curious commentary upon his estimate of the natural power of resistance to vice in his time, that he regarded his feeble health as good fortune, since it protected him from the temptations of youth and virility.
While he was reading law he constantly exercised his pen in the composition of essays, some of which were published under the title of the “Rhapsodist;” but it was not until 1797 that his career as an author began, by the publication of “Alcuin: a Dialogue on the Rights of Women.” This and the romances which followed it show the powerful influence upon him of the school of fiction of William Godwin, and the movement of emancipation of which Mary Wollstonecraft was the leader. The period of social and political ferment during which “Alcuin” was put forth was not unlike that which may be said to have reached its height in extravagance and millennial expectation in 1847-48. In “Alcuin” are anticipated most of the subsequent discussions on the right of women to property and to self-control, and the desirability of revising the marriage relation. The injustice of any more enduring union than that founded upon the inclination of the hour is as ingeniously urged in “Alcuin” as it has been in our own day.
Mr. Brown’s reputation rests upon six romances: “Wieland,” “Ormond,” “Arthur Mervyn,” “Edgar Huntly,” “Clara Howard,” and “Jane Talbot.” The first five were published in the interval between the spring of 1798 and the summer of 1801, in which he completed his thirtieth year. “Jane Talbot” appeared somewhat later. In scenery and character, these romances are entirely unreal. There is in them an affectation of psychological purpose which is not very well sustained, and a somewhat clumsy introduction of supernatural machinery. Yet they have a power of engaging the attention in the rapid succession of startling and uncanny incidents and in adventures in which the horrible is sometimes dangerously near the ludicrous. Brown had not a particle of humor. Of literary art there is little, of invention considerable; and while the style is to a certain extent unformed and immature, it is neither feeble nor obscure, and admirably serves the author’s purpose of creating what the children call a “crawly” impression. There is undeniable power in many of his scenes, notably in the descriptions of the yellow fever in Philadelphia, found in the romance of “Arthur Mervyn.” There is, however, over all of them a false and pallid light; his characters are seen in a spectral atmosphere. If a romance is to be judged, not by literary rules, but by its power of making an impression upon the mind, such power as a ghastly story has, told by the chimney-corner on a tempestuous night, then Mr. Brown’s romances cannot be dismissed without a certain recognition. But they never represented anything distinctively American, and their influence upon American literature is scarcely discernible.
Subsequently Mr. Brown became interested in political subjects, and wrote upon them with vigor and sagacity. He was the editor of two short-lived literary periodicals which were nevertheless useful in their day: “The Monthly Magazine and American Review,” begun in New York in the spring of 1798, and ending in the autumn of 1800; and “The Literary Magazine and American Register,” which was established in Philadelphia in 1803 — It was for this periodical that Mr. Brown, who visited Irving in that year, sought in vain to enlist the service of the latter, who, then a youth of nineteen, had a little reputation as the author of some humorous essays in the “Morning Chronicle” newspaper.
Charles Brockden Brown died, the victim of a lingering consumption, in 1810, at the age of thirty-nine. In pausing for a moment upon his incomplete and promising career, we should not forget to recall the strong impression he made upon his contemporaries as a man of genius, the testimony to the charm of his conversation and the goodness of his heart, nor the pioneer service he rendered to letters before the provincial fetters were at all loosened.
The advent of Cooper, Bryant, and Halleck was some twenty years after the recognition of Irving; but thereafter the stars thicken in our literary sky, and when in 1832 Irving returned from his long sojourn in Europe, he found an immense advance in fiction, poetry, and historical composition. American literature was not only born, — it was able to go alone. We are not likely to overestimate the stimulus to this movement given by Irving’s example, and by his success abroad. His leadership is recognized in the respectful attitude towards him of all his contemporaries in America. And the cordiality with which he gave help whenever it was asked, and his eagerness to acknowledge merit in others, secured him the affection of all the literary class, which is popularly supposed to have a rare appreciation of the defects of fellow craftsmen.
The period from 1830 to 1860 was that of our greatest purely literary achievement, and, indeed, most of the greater names of to-day were familiar before 1850. Conspicuous exceptions are Motley and Parkman and a few belles-lettres writers, whose novels and stories mark a distinct literary transition since the War of the Rebellion. In the period from 1845 to 1860, there was a singular development of sentimentalism; it had been, growing before, it did not altogether disappear at the time named, and it was so conspicuous that this may properly be called the sentimental era in our literature. The causes of it, and its relation to our changing national character, are worthy the study of the historian. In politics, the discussion of constitutional questions, of tariffs and finance, had given way to moral agitations. Every political movement was determined by its relation to slavery. Eccentricities of all sorts were developed. It was the era of “transcendentalism” in New England, of “come-outers” there and elsewhere, of communistic experiments, of reform notions about marriage, about woman’s dress, about diet; through the open door of abolitionism women appeared upon its platform, demanding a various emancipation; the agitation for total abstinence from intoxicating drinks got under full headway, urged on moral rather than on the statistical and scientific grounds of to-day; reformed drunkards went about from town to town depicting to applauding audiences the horrors of delirium tremens, — one of these peripatetics led about with him a goat, perhaps as a scapegoat and sin-offering; tobacco was as odious as rum; and I remember that George Thompson, the eloquent apostle of emancipation, during his tour in this country, when on one occasion he was the cynosure of a protracted anti-slavery meeting at Peterboro, the home of Gerrit Smith, deeply offended some of his co-workers, and lost the admiration of many of his admirers, the maiden devotees of green tea, by his use of snuff. To “lift up the voice” and wear long hair were signs of devotion to a purpose.
In that seething time, the lighter literature took a sentimental tone, and either spread itself in manufactured fine writing, or lapsed into a reminiscent and melting mood. In a pretty affectation, we were asked to meditate upon the old garret, the deserted hearth, the old letters, the old well-sweep, the dead baby, the little shoes; we were put into a mood in which we were defenseless against the lukewarm flood of the Tupperean Philosophy. Even the newspapers caught the bathetic tone. Every “local” editor breathed his woe over the incidents of the police court, the falling leaf, the tragedies of the boardinghouse, in the most lachrymose periods he could command, and let us never lack fine writing, whatever might be the dearth of news. I need not say how suddenly and completely this affectation was laughed out of sight by the coming of the “humorous” writer, whose existence is justified by the excellent service he performed in clearing the tearful atmosphere. His keen and mocking method, which is quite distinct from the humor of Goldsmith and Irving, and differs, in degree at least, from the comic-almanac exaggeration and coarseness which preceded it, puts its foot on every bud of sentiment, holds few things sacred, and refuses to regard anything in life seriously. But it has no mercy for any sham.
I refer to this sentimental era — remembering that its literary manifestation was only a surface disease, and recognizing fully the value of the great moral movement in purifying the national life — because many regard its literary weakness as a legitimate outgrowth of the Knickerbocker School, and hold Irving in a manner responsible for it. But I find nothing in the manly sentiment and true tenderness of Irving to warrant the sentimental gush of his followers, who missed his corrective humor as completely as they failed to catch his literary art. Whatever note of localism there was in the Knickerbocker School, however dilettante and unfruitful it was, it was not the legitimate heir of the broad and eclectic genius of Irving. The nature of that genius we shall see in his life.
II. BOYHOOD