The 1850's repeated the crises of the 1820's and 30's, but in a compressed time span and with more deadly consequences.
The post-Revolutionary generation in South Carolina faced the Missouri Compromise of 1820 that limited slavery in the west, the Denmark Vesey trial of 1822, and James Hamilton’s nullification threat of 1832.
The next generation had the Compromise of 1850 that included the Fugitive Slave Act and led to talk of nullification. The Kansas-Nebraska Act of 1854 left the question of slavery in the territories to the settlers, and led to guerilla war in Kansas.
In this atmosphere, Harriet Beecher Stowe published Uncle Tom’s Cabin and William Gilmore Simms serialized The Sword and the Distaff in the Southern Literary Gazette in 1852 . The one criticizes the inhumanity of slavery; the other anticipates the need for guerilla warfare and recalls the aftermath of the American revolution in South Carolina when, Simms said, "peace is only a name for civil war."
Simms’ intent, based on his title, had been to use a character based on Hezekiah Maham to describe the difficulties of reestablishing plantations after the war. However, as a writer, he was better at describing action than romance. The middle section that describes his hero’s courtship of a wealthy widow drags, while the opening description of highway robbery would excite the imagination of any adolescent boy. When the work was issued as a book, he renamed it Woodcraft.
Like any work of popular fiction of the time, the reader’s interest lay in events that crowded each installment. The characters were recognizable stereotypes. There was the hard-hearted widow who’d played both sides in the war; the Scots merchant villain who’d fenced stolen slaves; his agent, a double dealing squatter; an upright Christian youth who marries after the war but is willing to fight when called upon; the hero’s faithful slaves who hid in the swamp from the British and willingly returned to the fields under the orders of a man not much better than Simon Legree; and the innocent daughter of the squatter who marries the nice, but naive son of the widow.
Maham is changed into Porgy, an insouciant scion who has mortgaged his property "which had been transmitted to him through three or more careful generations" to support a life of alcoholic leisure. When the sheriff finally forecloses on the property, Porgy makes the deputy eat the paperwork. He’s saved through the intervention of Charles Coatesworth Pickney and the squatter’s deathbed confession.
While Porgy is recognizable as a type all too common in South Carolina at the time, he bears almost no resemblance to Maham. All the virtues of the latter have disappeared, and his negative traits exaggerated.
In reality, Maham was a self-made man who worked as an overseer before gaining his own land, not an indulged son like James Hamilton who was criticized in 1850 for supporting the congressional compromise because it might redeem some of his Texas debts and save him from ruin.
When Maham returned to his land he found new seed rice. Porgy’s plantation is taken over by Millhouse, a underling sergeant eager to reestablish traditional ways. He tells him "You was always a-thinking to do something better than other people, and you wouldn’t let nater [nature] alone."
At a time when tidal cultivation was being introduced by the more innovative planters, Millhouse adds "Now I’m a-thinking that the true way is to put the ground in order, and at the right time plant the seed, and then jest lie by, and look on, and see what the warm sun and rain’s guine to do for it."
He concludes his anti-innovation critique with "It ain’t reasonable to think that a man kin find new wisdom about everything"
During the war, Maham had perfected a tower for siege warfare.
The war had dwindled to the final evacuation by the British in Simms’ novel, and most of his allusions are to Francis Marion’s units in general. Maham’s bravery at Quinby Bridge is transferred to the incident of banditry that opens the novel when an outlaw shoots his horse. The incident when Maham started from sleep and believed he was under attack is turned into a joke on Millhouse who attacks a ghost.
The only specific recollections of military encounters are ones that advance Simms’ view of war as a series of harassments bordering on torture. One of Porgy’s slaves, Pomp, recalls a scrimmage with Fraser at Parker’s Ferry where the "cappin mounted a British officer," then ‘cut him clean through his skull to his chin." Porgy himself remembers "old Echars, the Dutchman, whom we dressed in tar and feathers at Moncks’ Corner, for stealing cattle."
According to Patrick O’Kelley, Marion left Maham in charge of unmounted men at Parker’s Ferry while he took other troops to attack. While the British were retreating, unmounted men surrounded Thomas Fraser’s troop of South Carolina loyalists and opened fire at 40 yards. After the battle, Marion returned with his prisoners to where he’d left Maham.
Monck’s Corner is more obscure, mentioned by only one man who wrote Maham "took upwards of eighty prisoners" in October of 1782, months after Maham had been paroled and two months before the defeated British evacuated Charles Town.
In Woodcraft, Porgy is a middle-aged bachelor who’s spent his life in the salons of Charleston, but has to no idea how to court a woman. Maham had been married twice and fathered two daughters. His wife died after he’d returned home from battle, but before he confronted the sheriff’s deputy.
Maham only appears in histories as an actor in events, not as a person important enough to have a portrait painted and passed through generations or one who appears in diaries and journals of society life. His physical appearance and habits are unknown.
Simms makes Porgy so fat he can’t dismount his horse, and worries his trousers will split in company. He’s a heavy drinker who surrounds himself with the detritis of war, the one-armed Millhouse, and the most degenerate forms of the Enlightenment’s arts and sciences, the fraudulent Doctor Oakenburg and George Dennison, "poet of the partisans."
What we know of Hezekiah Maham comes from histories by Frederick Porcher and Joseph Johnson, both born after Mahan died. Parson Weems’ account of Francis Marion’s war effort was based on notes by Maham’s rival, Peter Horry, and never mentions Maham; Marion is given credit for the tower.
It could well be the widowed survivor of war did become the man described by Simms. His great-nephew, Joshua John Ward, however, heard through the family, he had been much more.
Unfortunately, his virtues were held in contempt by the generation going into the civil war, who only praised the most atrocious actions as necessary in war and condemned anyone else as decadent as Porgy.
Notes:
Johnson, Joseph. Traditions and Reminiscences, Chiefly of the American Revolution in the South, 1851.
O’Kelley, Patrick. Nothing but Blood and Slaughter: The Revolutionary War in the Carolinas, 4 volumes, 2004-2005.
Porcher, Frederick A. Historical and Social Sketch of Craven County, no date.
Simms, William Gilmore. Woodcraft, 1852, republished 1961 with an introduction by Richmond Croom Beatty.
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