The last two show Cooper's mastery in telling stories of the sea. Tom
Coffin, in The Pilot, is a fine creation.
Some of the more than thirty works of fiction that Cooper wrote are almost unreadable, and some appeal more to special students than to general readers. Satanstoe (1845), for instance, gives vivid pictures of mid-eighteenth century colonial life in New York.
The English critic's query, "Who reads an American book?" could have received the answer in 1820, "The English public is reading Irving." In 1833, Morse, the inventor of the electric telegraph, had another answer ready—"Europe is reading Cooper." He said that as soon as Cooper's works were finished they were published in thirty-four different places in Europe. American literature was commanding attention for its original work.
GENERAL CHARACTERISTICS.—Cooper's best romances are masterpieces of action and adventure in the forest and on the sea. No other writer has so well told the story of the pioneer. He is not a successful novelist of the drawing-room. His women are mediocre and conventional, of the type described in the old Sunday school books. But when he leaves the haunts of men and enters the forest, power comes naturally to his pen. His greatest stage of action is the forest. He loved wild nature and the sea.
He often availed himself of the Gothic license of improbability, his characters being frequently rescued from well-nigh impossible situations. His plots were not carefully planned in advance; they often seem to have been suggested by an inspiration of the moment. He wrote so rapidly that he was careless about the construction of his sentences, which are sometimes not even grammatical.
It is easy, however, to exaggerate Cooper's faults, which do not, after all, seriously interfere with the enjoyment of his works. A teacher, who was asked to edit critically The Last of the Mohicans, said that the first time he read it, the narrative carried him forward with such a rush, and bound him with such a spell, that he did not notice a single blemish in plot or style. A boy reading the same book obeyed the order to retire at eleven, but having reached the point where Uncas was taken prisoner by the Hurons, found the suspense too great, and quietly got the book and read the next four chapters in bed. Cooper has in a pre-eminent degree the first absolutely necessary qualification of the writer of fiction—the power to hold the interest. In some respects he resembles Scott, but although the "Wizard of the North" has a far wider range of excellence, Leatherstocking surpasses any single one of Scott's creations and remains a great original character added to the literature of the world. These romances have strong ethical influence over the young. They are as pure as mountain air, and they teach a love for manly, noble, and brave deeds. "He fought for a principle," says Cooper's biographer, "as desperately as other men fight for life."
WILLIAM CULLEN BRYANT, 1794-1878
[Illustration: WILLIAM CULLEN BRYANT]
LIFE.-The early environment of each of the three great members of the New York group determined to an unusual degree the special literary work for which each became famous. Had Irving not been steeped in the legends of the early Dutch settlers of Manhattan, hunted squirrels in Sleepy Hollow, and voyaged up the Hudson past the Catskills, he would have had small chance of becoming famous as the author of the "Knickerbocker Legend." Had Cooper not spent his boyhood on the frontier, living in close touch with the forest and the pioneer, we should probably not have had The Leatherstocking Tales. Had it not been for Bryant's early Puritan training and his association with a peculiar type of nature, he might have ended his days as a lawyer.
Bryant was born in Cummington, among the hills of western Massachusetts. In her diary, his mother thus records his birth:—