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Henry M. Alden (search for this): chapter 17
er extreme from the celebrated collection of De Quincey in Dove Cottage at Grasmere, where that author had five thousand books, by his own statement, in a little room ten or twelve feet square; and his old housekeeper explained it to me as perfectly practicable because he had no bookcases, but simply piled them against the walls, leaving here and there little gaps in which he put his money. In the delicate and touching dedication of Scudder's chief work, Men and letters, to his friend Henry M. Alden, the well-known New York editor, he says: In that former state of existence when we were poets, you wrote verses which I knew by heart and I read dreamy tales to you which you speculated over as if they were already classics. Then you bound your manuscript verses in a full blue calf volume and put it on the shelf, and I woke to find myself at the desk of a literary workman. Later, he says of himself, Fortunately, I have been able for the most part to work out of the glare of publicity.
R. T. S. Lowell (search for this): chapter 17
ose title was perhaps a weight upon it, and which yet contained some of the very best of American thought and criticism. It manifests even more than his Life of Lowell that faculty of keen summing up and epigrammatic condensation which became so marked in him that it was very visible, I am assured, even in the literary councils omplete work as a whole is undoubtedly, apart from his biographies, the volume entitled Childhood in literature and art (1894). This book was based on a course of Lowell lectures given by him in Boston, and is probably that by which he himself would wish to be judged, at least up to the time of his excellent biography of Lowell. Lowell. He deals in successive chapters with Greek, Roman, Hebrew, Mediaeval, English, French, German, and American literary art with great symmetry and unity throughout, culminating, of course, in Hawthorne and analyzing the portraits of children drawn in his productions. In this book one may justly say that he has added himself, in a
Hawthorne (search for this): chapter 17
ndoubtedly, apart from his biographies, the volume entitled Childhood in literature and art (1894). This book was based on a course of Lowell lectures given by him in Boston, and is probably that by which he himself would wish to be judged, at least up to the time of his excellent biography of Lowell. He deals in successive chapters with Greek, Roman, Hebrew, Mediaeval, English, French, German, and American literary art with great symmetry and unity throughout, culminating, of course, in Hawthorne and analyzing the portraits of children drawn in his productions. In this book one may justly say that he has added himself, in a degree, to the immediate circle of those very few American writers whom he commemorates so nobly at the close of his essay on Longfellow and his art, in Men and letters : It is too early to make a full survey of the immense importance to American letters of the work done by half-a-dozen great men in the middle of this century. The body of prose and verse creat
Roman (search for this): chapter 17
ar as especial passages go, Mr. Scudder never surpassed the best chapters of Men and letters, but his one adequate and complete work as a whole is undoubtedly, apart from his biographies, the volume entitled Childhood in literature and art (1894). This book was based on a course of Lowell lectures given by him in Boston, and is probably that by which he himself would wish to be judged, at least up to the time of his excellent biography of Lowell. He deals in successive chapters with Greek, Roman, Hebrew, Mediaeval, English, French, German, and American literary art with great symmetry and unity throughout, culminating, of course, in Hawthorne and analyzing the portraits of children drawn in his productions. In this book one may justly say that he has added himself, in a degree, to the immediate circle of those very few American writers whom he commemorates so nobly at the close of his essay on Longfellow and his art, in Men and letters : It is too early to make a full survey of the
Bodley (search for this): chapter 17
edited the Riverside magazine for young people during its four years existence (from 1867 to 1870); and published Dream children and Stories from my Attic. Becoming associated with Houghton, Mifflin, and Company, he edited for them the Atlantic Monthly from 1890 to 1898, preparing for it also that invaluable Index, so important to bibliographers; he also edited the American Commonwealths series, and two detached volumes, American poems (1879) and American prose (1880). He published also the Bodley books (8 vols., Boston, 1875 to 1887); The Dwellers in five Sisters' Court (1876); Boston town (1881); Life of Noah Webster (1882); A History of the United States for schools (1884); Men and letters (1887) ; Life of George Washington (1889); Literature in School (1889); Childhood in literature and art (1894), besides various books of which he was the editor or compiler only. He was also for nearly six years (1877-82) a member of the Cambridge School Committee; for five years (1884-89) of t
Sarah Lathrop (search for this): chapter 17
ction is not now the question. What other distinction he might have won if he had shown less of modesty or self-restraint, we can never know. It is true that his few thoroughly original volumes show something beyond what is described in the limited term, workmanship. But that he brought such workmanship up into the realm of art is as certain as that we may call the cabinet-maker of the Middle Ages an artist. Mr. Scudder was born in Boston on October 16, 1838, the son of Charles and Sarah Lathrop (Coit) Scudder, and died at Cambridge, Massachusetts, on January 11, 1902. He was a graduate of Williams College, and after graduation went to New York, where he spent three years as a teacher. It was there that he wrote his first stories for children, entitled Seven little people and their friends (New York, 1862). After his father's death he returned to Boston, and thenceforward devoted himself almost wholly to literary pursuits. He prepared the Life and letters of David Coit Scudde
Xenophon (search for this): chapter 17
y of life went beyond those of any man I have known. Working chiefly at home, he assigned in advance a certain number of hours daily as due to the firm for which he labored; and he then kept carefully the record of these hours, and if he took out a half hour for his own private work, made it up. He had special work assigned by himself for a certain time before breakfast, an interval which he daily gave largely to the Greek Testament and at some periods to Homer, Thucydides, Herodotus, and Xenophon; working always with the original at hand and writing out translations or commentaries, always in the same exquisite handwriting and at first contained in small thin note-books, afterwards bound in substantial volumes, with morocco binding and proper lettering. All his writings were thus handsomely treated, and the shelves devoted to his own works, pamphlet or otherwise, were to the eye a very conservatory and flower garden of literature; or like a chamberful of children to whom even a fru
Horace Elisha Scudder (search for this): chapter 17
XVI. Horace Elisha Scudder. It has been generally felt, I think, that no disrespect was shown to John Fiske, when the New York Nation headed its very discriminating sketch of him with the title John Fiske, Popularizer ; and I should feel that I showed no discourtesy, but on the contrary, did honor to Horace Elisha Scudder, in describing him as Literary Workman. I know of no other man in America, perhaps, who so well deserved that honorable name; no one, that is, who, if he had a diffickmanship up into the realm of art is as certain as that we may call the cabinet-maker of the Middle Ages an artist. Mr. Scudder was born in Boston on October 16, 1838, the son of Charles and Sarah Lathrop (Coit) Scudder, and died at Cambridge, MaScudder, and died at Cambridge, Massachusetts, on January 11, 1902. He was a graduate of Williams College, and after graduation went to New York, where he spent three years as a teacher. It was there that he wrote his first stories for children, entitled Seven little people and th
Elisha Mulford (search for this): chapter 17
ituation in a sentence or two that he left them free to pass to something else. We see the same quality, for instance, in his Men and letters, in his papers on Dr. Mulford and Longfellow. The first is an analysis of the life and literary service of a man too little known because of early death, but of the rarest and most exquisite intellectual qualities, Dr. Elisha Mulford, author of The nation and then of The Republic of God. In this, as everywhere in the book, Mr. Scudder shows that epigrammatic quality which amounted, whether applied to books or men, to what may be best described as a quiet brilliancy. This is seen, for instance, when, in defending MMulford from the imputation of narrowness, his friend sums up the whole character of the man and saves a page of more detailed discussion by saying, He was narrow as a cafion is narrow, when the depth apparently contracts the sides (page 17). So in his criticism called Longfellow and his art, Scudder repeatedly expresses in a sente
De Quincey (search for this): chapter 17
rwards bound in substantial volumes, with morocco binding and proper lettering. All his writings were thus handsomely treated, and the shelves devoted to his own works, pamphlet or otherwise, were to the eye a very conservatory and flower garden of literature; or like a chamberful of children to whom even a frugal parent may allow himself the luxury of pretty clothes. All his literary arrangements were neat and perfect, and represented that other extreme from the celebrated collection of De Quincey in Dove Cottage at Grasmere, where that author had five thousand books, by his own statement, in a little room ten or twelve feet square; and his old housekeeper explained it to me as perfectly practicable because he had no bookcases, but simply piled them against the walls, leaving here and there little gaps in which he put his money. In the delicate and touching dedication of Scudder's chief work, Men and letters, to his friend Henry M. Alden, the well-known New York editor, he says:
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