The Colonial Period in New England

Early American and Colonial Period to 1776

Періоди американської літератури, поезія та проза після 1945 р.

The foundation of American literature begins with the orally transmitted myths, legends, tales, and lyrics (always songs) of Indian cultures. Native American oral tradition is quite diverse. Indian stories glow with reverence for nature as a spiritual, as well as physical, mother. Nature is alive and endowed with spiritual forces; main characters may be animals or plants, often totems associated with a tribe, group, or individual.

The story of American literature begins in the early 1600^th. The earliest writers were Englishmen describing the English exploration and colonization of the New World (America). Thomas Hariot`s “ Briefe and True Report of the New – Found land of Virginia” (1588) was only the first of many such works. Back in England, people planning to move to Virginia or New England would read the books as travel guides. But it was dangerous because such books often mixed facts with fantasy. People could certainly read them as tales of adventure and excitement. Like modern readers of science fiction, they could enjoy imaginary voyages to places they could never visit in reality.

The writing of Captain John Smith (1538-1631) “True Relation of Virginia”(1608) and “Description of New England” (1616) are fascinating “advertisements” which try to persuade the reader to settle in the New World, and the Puritans (believers in a simple Christian religion without ceremony) followed his advice and settled there in 1620. Smith was often boastful about his own adventures in his books. His “ General Historie of Virginia, New England, and the summer Isles” ( 1624) contains the story of his rescue by a beautiful Indian princess. The story is probably untrue, but it is the first famous tale from American literature. His Elizabethan style was not always easy to read, and his punctuation was strange even for the 17^th century.

I t is likely that no other colonists in the history of the world were as intellectual as the Puritans Between 1630 and 1690, there were as many university graduates in the northeastern section of the United States, known as New England, as in the mother country. The self-made and often self-educated Puritans were notable exceptions.

Whatever the style or genre, certain themes remained constant. Life was seen as a test; failure led to eternal damnation and hellfire, and success to heavenly bliss. This world was an arena of constant battle between the forces of God and the forces of Satan, a formidable enemy with many disguises. Many Puritans excitedly awaited the "millennium," when Jesus would return to Earth, end human misery, and inaugurate 1,000 years of peace and prosperity.

The Puritans interpreted all things and events as symbols with deeper spiritual meanings.

The first Puritan colonists who settled New England exemplified the seriousness of Reformation Christianity. Known as the "Pilgrims," they were a small group of believers who had migrated from England to Holland -- even then known for its religious tolerance -- in 1608, during a time of persecutions.

Like most Puritans, they interpreted the Bible literally. They read and acted on the text of the Second Book of Corinthians -- "Come out from among them and be ye separate, saith the Lord." Despairing of purifying the Church of England from within, "Separatists" formed underground "covenanted" churches that swore loyalty to the group instead of the king. Seen as traitors to the king as well as heretics damned to hell, they were often persecuted. Their separation took them ultimately to the New World.

William Bradford (1590-1657)

William Bradford was elected governor of Plymouth in the Massachusetts Bay Colony shortly after the Separatists landed. He was a deeply pious, self-educated man who had learned several languages, including Hebrew, in order to "see with his own eyes the ancient oracles of God in their native beauty." His participation in the migration to Holland and the Mayflower voyage to Plymouth, and his duties as governor, made him ideally suited to be the first historian of his colony. His history, Of Plymouth Plantation (1651), is a clear and compelling account of the colony's beginning.

Bradford also recorded the first document of colonial self-governance in the English New World, the "Mayflower Compact," drawn up while the Pilgrims were still on board ship. The compact was a harbinger of the Declaration of Independence to come a century and a half later.

Puritans disapproved of such secular amusements as dancing and card-playing, which were associated with ungodly aristocrats and immoral living. Reading or writing "light" books also fell into this category. Puritan minds poured their tremendous energies into nonfiction and pious genres: poetry, sermons, theological tracts, and histories. Their intimate diaries and meditations record the rich inner lives of this introspective and intense people.

Anne Bradstreet (c. 1612-1672). The first published book of poems by an American was also the first American book to be published by a woman -- Anne Bradstreet. It is not surprising that the book was published in England, given the lack of printing presses in the early years of the first American colonies. Born and educated in England, Anne Bradstreet was the daughter of an earl's estate manager. She emigrated with her family when she was 18. Her husband eventually became governor of the Massachusetts Bay Colony, which later grew into the great city of Boston. She preferred her long, religious poems on conventional subjects such as the seasons, but contemporary readers most enjoy the witty poems on subjects from daily life and her warm and loving poems to her husband and children. She was inspired by English metaphysical poetry, and her book The Tenth Muse Lately Sprung Up in America (1650) shows the influence of Edmund Spenser, Philip Sidney, and other English poets as well. She often uses elaborate conceits or extended metaphors. "To My Dear and Loving Husband" (1678) uses the oriental imagery, love theme, and idea of comparison popular in Europe at the time, but gives these a pious meaning at the poem's conclusion:

Edward Taylor (c. 1644-1729)

Like Anne Bradstreet, and, in fact, all of New England's first writers, the intense, brilliant poet and minister Edward Taylor was born in England. The son of a yeoman farmer -- an independent farmer who owned his own land -- Taylor was a teacher who sailed to New England in 1668 rather than take an oath of loyalty to the Church of England. He studied at Harvard College, and, like most Harvard-trained ministers, he knew Greek, Latin, and Hebrew. A selfless and pious man, Taylor acted as a missionary to the settlers when he accepted his lifelong job as a minister in the frontier town of Westfield, Massachusetts, 160 kilometers into the thickly forested, wild interior. Taylor was the best-educated man in the area, and he put his knowledge to use, working as the town minister, doctor, and civic leader.

Modest, pious, and hard-working, Taylor never published his poetry, which was discovered only in the 1930s. He would, no doubt, have seen his work's discovery as divine providence; today's readers should be grateful to have his poems -- the finest examples of 17th-century poetry in North America.

Taylor wrote a variety of verse: funeral elegies, lyrics, a medieval "debate," and a 500-page Metrical History of Christianity (mainly a history of martyrs). His best works, according to modern critics, are the series of short Preparatory Meditations.

Revolutionary Writers, 1776-1820

The most memorable writing in 18^th century America was done by the Founding Fathers, the men who led the Revolution of 1775-1783 and who wrote the Constitution of 1789. None of them were writers of fiction. Rather, they were practical philosophers, and their most typical product was a political pamphlet. They both admired and were active in the European “Age of Reason” or “Enlightenment”. They shared the Enlightenment belief that human intelligence (or reason) could understand both nature and man. Unlike the Puritans—who saw man as a sinful failure-the enlightenment thinkers were sure that man could improve himself. They wanted to create a happy society based on justice and freedom. T he 18th-century American Enlightenment was a movement marked by an emphasis on rationality rather than tradition, scientific inquiry instead of unquestioning religious dogma, and representative government in place of monarchy. Enlightenment thinkers and writers were devoted to the ideals of justice, liberty, and equality as the natural rights of man.

Benjamin Franklin 's (1706-1790) contribution to the creation of an American national identity is perhaps the most important theme that needs to be emphasized. Franklin's abandonment of Puritanism in favor of the enlightenment's rationalism reflects a central shift in American society in the eighteenth century. In addition, his works reflect the growing awareness of America as a country with values and interests distinct from those of England – a movement that, of course, finds its climax in the Revolution.

The writings of Benjamin Franklin show the Enlightenment spirit in America at its best and most optimistic. His style is quite modern and, even today, his works are a joy to read. Although he strongly disagreed with the opinions of the Puritans, his works show a return to their “plan style”. At the same time, there is something “anti-literary” about Franklin. He had no linking for poetry and felt that writing should always have a practical purpose.

We can see these ideas even in his earliest work, the Dogood Papers (1722), written when he was only sixteen. These are a series of short pieces which are very funny, but full of moral advice (praising honesty and attacking drunkenness, etc.). His Poor Richard’s Almanac (1732-1757) gives similar advice. Almanacs, containing much useful information for farmers and sailors (about the next year’s weather, sea tides, etc.), were a popular form of practical literature. Together with the Bible and the newspaper, they were the only reading matter in most Colonial households. Franklin made his Almanac interesting by creating the character “Poor Richard”. Each new edition continued a simple but realistic story about Richard, his wife and family. He also included many “sayings” about saving money and working hard. Some of these are known to most Americans today. In 1757, Franklin collected together the best of his sayings, making them into an essay called The Way to Wealth. This little book became one of the best-sellers of the Western world and was translated into many languages.

During the first half of his adult life, Franklin worked as a printer of books and newspapers. But he was an energetic man with wide interests. As a scientist, he wrote important essays on electricity which were widely read and admired in Europe. His many inventions, his popularity as a writer and his diplomatic activity in support of the American Revolution made him world-famous in his own lifetime.

Although Franklin wrote a great deal, almost all of his important works are quite short. He invented one type of short prose which greatly influenced the development of a story-telling form in America, called the “hoax”, or the “tall tale” (latter made famous by Mark Twain). A hoax is funny because it is so clearly a lie.

Franklin’s only real book was his Autobiography. The first part of the book began in 1771 as an entertaining description of his life up to early manhood. The second part was written in 1784 when he was a tired old man and the style is more serious. Franklin now realizes the part he played in American history. The Autobiography can be used as a basis for examining the question of what it means to be an American and what the dominant American values are. Given the current debate over multiculturalism, a discussion of Franklin's career as statesman and writer as an attempt to create a unified American identity – and thus to suppress the multicultural elements in the emerging nation – should prove provocative.

Philip Morin Freneau (January 2, 1752 – December 18, 1832) was a notable American poet, nationalist, polemicist, sea captain and newspaper editor.

He graduated from Princeton University in 1771, having written the poetical History of the Prophet Jonah, and, with Hugh Henry Brackenridge, the prose satire Father Bombo's Pilgrimage to Mecca.

As the Revolutionary War approached in 1775, Freneau wrote a number of anti-British pieces. However, by 1776, Freneau left America for the West Indies, where he would spend time writing about the beauty of nature. In 1778, Freneau returned to America, and rejoined the patriotic cause. Freneau eventually became a crew member on a revolutionary privateer, and was captured in this capacity. He was held on a British prison ship for about six weeks. This unpleasant experience, detailed in his work, "The British Prison Ship" would precipitate many more patriotic and anti-British writings throughout the revolution and after.

Freneau later retired to a more rural life and wrote a mix of political and nature works. The non-political works of Freneau are a combination of neoclassicism and romanticism. His poem "The House of Night" makes its mark as one of the first romantic poems written and published in America.

Washington Irving (1789-1859) The youngest of 11 children born to a well-to-do New York merchant family, Washington Irving became a cultural and diplomatic ambassador to Europe, like Benjamin Franklin and Nathaniel Hawthorne. Despite his talent, he probably would not have become a full-time professional writer, given the lack of financial rewards, if a series of fortuitous incidents had not thrust writing as a profession upon him. Through friends, he was able to publish his Sketch Book (1819-1820) simultaneously in England and America, obtaining copyrights and payment in both countries.

The Sketch Book of Geoffrye Crayon (Irving's pseudonym) contains his two best remembered stories, "Rip Van Winkle" and "The Legend of Sleepy Hollow." "Sketch" aptly describes Irving's delicate, elegant, yet seemingly casual style, and "crayon" suggests his ability as a colorist or creator of rich, nuanced tones and emotional effects. In the Sketch Book, Irving transforms the Catskill Mountains along the Hudson River north of New York City into a fabulous, magical region.

American readers gratefully accepted Irving's imagined "history" of the Catskills, despite the fact (unknown to them) that he had adapted his stories from a German source. Irving gave America something it badly needed in the brash, materialistic early years: an imaginative way of relating to the new land.

No writer was as successful as Irving at humanizing the land, endowing it with a name and a face and a set of legends. The story of "Rip Van Winkle," who slept for 20 years, waking to find the colonies had become independent, eventually became folklore. It was adapted for the stage, went into the oral tradition, and was gradually accepted as authentic American legend by generations of Americans. Irving discovered and helped satisfy the raw new nation's sense of history. His numerous works may be seen as his devoted attempts to build the new nation's soul by recreating history and giving it living, breathing, imaginative life. For subjects, he chose the most dramatic aspects of American history: the discovery of the New World, the first president and national hero, and the westward exploration. His earliest work was a sparkling, satirical History of New York (1809) under the Dutch, ostensibly written by Diedrich Knickerbocker (hence the name of Irving's friends and New York writers of the day, the "Knickerbocker School").

JAMES FENIMORE COOPER (1789-1851), like Washington Irving, was one of the first great American writers. Like other Romantic writers of the era, he evoked a sense of the past (in his day, the American wilderness that had preceded and coincided with early European settlement). In Cooper, one finds the powerful myth of a "golden age" and the poignance of its loss.

While Washington Irving and other American writers before and after him scoured Europe in search of its legends, castles, and great themes, Cooper helped create the essential myth of America: European history in America was a re-enactment of the Fall in the Garden of Eden. The cyclical realm of nature was glimpsed only in the act of destroying it: The wilderness disappeared in front of American eyes, vanishing before the oncoming pioneers like a mirage. This is Cooper's basic tragic vision of the ironic destruction of the wilderness – the “new Eden” that had attracted the colonists in the first place.

The son of a Quaker family, he grew up on his father's remote estate at Otsego Lake (now Cooperstown) in central New York State. Although this area was relatively peaceful during Cooper's boyhood, it had once been the scene of an Indian massacre. Young Fenimore Cooper saw frontiersmen and Indians at Otsego Lake as a boy; in later life, bold white settlers intruded on his land.

Natty Bumppo, Cooper's renowned literary character, embodies his vision of the frontiersman as a gentleman, a Jeffersonian "natural aristocrat." Early in 1823, in The Pioneers, Cooper had begun to imagine Bumppo. Natty is the first famous frontiersman in American literature, and the literary forerunner of countless fictional cowboy and backwoods heroes. He is the idealized, upright individualist who is better than the society he protects. Poor and isolated, yet pure, he is a touchstone for ethical values, and prefigures Herman Melville's Billy Budd and Mark Twain's Huck Finn.

Based in part on the real life of American pioneer Daniel Boone – who was a Quaker like Cooper – Natty Bumppo, an outstanding woodsman like Boone, was a peaceful man adopted by an Indian tribe. Both Boone and the fictional Bumppo loved nature and freedom. They constantly kept moving west to escape the oncoming settlers they had guided into the wilderness, and they became legends in their own lifetimes.

The unifying thread of the five novels collectively known as the Leather-Stocking Tales is the life of Natty Bumppo. Cooper's finest achievement, they constitute a vast prose epic with the North American continent as setting, Indian tribes as major actors, and great wars and westward migration as social background. The novels bring to life frontier America from 1740 to 1804. Cooper's novels portray the successive waves of the frontier settlement: the original wilderness inhabited by Indians; the arrival of the first whites as scouts, soldiers, traders, and frontiersmen; the coming of the poor, rough settler families; and the final arrival of the middle class, bringing the first professionals-the judge, the physician, and the banker. Each incoming wave displaced the earlier: Whites displaced the Indians, who retreated westward; the "civilized" middle classes who erected schools, churches, and jails displaced the lower-class individualistic frontier folk, who moved further west, in turn displacing the Indians who had preceded them. Cooper evokes the endless, inevitable wave of settlers, seeing not only the gains but the losses.

Like Rudyard Kipling, E.M. Forster, Herman Melville, and other sensitive observers of widely varied cultures interacting with each other, Cooper was a cultural relativist. He understood that no culture had a monopoly on virtue or refinement.

Edgar Allan Poe (1809-1849)
Edgar Allan Poe, a southerner, shares with Melville a darkly metaphysical vision mixed with elements of realism, parody, and burlesque. He refined the short story genre and invented detective fiction. Many of his stories prefigure the genres of science fiction, horror, and fantasy so popular today.

Poe's short and tragic life was plagued with insecurity. Like so many other major 19th-century American writers, Poe was orphaned at an early age. Poe's strange marriage in 1835 to his first cousin Virginia Clemm, who was not yet 14, has been interpreted as an attempt to find the stable family life he lacked.

Poe believed that strangeness was an essential ingredient of beauty, and his writing is often exotic. His stories and poems are populated with doomed, introspective aristocrats (Poe, like many other southerners, cherished an aristocratic ideal). These gloomy characters never seem to work or socialize; instead they bury themselves in dark, moldering castles symbolically decorated with bizarre rugs and draperies that hide the real world of sun, windows, walls, and floors. The hidden rooms reveal ancient libraries, strange art works, and eclectic oriental objects. The aristocrats play musical instruments or read ancient books while they brood on tragedies, often the deaths of loved ones. Themes of death-in-life, especially being buried alive or returning like a vampire from the grave, appear in many of his works, including "The Premature Burial," "Ligeia," "The Cask of Amontillado," and "The Fall of the House of Usher." Poe's twilight realm between life and death and his gaudy, Gothic settings are not merely decorative. They reflect the overcivilized yet deathly interior of his characters disturbed psyches. They are symbolic expressions of the unconscious, and thus are central to his art.

Poe's verse, like that of many Southerners, was very musical and strictly metrical. His best-known poem, in his own lifetime and today, is "The Raven" (1845). In this eerie poem, the haunted, sleepless narrator, who has been reading and mourning the death of his "lost Lenore" at midnight, is visited by a raven (a bird that eats dead flesh, hence a symbol of death) who perches above his door and ominously repeats the poem's famous refrain, "nevermore." The poem ends in a frozen scene of death-in-life:

And the Raven, never flitting, still
is sitting, still is sitting
On the pallid bust of Pallas just
above my chamber door;
And his eyes have all the seeming of
a demon's that is dreaming,
And the lamp-light o'er him
streaming throws his shadow on the
floor;
And my soul from out that shadow
that lies floating on the floor
Shall be lifted -- nevermore!

Poe's stories -- such as those cited above -- have been described as tales of horror. Stories like "The Gold Bug" and "The Purloined Letter" are more tales of ratiocination, or reasoning. The horror tales prefigure works by such American authors of horror fantasy as H.P. Lovecraft and Stephen King, while the tales of ratiocination are harbingers of the detective fiction of Dashiell Hammett, Raymond Chandler, Ross Macdonald, and John D. MacDonald. There is a hint, too, of what was to follow as science fiction. All of these stories reveal Poe's fascination with the mind and the unsettling scientific knowledge that was radically secularizing the 19th-century world view.

In every genre, Poe explores the psyche. Profound psychological insights glint throughout the stories. "Who has not, a hundred times, found himself committing a vile or silly action, for no other reason than because he knows he should not," we read in "The Black Cat." To explore the exotic and strange aspect of psychological processes, Poe delved into accounts of madness and extreme emotion. The painfully deliberate style and elaborate explanation in the stories heighten the sense of the horrible by making the events seem vivid and plausible.

Poe's combination of decadence and romantic primitivism appealed enormously to Europeans, particularly to the French poets Sté Mallarmé, Charles Baudelaire, Paul Valé, and Arthur Rimbaud. But Poe is not un-American, despite his aristocratic disgust with democracy, preference for the exotic, and themes of dehumanization. On the contrary, he is almost a textbook example of Tocqueville's prediction that American democracy would produce works that lay bare the deepest, hidden parts of the psyche. Deep anxiety and psychic insecurity seem to have occurred earlier in America than in Europe, for Europeans at least had a firm, complex social structure that gave them psychological security. In America, there was no compensating security; it was every man for himself. Poe accurately described the underside of the American dream of the self-made man and showed the price of materialism and excessive competition -- loneliness, alienation, and images of death-in-life.

Poe's "decadence" also reflects the devaluation of symbols that occurred in the 19th century -- the tendency to mix art objects promiscuously from many eras and places, in the process stripping them of their identity and reducing them to merely decorative items in a collection. The resulting chaos of styles was particularly noticeable in the United States, which often lacked traditional styles of its own. The jumble reflects the loss of coherent systems of thought as immigration, urbanization, and industrialization uprooted families and traditional ways. In art, this confusion of symbols fueled the grotesque, an idea that Poe explicitly made his theme in his classic collection of stories, Tales of the Grotesque and Arabesque (1840).

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