The last years of his life were spent mostly at the old home at Cooperstown, no longer a frontier settlement but a thriving village, from which Natty Bumppo and Chingachgook had long since departed. Before his death (1851) the fires of controversy had sunk to ashes; but Cooper never got over his resentment at the public, and with the idea of keeping forever aloof he commanded that none of his private papers be given to biographers. It is for lack of such personal letters and documents that no adequate life of Cooper has yet been written.
COOPER'S WORKS. There are over sixty volumes of Cooper, but to read them all would savor of penance rather than of pleasure. Of his miscellaneous writings only the History of the Navy and Lives of Distinguished Naval Officers are worthy of remembrance. Of his thirty-two romances the half, at least, may be ignored; though critics may differ as to whether certain books (The Bravo and Lionel Lincoln, for example) should be placed in one half or the other. There remain as the measure of Cooper's genius some sixteen works of fiction, which fall naturally into three groups: the historical novels, the tales of pioneer life, and the romances of the sea.
[Sidenote: THE SPY]
The Spy was the first and probably the best of Cooper's historical romances. Even his admirers must confess that it is crudely written, and that our patriotic interest inclines us to overestimate a story which throws the glamor of romance over the Revolution. Yet this faulty tale attempts to do what very few histories have ever done fairly, namely, to present both sides or parties of the fateful conflict; and its unusual success in this difficult field may be explained by a bit of family history. Cooper was by birth and training a stanch Whig, or Patriot; but his wife, to whom he was devotedly attached, was the daughter of an unbending Tory, or Loyalist; and his divided allegiance is plainly apparent in his work. Ordinarily his personal antagonisms, his hatred of "Yankees," Puritans and all politicians of the other party, are dragged into his stories and spoil some of them; but in The Spy he puts his prejudices under restraint, tells his tale in an impersonal way, dealing honestly with both Whigs and Tories, and so produces a work having the double interest of a good adventure story and a fair picture of one of the heroic ages of American history.
Aside from its peculiar American interest, The Spy has some original and broadly human elements which have caused it, notwithstanding its dreary, artificial style, to be highly appreciated in other countries, in South American countries especially. The secret of its appeal lies largely in this, that in Harvey Birch, a brave man who serves his country without hope or possibility of reward, Cooper has strongly portrayed a type of the highest, the most unselfish patriotism.
The other historical novels differ greatly in value. Prominent among them are Mercedes of Castile, dealing with Columbus and the discovery of America; Satanstoe and The Wept of Wish-Ton-Wish, depicting Colonial life in New York and New England respectively; and Lionel Lincoln, which is another story of the Revolution, more labored than The Spy and of less sustained interest.
[Sidenote: THE SEA STORIES]
Cooper's first sea story, The Pilot (1823), was haphazard enough in both motive and method, [Footnote: The Waverley novels by "the great unknown" were appearing at this time. Scott was supposed to be the author of them, but there was much debate on the subject. One day in New York a member of Cooper's club argued that Scott could not possibly have written The Pirate (which had just appeared), because the nautical skill displayed in the book was such as only a sailor could possess. Cooper maintained, on the contrary, that The Pirate was the work of a landsman; and to prove it he declared that he would write a sea story as it should be written; that is, with understanding as well as with imagination. The Pilot was the result.] but it gave pleasure to a multitude of readers, and it amazed critics by showing that the lonely sea could be a place of romantic human interest. Cooper was thus the first modern novelist of the ocean; and to his influence we are partly indebted for the stirring tales of such writers as Herman Melville and Clark Russell. A part of the action of The Pilot takes place on land (the style and the characters of this part are wretchedly stilted), but the chief interest of the story lies in the adventures of an American privateer commanded by a disguised hero, who turns out to be John Paul Jones. Cooper could not portray such a character, and his effort to make the dashing young captain heroic by surrounding him with a fog of mystery is like his labored attempt to portray the character of Washington in The Spy. On the other hand, he was thoroughly at home on a ship or among common sailors; his sea pictures of gallant craft driven before the gale are magnificent; and Long Tom Coffin is perhaps the most realistic and interesting of all his characters, not excepting even Leatherstocking.
Another and better romance of the sea is The Red Rover (1828). In this story the action takes place almost wholly on the deep, and its vivid word pictures of an ocean smiling under the sunrise or lashed to fury by midnight gales are unrivaled in any literature. Other notable books of the same group are The Water Witch, Afloat and Ashore and Wing and Wing. Some readers will prize these for their stories; but to others they may appear tame in comparison with the superb descriptive passages of The Red Rover.
[Sidenote: LEATHERSTOCKING TALES]