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Title: Fenimore Cooper's Literary Offences

Author: Mark Twain

Release date: September 16, 2004 [eBook #3172]
Most recently updated: January 27, 2021

Language: English

Other information and formats: www.gutenberg.org/ebooks/3172

Credits: Produced by David Widger

*** START OF THE PROJECT GUTENBERG EBOOK FENIMORE
COOPER'S LITERARY OFFENCES ***

FENIMORE COOPER'S
LITERARY OFFENCES

by Mark Twain

The Pathfinder and The Deerslayer stand at the head of Cooper's
novels as artistic creations. There are others of his works
which contain parts as perfect as are to be found in these, and
scenes even more thrilling. Not one can be compared with
either of them as a finished whole.

The defects in both of these tales are comparatively slight.
They were pure works of art.—Prof. Lounsbury.

The five tales reveal an extraordinary fulness of invention.
... One of the very greatest characters in fiction, Natty
Bumppo....

The craft of the woodsman, the tricks of the trapper, all the
delicate art of the forest, were familiar to Cooper from his
youth up.—Prof. Brander Matthews.

Cooper is the greatest artist in the domain of romantic fiction
yet produced by America.—Wilkie Collins.

It seems to me that it was far from right for the Professor of English
Literature in Yale, the Professor of English Literature in Columbia, and
Wilkie Collins to deliver opinions on Cooper's literature without having
read some of it. It would have been much more decorous to keep silent and
let persons talk who have read Cooper.
Cooper's art has some defects. In one place in 'Deerslayer,' and in the
restricted space of two-thirds of a page, Cooper has scored 114 offences
against literary art out of a possible 115. It breaks the record.

There are nineteen rules governing literary art in the domain of romantic
fiction—some say twenty-two. In Deerslayer Cooper violated eighteen of
them. These eighteen require:
1. That a tale shall accomplish something and arrive somewhere. But the
Deerslayer tale accomplishes nothing and arrives in the air.
2. They require that the episodes of a tale shall be necessary parts of the
tale, and shall help to develop it. But as the Deerslayer tale is not a tale, and
accomplishes nothing and arrives nowhere, the episodes have no rightful
place in the work, since there was nothing for them to develop.
3. They require that the personages in a tale shall be alive, except in the
case of corpses, and that always the reader shall be able to tell the corpses
from the others. But this detail has often been overlooked in the Deerslayer
tale.
4. They require that the personages in a tale, both dead and alive, shall
exhibit a sufficient excuse for being there. But this detail also has been
overlooked in the Deerslayer tale.
5. They require that when the personages of a tale deal in conversation,
the talk shall sound like human talk, and be talk such as human beings
would be likely to talk in the given circumstances, and have a discoverable
meaning, also a discoverable purpose, and a show of relevancy, and remain
in the neighborhood of the subject in hand, and be interesting to the reader,
and help out the tale, and stop when the people cannot think of anything
more to say. But this requirement has been ignored from the beginning of
the Deerslayer tale to the end of it.
6. They require that when the author describes the character of a
personage in his tale, the conduct and conversation of that personage shall
justify said description. But this law gets little or no attention in the
Deerslayer tale, as Natty Bumppo's case will amply prove.
7. They require that when a personage talks like an illustrated, gilt-edged,
tree-calf, hand-tooled, seven-dollar Friendship's Offering in the beginning
of a paragraph, he shall not talk like a negro minstrel in the end of it. But
this rule is flung down and danced upon in the Deerslayer tale.
8. They require that crass stupidities shall not be played upon the reader
as “the craft of the woodsman, the delicate art of the forest,” by either the

author or the people in the tale. But this rule is persistently violated in the
Deerslayer tale.
9. They require that the personages of a tale shall confine themselves to
possibilities and let miracles alone; or, if they venture a miracle, the author
must so plausibly set it forth as to make it look possible and reasonable. But
these rules are not respected in the Deerslayer tale.
10. They require that the author shall make the reader feel a deep interest
in the personages of his tale and in their fate; and that he shall make the
reader love the good people in the tale and hate the bad ones. But the reader
of the Deerslayer tale dislikes the good people in it, is indifferent to the
others, and wishes they would all get drowned together.
11. They require that the characters in a tale shall be so clearly defined
that the reader can tell beforehand what each will do in a given emergency.
But in the Deerslayer tale this rule is vacated.
In addition to these large rules there are some little ones. These require
that the author shall:
12. Say what he is proposing to say, not merely come near it.
13. Use the right word, not its second cousin.
14. Eschew surplusage.
15. Not omit necessary details.
16. Avoid slovenliness of form.
17. Use good grammar.
18. Employ a simple and straightforward style.
Even these seven are coldly and persistently violated in the Deerslayer
tale.
Cooper's gift in the way of invention was not a rich endowment; but such
as it was he liked to work it, he was pleased with the effects, and indeed he
did some quite sweet things with it. In his little box of stage properties he
kept six or eight cunning devices, tricks, artifices for his savages and
woodsmen to deceive and circumvent each other with, and he was never so
happy as when he was working these innocent things and seeing them go. A
favorite one was to make a moccasined person tread in the tracks of the
moccasined enemy, and thus hide his own trail. Cooper wore out barrels
and barrels of moccasins in working that trick. Another stage-property that

he pulled out of his box pretty frequently was his broken twig. He prized his
broken twig above all the rest of his effects, and worked it the hardest. It is
a restful chapter in any book of his when somebody doesn't step on a dry
twig and alarm all the reds and whites for two hundred yards around. Every
time a Cooper person is in peril, and absolute silence is worth four dollars a
minute, he is sure to step on a dry twig. There may be a hundred handier
things to step on, but that wouldn't satisfy Cooper. Cooper requires him to
turn out and find a dry twig; and if he can't do it, go and borrow one. In fact,
the Leather Stocking Series ought to have been called the Broken Twig
Series.
I am sorry there is not room to put in a few dozen instances of the
delicate art of the forest, as practised by Natty Bumppo and some of the
other Cooperian experts. Perhaps we may venture two or three samples.
Cooper was a sailor—a naval officer; yet he gravely tells us how a vessel,
driving towards a lee shore in a gale, is steered for a particular spot by her
skipper because he knows of an undertow there which will hold her back
against the gale and save her. For just pure woodcraft, or sailorcraft, or
whatever it is, isn't that neat? For several years Cooper was daily in the
society of artillery, and he ought to have noticed that when a cannon-ball
strikes the ground it either buries itself or skips a hundred feet or so; skips
again a hundred feet or so—and so on, till finally it gets tired and rolls.
Now in one place he loses some “females”—as he always calls women—in
the edge of a wood near a plain at night in a fog, on purpose to give
Bumppo a chance to show off the delicate art of the forest before the reader.
These mislaid people are hunting for a fort. They hear a cannonblast, and a
cannon-ball presently comes rolling into the wood and stops at their feet. To
the females this suggests nothing. The case is very different with the
admirable Bumppo. I wish I may never know peace again if he doesn't
strike out promptly and follow the track of that cannon-ball across the plain
through the dense fog and find the fort. Isn't it a daisy? If Cooper had any
real knowledge of Nature's ways of doing things, he had a most delicate art
in concealing the fact. For instance: one of his acute Indian experts,
Chingachgook (pronounced Chicago, I think), has lost the trail of a person
he is tracking through the forest. Apparently that trail is hopelessly lost.
Neither you nor I could ever have guessed out the way to find it. It was very
different with Chicago. Chicago was not stumped for long. He turned a
running stream out of its course, and there, in the slush in its old bed, were

that person's moccasin-tracks. The current did not wash them away, as it
would have done in all other like cases—no, even the eternal laws of Nature
have to vacate when Cooper wants to put up a delicate job of woodcraft on
the reader.
We must be a little wary when Brander Matthews tells us that Cooper's
books “reveal an extraordinary fulness of invention.” As a rule, I am quite
willing to accept Brander Matthews's literary judgments and applaud his
lucid and graceful phrasing of them; but that particular statement needs to
be taken with a few tons of salt. Bless your heart, Cooper hadn't any more
invention than a horse; and I don't mean a high-class horse, either; I mean a
clothes-horse. It would be very difficult to find a really clever “situation” in
Cooper's books, and still more difficult to find one of any kind which he has
failed to render absurd by his handling of it. Look at the episodes of “the
caves”; and at the celebrated scuffle between Maqua and those others on the
table-land a few days later; and at Hurry Harry's queer water-transit from
the castle to the ark; and at Deerslayer's half-hour with his first corpse; and
at the quarrel between Hurry Harry and Deerslayer later; and at—but
choose for yourself; you can't go amiss.
If Cooper had been an observer his inventive faculty would have worked
better; not more interestingly, but more rationally, more plausibly. Cooper's
proudest creations in the way of “situations” suffer noticeably from the
absence of the observer's protecting gift. Cooper's eye was splendidly
inaccurate. Cooper seldom saw anything correctly. He saw nearly all things
as through a glass eye, darkly. Of course a man who cannot see the
commonest little every-day matters accurately is working at a disadvantage
when he is constructing a “situation.” In the Deerslayer tale Cooper has a
stream which is fifty feet wide where it flows out of a lake; it presently
narrows to twenty as it meanders along for no given reason; and yet when a
stream acts like that it ought to be required to explain itself. Fourteen pages
later the width of the brook's outlet from the lake has suddenly shrunk thirty
feet, and become “the narrowest part of the stream.” This shrinkage is not
accounted for. The stream has bends in it, a sure indication that it has
alluvial banks and cuts them; yet these bends are only thirty and fifty feet
long. If Cooper had been a nice and punctilious observer he would have
noticed that the bends were oftener nine hundred feet long than short of it.

Cooper made the exit of that stream fifty feet wide, in the first place, for
no particular reason; in the second place, he narrowed it to less than twenty
to accommodate some Indians. He bends a “sapling” to the form of an arch
over this narrow passage, and conceals six Indians in its foliage. They are
“laying” for a settler's scow or ark which is coming up the stream on its way
to the lake; it is being hauled against the stiff current by a rope whose
stationary end is anchored in the lake; its rate of progress cannot be more
than a mile an hour. Cooper describes the ark, but pretty obscurely. In the
matter of dimensions “it was little more than a modern canal-boat.” Let us
guess, then, that it was about one hundred and forty feet long. It was of
“greater breadth than common.” Let us guess, then, that it was about sixteen
feet wide. This leviathan had been prowling down bends which were but a
third as long as itself, and scraping between banks where it had only two
feet of space to spare on each side. We cannot too much admire this
miracle. A low-roofed log dwelling occupies “two-thirds of the ark's
length”—a dwelling ninety feet long and sixteen feet wide, let us say a kind
of vestibule train. The dwelling has two rooms—each forty-five feet long
and sixteen feet wide, let us guess. One of them is the bedroom of the
Hutter girls, Judith and Hetty; the other is the parlor in the daytime, at night
it is papa's bedchamber. The ark is arriving at the stream's exit now, whose
width has been reduced to less than twenty feet to accommodate the Indians
—say to eighteen. There is a foot to spare on each side of the boat. Did the
Indians notice that there was going to be a tight squeeze there? Did they
notice that they could make money by climbing down out of that arched
sapling and just stepping aboard when the ark scraped by? No, other Indians
would have noticed these things, but Cooper's Indians never notice
anything. Cooper thinks they are marvelous creatures for noticing, but he
was almost always in error about his Indians. There was seldom a sane one
among them.
The ark is one hundred and forty feet long; the dwelling is ninety feet
long. The idea of the Indians is to drop softly and secretly from the arched
sapling to the dwelling as the ark creeps along under it at the rate of a mile
an hour, and butcher the family. It will take the ark a minute and a half to
pass under. It will take the ninety foot dwelling a minute to pass under.
Now, then, what did the six Indians do? It would take you thirty years to
guess, and even then you would have to give it up, I believe. Therefore, I
will tell you what the Indians did. Their chief, a person of quite

extraordinary intellect for a Cooper Indian, warily watched the canal-boat
as it squeezed along under him, and when he had got his calculations fined
down to exactly the right shade, as he judged, he let go and dropped. And
missed the house! That is actually what he did. He missed the house, and
landed in the stern of the scow. It was not much of a fall, yet it knocked him
silly. He lay there unconscious. If the house had been ninety-seven feet long
he would have made the trip. The fault was Cooper's, not his. The error lay
in the construction of the house. Cooper was no architect.
There still remained in the roost five Indians.
The boat has passed under and is now out of their reach. Let me explain
what the five did—you would not be able to reason it out for yourself. No. 1
jumped for the boat, but fell in the water astern of it. Then No. 2 jumped for
the boat, but fell in the water still farther astern of it. Then No. 3 jumped for
the boat, and fell a good way astern of it. Then No. 4 jumped for the boat,
and fell in the water away astern. Then even No. 5 made a jump for the boat
—for he was a Cooper Indian. In the matter of intellect, the difference
between a Cooper Indian and the Indian that stands in front of the cigarshop
is not spacious. The scow episode is really a sublime burst of invention; but
it does not thrill, because the inaccuracy of the details throws a sort of air of
fictitiousness and general improbability over it. This comes of Cooper's
inadequacy as an observer.
The reader will find some examples of Cooper's high talent for inaccurate
observation in the account of the shooting-match in The Pathfinder.

“A common wrought nail was driven lightly into the target, its
head having been first touched with paint.”

The color of the paint is not stated—an important omission, but Cooper
deals freely in important omissions. No, after all, it was not an important
omission; for this nail-head is a hundred yards from the marksmen, and
could not be seen by them at that distance, no matter what its color might
be.
How far can the best eyes see a common house-fly? A hundred yards? It
is quite impossible. Very well; eyes that cannot see a house-fly that is a
hundred yards away cannot see an ordinary nailhead at that distance, for the
size of the two objects is the same. It takes a keen eye to see a fly or a
nailhead at fifty yards—one hundred and fifty feet. Can the reader do it?

The nail was lightly driven, its head painted, and game called. Then the
Cooper miracles began. The bullet of the first marksman chipped an edge
off the nail-head; the next man's bullet drove the nail a little way into the
target—and removed all the paint. Haven't the miracles gone far enough
now? Not to suit Cooper; for the purpose of this whole scheme is to show
off his prodigy, Deerslayer Hawkeye—Long-Rifle—Leather-Stocking—
Pathfinder—Bumppo before the ladies.

“'Be all ready to clench it, boys!' cried out Pathfinder,
stepping into his friend's tracks the instant they were vacant.
'Never mind a new nail; I can see that, though the paint is
gone, and what I can see I can hit at a hundred yards, though
it were only a mosquito's eye. Be ready to clench!'

“The rifle cracked, the bullet sped its way, and the head of the nail was
buried in the wood, covered by the piece of flattened lead.”
There, you see, is a man who could hunt flies with a rifle, and command
a ducal salary in a Wild West show to-day if we had him back with us.
The recorded feat is certainly surprising just as it stands; but it is not
surprising enough for Cooper. Cooper adds a touch. He has made Pathfinder
do this miracle with another man's rifle; and not only that, but Pathfinder
did not have even the advantage of loading it himself. He had everything
against him, and yet he made that impossible shot; and not only made it, but
did it with absolute confidence, saying, “Be ready to clench.” Now a person
like that would have undertaken that same feat with a brickbat, and with
Cooper to help he would have achieved it, too.
Pathfinder showed off handsomely that day before the ladies. His very
first feat was a thing which no Wild West show can touch. He was standing
with the group of marksmen, observing—a hundred yards from the target,
mind; one Jasper raised his rifle and drove the centre of the bull's-eye. Then
the Quartermaster fired. The target exhibited no result this time. There was
a laugh. “It's a dead miss,” said Major Lundie. Pathfinder waited an
impressive moment or two; then said, in that calm, indifferent, know-it-all
way of his, “No, Major, he has covered Jasper's bullet, as will be seen if any
one will take the trouble to examine the target.”
Wasn't it remarkable! How could he see that little pellet fly through the
air and enter that distant bullet-hole? Yet that is what he did; for nothing is
impossible to a Cooper person. Did any of those people have any deep-

seated doubts about this thing? No; for that would imply sanity, and these
were all Cooper people.

“The respect for Pathfinder's skill and for his 'quickness and
accuracy of sight'” (the italics [''] are mine) “was so
profound and general, that the instant he made this declaration
the spectators began to distrust their own opinions, and a
dozen rushed to the target in order to ascertain the fact.
There, sure enough, it was found that the Quartermaster's
bullet had gone through the hole made by Jasper's, and that,
too, so accurately as to require a minute examination to be
certain of the circumstance, which, however, was soon clearly
established by discovering one bullet over the other in the
stump against which the target was placed.”

They made a “minute” examination; but never mind, how could they
know that there were two bullets in that hole without digging the latest one
out? for neither probe nor eyesight could prove the presence of any more
than one bullet. Did they dig? No; as we shall see. It is the Pathfinder's turn
now; he steps out before the ladies, takes aim, and fires.
But, alas! here is a disappointment; an incredible, an unimaginable
disappointment—for the target's aspect is unchanged; there is nothing there
but that same old bullet-hole!

“'If one dared to hint at such a thing,' cried Major Duncan, 'I
should say that the Pathfinder has also missed the target!'”

As nobody had missed it yet, the “also” was not necessary; but never
mind about that, for the Pathfinder is going to speak.

“'No, no, Major,' said he, confidently, 'that would be a risky
declaration. I didn't load the piece, and can't say what was
in it; but if it was lead, you will find the bullet driving
down those of the Quartermaster and Jasper, else is not my name
Pathfinder.'

“A shout from the target announced the truth of this
assertion.”

Is the miracle sufficient as it stands? Not for Cooper. The Pathfinder
speaks again, as he “now slowly advances towards the stage occupied by
the females”:

“'That's not all, boys, that's not all; if you find the target
touched at all, I'll own to a miss. The Quartermaster cut the

wood, but you'll find no wood cut by that last messenger.”

The miracle is at last complete. He knew—doubtless saw—at the
distance of a hundred yards—that his bullet had passed into the hole
without fraying the edges. There were now three bullets in that one hole—
three bullets embedded processionally in the body of the stump back of the
target. Everybody knew this—somehow or other—and yet nobody had dug
any of them out to make sure. Cooper is not a close observer, but he is
interesting. He is certainly always that, no matter what happens. And he is
more interesting when he is not noticing what he is about than when he is.
This is a considerable merit.
The conversations in the Cooper books have a curious sound in our
modern ears. To believe that such talk really ever came out of people's
mouths would be to believe that there was a time when time was of no
value to a person who thought he had something to say; when it was the
custom to spread a two-minute remark out to ten; when a man's mouth was
a rolling-mill, and busied itself all day long in turning four-foot pigs of
thought into thirty-foot bars of conversational railroad iron by attenuation;
when subjects were seldom faithfully stuck to, but the talk wandered all
around and arrived nowhere; when conversations consisted mainly of
irrelevancies, with here and there a relevancy, a relevancy with an
embarrassed look, as not being able to explain how it got there.
Cooper was certainly not a master in the construction of dialogue.
Inaccurate observation defeated him here as it defeated him in so many
other enterprises of his. He even failed to notice that the man who talks
corrupt English six days in the week must and will talk it on the seventh,
and can't help himself. In the Deerslayer story he lets Deerslayer talk the
showiest kind of book-talk sometimes, and at other times the basest of base
dialects. For instance, when some one asks him if he has a sweetheart, and
if so, where she abides, this is his majestic answer:

“'She's in the forest-hanging from the boughs of the trees, in
a soft rain—in the dew on the open grass—the clouds that
float about in the blue heavens—the birds that sing in the
woods—the sweet springs where I slake my thirst—and in all
the other glorious gifts that come from God's Providence!'”

And he preceded that, a little before, with this:

“'It consarns me as all things that touches a fri'nd consarns a
fri'nd.'”

And this is another of his remarks:

“'If I was Injin born, now, I might tell of this, or carry in
the scalp and boast of the expl'ite afore the whole tribe; or
if my inimy had only been a bear'”—and so on.

We cannot imagine such a thing as a veteran Scotch Commander-in-
Chief comporting himself in the field like a windy melodramatic actor, but
Cooper could. On one occasion Alice and Cora were being chased by the
French through a fog in the neighborhood of their father's fort:

“'Point de quartier aux coquins!' cried an eager pursuer, who
seemed to direct the operations of the enemy.

“'Stand firm and be ready, my gallant 60ths!' suddenly
exclaimed a voice above them; wait to see the enemy; fire low,
and sweep the glacis.'

“'Father? father!' exclaimed a piercing cry from out the mist;
'it is I! Alice! thy own Elsie! spare, O! save your daughters!'

“'Hold!' shouted the former speaker, in the awful tones of
parental agony, the sound reaching even to the woods, and
rolling back in solemn echo. ''Tis she! God has restored me my
children! Throw open the sally-port; to the field, 60ths, to
the field! pull not a trigger, lest ye kill my lambs! Drive
off these dogs of France with your steel!'”

Cooper's word-sense was singularly dull. When a person has a poor ear
for music he will flat and sharp right along without knowing it. He keeps
near the tune, but it is not the tune. When a person has a poor ear for words,
the result is a literary flatting and sharping; you perceive what he is
intending to say, but you also perceive that he doesn't say it. This is Cooper.
He was not a word-musician. His ear was satisfied with the approximate
word. I will furnish some circumstantial evidence in support of this charge.
My instances are gathered from half a dozen pages of the tale called
Deerslayer. He uses “verbal,” for “oral”; “precision,” for “facility”;
“phenomena,” for “marvels”; “necessary,” for “predetermined”;
“unsophisticated,” for “primitive”; “preparation,” for “expectancy”;
“rebuked,” for “subdued”; “dependent on,” for “resulting from”; “fact,” for
“condition”; “fact,” for “conjecture”; “precaution,” for “caution”;
“explain,” for “determine”; “mortified,” for “disappointed”; “meretricious,”

for “factitious”; “materially,” for “considerably”; “decreasing,” for
“deepening”; “increasing,” for “disappearing”; “embedded,” for
“enclosed”; “treacherous;” for “hostile”; “stood,” for “stooped”; “softened,”
for “replaced”; “rejoined,” for “remarked”; “situation,” for “condition”;
“different,” for “differing”; “insensible,” for “unsentient”; “brevity,” for
“celerity”; “distrusted,” for “suspicious”; “mental imbecility,” for
“imbecility”; “eyes,” for “sight”; “counteracting,” for “opposing”; “funeral
obsequies,” for “obsequies.”
There have been daring people in the world who claimed that Cooper
could write English, but they are all dead now—all dead but Lounsbury. I
don't remember that Lounsbury makes the claim in so many words, still he
makes it, for he says that Deerslayer is a “pure work of art.” Pure, in that
connection, means faultless—faultless in all details—and language is a
detail. If Mr. Lounsbury had only compared Cooper's English with the
English which he writes himself—but it is plain that he didn't; and so it is
likely that he imagines until this day that Cooper's is as clean and compact
as his own. Now I feel sure, deep down in my heart, that Cooper wrote
about the poorest English that exists in our language, and that the English of
Deerslayer is the very worst that even Cooper ever wrote.
I may be mistaken, but it does seem to me that Deerslayer is not a work
of art in any sense; it does seem to me that it is destitute of every detail that
goes to the making of a work of art; in truth, it seems to me that Deerslayer
is just simply a literary delirium tremens.
A work of art? It has no invention; it has no order, system, sequence, or
result; it has no lifelikeness, no thrill, no stir, no seeming of reality; its
characters are confusedly drawn, and by their acts and words they prove
that they are not the sort of people the author claims that they are; its humor
is pathetic; its pathos is funny; its conversations are—oh! indescribable; its
love-scenes odious; its English a crime against the language.
Counting these out, what is left is Art. I think we must all admit that.

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