Fifth Avenue

by Arthur Bartlett Maurice

CHAPTER IX

Fifth Avenue in Fiction

Fifth Avenue in Fiction—Pages of Romance—The Henry James Heroes and Heroines—George William Curtiss's "Prue and I"—Edgar Fawcett and Edgar Saltus—The "Big Four" of Archibald Clavering Gunter—The Home of Dr. Sloper—O. Henry and Arthur Train—Bunner and Washington Square—"Predestined"—The De Rham House and Van Bibber's Burglar—Delmonico's—The "Amen Corner"—Union and Madison Squares—The Coming of Potash and Perlmutter—Up the Avenue.

To Macaulay's New Zealander, contemplating from London Bridge the ruins of St. Paul's, and the miles upon miles of silent stones stretching to north and west and east, there would undoubtedly have come the desire to reconstruct a mental picture of the vast, dead city in certain of the various periods in which it had been teeming and throbbing with human life. Had the wish become the task, formal history would have played its part. Informal history would have proved more fruitful, and bygone days would have taken shape in the study of old prints, letters, and diaries. But for the full flavour of the town that once was and now had become crumbling dust he would have turned to pages that had been professedly pages of romance.

Suppose Elizabethan London had been his especial interest. That he would have seen through the eyes of Sir John Falstaff and his riotous, dissolute cronies of the Boar's Head Tavern. Georgian London? What better companion could he have had in his scheme of investigation than Mr. Thomas Jones, recently come up from the West Country? For a vision of Corinthian London could he have done better than take up Conan Doyle's "Rodney Stone," with its vivid pictures of the stilted eccentrics who hovered about the Prince-Regent, the coffee-houses thronged with England's warriors of the land and sea, and the haunts of the hard-faced men of the Prize Ring?

The Artful Dodger, guiding the innocent Oliver to the den of Fagin the Jew, would have introduced that last New Zealander to the sordid section of London about Great Saffron Hill and Little Saffron Hill that existed before the construction of the Holborn Viaduct. In the pages of Thackeray and George Meredith he would have studied the West-End of Victorian days. Certain seamy aspects of London life of the last years of the nineteenth century would have been revealed in the novels of George Gissing; and the books of a score of scribes, whose permanent place in letters is still a matter of conjecture, would have flashed glimpses of the city's streets, foibles, manners, and emotions in the early years of the twentieth century.

Our literature has, as yet, given us no figure analogous to that Last New Zealander of Macaulay. But in the bustling New York of fifty or one hundred years hence the dreamer or the student wishing to feel how the inhabitants of Manhattan lived three or four score years ago, or how we are living today, will not disdain to turn over pages originally designed to lighten the tedium of idle hours.

Now and again, in the novels of the fifties and sixties, there are glimpses of the stretch from Washington Square to Fourteenth Street, but the greater Fifth Avenue, as a factor in fiction, dates from about the time when Daisy Miller became a type. To those who really understand them, every one of the great, vital streets of the world has a soul as well as a body. The social invader from the West, the merchant whose establishment still found profit in Grand Street, the banker from Broad Street, or the ship's chandler from South, the club awakening to the fact that its quarters on Broadway or in one of the side streets near Irving Place was too far downtown, or in size inadequate to its growing membership—those were the agencies that wrought the Avenue's material development. But it was the American travelling in Europe in the days when we first found Henry James's heroine on the shores of Lake Geneva and later in Rome, when transatlantic voyagers were not so commonplace as they became later, whose pangs of homesickness in his pension in the Rue de Clichy in Paris, or his hotel in Sorrento, first invested Fifth Avenue with a spirit. It was different perhaps when he returned home with a slight pose of foreign manners, to bask for a brief moment in the sunny flood of distinction that was due him as a kind of later Sir John Franklin. But over there what were cathedral naves and spires, or art galleries, or purple Mediterranean waves, or laboriously acquired French verbs, to the jutting brown-stone stoops and the maples breaking into blossom?

There was a kind of writing, not fish or flesh or good red herring, but just the same altogether charming in its day, inspiring of dreams, and a vehicle for pleasant fancy. It belonged to what, from our grave old point of view, was the youth of the world, and the spirit of youth, its ingenuousness, and its ardour, were needed to appreciate it. Ik Marvel's "Reveries of a Bachelor" was of that genre—and how the hearth logs blazed and the fair faces flickered in the flames in those pages of Mr. Donald G. Mitchell!—and George William Curtiss's "Prue and I"; and the latter book was one of the first in which was to be found the flavour of the old Fifth Avenue. Then there were the forgotten novelists of the seventies and early eighties, and some who are not quite forgotten, such as the two Edgars, Fawcett and Saltus, and the days when every visiting Englishman, no matter what he might have done in real life, in fiction had to stay, while in New York, at the Brevoort House. All sorts of inconsequential novels flit through the mind in recalling that bygone period. There was a gentleman whose atrociously written, but marvellously constructed "thrillers" were to be found in every deck chair at the noon hour on transatlantic steamers of thirty years ago. That was the late Archibald Clavering Gunter. The present generation knows him and his works not at all; but how a past generation used to read and reread "Mr. Barnes of New York," and "Mr. Potter of Texas," and "Miss Nobody of Nowhere," and "That Frenchman," which should have been called "M. De Vernay of Paris." Those were the earliest and the "big four." The list of successors is a long one, but that certain something, that indefinable quality, which had made the first books great trash was irrevocably gone. Of all the flamboyant characters of the tales Mr. Barnes was deservedly the most popular, and at such times as he was not winning international rifle matches at Monte Carlo, or racing about Europe in respectable pursuit of desirable young ladies, he inhabited a dwelling on lower Fifth Avenue. Practically all Fifth Avenue were the scenes of "Miss Nobody of Nowhere," with its charming heroine and her adopted parents, its wicked English nobleman, and its comical little Anglo-maniac dude. Under some name or other a "Gussie Van Beekman" was a necessary ingredient of every Gunter novel.

It is a far cry from Gunter to Henry James, though each wrought according to his lights, and served his purpose in his time. It was when the Avenue was in its infancy that Dr. Sloper, of James's "Washington Square," went to live in the brick house with white stone trimmings, that, practically unchanged, may be seen today, diagonally across the street from the Arch. The novelist wrote of the locality as having "a kind of established repose which is not of frequent occurrence in other quarters of the long, shrill city"; and ascribed to it, "a richer, riper look than any of the upper ramifications of the great longitudinal thoroughfare—the look of having had something of a social history." That "richer, riper look," that suggestion of a past, is there to-day, and is likely to be there tomorrow. The particular Sloper house is quite easy of identification. It is the third from the corner as one goes westward from the Avenue. In 1835, when Dr. Sloper first took possession, moving uptown from the neighbourhood of the City Hall, which had seen its best days socially, the Square, then the ideal of quiet and genteel retirement, was enclosed by a wooden paling. The edifice in which the Slopers lived and its neighbours were then thought to embody the last results of architectural science. It actually dates to 1831. Among the merchants who built in that year were Thomas Suffern, Saul Allen, John Johnston, George Griswold, James Boorman, and William C. Rhinelander. It was their type of house that was accepted for the neighbourhood as the first streets began to open to the right and left of Fifth Avenue. That northern stretch of the Square, first invaded in fiction by Henry James, has ever been a favourite background of the story-spinners, who never tire of contrasting its tone of well-bred aristocracy with the squalor, half-Bohemian and half-proletarian, that faces it from across the Park. In fiction one does not necessarily have to be of an old New York family in order to inhabit one of those north-side dwellings. Robert Walmsley, of O. Henry's "The Defeat of the City," lived there, and the boyhood to which he looked back was one spent on an up-state farm; while another erstwhile tenant in the exclusive row was the devious Artemas Quibble, of Mr. Arthur Train's narrative, who began life humbly somewhere in grey New England, and ended it, so far as the reader was informed, in Sing Sing Prison. Then there was the home of Mrs. Martin, the "Duchess of Washington Square" of Brander Matthews's "The Last Meeting," and that of Miss Grandish, of Julian Ralph's "People We Pass," and the house of Mrs. Delaney, of Edgar Fawcett's "Rutherford," and the structure which inspired one-half of Edward W. Townsend's "Just Across the Square," and the five-room apartment "at the top of a house with dormer windows on the north side" where Sanford lived according to F. Hopkinson Smith's "Caleb West," and where his guests, looking out, could see the "night life of the Park, miniature figures strolling about under the trees, flashing in brilliant light or swallowed up in dense shadow as they passed in the glare of many lamps scattered among the budding foliage." Also over the Square, regarded in the light of fiction, is the friendly shadow of Bunner, who liked it at any time, but liked it best of all at night, with the great dim branches swaying and breaking in the breeze, the gas lamps flickering and blinking, when the tumults and the shoutings of the day were gone and "only a tramp or something worse in woman's shape was hurrying across the bleak space, along the winding asphalt, walking over the Potter's Field of the past on the way to the Potter's Field to be."