Main currents in American thought

Most of the political satire of the Wits was done in collaboration, and consists of occasional sketches contributed to newspapers—with explanatory comments and notes—dealing with matters of current interest. Of the major works thus produced, The Anarchiad, The Echo, and The Political Greenhouse, the first will suffice to reveal the political sympathies of the Hartford group. The Anarchiad is a mock epic designed to counteract the populistic tendencies of post-war times. It was published in The New Haven Gazette between October 26, 1786, and September 13, 1787. In 1861 it was resurrected from a long sleep by Luther G. Riggs, and reissued with an introduction and notes. “This fearless satire,” according to the editor, “is supposed to have exerted great and beneficial influence upon the public mind, and to have tended in no small degree to check the leaders of insubordination and infidel philosophy”; and it must be regarded as “a national Poem, battling nobly for the right universal, for the majesty of law, and for the Federal government.” The idea was got from a contemporary English screed entitled The Rolliad, one of the numerous political satires of which the late eighteenth century was so fond. Probably most of the members of the group had a hand in it, but the acrid quality of its comment owes more to Hopkins than to the others.

For such work the angular Connecticut physician was admirably fitted. The son of a Waterbury farmer. Dr. Lemuel Hopkins was the most picturesque member of the Hartford Wits, the most characteristically Yankee. Brought up at the plow-tail, he received nevertheless an excellent education, and because of a hereditary predisposition to consumption turned to the medical profession. After serving his apprenticeship at Wallingford he entered upon his practice at Litchfield in 1776. During the Revolution he served for a short time as a volunteer, but soon returned to his lancet and medicine case. In 1784 he removed to Hartford where he spent the remainder of his life. In person he was tall, lean, stooping, rawboned, with coarse features and large brilliant eyes. His uncouth appearance and eccentricity of manner made him a striking figure, and his caustic wit rendered him a redoubtable antagonist. As a physician he stood at the head of the Connecticut profession. He was one of the founders of the Medical Society of Connecticut, and as a frequent contributor to professional literature he exerted a wide influence on the current practice.

The eccentric doctor seems to have been as honest as he was outspoken. He was uncompromising in his warfare on all quacks, both medical and political. For a time as a young man he was a disciple of French infidel philosophy, but he cured his mental indisposition by a severe Biblical regimen, and having restored himself to the robust health of Calvinistic Christianity, he devoted himself to the work of curing others. He became in consequence a specialist in the treatment of the ravages caused by the bacillus gallicus. For every sort of humbug he had a hearty contempt, and any political nostrum not listed in the Federalistic materia medica he regarded as arrant quackery. He thought no better of old wives’ remedies in government than in medicine, and when the Rhode Island legislature passed its paper-money act in 1785, and six months later Shays’s Rebellion broke out, and mobs were besieging the legislature of New Hampshire, he proposed to speak plainly to the good people of Connecticut on the follies of popular delusions. This would seem to have been the origin of The Anarchiad. It sprang from the indignation of Dr. Hopkins, when, to quote from the poem,

The sardonic temper of Dr. Hopkins fitted him for virulent satire, and in this bitterest of the productions of the Wits, the reins were on the neck of the muse. Scarcely another New England satire reflects so sharply the class consciousness that underlay the bitter struggle between agrarianism and capitalism. It is a slashing attack upon agrarian economics and democratic liberalism, a versified echo of the anger of creditors who were fighting the measures of populistic legislatures. The staple of the satire is the wickedness of all paper-money issues, with the State of Rhode Island as the chief of agrarian sinners. About this main theme is gathered a miscellany of Federalist shibboleths—the godlessness of Shays and his crew, the seditious spirit of all who oppose the new Constitution, the demagoguery of democratic politicians—and the satire rises to a patriotic crescendo in declaiming against the folly of the democratic ideal. So tremendous a work, however, cannot be adequately described; the lines must speak for themselves. The following bits may serve in lieu of the whole, the first of which is a comment on Rhode Island, the pariah of States: