The Literati of New York/No. III/Fitz-Greene Halleck

THE name of Halleck is at least as well established in the poetical world as that of any American. Our principal poets are, perhaps, most frequently named in this order — Bryant, Halleck, Dana, Sprague, Longfellow, Willis, and so on — Halleck coming second in the series, but holding, in fact, a rank in the public opinion quite equal to that of Bryant. The accuracy of the arrangement as above made may, indeed, be questioned. For my own part, I should have it thus — Longfellow, Bryant, Halleck, Willis, Sprague, Dana; and, estimating rather the poetic capacity than the poems actually accomplished, there are three or four comparatively unknown writers whom I would place in the series between Bryant and Halleck, while there are about a dozen whom I should assign a position between Willis and Sprague. Two dozen at least might find room between Sprague and Dana — this latter, I fear, owing a very large portion of his reputation to his quondam editorial connection with "The North American Review." One or two poets now in my minds [mind's] eye I should have no hesitation in posting above even Mr. Longfellow — still not intending this as very extravagant praise.

It is noticeable, however, that, in the arrangement which I attribute to the popular understanding, the order observed is nearly, if not exactly, that of the ages — the poetic ages — of the individual poets. Those rank first who were first known. The priority has established the strength of impression. Nor is this result to be accounted for by mere reference to the old saw — that first impressions are the strongest. Gratitude, surprise, and a species of hyper-patriotic triumph have been blended, and finally confounded with admiration or appreciation in regard to the pioneers of American literature, among whom there is not one whose productions have not been grossly overrated by his countrymen. Hitherto we have been in no mood to view with calmness and discuss with discrimination the real claims of the few who were first in convincing the mother country that her sons were not all brainless, as at one period she half affected and wholly wished to believe. Is there any [column 2:] one so blind as not to see that Mr. Cooper, for example, owes much, and Mr. Paulding nearly all, of his reputation as a novelist to his early occupation of the field? Is there any one so dull as not to know that fictions which neither of these gentlemen could have written are written daily by native authors, without attracting much more of commendation than can be included in a newspaper paragraph? And, again, is there any one so prejudiced as not to acknowledge that all this happens because there is no longer either reason or wit in the query, "Who reads an American book?"

I mean to say, of course, that Mr. Halleck, in the apparent public estimate, maintains a somewhat better position than that to which, on absolute grounds, he is entitled. There is something, too, in the bonhommie of certain of his compositions — something altogether distinct from poetic merit — which has aided to establish him; and much, also, must be admitted on the score of his personal popularity, which is deservedly great. With all these allowances, however, there will still be found a large amount of poetical fame to which he is fairly entitled.

He has written very little, although he began at an early age — when quite a boy, indeed. His "juvenile" works, however, have been kept very judiciously from the public eye. Attention was first called to him by his satires, signed "Croaker" and "Croaker & Co.," published in "The New York Evening Post," in 1819. Of these the pieces with the signature "Croaker & Co." were the joint work of Halleck and his friend Drake. The political and personal features of these jeux d'esprit gave them a consequence and a notoriety to which they are entitled on no other account. They are not without a species of drollery, but are loosely and no doubt carelessly written.

Neither was "Fanny," which closely followed the "Croakers," constructed with any great deliberation. "It was printed," say the ordinary memoirs, "within three weeks from its commencement;" but the truth is, that a couple of days would have been an ample allowance of time for any such composition. If we except a certain gentlemanly ease and insouciance, with some fancy of illustration, there is really very little about this poem to be admired. There has been no positive avowal of its authorship, although there can be no doubt of its having been written by Halleck. He, I presume, does not esteem it very highly. It is a mere extravaganza, in close imitation of "Don Juan " — a vehicle for squibs at cotemporary persons and things.

Our poet, indeed, seems to have been much impressed by "Don Juan," and attempts to engraft its farcicalities even upon the grace and delicacy of "Alnwick Castle; " as, for example, in —

"Men in the coal and cattle line,     From Teviot's bard and hero land,      From royal Berwick's beach of sand,      From Wooler, Morpeth, Hexham, and  Newcastle upon Tyne."

These things may lay claim to oddity, but no more. They are totally out of keeping with the tone of the sweet poem into which they are thus clumsily introduced, and serve no other purpose than to deprive it of all unity of effect. If a poet must be farcical, let him be just that; he can be nothing better at the same moment. To be drolly sentimental, or even sentimentally droll, is intolerable to men and gods and columns.

"Alnwick Castle" is distinguished, in general, by that air of quiet grace, both in thought and expression, which is the prevailing feature of the muse of Halleck. Its second stanza is a good specimen of this manner. The commencement of the fourth belongs to a very high order of poetry. "Wild roses by the Abbey towers     Are gay in their young bud and bloom —  They were born of a race of funeral flowers  That garlanded, in long-gone hours,      A Templar's knightly tomb."

This is gloriously imaginative, and the effect is singularly increased by the sudden transition from iambuses to anapæsts. The passage is, I think, the noblest to be found in Halleck, and I would be at a loss to discover its parallel in all American poetry.

"Marco Bozzaris" has much lyrical, without any great amount of ideal beauty. Force is its prevailing feature — force resulting rather from well-ordered metre, vigorous rhythm, and a judicious disposal of the circumstances of the poem, than from any of the truer lyric material. I should do my conscience great wrong were I to speak of "Marco Bozzaris" as it is the fashion to speak of it, at least in print. Even as a lyric or ode it is surpassed by many American and a multitude of foreign compositions of a similar character.

"Burns" has numerous passages exemplifying its author's felicity of expression; as, for instance —

"Such graves as his are pilgrim shrines —     Shrines to no code or creed confined —  The Delphian vales, the Palestines,     The Meccas of the mind."

And, again —

"There have been loftier themes than his,     And longer scrolls and louder lyres,  And lays lit up with Poesy's      Purer and holier fires."

But to the sentiment involved in this last quatrain I feel disposed to yield an assent more thorough [column 2:] than might be expected. Burns, indeed, was the puppet of circumstance. As a poet, no person on the face of the earth has been more extravagantly, more absurdly overrated.

"The Poet's Daughter" is one of the most characteristic works of Halleck, abounding in his most distinctive traits, grace, expression, repose, insouciance. The vulgarity of

"I'm busy in the cotton trade     And sugar line,"

has, I rejoice to see, been omitted in the late editions. The eleventh stanza is certainly not English as it stands, and, besides, is quite unintelligible. What is the meaning of this —

"But her who asks, though first among The good, the beautiful, the young,  The birthright of a spell more strong      Than these have brought her."

The "Lines on the Death of Joseph Rodman Drake" is, as a whole, one of the best poems of its author. Its simplicity and delicacy of sentiment will recommend it to all readers. It is, however, carelessly written, and the first quatrain,

"Green be the turf above thee,     Friend of my better days —  None knew thee but to love thee,      Nor named thee but to praise,"

although beautiful, bears too close a resemblance to the still more beautiful lines of Wordsworth —

"She dwelt among the untrodden ways     Beside the spring of Dove,  A maid whom there were none to praise      And very few to love."

In versification Mr. Halleck is much as usual, although in this regard Mr. Bryant has paid him numerous compliments. "Marco Bozzaris" has certainly some vigor of rhythm, but its author, in short, writes carelessly, loosely, and, as a matter of course, seldom effectively, so far as the outworks of literature are concerned.

Of late days he has nearly given up the muses, and we recognize his existence as a poet chiefly by occasional translations from the Spanish or German.

Personally, he is a man to be admired, respected, but more especially beloved. His address has all the captivating bonhommie which is the leading feature of his poetry, and, indeed, of his whole moral nature. With his friends he is all ardor, enthusiasm and cordiality, but to the world at large he is reserved, shunning society, into which he is seduced only with difficulty and upon rare occasions. The love of solitude seems to have become with him a passion.

He is a good modern linguist, and an excellent belles lettres scholar; in general, has read a great deal, although very discursively. He is what the world calls ultra in most of his opinions, more particularly about literature and politics, and is fond of broaching and supporting paradoxes. He converses fluently, with animation and zeal; is choice and accurate in his language, exceedingly quick at repartee and apt at anecdote. His manners are courteous, with dignity and a little tincture of Gallicism. His age is about fifty. In height he is probably five feet seven. He has been stout, but may now be called well-proportioned. His forehead is a noble one, broad, massive and intellectual, a little bald about the temples; eyes dark and brilliant, but not large; nose Grecian; chin prominent; mouth finely chiselled and full of expression, although the lips are thin; — his smile is peculiarly sweet.

In "Graham's Magazine" for September, 1843, there appeared an engraving of Mr. Halleck from a painting by Inman. The likeness conveys a good general idea of the man, but is far too stout and youthful-looking for his appearance at present.

His usual pursuits have been commercial, but he is now the principal superintendent of the business of Mr. John Jacob Astor. He is unmarried.