For the Southern Literary Messenger.
LETTERS ON THE UNITED STATES OF AMERICA,
By a young Scotchman, now no more.
Boston, 1832.
DEAR HENRY,—Mr. Paulding and Miss Sedgewick, are, in my opinion, inferior in genius to the American writers I mentioned in my last. They may be classed as the secondary novelists of this country, though in general literature, Paulding is equal if not superior to Cooper. His tales are usually short and want interest; but his characters are well sketched, his incidents natural, and his opinions and observations characterized by good sense. There is, however, an affectation of humor in what he writes, that does not please me. It seems to consist more in the employment of quaint terms and odd phrases, than in the incident or character itself, and would appear to be the result of an early and frequent perusal of the works of Swift and Rabelais. His productions are neat and sensible, but not very imaginative or striking. The interest or curiosity of the reader is never powerfully excited, but he never fails to please by the manner in which he conducts his plots; the easy and perspicuous style he employs, the clear and happy illustration of the vice or folly he holds up to indignation or scorn, and the successful though sometimes exaggerated developement of the character he wishes to portray. In both Paulding and Cooper there is an overwhelming American feeling, which bursts forth on all occasions, and which, to a foreigner, seems to partake of the nature of deep rooted prejudice. It results, however, I have no doubt, from an ardent love of country, increased perhaps by the silly contumelies and sarcasms of the reviewers and travellers of our country. Mr. Paulding has not displayed any great depth or expansion of mind in anything he has yet written, though he has tried his wing in both prose and verse. His forte is satire, which, like that of Horace, is more playful than mordant and bitter. The productions of Miss Sedgewick which I have seen, are remarkable for good sense, but without much vigor of imagination. She succeeds best in quiet life. The delineation of the workings of passion, and of stormy and powerful emotions, are beyond the reach of her powers; but what she attempts she always does well. Her plots are generally without complication, and display no great fertility of invention; the incidents are not very striking and the characters are sometimes tame, and occasionally extravagant. They are not like the delineations of Miss Edgeworth, or Miss Mitford. You cannot form an idea of the nationality of the individual she sketches, and would as soon take him for a native of any other country as of her own. There is a manifest defect in this particular, in all the novelists I have mentioned. With the exception of the Indians who are occasionally introduced, there is scarcely any difference between their Americans, and the inhabitants of other lands. Cooper has indeed presented a finer gallery of American characters than any other writer, especially in his sketches of the early settlers or pioneers; but his characters, except in a few instances, are not usually distinguished by striking national peculiarities. This may possibly originate from the singular fact that in this country where men are free to rove where inclination leads, and to be under no other restraint than that which religion, law, or decency imposes, there is less peculiarity of character or individuality, than in any other portion of the globe with which I am acquainted. They have not yet attempted to give as in England, sketches of American society as it now exists, or may have existed since the organization of their government. Whether such pictures would indeed be interesting I am not prepared to say; but from the society in which I have mingled, I do not think it has variety enough, or differs sufficiently from that of other civilized nations to render such pictures striking or amusing. Genius, however, can accomplish every thing, and might give to what appears to be vapid and ennuyant, some novelty and interest.
There are some other novelists in the United States, whose productions, as they have sunk, or are rapidly sinking into oblivion, it is scarcely necessary to name. One of these is a man of talent, who, you will recollect, was an occasional contributor to the literary periodicals of our country, while a resident there. I mean J. Neale. His romances, from their wildness and extravagance, have been but little read, and are now nearly forgotten. He still, however, employs his pen, I understand, in doing what he can to edify and amuse his countrymen. Novel reading has been legitimatized by Sir Walter Scott, and though his productions furnish an admirable standard, nothing in the nature of romance now goes amiss, and the demand for works of fancy seems to increase in proportion to the number issued from the press, and the food that is furnished. Although the Americans are great novel readers, there is not much of romance in their character. There is too much matter-of-fact about them; they are too calculating and money-making to serve the purposes of the novelist. They form but indifferent heroes and heroines of romance, and hence Cooper is obliged to resort to the sea to rake up pirates and smugglers, or to go back to the revolution or the early settlement of his country to find characters and incidents calculated to give verisimilitude and interest to his tales.
In dramatic literature, but little has yet been done in the United States. Few appear to have devoted much of their attention to dramatic composition. I have seen but ten or twelve American plays in the course of my researches; and these, though they possessed a good deal of merit, have been suffered to sink into neglect, and are rarely performed. A much larger number, however, would appear to have been written and prepared for the stage. According to a catalogue I have lately seen, no less than 270 dramatic pieces have either been prepared for the theatre of this country, or written by Americans. Of these many were of course got up for temporary purposes, and when these purposes were answered were no longer remembered; but you will be surprised to learn that of this number, commencing in 1775, there are no less than thirty-three tragedies, the best of which are those which have been recently brought out, Metamora, Ouralasqui, a prize tragedy by a lady of Kentucky, and a combination of tragedies, by Paine, called Brutus, which has been on the stage for several years. The rest are scarcely remembered. The writer who seems to have devoted the largest portion of his time to dramatic literature in this country and who may be called the father of the American drama, is Mr. Dunlap, who has figured for many years in the various characters of dramatist, manager, and painter. His dramatic pieces amount to about 50, and he has already outlived their fame. Some of his translations from the German are still exhibited; but his original compositions are now never performed, and are almost forgotten. Mr. J. N. Barker of Philadelphia, stands next in point of fecundity, having given birth to ten dramatic bantlings in the course of his life, some of which are very creditable to their parent, but none are, I believe, stock plays. The prejudice against native writers was at one time so strong that the managers deemed it prudent to announce Mr. Barker's Marmion, Sir Walter's poem dramatized, as the production of Thomas Morton the author of Columbus. Mr. Dunlap was also I understand obliged to resort to the same expedient in relation to two or three of his plays; but as moon as it was known, their popularity, which had at first been considerable, immediately ceased, and they were laid upon the shelf. Such are some of the difficulties with which the American writer has to struggle; but these I am happy to learn are now giving way, and a more liberal spirit is beginning to prevail. It is to be hoped that the dramatic muse of America will soon be enabled to triumph over all the impediments which she has had to encounter, and repose in the same bower and be crowned with the same chaplet as her more fortunate sister of romance. Among the American plays which accident brought under my notice, was a comedy in five acts, entitled the "Child of Feeling," published in 1809, and written by a citizen of Washington. It seems to have been a juvenile production, written without much knowledge of the world, but with a due regard to the unities. The dialogue wants sprightliness and the plot interest, and I merely mention it now because its contains among its dramatis personæ a character which is to me entirely original, and which if he really existed, the author must I think have caricatured in his copy. He is called Etymology, and does not belie his name, for he is constantly occupied in tracing every word that is spoken by himself or others to its root, and makes as may easily be supposed, some comic and ludicrous blunders. Till very recently, the author of even a successful play received scarcely any compensation for his labor, and the fame he acquired was but of short duration. Now however, it is otherwise, and both reputation and emolument attend the successful dramatist. The comedies, by American writers that I have seen, are not remarkable for their wit or humor, and therefore do not long retain their hold upon the stage. Dramatic exhibitions are not however held by the Americans in very high estimation, and this may be one of the causes of the low state of dramatic literature here. But the principal causes would appear to be the want of leisure, the devotion of the people to higher and more lucrative avocations, and the facility with which dramatic productions of established merit and popularity can be obtained from England. These causes operate in like manner I conceive, to prevent the attainment of that high poetical excellence which has yet to be reached by the worshippers of the muse in this country. The following remarks on this subject by an American writer are so pertinent, that I will transcribe them for your information. "We regret to say," says he, speaking of American poetry, "that much less has been done than might reasonably have been expected, even during our short political existence. We have indeed as yet scarcely done anything at which an American can look with conscious pride, as a trophy of native poetic genius. The ponderous and vapid Epic of Barlow, and the still more leaden and senseless heroics of Emmons, are far from giving reputation to the poetry of our country; and the fugitive and occasional pieces of Percival, Bryant, Halleck, &c. are not exactly such as we should select as a proof that we have done much in poetry. We have been in existence as a nation for upwards of half a century, and yet we have produced nothing that is certain to reach posterity, or that can be classed higher than the minor productions of Moore, Campbell, or Byron, of the present day. There is an apparent want of originality, and too great an appearance of imitation in the poetical efforts of our native bards to carry them far down the stream of time, though it must be conceded that they have discovered in these efforts no ordinary portion of genius. There would seem to be something either in the nature of our political institutions, or in the general character of our pursuits, which is inimical to the developement of high poetical power. We are not a very imaginative people; we prefer the reality to the ideal; we pursue the substance rather than the shadow. Our ambition is early fired by political distinction, or our exertions are directed to the attainment of competency or wealth. The public mind has been led into a train of thinking somewhat adverse to the indulgence of poetical enthusiasm, and not calculated to render it susceptible of deep and intense delight from the contemplation of poetical beauty. It has been led to consider that the highest efforts of genius are those which are displayed at the bar or in the senate, and to regard the power of forensic and parliamentary eloquence as the loftiest exhibition of intellectual excellence. To that which the mind is early taught to respect and admire its greatest exertions will be directed, and hence the number of those who resort to the profession of law, the career of legislation, or the pursuits of commerce," &c.
It is unquestionably true, that no great original poetical work of distinguished merit has yet made its appearance in the United States, but it cannot at the same time be denied, that the individuals this writer has named, with Bryant, Sigourney, Willis, and several others, possess a fine poetical vein, the mens divinior of Horace. Some of their effusions contain passages of great beauty and splendor, and may be fairly classed with those of the first poets of our country. Most of them however, have merely what Mad. De Genlis calls the "art of making verses;" and either from the want of encouragement, the stimulus of praise, or continued enthusiasm, wing their flight briefly into the regions of poetic fancy, and seldom afterwards attempt any more lofty or daring excursions. But I must pause. I will endeavor in my next to bring my remarks on the science and literature of the United States to a close.