Devon Kitch 

The Romanticized American Identity:
Moral / Spiritual vs. Sensory / Materialistic 

            What did it mean to be truly American or better yet, a Romantic American in the age of the American Renaissance?  The works of Washington Irving, Susanna Rowson and James Fenimore Cooper introduce several characters who display the sometimes contradictory aspects of American identity.  Through the eyes of the authors and the hearts of the characters, we will see that American culture is shaped by both sensory and material gratification combined with moral, spiritual, and idealistic mission.  Ichabod Crane, Katrina Van Tassel, Charlotte Temple, and the characters in Last of the Mohicans   delicately blend these opposing values to encourage a diversified view of America and its inhabitants.    

            Some characters exhibit the more desirable attributes of moral and spiritual idealism while others wholeheartedly embrace the sensory and materialistic, while yet others, manage to exemplify the two sides simultaneously.  At first glance, Ichabod Crane seems to be a quiet, sensible, studious man who wishes for nothing more than his meager existence.  He unselfishly employs himself in the aid of the families who shelter him, goes to Church on Sundays, and plays with the children outside of the school house.    However, his helpful attitude is conditional in most cases, depending largely on the presence and praise of a female, “on holiday afternoons he would convoy some of the smaller ones home, who happened to have pretty sisters, or good housewives for mothers, noted for the comforts of the cupboard” (3).  Perhaps Ichabod’s actions are truly done for the sake of being helpful, but it seems most likely that he only produces efforts which will gain him something in return.  And, when he would “sit with a child on one knee, and rock a cradle with his foot for whole hours together” he was doing it to seek favor in the eyes of the mother, who, in turn would continue to provide him with nourishment (3). 

Even his singing in the church choir falls under controversy, as he seems to revel in the spotlight and prestige that the position accords him, rather than dwelling on the spiritual aspect of church-going.  His undeserving conceit is revealed through the narrator who comments that “in his own mind, he completely carried away the palm from the parson” and “peculiar quavers still to be heard…descended from the nose of Ichabod Crane” (3).  Irving pokes fun at Ichabod because, for such a goblin-like appearance as he possesses, “huge ears, large green glassy eyes, and long snipe nose” (2), Ichabod’s vocation, seen as prestigious in the eyes of the “country damsels” (3), allows him the favor of those who would otherwise find him unattractive.  He uses his position as a man of letters to achieve material gratification, like food and housing, as well as a sort of sensory gratification through his close proximity to the females in the small town.          

Though the narrator is telling the story, his thoughts appear to be entwined with Ichabod’s, making the description of Katrina Van Tassel’s appearance, especially intriguing in terms of the sensory/material.  She is described in food oriented terms such as, “blooming”, “fresh”, “plump as a partridge”, “ripe and melting”, and “rosy cheeked as one of her father’s peaches”, that connect her to Ichabod’s main desire for a full stomach (5).  And, as if her appearance were not enough to tempt him, her manner of dress and vast estate managed to seal his affection.  Ichabod’s “mouth watered” at the prospects of obtaining a bit of her grand fortune, revealing the essence of his inner personality built upon sensory and material gratification.  His affections were not honorable, not for love, admiration, or even unbridled passion.  When he left the Van Tassel residence in Katrina’s wake of rejection, Ichabod appeared as “one who had been sacking a hen-roost, rather than a fair lady’s heart. 

The coquettish Ms. Van Tassel also seeks sensory/material gratification, however, her main source of pleasure is the constant attention of her suitors.  She is presented as the model for “country” high society, though is lacking in description for all but her superficial characteristics ad possessions.  Katrina is a contrast to the town’s other offerings of potential suitors to Ichabod for she is a constant object of men’s desire, does not follow Ichabod around like many of the other girls, and also comes from extreme wealth.  Her wealth makes her beautiful and attractive similar to the way that Ichabod’s vocation makes him more attractive to the country women.  Both Ichabod and Katrina use their status to get what they want; Ichabod revels in the small amount of power that being school master affords him, while Katrina’s power lies in her fortune and aids in her acquisition of broken hearts.  Perhaps, since the motives of neither character are driven by moral/spiritual ideals, the story must end with the main character being rejected by the town flirt.  If rumors are true then Ichabod is doing well and practicing law, which, ironically, helps determine man’s moral boundaries.  It seems that his escape from Sleepy Hollow may have produced a changed man, more conscientious of the quality and direction of his motives.  Katrina experiences a similar reversal as she finally marries the notorious Brom Bones.

Katrina Van Tassel could have taught Charlotte Temple something about men.  Though the behavior of coquette is less than desirable, it far exceeds Charlotte’s confusion and weakness.  Like Ichabod, Charlotte Temple  also displays the two opposing traits of the sensory/materialistic versus the moral/spiritual.  She is torn between love and respect for her family and the affections of her beloved Montraville, a man who never would have had such opportunity if it were not for the deceit of Charlotte’s teacher, Mademoiselle.  Charlotte repeatedly voices her concerns “But I cannot break my mother’s heart…or make my beloved father perhaps curse the hour that gave me birth”, however, they are silenced by Mademoiselle and Montraville who seem exceptional in the art of persuasion(9).  Charlotte genuinely wants to honor her parents and live in their good graces. She was raised to be honorable but struggles with the combined effect of her dilemma and Mademoiselle’s cunning much as Eve must have struggled with her options in the presence of the serpent.  Charlotte has a good heart, but being of an impressionable age, “the mind of youth eagerly catches at promised pleasure: pure and innocent by nature, it thinks not of the dangers lurking beneath those pleasures, till too late to avoid them” and guided by a woman of questionable morals, proves too powerful an opponent(3).  By nature, women usually seek the opinions and help of their dear friends in times of confusion.  Charlotte only has Mademoiselle to confide in, leaving her to receive advice from a woman who committed the same immoral acts in her youth and obviously desires to lead other young women down the same fruitless path. 

Charlotte’s sensory weakness proves to conquer as Montraville so convincingly persuades her “Cruel Charlotte, if you disappoint my ardent hopes, by all that is sacred, this hand shall put a period to my existence.  I cannot—will not live without you” (11).  Well, Montraville forgot his promise almost immediately, leaving a pregnant Charlotte alone in a foreign country and taking a new wife.  His treachery was inevitable because his foundations for affection were not honorable.  Where Charlotte began as an honorable young woman, Montraville’s motives could never be described as such.  Had Charlotte not been tempted by the evils of Mademoiselle and Montraville she would have likely lived as honorably as her own parents.  Her father, ever the example of moral and spiritual ideals, remains faithful to his daughter, loving her until her last breath and protecting the child she bore.  His strength exemplifies what Charlotte could have become. As he refuses to punish Montraville he shows his spirituality, “I wrest not the power from the hand of omnipotence” (14); and, when the woman who rejected Charlotte in her time of need, Mrs. Crayton, comes forth, her father once again upholds his moral grounds and helps the woman who caused him pain. 

Through Rowson’s Tale of Truth, the reader is given a life lesson in how sensory/materialistic priorities lead to destruction and moral/spiritual behavior reaps rewards “vice, however prosperous in the beginning, in the end leads only to misery and shame” (15).  Charlotte’s experience proves how one trained in morality can easily fall to shame, yet her father portrays the opposite, how steadfast morality will lead to prosperity.  Unfortunately, Charlotte’s parents do not escape suffering from her behavior for they inevitably feel the pain she wished to avoid; however, through Charlotte’s daughter they are given a new beginning. 

Much as Rowson’s characters exhibited opposing characteristics, the fact is further elevated in relation to the characters of Cooper’s Last of the Mohicans.  His array of characters with contrasting nationalities and backgrounds present a truly multifaceted view of what it means to be an American and how morality, spirituality, and the sensory/material all work together to produce the novels harmonizing effect. 

For the sake of time, I will group the two Mohicans together to forma contrast against the Hurons.  Where both groups have their vices, it seems that the Hurons are most concerned with sensory/material gratification while the Mohicans have a more spiritual/moral philosophy of life.  Of course, the reader likes the Mohicans better than the Hurons, for the novel pits them against one another as good versus evil.  Magua presents himself as a faithful guide, though his only real concern is the payment he will receive in the end, most likely by the hands of the French.  Chingachgook and Uncas agree to help the travelers due to the fact that they hate the Hurons, but also because they want to help the small group to the fort.  Albeit they probably would not have cared as much if Hawkeye had not been with them, but their motives were still driven by a moral rather than materialistic agenda. 

Hawkeye is the “good guy”, between the excerpt from Pioneers and The Last of the Mohicans, he displays character that is completely driven by moral and spiritual qualities.  He is the ideal American figure, brave, agile, strong, and steadfast in his principles.  In Pioneers, his distaste for the wasteful pigeon hunt displays his viewpoint that one must only kill what is necessary, a stark contrast to the wastefulness portrayed by the other settlers and comparable to most Americans today.  Though Hawkeye’s character is part of Cooper’s idealism, he is the man that people should strive to be.  Perhaps, like Charlotte Temple’s father, his unwavering focus on moral values leads him to his success.  He has an uncanny ability to survive and to conquer his foes, something most of the characters seem to possess. 

Unfortunately, Cooper kills the strongest female character we have seen throughout the readings.  The contrast between Cora and Alice, the strong female against the weak, and a darker complexion against a light proves to be an interesting theme throughout the story.  Most remarkable is the fact that Cora seems to be the character most likely to uphold moral/spiritual standards, whereas Alice, would be most apt to entertaining sensory/materialistic behaviors.  It is Alice who presses for the inclusion of David Gamut, for the sake of his psalmody, a purely sensory gratification on her part as it is his entertainment value that strikes her fancy rather than his religious standings.  Cora is the normally silent observer, speaking her judgments only when necessary and most effective.  Her general silence is comparable to that of her darker skinned companions as she listens, reflects, and absorbs all that happens around her.  Alice is portrayed as the typical, weak woman of the time period, though Cora upholds a higher standard.  It seems that Cooper is torn between the weak, submissive Alice and the strong, boldness of Cora, however, he gives the values of his beloved Hawkeye to Cora and not Alice.  It seems that in this story, being a brave female out-steps the bounds of society, making it impossible for Cora to return to the real world although her moral values are commendable. 

So do moral principles lead to success or failure in the eyes of American Romanticism?  It is the delicate balance of the moral and materialistic, as seen through the eyes of my chosen authors, which has pushed our society to its present state, resulting in the nation we have become.  We continue to battle the same issues, nature being greater than man, morality in everyday life, and the plight of the individual inevitably coming to no greater conclusion than Cooper himself was able to do.