The originality and sturdy independence of Bryant are clearly shown in his choice of subjects. In his early days poetry was formal and artificial, after the manner of the eighteenth century; the romantic movement had hardly gained recognition in England; Burns was known only to his own countrymen; Wordsworth was ridiculed or barely tolerated by the critics; and poets on both sides of the Atlantic were still writing of larks and nightingales, of moonlight in the vale, of love in a rose-covered cottage, of ivy-mantled towers, weeping willows, neglected graves,—a medley of tears and sentimentality. You will find all these and little else in The Garland, The Token and many other popular collections of the period; but you will find none of them in Bryant's first or last volume. From the beginning he wrote of Death and Nature; somewhat coldly, to be sure, but with manly sincerity. Then he wrote of Freedom, the watchword of America, not as other singers had written of it but as a Puritan who had learned in bitter conflict the price of his heritage:
O Freedom! thou art not, as poets dream,
A fair young girl, with light and delicate limbs,
And wavy tresses gushing from the cap
With which the Roman master crowned his slave
When he took off the gyves. A bearded man,
Armed to the teeth, art thou; one mailéd hand
Grasps the broad shield, and one the sword; thy brow,
Glorious in beauty though it be, is scarred
With tokens of old wars; thy massive limbs
Are strong with struggling.
He wrote without affectation of the Past, of Winter, of the North Star, of the Crowded Street, of the Yellow Violet and the Fringed Gentian. If the last-named poems now appear too simple for our poetic taste, remember that simplicity is the hardest to acquire of all literary virtues, and that it was the dominant quality of Bryant. Remember also that these modest flowers of which he wrote so modestly had for two hundred years brightened our spring woods and autumn meadows, waiting patiently for the poet who should speak our appreciation of their beauty. Another century has gone, and no other American poet has spoken so simply or so well of other neglected treasures: of the twin flower, for example, most fragrant of all blooms; or of that other welcome-nodding blossom, beloved of bumblebees, which some call "wild columbine" and others "whippoorwill's shoes."
In a word, Bryant was and is our pioneer poet in the realm of native American poetry. As Emerson said, he was our first original poet, and was original because he dared to be sincere.
* * * * *
JAMES FENIMORE COOPER (1789-1851)
In point of time Cooper is the first notable American novelist. Judging by the booksellers, no other has yet approached him in the sustained interest of his work or the number of his readers.
[Sidenote: THE MAN]
On first analysis we shall find little in Cooper to account for his abiding popularity. The man himself was not exactly lovable; indeed, he had almost a genius for stirring up antagonism. As a writer he began without study or literary training, and was stilted or slovenly in most of his work. He was prone to moralize in the midst of an exciting narrative; he filled countless pages with "wooden" dialogue; he could not portray a child or a woman or a gentleman, though he was confident that he had often done so to perfection. He did not even know Indians or woodcraft, though Indians and woodcraft account for a large part of our interest in his forest romances.
[Sidenote: THE STORYTELLER]