A few moments ago I was searching for a comment made by Mark Twain concerning conjecture from sparse data. Finding the Twain comment led to some of his other great moments in American literature. The following is a criticism he wrote of an earlier American novelist. Mark Twain's comments at the beginning of his essay are good guidance for any writer. What a fine mind and writer, was Mark Twain!

Bot

Fenimore Cooper's Literary Offenses

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.
--Professor Lounsbury

The five tales reveal an extraordinary fullness 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.
--Professor Matthews

Cooper is the greatest artist in the domain of romantic fiction in America.
--Wilkie Collins

It seems to me that it was far from right for the Professor of English Literature at 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 offenses against literary art out of a possible 115. It breaks the record.

There are nineteen rules governing literary art in 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 air.

2. They require that the episodes in 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. The 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 at 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 the 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 a 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 the 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 other 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 Leatherstocking Series ought to have been called the Broken Twig Series.

More at: http://ww3.telerama.com/~joseph/cooper/cooper.html

Interesting article. I always liked Sam Clemens, he was easy to read and masterfully witty; something I've always liked - must be the British heritage. I've never really cared for JFC. He delves too much into the noble savage concept, in my opinion. A useless concept that tends to say more about a person's latent bigotry than anything else. The movies that they made out of JFC's stuff were ok though.

I remember walking around in the woods of Kentucky as a little kid with my friends. We always ended up hunting each other for whatever game we were playing and eventually trying to pound each others heads with sticks when we were found . It's damn near impossible to not make a noise while stalking. The trick is to make the noise sound like a "normal" noise. There are lots of those in a forest.

__________________
-livin' in the terminally flippant zone

It's a good thing he and Wilde were never in the same room together. Heads would've exploded.

__________________
1984 300TD

I'm not really qualified to contribute in any effective manner, so here goes. First, I think Cooper used 'straw-man' techniques to assist his weak plots so he could practice a type of literary 'deus ex machina' and rescue his own plot from his lack of imagination. Plus, period readership wasn't very sophisticated so the reciprocity between reader-writer was easily satiated. Secondly, in consideration of the noble savage concept; I don't think everyone who addresses it is a latent bigot, zut alors! Thirdly, I agree Wilde is great too... I saw his grave when I was in Paris. Its headstone is composed entirely of a very unique winged 'Egytian-esqe' figure. Proust is also buried there along with many others, so much culture... I can't wait to live and travel overseas, especially in Europe.

__________________
1985 300D / 175k

WISH LIST
29' HackerCraft - Gentleman's Racer...
http://www.hackerboat.com/html/29__gentleman_s_5.html

Probably true about the noble savage. It's tiresome though to listen to how certain cultures and people were so much more in tune with this and that than anyone else. They were human just like everyone else; with the same strengths and weaknesses.

I agree with the JFC comments though. Perhaps that's why I didn't like him that much. Didn't care for Victor Hugo either.

__________________
-livin' in the terminally flippant zone

I have not read JFC but I have read all of twain that I can find. He is a great author and a great wit.

I really like his Puddin head wilson tale, and the one about the siamese (sort of) twins.

Tom W

__________________
[SIGPIC] Diesel loving autocrossing grandpa Architect. 08 Dodge 3/4 ton with Cummins & six speed; I have had about 35 benzes. I have a 39 Studebaker Coupe Express pickup in which I have had installed a 617 turbo and a five speed manual.[SIGPIC]

..I also have a 427 Cobra replica with an aluminum chassis.