Literary Style as Political Metaphor in Modern Chivalry

The Canadian Review of American Studies, Volume 11,No. I, Spring 1980 LiteraryStyleas PoliticalMetaphorin Modern Chivalry Barry K. Grant The first volumes of Hugh Henry Brackenridge's Modern Chivalry, appearing only four years after the ratification of the Constitution, reveal from the start a remarkable panorama of life in the exuberant democracy of the early American frontier. Written over a time-span of twenty-three years,1 Modern Chivalry amasses such a wealth of contemporary detail that it has been regarded primarily as a period piece, an encyclopedia of antique Americana. And it is for this reason that few critics have given substantial attention to it. Although critics agree that the book's chief political themes concern a search for ways to control self-seeking human nature, which is exacerbated in a democracy, it is most often summarily described as a genial satire upon democratic excesses- Brackenridge, after all, had composed "The Rising Glory of America" with Philip Freneau, had presented fiery patriotic sermons as chaplain in the Revolutionary Army under Washington, and had supported at first the French Revolution. For example, William L. Nance argues that Brackenridge is a staunch and unflinching defender of democracy who writes in Modern Chivalry "an intelligent treatise on practical democracy"; 2 Claude M. Newlin declares that Brackenridge "never swerved from his position as a sincere and ardent democrat,"3 and that "his satire was so good natured, so lacking in fundamental cynicism";4 for Mary Mattfield, Brackenridge "never loses his perspective or hisultimate faith in the democratic process"; 5 and Alexander Cowie similarly asserts 2 Barry K. Grant that "humor gleams from almost every page of Modern Chivalry." 6 This conventional view of the book not only overlooks certain complexities in Brackenridge's political thought, however, it also neglects the important and related discussion of language which occurs throughout the text.7 Modern Chivalry must be understood in the context of the contemporary concern to establish proper standards for American literature, an issue which necessarily had political ramifications. Brackenridge seems to have been aware of this to some extent, and his comments on literary style accurately reflect his evolving political ideas. From this point of view, it will be seen that by the end of Modern Chivalry Brackenridge's satire is considerably less good-natured than is generally believed. One of the key issues in the development of American literature, certainly, has been the desire to celebrate indigenous qualities as opposed to the pressure to emulate British belles-lettres. Even as the newly independent American nation redefined its inherited political structures it sought to liberate itself linguistically. For many, America was still bound to England by the silver cord of language. Although it was true that, as H. L. Mencken notes, "The first American colonists had perforce to invent Americanisms, if only to describe the unfamiliar landscape and weather, flora and fauna confronting them," 8 moving immediately toward the development of an American language. American writers for both cultural and economic reasons emulated and so perpetuated British standards. This new landscape often became the focus of the issue. For example, while Walter Channing seriously asked "How tame will his language sound who would describe Niagara in language fitted for the falls at London Bridge, or attempt the majesty of the Mississippi in that which was made for the Thames?" 9 shortly after, contemplating "The Prairies:' William Cullen Bryant would wnte that "the beaver. ../ ... rears his little Venice," 10 at once slighting his subject and implicitly reaffirming the superiority of Old World culture. This prompted Lowell's ire in A Fablefor Critics: You steal Englishmen's books and think Englishmen's thoughts, With their salt on her tail your wild eagle is caught; Your literature suits each whisper and motion To what will be thought of it over the ocean; 11 The aesthetic issue quickly and naturally assumed a political dimension. For Mencken, in a country without a true aristocracy usage becomes a badge of social merit (p. 265). "The dignity of letters maintains itself, like the dignity of the court, by a regulated propriety of manners," later declared one British critic in defense of Whitman. 12 Hence the Federalists came to associate literary...