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 the most brilliant; and a group of statesmen, of whom the most notable were Thomas Jefferson (1743–1826), James Madison (1751–1836), and Alexander Hamilton (1757–1804), held the political direction of the times; in the speeches and state-papers of these orators and statesmen and their fellows the political literature of the colonies came to hold the first place. The chief memorials of this literature are The Declaration of Independence (1776), The Federalist (1788), a treatise on the principles of free government, and Washington’s Addresses (1789–1793–1796). Thus politics became, in succession to exploration and religion, the most important literary element in the latter half of the 18th century.

The more refined forms of literature also began to receive intelligent attention towards the close of the period. The Revolution in passing struck out some sparks of balladry and song, but the inspiration of the spirit of nationality was first felt in poetry by Philip Freneau (1752–1832), whose Poems (1786) marked the best political achievement up to his time. Patriotism was also a ruling motive in the works of the three poets associated with Yale College, John Trumbull (1750–1831), Timothy Dwight (1752–1817), and Joel Barlow (1754–1812), authors respectively of McFingal (1782), a Hudibrastic satire of the Revolution, The Conquest of Canaan (1785), an epic, and The Vision of Columbus (1787), later remade into The Columbiad, also an epic. These poets gathered about them a less talented company, and all were denominated in common the “Hartford Wits,” by which name rather than by their works they are remembered. The national hymn, “Hail Columbia,” was composed by Joseph Hopkinson (1770–1842) in 1798. Fiction, in turn, was first cultivated by Charles Brockden Brown (1771–1810), a Philadelphian, who wrote six romantic novels (1798–1801) after the style of Godwin, but set in the conditions of the new world and mixing local description and observation with the material of mystery and terror. Fiction had been earlier attempted by Mrs Susanna Haswell Rowson, whose Charlotte Temple (1790) is remembered, and contemporaneously by Mrs Hannah Webster Foster in The Coquette (1797) and by Royall Tyler (1758–1826) in The Algerian Captive (1799); but to Brown properly belongs the title of the first American novelist, nor are his works without invention and intensity and a certain distinction that secure for them permanent remembrance. The drama formally began its career on a regular stage and with an established company, in 1786 at New York, with the acting of Royall Tyler’s comedy The Contrast; but the earliest American play was Thomas Godfrey’s (1736–1763) tragedy, The Prince of Parthia, acted in Philadelphia in 1767. William Dunlap (1766–1839) is, however, credited with being the father of the American theatre on the New York stage, where his plays were produced. One other earlier book deserves mention, John Woolman’s (1720–1772) Journal (1775), an autobiography with much charm. With these various attempts the 18th century was brought to an end. In 200 years no literary classic had been produced in America.

The new nation, which with the 19th century began its integral career, still retained the great disparities which originally existed between the diverse colonies. Political unity, the simplest of the social unities, had been achieved; “a more perfect union,” in the language of the founders, had been formed; but even in the political sphere the new state bore in its bosom disuniting forces which again and again threatened to rive it apart until they were dissipated in the Civil War; and in the other spheres of its existence, intellectually, morally, socially, its unity was far from being accomplished. The expansion of its territory over the continental area brought new local diversity and prolonged the contrasts of border conditions with those of the long-settled communities. This state of affairs was reflected in the capital fact that there was no metropolitan centre in which the tradition and forces of the nation were concentrated. Washington was a centre of political administration; but that was all. The nation grew slowly, indeed, into consciousness of its own existence; but it was without united history, without national traditions of civilization and culture, and it was committed to the untried idea of democracy. It was founded in a new faith; yet at the moment that it proclaimed the equality of men, its own social structure and habit north and south contradicted the declaration, not merely by the fact of slavery, but by the life of its classes. The south long remained oligarchic; in the north aristocracy slowly melted away. The coincidence of an economic opportunity with a philosophic principle is the secret of the career of American democracy in its first century. The vast resources of an undeveloped country gave this opportunity to the individual, while the nation was pledged by its fundamental idea to material prosperity for the masses, popular education and the common welfare, as the supreme test of government. In this labour, subduing the new world to agriculture, trade and manufactures, the forces of the nation were spent, under the complication of maintaining the will of the people as the directing power; the subjugation of the soil and experience in popular government are the main facts of American history. In the course of this task the practice of the fine arts was hardly more than an incident. When anyone thinks of Greece, he thinks first of her arts; when anyone thinks of America, he thinks of her arts last. Literature, in the sense of the printed word, has had a great career in America; as the vehicle of use, books, journals, literary communication, educational works and libraries have filled the land; nowhere has the power of the printed word ever been so great, nowhere has the man of literary genius ever had so broad an opportunity to affect the minds of men contemporaneously. But, in the artistic sense, literature, at most, has been locally illustrated by a few eminent names.

The most obvious fact with regard to this literature is that—to adopt a convenient word—it has been regional. It has flourished in parts of the country, very distinctly marked, and is in each case affected by its environment and local culture; if it incorporates national elements at times, it seems to graft them on its own stock. The growth of literature in these favoured soils was slow and humble. There was no outburst of genius, no sudden movement, no renaissance; but very gradually a step was taken in advance of the last generation, as that had advanced upon its forefathers. The first books of true excellence were experiments; they seem almost accidents. The cities of Boston, New York and Philadelphia were lettered communities; they possessed imported books, professional classes, men of education and taste. The tradition of literature was strong, especially in New England; there were readers used to the polite letters of the past. It was, however, in the main the past of Puritanism, both in England and at home, and of the 18th century in general, on which they were bred, with a touch ever growing stronger of the new European romanticism. All the philosophic ideas of the 18th century were current. What was most lacking was a standard self-applied by original writers; and in the absence of a great national centre of standards and traditions, and amid the poverty of such small local centres as the writers were bred in, they sought what they desired, not in England, not in any one country nor in any one literature, but in the solidarity of literature itself, in the republic of letters, the world-state itself,—the master-works of all European lands; they became either actual pilgrims on foreign soil or pilgrims of the mind in fireside travels. The foreign influences that thus entered into American literature are obvious and make a large part of its history; but the fact here brought out is that European literature and experience stood to American writers in lieu of a national centre; it was there that both standard and tradition were found.

American literature first began to exist for the larger world in the persons of Washington Irving (1785–1859) and James Fenimore Cooper (1789–1851). Their recognition was almost contemporaneous. The Sketch Book (1810) was the first American book to win a great reputation in England, and The Spy (1821) was the first to obtain a similar vogue on the continent. The fame of both authors is associated with New York, and that city took the first place as the centre of the literature of the period. It was not that New York was more intellectual than other parts of the country; but