Nathaniel Parker Willis was in full bloom when I opened my first Portfolio. He had made himself known by his religious poetry, published in his father's paper, I think, and signed “Roy.” He had started the “American Magazine,” afterwards merged in the “New York Mirror.” He had then left off writing scripture pieces, and taken to lighter forms of verse. He had just written
“I'm twenty-two, I'm twenty-two, They idly give me joy, As if I should be glad to know That I was less a boy.”
He was young, therefore, and already famous. He came very near being very handsome. He was tall; his hair, of light brown color, waved in luxuriant abundance; his cheek was as rosy as if it had been painted to show behind the footlights; he dressed with artistic elegance. He was something between a remembrance of Count D'Orsay and an anticipation of Oscar Wilde. There used to be in the gallery of the Luxembourg a picture of Hippolytus and Phxdra, in which the beautiful young man, who had kindled a passion in the heart of his wicked step-mother, always reminded me of Willis, in spite of the shortcomings of the living face as compared with the ideal. The painted youth is still blooming on the canvas, but the fresh-cheeked, jaunty young author of the year 1830 has long faded out of human sight. I took the leaves which lie before me at this moment, as I write, from his coffin, as it lay just outside the door of Saint Paul's Church, on a sad, overclouded winter's day, in the year 1867. At that earlier time, Willis was by far the most prominent young American author. Cooper, Irving, Bryant, Dana, Halleck, Drake, had all done their best work. Longfellow was not yet conspicuous. Lowell was a school-boy. Emerson was unheard of. Whittier was beginning to make his way against the writers with better educational advantages whom he was destined to outdo and to outlive. Not one of the great histories, which have done honor to our literature, had appeared. Our school-books depended, so far as American authors were concerned, on extracts from the orations and speeches of Webster and Everett; on Bryant's Thanatopsis, his lines To a Waterfowl, and the Death of the Flowers, Halleck's Marco Bozzaris, Red Jacket, and Burns; on Drake's American Flag, and Percival's Coral Grove, and his Genius Sleeping and Genius Waking,--and not getting very wide awake, either. These could be depended upon. A few other copies of verses might be found, but Dwight's “Columbia, Columbia,” and Pierpont's Airs of Palestine, were already effaced, as many of the favorites of our own day and generation must soon be, by the great wave which the near future will pour over the sands in which they still are legible.