James Abraham Hillhouse, a native of Sachem’s Head, near New Haven (1789–1841), graduated at Yale College in 1808, and spent many of his early years in New York, engaged in mercantile pursuits. On his return from a visit to Europe he married and retired to Sachem’s Head, where he devoted himself to literature rather as an amusement than an occupation. His first poem, entitled “The Judgment,” appeared in New York in 1812. “Percy’s Masque,” the successful attempt of one of the Percys to recover his ancestral home of Alnwick Castle, was issued in London in 1820, and reissued in New York the same year. In 1824 Hillhouse published the sacred drama of “Hadad,” and in 1839 a complete edition in two volumes of his poetical writings. He was also the author of numerous addresses and discourses delivered on various occasions.

Personal

  Literary celebrity was purchased in those Arcadian days at a much lower price than is at present set upon the article. I do not remember much about Mr. Hillhouse’s poem, called “Hadad,” yet I shall venture to doubt whether it would make an author conspicuous if published to-day. Nevertheless, Mr. Hillhouse, the distinguished American poet, was pointed out as among the largest lions of the evening [June 17, 1825]…. Mr. Hillhouse was a man of great gentleness and refinement, and I afterward enjoyed his society as a visitor in our family circle.

General

  We are glad to meet with so respectable a production in this department of literature from the pen of a native writer; indeed, we are pleased to light upon any modern tragedy in the English language so well worthy of notice…. There is no powerful development of character, but the characters are consistent and well sustained…. We think that the author of “Percy’s Masque” is to be congratulated on having escaped so well the florid and declamatory manner, with so many celebrated and seducing examples before him. We hope, however, that, should he continue to cultivate this department of the drama, he will be led to study a style still more idiomatic and easy, and, particularly (for here he has sinned most) with fewer capricious departures from the natural construction.

  In short, such is the approach to excellence, both in the conception and execution of this little poem, that I confess myself more than commonly gratified in the opportunity of doing what lies in my power towards making it further known on this side the Atlantic; especially as the praise to which it is so justly entitled may, in all probability, lead its author to other and more extended efforts.

  He observes all the proprieties of place, time, and character. In perusing “Hadad,” we were struck with his constant adherence to historical and geographical truth, and his continual illusions to the customs, manners, events, and superstitions of the people among whom he had laid his scene. His dramatis personæ are not merely a list of Jewish names, but they are Jews, clad in Jewish costume, living in Jewish houses, expressing Jewish opinions, and talking, as far as possible, a Jewish language. The people are the descendants of Abraham, and the country is Palestine…. Mr. Hillhouse’s “Hadad” is an ornament and bright addition to the literature of our country. We can send it abroad without a blush or an apology; not as being of the highest order of excellence, but as a sample of American poetry, full of beauty, dignity and interest.

  Besides the high finish of Mr. Hillhouse’s writings, we find another peculiarity in them, as compared with most others which come in our way. While there are no oddities in his style, it has, in the best sense, a right to be called original…. Our impressions, derived from the reading of “Percy’s Masque” and “Hadad” on their first appearance, were in favor of the former, as the superior poem. We now are of a different mind; nor are we induced to change it simply by the important improvements which “Hadad” has undergone, in the course of revision. The two works are, perhaps, equally graceful, but “Hadad” now strikes us as a composition of decidedly more power. Its fable, also, is more faultless, at the same time that it is much more bold…. This beautiful poem is certainly not the less effective on account of the perfect simplicity of its plot; nor, on the other hand, has any of the ample time, which has been given to a minute finish of the details, been lost. It is a story of love crossed by jealousy, and is wrought up to that painful degree of interest, which is only within the power of genius and study united.

  As a mere work of art, “Percy’s Masque” is one of the most faultless in the language. If subjected to scrutiny, it will bear the strictest criticism by which compositions of this kind can be tried. We cannot detect the violation of a single rule which should be observed in the construction of a tragedy. When, therefore, it was republished in this country, it at once gave its author an elevated rank as a dramatic poet…. “Hadad” was written in 1824, and printed in the following year. This has generally been esteemed Hillhouse’s masterpiece. As a sacred drama, it is probably unsurpassed. The scene is in Judea, in the days of David; and as the agency of evil spirits is introduced, as opportunity is afforded to bring forward passages of strange sublimity and wildness. For a work like this, Hillhouse was peculiarly qualified. A most intimate acquaintance with the Scriptures enabled him to introduce each minute detail in perfect keeping with historical truth, while from the same study he seems also to have imbibed the lofty thoughts, and the majestic style of the ancient Hebrew prophets…. As a poet, he possessed qualities seldom found united: a masculine strength of mind, and a most delicate perception of the beautiful. With an imagination of the loftiest order—with “the vision and the faculty divine” in its fullest exercise, the wanderings of his fancy were chastened and controlled by exquisite taste. The grand characteristic of his writings is their classical beauty. Every passage is polished to the utmost, yet there is no exuberance, no sacrifice to false and meretricious taste. He threw aside the gaudy and affected brilliancy with which too many set forth their poems, and left his to stand, like the doric column, charming by its simplicity. Writing not for present popularity, or to catch the senseless applause of the multitude, he was willing to commit his works—as Lord Bacon did his memory—“to the next ages.”

  “Percy’s Masque,” while it claims an humbler character than that of “The Judgment,” and “Hadad,” for boldness of conception, and vigor of thought, is a poem of exceeding merit, and, if we mistake not, is the most beautiful of our author’s productions.

  “Percy’s Masque” reproduces the features of an era more impressed with knightly character than any in the annals of England. Hillhouse moves in that atmosphere quite as gracefully as among the solemn and venerable traditions of the Hebrew faith. His dramatic and other pieces are the first instances in this country of artistic skill in the higher and more elaborate spheres of poetic writing.

  The prevalent character of the writings of Hillhouse is a certain spirit of elegance, which characterizes both his prose and poetry, and which is allied to the higher themes of passion and imagination. He felt deeply and expressed his emotions naturally in the dramatic form. His conceptions were submitted to a laborious preparation, and took an artistical shape. Of his three dramatic productions, “Demetria,” an Italian tragedy, is a passionate story of perplexed love, jealousy, and intrigue; “Hadad” is a highly wrought dramatic poem, employing the agency of the supernatural; and “Percy’s Masque,” suggested by an English ballad, Bishop Percy’s “Hermit of Warkworth,” an historical romance, of much interest in the narrative, the plot being highly effective, at the expense somewhat of character, while the dialogue is filled with choice descriptions of the natural scenery in which the piece is cast, and tender sentiment of the lovers. That, however, which gained the author most repute with his contemporaries, and is the highest proof of his powers, is the two-fold characterization of “Hadad” and “Tamar;” the supernatural fallen angel appearing as the sensual heathen lover, and the Jewish maiden. The dialogue in which these personages are displayed, abounds with rare poetical beauties; with lines and imagery worthy of the old Elizabethan drama. The description, in the conversation between Nathan and Tamar, of the associations of Hadad, who is “of the blood royal of Damascus,” is in a rich imaginative vein.

  Excelled in what may be called the written drama, which, though unsuited to representation, is characterized by noble sentiment and imagery. His dramatic and other poems are the first instances in this country of artistic skill in the higher and more elaborate spheres of poetic writing, and have gained for him a permanent place among the American poets.

  Hillhouse’s poetry, although at one time ranked very high by critics, is now but little read by the public.

  The well-balanced stanzas of James A. Hillhouse.