Bohemians and Critics: American Theatre Criticism in the Nineteenth Century

Miller excerpts a few lines that Beach wrote in response to the death of Edward G. P. Wilkins.

"Francis Henry Temple Bellew, an artist, painted a sign representing the Ornithorhynchus smoking a pipe while grasping a glass of beer" (15).

Bellew published a cartoon in the Picayune which depicted Edward G. P. Wilkins, John Brougham, Boucicault, Cornelius Matthew, Charles Gayler, Fitz-James O'Brien, and Benjamin A. Baker as "playwrights registering their dramatic works before the first copyright law went into effect" (52).

Bisbane is described as a passionate follower of French socialist Charles Fourier (19). Henry Clapp, Jr. worked as a secretary for Brisbane in 1855-56 (24).

Miller mentions some of Brisbane's publications: Association, or a Concise Exposition of the Practical Part of Fourier's Social Science, "A Treatise on the Functions of the Human Passions," and "An Outline on Fourier's System of Social Science."

Butler was one of several Pfaffians who organized Clapp's funeral.

One of several women who frequented Pfaff's (16).

Clare's real name was Jane McElheney (27). She was treated like the "Queen" of the bohemians (27).

Clare gave birth to a son, Aubrey, in the mid-1850s while she was unmarried. "Louis Gottschalk, the composer and pianist, was thought to be the father, although neither party would confirm or deny his parentage" (27).

She wrote a column in the Saturday Press, which "sparkled with comments on the latest play, poem, novel, or bit of gossip. She helped to create the aura of mystique around the Bohemians with statements such as: 'The Bohemian is not, like the creature of society, a victim of rules and customs; he steps over them all with an easy, graceful, joyous unconsciousness, guided by the principles of good taste and feeling'" (28).

Clare felt that the stage was a place of freedom. "Where in literature and the other arts the woman has to bow before the calm judgment, the superior education, and the strong physical health of the man, on the stage she can rely on her instinct--'the one sublime gift that nature gives us to cope with men'" (28).

She married J. F. Noyes in 1868 (40).

Clare contracted rabies from a dog bite and eventually died on March 4, 1874 (40). About Clare, Walt Whitman wrote: "Poor, poor Ada Clare--I have been inexpressibly shocked by the horrible and sudden close of her gay, easy, sunny, free, loose, but not ungood life" (40). Personne [E. G. P. Wilkins] described Clare as "the Queen" of Bohemia, "the only free community on the face of the earth" (69).

Clare negatively compared William Winter's poem, "Song of the Ruined Man," to Whitman's "Child's Reminiscence," a poem she loved (75-76). William Winter stayed with Clare in 1861 while his wife was in Toronto (78).

Edward Wilkins' ability to combine "society gossip and theatrical chit-chat in an amusing style" was reminiscent of Curtis's contributions to Harper's (Miller 48).

In defense of Edwin Forrest's artistic abilities, Edwin G. P. Wilkins grouped together Curtis, William Stuart, Adam Badeau, and William Hurlburt as a "clique" of dramatic "'critics' who rarely have pluck enough to judge for themselves" (Miller 65).

Curtis was one of many writers who sought "refuge in the past" in order to escape the "chaos caused by the war and a rapidly changing American society" (Miller 82).

One of several women who frequented Pfaff's.

Fiske became part of the Pfaff's circle just prior to the Civil War (17). He co-edited the Leader with Henry Clapp, Jr. in 1864 (37). Fiske helped organize Clapp's funeral in 1875 (40).

Fiske replaced Edward Wilkins as dramatic critic at the Herald and suggested that Wilkins reviewed productions without actually attending them (46).

Fiske moved to London after the end of the Civil War. He returned in 1874 and in 1879 he became the dramatic critic for the Spirit of the Times (128).

Fiske was married to Mary Fox Hewins, but the couple first engaged in a scandalous affair. The affair prompted Mary's husband of the time, Mr. Burnham, to attempt to shoot and stab Fiske (110).

One of several women who frequented Pfaff's.

Owner of the New York Tribune (24).

Stephen Ryder Fiske's grandfather, Haley Fiske, was "a close personal friend of Horace Greeley" (102).

A regular at Pfaff's. House worked as the dramatic editor and critic for the New York Tribune (82).

House was present during a confrontation between Edwin Forrest and dramatic critic Andrew C. Wheeler (149).

Met Henry Clapp in the summer of 1858 and soon joined him in setting up the New York Saturday Press.

Edward G. P. Wilkins' first dramatic effort, My Wife's Mirror was performed at Laura Keene's Varieties in 1856. Keene played the part of Mrs. Racket in the production, which ran for two weeks straight (52-53). Wilkins' second work, Young New York opened in 1856 at Keene's new theater, where she once again played the female lead (53). On February 21, 1857, Keene gave a benefit for Wilkins by reprising her earlier roles in his works. She also starred in his next work, The Siam Light Guard (55).

Mentions Keenes professional relationship with Edward Wilkins, and describes why they parted ways (56-58).

Wilkins described Keene's portrayal of Camille as "a nicely built, beautifully fitted up yacht, gliding among pleasant scenes, giving you glimpses of Etruscan vales and Claude Lorraine landscapes, throwing vivid color over all around" (62).

Died in November(?) 1861. Also known by the alias, Inigo (37). He was replaced at the Albion by his friend, William Winter (79).

Referred to as Bayard (36).

Miller mentions Henry J. Raymond, founder of the New York Times, but it is not clear if this is the same Raymond who was part of the Fred Gray Association.

A regular at Pfaff's. Seymour edited the New York Weekly Review, where Henry Clapp worked from January to July of 1865 (38).

Along with Edward G. P. Wilkins, Fitz-James O'Brien, and John Brougham, Smith was a member "a select club for actors, writers, and artists" formed in 1856 (44). Smith was also a member of the Theta Delta Chi Fraternity (44).

Smith worked at the St. James's Theatre for Mrs. Wood (108).

One of many young writers assisted by Henry Clapp (25).

Stoddard was one of many writers who sought "refuge in the past" in order to escape the "chaos caused by the war and a rapidly changing American society" (82).

Taylor was one of many writers who sought "refuge in the past" in order to escape the "chaos caused by the war and a rapidly changing American society" (82).

In a January 2, 1864 review, Winter disparaged Taylor's "new novel, Hanna Thurston, which dealt with sectarianism, temperance, anti-slavery, spiritualism, and women's rights" (87).

As a young writer, Twain was helped by Henry Clapp, Jr.

Wallack acted in Stephen R. Fiske's dramatic debut: My Noble Son-in-Law (104).

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).

Discusses the hardship of being a writer in the 1850s in his book, Old Friends; Being Literally Recollections of Other Days (13-14). Winter was a regular at Pfaff's (16). He hoined the Pfaffians as a twenty-three-year-old struggling poet and journalist. Winter was soon taken in by Clapp who "regarded him as a protégé" (70). By December 1859, Winter was accepted by most Pfaffians, with the notable exception of Walt Whitman who "found his friendship and talents distasteful" (70).

It is possible that Winter shared the position of dramatic critic for the Saturday Press with Clapp in 1860, after Wilkins left the newspaper (29). Winter wrote for the Saturday Press and eventually became "the most famous and influential critic of the nineteenth-century American stage" (71).

After the Civil War several Pfaffians, including "William Winter and Thomas Bailey Aldrich turned their backs upon Bohemianism and embraced standards of taste we call 'The Genteel Tradition'" (17).

Winter also helped organize the funeral of Henry Clapp, Jr. and wrote an epitaph that was never used (40).

William Winter was born on July 15, 1836, in Gloucester, Mass. He graduated from Cambridge High School at age sixteen and started law school at Harvard in 1856. He supported himself by working as a "collector for a tugboat in Boston Harbor, and from his literary efforts" (71). He graduated in 1857 and went to work for the Manson and Parker law firm, but he never tried a case (72). Winter dabbled in politics in 1856; opposed slavery but also "opposed radical behavior more and wrote with distaste about the 'effusive, hysterical novel of Uncle Tom's Cabin' which 'aroused and inflamed thousands of hearts'" (71). He disagreed with the practise of slavery, but he never supported the abolitionist movement (71).

Winter was greatly influenced by a twenty-eight year friendship with Henry Wadsworth Longfellow, which began in 1854 after Winter dedicated a volume of poetry to Longfellow (72).

Winter met T. B. Aldrich in 1855 after reviewing The Bells: A Collection of Chimes (73). He met Fitz-James O'Brien in 1859 and quickly formed a friendship with him: "Winter admired his frankness; the two men because friends and remained so until O'Brien was killed fighting in the North in 1862" (73). Winter met Clapp in 1858, and officially moved from Boston to New York City in 1859 (74). "From early January to December 15, 1860, Winter worked as assistant editor and book reviewer for the Saturday Press" (75). Clapp praised Winter's poetry but others, like Ada Clare, did not always enjoy it (75).

Winter met Scottish writer Lizzie (Elizabeth) Campbell in 1859 and married her on December 8, 1860 (76). In 1861, Winter visited his pregnant wife in Toronto, while rooming with Ada Clare. Percy Winter was born on November 16, 1861 (78). The family was forced to leave Clare's home after the loss of her South Carolina property forced her to cut back on expenses (78). Winter's other children were as follows: Arthur (1872), Louis (1873), William Jefferson (1878), and Viola (1881) (79).

In a letter to Edmund Clarence Stedman, dated May 1, 1863, Winter describes his social isolation: "I am, as I ever was, something of a black sheep and none of our friends care to acknowledge me socially" (79).

During the Civil War, Winter found work with the Leader, the Petroleum Monitor, the New York Weekly Review, Round Table, Philobiblion, The Galaxy, Harper's Weekly and Spirit of the Times (79). Winter replaced Harry Neill (Inigo) at the Albion in 1861 (79). On July 13, 1865 Winter substituted for Edward H. House as a reviewer for Greeley's New York Tribune. One month later, Winter replaced House permanently (82).

Winter was known to use the pseudonym Mercutio (79). His choice of penname came from Winter's belief that "Shakespeare's Mercutio is the best type that literature affords of the brilliant men of the world [...] I fancy him, in brave attire walking about the streets of the old Italian city, or in comfortable inns, drinking wine with gay companions....He was always merry and he took the world easily, with laughter for everything. And yet there was a serious vein in his nature. He was a true friend. He was ardent, alike in his love and in his aversion. He had scholarship, at least in belles lettres; and he was, in his off-hand way, an excellent critic of manners and of character" (79-80).

Miller also includes Winter's comments on the assassination of President Lincoln (81).

Winter left behind the Bohemian ideology in favor of the "Genteel Tradition" (82).

Winter "regarded the theatre as a temple of art and not 'merely a workshop for shrewd and vulgar speculation in popular credulity'" (83). Central to Winter's criticism is the idea that "artists and writers seek excellence, not popular applause" (84). "Winter demanded that the theatre offer only an idealized view of life and shun unpleasant social and moral questions" (87).

The Plays of Henrik Ibsen "became the symbol for Winter of all that was wrong with the modern stage. He believed staunchly that 'the province of art is the ministry of beauty, and beauty, in art, is inseperable from morality'" (89).

"Winter judged harshly the personal character of Edwin Forrest in determining his worth as an actor. He thought the actor possessed great talent, manly beauty, and physical strength. He praised his hard work in the face of failure and disappointments [...] But Winter believed that weakness of character tainted his art" (92-93).
"Winter compared such acting to the poetry of Walt Whitman, where too much emphasis was placed on the flesh" (93-94). Edwin Booth was Winter's idea of a perfect performer (94).
The friendship between Augustin Daly and William Winter during the 1880s and 1890s caused people to question Winter's "critical integrity and earned him the nickname of 'Daly's house poet'" (96). William Winter was "New York's first and foremost critic"(98). His "'kindliness of nature' made it difficult for him to censure an actor or manager" (98).

Winter favored idealistic, romantic literature which put him in conflict with "the new realistic literature of the period" (85). He was accused of being a "moralist" (86). "He always denied such a charge, however, noting that modern audiences did not wish to deal with immoral questions in a truthful manner, but wanted to peer into bedrooms through the keyhole" (86).

Winter died on June 30, 1917; he was buried on Staten Island (101).