# Biographical and Critical Miscellanies/Charles Brockden Brown, the American Novelist

BIOGRAPHICAL AND CRITICAL MISCELLANIES.
MEMOIR OF
CHARLES BROCKDEN BROWN, THE AMERICAN NOVELIST.
The class of professed men of letters, if we exclude from the account the conductors of periodical journals, is certainly not very large, even at the present day, in our country; but before the close of the last century it was nearly impossible to meet with an individual who looked to authorship as his only, or, indeed, his principal means of subsistence. This was somewhat the more remarkable, considering the extraordinary development of intellectual power exhibited in every quarter of the country, and applied to every variety of moral and social culture, and formed a singular contrast with more than one nation in Europe, where literature still continued to be followed as a distinct profession, amid all the difficulties resulting from an arbitrary government, and popular imbecility and ignorance.
Abundant reasons are suggested for this by the various occupations afforded to talent of all kinds, not only in the exercise of political functions, but ​in the splendid career opened to enterprise of every description in our free and thriving community. We were in the morning of life, as it were, when everything summoned us to action; when the spirit was quickened by hope and youthful confidence; and we felt that we had our race to run, unlike those nations who, having reached the noontide of their glory, or sunk into their decline, were naturally led to dwell on the soothing recollections of the past, and to repose themselves, after a tumultuous existence, in the quiet pleasures of study and contemplation. "It was amid the ruins of the Capitol," says Gibbon, "that I first conceived the idea of writing the History of the Roman Empire." The occupation suited well with the spirit of the place, but would scarcely have harmonized with the life of bustling energy, and the thousand novelties which were perpetually stimulating the appetite for adventure in- our new and unexplored hemisphere. In short, to express it in one word, the peculiarities of our situation as naturally disposed us to active life as those of the old countries of Europe to contemplative.
The subject of the present memoir affords an almost solitary example, at this period, of a scholar, in the enlarged application of the term, who cultivated letters as a distinct and exclusive profession, resting his means of support, as well as his fame, on his success; and who, as a writer of fiction, is still farther entitled to credit for having quitted the beaten grounds of the Old Country, and sought his ​subjects in the untried wilderness of his own. The particulars of his unostentatious life have been collected with sufficient industry by his friend, Mr, William Dunlap, to whom our native literature is under such large obligations for the extent and fidelity of his researches. We will select a few of the most prominent incidents from a mass of miscellaneous fragments and literary lumber with which his work is somewhat encumbered. It were to be wished that, in the place of some of them, more copious extracts had been substituted for his journal and correspondence, which, doubtless, in this as in other cases, must afford the most interesting, as well as authentic materials for biography,
Charles Brockden Brown was born at Philadelphia, January 17, 1771. He was descended from a highly respectable family, whose ancestors were of that estimable sect who came over with William Penn to seek an asylum where they might worship their Creator unmolested in the meek and humble spirit of their own faith. From his earliest childhood Brown gave evidence of his studious propensities, being frequently noticed by his father, on his return from school, poring over some heavy tome, nothing daunted by the formidable words it contained, or mounted on a table, and busily engaged in exploring a map which hung on the parlour wall. This infantine predilection for geographical studies ripened into a passion in later years. Another anecdote, recorded of him at the age of ten, sets in a still stronger light his appreciation of ​intellectual pursuits far above his years. A visiter at his father's having rebuked him, as it would seem, without cause, for some remark he had made, gave him the contemptuous epithet of "boy." "What does he mean," said the young philosopher, after the guest's departure, "by calling me boy? Does he not know that it is neither size nor age, but sense, that makes the man? I could ask him a hundred questions, none of which he could answer."
At eleven years of age he was placed under the tuition of Mr. Robert Proud, well known as the author of the History of Pennsylvania. Under his direction he went over a large course of English reading, and acquired the elements of Greek and Latin, applying himself with great assiduity to his studies. His bodily health was naturally delicate, and indisposed him to engage in the robust, athletic exercises of boyhood. His sedentary habits, however, began so evidently to impair his health, that his master recommended him to withdraw from his books, and recruit his strength by excursions on foot into the country. These pedestrian rambles suited the taste of the pupil, and the length of his absence often excited the apprehensions of his friends for his safety. He may be thought to have sat to himself for this portrait of one of his heroes. "I preferred to ramble in the forest and loiter on the hill; perpetually to change the scene; to scrutinize the endless variety of objects; to compare one leaf and pebble with another; to pursue those trains of thought which their resemblances and differences ​suggested; to inquire what it was that gave them this place, structure, and form, were more agreeable employments than ploughing and threshing." "My frame was delicate and feeble. Exposure to wet blasts and vertical suns was sure to make me sick." The fondness for these solitary rambles continued through life, and the familiarity which they opened to him with the grand and beautiful scenes of nature undoubtedly contributed to nourish the habit of revery and abstraction, and to deepen the romantic sensibilities from which flowed so much of his misery, as well as happiness, in after life.
He quitted Mr. Proud's school before the age of sixteen. He had previously made some small poetical attempts, and soon after sketched the plans of three several epics, on the discovery of America, and the conquests of Peru and Mexico. For some time they engaged his attention to the exclusion of every other object. No vestige of them now remains, or, at least, has been given to the public, by which we can ascertain the progress made towards their completion. The publication of such immature juvenile productions may gratify curiosity by affording a point of comparison with later excellence. They are rarely, however, of value in themselves sufficient to authorize their exposure to the world, and notwithstanding the occasional exception of a Pope or a Pascal, may very safely put up with Uncle Toby's recommendation on a similar display of precocity, "to hush it up, and say as little about it as possible."
​Among the contributions which, at a later period of life, he was in the habit of making to different journals, the fate of one was too singular to be passed over in silence. It was a poetical address to Franklin, prepared for the Edentown newspaper, "The blundering printer," says Brown, in his journal, "from zeal or ignorance, or perhaps from both, substituted the name of Washington. Washington, therefore, stands arrayed in awkward colours; philosophy smiles to behold her darling son; she turns with horror and disgust from those who have won the laurel of victory in the field of battle, to this her favourite candidate, who had never participated in such bloody glory, and whose fame was derived from the conquest of philosophy alone. The printer, by his blundering ingenuity, made the subject ridiculous. Every word of this clumsy panegyric was a direct slander upon Washington, and so it was regarded at the time." There could not well be imagined a more expeditious or effectual recipe for converting eulogy into satire.
Young Brown had now reached a period of life when it became necessary to decide on a profession. After due deliberation, he determined on the law; a choice which received the cordial approbation of his friends, who saw in his habitual diligence and the character of his mind, at once comprehensive and logical, the most essential requisites for success. He entered on the studies of his profession with his usual ardour; and the acuteness and copiousness of his arguments on various topics proposed for ​discussion in a law-society over which he presided, bear ample testimony to his ability and industry. But, however suited to his talents the profession of the law might be, it was not at all to his taste. He became a member of a literary club, in which he made frequent essays in composition and eloquence. He kept a copious journal, and by familiar exercise endeavoured to acquire a pleasing and graceful style of writing; and every hour that he could steal from professional schooling was devoted to the cultivation of more attractive literature. In one of his contributions to a journal, just before this period, he speaks of "the rapture with which he held communion with his own thoughts amid the gloom of surrounding woods, where his fancy peopled every object with ideal beings, and the barrier between himself and the world of spirits seemed burst by the force of meditation. In this solitude, he felt himself surrounded by a delightful society; but when transported from thence, and compelled to listen to the frivolous chat of his fellow-beings, he suffered all the miseries of solitude," He declares that his intercourse and conversation with mankind had wrought a salutary change; that he can now mingle in the concerns of life, perform his appropriate duties, and reserve that higher species of discourse for the solitude and silence of his study. In this supposed control over his romantic fancies he grossly deceived himself.
As the time approached for entering on the practice of his profession, he felt his repugnance to it ​increase more and more; and he sought to justify a retreat from it altogether by such poor sophistry as his imagination could suggest. He objected to the profession as having something in it immoral. He could not reconcile it with his notions of duty to come forward as the champion indiscriminately of right and wrong; and he considered the stipendiary advocate of a guilty party as becoming, by that very act, participator in the guilt. He did not allow himself to reflect that no more equitable arrangement could be devised, none which would give the humblest individual so fair a chance for maintaining his rights as the employment of competent and upright counsel, familiar with the forms of legal practice, necessarily so embarrassing to a stranger; that, so far from being compelled to undertake a cause manifestly unjust, it is always in the power of an honest lawyer to decline it; but that such contingencies are of most rare occurrence, as few cases are litigated where each party has not previously plausible grounds for believing himself in the right, a question only to be settled by fair discussion on both sides; that opportunities are not wanting, on the other hand, which invite the highest display of eloquence and professional science in detecting and defeating villany, in vindicating slandered innocence, and in expounding the great principles of law on which the foundations of personal security and property are established; and, finally, that the most illustrious names in his own and every other civilized country have been drawn from the ranks of a ​profession whose habitual discipline so well trains them for legislative action, and the exercise of the highest political functions.
Brown cannot be supposed to have been insensible to these obvious views; and, indeed, from one of his letters in later life, he appears to have clearly recognised the value of the profession he had deserted. But his object was, at this time, to justify himself in his fickleness of purpose, as he best might, in his own eyes and those of his friends. Brown was certainly not the first man of genius who found himself incapable of resigning the romantic world of fiction, and the uncontrolled revels of the imagination, for the dull and prosaic realities of the law. Few, indeed, like Mansfield, have been able so far to constrain their young and buoyant imaginations as to merit the beautiful eulogium of the English poet; while many more comparatively, from the time of Juvenal downward, fortunately for the world, have been willing to sacrifice the affections plighted to Themis on the altars of the Muse.
Brown's resolution at this crisis caused sincere regret to his friends, which they could not conceal, on seeing him thus suddenly turn from the path of honourable fame at the very moment when he was prepared to enter on it. His prospects, but lately so brilliant, seemed now overcast with a deep gloom. The embarrassments of his situation had also a most unfavourable effect on his own mind. Instead of the careful discipline to which it had been lately subjected, it was now left to rove at large wherever ​caprice should dictate, and waste itself on those romantic reveries and speculations to which he was naturally too much addicted. This was the period when the French Revolution was in its heat, and the awful convulsion experienced in one unhappy country seemed to be felt in every quarter of the globe; men grew familiar with the wildest paradoxes, and the spirit of innovation menaced the oldest and best established principles in morals and government. Brown's Inquisitive and speculative mind partook of the prevailing skepticism. Some of his compositions, and especially one on the Rights of Women, published in 1797, show to what extravagance a benevolent mind maybe led by fastening too exclusively on the contemplation of the evils of existing institutions, and indulging in indefinite dreams of perfectibility.
There is no period of existence when the spirit of a man is more apt to be depressed than when he is about to quit the safe and quiet harbour in which he has rode in safety from childhood, and to launch on the dark and unknown ocean where so many a gallant bark has gone down before him. How much must this disquietude be increased in the case of one who, like Brown, has thrown away the very chart and compass by which he was prepared to guide himself through the doubtful perils of the voyage! How heavily the gloom of despondency fell on his spirits at this time is attested by various extracts from his private correspondence. "As for me," he says, in one of his letters, "I long ago discovered ​that Nature had not qualified me for an actor on this stage. The nature of my education only added to these disqualifications, and I experienced all those deviations from the centre which arise when all our lessons are taken from books, and the scholar makes his own character the comment A happy destiny, indeed, brought me to the knowledge of two or three minds which Nature had fashioned in the same mould with my own, but these are gone. And, O God! enable me to wait the moment when it is thy will that I should follow them." In another epistle he remarks, "I have not been deficient in the pursuit of that necessary branch of knowledge, the study of myself. I will not explain the result, for have I not already sufficiently endeavoured to make my friends unhappy by communications which, though they might easily be injurious, could not be of any possible advantage? I really, dear W., regret that period when your pity was first excited in my favour. I sincerely lament that I ever gave you reason to imagine that I was not so happy as a gay indifference with regard to the present, stubborn forgetfulness with respect to the uneasy past, and excursions into lightsome futurity could make me; for what end, what useful purposes were promoted by the discovery? It could not take away from the number of the unhappy, but only add to it, by making those who loved me participate in my uneasiness, which each participation, so far from tending to diminish, would, in reality, increase, by adding those regrets, of which I had been the author in ​them, to my own original stock." It is painful to witness the struggles of a generous spirit endeavouring to suppress the anguish thus involuntarily escaping in the warmth of affectionate intercourse. This becomes still more striking in the contrast exhibited between the assumed cheerfulness of much of his correspondence at this period and the uniform melancholy tone of his private journal, the genuine record of his emotions.
Fortunately, his taste, refined by intellectual culture, and the elevation and spotless purity of his moral principles, raised him above the temptations of sensual indulgence, in which minds of weaker mould might have sought a temporary relief. His soul was steeled against the grosser seductions of appetite. The only avenue through which his principles could in any way be assailed was the understanding; and it would appear, from some dark hints in his correspondence at this period, that the rash idea of relieving himself from the weight of earthly sorrows by some voluntary deed of violence had more than once flitted across his mind. It is pleasing to observe with what beautiful modesty and simplicity of character he refers his abstinence from coarser indulgences to his constitutional infirmities, and consequent disinclination to them, which, in truth, could be only imputed to the excellence of his heart and his understanding. In one of his letters he remarks, "that the benevolence of Nature rendered him, in a manner, an exile from many of the temptations that infest the minds of ardent youth. ​Whatever his wishes might have been, his benevolent destiny had prevented him from running into the frivolities of youth." He ascribes to this cause his love of letters, and his predominant anxiety to excel in whatever was a glorious subject of competition. "Had he been furnished with the nerves and muscles of his comrades, it was very far from impossible that he might have relinquished intellectual pleasures. Nature had benevolently rendered him incapable of encountering such severe trials."
Brown's principal resources for dissipating the melancholy which hung over him were his inextinguishable love of letters, and the society of a few friends, to whom congeniality of taste and temper had united him from early years. In addition to these resources, we may mention his fondness for pedestrian rambles, which sometimes were of several weeks' duration. In the course of these excursions, the circle of his acquaintance and friends was gradually enlarged. In the city of New- York, in particular, he contracted an intimacy with several individuals of similar age and kindred mould with himself. Among these, his earliest associate was Dr. E. H. Smith, a young gentleman of great promise in the medical profession. Brown had become known to him during the residence of the latter as a student in Philadelphia. By him our hero was introduced to Mr. Dunlap, who has survived to commemorate the virtues of his friend in a biography already noticed, and to Mr. Johnson, the accomplished author of the New-York Law Reports. The society of ​these friends had sufficient attractions to induce him to repeat his visit to New-York, until at length, in the beginning of 1798, he may be said to have established his permanent residence there, passing much of his time under the same roof with them. His amiable manners and accomplishments soon recommended him to the notice of other eminent individuals. He became a member of a literary society, called the Friendly Club, comprehending names which have since shed a distinguished lustre over the various walks of literature and science.
The spirits of Brown seemed to be exalted in this new atmosphere. His sensibilities found a grateful exercise in the sympathies of friendship, and the powers of his mind were called into action by collision with others of similar tone with his own. His memory was enriched with the stores of various reading, hitherto conducted at random, with no higher object than temporary amusement, or the gratification of an indefinite curiosity. He now concentrated his attention on some determinate object, and proposed to give full scope to his various talents and acquisitions In the career of an author, as yet so little travelled in our own country.
His first publication was that before noticed, entitled "Alcuin, a dialogue on the Rights of Women." It exhibits the crude and fanciful speculations of a theorist, who, in his dreams of optimism, charges exclusively on human institutions the imperfections necessarily incident to human nature. The work, with all its ingenuity, made little impression on the ​public: it found few purchasers, and made, it may be presumed, still fewer converts.
He soon after began a romance, which he never completed, from which his biographer has given copious extracts. It is conducted in the epistolary form, and, although exhibiting little of his subsequent power and passion, is recommended by a graceful and easy manner of narration, more attractive than the more elaborate and artificial style of his latter novels.
This abortive attempt was succeeded, in 1798, by the publication of Wieland, the first of that remarkable series of fictions which flowed in such rapid succession from his pen in this and the three following years. In this romance, the author, deviating from the usual track of domestic or historic incident, proposed to delineate the powerful workings of passion, displayed by a mind constitutionally excitable, under the control of some terrible and mysterious agency. The scene is laid in Pennsylvania. The action takes place in a family by the name of Wieland, the principal member of which had inherited a melancholy and somewhat superstitious constitution of mind, which his habitual reading and contemplation deepened into a calm but steady fanaticism. This temper is nourished still farther by the occurrence of certain inexplicable circumstances of ominous import. Strange voices are heard by different members of the family, sometimes warning them of danger, sometimes announcing events seeming beyond the reach of ​human knowledge. The still and solemn hours of night are disturbed by the unearthly summons. The other actors of the drama are thrown into strange perplexity, and an underplot of events is curiously entangled by the occurrence of unaccountable sights as well as sounds. By the heated fancy of Wieland they are referred to supernatural agency. A fearful destiny seems to preside over the scene, and to carry the actors onward to some awful catastrophe. At length the hour arrives. A solemn, mysterious voice announces to Wieland that he is now called on to testify his submission to the Divine will by the sacrifice of his earthly affections—to surrender up the affectionate partner of his bosom, on whom he had reposed all his hopes of happiness in this life. He obeys the mandate of Heaven. The stormy conflict of passion into which his mind is thrown, as the fearful sacrifice he is about to make calls up all the tender remembrances of conjugal fidelity and love, is painted with frightful strength of colouring. Although it presents, on the whole, as pertinent an example as we could offer from any of Brown's writings of the peculiar power and vividness of his conceptions, the whole scene is too long for insertion here. We will mutilate it, however, by a brief extract, as an illustration of our author's manner, more satisfactory than any criticism can be. Wieland, after receiving the fatal mandate, is represented in an apartment alone with his wife. His courage, or, rather, his desperation, fails him, and he sends her, on some pretext, ​from the chamber. An interval, during which his insane passions have time to rally, ensues.
"She returned with a light; I led the way to the chamber; she looked round her; she lifted the curtain of the bed; she saw nothing. At length she fixed inquiring eyes upon me. The light now enabled her to discover in my visage what darkness had hitherto concealed. Her cares were now transferred from my sister to myself, and she said, in a tremulous voice, 'Wieland! you are not well; what ails you? Can I do nothing for you? That accents and looks so winning should disarm me of my resolution was to be expected. My thoughts were thrown anew into anarchy. I spread my hand before my eyes that I might not see her, and answered only by groans. She took my other hand between hers, and, pressing it to her heart, spoke with that voice which had ever swayed my will and wafted away sorrow. 'My friend! my soul's friend! tell me thy cause of grief. Do I not merit to partake with thee in thy cares? Am I not thy wife?'
"This was too much. I broke from her embrace, and retired to a corner of the room. In this pause, courage was once more infused into me. I resolved to execute my duty. She followed me, and renewed her passionate entreaty to know the cause of my distress.
"I raised my head and regarded her with steadfast looks. I muttered something about death, and the injunctions of my duty. At these words she shrunk back, and looked at me with a new ​expression of anguish. After a pause, she clasped her hands and exclaimed,
"'O Wieland! Wieland! God grant that I am mistaken; but surely something is wrong. I see it; it is too plain; thou art undone—lost to me and to thyself.' At the same time she gazed on my features with intensest anxiety, in hope that different symptoms would take place. I replied with vehemence, 'Undone! No; my duty is known, and I thank my God that ray cowardice is now vanquished, and I have power to fulfil it. Catharine! I pity the weakness of nature; I pity thee, but must not spare. Thy life is claimed from my hands; thou must die?'
"Fear was now added to her grief 'What mean you? Why talk you of death? Bethink yourself, Wieland; bethink yourself, and this fit will pass. O! why came I hither? Why did you drag me hither?'
"'I brought thee hither to fulfil a divine command. I am appointed thy destroyer, and destroy thee I must,' Saying this, I seized her wrists. She shrieked aloud, and endeavoured to free herself from my grasp, but her efforts were vain.
"'Surely, surely, Wieland, thou dost not mean it. Am I not thy wife? and wouldst thou kill me? Thou wilt not; and yet—I see—thou art Wieland no longer! A fury, resistless and horrible, possesses thee: spare me—spare—help—help—'
"Till her breath was stopped she shrieked for help—for mercy. When she could speak no longer, ​her gestures, her looks appealed to my compassion. My accursed hand was irresolute and tremulous. I meant thy death to be sudden, thy struggles to be brief. Alas! my heart was infirm, my resolves mutable. Thrice I slackened my grasp, and life kept its hold, though in the midst of pangs. Her eyeballs started from their sockets. Grimness and distortion took place of all that used to bewitch me into transport and subdue me into reverence.
"I was commissioned to kill thee, but not to torment thee with the foresight of thy death; not to multiply thy fears and prolong thy agonies. Haggard, and pale, and lifeless, at length thou ceasedst to contend with thy destiny.
"This was a moment of triumph. Thus had I successfully subdued the stubbornness of human passions; the victim which had been demanded was given; the deed was done past recall.
"I lifted the corpse in my arms, and laid it on the bed. I gazed upon it with delight. Such was the elation of my thoughts that I even broke into laughter. I clapped my hands, and exclaimed, 'It is done! My sacred duty is fulfilled! To that I have sacrified, O my God! thy last and best gift, my wife!'
"For a while I thus soared above frailty. I imagined I had set myself forever beyond the reach of selfishness, but my imaginations were false. This rapture quickly subsided. I looked again at my wife. My joyous ebullitions vanished, and I asked myself who it was whom I saw. Methought it ​could not be Catharine. It could not be the woman who had lodged for years in my heart; who had slept nightly in my bosom; who had borne in her womb, who had fostered at her breast, tire beings who called me father; whom I had watched with delight, and cherished with a fondness ever new and perpetually growing: it could not be the same.
"Where was her bloom? These deadly and blood-suffused orbs but ill resemble the azure and ecstatic tenderness of her eyes. The lucid stream that meandered over that bosom, the glow of love that was wont to sit upon that cheek, are much unlike these livid stains and this hideous deformity. Alas! these were the traces of agony: the gripe of the assassin had been here!
"I will not dwell upon my lapse into desperate and outrageous sorrow. The breath of Heaven that sustained me was withdrawn, and I sunk into mere man. I leaped from the floor; I dashed my head against the wall; I uttered screams of horror; I panted after torment and pain. Eternal fire and the bickerings of hell, compared with what I felt, were music and a bed of roses.
"I thank my God that this degeneracy was transient—that he deigned once more to raise me aloft. I thought upon what I had done as a sacrifice to duty, and was calm. My wife was dead; but I reflected that, though this source of human consolation was closed, yet others were still open. If the transports of a husband were no more, the feelings ​of a father had still scope for exercise. When remembrance of their mother should excite too keen a pang, I would look upon them and be comforted.
"While I revolved these ideas, new warmth flowed in upon my heart. I was wrong. These feelings were the growth of selfishness. Of this I was not aware; and, to dispel the mist that obscured my perceptions, a new effulgence and a new mandate were necessary.
"From these thoughts I was recalled by a ray that was shot into the room, A voice spake like that which I had before heard, 'Thou hast done well; but all is not done—the sacrifice is incomplete—thy children must be offered—they must perish with their mother!'"
This, too, is accomplished by the same remorseless arm, although the author has judiciously refrained from attempting to prolong the note of feeling, struck with so powerful a hand, by the recital of the particulars. The wretched fanatic is brought to trial for the murder, but is acquitted on the ground of insanity. The illusion which has bewildered him at length breaks on his understanding in its whole truth. He cannot sustain the shock, and the tragic tale closes with the suicide of the victim of superstition and imposture. The key to the whole of this mysterious agency which controls the circumstances of the story is—ventriloquism! ventriloquism exerted for the very purpose by a human fiend, from no motives of revenge or hatred, but pure diabolical malice, or, as he would ​make us believe, and the author seems willing to endorse this absurd version of it, as a mere practical joke! The reader, who has been gorged with this feast of horrors, is tempted to throw away the book in disgust at finding himself the dupe of such paltry jugglery; which, whatever sense be given to the term ventriloquism, is altogether incompetent to the various phenomena of sight and sound with which the story is so plentifully seasoned. We can feel the force of Dryden's imprecation, when he cursed the inventors of those fifth acts which are bound to unravel all the fine mesh of impossibilities which the author's wits had been so busy entangling in the four preceding.
The explication of the mysteries of Wieland naturally suggests the question how far an author is bound to explain the supernaturalities, if we may so call them, of his fictions; and whether it is not better, on the whole, to trust to the willing superstition and credulity of the reader (of which there is perhaps store enough in almost every bosom, at the present enlightened day even, for poetical purposes) than to attempt a solution on purely natural or mechanical principles. It was thought no harm for the ancients to bring the use of machinery into their epics, and a similar freedom was conceded to the old English dramatists, whose ghosts and witches were placed in the much more perilous predicament of being subjected to the scrutiny of the spectator, whose senses are not near so likely to be duped as the sensitive and excited imagination of the reader ​in his solitary chamber. It must be admitted, however, that the public of those days, when the
were admirably seasoned for the action of superstition in all forms, and furnished, therefore, a most enviable audience for the melo-dramatic artist, whether dramatist or romance-writer. But all this is changed. No witches ride the air nowadays, and fairies no longer "dance their rounds by the pale moonlight," as the worthy Bishop Corbet, indeed, lamented a century and a half ago.
Still it may be allowed, perhaps, if the scene is laid in some remote age or country, to borrow the ancient superstitions of the place, and incorporate them into, or, at least, colour the story with them, without shocking the wellbred prejudices of the modern reader. Sir Walter Scott has done this with good effect in more than one of his romances, as every one will readily call to mind. A fine example occurs in the Boden Glass apparition in Waverley, which the great novelist, far from attempting to explain on any philosophical principles, or even by an intimation of its being the mere creation of a feverish imagination, has left as he found it, trusting that the reader's poetic feeling will readily accommodate itself to the popular superstitions of the country he is depicting. This reserve on his part, indeed, arising from a truly poetic view of the subject, and an honest reliance on a similar spirit in his reader, has laid him open, with some matter-of-fact ​people, to the imputation of not being wholly untouched himself by the national superstitions. Yet how much would the whole scene have lost in its permanent effect if the author had attempted an explanation of the apparition on the ground of an optical illusion not infrequent among the mountain mists of the Highlands, or any other of the ingenious solutions so readily at the command of the thoroughbred story-teller!
It must be acknowledged, however, that this way of solving the riddles of romance would hardly be admissible in a story drawn from familiar scenes and situations in modern life, and especially in our own country. The lights of education are flung too bright and broad over the land to allow any lurking-hole for the shadows of a twilight age. So much the worse for the poet and the novelist. Their province roust now be confined to poor human nature, without meddling with the "Gorgons and chimeras dire" which floated through the bewildered brains of our forefathers, at least on the other side of the water. At any rate, if a writer, in this broad sunshine, ventures on any sort of diablerie, he is forced to explain it by all the thousand contrivances of trapdoors, secret passages, waxen images, and other makeshifts from the property-room of Mrs. Radcliffe and Company.
Brown, indeed, has resorted to a somewhat higher mode of elucidating his mysteries by a remarkable phenomenon of our nature. But the misfortune of all these attempts to account for the marvels of the ​story by natural or mechanical causes is, that they are very seldom satisfactory, or competent to their object. This is eminently the case with the ventriloquism in Wieland. Even where they are competent, it may be doubted whether the reader, who has suffered his credulous fancy to be entranced by the spell of the magician, will be gratified to learn, at the end, by what cheap mechanical contrivance he has been duped. However this may be, it is certain that a very unfavourable effect, in another respect, is produced on his mind, after he is made acquainted with the nature of the secret spring by which the machinery is played, more especially when one leading circumstance, like ventriloquism in Wieland, is made the master-key, as it were, by which all the mysteries are to be unlocked and opened at once. With this explanation at hand, it is extremely difficult to rise to that sensation of mysterious awe and apprehension on which so much of the sublimity and general effect of the narrative necessarily depends. Instead of such feelings, the only ones which can enable us to do full justice to the author's conceptions, we sometimes, on the contrary, may detect a smile lurking in the corner of the mouth as we peruse scenes of positive power, from the contrast obviously suggested of the impotence of the apparatus and the portentous character of the results. The critic, therefore, possessed of the real key to the mysteries of the story, if he would do justice to his author's merits, must divest himself, as it were, of his previous ​knowledge, by fastening his attention on the results, to the exclusion of the insignificant means by which they are achieved. He will not always find this an easy matter.
But to return from this rambling digression: in the following year, 1799, Brown published his second novel, entitled Ormond. The story presents few of the deeply agitating scenes and powerful bursts of passion which distinguish the first. It is designed to exhibit a model of surpassing excellence in a female rising superior to all the shocks of adversity and the more perilous blandishments of seduction, and who, as the scene grows darker and darker around her, seems to illumine the whole with the radiance of her celestial virtues. The reader is reminded of the "patient Griselda," so delicately portrayed by the pencils of Boccaccio and Chaucer. It must be admitted, however, that the contemplation of such a character in the abstract is more imposing than the minute details by which we attain to the knowledge of it; and although there is nothing, we are told, which the gods looked down upon with more satisfaction than a brave mind struggling with the storms of adversity, yet, when these come in the guise of poverty and all the train of teasing annoyances in domestic life, the tale, if long protracted, too often produces a sensation of weariness scarcely to be compensated by the moral grandeur of the spectacle.
The appearance of these two novels constitutes an epoch in the ornamental literature of America, ​They are the first decidedly successful attempts in the walk of romantic fiction. They are still farther remarkable as illustrating the character and state of society on this side of the Atlantic, instead of resorting to the exhausted springs of European invention. These circumstances, as well as the uncommon powers they displayed both of conception and execution, recommended them to the notice of the literary world, although their philosophical method of dissecting passion and analyzing motives of action placed them somewhat beyond the reach of vulgar popularity. Brown was sensible of the favourable impression which he had made, and mentions it in one of his epistles to his brother with his usual unaffected modesty: "I add somewhat, though not so much as I might if I were so inclined, to the number of my friends. I find to be the writer of Wieland and Ormond is a greater recommendation than I ever imagined it would be."
In the course of the same year, the quiet tenour of his life was interrupted by the visitation of that fearful pestilence, the yellow fever, which had for several successive years made its appearance in the city of New-York, but which in 1798 fell upon it with a violence similar to that with which it had desolated Philadelphia in 1793. Brown had taken the precaution of withdrawing from the latter city, where he then resided, on its first appearance there he prolonged his stay in New-York, however, relying on the healthiness of the quarter of the town where he lived, and the habitual abstemiousness of ​his diet. His friend Smith was necessarily detained there by the duties of his profession; and Brown, in answer to the reiterated importunities of his absent relatives to withdraw from the infected city, refused to do so, on the ground that his personal services might be required by the friends who remained in it; a disinterestedness well meriting the strength of attachment which he excited in the bosom of his companions.
Unhappily, Brown was right in his prognostics, and his services were too soon required in behalf of his friend Dr. Smith, who fell a victim to his own benevolence, having caught the fatal malady from an Italian gentleman, a stranger in the city, whom he received, when infected with the disease, into his house, relinquishing to him his own apartment. Brown had the melancholy satisfaction of performing the last sad offices of affection to his dying friend. He himself soon became affected with the same disorder; and it was not till after a severe illness that he so far recovered as to be able to transfer his residence to Perth Amboy, the abode of Mr. Dunlap, where a pure and invigorating atmosphere, aided by the kind attentions of his host, gradually restored him to a sufficient degree of health and spirits for the prosecution of his literary labours.
The spectacle he had witnessed made too deep an impression on him to be readily effaced, and he resolved to transfer his own conceptions of it, while yet fresh, to the page of fiction, or, as it might ​rather be called, of history, for the purpose, as he intimates in his preface, of imparting to others some of the fruits of the melancholy lesson he had himself experienced. Such was the origin of his next novel, Arthur Mervyn; or, Memoirs of the Year 1793. This was the fatal year of the yellow fever in Philadelphia, The action of the story is chiefly confined to that city, but seems to be prepared with little contrivance, on no regular or systematic plan, consisting simply of a succession of incidents, having little cohesion except in reference to the hero, but affording situations of great interest, and frightful fidelity of colouring. The pestilence wasting a thriving and populous city has furnished a topic for more than one great master. It will be remembered as the terror of every schoolboy in the pages of Thucydides; it forms the gloomy portal to the light and airy fictions of Boccaccio; and it has furnished a subject for the graphic pencil of the English novelist De Foe, the only one of the three who never witnessed the horrors which he paints, but whose fictions wear an aspect of reality which history can rarely reach.
Brown has succeeded in giving the same terrible distinctness to his impressions by means of individual portraiture. He has, however, not confined himself to this, but, by a variety of touches, lays open to our view the whole interior of the city of the plague. Instead of expatiating on the loathsome symptoms and physical ravages of the disease, he selects the most striking moral circumstances which ​attend it; he dwells on the withering sensation that falls so heavily on the heart in the streets of the once busy and crowded city, now deserted and silent, save only where the wheels of the melancholy hearse are heard to rumble along the pavement. Our author not unfrequently succeeds in conveying more to the heart by the skilful selection of a single circumstance than would have flowed from a multitude of petty details. It is the art of the great masters of poetry and painting.
The same year in which Brown produced the first part of "Arthur Mervyn," he entered on the publication of a periodical entitled The Monthly Magazine and American Review, a work that, during its brief existence, which terminated in the following year, afforded abundant evidence of its editor's versatility of talent and the ample range of his literary acquisitions. Our hero was now fairly in the traces of authorship. He looked to it as his permanent vocation; and the indefatigable diligence with which he devoted himself to it may at least serve to show that he did not shrink from his professional engagements from any lack of industry or enterprise.
The publication of "Arthur Mervyn" was succeeded not long after by that of Edgar Huntly; or, the Adventures of a Sleepwalker, a romance presenting a greater variety of wild and picturesque adventure, with more copious delineations of natural scenery, than is to be found in his other fictions; circumstances, no doubt, possessing more attractions ​for the mass of readers than the peculiarities of his other novels. Indeed, the author has succeeded perfectly in constantly stimulating the curiosity by a succession of as original incidents, perils, and hair-breadth escapes as ever flitted across a poet's fancy. It is no small triumph of the art to be able to maintain the curiosity of the reader unflagging through a succession of incidents, which, far from being sustained by one predominant passion, and forming parts of one whole, rely each for its interest on its own independent merits.
The story is laid in the western part of Pennsylvania, where the author has diversified his descriptions of a simple and almost primitive state of society with uncommonly animated sketches of rural scenery. It is worth observing how the sombre complexion of Brown's imagination, which so deeply tinges his moral portraiture, sheds its gloom over his pictures of material nature, raising the landscape into all the severe and savage sublimity of a Salvator Rosa. The somnambulism of this novel, which, like the ventriloquism of "Wieland," is the moving principle of all the machinery, has this advantage over the latter, that it does not necessarily impair the effect by perpetually suggesting a solution of mysteries, and thus dispelling the illusion on whose existence the effect of the whole story mainly depends. The adventures, indeed, built upon it are not the most probable in the world; but, waving this—we shall be well rewarded for such concession—there is no farther difficulty.
​The extract already cited by us from the first of our author's novels has furnished the reader with an illustration of his power in displaying the conflict of passion under high moral excitement. We will now venture another quotation from the work before us, in order to exhibit more fully his talent for the description of external objects.
Edgar Huntly, the hero of the story, is represented in one of the wild mountain fastnesses of Norwalk, a district in the western part of Pennsylvania. He is on the brink of a ravine, from which the only avenue lies over the body of a tree thrown across the chasm, through whose dark depths below a rushing torrent is heard to pour its waters.
"While occupied with these reflections, my eyes were fixed upon the opposite steeps. The tops of the trees, waving to and fro in the wildest commotion, and their trunks occasionally bending to the blast, which, in these lofty regions, blew with a violence unknown in the tracts below, exhibited an awful spectacle. At length my attention was attracted by the trunk which lay across the gulf, and which I had converted into a bridge. I perceived that it had already swerved somewhat from its original position; that every blast broke or loosened some of the fibres by which its roots were connected with the opposite bank; and that, if the storm did not speedily abate, there was imminent danger of its being torn from the rock and precipitated into the chasm. Thus my retreat would be cut off, and ​the evils from which I was endeavouring to rescue another would be experienced by myself.
"I believed my destiny to hang upon the expedition with which I should recross this gulf. The moments that were spent in these deliberations were critical, and I shuddered to observe that the trunk was held in its place by one or two fibres, which were already stretched almost to breaking.
"To pass along the trunk, rendered slippery by the wet, and unsteadfast by the wind, was eminently dangerous. To maintain my hold in passing, in defiance of the whirlwind, required the most vigorous exertions. For this end, it was necessary to discommode myself of my cloak, and of the volume which I carried in the pocket of my coat.
"Just as I had disposed of these encumbrances, and had risen from my seat, my attention was again called to the opposite steep by the most unwelcome object that at this time could possibly occur. Something was perceived moving among the bushes and rocks, which, for a time, I hoped was nothing more than a racoon or opossum, but which presently appeared to be a panther. His gray coat, extended claws, fiery eyes, and a cry which he at that moment uttered, and which, by its resemblance to the human voice, is peculiarly terrific, denoted him to be the most ferocious and untameable of that detested race. The industry of our hunters has nearly banished animals of prey from these precincts. The fastnesses of Norwalk, however, could not but afford refuge to some of them. Of late I had met ​them so rarely that my fears were seldom alive, and I trod without caution the ruggedest and most solitary haunts. Still, however, I had seldom been unfurnished in my rambles with the means of defence.
"The unfrequency with which I had lately encountered this foe, and the encumbrance of provision, made me neglect, on this occasion, to bring with me my usual arms. The beast that was now before me, when stimulated by hunger, was accustomed to assail whatever could provide him with a banquet of blood. He would set upon the man and the deer with equal and irresistible ferocity. His sagacity was equal to his strength, and he seemed able to discover when his antagonist was armed and prepared for defence.
"My past experience enabled me to estimate the full extent of my danger. He sat on the brow of the steep, eyeing the bridge, and apparently deliberating whether he should cross it. It was probable that he had scented my footsteps thus far, and, should he pass over, his vigilance could scarcely fail of detecting my asylum.
"Should he retain his present station, my danger was scarcely lessened. To pass over in the face of a famished tiger was only to rush upon my fate. The falling of the trunk, which had lately been so anxiously deprecated, was now, with no less solicitude, desired. Every new gust, I hoped, would tear asunder its remaining bands, and, by cutting off all communication between the opposite steeps, place ​me in security. My hopes, however, were destined to be frustrated. The fibres of the prostrate tree were obstinately tenacious of their hold, and presently the animal scrambled down the rock and proceeded to cross it.
"Of all kinds of death, that which now menaced me was the most abhorred. To die by disease, or by the hand of a fellow-creature, was propitious and lenient in comparison with being rent to pieces by the fangs of this savage. To perish in this obscure retreat by means so impervious to the anxious curiosity of my friends, to lose my portion of existence by so untoward and ignoble a destiny, was insupportable. I bitterly deplored my rashness in coming hither unprovided for an encounter like this.
"The evil of my present circumstances consisted chiefly in suspense. My death was unavoidable, but my imagination had leisure to torment itself by anticipations. One foot of the savage was slowly and cautiously moved after the other. He struck his claws so deeply into the bark that they were with difficulty withdrawn. At length he leaped upon the ground. We were now separated by an interval of scarcely eight feet. To leave the spot where I crouched was impossible. Behind and beside me the cliff rose perpendicularly, and before me was this grim and terrible visage. I shrunk still closer to the ground, and closed my eyes.
"From this pause of horror I was aroused by the noise occasioned by a second spring of the animal. ​He leaped into the pit, in which I had so deeply regretted that I had not taken refuge, and disappeared. My rescue was so sudden, and so much beyond my belief or my hope, that I doubted for a moment whether my senses did not deceive me. This opportunity of escape was not to be neglected, I left my place and scrambled over the trunk with a precipitation which had like to have proved fatal. The tree groaned and shook under me, the wind blew with unexampled violence, and I had scarcely reached the opposite steep when the roots were severed from the rock, and the whole fell thundering to the bottom of the chasm.
"My trepidations were not speedily quieted. I looked back with wonder on my hair-breadth escape, and on that singular concurrence of events which had placed me in so short a period in absolute security. Had the trunk fallen a moment earlier, I should have been imprisoned on the hill or thrown headlong. Had its fall been delayed another moment, I should have been pursued; for the beast now issued from his den, and testified his surprise and disappointment by tokens the sight of which made my blood run cold.
"He saw me, and hastened to the verge of the chasm. He squatted on his hind legs, and assumed the attitude of one preparing to leap. My consternation was excited afresh by these appearances. It seemed at first as if the rift was too wide for any power of muscles to carry him in safety over; but I knew the unparalleled agility of this animal, and ​that his experience had made him a better judge of the practicability of this exploit than I was.
"Still there was hope that he would relinquish this design as desperate. This hope was quickly at an end. He sprung, and his fore legs touched the verge of the rock on which I stood. In spite of vehement exertions, however, the surface was too smooth and too hard to allow him to make good his hold. He fell, and a piercing cry uttered below showed that nothing had obstructed his descent to the bottom."
The subsequent narrative leads the hero through a variety of romantic adventures, especially with the savages, with whom he has several desperate rencounters and critical escapes. The track of adventure, indeed, strikes into the same wild solitudes of the forest that have since been so frequently travelled over by our ingenious countryman Cooper. The light in which the character of the North American Indian has been exhibited by the two writers has little resemblance. Brown's sketches, it is true, are few and faint. As far as they go, however, they are confined to such views as are most conformable to the popular conceptions, bringing into full relief the rude and uncouth lineaments of the Indian character, its cunning, cruelty, and unmitigated ferocity, with no intimations of a more generous nature. Cooper, on the other hand, discards all the coarser elements of savage life, reserving those only of a picturesque and romantic cast, and elevating the souls of his warriors by such ​sentiments of courtesy, high-toned gallantry, and passionate tenderness as belong to the riper period of civilization. Thus idealized, the portrait, if not strictly that of the fierce and untamed son of the forest, is at least sufficiently true for poetical purposes. Cooper is indeed a poet. His descriptions of inanimate nature, no less than of savage man, are instinct with the breath of poetry. Witness his infinitely various pictures of the ocean; or still more, of the beautiful spirit that rides upon its bosom, the gallant ship, which under his touches becomes an animated thing, inspired by a living soul; reminding us of the beautiful superstition of the simple-hearted natives, who fancied the bark of Columbus some celestial visitant, descending on his broad pinions from the skies.
Brown is far less of a colourist. He deals less in external nature, but searches the depths of the soul. He may be rather called a philosophical than a poetical writer; for, though he has that intensity of feeling which constitutes one of the distinguishing attributes of the latter, yet in his most tumultuous bursts of passion we frequently find him pausing to analyze and coolly speculate on the elements which have raised it. This intrusion, indeed, of reason, la raison froide, into scenes of the greatest interest and emotion, has sometimes the unhappy effect of chilling them altogether.
In 1800 Brown published the second part of his Arthur Mervyn, whose occasional displays of energy and pathos by no means compensate the ​violent dislocations and general improbabilities of the narrative. Our author was led into these defects by the unpardonable precipitancy of his composition. Three of his romances were thrown off in the course of one year. These were written with the printer's devil literally at his elbow, one being begun before another was completed, and all of them before a regular, well-digested plan was devised for their execution.
The consequences of this curious style of doing business are such as might have been predicted. The incidents are strung together with about as little connexion as the rhymes in "the House that Jack built;" and the whole reminds us of some bizarre, antiquated edifice, exhibiting a dozen styles of architecture, according to the caprice or convenience of its successive owners.
The reader is ever at a loss for a clew to guide him through the labyrinth of strange, incongruous incident. It would seem as if the great object of the author was to keep alive the state of suspense, on the player's principle, in the "Rehearsal," that "on the stage it is best to keep the audience in suspense; for to guess presently at the plot or the sense tires them at the end of the first act. Now here every line surprises you, and brings in new matter!" Perhaps, however, all this proceeds less from calculation than from the embarrassment which the novelist feels in attempting a solution of his own riddles, and which leads him to put off the reader, by multiplying incident after incident, until ​at length, entangled in the complicated snarl of his own intrigue, he is finally obliged, when the fatal hour arrives, to cut the knot which he cannot unravel. There is no other way by which we can account for the forced and violent dénouemens which bring up so many of Brown's fictions. Voltaire has remarked, somewhere in his Commentaries on Corneille, that "an author may write with the rapidity of genius, but should correct with scrupulous deliberation." Our author seems to have thought it sufficient to comply with the first half of the maxim.
In 1801 Brown published his novel of Clara Howard, and in 1804 closed the series with Jane Talbot, first printed in England. They are composed in a more subdued tone, discarding those startling preternatural incidents of which he had made such free use in his former fictions. In the preface to his first romance, "Wieland," he remarks, in allusion to the mystery on which the story is made to depend, that "it is a sufficient vindication of the writer if history furnishes one parallel fact." But the French critic, who tells us le vrai pent quelquefois n'etre pas vraisemblable, has, with more judgment, condemned this vicious recurrence to extravagant and improbable incident. Truth cannot always be pleaded in vindication of the author of a fiction any more than of a libel. Brown seems to have subsequently come into the same opinion; for, in a letter addressed to his brother James, after the publication of "Edgar Huntly," he observes, "Your remarks upon the gloominess and out-of-nature ​incidents of 'Huntly,' if they be not just in their full extent, are doubtless such as most readers will make, which alone is a sufficient reason for dropping the doleful tone and assuming a cheerful one, or, at least, substituting moral causes and daily incidents in place of the prodigious or the singular. I shall not fall hereafter into that strain." The two last novels of our author, however, although purified from the more glaring defects of the preceding, were so inferior in their general power and originality of conception, that they never rose to the same level in public favour.
In the year 1801 Brown returned to his native city, Philadelphia, where he established his residence in the family of his brother. Here he continued, steadily pursuing his literary avocations; and in 1803 undertook the conduct of a periodical, entitled The Literary Magazine and American Register. A great change had taken place in his opinions on more than one important topic connected with human life and happiness, and, indeed, in his genera! tone of thinking, since abandoning his professional career. Brighter prospects, no doubt, suggested to him more cheerful considerations. Instead of a mere dreamer in the world of fancy, he had now become a practical man: larger experience and deeper meditation had shown him the emptiness of his Utopian theories; and, though his sensibilities were as ardent, and as easily enlisted as ever in the cause of humanity, his schemes of amelioration were built upon, not against the ​existing institutions of society. The enunciation of the principles on which the periodical above alluded to was to be conducted, is so honourable every way to his heart and his understanding that we cannot refrain from making a brief extract from it.
"In an age like this, when the foundations of religion and morality have been so boldly attacked, it seems necessary, in announcing a work of this nature, to be particularly explicit as to the path which the editor means to pursue. He therefore avows himself to be, without equivocation or reserve, the ardent friend and the willing champion of the Christian religion. Christian piety he reveres as the highest excellence of human beings; and the amplest reward he can seek for his labour is the consciousness of having, in some degree, however inconsiderable, contributed to recommend the practice of religious duties. As in the conduct of this work a supreme regard will be paid to the interests of religion and morality, he will scrupulously guard against all that dishonours and impairs that principle. Everything that savours of indelicacy or licentiousness will be rigorously proscribed. His poetical pieces may be dull, but they shall at least be free from voluptuousness or sensuality; and his prose, whether seconded or not by genius and knowledge, shall scrupulously aim at the promotion of public and private virtue."
During his abode in New-York our author had formed an attachment to an amiable and accomplished young lady, Miss Elizabeth Linn, daughter ​of the excellent and highly-gifted Presbyterian divine, Dr. William Linn, of that city. Their mutual attachment, in which the impulses of the heart were sanctioned by the understanding, was followed by their marriage in November, 1804, after which he never again removed his residence from Philadelphia.
With the additional responsibilities of his new station, he pursued his literary labours with increased diligence. He projected the plan of an Annual Register, the first work of the kind in the country, and in 1806 edited the first volume of the publication, which was undertaken at the risk of an eminent bookseller of Philadelphia, Mr. Conrad, who had engaged his editorial labours in the conduct of the former Magazine, begun in 1803. When it is considered that both these periodicals were placed under the superintendence of one individual, and that he bestowed such indefatigable attention on them that they were not only prepared, but a large portion actually executed by his own hands, we shall form no mean opinion of the extent and variety of his stores of information and his facility in applying them. Both works are replete with evidences of the taste and erudition of their editor, embracing a wide range of miscellaneous articles, essays, literary criticism, and scientific researches. The historical portion of "The Register" in particular, comprehending, in addition to the political annals of the principal states of Europe and of our own country, an elaborate inquiry into the origin ​and organization of our domestic institutions, displays a discrimination in the selection of incidents, and a good faith and candour in the mode of discussing them, that entitle it to great authority as a record of contemporary transactions. Eight volumes were published of the first-mentioned periodical, and the latter was continued under his direction till the end of the fifth volume, 1809.
In addition to these regular, and, as they may be called, professional labours, he indulged his prolific pen in various speculations, both of a literary and political character, many of which appeared in the pages of the "Portfolio." Among other occasional productions, we may notice a beautiful biographical sketch of his wife's brother. Dr. J. B. Linn, pastor of the Presbyterian church in Philadelphia, whose lamented death occurred in the year succeeding Brown's marriage. We must not leave out of the account three elaborate and extended pamphlets, published between 1803 and 1809, on political topics of deep interest to the community at that time. The first of these, on the cession of Louisiana to the French, soon went into a second edition. They all excited general attention at the time of their appearance by the novelty of their arguments, the variety and copiousness of their information, the liberality of their views, the independence, so rare at that day, of foreign prejudices; the exemption, still rarer, from the bitterness of party spirit; and, lastly, the tone of loyal and heartfelt patriotism—a patriotism without cant—with which ​the author dwells on the expanding glory and prosperity of his country in a strain of prophecy that it is our boast has now become history.
Thus occupied, Brown's situation seemed now to afford him all the means for happiness attainable in this life. His own labours secured to him an honourable independence and a high reputation, which, to a mind devoted to professional or other intellectual pursuits, is usually of far higher estimation than gain. Round his own fireside he found ample scope for the exercise of his affectionate sensibilities, while the tranquil pleasures of domestic life proved the best possible relaxation for a mind wearied by severe intellectual effort. His grateful heart was deeply sensible to the extent of his blessings; and in more than one letter he indulges in a vein of reflection which shows that his only solicitude was from the fear of their instability. His own health furnished too well-grounded cause for such apprehensions.
We have already noticed that he set out in life with a feeble constitution. His sedentary habits and intense application had not, as it may well be believed, contributed to repair the defects of Nature. He had for some time shown a disposition to pulmonary complaints, and had raised blood more than once, which he in vain endeavoured to persuade himself did not proceed from the lungs. As the real character of the disease disclosed itself in a manner not to be mistaken, his anxious friends would have persuaded him to cross the water in ​the hope of re-establishing his health by a seasonable change of climate. But Brown could not endure the thoughts of so long a separation from his beloved family, and he trusted to the effect of a temporary abstinence from business, and of one of those excursions into the country by which he had so often recruited his health and spirits.
In the summer of 1809 he made a tour into New-Jersey and New-York. A letter addressed to one of his family from the banks of the Hudson, during this journey, exhibits in melancholy colours how large a portion of his life had been clouded by disease, which now, indeed, was too oppressive to admit of any other alleviation than what he could find in the bosom of his own family.
"My dearest Mary—Instead of wandering about, and viewing more nearly a place that affords very pleasing landscapes, here am I, hovering over the images of wife, children, and sisters. I want to write to you and home; and though unable to procure paper enough to form a letter, I cannot help saying something even on this scrap.
"I am mortified to think how incurious and inactive a mind has fallen to my lot. I left home with reluctance. If I had not brought a beloved part of my home along with me, I should probably have not left it at all. At a distance from home, my enjoyments, my affections are beside you. If swayed by mere inclination, I should not be out of your company a quarter of an hour between my ​parting and returning hour; but I have some mercy on you and Susan, and a due conviction of my want of power to beguile your vacant hour with amusement, or improve it by instruction. Even if I were ever so well, and if my spirits did not continually hover on the brink of dejection, my talk could only make you yawn; as things are, my company can only tend to create a gap indeed.
"When have I known that lightness and vivacity of mind which the divine flow of health, even in calamity, produces in some men, and would produce in me, no doubt—at least, when not soured by misfortune? Never; scarcely ever; not longer than half an hour at a time since I have called myself man, and not a moment since I left you,"
Finding these brief excursions productive of no salutary change in his health, he at length complied with the entreaties of his friends, and determined to try the effect of a voyage to Europe in the following spring. That spring he was doomed never to behold. About the middle of November he was taken with a violent pain in his left side, for which he was bled. From that time forward he was confined to his chamber. His malady was not attended with the exemption from actual pain with which Nature seems sometimes willing to compensate the sufferer for the length of its duration. His sufferings were incessant and acute; and they were supported, not only without a murmur, but with an appearance of cheerfulness, to which the hearts of his friends could but ill respond. He met the ​approach of Death in the true spirit of Christian philosophy. No other dread but that of separation from those dear to him on earth had power to disturb his tranquillity for a moment. But the temper of his mind in his last hours is best disclosed in a communication from that faithful partner who contributed more than any other to support him through them. "He always felt for others more than for himself; and the evidences of sorrow in those around him, which could not at all times be suppressed, appeared to affect him more than his own sufferings. Whenever he spoke of the probability of a fatal termination to his disease, it was in an indirect and covert manner, as, 'you must do so and so when I am absent,' or 'when I am asleep,' He surrendered not up one faculty of his soul but with his last breath. He saw death in every step of his approach, and viewed him as a messenger that brought with him no terrors. He frequently expressed his resignation; but his resignation was not produced by apathy or pain; for while he bowed with submission to the Divine will, he felt with the keenest sensibility his separation from those who made this world but too dear to him. Towards the last he spoke of death without disguise, and appeared to wish to prepare his friends for the event, which he felt to be approaching. A few days previous to his change, as sitting up in the bed, he fixed his eyes on the sky, and desired not to be spoken to until he first spoke. In this position, and with a serene countenance, he continued ​for some minutes, and then said to his wife, 'When I desired you not to speak to me, I had the most transporting and sublime feelings I have ever experienced; I wanted to enjoy them, and know how long they would last;' concluding with requesting her to remember the circumstance."
A visible change took place in him on the morning of the 19th of February, 1810, and he caused his family to be assembled around his bed, when he took leave of each one of them in the most tender and impressive manner. He lingered, however, a few days longer, remaining in the full possession of his faculties to the 22d of the month, when he expired without a struggle. He had reached the thirty-ninth year of his age the month preceding his death. The family which he left consisted of a wife and four children.
There was nothing striking in Brown's personal appearance. His manners, however, were distinguished by a gentleness and unaffected simplicity which rendered them extremely agreeable. He possessed colloquial powers which do not always fall to the lot of the practised and ready writer. His rich and various acquisitions supplied an unfailing fund for the edification of his hearers. They did not lead him, however, to affect an air of superiority, or to assume too prominent a part in the dialogue, especially in large or mixed company, where he was rather disposed to be silent, reserving the display of his powers for the unrestrained intercourse of friendship. He was a stranger not only ​to base and malignant passions, but to the paltry jealousies which sometimes sour the intercourse of men of letters. On the contrary, he was ever prompt to do ample justice to the merits of others. His heart was warm with the feeling of universal benevolence. Too sanguine and romantic views had exposed him to some miscalculations and consequent disappointments in youth, from which, however, he was subsequently retrieved by the strength of his understanding, which, combining with what may be called his natural elevation of soul, enabled him to settle the soundest principles for the regulation of his opinions and conduct in after life. His reading was careless and desultory, but his appetite was voracious; and the great amount of miscellaneous information which he thus amassed was all demanded to supply the outpourings of his mind in a thousand channels of entertainment and instruction. His unwearied application is attested by the large amount of his works, large even for the present day, when mind seems to have caught the accelerated movement so generally given to the operations of machinery. The whole number of Brown's printed works, comprehending his editorial as well as original productions, to the former of which his own pen contributed a very disproportionate share, is not less than four-and-twenty printed volumes, not to mention various pamphlets, anonymous contributions to divers periodicals, as well as more than one compilation of laborious research which he left unfinished at his death.
​Of this vast amount of matter, produced within the brief compass of little more than ten years, that portion on which his fame as an author must permanently rest is his novels. We have already entered too minutely into the merits of these productions to require anything farther than a few general observations. They may probably claim to be regarded as having first opened the way to the successful cultivation of romantic fiction in this country. Great doubts were long entertained of our capabilities for immediate success in this department. We had none of the buoyant, stirring associations of a romantic age; none of the chivalrous pageantry, the feudal and border story, or Robin Hood adventure; none of the dim, shadowy superstitions, and the traditional legends, which had gathered like moss round every stone, hill, and valley of the olden countries. Everything here wore a spick-and-span new aspect, and lay in the broad, garish sunshine of everyday life. We had none of the picturesque varieties of situation or costume; everything lay on the same dull, prosaic level; in short, we had none of the most obvious elements of poetry: at least so it appeared to the vulgar eye. It required the eye of genius to detect the rich stores of romantic and poetic interest that lay beneath the crust of society. Brown was aware of the capabilities of our country, and the poverty of the results he was less inclined to impute to the soil than to the cultivation of it; at least this would appear from some remarks dropped in his correspondence in ​1794, several years before he broke ground in this field himself. "It used to be a favourite maxim with me, that the genius of a poet should be sacred to the glory of his country. How far this rule can be reduced to practice by an American bard, how far he can prudently observe it, and what success has crowned the efforts of those who, in their compositions, have shown that they have not been unmindful of it, is perhaps not worth the inquiry.
"Does it not appear to you that, to give poetry a popular currency and universal reputation, a particular cast of manners and state of civilization is necessary? I have sometimes thought so, but perhaps it is an error; and the want of popular poems argues only the demerit of those who have already written, or some defect in their works, which unfits them for every taste or understanding."
The success of our author's experiment, which was entirely devoted to American subjects, fully established the soundness of his opinions, which have been abundantly confirmed by the prolific pens of Irving, Cooper, Sedgwick, and other accomplished writers, who, in their diversified sketches of national character and scenery, have shown the full capacity of our country for all the purposes of fiction. Brown does not direct himself, like them, to the illustration of social life, and character. He is little occupied with the exterior forms of society. He works in the depths of the heart, dwelling less on human action than the sources of it. He has been said to have formed himself on Godwin. Indeed, he ​openly avowed his admiration of that eminent writer, and has certainly, in some respects, adopted his mode of operation, studying character with a philosophic rather than a poetic eye. But there is no servile imitation in all this. He has borrowed the same torch, indeed, to read the page of human nature, but the lesson he derives from it is totally different. His great object seems to be to exhibit the soul in scenes of extraordinary interest. For this purpose, striking and perilous situations are devised, or circumstances of strong moral excitement, a troubled conscience, partial gleams of insanity, or bodings of imaginary evil, which haunt the soul, and force it into all the agonies of terror. In the midst of the fearful strife, we are coolly invited to investigate its causes and all the various phenomena which attend it; every contingency, probability, nay, possibility, however remote, is discussed and nicely balanced. The heat of the reader is seen to evaporate in this cold-blooded dissection, in which our author seems to rival Butler's hero, who,
"Profoundly skilled in analytic,
Could distinguish and divide
A hair 'twixt south and southwest side,"
We are constantly struck with the strange contrast of over-passion and over-reasoning. But perhaps, after all, these defects could not be pruned away from Brown's composition without detriment to his peculiar excellences. Si non errâsset, fecerat ille minus. If so, we may willingly pardon the one for the sake of the other.
We cannot close without adverting to our ​author's style. He bestowed great pains on the formation of it; but, in our opinion, without great success, at least in his novels. It has an elaborate, factitious air, contrasting singularly with the general simplicity of his taste and the careless rapidity of his composition. We are aware, indeed, that works of imagination may bear a higher flush of colour, a poetical varnish, in short, that must be refused to graver and more studied narrative. No writer has been so felicitous in reaching the exact point of good taste in this particular as Scott, who, on a groundwork of prose, may be said to have enabled his readers to breathe an atmosphere of poetry. More than one author, on the other hand, as Florian, in French, for example, and Lady Morgan, in English, in their attempts to reach this middle region, are eternally fluttering on the wing of sentiment, equally removed from good prose and good poetry.
Brown, perhaps willing to avoid this extreme, has fallen into the opposite one, forcing his style into unnatural vigour and condensation. Unusual and pedantic epithets, and elliptical forms of expression, in perpetual violation of idiom, are resorted to at the expense of simplicity and nature. He seems averse to telling simple things in a simple way. Thus, for example, we have such expressions as these: "I was fraught with the persuasion that my life was endangered." "The outer door was ajar. I shut it with trembling eagerness, and drew every bolt that appended to it." "His brain seemed to swell beyond its continent." "I waited ​till their slow and hoarser inspirations showed them to be both asleep. Just then, on changing my position, my head struck against some things which depended from the ceiling of the closet." "It was still dark, but my sleep was at an end, and by a common apparatus (tinder-box?) that lay beside my bed, I could instantly produce a light." "On recovering from deliquium, you found it where it had been dropped." It is unnecessary to multiply examples, which we should not have adverted to at all had not our opinions in this matter been at variance with those of more than one respectable critic. This sort of language is no doubt in very bad taste. It cannot be denied, however, that, although these defects are sufficiently general to give a colouring to the whole of his composition, yet his works afford many passages of undeniable eloquence and rhetorical beauty. It must be remembered, too, that his novels were his first productions, thrown off with careless profusion, and exhibiting many of the defects of an immature mind, which longer experience and practice might have corrected. Indeed, his later writings are recommended by a more correct and natural phraseology, although it must be allowed that the graver topics to which they are devoted, if they did not authorize, would at least render less conspicuous any studied formality and artifice of expression.
These verbal blemishes, combined with defects already alluded to in the development of his plots, but which all relate to the form rather than the fond of his subject, have made our author less ​extensively popular than his extraordinary powers would have entitled him to be. His peculiar merits, indeed, appeal to a higher order of criticism than is to be found in ordinary and superficial readers. Like the productions of Coleridge or Wordsworth, they seem to rely on deeper sensibilities than most men possess, and tax the reasoning powers more severely than is agreeable to readers who resort to works of fiction only as an epicurean indulgence. The number of their admirers is therefore necessarily more limited than that of writers of less talent, who have shown more tact in accommodating themselves to the tone of popular feeling or prejudice.
But we are unwilling to part, with anything like a tone of disparagement lingering on our lips, with the amiable author to whom our rising literature is under such large and various obligations; who first opened a view into the boundless fields of fiction, which subsequent adventurers have successfully explored; who has furnished so much for our instruction in the several departments of history and criticism, and has rendered still more effectual service by kindling in the bosom of the youthful scholar the same generous love of letters which glowed in his own; whose writings, in fine, have uniformly inculcated the pure and elevated morality exempllfied in his life. The only thing we can regret is, that a life so useful should have been so short, if, indeed, that can be considered short which has done so much towards attaining life's great end.
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