One thing is certain, everybody thought Willis worth criticising. He has been, I suspect, more written about than any other literary man in the history of American literature. Some of the attacks upon him proceeded, no doubt, from a conviction that he was a man of extraordinary gifts, and yet of extraordinary affectations; and the lash was applied in kindness, as that of a schoolmaster to a beloved pupil's back; some of them were dictated by envy; for we have had no other example of literary success so early, so general, and so flattering. That Mr. Willis made mistakes in literature and life, at the outset, may be admitted by his best friends; for it must be remembered that, before he was five-and-twenty, he was more read than any other American poet of his time; and besides, being possessed of an easy and captivating address, he became the pet of society, and especially of the fairer portion of it. Since that period, his life, on the whole, has been one of serious, useful, and successful labor. His reputation as a poet has hardly advanced, and probably the public generally regard some of his early verses as his best. As an essayist, however, he stands in the first rank; distinguished for a keen sagacity in analyzing society, a fine perception of the beauties of nature, and an extraordinary talent for endowing trifles with interest and meaning. As a traveller, he is among the most entertaining, sagacious, and instructive.
His style is certainly peculiar, and is deemed affected, tending to an excess of refinement, and displaying an undue hankering for grace and melody; sometimes sacrificing sense to sound. This might once have been a just criticism, but the candid reader of his works now before the public will deem it hypercritical. His style is suited to his thought; it is flexible, graceful, musical, and is adapted to the playful wit, the piquant sentiment, the artistic descriptions of sea, earth, and sky, of which they are the vehicle. In the seeming exhaustlessness of his resources, in his prolonged freshness, in his constantly-increasing strength, Mr. Willis has refuted all the early prophets, who regarded him only as a precocity, destined to shine a few brief years and fade away.
As to his personal character, I need only say, that from the beginning he had a larger circle of steadfast friends than almost any man within my knowledge. There has been something in his works which has made women generally both his literary and personal admirers. For so many favors he has given the world an ample return; for, with all his imputed literary faults—some real and some imaginary—I regard him as having contributed more to the amusement of society than almost any other of our living authors.
It is not easy to conceive of a stronger contrast than is presented by comparing Nathaniel Hawthorne with N. P. Willis. The former was for a time one of the principal writers for the Token, and his admirable sketches were published side by side with those of the latter. Yet it is curious to remark, that everything Willis wrote attracted immediate attention, and excited ready praise, while the productions of Hawthorne were almost entirely unnoticed.
The personal appearance and demeanor of these two gifted young men, at the early period of which I speak, was also in striking contrast. Willis was slender, his hair sunny and silken, his cheeks ruddy, his aspect cheerful and confident. He met society with a ready and welcome hand, and was received readily and with welcome. Hawthorne, on the contrary, was of a rather sturdy form, his hair dark and bushy, his eyes steel-grey, his brow thick, his mouth sarcastic, his complexion stony, his whole aspect cold, moody, distrustful. He stood aloof, and surveyed the world from shy and sheltered positions.
There was a corresponding difference in the writings of these two persons. Willis was all sunshine and summer, the other chill, dark, and wintry; the one was full of love and hope, the other of doubt and distrust; the one sought the open daylight—sunshine, flowers, music—and found them everywhere; the other plunged into the dim caverns of the mind, and studied the grisly spectres of jealousy, remorse, despair.
I had seen some anonymous publication which seemed to me to indicate extraordinary powers. I inquired of the publishers as to the writer, and through them a correspondence ensued between me and "N. Hawthorne." This name I considered a disguise, and it was not till after many letters had passed that I met the author, and found it to be his true title, representing a very substantial personage. At this period he was unsettled as to his views: he had tried his hand in literature, and considered himself to have met with a fatal rebuff from the reading world. His mind vacillated between various projects, verging, I think, toward a mercantile profession. I combated his despondence, and assured him of triumph, if he would persevere in a literary career.
He wrote numerous articles, which appeared in the Token: occasionally an astute critic seemed to see through them, and to discover the mind that was in them; but in general they passed without notice. Such articles as "Sights from a Steeple," "Sketches beneath an Umbrella," the "Wives of the Dead," the "Prophetic Pictures," now universally acknowledged to be productions of extraordinary depth, meaning, and power,—extorted hardly a word of either praise or blame, while columns were given to pieces since totally forgotten. I felt annoyed, almost angry, indeed, at this. I wrote several articles in the papers, directing attention to these productions, and finding no echo of my views, I recollect to have asked John Pickering, a gentleman in whose critical powers I had great confidence, to read some of them, and give me his opinion of them. He did as I requested; his answer was that they displayed a wonderful beauty of style, with a sort of second-sight, which revealed, beyond the outward forms of life and being, a sort of spirit-world, somewhat as a lake reflects the earth around it and the sky above it; yet he deemed them too mystical to be popular. He was right, no doubt, at that period; but, ere long, a large portion of the reading world obtained a new sense—how, or where, or whence, is not easily determined—which led them to study the mystical, to dive beneath and beyond the senses. Hawthorne was, in fact, a kind of Wordsworth in prose: less kindly, less genial toward mankind, but deeper and more philosophical. His fate was similar: at first he was neglected, at last he had worshippers.
In 1837 I recommended Mr. Hawthorne to publish a volume, comprising his various pieces, which had appeared in the Token and elsewhere. He consented, but as I had ceased to be a publisher, it was difficult to find any one who would undertake to bring out the work. I applied to the agent of the Stationers' Company, but he refused; until at last I relinquished my copyrights on such of the tales as I had published to Mr. Hawthorne, and joined a friend of his in a bond to indemnify them against loss; and thus the work was published by the Stationers' Company, under the title of Twice-Told Tales, and for the author's benefit. It was deemed a failure for more than a year, when a breeze seemed to rise and fill its sails, and with it the author was carried on to fame and fortune.
Among the most successful of the writers for the Token was Miss Francis, now Mrs. Child. I have not seen her for many years, but I have many pleasant remembrances of her lively conversation, her saucy wit, her strong good sense, and her most agreeable person and presence. To Rev. F. W. P. Greenwood I was indebted not only for some of the best contributions, but for excellent counsel and advice in my literary affairs. He was a man of genius, gentle manners, and apostolic dignity of life and character.