The Philadelphia Magazines and their Contributors 1741-1850

In Short

Albert Henry Smyth traces the vibrant rise and fall of Philadelphia’s early periodical press from Benjamin Franklin’s initial 1741 venture through the mid-nineteenth century. The book examines how early editors and contributors sought to foster native literature, navigating fierce rivalries, financial distress, war, and public apathy. It documents a major cultural center's evolution into the "Athens of America," highlighting the writers, artists, and publishers who shaped early American letters. It endures as a primary window into the practical realities, social networks, and intellectual ambitions that laid the groundwork for American magazine publishing.

The Story

The narrative begins in 1741 with a sharp rivalry between Benjamin Franklin and Andrew Bradford, both racing to issue the first monthly magazine in the American colonies. Conceived in professional jealousy and local politics, these early ventures established a pattern of ambitious undertakings met by stubborn economic and logistical obstacles. Imperfect communication between distant settlements and a small reading public doomed these early titles to brief spans, yet they established Philadelphia as a crucible for American publishing.

As the political climate shifts toward independence, new periodicals emerge alongside the conflict. Publishers like Robert Aitken and Francis Bailey, joined by fiery minds like Thomas Paine and Hugh Henry Brackenridge, launch magazines amid the Revolutionary War. Writers explicitly invite the muses to leave classical European peaks and take up residence along the Delaware River. Periodicals like The American Museum, edited by the energetic Matthew Carey, begin to reflect the internal political, agricultural, and economic state of the newly formed republic rather than looking nostalgically across the Atlantic.

By the turn of the nineteenth century, Philadelphia claims its title as the "Athens of America." The city’s high society, civic leadership, and intellectual circles converge around publications like Joseph Dennie's Port Folio. Early American painters like Benjamin West, Thomas Sully, and Gilbert Stuart, alongside visiting European authors like Thomas Moore, populate this landscape. Ornithologists like Alexander Wilson publish original poetry and observations of native landscapes, deliberately swapping European skylarks and yews for American scenery.

However, as the mid-nineteenth century approaches, the editorial landscape undergoes a stark transition. The high-minded, classical miscellanies yield to commercialized, widely circulated weeklies and specialty monthlies, such as Graham's Magazine. While figures like Charles J. Peterson and Edgar Allan Poe achieve national prominence, editors frequently lament the public's unwillingness to pay for original literary work. The narrative ends on a reflective note, observing that while magazines have multiplied to meet public demand, the older scholastic bravery has given way to a commercial ecosystem of reviews, summaries, and ephemeral print.

How It Unfolds

The colonial rivalry Benjamin Franklin and Andrew Bradford rush competing monthly magazines to press in 1741 Philadelphia. Both ventures struggle against poor distribution channels and expire quickly, but they establish the city as the birthplace of American magazine publishing.

War and satire In the turmoil of the Revolution, publishers like Francis Bailey and editors like Hugh Henry Brackenridge launch new journals. They mix political satire with explicit calls for American writers to cultivate native literature despite the surrounding conflict.

Reflecting the new nation Matthew Carey's American Museum shifts the editorial focus inward, departing from colonial reliance on British reprints. The publication documents the real economic, agricultural, and political state of the emerging United States.

The capital's literary peak At the turn of the nineteenth century, Philadelphia becomes the nation's cultural capital, giving rise to Joseph Dennie's Port Folio. Intellectuals, foreign visitors, artists, and naturalists gather in the city, using its magazines to foster a distinct national culture.

Commercialization and decline As the nineteenth century advances, soaring print runs and commercial enterprise reshape the press into broader, profit-driven ventures. The original era of classical editorial ambition fades, leaving behind dusty volumes for historians and collectors.

The People

• Benjamin Franklin seeks to establish the first American monthly magazine, driven by intellectual ambition and commercial rivalry with Andrew Bradford. His initial publishing clash sets the competitive template for Philadelphia's early literary market.
• Matthew Carey strives to create a publication that accurately reflects American life and political reality. Arriving as a fiery Irish immigrant, he survives duels and poverty to build The American Museum into a vital record of the new republic.
• Joseph Dennie aims to cultivate an elite literary atmosphere through the Port Folio, gathering a prominent circle of writers and artists. His efforts cement Philadelphia's reputation as the "Athens of America," though he battles public indifference to serious literature.
• Alexander Wilson leaves behind European poetic tropes to document the American wilderness through poetry and his landmark Ornithology. He navigates financial scarcity and physical hardship to observe and publish native natural history.
• Charles J. Peterson transitions from editing high-caliber literary periodicals like Graham's Magazine to becoming a successful commercial publisher. He represents the shift toward a modern, commercially viable magazine industry.

In Its Own Voice

"These two magazines appear to have been conceived in jealousy and brought forth in anger."

Albert Henry Smyth describes the contentious 1741 origin of American monthly periodicals under Benjamin Franklin and Andrew Bradford.

"Our attempt is to paint the graces on the front of war, and invite the muses to our country."

Hugh Henry Brackenridge outlines his editorial ambition for the short-lived United States Magazine during the Revolutionary War.

"The dust of a dry antiquity has settled upon the laborious pages of these ragged tomes, undisturbed save by some 'local grubber,' or by some 'illustrator' in search of portraits for a rich man's library."

Smyth reflects on the modern neglect of early American literary magazines and the historical records they contain.

What It's Really About

At its core, the book examines the difficult birth of an independent American intellectual culture. It explores the systemic tension between high artistic ambition and the harsh realities of commercial survival in a young, developing nation. Smyth documents how early editors struggled against widespread public apathy, inadequate copyright protections, poor distribution networks, and a lingering cultural dependence on European models. Beneath the biographical sketches and publication histories lies a fundamental question: how does a democratic society support genuine literary art when the broader public prefers light entertainment or cheap reprints? The text reveals that the infrastructure of national literature is built through the trial, failure, and persistent labor of dedicated individuals.

Why Read It Today

This history offers a detailed, unvarnished look at the origin of American media and literary networks. Readers interested in early American history, print culture, or publishing will find a wealth of forgotten details, lively anecdotes, and forgotten historical figures. Smyth's prose is formal, scholarly, and deeply embedded in nineteenth-century literary sensibilities, making it an engaging read for lovers of classical non-fiction.

The work does demand patience. It contains dense lists of long-forgotten figures, extensive archival citations, and poetry quotes that reflect the period's stylistic tastes. It also carries the antiquarian tone of its era, occasionally drifting into regional pride for Philadelphia. Yet its strength lies in its authenticity; grounded entirely in primary sources and first-hand examination of rare volumes, it offers an honest portrait of how difficult it was to make a living by the pen in early America—a challenge that remains strikingly relevant today.

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