the editorial column, "sacrosant property" to Clapp; however, he also "maintained a degree of editorial autonomy in the selection of material about Whitman" that was published in the Press (140). Of these materials, more than half were condemnations of Whitman or "transparent and acknowledged parodies of his style." Lalor feels that Whitman probably had little or no say on what was published on him at this time and that these publications may have been reflective of Clapp's idea that any notice is valuable or his desire to present both sides of the debate about Whitman (140-141).
Lalor cites Charleton's account of Arnold and Whitman's fight at Pfaff's and notes that "Clapp broke his black pipe while pulling at Arnold's coat-tail" (135).
Whitman's relationship with Clapp appears to have ended in 1862, when Whitman left Bohemia. It does not appear that the two continued to correspond during the Civil War, while Whitman went on to the war and "the editor to slay other dragons and to puff other aspirants for literary fame." However, when Clapp revived the Saturday Press in 1865-1866, he paid Whitman tribute twice (141).
Lalor describes her as one of the Bohemians that made an impression on Whitman. She is described as "A young writer and actress noted as much for her wistful beauty as for her social outrages -- she preached the doctrine of 'free love' and customarily introduced herself as 'Miss Ada Clare and son' -- she had been to Paris, had seen Henri Murger's Bohemians, and soon became the uncontested Queen of New York's Bohemia" (136).
Of Whitman's impressions of Clare, Lalor writes that "she represented the ideal of the modern woman: talented, intelligent, and emancipated."
Lalor quotes Whitman's description of Clare in his article "Street Yarn" (136).
Lalor notes that others have attemtped to link Whitman and Clare romantically, but mentions that the evidence to substantiate this claim is incomplete. He does contend, however, that "Ada Clare and Whitman were mutual admirers, and credit may be given her for assisting Whitman's career" (136). Clare was instrumental in garnering female support for Whitman through her writing in the Saturday Press and, Lalor writes, "In her role as Whitman's new woman personified, she may also have been instrumental in an overall new awareness and appreciation of the female sex, not evident in his work until the third edition of 1860" (136). Ada Clare, "Bohemian fellow traveler Adah Isaacs Menken," and
Ada Clare would later use the "ruse" of printing poems anonymously, first employed to publicize Whitman's work, "to endorse herself in print" (140). Lalor writes that eventually Clare's lifestyle would draw harsh public criticism in the press. She died in 1874, "a revolting death" after contracting hydrophobia from a dog bite. Lalor quotes Whitman's obituary summary about her death (137).
Lalor cites Frederik Schyberg's citation of Emerson that he "had great hopes of Whitman until he became a Bohemian" (133).
Lalor quotes Emily Hahn: "if it hadn't been for Emerson's warm praise and Clapp's stubborn faith, even Whitman's self-confidence might have suffered. As it was, the staff of the Saturday Press made him a cause, publishing his work and declaring his genius" (138).
Lalor calls him "one of the less committed Bohemians." Lalor quotes his "negative reaction" Whitman in his observation "that Walt Whitman ought to write his 'yawps' seated on an elephant in order to add to their strength and heaviness." Lalor also notes that Halleck did not consider Whitman's work to be poetry (135).
Lalor argues that Howells's account of meeting Whitman at Pfaff's contradicts the view of some biographers (Lalor cites Parry) of Whitman's "extreme detachment" at Pfaff's (133). Lalor also quotes Howells on Whitman's debt to the Saturday Press (138).
Ada Clare, "Bohemian fellow traveler Adah Isaacs Menken," and
Lalor desribes him as one of the "brightest lights" of the New York Bohemians (131).
Lalor cites Charleton's account of the fight between Arnold and Whitman at Pfaff's, which claims that when Arnold and Whitman threw their drinks at each other, "Pfaff made a jump and gave a yell of 'Oh! mine gots, mens, what's you do for dis?'" (135).
Lalor uses the publication of "A Child's Reminiscence" in the paper's December 24, 1859, edition as concrete proof of Whitman's awareness of the Bohemian circles. This publication "launched that journal's untiring campaign oon his behalf and helped catapult Whitman into our national literature" (132).
Lalor writes that Ada Clare's writing in the Saturday Press may have helped gain him female support (136).
Taylor, Stoddard, Aldrich, and Stedman are mentioned as the parties in New York involved in the "inconsistent opposition" to the third edition of Leaves of Grass in 1859-1860. Lalor writes that "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 Press at the same time it was a boon to Whitman" (137). Lalor writes that essentially, Clapp forced the public to take notice of Whitman; however, "It is an oversimplification to suggest that 'Clapp seemed almost to found the Saturday Press for the purpose of forcing Whitman upon the balking public,' because the Press had existed for almost a year before Clapp knew Whitman and its purposes were far broader than just a crusade for one man" (137-138). Lalor does note that "The Saturday Press was in fact very highly regarded and authoritative and the positive effect for Whitman of Clapp's hoisting his banner is incalcuable" (141).
According to Howells, "When the Saturday Press too it [Leaves of Grass] up, [Whitman] had as hopeless a cause with the critics on either side of the ocean as any man could have...Americans were wholly in the dark when the Saturday Press, which had first stood his friend, and the young men whm the Press gathered about it, made him their cult" (138). Lalor notes that the relationship between Whitman, Clapp, and the Saturday Press has been largely overlooked by critics (138). Lalor cites, exceptions to this. Lalor quotes Mabbott's estimation of the Saturday Press as "a smart New York paper" and Clapp as "brilliant and humorous, understood much of significance of Whitman" (138). Lalor also cites Emily Hahn: "if it hadn't been for Emerson's warm praise and Clapp's stubborn faith, even Whitman's self-confidence might have suffered. As it was, the staff of the Saturday Press made him a cause, publishing his work and declaring his genius" (138). Lalor also quotes Parry and Allen for perspectives about the influence of Clapp and the Press on Whitman's career (138). Lalor gives an overview of Whitman's publications, mentions, and reviews in the paper p.139-140. According to Lalor, the publicizing of Whitman continued up until and after the publication of the third edition of Leaves of Grass; Lalor is careful to note that this effot did not cause the paper's problems that led to its end. Lalor notes that Clapp probably attempted to keep the paper running to support Whitman (140). Lalor supports this idea with the claim that "The aims and purposes of the Press were closely interrelated with the character of Clapp and he, its editor-publisher, regarded independence, a freedom of unbridled expression, as inherent" (140).
Lalor argues that Parry's claim that "Hardly a week passed without some enthusiastic reference...to Whitman" is "deceptive" as "more than half the items on Whitman between December 1859 and November 1860 were either transparent and acknowledged parodies of his style or bitter condemnations of the man and his work" (140-141). When the Saturday Press was revived in 1865-1866, Clapp found space to pay Whitman tribute twice (141).
Taylor, Stoddard, Aldrich, and Stedman are mentioned as the parties in New York involved in the "inconsistent opposition" to the third edition of Leaves of Grass in 1859-1860. Lalor writes that "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 Press at the same time it was a boon to Whitman" (137).
Taylor, Stoddard, Aldrich, and Stedman are mentioned as the parties in New York involved in the "inconsistent opposition" to the third edition of Leaves of Grass in 1859-1860. Lalor writes that "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 Press at the same time it was a boon to Whitman" (137).
Lalor describes him as "the Bohemian apostate" with whom Whitman developed one of his few lasting friendships at Pfaff's (135).
Taylor, Stoddard, Aldrich, and Stedman are mentioned as the parties in New York involved in the "inconsistent opposition" to the third edition of Leaves of Grass in 1859-1860. Lalor writes that "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 Press at the same time it was a boon to Whitman" (137).
Lalor writes that his "present study does not suggest that Whitman was typical of the Bohemian experience. Yet, based on his own testimony and that of others, he was clearly a member of the group, easily its most illustrious member, who enhanced the significance of that circle of artists. In turn, he incurred various debts to individuals and to Bohemia collectively" (131).
According to Lalor, Gay Wilson Allen has stated that it is not clear when exactly Whitman began visiting Pfaff's, but he became a regular after he stopped editing the Brooklyn Times in 1859. There is also evidence that Whitman was there well into September 1861, and may have been a visitor until the fall of 1862. The earliest date that establishes that Whitman was aware of the Bohemians is September 8, 1858, when his editorial criticizing "Bohemianism in Literary Circles" appeared in the Brooklyn Times. Concrete proof of his awareness of the Bohemians is the publication of "A Child's Reminiscence" in the December 24, 1958 edition of the Saturday Press (132). Lalor claims that while Bohemia was not Whitman's sole concern during his period at Pfaff's, he was "feted as Bohemia's most renowned member." According to Lalor, "Pfaff's and his retinue there fulfilled a need for Whitman, according him its reverence, as he fulfilled a need for them in his auspicious presence which added to their New York literary distinction. But he was wary enough not to entangle himself inextricably with Bohemia, and with one notable exception, sought to minimize his involvement there" (132). According to Lalor, while some biographers maintain that Whitman kept a reserved pose during his period at Pfaff's (which they also cite as an abberation - Lalor cites Parry on this), accounts such as Howells's contradict this depiction of Whitman. Lalor does concede, however, that Whitman most likely did not engage in heated debates with the other regulars every evening (133). Lalor writes that "at Pfaff's, he [Whitman] was a living shrine, a figure whom Henry Clapp, the recognized 'King of Bohemia,' would have liked to consider the ultimate Bohemian, whose success and artistry dictated adulation and deference" (133). Lalor cites Whitman's casual dress, manner, and enjoyment of life as the "epitome" of Bohemianism while also pitting him as the "antithesis" of the group in his accomplishment, quietness, and work ethic (133). Lalor is also careful to note that Whitman was not universally adored (or even always liked) at Pfaff's (135).
Lalor writes that "During his Bohemian period, Whitman was mainly involved in consolidating his reputation, and his very attendance at Pfaff's contributed to this. Here in the center of New York's most dynamic artists he could be found by admirers such as Howells and could receive their homage." Whitman also worked extensively on the third edition of Leaves of Grass, published in the New York Leader and was very involved in the Saturday Press in 1860. "It is a gross exaggeration, therefore, to say that Whitman's years in Bohemia were lost years of misadventure, though it was a time more of promise than of production" (134). Lalor also writes that "Bohemia afforded Whitman the opportunity to view and experience a novel form of life, to be extolled as the great new voice in American literature, and to witness some brilliant wits discussing and dissecting contemporary letters. These were amorphous quantities, impossible to judge for the degree of their effect on Whitman. However, there were more concrete debts that he owed to his Bohemian interlude, debts principally owed to Henry Clapp, the editor-publisher of the Saturday Press" (137). Lalor infers that Clapp and Whitman met, Clapp introduced Whitman to Bohemia, and the two men worked together to publicize Leaves of Grass and Whitman; "Whitman seems to have had a sympathetic if somewhat aloof attitude towards his champion. However their initial meeting came about, it was certainly fortuitous for Whitman" (137). Lalor quotes Mabbott's estimation of the Saturday Press as "a smart New York paper" and Clapp as "brilliant and humorous, understood much of significance of Whitman" (138). Lalor also cites Emily Hahn: "if it hadn't been for Emerson's warm praise and Clapp's stubborn faith, even Whitman's self-confidence might have suffered. As it was, the staff of the Saturday Press made him a cause, publishing his work and declaring his genius" (138). Lalor also quotes Parry and Allen for perspectives about the influence of Clapp and the Press on Whitman's career (138).
Lalor cites an "infamous indicent at Pfaff's" between Whitman and the "young poet-satirist" Arnold in 1862; "None of the participants emerged with much dignity":
"They were sitting opposite each other at the table, George was for rebellion and Walt was opposed...words grew hot. Walt warned George to be more guarded in his sentiments. George fired up more and more. Walt passed his 'mawler' toward George's ear. George passed a bottle of claret toward the topknot of the poet's head. Pfaff made a jump and gave a yell of 'Oh! mine gots, mens, what's you do for a dis?' Clapp broke his black pipe while pulling at Arnold's coat-tail; Ned Wilkins lost the power of his lungs for five minutes after tugging at the brawny arm of Walt; and we all received a beautiful mixture of rum, claret, and coffee on the knees of our trousers. Everything was soon settled, and Walt and George shook hands, and wondered much that they were so foolish" (135-136).
Whitman's relationship with Clapp appears to have ended in 1862, when Whitman left Bohemia. It does not appear that the two continued to correspond during the Civil War, while Whitman went on to the war and "the editor to slay other dragons and to puff other aspirants for literary fame." However, when Clapp revived the Saturday Press in 1865-1866, he paid Whitman tribute twice (141).
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).
According to Lalor, Winter "felt an overt antipathy toward Whitman and Whitman reciprocated the rancor. Neither party ever outlined reasons for his feelings, but Winter's abiding faith in all things romantic and Whitman's grandiose self-esteem may have been the causes for the other's attitude" (135). Lalor cites the publication of a parody of Whitman's style by "little Willie" Winter as an example of Whitman's probable lack of control over what was published about him or Leaves of Grass in the Saturday Press. Lalor writes that Whitman "detested" Winter and "certainly would not have endorsed [his work] for publication" (141).
Though many details about his early life are in dispute, scholars agree that Arnold was born in New York City and that his father may have been the Reverend George B. Arnold.
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