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“WYANDOTTEÉ, or The Hutted Knoll” is, in its general features, precisely similar to the novels enumerated in the title. It is a forest subject; and, when we say this, we give assurance that the story is a good one; for Mr. Cooper has never been known to fail, either in the forest or upon the sea. The interest, as usual, has no reference to plot, of which, indeed, our novelist seems altogether regardless, or incapable, but depends, first, upon the nature of the theme; secondly, upon a Robinson-Crusoe-like detail in its management; and thirdly, upon the frequently repeated portraiture of the half-civilized Indian. In saying that the interest depends, first, upon the nature of the theme, we mean to suggest that this theme — life in the Wilderness — is one of intrinsic and universal interest, appealing to the heart of man in all phases; a theme, like that of life upon the ocean, so unfailingly omniprevalent in its power of arresting and absorbing attention, that while success or popularity is, with such a subject, expected as a matter of course, a failure might be properly regarded as conclusive evidence of imbecility on the part of the author. The two theses in question have been handled usque ad nauseam — and this through the instinctive perception of the universal [page 206:] interest which appertains to them. A writer, distrustful of his powers, can scarcely do better than discuss either one or the other. A man of genius will rarely, and should never, undertake either; first, because both are excessively hackneyed; and, secondly, because the reader never fails, in forming his opinion of a book, to make discount, either wittingly or unwittingly, for that intrinsic interest which is inseparable from the subject and independent of the manner in which it is treated. Very few and very dull indeed are those who do not instantaneously perceive the distinction; and thus there are two great classes of fictions, — a popular and widely circulated class, read with pleasure but without admiration — in which the author is lost or forgotten; or remembered, if at all, with something very nearly akin to contempt; and then, a class not so popular, nor so widely diffused, in which, at every paragraph, arises a distinctive and highly pleasurable interest, springing from our perception and appreciation of the skill employed, or the genius evinced in the composition. After perusal of the one class, we think solely of the book — after reading the other, chiefly of the author. The former class leads to popularity — the latter to fame. In the former case, the books sometimes live, while the authors usually die; in the latter, even when the works perish, the man survives. Among American writers of the less generally circulated, but more worthy and more artistical fictions, we may mention Mr. Brockden Brown, Mr. John Neal, Mr. Simms, Mr. Hawthorne; at the head of the more popular division we may place Mr. Cooper.

“The Hutted Knoll,” without pretending to detail facts, gives a narrative of fictitious events, similar, in nearly all respects, to occurrences which actually happened [page 207:] during the opening scenes of the Revolution, and at other epochs of our history. It pictures the dangers, difficulties, and distresses of a large family, living, completely insulated, in the forest. The tale commences with a description of the “region which lies in the angle formed by the junction of the Mohawk with the Hudson, extending as far south as the line of Pennsylvania, and west to the verge of that vast rolling plain which composes Western New York” — a region of which the novelist has already frequently written, and the whole of which, with a trivial exception, was a wilderness before the Revolution. Within this district, and on a creek running into the Unadilla, a certain Captain Willoughby purchases an estate, or “patent” and there retires, with his family and dependents, to pass the close of his life in agricultural pursuits. He has been an officer in the British army, but, after serving many years, has sold his commission, and purchased one for his only son, Robert, who alone does not accompany the party into the forest. This party consists of the captain himself; his wife; his daughter, Beulah; an adopted daughter, Maud Meredith; an invalid sergeant, Joyce, who had served under the captain; a Presbyterian preacher, Mr. Woods; a Scotch mason, Jamie Allen; an Irish laborer, Michael O’Hearn; a Connecticut man, Joel Strides; four negroes, Old Plin and Young Plin, Big Smash and Little Smash; eight axe-men; a house-carpenter; a mill-wright, &c., &c. Besides these, a Tuscarora Indian called Nick, or Wyandotté, accompanies the expedition. This Indian, who figures largely in the story, and gives it its title, may be considered as the principal character — the one chiefly elaborated. He is an outcast from his tribe, has been known to Captain Willoughby [page 208:] for thirty years, and is a compound of all the good and bad qualities which make up the character of the half-civilized Indian. He does not remain with the settlers; but appears and re-appears at intervals upon the scene.

Nearly the whole of the first volume is occupied with a detailed account of the estate purchased, (which is termed “The Hutted Knoll” from a natural mound upon which the principal house is built) and of the progressive arrangements and improvements. Toward the close of the volume the Revolution commences; and the party at the “Knoll” are besieged by a band of savages and “rebels,” with whom an understanding exists, on the part of Joel Strides, the Yankee. This traitor, instigated by the hope of possessing Captain Willoughby's estate, should it be confiscated, brings about a series of defections from the party of the settlers, and finally, deserting himself, reduces the whole number to six or seven, capable of bearing arms. Captain Willoughby resolves, however, to defend his post. His son, at this juncture, pays him a clandestine visit, and, endeavoring to reconnoitre the position of the Indians, is made captive. The captain, in an attempt at rescue, is murdered by Wyandotté, whose vindictive passions had been aroused by ill-timed allusions, on the part of Willoughby, to floggings previously inflicted, by his orders, upon the Indian. Wyandotté, however, having satisfied his personal vengeance, is still the ally of the settlers. He guides Maud, who is beloved by Robert, to the hut in which the latter is confined, and effects his escape. Aroused by this escape, the Indians precipitate their attack upon the Knoll, which, through the previous treachery of Strides in ill-hanging a gate, is immediately carried. Mrs. [page 209:] Willoughby, Beulah, and others of the party, are killed. Maud is secreted and thus saved by Wyandotté. At the last moment, when all is apparently lost, a reinforcement appears, under command of Evert Beekman, the husband of Beulah; and the completion of the massacre is prevented. Woods, the preacher, had left the Knoll, and made his way through the enemy, to inform Beekman of the dilemma of his friends. Maud and Robert Willoughby are, of course, happily married. The concluding scene of the novel shows us Wyandotté repenting the murder of Willoughby, and converted to Christianity through the agency of Woods.

It will be at once seen that there is nothing original in this story. On the contrary, it is even excessively commonplace. The lover, for example, rescued from captivity by the mistress; the Knoll carried through the treachery of an inmate; and the salvation of the besieged, at the very last moment, by a reinforcement arriving, in consequence of a message borne to a friend by one of the besieged, without the cognizance of the others; these, we say, are incidents which have been the common property of every novelist since the invention of letters. And as for plot, there has been no attempt at anything of the kind. The tale is a mere succession of events, scarcely any one of which has any necessary dependence upon any one other. Plot, however, is at best, an artificial effect, requiring, like music, not only a natural bias, but long cultivation of taste for its full appreciation; some of the finest narratives in the world — “Gil-Blas” and “Robinson Crusoe,” for example — have been written without its employment; and “The Hutted Knoll,” like all the sea and forest novels of Cooper, has been made deeply interesting, [page 210:] although depending upon this peculiar source of interest not at all. Thus the absence of plot can never be critically regarded as a defect; although its judicious use, in all cases aiding and in no case injuring other effects, must be regarded as of a very high order of merit.

There are one or two points, however, in the mere conduct of the story now before us, which may, perhaps, be considered as defective. For instance, there is too much   obviousness in all that appertains to the hanging of the large gate. In more than a dozen instances, Mrs. Willoughby is made to allude to the delay in the hanging; so that the reader is too positively and pointedly forced to perceive that this delay is to result in the capture of the Knoll. As we are never in doubt of the fact, we feel diminished interest when it actually happens. A single vague allusion, well managed, would have been in the true artistical spirit.

Again we see too plainly, from the first, that Beekman is to marry Beulah, and that Robert Willoughby is to marry Maud. The killing of Beulah, of Mrs. Willoughby, and Jamie Allen, produces, too, a painful impression, which does not properly appertain to the right fiction. Their deaths affect us as revolting and supererogatory; since the purposes of the story are not thereby furthered in any regard. To Willoughby's murder, however distressing, the reader makes no similar objection; merely because in his decease is fulfilled a species of poetical justice. We may observe here, nevertheless, that his repeated references to his flogging the Indian seem unnatural, because we have otherwise no reason to think him a fool, or a madman, and these references, under the circumstances, are absolutely insensate. We object, also, to the manner in [page 211:] which the general interest is dragged out, or suspended. The besieging party are kept before the Knoll so long, while so little is done, and so many opportunities of action are lost, that the reader takes it for granted that nothing of consequence will occur — that the besieged will be finally delivered. He gets so accustomed to the presence of danger that its excitement, at length, departs. The action is not sufficiently rapid. There is too much procrastination. There is too much mere talk for talk's sake. The interminable discussions between Woods and Captain Willoughby are, perhaps, the worst feature of the book, for they have not even the merit of referring to the matters on hand. In general, there is quite too much colloquy for the purpose of manifesting character, and too little for the explanation of motive. The characters of the drama would have been better made out by action; while the motives to action, the reasons for the different courses of conduct adopted by the dramatis personæ, might have been made to proceed more satisfactorily from their own mouths, in casual conversations, than from that of the author in person. To conclude our remarks upon the head of ill-conduct in the story, we may mention occasional incidents of the merest melodramatic absurdity; as, for example, at page 156, of the second volume, where “Willoughby had an arm round the waist of Maud, and bore her forward with a rapidity to which her own strength was entirely unequal.” We may be permitted to doubt whether a young lady of sound health and limbs, exists, within the limits of Christendom, who could not run faster, on her own proper feet, for any considerable distance, than she could be carried upon one arm of either the Cretan Milo or of the Hercules Farnese. [page 212:]

On the other hand, it would be easy to designate many particulars which are admirably handled. The love of Maud Meredith for Robert Willoughby is painted with exquisite skill and truth. The incident of the tress of hair and box is naturally and effectively conceived. A fine collateral interest is thrown over the whole narrative by the connexion of the theme with that of the Revolution; and, especially, there is an excellent dramatic point, at page 124 of the second volume, where Wyandotté, remembering the stripes inflicted upon him by Captain Willoughby, is about to betray him to his foes, when his purpose is arrested by a casual glimpse, through the forest, of the hut which contains Mrs. Willoughby, who had preserved the life of the Indian, by inoculation for the small-pox.

In the depicting of character, Mr. Cooper has been unusually successful in “Wyandotté.” One or two of his personages, to be sure, must be regarded as little worth. Robert Willoughby, like most novel heroes, is a nobody; that is to say, there is nothing about him which may be looked upon as distinctive. Perhaps he is rather silly than otherwise; as, for instance, when he confuses all his father's arrangements for his concealment, and bursts into the room before Strides — afterward insisting upon accompanying that person to the Indian encampment, without any possible or impossible object. Woods, the parson, is a sad bore, upon the Dominie Sampson plan, and is, moreover, caricatured. Of Captain Willoughby we have already spoken — he is too often on stilts. Evert Beekman and Beulah are merely episodical. Joyce is nothing in the world but Corporal Trim — or, rather, Corporal Trim and water. Jamie Allen, with his prate about Catholicism, is insufferable. But Mrs. Willoughby, [page 213:] the humble, shrinking, womanly wife, whose whole existence centres in her affections, is worthy of Mr. Cooper. Maud Meredith is still better. In fact, we know no female portraiture, even in Scott, which surpasses her; and yet the world has been given to understand, by the enemies of the novelist, that he is incapable of depicting a woman. Joel Strides will be recognised by all who are conversant with his general prototypes of Connecticut. Michael O’Hearn, the County Leitrim man, is an Irishman all over, and his portraiture abounds in humor; as, for example, at page 31, of the first volume, where he has a difficulty with a skiff, not being able to account for its revolving upon its own axis, instead of moving forward! or, at page 132, where, during divine service, to exclude at least a portion of the heretical doctrine, he stops one of his ears with his thumb; or, at page 195, where a passage occurs so much to our purpose that we will be pardoned for quoting it in full. Captain Willoughby is drawing his son up through a window, from his enemies below. The assistants, placed at a distance from this window to avoid observation from without, are ignorant of what burthen is at the end of the rope:

The negroes are, without exception, admirably drawn. The Indian, Wyandotté, however, is the great feature of the book, and is, in every respect, equal to the previous Indian creations of the author of “The Pioneer.” Indeed, we think this “forest gentleman” superior to the other noted heroes of his kind — the heroes which have been immortalized by our novelist. His keen sense of the distinction, in his own character, between the chief Wyandotté, and the drunken vagabond, Sassy Nick; his chivalrous delicacy toward Maud, in never disclosing to her that knowledge of her real feelings toward Robert Willoughby, which his own Indian intuition had discovered; his enduring animosity toward Captain Willoughby, softened, and for thirty years delayed, through his gratitude to the wife; and then, the vengeance consummated, his pity for that wife conflicting with his exultation at the deed — these, we say, are all traits of a lofty excellence indeed. Perhaps the most effective passage in the book, and that which, most distinctively, brings out the character of the Tuscarora, is to be found at pages 50, 51, 52 and 53 of the second volume, where, for some trivial misdemeanor, the captain threatens to make use of the whip. The manner in which the Indian harps upon the threat, returning to it again and again, in every variety of phrase, forms one of the finest pieces of mere character-painting with which we have any acquaintance.

The most obvious and most unaccountable faults of “The Hutted Knoll,” are those which appertain to [page 215:] the style — to the mere grammatical construction; — for, in other and more important particulars of style, Mr. Cooper, of late days, has made a very manifest improvement. His sentences, however, are arranged with an awkwardness so remarkable as to be matter of absolute astonishment, when we consider the education of the author, and his long and continual practice with the pen. In minute descriptions of localities, any verbal inaccuracy, or confusion, becomes a source of vexation and misunderstanding, detracting very much from the pleasure of perusal; and in these inaccuracies “Wyandotté” abounds. Although, for instance, we carefully read and re-read that portion of the narrative which details the situation of the Knoll, and the construction of the buildings and walls about it, we were forced to proceed with the story without any exact or definite impressions upon the subject. Similar difficulties, from similar causes, occur passim throughout the book. For example, at page 41, vol. I.:

“The Indian gazed at the house, with that fierce intentness which sometimes glared, in a manner that had got to be, in its ordinary aspects, dull and besotted.” This it is utterly impossible to comprehend. We presume, however, the intention is to say that although the Indian's ordinary manner (of gazing) had “got to be” dull and besotted, he occasionally gazed with an intentness that glared, and that he did so in the instance in question. The “got to be” is atrocious — the whole sentence no less so.

Here, at page 9, vol. I., is something excessively vague: “Of the latter character is the face of most of that region which lies in the angle formed by the junction of the Mohawk with the Hudson,” &c. &c. The Mohawk, joining the Hudson, forms two angles, [page 216:] of course, — an acute and an obtuse one; and, without farther explanation, it is difficult to say which is intended.

At page 55, vol. I., we read: — “The captain, owing to his English education, had avoided straight lines, and formal paths; giving to the little spot the improvement on nature which is a consequence of embellishing her works without destroying them. On each side of this lawn was an orchard, thrifty and young, and which were already beginning to show signs of putting forth their blossoms.” Here we are tautologically informed that improvement is a consequence of embellishment, and supererogatorily told that the rule holds good only where the embellishment is not accompanied by destruction. Upon the “each orchard were” it is needless to comment.

At page 30, vol. I., is something similar, where Strides is represented as “never doing anything that required a particle more than the exertion and strength that were absolutely necessary to effect his object.” Did Mr. C. ever hear of any labor that required more exertion than was necessary? He means to say that Strides exerted himself no farther than was necessary — that's all.

At page 59, vol. I., we find this sentence — “He was advancing by the only road that was ever travelled by the stranger as he approached the Hut; or, he came up the valley.” This is merely a vagueness of speech. “Or” is intended to imply “that is to say.” The whole would be clearer thus — “He was advancing by the valley — the only road travelled by a stranger approaching the Hut.” We have here sixteen words, instead of Mr. Cooper's twenty-five.

At page 8, vol. II., is an unpardonable awkwardness, [page 217:] although an awkwardness strictly grammatical. “I was a favorite, I believe, with, certainly was much petted by, both.” Upon this we need make no farther observation. It speaks for itself.

We are aware, however, that there is a certain air of unfairness, in thus quoting detached passages, for animadversion of this kind; for, however strictly at random our quotations may really be, we have, of course, no means of proving the fact to our readers; and there are no authors, from whose works individual inaccurate sentences may not be culled. But we mean to say that Mr. Cooper, no doubt through haste or neglect, is remarkably and especially inaccurate, as a general rule; and, by way of demonstrating this assertion, we will dismiss our extracts at random, and discuss some entire page of his composition. More than this: we will endeavor to select that particular page upon which it might naturally be supposed he would bestow the most careful attention. The reader will say at once — “Let this be his first page — the first page of his Preface.” This page, then, shall be taken of course.

“Abounds with legends,” would be better than “is filled with legends;” for it is clear that if the history were filled with legends, it would be all legend and no history. The word “off,” too, occurs, in the first sentence, with an unpleasant frequency. The [page 218:] “those” commencing the second sentence, grammatically refers to the noun “scenes,” immediately preceding, but is intended for “legends.” The adjective “distinctive” is vaguely and altogether improperly employed. Mr. C. we believe means to say, merely, that although the details of his legends may not be strictly true, facts similar to his leading ones have actually occurred. By use of the word “distinctive,” however, he has contrived to convey a meaning nearly converse. In saying that his legend is “distinctive” in many of the leading facts, he has said what he, clearly, did not wish to say — viz.: that his legend contained facts which distinguished it from all other legends — in other words, facts never before discussed in other legends, and belonging peculiarly to his own. That Mr. C. did mean what we suppose, is rendered evident by the third sentence — “The first alone is necessary to the legitimate objects of fiction.” This third sentence itself, however, is very badly constructed. “The first” can refer, grammatically, only to “facts;” but no such reference is intended. If we ask the question — what is meant by “the first?” — what “alone is necessary to the legitimate objects of fiction?” — the natural reply is “that facts similar to the leading ones have actually happened.” The circumstance is alone to be cared for — this consideration “alone is necessary to the legitimate objects of fiction.”

“One of the misfortunes of a nation is to hear nothing besides its own praises.” This is the fourth sentence, and is by no means lucid. The design is to say that individuals composing a nation, and living altogether within the national bounds, hear from each other only praises of the nation, and that this is a misfortune [page 219:] to the individuals, since it misleads them in regard to the actual condition of the nation. Here it will be seen that, to convey the intended idea, we have been forced to make distinction between the nation and its individual members; for it is evident that a nation is considered as such only in reference to other nations; and thus, as a nation, it hears very much “besides its own praises;” that is to say, it hears the detractions of other rival nations. In endeavoring to compel his meaning within the compass of a brief sentence, Mr. Cooper has completely sacrificed its intelligibility.

The fifth sentence runs thus: — “Although the American Revolution was probably as just an effort as was ever made by a people to resist the first inroads of oppression, the cause had its evil aspects, as well as all other human struggles.”

The American Revolution is here improperly called an “effort.” The effort was the cause, of which the Revolution was the result. A rebellion is an “effort” to effect a revolution. An “inroad of oppression” involves an untrue metaphor; for “inroad” appertains to aggression, to attack, to active assault. “The cause had its evil aspects as well as all other human struggles,” implies that the cause had not only its evil aspects, but had, also, all other human struggles. If the words must be retained at all, they should be thus arranged — “The cause like [or as well as] all other human struggles, had its evil aspects;” or better thus — “The cause had its evil aspect, as have all human struggles.” “Other” is superfluous.

The sixth sentence is thus written: — “We have been so much accustomed to hear everything extolled, of late years, that could be dragged into the remotest [page 220:] connexion with that great event, and the principles which led to it, that there is danger of overlooking truth in a pseudo patriotism.” The “of late years,” here, should follow the “accustomed,” or precede the “We have been;” and the Greek “pseudo” is objectionable, since its exact equivalent is to be found in the English “false.” “Spurious” would be better, perhaps, than either.

Inadvertences such as these sadly disfigure the style of “The Hutted Knoll;” and every true friend of its author must regret his inattention to the minor morals of the Muse. But these “minor morals,” it may be said, are trifles at best. Perhaps so. At all events, we should never have thought of dwelling so pertinaciously upon the unessential demerits of “Wyandotté,” could we have discovered any more momentous upon which to comment.