Littlepage Manuscripts: Satanstoe, The Chainbearer & The Redskins (Complete Edition). James Fenimore Cooper
punctuation—a profusion of commas, and other pauses, which puzzled and repelled me. Its author, many years afterwards, revised and republished it, correcting this fault, and some faults of style also, so that to a casual inspection it appeared almost another work. It was a professed delineation of English manners, though the author had then seen nothing of English society. It had, however, the honor of being adopted by the country whose manners it described, and, being early republished in Great Britain, passed from the first for an English novel. I am not unwilling to believe what is said of it, that it contained a promise of the powers which its author afterwards put forth.
Thirty years ago, in the year 1821, and in the thirty-second of his life, Cooper published the first of the works by which he will be known to posterity, the Spy. It took the reading world by a kind of surprise; its merit was acknowledged by a rapid sale; the public read with eagerness and the critics wondered. Many withheld their commendations on account of defects in the plot or blemishes in the composition, arising from want of practice, and some waited till they could hear the judgment of European readers. Yet there were not wanting critics in this country, of whose good opinion any author in any part of the world might be proud, who spoke of it in terms it deserved. “Are you not delighted,” wrote a literary friend to me, who has since risen to high distinction as a writer, both in verse and in prose, “are you not delighted with the Spy, as a work of infinite spirit and genius?” In that word genius lay the explanation of the hold which the work had taken on the minds of men. What it had of excellence was peculiar and unborrowed; its pictures of life, whether in repose or activity, were drawn, with broad lights and shadows, immediately from living originals in nature or in his own imagination. To him, whatever he described was true; it was made a reality to him by the strength with which he conceived it. His power in the delineation of character was shown in the principal personage of his story, Harvey Birch, on whom, though he has chosen to employ him in the ignoble office of a spy, and endowed him with the qualities necessary to his profession,—extreme circumspection, fertility in stratagem, and the art of concealing his real character—qualities which, in conjunction with selfishness and greediness, make the scoundrel, he has bestowed the virtues of generosity, magnanimity, an intense love of country, a fidelity not to be corrupted, and a disinterestedness beyond temptation. Out of this combination of qualities he has wrought a character which is a favorite in all nations, and with all classes of mankind.
It is said that if you cast a pebble into the ocean, at the mouth of our harbor, the vibration made in the water passes gradually on till it strikes the icy barriers of the deep at the south pole. The spread of Cooper’s reputation is not confined within narrower limits. The Spy is read in all the written dialects of Europe, and in some of those of Asia. The French, immediately after its first appearance, gave it to the multitudes who read their far-diffused language, and placed it among the first works of its class. It was rendered into Castilian, and passed into the hands of those who dwell under the beams of the Southern Cross. At length it passed the eastern frontier of Europe, and the latest record I have seen of its progress towards absolute universality, is contained in a statement of the International Magazine, derived, I presume, from its author, that in 1847 it was published in a Persian translation at Ispahan. Before this time, I doubt not, they are reading it in some of the languages of Hindostan, and, if the Chinese ever translated anything, it would be in the hands of the many millions who inhabit the far Cathay.
I have spoken of the hesitation which American critics felt in admitting the merits of the Spy, on account of crudities in the plot or the composition, some of which, no doubt, really existed. An exception must be made in favor of the Port Folio, which, in a notice written by Mrs. Sarah Hall, mother of the editor of that periodical, and author of Conversations on the Bible, gave the work a cordial welcome; and Cooper, as I am informed, never forgot this act of timely and ready kindness.
It was perhaps favorable to the immediate success of the Spy, that Cooper had few American authors to divide with him the public attention. That crowd of clever men and women who now write for the magazines, who send out volumes of essays, sketches, and poems, and who supply the press with novels, biographies, and historical works, were then, for the most part, either stammering their lessons in the schools, or yet unborn. Yet it is worthy of note, that just about the time that the Spy made its appearance, the dawn of what we now call our literature was just breaking. The concluding number of Dana’s Idle Man, a work neglected at first, but now numbered among the best things of the kind in our language, was issued in the same month. The Sketch Book was then just completed; the world was admiring it, and its author was meditating Bracebridge Hall. Miss Sedgwick, about the same time, made her first essay in that charming series of novels of domestic life in New England, which have gained her so high a reputation. Percival, now unhappily silent, had just put to press a volume of poems. I have a copy of an edition of Hallock’s Fanny, published in the same year; the poem of Yamoyden, by Eastburn and Sands, appeared almost simultaneously with it. Livingston was putting the finishing hand to his Report on the Penal Code of Louisiana, a work written with such grave, persuasive eloquence, that it belongs as much to our literature as to our jurisprudence. Other contemporaneous American works there were, now less read. Paul Allen’s poem of Noah was just laid on the counters of the booksellers. Arden published, at the same time, in this city, a translation of Ovid’s Tristia, in heroic verse, in which the complaints of the effeminate Roman poet were rendered with great fidelity to the original, and sometimes not without beauty. If I may speak of myself, it was in that year that I timidly intrusted to the winds and waves of public opinion a small cargo of my own—a poem entitled The Ages, and half a dozen shorter ones, in a thin duodecimo volume, printed at Cambridge.
We had, at the same time, works of elegant literature, fresh from the press of Great Britain, which are still read and admired. Barry Cornwall, then a young suitor for fame, published in the same year his Marcia Colonna; Byron, in the full strength and fertility of his genius, gave the readers of English his tragedy of Marino Faliero, and was in the midst of his spirited controversy with Bowles concerning the poetry of Pope. The Spy had to sustain a comparison with Scott’s Antiquary, published simultaneously with it, and with Lockhart’s Valerius, which seems to me one of the most remarkable works of fiction ever composed.
In 1823, and in his thirty-fourth year, Cooper brought out his novel of the Pioneers, the scene of which was laid on the borders of his: own beautiful lake. In a recent survey of Mr; Cooper’s works, by one of his admirers, it is intimated that the reputation of this work may have been, in some degree factitious. I cannot think so; I cannot see how such a work could fail of becoming, sooner or later, a favorite. It was several years after its first appearance that I read the Pioneers, and I read it with a delighted astonishment. Here, said I to myself, is the poet of rural life in this country—our Hesiod, our Theocritus, except that he writes without the restraint of numbers, and is a greater poet than they. In the Pioneers, as in a moving picture, are made to pass before us the hardy occupations and spirited, amusements of a prosperous settlement, in, a fertile region, encompassed for leagues around with the primeval wilderness of woods. The seasons in their different aspects, bringing with them, their different employments; forests falling before the axe; the cheerful population, with the first mild; day of spring, engaged in the sugar orchards; the chase of the deer through the deep woods, and into the lake; turkey-shooting, during the Christmas holidays, in which the Indian marksman vied for the prize of skill with the white man; swift sleigh rides under the bright winter sun, and, perilous encounters with wild animals in the forests; these, and other scenes of rural life, drawn, as Cooper knew how to draw them, in the bright and healthful coloring of which he was master are interwoven with a regular narrative of human fortunes, not unskilfully constructed; and how could such a work be otherwise than popular?
In the Pioneers, Leatherstocking; is first introduced—a philosopher of the woods, ignorant of books, but instructed in all that nature, without the aid of, science, could reveal to the man of quick senses and inquiring intellect, whose life has been passed under the open sky, and in companionship with a race whose animal perceptions are the acutest and most cultivated of which there is any example. But Leatherstocking has higher qualities; in him there is a genial blending of the gentlest virtues of the civilized man with the better nature of the aboriginal tribes; all