the Week of Proper 28 / Ordinary 33
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Bible Encyclopedias
American Literature
1911 Encyclopedia Britannica
or The earliest books which are commonly described as the beginnings of American literature were written by men born and bred in England; undivided part of English literature, belonging to the province of exploration and geographical description and entirely similar in matter and style to other works of voyagers and colonizers that illustrate the expansion of England. They contain the materials of history in a form of good Elizabethan narrative, always vigorous in language, often vivid and picturesque. John Smith (1579-1631) wrote the first of these, A True Relation of such Occurrences and Accidents of Note as hath happened in Virginia (1608), and he later added other accounts of the country to the north. William Strachey, a Virginian official of whom little is known biographically, described (1610) the shipwreck of Sir Thomas Gates on the Bermudas, which is believed to have yielded Shakespeare suggestions for The Tempest. Colonel Henry Norwood (d. 1689), hitherto unidentified, of Leckhampton, Gloucestershire, a person eminent for loyalty in the reign of Charles I. and distinguished in the civil wars, later governor of Tangiers and a member of parliament for Gloucester, wrote an account of his voyage to Virginia as an adventurer, in 1649. These are characteristic works of the earliest period, and illustrate variously the literature of exploration which exists in numerous examples and is preserved for historical reasons. The settlement of the colonies was, in general, attended by such narratives of adventure or by accounts of the state of the country or by documentary record of events. Thus George Alsop (b. 1638) wrote the Character of the Province of Maryland (1666), and Daniel Denton a Brief Description of New York (1670), and in Virginia the progress of affairs was dealt with by William Stith (1689-1755), Robert Beverly (f. 1700), and William Byrd (1674-1744) � Each settlement in turn, as it came into prominence or provoked curiosity, found its geographer and annalist, and here and there sporadic pens essayed some practical topic. The product, however, is now an indistinguishable mass, and titles and authors alike are found only in antiquarian lore. The 1 Huntington v. Attrill, 146 United States Reports, 657.
Great Western Telegraph Company v. Purdy, 162 United States Reports, 329; Fish V. Smith, 73 Connecticut Reports, 377; 47 Atlantic Reporter, 710. distribution of literary activity was very uneven along the sea-board; it was naturally greatest in the more thriving and important colonies, and bore some relation to their commercial prosperity and political activity and to the closeness of the connexion with the home culture of England. From the beginning. New England, owing to the character of its people and its ecclesiastical rule, was the chief seat of the early literature, and held a position apart from the other colonies as a community characterized by an intellectual life. There the first printing press was set up, the first college founded, and an abundant. literature was produced.
The characteristic fact in the Puritan colonies is that literature there was in the hands of its leading citizens and was a chief concern in their minds. There were books of exploration and description as in the other colonies, such as William Wood's (d. 1629) New England's Prospect (1634), and John Josselin's New England's Rarities (1672), and tales of adventure in the wilderness and on the sea, most commonly described as " remarkable providences," in the vigorous Elizabethan narrative; but besides all this the magistracy and the clergy normally set themselves to the labour of history, controversy and counsel, and especially to the care of religion. The governors, beginning with William Bradford (1590-1657) of Plymouth, and John Winthrop (1588-1649) of Massachusetts Bay, wrote the annals of their times, and the line of historians was continued by Winslow,. Nathaniel Morton, Prince, Hubbard and Hutchinson. The clergy, headed by John Cotton (1585-1652), Thomas Hooker (1586 ?-1647), Nathaniel Ward (1579?-1652), Roger Williams (1600-1683), Richard Mather (1596-1669), John Eliot (1604-1690), produced sermons, platforms, catechisms, theological. dissertations, tracts of all sorts, and their line also was continued by Shepard, Norton, Wise, the later Mathers and scores of other ministers. The older clergy were not inferior in power or learning to the leaders of their own communion in England, and they commanded the same prose that characterizes the Puritan tracts. of the mother country; nor did the kind of writing deteriorate in their successors. This body of divines in successive generations gave to early New England literature its overwhelming ecclesiastical character; it was in the main a church literature, and its secular books also were controlled and coloured by the Puritan spirit. The pervasiveness of religion is well illustrated by the three books which formed through the entire colonial period the most popular domestic reading of the Puritan home. These were The Bay Psalm Book (1640), which was the first book published in America; Michael Wigglesworth's (1631-1705) Day of Doom (1662), a doggerel poem; and the New England Primer (c. 1690), called " the Little Bible." The sole voice heard in opposition was Thomas Morton's satirical New English Canaan (1637), whose author was sent out of the colony for the scandal of Merrymount, but satire itself remained religious in Ward's Simple Cobbler of Agawam (1647). Poetry was represented in Anne Bradstreet's (1612-1672) The Tenth Muse lately sprung up in America (1650), and was continued by a succession of doggerel writers, mostly ministers or schoolmasters, Noyes, Oakes, Folger, Tompson, Byles and others. The world of books also included a good proportion of Indian war narratives and treatises relating to the aborigines. The close of the 17th century shows literature, however, still unchanged in its main position as the special concern of the leaders of the state. It is Chief-Justice Samuel Sewall's (1652-1730) Diary (which remained in manuscript until 1878) that affords the most intimate view of the culture and habits of the community; and he was known to his contemporaries by several publications, one of which, The Selling of Joseph (1700), was the first American anti-slavery tract.
The literature of the first century, exemplified by these few titles, is considerable in bulk, and like colonial literature elsewhere is preserved for historical reasons. In general, it records the political progress and social conditions of the Puritan state, and the contents of the Puritan mind. The development of the original settlement took place without any violent check. Though the colony was continually recruited by fresh immigration, the original 20,000 who they were published there; they were, in fact, an Y P Y > > arrived before 1640 had established the principles of the state, and their will and ideas remained dominant after the Restoration as before. It was a theocratic state controlled by the clergy, and yet containing the principle of liberty. The second and third generations born on the soil, nevertheless, showed some decadence; notwithstanding the effort to provide against intellectual isolation and mental poverty by the foundation of Harvard College, they felt the effects of their situation across the sea and on the borders of a wilderness. The people were a hardfaring folk and engaged in a material struggle to establish the plantations and develop commerce on the sea; their other life was in religion soberly practised and intensely felt. They were a people of one book, in the true sense, - the Bible; it was the organ of their mental life as well as of their spiritual feelings. For them, it was in the place of the higher literature. But long resident there in the strip between the sea and the forest, cut off from the world and consigned to hard labour and to spiritual ardours, they developed a fanatical temper; their religious life hardened and darkened; intolerance and superstition grew. Time, nevertheless, ripened new changes, and the colony was to' be brought back from its religious seclusion into the normal paths of modern development. The sign was contained, perhaps, most clearly in the change effected in the new charter granted by King William which made property the basis of the franchise in place of church-membership, and thus set the state upon an economic instead of a religious foundation. It is rather by men than by books that these times are remembered, but it is by the men who were writers of books. In general, the career of the three Mathers coincides with the history of the older Puritanism, and their personal characteristics reflect its stages as their writings contain its successive traits. Richard Mather, the emigrant, had been joint author in the composition of The Bay Psalm Book, and served the colony among the first of its leaders. It was in his son, Increase Mather (1639-1723), that the theocracy, properly speaking, culminated. He was not only a divine, president of Harvard College and a prolific writer; but he was dominant in the state, the chief man of affairs. It was he who, sent to represent the colony in England, received from King William the new charter. His son, Cotton Mather (1663-1728), succeeded to his father's distinction; but the changed condition is reflected in his non-participation in affairs; he was a man of the study and led there a narrower life than his father's had been. He was, nevertheless, the most broadly characteristic figure of the Puritan of his time. He was able and learned, abnormally laborious, leaving over 400 titles attributed to him; and at the same time he was an ascetic and visionary. The work by which he is best remembered, the Magnalia Christi Americana, or the Ecclesiastical History of New England from its First Planting in the Year 1620, unto the Year of our Lord 1698 (1702), is the chief historical monument of the period, and the most considerable literary work done in America up to that time. It is encyclopaedic in scope, and contains an immense accumulation of materials relating to life and events in the colony. There the New England of the 17th century is displayed. His numerous other works still further amplify the period, and taken all together his writings best illustrate the contents of Puritanism in New England. The power of the clergy was waning, but even in the political sphere it was far from extinction, and it continued under its scheme of church government to guard jealously the principles of liberty. In John Wise's (1652-1725) Vindication of the Government of New England Churches (1717) a precursor of the Revolution is felt. It was in another sphere, however, that Puritanism in New England was to reach its height, intellectually and spiritually alike, in the brilliant personality of Jonathan Edwards (1703-1758), its last great product. He was free of affairs, and lived essentially the private life of a thinker. He displayed in youth extraordinary precocity and varied intellectual curiosity, and showed at the same early time a temperament of spirtual sensitiveness and religious ideality which suggests the youth of a poet rather than of a logician. It was not without a struggle that he embraced sincerely the Calvinistic scheme of divine rule, but he was able to reconcile the doctrine in its most fearful forms with the serenity and warmth of his own spirit; for his soul at all times seems as lucid as his mind, and his affections were singularly tender and refined. He served as minister to the church at Northampton; and, driven from that post, he was for eight years a missionary to the Indians at Stockbridge; finally he was made president of Princeton College, where after a few weeks' incumbency he died. The works upon which his fame is founded are Treatise concerning the Religious Affections (1746), On the Freedom of the Will (1754), Treatise on Original Sin (1758). They exhibit extraordinary reasoning powers and place him among the most eminent theologians. He contributed by his preaching great inspiring force to the revival, known as " the Great Awakening," which swept over the dry and formal Puritanism of the age and was its last great flame. In him New England idealism had come to the birth. He illustrates, better than all others, the power of Puritanism as a spiritual force; and in him only did that power reach intellectual expression in a memorable way for the larger world. The ecclesiastical literature of Puritanism, abundant as it was, produced no other work of power; nor did the Puritan patronage of literature prove fruitful in other fields. If Puritanism was thus infertile, it nevertheless prepared the soil. It impressed upon New England the stamp of the mind; the entire community was by its means intellectually as well as morally bred; and to its training and the predisposition it established in the genius of the people may be ascribed the respect for the book which has always characterized that section, the serious temper and elevation of its later literature and the spiritual quality of the imagination which is so marked a quality of its authors.
The secularization of life in New England, which went on concurrently with the decline of the clergy in social power, was incidental to colonial growth. The practical force of the people had always been strong; material prosperity increased and a powerful class of merchants grew up; public questions multiplied in variety and gained in importance. The affairs of the world had definitely obtained the upper hand. The new spirit found its representative in the great figure of Benjamin Franklin (1706-1790), who, born in Boston, early emigrated to Philadelphia, an act which in itself may be thought to forecast the transfer of the centre of interest to the west and south and specifically to that city where the congress was to sit. Franklin was a printer, and the books he circulated are an index to the uses of reading in his generation. Practical works, such as almanacs, were plentiful, and it is characteristic that Franklin's name is, in literature, first associated with Poor Richard's Almanack (1732). The literature of the 18th century outside of New England continued to be constituted of works of exploration, description, colonial affairs, with some sprinkling of crude science and doctrines of wealth; but it yields no distinguished names or remembered titles. Franklin's character subsumes the spirit of it. In him thrift and benevolence were main constituents; scientific curiosity of a useful sort and invention distinguished him; of ter he had secured a competence, public interests filled his mature years. In him was the focus of the federating impulses of the time, and as the representative of the colonies in England and during the Revolution in France, he was in his proper place as the greatest citizen of his country. He was, first of men, broadly interested in all the colonies, and in his mind the future began to be comprehended in its true perspective and scale; and for these reasons to him properly belongs the title of " the first American." The type of his character set forth in the Autobiography (1817) was profoundly American and prophetic of the plain people's ideal of success in a democracy. It is by his character and career rather than by his works or even by his great public services that he is remembered; he is a type of the citizenman. Older than his companions, and plain while they were of an aristocratic stamp, he greatens over them in the popular mind as age greatens over youth; but it was these companions who were to lay the foundations of the political literature of America. With the increasing political life lawyers as a class had naturally come into prominence as spokesmen and debaters. A young generation of orators sprang up, of whom James Otis (1725-1783) in the north, and Patrick Henry (1736-1799) in the south, were fiction. whose Poems (1786) marked the best poetical achievement up to his time. Patriotism was also a ruling motive in the works of the three poets associated with Yale College, John Trumbull (1750-1831), Timothy Dwight (1752-1817), and Joel Barlow (1 754-1812 ), authors respectively of McFingal (1782), a Hudibrastic satire of the Revolution, The Conquest of Canaan (1785), an epic, and The Vision of Columbus (1787), later remade into The Columbiad, also an epic. These poets gathered about them a less talented company, and all were denominated in common the " Hartford Wits," by which name rather than by their works they are remembered. The national hymn, " Hail Columbia," was composed by Joseph Hopkinson (1770-1842) in 1798. Fiction, in turn, was first cultivated by Charles Brockden Brown (1771-1810), a Philadelphian, who wrote six romantic novels (1798-1801) after the style of Godwin, but set in the conditions of the new world and mixing local description and observation with the material of mystery and terror. Fiction had been earlier attempted by Mrs Susanna Haswell Rowson, whose Charlotte Temple (1790) is remembered, and contemporaneously by Mrs Hannah Webster Foster in The Coquette (1797) and by Royall Tyler (1758-1826) in The Algerian Captive (1799); but to Brown properly belongs the title of the first American novelist, nor are his works without invention and intensity and a certain distinction that secure for them permanent remembrance. The drama formally began its career on a regular stage and with an established company, in 1786 at New York, with the acting of Royall Tyler's comedy The Contrast; but the earliest American play was Thomas Godfrey's (1736-1763) tragedy, The Prince of Parthia, acted in Philadelphia in 1767. William Dunlap (1766-1839) is, however, credited with being the father of the American theatre on the New York stage, where his plays were produced. One other earlier book deserves mention, John Woolman's (1 7 2 o-1 77 2) Journal (1775) , an autobiography with much charm. With these various attempts the 18th century was brought to an end. In 200 years no literary classic had been produced in America.
The new nation, which with the 19th century began its integral career, still retained the great disparities which originally existed between the diverse colonies. Political unity, the simplest of the social unities, had been achieved; " a more perfect union," in the language of the founders, had been formed; but even in the political sphere the new state bore in its bosom disuniting forces which again and again threatened to rive it apart until they were dissipated in the Civil War; and in the other spheres of its existence, intellectually, morally, socially, its unity was far from being accomplished. The expansion of its territory over the continental area brought new local diversity and prolonged the contrasts of border conditions with those of the long-settled communities. This state of affairs was reflected in the capital fact that there was no metropolitan centre in which the tradition and forces of the nation were concentrated. Washington was a centre of political administration; but that was all. The nation grew slowly, indeed, into consciousness of its own existence; but it was without united history, without national traditions of civilization and culture, and it was committed to the untried idea of democracy. It was founded in a new faith; yet at the moment that it proclaimed the equality of men, its own social structure and habit north and south contradicted the declaration, not merely by the fact of slavery, but by the life of its classes. The south long remained oligarchic; in the north aristocracy slowly melted away. The coincidence of an economic opportunity with a philosophic principle is the secret of the career of American democracy in its first century. The vast resources of an undeveloped country gave this opportunity to the individual, while the nation was pledged by its fundamental idea to material prosperity for the masses, popular education and the common welfare, as the supreme test of government. In this labour, subduing the new world to agriculture, trade and manufactures, the forces of the nation were spent, under the complication of maintaining the will of the people as the directing power; the subjugation of the soil and experience in popular government are the main facts of American history. In the course of this task the practice of the fine arts was hardly more than an incident. When anyone thinks of Greece, he thinks first of her arts; when anyone thinks of America, he thinks of her arts last. Literature, in the sense of the printed word, has had a great career in America; as the vehicle of use, books, journals, literary communication, educational works and libraries have filled the land; nowhere has the power of the printed word ever been so great, nowhere has the man of literary genius ever had so broad an opportunity to affect the minds of men contemporaneously. But, in the artistic sense, literature, at most, has been locally illustrated by a few eminent names.
The most obvious fact with regard to this literature is that - to adopt a convenient word - it has been regional. It has flourished in parts of the country, very distinctly marked, and is in each case affected by its environment and local culture; if it incorporates national elements at times, it seems to graft them on its own stock. The growth of literature in these favoured soils was slow and humble. There was no outburst of genius, no sudden movement, no renaissance; but very gradually a step was taken in advance of the last generation, as that had advanced upon its forefathers. The first books of true excellence were experiments; they seem almost accidents. The cities of Boston, New York and Philadelphia were lettered communities; they possessed imported books, professional classes, men of education and taste. The tradition of literature was strong, especially in New England; there were readers used to the polite letters of the past. It was, however, in the main the past of Puritanism, both in England and at home, and of the 18th century in general, on which they were bred, with a touch ever growing stronger of the new European romanticism. All the philosophic ideas of the 18th century were current. What was most lacking was a standard self-applied by original writers; and in the absence of a great national centre of standards and traditions, and amid the poverty of such small local centres as the writers were bred in, they sought what they desired, not in England, not in any one country nor in any one literature, but in the solidarity of literature itself, in the republic of letters,the world-state itself, - the master-works of all European lands; they became either actual pilgrims on foreign soil or pilgrims of the mind in fireside travels. The foreign influences that thus entered into American literature are obvious and make a large part of its history; but the fact here brought out is that European literature and experience stood to American writers in lieu of a national centre; it was there that both standard and tradition were found.
American literature first began to exist for the larger world in the persons of Washington Irving (1785-1859) and James Fenimore Cooper (1789-1851). Their recognition was Early almost contemporaneous. The Sketch Book (1819) was 19th-cen- the first American book to win a great reputation in tury England, and The Spy (1821) was the first to obtain a classics. similar vogue on the continent. The fame of both authors is associated with New Yark, and that city took the first place as the centre of the literature of the period. It was not that New York was more intellectual than other parts of the country; but the most brilliant; and a group of statesmen, of whom the most notable were Thomas Jefferson (1743-1826), James Madison (1751-1836), and Alexander Hamilton (1757-1804), held the political direction of the times; in the speeches and state-papers of these orators and statesmen and their fellows the political literature of the colonies came to hold the first place. The chief memorials of this literature are The Declaration of Independence (1776), The Federalist (1788), a treatise on the principles of free government, and Washington's Addresses ( 1 789-1793-17 96). Thus politics became, in succession to exploration and religion, the most important literary element in the latter half of the 18th century.
The more refined forms of literature also began to receive intelligent attention towards the close of the period. The Revolu18th-cention in passing struck out some sparks of balladry and tury poetry song, but the inspiration of the spirit of nationality and was first felt in poetry by Philip Freneau (1752-1832), The new nation. it`' was a highly prosperous community, where a mercantile society flourished and consequently a certain degree of culture obtained. The first American literature was not the product of a raw democracy nor of the new nationality in any sense; there was nothing sudden or vehement in its generation; but, as always, it was the product of older elements in the society where it arose and flourished under the conditions of precedent culture. The family of Irving were in trade. Cooper's father was in the law. A third writer, William Cullen Bryant (1794-1878), is associated with them, and though he announced his poetic talent precociously by Thanatopsis (1807), his Poems (1832), immediately republished in London, were the basis of his true fame. Born in Massachusetts, he lived his long life in New York, and was there a distinguished citizen. His father was a physician. All three men were not supremely endowed; they do not show the passion of genius for its work which marks the great writers; they were, like most American writers, men with the literary temperament, characteristically gentlemen, who essayed literature with varying power. If the quality of this early literature is to be appreciated truly, the fact of its provenance from a society whose cultivation was simple and normal, a provincial bourgeois society of a prosperous democracy, must be borne in mind. It came, not from the people, but from the best classes developed under preceding conditions.
Irving all his life was in the eyes of his countrymen, whatever their pride might be in him, more a travelled gentleman than one of themselves. He had come home to end his days at Sunnyside by the Hudson, but he had won his fame in foreign fields. In his youth the beginnings of his literary work were most humble - light contributions to the press. He was of a most social nature, warm, refined, humorous, a man belonging to the town. He was not seriously disposed, idled much, and surprised his fellow-citizens suddenly by a grotesque History of New York (1809), an extravaganza satirizing the Dutch element of the province. He discovered in writing this work his talent for humour and also one part of his literary theme, the Dutch tradition; but he did not so convince himself of his powers as to continue, and it was only after the failure of his commercial interests that, being thrown on himself for support, he published in London ten years later, at the age of thirty-six, the volume of sketches which by its success committed him to a literary career. In that work he found himself; sentiment and distinction of style characterized it, and these were his main traits. He remained abroad, always favoured in society and living in diplomatic posts in Spain and England, for seventeen years, and he later spent four years in Spain as minister. Spain gave him a larger opportunity than England for the cultivation of romantic sentiment, and he found there his best themes in Moorish legend and history. On his return to America he added to his subjects the exploration of the west; and he wrote, besides, biographies of Goldsmith and Washington. He was, as it turned out, a voluminous writer; yet his books successively seem the accident of his situation. The excellence of his work lies rather in the treatment than the substance; primarily, there is the pellucid style, which he drew from his love of Goldsmith, and the charm of his personality shown in his romantic interest, his pathos and humour ever growing in delicacy, and his familiar touch with humanity. He made his name American mainly by creating the legend of the Hudson, and he alone has linked his memory locally with his country so that it hangs over the landscape and blends with it for ever; he owned his nativity, too, by his pictures of the prairie and the fur-trade and by his life of Washington, who had laid his hand upon his head; but he had spent half his life abroad, in the temperamental enjoyment of the romantic suggestion of the old world, and by his writings he gave this expansion of sympathy and sentiment to his countrymen. If his temperament was native-born and his literary taste home-bred, and if his affections gave a legend to the countryside and his feelings expanded with the view of prairie and wilderness, and if he sought to honour with his pen the historic associations and memory of the land which had honoured him, it was, nevertheless, the transAtlantic touch that had loosed his genius and mainly fed it, and this fact was prophetic of the immediate course of American literature and the most significant in his career.
Cooper's initiation into literature was similar to that of Irving. He had received, perhaps, something more of scanty formal education, since he attended Yale College for a season, but he early took to the sea and was a midshipman.
He was thirty years old before he began to write, and it was almost an accident that after the failure of his first novel he finished The Spy, so deterring was the prejudice that°no American book could succeed. He was, however, a man of great energy of life, great force of will; it was his nature to persist. The way once opened, he wrote voluminously and with great unevenness. His literary defects, both of surface and construction, are patent. It was not by style nor by any detail of plot or character that he excelled; but whatever imperfections there might be, his work was alive; it had body, motion, fire. He chose his subjects from aspects of life familiar to him in the woods or on the sea or from patriotic memories near to him in the fields of the Revolution. He thus established a vital connexion with his own country, and in so far he is the most national by his themes of any of the American writers. What he gave was the scene of the new world, both in the forest and by the fires of the Revolution and on the swift and daring American ships; but it was especially by his power to give the sense of the primitive wilderness and the ocean weather, and adventure there, that he won success. In France, where he was popular, this came as an echo out of the real world of the west to the dream of nature that had lately grown up in French literature; and, besides, of all the springs of interest native to men in every land adventure in the wild is, perhaps, the easiest to touch, the quickest and most inflaming to respond. Cooper stood for a true element in American experience and conditions, for the romance in the mere presence of primeval things of nature newly found by man and opening to his coming; this was an imaginative moment, and Cooper seized it by his imagination. He especially did so in the Indian elements of his tale, and gave permanent ideality to the Indian type. The trait of loftiness which he thus incorporated belongs with the impression of the virgin forest and prairie, the breadth, the silence and the music of universal nature. The distinction of his work is to open so great a scene worthily, to give it human dignity in rough and primitive characters seen in the simplicity of their being, and to fill it with peril, resourcefulness and hardihood. It is the only brave picture of life in the broad from an American pen. Scott, in inventing the romantic treatment of history in fiction, was the leader of the historical novel; but Cooper, except in so far as he employed the form, was not in a true sense an imitator of Scott; he did not create, nor think, nor feel, in Scott's way, and he came far short of the deep human power of Scott's genius. He was not great in character; but he was great in adventure, manly spirit and the atmosphere of the natural world, an Odysseyan writer, who caught the moment of the American planting in vivid and characteristic traits.
This same spirit, but limited to nature in her most elemental forms and having the simplest generic relations to human life, characterizes Bryant. He, too, had slender academic training, and came from the same social origins as Irving and Cooper; but, owing to his extraordinary boyish precocity, the family influences upon him and the kind of home he was bred in are more clearly seen. He framed his art in his boyhood on the model of 18th-century verse, and though he felt the liberalizing influences of Wordsworth later there always remained in his verse a sense of form that suggests a severer school than that of his English contemporaries. He lived the life of a journalist and public man in New York, but the poet in him was a man apart and he jealously guarded his talent in seclusion. Though he was at times abroad, he resembled Cooper in being unaffected by foreign residence; he remained home-bred. He wrote a considerable quantity of verse; but it is by a quality in it rather than by its contents that his poetry is recalled, and this quality exists most highly in the few pieces that are well known. To no verse is the phrase "native wood-notes wild " more properly applied. His poetry gives this deep impression of privacy; high, clear, brief in voice, and yet, as it were, as of something hidden in the sky or grove or brook, or as if the rock spoke, it is nature in her haunts; it is the voice of the peak, the forests, the cataracts, the smile of the blue gentian, the distant rosy flight of the water-fowl, - with no human element less simple than piety, death or the secular changes of time. It is, too, an expression of something so purely American that it seems that it must be as uncomprehended by one not familiar with the scene as the beauty of Greece or Italian glows; it is poetry locked in its own land. This presence of the pure, the pristine, the virginal in the verse, this luminousness, spaciousness, serenity in the land, this immemorialness of natural things, is the body and spirit of the true wild, such as Bryant's eyes had seen it and as it had possessed his soul. In no other American poet is there this nearness to original awe in the presence of nature; nowhere is nature so slightly humanized, so cosmically felt, and yet poetized. Poetry of this sort must be small in amount; a few hundred lines contain it all; but they alone shrine the original grandeur, not so much of the American landscape, as of wild nature when first felt in the primitive American world.
American romanticism thus began with these three writers, who gave it characterization after all by only a few simple traits. There was in it no profound passion nor philosophy nor revolt; especially there was no morbidness. It was sprung from a new soil. The breath of the early American world was in Bryant's poetry; he had freed from the landscape a Druidical natureworship of singular purity, simple and grand, unbound by any conventional formulas of thought or feeling but deeply spiritual. The new life of the land filled the scene of Cooper; prairie, forest and sea, Indians, backwoodsmen and sailors, the human struggle of all kinds, gave it diversity and detail; but its life was the American spirit, the epic action of a people taking primitive possession, battling with its various foes, making its world. Irving, more brooding and reminiscent, gave legend to the landscape, transformed rudeness with humour and brought elements of picturesqueness into play; and in him, in whom the new race was more mature, was first shown that nostalgia for the past, which is everywhere a romantic trait but was peculiarly strong under American conditions. He was consequently more free in imagination than the others, and first dealt with other than American subjects, emancipating literature from provinciality of theme, while the modes of his romantic treatment, the way he felt about his subjects, still owed much to his American birth. In all this literature by the three writers there was little complexity, and there was no strangeness in their personalities. Irving was more genially human, Cooper more vitally intense; Bryant was the more careful artist in the severe limits of his art, which was simple and plain. Simplicity and plainness characterize all three; they were, in truth, simple American gentlemen, of the breeding and tastes that a plain democracy produced as its best, who, giving themselves to literature for a career, developed a native romanticism, which, however obvious and uncomplicated with philosophy, passion or moods, represented the first stage of American life with freshness of power, an element of ideal loftiness and much literary charm.
Though Irving, Cooper and Bryant were associated with New York, there was something sporadic in their germination. They have no common source; they stood apart; and remained self-isolated. None of them can be said to have founded a school, but Irving left a literary tradition and Cooper had followers in the field of historical fiction. The literary product up to the middle of the century presents generally from its early years the appearance of an indistinguishable mass, as in colonial days, in which neither titles nor authors are eminent. The association of American literature with the periodical press is, perhaps, the most important trait to be observed. New York and Philadelphia were book-markets, and local presses had long been at work issuing many reprints. Magazines in various degrees of importance sprang up in succession to the earlier imitations of English 18th-century periodicals, which abounded at the beginning of the century; and as time went on these were accompanied by a host of annuals of the English Keepsake variety. Philadelphia was especially distinguished by an early fertility in magazines, which later reached a great circulation, as in the case of Godey's and Graham's; the Knickerbocker became prominent in New York from 1833, when it was founded; Richmond had in The Southern Literary Messenger the chief patron of southern writers from 1834, and there were abortive ventures still farther south in Charleston. These various periodicals and like publications were the literary arena, the place of ambition for young and old, for known and unknown, and there literary fame and what little money came of its pursuit were found. Minor poetry flourished in it; sketches, tales, essays, every sort of writing in prose multiplied there. A change in the atmosphere of letters is also to be noted. The 18th century was fairly left behind. The Philadelphian reprint of Galignani's Paris edition of Keats, Shelley and Coleridge had brought in the new romantic poetry with wide effect; and Disraeli, Bulwer and, later, Dickens are felt in the prose; in verse, especially by women, Mrs Hemans and Mrs Browning ruled the moment. The product was large. In poetry it was displayed on the most comprehensive scale in Rufus Wilmot Griswold's (1815-1857) collections of American verse, made in the middle of the century. Mrs Lydia Sigourney (1791-1865), a prolific writer, and Mrs Maria Gowan Brooks (1795-1845), known as Southey's " Maria del Occidente," a more ambitious aspirant, the " Davidson sisters " (1808-1825: 1823-1838), and Alice (1820-1871) and Phoebe Cary (1824-1871) illustrate the work of the women; and Richard Henry Wilde (1789-1847), George Pope Morris (1802-1864), Charles Fenno Hoffman (1806-1884) and Willis Gaylord Clark (1810-1841) may serve for that of men. In this verse, and in the abundant prose as well, the sentimentality of the period is strongly marked; it continued to the times of the Civil War. Two poets of a better type, Joseph Rodman Drake (1795-1820), distinguished by delicacy of fancy, and Fitz-Greene Halleck (1790-1867), who showed ardour and a real power of phrase, are remembered from an earlier time for their brotherhood in verse, but Drake died young and Halleck was soon sterilized, so that the talents of both proved abortive. The characteristic figure that really exemplifies this secondary literature at its best is Nathaniel Parker Willis (1806-1867) who, though born in Portland, Maine, was the chief litterateur of the Knickerbocker period. He wrote abundantly in both verse and prose, and was the first of the journalist type of authors, a social adventurer with facile powers of literary entertainment, a man of the town and immensely popular. He was the sentimentalist by profession, and his work, transitory as it proved, was typical of a large share of the taste, talent and ambition of the contemporary crowd of writers. Neighbouring him in time and place are the authors of various stripe, known as " the Literati," whom Poe described in his critical papers, which, in connexion with Griswold's collections mentioned above, are the principal current source of information concerning the bulk of American literature in that period.
This world of the magazines, the Literati and sentimentalism, was the true milieu of Edgar Allan Poe (1809-1849). Born in Boston, his mother a pleasing English actress and his father a dissipated stage-struck youth of a Baltimore family, left an orphan in childhood, he was reared in the Virginian home of John Allan, a merchant of Scottish extraction; he received there the stamp of southern character. He was all his life characteristically a southerner, with southern ideals of character and conduct, southern manners towards both men and women and southern .passions. He showed precocity in verse, but made his real debut in prose as editor of The Southern Literary Messenger at Richmond in 1835. He was by his talents committed to a literary career, and being usually without definite means of support he followed the literary market, first to Philadelphia and later to New York. He was continuously associated with magazines as editor, reviewer or contributor; they were his means of sustenance; and, whether as cause or effect, this mode of life fell in with the nature of his mind, which was a contemporary mind. He was perhaps better acquainted with contemporary their work neither overlapped nor blended, but PP work in literature than any of his associates; he took his first cues from Disraeli and Bulwer and Moore, and he was earliest to recognize Tennyson and Mrs Browning; his principal reading was always in the magazines. He was, however, more than a man of literary temperament like Irving and Cooper; he was a child of genius. As in their case, there was something sporadic in his appearance on the scene. He had no American origins, but only American conditions of life. In fact he bore little relation to his period, and so far as he was influenced, it was for the worse; he transcended the period, essentially, in all his creative work. He chose for a form of expression the sketch, tale or short story, and he developed it in various ways. From the start there was a melodramatic element in him, itself a southern trait and developed by the literary influence of Disraeli and Bulwer on his mind. He took the tale of mystery as his special province; and receiving it as a mystery that was to be explained, after the recent masters of it, he saw its fruitful lines of development in the fact that science had succeeded to superstition as the source of wonder, and also in the use of ratiocination as a mode of disentanglement in the detective story. Brilliant as his success was in these lines, his great power lay in the tale of psychological states as a mode of impressing the mind with the thrill of terror, the thrall of fascination, the sense of mystery. It is by his tales in these several sorts that he won, more slowly than Irving or Cooper and effectually only after his death, continental reputation; at present no American author is so securely settled in the recognition of the world at large, and he owes this, similarly to Cooper, to the power of mystery over the human mind universally; that is, he owes it to his theme, seconded by a marvellous power to develop it by the methods of art. He thus added new traits to American romanticism, but as in the case of Irving's Spanish studies there is no American element in the theme; he is detached from his local world, and works in the sphere of universal human nature, nor in his treatment is there any trace of his American birth. He is a world author more purely than any other American writer. Though it is on his tales that his continental reputation necessarily rests, his temperament is more subtly expressed in his verse, in which that fond of which his tales are the logical and intelligible growth gives out images and rhythms, the issue of morbid states, which affect the mind rather as a form of music than of thought. Emotion was, in art, his constant aim, though it might be only so simple a thing as the emotion of colour as in his landscape studies; and in his verse, by an unconscious integration and flow of elements within him it must be thought, he obtained emotional effects by images which have no intellectual value, and which float in rhythms so as to act musically on the mind and arouse pure moods of feeling absolutely free of any other contents. Such poems must be an enigma to most men, but others are accessible to them, and derive from them an original and unique pleasure; they belong outside of the intellectual sphere. It is by virtue of this musical quality and immediacy that his poetry is characterized by genius; in proportion; as it has meaning of an intelligible sort it begins to fade and lower; so far as " Lenore " and " Annie " and " Annabel Lee " are human, they are feeble ghosts of that sentimentality which was so rife in Poe's time and so maudlin in his own personal relations; and except for a half-dozen pieces, in which his quality of rhythmical fascination is supreme, his verse as a whole is inferior to the point of being commonplace. Small as the quantity of his true verse is, it more sustains his peculiar genius in American eyes than does his prose; and this is because it is so unique. He stands absolutely alone as a poet with none like him; in his tales, as an artist, he is hardly less solitary, but he has some ties of connexion or likeness with the other masters of mystery. Poe lived in poverty and died in misery; but without him romanticism in America would lose its most romantic figure, and American literature the artist who, most of all its writers, had the passion of genius for its work.
Poe left even less trace of himself in the work of others than did Irving, Cooper and Bryant. He stands in succession to them, and closed the period so far as it contributed to American romanticism anything distinguished, original or permanent.
The ways already opened had, however, been trod, and most notably in fiction. The treatment of manners and customs, essentially in Irving's vein, was pleasingly cultivated in Maryland by John Pendleton Kennedy (1795-1870) in Swallow Barn (1832) and similar tales of Old Dominion life. In Virginia, Beverly Tucker (1784-1851) in The Partisan Leader (1836), noticeable for its prophecy of secession, and John Esten Cooke (1830-1886) in The Virginia Comedians (1854), also won a passing reputation. The champion in the south, however, was William Gilmore Simms (1806-1870), born in Charleston, a voluminous writer of both prose and verse, who undertook to depict, on the same scale as Cooper and in his manner, the settlement of the southern territory and its Indian and revolutionary history; but of his many novels, of which the characteristic examples are The Yemassee (1835), The Partisan '(1835) and Beauchampe (1842), none attained literary distinction. The sea-novel was developed by Herman Melville (1819-1891) in Typee (1846) and its successors, but these tales, in spite of their being highly commended by lovers of adventure, have taken no more hold than the work of Simms. Single novels of wide popularity appeared from time to time, of which a typical instance was The Wide, Wide World (1850) by Susan Warner (1819-1885). The grade of excellence was best illustrated, perhaps, for the best current fiction which was not to be incorporated in literature, by the novels of Catharine Maria Sedgwick (1789-1867), of a western Massachusetts family, in Hope Leslie (1827) and its, successors. The distinct Knickerbocker strain was best preserved by James Kirke Paulding (1778-1860) among the direct imitators of Irving; but the better part of the Irving tradition, its sentiment, social grace and literary flavour, was not noticeable until it awoke in George William Curtis (1824-1892), born a New Englander but, like Bryant, a journalist and public man of New York, whose novels, notes of travel and casual brief social essays brought that urbane style to an end, as in Donald Grant Mitchell (born 1822) the school of sentiment, descended from the same source, died not unbecomingly in the Reveries of a Bachelor (1850) and Dream Life (1851). Two poets, just subsequent to Poe, George Henry Boker (1823-1890) and Thomas Buchanan Read (1822-1872), won a certain distinction, the former especially in the drama, in the Philadelphia group. The single popular songs, " The StarSpangled Banner " (1813), by Francis Scott Key (1779-1843) of Maryland, " America " (1832) by Samuel Francis Smith (1808-1895) of Massachusetts, and " Home, Sweet Home " (1823) by John Howard Payne (1792-1852) of New York, may also be appropriately recorded here. The last distinct literary personality to emerge from the miscellany of talent in the middle of the century, in the middle Atlantic states, was James Bayard Taylor (1825-1878), who, characteristically a journalist, gained reputation by his travels, poems and novels, but in spite of brilliant versatility and a high ambition failed to obtain permanent distinction. His translation of Faust (1870) is his chief title to remembrance; but the later cultivation of the oriental motive in American lyrical poetry owes something to his example.
In New England, which succeeded to New York as the chief source of literature of high distinction, the progress of culture in the post-Revolutionary period was as normal and New gradual as elsewhere in the country; there was no England violence of development, no sudden break, but the scholar- growth of knowledge and taste went slowly on in con- ship' junction with the softening of the Puritan foundation of thought, belief and practice. What most distinguished literature in New England from that to the west and south was its connexion with religion and scholarship, neither of which elements was strong in the literature that has been described. The neighbourhood of Harvard College to Boston was a powerful influence in the field of knowledge and critical culture. The most significant fact in respect to scholarship, however, was the residence abroad of George Ticknor (1791-1871), author of The History of Spanish Literature (1849), of Edward Everett (1794-1865), the orator, and of George Bancroft (1800-1891), author of the History of the United States (1834-1874), who as young men brought back new ideals of learning. The social connexion of Boston, not only with England but with the continent, was more constant, varied and intimate than fell to the fortune of any other city, and owing to the serious temper of the community the intellectual commerce with the outer world through books was more profound. Coleridge was early deeply influential on the thought of the cultivated class, and to him Carlyle, who found his first sincere welcome and effectual power there, succeeded. The influence of both combined to introduce, and to secure attention for, German writers. Translation, as time went on, followed, and German thought was also further sustained and advanced in the community by Frederick Henry Hedge (1805-1890), a philosophical theologian, who conducted a propaganda of German ideas. The activity of the group about him is significantly marked by the issue of the series of Specimens of Foreign Standard Literature (1838), edited by George Ripley (1802-1880), the critic, which was the first of its kind in America. French ideas, as time went on, were also current, and the field of research extended to the Orient, the writings of which were brought forward especially in connexion with the Transcendental Movement to which all these foreign studies contributed. In New England, in other words, a close, serious and vital connexion was made, for the first time, with the philosophic thought of the world and with its tradition even in the remote past. Unitarianism, which was the form in which the old Puritanism dissolved in the cultivated class, came in with the beginning of the century, and found its representative in the gentle character, refined intelligence and liberal humanity of William Ellery Channing (1780-1842), who has remained its chief apostle. It was the expression of a moral maturing and intellectual enlightenment that took place with as little disturbance as ever marked religious evolution in any community. The people at large remained evangelical, but they also felt in a less degree the softening and liberalizing tendency; nevertheless it was mainly in the field of Unitarianism that literature flourished, as was natural, and Transcendentalism was a phenomenon that grew out of Unitarianism, being indeed the excess of the movement of enlightenment and the extreme limit of intuitionalism, individualism and private judgment. These two factors, religion and scholarship, gave to New England literature its serious stamp and academic quality; but the preparatory stage being longer, it was slower to emerge than the literature of the rest of the country.
The first stirrings of romanticism in New England were felt, as in the country to the south, by men of literary temperament in a sympathetic enjoyment and feeble imitation of the contemporary English romantic school of fiction exemplified by Mrs Radcliffe, Lewis and Godwin. Washington Allston (1779-1843), the painter, born in South Carolina but by education and adoption a citizen of Cambridge, showed the taste in Monaldi (1841), and Richard Henry Dana (1787-1879) in Paul Felton (1833); in his poem of the same date, " The Buccaneer," the pseudo-Byronic element, which belongs to the conception of character and passion in this school of fiction, appears. These elder writers illustrate rather the stage of imaginative culture at the period, and show by their other works also - Allston by his poems " The Sylphs of the Seasons" (1813), and Dana by his abortive periodical The Idle Man (1821) issued at New York - their essential sympathy with the literary conditions reigning before the time of Irving. They both were post-Revolutionary, and advanced American culture in other fields rather than imagination, Allston in art and Dana in criticism, as editor of The North American Review, which was founded in 1815, and was long the chief organ of serious thought and critical learning, influential in the dissemination of ideas and in the maintenance of the intellectual life. The influence of their personality in the community, like that of Channing, with whom they were closely connected, was of more importance than any of their works.
The definite moment of the appearance of New England in literature in the true sense was marked by Ralph Waldo Emerson's (1803-1882) Nature (1836), Nathaniel Hawthorne's (1804-1864) Twice-Told Tales (1837) and Henry Wadsworth Longfellow's (1807-1882) Voices of the Night (1839). Of this group of men Longfellow is the most national figure, and from the point of view of literary history the most significant by virtue of what he contributed to American romanticism in the large. He felt the conscious desire of the people for an American literature, and he obeyed it in the choice of his subjects. He took national themes, and his work is in this respect the counterpart in poetry to that of Cooper in prose. In Hiawatha (1855) he poetized the Indian life; and, though the scene and figures of the poem are no more localized than the happy hunting-grounds, the ideal of the life of the aborigines in the wilderness is given with freshness and primitive charm and with effect on the imagination. It is the sole survivor of many poetic attempts to naturalize the Indian in literature, and will remain the classic Indian poem. In Evangeline (1847), The Courtship of Miles Standish (1858) and The New England Tragedies (1868), he depicted colonial life. As he thus embodied national tradition in one portion of his work, he rendered national character in another, and with more spontaneity, in those domestic poems of childhood and the affections, simple moods of the heart in the common lot, which most endeared him as the poet of the household. These are American poems as truly as his historical verse, though they are also universal for the English race. In another large portion of his work he brought back from the romantic tradition of Europe, after Irving's manner, motives which he treated for their pure poetic quality, detached from anything American, and he also translated much foreign verse from the north and the south of Europe, including Dante's Divine Comedy (1867). He has, more than any other single writer, reunited America with the poetic past of Europe, particularly in its romance. The same serenity of disposition that marked Irving and Bryant characterized his life; and his art, more varied than Bryant's or Irving's, has the same refinement, being simple and so limpid as to deceive the reader into an oblivion of its quality and sometimes into an unwitting disparagement of what seems so plain and natural as to be commonplace. In Longfellow, as in Irving, one is struck by that quietude, which is so prevailing a characteristic of American literature, and which proceeds from its steady and even flow from sources that never knew any disturbance or perturbation. The life, the art, the moods are all calm; deep passion is absent.
Hawthorne was endowed with a soul of more intense brooding, but he remained within the circle of this peace. He developed in solitude exquisite grace of language, and in other respects was an artist, the mate of Poe in the tale and exceeding Poe significance since he used symbolism for effects of truth. He, like Longfellow, embodied the national tradition, in this case the Puritan past; but he seized the subject, not in its historical aspects and diversity of character and event, but psychologically in its moral passion in The Scarlet Letter (1850 ), and less abstractly, more picturesquely, more humanly, in its blood tradition, in The House of the Seven Gables. In his earlier work, as an artist, he shows the paucity of the materials in the environment, especially in his tales; but when his residence in Italy and England gave into his hands larger opportunity, he did not succeed so well in welding Italy with America in The Marble Faun (1860), or England with America in his experimental attempts at the work which he left uncompleted, as he had done in the Puritan romances. He had, however, added a new domain to American romanticism; and, most of all these writers, he blended moral truth with fiction; he, indeed, spiritualized romance, and without loss of human reality, - a rare thing in any literature. Both Longfellow and Hawthorne were happy in reconciling their art with their country: both, not less than Poe, were universal artists, but they incorporated the national past in their art and were thereby more profoundly American.
Emerson, whose work lay in the religious sphere, not unlike Jonathan Edwards at an earlier time of climax but in a different way, marked the issue of Puritanism in pure idealism, and was more contemporaneously associated with life in the times than were the purely imaginative writers. He was the central figure of Transcendentalism, and apart from his specific teachings stood for the American spirit, disengaged from authority, independent, personal, responsible only to himself. He reached a revolutionary extreme, but he had not arrived at it by revolutionary means; without storm or stress, with characteristic peacefulness, he came to the great denials, and without much concerning himself with them turned to his own affirmations of spiritual reality, methods of life and personal results. Serenity was his peculiar trait; amid all the agitation about him he was entirely unmoved, lived calmly and wrote with placid power, concentrating into the slowly:wrought sentences of his Essays (1841-1875) the spiritual essence and moral metal of a life lived to God, to himself and to his fellow-men. He, more than any other single writer, reunited American thought with the philosophy of the world; more than all others, he opened the ways of liberalism, wherever they may lead. He was an emancipator of the mind. In his Poems (1847-1867), though the abstract and the concrete often find themselves awkward mates, his philosophic ideas are put forth under forms of imagination and his personal life is expressed with nobility; his poetic originality, though so different in kind, is as unique as Poe's, and reaches a height of imaginative faculty not elsewhere found in American verse. His poetry belongs more peculiarly to universal art, so pure in general is its philosophic content and so free from any temporal trait is the style; but it is as distinguished for the laconic expression of American ideas, minted with one blow, as his prose is for the constant breathing of the American spirit. It is the less possible to define the American traits in Emerson, because they constituted the man. He was as purely an American type as Lincoln. The grain of the man is in his work also; and the best that his prose and verse contain is his personal force. In him alone is genius felt as power; in the others it impresses one primarily as culture, modes of artistic faculty, phases of temperament. In this, too, he brings to mind Jonathan Edwards, the other climax of the religious spirit in New England; in Edwards it was intellectual power, in Emerson it was moral power; in both it was indigenous, power springing from what was most profound in the historic life of the community. Three other names, John Greenleaf Whittier (1807-1892), Oliver Wendell Holmes (1809-1894), James Russell Lowell (1819-1891), complete the group of the greater writers of New England. Holmes was a more local figure, by his humour and wit and his mental acuteness a Yankee and having the flavour of race, but neither in his verse nor his novels reaching a high degree of excellence and best known by The Autocrat of the Breakfast Table (1858), which is the Yankee prose classic. His contemporary reputation was largely social and owed much to the length of his life, but his actual hold on literature already seems slight and his work of little permanent value. Whittier stands somewhat apart as the poet of the soil and also because of his Quakerism; he was first eminent as the poet of the anti-slavery movement, to which he contributed much stirring verse, and later secured a broader fame by Snowbound (1866) and his religious poems of simple piety, welcome to every faith; he was also a balladist of local legends. In general he is the voice of the plain people without the medium of academic culture, and his verse though of low flight is near to their life and faith. Lowell first won distinction by The Biglow Papers (1848), which with the second series (1886) is the Yankee classic in verse, and is second only to his patriotic odes in maintaining his poetic reputation; his other verse, variously romantic in theme and feeling, and latterly more kindred to English classic style, shows little originality and was never popularly received; it is rather the fruit of great talent working in close literary sympathy w
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Chisholm, Hugh, General Editor. Entry for 'American Literature'. 1911 Encyclopedia Britanica. https://www.studylight.org/encyclopedias/eng/bri/a/american-literature.html. 1910.
