The Complete Works of Edgar Allan Poe - Edgar Allan Poe [894]
I am not aware that since “Arthur Carryl” Mr. Osborn has written anything more than a “Treatise on Oil Painting,” issued not long ago by Messrs. Wiley and Putnam. This work is highly spoken of by those well qualified to judge, but is, I believe, principally a compilation or compendium.
In personal character, Mr. O. is one of the most remarkable men I ever yet had the pleasure of meeting. He is undoubtedly one of “Nature’s own noblemen,” full of generosity, courage, honor — chivalrous in every respect, but, unhappily, carrying his ideas of chivalry, or rather of independence, to the point of Quixotism, if not of absolute insanity. He has no doubt been misapprehended, and therefore wronged by the world; but he should not fail to remember that the source of the wrong lay in his own idiosyncrasy — one altogether unintelligible and unappreciable by the mass of mankind.
He is a member of one of the oldest and most influential, formerly one of the wealthiest families in New York. His acquirements and accomplishments are many and unusual. As poet, painter and musician, he has succeeded nearly equally well, and absolutely succeeded as each. His scholarship is extensive. In the French and Italian languages, he is quits [[quite]] at home, and in everything he is thorough and accurate. His critical abilities are to be highly respected, although he is apt to swear somewhat too roundly by Johnson and Pope. Imagination is not Mr. Osborn’s forte.
He is about thirty-two or three — certainly not more than thirty-five years of age. In person he is well made, probably five feet ten or eleven, muscular and active. Hair, eyes and, complexion, rather light; fine teeth; the whole expression of the countenance manly, frank, and prepossessing in the highest degree.
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 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