The Japanese Journal of American Studies, No. 26 (2015)
Copyright © 2015 Masahiko Narita. All rights reserved. This work may be used, with thisnotice included, for noncommercial purposes. No copies of this work may be distributed,
electronically or otherwise, in whole or in part, without permission from the author.

The Phenomenology of Family-Killing Fatherhood:
Charles Brockden Brown’s Wieland and Dubious
Reason in the Early American Republic

Masahiko Narita*

Reason is, and ought only to be the slave of the passions, and cannever pretend to any other office than to serve and obey them.
—David Hume, A Treatise of Human Nature (1740)
Charles Brockden Brown’s Wieland; or, The Transformation: An
American Tale (1798) is widely known to have been greatly inspired by, if
not exclusively based on, a notoriously gruesome crime—Upstate New
York farmer James Yates’s atrocious murders of his own family in 1781.
James Yates was universally esteemed by his neighbors as a gentle, kind,sober, and industrious man. One December evening of that year, he saw off
all the neighbors who had visited his house for reading the Bible and singing
psalms since it was Sunday and there was no church nearby. Later thatevening, while taking his wife on his lap and reading the Bible with her by
the fireplace, he suddenly saw and heard two mysterious spirits, one ofwhich bade him “destroy all [his] idols, and begin by casting the Bible into
the fire.”1 Although he was a family-caring father and affectionate husband,
he immediately followed the order, brutally killing his wife and four children
including a six-month-old baby, one after another with an axe or a hatchet
or violently throwing them against the wall. Yates never repented for what
*Professor, Senshu University

37

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he had done. “My father, thou knowest that it was in obedience to thycommands,” he addressed to his God, “and for thy glory that I have done
this deed” (Yates 269).
Brown came to know these “wonderfully cruel proceedings” (Yates 270)of Yates’s crime through an anonymously authored article in New-York
Weekly Magazine; or Miscellaneous Repository, published on July 20 and
27, 1796, fifteen years after the actual crime. Incorporating many facts ofthe murders as reported in the article into his own fictional murder plot, hisstory is also of a man “transforming” himself from a benevolent father to an
insane murderer. “Most readers will probably recollect an authentic case,”
Brown wrote in his prefatory advertisement of this novel, “remarkably
similar to that of Wieland” (Wieland 4), thus insinuating the close kinshipbetween Theodore Wieland’s fictional family killing and that of James
Yates.2 In recent years, critics such as Daniel William have argued that the“authentic case” Brown mentioned was not necessarily James Yates’s case.
There was a far more sensationally received family killing committed one
year after the Yates case, that of William Beadle, a failed merchant andDeist, who also followed God’s command and killed his wife and fourchildren. Williams even considers that the anonymously authored article
depicting Yates’s murders was fictional and actually drew on the numerous
printed accounts of the Beadle case for describing concrete details of Yates’s
murders.3 In any event, the image of the horrible familicide perpetrated bya fanatical father powerfully captured Brown, who intuited in the Yatesfamily tragedy some significant truth about the moral situation of his young
republic and tried as a “moral painter” to delineate it in “an American tale.”4
Brown sent a complimentary copy of Wieland to Vice President Thomas
Jefferson in December 1789 along with a letter that defended the significanceof fiction and indicated his wish that Jefferson would enjoy the book andnot find “the time employed upon it tedious or uselessly consumed.”5
Obviously, Brown intended Wieland as a political work suitable for the
famous statesman, not simply as a literary entertainment. Jane Tompkins
had argued that for Americans in the late eighteenth century, it was notcommonly accepted “that literary and political discourse normally occupy
separate realms and fulfill separate functions, and that a novel that does notrefer explicitly to political matters therefore has nothing to do with them.”6
Rather, American writers of Brown’s generation considered themselves as“shapers of public morality” who could “help to guide the ship of state as
well.”7 Writing about a family was often a popular means for discussing
national politics. In Colonial America, where there were not many traditional

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39

institutions like the guilds in Europe, the family was an extremely significant
institution. The original Puritan settlers called the family a “little
commonwealth.”8 The American colonists believed their society was little
more than “a collection of family households, to which all isolated andhelpless individuals necessarily had to be attached.” Their society was“organized in families or in those stark dependencies that resembled therelationship between parents and children.”9 In such a situation, the family
became a microcosm of society; the two were too closely related to be
separated. Particularly in the Revolutionary era, this image became stillclearer. John Adams said that “the source of revolution” lay in “a systematicaldissolution of the true family authority,”10 meaning that the authority within
the family was essentially the same as that in society. With this in mind, wecannot overemphasize the moral and political significance of Brown
choosing to write a story about a fanatical, insane father who destroys his
beloved family.
Through his fictional Wieland family tragedy, Brown depicted what hesaw as the actual gruesome moral landscape hidden within a rationalistic
and rapidly transforming post-Revolutionary America. He also expected thestory to warn Jefferson of the republic’s moral crisis, for family-killing
fatherhood could be seen as a striking symbol of the whole era’s pathology.
It is noteworthy that Yates’s familicide was not an exceptional case in theearly American Republic. Daniel Cohen has pointed out that “a series ofcuriously clustered family-killings” actually occurred over the course of
sixty years in the early American Republic.11 Family killings were rarely
seen in Colonial days, he adds, so the concentration of publicized familicides
in the early republic is conspicuous. Those cases, particularly family-killing
fathers, seem to tell us something crucial about the social and psychologicalchange in the early republic. After examining seven published family
killings, three of which took place between 1781 and 1784—the first ofwhich was the James Yates’s case, Cohen attributes the mysterious
concentration of family killings in the era to people being thrown into a
tremendous spiritual instability caused by drastic social change. The family
killers were profoundly “traumatized” by the dazzlingly new “conditions of
freedom” made possible in the early republic, “particularly the newgeographic mobility, economic instability, and religious liberty.”12 Whether
Cohen’s assessment is valid or not, Brown presented his own explanation ofthis phenomenon in Wieland. In the argument below, I examine what sort ofmoral picture Brown painted of post-Revolutionary America in his tale of
Theodore Wieland and his transformation into an insane family-killing father.

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The Transformation of the American Family’s
Spiritual Landscape
In order to ascertain how drastically the spiritual landscape of theAmerican family changed during the eighteenth century, I briefly compareand contrast two families described in two literary masterpieces. One is aColonial family in the early 1730s from Nathaniel Hawthorne’s “My
Kinsman, Major Molineaux”(1832), and the other is Brown’s Wielandfamily around the 1770s. In traditional Colonial society, the family was themodel for all superior-subordinate relationships, including political andreligious ones. The old Puritan family was essentially hierarchical andpatriarchal; fathers were at the spiritual center and could control their family
members’ lives with authority, since the family was considered a worldly
reflection of the divine order.13 In Hawthorne’s tale, we find a typical familyof this type. Robin, a country-bred young man, first arrives by ferry at a
metropolitan city, most probably Boston; it is a typical Hawthornesquemoonlit romance setting. He is a “shrewd” young man, who has left his
father’s home in hopes of rising in the world with the aid of his rich andsupposedly influential kinsman, Major Molineaux. However, unable to find
his uncle and disillusioned by the city after wandering long in its maze-likenight streets, this lonely lad looks nostalgically back on his religious father’s
old home in the country.
Recalling his thoughts from this uncomfortable track, [Robin] sent
them over forest, hill, and stream, and attempted to imagine how thatevening of ambiguity and weariness, had been spent by his father'shousehold. He pictured them assembled at the door, beneath the tree,
the great old tree, which had been spared for its huge twisted trunk, andvenerable shade, when a thousand leafy brethren fell. There, at thegoing down of the summer sun, it was his father's custom to performdomestic worship, that the neighbors might come and join with him
like brothers of the family, and that the wayfaring man might pause todrink at that fountain, and keep his heart pure by freshening thememory of home. Robin distinguished the seat of every individual of
the little audience; he saw the good man in the midst, holding the
Scriptures in the golden light that shone from the western clouds; hebeheld him close the book, and all rise up to pray. He heard the old
thanksgivings for daily mercies, the old supplications for theircontinuance, to which he had so often listened in weariness, but which

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were now among his dear remembrances.14
In this traditional Christian family, each member is not so much an
independent individual as a part of one solid kin group. The family members
are like “a thousand leafy brethren” of the great old tree. There is little room
for personal choice or freedom, yet each member can find his own stable
position and protection there. Even in this closely-knit religious family,
however, a new individualistic consciousness was being born. Listening to
his father’s sermon, Robin used to often feel “weary.” He already had
dreams of standing on his own rather than being a part of his father’s
religious universe. Now, however, far away from his father and his family,
the austere yet warm family space is “among his dear remembrances.”
Unlike the way he feels in this bewildering strange city, Robin feels he truly
belonged there. Obviously, he misses his father-dominated family.
“The Puritans were no levelers,” according to Morgan. “Social classes
and the various offices, orders, and positions of social rank existed for themas part of a divinely ordered plan.”15 The family members had to besubordinate to the authoritative father, yet they accepted it; after all, it was“a divinely ordered plan.” Furthermore, the system had a merit of its own inthat not only the family members but the father himself could live in a stateof emotional oneness. In exchange for being forced to be but parts of ahierarchal family structure, family members were given stability for theiremotions; their strong ties provided a solid spiritual network in which eachmember could forget his or her individual helplessness. Barbara H.
Rosenwein insists on the significance of what she calls “emotional
communities” that share “systems of feeling, to establish what thesecommunities (and the individuals within them) define and assess as valuable
or harmful to them.”16 In the “emotional community,” those “systems offeeling” are internalized to form its members’ identities and strengthen theirsense of unity. Robin’s family is also such an “emotional community.”“[Robin] perceived the slight inequality of his father’s voice when he cameto speak of the Absent one,”17 Hawthorne writes, followed by brief
descriptions of each family member’s sorrow over the loss of Robin, their
beloved son and brother, who has left the family. This shows us that however
far away Robin is from the family, its members are deeply connected about
him and with one another. They live, as it were, one common destiny inwhich they experience each one’s fate as if it were their own. Today, we
tend to disfavor such an old-fashioned hierarchal family structure, but as far
as its members’ emotional stability was concerned, it was undoubtedly a42Masahiko Narita

well-functioning system.
Already in the 1730s, people were beginning to feel the destabilizing
power of the Enlightenment. Rationalism had begun to powerfully shaketheir universe, disintegrating the organic unity of the family, the village, andthe church. Man’s reason and emotions, which had been harmoniously
integrated, began to be dissociated, creating the paradigm of reason’s
dominance over emotion. That is why there came to be a tremendous
backlash against excessive rationalism in the form of the Great Awakening
from the 1730s to the 1760s,18 for, more than anything else, this religious
revival involved a flood of alienated emotions against reason. Emotion was,however, unable to reestablish a harmonious relationship with reason.
Along with this change, relationships among family members and the statusof the father were also destined to drastically transform. “Certainly by 1750,
ancient patriarchal absolutism no longer had the same ideologicalsignificance,” Wood has argued. “Few fathers, or at least few gentry fathers,
now dared to justify controlling their household dependents in the arbitrary
manner advocated a century earlier.”19 With the voice of the Revolution
coming near, not only monarchy but also the family was radically“republicanized.” Republicanism had a tremendous effect not only on
national and familial structures but also on human emotions in general,unhinging or uprooting them from their solid traditional base. This isparticularly significant for understanding what was happening in the
Wieland family.
The Wieland family is quite a contrast to Robin’s family because it is a
product of the drastic religious and intellectual transformation happening
on the eve of the American Revolution. Originally, they were a strictly“Puritanical” family. Theodore and Clara’s father was a descendent of anoble family in Saxony and devoted to the Camissards, an apocalyptic
Protestant sect active in France in the early eighteenth century. He came toAmerica with a goal of proselytizing the American Indians. Although he
had a hard time as an apprentice of a trader in London, Clara tells us that“the cheapness of the land, and the service of African slaves, which werethen in general use gave him who was poor in Europe all the advantage ofwealth” in America (Wieland 11). Pious and even fanatical, the elder
Wieland built a veritable temple on a cliff commanding a view of the
Schuylkill River (the sacred river also for William Penn) for giving a solitary
prayer to his deity punctually twice a day.
One day, however, when Theodore was around ten and Clara six, theirfather suddenly died, attacked by a mysterious light in the temple. This

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43

caused a fatal shock to his wife and left his two children as orphans. As
David Brion Davis has pointed out, the Wieland family history is presented
as if it were almost “an allegory of American Colonial history.”20 The elder
Wieland’s economic situation and religious fervor, his strict self-analysis,
and his attempt to spread Christian faith among the Indians remind us of theAmerican Puritans. There is also no denying the similarity between his
temple on the cliff and the American Puritans’ well-known view of theircommunity as “a city upon a hill.” Now, however, these “authentic”
Americans, the Wieland family, have met the new era of the Revolution andthe full-fledged Enlightenment.
Unlike their fanatical father, the grownup Theodore, his wife Catherine,and his sister Clara have created a family characterized by rationalistic
attitudes toward life, including religion. “Our education had been modelled
by no religious standard,” Clara says. “We were left to the guidance of ourown understanding, and the casual impressions which society might makeupon us” (Wieland 20). This is not to say that they do not believe in God, but
their faith is a rational religion. Generally speaking, the Revolutionary era
is regarded as a period of decline for American Christianity. Though theGreat Awakening had fuelled a craze among Colonial people since the1730s, they were exhausted by the religious fever and became preoccupied
for the next forty years chiefly with the problems of politics.21 “Enthusiasm”
was so widely toned down that “revivalism came to a temporary halt
everywhere except in the remote parts of the South.”22 Instead, as in France,“the cult of reason” became very popular during this era, attracting people’s
attention more and more toward rational religion or Deism. Needless to say,
Deism was not a new phenomenon of this era, nor did it become a widely
accepted religious attitude among ordinary Americans. However, we cancount not a few political and intellectual leaders such as Benjamin Franklin,
Thomas Paine, Joel Barlow, Elihu Palmer, and, above all, Thomas Jefferson
among the era’s representative Deists. Particularly, for Jeffersonian
republicans, the religious idea was significant. Deism was often called the“republican religion.” Notably, as a Jeffersonian supporter, Elihu Palmer, aCongregationalist, Baptist, and then Universalist preacher, organized theDeistical Society in New York with “a group of enthusiasts for the French
Revolution in 1794” with the hope that Deism could be institutionalized insome kind of traditional way.23
When Clara says, “It must not be supposed that we were without religion,
but with us it was the product of lively feelings, excited by reflection on ourown happiness, and by the grandeur of external nature”(Wieland 20), we44Masahiko Narita

can see that the Wieland family is deeply tinted by this religious atmosphere.
For them, religion is more related to their worldly happiness or to naturethan to mystical grace or the Bible. “We sought not a basis for our faith, inthe weighing of proofs, and the dissection of creeds,” Clara continues. “Ourdevotion was a mixed and casual sentiment, seldom verbally expressed, or
solicitously sought, or carefully retained” (Wieland 20). As I discuss later,
Theodore’s attitude toward religion is different from that of the othermembers of the family, yet on the whole, what Clara says is also essentiallytrue of him. As enlightened children of the Age of Reason, they seldom findit necessary to seriously examine their spiritual ties with God, let alone thesignificance of the old religious institutions. Theodore and Clara’s memoriesof the enigmatic death of their father are still deep in their mind. In spite ofthat, as Clara says, they live in a new world far away from his esoteric oldworld.
Their father’s temple is no longer used as a sacred place for solitary
prayer; it is now a place for entertainment, where they “[sang], and talked,
and read, and occasionally banqueted” in the summer evenings (Wieland22). There is a harpsichord and opposite to it the statue of Cicero that
Theodore bought from an Italian adventurer. We cannot emphasize thesignificance of Theodore’s worship of Cicero too much, for this Roman
philosopher, who celebrated the murder of the dictator Julius Caesar as a
crucial step toward achieving ideal republicanism, had a tremendous
influence on the “republican” tradition, particularly the French and theAmerican Revolutions. Thomas Jefferson regarded Cicero as one of his
most important sources when he wrote his draft of the Declaration of
Independence.24 As one of the most influential journalists and pamphleteersof the French Revolution, Camille Desmoulins, said, the French Revolution
was made by people who “first learned to love liberty and hate despotism
by reading Cicero at school.”25 Therefore, Theodore’s veneration of Cicero
clearly denotes his hatred of despotism and his sympathy with Jeffersonian
republicanism. “[Theodore] was never tired of conning and rehearsing[Cicero’s] productions,” Clara says. “To understand them was not sufficient.
His favorite occupation consisted in embellishing his rhetoric with all the
proprieties of gesticulation and utterance [of Cicero]” (Wieland 22). In otherwords, Theodore devoted himself to perfectly embodying Ciceronian ideals.
Theodore does not incarnate patriarchal authority like Robin’s father inan earlier time but is “tenderness” itself to his children. In the Revolutionary
era, even “the authority of the supreme father of all, God himself, was not
immune to challenge. . . . God could not be absolute and arbitrary,” writes

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Wood. For people susceptible to “the new ideas of parenthood, New
Testament love replaced the earlier Puritan emphasis on the absolutism of
the Old Testament’s Jehovah.”26 In this way, Theodore’s family faithfullyreflects the rapid disintegration of despotic fatherly authority that wasunderway in America during this period. Released from old religious
institutions and superstitions, the Old Testament image of father, and any
kind of despotism, fathers became affectionate caretakers of their children,
who were now shapers of their own fates based on their own rational
judgment. To a large extent, Theodore’s Jeffersonian propensities reflect
those of Brown himself. Under the strong influence of the radical British
couple William Godwin and Mary Wollstonecraft, young Brown was
devoted to utopianism and the improvement of women’s status in the 1790s,
and he was also an earnest supporter of Jefferson. In the early 1800s,
however, Brown for some reason suddenly became a caustic critic of the
Jefferson administration.27 We cannot tell exactly why, yet Brown mostprobably came to feel anxious about Jefferson’s or even his own radical
republicanism. The fanatical familicide in the Wieland family faithfully
mirrors this anxiety.

Cracks in the Wielands’ Rationalistic Universe
By placing Robin’s and Theodore Wieland’s families side by side we cansee how drastically the spiritual landscape of the Colonial American family
was transformed in the Revolutionary era. On the surface, Theodore
Wieland’s family looks completely happy, as it is managed according torationalistic and republican principles, having almost entirely forgotten
their father’s mysterious, tragic death. Unfortunately, however, this family’s
peaceful serenity turns out to be simply a preparation for yet anotherdestructive family tragedy. Originally a somber, melancholy man of areligious turn, Theodore gradually comes to lose his mental balance. Then,ordered by mysterious voices, which he interprets as coming from somesupernatural power, he brutally murders his beloved wife and four children.
Though not clearly stated, there is obviously some “deep” problem hiddenin their seemingly ideal family life. Before the murders, Theodore’s family
was dearer to him than anything else. When encouraged by his friend Pleyel,
his wife’s brother, to claim his right to an estate in Saxony, Theodore
declined to do so. It is because, Clara says, “all the instruments of pleasure,on which his reason or imagination set any value, were within his reach.”“If he should embrace this scheme, it would lay him under the necessity of46

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making a voyage to Europe, and remaining for a certain period, separate
from his family,” and “[he] must undergo the perils and discomforts of theocean; he must divest himself of all domestic pleasures; he must deprive hiswife of her companion, and his children of a father and instructor, and all forwhat?” (Wieland 33). Clara emphasizes that Theodore had such a great
affection for his family that he could not think of leaving them eventemporarily for economic gain. Then, why does he come to feel he has todestroy these “idols” of his family?
It has often been counted as a major defect of Wieland that the reason
why Theodore deteriorates into performing these atrocities is not fully
explained. Among others, Nina Baym has criticized Brown for having failed
in “the handling of Wieland himself” as a character and in showing “howthe mania will develop in him.”28 We have to admit the validity of Baym’s
argument, for as long as we try to follow Theodore’s development as acharacter, we get nowhere, since character development is lacking in thisnovel. In many respects, Brown’s characters are more like puppets thanrealistic figures. His main concern is directed at unmasking the identity of
their wire-puller, the social and psychological forces behind them. Of
course, at the core of Theodore’s transformation from a family-loving father
to a cold-blooded murderer lie his perplexities as to the nature of themysterious voices that have begun to beset him. After the voice, whichsounds like that of his wife Catherine, speaks to him for the first time,
Theodore begins to worry about what is happening to his reliable “senses”
and his seemingly well-ordered life; this is the first sign of a crack in his
steadfast rationalistic universe. In this respect, the following conversation
between Clara and Theodore in the temple is intriguing:
One evening we chanced to be alone together in the temple. I seizedthat opportunity of investigating the state of his thoughts. After a pause,
which he seemed in no wise inclined to interrupt, I spoke to him—
“How almost palpable is this dark; yet a ray from above would dispel
it.” “Ay,” said Wieland, with fervor, “not only the physical, but moralnight would be dispelled.” “But why,” said I, “must the Divine Will
address its precepts to the eye?” He smiled significantly. “True,” said
he, “the understanding has other avenues.” “You have never,” said I,
approaching nearer to the point—“you have never told me in what way
you considered the late extraordinary incident.” “There is no
determinate way in which the subject can be viewed. Here is an effect,
but the cause is utterly inscrutable.” (Wieland 31)

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Clara mentions that the dark in the temple is thick enough to be palpable,
implying their psychological confusion as to the nature of the mysterious
voice. Yet “a ray from above would dispel it,” she adds. Unable to explain
this enigmatic phenomenon by her understanding based on her senses, sheturns to the supernatural power for help, moving away from her usual
rationalistic attitude. “But why,” asks she, “must the Divine Will address its
precepts to the eye?” Beginning to doubt the validity of her senses, she hints
at another means through which God might communicate His Will. “True,”
Theodore agrees with his sister, “the understanding has other avenues.”
Bryan Waterman points out that theories of causation formed an importantpart of Enlightenment discussions of epistemology.29 Theodore, as a faithfulchild of the Enlightenment, persists in “understanding” the cause and effectof this mysterious voice. However, his Enlightenment investigation of
causation has come to a dead end, and he now begins to seek “otheravenues.” This is a significant moment for him, since, by temporarily
putting aside rational understanding based on his senses, he begins toimagine a direct contact with God. Within his psyche, that half-forgotten
memory of his father’s mystical experience with God has gained a newmeaning. It also lifts the heavy lid that has covered his dark, secret passions,which are, as we will see, deeply connected with the Wieland tragedy.
Theodore represents the melancholic and religiously enthusiastic strain
in the Wieland family. Unlike Clara or his friend Pleyel, for whom religion
is not so momentous a concern, he has been keenly interested in ideas about
God. There is an obvious similarity between Theodore and his fanaticalfather, Clara says. But the mind of the son, as a child of the Enlightenment,is “enriched by science, and embellished with literature” (Wieland 21). In
contrast to his father’s fanatic devotion to God, Theodore’s approach to God
is restrained and rationalistic. That is why he is “much conversant with thehistory of religious opinions, and [takes] pains to ascertain their validity,”and he believes “moral necessity, and Calvinistic inspiration, [are] the props
on which [it is] proper to repose” (Wieland 23). It is through his understanding
and knowledge that he tries to approach God, which is undoubtedly a serious
effort. But, in an important sense, Theodore has lost sight of the deep
psychological “avenue” to God, which was known to the elder Wieland as
well as Robin’s father. The only means he has to come near the supernatural
Father is his own reason—traditional religious institutions such as thechurch and even his father’s enthusiasm are missing from his spiritual
universe. In other words, he can never make “what faith he has” a deeply
emotional experience. For him, the Enlightenment’s “science and culture

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have not come to grips with the same questions as the dead [Puritan] beliefs
attempted to account for,”30 as Larzer Ziff has argued. The profoundproblems that the Puritans tried to solve are left unsolved. But “Evil will not
go away merely because you refuse to recognize it,” nor will the wild
passions pent up within Theodore’s psyche go away.
Further, the old Puritan God will not go away either merely because
Theodore has lost sight of the “avenue” to Him. In a situation like this, thehalf-forgotten old God and repressed wild passions, which are waking up
from their long sleep in Theodore’s unconscious, could easily join to strikean uncontrollably violent blow to his rationalistic universe in the form of
religious fanaticism. Its eruptive power is greater, the stronger the reason’s
repression of it. Theodore’s sudden insane fanaticism is, thus, a paradoxical
product of his preceding strict rational control of life.
This strain of fanatic devotion to God in the Wieland family may be
regarded as a variation of the antinomian impulse handed down from Anne
Hutchinson to Emerson and to many Americans who believed in a mystic
connection with God. As Shirley Samuels has argued, this may also reflect
some of the emotional excesses of the Great Awakening.31 In any event, inthe early American Republic, these impulses were silenced, as the Wieland
tragedy shows, by the powerful sway of “the faith in” reason. A few years
before the appearance of Wieland, Thomas Paine’s sensational The Age of
Reason (1794–96) was published in installments. It advocated Deism and“free rational inquiry” into all subjects as well as criticizing institutional
Christianity, the legitimacy of the Bible, and in particular the validity ofrevelation. To a large extent, this was the attitude shared by Jeffersonian
republicans. In the case of the Wieland family, however, reliance on theirown reason begins to fail as they start to doubt their own senses on which
their judgments have been made. First, through Catherine’s voice, which
Wieland hears on his way to the temple, and then through the voices ofClara and Carwin, which Pleyel alleges he has heard, Theodore’s rationalistic
universe starts to be shaken from its very foundation. At the same time, theWielands are forced to face their hidden passions that are now being
unbound from reason’s sway. Theodore’s transformation to an insane,fanatical father has much to do with this confrontation.

Familicide as Vengeance against Reason
The apparently stable Wieland family is actually a house of cards built on
the cover-up of their repressed passions. Although it is not necessarily easy

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to detect it, these unruly desires are at the core of Wieland’s murder of hiswife and children. That is to say, it is the incestuous feelings between
Theodore and Clara. We have already seen that this family is, at least
superficially, the very picture of happiness, rationally managed and liberated
from old superstitious beliefs and the Puritan hierarchal power structure.
The emotional life within the family, however, is misdirected and distorted
to such an extent that the powerfully restrained incestuous drive can erupt,
bare its fangs, and pounce like a wild beast anytime. Until Theodore begins
to doubt his rationalistic understandings, those passions have been hidden
under reason’s control even from Theodore and Clara; but they throb deepin the dark corner of the family’s psyche.
At the beginning of chapter 4, Clara describes their family as follows:
Six years of uninterrupted happiness had rolled away, since mybrother's marriage. The sound of war had been heard, but it was at sucha distance as to enhance our enjoyment by affording objects ofcomparison. The Indians were repulsed on the one side, and Canada
was conquered on the other. Revolutions and battles, howevercalamitous to those who occupied the scene, contributed in some sort
to our happiness, by agitating our minds with curiosity, and furnishingcauses of patriotic exultation. Four children, three of whom were of anage to compensate, by their personal and mental progress, the cares ofwhich they had been, at a more helpless age, the objects, exercised mybrother's tenderness. (Wieland 23)
Clara emphasizes the family’s genuine happiness at being away from“revolutions and battles.” Her repeated reference to the family’s “happiness”
reminds us of the famous “pursuit of happiness,” one of the “unalienable”
human rights in the Declaration of Independence that Thomas Jefferson
wrote. Noting that Jefferson preferred the “pursuit of happiness” to“property” in John Locke’s trinity of “life, liberty, and property,” we arereminded that Theodore also prefers “enjoying” the family “happiness” toexercising his right to the property in Saxony. Again, this hints that the
Wielands are faithful to Jeffersonian ideals. Yet Clara adds that revolutions
and wars, “however calamitous to those who occupied the scene, contributed
in some sort to our happiness, by agitating our minds with curiosity, andfurnishing causes of patriotic exultation.” Reading this passage, we cannot
but be disagreeably surprised at her cold aloofness to her fellow patriots’deadly struggles. There is, however, more to it than that. The six years since50

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her brother’s marriage have been happy ones for their family. Why is this?
Of course, the marriage realized a happy “home,” but did it not also help todirect Theodore’s passion to his wife Catherine, at least temporarily, andaway from his sister? Clara talks about revolutions and battles outside theirlives, yet they are actually being fought just beneath the surface as metaphorsof Wieland and Clara’s secret incestuous passion. And only when awayfrom those revolutionary passions and “battles” is the Wielands’ “happiness”
guaranteed.
Clara says that Theodore is an affectionate father and husband, but inspite of this, his wife Catherine and four children are seldom fully describedin Clara’s narration. They are substantively missing from the family picture,
though Clara says that she and Catherine are indispensable close friends.
Symbolically enough, when Theodore hears the mysterious voice like thatof Catherine on his way to the temple, he at first believes his senses, whichtell him she is close behind him, while Catherine is actually far away athome. Of course, this is due to the ventriloquial mischief of Francis Carwin,a mysterious stranger who has a powerful influence on the Wieland family,
but this also suggests that Wieland’s impression of his wife from the
beginning has been made only through his senses rather than through his
cordial acceptance of her real person. Only when he perceives her throughhis senses is he sure of her existence. Catherine is, otherwise, a kind of
bodiless idea of a lovely wife to him. This is because she does not actually
have an indisputable status in his emotional realm. What Carwin’s mischiefhas done is to reveal this hidden emotional distance that Theodore has fromhis wife.
We can see how Theodore feels about Catherine more clearly when heactually kills her. Theodore states at his trial, “This was a moment oftriumph. Thus had I successfully subdued the stubbornness of humanpassions: the victim which had been demanded was given” (Wieland 129).
He is filled with wild joy for having achieved his sacred duty of murdering
Catherine for God. He had overcome, he says, his human passions. Of
course, Theodore is completely insane here. As far as his emotional integrity
is concerned, however, he is very sane. He says that Catherine is the dearest
object of his human passions, which he has just successfully subdued. She
is “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,
the beings who called me father” (Wieland 130). Yet we have to note that helifts Catherine’s corpse with his arms and lays it on his sister’s bed. This
may not seem strange, because it is in Clara’s bedroom that he has murdered

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Catherine. From a deep psychological perspective, however, something
extraordinary is happening here, for Clara’s bed is used as a kind of altar on
which Theodore is making an offering of Catherine’s dead body, not only to
his God but to his sister as a sign of his devotion to her. Catherine, his
spouse, is a cover for his distorted passion for his sister. It would not be toomuch to say that in the name of God’s decree, Theodore has actually fulfilled
his secret inhibited desire to destroy the obstacle to winning his own sister.
As for the incestuous “dangerous liaison” between Theodore and Clara,some critics have already discussed it with persuasive proofs. Clara is also
unconsciously yet powerfully attracted to her brother. Davis has pointed
this out when Clara, in chapter 2, talks about her strange dream.32 In theevening twilight, she is walking on a path, heading for her brother’s house.
Though there is a pit dug in the path, she is not aware of it. She sees her
brother standing at some distance before her, “beckoning and calling [her]to make haste.” Clara adjusts her pace, and “one step more,” she says,“would have plunged [her] into this abyss” if someone had not caught her
arm from behind, exclaiming, “Hold! Hold” (Wieland 51). Clara knows that
she wants to go meet her brother immediately. At the same time, however,she knows that it would be very dangerous to do so. The abysmal pit into
which she almost plunges is none other than an abhorrent incestuous sin she
might have committed with her brother. Whose voice was it that saved her?
We are not told whose it was, yet waking up from her dream, she hears
another mysterious voice talking to her. She thinks that the voice is the sameas the one she heard coming from the closet in her room before. So, thereaders can tell that this is Carwin’s voice. As Donald A. Ringe has argued,
Clara’s house, particularly this closet, is obviously used as a symbol of her
mind,33 so this is also the voice deeply hidden in her psyche’s “closet,” herunconscious.
Francis Carwin is a dangerous villain outside the family, but he is also theshadow of reason, an incarnation of alienated irrational emotions, or even ofdark sexual drives within this family. It is striking that after first meeting
Carwin, Clara eagerly attempts to sketch his face in detail in the hope of
remembering it correctly. She says she hates this mysterious stranger, yet
her eager sketching shows that she is powerfully and sexually attracted tohim. Her sexual drives have been unconsciously directed toward her brother,
yet Clara now begins to redirect these repressed sexual drives toward thismorally questionable man. This is because Carwin represents the explosive
emotional gunpowder deeply hidden in this republican family. As mentioned,Pleyel, Wieland’s close friend and Catharine’s brother, is the very incarnation

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of reason itself, which represents the most significant feature of this family.
In his younger days, Pleyel lived in Europe, where he fell in love with anaristocratic lady and also met Carwin. Pleyel and Carwin’s old acquaintanceis worthy of note because this suggests that as embodiments of reason andrebellious emotions, respectively, they were once “friends,” not enemies.
As Foucault has argued, until the late seventeenth century, these two human
psychical functions had been on friendly terms, yet in the late seventeenth
century, something decisive happened: “Reason reigned in the pure state, ina triumph arranged for it in advance over a frenzied unreason,” and unreason
was “sequestered and, in the fortress of confinement, bound to Reason, tothe rules of morality and to their monotonous nights.”34 Carwin is said tohave escaped from the Dublin prison where he was confined like a madman(a man of unreason) in seventeenth-century Europe. This prison is a punitive
as well as reformatory institution, but psychologically considered, it is noneother than the dominating reason’s regime imprisoning the dark, irrationalemotions. Notably, Carwin broke out of his confinement and found himself
back in his original homeland of America.
Carwin may also be interpreted as an incarnation of an alien politicalthreat to the early American republic. As the Wieland family as a microcosmof the society represents, Jeffersonian republicans believed in the power ofreason to such an extent that they considered they did not need any absoluteauthority outside reason, whether it was political or religious. However, thatwas exactly the heel of Achilles the antisocial forces could take advantage
of. In “The Duty of Americans at the Present Crisis,” a sermon preached on
July 4, 1798, the year when Wieland was published, Timothy Dwight
warned Americans against the dangerously rationalistic sects represented
by the Bavarian Illuminati, an Enlightenment-era secret society whose aims
were “the overthrow of religion, government, and human society civil anddomestic”35 for the establishment of a new world order. The Federalists, orantirepublican conservatives, also believed that without appropriate
leadership or ruling institutions, America could disintegrate at any time
because man’s reason is fallible and needs to be corrected and kept in checkby traditional wisdom and authority. In 1793, five years before thepublication of Wieland, the Reign of Terror was begun by Robespierre in
France, with the moderate antimonarchist Girondins executed as “enemiesof the revolution.” In the following year, after persecuting Christians anddestroying the Catholic Church in France, Robespierre made Reason the
new holy writ, celebrated in what he called the Festival of the Supreme
Being. We know how dreadful and chaotic a reign Robespierre brought toThe Phenomenology of Family-Killing Fatherhood

53

France. For the Americans of Brown’s day, this was exactly the nightmare
they feared their own young country might face unless their affairs of state
were properly and carefully handled. They were particularly afraid of these
French influences. As some critics have argued, Brown undoubtedly
intended Carwin to represent, at least partially, these chaotic and anarchic
French influences as well as those of dangerous sects such as the Illuminati.36
Even though such outside Carwinian influences are part of the Wieland
tragedy, this family would no doubt have broken up from internal pressures.
In other words, Carwin is merely a catalyst. Theodore Wieland is destined
to go mad and kill his beloved family not because he is fundamentally
fanatical like his father but because he does not know how to confront his
God and his wild passions except through his reason: he has lost sight of the
traditional “avenue” to God and even to his deep emotions. The real problem
is that under the surface of their rationally ordered life, the brother andsister’s passions are left unattended to as if they did not exist or were
negligible things. Yet when the sway of reason has collapsed, those wild
passions take over everything. Disguising themselves as a fanatic devotion
to God, those passions make Theodore shatter his rationalistic universe andhis family. Alan Axelrod has argued that James Yates, Wieland, and theirancient Biblical prototype, Abraham, who tried to kill his son Isaac on
God’s order, are all captured by religious fanaticism because such fanaticism
is often the product of life in the wilderness “isolated from the emotionallyand intellectually tempting influence of city civilization and organized
religion.”37 In that sense, Yates and the Wielands were experiencing fanatic
impulses found in “the American situation.”38 But it would be more exact to
say that Theodore Wieland lived not only in a physical wilderness but, inHawthorne’s terms, a “moral wilderness” where there is no solid timeproven code of conduct except a person’s own reason, because the
Revolution has destroyed all standards. Thus, just as Carwin symbolizes,
unbound passions roam the war-damaged “moral wilderness” of the earlyAmerican Republic, stalking their prey. In this respect, Theodore is exactly
like the early American Republic itself, which, in spite of its rationalistic
appearance, was defenseless against its unbound passions that could perhaps
suddenly appear in the guise of radical democracy, Jacobin radicalism, or
the Illuminati conspiracies.
Through telling a story of a family-killing father, Brown warns about theimmense difficulties of creating a spiritually steadfast society in the rational
Jeffersonian Republic. To James Yates, there appeared two spirits. One
spirit commanded him to “destroy all [his] idols,” while the other one

54

Masahiko Narita“dissuaded” him (Yates 267). He was also apparently torn between his
supernatural God and his worldly “pursuit of happiness.” In the 1796 article,
there is no reference to Yates’s “passions,” yet there is the possibility that
his God was also his disguised wild passions. Yates also lived in the age
when it was extremely difficult to confront God in a proper way or establish
fatherly authority in the domestic sphere. Why James Yates felt he had tomurder his family is not an easy question to answer, yet Brown showed
through Wieland that, as David Hume said in his 1740 Treatise on Human
Nature, “Reason is, and ought only to be the slave of the passions, and cannever pretend to any other office than to serve and obey them.”39 Brown’s“American tale” thus demonstrated that to have too much trust in reason canlead, in a mysterious way, to an entirely opposite outcome: irrational chaosand horrible destruction, which is a lesson still valid for people like us whoare supposed to live in a much more “enlightened” age.

Notes
1 Anonymous, “An Account of a Murder Committed by Mr. J—Y—, upon His Family,
in December, A.D. 1781,” New York Weekly Magazine; or Miscellaneous Repository,
July 20 and 27, 1796, in Charles Brockden Brown, Wieland and Memoirs of Carwin, theBiloquist, Norton Critical Edition, ed. Bryan Waterman (New York: Norton, 2011), 267.
Further references to this article will be cited parenthetically as Yates.
2 Alan Axelrod, Charles Brockden Brown: An American Tale (Austin: University ofTexas Press, 1983), 54.
3 Daniel E. Williams, “Writing under the Influence: An Examination of Wieland’s‘Well Authenticated Facts’ and the Deception of Murderous Fathers in Post-Revolutionary
Print Culture,” Eighteenth-Century Fiction 15, no.3–4(2003): 650.
4 Charles Brockden Brown, Wieland and Memoirs of Carwin, the Biloquist, Norton
Critical Edition, ed. Bryan Waterman (New York: Norton, 2011), 4. Further references tothis book will be cited parenthetically as Wieland.
5 Charles Brockden Brown, “Letter to Thomas Jefferson, December 15, 1798,” in
Wieland and Memoirs of Carwin, the Biloquist, Norton Critical Edition, ed. Bryan
Waterman (New York: Norton, 2011), 313.
6 Jane Tompkins, Sensational Design: The Cultural Work of American Fiction 1790–
1860 (New York: Oxford University Press, 1985), 44.
7 Ibid., 45.
8 Gordon S. Wood, The Radicalism of the American Revolution (New York: Random
House, 1991), 44.
9 Ibid., 44.

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Ibid., 147.
Daniel A. Cohen, “Homicidal Compulsion and the Conditions of Freedom: The
Social and Psychological Origins of Familicide in America’s Early Republic,” Journal ofSocial History 28, no.4 (1995): 725.
12 Ibid., 726.
13 Edmund S. Morgan, The Puritan Family: Religion and Domestic Relations inSeventeenth-Century New England (New York: Harper and Row, 1944), 18.
14 Nathaniel Hawthorne, “My Kinsman, Major Molineaux,” in The Snow-Image andUncollected Tales, vol. 11 of The Centenary Edition of the Works of Nathaniel Hawthorne,
ed. William Charvat et al. (Columbus: Ohio State University Press, 1974), 222–23.
15 Morgan, Puritan Family, 18.
16 Barbara H. Rosenwein, “Problems and Methods in the History of Emotions,”
Passions in Context: Journal of the History and Philosophy of the Emotions 1, no.1
(2010): 11, http://www.passionsincontext.de/.
17 Hawthorne, “My Kinsman,” 223.
18 Beth Norton et al., A People and a Nation: A History of the United States (Boston:
Houghton Mifflin, 1994), 118.
19 Wood, Radicalism, 147.
20 David Brion Davis, Homicide in American Fiction, 1798–1860: A Study of Social
Values (Ithaca, NY: Cornell University Press, 1957), 89.
21 Sydney E. Ahlstrom, A Religious History of the American People (New Haven, CT:
Yale University Press, 1973), 365.
22 Ibid., 366.
23 Ibid., 367.
24 Thomas Jefferson, “Letter to Henry Lee, May 8, 1825,” American History: From
Revolution to Reconstruction and Beyond, http://www.let.rug.nl/usa/presidents/thomasjefferson/letters-of-thomas-jefferson/jefl282.php.
25 Mortimer Newlin Stead Sellers, “Classical Influences on the Law and Politics of theFrench Revolution,” in The Classical Tradition, ed. Anthony Grafton, Glenn Most, andSalvatore Settis (Cambridge, MA: Harvard University Press, 2009), http://ssrn.com/
abstract=1437165.
26 Wood, Radicalism, 158.
27 Charles C. Cole, Jr., “Brockden Brown and the Jefferson Administration,”
Pennsylvania Magazine of History and Biography 72 (July 1948): 254.
28 Nina Baym, “A Minority Reading of Wieland,” in Critical Essays on Charles
Brockden Brown, ed. Bernard Rosenthal (Boston: G. K. Hall, 1981), 91.
29 Waterman, ed., Wieland and Memoirs of Carwin, 31nl.
30 Larzer Ziff, “A Reading of Wieland,” PMLA 77, no. 1 (March 1962): 56.
31 Shirley Samuels, “Wieland: Alien and Infidel,” Early American Literature 25, no. 1
10
11

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Masahiko Narita(1990): 54.
32 Davis, Homicide, 90.
33 Donald A. Ringe, “Charles Brockden Brown,” in Major Writers of Early American
Literature, ed. Everett Emerson (Madison: University of Wisconsin Press, 1972), 285.
34 Michal Foucault, Madness and Civilization: A History of Insanity in the Age of
Reason, trans. Richard Howard (New York: Routledge, 1961), 60.
35 Timothy Dwight, “The Duty of Americans, at the Present Crisis,” in Political
Sermons of the American Founding Era, vol. 2, 1789–1805, ed. Ellis Sandoz (Indianapolis:
Liberty Fund, 1991), 1372.
36 See, e.g., Charles C. Bradshaw, “The New England Illuminati: Conspiracy andCausality in Charles Brockden Brown’s ‘Wieland’,” New England Quarterly 76, no. 3(2003): 356–77.
37 Axelrod, Charles Brockden Brown, 57.
38 Ibid., 63.
39 David Hume, A Treatise of Human Nature, ed. David Fate Norton and Mary J.
Norton (Oxford: Oxford University Press, 2000), 266.