Uncivil Tongues:Slander and Honour in Susanna Rowson’s Trials of the Human Heart Joseph Fichtelberg (bio) One of the greatest ordeals that Meriel Howard, the long-suffering heroine of Trials of the Human Heart, shares with her creator, Susanna Rowson, involves the effects of unmerited slander. One example among many may help to establish this parallel. Accosted by a rakish admirer, Meriel is discovered by her equally dissolute husband, who immediately spurns her and confronts her "abandoned seducer": "Tell me, thou vile reptile," he says, "who under the mask of friendship hast dishonoured me, what reparation can you make for the peace you have destroyed." 1 The answer follows immediately: "To-morrow between five and six o'clock, I shall expect to see you in a proper place to settle this difference" (3:123). Although the duel is averted, this is not the first time in the text that such charges are levelled. As she imparts in the preface, Rowson was herself slandered by a vile "reptile" (xiii), William Cobbett, who assailed her "sudden conversion to republicanism" as mercenary and subversive. 2 Unable to respond in the field, she did the next best thing: she wrote a [End Page 425] literary defence in which a persecuted British woman melodramatically and stoically withstands assaults on her character. If as a woman she felt "embarrassed and timid" (xi), she nevertheless found the proper place to defend her fragile honour. Readers of Rowson's better-known Charlotte Temple will have little difficulty, in this brief account, hearing echoes of that best-selling fiction. Both protagonists suffer such severe consequences for innocent errors that their male persecutors are damned in the process, indicted for exhibiting what Julia Stern calls "the structures of domination that inform patriarchal practice." 3 But Rowson's deliberate linking of the later novel to the public sphere, where character is routinely assaulted, suggests another emphasis that may cause us to revise our notions of both the writer and her literary medium. The novel is a shrewdly effective exploration of two key concerns in early American public life. Slander and honour were not the preserve of sentimental seduction narratives; they were cultural markers through which an expanding public sphere explored new relations of power and authority. Not only was the function of honour in a republic relentlessly reshaped by public attacks on character, but also the power of the public was continuously rehearsed and altered through a process of mutual suspicion. 4 As a woman, a writer, and an actress, Rowson was in a peculiarly favourable position to appreciate and intervene in that process. Her novel sought both to capture the occasion of slander and to convey its internal mechanisms, by depicting how Meriel's story is appropriated and distorted by others. As an actress, Rowson also had a keen sense of how public consumption could entangle and alter private scripts, a knowledge that could yield a peculiar cultural authority. Understanding the performative nature of honour conferred a power of its own. Rowson's novel also offers an alternative to slander in scenarios depicting the exchange of gifts and vows, exchanges intended to associate honour with rituals of reconciliation involving both Rowson and her readers. In Trials of the Human Heart, Rowson uses Cobbett's assault to examine how wounded honour may be renegotiated in the public sphere. [End Page 426] * * * According to Jürgen Habermas, who set forth its elements nearly forty years ago, the public sphere is a forum for rational reflection driven by a bourgeoisie discovering its cultural authority. Whereas the Old Regime in France approached politics through spectacle and "representation," the bourgeoisie found its distinctive voice in the critical discussions of the salon, the coffee house, and the political pamphlet. 5 The public sphere arose through a complex intersection of three realms: the state, the "intimate" family, and the "private" realm of economic exchange. Since the family, as revealed in personal letters and diaries, cultivated an "audience oriented subjectivity"—one fully conscious of its need for others—it could model the distinctive relations of polite bourgeois society. 6 Overlaying this intimate sphere was the private conduct of economic man, presumed to operate according to the rational...