But if Knight was more secular than religious, she also took class distinctions seriously. A small-businesswoman, she was mindful of treating those of higher social standing than herself with deference while she was condescending in her treatment of country people, African Americans, Native Americans, and others of lower status. Her journal reveals a robustness of taste and a love of good stories. She records several of these. She was also a satirist who wrote in many voices, using the language of colloquial modes of expression, neoclassical diction, and contrasting genres, mixing poetry, dialogue, and fiction into her personal prose. Because of this journal, Knight has a prominent place in travel literature, and it establishes her as a satirist representing significant themes and character types in the tradition of American humor.
The single most well known and often-written-about eighteenth-34- eighteenth- American autobiography (frequently characterized as the bridge text between the eighteenth and the nineteenth century) is that of Benjamin Franklin (written between 1771 and 1790). For Franklin the man is the model American hero and patriot. Born in Boston in 1706 of humble Puritan parentage, he lived a life that was the stuff of national legend. In his teens, Franklin rejected the religion of his parents for Deism, then popular among eighteenth-century intellectuals. At age seventeen he ran away from Boston to Philadelphia, and soon went off to England. Back in Philadelphia in 1726, he did well as a printer, bought and reformed a newspapers, The Pennsylvania Gazette, opened his own stationer's shop, and became the public printer for the colony. Financial prosperity led him to involvement in local politics. He established a fire company, a lending library, the American Philosophical Society, and proposed an academy that later became the University of Pennsylvania. In 1748 he retired from business to spend his time in politics and science. In the latter field, his discoveries in electricity brought him international fame.
In the world of politics, Benjamin Franklin became a leading member of the Pennsylvania Assembly, and in 1757 he went to England to represent the Assembly in its complaints against the British. He returned to America in 1775 when the country was at war. His greatest fame came to him as a member of the Second Continental Congress and as America's minister to France. He was involved in working out the peace this country made with England after the war, and he signed the Treaty of Paris in 1782. Returning to America in 1785, as an elder statesman, he was a representative to the Constitutional Convention. By the time of his death in 1790, having transcended poverty, low birth, and limited education, he had become to many the embodiment of the dream that in America hard work, virtue, and respect for conventions were the keys to prosperity, independence, and happiness.
The Autobiography is Benjamin Franklin's most important written work. Notably, it was the first major text in American autobiography to break with the (Puritan) tradition of the spiritual narrative, and many claim it as the first truly American self-in-writing. Franklin wrote the first part (which, in his treatment of his Boston, early Philadelphia, and London life, resembles a picaresque novel) while in England in 1771; the second part (accounts of his library project and -35- his efforts at moral perfection) in France in 1784, after the Revolution; the third (a record of the 1730s through the 1750s) in America in 1788. The brief and incomplete fourth section (a memoir of London) was also written in America shortly before his death in 1790. This text was Franklin's interpretation of his life as the self-made man, the Franklin he constructed for the world to see. The writing of it was the making of that self in which the "I" took full control of its own destiny. Primarily, Franklin uses his autobiography to promote the classic tale of the poor but talented boy who, through hard work, ability, and learning from his mistakes, makes a success of his life. Addressing his son in the first section, in a voice wise, humorous, and tolerant, the older man juxtaposes age and youth, and provides advice for the younger.
But Franklin's autobiography, the exemplary American text, is not the true life story of Benjamin Franklin. As G. Thomas Couser notes, from the beginning Franklin describes his text as the second corrected "edition" of his life, suggesting that the "life" itself was the first edition, and a text at that. Under these circumstances, his writing of his life was equivalent to editing a book, and the "relation between narative and life, or history, is not between 'language' and the 'reality' to which it refers, but between one text and another that it revises." As such, Couser points out that it is impossible to look through the autobiography for the life and the self behind the text. All the reader has for certain is the character with which he begins the narrative: a literal man of letters invented by the autobiographer. For, as Robert F. Sayre concludes, Franklin was writing to and about himself, developing a correspondence between his past and his present. Through his rich imagination he was able to create roles for himself (such as the waif who arrives in Philadelphia) that turned the narrative into an adventure permitting him to live out a variety of identities.
Ironically, within the decade following his death, several inaccurate partial versions of The Autobiography appeared. The first full edition, edited by his grandson Temple Franklin, was published in 1818, but critics remain divided on its accuracy of representation. As some experts conclude, even now Franklin's narrative resists publication in a "truly authoritative text." Still, few would deny its -36- achievement: the art of its autobiographical impulse and Franklin's historical place as a master craftsman in the writing of public prose.
While seventeenth- and eighteenth-century European settlers in America created autobiographical narratives by way of the explorer, Indian captivity, travel, and spiritual narratives, and finally through Benjamin Franklin's secular model American life, little or nothing was made of the presence and conditions of Africans or African slaves in their roles in the nation's beginnings. Slave status was equivalent to nonpersonhood and placed its victims outside the boundaries of the rights and privileges expected and enjoyed by the white population. By 1760, however, black autobiography was born, launching the slave narrative as America's second unique form of self-writing. White collaborations with Native Americans in the as-told-to life stories were preempted by more than seventy years when, in 1762, the first black document in this genre appeared, the product of a white amanuensis and a black subject. Between 1760 and 1798, the Revolutionary era, the partial experiences of fifteen African Americans appeared in print, five of them (of which four were self-written) by former slaves seeking to establish identities separate from their earlier slave status, while the remainder were criminal confessions written down by interested whites shortly before the execution of these men. In many cases, editions of the stories of those attempting to create "other" than slave selves appeared in Ireland, England, and on the European continent, sometimes before their American publications. In To Tell a Free Story: The First Century of Afro-American Autobiography, 1760–1865 (1986), William L. Andrews establishes the relationship between early slave narratives and American autobiography of that time.