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Browsing named entities in a specific section of Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). Search the whole document.

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C. P. Cranch (search for this): chapter 1.9
reluctantly took it up, noting in his diary: I wish it to live, but I do not wish to be its life. Neither do I like to put it into the hands of the Humanity and Reform Men, because they trample on letters and poetry; nor in the hands of the scholars, for they are dead and dry. After spending much time and some money Emerson too felt forced to abandon the undertaking, and The Dial came to an end with the close of the fourth volume. Among contributors other than those already noted were C. P. Cranch, George Ripley, William H. Channing, William Ellery Channing, Theodore Parker, James Freeman Clarke, James Russell Lowell, Charles A. Dana, and Jones Very. In its own day The Dial was regarded reverently by a few, but by the great mass of readers it was ignored or taken as a joke. A later generation still finds many things in its pages amusing but has come to recognize it as the best single exponent of New England Transcendentalism, and of the peculiar aspects of culture that accompanie
Charles Lamb (search for this): chapter 1.9
, The Grecian maid, Myrrha. Pictures designed for fine editions of standard authors were often introduced with change of name, and not infrequently the process of illustration was reversed, and poems or tales were written to fit the renamed plate. It is not strange that volumes which are so palpably indicative of the commercial side of publishing, and that appealed to a constituency often more elegant and refined than intellectual, should be treated in later years with scant respect. Charles Lamb, Thackeray, and George Eliot all indulged in humour at the expense of the annuals and their admirers, and in America Miss Agnes Repplier and others who have given them passing notice adopt the same tone. They were not, however, without literary importance. Their exuberances and peculiarities register for the literary historian some of the less admirable qualities of popular taste; and they really contain much work of value. At a time when most of the literary magazines were living but
Thackeray (search for this): chapter 1.9
maid, Myrrha. Pictures designed for fine editions of standard authors were often introduced with change of name, and not infrequently the process of illustration was reversed, and poems or tales were written to fit the renamed plate. It is not strange that volumes which are so palpably indicative of the commercial side of publishing, and that appealed to a constituency often more elegant and refined than intellectual, should be treated in later years with scant respect. Charles Lamb, Thackeray, and George Eliot all indulged in humour at the expense of the annuals and their admirers, and in America Miss Agnes Repplier and others who have given them passing notice adopt the same tone. They were not, however, without literary importance. Their exuberances and peculiarities register for the literary historian some of the less admirable qualities of popular taste; and they really contain much work of value. At a time when most of the literary magazines were living but a precarious
William Ellery Channing (search for this): chapter 1.9
to live, but I do not wish to be its life. Neither do I like to put it into the hands of the Humanity and Reform Men, because they trample on letters and poetry; nor in the hands of the scholars, for they are dead and dry. After spending much time and some money Emerson too felt forced to abandon the undertaking, and The Dial came to an end with the close of the fourth volume. Among contributors other than those already noted were C. P. Cranch, George Ripley, William H. Channing, William Ellery Channing, Theodore Parker, James Freeman Clarke, James Russell Lowell, Charles A. Dana, and Jones Very. In its own day The Dial was regarded reverently by a few, but by the great mass of readers it was ignored or taken as a joke. A later generation still finds many things in its pages amusing but has come to recognize it as the best single exponent of New England Transcendentalism, and of the peculiar aspects of culture that accompanied that movement. See also Book II, Chap. VIII.
Richard Henry Stoddard (search for this): chapter 1.9
lished for the benefit of the editor in 1855, and made up of brief poems and essays donated by contributors to the magazine, contained pieces by Washington Irving, William Cullen Bryant, Henry Wadsworth Longfellow, Oliver Wendell Holmes, James Russell Lowell, N. P. Willis, Fitz-Greene Halleck, Donald Grant Mitchell, George H. Boker, Bayard Taylor, T. W. Parsons, Epes Sargent, J. G. Saxe, James T. Fields, Charles Godfrey Leland, George William Curtis, Park Benjamin, Rufus W. Griswold, Richard Henry Stoddard, C. F. Briggs, and many more; and among other contributors of the early time were Miss Sedgwick, James Gates Percival, Richard Henry Wilde, Mrs. Sigourney, William Gilmore Simms, J. G. Whittier, Horace Greeley, and James Fenimore Cooper. The importance of The Knickerbocker magazine may be judged by this list of names; yet in dignity of tone and especially in the quality of its humour it was somewhat below the standard of several of its successors. New York, like Boston, saw many
Myrrha (search for this): chapter 1.9
tal character of the annuals reveals itself. Many of these were taken from British paintings, others were by American artists; they were likely to be female figures and faces, romantic landscapes, or pictures hinting at pathetic or chastely amorous tales. In an annual taken at random, Leaflets of memory for 1845, the illustrations are entitled Julia, Was it for this? We part no more, The heart's best dream, The Christian slave, The past and present, The rose of the ruin, The Grecian maid, Myrrha. Pictures designed for fine editions of standard authors were often introduced with change of name, and not infrequently the process of illustration was reversed, and poems or tales were written to fit the renamed plate. It is not strange that volumes which are so palpably indicative of the commercial side of publishing, and that appealed to a constituency often more elegant and refined than intellectual, should be treated in later years with scant respect. Charles Lamb, Thackeray, and
Lewis Cass (search for this): chapter 1.9
en due its success. As first established it was a bi-monthly and published poetry, fiction, and other miscellaneous contributions, but in 1818 it became a quarterly and restricted the nature of its contents. The list of early contributors includes the names of Edward T. Channing, Richard Henry Dana, Jared Sparks, Edward Everett, Alexander H. Everett, John Adams, William Cullen Bryant, Gulian C. Verplanck, George Ticknor, Daniel Webster, Nathaniel Bowditch, George Bancroft, Caleb Cushing, Lewis Cass, and many more of the Americans best known in literary and political life. Like most such enterprises it was financially unprofitable at first, and it was never highly remunerative; but its literary importance was soon recognized abroad as well as at home. Until the founding of The Atlantic monthly in 1857 it was the most valuable organ of the best conservative thought in New England; and it continued its traditions until 1878, when it suffered a change of management and of habitat, and
Gray (search for this): chapter 1.9
but they invite from the student more attention than they have yet received. Few of the annuals deserve individual consideration. The Atlantic Souvenir, already mentioned as the earliest of its kind in America, was published by H. C. Carey and I. Lea of Philadelphia from 1826 to 1832. It was a small and not a very elaborate volume, but it contained poems, essays, and tales by some of the most popular writers of the day. After the issue for 1832 it was merged with The Token, published by Gray & Bowen, of Boston, and later volumes of the latter bore the title The Token and Atlantic Souvenir. The Token was first issued in 1828 with Samuel G. Goodrich as both editor and publisher, and Goodrich continued to edit it until its demise in 1842, except the second volume, which bore the name of N. P. Willis on the title-page. The Token was one of the best of the earlier annuals as regards literary content, and though less showy than many of its later rivals it contained illustrations of h
Joseph Dennie (search for this): chapter 1.9
cause of its intrinsic merits. A more important Philadelphia periodical was The Port folio, during the editorship of Joseph Dennie. The Port folio was founded in 1800 as a weekly newspaper. In 1806 it changed its form and took on most of the characteristics of a magazine, though it was still published weekly; in 1809 it became a monthly. Dennie died in 1812. The Port folio continued until 1827. For Dennie, see also Book II, Chap. III. Dennie, who signed himself Oliver Oldschool, and accepDennie, see also Book II, Chap. III. Dennie, who signed himself Oliver Oldschool, and accepted complacently the nickname of the American Addison, was a conservative in letters, though he welcomed some of the earlier work of the romantic school in England. During his editorship The Port folio was devoted to what at the time was called elegDennie, who signed himself Oliver Oldschool, and accepted complacently the nickname of the American Addison, was a conservative in letters, though he welcomed some of the earlier work of the romantic school in England. During his editorship The Port folio was devoted to what at the time was called elegant literature; and though to a taste less influenced by eighteenth-century standards it seems formal and sentimental, it exerted a strong influence for good during a critical period of American literature. Among the contributors were Charles Brockd
Caleb Cushing (search for this): chapter 1.9
t may have been due its success. As first established it was a bi-monthly and published poetry, fiction, and other miscellaneous contributions, but in 1818 it became a quarterly and restricted the nature of its contents. The list of early contributors includes the names of Edward T. Channing, Richard Henry Dana, Jared Sparks, Edward Everett, Alexander H. Everett, John Adams, William Cullen Bryant, Gulian C. Verplanck, George Ticknor, Daniel Webster, Nathaniel Bowditch, George Bancroft, Caleb Cushing, Lewis Cass, and many more of the Americans best known in literary and political life. Like most such enterprises it was financially unprofitable at first, and it was never highly remunerative; but its literary importance was soon recognized abroad as well as at home. Until the founding of The Atlantic monthly in 1857 it was the most valuable organ of the best conservative thought in New England; and it continued its traditions until 1878, when it suffered a change of management and o
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