Chapter I: on "English Poetry," tracing as it does the rude and (3)

The efficacy of the White Sulphur is principally confined to affections of the liver, and derangements of the sanguiferous and biliary systems. Where there is any tendency to pulmonary disease, the use of this water should by all means be avoided. Its exciting effects are exceedingly prejudicial to such constitutions. A continued use of the water will occasion a rapid progress of the disease. Individuals of a consumptive habit have been known to hasten their end by a residence at the White Sulphur. One case at least has come within my own observation.

{477} We cannot leave the White Sulphur without a deep feeling of regret, that the proprietors of this otherwise attractive and delightful place, should make so little provision for the comfort of visitors. The buildings, though extensive, are not at all sufficient to accommodate the numbers which now resort thither. During the last summer almost every house for miles on the roads leading to the springs, was thronged with persons who had been turned off at the hotel. Many of those who could obtain the privilege of remaining upon the ground, received exceedingly unpleasant accommodations. The table too, which assumes a prodigious importance after a week's residence and use of the water, is by no means such as should be afforded at such an establishment. Every visitor will recollect his dining-room experience at the White Sulphur. But one of the most unpleasant features of the whole, is found in the person of the manager, who, although naturally possessed of an amiable and accommodating disposition, we must say, in our opinion, is not qualified for the situation. It is much to be lamented, that this place which possesses decided advantages over any watering place in the United States and perhaps in the world--whose climate, scenery and healing properties are no where surpassed, and to which, notwithstanding the accommodations, crowds resort, should not be fitted up in a style suited to its merits.

For the Southern Literary Messenger.

THE FINE ARTS.

NO. III.

--------------- In elegant design,
Improving nature: in ideas fair,
Or great, extracted from the fine antique;
In attitude, expression, airs divine;
Her sons of Rome and Florence bore the prize.

_Thomson_.

The sixteenth century was remarkable for the transcendant excellence of the Italian painters; every city had its school, and each school preserved a different style, distinguished for expression, grace or dignity. By schools, we do not mean academies, for there were none when these great men came forth ennobling nature: they studied in the "academic groves" of the Arno and the Tiber, and were themselves the establishers of those schools, that fettered genius with scholastic rules, and from that day the arts began to decline; each succeeding generation became imitators of the preceding one, and neglecting the study of nature and the poetry of art, they fell into a manerism, growing worse and worse down to their present puerile and meretricious style. And here permit us to correct a very prevalent error, that Italy at this day is distinguished far its living artists, when in fact no country of Europe is so deficient in men eminent in sculpture and painting; but for the present we will confine our remarks to the masters of the sixteenth century and their unrivalled works.

For three centuries the palm of excellence has been awarded to Michael Angelo for originality, to Raphael for correctness of design and expression, to Titian for color, and Correggio for grace; but that in which they all agree is sublimity. "This," says Longinus, "elevates the mind above itself, and fills it with high conceptions and a noble pride." The sources of the sublime he makes to consist of "boldness or grandeur in thought, pathos, expression, and harmony of structure," and these characterize the works of the Italian masters, and place them amongst the epics of the pencil. It is not, as pretended connoisseurs assert, in the high relief, the wonderful foreshortening, the boldness of the touch or fine finish, or even harmony of coloring, that these works claim superior merit, for in all these the Dutch as a school surpass them, but it is "in the grandeur of the thought, in the pathos, expression and harmony of the whole."

Michael Angelo's originality and creative powers surpassed those of all men, and his knowledge of the human figure constituted his praise and his reproach, for in the desire to display his anatomical learning, he overstepped the modesty of nature and exhibited his figures with a muscular developement, disproportioned to the strength required. In the Sistine Chapel, a little child holding the Cybeline book, is represented with the arms of an infant Hercules; and in his holy family at Florence, naked men are seen in the back ground at gymnastic exercises, having no connection with, or reference to the modesty of the subject; the execution of this picture is hard and the color opaque. Well might he exclaim after finishing it, "Oil painting is unworthy of men, I leave it to boys." Raphael was the boy against whom this sarcasm was hurled, whose works in oil will long survive _his_ frescos, and who freed from envy--that passion of little minds--"thanked his maker that he had lived in the days of Michael Angelo." But the _Last Judgment_ is the work on which M. Angelo's reputation rests as a painter; it was the last he ever executed, and is strongly impressed with the peculiar character of its author, originality and vigor of thought, with incongruity of persons and place. The son of man appears in wrath to take vengeance on his enemies, and with an uplifted hand and frowning brows, seems to say "depart, ye cursed into everlasting punishment," and they are tumbling headlong down in every conceivable attitude; on the other hand the righteous are rising to eternal life, in groups of a masterly design, executed with such strength and simplicity as to convey the most sublime ideas of the subject; but the improper mixture of mythological fable and Christian faith detract much from its merit, and we are scarcely less disgusted with Charon ferrying his boat in hell, than with the angels playing with the cross in heaven; they are equally out of keeping, and the whole scene is deficient in drapery--even the blessed being stands exposed in the nudity of this frail tenement.

The work most justly to be brought in comparison with this, is the _Transfiguration_ by Raphael. The subject is equally sublime, and composed with equal simplicity. The whole scene rises before you with such propriety of expression in every countenance, that it requires no interpreter to know them; no trifling ornament diverts the attention from the subject, and no idle levity detracts from the solemnity of the occasion. Human infirmity is brought in strong contrast with omnipotent power, and the mind is led by a natural {478} gradation from our dependance up to his goodness. An epileptic boy of interesting age is supported in the arms of his father, and surrounded with friends and relations, who bring him to the disciples to be healed, and the imploring mother, the beautiful countenance of the sister, the anxious parent and suffering boy, excite our sympathy, and we look to the apostles for their miraculous power of healing, but their faith had failed them; sweet charity remained, and

"Hope the comforter lingered yet below,"

as they point to the mount "from whence their help cometh." Following the direction we behold the prostrate three, Peter, James and John, veiling their faces in the ineffable presence; above, self-poised in mid air and bright in the radiance of supernatural light, the "son of man" is seen between Moses and Elias. It has been objected that there are two subjects here in one picture, but they are so closely allied in the history of the event, and simultaneous in time, that to separate them would be to destroy the effect and interest of both; nothing could be omitted without detracting from its merit, and nothing added without impairing its grandeur; with the exception of two men ascending the mount in sacerdotal robes, doubtless introduced against the wish of the artist, to gratify some officious patron.

These two paintings may represent the schools of Rome and Florence, and are justly esteemed the sublimest style of art. The former in fresco, the latter in oil, and both unattractive by the beauty of coloring or the magic of effect, but sublime in thought, expression and design. In presenting these to the admiration of the amateur and the study of the artist, we would not limit excellence to any one manner, but on the contrary, reprehend those who see no beauty save in a smoked antique, or in a modern English portrait, in the boldness of Salvator Rosa or the finish of Carlo Dolci. These may be all beautiful in their kind and have equal claims to admiration, though inferior in sublimity of design.

The Venetian school revelled in the luxury of colors and feasted the eye with the most harmonious arrangement of the brightest tints and broadest light and shade; and some have supposed could these have been added to the Roman school, it would have been the perfection of art, but Sir Joshua Reynolds thought them incompatible, and it is not without probability that a gayer dress would have detracted from the simplicity and greatness of the Roman paintings, as would pearls in the ears of a fine statue. If the Venetians therefore, were not so sublime, they were more beautiful:

"To those of Venice. She the magic art
Of colors melting into colors gave.
Theirs too it was by one embracing mass
Of light and shade, that settles round the whole,
Or varies, tremulous, from part to part,
O'er all a binding harmony to throw,
To raise the picture and repose the sight."

Of these, Titian stands pre-eminent in the truth of nature and the choice of the beautiful; a refinement is impressed on every product of his pencil, and from the portrait of Charles the 5th to the assumption of the Madonna at Venice, (his greatest work) there is a nobleness of air, an elevation of thought above common men or common things; it was this, not less than the truth of his coloring, that employed his pencil upon so many crowned and noble heads; his carnations glowed with the freshness of life, neither erring with too much of the blossom of the rose or the yellow of the marigold, and it is probable from his works, Fresnoy drew that admirable precept:

"He that would color well, must color bright,
Hope not that praise to gain by sickly white."

Correggio comes next in the scale of excellence, who with less truth of color than the Venetians, or greatness of design than the Romans, surpassed them all in _grace_, that indescribable "_je ne sais quoi_," so delightful in the movements of some persons, and equally opposed to the rules of polished society and clownish rusticity. His figures repose with a nature unstudied, and his children play with an infant's artless innocence--though frequently homely in feature and badly drawn, they irresistibly charm the learned and the simple, and command at once the highest admiration and the highest price.[1] His finest work is probably the St. Jerome at Parma, so called from this saint's forming one figure in the group, with the infant Saviour, his mother, and Mary Magdalene. The anachronism of thus introducing persons who lived at different eras, did not affect the minds of good Catholics three centuries since, more than the same discrepancy does the modern reader of Anacharsis.

[Footnote 1: A Holy Family, only 9½ by 13 inches in the national gallery in England, was purchased for 3000 guineas.]

G. C.

For the Southern Literary Messenger.

RECENT AMERICAN NOVELS.

The year '35, rich as may be its promise of social and political good, has so far done little for the cause of letters. The seductions of political distinction, or the more substantial attractions of the lucrative professions, have turned from the paths of literature all whom genius and education have fitted to attain a high degree of intellectual rank; while in the peculiar department of romance, the master spirits, those who ruled the realms of fiction with undisputed sway, have retired from the scenes of their glory, and left their neglected wands to be played with by the puny arms of dwarfish successors. COOPER[1] has sheltered himself from the furious storm, which an injudicious and silly political pamphlet raised about his head, in some quiet nook in his own native state; while IRVING, the elegant, but over-nice, the gentle but languid IRVING, has abandoned romance for reality, to favor the world with sketches of Indian manners and scenery. PAULDING and Miss SEDGEWICK have ceased for a time, to inflict their stories of humor and love, upon the proprietors of circulating libraries, and provincial book-sellers. But the press has not ceased: others have been found to succeed to, if not to fill the places of those, whose genius the sanction of the world had approved, and whose names ranked high in our infant literature. Who are the new comers? Do they write as men having authority--the authority of heaven-stamped genius, to claim to be heard for themselves, and their cause?--or are they but raw, brawling braggarts, who have broken into the sacred circle, rioting like buffoons, {479} disgracing what they could not honor? Are they menials of the mind, underlings of the intellect, who have filled the rich banqueting hall just abandoned by their superiors, sitting in squalid rags on the splendid seats of genius, and gulping down the dregs of the deserted wine, and the scraps of the half consumed feast--boors rioting in the sumptuous apartments of their lords? Are they men, who, by a vigorous and educated intellect, and the patient study of the works of the great writers of romance, have fitted themselves to pour forth words of burning eloquence, of bitter satire, of side-shaking humor, and irresistible pathos? Are they artists, who, by the curious and intricate construction of their fable, know how to excite and sustain the deepest interest, ever urging upon the heart some tender affection, some exalted feeling of honor and chivalry?

[Footnote 1: Since this sentence was penned, we have noticed the advertisement of a new (satirical?) novel, (The Mannikins,) from the pen of this gentleman, to be published during the summer.]

At a period when the crowd of novels issued almost daily from the press, threatens serious injury to the literature of the age, not only by withdrawing men of high natural capacities from the arduous study of graver and more important subjects, but by throwing before the public such a mass of matter, that unless they be neglected, (which from their seductive character is not likely to be the case,) nothing else can be read, it is of the highest importance, that an elevated standard should be fixed by which to measure these productions. The popular objection so often urged against this species of literature, is not without some foundation in truth; and the only mistake made by those who have brought it forward, consists in applying to the species, that which is true only in individual cases. The influence of these fictitious histories, from the rude form of the early romance, down to the brilliant productions of the best writers of the present century, has been, however, on the whole, advantageous to general literature, and of the most humanizing effect upon society. Nothing could betray more silly ignorance, than to contrast this class of authors with those who have chosen higher and more essentially important subjects; and because law, and philosophy, and mathematics, may be in themselves, of a deeper interest and more universal value, to regret the time and talent devoted to this elegant and refining department of letters, as so much labor and opportunity thrown away. So far from being wasted, we question, if even the most brilliant discoveries in science, have contributed as much to the comfort and enjoyment of society. It would be difficult to calculate the actual amount of moral good, that may have been effected by the constant holding up to the young and ardent, but plastic mind, the bright and winning examples of female loveliness and manly virtue, that abound in these popular and ever attractive volumes. And those who underrate their powerful influence, know little of the actual workings of the human heart--of the secret influences that direct, for good or for evil, the wayward thoughtfulness of the young. The whole class of romances, then, viewed as a means of forming individual character, must assume in the eyes of the moralist and statesman, an importance far beyond their intrinsic value, as literary works; and it is the forgetting of the ulterior and vastly more interesting purpose which they serve, in the general economy of society, that has misled many virtuous and even able men, to undervalue and despise the whole species as frivolous and worthless. A proper regard to their influence, exerted in this way, must lie at the bottom of all sound criticism, or the labors of the reviewer degenerate at once far below the flippancy of the most trashy of the works he reads but to condemn. The novel is only valuable as illustrating some peculiarities, defects, or excellencies of character--passages of historical interest, or the manners and customs of a class; and its success must depend on the ability with which it is adapted to the end desired to be accomplished. It is only the more unthinking class of writers, who mistaking the means for the end, have lost sight of all _object_ in the composition of their tales. Don Quixotte was not written as a mere record of amusing absurdities; its purpose was to put down the injurious and ridiculous follies, which the wit of Cervantes happily lashed out of Spain. And it will be found that no work has obtained an extensive and lasting popularity, that did not recommend itself by something beyond the mere detail of the story, and the humor of the dialogue. But to return from this long digression.

* * * * *

THE INSURGENTS. We commence with these volumes as decidedly superior, in point of ability and interest, to other works on our table, from the pens of American writers. They are the production of one who has written before, who knows his own strength, and has fallen, (if we may use the expression,) into the regular gait of authorship--he is broken to the press. An outline of the plot, will the better enable those who may not have perused the work itself, to comprehend the justice of the scenes, and to understand the excellencies or defects of the various characters that figure on the stage. The story is laid in Massachusetts, at the period of the insurrectionary movements, among the inhabitants of some of the interior counties, during the administration of Governor Bowdoin, and immediately after the close of the revolutionary war. _Col. Eustace_, an officer of the revolutionary army, a generous but careless manager of his own affairs, has after several years of arduous service, and in consequence of ill health, retired to an estate fast falling to ruin, under the thriftless conduct of the open-handed thoughtless veteran. _Henry Eustace_, his eldest son, had served for two years as an adjutant to his father, and returned after the close of the war, full of ardent aspirations, and without any regular profession, to his paternal home. _Elizabeth Eustace_, is the only daughter of the old Colonel, and as the propriety of the novel requires, a lovely and interesting girl. _Tom Eustace_, a younger brother, plays a subaltern part in the developement of the story. _Frank Talbot_, an officer but a few years the senior of Henry Eustace, succeeds to the Colonelcy, vacant by the retirement of the elder Eustace; and after the disbanding of the army, returns to his residence in the village, near the estate of Col. Eustace, and is soon deeply immersed in professional business as a lawyer, and in the political duties of a representative of his native town, in the General Court, the title by which the Legislature of Massachusetts was then distinguished. Frank too, has a sister, _Mary_, somewhat the senior of Elizabeth, and distinguished from her by a reserved manner and studious habit, but little characteristic of her age and sex. The concluding portion of the second chapter, discovers the secret attachment, which Elizabeth Eustace already bore the young legislator, and drops the reader a hint {480} of what the after pages of the work more fully disclose.

The great sacrifices of property, incident to a war of seven years, and the heavy imposts which the necessities of the state government impelled it to levy on those who were already deeply involved, stirred up among that class of the people, a spirit of sullen discontent; and the legislature was already the arena on which the relief, or popular party on the one hand, and the creditors on the other, had arrayed themselves in fierce opposition. Talbot, who is represented as "devoured by an ambition for political power and distinction," with an active restless spirit, determined to disregard all principle, whenever a more conscientious course might interfere with the gratification of his political aspirations, embraced the side of the malcontents, and was now on a visit to his constituents, for the purpose of rousing them up to more active remonstrance against the measures of the creditors' or government party, already supposed to have secured a majority in the lower house of the State Legislature. Henry Eustace, at this time, visits his friend, and consults with him on the choice of a profession. Medicine, to which he at first inclined, is soon abandoned, for the more attractive employment of politics; and fascinated by the popular eloquence of Talbot, whose enthusiasm had already enflamed the ardent blood of Henry, he becomes one of the most violent of the partizans of the party to which Talbot was then attached. While on this visit to the neighborhood, Talbot engages himself to Elizabeth Eustace. His talents and influence had already attracted the attention of the friends of the government, and they resolve to tempt him to desertion from his present associates, by the offer of electing him, by their support, to the Senate, to which he already aspired, but with little hope of success, from the votes of his own party. Having espoused the popular cause, from motives of personal interest, he as readily abandons it, when more seductive offers are held out by the opposite party. The baseness of Talbot, who seizes the first opportunity to betray the cause he had formerly supported, is an unexpected blow to Eustace, and severs the friendship that before existed between them. The latter assumes the secret command of the conspirators, while Talbot devotes all his energy and abilities to the service of his new friends of the government; and every day widens the difference between them. A large portion of the two volumes is taken up with descriptions of the various marchings and counter-marchings of the insurgents and the militia, in the course of which Talbot and Eustace engage in single combat; the latter strikes the sword from his adversary's hand, and spares him his life. The story then goes on, without any thing of importance occurring, until the conflict between the two parties in the Legislature, is decided in favor of the government, by the passage of a law for the suspension of the _habeas corpus_ act. The hatred between Talbot and Eustace had already become of the most rancorous and malignant character, and the arrest of the latter, who had been once saved by the sister of Talbot, is now effected by her brother at the head of a party of soldiers. Thus deprived of their chief support, in the person of Eustace, the insurgents are soon dispersed, not however without a skirmish, in which they are put to flight, in a way at once ludicrous and conclusive. The first fire disperses them, never to recover. Elizabeth Eustace and Mary Talbot, in the mean time, manage to bring about a reconciliation between the two hostile brothers, to whom they had been respectively engaged, and a double marriage consummates the happiness of this quartette, and concludes the second and last volume of the "Insurgents." So much for the story, which though simple enough in the detail, is liable to the serious objection, that must ever lie against that division of interest, the necessary consequence of introducing a double set of characters into a plot, that should be single and simple. The unities of the drama are not more essential to the perfection of pieces designed for theatrical representation, than is the preservation of an individual and prominent interest in the hero of a novel. The narrow compass of a couple of duodecimos, is not more than sufficient for the painting of one chief character, with the sketches of the minor _personæ_, necessary to sustain the interest of a plot. An attempt at double teaming a novel, with two sets of heroes, invariably results in destroying that prominence of interest, which a closer adherence to the legitimate form of the fable, naturally and necessarily insures; and no more striking illustration of our position could be found, than in the volumes before us. The characters of Eustace and Talbot, neither contrast with effect, nor harmonize in the general management of the plot; and the awkward and unnatural reconciliation, which is finally brought about, to say nothing of the perplexities into which the cross-loves of the four, plunge the writer, is the best evidence that this double-plotting has injured the effect of the story, by rendering it necessary to force a conclusion.

As the fidelity to nature, in the character of the principal actors, must always be one of the highest sources of interest to a critical reader, we shall notice very briefly, the manner in which the author of the "Insurgents" has succeeded in the _personnel_ of his descriptions. The old Colonel, the father of Henry Eustace, is exactly such a personage as every reader may have met with--brave, generous, careless, and ignorant, he is, perhaps, a very correct picture of the better part of the _ancien regime_ of our colonial and revolutionary times. Without any striking peculiarities of character, and playing but a subaltern part in the story, he only appears as a piece of the family furniture, brought into play, by the casual location of the scene. The reader has no cause to regret the slightness of the acquaintance. The Colonel's second son, Tom, is but an appendage to the story. Henry, one of the heroes, begins in the army, a mischief loving, rule breaking, but active and gallant youth; and in the progress of the story, becomes an eloquent, restless, rebellious demagogue--stirring up insurrection among the people--defending in the Legislature, with consummate ability, their pretended wrongs and actual treason; and upon one occasion, displaying in the field, the chivalrous courage of his hot and impatient years. He is, however, always honorable and sincere. His treason is infatuation, and his _demagogueism_ (if we may coin a much wanted word,) the frenzy of passion and thoughtlessness. Talbot, on the contrary, is bold and eloquent; a brave soldier, and an accomplished advocate; but a cunning and unprincipled politician, who, in the beginning of his career, espouses the cause of the malcontents, as the only means of securing the representation of his native village in the Legislature, and as quickly {481} abandons it, when a higher office is promised him by the friends of the government, as the price of his desertion. Dr. Talbot, a country physician "of long practice and high repute," is an abrupt, rough, but good natured disciple of Esculapius, and seems to have been intended for no other purpose, than to enable the author to discharge his wit at the expense of some of the ill mannered admirers of the surly blackguardism of the Abernethy school of medical gentility. Of the two heroines, Mary Talbot is a thoughtful, reserved, bright eyed _blue_; Elizabeth Eustace is younger, and prettier, but more entirely the child of nature. Neither of them, however, say or act any thing that can distinguish them from the common _materiel_ of all novel-women, and serve rather the necessities of the plot, than the illustration of any of the more touching or exalted beauties of female character. Of the _Dii minorum gentium_--the lower order of character, Zeek Morehouse, a worthless understrapper about the old Colonel's domestic establishment--Hezekiah Brindle, another domestic, who, when fortune had abandoned the standard of the Insurgents, with the most simple hearted treachery, "'lists for a private" in the adverse army--Deacon Hopkins, a thin visaged, flint hearted knave, the usurer of the parish--Captain Moses Bliss, the inn keeper, one of those pert, low rogues, so often found in village taverns--Captain Shays, the leader of the insurgents, and the very impersonation of the spirit of the militia service--Mrs. Appleton and Mrs. Shattuck, specimens of the virago, are all rather amusing examples of Yankee low life, and afford occasion for much characteristic, if not very interesting dialogue. The other characters brought out in the developement of the story, scarcely deserve to be noticed, serving as they only do, like soldiers drafted from the cobbler's stalls and tailors benches, for the use of the stage, to help the author through the necessities of his plot.

The conduct of the story, is in some respects extremely, and very often unnecessarily, faulty. The introduction of Zeek Morehouse, in the second chapter, is a bungling expedient to beat out the author's _materiel_, over a larger surface for the publisher: and the whole scene in the kitchen, and afterwards in the presence of the Colonel's family, is low and dull. The Doctor (Talbot,) is always an unnecessary personage, and we hardly think there is any thing about him, to compensate the delay in the story which his presence occasions. The affair of "Mary Gibbs's misfortune," is awkwardly brought in, and unsatisfactorily disposed of. We are sorry for the misconduct of Eustace, and rather vexed at the facile forgiveness with which his mistress overlooks it; while the silence of the novelist gives a venial character to one of the most crying offences against individual happiness and social order. Osborne, and his adventures, from the commencement, through his trial and mock punishment, down to the period of the marriage with Miss Warren, form an episode that only swells the volume, without helping on the story, or affording the author any opportunity (that he had not before,) for remark, or the illustration of character. He is nothing but the shadow of Eustace, in point of character; and Miss Warren, as a sketch of a flirting fashionable, is not worth the pains taken to introduce her to the reader. The capital defect of the plot, however, is in the conclusion. The bitter contempt which Eustace must have felt, (and which he seizes every opportunity to express,) for the baseness of Talbot, in betraying the cause of the popular party, and the rancorous hatred which his subsequent violent persecution of him, had engendered in the breast of Eustace, (see vol. 2, p. 266-7,) to say nothing of the cordial detestation with which Talbot returned his ill will, (see vol. 2, p. 268,) renders the reconciliation, effected without any sort of explanation, apology, or clearing up of the guilt of either, unnatural and disgusting. Eustace _knew_ the baseness of Talbot, and the latter (a bearded man, and a soldier,) had just declared that he would sooner follow his sister to the grave, than see her united to his enemy; and yet, presto! the author having finished out his second volume, the traitor and his bitter foe, shake hands, and enter at once into an exchange of sisters by a double marriage! In this particular, the story is contrived with great want of skill.

The author seems to have been aware of the propriety and good taste of preserving historical correctness in a novel, founded on scenes in real life; but he does not comprehend, to its full extent, the spirit of that sound canon. So far as the progress of the story, in the movements of the insurgents, is concerned, the _events_ are in strict keeping with Bradford's account of the insurrections in Massachusetts. But this was but a small part of the duty of the novelist; and he has violated all the rest. The open rebellion of the greater part of the population of several counties, threatened the most serious and alarming evil; perhaps the total overthrow of the government of the state; and the spirit of the people had become sullen and gloomy. In the "Insurgents," however, the whole affair is treated with ridicule, and the reader of the novel is left with an impression that the insurrection was of a character, compared with which, the adventures of Don Quixotte and his squire, were serious and important! Shays, who was the head of the malcontents, and commander in chief of the disorderly forces that were arranged against the government, is painted in the novel, as a despicably ignorant and silly creature. Now, such would not have been the character of a man, elected to head a band of desperate insurgents, upon the point of engagement with the forces of a powerful commonwealth! We may add, that the whole body of the relief party, with the exception of Eustace, and his friend Osborne, are described as frivolous gasconading clowns. In this respect, then, there has been a gross falsification of history, and the extremely literal adherence of the author, to historical correctness in _events_, renders this striking variation the more apparent, and the more to be lamented.

The moral of the "Insurgents," is defective. The treachery of Talbot, and the indignant virtue of Eustace, are rewarded with the same final happiness; and the unfortunate Mary Gibbs does not even suggest to the author a word of censure, upon her guilty seducer. We should have been glad to have made such extracts from the work, as would have enabled our readers to judge for themselves of its merit; but there are few, if any passages, in either volume, of very striking interest, and any partial quotation would rather have misled, than corrected their judgment.

Men of humor are always, in some degree, men of genius; wits are rarely so, although a man of genius may, amongst other gifts, possess wit, as Shakspeare.

_Coleridge's Table Talk_.

{482}

For the Southern Literary Messenger.

LETTERS ON THE UNITED STATES OF AMERICA.

By a young Scotchman now no more.

_Boston, 1832_.

DEAR HENRY,--You have requested me to give you some information concerning the science and literature of the United States, which have been so often the subjects of ridicule and derision in the critical reviews and other literary journals of our country. I take great pleasure in complying with this request, as far as my limited opportunities have enabled me to judge of their condition. I have read almost every American work of any merit I could obtain, and mingled with some of their men of science and letters, for the purpose of being directed in my researches, and of acquiring from personal observation, a better knowledge of their living authors.

In science, perhaps, for so young and growing a nation, its progress has been as steady and rapid as could reasonably have been expected. In the exact and physical sciences, there are some who, though they have not greatly enlarged their circle, are nevertheless profoundly versed in them, and who would not be ranked below the best in Europe. In chemistry, mineralogy, and botany, several have acquired great distinction, and these sciences are becoming daily more popular and more generally cultivated. Many of the young of both sexes attend occasional and regular lectures on each, but especially on the first and last, and it is not rare to meet with females conversant to a certain degree with both. In the northern cities, public lectures are delivered on various branches of science, which are attended by both sexes. There are at present several scientific journals published in the United States, which are said to be pretty generally patronized, and two or three scientific associations, whose transactions have been given to the public. Of the former, the most meritorious are--Silliman's Journal of Science, the Franklin Quarterly Journal, Chapman's and some other medical journals, and two or three law journals. Of the philosophical transactions I can say but little. I have merely glanced over those of the American Philosophical Society, the American Academy of Arts and Sciences, and the Literary and Philosophical Society of New York, but that glance has not impressed me very favorably with the genius or learning of their members. Some few papers are indeed valuable, and exhibit considerable research and erudition, but they appear to be deficient in originality, depth and lucidness. I have, however, never been very partial to these associations. The amount of their contributions to science or literature has never been so great as to render their formation desirable in my eye, and certainly they are not to be compared with the individual labors of those great luminaries who have shed such radiance over the paths of science. Scientific men here have published from time to time the result of their labors in the different physical sciences, to the cultivation of which they have devoted a large portion of their lives. The botanical works of Bigelow, Nutall, Barton, Eaton and Elliott, the works on American birds by Wilson, Bonaparte and Audubon, that on mineralogy by Cleveland--on entomology by Say, and on natural history by Goodman, are highly creditable to the country in which they were produced. Law and medical lectures are frequently published, and law reports are numerous. I believe every State has its reporter, and every year brings forth a volume or two of decisions. Jurisprudence appears to be in this country a more complicated science than in Europe. The student has not only to make himself acquainted with the elements and principles of English law, maritime, civil and criminal, but he has to acquire a knowledge of the laws of the particular state in which he practices, and to know what the courts of the different states have decided, where he does not practice. Law is a favorite science, if indeed it can be called a science, among the Americans. There is scarcely a youth who has received the most ordinary education, that does not undertake to study and practice, or attempt to practice it. In a government of laws like this, law will be a desirable object of attainment, and hence almost every citizen is more or less conversant with the laws by which he is governed. The medical science too, is very extensively cultivated, and this profession has produced several distinguished men, of whom the nation has reason to feel proud. But metaphysical science is almost entirely neglected, which is a matter of surprise when we consider the very inquisitive and refining character of the American mind. Men here, however, have no time for mere abstract speculation; and though many of them refine and subtilize, and split hairs on constitutional questions, they are not very anxious to analyze or investigate mere abstractions, or to attempt to elicit light from the darkness of metaphysical obscurity.--One of the most extensively informed scientific men this country has produced, was Dr. Samuel L. Mitchell of New York, who died during the summer of 1831. He had devoted his life to the cultivation of science, especially the physical sciences, in all of which he was well skilled; but, in consequence of that vanity which sometimes accompanies great attainments, he often became an object of ridicule to his countrymen, who seemed more inclined to depreciate than to exalt his real merits.

Of the literature of America you are almost as well informed as myself. I have looked into most of the native productions of this country with an impartial eye, and am sorry to say that its literature does not rank so high as one might be led to suppose from the intelligence of its people and the nature of its political institutions. Literature does not receive that encouragement and patronage under this Republic, which are calculated to give it a vigorous growth or a permanent and healthy existence. There is not much individual wealth, and few can afford, if they had the inclination, to purchase the productions of native authors. There is, however, another cause which operates to the disadvantage of American literature, and will continue to do so, until some measure be adopted to remedy the evil; it is the cheapness and facility with which the productions of the British press can be republished is this country. The American author has to struggle against many disadvantages, especially when young, unknown and inexperienced. British works of established reputation can be obtained at little or no expense, and reprinted in this country, while the native writer is often obliged to publish the productions of his mind at his own cost, or give them to any one that will undertake to put them to the press. Few can afford {483} to write for mere fame, and no great inducement is offered to write for any thing else. Hence there are but few, if any, professional authors in the United States. For a long time too, the people of this country were disposed to underrate their own literary powers, and many believed that none but the works of the British press were worthy of perusal or patronage. This prejudice is, however, now beginning to wear away, especially since the critics of our country have been forced to acknowledge the genius and literary excellence of some of the native writers of America. But still when the extent, population, age, and comparative refinement of the United States are considered, it must be a matter of surprise that so few authors of distinction are to be found within its widely extended limits. May not this very extent be prejudicial to the cause of American letters? The expense of transportation from one portion of the Union to the other is so considerable, that the publisher finds it safer and more profitable to confine his sales to a limited and convenient range, than to spread his books over an almost boundless surface, from which but few satisfactory returns are ever made. The Americans, though not a nation of shop-keepers, as ours has been denominated, are nevertheless a money making and thrifty people, and almost all are engaged in some lucrative kind of business or occupation, which affords them but little leisure for either literary pursuits, or the cultivation of a taste for the fine arts; and though most of them are readers, their reading is generally confined to newspapers, and the political productions of the day. In the latter I do not think they have made any very great progress since the period of the revolution. In force and perspicuity of style, felicity of illustration and logical power, the authors of the Federalist have not since been surpassed. This is a work written in periodical numbers by Hamilton, Madison and Jay, recommending and enforcing with great ability and eloquence, the adoption of the constitution which now exists. It is a work which every man should read who wishes to understand the principles of this great charter of American liberty, and the motives, feelings and views of its framers and supporters.

In the walks of romance the most distinguished writers of this country are the late Charles B. Brown of Philadelphia, and J. Fenimore Cooper of New York, both men of unquestionable genius. The novels or romances of the former having been recently republished in England, you have no doubt seen them, and those of the latter, but few who read at all have not read. Miss Sedgewick has also written some popular novels and ranks deservedly high among the few literati of her country; and Mr. Paulding has lately published some tales which have been well received and possess a good deal of merit. I can scarcely class Washington Irving among the romance writers of this country. Most of his tales were written abroad, and I do not think that novel writing is his forte. He has excelled in the other walks of literature so greatly that he need not covet the fame of a writer of fictitious history. Brown unfortunately belonged to the _satanic_ school of our countryman Godwin, and all his _dramatis personæ_, plots, incidents and pictures partake of the gloom and ferocity of that school; but Brown was unquestionably a man of genius, and capable of giving lustre to the literary reputation of his country. Godwin was his model, as Scott seems to be that of Cooper. Brown's picture of the yellow fever in Philadelphia cannot be surpassed in accuracy of coloring and intensity of interest, and it may very justly be classed with the description of the plague at Athens by Thucydides, and that of the same terrible pest at Florence by Boccacio. In detached scenes Brown is very powerful, but he never appears inclined to complete what he begins, or to present a perfect whole. He sometimes breaks off abruptly, or hastens too precipitately to a close. He delights in gloom and the more ferocious and uncontrollable workings of the human passions. His object is to excite terror and not tenderness--to raise up storms and tempests, and not to breathe over the scene a quietness and repose calculated to soothe and tranquillize. His novels like those of his model, are now but seldom read, and he is rapidly sinking into oblivion.

The _dramatic_ romance of Scott and Cooper is now preferred to all others, and has caused Brown's novels to be cast aside. Cooper's rise to fame was as rapid as it was deserved. He had been for some years an officer in the American Navy, where he acquired a knowledge of all the minutiæ of nautical life, which was of great service to him in the composition of some of his tales. These are justly considered as his best. They display a perfect intimacy with sea life, and his characters, incidents and sentiments are such as belong to the "mountain wave," and are always in admirable keeping. His dialogues, though sometimes tedious and unnecessarily prolonged are on the whole dramatic, and serve not only to develope character but to excite the interest of the reader. His descriptions, though at times graphic and striking, are rather too minute for effect. The unities of time and action are well preserved, and his plots, though very simple in their construction, are usually wrought up with great power, and often produce the most intense and thrilling interest. Of his female characters, generally two in number, but little can be said; they are Siamese twins, but with different dispositions and styles of beauty, and play the respective parts assigned to them in the drama with proper decency and effect. His sketches of American scenery and his delineations of savage life and character are admirable. There is in the former perhaps too much detail, and in the latter too high coloring for nature; but they are unequalled, and display the vigor of Cooper's genius and the strength of his conceptions. His style is easy, perspicuous and fluent. In short, he is a writer of whom any country might justly feel proud. Were I to attempt a parallel between the American Novelist and the "Northern Magician," I should say that Scott has more varied powers and a finer poetical mind, but in the management of their plots, intensity of interest, and the description of natural scenery, they are not very unequal. The Scotch romancer has greater acquirements and a more minute and intimate acquaintance with the history, manners and customs of past ages, but in all that appertains to sea life Cooper is superior, and does not fall short of his model in the ability with which he works up his incidents and developes his plots. This, you will think, is saying a great deal for a Scotchman, but such is my unbiassed opinion and the impression left upon my mind, after a careful perusal of the productions of both of these eminent writers of fictitious history.

{484}

For the Southern Literary Messenger.

OBSERVATIONS

On the National Importance of Mineral Possessions, and the Cultivation of Geological Inquiry.

The importance of the metallic ores and other mineral substances, considered as instrumental in the advancement of national prosperity, is obvious to every one. In announcing that a certain country possesses extensive and skilfully worked mines, either of coal, of iron, copper, tin, lead, or other of the numerous ores, we at once proclaim her wealth in terms that all must understand. They are readily perceived to be essential to the prosecution of the various arts and manufactures that flourish in the present age, and to form a fruitful source of wealth to the country in which they happen to abound.

The facility, however, with which one nation can procure these from another, owing to the free intercourse and system of exchange subsisting between them, which thus enables a country, barren itself in mineral treasures, to attain a respectable rank among the wealthy nations of the earth, occasions us to assign to the possession of them within our own soil, an importance infinitely less than is due. We are disposed to consider them too much in the light of mere articles of export, and valuable, chiefly as commodities of exchange: or, if we do not bestow too much consequence on their exchangeable value, we at least allow too little to their intrinsic worth. Yet, when we assign to the products of the mineral kingdom their proper rank in the scale of national blessings, they take their place beside that of a fertile soil, or a salubrious climate,--blessings we may still enjoy, though we adopt the exclusive and selfish policy of ancient Egypt, or of modern China. In short, we should value these mineral productions, not as we value one of our great staple commodities, tobacco, on account of its nominal price, but on their own account--not by the gain derived from parting with, but that derived from keeping them. Nor should we confine our solicitude to procuring now, on the easiest terms, the means of supplying our immediate wants; but with a more comprehensive view, look forward and provide for the period, when the growing wants of the unborn millions destined to people our almost boundless territory, will create a demand for these substances, in quantities which either foreign nations, with comparatively exhausted mines, will be unable to supply, or to purchase which, we must appropriate that produce (the produce of a large portion of the surface of the soil,) which should be devoted to the more legitimate purpose of furnishing to its inhabitants the means of subsistence and employment.

We are apt too to forget, that were it possible, with or without the intervention of war, for a people to be cut off from all intercourse with other nations, and to be destitute themselves of mineral resources, that their very existence, at least as a civilized people, would be next to impossible. That the different degrees of refinement attained by the human race in different periods of antiquity, are marked with a precision sufficiently distinct, by their acquaintance with the metals, and the uses to which they are susceptible of being applied: and, that nearer our own times, the aboriginal inhabitants of our own continent were found existing in a higher or lower stage of progress towards civilization, in proportion to their knowledge or their ignorance of these substances.