DR. STARBUCK MAYO, AUTHOR OF "KALOOLAH," "THE BERBER," &c.
If there is any satisfaction derivable from a long and clear lineage, the author of Kaloolah ought to be a very happy man. Seven successive generations of reputable ancestry connect him with the Rev. John Mayo, a divine of distinguished piety and learning who in the year 1630 came to this country, and after settling in the town of Barnstable, transferred his residence to Boston, and became the first pastor of the South Church. The English pedigree of this John Mayo is one of the oldest among the gentry of Great Britain. On his mother's side Dr. Mayo also traces his descent for several ages through the Starbucks, one of the primitive families of that most primitive of all places, the island of Nantucket.
The parents of Dr. Mayo removed to the village of Ogdensburg on the St. Lawrence under the circumstances very similar to those described in Kaloolah, and he was there born in the year 1812. His early intellectual training was under the pedagogueism of the Rev. Josiah Perry, one of the few men formed by nature for school-masters, who has left as marked a memory in a smaller sphere as did ever Parr or Burke in theirs. Never was instruction better given in all the elements of a thorough English education than for many years in his well-known school, which has produced several of the most distinguished men of the present time. From this the subject of our memoir was transferred, at the age of eleven or twelve, for the purpose of pursuing classical studies, to the academy at Potsdam, which enjoyed for a number of years the superintendence in the office of its principals of a succession of very eminent men, among them the present Rt. Rev. Bishop of North Carolina. His successor, under whom Dr. Mayo's pupilage occurred, was the Rev. Mr. Banks, a Presbyterian divine from New England, of learning, taste, and refinement, such as were rarely met with even in that day among men of his class.
The description of the early life of Jonathan Romer is in the main the history of the author himself. At the age of seventeen he commenced the study of medicine, which he pursued with ardor and success. In 1832, having attended for three years the lectures of the College of Physicians and Surgeons in this city, he underwent his examination for a degree, but did not receive a diploma till the ensuing term, not having attained the legal age of twenty-one. After spending several years in the city hospitals and in private practice, he abandoned brilliant professional prospects to go abroad, partly for the benefit of his health and partly urged by the spirit of adventure, which had long led him to form plans for the exploration of Central Africa. Perhaps it is to be regretted that he was prevented by the infirmity of short-sightedness from emulating the achievements of Park, Clapperton and Ledyard, for which his moral and physical constitution eminently fitted him. He travelled extensively in Spain and Barbary however, and we have the results in Kaloolah and in The Berber.
Anonymously, in various magazines, Dr. Mayo had written much and well, but he was scarcely known as an author until the appearance of the work upon which his fame still chiefly rests, Kaloolah, or Journeyings to the Djébel Kumri, in the spring of 1849. It has frequently been said that Kaloolah was suggested by the popular works of Herman Melville, but it was written and nearly printed before the appearance of Typee, the first of Mr. Melville's productions; and we see no reason for another opinion, that it was an offspring of the author's love for Defoe; if it was not an altogether spontaneous and independent work, its parentage was probably less famous; we know of no composition so nearly resembling Kaloolah as the pretended Narrative of Robert Adams, an American sailor who was wrecked on the Western Coast of Africa, in the year 1810, detained three years in slavery by the Arabs, and afterward several months a resident in the city of Timbuctoo. This was a piece of pure fiction, though brought out in London in a splendid quarto under the endorsement of the Lord Chancellor, the President of the Royal Society, and many other eminent persons in literature, science, and affairs, and elaborately and credulously reviewed in the Edinburgh, the Quarterly, and other Reviews. The hero of this performance, after various adventures, was married to a dusky princess in the terra incognita, and made almost as many marvellous discoveries as are recorded by Jonathan Romer. Another and a very different writer, who selected central Africa to be the field of somewhat similar inventions, was the learned and ingenious Richard Adams Locke, whose astonishing history of revelations in the moon was not more creditable to his abilities than his singularly recovered MSS. of a lost traveller by the borders of the Niger and in middle Africa, published in the New Era journal in this city about the year 1838. But we do not suppose Dr. Mayo was indebted to either of these works for the idea of his story. And just as erroneous as the charge of plagiarism, and much more absurd, is the notion that he designed Kaloolah as a "satirical criticism on life and manners in New-York." A writer in the North British Review declares that he "could not help laughing aloud," though seated quietly by himself, at the "description of a musical entertainment of the court of the hero's royal father-in-law, heaven knows where in Africa, and intended as a burlesque on the sheer noise which is the predominant element" in all our orchestras. We assure the shrewd critic most positively that the author never dreamed of such a thing. Kaloolah is too well known to need much description; its success was certain and immediate, and not many original works have ever been published in this country which have had a larger circulation. It evinces remarkable fertility of invention, is exceedingly interesting, and abounds in clearly defined, spirited, and occasionally well finished portraitures. Kaloolah, the heroine, is a fresh and beautiful creation, worthy of any of the masters of fiction. The hero, Romer, is designed merely as a type of the determined Yankee adventurer, drawn with only the exaggeration demanded in works of art; and half the seeming of extravagance in the narrative and the sketches of nature would have disappeared if the author had not, to reduce his volume to the size deemed by his publisher most promising of profit, omitted all his numerous and curious notes.
Kaloolah was followed in 1850 by The Berber, or the Mountaineer of the Atlas, a story of Spain and Morocco, about the close of the seventeenth century. As a novel it is decidedly better than Kaloolah; it displays greater skill in narration, and is written in the same pure, distinct and nervous English. Dr. Mayo thoroughly understood from observation as well as study all the accessories of his subject, and we are mistaken if any recent book on northern Africa gives a more clear, spirited or just impression of its scenery or of the character and manners of its people. The hero is of the highest style of the half-barbarian chiefs of the country and time; born a Christian, educated a Mohamedan, and ambitious to free his tribe from the domination of the Moors, and to found a new empire, with a higher civilization than was ever known to the race he leads; and other characters have enough adventures, dimly sketched, to fill the circles of a dozen tragedies if brought more near the eye. The faults of the book are, an excess of incident, discursiveness preventing proper unity and proportion, and a confessed failure of the story to evolve all the intended moralities, which the author therefore in some cases brings forward in his own person.
The last volume we have had from the hand of Dr. Mayo is, Romance Dust from the Historic Placer, a collection of shorter stories chiefly founded on historical incidents. In these he exhibits the fresh feeling, occasionally the humor, and always the bold drawing and effective coloring which distinguish his more ambitious performances. The volume contains also a poem, but not one of such striking qualities as to induce regret that the author has commonly chosen to write in prose. The style of his novels, especially in the narrative parts, is uncommonly good, but with its many excellencies it does not seem to us that it possesses a poetical element.