The other poem, “How Old Brown Took Harper’s Ferry,” recounted the incident of that stern old abolitionist boldly marching with a few men into Virginia and capturing the town of Harper’s Ferry. There was no American poet who might not have felt proud of this production. Bayard Taylor was so pleased with the genius manifested in both these poems that he sought the author’s acquaintance and introduced him to R. H. Stoddard, who in turn, after examining a collection of his verses, recommended them for publication to Charles Scribner, who issued them the next year (1860) under the title of “Poems, Lyric and Idylic.”—Thus was Mr. Stedman introduced into the literary world.
Edmund Clarence Stedman is a native of Connecticut. He was born in the city of Hartford on the eighth day of October, 1833,—and comes of a good family of some poetic reputation. Rev. Aaron Cleveland, one of his ancestors, is said to have been a poet. Arthur Cleveland Cox, well known as a religious writer of verse, was his cousin. His mother was herself a poet, and also the author of the tragedy “Bianco Caprello.” When Stedman was two years of age he was sent to live with his grand-uncle, James Stedman, a jurist and scholar, who looked carefully after the early education of his nephew. At the age of sixteen, he was sent to Yale College, where he was among the foremost in English composition and Greek. But it is said that for some disobedience of the discipline of the institution, he fell under the censure of the college management and left without graduating. The University afterward, however, enrolled him among the alumni of 1853 with the degree of Master of Arts.
Upon leaving Yale, at the age of nineteen, Stedman took the management of a newspaper at Norwich, and the next year married a Connecticut girl and became owner of the Winsted Herald, when he was only twenty-one. Under his management, this paper soon rose to be one of the most important of the political papers of the State. Three years later we find him writing on the “New York Tribune,” where he obtained a foot-hold in literature, as we have already indicated by the publication of the two poems above mentioned.
When the “World” was started, in the winter of 1860, Mr. Stedman engaged with that journal and was editor of it when the news came over the wires that Fort Sumter had been fired upon. He wrote a poem on the occasion which was, perhaps, the first poem inspired by the war between the states. Soon after this Mr. Stedman went to Washington as the army correspondent of the “World.” He was at the first battle of Bull’s Run and published a long and graphic letter in the “World” about the defeat of the Union troops which he witnessed. This letter was the talk of the town for days and altogether has been pronounced the best single letter written during the whole war.
Before the close of the war, Mr. Stedman resigned his position as editor and entered the office of Attorney General Bates at Washington; but in January, 1864, he returned with his family to New York and published his second volume of poems entitled, “Alice of Monmouth, An Idyl of the Great War, and Other Poems,” which may be described as a little poetic novel. The opening scene is laid in Monmouth County, New Jersey; the later ones on the battle fields of Virginia.
The titles and dates of Mr. Stedman’s other books are as follows: “The Blameless Prince, and other Poems” (1869); “Poetical Works” (1873); “Victorian Poets” (1875); “Hawthorne and Other Poems” (1877); “Lyrics and Idyls, with Other Poems” (1879); the “Poems of Austin Dobson,” with an introduction (1880); “Poets of America” (1886), and with Ellen Mackay Hutchinson, he edited “A Library of American Literature” (11 vols., 1888–1890).
Many people entertain the notion that a man cannot be at one and the same time, a poet and a man of business. This is a mistake. [♦]Fitz-Green Halleck was for many years a competent clerk of John Jacob Astor; Charles Sprague was for forty years teller and cashier in a Boston bank; Samuel Rodgers, the English poet, was all his life a successful banker; Charles Follen Adams, the humorous and dialectic poet, is a prosperous merchant in Boston; and Edmund Clarence Stedman has been for many years the head of a firm of stock brokers with a [♣]suite of offices in Exchange Place, New York, dealing in government securities and railway stocks and bonds, and also petroleum, in which fortunes were at one time made and lost with great rapidity. Nevertheless, Mr. Stedman, the stock-broker and banker is still Mr. Stedman, the poet. The most of his splendid verses have been produced while he was depending for a living upon journalistic work or upon some business for support. Mr. Stedman also illustrates the fact, as Edgar Allen Poe had done before him, that a poet may be a practical critic. And why not? If poets are not the best critics of poetry, musicians are not the best critics of music, architects are not the best critics of architecture and painters of painting. Mr. Stedman’s “Victorian Poets” is, perhaps, the most important contribution of all our American writers to the critical literature on the English Poets.
[♦] ‘Fitz Green Hallack’ replaced with ‘Fitz-Green Halleck’
[♣] ‘suit’ replaced with ‘suite’
The home-life of Mr. Stedman is described as being an ideally happy one. One of his poems entitled “Laura, My Darling,” addressed to his wife, gives us a delightful glimpse into the heart and home of the poet.