Amanda's Analysis

Amanda Dickson
AML4101

The Power of Sympathy: An Analysis of Front Matter.

The function of eighteenth century front matter is much like the modern book jacket. If you were to look at the modern novel it would most likely be jacketed in a paper covering with an illustration that represents some key thematic aspect of the novel, a short biography of the author would follow on the front inside of the jacket; towards the back on the inside pocket we might find selected critique of the novel in which accredited sources praise the work, and finally on the back cover a brief synopsis of the story. The eighteenth century novel functions in much the same way, addressing the concerns of the reader immediately in hopes to alleviate any doubt that the reader might have had in purchasing the novel. These concerns being, will I like this novel? Does it appeal to me specifically? What is it about? Is it good? These concerns inevitably break down into the question of audience and authorship.
In the The Power of Sympathy the very first page is an illustration of a young lady fallen into the arms of an older lady, while behind them in a doorway, lurks a older gentleman. I will come back to this illustration after a brief analysis of the title page, but what must be initially recognized is the similarity of this to modern novel, a picture being the first representation of the book. Also, this alludes to the author’s knowledge of the influence and immediacy of visual elements.
The title page, immediately following the illustration, is a compilation of information revealing who produced the novel (author and publisher information) and what was produced (plot synopsis and intention). The title states “The Power of Sympathy and The Triumph of nature” followed by “founded in truth” and then a short poem:

Fain would he strew Life’s thorny Way with Flowers,
And Open in your views Elysian Bowers;
Catch the warm passions of the tender Youth,
And win the Mind to Sentiment and Truth. ***

*** Davidson asserts that this was most likely inserted by the publisher and not the author.

Davidson states in Revolution and the Word that “As a reading directive for a new and as yet unsophisticated audience, all this represents a complex and comprehensive authorial program indeed. We have in the promise, the text as truth and, in the poem, the text as flower, as vision, as vicarious pleasure, and as, at best, a way to truth” (161). Let it be noted that Davidson is relaying this information in the chapter entitled “Commodity and Communication: The First American Novel” and this passage is under the sub-chapter “Selling the First American Novel”. This is no doubt evidence that the front matter is designed to sell the novel, and in turn we are literally looking at an artifact of eighteenth century capitalism.
The next thing the reader would see after the title page is what the database calls “miscellaneous front matter”. It is in this section that Brown directly addresses whom he considers to be his audience. “To the young ladies of United Columbia, these volumes intend to represent the specious causes and explore the fatal consequences of SEDUCTION. To inspire the female mind with a principle of self-complacency and to promote the economy of human life, are inscribed with esteem and sincerity by their friend and humble author, William Hill Brown.”

As Davidson reflects on the intentions of the publisher she touches on the function of this particular message:

“The Power of Sympathy presented no such problems and would have appealed to [the publisher] Thomas as a prospective publishing project for several reasons. The book would be the “first” American novel and thus had a definite nationalistic potential; Its particular detail to female virtue and female education argued its social morality; It’s effective explanation of a current and rather lurid scandal gave it the potential for turning a profit. But it should also be noted that at least one consideration weighted heavily against it. The available evidence indicates that Thomas himself was suspicious of fiction” (160).

Therefore, if the suspicion of a then said “innovative author” (Davidson, 158) was aroused, then would not the traditional views of the public be equally, if not more so, subjected to criticism? However, Thomas did have many reasons to appreciate the text, as Davidson articulates. It seems that by mentioning all of the positive influence that the text can have on the mind of these young Columbian women, that Brown is making an ardent outcry of credibility to his public.
The illustration suddenly becomes more relevant after reading the front matter. It is a representation of the triangle that exists between reader, author, and society. The young lady fallen into the arms of the older lady is who Brown considers to be his audience, The older lady herself, embodying the wisdom of experience and the sympathy of the fallen, is Brown himself. His holding up of the fallen lady is synonymous with what he hopes his literature will do. And the older gentleman in the doorway is society, a male gentleman of course, is symbolically behind the situation as an observer, Ultimately reminding young ladies of the watchful eye of society and importance of reputation.

Brown, William Hill . The Power Of Sympathy. Boston: Thomas and Co., 1789. Early American Periodicals. EZProxy databases. University of Central Florida Libraries, Orlando, Florida. 06 October 2008. < http://infoweb.newsbank.com.ezproxy.lib.ucf.edu>

Davidson, Cathy N. Revolution and the Word. New York: Oxford University Press, 2004. Pp. 158-161.