Brown published both Arthur Mervyn and Edgar Huntly in 1799. Judging from the prefaces to these novels, what does he seem to think should be the role of the novel in the still emerging nation? Why do you think he offers these prefaces in the first place? “Somnambulism” is a story, not a novel, but does it seem consistent with his thinking about the novel in the two prefaces?
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The arguments in the prefaces to Arthur Mervyn and Edgar Huntly are consistent to the “Somnambuism” piece because the prefaces describe how the emerging American novel should be original and used a as way to teach and instruct through an indirect writing style “that the field of investigation, opened to us by our own country, should differ essentially from those which exist in Europe,–may be readily conceived. The sources of amusement to the fancy and instruction to the heart, that are peculiar to ourselves, are equally numerous and inexhaustible.” I think Brown wrote these prefaces as a way to confirm the identity of the emerging American novel. I also believe that the prefaces serve to reinforce Brown’s idea of the American novel being about uniquely American topics: “Gothic castles and chimeras, are the materials usually employed for this end. The incidents of Indian hostility, and the perils of the Western wilderness, are far more suitable; and for a native of America to overlook these would admit of no apology.” The Somnambuism piece reflects Brown’s arguments in the prefaces because while it may not be an actual novel, it is teachin a a lesson about good vs. bad and how not to view a book by its cover all in a uniquely American context.
It seems to me, judging by the prefaces to Arthur Mervyn and Edgar Huntley, as though Brown recognizes the novel as having a very prominent role in the influencing an exceptional American people, different from those in Europe. He cites the ability of the novel to aid in the betterment of the people, opening their minds to “new curiosities” and imparting on them the lessons of justice and humanity. This effect, he suggests, is especially salient and curative in the aftermath of great tribulation in the autumn of 1793, which he calls “trials of fortitude and constancy… [which had] never been exceeded in any age.” He sees the novel as a medium for change and influence of the ways of a population. In a way, it seems as though he is almost too confident in the novel’s ability to impact a reader or an entire community, and he perhaps overestimates the ways a novel could take part in differentiating a fledgling American people from an old-fashioned Europe. In including these prefaces, I think Brown means to tell his audience that there is a distinct goal behind the story, to warn them of a deeper moral in “calling forth the passions and engaging the sympathy of the reader.” He also seeks to remark on human progress in the face of adversity and changing times, and to remark on American exceptionalism in novel-writing, an up-and-coming art and a new “motive of curiosity,” a “means hitherto unemployed by preceding authors.”
“Somnambulism” is a morbid story, as a seemingly innocent or well-intentioned young man is led astray by a mental condition beyond his control. The story calls into question the role of justice and morality when dealing with uncontrollable mental situations – in this case, the murderer’s chronic sleepwalking. It follows Brown’s thinking about “the novel” by inspiring the readers to think, but he doesn’t do so in a light-hearted way – the story is quite dark in theme, and seeks to teach lessons by example, by depicting, “in lively colours, the evils of disease and poverty,” and thus performing “an eminent service to the sufferers, by calling forth benevolence in those who are able to afford relief.” Though Somnambulism is not a novel, it seems to be consistent with his philosophy.
One of the first distinctions Brown makes when considering the novel, specifically the “American novel” is that its considerations “should differ essentially from those which exist in Europe”. He points out that America has “sources of amusement…that are peculiar to ourselves”. The subject of novels, then, should be focused on those uniquely American elements – whatever those may be – rather than repeating or following the example of European, or otherwise “non-American” writing. This also highlights the importance for Brown in locating subject matter in events and actions which are readily recognizable in the American landscape and life. In other words, this type of writing is markedly different from a present-day science fiction novel set on Mars. The writing flows from events which are recognizable to the American public. He would rather write about “the perils of the Western wilderness” than “Gothic castles and chimeras”. From this place, Brown then encourages “engaging the sympathy of the ready by means hitherto unemployed by preceding authors”. That is, while Brown encourages writing recognizable events, he wants to push those ideas further. By pressing ideas otherwise unexplored, he hopes to
supply “new and copious materials for reflection” and therefore improve American morals and thought. “Somnambulism” seems to follow this thought process. The landscape is recognizable American and deals with the relateable emotions and situations such as a young man’s infatuation with a young women. Brown presses the issue further, however, by asking what happens when an individual commits a crime, but is unaware due to a medical condition. Who is held responsible and how? Brown doesn’t answer this question for the reader, but rather allows these questions to create a dialogue and, hopefully, a more developed and thoughtful nation.
In the Preface of Arthur Mervyn, Charles Brockden Brown introduces his novel as a retelling of his own observations of events that occurred in his hometown of Phillidelphia. Brown makes it apparent that he want to teach his reader’s lessons in his novel; “It is every one’s duty to profit by all opportunities of inculcation on manking the lessons of justice and humanity.” The preface refers to the events of 1793, which references the outbreak of yellow fever in the city. Brown wants to honor the persons who afforded relief for the sufferers, and his novel is intended to “rouses in the spectators the spirit of salutary emulation.” Brown seems to feel he must justify why he would retell stories that teach lessons on justice and humanity. Being a fairly new concept, his treatment of his novel makes sense. He see’s the role of the novel to function as examples of good and bad behavior, and a lesson in virtues.
The Edgar Huntley preface, in accordance with the first preface, promises to “solicit a continuance of the same favor, and to offer the world a new performance.” Brown makes it clear that Edgar Huntley story will be an original tale. He addresses the “new motives to curiosity” and “the field of investigation, opened to us by our country” which references the emergence of the novel as a new field of interest, similar to that of the politician or naturalist. Brown coins the representative of this new field as “the moral painter.” He makes it clear that the “moral painter” of America, must “differ essentially” from existing European writers. There is more emphasis placed on the importance of America in this preface. He introduces themes that were essential to the literary development of America, such as the concept of the west and native Americans, and wants to move away from more gothic influences. He finally calls upon the “liberal and candid reader” as crucial for the success of this moral painter.
Somnambulism does not match up with his two prefaces, especially the preface to Edgar Huntley. In Somnambulism, Brown uses gothic influence to create a scary story where the main character, despite his seemingly admirable qualities, is turned into a killer. The main lesson of the story is to not judge someone by the exterior appearance, for a hardworking and seemingly- good-intentioned young man is capable of murder. It could be argued that his story is original, which makes it American. Additionally, it is a lesson in good behavior and bad behavior. Yet the form of Somnambulism just doesn’t seem to match up with his descriptions of his novels in the two Prefaces he writes; it is to dark in tone.
Brown’s prefaces to both Arthur Mervyn and Edgar Huntly indicate the importance of the novel in the still emerging nation. He comments on how the evil perils that have plagued the country and the plans of improvement and reformation that follow in order to remedy these calamities will be memorable. Novels, Brown argues, serve as an outlet for reflection and instruction; through the narrative, authors are able to implement their own perspectives and observations about society’s afflictions. In providing vivid descriptions of such incidents, authors believe they do a service to the sufferers, “by calling forth benevolence in those who are able to afford relief.” As Brown states, “it is everyone’s duty to profit by all opportunities of inculcating on mankind the lessons of justice and humanity.” Novels are one medium to impart notions of virtue and morality to the nation, “to exhibit a series of adventures, growing out of the condition of our country, and connected with one of the most common and most wonderful diseases or affections of the human frame.” Somnambulism seems consistent with his thinking about the novel in the two prefaces. The story describes how a young man suffering from this condition, murders the woman he loves while sleepwalking. The main character, a seemingly hardworking, educated young adult, is not the typical image of the monstrous figure. His action highlights the complexity of the connection between psychology and politics. Brown brings into question how one can measure justice and morality when psychological disorders are evident and can affect one’s ability to act in a righteous manner.
I find these prefaces to be extremely bizarre. Brown’s tone seemed arrogant and all-knowing, but evidently the public loved it. I could not help but find a similar resemblance of superiority in Brown and Thomas Cole’s work. Both artist, one a write and the other a painter, believed they could predict the future of the United States. Cole did this through warning the viewers of the dangers of indulgence and neglecting nature. Brown did this through his blunt prefaces before his novels. I am trying to think of present day artists that have similar effects. Are we too skeptical these days to let one artist have the power to change our views? Skew our opinions?
In his second preface Brown states, “The flattering reception that has been given, by the public, to Arthur Mervyn, has prompted the writer to solicit a continuance of the same favour, and to offer to the world a new performance.” People of the time responded earnestly and were looking for more from Brown.
It is as though Brown and Cole were the eighteenth century motivational speakers. Or perhaps more accurately, they were the people going from door to door convincing people of different doomsdays, such as claiming 20/12 was the end of the world. I think if anything it shows the power of authority in a situation where people are looking for answers. A correlation to religion can perhaps be made as well. Brown prophesied about the American future as the bible did about the after-life and correct way of living. Brown did this to the American people. In his novels he uses examples of everyday living to show the do’s and don’ts of American living. Brown tells the stories of Native Americans and western expansion because “It is every one’s duty to profit by all opportunities of inculcating on mankind the lessons of justice and humanity.” Although his stories are fictional they depict daily life. Because of this I see both falling under the same category as a novel. They seem to me to be fairy tales, over dramatized with a clear moral purpose.