The Project Gutenberg Etext: Of Literature (Entire), by W. D. Howells,
#46 in our series by William Dean Howells
CONTENTS: Literary Friends And Acquaintance
Literature And Life [Studies]
My Literary Passions/Criticism & Fiction
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Title: Of Literature (Entire)
Author: William Dean Howells
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"OF LITERATURE"
The Project Gutenberg Anthology of the Literary Essays of Howells
Literary Friends And Acquaintance
Literature And Life [Studies]
My Literary Passions/Criticism & Fiction
CONTENTS:
Literary Friends and Acquaintances
Biographical
My First Visit to New England
First Impressions of Literary New York
Roundabout to Boston
Literary Boston As I Knew It
Oliver Wendell Holmes
The White Mr. Longfellow
Studies of Lowell
Cambridge Neighbors
A Belated Guest
My Mark Twain
Literature and Life
Man of Letters in Business
Confessions of a Summer Colonist
The Young Contributor
Last Days in a Dutch Hotel
Anomalies of the Short Story
Spanish Prisoners of War
American Literary Centers
Standard Household Effect Co.
Notes of a Vanished Summer
Worries of a Winter Walk
Summer Isles of Eden
Wild Flowers of the Asphalt
A Circus in the Suburbs
A She Hamlet
The Midnight Platoon
The Beach at Rockaway
Sawdust in the Arena
At a Dime Museum
American Literature in Exile
The Horse Show
The Problem of the Summer
Aesthetic New York Fifty-odd Years Ago
From New York into New England
The Art of the Adsmith
The Psychology of Plagiarism
Puritanism in American Fiction
The What and How in Art
Politics in American Authors
Storage
"Floating down the River on the O-hi-o"
My Literary Passions
The Bookcase at Home
Goldsmith
Cervantes
Irving
First Fiction and Drama
Longfellow's "Spanish Student"
Scott
Lighter Fancies
Pope
Various Preferences
Uncle Tom's Cabin
Ossian
Shakespeare
Ik Marvel
Dickens
Wordsworth, Lowell, Chaucer
Macaulay.
Critics and Reviews.
A Non-literary Episode
Thackeray
"Lazarillo De Tormes"
Curtis, Longfellow, Schlegel
Tennyson
Heine
De Quincey, Goethe, Longfellow.
George Eliot, Hawthorne, Goethe, Heine
Charles Reade
Dante
Goldoni, Manzoni, D'azeglio
"Pastor Fido," "Aminta," "Romola," "Yeast," "Paul Ferroll"
Erckmann-chatrian, Bjorstjerne Bjornson
Tourguenief, Auerbach
Certain Preferences and Experiences
Valdes, Galdos, Verga, Zola, Trollope, Hardy
Tolstoy
Criticism and Fiction
LITERARY FRIENDS AND ACQUAINTANCES
by William Dean Howells
CONTENTS:
Biographical
My First Visit to New England
First Impressions of Literary New York
Roundabout to Boston
Literary Boston As I Knew It
Oliver Wendell Holmes
The White Mr. Longfellow
Studies of Lowell
Cambridge Neighbors
A Belated Guest
My Mark Twain
LITERARY FRIENDS AND ACQUAINTANCES--First Visit to New England
BIBLIOGRAPHICAL
Long before I began the papers which make up this volume, I had meant to
write of literary history in New England as I had known it in the lives
of its great exemplars during the twenty-five years I lived near them.
In fact, I had meant to do this from the time I came among them; but I
let the days in which I almost constantly saw them go by without record
save such as I carried in a memory retentive, indeed, beyond the common,
but not so full as I could have wished when I began to invoke it for my
work. Still, upon insistent appeal, it responded in sufficient
abundance; and, though I now wish I could have remembered more instances,
I think my impressions were accurate enough. I am sure of having tried
honestly to impart them in the ten years or more when I was desultorily
endeavoring to share them with the reader.
The papers were written pretty much in the order they have here,
beginning with My First Visit to New England, which dates from the
earliest eighteen-nineties, if I may trust my recollection of reading it
from the manuscript to the editor of Harper's Magazine, where we lay
under the willows of Magnolia one pleasant summer morning in the first
years of that decade. It was printed no great while after in that
periodical; but I was so long in finishing the study of Lowell that it
had been anticipated in Harper's by other reminiscences of him, and it
was therefore first printed in Scribner's Magazine. It was the paper
with which I took the most pains, and when it was completed I still felt
it so incomplete that I referred it to his closest and my best friend,
the late Charles Eliot Norton, for his criticism. He thought it wanting
in unity; it was a group of studies instead of one study, he said; I must
do something to draw the different sketches together in a single effect
of portraiture; and this I did my best to do.
It was the latest written of the three articles which give the volume
substance, and it represents mare finally and fully than the others my
sense of the literary importance of the men whose like we shall not look
upon again. Longfellow was easily the greatest poet of the three, Holmes
often the most brilliant and felicitous, but Lowell, in spite of his
forays in politics, was the finest scholar and the most profoundly
literary, as he was above the others most deeply and thoroughly New
England in quality.
While I was doing these sketches, sometimes slighter and sometimes less
slight, of all those poets and essayists and novelists I had known in
Cambridge and Boston and Concord and New York, I was doing many other
things: half a dozen novels, as many more novelettes and shorter stories,
with essays and criticisms and verses; so that in January, 1900, I had
not yet done the paper on Lowell, which, with another, was to complete my
reminiscences of American literary life as I had witnessed it. When they
were all done at last they were republished in a volume which found
instant favor beyond my deserts if not its own.
There was a good deal of trouble with the name, but Literary Friends and
Acquaintance was an endeavor for modest accuracy with which I remained
satisfied until I thought, long too late, of Literary Friends and
Neighbors. Then I perceived that this would have been still more
accurate and quite as modest, and I gladly give any reader leave to call
the book by that name who likes.
Since the collection was first made, I have written little else quite of
the kind, except the paper on Bret Harte, which was first printed shortly
after his death; and the study of Mark Twain, which I had been preparing
to make for forty years and more, and wrote in two weeks of the spring of
1910. Others of my time and place have now passed whither there is
neither time nor place, and there are moments when I feel that I must try
to call them back and pay them such honor as my sense of their worth may
give; but the impulse has as yet failed to effect itself, and I do not
know how long I shall spare myself the supreme pleasure-pain, the "hochst
angenehmer Schmerz," of seeking to live here with those who live here no
more.
W. D. H.
LITERARY FRIENDS AND ACQUAINTANCE--My First Visit to New England
MY FIRST VISIT TO NEW ENGLAND
If there was any one in the world who had his being more wholly in
literature than I had in 1860, I am sure I should not have known where to
find him, and I doubt if he could have been found nearer the centres of
literary activity than I then was, or among those more purely devoted to
literature than myself. I had been for three years a writer of news
paragraphs, book notices, and political leaders on a daily paper in an
inland city, and I do not know that my life differed outwardly from that
of any other young journalist, who had begun as I had in a country
printing-office, and might be supposed to be looking forward to
advancement in his profession or in public affairs. But inwardly it was
altogether different with me. Inwardly I was a poet, with no wish to be
anything else, unless in a moment of careless affluence I might so far
forget myself as to be a novelist. I was, with my friend J. J. Piatt,
the half-author of a little volume of very unknown verse, and Mr. Lowell
had lately accepted and had begun to print in the Atlantic Monthly five
or six poems of mine. Besides this I had written poems, and sketches,
and criticisms for the Saturday Press of New York, a long-forgotten but
once very lively expression of literary intention in an extinct bohemia
of that city; and I was always writing poems, and sketches, and
criticisms in our own paper. These, as well as my feats in the renowned
periodicals of the East, met with kindness, if not honor, in my own city
which ought to have given me grave doubts whether I was any real prophet.
But it only intensified my literary ambition, already so strong that my
veins might well have run ink rather than blood, and gave me a higher
opinion of my fellow-citizens, if such a thing could be. They were
indeed very charming people, and such of them as I mostly saw were
readers and lovers of books. Society in Columbus at that day had a
pleasant refinement which I think I do not exaggerate in the fond
retrospect. It had the finality which it seems to have had nowhere since
the war; it had certain fixed ideals, which were none the less graceful
and becoming because they were the simple old American ideals, now
vanished, or fast vanishing, before the knowledge of good and evil as
they have it in Europe, and as it has imparted itself to American travel
and sojourn. There was a mixture of many strains in the capital of Ohio,
as there was throughout the State. Virginia, Kentucky, Pennsylvania, New
York, and New England all joined to characterize the manners and customs.
I suppose it was the South which gave the social tone; the intellectual
taste among the elders was the Southern taste for the classic and the
standard in literature; but we who were younger preferred the modern
authors: we read Thackeray, and George Eliot, and Hawthorne, and Charles
Reade, and De Quincey, and Tennyson, and Browning, and Emerson, and
Longfellow, and I--I read Heine, and evermore Heine, when there was not
some new thing from the others. Now and then an immediate French book
penetrated to us: we read Michelet and About, I remember. We looked to
England and the East largely for our literary opinions; we accepted the
Saturday Review as law if we could not quite receive it as gospel. One
of us took the Cornhill Magazine, because Thackeray was the editor; the
Atlantic Monthly counted many readers among us; and a visiting young lady
from New England, who screamed at sight of the periodical in one of our
houses, "Why, have you got the Atlantic Monthly out here?" could be
answered, with cold superiority, "There are several contributors to the
Atlantic in Columbus." There were in fact two: my room-mate, who wrote
Browning for it, while I wrote Heine and Longfellow. But I suppose two
are as rightfully several as twenty are.
II.
That was the heyday of lecturing, and now and then a literary light from
the East swam into our skies. I heard and saw Emerson, and I once met
Bayard Taylor socially, at the hospitable house where he was a guest
after his lecture. Heaven knows how I got through the evening. I do not
think I opened my mouth to address him a word; it was as much as I could
do to sit and look at him, while he tranquilly smoked, and chatted with
our host, and quaffed the beer which we had very good in the Nest. All
the while I did him homage as the first author by calling whom I had met.
I longed to tell him how much I liked his poems, which we used to get by
heart in those days, and I longed (how much more I longed!) to have him
know that:
"Auch ich war in Arkadien geboren,"
that I had printed poems in the Atlantic Monthly and the Saturday Press,
and was the potential author of things destined to eclipse all literature
hitherto attempted. But I could not tell him; and there was no one else
who thought to tell him. Perhaps it was as well so; I might have
perished of his recognition, for my modesty was equal to my merit.
In fact I think we were all rather modest young fellows, we who formed
the group wont to spend some part of every evening at that house, where
there was always music, or whist, or gay talk, or all three. We had our
opinions of literary matters, but (perhaps because we had mostly accepted
them from England or New England, as I have said) we were not vain of
them; and we would by no means have urged them before a living literary
man like that. I believe none of us ventured to speak, except the poet,
my roommate, who said, He believed so and so was the original of so and
so; and was promptly told, He had no right to say such a thing.
Naturally, we came away rather critical of our host's guest, whom I
afterwards knew as the kindliest heart in the world. But we had not
shone in his presence, and that galled us; and we chose to think that he
had not shone in ours.
III
At that time he was filling a large space in the thoughts of the young
people who had any thoughts about literature. He had come to his full
repute as an agreeable and intelligent traveller, and he still wore the
halo of his early adventures afoot in foreign lands when they were yet
really foreign. He had not written his novels of American life, once so
welcomed, and now so forgotten; it was very long before he had achieved
that incomparable translation of Faust which must always remain the
finest and best, and which would keep his name alive with Goethe's, if he
had done nothing else worthy of remembrance. But what then most
commended him to the regard of us star-eyed youth (now blinking sadly
toward our seventies) was the poetry which he printed in the magazines
from time to time: in the first Putnam's (where there was a dashing
picture of him in an Arab burnoose and, a turban), and in Harper's, and
in the Atlantic. It was often very lovely poetry, I thought, and I still
think so; and it was rightfully his, though it paid the inevitable
allegiance to the manner of the great masters of the day. It was graced
for us by the pathetic romance of his early love, which some of its
sweetest and saddest numbers confessed, for the young girl he married
almost in her death hour; and we who were hoping to have our hearts
broken, or already had them so, would have been glad of something more of
the obvious poet in the popular lecturer we had seen refreshing himself
after his hour on the platform.
He remained for nearly a year the only author I had seen, and I met him
once again before I saw any other. Our second meeting was far from
Columbus, as far as remote Quebec, when I was on my way to New England by
way of Niagara and the Canadian rivers and cities. I stopped in Toronto,
and realized myself abroad without any signal adventures; but at Montreal
something very pretty happened to me. I came into the hotel office, the
evening of a first day's lonely sight-seeing, and vainly explored the
register for the name of some acquaintance; as I turned from it two
smartly dressed young fellows embraced it, and I heard one of them say,
to my great amaze and happiness, "Hello, here's Howells!"
"Oh," I broke out upon him, "I was just looking for some one I knew. I
hope you are some one who knows me!"
"Only through your contributions to the Saturday Press," said the young
fellow, and with these golden words, the precious first personal
recognition of my authorship I had ever received from a stranger, and the
rich reward of all my literary endeavor, he introduced himself and his
friend. I do not know what be came of this friend, or where or how he
eliminated himself; but we two others were inseparable from that moment.
He was a young lawyer from New York, and when I came back from Italy,
four or five years later, I used to see his sign in Wall Street, with a
never-fulfilled intention of going in to see him. In whatever world he
happens now to be, I should like to send him my greetings, and confess to
him that my art has never since brought me so sweet a recompense, and
nothing a thousandth part so much like Fame, as that outcry of his over
the hotel register in Montreal. We were comrades for four or five rich
days, and shared our pleasures and expenses in viewing the monuments of
those ancient Canadian capitals, which I think we valued at all their
picturesque worth. We made jokes to mask our emotions; we giggled and
made giggle, in the right way; we fell in and out of love with all the
pretty faces and dresses we saw; and we talked evermore about literature
and literary people. He had more acquaintance with the one, and more
passion for the other, but he could tell me of Pfaff's lager-beer cellar
on Broadway, where the Saturday Press fellows and the other Bohemians
met; and this, for the time, was enough: I resolved to visit it as soon
as I reached New York, in spite of the tobacco and beer (which I was
given to understand were de rigueur), though they both, so far as I had
known them, were apt to make me sick.
I was very desolate after I parted from this good fellow, who returned to
Montreal on his way to New York, while I remained in Quebec to continue
later on mine to New England. When I came in from seeing him off in a
calash for the boat, I discovered Bayard Taylor in the readingroom, where
he sat sunken in what seemed a somewhat weary muse. He did not know
me, or even notice me, though I made several errands in and out of the
reading-room in the vain hope that be might do so: doubly vain, for I am
aware now that I was still flown with the pride of that pretty experience
in Montreal, and trusted in a repetition of something like it. At last,
as no chance volunteered to help me, I mustered courage to go up to him
and name myself, and say I had once had the pleasure of meeting him at
Doctor -------'s in Columbus. The poet gave no sign of consciousness at
the sound of a name which I had fondly begun to think might not be so all
unknown. He looked up with an unkindling eye, and asked, Ah, how was the
Doctor? and when I had reported favorably of the Doctor, our
conversation ended.
He was probably as tired as he looked, and he must have classed me with
that multitude all over the country who had shared the pleasure I
professed in meeting him before; it was surely my fault that I did not
speak my name loud enough to be recognized, if I spoke it at all; but the
courage I had mustered did not quite suffice for that. In after years he
assured me, first by letter and then by word, of his grief for an
incident which I can only recall now as the untoward beginning of a
cordial friendship. It was often my privilege, in those days, as
reviewer and editor, to testify my sense of the beautiful things he did
in so many kinds of literature, but I never liked any of them better than
I liked him. He had a fervent devotion to his art, and he was always
going to do the greatest things in it, with an expectation of effect that
never failed him. The things he actually did were none of them mean,
or wanting in quality, and some of them are of a lasting charm that any
one may feel who will turn to his poems; but no doubt many of them fell
short of his hopes of them with the reader. It was fine to meet him when
he was full of a new scheme; he talked of it with a single-hearted joy,
and tried to make you see it of the same colors and proportions it wore
to his eyes. He spared no toil to make it the perfect thing he dreamed
it, and he was not discouraged by any disappointment he suffered with the
critic or the public.
He was a tireless worker, and at last his health failed under his labors
at the newspaper desk, beneath the midnight gas, when he should long have
rested from such labors. I believe he was obliged to do them through one
of those business fortuities which deform and embitter all our lives;
but he was not the man to spare himself in any case. He was always
attempting new things, and he never ceased endeavoring to make his
scholarship reparation for the want of earlier opportunity and training.
I remember that I met him once in a Cambridge street with a book in his
hand which he let me take in mine. It was a Greek author, and he said he
was just beginning to read the language at fifty: a patriarchal age to me
of the early thirties!
I suppose I intimated the surprise I felt at his taking it up so late in
the day, for he said, with charming seriousness, "Oh, but you know,
I expect to use it in the other world." Yea, that made it worth while,
I consented; but was he sure of the other world? "As sure as I am of
this," he said; and I have always kept the impression of the young faith
which spoke in his voice and was more than his words.
I saw him last in the hour of those tremendous adieux which were paid him
in New York before he sailed to be minister in Germany. It was one of
the most graceful things done by President Hayes, who, most of all our
Presidents after Lincoln, honored himself in honoring literature by his
appointments, to give that place to Bayard Taylor. There was no one more
fit for it, and it was peculiarly fit that he should be so distinguished
to a people who knew and valued his scholarship and the service he had
done German letters. He was as happy in it, apparently, as a man could
be in anything here below, and he enjoyed to the last drop the many cups
of kindness pressed to his lips in parting; though I believe these
farewells, at a time when he was already fagged with work and excitement,
were notably harmful to him, and helped to hasten his end. Some of us
who were near of friendship went down to see him off when he sailed, as
the dismal and futile wont of friends is; and I recall the kind, great
fellow standing in the cabin, amid those sad flowers that heaped the
tables, saying good-by to one after another, and smiling fondly, smiling
wearily, upon all. There was champagne, of course, and an odious
hilarity, without meaning and without remission, till the warning bell
chased us ashore, and our brave poet escaped with what was left of his
life.
IV
I have followed him far from the moment of our first meeting; but even on
my way to venerate those New England luminaries, which chiefly drew my
eyes, I could not pay a less devoir to an author who, if Curtis was not,
was chief of the New York group of authors in that day. I distinguished
between the New-Englanders and the New-Yorkers, and I suppose there is no
question but our literary centre was then in Boston, wherever it is, or
is not, at present. But I thought Taylor then, and I think him now, one
of the first in our whole American province of the republic of letters,
in a day when it was in a recognizably flourishing state, whether we
regard quantity or quality in the names that gave it lustre. Lowell was
then in perfect command of those varied forces which will long, if not
lastingly, keep him in memory as first among our literary men, and master
in more kinds than any other American. Longfellow was in the fulness of
his world-wide fame, and in the ripeness of the beautiful genius which
was not to know decay while life endured. Emerson had emerged from the
popular darkness which had so long held him a hopeless mystic, and was
shining a lambent star of poesy and prophecy at the zenith. Hawthorne,
the exquisite artist, the unrivalled dreamer, whom we still always liken
this one and that one to, whenever this one or that one promises greatly
to please us, and still leave without a rival, without a companion, had
lately returned from his long sojourn abroad, and had given us the last
of the incomparable romances which the world was to have perfect from his
hand. Doctor Holmes had surpassed all expectations in those who most
admired his brilliant humor and charming poetry by the invention of a new
attitude if not a new sort in literature. The turn that civic affairs
had taken was favorable to the widest recognition of Whittier's splendid
lyrical gift; and that heart of fire, doubly snow-bound by Quaker
tradition and Puritan environment; was penetrating every generous breast
with its flamy impulses, and fusing all wills in its noble purpose. Mrs.
Stowe, who far outfamed the rest as the author of the most renowned novel
ever written, was proving it no accident or miracle by the fiction she
was still writing.
This great New England group might be enlarged perhaps without loss of
quality by the inclusion of Thoreau, who came somewhat before his time,
and whose drastic criticism of our expediential and mainly futile
civilization would find more intelligent acceptance now than it did then,
when all resentment of its defects was specialized in enmity to Southern
slavery. Doctor Edward Everett Hale belonged in this group too, by
virtue of that humor, the most inventive and the most fantastic, the
sanest, the sweetest, the truest, which had begun to find expression in
the Atlantic Monthly; and there a wonderful young girl had written a
series of vivid sketches and taken the heart of youth everywhere with
amaze and joy, so that I thought it would be no less an event to meet
Harriet Prescott than to meet any of those I have named.
I expected somehow to meet them all, and I imagined them all easily
accessible in the office of the Atlantic Monthly, which had lately
adventured in the fine air of high literature where so many other
periodicals had gasped and died before it. The best of these, hitherto,
and better even than the Atlantic for some reasons, the lamented Putnam's
Magazine, had perished of inanition at New York, and the claim of the
commercial capital to the literary primacy had passed with that brilliant
venture. New York had nothing distinctive to show for American
literature but the decrepit and doting Knickerbocker Magazine. Harper's
New Monthly, though Curtis had already come to it from the wreck of
Putnam's, and it had long ceased to be eclectic in material, and had
begun to stand for native work in the allied arts which it has since so
magnificently advanced, was not distinctively literary, and the Weekly
had just begun to make itself known. The Century, Scribner's, the
Cosmopolitan, McClure's, and I know not what others, were still
unimagined by five, and ten, and twenty years, and the Galaxy was to
flash and fade before any of them should kindle its more effectual fires.
The Nation, which was destined to chastise rather than nurture our young
literature, had still six years of dreamless potentiality before it; and
the Nation was always more Bostonian than New-Yorkish by nature, whatever
it was by nativity.
Philadelphia had long counted for nothing in the literary field.
Graham's Magazine at one time showed a certain critical force, but it
seemed to perish of this expression of vitality; and there remained
Godey's Lady's Book and Peterson's Magazine, publications really
incredible in their insipidity. In the South there was nothing but a
mistaken social ideal, with the moral principles all standing on their
heads in defence of slavery; and in the West there was a feeble and
foolish notion that Western talent was repressed by Eastern jealousy.
At Boston chiefly, if not at Boston alone, was there a vigorous
intellectual life among such authors as I have named. Every young writer
was ambitious to join his name with theirs in the Atlantic Monthly, and
in the lists of Ticknor & Fields, who were literary publishers in a sense
such as the business world has known nowhere else before or since. Their
imprint was a warrant of quality to the reader and of immortality to the
author, so that if I could have had a book issued by them at that day I
should now be in the full enjoyment of an undying fame.
V.
Such was the literary situation as the passionate pilgrim from the West
approached his holy land at Boston, by way of the Grand Trunk Railway
from Quebec to Portland. I have no recollection of a sleeping-car, and I
suppose I waked and watched during the whole of that long, rough journey;
but I should hardly have slept if there had been a car for the purpose.
I was too eager to see what New England was like, and too anxious not to
lose the least glimpse of it, to close my eyes after I crossed the border
at Island Pond. I found that in the elm-dotted levels of Maine it was
very like the Western Reserve in northern Ohio, which is, indeed, a
portion of New England transferred with all its characteristic features,
and flattened out along the lake shore. It was not till I began to run
southward into the older regions of the country that it lost this look,
and became gratefully strange to me. It never had the effect of hoary
antiquity which I had expected of a country settled more than two
centuries; with its wood-built farms and villages it looked newer than
the coal-smoked brick of southern Ohio. I had prefigured the New England
landscape bare of forests, relieved here and there with the tees of
orchards or plantations; but I found apparently as much woodland as at
home.
At Portland I first saw the ocean, and this was a sort of disappointment.
Tides and salt water I had already had at Quebec, so that I was no longer
on the alert for them; but the color and the vastness of the sea I was
still to try upon my vision. When I stood on the Promenade at Portland
with the kind young Unitarian minister whom I had brought a letter to,
and who led me there for a most impressive first view of the ocean, I
could not make more of it than there was of Lake Erie; and I have never
thought the color of the sea comparable to the tender blue of the lake.
I did not hint my disappointment to my friend; I had too much regard for
the feelings of an Eastern man to decry his ocean to his face, and I felt
besides that it would be vulgar and provincial to make comparisons. I am
glad now that I held my tongue, for that kind soul is no longer in this
world, and I should not like to think he knew how far short of my
expectations the sea he was so proud of had fallen. I went up with him
into a tower or belvedere there was at hand; and when he pointed to the
eastern horizon and said, Now there was nothing but sea between us and
Africa, I pretended to expand with the thought, and began to sound myself
for the emotions which I ought to have felt at such a sight. But in my
heart I was empty, and Heaven knows whether I saw the steamer which the
ancient mariner in charge of that tower invited me to look at through his
telescope. I never could see anything but a vitreous glare through a
telescope, which has a vicious habit of dodging about through space, and
failing to bring down anything of less than planetary magnitude.
But there was something at Portland vastly more to me than seas or
continents, and that was the house where Longfellow was born. I believe,
now, I did not get the right house, but only the house he went to live in
later; but it served, and I rejoiced in it with a rapture that could not
have been more genuine if it had been the real birthplace of the poet. I
got my friend to show me
"----the breezy dome of groves,
The shadows of Deering's woods,"
because they were in one of Longfellow's loveliest and tenderest poems;
and I made an errand to the docks, for the sake of the
"---black wharves and the slips,
And the sea-tides tossing free,
And Spanish sailors with bearded lips,
And the beauty and mystery of the ships,
And the magic of the sea,"
mainly for the reason that these were colors and shapes of the fond
vision of the poet's past. I am in doubt whether it was at this time or
a later time that I went to revere
"--the dead captains as they lay
In their graves o'erlooking the tranquil bay,
where they in battle died,"
but I am quite sure it was now that I wandered under
"--the trees which shadow each well-known street,
As they balance up and down,"
for when I was next in Portland the great fire had swept the city avenues
bare of most of those beautiful elms, whose Gothic arches and traceries I
well remember.
The fact is that in those days I was bursting with the most romantic
expectations of life in every way, and I looked at the whole world as
material that might be turned into literature, or that might be
associated with it somehow. I do not know how I managed to keep these
preposterous hopes within me, but perhaps the trick of satirizing them,
which I had early learnt, helped me to do it. I was at that particular
moment resolved above all things to see things as Heinrich Heine saw
them, or at least to report them as he did, no matter how I saw them;
and I went about framing phrases to this end, and trying to match the
objects of interest to them whenever there was the least chance of
getting them together.
VI.
I do not know how I first arrived in Boston, or whether it was before or
after I had passed a day or two in Salem. As Salem is on the way from
Portland, I will suppose that I stopped there first, and explored the
quaint old town (quainter then than now, but still quaint enough) for the
memorials of Hawthorne and of the witches which united to form the Salem
I cared for. I went and looked up the House of Seven Gables, and
suffered an unreasonable disappointment that it had not a great many more
of them; but there was no loss in the death-warrant of Bridget Bishop,
with the sheriff's return of execution upon it, which I found at the
Court-house; if anything, the pathos of that witness of one of the
cruelest delusions in the world was rather in excess of my needs; I could
have got on with less. I saw the pins which the witches were sworn to
have thrust into the afflicted children, and I saw Gallows Hill, where
the hapless victims of the perjury were hanged. But that death-warrant
remained the most vivid color of my experience of the tragedy; I had no
need to invite myself to a sense of it, and it is still like a stain of
red in my memory.
The kind old ship's captain whose guest I was, and who was transfigured
to poetry in my sense by the fact that he used to voyage to the African
coast for palm-oil in former days, led me all about the town, and showed
me the Custom-house, which I desired to see because it was in the preface
to the Scarlet Letter. But I perceived that he did not share my
enthusiasm for the author, and I became more and more sensible that in
Salem air there was a cool undercurrent of feeling about him. No doubt
the place was not altogether grateful for the celebrity his romance had
given it, and would have valued more the uninterrupted quiet of its own
flattering thoughts of itself; but when it came to hearing a young lady
say she knew a girl who said she would like to poison Hawthorne, it
seemed to the devout young pilgrim from the West that something more of
love for the great romancer would not have been too much for him.
Hawthorne had already had his say, however, and he had not used his
native town with any great tenderness. Indeed, the advantages to any
place of having a great genius born and reared in its midst are so
doubtful that it might be well for localities designing to become the
birthplaces of distinguished authors to think twice about it. Perhaps
only the largest capitals, like London and Paris, and New York and
Chicago, ought to risk it. But the authors have an unaccountable
perversity, and will seldom come into the world in the large cities,
which are alone without the sense of neighborhood, and the personal
susceptibilities so unfavorable to the practice of the literary art.
I dare say that it was owing to the local indifference to her greatest
name, or her reluctance from it, that I got a clearer impression of Salem
in some other respects than I should have had if I had been invited there
to devote myself solely to the associations of Hawthorne. For the first
time I saw an old New England town, I do not know, but the most
characteristic, and took into my young Western consciousness the fact of
a more complex civilization than I had yet known. My whole life had been
passed in a region where men were just beginning ancestors, and the
conception of family was very imperfect. Literature, of course, was full
of it, and it was not for a devotee of Thackeray to be theoretically
ignorant of its manifestations; but I had hitherto carelessly supposed
that family was nowhere regarded seriously in America except in Virginia,
where it furnished a joke for the rest of the nation. But now I found
myself confronted with it in its ancient houses, and heard its names
pronounced with a certain consideration, which I dare say was as much
their due in Salem as it could be anywhere. The names were all strange,
and all indifferent to me, but those fine square wooden mansions, of a
tasteful architecture, and a pale buff-color, withdrawing themselves in
quiet reserve from the quiet street, gave me an impression of family as
an actuality and a force which I had never had before, but which no
Westerner can yet understand the East without taking into account. I do
not suppose that I conceived of family as a fact of vital import then;
I think I rather regarded it as a color to be used in any aesthetic study
of the local conditions. I am not sure that I valued it more even for
literary purposes, than the steeple which the captain pointed out as the
first and last thing he saw when he came and went on his long voyages, or
than the great palm-oil casks, which he showed me, and which I related to
the tree that stood
"Auf brennender Felsenwand."
Whether that was the kind of palm that gives the oil, or was a sort only
suitable to be the dream of a lonely fir-tree in the North on a cold
height, I am in doubt to this day.
I heard, not without concern, that the neighboring industry of Lynn was
penetrating Salem, and that the ancient haunt of the witches and the
birthplace of our subtlest and somberest wizard was becoming a great
shoe-town; but my concern was less for its memories and sensibilities
than for an odious duty which I owed that industry, together with all the
others in New England. Before I left home I had promised my earliest
publisher that I would undertake to edit, or compile, or do something
literary to, a work on the operation of the more distinctive mechanical
inventions of our country, which he had conceived the notion of
publishing by subscription. He had furnished me, the most immechanical
of humankind, with a letter addressed generally to the great mills and
factories of the East, entreating their managers to unfold their
mysteries to me for the purposes of this volume. His letter had the
effect of shutting up some of them like clams, and others it put upon
their guard against my researches, lest I should seize the secret of
their special inventions and publish it to the world. I could not tell
the managers that I was both morally and mentally incapable of this;
that they might have explained and demonstrated the properties and
functions of their most recondite machinery, and upon examination
afterwards found me guiltless of having anything but a few verses of
Heine or Tennyson or Longfellow in my head. So I had to suffer in
several places from their unjust anxieties, and from my own weariness of
their ingenious engines, or else endure the pangs of a bad conscience
from ignoring them. As long as I was in Canada I was happy, for there
was no industry in Canada that I saw, except that of the peasant girls,
in their Evangeline hats and kirtles, tossing the hay in the way-side
fields; but when I reached Portland my troubles began. I went with that
young minister of whom I have spoken to a large foundry, where they were
casting some sort of ironmongery, and inspected the process from a
distance beyond any chance spurt of the molten metal, and came away sadly
uncertain of putting the rather fine spectacle to any practical use.
A manufactory where they did something with coal-oil (which I now heard
for the first time called kerosene) refused itself to me, and I said to
myself that probably all the other industries of Portland were as
reserved, and I would not seek to explore them; but when I got to Salem,
my conscience stirred again. If I knew that there were shoe-shops in
Salem, ought not I to go and inspect their processes? This was a
question which would not answer itself to my satisfaction, and I had no
peace till I learned that I could see shoemaking much better at Lynn, and
that Lynn was such a little way from Boston that I could readily run up
there, if I did not wish to examine the shoe machinery at once.
I promised myself that I would run up from Boston, but in order to do
this I must first go to Boston.
VII.
I am supposing still that I saw Salem before I saw Boston, but however
the fact may be, I am sure that I decided it would be better to see
shoemaking in Lynn, where I really did see it, thirty years later. For
the purposes of the present visit, I contented myself with looking at a
machine in Haverhill, which chewed a shoe sole full of pegs, and dropped
it out of its iron jaws with an indifference as great as my own, and
probably as little sense of how it had done its work. I may be unjust to
that machine; Heaven knows I would not wrong it; and I must confess that
my head had no room in it for the conception of any machinery but the
mythological, which also I despised, in my revulsion from the eighteenth-
century poets to those of my own day.
I cannot quite make out after the lapse of so many years just how or when
I got to Haverhill, or whether it was before or after I had been in
Salem. There is an apparitional quality in my presences, at this point
or that, in the dim past; but I hope that, for the credit of their order,
ghosts are not commonly taken with such trivial things as I was. For
instance, in Haverhill I was much interested by the sight of a young man,
coming gayly down the steps of the hotel where I lodged, in peg-top
trousers so much more peg top than my own that I seemed to be wearing
mere spring-bottoms in comparison; and in a day when every one who
respected himself had a necktie as narrow as he could get, this youth had
one no wider than a shoestring, and red at that, while mine measured
almost an inch, and was black. To be sure, he was one of a band of negro
minstrels, who were to give a concert that night, and he had a light to
excel in fashion.
I will suppose, for convenience' sake, that I visited Haverhill, too,
before I reached Boston: somehow that shoe-pegging machine must come in,
and it may as well come in here. When I actually found myself in Boston,
there were perhaps industries which it would have been well for me to
celebrate, but I either made believe there were none, or else I honestly
forgot all about them. In either case I released myself altogether to
the literary and historical associations of the place. I need not say
that I gave myself first to the first, and it rather surprised me to find
that the literary associations of Boston referred so largely to
Cambridge. I did not know much about Cambridge, except that it was the
seat of the university where Lowell was, and Longfellow had been,
professor; and somehow I had not realized it as the home of these poets.
That was rather stupid of me, but it is best to own the truth, and
afterward I came to know the place so well that I may safely confess my
earlier ignorance.
I had stopped in Boston at the Tremont House, which was still one of the
first hostelries of the country, and I must have inquired my way to
Cambridge there; but I was sceptical of the direction the Cambridge
horse-car took when I found it, and I hinted to the driver my anxieties
as to why he should be starting east when I had been told that Cambridge
was west of Boston. He reassured me in the laconic and sarcastic manner
of his kind, and we really reached Cambridge by the route he had taken.
The beautiful elms that shaded great part of the way massed themselves in
the "groves of academe" at the Square, and showed pleasant glimpses of
"Old Harvard's scholar factories red," then far fewer than now. It must
have been in vacation, for I met no one as I wandered through the college
yard, trying to make up my mind as to how I should learn where Lowell
lived; for it was he whom I had come to find. He had not only taken the
poems I sent him, but he had printed two of them in a single number of
the Atlantic, and had even written me a little note about them, which I
wore next my heart in my breast pocket till I almost wore it out; and so
I thought I might fitly report myself to him. But I have always been
helpless in finding my way, and I was still depressed by my failure to
convince the horse-car driver that he had taken the wrong road. I let
several people go by without questioning them, and those I did ask
abashed me farther by not knowing what I wanted to know. When I had
remitted my search for the moment, an ancient man, with an open mouth and
an inquiring eye, whom I never afterwards made out in Cambridge,
addressed me with a hospitable offer to show me the Washington Elm.
I thought this would give me time to embolden myself for the meeting with
the editor of the Atlantic if I should ever find him, and I went with
that kind old man, who when he had shown me the tree, and the spot where
Washington stood when he took command of the Continental forces, said
that he had a branch of it, and that if I would come to his house with
him he would give me a piece. In the end, I meant merely to flatter him
into telling me where I could find Lowell, but I dissembled my purpose
and pretended a passion for a piece of the historic elm, and the old man
led me not only to his house but his wood-house, where he sawed me off a
block so generous that I could not get it into my pocket. I feigned the
gratitude which I could see that he expected, and then I took courage to
put my question to him. Perhaps that patriarch lived only in the past,
and cared for history and not literature. He confessed that he could not
tell me where to find Lowell; but he did not forsake me; he set forth
with me upon the street again, and let no man pass without asking him.
In the end we met one who was able to say where Mr. Lowell was, and I
found him at last in a little study at the rear of a pleasant,
old-fashioned house near the Delta.
Lowell was not then at the height of his fame; he had just reached this
thirty years after, when he died; but I doubt if he was ever after a
greater power in his own country, or more completely embodied the
literary aspiration which would not and could not part itself from the
love of freedom and the hope of justice. For the sake of these he had
been willing to suffer the reproach which followed their friends in the
earlier days of the anti-slavery struggle: He had outlived the reproach
long before; but the fear of his strength remained with those who had
felt it, and he had not made himself more generally loved by the 'Fable
for Critics' than by the 'Biglow Papers', probably. But in the 'Vision
of Sir Launfal' and the 'Legend of Brittany' he had won a liking if not a
listening far wider than his humor and his wit had got him; and in his
lectures on the English poets, given not many years before he came to the
charge of the Atlantic, he had proved himself easily the wisest and
finest critic in our language. He was already, more than any American
poet,
"Dowered with the hate of hate, the scorn of scorn,
The love of love,"
and he held a place in the public sense which no other author among us
has held. I had myself never been a great reader of his poetry, when I
met him, though when I was a boy of ten years I had heard my father
repeat passages from the Biglow Papers against war and slavery and the
war for slavery upon Mexico, and later I had read those criticisms of
English poetry, and I knew Sir Launfal must be Lowell in some sort; but
my love for him as a poet was chiefly centred in my love for his tender
rhyme, 'Auf Wiedersehen', which I can not yet read without something of
the young pathos it first stirred in me. I knew and felt his greatness
some how apart from the literary proofs of it; he ruled my fancy and held
my allegiance as a character, as a man; and I am neither sorry nor
ashamed that I was abashed when I first came into his presence; and that
in spite of his words of welcome I sat inwardly quaking before him. He
was then forty-one years old, and nineteen my senior, and if there had
been nothing else to awe me, I might well have been quelled by the
disparity of our ages. But I have always been willing and even eager to
do homage to men who have done something, and notably to men who have
done something. in the sort I wished to do something in, myself. I
could never recognize any other sort of superiority; but that I am proud
to recognize; and I had before Lowell some such feeling as an obscure
subaltern might have before his general. He was by nature a bit of a
disciplinarian, and the effect was from him as well as in me; I dare say
he let me feel whatever difference there was as helplessly as I felt it.
At the first encounter with people he always was apt to have a certain
frosty shyness, a smiling cold, as from the long, high-sunned winters of
his Puritan race; he was not quite himself till he had made you aware of
his quality: then no one could be sweeter, tenderer, warmer than he; then
he made you free of his whole heart; but you must be his captive before
he could do that. His whole personality had now an instant charm for me;
I could not keep my eyes from those beautiful eyes of his, which had a
certain starry serenity, and looked out so purely from under his white
forehead, shadowed with auburn hair untouched by age; or from the smile
that shaped the auburn beard, and gave the face in its form and color the
Christ-look which Page's portrait has flattered in it.
His voice had as great a fascination for me as his face. The vibrant
tenderness and the crisp clearness of the tones, the perfect modulation,
the clear enunciation, the exquisite accent, the elect diction--I did not
know enough then to know that these were the gifts, these were the
graces, of one from whose tongue our rough English came music such as I
should never hear from any other. In this speech there was nothing of
our slipshod American slovenliness, but a truly Italian conscience and an
artistic sense of beauty in the instrument.
I saw, before he sat down across his writing-table from me, that he was
not far from the medium height; but his erect carriage made the most of
his five feet and odd inches. He had been smoking the pipe he loved, and
he put it back in his mouth, presently, as if he found himself at greater
ease with it, when he began to chat, or rather to let me show what manner
of young man I was by giving me the first word. I told him of the
trouble I had in finding him, and I could not help dragging in something
about Heine's search for Borne, when he went to see him in Frankfort; but
I felt at once this was a false start, for Lowell was such an impassioned
lover of Cambridge, which was truly his patria, in the Italian sense,
that it must have hurt him to be unknown to any one in it; he said,
a little dryly, that he should not have thought I would have so much
difficulty; but he added, forgivingly, that this was not his own house,
which he was out of for the time. Then he spoke to me of Heine, and when
I showed my ardor for him, he sought to temper it with some judicious
criticisms, and told me that he had kept the first poem I sent him, for
the long time it had been unacknowledged, to make sure that it was not a
translation. He asked me about myself, and my name, and its Welsh
origin, and seemed to find the vanity I had in this harmless enough.
When I said I had tried hard to believe that I was at least the literary
descendant of Sir James Howels, he corrected me gently with "James
Howel," and took down a volume of the 'Familiar Letters' from the shelves
behind him to prove me wrong. This was always his habit, as I found
afterwards when he quoted anything from a book he liked to get it and
read the passage over, as if he tasted a kind of hoarded sweetness in the
words. It visibly vexed him if they showed him in the least mistaken;
but
"The love he bore to learning was at fault"
for this foible, and that other of setting people right if he thought
them wrong. I could not assert myself against his version of Howels's
name, for my edition of his letters was far away in Ohio, and I was
obliged to own that the name was spelt in several different ways in it.
He perceived, no doubt, why I had chosen the form liked my own, with the
title which the pleasant old turncoat ought to have had from the many
masters he served according to their many minds, but never had except
from that erring edition. He did not afflict me for it, though; probably
it amused him too much; he asked me about the West, and when he found
that I was as proud of the West as I was of Wales, he seemed even better
pleased, and said he had always fancied that human nature was laid out on
rather a larger scale there than in the East, but he had seen very little
of the West. In my heart I did not think this then, and I do not think
it now; human nature has had more ground to spread over in the West; that
is all; but "it was not for me to bandy words with my sovereign." He
said he liked to hear of the differences between the different sections,
for what we had most to fear in our country was a wearisome sameness of
type.
He did not say now, or at any other time during the many years I knew
him, any of those slighting things of the West which I had so often to
suffer from Eastern people, but suffered me to praise it all I would. He
asked me what way I had taken in coming to New England, and when I told
him, and began to rave of the beauty and quaintness of French Canada,
and to pour out my joy in Quebec, he said, with a smile that had now lost
all its frost, Yes, Quebec was a bit of the seventeenth century; it was
in many ways more French than France, and its people spoke the language
of Voltaire, with the accent of Voltaire's time.
I do not remember what else he talked of, though once I remembered it
with what I believed an ineffaceable distinctness. I set nothing of it
down at the time; I was too busy with the letters I was writing for a
Cincinnati paper; and I was severely bent upon keeping all personalities
out of them. This was very well, but I could wish now that I had
transgressed at least so far as to report some of the things that Lowell
said; for the paper did not print my letters, and it would have been
perfectly safe, and very useful for the present purpose. But perhaps he
did not say anything very memorable; to do that you must have something
positive in your listener; and I was the mere response, the hollow echo,
that youth must be in like circumstances. I was all the time afraid of
wearing my welcome out, and I hurried to go when I would so gladly have
staid. I do not remember where I meant to go, or why he should have
undertaken to show me the way across-lots, but this was what he did; and
when we came to a fence, which I clambered gracelessly over, he put his
hands on the top, and tried to take it at a bound. He tried twice, and
then laughed at his failure, but not with any great pleasure, and he was
not content till a third trial carried him across. Then he said,
"I commonly do that the first time," as if it were a frequent habit with
him, while I remained discreetly silent, and for that moment at least
felt myself the elder of the man who had so much of the boy in him. He
had, indeed, much of the boy in him to the last, and he parted with each
hour of his youth reluctantly, pathetically.
VIII.
We walked across what must have been Jarvis Field to what must have been
North Avenue, and there he left me. But before he let me go he held my
hand while he could say that he wished me to dine with him; only, he was
not in his own house, and he would ask me to dine with him at the Parker
House in Boston, and would send me word of the time later.
I suppose I may have spent part of the intervening time in viewing the
wonders of Boston, and visiting the historic scenes and places in it and
about it. I certainly went over to Charleston, and ascended Bunker Hill
monument, and explored the navy-yard, where the immemorial man-of-war
begun in Jackson's time was then silently stretching itself under its
long shed in a poetic arrest, as if the failure of the appropriation for
its completion had been some kind of enchantment. In Boston, I early
presented my letter of credit to the publisher it was drawn upon, not
that I needed money at the moment, but from a young eagerness to see if
it would be honored; and a literary attache of the house kindly went
about with me, and showed me the life of the city. A great city it
seemed to me then, and a seething vortex of business as well as a whirl
of gaiety, as I saw it in Washington Street, and in a promenade concert
at Copeland's restaurant in Tremont Row. Probably I brought some
idealizing force to bear upon it, for I was not all so strange to the
world as I must seem; perhaps I accounted for quality as well as quantity
in my impressions of the New England metropolis, and aggrandized it in
the ratio of its literary importance. It seemed to me old, even after
Quebec, and very likely I credited the actual town with all the dead and
gone Bostonians in my sentimental census. If I did not, it was no fault
of my cicerone, who thought even more of the city he showed me than I
did. I do not know now who he was, and I never saw him after I came to
live there, with any certainty that it was he, though I was often
tormented with the vision of a spectacled face like his, but not like
enough to warrant me in addressing him.
He became part of that ghostly Boston of my first visit, which would
sometimes return and possess again the city I came to know so familiarly
in later years, and to be so passionately interested in. Some color of
my prime impressions has tinged the fictitious experiences of people in
my books, but I find very little of it in my memory. This is like a web
of frayed old lace, which I have to take carefully into my hold for fear
of its fragility, and make out as best I can the figure once so distinct
in it. There are the narrow streets, stretching saltworks to the docks,
which I haunted for their quaintness, and there is Faunal Hall, which I
cared to see so much more because Wendell Phillips had spoken in it than
because Otis and Adams had. There is the old Colonial House, and there
is the State House, which I dare say I explored, with the Common sloping
before it. There is Beacon Street, with the Hancock House where it is
incredibly no more, and there are the beginnings of Commonwealth Avenue,
and the other streets of the Back Bay, laid out with their basements left
hollowed in the made land, which the gravel trains were yet making out of
the westward hills. There is the Public Garden, newly planned and
planted, but without the massive bridge destined to make so ungratefully
little of the lake that occasioned it. But it is all very vague, and I
could easily believe now that it was some one else who saw it then in my
place.
I think that I did not try to see Cambridge the same day that I saw
Lowell, but wisely came back to my hotel in Boston, and tried to realize
the fact. I went out another day, with an acquaintance from Ohio; whom I
ran upon in the street. We went to Mount Auburn together, and I viewed
its monuments with a reverence which I dare say their artistic quality
did not merit. But I am, not sorry for this, for perhaps they are not
quite so bad as some people pretend. The Gothic chapel of the cemetery,
unsorted as it was, gave me, with its half-dozen statues standing or
sitting about, an emotion such as I am afraid I could not receive now
from the Acropolis, Westminster Abbey, and Santa Crocea in one. I tried
hard for some aesthetic sense of it, and I made believe that I thought
this thing and that thing in the place moved me with its fitness or
beauty; but the truth is that I had no taste in anything but literature,
and did not feel the effect I would so willingly have experienced.
I did genuinely love the elmy quiet of the dear old Cambridge streets,
though, and I had a real and instant pleasure in the yellow colonial
houses, with their white corners and casements and their green blinds,
that lurked behind the shrubbery of the avenue I passed through to Mount
Auburn. The most beautiful among them was the most interesting for me,
for it was the house of Longfellow; my companion, who had seen it before,
pointed it out to me with an air of custom, and I would not let him see
that I valued the first sight of it as I did. I had hoped that somehow I
might be so favored as to see Longfellow himself, but when I asked about
him of those who knew, they said, "Oh, he is at Nahant," and I thought
that Nahant must be a great way off, and at any rate I did not feel
authorized to go to him there. Neither did I go to see the author of
'The Amber Gods' who lived at Newburyport, I was told, as if I should
know where Newburyport was; I did not know, and I hated to ask. Besides,
it did not seem so simple as it had seemed in Ohio, to go and see a young
lady simply because I was infatuated with her literature; even as the
envoy of all the infatuated young people of Columbus, I could not quite
do this; and when I got home, I had to account for my failure as best I
could. Another failure of mine was the sight of Whittier, which I then
very much longed to have. They said, "Oh, Whittier lives at Amesbury,"
but that put him at an indefinite distance, and without the introduction
I never would ask for, I found it impossible to set out in quest of him.
In the end, I saw no one in New England whom I was not presented to in
the regular way, except Lowell, whom I thought I had a right to call upon
in my quality of contributor, and from the acquaintance I had with him by
letter. I neither praise nor blame myself for this; it was my shyness
that with held me rather than my merit. There is really no harm in
seeking the presence of a famous man, and I doubt if the famous man
resents the wish of people to look upon him without some measure, great
or little, of affectation. There are bores everywhere, but he is
likelier to find them in the wonted figures of society than in those
young people, or old people, who come to him in the love of what he has
done. I am well aware how furiously Tennyson sometimes met his
worshippers, and how insolently Carlyle, but I think these facts are
little specks in their sincerity. Our own gentler and honester
celebrities did not forbid approach, and I have known some of them caress
adorers who seemed hardly worthy of their kindness; but that was better
than to have hurt any sensitive spirit who had ventured too far, by the
rules that govern us with common men.
IX.
My business relations were with the house that so promptly honored my
letter of credit. This house had published in the East the campaign life
of Lincoln which I had lately written, and I dare say would have
published the volume of poems I had written earlier with my friend Piatt,
if there had been any public for it; at least, I saw large numbers of the
book on the counters. But all my literary affiliations were with Ticknor
& Fields, and it was the Old Corner Book-Store on Washington Street that
drew my heart as soon as I had replenished my pocket in Cornhill. After
verifying the editor of the Atlantic Monthly I wised to verify its
publishers, and it very fitly happened that when I was shown into Mr.
Fields's little room at the back of the store, with its window looking
upon School Street, and its scholarly keeping in books and prints, he had
just got the magazine sheets of a poem of mine from the Cambridge
printers. He was then lately from abroad, and he had the zest for
American things which a foreign sojourn is apt to renew in us, though I
did not know this then, and could not account for it in the kindness he
expressed for my poem. He introduced me to Mr. Ticknor, who I fancied
had not read my poem; but he seemed to know what it was from the junior
partner, and he asked me whether I had been paid for it. I confessed
that I had not, and then he got out a chamois-leather bag, and took from
it five half-eagles in gold and laid them on the green cloth top of the
desk, in much the shape and of much the size of the Great Bear. I have
never since felt myself paid so lavishly for any literary work, though I
have had more for a single piece than the twenty-five dollars that
dazzled me in this constellation. The publisher seemed aware of the
poetic character of the transaction; he let the pieces lie a moment,
before he gathered them up and put them into my hand, and said, "I always
think it is pleasant to have it in gold."
But a terrible experience with the poem awaited me, and quenched for the
moment all my pleasure and pride. It was 'The Pilot's Story,' which I
suppose has had as much acceptance as anything of mine in verse (I do not
boast of a vast acceptance for it), and I had attempted to treat in it a
phase of the national tragedy of slavery, as I had imagined it on a
Mississippi steamboat. A young planter has gambled away the slave-girl
who is the mother of his child, and when he tells her, she breaks out
upon him with the demand:
"What will you say to our boy when he cries for me, there in Saint
Louis?"
I had thought this very well, and natural and simple, but a fatal
proof-reader had not thought it well enough, or simple and natural
enough, and he had made the line read:
"What will you say to our boy when he cries for 'Ma,' there in Saint
Louis?"
He had even had the inspiration to quote the word he preferred to the one
I had written, so that there was no merciful possibility of mistaking it
for a misprint, and my blood froze in my veins at sight of it. Mr.
Fields had given me the sheets to read while he looked over some letters,
and he either felt the chill of my horror, or I made some sign or sound
of dismay that caught his notice, for he looked round at me. I could
only show him the passage with a gasp. I dare say he might have liked to
laugh, for it was cruelly funny, but he did not; he was concerned for the
magazine as well as for me. He declared that when he first read the line
he had thought I could not have written it so, and he agreed with me that
it would kill the poem if it came out in that shape. He instantly set
about repairing the mischief, so far as could be. He found that the
whole edition of that sheet had been printed, and the air blackened round
me again, lighted up here and there with baleful flashes of the newspaper
wit at my cost, which I previsioned in my misery; I knew what I should
have said of such a thing myself, if it had been another's. But the
publisher at once decided that the sheet must be reprinted, and I went
away weak as if in the escape from some deadly peril. Afterwards it
appeared that the line had passed the first proof-reader as I wrote it,
but that the final reader had entered so sympathetically into the
realistic intention of my poem as to contribute the modification which
had nearly been my end.
X.
As it fell out, I lived without farther difficulty to the day and hour of
the dinner Lowell made for me; and I really think, looking at myself
impersonally, and remembering the sort of young fellow I was, that it
would have been a great pity if I had not. The dinner was at the
old-fashioned Boston hour of two, and the table was laid for four people
in some little upper room at Parker's, which I was never afterwards able
to make sure of. Lowell was already, there when I came, and he presented
me, to my inexpressible delight and surprise, to Dr. Holmes, who was
there with him.
Holmes was in the most brilliant hour of that wonderful second youth
which his fame flowered into long after the world thought he had
completed the cycle of his literary life. He had already received full
recognition as a poet of delicate wit, nimble humor, airy imagination,
and exquisite grace, when the Autocrat papers advanced his name
indefinitely beyond the bounds which most immortals would have found
range enough. The marvel of his invention was still fresh in the minds
of men, and time had not dulled in any measure the sense of its novelty.
His readers all fondly identified him with his work; and I fully expected
to find myself in the Autocrat's presence when I met Dr. Holmes. But
the fascination was none the less for that reason; and the winning smile,
the wise and humorous glance, the whole genial manner was as important to
me as if I had foreboded something altogether different. I found him
physically of the Napoleonic height which spiritually overtops the Alps,
and I could look into his face without that unpleasant effort which
giants of inferior mind so often cost the man of five feet four.
A little while after, Fields came in, and then our number and my pleasure
were complete.
Nothing else so richly satisfactory, indeed, as the whole affair could
have happened to a like youth at such a point in his career; and when I
sat down with Doctor Holmes and Mr. Fields, on Lowell's right, I felt
through and through the dramatic perfection of the event. The kindly
Autocrat recognized some such quality of it in terms which were not the
less precious and gracious for their humorous excess. I have no reason
to think that he had yet read any of my poor verses, or had me otherwise
than wholly on trust from Lowell; but he leaned over towards his host,
and said, with a laughing look at me, "Well, James, this is something
like the apostolic succession; this is the laying on of hands." I took
his sweet and caressing irony as he meant it; but the charm of it went to
my head long before any drop of wine, together with the charm of hearing
him and Lowell calling each other James and Wendell, and of finding them
still cordially boys together.
I would gladly have glimmered before those great lights in the talk that
followed, if I could have thought of anything brilliant to say, but I
could not, and so I let them shine without a ray of reflected splendor
from me. It was such talk as I had, of course, never heard before, and
it is not saying enough to say that I have never heard such talk since
except from these two men. It was as light and kind as it was deep and
true, and it ranged over a hundred things, with a perpetual sparkle of
Doctor Holmes's wit, and the constant glow of Lowell's incandescent
sense. From time to time Fields came in with one of his delightful
stories (sketches of character they were, which he sometimes did not mind
caricaturing), or with some criticism of the literary situation from his
stand-point of both lover and publisher of books. I heard fames that I
had accepted as proofs of power treated as factitious, and witnessed a
frankness concerning authorship, far and near, that I had not dreamed of
authors using. When Doctor Holmes understood that I wrote for the
'Saturday Press', which was running amuck among some Bostonian
immortalities of the day, he seemed willing that I should know they were
not thought so very undying in Boston, and that I should not take the
notion of a Mutual Admiration Society too seriously, or accept the New
York Bohemian view of Boston as true. For the most part the talk did not
address itself to me, but became an exchange of thoughts and fancies
between himself and Lowell. They touched, I remember, on certain matters
of technique, and the doctor confessed that he had a prejudice against
some words that he could not overcome; for instance, he said, nothing
could induce him to use 'neath for beneath, no exigency of versification
or stress of rhyme. Lowell contended that he would use any word that
carried his meaning; and I think he did this to the hurt of some of his
earlier things. He was then probably in the revolt against too much
literature in literature, which every one is destined sooner or later to
share; there was a certain roughness, very like crudeness, which he
indulged before his thought and phrase mellowed to one music in his later
work. I tacitly agreed rather with the doctor, though I did not swerve
from my allegiance to Lowell, and if I had spoken I should have sided
with him: I would have given that or any other proof of my devotion.
Fields casually mentioned that he thought "The Dandelion" was the most
popularly liked of Lowell's briefer poems, and I made haste to say that I
thought so too, though I did not really think anything about it; and then
I was sorry, for I could see that the poet did not like it, quite; and I
felt that I was duly punished for my dishonesty.
Hawthorne was named among other authors, probably by Fields, whose house
had just published his "Marble Faun," and who had recently come home on
the same steamer with him. Doctor Holmes asked if I had met Hawthorne
yet, and when I confessed that I had hardly yet even hoped for such a
thing, he smiled his winning smile, and said: "Ah, well! I don't know
that you will ever feel you have really met him. He is like a dim room
with a little taper of personality burning on the corner of the mantel."
They all spoke of Hawthorne, and with the same affection, but the same
sense of something mystical and remote in him; and every word was
priceless to me. But these masters of the craft I was 'prentice to
probably could not have said anything that I should not have found wise
and well, and I am sure now I should have been the loser if the talk had
shunned any of the phases of human nature which it touched. It is best
to find that all men are of the same make, and that there are certain
universal things which interest them as much as the supernal things, and
amuse them even more. There was a saying of Lowell's which he was fond
of repeating at the menace of any form of the transcendental, and he
liked to warn himself and others with his homely, "Remember the
dinner-bell." What I recall of the whole effect of a time so happy for
me is that in all that was said, however high, however fine, we were
never out of hearing of the dinner-bell; and perhaps this is the best
effect I can leave with the reader. It was the first dinner served in
courses that I had sat down to, and I felt that this service gave it a
romantic importance which the older fashion of the West still wanted.
Even at Governor Chase's table in Columbus the Governor carved; I knew of
the dinner 'a la Russe', as it was then called, only from books; and it
was a sort of literary flavor that I tasted in the successive dishes.
When it came to the black coffee, and then to the 'petits verres' of
cognac, with lumps of sugar set fire to atop, it was something that so
far transcended my home-kept experience that it began to seem altogether
visionary.
Neither Fields nor Doctor Holmes smoked, and I had to confess that I did
not; but Lowell smoked enough for all three, and the spark of his cigar
began to show in the waning light before we rose from the table. The
time that never had, nor can ever have, its fellow for me, had to come to
an end, as all times must, and when I shook hands with Lowell in parting,
he overwhelmed me by saying that if I thought of going to Concord he
would send me a letter to Hawthorne. I was not to see Lowell again
during my stay in Boston; but Doctor Holmes asked me to tea for the next
evening, and Fields said I must come to breakfast with him in the
morning.
XI.
I recall with the affection due to his friendly nature, and to the
kindness afterwards to pass between us for many years, the whole aspect
of the publisher when I first saw him. His abundant hair, and his full
"beard as broad as ony spade," that flowed from his throat in Homeric
curls, were touched with the first frost. He had a fine color, and his
eyes, as keen as they were kind, twinkled restlessly above the wholesome
russet-red of his cheeks. His portly frame was clad in those Scotch
tweeds which had not yet displaced the traditional broadcloth with us in
the West, though I had sent to New York for a rough suit, and so felt
myself not quite unworthy to meet a man fresh from the hands of the
London tailor.
Otherwise I stood as much in awe of him as his jovial soul would let me;
and if I might I should like to suggest to the literary youth of this day
some notion of the importance of his name to the literary youth of my
day. He gave aesthetic character to the house of Ticknor & Fields, but
he was by no means a silent partner on the economic side. No one can
forecast the fortune of a new book, but he knew as well as any publisher
can know not only whether a book was good, but whether the reader would
think so; and I suppose that his house made as few bad guesses, along
with their good ones, as any house that ever tried the uncertain temper
of the public with its ventures. In the minds of all who loved the plain
brown cloth and tasteful print of its issues he was more or less
intimately associated with their literature; and those who were not
mistaken in thinking De Quincey one of the delightfulest authors in the
world, were especially grateful to the man who first edited his writings
in book form, and proud that this edition was the effect of American
sympathy with them. At that day, I believed authorship the noblest
calling in the world, and I should still be at a loss to name any nobler.
The great authors I had met were to me the sum of greatness, and if I
could not rank their publisher with them by virtue of equal achievement,
I handsomely brevetted him worthy of their friendship, and honored him in
the visible measure of it.
In his house beside the Charles, and in the close neighborhood of Doctor
Holmes, I found an odor and an air of books such as I fancied might
belong to the famous literary houses of London. It is still there, that
friendly home of lettered refinement, and the gracious spirit which knew
how to welcome me, and make the least of my shyness and strangeness, and
the most of the little else there was in me, illumines it still, though
my host of that rapturous moment has many years been of those who are
only with us unseen and unheard. I remember his burlesque pretence that
morning of an inextinguishable grief when I owned that I had never eaten
blueberry cake before, and how he kept returning to the pathos of the
fact that there should be a region of the earth where blueberry cake was
unknown. We breakfasted in the pretty room whose windows look out
through leaves and flowers upon the river's coming and going tides, and
whose walls were covered with the faces and the autographs of all the
contemporary poets and novelists. The Fieldses had spent some days with
Tennyson in their recent English sojourn, and Mrs. Fields had much to
tell of him, how he looked, how he smoked, how he read aloud, and how he
said, when he asked her to go with him to the tower of his house, "Come
up and see the sad English sunset!" which had an instant value to me such
as some rich verse of his might have had. I was very new to it all, how
new I could not very well say, but I flattered myself that I breathed in
that atmosphere as if in the return from life-long exile. Still I
patriotically bragged of the West a little, and I told them proudly that
in Columbus no book since Uncle Tom's Cabin had sold so well as 'The
Marble Faun'. This made the effect that I wished, but whether it was
true or not, Heaven knows; I only know that I heard it from our leading
bookseller, and I made no question of it myself.
After breakfast, Fields went away to the office, and I lingered, while
Mrs. Fields showed me from shelf to shelf in the library, and dazzled me
with the sight of authors' copies, and volumes invaluable with the
autographs and the pencilled notes of the men whose names were dear to me
from my love of their work. Everywhere was some souvenir of the living
celebrities my hosts had met; and whom had they not met in that English
sojourn in days before England embittered herself to us during our civil
war? Not Tennyson only, but Thackeray, but Dickens, but Charles Reade,
but Carlyle, but many a minor fame was in my ears from converse so recent
with them that it was as if I heard their voices in their echoed words.
I do not remember how long I stayed; I remember I was afraid of staying
too long, and so I am sure I did not stay as long as I should have liked.
But I have not the least notion how I got away, and I am not certain
where I spent the rest of a day that began in the clouds, but had to be
ended on the common earth. I suppose I gave it mostly to wandering about
the city, and partly to recording my impressions of it for that newspaper
which never published them. The summer weather in Boston, with its sunny
heat struck through and through with the coolness of the sea, and its
clear air untainted with a breath of smoke, I have always loved, but it
had then a zest unknown before; and I should have thought it enough
simply to be alive in it. But everywhere I came upon something that fed
my famine for the old, the quaint, the picturesque, and however the day
passed it was a banquet, a festival. I can only recall my breathless
first sight of the Public Library and of the Athenaeum Gallery: great
sights then, which the Vatican and the Pitti hardly afterwards eclipsed
for mere emotion. In fact I did not see these elder treasuries of
literature and art between breakfasting with the Autocrat's publisher in
the morning, and taking tea with the Autocrat himself in the evening, and
that made a whole world's difference.
XII.
The tea of that simpler time is wholly inconceivable to this generation,
which knows the thing only as a mild form of afternoon reception; but I
suppose that in 1860 very few dined late in our whole pastoral republic.
Tea was the meal people asked people to when they wished to sit at long
leisure and large ease; it came at the end of the day, at six o'clock, or
seven; and one went to it in morning dress. It had an unceremonied
domesticity in the abundance of its light dishes, and I fancy these did
not vary much from East to West, except that we had a Southern touch in
our fried chicken and corn bread; but at the Autocrat's tea table the
cheering cup had a flavor unknown to me before that day. He asked me if
I knew it, and I said it was English breakfast tea; for I had drunk it at
the publisher's in the morning, and was willing not to seem strange to
it. "Ah, yes," he said; "but this is the flower of the souchong; it is
the blossom, the poetry of tea," and then he told me how it had been
given him by a friend, a merchant in the China trade, which used to
flourish in Boston, and was the poetry of commerce, as this delicate
beverage was of tea. That commerce is long past, and I fancy that the
plant ceased to bloom when the traffic fell into decay.
The Autocrat's windows had the same outlook upon the Charles as the
publisher's, and after tea we went up into a back parlor of the same
orientation, and saw the sunset die over the water, and the westering
flats and hills. Nowhere else in the world has the day a lovelier close,
and our talk took something of the mystic coloring that the heavens gave
those mantling expanses. It was chiefly his talk, but I have always
found the best talkers are willing that you should talk if you like, and
a quick sympathy and a subtle sense met all that I had to say from him
and from the unbroken circle of kindred intelligences about him. I saw
him then in the midst of his family, and perhaps never afterwards to
better advantage, or in a finer mood. We spoke of the things that people
perhaps once liked to deal with more than they do now; of the intimations
of immortality, of the experiences of morbid youth, and of all those
messages from the tremulous nerves which we take for prophecies. I was
not ashamed, before his tolerant wisdom, to acknowledge the effects that
had lingered so long with me in fancy and even in conduct, from a time of
broken health and troubled spirit; and I remember the exquisite tact in
him which recognized them as things common to all, however peculiar in
each, which left them mine for whatever obscure vanity I might have in
them, and yet gave me the companionship of the whole race in their
experience. We spoke of forebodings and presentiments; we approached the
mystic confines of the world from which no traveller has yet returned
with a passport 'en regle' and properly 'vise'; and he held his light
course through these filmy impalpabilities with a charming sincerity,
with the scientific conscience that refuses either to deny the substance
of things unseen, or to affirm it. In the gathering dusk, so weird did
my fortune of being there and listening to him seem, that I might well
have been a blessed ghost, for all the reality I felt in myself.
I tried to tell him how much I had read him from my boyhood, and with
what joy and gain; and he was patient of these futilities, and I have no
doubt imagined the love that inspired them, and accepted that instead of
the poor praise. When the sunset passed, and the lamps were lighted, and
we all came back to our dear little firm-set earth, he began to question
me about my native region of it. From many forgotten inquiries I recall
his asking me what was the fashionable religion in Columbus, or the
Church that socially corresponded to the Unitarian Church in Boston.
He had first to clarify my intelligence as to-what Unitarianism was; we
had Universalists but not Unitarians; but when I understood, I answered
from such vantage as my own wholly outside Swedenborgianism gave me, that
I thought most of the most respectable people with us were of the
Presbyterian Church; some were certainly Episcopalians, but upon the
whole the largest number were Presbyterians. He found that very strange
indeed; and said that he did not believe there was a Presbyterian Church
in Boston; that the New England Calvinists were all of the Orthodox
Church. He had to explain Oxthodoxy to me, and then I could confess to
one Congregational Church in Columbus.
Probably I failed to give the Autocrat any very clear image of our social
frame in the West, but the fault was altogether mine, if I did. Such
lecturing tours as he had made had not taken him among us, as those of
Emerson and other New-Englanders had, and my report was positive rather
than comparative. I was full of pride in journalism at that day, and I
dare say that I vaunted the brilliancy and power of our newspapers more
than they merited; I should not have been likely to wrong them otherwise.
It is strange that in all the talk I had with him and Lowell, or rather
heard from them, I can recall nothing said of political affairs, though
Lincoln had then been nominated by the Republicans, and the Civil War had
practically begun. But we did not imagine such a thing in the North; we
rested secure in the belief that if Lincoln were elected the South would
eat all its fiery words, perhaps from the mere love and inveterate habit
of fireeating.
I rent myself away from the Autocrat's presence as early as I could,
and as my evening had been too full of happiness to sleep upon at once,
I spent the rest of the night till two in the morning wandering about the
streets and in the Common with a Harvard Senior whom I had met. He was a
youth of like literary passions with myself, but of such different
traditions in every possible way that his deeply schooled and definitely
regulated life seemed as anomalous to me as my own desultory and
self-found way must have seemed to him. We passed the time in the
delight of trying to make ourselves known to each other, and in a promise
to continue by letter the effort, which duly lapsed into silent patience
with the necessarily insoluble problem.
XIII.
I must have lingered in Boston for the introduction to Hawthorne which
Lowell had offered me, for when it came, with a little note of kindness
and counsel for myself such as only Lowell had the gift of writing,
it was already so near Sunday that I stayed over till Monday before I
started. I do not recall what I did with the time, except keep myself
from making it a burden to the people I knew, and wandering about the
city alone. Nothing of it remains to me except the fortune that favored
me that Sunday night with a view of the old Granary Burying-ground on
Tremont Street. I found the gates open, and I explored every path in the
place, wreaking myself in such meagre emotion as I could get from the
tomb of the Franklin family, and rejoicing with the whole soul of my
Western modernity in the evidence of a remote antiquity which so many of
the dim inscriptions afforded. I do not think that I have ever known
anything practically older than these monuments, though I have since
supped so full of classic and mediaeval ruin. I am sure that I was more
deeply touched by the epitaph of a poor little Puritan maiden who died at
sixteen in the early sixteen-thirties than afterwards by the tomb of
Caecilia Metella, and that the heartache which I tried to put into verse
when I got back to my room in the hotel was none the less genuine because
it would not lend itself to my literary purpose, and remains nothing but
pathos to this day.
I am not able to say how I reached the town of Lowell, where I went
before going to Concord, that I might ease the unhappy conscience I had
about those factories which I hated so much to see, and have it clean for
the pleasure of meeting the fabricator of visions whom I was authorized
to molest in any air-castle where I might find him. I only know that I
went to Lowell, and visited one of the great mills, which with their
whirring spools, the ceaseless flight of their shuttles, and the
bewildering sight and sound of all their mechanism have since seemed to
me the death of the joy that ought to come from work, if not the
captivity of those who tended them. But then I thought it right and well
for me to be standing by,
"With sick and scornful looks averse,"
while these others toiled; I did not see the tragedy in it, and I got my
pitiful literary antipathy away as soon as I could, no wiser for the
sight of the ingenious contrivances I inspected, and I am sorry to say no
sadder. In the cool of the evening I sat at the door of my hotel, and
watched the long files of the work-worn factory-girls stream by, with no
concern for them but to see which was pretty and which was plain, and
with no dream of a truer order than that which gave them ten hours' work
a day in those hideous mills and lodged them in the barracks where they
rested from their toil.
I wonder if there is a stage that still runs between Lowell and Concord,
past meadow walls, and under the caressing boughs of way-side elms, and
through the bird-haunted gloom of woodland roads, in the freshness of the
summer morning? By a blessed chance I found that there was such a stage
in 1860, and I took it from my hotel, instead of going back to Boston and
up to Concord as I must have had to do by train. The journey gave me the
intimacy of the New England country as I could have had it in no other
fashion, and for the first time I saw it in all the summer sweetness
which I have often steeped my soul in since. The meadows were newly
mown, and the air was fragrant with the grass, stretching in long winrows
among the brown bowlders, or capped with canvas in the little haycocks it
had been gathered into the day before. I was fresh from the affluent
farms of the Western Reserve, and this care of the grass touched me with
a rude pity, which I also bestowed on the meagre fields of corn and
wheat; but still the land was lovelier than any I had ever seen, with its
old farmhouses, and brambled gray stone walls, its stony hillsides, its
staggering orchards, its wooded tops, and its thick-brackened valleys.
From West to East the difference was as great as I afterwards found it
from America to Europe, and my impression of something quaint and strange
was no keener when I saw Old England the next year than when I saw New
England now. I had imagined the landscape bare of trees, and I was
astonished to find it almost as full of them as at home, though they all
looked very little, as they well might to eyes used to the primeval
forests of Ohio. The road ran through them from time to time, and took
their coolness on its smooth hard reaches, and then issued again in the
glisten of the open fields.
I made phrases to myself about the scenery as we drove along; and yes, I
suppose I made phrases about the young girl who was one of the inside
passengers, and who, when the common strangeness had somewhat worn off,
began to sing, and sang most of the way to Concord. Perhaps she was not
very sage, and I am sure she was not of the caste of Vere de Vere, but
she was pretty enough, and she had a voice of a bird-like tunableness,
so that I would not have her out of the memory of that pleasant journey
if I could. She was long ago an elderly woman, if she lives, and I
suppose she would not now point out her fellow-passenger if he strolled
in the evening by the house where she had dismounted, upon her arrival in
Concord, and laugh and pull another girl away from the window, in the
high excitement of the prodigious adventure.
XV.
Her fellow-passenger was in far other excitement; he was to see
Hawthorne, and in a manner to meet Priscilla and Zenobia, and Hester
Prynne and little Pearl, and Miriam and Hilda, and Hollingsworth and
Coverdale, and Chillingworth and Dimmesdale, and Donatello and Kenyon;
and he had no heart for any such poor little reality as that, who could
not have been got into any story that one could respect, and must have
been difficult even in a Heinesque poem.
I wasted that whole evening and the next morning in fond delaying, and it
was not until after the indifferent dinner I got at the tavern where I
stopped, that I found courage to go and present Lowell's letter to
Hawthorne. I would almost have foregone meeting the weird genius only to
have kept that letter, for it said certain infinitely precious things of
me with such a sweetness, such a grace, as Lowell alone could give his
praise. Years afterwards, when Hawthorne was dead, I met Mrs. Hawthorne,
and told her of the pang I had in parting with it, and she sent it me,
doubly enriched by Hawthorne's keeping. But now if I were to see him at
all I must give up my letter, and I carried it in my hand to the door of
the cottage he called The Wayside. It was never otherwise than a very
modest place, but the modesty was greater then than to-day, and there was
already some preliminary carpentry at one end of the cottage, which I saw
was to result in an addition to it. I recall pleasant fields across the
road before it; behind rose a hill wooded with low pines, such as is made
in Septimius Felton the scene of the involuntary duel between Septimius
and the young British officer. I have a sense of the woods coming quite
down to the house, but if this was so I do not know what to do with a
grassy slope which seems to have stretched part way up the hill. As I
approached, I looked for the tower which the author was fabled to climb
into at sight of the coming guest, and pull the ladder up after him; and
I wondered whether he would fly before me in that sort, or imagine some
easier means of escaping me.
The door was opened to my ring by a tall handsome boy whom I suppose to
have been Mr. Julian Hawthorne; and the next moment I found myself in the
presence of the romancer, who entered from some room beyond. He advanced
carrying his head with a heavy forward droop, and with a pace for which I
decided that the word would be pondering. It was the pace of a bulky man
of fifty, and his head was that beautiful head we all know from the many
pictures of it. But Hawthorne's look was different from that of any
picture of him that I have seen. It was sombre and brooding, as the look
of such a poet should have been; it was the look of a man who had dealt
faithfully and therefore sorrowfully with that problem of evil which
forever attracted, forever evaded Hawthorne. It was by no means
troubled; it was full of a dark repose. Others who knew him better and
saw him oftener were familiar with other aspects, and I remember that one
night at Longfellow's table, when one of the guests happened to speak of
the photograph of Hawthorne which hung in a corner of the room, Lowell
said, after a glance at it, "Yes, it's good; but it hasn't his fine
'accipitral' [pertaining to the look of a bird of prey; hawklike. D.W.]
look."
In the face that confronted me, however, there was nothing of keen
alertness; but only a sort of quiet, patient intelligence, for which I
seek the right word in vain. It was a very regular face, with beautiful
eyes; the mustache, still entirely dark, was dense over the fine mouth.
Hawthorne was dressed in black, and he had a certain effect which I
remember, of seeming to have on a black cravat with no visible collar.
He was such a man that if I had ignorantly met him anywhere I should have
instantly felt him to be a personage.
I must have given him the letter myself, for I have no recollection of
parting with it before, but I only remember his offering me his hand, and
making me shyly and tentatively welcome. After a few moments of the
demoralization which followed his hospitable attempts in me, he asked if
I would not like to go up on his hill with him and sit there, where he
smoked in the afternoon. He offered me a cigar, and when I said that I
did not smoke, he lighted it for himself, and we climbed the hill
together. At the top, where there was an outlook in the pines over the
Concord meadows, we found a log, and he invited me to a place on it
beside him, and at intervals of a minute or so he talked while he smoked.
Heaven preserved me from the folly of trying to tell him how much his
books had been to me, and though we got on rapidly at no time, I think we
got on better for this interposition. He asked me about Lowell, I dare
say, for I told him of my joy in meeting him and Doctor Holmes, and this
seemed greatly to interest him. Perhaps because he was so lately from
Europe, where our great men are always seen through the wrong end of the
telescope, he appeared surprised at my devotion, and asked me whether I
cared as much for meeting them as I should care for meeting the famous
English authors. I professed that I cared much more, though whether this
was true, I now have my doubts, and I think Hawthorne doubted it at the
time. But he said nothing in comment, and went on to speak generally of
Europe and America. He was curious about the West, which be seemed to
fancy much more purely American, and said he would like to see some part
of the country on which the shadow (or, if I must be precise, the damned
shadow) of Europe had not fallen. I told him I thought the West must
finally be characterized by the Germans, whom we had in great numbers,
and, purely from my zeal for German poetry, I tried to allege some proofs
of their present influence, though I could think of none outside of
politics, which I thought they affected wholesomely. I knew Hawthorne
was a Democrat, and I felt it well to touch politics lightly, but he had
no more to say about the fateful election then pending than Holmes or
Lowell had.
With the abrupt transition of his talk throughout, he began somehow to
speak of women, and said he had never seen a woman whom he thought quite
beautiful. In the same way he spoke of the New England temperament, and
suggested that the apparent coldness in it was also real, and that the
suppression of emotion for generations would extinguish it at last. Then
he questioned me as to my knowledge of Concord, and whether I had seen
any of the notable people. I answered that I had met no one but himself,
as yet, but I very much wished to see Emerson and Thoreau. I did not
think it needful to say that I wished to see Thoreau quite as much
because he had suffered in the cause of John Brown as because he had
written the books which had taken me; and when he said that Thoreau
prided himself on coming nearer the heart of a pine-tree than any other
human being, I could say honestly enough that I would rather come near
the heart of a man. This visibly pleased him, and I saw that it did not
displease him, when he asked whether I was not going to see his next
neighbor, Mr. Alcott, and I confessed that I had never heard of him.
That surprised as well as pleased him; be remarked, with whatever
intention, that there was nothing like recognition to make a man modest;
and he entered into some account of the philosopher, whom I suppose I
need not be much ashamed of not knowing then, since his influence was of
the immediate sort that makes a man important to his townsmen while he is
still strange to his countrymen.
Hawthorne descanted a little upon the landscape, and said certain of the
pleasant fields below us be longed to him; but he preferred his hill-top,
and if he could have his way those arable fields should be grown up to
pines too. He smoked fitfully, and slowly, and in the hour that we spent
together, his whiffs were of the desultory and unfinal character of his
words. When we went down, he asked me into his house again, and would
have me stay to tea, for which we found the table laid. But there was a
great deal of silence in it all, and at times, in spite of his shadowy
kindness, I felt my spirits sink. After tea, he showed me a book case,
where there were a few books toppling about on the half-filled shelves,
and said, coldly, "This is my library." I knew that men were his books,
and though I myself cared for books so much, I found it fit and fine that
he should care so little, or seem to care so little. Some of his own
romances were among the volumes on these shelves, and when I put my
finger on the 'Blithedale Romance' and said that I preferred that to the
others, his face lighted up, and he said that he believed the Germans
liked that best too.
Upon the whole we parted such good friends that when I offered to take
leave he asked me how long I was to be in Concord, and not only bade me
come to see him again, but said he would give me a card to Emerson, if I
liked. I answered, of course, that I should like it beyond all things;
and he wrote on the back of his card something which I found, when I got
away, to be, "I find this young man worthy." The quaintness, the little
stiffness of it, if one pleases to call it so, was amusing to one who was
not without his sense of humor, but the kindness filled me to the throat
with joy. In fact, I entirely liked Hawthorne. He had been as cordial
as so shy a man could show himself; and I perceived, with the repose
that nothing else can give, the entire sincerity of his soul.
Nothing could have been further from the behavior of this very great man
than any sort of posing, apparently, or a wish to affect me with a sense
of his greatness. I saw that he was as much abashed by our encounter as
I was; he was visibly shy to the point of discomfort, but in no ignoble
sense was he conscious, and as nearly as he could with one so much his
younger he made an absolute equality between us. My memory of him is
without alloy one of the finest pleasures of my life: In my heart I paid
him the same glad homage that I paid Lowell and Holmes, and he did
nothing to make me think that I had overpaid him. This seems perhaps
very little to say in his praise, but to my mind it is saying everything,
for I have known but few great men, especially of those I met in early
life, when I wished to lavish my admiration upon them, whom I have not
the impression of having left in my debt. Then, a defect of the Puritan
quality, which I have found in many New-Englanders, is that, wittingly or
unwittingly, they propose themselves to you as an example, or if not
quite this, that they surround themselves with a subtle ether of
potential disapprobation, in which, at the first sign of unworthiness in
you, they helplessly suffer you to gasp and perish; they have good
hearts, and they would probably come to your succor out of humanity, if
they knew how, but they do not know how. Hawthorne had nothing of this
about him; he was no more tacitly than he was explicitly didactic.
I thought him as thoroughly in keeping with his romances as Doctor Holmes
had seemed with his essays and poems, and I met him as I had met the
Autocrat in the supreme hour of his fame. He had just given the world
the last of those incomparable works which it was to have finished from
his hand; the 'Marble Faun' had worthily followed, at a somewhat longer
interval than usual, the 'Blithedale Romance', and the 'House of Seven
Gables', and the 'Scarlet Letter', and had, perhaps carried his name
higher than all the rest, and certainly farther. Everybody was reading
it, and more or less bewailing its indefinite close, but yielding him
that full honor and praise which a writer can hope for but once in his
life. Nobody dreamed that thereafter only precious fragments, sketches
more or less faltering, though all with the divine touch in them, were
further to enrich a legacy which in its kind is the finest the race has
received from any mind. As I have said, we are always finding new
Hawthornes, but the illusion soon wears away, and then we perceive that
they were not Hawthornes at all; that he had some peculiar difference
from them, which, by and-by, we shall no doubt consent must be his
difference from all men evermore.
I am painfully aware that I have not summoned before the reader the image
of the man as it has always stood in my memory, and I feel a sort of
shame for my failure. He was so altogether simple that it seems as if it
would be easy to do so; but perhaps a spirit from the other world would
be simple too, and yet would no more stand at parle, or consent to be
sketched, than Hawthorne. In fact, he was always more or less merging
into the shadow, which was in a few years wholly to close over him; there
was nothing uncanny in his presence, there was nothing even unwilling,
but he had that apparitional quality of some great minds which kept
Shakespeare largely unknown to those who thought themselves his
intimates, and has at last left him a sort of doubt. There was nothing
teasing or wilfully elusive in Hawthorne's impalpability, such as I
afterwards felt in Thoreau; if he was not there to your touch, it was no
fault of his; it was because your touch was dull, and wanted the use of
contact with such natures. The hand passes through the veridical phantom
without a sense of its presence, but the phantom is none the less
veridical for all that.
XVI.
I kept the evening of the day I met Hawthorne wholly for the thoughts of
him, or rather for that reverberation which continues in the young
sensibilities after some important encounter. It must have been the next
morning that I went to find Thoreau, and I am dimly aware of making one
or two failures to find him, if I ever really found him at all.
He is an author who has fallen into that abeyance, awaiting all authors,
great or small, at some time or another; but I think that with him, at
least in regard to his most important book, it can be only transitory.
I have not read the story of his hermitage beside Walden Pond since the
year 1858, but I have a fancy that if I should take it up now, I should
think it a wiser and truer conception of the world than I thought it
then. It is no solution of the problem; men are not going to answer the
riddle of the painful earth by building themselves shanties and living
upon beans and watching ant-fights; but I do not believe Tolstoy himself
has more clearly shown the hollowness, the hopelessness, the unworthiness
of the life of the world than Thoreau did in that book. If it were newly
written it could not fail of a far vaster acceptance than it had then,
when to those who thought and felt seriously it seemed that if slavery
could only be controlled, all things else would come right of themselves
with us. Slavery has not only been controlled, but it has been
destroyed, and yet things have not begun to come right with us; but it
was in the order of Providence that chattel slavery should cease before
industrial slavery, and the infinitely crueler and stupider vanity and
luxury bred of it, should be attacked. If there was then any prevision
of the struggle now at hand, the seers averted their eyes, and strove
only to cope with the less evil. Thoreau himself, who had so clear a
vision of the falsity and folly of society as we still have it, threw
himself into the tide that was already, in Kansas and Virginia, reddened
with war; he aided and abetted the John Brown raid, I do not recall how
much or in what sort; and he had suffered in prison for his opinions and
actions. It was this inevitable heroism of his that, more than his
literature even, made me wish to see him and revere him; and I do not
believe that I should have found the veneration difficult, when at last
I met him in his insufficient person, if he had otherwise been present to
my glowing expectation. He came into the room a quaint, stump figure of
a man, whose effect of long trunk and short limbs was heightened by his
fashionless trousers being let down too low. He had a noble face, with
tossed hair, a distraught eye, and a fine aquilinity of profile, which
made me think at once of Don Quixote and of Cervantes; but his nose
failed to add that foot to his stature which Lamb says a nose of that
shape will always give a man. He tried to place me geographically after
he had given me a chair not quite so far off as Ohio, though still across
the whole room, for he sat against one wall, and I against the other;
but apparently he failed to pull himself out of his revery by the effort,
for he remained in a dreamy muse, which all my attempts to say something
fit about John Brown and Walden Pond seemed only to deepen upon him.
I have not the least doubt that I was needless and valueless about both,
and that what I said could not well have prompted an important response;
but I did my poor best, and I was terribly disappointed in the result.
The truth is that in those days I was a helplessly concrete young person,
and all forms of the abstract, the air-drawn, afflicted me like physical
discomforts. I do not remember that Thoreau spoke of his books or of
himself at all, and when he began to speak of John Brown, it was not the
warm, palpable, loving, fearful old man of my conception, but a sort of
John Brown type, a John Brown ideal, a John Brown principle, which we
were somehow (with long pauses between the vague, orphic phrases) to
cherish, and to nourish ourselves upon.
It was not merely a defeat of my hopes, it was a rout, and I felt myself
so scattered over the field of thought that I could hardly bring my
forces together for retreat. I must have made some effort, vain and
foolish enough, to rematerialize my old demigod, but when I came away it
was with the feeling that there was very little more left of John Brown
than there was of me. His body was not mouldering in the grave, neither
was his soul marching on; his ideal, his type, his principle alone
existed, and I did not know what to do with it. I am not blaming
Thoreau; his words were addressed to a far other understanding than mine,
and it was my misfortune if I could not profit by them. I think, or I
venture to hope, that I could profit better by them now; but in this
record I am trying honestly to report their effect with the sort of youth
I was then.
XVII.
Such as I was, I rather wonder that I had the courage, after this
experiment of Thoreau, to present the card Hawthorne had given me to
Emerson. I must have gone to him at once, however, for I cannot make out
any interval of time between my visit to the disciple and my visit to the
master. I think it was Emerson himself who opened his door to me, for I
have a vision of the fine old man standing tall on his threshold, with
the card in his hand, and looking from it to me with a vague serenity,
while I waited a moment on the door-step below him. He must then have
been about sixty, but I remember nothing of age in his aspect, though I
have called him an old man. His hair, I am sure, was still entirely
dark, and his face had a kind of marble youthfulness, chiselled to a
delicate intelligence by the highest and noblest thinking that any man
has done. There was a strange charm in Emerson's eyes, which I felt then
and always, something like that I saw in Lincoln's, but shyer, but
sweeter and less sad. His smile was the very sweetest I have ever
beheld, and the contour of the mask and the line of the profile were in
keeping with this incomparable sweetness of the mouth, at once grave and
quaint, though quaint is not quite the word for it either, but subtly,
not unkindly arch, which again is not the word.
It was his great fortune to have been mostly misunderstood, and to have
reached the dense intelligence of his fellow-men after a whole lifetime
of perfectly simple and lucid appeal, and his countenance expressed the
patience and forbearance of a wise man content to bide his time. It
would be hard to persuade people now that Emerson once represented to the
popular mind all that was most hopelessly impossible, and that in a
certain sort he was a national joke, the type of the incomprehensible,
the byword of the poor paragrapher. He had perhaps disabused the
community somewhat by presenting himself here and there as a lecturer,
and talking face to face with men in terms which they could not refuse to
find as clear as they were wise; he was more and more read, by certain
persons, here and there; but we are still so far behind him in the reach
of his far-thinking that it need not be matter of wonder that twenty
years before his death he was the most misunderstood man in America.
Yet in that twilight where he dwelt he loomed large upon the imagination;
the minds that could not conceive him were still aware of his greatness.
I myself had not read much of him, but I knew the essays he was printing
in the Atlantic, and I knew certain of his poems, though by no means
many; yet I had this sense of him, that he was somehow, beyond and above
my ken, a presence of force and beauty and wisdom, uncompanioned in our
literature. He had lately stooped from his ethereal heights to take part
in the battle of humanity, and I suppose that if the truth were told he
was more to my young fervor because he had said that John Brown had made
the gallows glorious like the cross, than because he had uttered all
those truer and wiser things which will still a hundred years hence be
leading the thought of the world.
I do not know in just what sort he made me welcome, but I am aware of
sitting with him in his study or library, and of his presently speaking
of Hawthorne, whom I probably celebrated as I best could, and whom he
praised for his personal excellence, and for his fine qualities as a
neighbor. "But his last book," he added, reflectively, "is a mere mush,"
and I perceived that this great man was no better equipped to judge an
artistic fiction than the groundlings who were then crying out upon the
indefinite close of the Marble Faun. Apparently he had read it, as they
had, for the story, but it seems to me now, if it did not seem to me
then, that as far as the problem of evil was involved, the book must
leave it where it found it. That is forever insoluble, and it was rather
with that than with his more or less shadowy people that the romancer was
concerned. Emerson had, in fact, a defective sense as to specific pieces
of literature; he praised extravagantly, and in the wrong place,
especially among the new things, and he failed to see the worth of much
that was fine and precious beside the line of his fancy.
He began to ask me about the West, and about some unknown man in
Michigan; who had been sending him poems, and whom he seemed to think
very promising, though he has not apparently kept his word to do great
things. I did not find what Emerson had to say of my section very
accurate or important, though it was kindly enough, and just enough as to
what the West ought to do in literature. He thought it a pity that a
literary periodical which had lately been started in Cincinnati should be
appealing to the East for contributions, instead of relying upon the
writers nearer home; and he listened with what patience he could to my
modest opinion that we had not the writers nearer home. I never was of
those Westerners who believed that the West was kept out of literature by
the jealousy of the East, and I tried to explain why we had not the men
to write that magazine full in Ohio. He alleged the man in Michigan as
one who alone could do much to fill it worthily, and again I had to say
that I had never heard of him.
I felt rather guilty in my ignorance, and I had a notion that it did not
commend me, but happily at this moment Mr. Emerson was called to dinner,
and he asked me to come with him. After dinner we walked about in his
"pleached garden" a little, and then we came again into his library,
where I meant to linger only till I could fitly get away. He questioned
me about what I had seen of Concord, and whom besides Hawthorne I had
met, and when I told him only Thoreau, he asked me if I knew the poems of
Mr. William Ellery Channing. I have known them since, and felt their
quality, which I have gladly owned a genuine and original poetry; but I
answered then truly that I knew them only from Poe's criticisms: cruel
and spiteful things which I should be ashamed of enjoying as I once did.
"Whose criticisms?" asked Emerson.
"Poe's," I said again.
"Oh," he cried out, after a moment, as if he had returned from a far
search for my meaning, "you mean the jingle-man!"
I do not know why this should have put me to such confusion, but if I had
written the criticisms myself I do not think I could have been more
abashed. Perhaps I felt an edge of reproof, of admonition, in a
characterization of Poe which the world will hardly agree with; though I
do not agree with the world about him, myself, in its admiration. At any
rate, it made an end of me for the time, and I remained as if already
absent, while Emerson questioned me as to what I had written in the
Atlantic Monthly. He had evidently read none of my contributions, for he
looked at them, in the bound volume of the magazine which he got down,
with the effect of being wholly strange to them, and then gravely affixed
my initials to each. He followed me to the door, still speaking of
poetry, and as he took a kindly enough leave of me, he said one might
very well give a pleasant hour to it now and then.
A pleasant hour to poetry! I was meaning to give all time and all
eternity to poetry, and I should by no means have wished to find pleasure
in it; I should have thought that a proof of inferior quality in the
work; I should have preferred anxiety, anguish even, to pleasure. But if
Emerson thought from the glance he gave my verses that I had better not
lavish myself upon that kind of thing, unless there was a great deal more
of me than I could have made apparent in our meeting, no doubt he was
right. I was only too painfully aware of my shortcoming, but I felt that
it was shorter-coming than it need have been. I had somehow not
prospered in my visit to Emerson as I had with Hawthorne, and I came away
wondering in what sort I had gone wrong. I was not a forth-putting
youth, and I could not blame myself for anything in my approaches that
merited withholding; indeed, I made no approaches; but as I must needs
blame myself for something, I fell upon the fact that in my confused
retreat from Emerson's presence I had failed in a certain slight point of
ceremony, and I magnified this into an offence of capital importance.
I went home to my hotel, and passed the afternoon in pure misery. I had
moments of wild question when I debated whether it would be better to go
back and own my error, or whether it would be better to write him a note,
and try to set myself right in that way. But in the end I did neither,
and I have since survived my mortal shame some forty years or more. But
at the time it did not seem possible that I should live through the day
with it, and I thought that I ought at least to go and confess it to
Hawthorne, and let, him disown the wretch who had so poorly repaid the
kindness of his introduction by such misbehavior. I did indeed walk down
by the Wayside, in the cool of the evening, and there I saw Hawthorne for
the last time. He was sitting on one of the timbers beside his cottage,
and smoking with an air of friendly calm. I had got on very well with
him, and I longed to go in, and tell him how ill I had got on with
Emerson; I believed that though he cast me off, he would understand me,
and would perhaps see some hope for me in another world, though there
could be none in this.
But I had not the courage to speak of the affair to any one but Fields,
to whom I unpacked my heart when I got back to Boston, and he asked me
about my adventures in Concord. By this time I could see it in a
humorous light, and I did not much mind his lying back in his chair and
laughing and laughing, till I thought he would roll out of it. He
perfectly conceived the situation, and got an amusement from it that I
could get only through sympathy with him. But I thought it a favorable
moment to propose myself as the assistant editor of the Atlantic Monthly,
which I had the belief I could very well become, with advantage to myself
if not to the magazine. He seemed to think so too; he said that if the
place had not just been filled, I should certainly have had it; and it
was to his recollection of this prompt ambition of mine that I suppose
I may have owed my succession to a like vacancy some four years later.
He was charmingly kind; he entered with the sweetest interest into the
story of my economic life, which had been full of changes and chances
already. But when I said very seriously that now I was tired of these
fortuities, and would like to be settled in something, he asked, with
dancing eyes,
"Why, how old are you?"
"I am twenty-three," I answered, and then the laughing fit took him
again.
"Well," he said, "you begin young, out there!"
In my heart I did not think that twenty-three was so very young, but
perhaps it was; and if any one were to say that I had been portraying
here a youth whose aims were certainly beyond his achievements, who was
morbidly sensitive, and if not conceited was intolerably conscious, who
had met with incredible kindness, and had suffered no more than was good
for him, though he might not have merited his pain any more than his joy,
I do not know that I should gainsay him, for I am not at all sure that I
was not just that kind of youth when I paid my first visit to New
England.
LITERARY FRIENDS AND ACQUAINTANCES--First Impressions of Literary New York
by William Dean Howells
FIRST IMPRESSIONS OF LITERARY NEW YORK
It was by boat that I arrived from Boston, on an August morning of 1860,
which was probably of the same quality as an August morning of 1900.
I used not to mind the weather much in those days; it was hot or it was
cold, it was wet or it was dry, but it was not my affair; and I suppose
that I sweltered about the strange city, with no sense of anything very
personal in the temperature, until nightfall. What I remember is being
high up in a hotel long since laid low, listening in the summer dark,
after the long day was done, to the Niagara roar of the omnibuses whose
tide then swept Broadway from curb to curb, for all the miles of its
length. At that hour the other city noises were stilled, or lost in this
vaster volume of sound, which seemed to fill the whole night. It had a
solemnity which the modern comer to New York will hardly imagine, for
that tide of omnibuses has long since ebbed away, and has left the air to
the strident discords of the elevated trains and the irregular alarum of
the grip-car gongs, which blend to no such harmonious thunder as rose
from the procession of those ponderous and innumerable vans. There was a
sort of inner quiet in the sound, and when I chose I slept off to it, and
woke to it in the morning refreshed and strengthened to explore the
literary situation in the metropolis.
I.
Not that I think I left this to the second day. Very probably I lost no
time in going to the office of the Saturday Press, as soon as I had my
breakfast after arriving, and I have a dim impression of anticipating the
earliest of the Bohemians, whose gay theory of life obliged them to a
good many hardships in lying down early in the morning, and rising up
late in the day. If it was the office-boy who bore me company during the
first hour of my visit, by-and-by the editors and contributors actually
began to come in. I would not be very specific about them if I could,
for since that Bohemia has faded from the map of the republic of letters,
it has grown more and more difficult to trace its citizenship to any
certain writer. There are some living who knew the Bohemians and even
loved them, but there are increasingly few who were of them, even in the
fond retrospect of youthful follies and errors. It was in fact but a
sickly colony, transplanted from the mother asphalt of Paris, and never
really striking root in the pavements of New York; it was a colony of
ideas, of theories, which had perhaps never had any deep root anywhere.
What these ideas, these theories, were in art and in life, it would not
be very easy to say; but in the Saturday Press they came to violent
expression, not to say explosion, against all existing forms of
respectability. If respectability was your 'bete noire', then you were a
Bohemian; and if you were in the habit of rendering yourself in prose,
then you necessarily shredded your prose into very fine paragraphs of a
sentence each, or of a very few words, or even of one word. I believe
this fashion prevailed till very lately with some of the dramatic
critics, who thought that it gave a quality of epigram to the style; and
I suppose it was borrowed from the more spasmodic moments of Victor Hugo
by the editor of the Press. He brought it back with him when he came
home from one of those sojourns in Paris which possess one of the French
accent rather than the French language; I long desired to write in that
fashion myself, but I had not the courage.
This editor was a man of such open and avowed cynicism that he may have
been, for all I know, a kindly optimist at heart; some say, however, that
he had really talked himself into being what he seemed. I only know that
his talk, the first day I saw him, was of such a sort that if he was half
as bad, he would have been too bad to be. He walked up and down his room
saying what lurid things he would directly do if any one accused him of
respectability, so that he might disabuse the minds of all witnesses.
There were four or five of his assistants and contributors listening to
the dreadful threats, which did not deceive even so great innocence as
mine, but I do not know whether they found it the sorry farce that I did.
They probably felt the fascination for him which I could not disown,
in spite of my inner disgust; and were watchful at the same time for the
effect of his words with one who was confessedly fresh from Boston,
and was full of delight in the people he had seen there. It appeared,
with him, to be proof of the inferiority of Boston that if you passed
down Washington Street, half a dozen men in the crowd would know you were
Holmes, or Lowell, or Longfellow, or Wendell Phillips; but in Broadway no
one would know who you were, or care to the measure of his smallest
blasphemy. I have since heard this more than once urged as a signal
advantage of New York for the aesthetic inhabitant, but I am not sure,
yet, that it is so. The unrecognized celebrity probably has his mind
quite as much upon himself as if some one pointed him out, and otherwise
I cannot think that the sense of neighborhood is such a bad thing for the
artist in any sort. It involves the sense of responsibility, which
cannot be too constant or too keen. If it narrows, it deepens; and this
may be the secret of Boston.
II.
It would not be easy to say just why the Bohemian group represented New
York literature to my imagination; for I certainly associated other names
with its best work, but perhaps it was because I had written for the
Saturday Press myself, and had my pride in it, and perhaps it was because
that paper really embodied the new literary life of the city. It was
clever, and full of the wit that tries its teeth upon everything. It
attacked all literary shams but its own, and it made itself felt and
feared. The young writers throughout the country were ambitious to be
seen in it, and they gave their best to it; they gave literally, for the
Saturday Press never paid in anything but hopes of paying, vaguer even
than promises. It is not too much to say that it was very nearly as well
for one to be accepted by the Press as to be accepted by the Atlantic,
and for the time there was no other literary comparison. To be in it was
to be in the company of Fitz James O'Brien, Fitzhugh Ludlow, Mr. Aldrich,
Mr. Stedman, and whoever else was liveliest in prose or loveliest in
verse at that day in New York. It was a power, and although it is true
that, as Henry Giles said of it, "Man cannot live by snapping-turtle
alone," the Press was very good snapping-turtle. Or, it seemed so then;
I should be almost afraid to test it now, for I do not like snapping-
turtle so much as I once did, and I have grown nicer in my taste, and
want my snapping-turtle of the very best. What is certain is that I went
to the office of the Saturday Press in New York with much the same sort
of feeling I had in going to the office of the Atlantic Monthly in
Boston, but I came away with a very different feeling. I had found there
a bitterness against Boston as great as the bitterness against
respectability, and as Boston was then rapidly becoming my second
country, I could not join in the scorn thought of her and said of her by
the Bohemians. I fancied a conspiracy among them to shock the literary
pilgrim, and to minify the precious emotions he had experienced in
visiting other shrines; but I found no harm in that, for I knew just how
much to be shocked, and I thought I knew better how to value certain
things of the soul than they. Yet when their chief asked me how I got on
with Hawthorne, and I began to say that he was very shy and I was rather
shy, and the king of Bohemia took his pipe out to break in upon me with
"Oh, a couple of shysters!" and the rest laughed, I was abashed all they
could have wished, and was not restored to myself till one of them said
that the thought of Boston made him as ugly as sin; then I began to hope
again that men who took themselves so seriously as that need not be taken
very seriously by me.
In fact I had heard things almost as desperately cynical in other
newspaper offices before that, and I could not see what was so
distinctively Bohemian in these 'anime prave', these souls so baleful by
their own showing. But apparently Bohemia was not a state that you could
well imagine from one encounter, and since my stay in New York was to be
very short, I lost no time in acquainting myself further with it. That
very night I went to the beer-cellar, once very far up Broadway, where I
was given to know that the Bohemian nights were smoked and quaffed away.
It was said, so far West as Ohio, that the queen of Bohemia sometimes
came to Pfaff's: a young girl of a sprightly gift in letters, whose name
or pseudonym had made itself pretty well known at that day, and whose
fate, pathetic at all times, out-tragedies almost any other in the
history of letters. She was seized with hydrophobia from the bite of her
dog, on a railroad train; and made a long journey home in the paroxysms
of that agonizing disease, which ended in her death after she reached New
York. But this was after her reign had ended, and no such black shadow
was cast forward upon Pfaff's, whose name often figured in the verse and
the epigrammatically paragraphed prose of the 'Saturday Press'. I felt
that as a contributor and at least a brevet Bohemian I ought not to go
home without visiting the famous place, and witnessing if I could not
share the revels of my comrades. As I neither drank beer nor smoked, my
part in the carousal was limited to a German pancake, which I found they
had very good at Pfaff's, and to listening to the whirling words of my
commensals, at the long board spread for the Bohemians in a cavernous
space under the pavement. There were writers for the 'Saturday Press' and
for Vanity Fair (a hopefully comic paper of that day), and some of the
artists who drew for the illustrated periodicals. Nothing of their talk
remains with me, but the impression remains that it was not so good talk
as I had heard in Boston. At one moment of the orgy, which went but
slowly for an orgy, we were joined by some belated Bohemians whom the
others made a great clamor over; I was given to understand they were just
recovered from a fearful debauch; their locks were still damp from the
wet towels used to restore them, and their eyes were very frenzied.
I was presented to these types, who neither said nor did anything worthy
of their awful appearance, but dropped into seats at the table, and ate
of the supper with an appetite that seemed poor. I stayed hoping vainly
for worse things till eleven o'clock, and then I rose and took my leave
of a literary condition that had distinctly disappointed me. I do not
say that it may not have been wickeder and wittier than I found it;
I only report what I saw and heard in Bohemia on my first visit to New
York, and I know that my acquaintance with it was not exhaustive. When I
came the next year the Saturday Press was no more, and the editor and his
contributors had no longer a common centre. The best of the young
fellows whom I met there confessed, in a pleasant exchange of letters
which we had afterwards, that he thought the pose a vain and unprofitable
one; and when the Press was revived, after the war, it was without any of
the old Bohemian characteristics except that of not paying for material.
It could not last long upon these terms, and again it passed away, and
still waits its second palingenesis.
The editor passed away too, not long after, and the thing that he had
inspired altogether ceased to be. He was a man of a certain sardonic
power, and used it rather fiercely and freely, with a joy probably more
apparent than real in the pain it gave. In my last knowledge of him he
was much milder than when I first knew him, and I have the feeling that
he too came to own before he died that man cannot live by snapping-turtle
alone. He was kind to some neglected talents, and befriended them with
a vigor and a zeal which he would have been the last to let you call
generous. The chief of these was Walt Whitman, who, when the Saturday
Press took it up, had as hopeless a cause with the critics on either side
of the ocean as any man could have. It was not till long afterwards that
his English admirers began to discover him, and to make his countrymen
some noisy reproaches for ignoring him; they were wholly in the dark
concerning him when the Saturday Press, which first stood his friend,
and the young men whom the Press gathered about it, made him their cult.
No doubt he was more valued because he was so offensive in some ways than
he would have been if he had been in no way offensive, but it remains a
fact that they celebrated him quite as much as was good for them. He was
often at Pfaff's with them, and the night of my visit he was the chief
fact of my experience. I did not know he was there till I was on my way
out, for he did not sit at the table under the pavement, but at the head
of one farther into the room. There, as I passed, some friendly fellow
stopped me and named me to him, and I remember how he leaned back in his
chair, and reached out his great hand to me, as if he were going to give
it me for good and all. He had a fine head, with a cloud of Jovian hair
upon it, and a branching beard and mustache, and gentle eyes that looked
most kindly into mine, and seemed to wish the liking which I instantly
gave him, though we hardly passed a word, and our acquaintance was summed
up in that glance and the grasp of his mighty fist upon my hand. I doubt
if he had any notion who or what I was beyond the fact that I was a young
poet of some sort, but he may possibly have remembered seeing my name
printed after some very Heinesque verses in the Press. I did not meet
him again for twenty years, and then I had only a moment with him when he
was reading the proofs of his poems in Boston. Some years later I saw
him for the last time, one day after his lecture on Lincoln, in that
city, when he came down from the platform to speak with some handshaking
friends who gathered about him. Then and always he gave me the sense of
a sweet and true soul, and I felt in him a spiritual dignity which I will
not try to reconcile with his printing in the forefront of his book a
passage from a private letter of Emerson's, though I believe he would not
have seen such a thing as most other men would, or thought ill of it in
another. The spiritual purity which I felt in him no less than the
dignity is something that I will no more try to reconcile with what
denies it in his page; but such things we may well leave to the
adjustment of finer balances than we have at hand. I will make sure only
of the greatest benignity in the presence of the man. The apostle of the
rough, the uncouth, was the gentlest person; his barbaric yawp,
translated into the terms of social encounter, was an address of singular
quiet, delivered in a voice of winning and endearing friendliness.
As to his work itself, I suppose that I do not think it so valuable in
effect as in intention. He was a liberating force, a very "imperial
anarch" in literature; but liberty is never anything but a means, and
what Whitman achieved was a means and not an end, in what must be called
his verse. I like his prose, if there is a difference, much better;
there he is of a genial and comforting quality, very rich and cordial,
such as I felt him to be when I met him in person. His verse seems to me
not poetry, but the materials of poetry, like one's emotions; yet I would
not misprize it, and I am glad to own that I have had moments of great
pleasure in it. Some French critic quoted in the Saturday Press (I
cannot think of his name) said the best thing of him when he said that he
made you a partner of the enterprise, for that is precisely what he does,
and that is what alienates and what endears in him, as you like or
dislike the partnership. It is still something neighborly, brotherly,
fatherly, and so I felt him to be when the benign old man looked on me
and spoke to me.
III.
That night at Pfaff's must have been the last of the Bohemians for me,
and it was the last of New York authorship too, for the time. I do not
know why I should not have imagined trying to see Curtis, whom I knew so
much by heart, and whom I adored, but I may not have had the courage,
or I may have heard that he was out of town; Bryant, I believe, was then
out of the country; but at any rate I did not attempt him either. The
Bohemians were the beginning and the end of the story for me, and to tell
the truth I did not like the story.. I remember that as I sat at that
table. under the pavement, in Pfaff's beer-cellar, and listened to the
wit that did not seem very funny, I thought of the dinner with Lowell,
the breakfast with Fields, the supper at the Autocrat's, and felt that I
had fallen very far. In fact it can do no harm at this distance of time
to confess that it seemed to me then, and for a good while afterwards,
that a person who had seen the men and had the things said before him
that I had in Boston, could not keep himself too carefully in cotton; and
this was what I did all the following winter, though of course it was a
secret between me and me. I dare say it was not the worst thing I could
have done, in some respects.
My sojourn in New York could not have been very long, and the rest of it
was mainly given to viewing the monuments of the city from the windows of
omnibuses and the platforms of horse-cars. The world was so simple then
that there were perhaps only a half-dozen cities that had horse-cars in
them, and I travelled in those conveyances at New York with an unfaded
zest, even after my journeys back and forth between Boston and Cambridge.
I have not the least notion where I went or what I saw, but I suppose
that it was up and down the ugly east and west avenues, then lying open
to the eye in all the hideousness now partly concealed by the elevated
roads, and that I found them very stately and handsome. Indeed, New York
was really handsomer then than it is now, when it has so many more pieces
of beautiful architecture, for at that day the skyscrapers were not yet,
and there was a fine regularity in the streets that these brute bulks
have robbed of all shapeliness. Dirt and squalor there were a plenty,
but there was infinitely more comfort. The long succession of cross
streets was yet mostly secure from business, after you passed Clinton
Place; commerce was just beginning to show itself in Union Square, and
Madison Square was still the home of the McFlimsies, whose kin and kind
dwelt unmolested in the brownstone stretches of Fifth Avenue. I tried
hard to imagine them from the acquaintance Mr. Butler's poem had given
me, and from the knowledge the gentle satire of The 'Potiphar Papers' had
spread broadcast through a community shocked by the excesses of our best
society; it was not half so bad then as the best now, probably. But I do
not think I made very much of it, perhaps because most of the people who
ought to have been in those fine mansions were away at the seaside and
the mountains.
The mountains I had seen on my way down from Canada, but the sea-side
not, and it would never do to go home without visiting some famous summer
resort. I must have fixed upon Long Branch because I must have heard of
it as then the most fashionable; and one afternoon I took the boat for
that place. By this means I not only saw sea-bathing for the first time,
but I saw a storm at sea: a squall struck us so suddenly that it blew
away all the camp-stools of the forward promenade; it was very exciting,
and I long meant to use in literature the black wall of cloud that
settled on the water before us like a sort of portable midnight; I now
throw it away upon the reader, as it were; it never would come in
anywhere. I stayed all night at Long Branch, and I had a bath the next
morning before breakfast: an extremely cold one, with a life-line to keep
me against the undertow. In this rite I had the company of a young New-
Yorker, whom I had met on the boat coming down, and who was of the light,
hopeful, adventurous business type which seems peculiar to the city, and
which has always attracted me. He told me much about his life, and how
he lived, and what it cost him to live. He had a large room at a
fashionable boardinghouse, and he paid fourteen dollars a week.
In Columbus I had such a room at such a house, and paid three and a half,
and I thought it a good deal. But those were the days before the war,
when America was the cheapest country in the world, and the West was
incredibly inexpensive.
After a day of lonely splendor at this scene of fashion and gaiety,
I went back to New York, and took the boat for Albany on my way home.
I noted that I had no longer the vivid interest in nature and human
nature which I had felt in setting out upon my travels, and I said to
myself that this was from having a mind so crowded with experiences and
impressions that it could receive no more; and I really suppose that if
the happiest phrase had offered itself to me at some moments, I should
scarcely have looked about me for a landscape or a figure to fit it to.
I was very glad to get back to my dear little city in the West (I found
it seething in an August sun that was hot enough to have calcined the
limestone State House), and to all the friends I was so fond of.
IV.
I did what I could to prove myself unworthy of them by refusing their
invitations, and giving myself wholly to literature, during the early
part of the winter that followed; and I did not realize my error till the
invitations ceased to come, and I found myself in an unbroken
intellectual solitude. The worst of it was that an ungrateful Muse did
little in return for the sacrifices I made her, and the things I now
wrote were not liked by the editors I sent them to. The editorial taste
is not always the test of merit, but it is the only one we have, and I am
not saying the editors were wrong in my case. There were then such a
very few places where you could market your work: the Atlantic in Boston
and Harper's in New York were the magazines that paid, though the
Independent newspaper bought literary material; the Saturday Press
printed it without buying, and so did the old Knickerbocker Magazine,
though there was pecuniary good-will in both these cases. I toiled much
that winter over a story I had long been writing, and at last sent it to
the Atlantic, which had published five poems for me the year before.
After some weeks, or it may have been months, I got it back with a note
saying that the editors had the less regret in returning it because they
saw that in the May number of the Knickerbocker the first chapter of the
story had appeared. Then I remembered that, years before, I had sent
this chapter to that magazine, as a sketch to be printed by itself, and
afterwards had continued the story from it. I had never heard of its
acceptance, and supposed of course that it was rejected; but on my second
visit to New York I called at the Knickerbocker office, and a new editor,
of those that the magazine was always having in the days of its failing
fortunes, told me that he had found my sketch in rummaging about in a
barrel of his predecessors manuscripts, and had liked it, and printed
it. He said that there were fifteen dollars coming to me for that
sketch, and might he send the money to me? I said that he might, though
I do not see, to this day, why he did not give it me on the spot; and he
made a very small minute in a very large sheet of paper (really like Dick
Swiveller), and promised I should have it that night; but I sailed the
next day for Liverpool without it. I sailed without the money for some
verses that Vanity Fair bought of me, but I hardly expected that, for the
editor, who was then Artemus Ward, had frankly told me in taking my
address that ducats were few at that moment with Vanity Fair.
I was then on my way to be consul at Venice, where I spent the next four
years in a vigilance for Confederate privateers which none of them ever
surprised. I had asked for the consulate at Munich, where I hoped to
steep myself yet longer in German poetry, but when my appointment came,
I found it was for Rome. I was very glad to get Rome even; but the
income of the office was in fees, and I thought I had better go on to
Washington and find out how much the fees amounted to. People in
Columbus who had been abroad said that on five hundred dollars you could
live in Rome like a prince, but I doubted this; and when I learned at the
State Department that the fees of the Roman consulate came to only three
hundred, I perceived that I could not live better than a baron, probably,
and I despaired. The kindly chief of the consular bureau said that the
President's secretaries, Mr. John Nicolay and Mr. John Hay, were
interested in my appointment, and he advised my going over to the White
House and seeing them. I lost no time in doing that, and I learned that
as young Western men they were interested in me because I was a young
Western man who had done something in literature, and they were willing
to help me for that reason, and for no other that I ever knew. They
proposed my going to Venice; the salary was then seven hundred and fifty,
but they thought they could get it put up to a thousand. In the end they
got it put up to fifteen hundred, and so I went to Venice, where if I did
not live like a prince on that income, I lived a good deal more like a
prince than I could have done at Rome on a fifth of it.
If the appointment was not present fortune, it was the beginning of the
best luck I have had in the world, and I am glad to owe it all to those
friends of my verse, who could have been no otherwise friends of me.
They were then beginning very early careers of distinction which have not
been wholly divided. Mr. Nicolay could have been about twenty-five, and
Mr. Hay nineteen or twenty. No one dreamed as yet of the opportunity
opening to them in being so constantly near the man whose life they have
written, and with whose fame they have imperishably interwrought their
names. I remember the sobered dignity of the one, and the humorous
gaiety of the other, and how we had some young men's joking and laughing
together, in the anteroom where they received me, with the great soul
entering upon its travail beyond the closed door. They asked me if I had
ever seen the President, and I said that I had seen him at Columbus, the
year before; but I could not say how much I should like to see him again,
and thank him for the favor which I had no claim to at his hands, except
such as the slight campaign biography I had written could be thought to
have given me. That day or another, as I left my friends, I met him in
the corridor without, and he looked at the space I was part of with his
ineffably melancholy eyes, without knowing that I was the
indistinguishable person in whose "integrity and abilities he had reposed
such special confidence" as to have appointed him consul for Venice and
the ports of the Lombardo-Venetian Kingdom, though he might have
recognized the terms of my commission if I had reminded him of them.
I faltered a moment in my longing to address him, and then I decided that
every one who forebore to speak needlessly to him, or to shake his hand,
did him a kindness; and I wish I could be as sure of the wisdom of all my
past behavior as I am of that piece of it. He walked up to the
watercooler that stood in the corner, and drew himself a full goblet from
it, which he poured down his throat with a backward tilt of his head, and
then went wearily within doors. The whole affair, so simple, has always
remained one of a certain pathos in my memory, and I would rather have
seen Lincoln in that unconscious moment than on some statelier occasion.
V.
I went home to Ohio; and sent on the bond I was to file in the Treasury
Department; but it was mislaid there, and to prevent another chance of
that kind I carried on the duplicate myself. It was on my second visit
that I met the generous young Irishman William D. O'Connor, at the house
of my friend Piatt, and heard his ardent talk. He was one of the
promising men of that day, and he had written an anti-slavery novel in
the heroic mood of Victor Hugo, which greatly took my fancy; and I
believe he wrote poems too. He had not yet risen to be the chief of Walt
Whitman's champions outside of the Saturday Press, but he had already
espoused the theory of Bacon's authorship of Shakespeare, then newly
exploited by the poor lady of Bacon's name, who died constant to it in an
insane asylum. He used to speak of the reputed dramatist as "the fat
peasant of Stratford," and he was otherwise picturesque of speech in a
measure that consoled, if it did not convince. The great war was then
full upon us, and when in the silences of our literary talk its awful
breath was heard, and its shadow fell upon the hearth where we gathered
round the first fires of autumn, O'Connor would lift his beautiful head
with a fine effect of prophecy, and say, "Friends, I feel a sense of
victory in the air." He was not wrong; only the victory was for the
other aide.
Who beside O'Connor shared in these saddened symposiums I cannot tell
now; but probably other young journalists and office-holders, intending
litterateurs, since more or less extinct. I make certain only of the
young Boston publisher who issued a very handsome edition of 'Leaves of
Grass', and then failed promptly if not consequently. But I had already
met, in my first sojourn at the capital, a young journalist who had given
hostages to poetry, and whom I was very glad to see and proud to know.
Mr. Stedman and I were talking over that meeting the other day, and I can
be surer than I might have been without his memory, that I found him at a
friend's house, where he was nursing himself for some slight sickness,
and that I sat by his bed while our souls launched together into the
joyful realms of hope and praise. In him I found the quality of Boston,
the honor and passion of literature, and not a mere pose of the literary
life; and the world knows without my telling how true he has been to his
ideal of it. His earthly mission then was to write letters from
Washington for the New York World, which started in life as a good young
evening paper, with a decided religious tone, so that the Saturday Press
could call it the Night-blooming Serious. I think Mr. Stedman wrote for
its editorial page at times, and his relation to it as a Washington
correspondent had an authority which is wanting to the function in these
days of perfected telegraphing. He had not yet achieved that seat in the
Stock Exchange whose possession has justified his recourse to business,
and has helped him to mean something more single in literature than many
more singly devoted to it. I used sometimes to speak about that with
another eager young author in certain middle years when we were chafing
in editorial harness, and we always decided that Stedman had the best of
it in being able to earn his living in a sort so alien to literature that
he could come to it unjaded, and with a gust unspoiled by kindred savors.
But no man shapes his own life, and I dare say that Stedman may have been
all the time envying us our tripods from his high place in the Stock
Exchange. What is certain is that he has come to stand for literature
and to embody New York in it as no one else does. In a community which
seems never to have had a conscious relation to letters, he has kept the
faith with dignity and fought the fight with constant courage. Scholar
and poet at once, he has spoken to his generation with authority which we
can forget only in the charm which makes us forget everything else.
But his fame was still before him when we met, and I could bring to him
an admiration for work which had not yet made itself known to so many;
but any admirer was welcome. We talked of what we had done, and each
said how much he liked certain thing of the other's; I even seized my
advantage of his helplessness to read him a poem of mine which I had in
my pocket; he advised me where to place it; and if the reader will not
think it an unfair digression, I will tell here what became of that poem,
for I think its varied fortunes were amusing, and I hope my own
sufferings and final triumph with it will not be without encouragement to
the young literary endeavorer. It was a poem called, with no prophetic
sense of fitness, "Forlorn," and I tried it first with the 'Atlantic
Monthly', which would not have it. Then I offered it in person to a
former editor of 'Harper's Monthly', but he could not see his advantage
in it, and I carried it overseas to Venice with me. From that point I
sent it to all the English magazines as steadily as the post could carry
it away and bring it back. On my way home, four years later, I took it
to London with me, where a friend who knew Lewes, then just beginning
with the 'Fortnightly Review', sent it to him for me. It was promptly
returned, with a letter wholly reserved as to its quality, but full of a
poetic gratitude for my wish to contribute to the Fortnightly. Then I
heard that a certain Mr. Lucas was about to start a magazine, and I
offered the poem to him. The kindest letter of acceptance followed me to
America, and I counted upon fame and fortune as usual, when the news of
Mr. Lucas's death came. I will not poorly joke an effect from my poem in
the fact; but the fact remains. By this time I was a writer in the
office of the 'Nation' newspaper, and after I left this place to be Mr.
Fields's assistant on the Atlantic, I sent my poem to the Nation, where
it was printed at last. In such scant measure as my verses have pleased
it has found rather unusual favor, and I need not say that its
misfortunes endeared it to its author.
But all this is rather far away from my first meeting with Stedman in
Washington. Of course I liked him, and I thought him very handsome and
fine, with a full beard cut in the fashion he has always worn it, and
with poet's eyes lighting an aquiline profile. Afterwards, when I saw
him afoot, I found him of a worldly splendor in dress, and envied him,
as much as I could envy him anything, the New York tailor whose art had
clothed him: I had a New York tailor too, but with a difference. He had
a worldly dash along with his supermundane gifts, which took me almost as
much, and all the more because I could see that he valued himself nothing
upon it. He was all for literature, and for literary men as the
superiors of every one. I must have opened my heart to him a good deal,
for when I told him how the newspaper I had written for from Canada and
New England had ceased to print my letters, he said, "Think of a man like
sitting in judgment on a man like you!" I thought of it, and was avenged
if not comforted; and at any rate I liked Stedman's standing up so
stiffly for the honor of a craft that is rather too limp in some of its
votaries.
I suppose it was he who introduced me to the Stoddards, whom I met in New
York just before I sailed, and who were then in the glow of their early
fame as poets. They knew about my poor beginnings, and they were very,
very good to me. Stoddard went with me to Franklin Square, and gave the
sanction of his presence to the ineffectual offer of my poem there.
But what I relished most was the long talks I had with them both about
authorship in all its phases, and the exchange of delight in this poem
and that, this novel and that, with gay, wilful runs away to make some
wholly irrelevant joke, or fire puns into the air at no mark whatever.
Stoddard had then a fame, with the sweetness of personal affection in it,
from the lyrics and the odes that will perhaps best keep him known, and
Mrs. Stoddard was beginning to make her distinct and special quality felt
in the magazines, in verse and fiction. In both it seems to me that she
has failed of the recognition which her work merits. Her tales and
novels have in them a foretaste of realism, which was too strange for the
palate of their day, and is now too familiar, perhaps. It is a peculiar
fate, and would form the scheme of a pretty study in the history of
literature. But in whatever she did she left the stamp of a talent like
no other, and of a personality disdainful of literary environment. In a
time when most of us had to write like Tennyson, or Longfellow, or
Browning, she never would write like any one but herself.
I remember very well the lodging over a corner of Fourth Avenue and some
downtown street where I visited these winning and gifted people, and
tasted the pleasure of their racy talk, and the hospitality of their
good-will toward all literature, which certainly did not leave me out.
We sat before their grate in the chill of the last October days, and they
set each other on to one wild flight of wit after another, and again I
bathed my delighted spirit in the atmosphere of a realm where for the
time at least no
"----rumor of oppression or defeat,
Of unsuccessful or successful war,"
could penetrate. I liked the Stoddards because they were frankly not of
that Bohemia which I disliked so much, and thought it of no promise or
validity; and because I was fond of their poetry and found them in it.
I liked the absolutely literary keeping of their lives. He had then,
and for long after, a place in the Custom house, but he was no more of
that than Lamb was of India House. He belonged to that better world
where there is no interest but letters, and which was as much like heaven
for me as anything I could think of.
The meetings with the Stoddards repeated themselves when I came back to
sail from New York, early in November. Mixed up with the cordial
pleasure of them in my memory is a sense of the cold and wet outdoors,
and the misery of being in those infamous New York streets, then as for
long afterwards the squalidest in the world. The last night I saw my
friends they told me of the tragedy which had just happened at the camp
in the City Hall Park. Fitz James O'Brien, the brilliant young Irishman
who had dazzled us with his story of "The Diamond Lens," and frozen our
blood with his ingenious tale of a ghost--"What was It"--a ghost that
could be felt and heard, but not seen--had enlisted for the war, and
risen to be an officer with the swift process of the first days of it.
In that camp he had just then shot and killed a man for some infraction
of discipline, and it was uncertain what the end would be. He was
acquitted, however, and it is known how he afterwards died of lockjaw
from a wound received in battle.
VI.
Before this last visit in New York there was a second visit to Boston,
which I need not dwell upon, because it was chiefly a revival of the
impressions of the first. Again I saw the Fieldses in their home; again
the Autocrat in his, and Lowell now beneath his own roof, beside the
study fire where I was so often to sit with him in coming years. At
dinner (which we had at two o'clock) the talk turned upon my appointment,
and he said of me to his wife: "Think of his having got Stillman's place!
We ought to put poison in his wine," and he told me of the wish the
painter had to go to Venice and follow up Ruskin's work there in a book
of his own. But he would not let me feel very guilty, and I will not
pretend that I had any personal regret for my good fortune.
The place was given me perhaps because I had not nearly so many other
gifts as he who lost it, and who was at once artist, critic, journalist,
traveller, and eminently each. I met him afterwards in Rome, which the
powers bestowed upon him instead of Venice, and he forgave me, though I
do not know whether he forgave the powers. We walked far and long over
the Campagna, and I felt the charm of a most uncommon mind in talk which
came out richest and fullest in the presence of the wild nature which he
loved and knew so much better than most other men. I think that the book
he would have written about Venice is forever to be regretted, and I do
not at all console myself for its loss with the book I have written
myself.
At Lowell's table that day they spoke of what sort of winter I should
find in Venice, and he inclined to the belief that I should want a fire
there. On his study hearth a very brisk one burned when we went back to
it, and kept out the chill of a cold easterly storm. We looked through
one of the windows at the rain, and he said he could remember standing
and looking out of that window at such a storm when he was a child; for
he was born in that house, and his life had kept coming back to it. He
died in it, at last.
In a lifting of the rain he walked with me down to the village, as he
always called the denser part of the town about Harvard Square, and saw
me aboard a horse-car for Boston. Before we parted he gave me two
charges: to open my mouth when I began to speak Italian, and to think
well of women. He said that our race spoke its own tongue with its teeth
shut, and so failed to master the languages that wanted freer utterance.
As to women, he said there were unworthy ones, but a good woman was the
best thing in the world, and a man was always the better for honoring
women.
ETEXT EDITOR'S BOOKMARKS:
Abstract, the air-drawn, afflicted me like physical discomforts
Bayard Taylor: incomparable translation of Faust
Became gratefully strange
Best talkers are willing that you should talk if you like
Charles Reade
Could easily believe now that it was some one else who saw it
Death of the joy that ought to come from work
Did not feel the effect I would so willingly have experienced
Dinner was at the old-fashioned Boston hour of two
Edward Everett Hale
Either to deny the substance of things unseen, or to affirm it
Emerson
Espoused the theory of Bacon's authorship of Shakespeare
Feigned the gratitude which I could see that he expected
First dinner served in courses that I had sat down to
Forbearance of a wise man content to bide his time
Forebore to speak needlessly to him, or to shake his hand
Hate of hate, the scorn of scorn, The love of love
Heine
Hollowness, the hopelessness, the unworthiness of life
I did not know, and I hated to ask
I find this young man worthy
If he was half as bad, he would have been too bad to be
If he was not there to your touch, it was no fault of his
In the South there was nothing but a mistaken social ideal
Incredible in their insipidity
Industrial slavery
Lincoln
Love of freedom and the hope of justice
Lowell
Man who had so much of the boy in him
Men who took themselves so seriously as that need
Met with kindness, if not honor
Might so far forget myself as to be a novelist
Napoleonic height which spiritually overtops the Alps
Never paid in anything but hopes of paying
Not quite himself till he had made you aware of his quality
Odious hilarity, without meaning and without remission
Praised extravagantly, and in the wrong place
Quebec was a bit of the seventeenth century
Remember the dinner-bell
Seen through the wrong end of the telescope
Stoddard
Things common to all, however peculiar in each
Thoreau
Visited one of the great mills
Welcome me, and make the least of my shyness and strangeness
Wit that tries its teeth upon everything
End of this Project Gutenberg Etext of First Visit to New England
by William Dean Howells
LITERARY FRIENDS AND ACQUAINTANCES--Roundabout to Boston
by William Dean Howells
ROUNDABOUT TO BOSTON
During the four years of my life in Venice the literary intention was
present with me at all times and in all places. I wrote many things in
verse, which I sent to the magazines in every part of the English-
speaking world, but they came unerringly back to me, except in three
instances only, when they were kept by the editors who finally printed
them. One of these pieces was published in the Atlantic Monthly; another
in Harpers Magazine; the third was got into the New York Ledger through
the kindness of Doctor Edward Everett Hale, who used I know not what
mighty magic to that end. I had not yet met him; but he interested
himself in my ballad as if it had been his own. His brother, Charles
Hale, later Consul-General for Egypt, whom I saw almost every moment of
the two visits he paid Venice in my time, had sent it to him, after
copying it in his own large, fair hand, so that it could be read.
He was not quite of that literary Boston which I so fondly remembered my
glimpses of; he was rather of a journalistic and literary Boston which I
had never known; but he was of Boston, after all. He had been in
Lowell's classes at Harvard; he had often met Longfellow in Cambridge; he
knew Doctor Holmes, of course; and he let me talk of my idols to my
heart's content. I think he must have been amused by my raptures; most
people would have been; but he was kind and patient, and he listened to
me with a sweet intelligence which I shall always gratefully remember.
He died too young, with his life's possibilities mainly unfulfilled; but
none who knew him could fail to imagine them, or to love him for what he
was.
I.
Besides those few pitiful successes, I had nothing but defeats in the
sort of literature which I supposed was to be my calling, and the defeats
threw me upon prose; for some sort of literary thing, if not one, then
another, I must do if I lived; and I began to write those studies of
Venetian life which afterwards became a book, and which I contributed as
letters to the 'Boston Advertiser', after vainly offering them to more
aesthetic periodicals. However, I do not imagine that it was a very
smiling time for any literary endeavorer at home in the life-and-death
civil war then waging. Some few young men arose who made themselves
heard amid the din of arms even as far as Venice, but most of these were
hushed long ago. I fancy Theodore Winthrop, who began to speak, as it
were, from his soldier's grave, so soon did his death follow the earliest
recognition by the public, and so many were his posthumous works, was
chief of these; but there were others whom the present readers must make
greater effort to remember. Forceythe Willson, who wrote The Old
Sergeant, became known for the rare quality of his poetry; and now and
then there came a poem from Aldrich, or Stedman, or Stoddard. The great
new series of the 'Biglow Papers' gathered volume with the force they had
from the beginning. The Autocrat was often in the pages of the Atlantic,
where one often found Whittier and Emerson, with many a fresh name now
faded. In Washington the Piatts were writing some of the most beautiful
verse of the war, and Brownell was sounding his battle lyrics like so
many trumpet blasts. The fiction which followed the war was yet all to
come. Whatever was done in any kind had some hint of the war in it,
inevitably; though in the very heart of it Longfellow was setting about
his great version of Dante peacefully, prayerfully, as he has told in the
noble sonnets which register the mood of his undertaking.
At Venice, if I was beyond the range of literary recognition I was in
direct relations with one of our greatest literary men, who was again of
that literary Boston which mainly represented American literature to me.
The official chief of the consul at Venice was the United States Minister
at Vienna, and in my time this minister was John Lothrop Motley, the
historian. He was removed, later, by that Johnson administration which
followed Lincoln's so forgottenly that I name it with a sense of
something almost prehistoric. Among its worst errors was the attempted
discredit of a man who had given lustre to our name by his work, and who
was an ardent patriot as well as accomplished scholar. He visited Venice
during my first year, which was the darkest period of the civil war, and
I remember with what instant security, not to say severity, he rebuked my
scarcely whispered misgivings of the end, when I ventured to ask him what
he thought it would be. Austria had never recognized the Secessionists
as belligerents, and in the complications with France and England there
was little for our minister but to share the home indignation at the
sympathy of those powers with the South. In Motley this was heightened
by that feeling of astonishment, of wounded faith, which all Americans
with English friendships experienced in those days, and which he, whose
English friendships were many, experienced in peculiar degree.
I drifted about with him in his gondola, and refreshed myself, long
a-hungered for such talk, with his talk of literary life in London.
Through some acquaintance I had made in Venice I was able to be of use to
him in getting documents copied for him in the Venetian Archives,
especially the Relations of the Venetian Ambassadors at different courts
during the period and events he was studying. All such papers passed
through my hands in transmission to the historian, though now I do not
quite know why they need have done so; but perhaps he was willing to give
me the pleasure of being a partner, however humble, in the enterprise.
My recollection of him is of courtesy to a far younger man unqualified by
patronage, and of a presence of singular dignity and grace. He was one
of the handsomest men I ever saw, with beautiful eyes, a fine blond beard
of modish cut, and a sensitive nose, straight and fine. He was
altogether a figure of worldly splendor; and I had reason to know that he
did not let the credit of our nation suffer at the most aristocratic
court in Europe for want of a fit diplomatic costume, when some of our
ministers were trying to make their office do its full effect upon all
occasions in "the dress of an American gentleman." The morning after his
arrival Mr. Motley came to me with a handful of newspapers which,
according to the Austrian custom at that day, had been opened in the
Venetian post-office. He wished me to protest against this on his behalf
as an infringement of his diplomatic extra-territoriality, and I proposed
to go at once to the director of the post: I had myself suffered in the
same way, and though I knew that a mere consul was helpless, I was
willing to see the double-headed eagle trodden under foot by a Minister
Plenipotentiary. Mr. Motley said that he would go with me, and we put
off in his gondola to the post-office. The director received us with the
utmost deference. He admitted the irregularity which the minister
complained of, and declared that he had no choice but to open every
foreign newspaper, to whomsoever addressed. He suggested, however, that
if the minister made his appeal to the Lieutenant-Governor of Venice,
Count Toggenburg would no doubt instantly order the exemption of his
newspapers from the general rule.
Mr. Motley said he would give himself the pleasure of calling upon the
Lieutenant-Governor, and "How fortunate," he added, when we were got back
into the gondola, "that I should have happened to bring my court dress
with me!" I did not see the encounter of the high contending powers, but
I know that it ended in a complete victory for our minister.
I had no further active relations of an official kind with Mr. Motley,
except in the case of a naturalized American citizen, whose property was
slowly but surely wasting away in the keeping of the Venetian courts.
An order had at last been given for the surrender of the remnant to the
owner; but the Lombardo-Venetian authorities insisted that this should be
done through the United States Minister at Vienna, and Mr. Motley held as
firmly that it must be done through the United States Consul at Venice.
I could only report to him from time to time the unyielding attitude of
the Civil Tribunal, and at last he consented, as he wrote, "to act
officiously, not officially, in the matter," and the hapless claimant got
what was left of his estate.
I had a glimpse of the historian afterwards in Boston, but it was only
for a moment, just before his appointment to England, where he was made
to suffer for Sumner in his quarrel with Grant. That injustice crowned
the injuries his country had done a most faithful patriot and high-
spirited gentleman, whose fame as an historian once filled the ear of the
English-speaking world. His books seemed to have been written in a
spirit already no longer modern; and I did not find the greatest of them
so moving as I expected when I came to it with all the ardor of my
admiration for the historian. William the Silent seemed to me, by his
worshipper's own showing, scarcely level with the popular movement which
he did not so much direct as follow; but it is a good deal for a prince
to be able even to follow his people; and it cannot be said that Motley
does not fully recognize the greatness of the Dutch people, though he may
see the Prince of Orange too large. The study of their character made at
least a theoretical democrat of a scholar whose instincts were not
perhaps democratic, and his sympathy with that brave little republic
between the dikes strengthened him in his fealty to the great
commonwealth between the oceans. I believe that so far as he was of any
political tradition, he was of the old Boston Whig tradition; but when I
met him at Venice he was in the glow of a generous pride in our war as a
war against slavery. He spoke of the negroes and their simple-hearted,
single-minded devotion to the Union cause in terms that an original
abolitionist might have used, at a time when original abolitionists were
not so many as they have since become.
For the rest, I fancy it was very well for us to be represented at Vienna
in those days by an ideal democrat who was also a real swell, and who was
not likely to discredit us socially when we so much needed to be well
thought of in every way.
At a court where the family of Count Schmerling, the Prime Minister,
could not be received for want of the requisite descents, it was well to
have a minister who would not commit the mistake of inviting the First
Society to meet the Second Society, as a former Envoy Extraordinary had
done, with the effect of finding himself left entirely to the Second
Society during the rest of his stay in Vienna.
II.
One of my consular colleagues under Motley was another historian, of no
such popularity, indeed, nor even of such success, but perhaps not of
inferior powers. This was Richard Hildreth, at Trieste, the author of
one of the sincerest if not the truest histories of the United States,
according to the testimony both of his liking and his misliking critics.
I have never read his history, and I speak of it only at second hand; but
I had read, before I met him, his novel of 'Archy Moore, or The White
Slave', which left an indelible impression of his imaginative verity upon
me. The impression is still so deep that after the lapse of nearly forty
years since I saw the book, I have no misgiving in speaking of it as a
powerful piece of realism. It treated passionately, intensely, though
with a superficial coldness, of wrongs now so remote from us in the
abolition of slavery that it is useless to hope it will ever beg
generally read hereafter, but it can safely be praised to any one who
wishes to study that bygone condition, and the literature which grew out
of it. I fancy it did not lack recognition in its time, altogether, for
I used to see it in Italian and French translations on the bookstalls.
I believe neither his history nor his novel brought the author more gain
than fame. He had worn himself out on a newspaper when he got his
appointment at Trieste, and I saw him in the shadow of the cloud that was
wholly to darken him before he died. He was a tall thin man, absent,
silent: already a phantom of himself, but with a scholarly serenity and
dignity amidst the ruin, when the worst came.
I first saw him at the pretty villa where he lived in the suburbs of
Trieste, and where I passed several days, and I remember him always
reading, reading, reading. He could with difficulty be roused from his
book by some strenuous appeal from his family to his conscience as a
host. The last night he sat with Paradise Lost in his hand, and nothing
could win him from it till he had finished it. Then he rose to go to
bed. Would not he bid his parting guest good-bye? The idea of farewell
perhaps dimly penetrated to him. He responded without looking round,
"They, hand in hand, with wandering steps and slow,
Through Eden took their solitary way,"
and so left the room.
I had earlier had some dealings with him as a fellow-consul concerning a
deserter from an American ship whom I inherited from my predecessor at
Venice. The man had already been four or five months in prison, and he
was in a fair way to end his life there; for it is our law that a
deserting sailor must be kept in the consul's custody till some vessel of
our flag arrives, when the consul can oblige the master to take the
deserter and let him work his passage home. Such a vessel rarely came to
Venice even in times of peace, and in times of war there was no hope of
any. So I got leave of the consul at Trieste to transfer my captive to
that port, where now and then an American ship did touch. The flag
determines the nationality of the sailor, and this unhappy wretch was
theoretically our fellow-citizen; but when he got to Trieste he made a
clean breast of it to the consul. He confessed that when he shipped
under our flag he was a deserter from a British regiment at Malta; and he
begged piteously not to be sent home to America, where he had never been
in his life, nor ever wished to be. He wished to be sent back to his
regiment at Malta, and to whatever fate awaited him there. The case
certainly had its embarrassments; but the American consul contrived to
let our presumptive compatriot slip into the keeping of the British
consul, who promptly shipped him to Malta. In view of the strained
relations between England and America at that time this was a piece of
masterly diplomacy.
Besides my old Ohio-time friend Moncure D. Conway, who paid us a visit,
and in his immediate relations with literary Boston seemed to bring the
mountain to Mahomet, I saw no one else more literary than Henry Ward
Beecher. He was passing through Venice on his way to those efforts in
England in behalf of the Union which had a certain great effect at the
time; and in the tiny parlor of our apartment on the Grand Canal, I can
still see him sitting athletic, almost pugilistic, of presence, with his
strong face, but kind, framed in long hair that swept above his massive
forehead, and fell to the level of his humorously smiling mouth. His
eyes quaintly gleamed at the things we told him of our life in the
strange place; but he only partly relaxed from his strenuous pose, and
the hands that lay upon his knees were clinched. Afterwards, as he
passed our balcony in a gondola, he lifted the brave red fez he was
wearing (many people wore the fez for one caprice or another) and saluted
our eagle and us: we were often on the balcony behind the shield to
attest the authenticity of the American eagle.
III.
Before I left Venice, however, there came a turn in my literary luck, and
from the hand I could most have wished to reverse the adverse wheel of
fortune. I had labored out with great pains a paper on recent Italian
comedy, which I sent to Lowell, then with his friend Professor Norton
jointly editor of the North American Review; and he took it and wrote me
one of his loveliest letters about it, consoling me in an instant for all
the defeat I had undergone, and making it sweet and worthy to have lived
through that misery. It is one of the hard conditions of this state that
while we can mostly make out to let people taste the last drop of
bitterness and ill-will that is in us, our love and gratitude are only
semi-articulate at the best, and usually altogether tongue-tied. As
often as I tried afterwards to tell Lowell of the benediction, the
salvation, his letter was to me, I failed. But perhaps he would not have
understood, if I had spoken out all that was in me with the fulness I
could have given a resentment. His message came after years of thwarted
endeavor, and reinstated me in the belief that I could still do something
in literature. To be sure, the letters in the Advertiser had begun to
make their impression; among the first great pleasures they brought me
was a recognition from my diplomatic chief at Vienna; but I valued my
admission to the North American peculiarly because it was Lowell let me
in, and because I felt that in his charge it must be the place of highest
honor. He spoke of the pay for my article, in his letter, and asked me
where he should send it, and I answered, to my father-in-law, who put it
in his savings-bank, where he lived, in Brattleboro, Vermont. There it
remained, and I forgot all about it, so that when his affairs were
settled some years later and I was notified that there was a sum to my
credit in the bank, I said, with the confidence I have nearly always felt
when wrong, that I had no money there. The proof of my error was sent me
in a check, and then I bethought me of the pay for "Recent Italian
Comedy."
It was not a day when I could really afford to forget money due me, but
then it was not a great deal of money. The Review was as poor as it was
proud, and I had two dollars a printed page for my paper. But this was
more than I got from the Advertiser, which gave me five dollars a column
for my letters, printed in a type so fine that the money, when translated
from greenbacks into gold at a discount of $2.80, must have been about a
dollar a thousand words. However, I was richly content with that, and
would gladly have let them have the letters for nothing.
Before I left Venice I had made my sketches into a book, which I sent on
to Messrs. Trubner & Co., in London. They had consented to look at it to
oblige my friend Conway, who during his sojourn with us in Venice, before
his settlement in London, had been forced to listen to some of it. They
answered me in due time that they would publish an edition of a thousand,
at half profits, if I could get some American house to take five hundred
copies. When I stopped in London I had so little hope of being able to
do this that I asked the Trubners if I might, without losing their offer,
try to get some other London house to publish my book. They said Yes,
almost joyously; and I began to take my manuscript about. At most places
they would not look at me or it, and they nowhere consented to read it.
The house promptest in refusing to consider it afterwards pirated one of
my novels, and with some expressions of good intention in that direction,
never paid me anything for it; though I believe the English still think
that this sort of behavior was peculiar to the American publisher in the
old buccaneering times. I was glad to go back to the Trubners with my
book, and on my way across the Atlantic I met a publisher who finally
agreed to take those five hundred copies. This was Mr. M. M. Hurd, of
Hurd & Houghton, a house then newly established in New York and
Cambridge. We played ring-toss and shuffleboard together, and became of
a friendship which lasts to this day. But it was not till some months
later, when I saw him in New York, that he consented to publish my book.
I remember how he said, with an air of vague misgiving, and an effect of
trying to justify himself in an imprudence, that it was not a great
matter anyway. I perceived that he had no faith in it, and to tell the
truth I had not much myself. But the book had an instant success, and it
has gone on from edition to edition ever since. There was just then the
interest of a not wholly generous surprise at American things among the
English. Our success in putting down the great Confederate rebellion had
caught the fancy of our cousins, and I think it was to this mood of
theirs that I owed largely the kindness they showed my book. There were
long and cordial reviews in all the great London journals, which I used
to carry about with me like love-letters; when I tried to show them to
other people, I could not understand their coldness concerning them.
At Boston, where we landed on our return home, there was a moment when it
seemed as if my small destiny might be linked at once with that of the
city which later became my home. I ran into the office of the Advertiser
to ask what had become of some sketches of Italian travel I had sent the
paper, and the managing editor made me promise not to take a place
anywhere before I had heard from him. I gladly promised, but I did not
hear from him, and when I returned to Boston a fortnight later, I found
that a fatal partner had refused to agree with him in engaging me upon
the paper. They even gave me back half a dozen unprinted letters of
mine, and I published them in the Nation, of New York, and afterwards in
the book called Italian Journeys.
But after I had encountered fortune in this frowning disguise, I had a
most joyful little visit with Lowell, which made me forget there was
anything in the world but the delight and glory of sitting with him in
his study at Elmwood and hearing him talk. It must have been my
freshness from Italy which made him talk chiefly of his own happy days in
the land which so sympathetically brevets all its lovers fellow-citizens.
At any rate he would talk of hardly anything else, and he talked late
into the night, and early into the morning. About two o'clock, when all
the house was still, he lighted a candle, and went down into the cellar,
and came back with certain bottles under his arms. I had not a very
learned palate in those days (or in these, for that matter), but I knew
enough of wine to understand that these bottles had been chosen upon that
principle which Longfellow put in verse, and used to repeat with a
humorous lifting of the eyebrows and hollowing of the voice:
"If you have a friend to dine,
Give him your best wine;
If you have two,
The second-best will do."
As we sat in their mellow afterglow, Lowell spoke to me of my own life
and prospects, wisely and truly, as he always spoke. He said that it was
enough for a man who had stuff in him to be known to two or three people,
for they would not suffer him to be forgotten, and it would rest with
himself to get on. I told him that though I had not given up my place at
Venice, I was not going back, if I could find anything to do at home,
and I was now on my way to Ohio, where I should try my best to find
something; at the worst, I could turn to my trade of printer. He did not
think it need ever come to that; and he said that he believed I should
have an advantage with readers, if not with editors, in hailing from the
West; I should be more of a novelty. I knew very well that even in my
own West I should not have this advantage unless I appeared there with an
Eastern imprint, but I could not wish to urge my misgiving against his
faith. Was I not already richly successful? What better thing
personally could befall me, if I lived forever after on milk and honey,
than to be sitting there with my hero, my master, and having him talk to
me as if we were equal in deed and in fame?
The cat-bird called in the syringa thicket at his door, before we said
the good-night which was good morning, using the sweet Italian words, and
bidding each other the 'Dorma bene' which has the quality of a
benediction. He held my hand, and looked into my eyes with the sunny
kindness which never failed me, worthy or unworthy; and I went away to
bed. But not to sleep; only to dream such dreams as fill the heart of
youth when the recognition of its endeavor has come from the achievement
it holds highest and best.
IV.
I found nothing to do in Ohio; some places that I heard of proved
impossible one way or another, in Columbus and Cleveland, and Cincinnati;
there was always the fatal partner; and after three weeks I was again in
the East. I came to New York, resolved to fight my way in, somewhere,
and I did not rest a moment before I began the fight.
My notion was that which afterwards became Bartley Hubbard's. "Get a
basis," said the softening cynic of the Saturday Press, when I advised
with him, among other acquaintances. "Get a salaried place, something
regular on some paper, and then you can easily make up the rest." But it
was a month before I achieved this vantage, and then I got it in a
quarter where I had not looked for it. I wrote editorials on European
and literary topics for different papers, but mostly for the Times, and
they paid me well and more than well; but I was nowhere offered a basis,
though once I got so far towards it as to secure a personal interview
with the editor-in-chief, who made me feel that I had seldom met so busy
a man. He praised some work of mine that he had read in his paper, but I
was never recalled to his presence; and now I think he judged rightly
that I should not be a lastingly good journalist. My point of view was
artistic; I wanted time to prepare my effects.
There was another and clearer prospect opened to me on a literary paper,
then newly come to the light, but long since gone out in the dark. Here
again my work was taken, and liked so much that I was offered the basis
(at twenty dollars a week) that I desired; I was even assigned to a desk
where I should write in the office; and the next morning I came joyfully
down to Spruce Street to occupy it. But I was met at the door by one of
the editors, who said lightly, as if it were a trifling affair, "Well,
we've concluded to waive the idea of an engagement," and once more my
bright hopes of a basis dispersed themselves. I said, with what calm
I could, that they must do what they thought best, and I went on
skirmishing baselessly about for this and the other papers which had been
buying my material.
I had begun printing in the 'Nation' those letters about my Italian
journeys left over from the Boston Advertiser; they had been liked in the
office, and one day the editor astonished and delighted me by asking how
I would fancy giving up outside work to come there and write only for the
'Nation'. We averaged my gains from all sources at forty dollars a week,
and I had my basis as unexpectedly as if I had dropped upon it from the
skies.
This must have been some time in November, and the next three or four
months were as happy a time for me as I have ever known. I kept on
printing my Italian material in the Nation; I wrote criticisms for it
(not very good criticisms, I think now), and I amused myself very much
with the treatment of social phases and events in a department which grew
up under my hand. My associations personally were of the most agreeable
kind. I worked with joy, with ardor, and I liked so much to be there, in
that place and in that company, that I hated to have each day come to an
end.
I believed that my lines were cast in New York for good and all; and I
renewed my relations with the literary friends I had made before going
abroad. I often stopped, on my way up town, at an apartment the
Stoddards had in Lafayette Place, or near it; I saw Stedman, and reasoned
high, to my heart's content, of literary things with them and him.
With the winter Bayard Taylor came on from his home in Kennett and took
an apartment in East Twelfth Street, and once a week Mrs. Taylor and he
received all their friends there, with a simple and charming hospitality.
There was another house which we much resorted to--the house of James
Lorrimer Graham, afterwards Consul-General at Florence, where he died.
I had made his acquaintance at Venice three years before, and I came in
for my share of that love for literary men which all their perversities
could not extinguish in him. It was a veritable passion, which I used to
think he could not have felt so deeply if he had been a literary man
himself. There were delightful dinners at his house, where the wit of
the Stoddards shone, and Taylor beamed with joyous good-fellowship and
overflowed with invention; and Huntington, long Paris correspondent of
the Tribune, humorously tried to talk himself into the resolution of
spending the rest of his life in his own country. There was one evening
when C. P. Cranch, always of a most pensive presence and aspect, sang the
most killingly comic songs; and there was another evening when, after we
all went into the library, something tragical happened. Edwin Booth was
of our number, a gentle, rather silent person in company, or with at
least little social initiative, who, as his fate would, went up to the
cast of a huge hand that lay upon one of the shelves. "Whose hand is
this, Lorry?" he asked our host, as he took it up and turned it over in
both his own hands. Graham feigned not to hear, and Booth asked again,
"whose hand is this?" Then there was nothing for Graham but to say,
"It's Lincoln's hand," and the man for whom it meant such unspeakable
things put it softly down without a word.
V.
It was one of the disappointments of a time which was nearly all joy that
I did not then meet a man who meant hardly less than Lowell himself for
me. George William Curtis was during my first winter in New York away on
one of the long lecturing rounds to which he gave so many of his winters,
and I did not see him till seven years afterwards, at Mr. Norton's in
Cambridge. He then characteristically spent most of the evening in
discussing an obscure point in Browning's poem of 'My Last Duchess'.
I have long forgotten what the point was, but not the charm of Curtis's
personality, his fine presence, his benign politeness, his almost
deferential tolerance of difference in opinion. Afterwards I saw him
again and again in Boston and New York, but always with a sense of
something elusive in his graciousness, for which something in me must
have been to blame. Cold, he was not, even to the youth that in those
days was apt to shiver in any but the higher temperatures, and yet I felt
that I made no advance in his kindness towards anything like the
friendship I knew in the Cambridge men. Perhaps I was so thoroughly
attuned to their mood that I could not be put in unison with another; and
perhaps in Curtis there was really not the material of much intimacy.
He had the potentiality of publicity in the sort of welcome he gave
equally to all men; and if I asked more I was not reasonable. Yet he was
never far from any man of good-will, and he was the intimate of
multitudes whose several existence he never dreamt of. In this sort he
had become my friend when he made his first great speech on the Kansas
question in 1855, which will seen as remote to the young men of this day
as the Thermopylae question to which he likened it. I was his admirer,
his lover, his worshipper before that for the things he had done in
literature, for the 'Howadji' books, and for the lovely fantasies of
'Prue and I', and for the sound-hearted satire of the 'Potiphar Papers',
and now suddenly I learnt that this brilliant and graceful talent, this
travelled and accomplished gentleman, this star of society who had
dazzled me with his splendor far off in my Western village obscurity, was
a man with the heart to feel the wrongs of men so little friended then as
to be denied all the rights of men. I do not remember any passage of the
speech, or any word of it, but I remember the joy, the pride with which
the soul of youth recognizes in the greatness it has honored the goodness
it may love. Mere politicians might be pro-slavery or anti-slavery
without touching me very much, but here was the citizen of a world far
greater than theirs, a light of the universal republic of letters, who
was willing and eager to stand or fall with the just cause, and that was
all in all to me. His country was my country, and his kindred my
kindred, and nothing could have kept me from following after him.
His whole life taught the lesson that the world is well lost whenever the
world is wrong; but never, I think, did any life teach this so sweetly,
so winningly. The wrong world itself might have been entreated by him to
be right, for he was one of the few reformers who have not in some
measure mixed their love of man with hate of men; his quarrel was with
error, and not with the persons who were in it. He was so gently
steadfast in his opinions that no one ever thought of him as a fanatic,
though many who held his opinions were assailed as fanatics, and suffered
the shame if they did not win the palm of martyrdom. In early life he
was a communist, and then when he came out of Brook Farm into the world
which he was so well fitted to adorn, and which would so gladly have kept
him all its own, he became an abolitionist in the very teeth of the world
which abhorred abolitionists. He was a believer in the cause of women's
rights, which has no picturesqueness, and which chiefly appeals to the
sense of humor in the men who never dreamt of laughing at him. The man
who was in the last degree amiable was to the last degree unyielding
where conscience was concerned; the soul which was so tender had no
weakness in it; his lenity was the divination of a finer justice. His
honesty made all men trust him when they doubted his opinions; his good
sense made them doubt their own opinions, when they had as little
question of their own honesty.
I should not find it easy to speak of him as a man of letters only, for
humanity was above the humanities with him, and we all know how he turned
from the fairest career in literature to tread the thorny path of
politics because he believed that duty led the way, and that good
citizens were needed more than good romancers. No doubt they are,
and yet it must always be a keen regret with the men of my generation who
witnessed with such rapture the early proofs of his talent, that he could
not have devoted it wholly to the beautiful, and let others look after
the true. Now that I have said this I am half ashamed of it, for I know
well enough that what he did was best; but if my regret is mean, I will
let it remain, for it is faithful to the mood which many have been in
concerning him.
There can be no dispute, I am sure, as to the value of some of the
results he achieved in that other path. He did indeed create anew for us
the type of good-citizenship, well-nigh effaced in a sordid and selfish
time, and of an honest politician and a pure-minded journalist. He never
really forsook literature, and the world of actual interests and
experiences afforded him outlooks and perspectives, without which
aesthetic endeavor is self-limited and purblind. He was a great man of
letters, he was a great orator, he was a great political journalist, he
was a great citizen, he was a great philanthropist. But that last word
with its conventional application scarcely describes the brave and gentle
friend of men that he was. He was one that helped others by all that he
did, and said, and was, and the circle of his use was as wide as his
fame. There are other great men, plenty of them, common great men, whom
we know as names and powers, and whom we willingly let the ages have when
they die, for, living or dead, they are alike remote from us. They have
never been with us where we live; but this great man was the neighbor,
the contemporary, and the friend of all who read him or heard him; and
even in the swift forgetting of this electrical age the stamp of his
personality will not be effaced from their minds or hearts.
VI.
Of those evenings at the Taylors' in New York, I can recall best the one
which was most significant for me, and even fatefully significant.
Mr. and Mrs. Fields were there, from Boston, and I renewed all the
pleasure of my earlier meetings with them. At the end Fields said,
mockingly, "Don't despise Boston!" and I answered, as we shook hands,
"Few are worthy to live in Boston." It was New-Year's eve, and that
night it came on to snow so heavily that my horse-car could hardly plough
its way up to Forty-seventh Street through the drifts. The next day, and
the next, I wrote at home, because it was so hard to get down-town. The
third day I reached the office and found a letter on my desk from Fields,
asking how I should like to come to Boston and be his assistant on the
'Atlantic Monthly'. I submitted the matter at once to my chief on the
'Nation', and with his frank goodwill I talked it over with Mr. Osgood,
of Ticknor & Fields, who was to see me further about it if I wished, when
he came to New York; and then I went to Boston to see Mr. Fields
concerning details. I was to sift all the manuscripts and correspond
with contributors; I was to do the literary proof-reading of the
magazine; and I was to write the four or five pages of book-notices,
which were then printed at the end of the periodical in finer type; and I
was to have forty dollars a week. I said that I was getting that already
for less work, and then Mr. Fields offered me ten dollars more. Upon
these terms we closed, and on the 1st of March, which was my twenty-ninth
birthday, I went to Boston and began my work. I had not decided to
accept the place without advising with Lowell; he counselled the step,
and gave me some shrewd and useful suggestions. The whole affair was
conducted by Fields with his unfailing tact and kindness, but it could
not be kept from me that the qualification I had as practical printer for
the work was most valued, if not the most valued, and that as proof-
reader I was expected to make it avail on the side of economy. Somewhere
in life's feast the course of humble-pie must always come in; and if I
did not wholly relish this, bit of it, I dare say it was good for me, and
I digested it perfectly.
ETEXT EDITOR'S BOOKMARKS:
Act officiously, not officially
Confidence I have nearly always felt when wrong
George William Curtis
Give him your best wine
Longfellow
Love and gratitude are only semi-articulate at the best
Made all men trust him when they doubted his opinions
Motley
Quarrel was with error, and not with the persons who were in it
The world is well lost whenever the world is wrong
Women's rights
End of this Project Gutenberg Etext of Roundabout to Boston
by William Dean Howells
LITERARY FRIENDS AND ACQUAINTANCES--Literary Boston As I Knew It
by William Dean Howells
LITERARY BOSTON AS I KNEW IT
Among my fellow-passengers on the train from New York to Boston, when I
went to begin my work there in 1866, as the assistant editor of the
Atlantic Monthly, was the late Samuel Bowles, of the Springfield
Republican, who created in a subordinate city a journal of metropolitan
importance. I had met him in Venice several years earlier, when he was
suffering from the cruel insomnia which had followed his overwork on that
newspaper, and when he told me that he was sleeping scarcely more than
one hour out of the twenty-four. His worn face attested the misery which
this must have been, and which lasted in some measure while he lived,
though I believe that rest and travel relieved him in his later years.
He was always a man of cordial friendliness, and he now expressed a most
gratifying interest when I told him what I was going to do in Boston.
He gave himself the pleasure of descanting upon the dramatic quality of
the fact that a young newspaper man from Ohio was about to share in the
destinies of the great literary periodical of New England.
I.
I do not think that such a fact would now move the fancy of the liveliest
newspaper man, so much has the West since returned upon the East in a
refluent wave of authorship. But then the West was almost an unknown
quality in our literary problem; and in fact there was scarcely any
literature outside of New England. Even this was of New England origin,
for it was almost wholly the work of New England men and women in the
"splendid exile" of New York. The Atlantic Monthly, which was
distinctively literary, was distinctively a New England magazine, though
from the first it had been characterized by what was more national, what
was more universal, in the New England temperament. Its chief
contributors for nearly twenty years were Longfellow, Lowell, Holmes,
Whittier, Emerson, Doctor Hale, Colonel Higginson, Mrs. Stowe, Whipple,
Rose Terry Cooke, Mrs. Julia Ward Howe, Mrs. Prescott Spofford, Mrs.
Phelps Ward, and other New England writers who still lived in New
England, and largely in the region of Boston. Occasionally there came a
poem from Bryant, at New York, from Mr. Stedman, from Mr. Stoddard and
Mrs. Stoddard, from Mr. Aldrich, and from Bayard Taylor. But all these,
except the last, were not only of New England race, but of New England
birth. I think there was no contributor from the South but Mr. M. D.
Conway, and as yet the West scarcely counted, though four young poets
from Ohio, who were not immediately or remotely of Puritan origin, had
appeared in early numbers; Alice Cary, living with her sister in New
York, had written now and then from the beginning. Mr. John Hay solely
represented Illinois by a single paper, and he was of Rhode Island stock.
It was after my settlement at Boston that Mark Twain, of Missouri, became
a figure of world-wide fame at Hartford; and longer after, that Mr. Bret
Harte made that progress Eastward from California which was telegraphed
almost from hour to hour, as if it were the progress of a prince.
Miss Constance F. Woolson had not yet begun to write. Mr. James
Whitcomb Riley, Mr. Maurice Thompson, Miss Edith Thomas, Octave Thanet,
Mr. Charles Warren Stoddard, Mr. H. B. Fuller, Mrs. Catherwood,
Mr. Hamlin Garland, all whom I name at random among other Western
writers, were then as unknown as Mr. Cable, Miss Murfree, Mrs. Rives
Chanler, Miss Grace King, Mr. Joel Chandler Harris, Mr. Thomas Nelson
Page, in the South, which they by no means fully represent.
The editors of the Atlantic had been eager from the beginning to discover
any outlying literature; but, as I have said, there was in those days
very little good writing done beyond the borders of New England. If the
case is now different, and the best known among living American writers
are no longer New-Englanders, still I do not think the South and West
have yet trimmed the balance; and though perhaps the news writers now
more commonly appear in those quarters, I should not be so very sure that
they are not still characterized by New England ideals and examples.
On the other hand, I am very sure that in my early day we were
characterized by them, and wished to be so; we even felt that we failed
in so far as we expressed something native quite in our own way.
The literary theories we accepted were New England theories,
the criticism we valued was New England criticism, or, more strictly
speaking, Boston theories, Boston criticism.
Of those more constant contributors to the Atlantic whom I have
mentioned, it is of course known that Longfellow and Lowell lived in
Cambridge, Emerson at Concord, and Whittier at Amesbury. Colonel
Higginson was still and for many years afterwards at Newport; Mrs. Stowe
was then at Andover; Miss Prescott of Newburyport had become Mrs.
Spofford, and was presently in Boston, where her husband was a member of
the General Court; Mrs. Phelps Ward, as Miss Elizabeth Stuart Phelps,
dwelt in her father's house at Andover. The chief of the Bostonians were
Mrs. Julia Ward Howe, Doctor Holmes, and Doctor Hale. Yet Boston stood
for the whole Massachusetts group, and Massachusetts, in the literary
impulse, meant New England. I suppose we must all allow, whether we like
to do so or not, that the impulse seems now to have pretty well spent
itself. Certainly the city of Boston has distinctly waned in literature,
though it has waxed in wealth and population. I do not think there are
in Boston to-day even so many talents with a literary coloring in law,
science, theology, and journalism as there were formerly; though I have
no belief that the Boston talents are fewer or feebler than before.
I arrived in Boston, however, when all talents had more or less a
literary coloring, and when the greatest talents were literary. These
expressed with ripened fulness a civilization conceived in faith and
brought forth in good works; but that moment of maturity was the
beginning of a decadence which could only show itself much later. New
England has ceased to be a nation in itself, and it will perhaps never
again have anything like a national literature; but that was something
like a national literature; and it will probably be centuries yet before
the life of the whole country, the American life as distinguished from
the New England life, shall have anything so like a national literature.
It will be long before our larger life interprets itself in such
imagination as Hawthorne's, such wisdom as Emerson's, such poetry as
Longfellow's, such prophecy as Whittier's, such wit and grace as
Holmes's, such humor and humanity as Lowell's.
The literature of those great men was, if I may suffer myself the figure,
the Socinian graft of a Calvinist stock. Their faith, in its varied
shades, was Unitarian, but their art was Puritan. So far as it was
imperfect--and great and beautiful as it was, I think it had its
imperfections--it was marred by the intense ethicism that pervaded the
New England mind for two hundred years, and that still characterizes it.
They or their fathers had broken away from orthodoxy in the great schism
at the beginning of the century, but, as if their heterodoxy were
conscience-stricken, they still helplessly pointed the moral in all they
did; some pointed it more directly, some less directly; but they all
pointed it. I should be far from blaming them for their ethical
intention, though I think they felt their vocation as prophets too much
for their good as poets. Sometimes they sacrificed the song to the
sermon, though not always, nor nearly always. It was in poetry and in
romance that they excelled; in the novel, so far as they attempted it,
they failed. I say this with the names of all the Bostonian group, and
those they influenced, in mind, and with a full sense of their greatness.
It may be ungracious to say that they have left no heirs to their
peculiar greatness; but it would be foolish to say that they left an
estate where they had none to bequeath. One cannot take account of such
a fantasy as Judd's Margaret. The only New-Englander who has attempted
the novel on a scale proportioned to the work of the New-Englanders in
philosophy, in poetry, in romance, is Mr. De Forest, who is of New Haven,
and not of Boston. I do not forget the fictions of Doctor Holmes, or the
vivid inventions of Doctor Hale, but I do not call them novels; and I do
not forget the exquisitely realistic art of Miss Jewett or Miss Wilkins,
which is free from the ethicism of the great New England group, but which
has hardly the novelists's scope. New England, in Hawthorne's work,
achieved supremacy in romance; but the romance is always an allegory,
and the novel is a picture in which the truth to life is suffered to do
its unsermonized office for conduct; and New England yet lacks her
novelist, because it was her instinct and her conscience in fiction to be
true to an ideal of life rather than to life itself.
Even when we come to the exception that proves the rule, even to such a
signal exception as 'Uncle Tom's Cabin', I think that what I say holds
true. That is almost the greatest work of imagination that we have
produced in prose, and it is the work of a New England woman, writing
from all the inspirations and traditions of New England. It is like
begging the question to say that I do not call it a novel, however; but
really, is it a novel, in the sense that 'War and Peace' is a novel, or
'Madame Flaubert', or 'L'Assommoir', or 'Phineas Finn', or 'Dona
Perfecta', or 'Esther Waters', or 'Marta y Maria', or 'The Return of the
Native', or 'Virgin Soil', or 'David Grieve'? In a certain way it is
greater than any of these except the first; but its chief virtue, or its
prime virtue, is in its address to the conscience, and not its address to
the taste; to the ethical sense, not the aesthetical sense.
This does not quite say the thing, but it suggests it, and I should be
sorry if it conveyed to any reader a sense of slight; for I believe no
one has felt more deeply than myself the value of New England in
literature. The comparison of the literary situation at Boston to the
literary situation at Edinburgh in the times of the reviewers has never
seemed to me accurate or adequate, and it holds chiefly in the fact that
both seem to be of the past. Certainly New York is yet no London in
literature, and I think Boston was once vastly more than Edinburgh ever
was, at least in quality. The Scotch literature of the palmy days was
not wholly Scotch, and even when it was rooted in Scotch soil it flowered
in the air of an alien speech. But the New England literature of the
great day was the blossom of a New England root; and the language which
the Bostonians wrote was the native English of scholars fitly the heirs
of those who had brought the learning of the universities to
Massachusetts Bay two hundred years before, and was of as pure a lineage
as the English of the mother-country.
III.
The literary situation which confronted me when I came to Boston was,
then, as native as could well be; and whatever value I may be able to
give a personal study of it will be from the effect it made upon me as
one strange in everything but sympathy. I will not pretend that I saw it
in its entirety, and I have no hope of presenting anything like a
kinetoscopic impression of it. What I can do is to give here and there a
glimpse of it; and I shall wish the reader to keep in mind the fact that
it was in a "state of transition," as everything is always and
everywhere. It was no sooner recognizably native than it ceased to be
fully so; and I became a witness of it after the change had begun. The
publishing house which so long embodied New England literature was
already attempting enterprises out of the line of its traditions, and one
of these had brought Mr. T. B. Aldrich from New York, a few weeks before
I arrived upon the scene in that dramatic quality which I think never
impressed any one but Mr. Bowles. Mr. Aldrich was the editor of 'Every
Saturday' when I came to be assistant editor of the Atlantic Monthly.
We were of nearly the same age, but he had a distinct and distinguished
priority of reputation, insomuch that in my Western remoteness I had
always ranged him with such elders and betters of mine as Holmes and
Lowell, and never imagined him the blond, slight youth I found him, with
every imaginable charm of contemporaneity. It is no part of the office
which I have intended for these slight and sufficiently wandering
glimpses of the past to show any writer in his final place; and above all
I do not presume to assign any living man his rank or station. But I
should be false to my own grateful sense of beauty in the work of this
poet if I did not at all times recognize his constancy to an ideal which
his name stands for. He is known in several kinds, but to my thinking he
is best in a certain nobler kind of poetry; a serious sort in which the
thought holds him above the scrupulosities of the art he loves and honors
so much. Sometimes the file slips in his hold, as the file must and
will; it is but an instrument at the best; but there is no mistouch in
the hand that lays itself upon the reader's heart with the pulse of the
poet's heart quick and true in it. There are sonnets of his, grave, and
simple, and lofty, which I think of with the glow and thrill possible
only from very beautiful poetry, and which impart such an emotion as we
can feel only
"When a great thought strikes along the brain
And flushes all the cheek."
When I had the fortune to meet him first, I suppose that in the employ of
the kindly house we were both so eager to serve, our dignities were about
the same; for if the 'Atlantic Monthly' was a somewhat prouder affair
than an eclectic weekly like 'Every Saturday', he was supreme in his
place, and I was subordinate in mine. The house was careful, in the
attitude of its senior partner, not to distinguish between us, and we
were not slow to perceive the tact used in managing us; we had our own
joke of it; we compared notes to find whether we were equally used in
this thing or that; and we promptly shared the fun of our discovery with
Fields himself.
We had another impartial friend (no less a friend of joy in the life
which seems to have been pretty nearly all joy, as I look back upon it)
in the partner who became afterwards the head of the house, and who
forecast in his bold enterprises the change from a New England to an
American literary situation. In the end James R. Osgood failed, though
all his enterprises succeeded. The anomaly is sad, but it is not
infrequent. They were greater than his powers and his means, and before
they could reach their full fruition, they had to be enlarged to men of
longer purse and longer patience. He was singularly fitted both by
instinct and by education to become a great publisher; and he early
perceived that if a leading American house were to continue at Boston,
it must be hospitable to the talents of the whole country. He founded
his future upon those generous lines; but he wanted the qualities as well
as the resources for rearing the superstructure. Changes began to follow
each other rapidly after he came into control of the house. Misfortune
reduced the size and number of its periodicals. 'The Young Folks' was
sold outright, and the 'North American Review' (long before Mr. Rice
bought it and carried it to New York) was cut down one-half, so that
Aldrich said, it looked as if Destiny had sat upon it. His own
periodical, 'Every Saturday', was first enlarged to a stately quarto and
illustrated; and then, under stress of the calamities following the great
Boston fire, It collapsed to its former size. Then both the 'Atlantic
Monthly' and 'Every Saturday' were sold away from their old ownership,
and 'Every Saturday' was suppressed altogether, and we two ceased to be
of the same employ. There was some sort of evening rite (more funereal
than festive) the day after they were sold, and we followed Osgood away
from it, under the lamps. We all knew that it was his necessity that had
caused him to part with the periodicals; but he professed that it was his
pleasure, and he said he had not felt so light-hearted since he was a
boy. We asked him, How could he feel gay when he was no longer paying us
our salaries, and how could he justify it to his conscience? He liked
our mocking, and limped away from us with a rheumatic easing of his
weight from one foot to another: a figure pathetic now that it has gone
the way to dusty death, and dear to memory through benefactions unalloyed
by one unkindness.
IV.
But when I came to Boston early in 1866, the 'Atlantic Monthly' and
'Harper's' then divided our magazine world between them; the 'North
American Review', in the control of Lowell and Professor Norton, had
entered upon a new life; 'Every Saturday' was an instant success in the
charge of Mr. Aldrich, who was by taste and training one of the best
editors; and 'Our Young Folks' had the field of juvenile periodical
literature to itself.
It was under the direction of Miss Lucy Larcom and of Mr. J. T.
Trowbridge, who had come from western New York, where he was born, and
must be noted as one of the first returners from the setting to the
rising sun. He naturalized himself in Boston in his later boyhood, and
he still breathes Boston air, where he dwells in the street called
Pleasant, on the shore of Spy Pond, at Arlington, and still weaves the
magic web of his satisfying stories for boys. He merges in their
popularity the fame of a poet which I do not think will always suffer
that eclipse, for his poems show him to have looked deeply into the heart
of common humanity, with a true and tender sense of it.
Miss Larcom scarcely seemed to change from date to date in the generation
that elapsed between the time I first saw her and the time I saw her
last, a year or two before her death. A goodness looked out of her
comely face, which made me think of the Madonna's in Titian's
"Assumption," and her whole aspect expressed a mild and friendly spirit
which I find it hard to put in words. She was never of the fine world of
literature; she dwelt where she was born, in that unfashionable Beverly
which is not Beverly Farms, and was of a simple, sea-faring, God-fearing
race, as she has told in one of the loveliest autobiographies I know,
"A New England Girlhood." She was the author of many poems, whose number
she constantly enlarged, but she was chiefly, and will be most lastingly,
famed for the one poem, 'Hannah Binding Shoes', which years before my
days in Boston had made her so widely known. She never again struck so
deep or so true a note; but if one has lodged such a note in the ear of
time, it is enough; and if we are to speak of eternity, one might very
well hold up one's head in the fields of asphodel, if one could say to
the great others there, "I wrote Hannah Binding Shoes." Her poem is
very, very sad, as all who have read it will remember; but Miss Larcom
herself was above everything cheerful, and she had a laugh of mellow
richness which willingly made itself heard. She was not only of true New
England stock, and a Boston author by right of race, but she came up to
that city every winter from her native town.
By the same right and on the same terms, another New England poetess,
whom I met those first days in Boston, was a Boston author. When I saw
Celia Thaxter she was just beginning to make her effect with those poems
and sketches which the sea sings and flashes through as it sings and
flashes around the Isles of Shoals, her summer home, where her girlhood
had been passed in a freedom as wild as the curlew's. She was a most
beautiful creature, still very young, with a slender figure, and an
exquisite perfection of feature; she was in presence what her work was:
fine, frank, finished. I do not know whether other witnesses of our
literary history feel that the public has failed to keep her as fully in
mind as her work merited; but I do not think there can be any doubt but
our literature would be sensibly the poorer without her work. It is
interesting to remember how closely she kept to her native field, and it
is wonderful to consider how richly she made those sea-beaten rocks to
blossom. Something strangely full and bright came to her verse from the
mystical environment of the ocean, like the luxury of leaf and tint that
it gave the narrower flower-plots of her native isles. Her gift, indeed,
could not satisfy itself with the terms of one art alone, however varied,
and she learned to express in color the thoughts and feelings impatient
of the pallor of words.
She remains in my memories of that far Boston a distinct and vivid
personality; as the authoress of 'Amber Gods', and 'In a Cellar', and
'Circumstance', and those other wild romantic tales, remains the gentle
and somewhat evanescent presence I found her. Miss Prescott was now Mrs.
Spofford, and her husband was a rising young politician of the day. It
was his duties as member of the General Court that had brought them up
from Newburyport to Boston for that first winter; and I remember that the
evening when we met he was talking of their some time going to Italy that
she might study for imaginative literature certain Italian cities he
named. I have long since ceased to own those cities, but at the moment I
felt a pang of expropriation which I concealed as well as I could; and
now I heartily wish she could have fulfilled that purpose if it was a
purpose, or realized that dream if it was only a dream. Perhaps,
however, that sumptuous and glowing fancy of hers, which had taken the
fancy of the young readers of that day, needed the cold New England
background to bring out all its intensities of tint, all its splendors of
light. Its effects were such as could not last, or could not be farther
evolved; they were the expression of youth musing away from its
environment and smitten with the glories of a world afar and beyond, the
great world, the fine world, the impurpled world of romantic motives and
passions. But for what they were, I can never think them other than what
they appeared: the emanations of a rarely gifted and singularly poetic
mind. I feel better than I can say how necessarily they were the
emanations of a New England mind, and how to the subtler sense they must
impart the pathos of revolt from the colorless rigidities which are the
long result of puritanism in the physiognomy of New England life.
Their author afterwards gave herself to the stricter study of this life
in many tales and sketches which showed an increasing mastery; but they
could not have the flush, the surprise, the delight of a young talent
trying itself in a kind native and, so far as I know, peculiar to it.
From time to time I still come upon a poem of hers which recalls that
earlier strain of music, of color, and I am content to trust it for my
abiding faith in the charm of things I have not read for thirty years.
V.
I speak of this one and that, as it happens, and with no thought of
giving a complete prospect of literary Boston thirty years ago. I am
aware that it will seem sparsely peopled in the effect I impart, and I
would have the reader always keep in mind the great fames at Cambridge
and at Concord, which formed so large a part of the celebrity of Boston.
I would also like him to think of it as still a great town, merely, where
every one knew every one else, and whose metropolitan liberation from
neighborhood was just begun.
Most distinctly of that yet uncitified Boston was the critic Edwin P.
Whipple, whose sympathies were indefinitely wider than his traditions.
He was a most generous lover of all that was excellent in literature; and
though I suppose we should call him an old-fashioned critic now, I
suspect it would be with no distinct sense of what is newer fashioned.
He was certainly as friendly to what promised well in the younger men as
he was to what was done well in their elders; and there was no one
writing in his day whose virtues failed of his recognition, though it
might happen that his foibles would escape Whipple's censure. He wrote
strenuously and of course conscientiously; his point of view was solely
and always that which enabled him best to discern qualities. I doubt if
he had any theory of criticism except to find out what was good in an
author and praise it; and he rather blamed what was ethically bad than
what was aesthetically bad. In this he was strictly of New England, and
he was of New England in a certain general intelligence, which constantly
grew with an interrogative habit of mind.
He liked to talk to you of what he had found characteristic in your work,
to analyze you to yourself; and the very modesty of the man, which made
such a study impersonal as far as he was concerned, sometimes rendered
him insensible to the sufferings of his subject. He had a keen
perception of humor in others, but he had very little humor; he had a
love of the beautiful in literature which was perhaps sometimes greater
than his sense of it.
I write from a cursory acquaintance with his work, not recently renewed.
Of the presence of the man I have a vivider remembrance: a slight, short,
ecclesiasticized figure in black; with a white neckcloth and a silk hat
of strict decorum, and between the two a square face with square
features, intensified in their regard by a pair of very large glasses,
and the prominent, myopic eyes staring through them. He was a type of
out-dated New England scholarship in these aspects, but in the hospitable
qualities of his mind and heart, the sort of man to be kept fondly in the
memory of all who ever knew him.
Out of the vague of that far-off time another face and figure, as
essentially New En&land as this, and yet so different, relieve
themselves. Charles F. Browne, whose drollery wafted his pseudonym as
far as the English speech could carry laughter, was a Westernized Yankee.
He added an Ohio way of talking to the Maine way of thinking, and he so
became a literary product of a rarer and stranger sort than our
literature had otherwise known. He had gone from Cleveland to London,
with intervals of New York and the lecture platform, four or five years
before I saw him in Boston, shortly after I went there. We had met in
Ohio, and he had personally explained to me the ducatless well-meaning of
Vanity Fair in New York; but many men had since shaken the weary hand of
Artemus Ward when I grasped it one day in front of the Tremont Temple.
He did not recognize me, but he gave me at once a greeting of great
impersonal cordiality, with "How do you do? When did you come?" and
other questions that had no concern in them, till I began to dawn upon
him through a cloud of other half remembered faces. Then he seized my
hand and wrung it all over again, and repeated his friendly demands with
an intonation that was now "Why, how are you; how are you?" for me alone.
It was a bit of comedy, which had the fit pathetic relief of his
impending doom: this was already stamped upon his wasted face, and his
gay eyes had the death-look. His large, loose mouth was drawn, for all
its laughter at the fact which he owned; his profile, which burlesqued.
an eagle's, was the profile of a drooping eagle; his lank length of limb
trembled away with him when we parted. I did not see him again;
I scarcely heard of him till I heard of his death, and this sad image
remains with me of the humorist who first gave the world a taste of the
humor which characterizes the whole American people.
I was meeting all kinds of distinguished persons, in my relation to the
magazine, and early that winter I met one who remains in my mind above
all others a person of distinction. He was scarcely a celebrity, but he
embodied certain social traits which were so characteristic of literary
Boston that it could not be approached without their recognition.
The Muses have often been acknowledged to be very nice young persons,
but in Boston they were really ladies; in Boston literature was of good
family and good society in a measure it has never been elsewhere.
It might be said even that reform was of good family in Boston;
and literature and reform equally shared the regard of Edmund Quincy,
whose race was one of the most aristocratic in New England. I had known
him by his novel of 'Wensley' (it came so near being a first-rate novel),
and by his Life of Josiah Quincy, then a new book, but still better by
his Boston letters to the New York Tribune. These dealt frankly, in the
old anti-slavery days between 1850 and 1860, with other persons of
distinction in Boston, who did not see the right so clearly as Quincy
did, or who at least let their interests darken them to the ugliness of
slavery. Their fault was all the more comical because it was the error
of men otherwise so correct, of characters so stainless, of natures so
upright; and the Quincy letters got out of it all the fun there was in
it. Quincy himself affected me as the finest patrician type I had ever
met. He was charmingly handsome, with a nose of most fit aquilinity,
smooth-shaven lips, "educated whiskers," and perfect glasses; his manner
was beautiful, his voice delightful, when at our first meeting he made me
his reproaches in terms of lovely kindness for having used in my
'Venetian Life' the Briticism 'directly' for 'as soon as.'
Lowell once told me that Quincy had never had any calling or profession,
because when he found himself in the enjoyment of a moderate income on
leaving college, he decided to be simply a gentleman. He was too much of
a man to be merely that, and he was an abolitionist, a journalist, and
for conscience' sake a satirist. Of that political mood of society which
he satirized was an eminent man whom it was also my good fortune to meet
in my early days in Boston; and if his great sweetness and kindness had
not instantly won my liking, I should still have been glad of the glimpse
of the older and statelier Boston which my slight acquaintance with
George Ticknor gave me. The historian of Spanish literature, the friend
and biographer of Prescott, and a leading figure of the intellectual
society of an epoch already closed, dwelt in the fine old square brick
mansion which yet stands at the corner of Park Street and Beacon, though
sunk now to a variety of business uses, and lamentably changed in aspect.
The interior was noble, and there was an air of scholarly quiet and of
lettered elegance in the library, where the host received his guests,
which seemed to pervade the whole house, and which made its appeal to the
imagination of one of them most potently. It seemed to me that to be
master of such circumstance and keeping would be enough of life in a
certain way; and it all lingers in my memory yet, as if it were one with
the gentle courtesy which welcomed me.
Among my fellow-guests one night was George S. Hillard, now a faded
reputation, and even then a life defeated of the high expectation of its
youth. I do not know whether his 'Six Months in Italy' still keeps
itself in print; but it was a book once very well known; and he was
perhaps the more gracious to me, as our host was, because of our common
Italian background. He was of the old Silver-gray Whig society too, and
I suppose that order of things imparted its tone to what I felt and saw
in that place. The civil war had come and gone, and that order accepted
the result if not with faith, then with patience. There were two young
English noblemen there that night, who had been travelling in the South,
and whose stories of the wretched conditions they had seen moved our host
to some open misgiving. But the Englishmen had no question; in spite of
all, they defended the accomplished fact, and when I ventured to say that
now at least there could be a hope of better things, while the old order
was only the perpetuation of despair, he mildly assented, with a gesture
of the hand that waived the point, and a deeply sighed, "Perhaps;
perhaps."
He was a presence of great dignity, which seemed to recall the past with
a steadfast allegiance, and yet to relax itself towards the present in
the wisdom of the accumulated years. His whole life had been passed in
devotion to polite literature and in the society of the polite world; and
he was a type of scholar such as only the circumstances of Boston could
form. Those circumstances could alone form such another type as Quincy;
and I wish I could have felt then as I do now the advantage of meeting
them so contemporaneously.
VII.
The historian of Spanish literature was an old man nearer eighty than
seventy when I saw him, and I recall of him personally his dark tint,
and the scholarly refinement of his clean-shaven face, which seemed to me
rather English than American in character. He was quite exterior to the
Atlantic group of writers, and had no interest in me as one of it.
Literary Boston of that day was not a solidarity, as I soon perceived;
and I understood that it was only in my quality of stranger that I saw
the different phases of it. I should not be just to a vivid phase if I
failed to speak of Mrs. Julia Ward Howe and the impulse of reform which
she personified. I did not sympathize with this then so much as I do
now, but I could appreciate it on the intellectual side. Once, many
years later, I heard Mrs. Howe speak in public, and it seemed to me that
she made one of the best speeches I had ever heard. It gave me for the
first time a notion of what women might do in that sort if they entered
public life; but when we met in those earlier days I was interested in
her as perhaps our chief poetess. I believe she did not care much to
speak of literature; she was alert for other meanings in life, and I
remember how she once brought to book a youthful matron who had perhaps
unduly lamented the hardships of housekeeping, with the sharp demand,
"Child, where is your religion?" After the many years of an acquaintance
which had not nearly so many meetings as years, it was pleasant to find
her, at the latest, as strenuous as ever for the faith of works, and as
eager to aid Stepniak as John Brown. In her beautiful old age she
survives a certain literary impulse of Boston, but a still higher impulse
of Boston she will not survive, for that will last while the city
endures.
VIII.
The Cambridge men were curiously apart from others that formed the great
New England group, and with whom in my earlier ignorance I had always
fancied them mingling. Now and then I met Doctor Holmes at Longfellow's
table, but not oftener than now and then, and I never saw Emerson in
Cambridge at all except at Longfellow's funeral. In my first years on
the Atlantic I sometimes saw him, when he would address me some grave,
rather retrorsive civilities, after I had been newly introduced to him,
as I had always to be on these occasions. I formed the belief that he
did not care for me, either in my being or doing, and I am far from
blaming him for that: on such points there might easily be two opinions,
and I was myself often of the mind I imagined in him.
If Emerson forgot me, it was perhaps because I was not of those qualities
of things which even then, it was said, he could remember so much better
than things themselves. In his later years I sometimes saw him in the
Boston streets with his beautiful face dreamily set, as he moved like one
to whose vision
"Heaven opens inward, chasms yawn,
Vast images in glimmering dawn,
Half shown, are broken and withdrawn."
It is known how before the end the eclipse became total and from moment
to moment the record inscribed upon his mind was erased. Some years
before he died I sat between him and Mrs. Rose Terry Cooke, at an
'Atlantic Breakfast' where it was part of my editorial function to
preside. When he was not asking me who she was, I could hear him asking
her who I was. His great soul worked so independently of memory as we
conceive it, and so powerfully and essentially, that one could not help
wondering if; after all, our personal continuity, our identity hereafter,
was necessarily trammeled up with our enduring knowledge of what happens
here. His remembrance absolutely ceased with an event, and yet his
character, his personality, his identity fully persisted.
I do not know, whether the things that we printed for Emerson after his
memory began to fail so utterly were the work of earlier years or not,
but I know that they were of his best. There were certain poems which
could not have been more electly, more exquisitely his, or fashioned with
a keener and juster self-criticism. His vision transcended his time so
far that some who have tired themselves out in trying to catch up with
him have now begun to say that he was no seer at all; but I doubt if
these form the last court of appeal in his case. In manner, he was very
gentle, like all those great New England men, but he was cold, like many
of them, to the new-comer, or to the old-comer who came newly. As I have
elsewhere recorded, I once heard him speak critically of Hawthorne, and
once he expressed his surprise at the late flowering brilliancy of
Holmes's gift in the Autocrat papers after all his friends supposed it
had borne its best fruit. But I recall no mention of Longfellow, or
Lowell, or Whittier from him. At a dinner where the talk glanced upon
Walt Whitman he turned to me as perhaps representing the interest
posterity might take in the matter, and referred to Whitman's public use
of his privately written praise as something altogether unexpected. He
did not disown it or withdraw it, but seemed to feel (not indignantly)
that there had been an abuse of it.
IX.
The first time I saw Whittier was in Fields's room at the publishing
office, where I had come upon some editorial errand to my chief. He
introduced me to the poet: a tall, spare figure in black of Quaker cut,
with a keen, clean-shaven face, black hair, and vivid black eyes. It was
just after his poem, 'Snow Bound', had made its great success, in the
modest fashion of those days, and had sold not two hundred thousand but
twenty thousand, and I tried to make him my compliment. I contrived to
say that I could not tell him how much I liked it; and he received the
inadequate expression of my feeling with doubtless as much effusion as he
would have met something more explicit and abundant. If he had judged
fit to take my contract off my hands in any way, I think he would have
been less able to do so than any of his New England contemporaries.
In him, as I have suggested, the Quaker calm was bound by the frosty
Puritanic air, and he was doubly cold to the touch of the stranger,
though he would thaw out to old friends, and sparkle in laugh and joke.
I myself never got so far with him as to experience this geniality,
though afterwards we became such friends as an old man and a young man
could be who rarely met. Our better acquaintance began with some talk,
at a second meeting, about Bayard Taylor's 'Story of Kennett', which had
then lately appeared, and which he praised for its fidelity to Quaker
character in its less amiable aspects. No doubt I had made much of my
own Quaker descent (which I felt was one of the few things I had to be
proud of), and he therefore spoke the more frankly of those traits of
brutality into which the primitive sincerity of the sect sometimes
degenerated. He thought the habit of plain-speaking had to be jealously
guarded to keep it from becoming rude-speaking, and he matched with
stories of his own some things I had heard my father tell of Friends in
the backwoods who were Foes to good manners.
Whittier was one of the most generous of men towards the work of others,
especially the work of a new man, and if I did anything that he liked,
I could count upon him for cordial recognition. In the quiet of his
country home at Danvers he apparently read all the magazines, and kept
himself fully abreast of the literary movement, but I doubt if he so
fully appreciated the importance of the social movement. Like some
others of the great anti-slavery men, he seemed to imagine that mankind
had won itself a clear field by destroying chattel slavery, and he had.
no sympathy with those who think that the man who may any moment be out
of work is industrially a slave. This is not strange; so few men last
over from one reform to another that the wonder is that any should, not
that one should not. Whittier was prophet for one great need of the
divine to man, and he spoke his message with a fervor that at times was
like the trembling of a flame, or the quivering of midsummer sunshine.
It was hard to associate with the man as one saw him, still, shy, stiff,
the passion of his verse. This imbued not only his antislavery
utterances, but equally his ballads of the old witch and Quaker
persecution, and flashed a far light into the dimness where his
interrogations of Mystery pierced. Whatever doubt there can be of the
fate of other New England poets in the great and final account, it seems
to me that certain of these pieces make his place secure.
There is great inequality in his work, and I felt this so strongly that
when I came to have full charge of the Magazine, I ventured once to
distinguish. He sent me a poem, and I had the temerity to return it, and
beg him for something else. He magnanimously refrained from all show of
offence, and after a while, when he had printed the poem elsewhere,
he gave me another. By this time, I perceived that I had been wrong,
not as to the poem returned, but as to my function regarding him and such
as he. I had made my reflections, and never again did I venture to pass
upon what contributors of his quality sent me. I took it and printed it,
and praised the gods; and even now I think that with such men it was not
my duty to play the censor in the periodical which they had made what it
was. They had set it in authority over American literature, and it was
not for me to put myself in authority over them. Their fame was in their
own keeping, and it was not my part to guard it against them.
After that experience I not only practised an eager acquiescence in their
wish to reach the public through the Atlantic, but I used all the
delicacy I was master of in bowing the way to them. Sometimes my utmost
did not avail, or more strictly speaking it did not avail in one instance
with Emerson. He had given me upon much entreaty a poem which was one of
his greatest and best, but the proof-reader found a nominative at odds
with its verb. We had some trouble in reconciling them, and some other
delays, and meanwhile Doctor Holmes offered me a poem for the same
number. I now doubted whether I should get Emerson's poem back in time
for it, but unluckily the proof did come back in time, and then I had to
choose between my poets, or acquaint them with the state of the case, and
let them choose what I should do. I really felt that Doctor Holmes had
the right to precedence, since Emerson had withheld his proof so long
that I could not count upon it; but I wrote to Emerson, and asked (as
nearly as I can remember) whether he would consent to let me put his poem
over to the next number, or would prefer to have it appear in the same
number with Doctor Holmes's; the subjects were cognate, and I had my
misgivings. He wrote me back to "return the proofs and break up the
forms." I could not go to this iconoclastic extreme with the
electrotypes of the magazine, but I could return the proofs. I did so,
feeling that I had done my possible, and silently grieving that there
could be such ire in heavenly minds.
X.
Emerson, as I say, I had once met in Cambridge, but Whittier never;
and I have a feeling that poet as Cambridge felt him to be, she had her
reservations concerning him. I cannot put these into words which would
not oversay them, but they were akin to those she might have refined upon
in regard to Mrs. Stowe. Neither of these great writers would have
appeared to Cambridge of the last literary quality; their fame was with a
world too vast to be the test that her own
"One entire and perfect crysolite"
would have formed. Whittier in fact had not arrived at the clear
splendor of his later work without some earlier turbidity; he was still
from time to time capable of a false rhyme, like morn and dawn. As for
the author of 'Uncle Tom's Cabin' her syntax was such a snare to her that
it sometimes needed the combined skill of all the proof-readers and the
assistant editor to extricate her. Of course, nothing was ever written
into her work, but in changes of diction, in correction of solecisms, in
transposition of phrases, the text was largely rewritten on the margin of
her proofs. The soul of her art was present, but the form was so often
absent, that when it was clothed on anew, it would have been hard to say
whose cut the garment was of in many places. In fact, the proof-reading
of the 'Atlantic Monthly' was something almost fearfully scrupulous and
perfect. The proofs were first read by the under proof-reader in the
printing-office; then the head reader passed them to me perfectly clean
as to typography, with his own abundant and most intelligent comments on
the literature; and then I read them, making what changes I chose, and
verifying every quotation, every date, every geographical and
biographical name, every foreign word to the last accent, every technical
and scientific term. Where it was possible or at all desirable the proof
was next submitted to the author. When it came back to me, I revised it,
accepting or rejecting the author's judgment according as he was entitled
by his ability and knowledge or not to have them. The proof now went to
the printers for correction; they sent it again to the head reader, who
carefully revised it and returned it again to me. I read it a second
time, and it was again corrected. After this it was revised in the
office and sent to the stereotyper, from whom it came to the head reader
for a last revision in the plates.
It would not do to say how many of the first American writers owed their
correctness in print to the zeal of our proof-reading, but I may say that
there were very few who did not owe something. The wisest and ablest
were the most patient and grateful, like Mrs. Stowe, under correction;
it was only the beginners and the more ignorant who were angry; and
almost always the proof-reading editor had his way on disputed points.
I look back now, with respectful amazement at my proficiency in detecting
the errors of the great as well as the little. I was able to discover
mistakes even in the classical quotations of the deeply lettered Sumner,
and I remember, in the earliest years of my service on the Atlantic,
waiting in this statesman's study amidst the prints and engravings that
attested his personal resemblance to Edmund Burke, with his proofs in my
hand and my heart in my mouth, to submit my doubts of his Latinity. I
forget how he received them; but he was not a very gracious person.
Mrs. Stowe was a gracious person, and carried into age the inalienable
charm of a woman who must have been very, charming earlier. I met her
only at the Fieldses' in Boston, where one night I witnessed a
controversy between her and Doctor Holmes concerning homoeopathy and
allopathy which lasted well through dinner. After this lapse of time,
I cannot tell how the affair ended, but I feel sure of the liking with
which Mrs. Stowe inspired me. There was something very simple, very
motherly in her, and something divinely sincere. She was quite the
person to take 'au grand serieux' the monstrous imaginations of Lady
Byron's jealousy and to feel it on her conscience to make public report
of them when she conceived that the time had come to do so.
In Francis Parkman I knew much later than in some others a
differentiation of the New England type which was not less
characteristic. He, like so many other Boston men of letters, was of
patrician family, and of those easy fortunes which Clio prefers her sons
to be of; but he paid for these advantages by the suffering in which he
wrought at what is, I suppose, our greatest history. He wrought at it
piecemeal, and sometimes only by moments, when the terrible head aches
which tormented him, and the disorder of the heart which threatened his
life, allowed him a brief respite for the task which was dear to him.
He must have been more than a quarter of a century in completing it, and
in this time, as he once told me, it had given him a day-laborer's wages;
but of course money was the least return he wished from it. I read the
regularly successive volumes of 'The Jesuits in North America, The Old
Regime in Canada', the 'Wolfe and Montcalm', and the others that went to
make up the whole history with a sufficiently noisy enthusiasm, and our
acquaintance began by his expressing his gratification with the praises
of them that I had put in print. We entered into relations as
contributor and editor, and I know that he was pleased with my eagerness
to get as many detachable chapters from the book in hand as he could give
me for the magazine, but he was of too fine a politeness to make this the
occasion of his first coming to see me. He had walked out to Cambridge,
where I then lived, in pursuance of a regimen which, I believe, finally
built up his health; that it was unsparing, I can testify from my own
share in one of his constitutionals in Boston, many years later.
His experience in laying the groundwork for his history, and his
researches in making it thorough, were such as to have liberated him to
the knowledge of other manners and ideals, but he remained strictly a
Bostonian, and as immutably of the Boston social and literary faith as
any I knew in that capital of accomplished facts. He had lived like an
Indian among the wild Western tribes; he consorted with the Canadian
archaeologists in their mousings among the colonial archives of their
fallen state; every year he went to Quebec or Paris to study the history
of New France in the original documents; European society was open to him
everywhere; but he had those limitations which I nearly always found in
the Boston men, I remember his talking to me of 'The Rise of Silas
Lapham', in a somewhat troubled and uncertain strain, and interpreting
his rise as the achievement of social recognition, without much or at all
liking it or me for it. I did not think it my part to point out that I
had supposed the rise to be a moral one; and later I fell under his
condemnation for certain high crimes and misdemeanors I had been guilty
of against a well-known ideal in fiction. These in fact constituted
lese-majesty of romanticism, which seemed to be disproportionately dear
to a man who was in his own way trying to tell the truth of human nature
as I was in mine. His displeasures passed, however, and my last meeting
with our greatest historian, as I think him, was of unalloyed
friendliness. He came to me during my final year in Boston for nothing
apparently but to tell me of his liking for a book of mine describing
boy-life in Southern Ohio a half-century ago. He wished to talk about
many points of this, which he found the same as his own boylife in the
neighborhood of Boston; and we could agree that the life of the Anglo-
Saxon boy was pretty much the same everywhere. He had helped himself
into my apartment with a crutch, but I do not remember how he had fallen
lame. It was the end of his long walks, I believe, and not long
afterwards I had the grief to read of his death. I noticed that perhaps
through his enforced quiet, he had put on weight; his fine face was full;
whereas when I first knew him he was almost delicately thin of figure and
feature. He was always of a distinguished presence, and his face had a
great distinction.
It had not the appealing charm I found in the face of James Parton,
another historian I knew earlier in my Boston days. I cannot say how
much his books, once so worthily popular, are now known but I have an
abiding sense of their excellence. I have not read the 'Life of
Voltaire', which was the last, but all the rest, from the first, I have
read, and if there are better American biographies than those of Franklin
or of Jefferson, I could not say where to find them. The Greeley and the
Burr were younger books, and so was the Jackson, and they were not nearly
so good; but to all the author had imparted the valuable humanity in
which he abounded. He was never of the fine world of literature, the
world that sniffs and sneers, and abashes the simpler-hearted reader.
But he was a true artist, and English born as he was, he divined American
character as few Americans have done. He was a man of eminent courage,
and in the days when to be an agnostic was to be almost an outcast, he
had the heart to say of the Mysteries, that he did not know. He outlived
the condemnation that this brought, and I think that no man ever came
near him without in some measure loving him. To me he was of a most
winning personality, which his strong, gentle face expressed, and a cast
in the eye which he could not bring to bear directly upon his vis-a-vis,
endeared. I never met him without wishing more of his company, for he
seldom failed to say something to whatever was most humane and most
modern in me. Our last meeting was at Newburyport, whither he had long
before removed from New York, and where in the serene atmosphere of the
ancient Puritan town he found leisure and inspiration for his work.
He was not then engaged upon any considerable task, and he had aged and
broken somewhat. But the old geniality, the old warmth glowed in him,
and made a summer amidst the storm of snow that blinded the wintry air
without. A new light had then lately come into my life, by which I saw
all things that did not somehow tell for human brotherhood dwarfish and
ugly, and he listened, as I imagined, to what I had to say with the
tolerant sympathy of a man who has been a long time thinking those
things, and views with a certain amusement the zeal of the fresh
discoverer.
There was yet another historian in Boston, whose acquaintance I made
later than either Parkman's or Parton's, and whose very recent death
leaves me with the grief of a friend. No ones indeed, could meet John
Codman Ropes without wishing to be his friend, or without finding a
friend in him. He had his likes and his dislikes, but he could have had
no enmities except for evil and meanness. I never knew a man of higher
soul, of sweeter nature, and his whole life was a monument of character.
It cannot wound him now to speak of the cruel deformity which came upon
him in his boyhood, and haunted all his after days with suffering. His
gentle face showed the pain which is always the part of the hunchback,
but nothing else in him confessed a sense of his affliction, and the
resolute activity of his mind denied it in every way. He was, as is well
known, a very able lawyer, in full practice, while he was making his
studies of military history, and winning recognition for almost unique
insight and thoroughness in that direction, though I believe that when he
came to embody the results in those extraordinary volumes recording the
battles of our civil war, he retired from the law in some measure. He
knew these battles more accurately than the generals who fought them, and
he was of a like proficiency in the European wars from the time of
Napoleon down to our own time. I have heard a story, which I cannot
vouch for, that when foreknowledge of his affliction, at the outbreak of
our civil war, forbade him to be a soldier, he became a student of
soldiership, and wreaked in that sort the passion of his most gallant
spirit. But whether this was true or not, it is certain that he pursued
the study with a devotion which never blinded him to the atrocity of war.
Some wars he could excuse and even justify, but for any war that seemed
wanton or aggressive, he had only abhorrence.
The last summer of a score that I had known him, we sat on the veranda of
his cottage at York Harbor, and looked out over the moonlit sea, and he
talked of the high and true things, with the inextinguishable zest for
the inquiry which I always found in him, though he was then feeling the
approaches of the malady which was so soon to end all groping in these
shadows for him. He must have faced the fact with the same courage and
the same trust with which he faced all facts. From the first I found him
a deeply religious man, not only in the ecclesiastical sense, but in the
more mystical meanings of the word, and he kept his faith as he kept his
youth to the last. Every one who knew him, knows how young he was in
heart, and how he liked to have those that were young in years about him.
He wished to have his house in Boston, as well as his cottage at York,
full of young men and young girls, whose joy of life he made his own, and
whose society he preferred to his contemporaries'. One could not blame
him for that, or for seeking the sun, wherever he could, but it would be
a false notion of him to suppose that his sympathies were solely or
chiefly with the happy. In every sort, as I knew him, he was fine and
good. The word is not worthy of him, after some of its uses and
associations, but if it were unsmutched by these, and whitened to its
primitive significance, I should say he was one of the most perfect
gentlemen I ever knew.
ETEXT EDITOR'S BOOKMARKS:
Celia Thaxter
Charles F. Browne
Dawn upon him through a cloud of other half remembered faces
Edmund Quincy
Ethical sense, not the aesthetical sense
Few men last over from one reform to another
Francis Parkman
Generous lover of all that was excellent in literature
Got out of it all the fun there was in it
Greeting of great impersonal cordiality
Grieving that there could be such ire in heavenly minds
His remembrance absolutely ceased with an event
Julia Ward Howe
Looked as if Destiny had sat upon it
Man who may any moment be out of work is industrially a slave
Pathos of revolt from the colorless rigidities
Plain-speaking or Rude Speaking
Pointed the moral in all they did
Sometimes they sacrificed the song to the sermon
Tired themselves out in trying to catch up with him
True to an ideal of life rather than to life itself
Wasted face, and his gay eyes had the death-look
When to be an agnostic was to be almost an outcast
Whitman's public use of his privately written praise
End of this Project Gutenberg Etext of Literary Boston
by William Dean Howells
LITERARY FRIENDS AND ACQUAINTANCES--Oliver Wendell Holmes
by William Dean Howells
OLIVER WENDELL HOLMES
Elsewhere we literary folk are apt to be such a common lot, with
tendencies here and there to be a shabby lot; we arrive from all sorts of
unexpected holes and corners of the earth, remote, obscure; and at the
best we do so often come up out of the ground; but at Boston we were of
ascertained and noted origin, and good part of us dropped from the skies.
Instead of holding horses before the doors of theatres; or capping verses
at the plough-tail; or tramping over Europe with nothing but a flute in
the pocket; or walking up to the metropolis with no luggage but the MS.
of a tragedy; or sleeping in doorways or under the arches of bridges; or
serving as apothecaries' 'prentices--we were good society from the
beginning. I think this was none the worse for us, and it was vastly the
better for good society.
Literature in Boston, indeed, was so respectable, and often of so high a
lineage, that to be a poet was not only to be good society, but almost to
be good family. If one names over the men who gave Boston her supremacy
in literature during that Unitarian harvest-time of the old Puritanic
seed-time which was her Augustan age, one names the people who were and
who had been socially first in the city ever since the self-exile of the
Tories at the time of the Revolution. To say Prescott, Motley, Parkman,
Lowell, Norton, Higginson, Dana, Emerson, Channing, was to say patrician,
in the truest and often the best sense, if not the largest. Boston was
small, but these were of her first citizens, and their primacy, in its
way, was of the same quality as that, say, of the chief families of
Venice. But these names can never have the effect for the stranger that
they had for one to the manner born. I say had, for I doubt whether in
Boston they still mean all that they once meant, and that their
equivalents meant in science, in law, in politics. The most famous, if
not the greatest of all the literary men of Boston, I have not mentioned
with them, for Longfellow was not of the place, though by his sympathies
and relations he became of it; and I have not mentioned Oliver Wendell
Holmes, because I think his name would come first into the reader's
thought with the suggestion of social quality in the humanities.
Holmes was of the Brahminical caste which his humorous recognition
invited from its subjectivity in the New England consciousness into the
light where all could know it and own it, and like Longfellow he was
allied to the patriciate of Boston by the most intimate ties of life.
For a long time, for the whole first period of his work, he stood for
that alone, its tastes, its prejudices, its foibles even, and when he
came to stand in his 'second period, for vastly, for infinitely more,
and to make friends with the whole race, as few men have ever done,
it was always, I think, with a secret shiver of doubt, a backward look of
longing, and an eye askance. He was himself perfectly aware of this at
times, and would mark his several misgivings with a humorous sense of the
situation. He was essentially too kind to be of a narrow world, too
human to be finally of less than humanity, too gentle to be of the finest
gentility. But such limitations as he had were in the direction I have
hinted, or perhaps more than hinted; and I am by no means ready to make a
mock of them, as it would be so easy to do for some reasons that he has
himself suggested. To value aright the affection which the old Bostonian
had for Boston one must conceive of something like the patriotism of men
in the times when a man's city was a man's country, something Athenian,
something Florentine. The war that nationalized us liberated this love
to the whole country, but its first tenderness remained still for Boston,
and I suppose a Bostonian still thinks of himself first as a Bostonian
and then as an American, in a way that no New-Yorker could deal with
himself. The rich historical background dignifies and ennobles the
intense public spirit of the place, and gives it a kind of personality.
II.
In literature Doctor Holmes survived all the Bostonians who had given the
city her primacy in letters, but when I first knew him there was no
apparent ground for questioning it. I do not mean now the time when I
visited New England, but when I came to live near Boston, and to begin
the many happy years which I spent in her fine, intellectual air.
I found time to run in upon him, while I was there arranging to take my
place on the Atlantic Monthly, and I remember that in this brief moment
with him he brought me to book about some vaunting paragraph in the
'Nation' claiming the literary primacy for New York. He asked me if I
knew who wrote it, and I was obliged to own that I had written it myself,
when with the kindness he always showed me he protested against my
position. To tell the truth, I do not think now I had any very good
reasons for it, and I certainly could urge none that would stand against
his. I could only fall back upon the saving clause that this primacy was
claimed mainly if not wholly for New York in the future. He was willing
to leave me the connotations of prophecy, but I think he did even this
out of politeness rather than conviction, and I believe he had always a
sensitiveness where Boston was concerned, which could not seem ungenerous
to any generous mind. Whatever lingering doubt of me he may have had,
with reference to Boston, seemed to satisfy itself when several years
afterwards he happened to speak of a certain character in an early novel
of mine, who was not quite the kind of Bostonian one could wish to be.
The thing came up in talk with another person, who had referred to my
Bostonian, and the doctor had apparently made his acquaintance in the
book, and not liked him. "I understood, of course," he said, "that he
was a Bostonian, not the Bostonian," and I could truthfully answer that
this was by all means my own understanding too.
His fondness for his city, which no one could appreciate better than
myself, I hope, often found expression in a burlesque excess in his
writings, and in his talk perhaps oftener still. Hard upon my return
from Venice I had a half-hour with him in his old study on Charles
Street, where he still lived in 1865, and while I was there a young man
came in for the doctor's help as a physician, though he looked so very
well, and was so lively and cheerful, that I have since had my doubts
whether he had not made a pretext for a glimpse of him as the Autocrat.
The doctor took him upon his word, however, and said he had been so long
out of practice that he could not do anything for him, but he gave him
the address of another physician, somewhere near Washington Street.
"And if you don't know where Washington Street is," he said, with a gay
burst at a certain vagueness which had come into the young man's face,
"you don't know anything."
We had been talking of Venice, and what life was like there, and he made
me tell him in some detail. He was especially interested in what I had
to say of the minute subdivision and distribution of the necessaries,
the small coins, and the small values adapted to their purchase,
the intensely retail character, in fact, of household provisioning;
and I could see how he pleased himself in formulating the theory that the
higher a civilization the finer the apportionment of the demands and
supplies. The ideal, he said, was a civilization in which you could buy
two cents' worth of beef, and a divergence from this standard was towards
barbarism.
The secret of the man who is universally interesting is that he is
universally interested, and this was, above all, the secret of the charm
that Doctor Holmes had for every one. No doubt he knew it, for what that
most alert intelligence did not know of itself was scarcely worth
knowing. This knowledge was one of his chief pleasures, I fancy; he
rejoiced in the consciousness which is one of the highest attributes of
the highly organized man, and he did not care for the consequences in
your mind, if you were so stupid as not to take him aright. I remember
the delight Henry James, the father of the novelist, had in reporting to
me the frankness of the doctor, when he had said to him, "Holmes, you are
intellectually the most alive man I ever knew." "I am, I am," said the
doctor. "From the crown of my head to the sole of my foot, I'm alive,
I'm alive!" Any one who ever saw him will imagine the vivid relish he
had in recognizing the fact. He could not be with you a moment without
shedding upon you the light of his flashing wit, his radiant humor, and
he shone equally upon the rich and poor in mind. His gaiety of heart
could not withhold itself from any chance of response, but he did wish
always to be fully understood, and to be liked by those he liked. He
gave his liking cautiously, though, for the affluence of his sympathies
left him without the reserves of colder natures, and he had to make up
for these with careful circumspection. He wished to know the character
of the person who made overtures to his acquaintance, for he was aware
that his friendship lay close to it; he wanted to be sure that he was a
nice person, and though I think he preferred social quality in his
fellow-man, he did not refuse himself to those who had merely a sweet and
wholesome humanity. He did not like anything that tasted or smelt of
Bohemianism in the personnel of literature, but he did not mind the scent
of the new-ploughed earth, or even of the barn-yard. I recall his
telling me once that after two younger brothers-in-letters had called
upon him in the odor of an habitual beeriness and smokiness, he opened
the window; and the very last time I saw him he remembered at eighty-five
the offence he had found on his first visit to New York, when a
metropolitan poet had asked him to lunch in a basement restaurant.
III.
He seemed not to mind, however, climbing to the little apartment we had
in Boston when we came there in 1866, and he made this call upon us in
due form, bringing Mrs. Holmes with him as if to accent the recognition
socially. We were then incredibly young, much younger than I find people
ever are nowadays, and in the consciousness of our youth we felt, to the
last exquisite value of the fact, what it was to have the Autocrat come
to see us; and I believe he was not displeased to perceive this; he liked
to know that you felt his quality in every way. That first winter,
however, I did not see him often, and in the spring we went to live in
Cambridge, and thereafter I met him chiefly at Longfellow's, or when I
came in to dine at the Fieldses', in Boston. It was at certain meetings
of the Dante Club, when Longfellow read aloud his translation for
criticism, and there was supper later, that one saw the doctor; and his
voice was heard at the supper rather than at the criticism, for he was no
Italianate. He always seemed to like a certain turn of the talk toward
the mystical, but with space for the feet on a firm ground of fact this
side of the shadows; when it came to going over among them, and laying
hold of them with the band of faith, as if they were substance, he was
not of the excursion. It is well known how fervent, I cannot say devout,
a spiritualist Longfellow's brother-in-law, Appleton, was; and when he
was at the table too, it took all the poet's delicate skill to keep him
and the Autocrat from involving themselves in a cataclysmal controversy
upon the matter of manifestations. With Doctor Holmes the inquiry was
inquiry, to the last, I believe, and the burden of proof was left to the
ghosts and their friends. His attitude was strictly scientific; he
denied nothing, but he expected the supernatural to be at least as
convincing as the natural.
There was a time in his history when the popular ignorance classed him
with those who were once rudely called infidels; but the world has since
gone so fast and so far that the mind he was of concerning religious
belief would now be thought religious by a good half of the religious
world. It is true that he had and always kept a grudge against the
ancestral Calvinism which afflicted his youth; and he was through all
rises and lapses of opinion essentially Unitarian; but of the honest
belief of any one, I am sure he never felt or spoke otherwise than most
tolerantly, most tenderly. As often as he spoke of religion, and his
talk tended to it very often, I never heard an irreligious word from him,
far less a scoff or sneer at religion; and I am certain that this was not
merely because he would have thought it bad taste, though undoubtedly he
would have thought it bad taste; I think it annoyed, it hurt him, to be
counted among the iconoclasts, and he would have been profoundly grieved
if he could have known how widely this false notion of him once
prevailed. It can do no harm at this late day to impart from the secrets
of the publishing house the fact that a supposed infidelity in the tone
of his story The Guardian Angel cost the Atlantic Monthly many
subscribers. Now the tone of that story would not be thought even mildly
agnostic, I fancy; and long before his death the author had outlived the
error concerning him.
It was not the best of his stories, by any means, and it would not be too
harsh to say that it was the poorest. His novels all belonged to an
order of romance which was as distinctly his own as the form of
dramatized essay which he invented in the Autocrat. If he did not think
poorly of them, he certainly did not think too proudly, and I heard him
quote with relish the phrase of a lady who had spoken of them to him as
his "medicated novels." That, indeed, was perhaps what they were; a
faint, faint odor of the pharmacopoeia clung to their pages; their magic
was scientific. He knew this better than any one else, of course, and if
any one had said it in his turn he would hardly have minded it. But what
he did mind was the persistent misinterpretation of his intention in
certain quarters where he thought he had the right to respectful
criticism in stead of the succession of sneers that greeted the
successive numbers of his story; and it was no secret that he felt the
persecution keenly. Perhaps he thought that he had already reached that
time in his literary life when he was a fact rather than a question,
and when reasons and not feelings must have to do with his acceptance or
rejection. But he had to live many years yet before he reached this
state. When he did reach it, happily a good while before his death,
I do not believe any man ever enjoyed the like condition more. He loved
to feel himself out of the fight, with much work before him still,
but with nothing that could provoke ill-will in his activities. He loved
at all times to take himself objectively, if I may so express my sense of
a mental attitude that misled many. As I have said before, he was
universally interested, and he studied the universe from himself. I do
not know how one is to study it otherwise; the impersonal has really no
existence; but with all his subtlety and depth he was of a make so
simple, of a spirit so naive, that he could not practise the feints some
use to conceal that interest in self which, after all, every one knows is
only concealed. He frankly and joyously made himself the starting-point
in all his inquest of the hearts and minds of other men, but so far from
singling himself out in this, and standing apart in it, there never was
any one who was more eagerly and gladly your fellow-being in the things
of the soul.
IV.
In the things of the world, he had fences, and looked at some people
through palings and even over the broken bottles on the tops of walls;
and I think he was the loser by this, as well as they. But then I think
all fences are bad, and that God has made enough differences between men;
we need not trouble ourselves to multiply them. Even behind his fences,
however, Holmes had a heart kind for the outsiders, and I do not believe
any one came into personal relations with him who did not experience this
kindness. In that long and delightful talk I had with him on my return
from Venice (I can praise the talk because it was mainly his), we spoke
of the status of domestics in the Old World, and how fraternal the
relation of high and low was in Italy, while in England, between master
and man, it seemed without acknowledgment of their common humanity.
"Yes," he said, "I always felt as if English servants expected to be
trampled on; but I can't do that. If they want to be trampled on, they
must get some one else." He thought that our American way was infinitely
better; and I believe that in spite of the fences there was always an
instinctive impulse with him to get upon common ground with his fellow-
man. I used to notice in the neighborhood cabman who served our block on
Beacon Street a sort of affectionate reverence for the Autocrat, which
could have come from nothing but the kindly terms between them; if you
went to him when he was engaged to Doctor Holmes, he told you so with a
sort of implication in his manner that the thought of anything else for
the time was profanation. The good fellow who took him his drives about
the Beverly and Manchester shores seemed to be quite in the joke of the
doctor's humor, and within the bounds of his personal modesty and his
functional dignity permitted himself a smile at the doctor's sallies,
when you stood talking with him, or listening to him at the carriage-
side.
The civic and social circumstance that a man values himself on is
commonly no part of his value, and certainly no part of his greatness.
Rather, it is the very thing that limits him, and I think that Doctor
Holmes appeared in the full measure of his generous personality to those
who did not and could not appreciate his circumstance, and not to those
who formed it, and who from life-long association were so dear and
comfortable to him. Those who best knew how great a man he was were
those who came from far to pay him their duty, or to thank him for some
help they had got from his books, or to ask his counsel or seek his
sympathy. With all such he was most winningly tender, most intelligently
patient. I suppose no great author was ever more visited by letter and
in person than he, or kept a faithfuler conscience for his guests. With
those who appeared to him in the flesh he used a miraculous tact, and I
fancy in his treatment of all the physician native in him bore a
characteristic part. No one seemed to be denied access to him, but it
was after a moment of preparation that one was admitted, and any one who
was at all sensitive must have felt from the first moment in his presence
that there could be no trespassing in point of time. If now and then
some insensitive began to trespass, there was a sliding-scale of
dismissal that never failed of its work, and that really saved the author
from the effect of intrusion. He was not bored because he would not be.
I transfer at random the impressions of many years to my page, and I
shall not try to observe a chronological order in these memories. Vivid
among them is that of a visit which I paid him with Osgood the publisher,
then newly the owner of the Atlantic Monthly, when I had newly become the
sole editor. We wished to signalize our accession to the control of the
magazine by a stroke that should tell most in the public eye, and we
thought of asking Doctor Holmes to do something again in the manner of
the Autocrat and the Professor at the Breakfast Table. Some letters had
passed between him and the management concerning our wish, and then
Osgood thought that it would be right and fit for us to go to him in
person. He proposed the visit, and Doctor Holmes received us with a mind
in which he had evidently formulated all his thoughts upon the matter.
His main question was whether at his age of sixty years a man was
justified in seeking to recall a public of the past, or to create a new
public in the present. He seemed to have looked the ground over not only
with a personal interest in the question, but with a keen scientific zest
for it as something which it was delightful to consider in its generic
relations; and I fancy that the pleasure of this inquiry more than
consoled him for such pangs of misgiving as he must have had in the
personal question. As commonly happens in the solution of such problems,
it was not solved; he was very willing to take our minds upon it, and to
incur the risk, if we thought it well and were willing to share it.
We came away rejoicing, and the new series began with the new year
following. It was by no means the popular success that we had hoped;
not because the author had not a thousand new things to say, or failed to
say them with the gust and freshness of his immortal youth, but because
it was not well to disturb a form associated in the public mind with an
achievement which had become classic. It is of the Autocrat of the
Breakfast Table that people think, when they think of the peculiar
species of dramatic essay which the author invented, and they think also
of the Professor at the Breakfast Table, because he followed so soon;
but the Poet at the Breakfast Table came so long after that his advent
alienated rather than conciliated liking. Very likely, if the Poet had
come first he would have had no second place in the affections of his
readers, for his talk was full of delightful matter; and at least one of
the poems which graced each instalment was one of the finest and greatest
that Doctor Holmes ever wrote. I mean "Homesick in Heaven," which seems
to me not only what I have said, but one of the most important, the most
profoundly pathetic in the language. Indeed, I do not know any other
that in the same direction goes so far with suggestion so penetrating.
The other poems were mainly of a cast which did not win; the metaphysics
in them were too much for the human interest, and again there rose a
foolish clamor of the creeds against him on account of them. The great
talent, the beautiful and graceful fancy, the eager imagination of the
Autocrat could not avail in this third attempt, and I suppose the Poet at
the Breakfast Table must be confessed as near a failure as Doctor Holmes
could come. It certainly was so in the magazine which the brilliant
success of the first had availed to establish in the high place the
periodical must always hold in the history of American literature.
Lowell was never tired of saying, when he recurred to the first days of
his editorship, that the magazine could never have gone at all without
the Autocrat papers. He was proud of having insisted upon Holmes's doing
something for the new venture, and he was fond of recalling the author's
misgivings concerning his contributions, which later repeated themselves
with too much reason, though not with the reason that was in his own
mind.
V.
He lived twenty-five years after that self-question at sixty, and after
eighty he continued to prove that threescore was not the limit of a man's
intellectual activity or literary charm. During all that time the work
he did in mere quantity was the work that a man in the prime of life
might well have been vain of doing, and it was of a quality not less
surprising. If I asked him with any sort of fair notice I could rely
upon him always for something for the January number, and throughout the
year I could count upon him for those occasional pieces in which he so
easily excelled all former writers of occasional verse, and which he
liked to keep from the newspapers for the magazine. He had a pride in
his promptness with copy, and you could always trust his promise. The
printer's toe never galled the author's kibe in his case; he wished to
have an early proof, which he corrected fastidiously, but not overmuch,
and he did not keep it long. He had really done all his work in the
manuscript, which came print-perfect and beautifully clear from his pen,
in that flowing, graceful hand which to the last kept a suggestion of the
pleasure he must have had in it. Like all wise contributors, he was not
only patient, but very glad of all the queries and challenges that proof-
reader and editor could accumulate on the margin of his proofs, and when
they were both altogether wrong he was still grateful. In one of his
poems there was some Latin-Quarter French, which our collective purism
questioned, and I remember how tender of us he was in maintaining that in
his Parisian time, at least, some ladies beyond the Seine said "Eh,
b'en," instead of "Eh, bien." He knew that we must be always on the
lookout for such little matters, and he would not wound our ignorance.
I do not think any one enjoyed praise more than he. Of course he would
not provoke it, but if it came of itself, he would not deny himself the
pleasure, as long as a relish of it remained. He used humorously to
recognize his delight in it, and to say of the lecture audiences which
in earlier times hesitated applause, "Why don't they give me three times
three? I can stand it!" He himself gave in the generous fulness he
desired. He did not praise foolishly or dishonestly, though he would
spare an open dislike; but when a thing pleased him he knew how to say so
cordially and skilfully, so that it might help as well as delight.
I suppose no great author has tried more sincerely and faithfully to
befriend the beginner than he; and from time to time he would commend
something to me that he thought worth looking at, but never insistently.
In certain cases, where he had simply to ease a burden, from his own to
the editorial shoulders, he would ask that the aspirant might be
delicately treated. There might be personal reasons for this, but
usually his kindness of heart moved him. His tastes had their
geographical limit, but his sympathies were boundless, and the hopeless
creature for whom he interceded was oftener remote from Boston and New
England than otherwise.
It seems to me that he had a nature singularly affectionate, and that it
was this which was at fault if he gave somewhat too much of himself to
the celebration of the Class of '29, and all the multitude of Boston
occasions, large and little, embalmed in the clear amber of his verse,
somewhat to the disadvantage of the amber. If he were asked he could not
deny the many friendships and fellowships which united in the asking;
the immediate reclame from these things was sweet to him; but he loved
to comply as much as he loved to be praised. In the pleasure he got he
could feel himself a prophet in his own country, but the country which
owned him prophet began perhaps to feel rather too much as if it owned
him, and did not prize his vaticinations at all their worth. Some polite
Bostonians knew him chiefly on this side, and judged him to their own
detriment from it.
VI.
After we went to live in Cambridge, my life and the delight in it were so
wholly there that in ten years I had hardly been in as many Boston
houses. As I have said, I met Doctor Holmes at the Fieldses', and at
Longfellow's, when he came out to a Dante supper, which was not often,
and somewhat later at the Saturday Club dinners. One parlous time at the
publisher's I have already recalled, when Mrs. Harriet Beecher Stowe and
the Autocrat clashed upon homeopathy, and it required all the tact of the
host to lure them away from the dangerous theme. As it was, a battle
waged in the courteous forms of Fontenoy, went on pretty well through the
dinner, and it was only over the coffee that a truce was called. I need
not say which was heterodox, or that each had a deep and strenuous
conscience in the matter. I have always felt it a proof of his extreme
leniency to me, unworthy, that the doctor was able to tolerate my own
defection from the elder faith in medicine; and I could not feel his
kindness less caressing because I knew it a concession to an infirmity.
He said something like, After all a good physician was the great matter;
and I eagerly turned his clemency to praise of our family doctor.
He was very constant at the Saturday Club, as long as his strength
permitted, and few of its members missed fewer of its meetings.
He continued to sit at its table until the ghosts of Hawthorne,
of Agassiz, of Emerson, of Longfellow, of Lowell, out of others less
famous, bore him company there among the younger men in the flesh.
It must have been very melancholy, but nothing could deeply cloud his
most cheerful spirit. His strenuous interest in life kept him alive to
all the things of it, after so many of his friends were dead. The
questions which he was wont to deal with so fondly, so wisely, the great
problems of the soul, were all the more vital, perhaps, because the
personal concern in them was increased by the translation to some other
being of the men who had so often tried with him to fathom them here.
The last time I was at that table he sat alone there among those great
memories; but he was as gay as ever I saw him; his wit sparkled, his
humor gleamed; the poetic touch was deft and firm as of old; the serious
curiosity, the instant sympathy remained. To the witness he was
pathetic, but to himself he could only have been interesting, as the
figure of a man surviving, in an alien but not unfriendly present, the
past which held so vast a part of all that had constituted him. If he
had thought of himself in this way, it would have been without one
emotion of self-pity, such as more maudlin souls indulge, but with a love
of knowledge and wisdom as keenly alert as in his prime.
For three privileged years I lived all but next-door neighbor of Doctor
Holmes in that part of Beacon Street whither he removed after he left his
old home in Charles Street, and during these years I saw him rather
often. We were both on the water side, which means so much more than the
words say, and our library windows commanded the same general view of the
Charles rippling out into the Cambridge marshes and the sunsets, and
curving eastward under Long Bridge, through shipping that increased
onward to the sea. He said that you could count fourteen towns and
villages in the compass of that view, with the three conspicuous
monuments accenting the different attractions of it: the tower of
Memorial Hall at Harvard; the obelisk on Bunker Hill; and in the centre
of the picture that bulk of Tufts College which he said he expected to
greet his eyes the first thing when he opened them in the other world.
But the prospect, though generally the same, had certain precious
differences for each of us, which I have no doubt he valued himself as
much upon as I did. I have a notion that he fancied these were to be
enjoyed best in his library through two oval panes let into the bay there
apart from the windows, for he was apt to make you come and look out of
them if you got to talking of the view before you left. In this pleasant
study he lived among the books, which seemed to multiply from case to
case and shelf to shelf, and climb from floor to ceiling. Everything was
in exquisite order, and the desk where he wrote was as scrupulously neat
as if the sloven disarray of most authors' desks were impossible to him.
He had a number of ingenious little contrivances for helping his work,
which he liked to show you; for a time a revolving book-case at the
corner of his desk seemed to be his pet; and after that came his
fountain-pen, which he used with due observance of its fountain
principle, though he was tolerant of me when I said I always dipped mine
in the inkstand; it was a merit in his eyes to use a fountain pen in
anywise. After you had gone over these objects with him, and perhaps
taken a peep at something he was examining through his microscope, he sat
down at one corner of his hearth, and invited you to an easy chair at the
other. His talk was always considerate of your wish to be heard, but the
person who wished to talk when he could listen to Doctor Holmes was his
own victim, and always the loser. If you were well advised you kept
yourself to the question and response which manifested your interest in
what he was saying, and let him talk on, with his sweet smile, and that
husky laugh he broke softly into at times. Perhaps he was not very well
when you came in upon him; then he would name his trouble, with a
scientific zest and accuracy, and pass quickly to other matters. As I
have noted, he was interested in himself only on the universal side; and
he liked to find his peculiarity in you better than to keep it his own;
he suffered a visible disappointment if he could not make you think or
say you were so and so too. The querulous note was not in his most
cheerful register; he would not dwell upon a specialized grief; though
sometimes I have known him touch very lightly and currently upon a slight
annoyance, or disrelish for this or that. As he grew older, he must have
had, of course, an old man's disposition to speak of his infirmities; but
it was fine to see him catch himself up in this, when he became conscious
of it, and stop short with an abrupt turn to something else. With a real
interest, which he gave humorous excess, he would celebrate some little
ingenious thing that had fallen in his way, and I have heard him
expatiate with childlike delight upon the merits of a new razor he had
got: a sort of mower, which he could sweep recklessly over cheek and chin
without the least danger of cutting himself. The last time I saw him he
asked me if he had ever shown me that miraculous razor; and I doubt if he
quite liked my saying I had seen one of the same kind.
It seemed to me that he enjoyed sitting at his chimney-corner rather as
the type of a person having a good time than as such a person; he would
rather be up and about something, taking down a book, making a note,
going again to his little windows, and asking you if you had seen the
crows yet that sometimes alighted on the shoals left bare by the ebb-tide
behind the house. The reader will recall his lovely poem, "My Aviary,"
which deals with the winged life of that pleasant prospect. I shared
with him in the flock of wild-ducks which used to come into our neighbor
waters in spring, when the ice broke up, and stayed as long as the
smallest space of brine remained unfrozen in the fall. He was graciously
willing I should share in them, and in the cloud of gulls which drifted
about in the currents of the sea and sky there, almost the whole year
round. I did not pretend an original right to them, coming so late as I
did to the place, and I think my deference pleased him.
VII.
As I have said, he liked his fences, or at least liked you to respect
them, or to be sensible of them. As often as I went to see him I was
made to wait in the little reception-room below, and never shown at once
to his study. My name would be carried up, and I would hear him
verifying my presence from the maid through the opened door; then there
came a cheery cry of wellcome: "Is that you? Come up, come up!" and I
found him sometimes half-way down the stairs to meet me. He would make
an excuse for having kept me below a moment, and say something about the
rule he had to observe in all cases, as if he would not have me feel his
fence a personal thing. I was aware how thoroughly his gentle spirit
pervaded the whole house; the Irish maid who opened the door had the
effect of being a neighbor too, and of being in the joke of the little
formality; she apologized in her turn for the reception-room; there was
certainly nothing trampled upon in her manner, but affection and
reverence for him whose gate she guarded, with something like the
sentiment she would have cherished for a dignitary of the Church, but
nicely differenced and adjusted to the Autocrat's peculiar merits.
The last time I was in that place, a visitant who had lately knocked at
my own door was about to enter. I met the master of the house on the
landing of the stairs outside his study, and he led me in for the few
moments we could spend together. He spoke of the shadow so near, and
said he supposed there could be no hope, but he did not refuse the cheer
I offered him from my ignorance against his knowledge, and at something
that was thought or said he smiled, with even a breath of laughter, so
potent is the wont of a lifetime, though his eyes were full of tears, and
his voice broke with his words. Those who have sorrowed deepest will
understand this best.
It was during the few years of our Beacon Street neighborhood that he
spent those hundred days abroad in his last visit to England and France.
He was full of their delight when he came back, and my propinquity gave
me the advantage of hearing him speak of them at first hand. He
whimsically pleased himself most with his Derby-day experiences, and
enjoyed contrasting the crowd and occasion with that of forty or fifty
years earlier, when he had seen some famous race of the Derby won;
nothing else in England seemed to have moved him so much, though all that
royalties, dignities, and celebrities could well do for him had been
done. Of certain things that happened to him, characteristic of the
English, and interesting to him in their relation to himself through his
character of universally interested man, he spoke freely; but he has said
what he chose to the public about them, and I have no right to say more.
The thing that most vexed him during his sojourn apparently was to have
been described in one of the London papers as quite deaf; and I could
truly say to him that I had never imagined him at all deaf, or heard him
accused of it before. "Oh, yes," he said, "I am a little hard of hearing
on one side. But it isn't deafness."
He had, indeed, few or none of the infirmities of age that make
themselves painfully or inconveniently evident. He carried his slight
figure erect, and until his latest years his step was quick and sure.
Once he spoke of the lessened height of old people, apropos of something
that was said, and "They will shrink, you know," he added, as if he were
not at all concerned in the fact himself. If you met him in the street,
you encountered a spare, carefully dressed old gentleman, with a clean-
shaven face and a friendly smile, qualified by the involuntary frown of
his thick, senile brows; well coated, lustrously shod, well gloved, in a
silk hat, latterly wound with a mourning-weed. Sometimes he did not know
you when he knew you quite well, and at such times I think it was kind to
spare his years the fatigue of recalling your identity; at any rate, I am
glad of the times when I did so. In society he had the same vagueness,
the same dimness; but after the moment he needed to make sure of you, he
was as vivid as ever in his life. He made me think of a bed of embers on
which the ashes have thinly gathered, and which, when these are breathed
away, sparkles and tinkles keenly up with all the freshness of a newly
kindled fire. He did not mind talking about his age, and I fancied
rather enjoyed doing so. Its approaches interested him; if he was going,
he liked to know just how and when he was going. Once he spoke of his
lasting strength in terms of imaginative humor: he was still so intensely
interested in nature, the universe, that it seemed to him he was not like
an old man so much as a lusty infant which struggles against having the
breast snatched from it. He laughed at the notion of this, with that
impersonal relish which seemed to me singularly characteristic of the
self-consciousness so marked in him. I never heard one lugubrious word
from him in regard to his years. He liked your sympathy on all grounds
where he could have it self-respectfully, but he was a most manly spirit,
and he would not have had it even as a type of the universal decay.
Possibly he would have been interested to have you share in that analysis
of himself which he was always making, if such a thing could have been.
He had not much patience with the unmanly craving for sympathy in others,
and chiefly in our literary craft, which is somewhat ignobly given to it,
though he was patient, after all. He used to say, and I believe he has
said it in print,--[Holmes said it in print many times, in his three
novels and scattered through the "Breakfast Table" series. D.W.]--that
unless a man could show a good reason for writing verse, it was rather
against him, and a proof of weakness. I suppose this severe conclusion
was something he had reached after dealing with innumerable small poets
who sought the light in him with verses that no editor would admit to
print. Yet of morbidness he was often very tender; he knew it to be
disease, something that must be scientifically rather than ethically
treated. He was in the same degree kind to any sensitiveness, for he was
himself as sensitive as he was manly, and he was most delicately
sensitive to any rightful social claim upon him. I was once at a dinner
with him, where he was in some sort my host, in a company of people whom
he had not seen me with before, and he made a point of acquainting me
with each of them. It did not matter that I knew most of them already;
the proof of his thoughtfulness was precious, and I was sorry when I had
to disappoint it by confessing a previous knowledge.
VIII.
I had three memorable meetings with him not very long before he died: one
a year before, and the other two within a few months of the end. The
first of these was at luncheon in the summer-house of a friend whose
hospitality made it summer the year round, and we all went out to meet
him, when he drove up in his open carriage, with the little sunshade in
his hand, which he took with him for protection against the heat, and
also, a little, I think, for the whim of it. He sat a moment after he
arrived, as if to orient himself in respect to each of us. Beside the
gifted hostess, there was the most charming of all the American
essayists, and the Autocrat seemed at once to find himself singularly at
home with the people who greeted him. There was no interval needed for
fanning away the ashes; he tinkled up before he entered the house, and at
the table he was as vivid and scintillant as I ever saw him, if indeed I
ever saw him as much so. The talk began at once, and we had made him
believe that there was nothing egotistic in his taking the word, or
turning it in illustration from himself upon universal matters. I spoke
among other things of some humble ruins on the road to Gloucester, which
gave the way-side a very aged look; the tumbled foundation-stones of poor
bits of houses, and "Ah," he said, "the cellar and the well?" He added,
to the company generally, "Do you know what I think are the two lines of
mine that go as deep as any others, in a certain direction?" and he began
to repeat stragglingly certain verses from one of his earlier poems,
until he came to the closing couplet. But I will give them in full,
because in going to look them up I have found them so lovely, and because
I can hear his voice again in every fondly accented syllable:
"Who sees unmoved, a ruin at his feet,
The lowliest home where human hearts have beat?
Its hearth-stone, shaded with the bistre stain,
A century's showery torrents wash in vain;
Its starving orchard where the thistle blows,
And mossy trunks still mark the broken rows;
Its chimney-loving poplar, oftenest seen
Next an old roof, or where a roof has been;
Its knot-grass, plantain,--all the social weeds,
Man's mute companions following where he leads;
Its dwarfed pale flowers, that show their straggling heads,
Sown by the wind from grass-choked garden-beds;
Its woodbine creeping where it used to climb;
Its roses breathing of the olden time;
All the poor shows the curious idler sees,
As life's thin shadows waste by slow degrees,
Till naught remains, the saddening tale to tell,
Save home's last wrecks--the CELLAR AND THE WELL!"
The poet's chanting voice rose with a triumphant swell in the climax, and
"There," he said, "isn't it so? The cellar and the well--they can't be
thrown down or burnt up; they are the human monuments that last longest
and defy decay." He rejoiced openly in the sympathy that recognized with
him the divination of a most pathetic, most signal fact, and he repeated
the last couplet again at our entreaty, glad to be entreated for it.
I do not know whether all will agree with him concerning the relative
importance of the lines, but I think all must feel the exquisite beauty
of the picture to which they give the final touch.
He said a thousand witty and brilliant things that day, but his pleasure
in this gave me the most pleasure, and I recall the passage distinctly
out of the dimness that covers the rest. He chose to figure us younger
men, in touching upon the literary circumstance of the past and present,
as representative of modern feeling and thinking, and himself as no
longer contemporary. We knew he did this to be contradicted, and we
protested, affectionately, fervently, with all our hearts and minds; and
indeed there were none of his generation who had lived more widely into
ours. He was not a prophet like Emerson, nor ever a voice crying in the
wilderness like Whittier or Lowell. His note was heard rather amid the
sweet security of streets, but it was always for a finer and gentler
civility. He imagined no new rule of life, and no philosophy or theory
of life will be known by his name. He was not constructive; he was
essentially observant, and in this he showed the scientific nature.
He made his reader known to himself, first in the little, and then in the
larger things. From first to last he was a censor, but a most winning
and delightful censor, who could make us feel that our faults were other
people's, and who was not wont
"To bait his homilies with his brother worms."
At one period he sat in the seat of the scorner, as far as Reform was
concerned, or perhaps reformers, who are so often tedious and ridiculous;
but he seemed to get a new heart with the new mind which came to him when
he began to write the Autocrat papers, and the light mocker of former
days became the serious and compassionate thinker, to whom most truly
nothing that was human was alien. His readers trusted and loved him; few
men have ever written so intimately with so much dignity, and perhaps
none has so endeared himself by saying just the thing for his reader that
his reader could not say for himself. He sought the universal through
himself in others, and he found to his delight and theirs that the most
universal thing was often, if not always, the most personal thing.
In my later meetings with him I was struck more and more by his
gentleness. I believe that men are apt to grow gentler as they grow
older, unless they are of the curmudgeon type, which rusts and crusts
with age, but with Doctor Holmes the gentleness was peculiarly marked.
He seemed to shrink from all things that could provoke controversy, or
even difference; he waived what might be a matter of dispute, and rather
sought the things that he could agree with you upon. In the last talk I
had with him he appeared to have no grudge left, except for the puritanic
orthodoxy in which he had been bred as a child. This he was not able to
forgive, though its tradition was interwoven with what was tenderest and
dearest in his recollections of childhood. We spoke of puritanism, and
I said I sometimes wondered what could be the mind of a man towards life
who had not been reared in its awful shadow, say an English Churchman, or
a Continental Catholic; and he said he could not imagine, and that he did
not believe such a man could at all enter into our feelings; puritanism,
he seemed to think, made an essential and ineradicable difference. I do
not believe he had any of that false sentiment which attributes virtue of
character to severity of creed, while it owns the creed to be wrong.
He differed from Longfellow in often speaking of his contemporaries. He
spoke of them frankly, but with an appreciative rather than a censorious
criticism. Of Longfellow himself he said that day, when I told him I had
been writing about him, and he seemed to me a man without error, that he
could think of but one error in him, and that was an error of taste, of
almost merely literary taste. It was at an earlier time that he talked
of Lowell, after his death, and told me that Lowell once in the fever of
his anti-slavery apostolate had written him, urging him strongly, as a
matter of duty, to come out for the cause he had himself so much at
heart. Afterwards Lowell wrote again, owning himself wrong in his
appeal, which he had come to recognize as invasive. "He was ten years
younger than I," said the doctor.
I found him that day I speak of in his house at Beverly Farms, where he
had a pleasant study in a corner by the porch, and he met me with all the
cheeriness of old. But he confessed that he had been greatly broken up
by the labor of preparing something that might be read at some
commemorative meeting, and had suffered from finding first that he could
not write something specially for it. Even the copying and adapting an
old poem had overtaxed him, and in this he showed the failing powers of
age. But otherwise he was still young, intellectually; that is, there
was no failure of interest in intellectual things, especially literary
things. Some new book lay on the table at his elbow, and he asked me if
I had seen it, and made some joke about his having had the good luck to
read it, and have it lying by him a few days before when the author
called. I do not know whether he schooled himself against an old man's
tendency to revert to the past or not, but I know that he seldom did so.
That morning, however, he made several excursions into it, and told me
that his youthful satire of the 'Spectre Pig' had been provoked by a poem
of the elder Dana's, where a phantom horse had been seriously employed,
with an effect of anticlimax which he had found irresistible. Another
foray was to recall the oppression and depression of his early religious
associations, and to speak with moving tenderness of his father, whose
hard doctrine as a minister was without effect upon his own kindly
nature.
In a letter written to me a few weeks after this time, upon an occasion
when he divined that some word from him would be more than commonly dear,
he recurred to the feeling he then expressed: "Fifty-six years ago--more
than half a century--I lost my own father, his age being seventy-three
years. As I have reached that period of life, passed it, and now left it
far behind, my recollections seem to brighten and bring back my boyhood
and early manhood in a clearer and fairer light than it came to me in my
middle decades. I have often wished of late years that I could tell him
how I cherished his memory; perhaps I may have the happiness of saying
all I long to tell him on the other side of that thin partition which I
love to think is all that divides us."
Men are never long together without speaking of women, and I said how
inevitably men's lives ended where they began, in the keeping of women,
and their strength failed at last and surrendered itself to their care.
I had not finished before I was made to feel that I was poaching, and
"Yes," said the owner of the preserve, "I have spoken of that," and he
went on to tell me just where. He was not going to have me suppose I had
invented those notions, and I could not do less than own that I must have
found them in his book, and forgotten it.
He spoke of his pleasant summer life in the air, at once soft and fresh,
of that lovely coast, and of his drives up and down the country roads.
Sometimes this lady and sometimes that came for him, and one or two
habitually, but he always had his own carriage ordered, if they failed,
that he might not fail of his drive in any fair weather. His cottage was
not immediately on the sea, but in full sight of it, and there was a
sense of the sea about it, as there is in all that incomparable region,
and I do not think he could have been at home anywhere beyond the reach
of its salt breath.
I was anxious not to outstay his strength, and I kept my eye on the clock
in frequent glances. I saw that he followed me in one of these, and I
said that I knew what his hours were, and I was watching so that I might
go away in time, and then he sweetly protested. Did I like that chair I
was sitting in? It was a gift to him, and he said who gave it, with a
pleasure in the fact that was very charming, as if he liked the
association of the thing with his friend. He was disposed to excuse the
formal look of his bookcases, which were filled with sets, and presented
some phalanxes of fiction in rather severe array.
When I rose to go, he was concerned about my being able to find my way
readily to the station, and he told me how to go, and what turns to take,
as if he liked realizing the way to himself. I believe he did not walk
much of late years, and I fancy he found much the same pleasure in
letting his imagination make this excursion to the station with me that
he would have found in actually going.
I saw him once more, but only once, when a day or two later he drove up
by our hotel in Magnolia toward the cottage where his secretary was
lodging. He saw us from his carriage, and called us gayly to him, to
make us rejoice with him at having finally got that commemorative poem
off his mind. He made a jest of the trouble it had cost him, even some
sleeplessness, and said he felt now like a convalescent. He was all
brightness, and friendliness, and eagerness to make us feel his mood,
through what was common to us all; and I am glad that this last
impression of him is so one with the first I ever had, and with that
which every reader receives from his work.
That is bright, and friendly and eager too, for it is throughout the very
expression of himself. I think it is a pity if an author disappoints
even the unreasonable expectation of the reader, whom his art has invited
to love him; but I do not believe that Doctor Holmes could inflict this
disappointment. Certainly he could disappoint no reasonable expectation,
no intelligent expectation. What he wrote, that he was, and every one
felt this who met him. He has therefore not died, as some men die, the
remote impersonal sort, but he is yet thrillingly alive in every page of
his books. The quantity of his literature is not great, but the quality
is very surprising, and surprising first of all as equality. From the
beginning to the end he wrote one man, of course in his successive
consciousnesses. Perhaps every one does this, but his work gives the
impression of an uncommon continuity, in spite of its being the effect of
a later and an earlier impulse so very marked as to have made the later
an astonishing revelation to those who thought they knew him.
IX.
It is not for me in such a paper as this to attempt any judgment of his
work. I have loved it, as I loved him, with a sense of its limitations
which is by no means a censure of its excellences. He was not a man who
cared to transcend; he liked bounds, he liked horizons, the constancy of
shores. If he put to sea, he kept in sight of land, like the ancient
navigators. He did not discover new continents; and I will own that I,
for my part, should not have liked to sail with Columbus. I think one
can safely affirm that as great and as useful men stayed behind, and
found an America of the mind without stirring from their thresholds.
ETEXT EDITOR'S BOOKMARKS:
Appeal, which he had come to recognize as invasive
Appeared to have no grudge left
Could make us feel that our faults were other people's
Hard of hearing on one side. But it isn't deafness
Harriet Beecher Stowe and the Autocrat clashed upon homeopathy
He was not bored because he would not be
He was not constructive; he was essentially observant
His readers trusted and loved him
Men's lives ended where they began, in the keeping of women
Not a man who cared to transcend; he liked bounds
Not much patience with the unmanly craving for sympathy
Old man's disposition to speak of his infirmities
Old man's tendency to revert to the past
Person who wished to talk when he could listen
Reformers, who are so often tedious and ridiculous
Secret of the man who is universally interesting
Sought the things that he could agree with you upon
Spare his years the fatigue of recalling your identity
Study in a corner by the porch
Those who have sorrowed deepest will understand this best
Times when a man's city was a man's country
Turn of the talk toward the mystical
Work gives the impression of an uncommon continuity
End of this Project Gutenberg Etext of Oliver Wendell Holmes
by William Dean Howells
LITERARY FRIENDS AND ACQUAINTANCES--The White Mr. Longfellow
by William Dean Howells
THE WHITE MR. LONGFELLOW
We had expected to stay in Boston only until we could find a house in Old
Cambridge. This was not so simple a matter as it might seem; for the
ancient town had not yet quickened its scholarly pace to the modern step.
Indeed, in the spring of 1866 the impulse of expansion was not yet
visibly felt anywhere; the enormous material growth that followed the
civil war had not yet begun. In Cambridge the houses to be let were few,
and such as there were fell either below our pride or rose above our
purse. I wish I might tell how at last we bought a house; we had no
money, but we were rich in friends, who are still alive to shrink from
the story of their constant faith in a financial future which we
sometimes doubted, and who backed their credulity with their credit.
It is sufficient for the present record, which professes to be strictly
literary, to notify the fact that on the first day of May, 1866, we went
out to Cambridge and began to live in a house which we owned in fee if
not in deed, and which was none the less valuable for being covered with
mortgages. Physically, it was a carpenter's box, of a sort which is
readily imagined by the Anglo-American genius for ugliness, but which it
is not so easy to impart a just conception of. A trim hedge of arbor-
vita; tried to hide it from the world in front, and a tall board fence
behind; the little lot was well planted (perhaps too well planted) with
pears, grapes, and currants, and there was a small open space which I
lost no time in digging up for a kitchen-garden. On one side of us were
the open fields; on the other a brief line of neighbor-houses; across the
street before us was a grove of stately oaks, which I never could
persuade Aldrich had painted leaves on them in the fall. We were really
in a poor suburb of a suburb; but such is the fascination of ownership,
even the ownership of a fully mortgaged property, that we calculated the
latitude and longitude of the whole earth from the spot we called ours.
In our walks about Cambridge we saw other places where we might have been
willing to live; only, we said, they were too far off: We even prized the
architecture of our little box, though we had but so lately lived in a
Gothic palace on the Grand Canal in Venice, and were not uncritical of
beauty in the possessions of others. Positive beauty we could not have
honestly said we thought our cottage had as a whole, though we might have
held out for something of the kind in the brackets of turned wood under
its eaves. But we were richly content with it; and with life in
Cambridge, as it began to open itself to us, we were infinitely more than
content. This life, so refined, so intelligent, so gracefully simple, I
do not suppose has anywhere else had its parallel.
I.
It was the moment before the old American customs had been changed by
European influences among people of easier circumstances; and in
Cambridge society kept what was best of its village traditions, and chose
to keep them in the full knowledge of different things. Nearly every one
had been abroad; and nearly every one had acquired the taste for olives
without losing a relish for native sauces; through the intellectual life
there was an entire democracy, and I do not believe that since the
capitalistic era began there was ever a community in which money counted
for less. There was little show of what money could buy; I remember but
one private carriage (naturally, a publisher's); and there was not one
livery, except a livery in the larger sense kept by the stableman Pike,
who made us pay now a quarter and now a half dollar for a seat in his
carriages, according as he lost or gathered courage for the charge. We
thought him extortionate, and we mostly walked through snow and mud of
amazing depth and thickness.
The reader will imagine how acceptable this circumstance was to a young
literary man beginning life with a fully mortgaged house and a salary of
untried elasticity. If there were distinctions made in Cambridge they
were not against literature, and we found ourselves in the midst of a
charming society, indifferent, apparently, to all questions but those of
the higher education which comes so largely by nature. That is to say,
in the Cambridge of that day (and, I dare say, of this) a mind cultivated
in some sort was essential, and after that came civil manners, and the
willingness and ability to be agreeable and interesting; but the question
of riches or poverty did not enter. Even the question of family, which
is of so great concern in New England, was in abeyance. Perhaps it was
taken for granted that every one in Old Cambridge society must be of good
family, or he could not be there; perhaps his mere residence tacitly
ennobled him; certainly his acceptance was an informal patent of
gentility. To my mind, the structure of society was almost ideal, and
until we have a perfectly socialized condition of things I do not believe
we shall ever have a more perfect society. The instincts which governed
it were not such as can arise from the sordid competition of interests;
they flowed from a devotion to letters, and from a self-sacrifice in
material things which I can give no better notion of than by saying that
the outlay of the richest college magnate seemed to be graduated to the
income of the poorest.
In those days, the men whose names have given splendor to Cambridge were
still living there. I shall forget some of them in the alphabetical
enumeration of Louis Agassiz, Francis J. Child, Richard Henry Dana, Jun.,
John Fiske, Dr. Asa Gray, the family of the Jameses, father and sons,
Lowell, Longfellow, Charles Eliot Norton, Dr. John G. Palfrey, James
Pierce, Dr. Peabody, Professor Parsons, Professor Sophocles. The variety
of talents and of achievements was indeed so great that Mr. Bret Harte,
when fresh from his Pacific slope, justly said, after listening to a
partial rehearsal of them, "Why, you couldn't fire a revolver from your
front porch anywhere without bringing down a two-volumer!" Everybody had
written a book, or an article, or a poem; or was in the process or
expectation of doing it, and doubtless those whose names escape me will
have greater difficulty in eluding fame. These kindly, these gifted folk
each came to see us and to make us at home among them; and my home is
still among them, on this side and on that side of the line between the
living and the dead which invisibly passes through all the streets of the
cities of men.
II.
We had the whole summer for the exploration of Cambridge before society
returned from the mountains and the sea-shore, and it was not till
October that I saw Longfellow. I heard again, as I heard when I first
came to Boston, that he was at Nahant, and though Nahant was no longer so
far away, now, as it was then, I did not think of seeking him out even
when we went for a day to explore that coast during the summer. It seems
strange that I cannot recall just when and where I saw him, but early
after his return to Cambridge I had a message from him asking me to come
to a meeting of the Dante Club at Craigie House.
Longfellow was that winter (1866-7) revising his translation of the
'Paradiso', and the Dante Club was the circle of Italianate friends and
scholars whom he invited to follow him and criticise his work from the
original, while he read his version aloud. Those who were most
constantly present were Lowell and Professor Norton, but from time to
time others came in, and we seldom sat down at the nine-o'clock supper
that followed the reading of the canto in less number than ten or twelve.
The criticism, especially from the accomplished Danteists I have named,
was frank and frequent. I believe they neither of them quite agreed with
Longfellow as to the form of version he had chosen, but, waiving that,
the question was how perfectly he had done his work upon the given lines:
I myself, with whatever right, great or little, I may have to an opinion,
believe thoroughly in Longfellow's plan. When I read his version my
sense aches for the rhyme which he rejected, but my admiration for his
fidelity to Dante otherwise is immeasurable. I remember with equal
admiration the subtle and sympathetic scholarship of his critics, who
scrutinized every shade of meaning in a word or phrase that gave them
pause, and did not let it pass till all the reasons and facts had been
considered. Sometimes, and even often, Longfellow yielded to their
censure, but for the most part, when he was of another mind, he held to
his mind, and the passage had to go as he said. I make a little haste to
say that in all the meetings of the Club, during a whole winter of
Wednesday evenings, I myself, though I faithfully followed in an Italian
Dante with the rest, ventured upon one suggestion only. This was kindly,
even seriously, considered by the poet, and gently rejected. He could
not do anything otherwise than gently, and I was not suffered to feel
that I had done a presumptuous thing. I can see him now, as he looked up
from the proof-sheets on the round table before him, and over at me,
growing consciously smaller and smaller, like something through a
reversed opera-glass. He had a shaded drop-light in front of him, and in
its glow his beautiful and benignly noble head had a dignity peculiar to
him.
All the portraits of Longfellow are likenesses more or less bad and good,
for there was something as simple in the physiognomy as in the nature of
the man. His head, after he allowed his beard to grow and wore his hair
long in the manner of elderly men, was leonine, but mildly leonine, as
the old painters conceived the lion of St. Mark. Once Sophocles, the ex-
monk of Mount Athos, so long a Greek professor at Harvard, came in for
supper, after the reading was over, and he was leonine too, but of a
fierceness that contrasted finely with Longfellow's mildness. I remember
the poet's asking him something about the punishment of impaling, in
Turkey, and his answering, with an ironical gleam of his fiery eyes,
"Unhappily, it is obsolete." I dare say he was not so leonine, either,
as he looked.
When Longfellow read verse, it was with a hollow, with a mellow resonant
murmur, like the note of some deep-throated horn. His voice was very
lulling in quality, and at the Dante Club it used to have early effect
with an old scholar who sat in a cavernous armchair at the corner of the
fire, and who drowsed audibly in the soft tone and the gentle heat. The
poet had a fat terrier who wished always to be present at the meetings of
the Club, and he commonly fell asleep at the same moment with that dear
old scholar, so that when they began to make themselves heard in concert,
one could not tell which it was that most took our thoughts from the text
of the Paradiso. When the duet opened, Longfellow would look up with an
arch recognition of the fact, and then go gravely on to the end of the
canto. At the close he would speak to his friend and lead him out to
supper as if he had not seen or heard anything amiss.
III.
In that elect company I was silent, partly because I was conscious of my
youthful inadequacy, and partly because I preferred to listen. But
Longfellow always behaved as if I were saying a succession of edifying
and delightful things, and from time to time he addressed himself to me,
so that I should not feel left out. He did not talk much himself, and I
recall nothing that he said. But he always spoke both wisely and simply,
without the least touch of pose, and with no intention of effect, but
with something that I must call quality for want of a better word; so
that at a table where Holmes sparkled, and Lowell glowed, and Agassiz
beamed, he cast the light of a gentle gaiety, which seemed to dim all
these vivider luminaries. While he spoke you did not miss Fields's story
or Tom Appleton's wit, or even the gracious amity of Mr. Norton, with his
unequalled intuitions.
The supper was very plain: a cold turkey, which the host carved, or a
haunch of venison, or some braces of grouse, or a platter of quails, with
a deep bowl of salad, and the sympathetic companionship of those elect
vintages which Longfellow loved, and which he chose with the inspiration
of affection. We usually began with oysters, and when some one who was
expected did not come promptly, Longfellow invited us to raid his plate,
as a just punishment of his delay. One evening Lowell remarked, with the
cayenne poised above his bluepoints, "It's astonishing how fond these
fellows are of pepper."
The old friend of the cavernous arm-chair was perhaps not wide enough
awake to repress an "Ah?" of deep interest in this fact of natural
history, and Lowell was provoked to go on. "Yes, I've dropped a red
pepper pod into a barrel of them, before now, and then taken them out in
a solid mass, clinging to it like a swarm of bees to their queen."
"Is it possible?" cried the old friend; and then Longfellow intervened to
save him from worse, and turned the talk.
I reproach myself that I made no record of the talk, for I find that only
a few fragments of it have caught in my memory, and that the sieve which
should have kept the gold has let it wash away with the gravel.
I remember once Doctor Holmes's talking of the physician as the true
seer, whose awful gift it was to behold with the fatal second sight of
science the shroud gathering to the throat of many a doomed man
apparently in perfect health, and happy in the promise of unnumbered
days. The thought may have been suggested by some of the toys of
superstition which intellectual people like to play with.
I never could be quite sure at first that Longfellow's brother-in-law,
Appleton, was seriously a spiritualist, even when he disputed the most
strenuously with the unbelieving Autocrat. But he really was in earnest
about it, though he relished a joke at the expense of his doctrine, like
some clerics when they are in the safe company of other clerics. He told
me once of having recounted to Agassiz the facts of a very remarkable
seance, where the souls of the departed outdid themselves in the
athletics and acrobatics they seem so fond of over there, throwing large
stones across the room, moving pianos, and lifting dinner-tables and
setting them a-twirl under the chandelier. "And now," he demanded, "what
do you say to that?" "Well, Mr. Appleton," Agassiz answered, to
Appleton's infinite delight, "I say that it did not happen."
One night they began to speak at the Dante supper of the unhappy man
whose crime is a red stain in the Cambridge annals, and one and another
recalled their impressions of Professor Webster. It was possibly with a
retroactive sense that they had all felt something uncanny in him, but,
apropos of the deep salad-bowl in the centre of the table, Longfellow
remembered a supper Webster was at, where he lighted some chemical in
such a dish and held his head over it, with a handkerchief noosed about
his throat and lifted above it with one hand, while his face, in the pale
light, took on the livid ghastliness of that of a man hanged by the neck.
Another night the talk wandered to the visit which an English author (now
with God) paid America at the height of a popularity long since toppled
to the ground, with many another. He was in very good humor with our
whole continent, and at Longfellow's table he found the champagne even
surprisingly fine. "But," he said to his host, who now told the story,
"it cawn't be genuine, you know!"
Many years afterwards this author revisited our shores, and I dined with
him at Longfellow's, where he was anxious to constitute himself a guest
during his sojourn in our neighborhood. Longfellow was equally anxious
that he should not do so, and he took a harmless pleasure in out-
manoeuvring him. He seized a chance to speak with me alone, and plotted
to deliver him over to me without apparent unkindness, when the latest
horse-car should be going in to Boston, and begged me to walk him to
Harvard Square and put him aboard. "Put him aboard, and don't leave him
till the car starts, and then watch that he doesn't get off."
These instructions he accompanied with a lifting of the eyebrows, and a
pursing of the mouth, in an anxiety not altogether burlesque. He knew
himself the prey of any one who chose to batten on him, and his
hospitality was subject to frightful abuse. Perhaps Mr. Norton has
somewhere told how, when he asked if a certain person who had been
outstaying his time was not a dreadful bore, Longfellow answered, with
angelic patience, "Yes; but then you know I have been bored so often!"
There was one fatal Englishman whom I shared with him during the great
part of a season: a poor soul, not without gifts, but always ready for
more, especially if they took the form of meat and drink. He had brought
letters from one of the best English men alive, who withdrew them too
late to save his American friends from the sad consequences of welcoming
him. So he established himself impregnably in a Boston club, and came
out every day to dine with Longfellow in Cambridge, beginning with his
return from Nahant in October and continuing far into December. That was
the year of the great horse-distemper, when the plague disabled the
transportation in Boston, and cut off all intercourse between the suburb
and the city on the street railways. "I did think," Longfellow
pathetically lamented, "that when the horse-cars stopped running, I
should have a little respite from L., but he walks out."
In the midst of his own suffering he was willing to advise with me
concerning some poems L. had offered to the Atlantic Monthly, and after
we had desperately read them together he said, with inspiration, "I think
these things are more adapted to music than the magazine," and this
seemed so good a notion that when L. came to know their fate from me,
I answered, confidently, "I think they are rather more adapted to music."
He calmly asked, "Why?" and as this was an exigency which Longfellow had
not forecast for me, I was caught in it without hope of escape. I really
do not know what I said, but I know that I did not take the poems, such
was my literary conscience in those days; I am afraid I should be weaker
now.
IV.
The suppers of the Dante Club were a relaxation from the severity of
their toils on criticism, and I will not pretend that their table-talk
was of that seriousness which duller wits might have given themselves up
to. The passing stranger, especially if a light or jovial person, was
always welcome, and I never knew of the enforcement of the rule I heard
of, that if you came in without question on the Club nights, you were a
guest; but if you rang or knocked, you could not get in.
Any sort of diversion was hailed, and once Appleton proposed that
Longfellow should show us his wine-cellar. He took up the candle burning
on the table for the cigars, and led the way into the basement of the
beautiful old Colonial mansion, doubly memorable as Washington's
headquarters while he was in Cambridge, and as the home of Longfellow for
so many years. The taper cast just the right gleams on the darkness,
bringing into relief the massive piers of brick, and the solid walls of
stone, which gave the cellar the effect of a casemate in some fortress,
and leaving the corners and distances to a romantic gloom. This basement
was a work of the days when men built more heavily if not more
substantially than now, but I forget, if I ever knew, what date the wine-
cellar was of. It was well stored with precious vintages, aptly
cobwebbed and dusty; but I could not find that it had any more charm than
the shelves of a library: it is the inside of bottles and of books that
makes its appeal. The whole place witnessed a bygone state and luxury,
which otherwise lingered in a dim legend or two. Longfellow once spoke
of certain old love-letters which dropped down on the basement stairs
from some place overhead; and there was the fable or the fact of a
subterranean passage under the street from Craigie House to the old
Batchelder House, which I relate to these letters with no authority I can
allege. But in Craigie House dwelt the proud fair lady who was buried in
the Cambridge church-yard with a slave at her head and a slave at her
feet.
"Dust is in her beautiful eyes,"
and whether it was they that smiled or wept in their time over those
love-letters, I will leave the reader to say. The fortunes of her Tory
family fell with those of their party, and the last Vassal ended his days
a prisoner from his creditors in his own house, with a weekly enlargement
on Sundays, when the law could not reach him. It is known how the place
took Longfellow's fancy when he first came to be professor in Harvard,
and how he was a lodger of the last Mistress Craigie there, long before
he became its owner. The house is square, with Longfellow's study where
he read and wrote on the right of the door, and a statelier library
behind it; on the left is the drawing-room, with the dining-room in its
rear; from its square hall climbs a beautiful stairway with twisted
banisters, and a tall clock in their angle.
The study where the Dante Club met, and where I mostly saw Longfellow,
was a plain, pleasant room, with broad panelling in white painted pine;
in the centre before the fireplace stood his round table, laden with
books, papers, and proofs; in the farthest corner by the window was a
high desk which he sometimes stood at to write. In this room Washington
held his councils and transacted his business with all comers; in the
chamber overhead he slept. I do not think Longfellow associated the
place much with him, and I never heard him speak of Washington in
relation to it except once, when he told me with peculiar relish what he
called the true version of a pious story concerning the aide-de-camp who
blundered in upon him while he knelt in prayer. The father of his
country rose and rebuked the young man severely, and then resumed his
devotions. "He rebuked him," said Longfellow, lifting his brows and
making rings round the pupils of his eyes, "by throwing his scabbard at
his head."
All the front windows of Craigie House look, out over the open fields
across the Charles, which is now the Longfellow Memorial Garden. The
poet used to be amused with the popular superstition that he was holding
this vacant ground with a view to a rise in the price of lots, while all
he wanted was to keep a feature of his beloved landscape unchanged.
Lofty elms drooped at the corners of the house; on the lawn billowed
clumps of the lilac, which formed a thick hedge along the fence. There
was a terrace part way down this lawn, and when a white-painted
balustrade was set some fifteen years ago upon its brink, it seemed
always to have been there. Long verandas stretched on either side of the
mansion; and behind was an old-fashioned garden with beds primly edged
with box after a design of the poet's own. Longfellow had a ghost story
of this quaint plaisance, which he used to tell with an artful reserve of
the catastrophe. He was coming home one winter night, and as he crossed
the garden he was startled by a white figure swaying before him. But he
knew that the only way was to advance upon it. He pushed boldly forward,
and was suddenly caught under the throat-by the clothes-line with a long
night-gown on it.
Perhaps it was at the end of a long night of the Dante Club that I heard
him tell this story. The evenings were sometimes mornings before the
reluctant break-up came, but they were never half long enough for me.
I have given no idea of the high reasoning of vital things which I must
often have heard at that table, and that I have forgotten it is no proof
that I did not hear it. The memory will not be ruled as to what it shall
bind and what it shall loose, and I should entreat mine in vain for
record of those meetings other than what I have given. Perhaps it would
be well, in the interest of some popular conceptions of what the social
intercourse of great wits must be, for me to invent some ennobling and
elevating passages of conversation at Longfellow's; perhaps I ought to do
it for the sake of my own repute as a serious and adequate witness. But
I am rather helpless in the matter; I must set down what I remember, and
surely if I can remember no phrase from Holmes that a reader could live
or die by, it is something to recall how, when a certain potent cheese
was passing, he leaned over to gaze at it, and asked: "Does it kick?
Does it kick?" No strain of high poetic thinking remains to me from
Lowell, but he made me laugh unforgettably with his passive adventure one
night going home late, when a man suddenly leaped from the top of a high
fence upon the sidewalk at his feet, and after giving him the worst
fright of his life, disappeared peaceably into the darkness. To be sure,
there was one most memorable supper, when he read the "Bigelow Paper"
he had finished that day, and enriched the meaning of his verse with the
beauty of his voice. There lingers yet in my sense his very tone in
giving the last line of the passage lamenting the waste of the heroic
lives which in those dark hours of Johnson's time seemed to have been
"Butchered to make a blind man's holiday."
The hush that followed upon his ceasing was of that finest quality which
spoken praise always lacks; and I suppose that I could not give a just
notion of these Dante Club evenings without imparting the effect of such
silences. This I could not hopefully undertake to do; but I am tempted
to some effort of the kind by my remembrance of Longfellow's old friend
George Washington Greene, who often came up from his home in Rhode
Island, to be at those sessions, and who was a most interesting and
amiable fact of those delicate silences. A full half of his earlier life
had been passed in Italy, where he and Longfellow met and loved each
other in their youth with an affection which the poet was constant to in
his age, after many vicissitudes, with the beautiful fidelity of his
nature. Greene was like an old Italian house-priest in manner, gentle,
suave, very suave, smooth as creamy curds, cultivated in the elegancies
of literary taste, and with a certain meek abeyance. I think I never
heard him speak, in all those evenings, except when Longfellow addressed
him, though he must have had the Dante scholarship for an occasional
criticism. It was at more recent dinners, where I met him with the
Longfellow family alone, that he broke now and then into a quotation from
some of the modern Italian poets he knew by heart (preferably Giusti),
and syllabled their verse with an exquisite Roman accent and a bewitching
Florentine rhythm. Now and then at these times he brought out a faded
Italian anecdote, faintly smelling of civet, and threadbare in its
ancient texture. He liked to speak of Goldoni and of Nota, of Niccolini
and Manzoni, of Monti and Leopardi; and if you came to America, of the
Revolution and his grandfather, the Quaker General Nathaniel Greene,
whose life he wrote (and I read) in three volumes: He worshipped
Longfellow, and their friendship continued while they lived, but towards
the last of his visits at Craigie House it had a pathos for the witness
which I should grieve to wrong. Greene was then a quivering paralytic,
and he clung tremulously to Longfellow's arm in going out to dinner,
where even the modern Italian poets were silent upon his lips. When we
rose from table, Longfellow lifted him out of his chair, and took him
upon his arm again for their return to the study.
He was of lighter metal than most other members of the Dante Club, and he
was not of their immediate intimacy, living away from Cambridge, as he
did, and I shared his silence in their presence with full sympathy.
I was by far the youngest of their number, and I cannot yet quite make
out why I was of it at all. But at every moment I was as sensible of my
good fortune as of my ill desert. They were the men whom of all men
living I most honored, and it seemed to be impossible that I at my age
should be so perfectly fulfilling the dream of my life in their company.
Often, the nights were very cold, and as I returned home from Craigie
House to the carpenter's box on Sacramento Street, a mile or two away,
I was as if soul-borne through the air by my pride and joy, while the
frozen blocks of snow clinked and tinkled before my feet stumbling along
the middle of the road. I still think that was the richest moment of my
life, and I look back at it as the moment, in a life not unblessed by
chance, which I would most like to live over again--if I must live any.
The next winter the sessions of the Dante Club were transferred to the
house of Mr. Norton, who was then completing his version of the 'Vita
Nuova'. This has always seemed to me a work of not less graceful art
than Longfellow's translation of the 'Commedia'. In fact, it joins the
effect of a sympathy almost mounting to divination with a patient
scholarship and a delicate skill unknown to me elsewhere in such work.
I do not know whether Mr. Norton has satisfied himself better in his
prose version of the 'Commedia' than in this of the 'Vita Nuova', but I
do not believe he could have satisfied Dante better, unless he had rhymed
his sonnets and canzonets. I am sure he might have done this if he had
chosen. He has always pretended that it was impossible, but miracles are
never impossible in the right hands.
V.
After three or four years we sold the carpenter's box on Sacramento
Street, and removed to a larger house near Harvard Square, and in the
immediate neighborhood of Longfellow. He gave me an easement across that
old garden behind his house, through an opening in the high board fence
which enclosed it, and I saw him oftener than ever, though the meetings
of the Dante Club had come to an end. At the last of them, Lowell had
asked him, with fond regret in his jest, "Longfellow, why don't you do
that Indian poem in forty thousand verses?" The demand but feebly
expressed the reluctance in us all, though I suspect the Indian poem
existed only by the challenger's invention. Before I leave my faint and
unworthy record of these great times I am tempted to mention an incident
poignant with tragical associations. The first night after Christmas the
holly and the pine wreathed about the chandelier above the supper-table
took fire from the gas, just as we came out from the reading, and
Longfellow ran forward and caught the burning garlands down and bore them
out. No one could speak for thinking what he must be thinking of when
the ineffable calamity of his home befell it. Curtis once told me that a
little while before Mrs. Longfellow's death he was driving by Craigie
House with Holmes, who said be trembled to look at it, for those who
lived there had their happiness so perfect that no change, of all the
changes which must come to them, could fail to be for the worse.
I did not know Longfellow before that fatal time, and I shall not say
that his presence bore record of it except in my fancy. He may always
have had that look of one who had experienced the utmost harm that fate
can do, and henceforth could possess himself of what was left of life in
peace. He could never have been a man of the flowing ease that makes all
comers at home; some people complained of a certain 'gene' in him; and he
had a reserve with strangers, which never quite lost itself in the
abandon of friendship, as Lowell's did. He was the most perfectly modest
man I ever saw, ever imagined, but he had a gentle dignity which I do not
believe any one, the coarsest, the obtusest, could trespass upon. In the
years when I began to know him, his long hair and the beautiful beard
which mixed with it were of one iron-gray, which I saw blanch to a
perfect silver, while that pearly tone of his complexion, which Appleton
so admired, lost itself in the wanness of age and pain. When he walked,
he had a kind of spring in his gait, as if now and again a buoyant
thought lifted him from the ground. It was fine to meet him coming down
a Cambridge street; you felt that the encounter made you a part of
literary history, and set you apart with him for the moment from the poor
and mean. When he appeared in Harvard Square, he beatified if not
beautified the ugliest and vulgarest looking spot on the planet outside
of New York. You could meet him sometimes at the market, if you were of
the same provision-man as he; and Longfellow remained as constant to his
tradespeople as to any other friends. He rather liked to bring his
proofs back to the printer's himself, and we often found ourselves
together at the University Press, where the Atlantic Monthly used to be
printed. But outside of his own house Longfellow seemed to want a fit
atmosphere, and I love best to think of him in his study, where he
wrought at his lovely art with a serenity expressed in his smooth,
regular, and scrupulously perfect handwriting. It was quite vertical,
and rounded, with a slope neither to the right nor left, and at the time
I knew him first, he was fond of using a soft pencil on printing paper,
though commonly he wrote with a quill. Each letter was distinct in
shape, and between the verses was always the exact space of half an inch.
I have a good many of his poems written in this fashion, but whether they
were the first drafts or not I cannot say; very likely not. Towards the
last he no longer sent his poems to the magazines in his own hand; but
they were always signed in autograph.
I once asked him if he were not a great deal interrupted, and he said,
with a faint sigh, Not more than was good for him, he fancied; if it were
not for the interruptions, he might overwork. He was not a friend to
stated exercise, I believe, nor fond of walking, as Lowell was; he had
not, indeed, the childish associations of the younger poet with the
Cambridge neighborhoods; and I never saw him walking for pleasure except
on the east veranda of his house, though I was told he loved walking in
his youth. In this and in some other things Longfellow was more European
than American, more Latin than Saxon. He once said quaintly that one got
a great deal of exercise in putting on and off one's overcoat and
overshoes.
I suppose no one who asked decently at his door was denied access to him,
and there must have been times when he was overrun with volunteer
visitors; but I never heard him complain of them. He was very charitable
in the immediate sort which Christ seems to have meant; but he had his
preferences; humorously owned, among beggars. He liked the German
beggars least, and the Italian beggars most, as having most savair-faire;
in fact, we all loved the Italians in Cambridge. He was pleased with the
accounts I could give him of the love and honor I had known for him in
Italy, and one day there came a letter from an Italian admirer, addressed
to "Mr. Greatest Poet Longfellow," which he said was the very most
amusing superscription he had ever seen.
It is known that the King of Italy offered Longfellow the cross of San
Lazzaro, which is the Italian literary decoration. It came through the
good offices of my old acquaintance Professor Messadaglia, then a deputy
in the Italian Parliament, whom, for some reason I cannot remember, I had
put in correspondence with Longfellow. The honor was wholly unexpected,
and it brought Longfellow a distress which was chiefly for the gentleman
who had procured him the impossible distinction. He showed me the pretty
collar and cross, not, I think, without a natural pleasure in it. No man
was ever less a bigot in things civil or religious than he, but he said,
firmly, "Of course, as a republican and a Protestant, I can't accept a
decoration from a Catholic prince." His decision was from his
conscience, and I think that all Americans who think duly about it will
approve his decision.
VI.
Such honors as he could fitly permit himself he did not refuse, and I
recall what zest he had in his election to the Arcadian Academy, which
had made him a shepherd of its Roman Fold, with the title, as he said, of
"Olimipico something." But I fancy his sweetest pleasure in his vast
renown came from his popular recognition everywhere. Few were the lands,
few the languages he was unknown to: he showed me a version of the "Psalm
of Life" in Chinese. Apparently even the poor lost autograph-seeker was
not denied by his universal kindness; I know that he kept a store of
autographs ready written on small squares of paper for all who applied by
letter or in person; he said it was no trouble; but perhaps he was to be
excused for refusing the request of a lady for fifty autographs, which
she wished to offer as a novel attraction to her guests at a lunch party.
Foreigners of all kinds thronged upon him at their pleasure, apparently,
and with perfect impunity. Sometimes he got a little fun, very, very
kindly, out of their excuses and reasons; and the Englishman who came to
see him because there were no ruins to visit in America was no fable, as
I can testify from the poet himself. But he had no prejudice against
Englishmen, and even at a certain time when the coarse-handed British
criticism began to blame his delicate art for the universal acceptance of
his verse, and to try to sneer him into the rank of inferior poets, he
was without rancor for the clumsy misliking that he felt. He could not
understand rudeness; he was too finely framed for that; he could know it
only as Swedenborg's most celestial angels perceived evil, as something
distressful, angular. The ill-will that seemed nearly always to go with
adverse criticism made him distrust criticism, and the discomfort which
mistaken or blundering praise gives probably made him shy of all
criticism. He said that in his early life as an author he used to seek
out and save all the notices of his poems, but in his latter days he read
only those that happened to fall in his way; these he cut out and amused
his leisure by putting together in scrapbooks. He was reluctant to make
any criticism of other poets; I do not remember ever to have heard him
make one; and his writings show no trace of the literary dislikes or
contempts which we so often mistake in ourselves for righteous judgments.
No doubt he had his resentments, but he hushed them in his heart, which
he did not suffer them to embitter. While Poe was writing of "Longfellow
and other Plagiarists," Longfellow was helping to keep Poe alive by the
loans which always made themselves gifts in Poe's case. He very, very
rarely spoke of himself at all, and almost never of the grievances which
he did not fail to share with all who live.
He was patient, as I said, of all things, and gentle beyond all mere
gentlemanliness. But it would have been a great mistake to mistake his
mildness for softness. It was most manly and firm; and of course it was
braced with the New England conscience he was born to. If he did not
find it well to assert himself, he was prompt in behalf of his friends,
and one of tho fine things told of him was his resenting some censures of
Sumner at a dinner in Boston during the old pro-slavery times: he said to
the gentlemen present that Sumner was his friend, and he must leave their
company if they continued to assail him.
But he spoke almost as rarely of his friends as of himself. He liked the
large, impersonal topics which could be dealt with on their human side,
and involved characters rather than individuals. This was rather strange
in Cambridge, where we were apt to take our instances from the
environment. It was not the only thing he was strange in there; he was
not to that manner born; he lacked the final intimacies which can come
only of birth and lifelong association, and which make the men of the
Boston breed seem exclusive when they least feel so; he was Longfellow to
the friends who were James, and Charles, and Wendell to one another. He
and Hawthorne were classmates at college, but I never heard him mention
Hawthorne; I never heard him mention Whittier or Emerson. I think his
reticence about his contemporaries was largely due to his reluctance from
criticism: he was the finest artist of them all, and if he praised he
must have praised with the reservations of an honest man. Of younger
writers he was willing enough to speak. No new contributor made his mark
in the magazine unnoted by him, and sometimes I showed him verse in
manuscript which gave me peculiar pleasure. I remember his liking for
the first piece that Mr. Maurice Thompson sent me, and how he tasted the
fresh flavor of it, and inhaled its wild new fragrance. He admired the
skill of some of the young story-tellers; he praised the subtlety of one
in working out an intricate character, and said modestly that he could
never have done that sort of thing himself. It was entirely safe to
invite his judgment when in doubt, for he never suffered it to become
aggressive, or used it to urge upon me the manuscripts that must often
have been urged upon him.
Longfellow had a house at Nahant where he went every summer for more than
a quarter of a century. He found the slight transition change enough
from Cambridge, and liked it perhaps because it did not take him beyond
the range of the friends and strangers whose company he liked. Agassiz
was there, and Appleton; Sumner came to sojourn with him; and the
tourists of all nations found him there in half an hour after they
reached Boston. His cottage was very plain and simple, but was rich in
the sight of the illimitable, sea, and it had a luxury of rocks at the
foot of its garden, draped with sea-weed, and washed with the
indefatigable tides. As he grew older and feebler he ceased to go to
Nahant; he remained the whole year round at Cambridge; he professed to
like the summer which he said warmed him through there, better than the
cold spectacle of summer which had no such effect at Nahant.
The hospitality which was constant at either house was not merely of the
worldly sort. Longfellow loved good cheer; he tasted history and poetry
in a precious wine; and he liked people who were acquainted with manners
and men, and brought the air of capitals with them. But often the man
who dined with Longfellow was the man who needed a dinner; and from what
I have seen of the sweet courtesy that governed at that board, I am sure
that such a man could never have felt himself the least honored guest.
The poet's heart was open to all the homelessness of the world; and I
remember how once when we sat at his table and I spoke of his poem of
"The Challenge," then a new poem, and said how I had been touched by the
fancy of
"The poverty-stricken millions
Who challenge our wine and bread,
And impeach us all as traitors,
Both the living and the dead,"
his voice sank in grave humility as he answered, "Yes, I often think of
those things." He had thought of them in the days of the slave, when he
had taken his place with the friends of the hopeless and hapless, and as
long as he lived he continued of the party which had freed the slave.
He did not often speak of politics, but when the movement of some of the
best Republicans away from their party began, he said that he could not
see the wisdom of their course. But this was said without censure or
criticism of them, and so far as I know he never permitted himself
anything like denunciation of those who in any wise differed from him.
On a matter of yet deeper interest, I do not feel authorized to speak for
him, but I think that as he grew older, his hold upon anything like a
creed weakened, though he remained of the Unitarian philosophy concerning
Christ. He did not latterly go to church, I believe; but then, very few
of his circle were church-goers. Once he said something very vague and
uncertain concerning the doctrine of another life when I affirmed my hope
of it, to the effect that he wished he could be sure, with the sigh that
so often clothed the expression of a misgiving with him.
VII.
When my acquaintance with Longfellow began he had written the things that
made his fame, and that it will probably rest upon: "Evangeline,"
"Hiawatha," and the "Courtship of Miles Standish" were by that time old
stories. But during the eighteen years that I knew him he produced the
best of his minor poems, the greatest of his sonnets, the sweetest of his
lyrics. His art ripened to the last, it grew richer and finer, and it
never knew decay. He rarely read anything of his own aloud, but in three
or four cases he read to me poems he had just finished, as if to give
himself the pleasure of hearing them with the sympathetic sense of
another. The hexameter piece, "Elizabeth," in the third part of "Tales
of a Wayside Inn," was one of these, and he liked my liking its
rhythmical form, which I believed one of the measures best adapted to the
English speech, and which he had used himself with so much pleasure and
success.
About this time he was greatly interested in the slight experiments I was
beginning to make in dramatic form, and he said that if he were himself a
young man he should write altogether for the stage; he thought the drama
had a greater future with us. He was pleased when a popular singer
wished to produce his "Masque of Pandora," with music, and he was patient
when it failed of the effect hoped for it as an opera. When the late
Lawrence Barrett, in the enthusiasm which was one of the fine traits of
his generous character, had taken my play of "A Counterfeit Presentment,"
and came to the Boston Museum with it, Longfellow could not apparently
have been more zealous for its popular acceptance if it had been his own
work. He invited himself to one of the rehearsals with me, and he sat
with me on the stage through the four acts with a fortitude which I still
wonder at, and with the keenest zest for all the details of the
performance. No finer testimony to the love and honor which all kinds of
people had for him could have been given than that shown by the actors
and employees of the theatre, high and low. They thronged the scenery,
those who were not upon the stage, and at the edge of every wing were
faces peering round at the poet, who sat unconscious of their adoration,
intent upon the play. He was intercepted at every step in going out, and
made to put his name to the photographs of himself which his worshippers
produced from their persons.
He came to the first night of the piece, and when it seemed to be finding
favor with the public, he leaned forward out of his line to nod and smile
at the author; when they, had the author up, it was the sweetest flattery
of the applause which abused his fondness that Longfellow clapped first
and loudest.
Where once he had given his kindness he could not again withhold it, and
he was anxious no fact should be interpreted as withdrawal. When the
Emperor Dom Pedro of Brazil, who was so great a lover of Longfellow,
came to Boston, he asked himself out to dine with the poet, who had
expected to offer him some such hospitality. Soon after, Longfellow met
me, and as if eager to forestall a possible feeling in me, said,
"I wanted to ask you to dinner with the Emperor, but he not only sent
word he was coming, he named his fellow-guests!" I answered that though
I should probably never come so near dining with an emperor again, I
prized his wish to ask me much more than the chance I had missed; and
with this my great and good friend seemed a little consoled. I believe
that I do not speak too confidently of our relation. He was truly the
friend of all men, but I had certainly the advantage of my propinquity.
We were near neighbors, as the pleonasm has it, both when I lived on
Berkeley Street and after I had built my own house on Concord Avenue;
and I suppose he found my youthful informality convenient. He always
asked me to dinner when his old friend Greene came to visit him, and then
we had an Italian time together, with more or less repetition in our
talk, of what we had said before of Italian poetry and Italian character.
One day there came a note from him saying, in effect, "Salvini is coming
out to dine with me tomorrow night, and I want you to come too. There
will be no one else but Greene and myself, and we will have an Italian
dinner."
Unhappily I had accepted a dinner in Boston for that night, and this
invitation put me in great misery. I must keep my engagement, but how
could I bear to miss meeting Salvini at Longfellow's table on terms like
these? We consulted at home together and questioned whether I might not
rush into Boston, seek out my host there, possess him of the facts, and
frankly throw myself on his mercy. Then a sudden thought struck us:
Go to Longfellow, and submit the case to him! I went, and he entered
with delicate sympathy into the affair. But he decided that, taking the
large view of it, I must keep my engagement, lest I should run even a
remote risk of wounding my friend's susceptibilities. I obeyed, and I
had a very good time, but I still feel that I missed the best time of my
life, and that I ought to be rewarded for my sacrifice, somewhere.
Longfellow so rarely spoke of himself in any way that one heard from him
few of those experiences of the distinguished man in contact with the
undistinguished, which he must have had so abundantly. But he told,
while it was fresh in his mind, an incident that happened to him one day
in Boston at a tobacconist's, where a certain brand of cigars was
recommended to him as the kind Longfellow smoked. "Ah, then I must have
some of them; and I will ask you to send me a box," said Longfellow, and
he wrote down his name and address. The cigar-dealer read it with the
smile of a worsted champion, and said, "Well, I guess you had me, that
time." At a funeral a mourner wished to open conversation, and by way of
suggesting a theme of common interest, began, "You've buried, I believe?"
Sometimes people were shown by the poet through Craigie House who had no
knowledge of it except that it had been Washington's headquarters. Of
course Longfellow was known by sight to every one in Cambridge. He was
daily in the streets, while his health endured, and as he kept no
carriage, he was often to be met in the horse-cars, which were such
common ground in Cambridge that they were often like small invited
parties of friends when they left Harvard Square, so that you expected
the gentlemen to jump up and ask the ladies whether they would have
chicken salad. In civic and political matters he mingled so far as to
vote regularly, and he voted with his party, trusting it for a general
regard to the public welfare.
I fancy he was somewhat shy of his fellow-men, as the scholar seems
always to be, from the sequestered habit of his life; but I think
Longfellow was incapable of marking any difference between himself and
them. I never heard from him anything that was 'de haut en bas', when he
spoke of people, and in Cambridge, where there was a good deal of
contempt for the less lettered, and we liked to smile though we did not
like to sneer, and to analyze if we did not censure, Longfellow and
Longfellow's house were free of all that. Whatever his feeling may have
been towards other sorts and conditions of men, his effect was of an
entire democracy. He was always the most unassuming person in any
company, and at some large public dinners where I saw him I found him
patient of the greater attention that more public men paid themselves and
one another. He was not a speaker, and I never saw him on his feet at
dinner, except once, when he read a poem for Whittier, who was absent.
He disliked after-dinner speaking, and made conditions for his own
exemption from it.
VIII.
Once your friend, Longfellow was always your friend; he would not think
evil of you, and if he knew evil of you, he would be the last of all that
knew it to judge you for it. This may have been from the impersonal
habit of his mind, but I believe it was also the effect of principle, for
he would do what he could to arrest the delivery of judgment from others,
and would soften the sentences passed in his presence. Naturally this
brought him under some condemnation with those of a severer cast; and I
have heard him criticised for his benevolence towards all, and his
constancy to some who were not quite so true to themselves, perhaps.
But this leniency of Longfellow's was what constituted him great as well
as good, for it is not our wisdom that censures others. As for his
goodness, I never saw a fault in him. I do not mean to say that he had
no faults, or that there were no better men, but only to give the witness
of my knowledge concerning him. I claim in no wise to have been his
intimate; such a thing was not possible in my case for quite apparent
reasons; and I doubt if Longfellow was capable of intimacy in the sense
we mostly attach to the word. Something more of egotism than I ever
found in him must go to the making of any intimacy which did not come
from the tenderest affections of his heart. But as a man shows himself
to those often with him, and in his noted relations with other men, he
showed himself without blame. All men that I have known, besides, have
had some foible (it often endeared them the more), or some meanness, or
pettiness, or bitterness; but Longfellow had none, nor the suggestion of
any. No breath of evil ever touched his name; he went in and out among
his fellow-men without the reproach that follows wrong; the worst thing I
ever heard said of him was that he had 'gene', and this was said by one
of those difficult Cambridge men who would have found 'gene' in a
celestial angel. Something that Bjornstjerne Bjornson wrote to me when
he was leaving America after a winter in Cambridge, comes nearer
suggesting Longfellow than all my talk. The Norsemen, in the days of
their stormy and reluctant conversion, used always to speak of Christ as
the White Christ, and Bjornson said in his letter, "Give my love to the
White Mr. Longfellow."
A good many, years before Longfellow's death he began to be sleepless,
and he suffered greatly. He said to me once that he felt as if he were
going about with his heart in a kind of mist. The whole night through he
would not be aware of having slept. "But," he would add, with his
heavenly patience, "I always get a good deal of rest from lying down so
long." I cannot say whether these conditions persisted, or how much his
insomnia had to do with his breaking health; three or four years before
the end came, we left Cambridge for a house farther in the country, and I
saw him less frequently than before. He did not allow our meetings to
cease; he asked me to dinner from time to time, as if to keep them up,
but it could not be with the old frequency. Once he made a point of
coming to see us in our cottage on the hill west of Cambridge, but it was
with an effort not visible in the days when he could end one of his brief
walks at our house on Concord Avenue; he never came but he left our house
more luminous for his having been there. Once he came to supper there to
meet Garfield (an old family friend of mine in Ohio), and though he was
suffering from a heavy cold, he would not scant us in his stay. I had
some very bad sherry which he drank with the serenity of a martyr, and I
shudder to this day to think what his kindness must have cost him. He
told his story of the clothes-line ghost, and Garfield matched it with
the story of an umbrella ghost who sheltered a friend of his through a
midnight storm, but was not cheerful company to his beneficiary, who
passed his hand through him at one point in the effort to take his arm.
After the end of four years I came to Cambridge to be treated for a long
sickness, which had nearly been my last, and when I could get about I
returned the visit Longfellow had not failed to pay me. But I did not
find him, and I never saw him again in life. I went into Boston to
finish the winter of 1881-2, and from time to time I heard that the poet
was failing in health. As soon as I felt able to bear the horse-car
journey I went out to Cambridge to see him. I had knocked once at his
door, the friendly door that had so often opened to his welcome, and
stood with the knocker in my hand when the door was suddenly set ajar,
and a maid showed her face wet with tears. "How is Mr. Longfellow?"
I palpitated, and with a burst of grief she answered, "Oh, the poor
gentleman has just departed!" I turned away as if from a helpless
intrusion at a death-bed.
At the services held in the house before the obsequies at the cemetery, I
saw the poet for the last time, where
"Dead he lay among his books,"
in the library behind his study. Death seldom fails to bring serenity to
all, and I will not pretend that there was a peculiar peacefulness in
Longfellow's noble mask, as I saw it then. It was calm and benign as it
had been in life; he could not have worn a gentler aspect in going out of
the world than he had always worn in it; he had not to wait for death to
dignify it with "the peace of God." All who were left of his old
Cambridge were present, and among those who had come farther was Emerson.
He went up to the bier, and with his arms crossed on his breast, and his
elbows held in either hand, stood with his head pathetically fallen
forward, looking down at the dead face. Those who knew how his memory
was a mere blank, with faint gleams of recognition capriciously coming
and going in it, must have felt that he was struggling to remember who
it was lay there before him; and for me the electly simple words
confessing his failure will always be pathetic with his remembered
aspect: "The gentleman we have just been burying," he said, to the friend
who had come with him, "was a sweet and beautiful soul; but I forget his
name."
I had the privilege and honor of looking over the unprinted poems
Longfellow left behind him, and of helping to decide which of them should
be published.
There were not many of them, and some of these few were quite
fragmentary. I gave my voice for the publication of all that had any
sort of completeness, for in every one there was a touch of his exquisite
art, the grace of his most lovely spirit. We have so far had two men
only who felt the claim of their gift to the very best that the most
patient skill could give its utterance: one was Hawthorne and the other
was Longfellow. I shall not undertake to say which was the greater
artist of these two; but I am sure that every one who has studied it must
feel with me that the art of Longfellow held out to the end with no touch
of decay in it, and that it equalled the art of any other poet of his
time. It knew when to give itself, and more and more it knew when to
withhold itself.
What Longfellow's place in literature will be, I shall not offer to say;
that is Time's affair, not mine; but I am sure that with Tennyson and
Browning he fully shared in the expression of an age which more
completely than any former age got itself said by its poets.
ETEXT EDITOR'S BOOKMARKS:
Anglo-American genius for ugliness
Backed their credulity with their credit
Candle burning on the table for the cigars
Discomfort which mistaken or blundering praise
Fell either below our pride or rose above our purse
Literary dislikes or contempts
Memory will not be ruled
Shy of his fellow-men, as the scholar seems always to be
End of this Project Gutenberg Etext of The White Mr. Longfellow
by William Dean Howells
LITERARY FRIENDS AND ACQUAINTANCES--Studies of Lowell
by William Dean Howells
STUDIES OF LOWELL
I have already spoken of my earliest meetings with Lowell at Cambridge
when I came to New England on a literary pilgrimage from the West in
1860. I saw him more and more after I went to live in Cambridge in 1866;
and I now wish to record what I knew of him during the years that passed
between this date and that of his death. If the portrait I shall try to
paint does not seem a faithful likeness to others who knew him, I shall
only claim that so he looked to me, at this moment and at that. If I do
not keep myself quite out of the picture, what painter ever did?
I.
It was in the summer of 1865 that I came home from my consular post at
Venice; and two weeks after I landed in Boston, I went out to see Lowell
at Elmwood, and give him an inkstand that I had brought him from Italy.
The bronze lobster whose back opened and disclosed an inkpot and a sand-
box was quite ugly; but I thought it beautiful then, and if Lowell
thought otherwise he never did anything to let me know it. He put the
thing in the middle of his writing-table (he nearly always wrote on a
pasteboard pad resting upon his knees), and there it remained as long as
I knew the place--a matter of twenty-five years; but in all that time I
suppose the inkpot continued as dry as the sand-box.
My visit was in the heat of August, which is as fervid in Cambridge as it
can well be anywhere, and I still have a sense of his study windows
lifted to the summer night, and the crickets and grasshoppers crying in
at them from the lawns and the gardens outside. Other people went away
from Cambridge in the summer to the sea and to the mountains, but Lowell
always stayed at Elmwood, in an impassioned love for his home and for his
town. I must have found him there in the afternoon, and he must have
made me sup with him (dinner was at two o'clock) and then go with him for
a long night of talk in his study. He liked to have some one help him
idle the time away, and keep him as long as possible from his work; and
no doubt I was impersonally serving his turn in this way, aside from any
pleasure he might have had in my company as some one he had always been
kind to, and as a fresh arrival from the Italy dear to us both.
He lighted his pipe, and from the depths of his easychair, invited my shy
youth to all the ease it was capable of in his presence. It was not
much; I loved him, and he gave me reason to think that he was fond of me,
but in Lowell I was always conscious of an older and closer and stricter
civilization than my own, an unbroken tradition, a more authoritative
status. His democracy was more of the head and mine more of the heart,
and his denied the equality which mine affirmed. But his nature was so
noble and his reason so tolerant that whenever in our long acquaintance
I found it well to come to open rebellion, as I more than once did,
he admitted my right of insurrection, and never resented the outbreak.
I disliked to differ with him, and perhaps he subtly felt this so much
that he would not dislike me for doing it. He even suffered being taxed
with inconsistency, and where he saw that he had not been quite just, he
would take punishment for his error, with a contrition that was sometimes
humorous and always touching.
Just then it was the dark hour before the dawn with Italy, and he was
interested but not much encouraged by what I could tell him of the
feeling in Venice against the Austrians. He seemed to reserve a like
scepticism concerning the fine things I was hoping for the Italians in
literature, and he confessed an interest in the facts treated which in
the retrospect, I am aware, was more tolerant than participant of my
enthusiasm. That was always Lowell's attitude towards the opinions of
people he liked, when he could not go their lengths with them, and
nothing was more characteristic of his affectionate nature and his just
intelligence. He was a man of the most strenuous convictions, but he
loved many sorts of people whose convictions he disagreed with, and he
suffered even prejudices counter to his own if they were not ignoble.
In the whimsicalities of others he delighted as much as in his own.
II.
Our associations with Italy held over until the next day, when after
breakfast he went with me towards Boston as far as "the village": for so
he liked to speak of Cambridge in the custom of his younger days when
wide tracts of meadow separated Harvard Square from his life-long home at
Elmwood. We stood on the platform of the horsecar together, and when I
objected to his paying my fare in the American fashion, he allowed that
the Italian usage of each paying for himself was the politer way.
He would not commit himself about my returning to Venice (for I had not
given up my place, yet, and was away on leave), but he intimated his
distrust of the flattering conditions of life abroad. He said it was
charming to be treated 'da signore', but he seemed to doubt whether it
was well; and in this as in all other things he showed his final fealty
to the American ideal.
It was that serious and great moment after the successful close of the
civil war when the republican consciousness was more robust in us than
ever before or since; but I cannot recall any reference to the historical
interest of the time in Lowell's talk. It had been all about literature
and about travel; and now with the suggestion of the word village it
began to be a little about his youth. I have said before how reluctant
he was to let his youth go from him; and perhaps the touch with my
juniority had made him realize how near he was to fifty, and set him
thinking of the past which had sorrows in it to age him beyond his years.
He would never speak of these, though he often spoke of the past. He
told once of having been on a brief journey when he was six years old,
with his father, and of driving up to the gate of Elmwood in the evening,
and his father saying, "Ah, this is a pleasant place! I wonder who
lives here--what little boy?" At another time he pointed out a certain
window in his study, and said he could see himself standing by it when he
could only get his chin on the window-sill. His memories of the house,
and of everything belonging to it, were very tender; but he could laugh
over an escapade of his youth when he helped his fellow-students pull
down his father's fences, in the pure zeal of good-comradeship.
III.
My fortunes took me to New York, and I spent most of the winter of 1865-6
writing in the office of 'The Nation'. I contributed several sketches of
Italian travel to that paper; and one of these brought me a precious
letter from Lowell. He praised my sketch, which he said he had read
without the least notion who had written it, and he wanted me to feel the
full value of such an impersonal pleasure in it. At the same time he did
not fail to tell me that he disliked some pseudo-cynical verses of mine
which he had read in another place; and I believe it was then that he
bade me "sweat the Heine out of" me, "as men sweat the mercury out of
their bones."
When I was asked to be assistant editor of the Atlantic Monthly, and came
on to Boston to talk the matter over with the publishers, I went out to
Cambridge and consulted Lowell. He strongly urged me to take the
position (I thought myself hopefully placed in New York on The Nation);
and at the same time he seemed to have it on his heart to say that he had
recommended some one else for it, never, he owned, having thought of me.
He was most cordial, but after I came to live in Cambridge (where the
magazine was printed, and I could more conveniently look over the
proofs), he did not call on me for more than a month, and seemed quite to
have forgotten me. We met one night at Mr. Norton's, for one of the
Dante readings, and he took no special notice of me till I happened to
say something that offered him a chance to give me a little humorous
snub. I was speaking of a paper in the Magazine on the "Claudian
Emissary," and I demanded (no doubt a little too airily) something like
"Who in the world ever heard of the Claudian Emissary?" "You are in
Cambridge, Mr. Howells," Lowell answered, and laughed at my confusion.
Having put me down, he seemed to soften towards me, and at parting he
said, with a light of half-mocking tenderness in his beautiful eyes,
"Goodnight, fellow-townsman." "I hardly knew we were fellow-townsmen," I
returned. He liked that, apparently, and said he had been meaning to
call upon me; and that he was coming very soon.
He was as good as his word, and after that hardly a week of any kind of
weather passed but he mounted the steps to the door of the ugly little
house in which I lived, two miles away from him, and asked me to walk.
These walks continued, I suppose, until Lowell went abroad for a winter
in the early seventies. They took us all over Cambridge, which he knew
and loved every inch of, and led us afield through the straggling,
unhandsome outskirts, bedrabbled with squalid Irish neighborhoods, and
fraying off into marshes and salt meadows. He liked to indulge an excess
of admiration for the local landscape, and though I never heard him
profess a preference for the Charles River flats to the finest Alpine
scenery, I could well believe he would do so under provocation of a fit
listener's surprise. He had always so much of the boy in him that he
liked to tease the over-serious or over-sincere. He liked to tease and
he liked to mock, especially his juniors, if any touch of affectation, or
any little exuberance of manner gave him the chance; when he once came to
fetch me, and the young mistress of the house entered with a certain
excessive elasticity, he sprang from his seat, and minced towards her,
with a burlesque of her buoyant carriage which made her laugh. When he
had given us his heart in trust of ours, he used us like a younger
brother and sister; or like his own children. He included our children
in his affection, and he enjoyed our fondness for them as if it were
something that had come back to him from his own youth. I think he had
also a sort of artistic, a sort of ethical pleasure in it, as being of
the good tradition, of the old honest, simple material, from which
pleasing effects in literature and civilization were wrought. He liked
giving the children books, and writing tricksy fancies in these, where he
masked as a fairy prince; and as long as he lived he remembered his early
kindness for them.
IV.
In those walks of ours I believe he did most of the talking, and from his
talk then and at other times there remains to me an impression of his
growing conservatism. I had in fact come into his life when it had spent
its impulse towards positive reform, and I was to be witness of its
increasing tendency towards the negative sort. He was quite past the
storm and stress of his anti-slavery age; with the close of the war which
had broken for him all his ideals of inviolable peace, he had reached the
age of misgiving. I do not mean that I ever heard him express doubt of
what he had helped to do, or regret for what he had done; but I know that
he viewed with critical anxiety what other men were doing with the
accomplished facts. His anxiety gave a cast of what one may call
reluctance from the political situation, and turned him back towards
those civic and social defences which he had once seemed willing to
abandon. I do not mean that he lost faith in democracy; this faith he
constantly then and signally afterwards affirmed; but he certainly had no
longer any faith in insubordination as a means of grace. He preached a
quite Socratic reverence for law, as law, and I remember that once when
I had got back from Canada in the usual disgust for the American custom-
house, and spoke lightly of smuggling as not an evil in itself, and
perhaps even a right under our vexatious tariff, he would not have it,
but held that the illegality of the act made it a moral of fence. This
was not the logic that would have justified the attitude of the anti-
slavery men towards the fugitive slave act; but it was in accord with
Lowell's feeling about John Brown, whom he honored while always
condemning his violation of law; and it was in the line of all his later
thinking. In this, he wished you to agree with him, or at least he
wished to make you; but he did not wish you to be more of his mind than
he was himself. In one of those squalid Irish neighborhoods I confessed
a grudge (a mean and cruel grudge, I now think it) for the increasing
presence of that race among us, but this did not please him; and I am
sure that whatever misgiving he had as to the future of America, he would
not have had it less than it had been the refuge and opportunity of the
poor of any race or color. Yet he would not have had it this alone.
There was a line in his poem on Agassiz which he left out of the printed
version, at the fervent entreaty of his friends, as saying too bitterly
his disappointment with his country. Writing at the distance of Europe,
and with America in the perspective which the alien environment clouded,
he spoke of her as "The Land of Broken Promise." It was a splendid
reproach, but perhaps too dramatic to bear the full test of analysis,
and yet it had the truth in it, and might, I think, have usefully stood,
to the end of making people think. Undoubtedly it expressed his sense of
the case, and in the same measure it would now express that of many who
love their country most among us. It is well to hold one's country to
her promises, and if there are any who think she is forgetting them it is
their duty to say so, even to the point of bitter accusation. I do not
suppose it was the "common man" of Lincoln's dream that Lowell thought
America was unfaithful to, though as I have suggested he could be tender
of the common man's hopes in her; but he was impeaching in that blotted
line her sincerity with the uncommon man: the man who had expected of her
a constancy to the ideals of her youth end to the high martyr-moods of
the war which had given an unguarded and bewildering freedom to a race of
slaves. He was thinking of the shame of our municipal corruptions, the
debased quality of our national statesmanship, the decadence of our whole
civic tone, rather than of the increasing disabilities of the hard-
working poor, though his heart when he thought of them was with them,
too, as it was in "the time when the slave would not let him sleep."
He spoke very rarely of those times, perhaps because their political and
social associations were so knit up with the saddest and tenderest
personal memories, which it was still anguish to touch. Not only was he
"--not of the race
That hawk, their sorrows in the market place,"
but so far as my witness went he shrank from mention of them. I do not
remember hearing him speak of the young wife who influenced him so
potently at the most vital moment, and turned him from his whole
scholarly and aristocratic tradition to an impassioned championship of
the oppressed; and he never spoke of the children he had lost. I recall
but one allusion to the days when he was fighting the anti-slavery battle
along the whole line, and this was with a humorous relish of his Irish
servant's disgust in having to wait upon a negro whom he had asked to his
table.
He was rather severe in his notions of the subordination his domestics
owed him. They were "to do as they were bid," and yet he had a
tenderness for such as had been any time with him, which was wounded when
once a hired man long in his employ greedily overreached him in a certain
transaction. He complained of that with a simple grief for the man's
indelicacy after so many favors from him, rather than with any
resentment. His hauteur towards his dependents was theoretic; his actual
behavior was of the gentle consideration common among Americans of good
breeding, and that recreant hired man had no doubt never been suffered to
exceed him in shows of mutual politeness. Often when the maid was about
weightier matters, he came and opened his door to me himself, welcoming
me with the smile that was like no other. Sometimes he said, "Siete il
benvenuto," or used some other Italian phrase, which put me at ease with
him in the region where we were most at home together.
Looking back I must confess that I do not see what it was he found to
make him wish for my company, which he presently insisted upon having
once a week at dinner. After the meal we turned into his study where we
sat before a wood fire in winter, and he smoked and talked. He smoked a
pipe which was always needing tobacco, or going out, so that I have the
figure of him before my eyes constantly getting out of his deep chair to
rekindle it from the fire with a paper lighter. He was often out of his
chair to get a book from the shelves that lined the walls, either for a
passage which he wished to read, or for some disputed point which he
wished to settle. If I had caused the dispute, he enjoyed putting me in
the wrong; if he could not, he sometimes whimsically persisted in his
error, in defiance of all authority; but mostly he had such reverence for
the truth that he would not question it even in jest.
If I dropped in upon him in the afternoon I was apt to find him reading
the old French poets, or the plays of Calderon, or the 'Divina Commedia',
which he magnanimously supposed me much better acquainted with than I was
because I knew some passages of it by heart. One day I came in quoting
"Io son, cantava, io son dolce Sirena,
Che i marinai in mezzo al mar dismago."
He stared at me in a rapture with the matchless music, and then uttered
all his adoration and despair in one word. "Damn!" he said, and no more.
I believe he instantly proposed a walk that day, as if his study walls
with all their vistas into the great literatures cramped his soul
liberated to a sense of ineffable beauty of the verse of the 'somma
poeta'. But commonly be preferred to have me sit down with him there
among the mute witnesses of the larger part of his life. As I have
suggested in my own case, it did not matter much whether you brought
anything to the feast or not. If he liked you he liked being with you,
not for what he got, but for what he gave. He was fond of one man whom I
recall as the most silent man I ever met. I never heard him say
anything, not even a dull thing, but Lowell delighted in him, and would
have you believe that he was full of quaint humor.
V.
While Lowell lived there was a superstition, which has perhaps survived
him, that he was an indolent man, wasting himself in barren studies and
minor efforts instead of devoting his great powers to some monumental
work worthy of them. If the robust body of literature, both poetry and
prose, which lives after him does not yet correct this vain delusion, the
time will come when it must; and in the meantime the delusion cannot vex
him now. I think it did vex him, then, and that he even shared it, and
tried at times to meet such shadowy claim as it had. One of the things
that people urged upon him was to write some sort of story, and it is
known how he attempted this in verse. It is less known that he attempted
it in prose, and that he went so far as to write the first chapter of a
novel. He read this to me, and though I praised it then, I have a
feeling now that if he had finished the novel it would have been a
failure. "But I shall never finish it," he sighed, as if he felt
irremediable defects in it, and laid the manuscript away, to turn and
light his pipe. It was a rather old-fashioned study of a whimsical
character, and it did not arrive anywhere, so far as it went; but I
believe that it might have been different with a Yankee story in verse
such as we have fragmentarily in 'The Nooning' and 'FitzAdam's Story'.
Still, his gift was essentially lyrical and meditative, with the
universal New England tendency to allegory. He was wholly undramatic in
the actuation of the characters which he imagined so dramatically. He
liked to deal with his subject at first hand, to indulge through himself
all the whim and fancy which the more dramatic talent indulges through
its personages.
He enjoyed writing such a poem as "The Cathedral," which is not of his
best, but which is more immediately himself, in all his moods, than some
better poems. He read it to me soon after it was written, and in the
long walk which we went hard upon the reading (our way led us through the
Port far towards East Cambridge, where he wished to show me a tupelo-tree
of his acquaintance, because I said I had never seen one), his talk was
still of the poem which he was greatly in conceit of. Later his
satisfaction with it received a check from the reserves of other friends
concerning some whimsical lines which seemed to them too great a drop
from the higher moods of the piece. Their reluctance nettled him;
perhaps he agreed with them; but he would not change the lines, and they
stand as he first wrote them. In fact, most of his lines stand as he
first wrote them; he would often change them in revision, and then, in a
second revision go back to the first version.
He was very sensitive to criticism, especially from those he valued
through his head or heart. He would try to hide his hurt, and he would
not let you speak of it, as though your sympathy unmanned him, but you
could see that he suffered. This notably happened in my remembrance from
a review in a journal which he greatly esteemed; and once when in a
notice of my own I had put one little thorny point among the flowers, he
confessed a puncture from it. He praised the criticism hardily, but I
knew that he winced under my recognition of the didactic quality which he
had not quite guarded himself against in the poetry otherwise praised.
He liked your liking, and he openly rejoiced in it; and I suppose he made
himself believe that in trying his verse with his friends he was testing
it; but I do not believe that he was, and I do not think he ever
corrected his judgment by theirs, however he suffered from it.
In any matter that concerned literary morals he was more than eager to
profit by another eye. One summer he sent me for the Magazine a poem
which, when I read it, I trembled to find in motive almost exactly like
one we had lately printed by another contributor. There was nothing for
it but to call his attention to the resemblance, and I went over to
Elmwood with the two poems. He was not at home, and I was obliged to
leave the poems, I suppose with some sort of note, for the next morning's
post brought me a delicious letter from him, all one cry of confession,
the most complete, the most ample. He did not trouble himself to say
that his poem was an unconscious reproduction of the other; that was for
every reason unnecessary, but he had at once rewritten it upon wholly
different lines; and I do not think any reader was reminded of Mrs.
Akers's "Among the Laurels" by Lowell's "Foot-path." He was not only
much more sensitive of others' rights than his own, but in spite of a
certain severity in him, he was most tenderly regardful of their
sensibilities when he had imagined them: he did not always imagine them.
VI.
At this period, between the years 1866 and 1874, when he unwillingly went
abroad for a twelvemonth, Lowell was seen in very few Cambridge houses,
and in still fewer Boston houses. He was not an unsocial man, but he was
most distinctly not a society man. He loved chiefly the companionship of
books, and of men who loved books; but of women generally he had an
amusing diffidence; he revered them and honored them, but he would rather
not have had them about. This is over-saying it, of course, but the
truth is in what I say. There was never a more devoted husband, and he
was content to let his devotion to the sex end with that. He especially
could not abide difference of opinion in women; he valued their taste,
their wit, their humor, but he would have none of their reason. I was by
one day when he was arguing a point with one of his nieces, and after it
had gone on for some time, and the impartial witness must have owned that
she was getting the better of him he closed the controversy by giving her
a great kiss, with the words, "You are a very good girl, my dear," and
practically putting her out of the room. As to women of the flirtatious
type, he did not dislike them; no man, perhaps, does; but he feared them,
and he said that with them there was but one way, and that was to run.
I have a notion that at this period Lowell was more freely and fully
himself than at any other. The passions and impulses of his younger
manhood had mellowed, the sorrows of that time had softened; he could
blamelessly live to himself in his affections and his sobered ideals.
His was always a duteous life; but he had pretty well given up making man
over in his own image, as we all wish some time to do, and then no longer
wish it. He fulfilled his obligations to his fellow-men as these sought
him out, but he had ceased to seek them. He loved his friends and their
love, but he had apparently no desire to enlarge their circle. It was
that hour of civic suspense, in which public men seemed still actuated by
unselfish aims, and one not essentially a politician might contentedly
wait to see what would come of their doing their best. At any rate,
without occasionally withholding open criticism or acclaim Lowell waited
among his books for the wounds of the war to heal themselves, and the
nation to begin her healthfuller and nobler life. With slavery gone,
what might not one expect of American democracy!
His life at Elmwood was of an entire simplicity. In the old colonial
mansion in which he was born, he dwelt in the embowering leafage, amid
the quiet of lawns and garden-plots broken by few noises ruder than those
from the elms and the syringas where
"The oriole clattered and the cat-bird sang."
From the tracks on Brattle Street, came the drowsy tinkle of horse-car
bells; and sometimes a funeral trailed its black length past the corner
of his grounds, and lost itself from sight under the shadows of the
willows that hid Mount Auburn from his study windows. In the winter the
deep New England snows kept their purity in the stretch of meadow behind
the house, which a double row of pines guarded in a domestic privacy.
All was of a modest dignity within and without the house, which Lowell
loved but did not imagine of a manorial presence; and he could not
conceal his annoyance with an over-enthusiastic account of his home in
which the simple chiselling of some panels was vaunted as rich wood-
carving. There was a graceful staircase, and a good wide hall, from
which the dining-room and drawing-room opened by opposite doors; behind
the last, in the southwest corner of the house, was his study.
There, literally, he lived during the six or seven years in which I knew
him after my coming to Cambridge. Summer and winter he sat there among
his books, seldom stirring abroad by day except for a walk, and by night
yet more rarely. He went to the monthly mid-day dinner of the Saturday
Club in Boston; he was very constant at the fortnightly meetings of his
whist-club, because he loved the old friends who formed it; he came
always to the Dante suppers at Longfellow's, and he was familiarly in and
out at Mr. Norton's, of course. But, otherwise, he kept to his study,
except for some rare and almost unwilling absences upon university
lecturing at Johns Hopkins or at Cornell.
For four years I did not take any summer outing from Cambridge myself,
and my associations with Elmwood and with Lowell are more of summer than
of winter weather meetings. But often we went our walks through the
snows, trudging along between the horsecar tracks which enclosed the only
well-broken-out paths in that simple old Cambridge. I date one memorable
expression of his from such a walk, when, as we were passing Longfellow's
house, in mid-street, he came as near the declaration of his religious
faith as he ever did in my presence. He was speaking of the New
Testament, and he said, The truth was in it; but they had covered it up
with their hagiology. Though he had been bred a Unitarian, and had more
and more liberated himself from all creeds, he humorously affected an
abiding belief in hell, and similarly contended for the eternal
punishment of the wicked. He was of a religious nature, and he was very
reverent of other people's religious feelings. He expressed a special
tolerance for my own inherited faith, no doubt because Mrs. Lowell was
also a Swedenborgian; but I do not think he was interested in it, and I
suspect that all religious formulations bored him. In his earlier poems
are many intimations and affirmations of belief in an overruling
providence, and especially in the God who declares vengeance His and will
repay men for their evil deeds, and will right the weak against the
strong. I think he never quite lost this, though when, in the last years
of his life, I asked him if he believed there was a moral government of
the universe, he answered gravely and with a sort of pain, The scale was
so vast, and we saw such a little part of it.
As to tine notion of a life after death, I never had any direct or
indirect expression from him; but I incline to the opinion that his hold
upon this weakened with his years, as it is sadly apt to do with men who
have read much and thought much: they have apparently exhausted their
potentialities of psychological life. Mystical Lowell was, as every poet
must be, but I do not think he liked mystery. One morning he told me
that when he came home the night before he had seen the Doppelganger of
one of his household: though, as he joked, he was not in a state to see
double.
He then said he used often to see people's Doppelganger; at another time,
as to ghosts, he said, He was like Coleridge: he had seen too many of
'em. Lest any weaker brethren should be caused to offend by the
restricted oath which I have reported him using in a moment of transport
it may be best to note here that I never heard him use any other
imprecation, and this one seldom.
Any grossness of speech was inconceivable of him; now and then, but only
very rarely, the human nature of some story "unmeet for ladies" was too
much for his sense of humor, and overcame him with amusement which he was
willing to impart, and did impart, but so that mainly the human nature of
it reached you. In this he was like the other great Cambridge men,
though he was opener than the others to contact with the commoner life.
He keenly delighted in every native and novel turn of phrase, and he
would not undervalue a vital word or a notion picked up out of the road
even if it had some dirt sticking to it.
He kept as close to the common life as a man of his patrician instincts
and cloistered habits could. I could go to him with any new find about
it and be sure of delighting him; after I began making my involuntary and
all but unconscious studies of Yankee character, especially in the
country, he was always glad to talk them over with me. Still, when I had
discovered a new accent or turn of speech in the fields he had
cultivated, I was aware of a subtle grudge mingling with his pleasure;
but this was after all less envy than a fine regret.
At the time I speak of there was certainly nothing in Lowell's dress or
bearing that would have kept the common life aloof from him, if that life
were not always too proud to make advances to any one. In this
retrospect, I see him in the sack coat and rough suit which he wore upon
all out-door occasions, with heavy shoes, and a round hat. I never saw
him with a high hat on till he came home after his diplomatic stay in
London; then he had become rather rigorously correct in his costume, and
as conventional as he had formerly been indifferent. In both epochs he
was apt to be gloved, and the strong, broad hands, which left the
sensation of their vigor for some time after they had clasped yours,
were notably white. At the earlier period, he still wore his auburn hair
somewhat long; it was darker than his beard, which was branching and
full, and more straw-colored than auburn, as were his thick eyebrows;
neither hair nor beard was then touched with gray, as I now remember.
When he uncovered, his straight, wide, white forehead showed itself one
of the most beautiful that could be; his eyes were gay with humor, and
alert with all intelligence. He had an enchanting smile, a laugh that
was full of friendly joyousness, and a voice that was exquisite music.
Everything about him expressed his strenuous physical condition: he would
not wear an overcoat in the coldest Cambridge weather; at all times he
moved vigorously, and walked with a quick step, lifting his feet well
from the ground.
VII.
It gives me a pleasure which I am afraid I cannot impart, to linger in
this effort to materialize his presence from the fading memories of the
past. I am afraid I can as little impart a due sense of what he
spiritually was to my knowledge. It avails nothing for me to say that
I think no man of my years and desert had ever so true and constant a
friend. He was both younger and older than I by insomuch as he was a
poet through and through, and had been out of college before I was born.
But he had already come to the age of self-distrust when a man likes to
take counsel with his juniors as with his elders, and fancies he can
correct his perspective by the test of their fresher vision. Besides,
Lowell was most simply and pathetically reluctant to part with youth,
and was willing to cling to it wherever he found it. He could not in any
wise bear to be left-out. When Mr. Bret Harte came to Cambridge, and the
talk was all of the brilliant character-poems with which he had then
first dazzled the world, Lowell casually said, with a most touching,
however ungrounded sense of obsolescence, He could remember when the
'Biglow Papers' were all the talk. I need not declare that there was
nothing ungenerous in that. He was only too ready to hand down his
laurels to a younger man; but he wished to do it himself. Through the
modesty that is always a quality of such a nature, he was magnanimously
sensitive to the appearance of fading interest; he could not take it
otherwise than as a proof of his fading power. I had a curious hint of
this when one year in making up the prospectus of the Magazine for the
next, I omitted his name because I had nothing special to promise from
him, and because I was half ashamed to be always flourishing it in the
eyes of the public. "I see that you have dropped me this year," he
wrote, and I could see that it had hurt, and I knew that he was glad to
believe the truth when I told him.
He did not care so much for popularity as for the praise of his friends.
If he liked you he wished you not only to like what he wrote, but to say
so. He was himself most cordial in his recognition of the things that
pleased him. What happened to me from him, happened to others, and I am
only describing his common habit when I say that nothing I did to his
liking failed to bring me a spoken or oftener a written acknowledgment.
This continued to the latest years of his life when the effort even to
give such pleasure must have cost him a physical pang.
He was of a very catholic taste; and he was apt to be carried away by a
little touch of life or humor, and to overvalue the piece in which he
found it; but, mainly his judgments of letters and men were just.
One of the dangers of scholarship was a peculiar danger in the Cambridge
keeping, but Lowell was almost as averse as Longfellow from contempt.
He could snub, and pitilessly, where he thought there was presumption and
apparently sometimes merely because he was in the mood; but I cannot
remember ever to have heard him sneer. He was often wonderfully patient
of tiresome people, and sometimes celestially insensible to vulgarity.
In spite of his reserve, he really wished people to like him; he was
keenly alive to neighborly good-will or ill-will; and when there was a
question of widening Elmwood avenue by taking part of his grounds, he was
keenly hurt by hearing that some one who lived near him had said he hoped
the city would cut down Lowell's elms: his English elms, which his father
had planted, and with which he was himself almost one blood!
VIII.
In the period of which I am speaking, Lowell was constantly writing and
pretty constantly printing, though still the superstition held that he
was an idle man. To this time belongs the publication of some of his
finest poems, if not their inception: there were cases in which their
inception dated far back, even to ten or twenty years. He wrote his
poems at a heat, and the manuscript which came to me for the magazine was
usually the first draft, very little corrected. But if the cold fit took
him quickly it might hold him so fast that he would leave the poem in
abeyance till he could slowly live back to a liking for it.
The most of his best prose belongs to the time between 1866 and 1874, and
to this time we owe the several volumes of essays and criticisms called
'Among My Books' and 'My Study Windows'. He wished to name these more
soberly, but at the urgence of his publishers he gave them titles which
they thought would be attractive to the public, though he felt that they
took from the dignity of his work. He was not a good business man in a
literary way, he submitted to others' judgment in all such matters.
I doubt if he ever put a price upon anything he sold, and I dare say he
was usually surprised at the largeness of the price paid him; but
sometimes if his need was for a larger sum, he thought it too little,
without reference to former payments. This happened with a long poem in
the Atlantic, which I had urged the counting-room authorities to deal
handsomely with him for. I did not know how many hundred they gave him,
and when I met him I ventured to express the hope that the publishers had
done their part. He held up four fingers, "Quattro," he said in Italian,
and then added with a disappointment which he tried to smile away,
"I thought they might have made it cinque."
Between me and me I thought quattro very well, but probably Lowell had in
mind some end which cinque would have fitted better. It was pretty sure
to be an unselfish end, a pleasure to some one dear to him, a gift that
he had wished to make. Long afterwards when I had been the means of
getting him cinque for a poem one-tenth the length, he spoke of the
payment to me. "It came very handily; I had been wanting to give a
watch."
I do not believe at any time Lowell was able to deal with money
"Like wealthy men, not knowing what they give."
more probably he felt a sacredness in the money got by literature, which
the literary man never quite rids him self of, even when he is not a
poet, and which made him wish to dedicate it to something finer than the
every day uses. He lived very quietly, but he had by no means more than
he needed to live upon, and at that time he had pecuniary losses. He was
writing hard, and was doing full work in his Harvard professorship, and
he was so far dependent upon his salary, that he felt its absence for the
year he went abroad. I do not know quite how to express my sense of
something unworldly, of something almost womanlike in his relation to
money.
He was not only generous of money, but he was generous of himself, when
he thought he could be of use, or merely of encouragement. He came all
the way into Boston to hear certain lectures of mine on the Italian
poets, which he could not have found either edifying or amusing, that he
might testify his interest in me, and show other people that they were
worth coming to. He would go carefully over a poem with me, word by
word, and criticise every turn of phrase, and after all be magnanimously
tolerant of my sticking to phrasings that he disliked. In a certain line
"The silvern chords of the piano trembled,"
he objected to silvern. Why not silver? I alleged leathern, golden, and
like adjectives in defence of my word; but still he found an affectation
in it, and suffered it to stand with extreme reluctance. Another line of
another piece:
"And what she would, would rather that she would not"
he would by no means suffer. He said that the stress falling on the last
word made it "public-school English," and he mocked it with the answer a
maid had lately given him when he asked if the master of the house was at
home. She said, "No, sir, he is not," when she ought to have said "No,
sir, he isn't." He was appeased when I came back the next day with the
stanza amended so that the verse could read:
"And what she would, would rather she would not so"
but I fancy he never quite forgave my word silvern. Yet, he professed
not to have prejudices in such matters, but to use any word that would
serve his turn, without wincing; and he certainly did use and defend
words, as undisprivacied and disnatured, that made others wince.
He was otherwise such a stickler for the best diction that he would not
have had me use slovenly vernacular even in the dialogue in my stories:
my characters must not say they wanted to do so and so, but wished, and
the like. In a copy of one of my books which I found him reading, I saw
he had corrected my erring Western woulds and shoulds; as he grew old he
was less and less able to restrain himself from setting people right to
their faces. Once, in the vast area of my ignorance, he specified my
small acquaintance with a certain period of English poetry, saying,
"You're rather shady, there, old fellow." But he would not have had me
too learned, holding that he had himself been hurt for literature by his
scholarship.
His patience in analyzing my work with me might have been the easy effort
of his habit of teaching; and his willingness to give himself and his own
was no doubt more signally attested in his asking a brother man of
letters who wished to work up a subject in the college library, to stay a
fortnight in his house, and to share his study, his beloved study, with
him. This must truly have cost him dear, as any author of fixed habits
will understand. Happily the man of letters was a good fellow, and knew
how to prize the favor-done him, but if he had been otherwise, it would
have been the same to Lowell. He not only endured, but did many things
for the weaker brethren, which were amusing enough to one in the secret
of his inward revolt. Yet in these things he was considerate also of the
editor whom he might have made the sharer of his self-sacrifice, and he
seldom offered me manuscripts for others. The only real burden of the
kind that he put upon me was the diary of a Virginian who had travelled
in New England during the early thirties, and had set down his
impressions of men and manners there. It began charmingly, and went on
very well under Lowell's discreet pruning, but after a while he seemed to
fall in love with the character of the diarist so much that he could not
bear to cut anything.
IX.
He had a great tenderness for the broken and ruined South, whose sins he
felt that he had had his share in visiting upon her, and he was willing
to do what he could to ease her sorrows in the case of any particular
Southerner. He could not help looking askance upon the dramatic shows of
retribution which some of the Northern politicians were working, but with
all his misgivings he continued to act with the Republican party until
after the election of Hayes; he was away from the country during the
Garfield campaign. He was in fact one of the Massachusetts electors
chosen by the Republican majority in 1816, and in that most painful hour
when there was question of the policy and justice of counting Hayes in
for the presidency, it was suggested by some of Lowell's friends that he
should use the original right of the electors under the constitution,
and vote for Tilden, whom one vote would have chosen president over
Hayes. After he had cast his vote for Hayes, he quietly referred to the
matter one day, in the moment of lighting his pipe, with perhaps the
faintest trace of indignation in his tone. He said that whatever the
first intent of the constitution was, usage had made the presidential
electors strictly the instruments of the party which chose them, and that
for him to have voted for Tilden when he had been chosen to vote for
Hayes would have-been an act of bad faith.
He would have resumed for me all the old kindness of our relations before
the recent year of his absence, but this had inevitably worked a little
estrangement. He had at least lost the habit of me, and that says much
in such matters. He was not so perfectly at rest in the Cambridge
environment; in certain indefinable ways it did not so entirely suffice
him, though he would have been then and always the last to allow this.
I imagine his friends realized more than he, that certain delicate but
vital filaments of attachment had frayed and parted in alien air, and
left him heart-loose as he had not been before.
I do not know whether it crossed his mind after the election of Hayes
that he might be offered some place abroad, but it certainly crossed the
minds of some of his friends, and I could not feel that I was acting for
myself alone when I used a family connection with the President, very
early in his term, to let him know that I believed Lowell would accept a
diplomatic mission. I could assure him that I was writing wholly without
Lowell's privity or authority, and I got back such a letter as I could
wish in its delicate sense of the situation. The President said that he
had already thought of offering Lowell something, and he gave me the
pleasure, a pleasure beyond any other I could imagine, of asking Lowell
whether he would accept the mission to Austria. I lost no time carrying
his letter to Elmwood, where I found Lowell over his coffee at dinner.
He saw me at the threshold, and called to me through the open door to
come in, and I handed him the letter, and sat down at table while he ran
it through. When he had read it, he gave a quick "Ah!" and threw it
over the length of the table to Mrs. Lowell. She read it in a smiling
and loyal reticence, as if she would not say one word of all she might
wish to say in urging his acceptance, though I could see that she was
intensely eager for it. The whole situation was of a perfect New England
character in its tacit significance; after Lowell had taken his coffee we
turned into his study without further allusion to the matter.
A day or two later he came to my house to say that he could not accept
the Austrian mission, and to ask me to tell the President so for him, and
make his acknowledgments, which he would also write himself. He remained
talking a little while of other things, and when he rose to go, he said
with a sigh of vague reluctance, "I should like to see a play of
Calderon," as if it had nothing to do with any wish of his that could
still be fulfilled. "Upon this hint I acted," and in due time it was
found in Washington, that the gentleman who had been offered the Spanish
mission would as lief go to Austria, and Lowell was sent to Madrid.
X.
When we met in London, some years later, he came almost every afternoon
to my lodging, and the story of our old-time Cambridge walks began again
in London phrases. There were not the vacant lots and outlying fields of
his native place, but we made shift with the vast, simple parks, and we
walked on the grass as we could not have done in an American park, and
were glad to feel the earth under our feet. I said how much it was like
those earlier tramps; and that pleased him, for he wished, whenever a
thing delighted him, to find a Cambridge quality in it.
But he was in love with everything English, and was determined I should
be so too, beginning with the English weather, which in summer cannot be
overpraised. He carried, of course, an umbrella, but he would not put it
up in the light showers that caught us at times, saying that the English
rain never wetted you. The thick short turf delighted him; he would
scarcely allow that the trees were the worse for foliage blighted by a
vile easterly storm in the spring of that year. The tender air, the
delicate veils that the moisture in it cast about all objects at the
least remove, the soft colors of the flowers, the dull blue of the low
sky showing through the rifts of the dirty white clouds, the hovering
pall of London smoke, were all dear to him, and he was anxious that I
should not lose anything of their charm.
He was anxious that I should not miss the value of anything in England,
and while he volunteered that the aristocracy had the corruptions of
aristocracies everywhere, he insisted upon my respectful interest in it
because it was so historical. Perhaps there was a touch of irony in this
demand, but it is certain that he was very happy in England. He had come
of the age when a man likes smooth, warm keeping, in which he need make
no struggle for his comfort; disciplined and obsequious service; society,
perfectly ascertained within the larger society which we call
civilization; and in an alien environment, for which he was in no wise
responsible, he could have these without a pang of the self-reproach
which at home makes a man unhappy amidst his luxuries, when he considers
their cost to others. He had a position which forbade thought of
unfairness in the conditions; he must not wake because of the slave, it
was his duty to sleep. Besides, at that time Lowell needed all the rest
he could get, for he had lately passed through trials such as break the
strength of men, and how them with premature age. He was living alone in
his little house in Lowndes Square, and Mrs. Lowell was in the country,
slowly recovering from the effects of the terrible typhus which she had
barely survived in Madrid. He was yet so near the anguish of that
experience that he told me he had still in his nerves the expectation of
a certain agonized cry from her which used to rend them. But he said he
had adjusted himself to this, and he went on to speak with a patience
which was more affecting in him than in men of more phlegmatic
temperament, of how we were able to adjust ourselves to all our trials
and to the constant presence of pain. He said he was never free of a
certain distress, which was often a sharp pang, in one of his shoulders,
but his physique had established such relations with it that, though he
was never unconscious of it, he was able to endure it without a
recognition of it as suffering.
He seemed to me, however, very well, and at his age of sixty-three, I
could not see that he was less alert and vigorous than he was when I
first knew him in Cambridge. He had the same brisk, light step, and
though his beard was well whitened and his auburn hair had grown ashen
through the red, his face had the freshness and his eyes the clearness of
a young man's. I suppose the novelty of his life kept him from thinking
about his years; or perhaps in contact with those great, insenescent
Englishmen, he could not feel himself old. At any rate he did not once
speak of age, as he used to do ten years earlier, and I, then half
through my forties, was still "You young dog" to him. It was a bright
and cheerful renewal of the early kindliness between us, on which indeed
there had never been a shadow, except such as distance throws. He wished
apparently to do everything he could to assure us of his personal
interest; and we were amused to find him nervously apprehensive of any
purpose, such as was far from us, to profit by him officially. He
betrayed a distinct relief when he found we were not going to come upon
him even for admissions to the houses of parliament, which we were to see
by means of an English acquaintance. He had not perhaps found some other
fellow-citizens so considerate; he dreaded the half-duties of his place,
like presentations to the queen, and complained of the cheap ambitions he
had to gratify in that way.
He was so eager to have me like England in every way, and seemed so fond
of the English, that I thought it best to ask him whether he minded my
quoting, in a paper about Lexington, which I was just then going to print
in a London magazine, some humorous lines of his expressing the mounting
satisfaction of an imaginary Yankee story-teller who has the old fight
terminate in Lord Percy's coming
"To hammer stone for life in Concord jail."
It had occurred to me that it might possibly embarrass him to have this
patriotic picture presented to a public which could not take our Fourth
of July pleasure in it, and I offered to suppress it, as I did afterwards
quite for literary reasons. He said, No, let it stand, and let them make
the worst of it; and I fancy that much of his success with a people who
are not gingerly with other people's sensibilities came from the
frankness with which he trampled on their prejudice when he chose.
He said he always told them, when there was question of such things,
that the best society he had ever known was in Cambridge, Massachusetts.
He contended that the best English was spoken there; and so it was, when
he spoke it.
We were in London out of the season, and he was sorry that he could not
have me meet some titles who he declared had found pleasure in my books;
when we returned from Italy in the following June, he was prompt to do me
this honor. I dare say he wished me to feel it to its last implication,
and I did my best, but there was nothing in the evening I enjoyed so much
as his coming up to Mrs. Lowell, at the close, when there was only a
title or two left, and saying to her as he would have said to her at
Elmwood, where she would have personally planned it, "Fanny, that was a
fine dinner you gave us." Of course, this was in a tender burlesque;
but it remains the supreme impression of what seemed to me a cloudlessly
happy period for Lowell. His wife was quite recovered of her long
suffering, and was again at the head of his house, sharing in his
pleasures, and enjoying his successes for his sake; successes so great
that people spoke of him seriously, as "an addition to society" in
London, where one man more or less seemed like a drop in the sea.
She was a woman perfectly of the New England type and tradition: almost
repellantly shy at first, and almost glacially cold with new
acquaintance, but afterwards very sweet and cordial. She was of a dark
beauty with a regular face of the Spanish outline; Lowell was of an ideal
manner towards her, and of an admiration which delicately travestied
itself and which she knew how to receive with smiling irony. After her
death, which occurred while he was still in England, he never spoke of
her to me, though before that he used to be always bringing her name in,
with a young lover-like fondness.
XI.
In the hurry of the London season I did not see so much of Lowell on our
second sojourn as on our first, but once when we were alone in his study
there was a return to the terms of the old meetings in Cambridge. He
smoked his pipe, and sat by his fire and philosophized; and but for the
great London sea swirling outside and bursting through our shelter, and
dashing him with notes that must be instantly answered, it was a very
fair image of the past. He wanted to tell me about his coachman whom he
had got at on his human side with great liking and amusement, and there
was a patient gentleness in his manner with the footman who had to keep
coming in upon him with those notes which was like the echo of his young
faith in the equality of men. But he always distinguished between the
simple unconscious equality of the ordinary American and its assumption
by a foreigner. He said he did not mind such an American's coming into
his house with his hat on; but if a German or Englishman did it, he
wanted to knock it off. He was apt to be rather punctilious in his shows
of deference towards others, and at one time he practised removing his
own hat when he went into shops in Cambridge. It must have mystified the
Cambridge salesmen, and I doubt if he kept it up.
With reference to the doctrine of his young poetry, the fierce and the
tender humanity of his storm and stress period, I fancy a kind of baffle
in Lowell, which I should not perhaps find it easy to prove. I never
knew him by word or hint to renounce this doctrine, but he could not come
to seventy years without having seen many high hopes fade, and known many
inspired prophecies fail. When we have done our best to make the world
over, we are apt to be dismayed by finding it in much the old shape.
As he said of the moral government of the universe, the scale is so vast,
and a little difference, a little change for the better, is scarcely
perceptible to the eager consciousness of the wholesale reformer.
But with whatever sense of disappointment, of doubt as to his own deeds
for truer freedom and for better conditions I believe his sympathy was
still with those who had some heart for hoping and striving. I am sure
that though he did not agree with me in some of my own later notions for
the redemption of the race, he did not like me the less but rather the
more because (to my own great surprise I confess) I had now and then the
courage of my convictions, both literary and social.
He was probably most at odds with me in regard to my theories of fiction,
though he persisted in declaring his pleasure in my own fiction. He was
in fact, by nature and tradition, thoroughly romantic, and he could not
or would not suffer realism in any but a friend. He steadfastly refused
even to read the Russian masters, to his immense loss, as I tried to
persuade him, and even among the modern Spaniards, for whom he might have
had a sort of personal kindness from his love of Cervantes, he chose one
for his praise the least worthy, of it, and bore me down with his heavier
metal in argument when I opposed to Alarcon's factitiousness the
delightful genuineness of Valdes. Ibsen, with all the Norwegians, he put
far from him; he would no more know them than the Russians; the French
naturalists he abhorred. I thought him all wrong, but you do not try
improving your elders when they have come to three score and ten years,
and I would rather have had his affection unbroken by our difference of
opinion than a perfect agreement. Where he even imagined that this
difference could work me harm, he was anxious to have me know that he
meant me none; and he was at the trouble to write me a letter when a
Boston paper had perverted its report of what he said in a public lecture
to my disadvantage, and to assure me that he had not me in mind. When
once he had given his liking, he could not bear that any shadow of change
should seem to have come upon him. He had a most beautiful and endearing
ideal of friendship; he desired to affirm it and to reaffirm it as often
as occasion offered, and if occasion did not offer, he made occasion.
It did not matter what you said or did that contraried him; if he thought
he had essentially divined you, you were still the same: and on his part
he was by no means exacting of equal demonstration, but seemed not even
to wish it.
XII.
After he was replaced at London by a minister more immediately
representative of the Democratic administration, he came home. He made a
brave show of not caring to have remained away, but in truth he had
become very fond of England, where he had made so many friends, and where
the distinction he had, in that comfortably padded environment, was so
agreeable to him.
It would have been like him to have secretly hoped that the new President
might keep him in London, but he never betrayed any ignoble
disappointment, and he would not join in any blame of him. At our first
meeting after he came home he spoke of the movement which had made Mr.
Cleveland president, and said he supposed that if he had been here,
he should have been in it. All his friends were, he added, a little
helplessly; but he seemed not to dislike my saying I knew one of his
friends who was not: in fact, as I have told, he never disliked a plump
difference--unless he disliked the differer.
For several years he went back to England every summer, and it was not
until he took up his abode at Elmwood again that he spent a whole year at
home. One winter he passed at his sister's home in Boston, but mostly he
lived with his daughter at Southborough. I have heard a story of his
going to Elmwood soon after his return in 1885, and sitting down in his
old study, where he declared with tears that the place was full of
ghosts. But four or five years later it was well for family reasons that
he should live there; and about the same time it happened that I had
taken a house for the summer in his neighborhood. He came to see me,
and to assure me, in all tacit forms of his sympathy in a sorrow for
which there could be no help; but it was not possible that the old
intimate relations should be resumed. The affection was there, as much
on his side as on mine, I believe; but he was now an old man and I was an
elderly man, and we could not, without insincerity, approach each other
in the things that had drawn us together in earlier and happier years.
His course was run; my own, in which he had taken such a generous
pleasure, could scarcely move his jaded interest. His life, so far as it
remained to him, had renewed itself in other air; the later friendships
beyond seas sufficed him, and were without the pang, without the effort
that must attend the knitting up of frayed ties here.
He could never have been anything but American, if he had tried, and he
certainly never tried; but he certainly did not return to the outward
simplicities of his life as I first knew it. There was no more round-
hat-and-sack-coat business for him; he wore a frock and a high hat, and
whatever else was rather like London than Cambridge; I do not know but
drab gaiters sometimes added to the effect of a gentleman of the old
school which he now produced upon the witness. Some fastidiousnesses
showed themselves in him, which were not so surprising. He complained of
the American lower class manner; the conductor and cabman would be kind
to you but they would not be respectful, and he could not see the fun of
this in the old way. Early in our acquaintance he rather stupified me by
saying, "I like you because you don't put your hands on me," and I heard
of his consenting to some sort of reception in those last years, "Yes,
if they won't shake hands."
Ever since his visit to Rome in 1875 he had let his heavy mustache grow
long till it dropped below the corners of his beard, which was now almost
white; his face had lost the ruddy hue so characteristic of him. I fancy
he was then ailing with premonitions of the disorder which a few years
later proved mortal, but he still bore himself with sufficient vigor,
and he walked the distance between his house and mine, though once when I
missed his visit the family reported that after he came in he sat a long
time with scarcely a word, as if too weary to talk. That winter, I went
into Boston to live, and I saw him only at infrequent intervals, when I
could go out to Elmwood. At such times I found him sitting in the room
which was formerly the drawing-room, but which had been joined with his
study by taking away the partitions beside the heavy mass of the old
colonial chimney. He told me that when he was a newborn babe, the nurse
had carried him round this chimney, for luck, and now in front of the
same hearth, the white old man stretched himself in an easy-chair, with
his writing-pad on his knees and his books on the table at his elbow, and
was willing to be entreated not to rise. I remember the sun used to come
in at the eastern windows full pour, and bathe the air in its warmth.
He always hailed me gayly, and if I found him with letters newly come
from England, as I sometimes did, he glowed and sparkled with fresh life.
He wanted to read passages from those letters, he wanted to talk about
their writers, and to make me feel their worth and charm as he did.
He still dreamed of going back to England the next summer, but that was
not to be. One day he received me not less gayly than usual, but with a
certain excitement, and began to tell me about an odd experience he had
had, not at all painful, but which had very much mystified him. He had
since seen the doctor, and the doctor had assured him that there was
nothing alarming in what had happened, and in recalling this assurance,
he began to look at the humorous aspects of the case, and to make some
jokes about it. He wished to talk of it, as men do of their maladies,
and very fully, and I gave him such proof of my interest as even inviting
him to talk of it would convey. In spite of the doctor's assurance,
and his joyful acceptance of it, I doubt if at the bottom of his heart
there was not the stir of an uneasy misgiving; but he had not for a long
time shown himself so cheerful.
It was the beginning of the end. He recovered and relapsed, and
recovered again; but never for long. Late in the spring I came out,
and he had me stay to dinner, which was somehow as it used to be at two
o'clock; and after dinner we went out on his lawn. He got a long-handled
spud, and tried to grub up some dandelions which he found in his turf,
but after a moment or two he threw it down, and put his hand upon his
back with a groan. I did not see him again till I came out to take leave
of him before going away for the summer, and then I found him sitting on
the little porch in a western corner of his house, with a volume of Scott
closed upon his finger. There were some other people, and our meeting
was with the constraint of their presence. It was natural in nothing so
much as his saying very significantly to me, as if he knew of my heresies
concerning Scott, and would have me know he did not approve of them, that
there was nothing he now found so much pleasure in as Scott's novels.
Another friend, equally heretical, was by, but neither of us attempted to
gainsay him. Lowell talked very little, but he told of having been a
walk to Beaver Brook, and of having wished to jump from one stone to
another in the stream, and of having had to give it up. He said, without
completing the sentence, If it had come to that with him! Then he fell
silent again; and with some vain talk of seeing him when I came back in
the fall, I went away sick at heart. I was not to see him again, and I
shall not look upon his like.
I am aware that I have here shown him from this point and from that in a
series of sketches which perhaps collectively impart, but do not assemble
his personality in one impression. He did not, indeed, make one
impression upon me, but a thousand impressions, which I should seek in
vain to embody in a single presentment. What I have cloudily before me
is the vision of a very lofty and simple soul, perplexed, and as it were
surprised and even dismayed at the complexity of the effects from motives
so single in it, but escaping always to a clear expression of what was
noblest and loveliest in itself at the supreme moments, in the divine
exigencies. I believe neither in heroes nor in saints; but I believe in
great and good men, for I have known them, and among such men Lowell was
of the richest nature I have known. His nature was not always serene or
pellucid; it was sometimes roiled by the currents that counter and cross
in all of us; but it was without the least alloy of insincerity, and it
was never darkened by the shadow of a selfish fear. His genius was an
instrument that responded in affluent harmony to the power that made him
a humorist and that made him a poet, and appointed him rarely to be quite
either alone.
ETEXT EDITOR'S BOOKMARKS:
I believe neither in heroes nor in saints
It is well to hold one's country to her promises
Liked being with you, not for what he got, but for what he gave
End of this Project Gutenberg Etext of Studies of Lowell
by William Dean Howells
LITERARY FRIENDS AND ACQUAINTANCES--Cambridge Neighbors
by William Dean Howells
CAMBRIDGE NEIGHBORS
Being the wholly literary spirit I was when I went to make my home in
Cambridge, I do not see how I could well have been more content if I had
found myself in the Elysian Fields with an agreeable eternity before me.
At twenty-nine, indeed, one is practically immortal, and at that age,
time had for me the effect of an eternity in which I had nothing to do
but to read books and dream of writing them, in the overflow of endless
hours from my work with the manuscripts, critical notices, and proofs of
the Atlantic Monthly. As for the social environment I should have been
puzzled if given my choice among the elect of all the ages, to find poets
and scholars more to my mind than those still in the flesh at Cambridge
in the early afternoon of the nineteenth century. They are now nearly
all dead, and I can speak of them in the freedom which is death's
doubtful favor to the survivor; but if they were still alive I could say
little to their offence, unless their modesty was hurt with my praise.
I.
One of the first and truest of our Cambridge friends was that exquisite
intelligence, who, in a world where so many people are grotesquely
miscalled, was most fitly named; for no man ever kept here more perfectly
and purely the heart of such as the kingdom of heaven is of than Francis
J. Child. He was then in his prime, and I like to recall the outward
image which expressed the inner man as happily as his name. He was of
low stature and of an inclination which never became stoutness; but what
you most saw when you saw him was his face of consummate refinement: very
regular, with eyes always glassed by gold-rimmed spectacles, a straight,
short, most sensitive nose, and a beautiful mouth with the sweetest smile
mouth ever wore, and that was as wise and shrewd as it was sweet. In a
time when every other man was more or less bearded he was clean shaven,
and of a delightful freshness of coloring which his thick sunny hair,
clustering upon his head in close rings, admirably set off. I believe he
never became gray, and the last time I saw him, though he was broken then
with years and pain, his face had still the brightness of his
inextinguishable youth.
It is well known how great was Professor Child's scholarship in the
branches of his Harvard work; and how especially, how uniquely, effective
it was in the study of English and Scottish balladry to which he gave so
many years of his life. He was a poet in his nature, and he wrought with
passion as well as knowledge in the achievement of as monumental a task
as any American has performed. But he might have been indefinitely less
than he was in any intellectual wise, and yet been precious to those who
knew him for the gentleness and the goodness which in him were protected
from misconception by a final dignity as delicate and as inviolable as
that of Longfellow himself.
We were still much less than a year from our life in Venice, when he came
to see us in Cambridge, and in the Italian interest which then commended
us to so many fine spirits among our neighbors we found ourselves at the
beginning of a life-long friendship with him. I was known to him only by
my letters from Venice, which afterwards became Venetian Life, and by a
bit of devotional verse which he had asked to include in a collection he
was making, but he immediately gave us the freedom of his heart, which
after wards was never withdrawn. In due time he imagined a home-school,
to which our little one was asked, and she had her first lessons with his
own daughter under his roof. These things drew us closer together, and
he was willing to be still nearer to me in any time of trouble. At one
such time when the shadow which must some time darken every door, hovered
at ours, he had the strength to make me face it and try to realize, while
it was still there, that it was not cruel and not evil. It passed, for
that time, but the sense of his help remained; and in my own case I can
testify of the potent tenderness which all who knew him must have known
in him. But in bearing my witness I feel accused, almost as if he were
present; by his fastidious reluctance from any recognition of his
helpfulness. When this came in the form of gratitude taking credit to
itself in a pose which reflected honor upon him as the architect of
greatness, he was delightfully impatient of it, and he was most amusingly
dramatic in reproducing the consciousness of certain ineffectual alumni
who used to overwhelm him at Commencement solemnities with some such
pompous acknowledgment as, "Professor Child, all that I have become, sir,
I owe to your influence in my college career." He did, with delicious
mockery, the old-fashioned intellectual poseurs among the students, who
used to walk the groves of Harvard with bent head, and the left arm
crossing the back, while the other lodged its hand in the breast of the
high buttoned frock-coat; and I could fancy that his classes in college
did not form the sunniest exposure for young. folly and vanity. I know
that he was intolerant of any manner of insincerity, and no flattery
could take him off his guard. I have seen him meet this with a cutting
phrase of rejection, and no man was more apt at snubbing the patronage
that offers itself at times to all men. But mostly he wished to do
people pleasure, and he seemed always to be studying how to do it; as for
need, I am sure that worthy and unworthy want had alike the way to his
heart.
Children were always his friends, and they repaid with adoration the
affection which he divided with them and with his flowers. I recall him
in no moments so characteristic as those he spent in making the little
ones laugh out of their hearts at his drolling, some festive evening in
his house, and those he gave to sharing with you his joy in his
gardening. This, I believe, began with violets, and it went on to roses,
which he grew in a splendor and profusion impossible to any but a true
lover with a genuine gift for them. Like Lowell, he spent his summers in
Cambridge, and in the afternoon, you could find him digging or pruning
among his roses with an ardor which few caprices of the weather could
interrupt. He would lift himself from their ranks, which he scarcely
overtopped, as you came up the footway to his door, and peer purblindly
across at you. If he knew you at once, he traversed the nodding and
swaying bushes, to give you the hand free of the trowel or knife; or if
you got indoors unseen by him he would come in holding towards you some
exquisite blossom that weighed down the tip of its long stem with a
succession of hospitable obeisances.
He graced with unaffected poetry a life of as hard study, of as hard
work, and as varied achievement as any I have known or read of; and he
played with gifts and acquirements such as in no great measure have made
reputations. He had a rare and lovely humor which could amuse itself
both in English and Italian with such an airy burletta as "Il Pesceballo"
(he wrote it in Metastasian Italian, and Lowell put it in libretto
English); he had a critical sense as sound as it was subtle in all
literature; and whatever he wrote he imbued with the charm of a style
finely personal to himself. His learning in the line of his Harvard
teaching included an early English scholarship unrivalled in his time,
and his researches in ballad literature left no corner of it untouched.
I fancy this part of his study was peculiarly pleasant to him; for he
loved simple and natural things, and the beauty which he found nearest
life. At least he scorned the pedantic affectations of literary
superiority; and he used to quote with joyous laughter the swelling
exclamation of an Italian critic who proposed to leave the summits of
polite learning for a moment, with the cry, "Scendiamo fra il popolo!"
(Let us go down among the people.)
II.
Of course it was only so hard worked a man who could take thought and
trouble for another. He once took thought for me at a time when it was
very important to me, and when he took the trouble to secure for me an
engagement to deliver that course of Lowell lectures in Boston, which I
have said Lowell had the courage to go in town to hear. I do not
remember whether Professor Child was equal to so much, but he would have
been if it were necessary; and I rather rejoice now in the belief that he
did not seek quite that martyrdom.
He had done more than enough for me, but he had done only what he was
always willing to do for others. In the form of a favor to himself he
brought into my fife the great happiness of intimately knowing Hjalmar
Hjorth Boyesen, whom he had found one summer day among the shelves in the
Harvard library, and found to be a poet and an intending novelist. I do
not remember now just how this fact imparted itself to the professor, but
literature is of easily cultivated confidence in youth, and possibly the
revelation was spontaneous. At any rate, as a susceptible young editor,
I was asked to meet my potential contributor at the professor's two
o'clock dinner, and when we came to coffee in the study, Boyesen took
from the pocket nearest his heart a chapter of 'Gunnar', and read it to
us.
Perhaps the good professor who brought us together had plotted to have
both novel and novelist make their impression at once upon the youthful
sub-editor; but at any rate they did not fail of an effect. I believe it
was that chapter where Gunnar and Ragnhild dance and sing a 'stev'
together, for I associate with that far happy time the rich mellow tones
of the poet's voice in the poet's verse. These were most characteristic
of him, and it is as if I might put my ear against the ethereal wall
beyond which he is rapt and hear them yet.
Our meeting was on a lovely afternoon of summer, and the odor of the
professor's roses stole in at the open windows, and became part of the
gentle event. Boyesen walked home with me, and for a fortnight after I
think we parted only to dream of the literature which we poured out upon
each other in every waking moment. I had just learned to know Bjornson's
stories, and Boyesen told me of his poetry and of his drama, which in
even measure embodied the great Norse literary movement, and filled me
with the wonder and delight of that noble revolt against convention, that
brave return to nature and the springs of poetry in the heart and the
speech of the common people. Literature was Boyesen's religion more than
the Swedenborgian philosophy in which we had both been spiritually
nurtured, and at every step of our mounting friendship we found ourselves
on common ground in our worship of it. I was a decade his senior, but at
thirty-five I was not yet so stricken in years as not to be able fully to
rejoice in the ardor which fused his whole being in an incandescent
poetic mass. I have known no man who loved poetry more generously and
passionately; and I think he was above all things a poet. His work took
the shape of scholarship, fiction, criticism, but poetry gave it all a
touch of grace and beauty. Some years after this first meeting of ours I
remember a pathetic moment with him, when I asked him why he had not
written any verse of late, and he answered, as if still in sad
astonishment at the fact, that he had found life was not all poetry. In
those earlier days I believe he really thought it was!
Perhaps it really is, and certainly in the course of a life that
stretched almost to half a century Boyesen learned more and more to see
the poetry of the everyday world at least as the material of art. He did
battle valiantly for that belief in many polemics, which I suppose gave
people a sufficiently false notion of him; and he showed his faith by
works in fiction which better illustrated his motive. Gunnar stands at
the beginning of these works, and at the farthest remove from it in
matter and method stands 'The Mammon of Unrighteousness'. The lovely
idyl won him fame and friendship, and the great novel added neither to
him, though he had put the experience and the observation of his ripened
life into it. Whether it is too late or too early for it to win the
place in literature which it merits I do not know; but it always seemed
to me the very spite of fate that it should have failed of popular
effect. Yet I must own that it has so failed, and I own this without
bitterness towards Gunnar, which embalmed the spirit of his youth as
'The Mammon of Unrighteousness' embodied the thought of his manhood.
III.
It was my pleasure, my privilege, to bring Gunnar before the public as
editor of the Atlantic Monthly, and to second the author in many a
struggle with the strange idiom he had cast the story in. The proofs
went back and forth between us till the author had profited by every hint
and suggestion of the editor. He was quick to profit by any hint, and he
never made the same mistake twice. He lived his English as fast as he
learned it; the right word became part of him; and he put away the wrong
word with instant and final rejection. He had not learned American
English without learning newspaper English, but if one touched a phrase
of it in his work, he felt in his nerves, which are the ultimate arbiters
in such matters, its difference from true American and true English.
It was wonderful how apt and how elect his diction was in those days;
it seemed as if his thought clothed itself in the fittest phrase without
his choosing. In his poetry he had extraordinary good fortune from the
first; his mind had an apparent affinity with what was most native, most
racy in our speech; and I have just been looking over Gunnar and
marvelling anew at the felicity and the beauty of his phrasing.
I do not know whether those who read his books stop much to consider how
rare his achievement was in the mere means of expression. Our speech is
rather more hospitable than most, and yet I can remember but five other
writers born to different languages who have handled English with
anything like his mastery. Two Italians, Ruffini, the novelist, and
Gallenga, the journalist; two Germans, Carl Schurz and Carl Hillebrand,
and the Dutch novelist Maarten Maartens, have some of them equalled but
none of them surpassed him. Yet he was a man grown when he began to
speak and to write English, though I believe he studied it somewhat in
Norway before he came to America. What English he knew he learned the
use of here, and in the measure of its idiomatic vigor we may be proud of
it as Americans.
He had least of his native grace, I think, in his criticism; and yet as a
critic he had qualities of rare temperance, acuteness, and knowledge.
He had very decided convictions in literary art; one kind of thing he
believed was good and all other kinds less good down to what was bad; but
he was not a bigot, and he made allowances for art-in-error. His hand
fell heavy only upon those heretics who not merely denied the faith but
pretended that artifice was better than nature, that decoration was more
than structure, that make-believe was something you could live by as you
live by truth. He was not strongest, however, in damnatory criticism.
His spirit was too large, too generous to dwell in that, and it rose
rather to its full height in his appreciations of the great authors whom
he loved, and whom he commented from the plenitude of his scholarship as
well as from his delighted sense of their grandeur. Here he was almost
as fine as in his poetry, and only less fine than in his more fortunate
essays in fiction.
After Gunnar he was a long while in striking another note so true. He
did not strike it again till he wrote 'The Mammon of Unrighteousness',
and after that he was sometimes of a wandering and uncertain touch.
There are certain stories of his which I cannot read without a painful
sense of their inequality not only to his talent, but to his knowledge of
human nature, and of American character. He understood our character
quite as well as he understood our language, but at times he seemed not
to do so. I think these were the times when he was overworked, and ought
to have been resting instead of writing. In such fatigue one loses
command of alien words, alien situations; and in estimating Boyesen's
achievements we must never forget that he was born strange to our
language and to our life. In 'Gunnar' he handled the one with grace and
charm; in his great novel he handled both with masterly strength. I call
'The Mammon of Unrighteousness' a great novel, and I am quite willing to
say that I know few novels by born Americans that surpass it in dealing
with American types and conditions. It has the vast horizon of the
masterpieces of fictions; its meanings are not for its characters alone,
but for every reader of it; when you close the book the story is not at
an end.
I have a pang in praising it, for I remember that my praise cannot please
him any more. But it was a book worthy the powers which could have given
us yet greater things if they had not been spent on lesser things.
Boyesen could "toil terribly," but for his fame he did not always toil
wisely, though he gave himself as utterly in his unwise work as in his
best; it was always the best he could do. Several years after our first
meeting in Cambridge, he went to live in New York, a city where money
counts for more and goes for less than in any other city of the world,
and he could not resist the temptation to write more and more when he
should have written less and less. He never wrote anything that was not
worth reading, but he wrote too much for one who was giving himself with
all his conscience to his academic work in the university honored by his
gifts and his attainments, and was lecturing far and near in the
vacations which should have been days and weeks and months of leisure.
The wonder is that even such a stock of health as his could stand the
strain so long, but he had no vices, and his only excesses were in the
direction of the work which he loved so well. When a man adds to his
achievements every year, we are apt to forget the things he has already
done; and I think it well to remind the reader that Boyesen, who died at
forty-eight, had written, besides articles, reviews, and lectures
unnumbered, four volumes of scholarly criticism on German and
Scandinavian literature, a volume of literary and social essays, a
popular history of Norway, a volume of poems, twelve volumes of fiction,
and four books for boys.
Boyesen's energies were inexhaustible. He was not content to be merely a
scholar, merely an author; he wished to be an active citizen, to take his
part in honest politics, and to live for his day in things that most men
of letters shun. His experience in them helped him to know American life
better and to appreciate it more justly, both in its good and its evil;
and as a matter of fact he knew us very well. His acquaintance with us
had been wide and varied beyond that of most of our literary men, and
touched many aspects of our civilization which remain unknown to most
Americans. When be died he had been a journalist in Chicago, and a
teacher in Ohio; he had been a professor in Cornell University and a
literary free lance in New York; and everywhere his eyes and ears had
kept themselves open. As a teacher he learned to know the more fortunate
or the more ambitious of our youth, and as a lecturer his knowledge was
continually extending itself among all ages and classes of Americans.
He was through and through a Norseman, but he was none the less a very
American. Between Norsk and Yankee there is an affinity of spirit more
intimate than the ties of race. Both have the common-sense view of life;
both are unsentimental. When Boyesen told me that among the Norwegians
men never kissed each other, as the Germans, and the Frenchmen, and the
Italians do, I perceived that we stood upon common ground. When he
explained the democratic character of society in Norway, I could well
understand how he should find us a little behind his own countrymen in
the practice, if not the theory of equality, though they lived under a
king and we under a president. But he was proud of his American
citizenship; he knew all that it meant, at its best, for humanity. He
divined that the true expression of America was not civic, not social,
but domestic almost, and that the people in the simplest homes, or those
who remained in the tradition of a simple home life, were the true
Americans as yet, whatever the future Americans might be.
When I first knew him he was chafing with the impatience of youth and
ambition at what he thought his exile in the West. There was, to be
sure, a difference between Urbana, Ohio, and Cambridge, Massachusetts,
and he realized the difference in the extreme and perhaps beyond it.
I tried to make him believe that if a man had one or two friends anywhere
who loved letters and sympathized with him in his literary attempts,
it was incentive enough; but of course he wished to be in the centres of
literature, as we all do; and he never was content until he had set his
face and his foot Eastward. It was a great step for him from the
Swedenborgian school at Urbana to the young university at Ithaca; and I
remember his exultation in making it. But he could not rest there, and
in a few years he resigned his professorship, and came to New York, where
he entered high-heartedly upon the struggle with fortune which ended in
his appointment in Columbia.
New York is a mart and not a capital, in literature as well as in other
things, and doubtless he increasingly felt this. I know that there came
a time when he no longer thought the West must be exile for a literary
man; and his latest visits to its summer schools as a lecturer impressed
him with the genuineness of the interest felt there in culture of all
kinds. He spoke of this, with a due sense of what was pathetic as well
as what was grotesque in some of its manifestations; and I think that in
reconciling himself to our popular crudeness for the sake of our popular
earnestness, he completed his naturalization, in the only sense in which
our citizenship is worth having.
I do not wish to imply that he forgot his native land, or ceased to love
it proudly and tenderly. He kept for Norway the fondness which the man
sitting at his own hearth feels for the home of his boyhood. He was of
good family; his people were people of substance and condition, and he
could have had an easier life there than here. He could have won even
wider fame, and doubtless if he had remained in Norway, he would have
been one of that group of great Norwegians who have given their little
land renown surpassed by that of no other in the modern republic of
letters. The name of Boyesen would have been set with the names of
Bjornson, of Ibsen, of Kielland, and of Lie. But when once he had seen
America (at the wish of his father, who had visited the United States
before him), he thought only of becoming an American. When I first knew
him he was full of the poetry of his mother-land; his talk was of fjords
and glaciers, of firs and birches, of hulders and nixies, of housemen and
gaardsmen; but he was glad to be here, and I think he never regretted
that he had cast his lot with us. Always, of course, he had the deepest
interest in his country and countrymen. He stood the friend of every
Norwegian who came to him in want or trouble, and they, came to him
freely and frequently. He sympathized strongly with Norway in her
quarrel with Sweden, and her wish for equality as well as autonomy; and
though he did not go all lengths with the national party, he was decided
in his feeling that Sweden was unjust to her sister kingdom, and
strenuous for the principles of the Norwegian leaders.
But, as I have said, poetry, was what his ardent spirit mainly meditated
in that hour when I first knew him in Cambridge, before we had either of
us grown old and sad, if not wise. He overflowed with it, and he talked
as little as he dreamed of anything else in the vast half-summer we spent
together. He was constantly at my house, where in an absence of my
family I was living bachelor, and where we sat indoors and talked, or
sauntered outdoors and talked, with our heads in a cloud of fancies, not
unmixed with the mosquitoes of Cambridge: if I could have back the
fancies, I would be willing to have the mosquitoes with them. He looked
the poetry he lived: his eyes were the blue of sunlit fjords; his brown
silken hair was thick on the crown which it later abandoned to a
scholarly baldness; his soft, red lips half hid a boyish pout in the
youthful beard and mustache. He was short of stature, but of a stalwart
breadth of frame, and his voice was of a peculiar and endearing quality,
indescribably mellow and tender when he read his verse.
I have hardly the right to dwell so long upon him here, for he was only a
sojourner in Cambridge, but the memory of that early intimacy is too much
for my sense of proportion. As I have hinted, our intimacy was renewed
afterwards, when I too came to live in New York, where as long as he was
in this 'dolce lome', he hardly let a week go by without passing a long
evening with me. Our talk was still of literature and life, but more of
life than of literature, and we seldom spoke of those old times. I still
found him true to the ideals which had clarified themselves to both of us
as the duty of unswerving fealty to the real thing in whatever we did.
This we felt, as we had felt it long before, to be the sole source of
beauty and of art, and we warmed ourselves at each other's hearts in our
devotion to it, amidst a misunderstanding environment which we did not
characterize by so mild an epithet. Boyesen, indeed, out-realisted me,
in the polemics of our aesthetics, and sometimes when an unbeliever was
by, I willingly left to my friend the affirmation of our faith, not
without some quaking at his unsparing strenuousness in disciplining the
heretic. But now that ardent and active soul is Elsewhere, and I have
ceased even to expect the ring, which, making itself heard at the late
hour of his coming, I knew always to be his and not another's. That
mechanical expectation of those who will come no more is something
terrible, but when even that ceases, we know the irreparability of our
loss, and begin to realize how much of ourselves they have taken with
them.
IV.
It was some years before the Boyesen summer, which was the fourth or
fifth of our life in Cambridge, that I made the acquaintance of a man,
very much my senior, who remains one of the vividest personalities in my
recollection. I speak of him in this order perhaps because of an obscure
association with Boyesen through their religious faith, which was also
mine. But Henry James was incommensurably more Swedenborgian than either
of us: he lived and thought and felt Swedenborg with an entirety and
intensity far beyond the mere assent of other men. He did not do this in
any stupidly exclusive way, but in the most luminously inclusive way,
with a constant reference of these vain mundane shadows to the spiritual
realities from which they project. His piety, which sometimes expressed
itself in terms of alarming originality and freedom, was too large for
any ecclesiastical limits, and one may learn from the books which record
it, how absolutely individual his interpretations of Swedenborg were.
Clarifications they cannot be called, and in that other world whose
substantial verity was the inspiration of his life here, the two sages
may by this time have met and agreed to differ as to some points in the
doctrine of the Seer. In such a case, I cannot imagine the apostle
giving way; and I do not say he would be wrong to insist, but I think he
might now be willing to allow that the exegetic pages which sentence by
sentence were so brilliantly suggestive, had sometimes a collective
opacity which the most resolute vision could not penetrate. He put into
this dark wisdom the most brilliant intelligence ever brought to the
service of his mystical faith; he lighted it up with flashes of the
keenest wit and bathed it in the glow of a lambent humor, so that it is
truly wonderful to me how it should remain so unintelligible. But I have
only tried to read certain of his books, and perhaps if I had persisted
in the effort I might have found them all as clear at last as the one
which seems to me the clearest, and is certainly most encouragingly
suggestive: I mean the one called 'Society the Redeemed Form of Man.'
He had his whole being in his belief; it had not only liberated him from
the bonds of the Calvinistic theology in which his youth was trammelled,
but it had secured him against the conscious ethicism of the prevailing
Unitarian doctrine which supremely worshipped Conduct; and it had colored
his vocabulary to such strange effects that he spoke of moral men with
abhorrence; as more hopelessly lost than sinners. Any one whose sphere
tempted him to recognition of the foibles of others, he called the Devil;
but in spite of his perception of such diabolism, he was rather fond of
yielding to it, for he had a most trenchant tongue. I myself once fell
under his condemnation as the Devil, by having too plainly shared his joy
in his characterization of certain fellow-men; perhaps a group of
Bostonians from whom he had just parted and whose reciprocal pleasure of
themselves he presented in the image of "simmering in their own fat and
putting a nice brown on each other."
Swedenborg himself he did not spare as a man. He thought that very
likely his life had those lapses in it which some of his followers deny;
and he regarded him on the aesthetical side as essentially commonplace,
and as probably chosen for his prophetic function just because of his
imaginative nullity: his tremendous revelations could be the more
distinctly and unmistakably inscribed upon an intelligence of that sort,
which alone could render again a strictly literal report of them.
As to some other sorts of believers who thought they had a special
apprehension of the truth, he, had no mercy upon them if they betrayed,
however innocently, any self-complacency in their possession. I went one
evening to call upon him with a dear old Shaker elder, who had the
misfortune to say that his people believed themselves to be living the
angelic life. James fastened upon him with the suggestion that according
to Swedenborg the most celestial angels were unconscious of their own
perfection, and that if the Shakers felt they were of angelic condition
they were probably the sport of the hells. I was very glad to get my
poor old friend off alive, and to find that he was not even aware of
being cut asunder: I did not invite him to shake himself.
With spiritualists James had little or no sympathy; he was not so
impatient of them as the Swedenborgians commonly are, and he probably
acknowledged a measure of verity in the spiritistic phenomena; but he
seemed rather incurious concerning them, and he must have regarded them
as superfluities of naughtiness, mostly; as emanations from the hells.
His powerful and penetrating intellect interested itself with all social
and civil facts through his religion. He was essentially religious, but
he was very consciously a citizen, with most decided opinions upon
political questions. My own darkness as to anything like social reform
was then so dense that I cannot now be clear as to his feeling in such
matters, but I have the impression that it was far more radical than I
could understand. He was of a very merciful mind regarding things often
held in pitiless condemnation, but of charity, as it is commonly
understood, he had misgivings. He would never have turned away from him
that asketh; but he spoke with regret of some of his benefactions in the
past, large gifts of money to individuals, which he now thought had done
more harm than good.
I never knew him to judge men by the society scale. He was most human in
his relations with others, and was in correspondence with all sorts of
people seeking light and help; he answered their letters and tried to
instruct them, and no one was so low or weak but he or she could reach
him on his or her own level, though he had his humorous perception of
their foibles and disabilities; and he had that keen sense of the
grotesque which often goes with the kindliest nature. He told of his
dining, early in life, next a fellow-man from Cape Cod at the Astor
House, where such a man could seldom have found himself. When they were
served with meat this neighbor asked if he would mind his putting his fat
on James's plate: he disliked fat. James said that he considered the
request, and seeing no good reason against it, consented.
He could be cruel with his tongue when he fancied insincerity or
pretence, and then cruelly sorry for the hurt he gave. He was indeed
tremulously sensitive, not only for himself but for others, and would
offer atonement far beyond the measure of the offence he supposed himself
to have given.
At all times he thought originally in words of delightful originality,
which painted a fact with the greatest vividness. Of a person who had a
nervous twitching of the face, and who wished to call up a friend to
them, he said, "He spasmed to the fellow across the room, and introduced
him." His written style had traits of the same bold adventurousness,
but it was his speech which was most captivating. As I write of him I
see him before me: his white bearded face, with a kindly intensity which
at first glance seemed fierce, the mouth humorously shaping the mustache,
the eyes vague behind the glasses; his sensitive hand gripping the stick
on which he rested his weight to ease it from the artificial limb he
wore.
V.
The Goethean face and figure of Louis Agassiz were in those days to be
seen in the shady walks of Cambridge to which for me they lent a
Weimarish quality, in the degree that in Weimar itself a few years ago,
I felt a quality of Cambridge. Agassiz, of course, was Swiss and Latin,
and not Teutonic, but he was of the Continental European civilization,
and was widely different from the other Cambridge men in everything but
love of the place. "He is always an Europaen," said Lowell one day, in
distinguishing concerning him; and for any one who had tasted the flavor
of the life beyond the ocean and the channel, this had its charm. Yet he
was extremely fond of his adoptive compatriots, and no alien born had a
truer or tenderer sense of New England character. I have an idea that no
one else of his day could have got so much money for science out of the
General Court of Massachusetts; and I have heard him speak with the
wisest and warmest appreciation of the hard material from which he was
able to extract this treasure. The legislators who voted appropriations
for his Museum and his other scientific objects were not usually lawyers
or professional men, with the perspectives of a liberal education, but
were hard-fisted farmers, who had a grip of the State's money as if it
were their own, and yet gave it with intelligent munificence. They
understood that he did not want it for himself, and had no interested aim
in getting it; they knew that, as he once said, he had no time to make
money, and wished to use it solely for the advancement of learning; and
with this understanding they were ready, to help him generously.
He compared their liberality with that of kings and princes, when these
patronized science, with a recognition of the superior plebeian
generosity. It was on the veranda of his summer house at Nahant, while
he lay in the hammock, talking of this, that I heard him refer also to
the offer which Napoleon III. had made him, inviting him upon certain
splendid conditions to come to Paris after he had established himself in
Cambridge. He said that he had not come to America without going over
every such possibility in his own mind, and deciding beforehand against
it. He was a republican, by nationality and by preference, and was
entirely satisfied with his position and environment in New England.
Outside of his scientific circle in Cambridge he was more friends with
Longfellow than with any one else, I believe, and Longfellow told me how,
after the doctors had condemned Agassiz to inaction, on account of his
failing health he had broken down in his friend's study, and wept like an
'Europaer', and lamented, "I shall never finish my work!" Some papers
which he had begun to write for the Magazine, in contravention of the
Darwinian theory, or part of it, which it is known Agassiz did not
accept, remained part of the work which he never finished. After his
death, I wished Professor Jeffries Wyman to write of him in the Atlantic,
but he excused himself on account of his many labors, and then he
voluntarily spoke of Agassiz's methods, which he agreed with rather than
his theories, being himself thoroughly Darwinian. I think he said
Agassiz was the first to imagine establishing a fact not from a single
example, but from examples indefinitely repeated. If it was a question
of something about robins for instance, he would have a hundred robins
examined before he would receive an appearance as a fact.
Of course no preconception or prepossession of his own was suffered to
bar his way to the final truth he was seeking, and he joyously renounced
even a conclusion if he found it mistaken. I do not know whether Mrs.
Agassiz has put into her interesting life of him, a delightful story
which she told me about him. He came to her beaming one day, and
demanded, "You know I have always held such and such an opinion about a
certain group of fossil fishes?" "Yes, yes!" "Well, I have just been
reading ------'s new book, and he has shown me that there isn't the least
truth in my theory"; and he burst into a laugh of unalloyed pleasure in
relinquishing his error.
I could touch science at Cambridge only on its literary and social side,
of course, and my meetings with Agassiz were not many. I recall a dinner
at his house to Mr. Bret Harte, when the poet came on from California,
and Agassiz approached him over the coffee through their mutual
scientific interest in the last meeting of the geological "Society upon
the Stanislow." He quoted to the author some passages from the poem
recording the final proceedings of this body, which had particularly
pleased him, and I think Mr. Harte was as much amused at finding himself
thus in touch with the savant, as Agassiz could ever have been with that
delicious poem.
Agassiz lived at one end of Quincy Street, and James almost at the other
end, with an interval between them which but poorly typified their
difference of temperament. The one was all philosophical and the other
all scientific, and yet towards the close of his life, Agassiz may be
said to have led that movement towards the new position of science in
matters of mystery which is now characteristic of it. He was ancestrally
of the Swiss "Brahminical caste," as so many of his friends in Cambridge
were of the Brahminical caste of New England; and perhaps it was the line
of ancestral pasteurs which at last drew him back, or on, to the
affirmation of an unformulated faith of his own. At any rate, before
most other savants would say that they had souls of their own he became,
by opening a summer school of science with prayer, nearly as consolatory
to the unscientific who wished to believe they had souls, as Mr. John
Fiske himself, though Mr. Fiske, as the arch-apostle of Darwinism, had
arrived at nearly the same point by such a very different road.
Mr. Fiske had been our neighbor in our first Cambridge home, and when we
went to live in Berkeley Street, he followed with his family and placed
himself across the way in a house which I already knew as the home of
Richard Henry Dana, the author of 'Two Years Before the Mast.' Like
nearly all the other Cambridge men of my acquaintance Dana was very much
my senior, and like the rest he welcomed my literary promise as cordially
as if it were performance, with no suggestion of the condescension which
was said to be his attitude towards many of his fellow-men. I never saw
anything of this, in fact, and I suppose he may have been a blend of
those patrician qualities and democratic principles which made Lowell
anomalous even to himself. He is part of the anti-slavery history of his
time, and he gave to the oppressed his strenuous help both as a man and a
politician; his gifts and learning in the law were freely at their
service. He never lost his interest in those white slaves, whose brutal
bondage he remembered as bound with them in his 'Two Years Before the
Mast,' and any luckless seaman with a case or cause might count upon his
friendship as surely as the black slaves of the South. He was able to
temper his indignation for their oppression with a humorous perception of
what was droll in its agents and circumstances; and I wish I could recall
all that he said once about sea-etiquette on merchant vessels, where the
chief mate might no more speak to the captain at table without being
addressed by him than a subject might put a question to his sovereign.
He was amusing in his stories of the Pacific trade in which he said it
was very noble to deal in furs from the Northwest, and very ignoble to
deal in hides along the Mexican and South American coasts. Every ship's
master wished naturally to be in the fur-carrying trade, and in one of
Dana's instances, two vessels encounter in mid-ocean, and exchange the
usual parley as to their respective ports of departure and destination.
The final demand comes through the trumpet, "What cargo?" and the captain
so challenged yields to temptation and roars back "Furs!" A moment of
hesitation elapses, and then the questioner pursues, "Here and there a
horn?"
There were other distinctions, of which seafaring men of other days were
keenly sensible, and Dana dramatized the meeting of a great, swelling
East Indiaman, with a little Atlantic trader, which has hailed her. She
shouts back through her captain's trumpet that she is from Calcutta, and
laden with silks, spices, and other orient treasures, and in her turn she
requires like answer from the sail which has presumed to enter into
parley with her. "What cargo?" The trader confesses to a mixed cargo for
Boston, and to the final question, her master replies in meek apology,
"Only from Liverpool, sir!" and scuttles down the horizon as swiftly as
possible.
Dana was not of the Cambridge men whose calling was in Cambridge. He was
a lawyer in active practice, and he went every day to Boston. One was
apt to meet him in those horse-cars which formerly tinkled back and forth
between the two cities, and which were often so full of one's
acquaintance that they had all the social elements of an afternoon tea.
They were abusively overcrowded at times, of course, and one might easily
see a prime literary celebrity swaying from, a strap, or hanging uneasily
by the hand-rail to the lower steps of the back platform. I do not mean
that I ever happened to see the author of Two Years Before the Mast in
either fact, but in his celebrity he had every qualification for the
illustration of my point. His book probably carried the American name
farther and wider than any American books except those of Irving and
Cooper at a day when our writers were very little known, and our
literature was the only infant industry not fostered against foreign
ravage, but expressly left to harden and strengthen itself as it best
might in a heartless neglect even at home. The book was delightful, and
I remember it from a reading of thirty years ago, as of the stuff that
classics are made of. I venture no conjecture as to its present
popularity, but of all books relating to the sea I think it, is the best.
The author when I knew him was still Richard Henry Dana, Jr., his father,
the aged poet, who first established the name in the public recognition,
being alive, though past literary activity. It was distinctively a
literary race, and in the actual generation it has given proofs of its
continued literary vitality in the romance of 'Espiritu Santo' by the
youngest daughter of the Dana I knew.
VII.
There could be no stronger contrast to him in origin, education, and
character than a man who lived at the same time in Cambridge, and who
produced a book which in its final fidelity to life is not unworthy to be
named with 'Two Years Before the Mast.' Ralph Keeler wrote the 'Vagabond
Adventures' which he had lived. I have it on my heart to name him in the
presence of our great literary men not only because I had an affection
for him, tenderer than I then knew, but because I believe his book is
worthier of more remembrance than it seems to enjoy. I was reading it
only the other day, and I found it delightful, and much better than I
imagined when I accepted for the Atlantic the several papers which it is
made up of. I am not sure but it belongs to the great literature in that
fidelity to life which I have spoken of, and which the author brought
himself to practise with such difficulty, and under so much stress from
his editor. He really wanted to fake it at times, but he was docile at
last and did it so honestly that it tells the history of his strange
career in much better terms than it can be given again. He had been, as
he claimed, "a cruel uncle's ward" in his early orphan-hood, and while
yet almost a child he had run away from home, to fulfil his heart's
desire of becoming a clog-dancer in a troupe of negro minstrels. But it
was first his fate to be cabin-boy and bootblack on a lake steamboat,
and meet with many squalid adventures, scarcely to be matched outside of
a Spanish picaresque novel. When he did become a dancer (and even a
danseuse) of the sort he aspired to be, the fruition of his hopes was so
little what he imagined that he was very willing to leave the Floating
Palace on the Mississippi in which his troupe voyaged and exhibited, and
enter the college of the Jesuit Fathers at Cape Girardeau in Missouri.
They were very good to him, and in their charge he picked up a good deal
more Latin, if not less Greek than another strolling player who also took
to literature. From college Keeler went to Europe, and then to
California, whence he wrote me that he was coming on to Boston with the
manuscript of a novel which he wished me to read for the magazine. I
reported against it to my chief, but nothing could shake Keeler's faith
in it, until he had printed it at his own cost, and known it fail
instantly and decisively. He had come to Cambridge to see it through the
press, and he remained there four or five years, with certain brief
absences. Then, during the Cuban insurrection of the early seventies, he
accepted the invitation of a New York paper to go to Cuba as its
correspondent.
"Don't go, Keeler," I entreated him, when he came to tell me of his
intention. "They'll garrote you down there."
"Well," he said, with the air of being pleasantly interested by the
coincidence, as he stood on my study hearth with his feet wide apart in
a fashion he had, and gayly flirted his hand in the air, "that's what
Aldrich says, and he's agreed to write my biography, on condition that
I make a last dying speech when they bring me out on the plaza to do it,
'If I had taken the advice of my friend T. B. Aldrich, author of
'Marjorie Daw and Other People,' I should not now be in this place.'"
He went, and he did not come back. He was not indeed garroted as his
friends had promised, but he was probably assassinated on the steamer by
which he sailed from Santiago, for he never arrived in Havana, and was
never heard of again.
I now realize that I loved him, though I did as little to show it as men
commonly do. If I am to meet somewhere else the friends who are no
longer here, I should like to meet Ralph Keeler, and I would take some
chances of meeting in a happy place a soul which had by no means kept
itself unspotted, but which in all its consciousness of error, cheerfully
trusted that "the Almighty was not going to scoop any of us." The faith
worded so grotesquely could not have been more simply or humbly affirmed,
and no man I think could have been more helplessly sincere. He had
nothing of that false self-respect which forbids a man to own himself
wrong promptly and utterly when need is; and in fact he owned to some
things in his checkered past which would hardly allow him any sort of
self-respect. He had always an essential gaiety not to be damped by any
discipline, and a docility which expressed itself in cheerful compliance.
"Why do you use bias for opinion?" I demanded, in going over a proof with
him. "Oh, because I'm such an ass--such a bi-ass."
He had a philosophy which he liked to impress with a vivid touch on his
listener's shoulder: "Put your finger on the present moment and enjoy it.
It's the only one you've got, or ever will have." This light and joyous
creature could not but be a Pariah among our Brahmins, and I need not say
that I never met him in any of the great Cambridge houses. I am not sure
that he was a persona grata to every one in my own, for Keeler was framed
rather for men's liking, and Mr. Aldrich and I had our subtleties as to
whether his mind about women was not so Chinese as somewhat to infect his
manner. Keeler was too really modest to be of any rebellious mind
towards the society which ignored him, and of too sweet a cheerfulness to
be greatly vexed by it. He lived on in the house of a suave old actor,
who oddly made his home in Cambridge, and he continued of a harmless
Bohemianism in his daily walk, which included lunches at Boston
restaurants as often as he could get you to let him give them you, if you
were of his acquaintance. On a Sunday he would appear coming out of the
post-office usually at the hour when all cultivated Cambridge was coming
for its letters, and wave a glad hand in air, and shout a blithe
salutation to the friend he had marked for his companion in a morning
stroll. The stroll was commonly over the flats towards Brighton (I do
not know why, except perhaps that it was out of the beat of the better
element) and the talk was mainly of literature, in which he was doing
less than he meant to do, and which he seemed never able quite to feel
was not a branch of the Show Business, and might not be legitimately
worked by like advertising, though he truly loved and honored it.
I suppose it was not altogether a happy life, and Keeler had his moments
of amusing depression, which showed their shadows in his smiling face.
He was of a slight figure and low stature, with hands and feet of almost
womanish littleness. He was very blonde, and his restless eyes were
blue; he wore his yellow beard in whiskers only, which he pulled
nervously but perhaps did not get to droop so much as he wished.
VIII.
Keeler was a native of Ohio, and there lived at Cambridge when I first
came there an Indianian, more accepted by literary society, who was of
real quality as a poet. Forceythe Willson, whose poem of "The Old
Sergeant" Doctor Holmes used to read publicly in the closing year of the
civil war, was of a Western altitude of figure, and of an extraordinary
beauty of face in an oriental sort. He had large, dark eyes with clouded
whites; his full, silken beard was of a flashing Persian blackness.
He was excessively nervous, to such an extreme that when I first met him
at Longfellow's, he could not hold himself still in his chair. I think
this was an effect of shyness in him, as well as physical, for afterwards
when I went to find him in his own house he was much more at ease.
He preferred to receive me in the dim, large hall after opening his door
to me himself, and we sat down there and talked, I remember, of
supernatural things. He was much interested in spiritualism, and he had
several stories to tell of his own experience in such matters. But none
was so good as one which I had at second hand from Lowell, who thought it
almost the best ghost story he had ever heard. The spirit of Willson's
father appeared to him, and stood before him. Willson was accustomed to
apparitions, and so he said simply, "Won't you sit down, father?" The
phantom put out his hand to lay hold of a chair-back as some people do in
taking a seat, and his shadowy arm passed through the frame-work.
"Ah!" he said, "I forgot that I was not substance."
I do not know whether "The Old Sergeant" is ever read now; it has
probably passed with other great memories of the great war; and I am
afraid none of Willson's other verse is remembered. But he was then a
distinct literary figure, and not to be left out of the count of our
poets. I did not see him again. Shortly afterwards I heard that he had
left Cambridge with signs of consumption, which must have run a rapid
course, for a very little later came the news of his death.
IX.
The most devoted Cantabrigian, after Lowell, whom I knew, would perhaps
have contended that if he had stayed with us Willson might have lived;
for John Holmes affirmed a faith in the virtues of the place which
ascribed almost an aseptic character to its air, and when he once
listened to my own complaints of an obstinate cold, he cheered himself,
if not me, with the declaration, "Well, one thing, Mr. Howells, Cambridge
never let a man keep a cold yet!"
If he had said it was better to live in Cambridge with a cold than
elsewhere without one I should have believed him; as it was, Cambridge
bore him out in his assertion, though she took her own time to do it.
Lowell had talked to me of him before I met him, celebrating his peculiar
humor with that affection which was not always so discriminating, and
Holmes was one of the first Cambridge men I knew. I knew him first in
the charming old Colonial house in which his famous brother and he were
born. It was demolished long before I left Cambridge, but in memory it
still stands on the ground since occupied by the Hemenway Gymnasium, and
shows for me through that bulk a phantom frame of Continental buff in the
shadow of elms that are shadows themselves. The 'genius loci' was
limping about the pleasant mansion with the rheumatism which then
expressed itself to his friends in a resolute smile, but which now
insists upon being an essential trait of the full-length presence to my
mind: a short stout figure, helped out with a cane, and a grizzled head
with features formed to win the heart rather than the eye of the
beholder.
In one of his own eyes there was a cast of such winning humor and
geniality that it took the liking more than any beauty could have done,
and the sweetest, shy laugh in the world went with this cast.
I long wished to get him to write something for the Magazine, and at last
I prevailed with him to review a history of Cambridge which had come out.
He did it charmingly of course, for he loved more to speak of Cambridge
than anything else. He held his native town in an idolatry which was not
blind, but which was none the less devoted because he was aware of her
droll points and her weak points. He always celebrated these as so many
virtues, and I think it was my own passion for her that first commended
me to him. I was not her son, but he felt that this was my misfortune
more than my fault, and he seemed more and more to forgive it. After we
had got upon the terms of editor and contributor, we met oftener than
before, though I do not now remember that I ever persuaded him to write
again for me. Once he gave me something, and then took it back, with a
self-distrust of it which I could not overcome.
When the Holmes house was taken down, he went to live with an old
domestic in a small house on the street amusingly called Appian Way. He
had certain rooms of her, and his own table, but he would not allow that
he was ever anything but a lodger in the place, where he continued till
he died. In the process of time he came so far to trust his experience
of me, that he formed the habit of giving me an annual supper. Some days
before this event, he would appear in my study, and with divers delicate
and tentative approaches, nearly always of the same tenor, he would say
that he should like to ask my family to an oyster supper with him. "But
you know," he would explain, "I haven't a house of my own to ask you to,
and I should like to give you the supper here." When I had agreed to
this suggestion with due gravity, he would inquire our engagements, and
then say, as if a great load were off his mind, "Well, then, I will send
up a few oysters to-morrow," or whatever day we had fixed on; and after a
little more talk to take the strangeness out of the affair, would go his
way. On the day appointed the fish-man would come with several gallons
of oysters, which he reported Mr. Holmes had asked him to bring, and in
the evening the giver of the feast would reappear, with a lank oil-cloth
bag, sagged by some bottles of wine. There was always a bottle of red
wine, and sometimes a bottle of champagne, and he had taken the
precaution to send some crackers beforehand, so that the supper should be
as entirely of his own giving as possible. He was forced to let us do
the cooking and to supply the cold-slaw, and perhaps he indemnified
himself for putting us to these charges and for the use of our linen and
silver, by the vast superfluity of his oysters, with which we remained
inundated for days. He did not care to eat many himself, but seemed
content to fancy doing us a pleasure; and I have known few greater ones
in life, than in the hospitality that so oddly played the host to us at
our own table.
It must have seemed incomprehensible to such a Cantabrigian that we
should ever have been willing to leave Cambridge, and in fact I do not
well understand it myself. But if he resented it, he never showed his
resentment. As often as I happened to meet him after our defection he
used me with unabated kindness, and sparkled into some gaiety too
ethereal for remembrance. The last time I met him was at Lowell's
funeral, when I drove home with him and Curtis and Child, and in the
revulsion from the stress of that saddest event, had our laugh, as people
do in the presence of death, at something droll we remembered of the
friend we mourned.
My nearest literary neighbor, when we lived in Sacramento Street, was the
Rev. Dr. John G. Palfrey, the historian of New England, whose chimney-
tops amid the pine-tops I could see from my study window when the leaves
were off the little grove of oaks between us. He was one of the first of
my acquaintances, not suffering the great disparity of our ages to count
against me, but tactfully and sweetly adjusting himself to my youth in
the friendly intercourse which he invited. He was a most gentle and
kindly old man, with still an interest in liberal things which lasted
till the infirmities of age secluded him from the world and all its
interests. As is known, he had been in his prime one of the foremost of
the New England anti-slavery men, and he had fought the good fight with a
heavy heart for a brother long settled in Louisiana who sided with the
South, and who after the civil war found himself disfranchised. In this
temporary disability he came North to visit Doctor Palfrey upon the
doctor's insistence, though at first he would have nothing to do with
him, and refused even to answer his letters. "Of course," the doctor
said, "I was not going to stand that from my mother's son, and I simply
kept on writing." So he prevailed, but the fiery old gentleman from
Louisiana was reconciled to nothing in the North but his brother, and
when he came to return my visit, he quickly touched upon his cause of
quarrel with us. "I can't vote," he declared, "but my coachman can, and
I don't know how I'm to get the suffrage, unless my physician paints me
all over with the iodine he's using for my rheumatic side."
Doctor Palfrey was most distinctly of the Brahminical caste and was long
an eminent Unitarian minister, but at the time I began to know him he had
long quitted the pulpit. He was so far of civic or public character as
to be postmaster at Boston, when we were first neighbors, but this
officiality was probably so little in keeping with his nature that it was
like a return to his truer self when he ceased to hold the place, and
gave his time altogether to his history. It is a work which will hardly
be superseded in the interest of those who value thorough research and
temperate expression. It is very just, and without endeavor for picture
or drama it is to me very attractive. Much that has to be recorded of
New England lacks charm, but he gave form and dignity and presence to the
memories of the past, and the finer moments of that great story, he gave
with the simplicity that was their best setting. It seems to me such an
apology (in the old sense) as New England might have written for herself,
and in fact Doctor Palfrey was a personification of New England in one of
the best and truest kinds. He was refined in the essential gentleness of
his heart without being refined away; he kept the faith of her Puritan
tradition though he no longer kept the Puritan faith, and his defence of
the Puritan severity with the witches and Quakers was as impartial as it
was efficient in positing the Puritans as of their time, and rather
better and not worse than other people of the same time. He was himself
a most tolerant man, and his tolerance was never weak or fond; it stopped
well short of condoning error, which he condemned when he preferred to
leave it to its own punishment. Personally he was without any flavor of
harshness; his mind was as gentle as his manner, which was one of the
gentlest I have ever known.
Of as gentle make but of more pensive temper, with unexpected bursts of
lyrical gaiety, was Christopher Pearse Cranch, the poet, whom I had known
in New York long before he came to live in Cambridge. He could not only
play and sing most amusing songs, but he wrote very good poems and
painted pictures perhaps not so good. I always liked his Venetian
pictures, for their poetic, unsentimentalized veracity, and I printed as
well as liked many of his poems. During the time that I knew him more
than his due share of troubles and sorrows accumulated themselves on his
fine head, which the years had whitened, and gave a droop to the
beautiful, white-bearded face. But he had the artist soul and the poet
heart, and no doubt he could take refuge in these from the cares that
shadowed his visage. My acquaintance with him in Cambridge renewed
itself upon the very terms of its beginning in New York. We met at
Longfellow's table, where he lifted up his voice in the Yankee folk-song,
"On Springfield Mountain there did dwell," which he gave with a perfectly
killing mock-gravity.
XI.
At Cambridge the best society was better, it seems to me, than even that
of the neighboring capital. It would be rather hard to prove this, and I
must ask the reader to take my word for it, if he wishes to believe it.
The great interests in that pleasant world, which I think does not
present itself to my memory in a false iridiscence, were the intellectual
interests, and all other interests were lost in these to such as did not
seek them too insistently.
People held themselves high; they held themselves personally aloof from
people not duly assayed; their civilization was still Puritan though
their belief had long ceased to be so. They had weights and measure,
stamped in an earlier time, a time surer of itself than ours, by which
they rated the merit of all comers, and rejected such as did not bear the
test. These standards were their own, and they were satisfied with them;
most Americans have no standards of their own, but these are not
satisfied even with other people's, and so our society is in a state of
tolerant and tremulous misgiving.
Family counted in Cambridge, without doubt, as it counts in New England
everywhere, but family alone did not mean position, and the want of
family did not mean the want of it. Money still less than family
commanded; one could be openly poor in Cambridge without open shame, or
shame at all, for no one was very rich there, and no one was proud of his
riches.
I do not wonder that Turguenieff thought the conditions ideal, as Boyesen
portrayed them to him; and I look back at my own life there with wonder
at my good fortune. I was sensible, and I still am sensible this had its
alloys. I was young and unknown and was making my way, and I had to
suffer some of the penalties of these disadvantages; but I do not believe
that anywhere else in this ill-contrived economy, where it is vainly
imagined that the material struggle forms a high incentive and
inspiration, would my penalties have been so light. On the other hand,
the good that was done me I could never repay if I lived all over again
for others the life that I have so long lived for myself. At times, when
I had experienced from those elect spirits with whom I was associated,
some act of friendship, as signal as it was delicate, I used to ask
myself, how I could ever do anything unhandsome or ungenerous towards any
one again; and I had a bad conscience the next time I did it.
The air of the Cambridge that I knew was sufficiently cool to be bracing,
but what was of good import in me flourished in it. The life of the
place had its lateral limitations; sometimes its lights failed to detect
excellent things that lay beyond it; but upward it opened illimitably.
I speak of it frankly because that life as I witnessed it is now almost
wholly of the past. Cambridge is still the home of much that is good and
fine in our literature: one realizes this if one names Colonel Thomas
Wentworth Higginson, Mr. John Fiske, Mr. William James, Mr. Horace E.
Scudder, not to name any others, but the first had not yet come back to
live in his birthplace at the time I have been writing of, and the rest
had not yet their actual prominence. One, in deed among so many absent,
is still present there, whom from time to time I have hitherto named
without offering him the recognition which I should have known an
infringement of his preferences. But the literary Cambridge of thirty
years ago could not be clearly imagined or justly estimated without
taking into account the creative sympathy of a man whose contributions to
our literature only partially represent what he has constantly done for
the humanities. I am sure that, after the easy heroes of the day are
long forgot, and the noisy fames of the strenuous life shall dwindle to
their essential insignificance before those of the gentle life, we shall
all see in Charles Eliot Norton the eminent scholar who left the quiet of
his books to become our chief citizen at the moment when he warned his
countrymen of the ignominy and disaster of doing wrong.
ETEXT EDITOR'S BOOKMARKS:
Cold-slaw
Collective opacity
Expectation of those who will come no more
Felt that this was my misfortune more than my fault
Found life was not all poetry
He had no time to make money
Intellectual poseurs
No time to make money
NYC, a city where money counts for more and goes for less
One could be openly poor in Cambridge without open shame
Put your finger on the present moment and enjoy it
Standards were their own, and they were satisfied with them
Wonderful to me how it should remain so unintelligible
End of this Project Gutenberg Etext of Cambridge Neighbors
by William Dean Howells
LITERARY FRIENDS AND ACQUAINTANCES--A Belated Guest
by William Dean Howells
A BELATED GUEST
It is doubtful whether the survivor of any order of things finds
compensation in the privilege, however undisputed by his contemporaries,
of recording his memories of it. This is, in the first two or three
instances, a pleasure. It is sweet to sit down, in the shade or by the
fire, and recall names, looks, and tones from the past; and if the
Absences thus entreated to become Presences are those of famous people,
they lend to the fond historian a little of their lustre, in which he
basks for the time with an agreeable sense of celebrity. But another
time comes, and comes very soon, when the pensive pleasure changes to the
pain of duty, and the precious privilege converts itself into a grievous
obligation. You are unable to choose your company among those immortal
shades; if one, why not another, where all seem to have a right to such
gleams of this 'dolce lome' as your reminiscences can shed upon them?
Then they gather so rapidly, as the years pass, in these pale realms,
that one, if one continues to survive, is in danger of wearing out such
welcome, great or small, as met ones recollections in the first two or
three instances, if one does one's duty by each. People begin to say,
and not without reason, in a world so hurried and wearied as this: "Ah,
here he is again with his recollections!" Well, but if the recollections
by some magical good-fortune chance to concern such a contemporary of his
as, say, Bret Harte, shall not he be partially justified, or at least
excused?
I.
My recollections of Bret Harte begin with the arrest, on the Atlantic
shore, of that progress of his from the Pacific Slope, which, in the
simple days of 1871, was like the progress of a prince, in the universal
attention and interest which met and followed it. He was indeed a
prince, a fairy prince in whom every lover of his novel and enchanting
art felt a patriotic property, for his promise and performance in those
earliest tales of 'The Luck of Roaring Camp', and 'Tennessee's Partner',
and 'Maggles', and 'The Outcasts of Poker Flat', were the earnests of an
American literature to come. If it is still to come, in great measure,
that is not Harte's fault, for he kept on writing those stories, in one
form or another, as long as he lived. He wrote them first and last in
the spirit of Dickens, which no man of his time could quite help doing,
but he wrote them from the life of Bret Harte, on the soil and in the air
of the newest kind of new world, and their freshness took the soul of his
fellow-countrymen not only with joy, but with pride such as the
Europeans, who adored him much longer, could never know in him.
When the adventurous young editor who had proposed being his host for
Cambridge and the Boston neighborhood, while Harte was still in San
Francisco, and had not yet begun his princely progress eastward, read of
the honors that attended his coming from point to point, his courage
fell, as if he had perhaps, committed himself in too great an enterprise.
Who was he, indeed, that he should think of making this
"Dear son of memory, great heir of fame,"
his guest, especially when he heard that in Chicago Harte failed of
attending a banquet of honor because the givers of it had not sent a
carriage to fetch him to it, as the alleged use was in San Francisco?
Whether true or not, and it was probably not true in just that form,
it must have been this rumor which determined his host to drive into
Boston for him with the handsomest hack which the livery of Cambridge
afforded, and not trust to the horse-car and the local expressman to get
him and his baggage out, as he would have done with a less portentous
guest. However it was, he instantly lost all fear when they met at the
station, and Harte pressed forward with his cordial hand-clasp, as if he
were not even a fairy prince, and with that voice and laugh which were
surely the most winning in the world. He was then, as always, a child of
extreme fashion as to his clothes and the cut of his beard, which he wore
in a mustache and the drooping side-whiskers of the day, and his jovial
physiognomy was as winning as his voice, with its straight nose and
fascinating thrust of the under lip, its fine eyes, and good forehead,
then thickly crowned with the black hair which grew early white, while
his mustache remained dark the most enviable and consoling effect
possible in the universal mortal necessity of either aging or dying.
He was, as one could not help seeing, thickly pitted, but after the first
glance one forgot this, so that a lady who met him for the first time
could say to him, "Mr. Harte, aren't you afraid to go about in the cars
so recklessly when there is this scare about smallpox?" "No, madam," he
could answer in that rich note of his, with an irony touched by pseudo-
pathos, "I bear a charmed life."
The drive out from Boston was not too long for getting on terms of
personal friendship with the family which just filled the hack, the two
boys intensely interested in the novelties of a New England city and
suburb, and the father and mother continually exchanging admiration of
such aspects of nature as presented themselves in the leafless sidewalk
trees, and patches of park and lawn. They found everything so fine, so
refined, after the gigantic coarseness of California, where the natural
forms were so vast that one could not get on companionable terms with
them. Their host heard them without misgiving for the world of romance
which Harte had built up among those huge forms, and with a subtle
perception that this was no excursion of theirs to the East, but a
lifelong exodus from the exile which he presently understood they must
always have felt California to be. It is different now, when people are
every day being born in California, and must begin to feel it home from
the first breath, but it is notable that none of the Californians of that
great early day have gone back to live amid the scenes which inspired and
prospered them.
Before they came in sight of the editor's humble roof he had mocked
himself to his guest for his trepidations, and Harte with burlesque
magnanimity had consented to be for that occasion only something less
formidable than he had loomed afar. He accepted with joy the theory of
passing a week in the home of virtuous poverty, and the week began as
delightfully as it went on. From first to last Cambridge amused him as
much as it charmed him by that air of academic distinction which was
stranger to him even than the refined trees and grass. It has already
been told how, after a list of the local celebrities had been recited to
him, he said, "why, you couldn't stand on your front porch and fire off
your revolver without bringing down a two volumer," and no doubt the
pleasure he had in it was the effect of its contrast with the wild
California he had known, and perhaps, when he had not altogether known
it, had invented.
II.
Cambridge began very promptly to show him those hospitalities which he
could value, and continued the fable of his fairy princeliness in the
curiosity of those humbler admirers who could not hope to be his hosts or
his fellow-guests at dinner or luncheon. Pretty presences in the tie-
backs of the period were seen to flit before the home of virtuous
poverty, hungering for any chance sight of him which his outgoings or
incomings might give. The chances were better with the outgoings than
with the incomings, for these were apt to be so hurried, in the final
result of his constitutional delays, as to have the rapidity of the
homing pigeon's flight, and to afford hardly a glimpse to the quickest
eye. It cannot harm him, or any one now, to own that Harte was nearly
always late for those luncheons and dinners which he was always going out
to, and it needed the anxieties and energies of both families to get him
into his clothes, and then into the carriage where a good deal of final
buttoning must have been done, in order that he might not arrive so very
late. He was the only one concerned who was quite unconcerned; his
patience with his delays was inexhaustible; he arrived at the expected
houses smiling, serenely jovial, radiating a bland gaiety from his whole
person, and ready to ignore any discomfort he might have occasioned.
Of course, people were glad to have him on his own terms, and it may be
truly said that it was worth while to have him on any terms. There never
was a more charming companion, an easier or more delightful guest.
It was not from what he said, for he was not much of a talker, and almost
nothing of a story-teller; but he could now and then drop the fittest
word, and with a glance or smile of friendly intelligence express the
appreciation of another's fit word which goes far to establish for a man
the character of boon humorist. It must be said of him that if he took
the honors easily that were paid him he took them modestly, and never by
word or look invited them, or implied that he expected them. It was fine
to see him humorously accepting the humorous attribution of scientific
sympathies from Agassiz, in compliment of his famous epic describing the
incidents that "broke up the society upon the Stanislow." It was a
little fearsome to hear him frankly owning to Lowell his dislike for
something over-literary in the phrasing of certain verses of 'The
Cathedral.' But Lowell could stand that sort of thing from a man who
could say the sort of things that Harte said to him of that delicious
line picturing the bobolink as he
"Runs down a brook of laughter in the air."
This, Harte told him, was the line he liked best of all his lines, and
Lowell smoked well content with the praise. Yet they were not men to get
on easily together, Lowell having limitations in directions where Harte
had none. Afterward in London they did not meet often or willingly.
Lowell owned the brilliancy and uncommonness of Harte's gift, while he
sumptuously surfeited his passion of finding everybody more or less a Jew
by finding that Harte was at least half a Jew on his father's side; he
had long contended for the Hebraicism of his name.
With all his appreciation of the literary eminences whom Fields used to
class together as "the old saints," Harte had a spice of irreverence that
enabled him to take them more ironically than they might have liked, and
to see the fun of a minor literary man's relation to them. Emerson's
smoking amused him, as a Jovian self-indulgence divinely out of character
with so supreme a god, and he shamelessly burlesqued it, telling how
Emerson at Concord had proposed having a "wet night" with him over a
glass of sherry, and had urged the scant wine upon his young friend with
a hospitable gesture of his cigar. But this was long after the Cambridge
episode, in which Longfellow alone escaped the corrosive touch of his
subtle irreverence, or, more strictly speaking, had only the effect of
his reverence. That gentle and exquisitely modest dignity, of
Longfellow's he honored with as much veneration as it was in him to
bestow, and he had that sense of Longfellow's beautiful and perfected art
which is almost a test of a critic's own fineness.
III.
As for Harte's talk, it was mostly ironical, not to the extreme of
satire, but tempered to an agreeable coolness even for the things he
admired. He did not apparently care to hear himself praised, but he
could very accurately and perfectly mark his discernment of excellence in
others. He was at times a keen observer of nature and again not,
apparently. Something was said before him and Lowell of the beauty of
his description of a rabbit, startled with fear among the ferns, and
lifting its head with the pulsation of its frightened heart visibly
shaking it; then the talk turned on the graphic homeliness of Dante's
noticing how the dog's skin moves upon it, and Harte spoke of the
exquisite shudder with which a horse tries to rid itself of a fly.
But once again, when an azalea was shown to him as the sort of bush that
Sandy drunkenly slept under in 'The Idyl of Iced Gulch', he asked, "Why,
is that an azalea?" To be sure, this might have been less from his
ignorance or indifference concerning the quality of the bush he had sent
Sandy to sleep under than from his willingness to make a mock of an
azalea in a very small pot, so disproportionate to uses which an azalea
of Californian size could easily lend itself to.
You never could be sure of Harte; he could only by chance be caught in
earnest about anything or anybody. Except for those slight recognitions
of literary, traits in his talk with Lowell, nothing remained from his
conversation but the general criticism he passed upon his brilliant
fellow-Hebrew Heine, as "rather scorbutic." He preferred to talk about
the little matters of common incident and experience. He amused himself
with such things as the mystification of the postman of whom he asked his
way to Phillips Avenue, where he adventurously supposed his host to be
living. "Why," the postman said, "there is no Phillips Avenue in
Cambridge. There's Phillips Place." "Well," Harte assented, "Phillips
Place will do; but there is a Phillips Avenue." He entered eagerly into
the canvass of the distinctions and celebrities asked to meet him at the
reception made for him, but he had even a greater pleasure in
compassionating his host for the vast disparity between the caterer's
china and plated ware and the simplicities and humilities of the home of
virtuous poverty; and he spluttered with delight at the sight of the
lofty 'epergnes' set up and down the supper-table when he was brought in
to note the preparations made in his honor. Those monumental structures
were an inexhaustible joy to him; he walked round and round the room, and
viewed them in different perspectives, so as to get the full effect of
the towering forms that dwarfed it so.
He was a tease, as many a sweet and fine wit is apt to be, but his
teasing was of the quality of a caress, so much kindness went with it.
He lamented as an irreparable loss his having missed seeing that night an
absent-minded brother in literature, who came in rubber shoes, and
forgetfully wore them throughout the evening. That hospitable soul of
Ralph Keeler, who had known him in California, but had trembled for their
acquaintance when he read of all the honors that might well have spoiled
Harte for the friends of his simpler days, rejoiced in the unchanged
cordiality of his nature when they met, and presently gave him one of
those restaurant lunches in Boston, which he was always sumptuously
providing out of his destitution. Harte was the life of a time which was
perhaps less a feast of reason than a flow of soul. The truth is, there
was nothing but careless stories carelessly told, and jokes and laughing,
and a great deal of mere laughing without the jokes, the whole as unlike
the ideal of a literary symposium as well might be; but there was present
one who met with that pleasant Boston company for the first time, and to
whom Harte attributed a superstition of Boston seriousness not realized
then and there. "Look at him," he said, from time to time. "This is the
dream of his life," and then shouted and choked with fun at the
difference between the occasion and the expectation he would have
imagined in his commensal's mind. At a dinner long after in London,
where several of the commensals of that time met again, with other
literary friends of a like age and stature, Harte laid his arms well
along their shoulders as they formed in a half-circle before him, and
screamed out in mocking mirth at the bulbous favor to which the slim
shapes of the earlier date had come. The sight was not less a rapture to
him that he was himself the prey of the same practical joke from the
passing years. The hair which the years had wholly swept from some of
those thoughtful brows, or left spindling autumnal spears, "or few or
none," to "shake against the cold," had whitened to a wintry snow on his,
while his mustache had kept its youthful black. "He looks," one of his
friends said to another as they walked home together, "like a French
marquis of the ancien regime." "Yes," the other assented, thoughtfully,
"or like an American actor made up for the part."
The saying closely fitted the outward fact, but was of a subtle injustice
in its implication of anything histrionic in Harte's nature. Never was
any man less a 'poseur'; he made simply and helplessly known what he was
at any and every moment, and he would join the witness very cheerfully in
enjoying whatever was amusing in the disadvantage to himself. In the
course of events, which were in his case so very human, it came about on
a subsequent visit of his to Boston that an impatient creditor decided to
right himself out of the proceeds of the lecture which was to be given,
and had the law corporeally present at the house of the friend where
Harte dined, and in the anteroom at the lecture-hall, and on the
platform, where the lecture was delivered with beautiful aplomb and
untroubled charm. He was indeed the only one privy to the law's presence
who was not the least affected by it, so that when his host of an earlier
time ventured to suggest, "Well, Harte, this is the old literary
tradition; this is the Fleet business over again," he joyously smote his
thigh and crowed out, "Yes, the Fleet!" No doubt he tasted all the
delicate humor of the situation, and his pleasure in it was quite
unaffected.
If his temperament was not adapted to the harsh conditions of the elder
American world, it might very well be that his temperament was not
altogether in the wrong. If it disabled him for certain experiences of
life, it was the source of what was most delightful in his personality,
and perhaps most beautiful in his talent. It enabled him to do such
things as he did without being at all anguished for the things he did not
do, and indeed could not. His talent was not a facile gift; he owned
that he often went day after day to his desk, and sat down before that
yellow post-office paper on which he liked to write his literature, in
that exquisitely refined script of his, without being able to inscribe a
line. It may be owned for him that though he came to the East at thirty-
four, which ought to have been the very prime of his powers, he seemed to
have arrived after the age of observation was past for him. He saw
nothing aright, either in Newport, where he went to live, or in New York,
where he sojourned, or on those lecturing tours which took him about the
whole country; or if he saw it aright, he could not report it aright, or
would not. After repeated and almost invariable failures to deal with
the novel characters and circumstances which he encountered he left off
trying, and frankly went back to the semi-mythical California he had half
discovered, half created, and wrote Bret Harte over and over as long as
he lived. This, whether he did it from instinct or from reason, was the
best thing he could do, and it went as nearly as might be to satisfy the
insatiable English fancy for the wild America no longer to be found on
our map.
It is imaginable of Harte that this temperament defended him from any
bitterness in the disappointment he may have shared with that simple
American public which in the early eighteen-seventies expected any and
everything of him in fiction and drama. The long breath was not his; he
could not write a novel, though he produced the like of one or two, and
his plays were too bad for the stage, or else too good for it. At any
rate, they could not keep it, even when they got it, and they denoted the
fatigue or the indifference of their author in being dramatizations of
his longer or shorter fictions, and not originally dramatic efforts.
The direction in which his originality lasted longest, and most
strikingly affirmed his power, was in the direction of his verse.
Whatever minds there may be about Harte's fiction finally, there can
hardly be more than one mind about his poetry. He was indeed a poet;
whether he wrote what drolly called itself "dialect," or wrote language,
he was a poet of a fine and fresh touch. It must be allowed him that in
prose as well he had the inventive gift, but he had it in verse far more
importantly. There are lines, phrases, turns in his poems,
characterizations, and pictures which will remain as enduringly as
anything American, if that is not saying altogether too little for them.
In poetry he rose to all the occasions he made for himself, though he
could not rise to the occasions made for him, and so far failed in the
demands he acceded to for a Phi Beta Kappa poem, as to come to that
august Harvard occasion with a jingle so trivial, so out of keeping, so
inadequate that his enemies, if he ever truly had any, must have suffered
from it almost as much as his friends. He himself did not suffer from
his failure, from having read before the most elect assembly of the
country a poem which would hardly have served the careless needs of an
informal dinner after the speaking had begun; he took the whole
disastrous business lightly, gayly, leniently, kindly, as that golden
temperament of his enabled him to take all the good or bad of life.
The first year of his Eastern sojourn was salaried in a sum which took
the souls of all his young contemporaries with wonder, if no baser
passion, in the days when dollars were of so much farther flight than
now, but its net result in a literary return to his publishers was one
story and two or three poems. They had not profited much by his book,
which, it will doubtless amaze a time of fifty thousand editions selling
before their publication, to learn had sold only thirty-five hundred in
the sixth month of its career, as Harte himself,
"With sick and scornful looks averse,"
confided to his Cambridge host after his first interview with the Boston
counting-room. It was the volume which contained "The Luck of Roaring
Camp," and the other early tales which made him a continental, and then
an all but a world-wide fame. Stories that had been talked over, and
laughed over, and cried over all up and down the land, that had been
received with acclaim by criticism almost as boisterous as their
popularity, and recognized as the promise of greater things than any done
before in their kind, came to no more than this pitiful figure over the
booksellers' counters. It argued much for the publishers that in spite
of this stupefying result they were willing, they were eager, to pay him
ten thousand dollars for whatever, however much or little, he chose to
write in a year: Their offer was made in Boston, after some offers
mortifyingly mean, and others insultingly vague, had been made in New
York.
It was not his fault that their venture proved of such slight return in
literary material. Harte was in the midst of new and alien conditions,
--[See a corollary in M. Froude who visited the U.S. for a few months and
then published a comprehensive analysis of the nation and its people.
Twain's rebuttal (Mr. Froude's Progress) would have been 'a propos' for
Harte in Cambridge. D.W.]--and he had always his temperament against
him, as well as the reluctant if not the niggard nature of his muse. He
would no doubt have been only too glad to do more than he did for the
money, but actually if not literally he could not do more. When it came
to literature, all the gay improvidence of life forsook him, and be
became a stern, rigorous, exacting self-master, who spared himself
nothing to achieve the perfection at which he aimed. He was of the order
of literary men like Goldsmith and De Quincey, and Sterne and Steele, in
his relations with the outer world, but in his relations with the inner
world he was one of the most duteous and exemplary citizens. There was
nothing of his easy-going hilarity in that world; there he was of a
Puritanic severity, and of a conscience that forgave him no pang. Other
California writers have testified to the fidelity with which he did his
work as editor. He made himself not merely the arbiter but the
inspiration of his contributors, and in a region where literature had
hardly yet replaced the wild sage-brush of frontier journalism, he made
the sand-lots of San Francisco to blossom as the rose, and created a
literary periodical of the first class on the borders of civilization.
It is useless to wonder now what would have been his future if the
publisher of the Overland Monthly had been of imagination or capital
enough to meet the demand which Harte dimly intimated to his Cambridge
host as the condition of his remaining in California. Publishers, men
with sufficient capital, are of a greatly varying gift in the regions of
prophecy, and he of the Overland Monthly was not to be blamed if he could
not foresee his account in paying Harte ten thousand a year to continue
editing the magazine. He did according to his lights, and Harte came to
the East, and then went to England, where his last twenty-five years were
passed in cultivating the wild plant of his Pacific Slope discovery. It
was always the same plant, leaf and flower and fruit, but it perennially
pleased the constant English world, and thence the European world, though
it presently failed of much delighting these fastidious States. Probably
he would have done something else if he could; he did not keep on doing
the wild mining-camp thing because it was the easiest, but because it was
for him the only possible thing. Very likely he might have preferred not
doing anything.
IV.
The joyous visit of a week, which has been here so poorly recovered from
the past, came to an end, and the host went with his guest to the station
in as much vehicular magnificence as had marked his going to meet him
there. Harte was no longer the alarming portent of the earlier time, but
an experience of unalloyed delight. You must love a person whose worst
trouble-giving was made somehow a favor by his own unconsciousness of the
trouble, and it was a most flattering triumph to have got him in time, or
only a little late, to so many luncheons and dinners. If only now he
could be got to the train in time the victory would be complete, the
happiness of the visit without a flaw. Success seemed to crown the
fondest hope in this respect. The train had not yet left the station;
there stood the parlor-car which Harte had seats in; and he was followed
aboard for those last words in which people try to linger out pleasures
they have known together. In this case the sweetest of the pleasures had
been sitting up late after those dinners, and talking them over, and then
degenerating from that talk into the mere giggle and making giggle which
Charles Lamb found the best thing in life. It had come to this as the
host and guest sat together for those parting moments, when Harte
suddenly started up in the discovery of having forgotten to get some
cigars. They rushed out of the train together, and after a wild descent
upon the cigar-counter of the restaurant, Harte rushed back to his car.
But by this time the train was already moving with that deceitful
slowness of the departing train, and Harte had to clamber up the steps of
the rearmost platform. His host clambered after, to make sure that he
was aboard, which done, he dropped to the ground, while Harte drew out of
the station, blandly smiling, and waving his hand with a cigar in it, in
picturesque farewell from the platform.
Then his host realized that he had dropped to the ground barely in time
to escape being crushed against the side of the archway that sharply
descended beside the steps of the train, and he went and sat down in that
handsomest hack, and was for a moment deathly sick at the danger that had
not realized itself to him in season. To be sure, he was able, long
after, to adapt the incident to the exigencies of fiction, and to have a
character, not otherwise to be conveniently disposed of, actually crushed
to death between a moving train and such an archway.
Besides, he had then and always afterward, the immense super-compensation
of the memories of that visit from one of the most charming personalities
in the world,
"In life's morning march when his bosom was young,"
and when infinitely less would have sated him. Now death has come to
join its vague conjectures to the broken expectations of life, and that
blithe spirit is elsewhere. But nothing can take from him who remains
the witchery of that most winning presence. Still it looks smiling from
the platform of the car, and casts a farewell of mock heartbreak from it.
Still a gay laugh comes across the abysm of the years that are now
numbered, and out of somewhere the hearer's sense is rapt with the mellow
cordial of a voice that was like no other.
[This last paragraph reminds one again that, as with Holmes: a great poet
writes the best prose. D.W.]
ETEXT EDITOR'S BOOKMARKS:
Always sumptuously providing out of his destitution
Could only by chance be caught in earnest about anything
Couldn't fire your revolver without bringing down a two volumer
Death's vague conjectures to the broken expectations of life
Dollars were of so much farther flight than now
Enjoying whatever was amusing in the disadvantage to himself
Express the appreciation of another's fit word
Gay laugh comes across the abysm of the years
Giggle which Charles Lamb found the best thing in life
His enemies suffered from it almost as much as his friends
His plays were too bad for the stage, or else too good for it
Insatiable English fancy for the wild America no longer there
Long breath was not his; he could not write a novel
Mellow cordial of a voice that was like no other
Not much of a talker, and almost nothing of a story-teller
Now death has come to join its vague conjectures
Offers mortifyingly mean, and others insultingly vague
Only one concerned who was quite unconcerned
So refined, after the gigantic coarseness of California
Wrote them first and last in the spirit of Dickens
End of this Project Gutenberg Etext of A Belated Guest
by William Dean Howells
LITERARY FRIENDS AND ACQUAINTANCES--My Mark Twain
by William Dean Howells
MY MARK TWAIN
I.
It was in the little office of James T. Fields, over the bookstore of
Ticknor & Fields, at 124 Tremont Street, Boston, that I first met my
friend of now forty-four years, Samuel L. Clemens. Mr. Fields was then
the editor of The Atlantic Monthly, and I was his proud and glad
assistant, with a pretty free hand as to manuscripts, and an unmanacled
command of the book-notices at the end of the magazine. I wrote nearly
all of them myself, and in 1869 I had written rather a long notice of a
book just winning its way to universal favor. In this review I had
intimated my reservations concerning the 'Innocents Abroad', but I had
the luck, if not the sense, to recognize that it was such fun as we had
not had before. I forget just what I said in praise of it, and it does
not matter; it is enough that I praised it enough to satisfy the author.
He now signified as much, and he stamped his gratitude into my memory
with a story wonderfully allegorizing the situation, which the mock
modesty of print forbids my repeating here. Throughout my long
acquaintance with him his graphic touch was always allowing itself a
freedom which I cannot bring my fainter pencil to illustrate. He had the
Southwestern, the Lincolnian, the Elizabethan breadth of parlance, which
I suppose one ought not to call coarse without calling one's self
prudish; and I was often hiding away in discreet holes and corners the
letters in which he had loosed his bold fancy to stoop on rank
suggestion; I could not bear to burn them, and I could not, after the
first reading, quite bear to look at them. I shall best give my feeling
on this point by saying that in it he was Shakespearian, or if his ghost
will not suffer me the word, then he was Baconian.
At the time of our first meeting, which must have been well toward the
winter, Clemens (as I must call him instead of Mark Twain, which seemed
always somehow to mask him from my personal sense) was wearing a sealskin
coat, with the fur out, in the satisfaction of a caprice, or the love of
strong effect which he was apt to indulge through life. I do not know
what droll comment was in Fields's mind with respect to this garment,
but probably he felt that here was an original who was not to be brought
to any Bostonian book in the judgment of his vivid qualities. With his
crest of dense red hair, and the wide sweep of his flaming mustache,
Clemens was not discordantly clothed in that sealskin coat, which
afterward, in spite of his own warmth in it, sent the cold chills through
me when I once accompanied it down Broadway, and shared the immense
publicity it won him. He had always a relish for personal effect, which
expressed itself in the white suit of complete serge which he wore in his
last years, and in the Oxford gown which he put on for every possible
occasion, and said he would like to wear all the time. That was not
vanity in him, but a keen feeling for costume which the severity of our
modern tailoring forbids men, though it flatters women to every excess in
it; yet he also enjoyed the shock, the offence, the pang which it gave
the sensibilities of others. Then there were times he played these
pranks for pure fun, and for the pleasure of the witness. Once I
remember seeing him come into his drawing-room at Hartford in a pair of
white cowskin slippers, with the hair out, and do a crippled colored
uncle to the joy of all beholders. Or, I must not say all, for I
remember also the dismay of Mrs. Clemens, and her low, despairing cry of,
"Oh, Youth!" That was her name for him among their friends, and it
fitted him as no other would, though I fancied with her it was a
shrinking from his baptismal Samuel, or the vernacular Sam of his earlier
companionships. He was a youth to the end of his days, the heart of a
boy with the head of a sage; the heart of a good boy, or a bad boy, but
always a wilful boy, and wilfulest to show himself out at every, time for
just the boy he was.
II.
There is a gap in my recollections of Clemens, which I think is of a year
or two, for the next thing I remember of him is meeting him at a lunch in
Boston, given us by that genius of hospitality, the tragically destined
Ralph Keeler, author of one of the most unjustly forgotten books,
'Vagabond Adventures', a true bit of picaresque autobiography. Keeler
never had any money, to the general knowledge, and he never borrowed, and
he could not have had credit at the restaurant where he invited us to
feast at his expense. There was T. B. Aldrich, there was J. T. Fields,
much the oldest of our company, who had just freed himself from the
trammels of the publishing business, and was feeling his freedom in every
word; there was Bret Harte, who had lately come East in his princely
progress from California; and there was Clemens. Nothing remains to me
of the happy time but a sense of idle and aimless and joyful talk-play,
beginning and ending nowhere, of eager laughter, of countless good
stories from Fields, of a heat-lightning shimmer of wit from Aldrich,
of an occasional concentration of our joint mockeries upon our host,
who took it gladly; and amid the discourse, so little improving, but so
full of good fellowship, Bret Harte's fleeting dramatization of Clemens's
mental attitude toward a symposium of Boston illuminates. "Why,
fellows," he spluttered, "this is the dream of Mark's life," and I
remember the glance from under Clemens's feathery eyebrows which betrayed
his enjoyment of the fun. We had beefsteak with mushrooms, which in
recognition of their shape Aldrich hailed as shoe-pegs, and to crown the
feast we had an omelette souse, which the waiter brought in as flat as a
pancake, amid our shouts of congratulations to poor Keeler, who took them
with appreciative submission. It was in every way what a Boston literary
lunch ought not to have been in the popular ideal which Harte attributed
to Clemens.
Our next meeting was at Hartford, or, rather, at Springfield, where
Clemens greeted us on the way to Hartford. Aldrich was going on to be
his guest, and I was going to be Charles Dudley Warner's, but Clemens had
come part way to welcome us both. In the good fellowship of that cordial
neighborhood we had two such days as the aging sun no longer shines on in
his round. There was constant running in and out of friendly houses
where the lively hosts and guests called one another by their Christian
names or nicknames, and no such vain ceremony as knocking or ringing at
doors. Clemens was then building the stately mansion in which he
satisfied his love of magnificence as if it had been another sealskin
coat, and he was at the crest of the prosperity which enabled him to
humor every whim or extravagance. The house was the design of that most
original artist, Edward Potter, who once, when hard pressed by
incompetent curiosity for the name of his style in a certain church,
proposed that it should be called the English violet order of
architecture; and this house was so absolutely suited to the owner's
humor that I suppose there never was another house like it; but its
character must be for recognition farther along in these reminiscences.
The vividest impression which Clemens gave us two ravenous young Boston
authors was of the satisfying, the surfeiting nature of subscription
publication. An army of agents was overrunning the country with the
prospectuses of his books, and delivering them by the scores of thousands
in completed sale. Of the 'Innocents Abroad' he said, "It sells right
along just like the Bible," and 'Roughing It' was swiftly following,
without perhaps ever quite overtaking it in popularity. But he lectured
Aldrich and me on the folly of that mode of publication in the trade
which we had thought it the highest success to achieve a chance in.
"Anything but subscription publication is printing for private
circulation," he maintained, and he so won upon our greed and hope that
on the way back to Boston we planned the joint authorship of a volume
adapted to subscription publication. We got a very good name for it, as
we believed, in Memorable Murders, and we never got farther with it, but
by the time we reached Boston we were rolling in wealth so deep that we
could hardly walk home in the frugal fashion by which we still thought it
best to spare car fare; carriage fare we did not dream of even in that
opulence.
III.
The visits to Hartford which had begun with this affluence continued
without actual increase of riches for me, but now I went alone, and in
Warner's European and Egyptian absences I formed the habit of going to
Clemens. By this time he was in his new house, where he used to give me
a royal chamber on the ground floor, and come in at night after I had
gone to bed to take off the burglar alarm so that the family should not
be roused if anybody tried to get in at my window. This would be after
we had sat up late, he smoking the last of his innumerable cigars, and
soothing his tense nerves with a mild hot Scotch, while we both talked
and talked and talked, of everything in the heavens and on the earth,
and the waters under the earth. After two days of this talk I would come
away hollow, realizing myself best in the image of one of those locust-
shells which you find sticking to the bark of trees at the end of summer.
Once, after some such bout of brains, we went down to New York together,
and sat facing each other in the Pullman smoker without passing a
syllable till we had occasion to say, "Well, we're there." Then, with
our installation in a now vanished hotel (the old Brunswick, to be
specific), the talk began again with the inspiration of the novel
environment, and went on and on. We wished to be asleep, but we could
not stop, and he lounged through the rooms in the long nightgown which he
always wore in preference to the pajamas which he despised, and told the
story of his life, the inexhaustible, the fairy, the Arabian Nights
story, which I could never tire of even when it began to be told over
again. Or at times he would reason high--
"Of Providence, foreknowledge, will and fate,
Fixed fate, free will, foreknowledge absolute,"
walking up and down, and halting now and then, with a fine toss and slant
of his shaggy head, as some bold thought or splendid joke struck him.
He was in those days a constant attendant at the church of his great
friend, the Rev. Joseph H. Twichell, and at least tacitly far from the
entire negation he came to at last. I should say he had hardly yet
examined the grounds of his passive acceptance of his wife's belief,
for it was hers and not his, and he held it unscanned in the beautiful
and tender loyalty to her which was the most moving quality of his most
faithful soul. I make bold to speak of the love between them, because
without it I could not make him known to others as he was known to me.
It was a greater part of him than the love of most men for their wives,
and she merited all the worship he could give her, all the devotion, all
the implicit obedience, by her surpassing force and beauty of character.
She was in a way the loveliest person I have ever seen, the gentlest, the
kindest, without a touch of weakness; she united wonderful tact with
wonderful truth; and Clemens not only accepted her rule implicitly, but
he rejoiced, he gloried in it. I am not sure that he noticed all her
goodness in the actions that made it a heavenly vision to others, he so
had the habit of her goodness; but if there was any forlorn and helpless
creature in the room Mrs. Clemens was somehow promptly at his side or
hers; she was always seeking occasion of kindness to those in her
household or out of it; she loved to let her heart go beyond the reach of
her hand, and imagined the whole hard and suffering world with compassion
for its structural as well as incidental wrongs. I suppose she had her
ladyhood limitations, her female fears of etiquette and convention, but
she did not let them hamper the wild and splendid generosity with which
Clemens rebelled against the social stupidities and cruelties. She had
been a lifelong invalid when he met her, and he liked to tell the
beautiful story of their courtship to each new friend whom he found
capable of feeling its beauty or worthy of hearing it. Naturally, her
father had hesitated to give her into the keeping of the young strange
Westerner, who had risen up out of the unknown with his giant reputation
of burlesque humorist, and demanded guaranties, demanded proofs. "He
asked me," Clemens would say, "if I couldn't give him the names of people
who knew me in California, and when it was time to hear from them I heard
from him. 'Well, Mr. Clemens,' he said, 'nobody seems to have a very
good word for you.' I hadn't referred him to people that I thought were
going to whitewash me. I thought it was all up with me, but I was
disappointed. 'So I guess I shall have to back you myself.'"
Whether this made him faithfuler to the trust put in him I cannot say,
but probably not; it was always in him to be faithful to any trust, and
in proportion as a trust of his own was betrayed he was ruthlessly and
implacably resentful. But I wish now to speak of the happiness of that
household in Hartford which responded so perfectly to the ideals of the
mother when the three daughters, so lovely and so gifted, were yet little
children. There had been a boy, and "Yes, I killed him," Clemens once
said, with the unsparing self-blame in which he would wreak an unavailing
regret. He meant that he had taken the child out imprudently, and the
child had taken the cold which he died of, but it was by no means certain
this was through its father's imprudence. I never heard him speak of his
son except that once, but no doubt in his deep heart his loss was
irreparably present. He was a very tender father and delighted in the
minds of his children, but he was wise enough to leave their training
altogether to the wisdom of their mother. He left them to that in
everything, keeping for himself the pleasure of teaching them little
scenes of drama, learning languages with them, and leading them in
singing. They came to the table with their parents, and could have set
him an example in behavior when, in moments of intense excitement, he
used to leave his place and walk up and down the room, flying his napkin
and talking and talking.
It was after his first English sojourn that I used to visit him, and he
was then full of praise of everything English: the English personal
independence and public spirit, and hospitality, and truth. He liked to
tell stories in proof of their virtues, but he was not blind to the
defects of their virtues: their submissive acceptance of caste, their
callousness with strangers; their bluntness with one another. Mrs.
Clemens had been in a way to suffer socially more than he, and she
praised the English less. She had sat after dinner with ladies who
snubbed and ignored one another, and left her to find her own amusement
in the absence of the attention with which Americans perhaps cloy their
guests, but which she could not help preferring. In their successive
sojourns among them I believe he came to like the English less and she
more; the fine delight of his first acceptance among them did not renew
itself till his Oxford degree was given him; then it made his cup run
over, and he was glad the whole world should see it.
His wife would not chill the ardor of his early Anglomania, and in this,
as in everything, she wished to humor him to the utmost. No one could
have realized more than she his essential fineness, his innate nobleness.
Marriages are what the parties to them alone really know them to be, but
from the outside I should say that this marriage was one of the most
perfect. It lasted in his absolute devotion to the day of her death,
that delayed long in cruel suffering, and that left one side of him in
lasting night. From Florence there came to me heartbreaking letters from
him about the torture she was undergoing, and at last a letter saying she
was dead, with the simple-hearted cry, "I wish I was with Livy." I do
not know why I have left saying till now that she was a very beautiful
woman, classically regular in features, with black hair smooth over her
forehead, and with tenderly peering, myopia eyes, always behind glasses,
and a smile of angelic kindness. But this kindness went with a sense of
humor which qualified her to appreciate the self-lawed genius of a man
who will be remembered with the great humorists of all time, with
Cervantes, with Swift, or with any others worthy his company; none of
them was his equal in humanity.
IV.
Clemens had appointed himself, with the architect's connivance, a
luxurious study over the library in his new house, but as his children
grew older this study, with its carved and cushioned arm-chairs, was
given over to them for a school-room, and he took the room above his
stable, which had been intended for his coachman. There we used to talk
together, when we were not walking and talking together, until he
discovered that he could make a more commodious use of the billiard-room
at the top of his house, for the purposes of literature and friendship.
It was pretty cold up there in the early spring and late fall weather
with which I chiefly associate the place, but by lighting up all the gas-
burners and kindling a reluctant fire on the hearth we could keep it well
above freezing. Clemens could also push the balls about, and, without
rivalry from me, who could no more play billiards than smoke, could win
endless games of pool, while he carried points of argument against
imaginable differers in opinion. Here he wrote many of his tales and
sketches, and for anything I know some of his books. I particularly
remember his reading me here his first rough sketch of Captain
Stormfield's Visit to Heaven, with the real name of the captain, whom I
knew already from his many stories about him.
We had a peculiar pleasure in looking off from the high windows on the
pretty Hartford landscape, and down from them into the tops of the trees
clothing the hillside by which his house stood. We agreed that there was
a novel charm in trees seen from such a vantage, far surpassing that of
the farther scenery. He had not been a country boy for nothing; rather
he had been a country boy, or, still better, a village boy, for
everything that Nature can offer the young of our species, and no aspect
of her was lost on him. We were natives of the same vast Mississippi
Valley; and Missouri was not so far from Ohio but that we were akin in
our first knowledges of woods and fields as we were in our early
parlance. I had outgrown the use of mine through my greater bookishness,
but I gladly recognized the phrases which he employed for their lasting
juiciness and the long-remembered savor they had on his mental palate.
I have elsewhere sufficiently spoken of his unsophisticated use of words,
of the diction which forms the backbone of his manly style. If I mention
my own greater bookishness, by which I mean his less quantitative
reading, it is to give myself better occasion to note that he was always
reading some vital book. It might be some out-of-the-way book, but it
had the root of the human matter in it: a volume of great trials; one of
the supreme autobiographies; a signal passage of history, a narrative of
travel, a story of captivity, which gave him life at first-hand. As I
remember, he did not care much for fiction, and in that sort he had
certain distinct loathings; there were certain authors whose names he
seemed not so much to pronounce as to spew out of his mouth. Goldsmith
was one of these, but his prime abhorrence was my dear and honored prime
favorite, Jane Austen. He once said to me, I suppose after he had been
reading some of my unsparing praises of her--I am always praising her,
"You seem to think that woman could write," and he forbore withering me
with his scorn, apparently because we had been friends so long, and he
more pitied than hated me for my bad taste. He seemed not to have any
preferences among novelists; or at least I never heard him express any.
He used to read the modern novels I praised, in or out of print; but I do
not think he much liked reading fiction. As for plays, he detested the
theatre, and said he would as lief do a sum as follow a plot on the
stage. He could not, or did not, give any reasons for his literary
abhorrences, and perhaps he really had none. But he could have said very
distinctly, if he had needed, why he liked the books he did. I was away
at the time of his great Browning passion, and I know of it chiefly from
hearsay; but at the time Tolstoy was doing what could be done to make me
over Clemens wrote, "That man seems to have been to you what Browning was
to me." I do not know that he had other favorites among the poets, but
he had favorite poems which he liked to read to you, and he read, of
course, splendidly. I have forgotten what piece of John Hay's it was
that he liked so much, but I remembered how he fiercely revelled in the
vengefulness of William Morris's 'Sir Guy of the Dolorous Blast,' and how
he especially exalted in the lines which tell of the supposed speaker's
joy in slaying the murderer of his brother:
"I am threescore years and ten,
And my hair is 'nigh turned gray,
But I am glad to think of the moment when
I took his life away."
Generally, I fancy his pleasure in poetry was not great, and I do not
believe he cared much for the conventionally accepted masterpieces of
literature. He liked to find out good things and great things for
himself; sometimes he would discover these in a masterpiece new to him
alone, and then, if you brought his ignorance home to him, he enjoyed it,
and enjoyed it the more the more you rubbed it in.
Of all the literary men I have known he was the most unliterary in his
make and manner. I do not know whether he had any acquaintance with
Latin, but I believe not the least; German he knew pretty well, and
Italian enough late in life to have fun with it; but he used English in
all its alien derivations as if it were native to his own air, as if it
had come up out of American, out of Missourian ground. His style was
what we know, for good and for bad, but his manner, if I may difference
the two, was as entirely his own as if no one had ever written before.
I have noted before this how he was not enslaved to the consecutiveness
in writing which the rest of us try to keep chained to. That is, he
wrote as he thought, and as all men think, without sequence, without an
eye to what went before or should come after. If something beyond or
beside what he was saying occurred to him, he invited it into his page,
and made it as much at home there as the nature of it would suffer him.
Then, when he was through with the welcoming of this casual and
unexpected guest, he would go back to the company he was entertaining,
and keep on with what he had been talking about. He observed this manner
in the construction of his sentences, and the arrangement of his
chapters, and the ordering or disordering of his compilations.--[Nowhere
is this characteristic better found than in Twain's 'Autobiography,' it
was not a "style" it was unselfconscious thought D.W.]--I helped him
with a Library of Humor, which he once edited, and when I had done my
work according to tradition, with authors, times, and topics carefully
studied in due sequence, he tore it all apart, and "chucked" the pieces
in wherever the fancy, for them took him at the moment. He was right: we
were not making a text-book, but a book for the pleasure rather than the
instruction of the reader, and he did not see why the principle on which
he built his travels and reminiscences and tales and novels should not
apply to it; and I do not now see, either, though at the time it
confounded me. On minor points he was, beyond any author I have known,
without favorite phrases or pet words. He utterly despised the avoidance
of repetitions out of fear of tautology. If a word served his turn
better than a substitute, he would use it as many times in a page as he
chose.
V.
At that time I had become editor of The Atlantic Monthly, and I had
allegiances belonging to the conduct of what was and still remains the
most scrupulously cultivated of our periodicals. When Clemens began to
write for it he came willingly under its rules, for with all his
wilfulness there never was a more biddable man in things you could show
him a reason for. He never made the least of that trouble which so
abounds for the hapless editor from narrower-minded contributors. If you
wanted a thing changed, very good, he changed it; if you suggested that a
word or a sentence or a paragraph had better be struck out, very good,
he struck it out. His proof-sheets came back each a veritable "mush of
concession," as Emerson says. Now and then he would try a little
stronger language than 'The Atlantic' had stomach for, and once when I
sent him a proof I made him observe that I had left out the profanity.
He wrote back: "Mrs. Clemens opened that proof, and lit into the room
with danger in her eye. What profanity? You see, when I read the
manuscript to her I skipped that." It was part of his joke to pretend a
violence in that gentlest creature which the more amusingly realized the
situation to their friends.
I was always very glad of him and proud of him as a contributor, but I
must not claim the whole merit, or the first merit of having him write
for us. It was the publisher, the late H. O. Houghton, who felt the
incongruity of his absence from the leading periodical of the country,
and was always urging me to get him to write. I will take the credit of
being eager for him, but it is to the publisher's credit that he tried,
so far as the modest traditions of 'The Atlantic' would permit, to meet
the expectations in pay which the colossal profits of Clemens's books
might naturally have bred in him. Whether he was really able to do this
he never knew from Clemens himself, but probably twenty dollars a page
did not surfeit the author of books that "sold right along just like the
Bible."
We had several short contributions from Clemens first, all of capital
quality, and then we had the series of papers which went mainly to the
making of his great book, 'Life on the Mississippi'. Upon the whole I
have the notion that Clemens thought this his greatest book, and he was
supported in his opinion by that of the 'portier' in his hotel at Vienna,
and that of the German Emperor, who, as he told me with equal respect for
the preference of each, united in thinking it his best; with such far-
sundered social poles approaching in its favor, he apparently found
himself without standing for opposition. At any rate, the papers won
instant appreciation from his editor and publisher, and from the readers
of their periodical, which they expected to prosper beyond precedent in
its circulation. But those were days of simpler acceptance of the
popular rights of newspapers than these are, when magazines strictly
guard their vested interests against them. 'The New York Times' and the
'St. Louis Democrat' profited by the advance copies of the magazine sent
them to reprint the papers month by month. Together they covered nearly
the whole reading territory of the Union, and the terms of their daily
publication enabled them to anticipate the magazine in its own restricted
field. Its subscription list was not enlarged in the slightest measure,
and The Atlantic Monthly languished on the news-stands as undesired as
ever.
VI.
It was among my later visits to Hartford that we began to talk up the
notion of collaborating a play, but we did not arrive at any clear
intention, and it was a telegram out of the clear sky that one day
summoned me from Boston to help with a continuation of Colonel Sellers.
I had been a witness of the high joy of Clemens in the prodigious triumph
of the first Colonel Sellers, which had been dramatized from the novel of
'The Gilded Age.' This was the joint work of Clemens and Charles Dudley
Warner, and the story had been put upon the stage by some one in Utah,
whom Clemens first brought to book in the courts for violation of his
copyright, and then indemnified for such rights as his adaptation of the
book had given him. The structure of the play as John T. Raymond gave it
was substantially the work of this unknown dramatist. Clemens never
pretended, to me at any rate, that he had the least hand in it; he
frankly owned that he was incapable of dramatization; yet the vital part
was his, for the characters in the play were his as the book embodied
them, and the success which it won with the public was justly his.
This he shared equally with the actor, following the company with an
agent, who counted out the author's share of the gate money, and sent him
a note of the amount every day by postal card. The postals used to come
about dinner-time, and Clemens would read them aloud to us in wild
triumph.
One hundred and fifty dollars--two hundred dollars--three hundred dollars
were the gay figures which they bore, and which he flaunted in the air
before he sat down at table, or rose from it to brandish, and then,
flinging his napkin into his chair, walked up and down to exult in.
By-and-by the popularity, of the play waned, and the time came when he
sickened of the whole affair, and withdrew his agent, and took whatever
gain from it the actor apportioned him. He was apt to have these sudden
surceases, following upon the intensities of his earlier interest; though
he seemed always to have the notion of making something more of Colonel
Sellers. But when I arrived in Hartford in answer to his summons,
I found him with no definite idea of what he wanted to do with him.
I represented that we must have some sort of plan, and he agreed that we
should both jot down a scenario overnight and compare our respective
schemes the next morning. As the author of a large number of little
plays which have been privately presented throughout the United States
and in parts of the United Kingdom, without ever getting upon the public
stage except for the noble ends of charity, and then promptly getting off
it, I felt authorized to make him observe that his scheme was as nearly
nothing as chaos could be. He agreed hilariously with me, and was
willing to let it stand in proof of his entire dramatic inability.
At the same time he liked my plot very much, which ultimated Sellers,
according to Clemens's intention, as a man crazed by his own inventions
and by his superstition that he was the rightful heir to an English
earldom. The exuberant nature of Sellers and the vast range of his
imagination served our purpose in other ways. Clemens made him a
spiritualist, whose specialty in the occult was materialization;
he became on impulse an ardent temperance reformer, and he headed a
procession of temperance ladies after disinterestedly testing the
deleterious effects of liquor upon himself until he could not walk
straight; always he wore a marvellous fire-extinguisher strapped on his
back, to give proof in any emergency of the effectiveness of his
invention in that way.
We had a jubilant fortnight in working the particulars of these things
out. It was not possible for Clemens to write like anybody else, but I
could very easily write like Clemens, and we took the play scene and
scene about, quite secure of coming out in temperamental agreement.
The characters remained for the most part his, and I varied them only to
make them more like his than, if possible, he could. Several years
after, when I looked over a copy of the play, I could not always tell my
work from his; I only knew that I had done certain scenes. We would work
all day long at our several tasks, and then at night, before dinner, read
them over to each other. No dramatists ever got greater joy out of their
creations, and when I reflect that the public never had the chance of
sharing our joy I pity the public from a full heart. I still believe
that the play was immensely funny; I still believe that if it could once
have got behind the footlights it would have continued to pack the house
before them for an indefinite succession of nights. But this may be my
fondness.
At any rate, it was not to be. Raymond had identified himself with
Sellers in the play-going imagination, and whether consciously or
unconsciously we constantly worked with Raymond in our minds. But before
this time bitter displeasures had risen between Clemens and Raymond, and
Clemens was determined that Raymond should never have the play. He first
offered it to several other actors, who eagerly caught it, only to give
it back with the despairing renunciation, "That is a Raymond play." We
tried managers with it, but their only question was whether they could
get Raymond to do it. In the mean time Raymond had provided himself with
a play for the winter--a very good play, by Demarest Lloyd; and he was in
no hurry for ours. Perhaps he did not really care for it perhaps he knew
when he heard of it that it must come to him in the end. In the end it
did, from my hand, for Clemens would not meet him. I found him in a mood
of sweet reasonableness, perhaps the more softened by one of those
lunches which our publisher, the hospitable James R. Osgood, was always
bringing people together over in Boston. He said that he could not do
the play that winter, but he was sure that he should like it, and he had
no doubt he would do it the next winter. So I gave him the manuscript,
in spite of Clemens's charges, for his suspicions and rancors were such
that he would not have had me leave it for a moment in the actor's hands.
But it seemed a conclusion that involved success and fortune for us.
In due time, but I do not remember how long after, Raymond declared
himself delighted with the piece; he entered into a satisfactory
agreement for it, and at the beginning of the next season he started with
it to Buffalo, where he was to give a first production. At Rochester he
paused long enough to return it, with the explanation that a friend had
noted to him the fact that Colonel Sellers in the play was a lunatic, and
insanity was so serious a thing that it could not be represented on the
stage without outraging the sensibilities of the audience; or words to
that effect. We were too far off to allege Hamlet to the contrary, or
King Lear, or to instance the delight which generations of readers
throughout the world had taken in the mad freaks of Don Quixote.
Whatever were the real reasons of Raymond for rejecting the play, we had
to be content with those he gave, and to set about getting it into other
hands. In this effort we failed even more signally than before, if that
were possible. At last a clever and charming elocutionist, who had long
wished to get himself on the stage, heard of it and asked to see it.
We would have shown it to any one by this time, and we very willingly
showed it to him. He came to Hartford and did some scenes from it for
us. I must say he did them very well, quite as well as Raymond could
have done them, in whose manner he did them. But now, late toward
spring, the question was where he could get an engagement with the play,
and we ended by hiring a theatre in New York for a week of trial
performances.
Clemens came on with me to Boston, where we were going to make some
changes in the piece, and where we made them to our satisfaction, but not
to the effect of that high rapture which we had in the first draft.
He went back to Hartford, and then the cold fit came upon me, and "in
visions of the night, in slumberings upon the bed," ghastly forms of
failure appalled me, and when I rose in the morning I wrote him: "Here is
a play which every manager has put out-of-doors and which every actor
known to us has refused, and now we go and give it to an elocutioner.
We are fools." Whether Clemens agreed with me or not in my conclusion,
he agreed with me in my premises, and we promptly bought our play off the
stage at a cost of seven hundred dollars, which we shared between us.
But Clemens was never a man to give up. I relinquished gratis all right
and title I had in the play, and he paid its entire expenses for a week
of one-night stands in the country. It never came to New York; and yet I
think now that if it had come, it would have succeeded. So hard does the
faith of the unsuccessful dramatist in his work die.
VII.
There is an incident of this time so characteristic of both men that I
will yield to the temptation of giving it here. After I had gone to
Hartford in response to Clemens's telegram, Matthew Arnold arrived in
Boston, and one of my family called on his, to explain why I was not at
home to receive his introduction: I had gone to see Mark Twain. "Oh, but
he doesn't like that sort of thing, does he?" "He likes Mr. Clemens very
much," my representative answered, "and he thinks him one of the greatest
men he ever knew." I was still Clemens's guest at Hartford when Arnold
came there to lecture, and one night we went to meet him at a reception.
While his hand laxly held mine in greeting, I saw his eyes fixed
intensely on the other side of the room. "Who-who in the world is that?"
I looked and said, "Oh, that is Mark Twain." I do not remember just how
their instant encounter was contrived by Arnold's wish, but I have the
impression that they were not parted for long during the evening, and the
next night Arnold, as if still under the glamour of that potent presence,
was at Clemens's house. I cannot say how they got on, or what they made
of each other; if Clemens ever spoke of Arnold, I do not recall what he
said, but Arnold had shown a sense of him from which the incredulous
sniff of the polite world, now so universally exploded, had already
perished. It might well have done so with his first dramatic vision of
that prodigious head. Clemens was then hard upon fifty, and he had kept,
as he did to the end, the slender figure of his youth, but the ashes of
the burnt-out years were beginning to gray the fires of that splendid
shock of red hair which he held to the height of a stature apparently
greater than it was, and tilted from side to side in his undulating walk.
He glimmered at you from the narrow slits of fine blue-greenish eyes,
under branching brows, which with age grew more and more like a sort of
plumage, and he was apt to smile into your face with a subtle but amiable
perception, and yet with a sort of remote absence; you were all there for
him, but he was not all there for you.
VIII.
I shall, not try to give chronological order to my recollections of him,
but since I am just now with him in Hartford I will speak of him in
association with the place. Once when I came on from Cambridge he
followed me to my room to see that the water was not frozen in my bath,
or something of the kind, for it was very cold weather, and then
hospitably lingered. Not to lose time in banalities I began at once from
the thread of thought in my mind. "I wonder why we hate the past so,"
and he responded from the depths of his own consciousness, "It's so
damned humiliating," which is what any man would say of his past if he
were honest; but honest men are few when it comes to themselves. Clemens
was one of the few, and the first of them among all the people I have
known. I have known, I suppose, men as truthful, but not so promptly, so
absolutely, so positively, so almost aggressively truthful. He could
lie, of course, and did to save others from grief or harm; he was, not
stupidly truthful; but his first impulse was to say out the thing and
everything that was in him. To those who can understand it will not be
contradictory of his sense of humiliation from the past, that he was not
ashamed for anything he ever did to the point of wishing to hide it. He
could be, and he was, bitterly sorry for his errors, which he had enough
of in his life, but he was not ashamed in that mean way. What he had
done he owned to, good, bad, or indifferent, and if it was bad he was
rather amused than troubled as to the effect in your mind. He would not
obtrude the fact upon you, but if it were in the way of personal history
he would not dream of withholding it, far less of hiding it.
He was the readiest of men to allow an error if he were found in it. In
one of our walks about Hartford, when he was in the first fine flush of
his agnosticism, be declared that Christianity had done nothing to
improve morals and conditions, and that the world under the highest pagan
civilization was as well off as it was under the highest Christian
influences. I happened to be fresh from the reading of Charles Loring
Brace's 'Gesta Christi'; or, 'History of Humane Progress', and I could
offer him abundant proofs that he was wrong. He did not like that
evidently, but he instantly gave way, saying be had not known those
things. Later be was more tolerant in his denials of Christianity, but
just then he was feeling his freedom from it, and rejoicing in having
broken what he felt to have been the shackles of belief worn so long.
He greatly admired Robert Ingersoll, whom he called an angelic orator,
and regarded as an evangel of a new gospel--the gospel of free thought.
He took the warmest interest in the newspaper controversy raging at the
time as to the existence of a hell; when the noes carried the day, I
suppose that no enemy of perdition was more pleased. He still loved his
old friend and pastor, Mr. Twichell, but he no longer went to hear him
preach his sage and beautiful sermons, and was, I think, thereby the
greater loser. Long before that I had asked him if he went regularly to
church, and he groaned out: "Oh yes, I go. It 'most kills me, but I go,"
and I did not need his telling me to understand that he went because his
wife wished it. He did tell me, after they both ceased to go, that it
had finally come to her saying, "Well, if you are to be lost, I want to
be lost with you." He could accept that willingness for supreme
sacrifice and exult in it because of the supreme truth as he saw it.
After they had both ceased to be formal Christians, she was still grieved
by his denial of immortality, so grieved that he resolved upon one of
those heroic lies, which for love's sake he held above even the truth,
and he went to her, saying that he had been thinking the whole matter
over, and now he was convinced that the soul did live after death. It
was too late. Her keen vision pierced through his ruse, as it did when
he brought the doctor who had diagnosticated her case as organic disease
of the heart, and, after making him go over the facts of it again with
her, made him declare it merely functional.
To make an end of these records as to Clemens's beliefs, so far as I knew
them, I should say that he never went back to anything like faith in the
Christian theology, or in the notion of life after death, or in a
conscious divinity. It is best to be honest in this matter; he would
have hated anything else, and I do not believe that the truth in it can
hurt any one. At one period he argued that there must have been a cause,
a conscious source of things; that the universe could not have come by
chance. I have heard also that in his last hours or moments he said, or
his dearest ones hoped he had said, something about meeting again. But
the expression, of which they could not be certain, was of the vaguest,
and it was perhaps addressed to their tenderness out of his tenderness.
All his expressions to me were of a courageous, renunciation of any hope
of living again, or elsewhere seeing those he had lost. He suffered
terribly in their loss, and he was not fool enough to try ignoring his
grief. He knew that for this there were but two medicines; that it would
wear itself out with the years, and that meanwhile there was nothing for
it but those respites in which the mourner forgets himself in slumber.
I remember that in a black hour of my own when I was called down to see
him, as he thought from sleep, he said with an infinite, an exquisite
compassion, "Oh, did I wake you, did I wake, you?" Nothing more, but the
look, the voice, were everything; and while I live they cannot pass from
my sense.
IX.
He was the most caressing of men in his pity, but he had the fine
instinct, which would have pleased Lowell, of never putting his hands on
you--fine, delicate hands, with taper fingers, and pink nails, like a
girl's, and sensitively quivering in moments of emotion; he did not paw
you with them to show his affection, as so many of us Americans are apt
to do. Among the half-dozen, or half-hundred, personalities that each of
us becomes, I should say that Clemens's central and final personality was
something exquisite. His casual acquaintance might know him, perhaps,
from his fierce intensity, his wild pleasure in shocking people with his
ribaldries and profanities, or from the mere need of loosing his
rebellious spirit in that way, as anything but exquisite, and yet that
was what in the last analysis he was. They might come away loathing or
hating him, but one could not know him well without realizing him the
most serious, the most humane, the most conscientious of men. He was
Southwestern, and born amid the oppression of a race that had no rights
as against ours, but I never saw a man more regardful of negroes. He had
a yellow butler when I first began to know him, because he said he could
not bear to order a white man about, but the terms of his ordering George
were those of the softest entreaty which command ever wore. He loved to
rely upon George, who was such a broken reed in some things, though so
stanch in others, and the fervent Republican in politics that Clemens
then liked him to be. He could interpret Clemens's meaning to the public
without conveying his mood, and could render his roughest answer smooth
to the person denied his presence. His general instructions were that
this presence was to be denied all but personal friends, but the soft
heart of George was sometimes touched by importunity, and once he came up
into the billiard-room saying that Mr. Smith wished to see Clemens. Upon
inquiry, Mr. Smith developed no ties of friendship, and Clemens said,
"You go and tell Mr. Smith that I wouldn't come down to see the Twelve
Apostles." George turned from the threshold where he had kept himself,
and framed a paraphrase of this message which apparently sent Mr. Smith
away content with himself and all the rest of the world.
The part of him that was Western in his Southwestern origin Clemens kept
to the end, but he was the most desouthernized Southerner I ever knew.
No man more perfectly sensed and more entirely abhorred slavery, and no
one has ever poured such scorn upon the second-hand, Walter-Scotticized,
pseudo-chivalry of the Southern ideal. He held himself responsible for
the wrong which the white race had done the black race in slavery, and he
explained, in paying the way of a negro student through Yale, that he was
doing it as his part of the reparation due from every white to every
black man. He said he had never seen this student, nor ever wished to
see him or know his name; it was quite enough that he was a negro. About
that time a colored cadet was expelled from West Point for some point of
conduct "unbecoming an officer and gentleman," and there was the usual
shabby philosophy in a portion of the press to the effect that a negro
could never feel the claim of honor. The man was fifteen parts white,
but, "Oh yes," Clemens said, with bitter irony, "it was that one part
black that undid him." It made him a "nigger" and incapable of being a
gentleman. It was to blame for the whole thing. The fifteen parts white
were guiltless.
Clemens was entirely satisfied with the result of the Civil War, and he
was eager to have its facts and meanings brought out at once in history.
He ridiculed the notion, held by many, that "it was not yet time" to
philosophize the events of the great struggle; that we must "wait till
its passions had cooled," and "the clouds of strife had cleared away."
He maintained that the time would never come when we should see its
motives and men and deeds more clearly, and that now, now, was the hour
to ascertain them in lasting verity. Picturesquely and dramatically he
portrayed the imbecility of deferring the inquiry at any point to the
distance of future years when inevitably the facts would begin to put on
fable.
He had powers of sarcasm and a relentless rancor in his contempt which
those who knew him best appreciated most. The late Noah Brooks, who had
been in California at the beginning of Clemens's career, and had
witnessed the effect of his ridicule before he had learned to temper it,
once said to me that he would rather have any one else in the world down
on him than Mark Twain. But as Clemens grew older he grew more merciful,
not to the wrong, but to the men who were in it. The wrong was often the
source of his wildest drolling. He considered it in such hopelessness of
ever doing it justice that his despair broke in laughter.
X.
I go back to that house in Hartford, where I was so often a happy guest,
with tenderness for each of its endearing aspects. Over the chimney in
the library which had been cured of smoking by so much art and science,
Clemens had written in perennial brass the words of Emerson, "The
ornament of a house is the friends who frequent it," and he gave his
guests a welcome of the simplest and sweetest cordiality: but I must not
go aside to them from my recollections of him, which will be of
sufficient garrulity, if I give them as fully as I wish. The windows of
the library looked northward from the hillside above which the house
stood, and over the little valley with the stream in it, and they showed
the leaves of the trees that almost brushed them as in a Claude Lorraine
glass. To the eastward the dining-room opened amply, and to the south
there was a wide hall, where the voices of friends made themselves heard
as they entered without ceremony and answered his joyous hail. At the
west was a little semicircular conservatory of a pattern invented by Mrs.
Harriet Beecher Stowe, and adopted in most of the houses of her kindly
neighborhood. The plants were set in the ground, and the flowering vines
climbed up the sides and overhung the roof above the silent spray of a
fountain companied by callas and other water-loving lilies. There, while
we breakfasted, Patrick came in from the barn and sprinkled the pretty
bower, which poured out its responsive perfume in the delicate accents of
its varied blossoms. Breakfast was Clemens's best meal, and he sat
longer at his steak and coffee than at the courses of his dinner;
luncheon was nothing to him, unless, as might happen, he made it his
dinner, and reserved the later repast as the occasion of walking up and
down the room, and discoursing at large on anything that came into his
head. Like most good talkers, he liked other people to have their say;
he did not talk them down; he stopped instantly at another's remark and
gladly or politely heard him through; he even made believe to find
suggestion or inspiration in what was said. His children came to the
table, as I have told, and after dinner he was apt to join his fine tenor
to their trebles in singing.
Fully half our meetings were at my house in Cambridge, where he made
himself as much at home as in Hartford. He would come ostensibly to stay
at the Parker House, in Boston, and take a room, where he would light the
gas and leave it burning, after dressing, while he drove out to Cambridge
and stayed two or three days with us. Once, I suppose it was after a
lecture, he came in evening dress and passed twenty-four hours with us in
that guise, wearing an overcoat to hide it when we went for a walk.
Sometimes he wore the slippers which he preferred to shoes at home, and
if it was muddy, as it was wont to be in Cambridge, he would put a pair
of rubbers over them for our rambles. He liked the lawlessness and our
delight in allowing it, and he rejoiced in the confession of his hostess,
after we had once almost worn ourselves out in our pleasure with the
intense talk, with the stories and the laughing, that his coming almost
killed her, but it was worth it.
In those days he was troubled with sleeplessness, or, rather, with
reluctant sleepiness, and he had various specifics for promoting it.
At first it had been champagne just before going to bed, and we provided
that, but later he appeared from Boston with four bottles of lager-beer
under his arms; lager-beer, he said now, was the only thing to make you
go to sleep, and we provided that. Still later, on a visit I paid him at
Hartford, I learned that hot Scotch was the only soporific worth
considering, and Scotch-whiskey duly found its place on our sideboard.
One day, very long afterward, I asked him if he were still taking hot
Scotch to make him sleep. He said he was not taking anything. For a
while he had found going to bed on the bath-room floor a soporific; then
one night he went to rest in his own bed at ten o'clock, and had gone
promptly to sleep without anything. He had done the like with the like
effect ever since. Of course, it amused him; there were few experiences
of life, grave or gay, which did not amuse him, even when they wronged
him.
He came on to Cambridge in April, 1875, to go with me to the centennial
ceremonies at Concord in celebration of the battle of the Minute Men with
the British troops a hundred years before. We both had special
invitations, including passage from Boston; but I said, Why bother to go
into Boston when we could just as well take the train for Concord at the
Cambridge station? He equally decided that it would be absurd; so we
breakfasted deliberately, and then walked to the station, reasoning of
many things as usual. When the train stopped, we found it packed inside
and out. People stood dense on the platforms of the cars; to our
startled eyes they seemed to project from the windows, and unless memory
betrays me they lay strewn upon the roofs like brakemen slain at the post
of duty.
Whether this was really so or not, it is certain that the train presented
an impenetrable front even to our imagination, and we left it to go its
way without the slightest effort to board. We remounted the fame-worn
steps of Porter's Station, and began exploring North Cambridge for some
means of transportation overland to Concord, for we were that far on the
road by which the British went and came on the day of the battle. The
liverymen whom we appealed to received us, some with compassion, some
with derision, but in either mood convinced us that we could not have
hired a cat to attempt our conveyance, much less a horse, or vehicle of
any description. It was a raw, windy day, very unlike the exceptionally
hot April day when the routed redcoats, pursued by the Colonials, fled
panting back to Boston, with "their tongues hanging out like dogs,"
but we could not take due comfort in the vision of their discomfiture;
we could almost envy them, for they had at least got to Concord. A swift
procession of coaches, carriages, and buggies, all going to Concord,
passed us, inert and helpless, on the sidewalk in the peculiarly cold mud
of North Cambridge. We began to wonder if we might not stop one of them
and bribe it to take us, but we had not the courage to try, and Clemens
seized the opportunity to begin suffering with an acute indigestion,
which gave his humor a very dismal cast. I felt keenly the shame of
defeat, and the guilt of responsibility for our failure, and when a gay
party of students came toward us on the top of a tally ho, luxuriously
empty inside, we felt that our chance had come, and our last chance.
He said that if I would stop them and tell them who I was they would
gladly, perhaps proudly, give us passage; I contended that if with his
far vaster renown he would approach them, our success would be assured.
While we stood, lost in this "contest of civilities," the coach passed
us, with gay notes blown from the horns of the students, and then Clemens
started in pursuit, encouraged with shouts from the merry party who could
not imagine who was trying to run them down, to a rivalry in speed. The
unequal match could end only in one way, and I am glad I cannot recall
what he said when he came back to me. Since then I have often wondered
at the grief which would have wrung those blithe young hearts if they
could have known that they might have had the company of Mark Twain to
Concord that day and did not.
We hung about, unavailingly, in the bitter wind a while longer, and then
slowly, very slowly, made our way home. We wished to pass as much time
as possible, in order to give probability to the deceit we intended to
practise, for we could not bear to own ourselves baffled in our boasted
wisdom of taking the train at Porter's Station, and had agreed to say
that we had been to Concord and got back. Even after coming home to my
house, we felt that our statement would be wanting in verisimilitude
without further delay, and we crept quietly into my library, and made up
a roaring fire on the hearth, and thawed ourselves out in the heat of it
before we regained our courage for the undertaking. With all these
precautions we failed, for when our statement was imparted to the
proposed victim she instantly pronounced it unreliable, and we were left
with it on our hands intact. I think the humor of this situation was
finally a greater pleasure to Clemens than an actual visit to Concord
would have been; only a few weeks before his death he laughed our defeat
over with one of my family in Bermuda, and exulted in our prompt
detection.
XI.
From our joint experience in failing I argue that Clemens's affection for
me must have been great to enable him to condone in me the final
defection which was apt to be the end of our enterprises. I have fancied
that I presented to him a surface of such entire trustworthiness that he
could not imagine the depths of unreliability beneath it; and that never
realizing it, he always broke through with fresh surprise but unimpaired
faith. He liked, beyond all things, to push an affair to the bitter end,
and the end was never too bitter unless it brought grief or harm to
another. Once in a telegraph office at a railway station he was treated
with such insolent neglect by the young lady in charge, who was
preoccupied in a flirtation with a "gentleman friend," that emulous of
the public spirit which he admired in the English, he told her he should
report her to her superiors, and (probably to her astonishment) he did
so. He went back to Hartford, and in due time the poor girl came to me
in, terror and in tears; for I had abetted Clemens in his action, and had
joined my name to his in his appeal to the authorities. She was
threatened with dismissal unless she made full apology to him and brought
back assurance of its acceptance. I felt able to give this, and, of
course, he eagerly approved; I think he telegraphed his approval.
Another time, some years afterward, we sat down together in places near
the end of a car, and a brakeman came in looking for his official note-
book. Clemens found that he had sat down upon it, and handed it to him;
the man scolded him very abusively, and came back again and again, still
scolding him for having no more sense than to sit down on a note-book.
The patience of Clemens in bearing it was so angelic that I saw fit to
comment, "I suppose you will report this fellow." "Yes," he answered,
slowly and sadly. "That's what I should have done once. But now I
remember that he gets twenty dollars a month."
Nothing could have been wiser, nothing tenderer, and his humanity was
not for humanity alone. He abhorred the dull and savage joy of the
sportsman in a lucky shot, an unerring aim, and once when I met him in
the country he had just been sickened by the success of a gunner in
bringing down a blackbird, and he described the poor, stricken, glossy
thing, how it lay throbbing its life out on the grass, with such pity as
he might have given a wounded child. I find this a fit place to say that
his mind and soul were with those who do the hard work of the world, in
fear of those who give them a chance for their livelihoods and underpay
them all they can. He never went so far in socialism as I have gone, if
he went that way at all, but he was fascinated with Looking Backward and
had Bellamy to visit him; and from the first he had a luminous vision of
organized labor as the only present help for working-men. He would show
that side with such clearness and such force that you could not say
anything in hopeful contradiction; he saw with that relentless insight of
his that with Unions was the working-man's only present hope of standing
up like a man against money and the power of it. There was a time when I
was afraid that his eves were a little holden from the truth; but in the
very last talk I heard from him I found that I was wrong, and that this
great humorist was as great a humanist as ever. I wish that all the
work-folk could know this, and could know him their friend in life as he
was in literature; as he was in such a glorious gospel of equality as the
'Connecticut Yankee in King Arthur's Court.'
XII.
Whether I will or no I must let things come into my story thoughtwise, as
he would have let them, for I cannot remember them in their order. One
night, while we were giving a party, he suddenly stormed in with a friend
of his and mine, Mr. Twichell, and immediately began to eat and drink of
our supper, for they had come straight to our house from walking to
Boston, or so great a part of the way as to be a-hungered and a-thirst.
I can see him now as he stood up in the midst of our friends, with his
head thrown back, and in his hand a dish of those escalloped oysters
without which no party in Cambridge was really a party, exulting in the
tale of his adventure, which had abounded in the most original characters
and amusing incidents at every mile of their progress. They had broken
their journey with a night's rest, and they had helped themselves
lavishly out by rail in the last half; but still it had been a mighty
walk to do in two days. Clemens was a great walker, in those years, and
was always telling of his tramps with Mr. Twichell to Talcott's Tower,
ten miles out of Hartford. As he walked of course he talked, and of
course he smoked. Whenever he had been a few days with us, the whole
house had to be aired, for he smoked all over it from breakfast to
bedtime. He always went to bed with a cigar in his mouth, and sometimes,
mindful of my fire insurance, I went up and took it away, still burning,
after he had fallen asleep. I do not know how much a man may smoke and
live, but apparently he smoked as much as a man could, for he smoked
incessantly.
He did not care much to meet people, as I fancied, and we were greedy of
him for ourselves; he was precious to us; and I would not have exposed
him to the critical edge of that Cambridge acquaintance which might not
have appreciated him at, say, his transatlantic value. In America his
popularity was as instant as it was vast. But it must be acknowledged
that for a much longer time here than in England polite learning
hesitated his praise. In England rank, fashion, and culture rejoiced in
him. Lord mayors, lord chief justices, and magnates of many kinds were
his hosts; he was desired in country houses, and his bold genius
captivated the favor of periodicals which spurned the rest of our nation.
But in his own country it was different. In proportion as people thought
themselves refined they questioned that quality which all recognize in
him now, but which was then the inspired knowledge of the simple-hearted
multitude. I went with him to see Longfellow, but I do not think
Longfellow made much of him, and Lowell made less. He stopped as if with
the long Semitic curve of Clemens's nose, which in the indulgence of his
passion for finding every one more or less a Jew he pronounced
unmistakably racial. It was two of my most fastidious Cambridge friends
who accepted him with the English, the European entirety--namely, Charles
Eliot Norton and Professor Francis J. Child. Norton was then newly back
from a long sojourn abroad, and his judgments were delocalized. He met
Clemens as if they had both been in England, and rejoiced in his bold
freedom from environment, and in the rich variety and boundless reach of
his talk. Child was of a personal liberty as great in its fastidious way
as that of Clemens himself, and though he knew him only at second hand,
he exulted in the most audacious instance of his grotesquery, as I shall
have to tell by-and-by, almost solely. I cannot say just why Clemens
seemed not to hit the favor of our community of scribes and scholars, as
Bret Harte had done, when he came on from California, and swept them
before him, disrupting their dinners and delaying their lunches with
impunity; but it is certain he did not, and I had better say so.
I am surprised to find from the bibliographical authorities that it was
so late as 1875 when he came with the manuscript of Tom Sawyer, and asked
me to read it, as a friend and critic, and not as an editor. I have an
impression that this was at Mrs. Clemens's instance in his own
uncertainty about printing it. She trusted me, I can say with a
satisfaction few things now give me, to be her husband's true and cordial
adviser, and I was so. I believe I never failed him in this part, though
in so many of our enterprises and projects I was false as water through
my temperamental love of backing out of any undertaking. I believe this
never ceased to astonish him, and it has always astonished me; it appears
to me quite out of character; though it is certain that an undertaking,
when I have entered upon it, holds me rather than I it. But however this
immaterial matter may be, I am glad to remember that I thoroughly liked
Tom Sawyer, and said so with every possible amplification. Very likely,
I also made my suggestions for its improvement; I could not have been a
real critic without that; and I have no doubt they were gratefully
accepted and, I hope, never acted upon. I went with him to the horse-car
station in Harvard Square, as my frequent wont was, and put him aboard a
car with his MS. in his hand, stayed and reassured, so far as I counted,
concerning it. I do not know what his misgivings were; perhaps they were
his wife's misgivings, for she wished him to be known not only for the
wild and boundless humor that was in him, but for the beauty and
tenderness and "natural piety"; and she would not have had him judged by
a too close fidelity to the rude conditions of Tom Sawyer's life. This
is the meaning that I read into the fact of his coming to me with those
doubts.
XIII.
Clemens had then and for many years the habit of writing to me about what
he was doing, and still more of what he was experiencing. Nothing struck
his imagination, in or out of the daily routine, but he wished to write
me of it, and he wrote with the greatest fulness and a lavish
dramatization, sometimes to the length of twenty or forty pages, so that
I have now perhaps fifteen hundred pages of his letters. They will no
doubt some day be published, but I am not even referring to them in these
records, which I think had best come to the reader with an old man's
falterings and uncertainties. With his frequent absences and my own
abroad, and the intrusion of calamitous cares, the rich tide of his
letters was more and more interrupted. At times it almost ceased, and
then it would come again, a torrent. In the very last weeks of his life
he burst forth, and, though too weak himself to write, he dictated his
rage with me for recommending to him a certain author whose truthfulness
he could not deny, but whom he hated for his truthfulness to sordid and
ugly conditions. At heart Clemens was romantic, and he would have had
the world of fiction stately and handsome and whatever the real world was
not; but he was not romanticistic, and he was too helplessly an artist
not to wish his own work to show life as he had seen it. I was preparing
to rap him back for these letters when I read that he had got home to
die; he would have liked the rapping back.
He liked coming to Boston, especially for those luncheons and dinners in
which the fertile hospitality of our publisher, Osgood, abounded. He
dwelt equidistant from Boston and New York, and he had special friends in
New York, but he said he much preferred coming to Boston; of late years
he never went there, and he had lost the habit of it long before he came
home from Europe to live in New York. At these feasts, which were often
of after-dinner-speaking measure, he could always be trusted for
something of amazing delightfulness. Once, when Osgood could think of no
other occasion for a dinner, he gave himself a birthday dinner, and asked
his friends and authors. The beautiful and splendid trooper-like blaring
was there, and I recall how in the long, rambling speech in which Clemens
went round the table hitting every head at it, and especially visiting
Osgood with thanks for his ingenious pretext for our entertainment,
he congratulated blaring upon his engineering genius and his hypnotic
control of municipal governments. He said that if there was a plan for
draining a city at a cost of a million, by seeking the level of the water
in the down-hill course of the sewers, blaring would come with a plan to
drain that town up-hill at twice the cost and carry it through the Common
Council without opposition. It is hard to say whether the time was
gladder at these dinners, or at the small lunches at which Osgood and
Aldrich and I foregathered with him and talked the afternoon away till
well toward the winter twilight.
He was a great figure, and the principal figure, at one of the first of
the now worn-out Authors' Readings, which was held in the Boston Museum
to aid a Longfellow memorial. It was the late George Parsons Lathrop
(everybody seems to be late in these sad days) who imagined the reading,
but when it came to a price for seats I can always claim the glory of
fixing it at five dollars. The price if not the occasion proved
irresistible, and the museum was packed from the floor to the topmost
gallery. Norton presided, and when it came Clemens's turn to read he
introduced him with such exquisite praises as he best knew how to give,
but before he closed he fell a prey to one of those lapses of tact which
are the peculiar peril of people of the greatest tact. He was reminded
of Darwin's delight in Mark Twain, and how when he came from his long
day's exhausting study, and sank into bed at midnight, he took up a
volume of Mark Twain, whose books he always kept on a table beside him,
and whatever had been his tormenting problem, or excess of toil, he felt
secure of a good night's rest from it. A sort of blank ensued which
Clemens filled in the only possible way. He said he should always be
glad that he had contributed to the repose of that great man, whom
science owed so much, and then without waiting for the joy in every
breast to burst forth, he began to read. It was curious to watch his
triumph with the house. His carefully studied effects would reach the
first rows in the orchestra first, and ripple in laughter back to the
standees against the wall, and then with a fine resurgence come again to
the rear orchestra seats, and so rise from gallery to gallery till it
fell back, a cataract of applause from the topmost rows of seats. He was
such a practised speaker that he knew all the stops of that simple
instrument man, and there is no doubt that these results were accurately
intended from his unerring knowledge. He was the most consummate public
performer I ever saw, and it was an incomparable pleasure to hear him
lecture; on the platform he was the great and finished actor which he
probably would not have been on the stage. He was fond of private
theatricals, and liked to play in them with his children and their
friends, in dramatizations of such stories of his as 'The Prince and the
Pauper;' but I never saw him in any of these scenes. When he read his
manuscript to you, it was with a thorough, however involuntary,
recognition of its dramatic qualities; he held that an actor added fully
half to the character the author created. With my own hurried and half-
hearted reading of passages which I wished to try on him from unprinted
chapters (say, out of 'The Undiscovered Country' or 'A Modern Instance')
he said frankly that my reading could spoil anything. He was realistic,
but he was essentially histrionic, and he was rightly so. What we have
strongly conceived we ought to make others strongly imagine, and we ought
to use every genuine art to that end.
XIV.
There came a time when the lecturing which had been the joy of his prime
became his loathing, loathing unutterable, and when he renounced it with
indescribable violence. Yet he was always hankering for those fleshpots
whose savor lingered on his palate and filled his nostrils after his
withdrawal from the platform. The Authors' Readings when they had won
their brief popularity abounded in suggestion for him. Reading from
one's book was not so bad as giving a lecture written for a lecture's
purpose, and he was willing at last to compromise. He had a magnificent
scheme for touring the country with Aldrich and Mr. G. W. Cable and
myself, in a private car, with a cook of our own, and every facility for
living on the fat of the land. We should read only four times a week, in
an entertainment that should not last more than an hour and a half. He
would be the impresario, and would guarantee us others at least seventy-
five dollars a day, and pay every expense of the enterprise, which he
provisionally called the Circus, himself. But Aldrich and I were now no
longer in those earlier thirties when we so cheerfully imagined
'Memorable Murders' for subscription publication; we both abhorred public
appearances, and, at any rate, I was going to Europe for a year. So the
plan fell through except as regarded Mr. Cable, who, in his way, was as
fine a performer as Clemens, and could both read and sing the matter of
his books. On a far less stupendous scale they two made the rounds of
the great lecturing circuit together. But I believe a famous lecture-
manager had charge of them and travelled with them.
He was a most sanguine man, a most amiable person, and such a believer in
fortune that Clemens used to say of him, as he said of one of his early
publishers, that you could rely upon fifty per cent. of everything he
promised. I myself many years later became a follower of this hopeful
prophet, and I can testify that in my case at least he was able to keep
ninety-nine, and even a hundred, per cent. of his word. It was I who was
much nearer failing of mine, for I promptly began to lose sleep from the
nervous stress of my lecturing and from the gratifying but killing
receptions afterward, and I was truly in that state from insomnia which
Clemens recognized in the brief letter I got from him in the Western
city, after half a dozen wakeful nights. He sardonically congratulated
me on having gone into "the lecture field," and then he said: "I know
where you are now. You are in hell."
It was this perdition which he re-entered when he undertook that round-
the-world lecturing tour for the payment of the debts left to him by the
bankruptcy of his firm in the publishing business. It was not purely
perdition for him, or, rather, it was perdition for only one-half of him,
the author-half; for the actor-half it was paradise. The author who
takes up lecturing without the ability to give histrionic support to the
literary reputation which he brings to the crude test of his reader's
eyes and ears, invokes a peril and a misery unknown to the lecturer who
has made his first public from the platform. Clemens was victorious on
the platform from the beginning, and it would be folly to pretend that he
did not exult in his triumphs there. But I suppose, with the wearing
nerves of middle life, he hated more and more the personal swarming of
interest upon him, and all the inevitable clatter of the thing. Yet he
faced it, and he labored round our tiresome globe that he might pay the
uttermost farthing of debts which he had not knowingly contracted, the
debts of his partners who had meant well and done ill, not because they
were evil, but because they were unwise, and as unfit for their work as
he was. "Pay what thou owest." That is right, even when thou owest it
by the error of others, and even when thou owest it to a bank, which had
not lent it from love of thee, but in the hard line of business and thy
need.
Clemens's behavior in this matter redounded to his glory among the
nations of the whole earth, and especially in this nation, so wrapped in
commerce and so little used to honor among its many thieves. He had
behaved like Walter Scott, as millions rejoiced to know, who had not
known how Walter Scott had behaved till they knew it was like Clemens.
No doubt it will be put to his credit in the books of the Recording
Angel, but what the Judge of all the Earth will say of it at the Last Day
there is no telling. I should not be surprised if He accounted it of
less merit than some other things that Clemens did and was: less than his
abhorrence of the Spanish War, and the destruction of the South-African
republics, and our deceit of the Filipinos, and his hate of slavery, and
his payment of his portion of our race's debt to the race of the colored
student whom he saw through college, and his support of a poor artist for
three years in Paris, and his loan of opportunity to the youth who became
the most brilliant of our actor-dramatists, and his eager pardon of the
thoughtless girl who was near paying the penalty of her impertinence with
the loss of her place, and his remembering that the insolent brakeman got
so few dollars a month, and his sympathy for working-men standing up to
money in their Unions, and even his pity for the wounded bird throbbing
out its little life on the grass for the pleasure of the cruel fool who
shot it. These and the thousand other charities and beneficences in
which he abounded, openly or secretly, may avail him more than the
discharge of his firm's liabilities with the Judge of all the Earth, who
surely will do right, but whose measures and criterions no man knows, and
I least of all men.
He made no great show of sympathy with people in their anxieties, but it
never failed, and at a time when I lay sick for many weeks his letters
were of comfort to those who feared I might not rise again. His hand was
out in help for those who needed help, and in kindness for those who
needed kindness. There remains in my mind the dreary sense of a long,
long drive to the uttermost bounds of the South End at Boston, where he
went to call upon some obscure person whose claim stretched in a
lengthening chain from his early days in Missouri--a most inadequate
person, in whose vacuity the gloom of the dull day deepened till it was
almost too deep for tears. He bore the ordeal with grim heroism, and
silently smoked away the sense of it, as we drove back to Cambridge, in
his slippered feet, sombrely musing, sombrely swearing. But he knew he
had done the right, the kind thing, and he was content. He came the
whole way from Hartford to go with me to a friendless play of mine, which
Alessandro Salvini was giving in a series of matinees to houses never
enlarging themselves beyond the count of the brave two hundred who sat it
through, and he stayed my fainting spirit with a cheer beyond flagons,
joining me in my joke at the misery of it, and carrying the fun farther.
Before that he had come to witness the aesthetic suicide of Anna
Dickinson, who had been a flaming light of the political platform in the
war days, and had been left by them consuming in a hapless ambition for
the theatre. The poor girl had had a play written especially for her,
and as Anne Boleyn she ranted and exhorted through the five acts, drawing
ever nearer the utter defeat of the anticlimax. We could hardly look at
each other for pity, Clemens sitting there in the box he had taken, with
his shaggy head out over the corner and his slippered feet curled under
him: he either went to a place in his slippers or he carried them with
him, and put them on as soon as he could put off his boots. When it was
so that we could not longer follow her failure and live, he began to talk
of the absolute close of her career which the thing was, and how probably
she had no conception that it was the end. He philosophized the
mercifulness of the fact, and of the ignorance of most of us, when
mortally sick or fatally wounded. We think it is not the end, because we
have never ended before, and we do not see how we can end. Some can push
by the awful hour and live again, but for Anna Dickinson there could be,
and was, no such palingenesis. Of course we got that solemn joy out of
reading her fate aright which is the compensation of the wise spectator
in witnessing the inexorable doom of others.
XV.
When Messrs. Houghton & Mifflin became owners of The Atlantic Monthly,
Mr. Houghton fancied having some breakfasts and dinners, which should
bring the publisher and the editor face to face with the contributors,
who were bidden from far and near. Of course, the subtle fiend of
advertising, who has now grown so unblushing bold, lurked under the
covers at these banquets, and the junior partner and the young editor had
their joint and separate fine anguishes of misgiving as to the taste and
the principle of them; but they were really very simple-hearted and
honestly meant hospitalities, and they prospered as they ought, and gave
great pleasure and no pain. I forget some of the "emergent occasions,"
but I am sure of a birthday dinner most unexpectedly accepted by
Whittier, and a birthday luncheon to Mrs. Stowe, and I think a birthday
dinner to Longfellow; but the passing years have left me in the dark as
to the pretext of that supper at which Clemens made his awful speech, and
came so near being the death of us all. At the breakfasts and luncheons
we had the pleasure of our lady contributors' company, but that night
there were only men, and because of our great strength we survived.
I suppose the year was about 1879, but here the almanac is unimportant,
and I can only say that it was after Clemens had become a very valued
contributor of the magazine, where he found himself to his own great
explicit satisfaction. He had jubilantly accepted our invitation, and
had promised a speech, which it appeared afterward he had prepared with
unusual care and confidence. It was his custom always to think out his
speeches, mentally wording them, and then memorizing them by a peculiar
system of mnemonics which he had invented. On the dinner-table a certain
succession of knife, spoon, salt-cellar, and butter-plate symbolized a
train of ideas, and on the billiard-table a ball, a cue, and a piece of
chalk served the same purpose. With a diagram of these printed on the
brain he had full command of the phrases which his excogitation had
attached to them, and which embodied the ideas in perfect form. He
believed he had been particularly fortunate in his notion for the speech
of that evening, and he had worked it out in joyous self-reliance.
It was the notion of three tramps, three deadbeats, visiting a California
mining-camp, and imposing themselves upon the innocent miners as
respectively Ralph Waldo Emerson, Henry Wadsworth Longfellow, and Oliver
Wendell, Holmes. The humor of the conception must prosper or must fail
according to the mood of the hearer, but Clemens felt sure of compelling
this to sympathy, and he looked forward to an unparalleled triumph.
But there were two things that he had not taken into account. One was
the species of religious veneration in which these men were held by those
nearest them, a thing that I should not be able to realize to people
remote from them in time and place. They were men of extraordinary
dignity, of the thing called presence, for want of some clearer word,
so that no one could well approach them in a personally light or trifling
spirit. I do not suppose that anybody more truly valued them or more
piously loved them than Clemens himself, but the intoxication of his
fancy carried him beyond the bounds of that regard, and emboldened him to
the other thing which he had not taken into account-namely, the immense
hazard of working his fancy out before their faces, and expecting them to
enter into the delight of it. If neither Emerson, nor Longfellow, nor
Holmes had been there, the scheme might possibly have carried, but even
this is doubtful, for those who so devoutly honored them would have
overcome their horror with difficulty, and perhaps would not have
overcome it at all.
The publisher, with a modesty very ungrateful to me, had abdicated his
office of host, and I was the hapless president, fulfilling the abhorred.
function of calling people to their feet and making them speak. When I
came to Clemens I introduced him with the cordial admiring I had for him
as one of my greatest contributors and dearest friends. Here, I said,
in sum, was a humorist who never left you hanging your head for having
enjoyed his joke; and then the amazing mistake, the bewildering blunder,
the cruel catastrophe was upon us. I believe that after the scope of the
burlesque made itself clear, there was no one there, including the
burlesquer himself, who was not smitten with a desolating dismay. There
fell a silence, weighing many tons to the square inch, which deepened
from moment to moment, and was broken only by the hysterical and blood-
curdling laughter of a single guest, whose name shall not be handed down
to infamy. Nobody knew whether to look at the speaker or down at his
plate. I chose my plate as the least affliction, and so I do not know
how Clemens looked, except when I stole a glance at him, and saw him
standing solitary amid his appalled and appalling listeners, with his
joke dead on his hands. From a first glance at the great three whom his
jest had made its theme, I was aware of Longfellow sitting upright, and
regarding the humorist with an air of pensive puzzle, of Holmes busily
writing on his menu, with a well-feigned effect of preoccupation, and of
Emerson, holding his elbows, and listening with a sort of Jovian oblivion
of this nether world in that lapse of memory which saved him in those
later years from so much bother. Clemens must have dragged his joke to
the climax and left it there, but I cannot say this from any sense of the
fact. Of what happened afterward at the table where the immense, the
wholly innocent, the truly unimagined affront was offered, I have no
longer the least remembrance. I next remember being in a room of the
hotel, where Clemens was not to sleep, but to toss in despair, and
Charles Dudley Warner's saying, in the gloom, "Well, Mark, you're a funny
fellow." It was as well as anything else he could have said, but Clemens
seemed unable to accept the tribute.
I stayed the night with him, and the next morning, after a haggard
breakfast, we drove about and he made some purchases of bric-a-brac for
his house in Hartford, with a soul as far away from bric-a-brac as ever
the soul of man was. He went home by an early train, and he lost no time
in writing back to the three divine personalities which he had so
involuntarily seemed to flout. They all wrote back to him, making it as
light for him as they could. I have heard that Emerson was a good deal
mystified, and in his sublime forgetfulness asked, Who was this gentleman
who appeared to think he had offered him some sort of annoyance! But I
am not sure that this is accurate. What I am sure of is that Longfellow,
a few days after, in my study, stopped before a photograph of Clemens and
said, "Ah, he is a wag!" and nothing more. Holmes told me, with deep
emotion, such as a brother humorist might well feel, that he had not lost
an instant in replying to Clemens's letter, and assuring him that there
had not been the least offence, and entreating him never to think of the
matter again. "He said that he was a fool, but he was God's fool,"
Holmes quoted from the letter, with a true sense of the pathos and the
humor of the self-abasement.
To me Clemens wrote a week later, "It doesn't get any better; it burns
like fire." But now I understand that it was not shame that burnt, but
rage for a blunder which he had so incredibly committed. That to have
conceived of those men, the most dignified in our literature, our
civilization, as impersonable by three hoboes, and then to have imagined
that he could ask them personally to enjoy the monstrous travesty, was a
break, he saw too late, for which there was no repair. Yet the time
came, and not so very long afterward, when some mention was made of the
incident as a mistake, and he said, with all his fierceness, "But I don't
admit that it was a mistake," and it was not so in the minds of all
witnesses at second hand. The morning after the dreadful dinner there
came a glowing note from Professor Child, who had read the newspaper
report of it, praising Clemens's burlesque as the richest piece of humor
in the world, and betraying no sense of incongruity in its perpetration
in the presence of its victims. I think it must always have ground in
Clemens's soul, that he was the prey of circumstances, and that if he had
some more favoring occasion he could retrieve his loss in it by giving
the thing the right setting. Not more than two or three years ago, he
came to try me as to trying it again at a meeting of newspaper men in
Washington. I had to own my fears, while I alleged Child's note on the
other hand, but in the end he did not try it with the newspaper men. I
do not know whether he has ever printed it or not, but since the thing
happened I have often wondered how much offence there really was in it.
I am not sure but the horror of the spectators read more indignation into
the subjects of the hapless drolling than they felt. But it must have
been difficult for them to bear it with equanimity. To be sure, they
were not themselves mocked; the joke was, of course, beside them;
nevertheless, their personality was trifled with, and I could only end by
reflecting that if I had been in their place I should not have liked it
myself. Clemens would have liked it himself, for he had the heart for
that sort of wild play, and he so loved a joke that even if it took the
form of a liberty, and was yet a good joke, he would have loved it. But
perhaps this burlesque was not a good joke.
XVI.
Clemens was oftenest at my house in Cambridge, but he was also sometimes
at my house in Belmont; when, after a year in Europe, we went to live in
Boston, he was more rarely with us. We could never be long together
without something out of the common happening, and one day something far
out of the common happened, which fortunately refused the nature of
absolute tragedy, while remaining rather the saddest sort of comedy. We
were looking out of my library window on that view of the Charles which I
was so proud of sharing with my all-but-next-door neighbor, Doctor
Holmes, when another friend who was with us called out with curiously
impersonal interest, "Oh, see that woman getting into the water!" This
would have excited curiosity and alarmed anxiety far less lively than
ours, and Clemens and I rushed downstairs and out through my basement and
back gate. At the same time a coachman came out of a stable next door,
and grappled by the shoulders a woman who was somewhat deliberately
getting down the steps to the water over the face of the embankment.
Before we could reach them he had pulled her up to the driveway, and
stood holding her there while she crazily grieved at her rescue. As soon
as he saw us he went back into his stable, and left us with the poor wild
creature on our hands. She was not very young and not very pretty, and
we could not have flattered ourselves with the notion of anything
romantic in her suicidal mania, but we could take her on the broad human
level, and on this we proposed to escort her up Beacon Street till we
could give her into the keeping of one of those kindly policemen whom our
neighborhood knew. Naturally there was no policeman known to us or
unknown the whole way to the Public Garden. We had to circumvent our
charge in her present design of drowning herself, and walk her past the
streets crossing Beacon to the river. At these points it needed
considerable reasoning to overcome her wish and some active manoeuvring
in both of us to enforce our arguments. Nobody else appeared to be
interested, and though we did not court publicity in the performance of
the duty so strangely laid upon us, still it was rather disappointing to
be so entirely ignored.
There are some four or five crossings to the river between 302 Beacon
Street and the Public Garden, and the suggestions at our command were
pretty well exhausted by the time we reached it. Still the expected
policeman was nowhere in sight; but a brilliant thought occurred to
Clemens. He asked me where the nearest police station was, and when I
told him, he started off at his highest speed, leaving me in sole charge
of our hapless ward. All my powers of suasion were now taxed to the
utmost, and I began attracting attention as a short, stout gentleman in
early middle life endeavoring to distrain a respectable female of her
personal liberty, when his accomplice had abandoned him to his wicked
design. After a much longer time than I thought I should have taken to
get a policeman from the station, Clemens reappeared in easy conversation
with an officer who had probably realized that he was in the company of
Mark Twain, and was in no hurry to end the interview. He took possession
of our captive, and we saw her no more. I now wonder that with our joint
instinct for failure we ever got rid of her; but I am sure we did, and
few things in life have given me greater relief. When we got back to my
house we found the friend we had left there quite unruffled and not much
concerned to know the facts of our adventure. My impression is that he
had been taking a nap on my lounge; be appeared refreshed and even gay;
but if I am inexact in these details he is alive to refute me.
XVII.
A little after this Clemens went abroad with his family, and lived
several years in Germany. His letters still came, but at longer
intervals, and the thread of our intimate relations was inevitably
broken. He would write me when something I had written pleased him,
or when something signal occurred to him, or some political or social
outrage stirred him to wrath, and he wished to free his mind in pious
profanity. During this sojourn he came near dying of pneumonia in
Berlin, and he had slight relapses from it after coming home. In Berlin
also he had the honor of dining with the German Emperor at the table of
a cousin married to a high officer of the court. Clemens was a man to
enjoy such a distinction; he knew how to take it as a delegated
recognition from the German people; but as coming from a rather cockahoop
sovereign who had as yet only his sovereignty to value himself upon, he
was not very proud of it. He expressed a quiet disdain of the event as
between the imperiality and himself, on whom it was supposed to confer
such glory, crowning his life with the topmost leaf of laurel. He was in
the same mood in his account of an English dinner many years before,
where there was a "little Scotch lord" present, to whom the English
tacitly referred Clemens's talk, and laughed when the lord laughed, and
were grave when he failed to smile. Of all the men I have known he was
the farthest from a snob, though he valued recognition, and liked the
flattery of the fashionable fair when it came in his way. He would not
go out of his way for it, but like most able and brilliant men he loved
the minds of women, their wit, their agile cleverness, their sensitive
perception, their humorous appreciation, the saucy things they would say,
and their pretty, temerarious defiances. He had, of course, the keenest
sense of what was truly dignified and truly undignified in people; but he
was not really interested in what we call society affairs; they scarcely
existed for him, though his books witness how he abhorred the dreadful
fools who through some chance of birth or wealth hold themselves
different from other men.
Commonly he did not keep things to himself, especially dislikes and
condemnations. Upon most current events he had strong opinions, and he
uttered them strongly. After a while he was silent in them, but if you
tried him you found him in them still. He was tremendously worked up by
a certain famous trial, as most of us were who lived in the time of it.
He believed the accused guilty, but when we met some months after it was
over, and I tempted him to speak his mind upon it, he would only say.
The man had suffered enough; as if the man had expiated his wrong, and he
was not going to do anything to renew his penalty. I found that very
curious, very delicate. His continued blame could not come to the
sufferer's knowledge, but he felt it his duty to forbear it.
He was apt to wear himself out in the vehemence of his resentments; or,
he had so spent himself in uttering them that he had literally nothing
more to say. You could offer Clemens offences that would anger other men
and he did not mind; he would account for them from human nature; but if
he thought you had in any way played him false you were anathema and
maranatha forever. Yet not forever, perhaps, for by and-by, after years,
he would be silent. There were two men, half a generation apart in their
succession, whom he thought equally atrocious in their treason to him,
and of whom he used to talk terrifyingly, even after they were out of the
world. He went farther than Heine, who said that he forgave his enemies,
but not till they were dead. Clemens did not forgive his dead enemies;
their death seemed to deepen their crimes, like a base evasion, or a
cowardly attempt to escape; he pursued them to the grave; he would like
to dig them up and take vengeance upon their clay. So he said, but no
doubt he would not have hurt them if he had had them living before him.
He was generous without stint; he trusted without measure, but where his
generosity was abused, or his trust betrayed, he was a fire of vengeance,
a consuming flame of suspicion that no sprinkling of cool patience from
others could quench; it had to burn itself out. He was eagerly and
lavishly hospitable, but if a man seemed willing to batten on him, or in
any way to lie down upon him, Clemens despised him unutterably. In his
frenzies of resentment or suspicion he would not, and doubtless could
not, listen to reason. But if between the paroxysms he were confronted
with the facts he would own them, no matter how much they told against
him. At one period he fancied that a certain newspaper was hounding him
with biting censure and poisonous paragraphs, and he was filling himself
up with wrath to be duly discharged on the editor's head. Later, he
wrote me with a humorous joy in his mistake that Warner had advised him
to have the paper watched for these injuries. He had done so, and how
many mentions of him did I reckon he had found in three months? Just
two, and they were rather indifferent than unfriendly. So the paper was
acquitted, and the editor's life was spared. The wretch never knew how
near he was to losing it, with incredible preliminaries of obloquy, and a
subsequent devotion to lasting infamy.
His memory for favors was as good as for injuries, and he liked to return
your friendliness with as loud a band of music as could be bought or
bribed for the occasion. All that you had to do was to signify that you
wanted his help. When my father was consul at Toronto during Arthur's
administration, he fancied that his place was in danger, and he appealed
to me. In turn I appealed to Clemens, bethinking myself of his
friendship with Grant and Grant's friendship with Arthur. I asked him to
write to Grant in my father's behalf, but No, he answered me, I must come
to Hartford, and we would go on to New York together and see Grant
personally. This was before, and long before, Clemens became Grant's
publisher and splendid benefactor, but the men liked each other as such
men could not help doing. Clemens made the appointment, and we went to
find Grant in his business office, that place where his business
innocence was afterward so betrayed. He was very simple and very
cordial, and I was instantly the more at home with him, because his voice
was the soft, rounded, Ohio River accent to which my years were earliest
used from my steamboating uncles, my earliest heroes. When I stated my
business he merely said, Oh no; that must not be; he would write to Mr.
Arthur; and he did so that day; and my father lived to lay down his
office, when he tired of it, with no urgence from above.
It is not irrelevant to Clemens to say that Grant seemed to like finding
himself in company with two literary men, one of whom at least he could
make sure of, and unlike that silent man he was reputed, he talked
constantly, and so far as he might he talked literature. At least he
talked of John Phoenix, that delightfulest of the early Pacific Slope
humorists, whom he had known under his real name of George H. Derby, when
they were fellow-cadets at West Point. It was mighty pretty, as Pepys
would say, to see the delicate deference Clemens paid our plain hero, and
the manly respect with which he listened. While Grant talked, his
luncheon was brought in from some unassuming restaurant near by, and he
asked us to join him in the baked beans and coffee which were served us
in a little room out of the office with about the same circumstance as at
a railroad refreshment-counter. The baked beans and coffee were of about
the railroad-refreshment quality; but eating them with Grant was like
sitting down to baked beans and coffee with Julius Caesar, or Alexander,
or some other great Plutarchan captain. One of the highest satisfactions
of Clemens's often supremely satisfactory life was his relation to Grant.
It was his proud joy to tell how he found Grant about to sign a contract
for his book on certainly very good terms, and said to him that he would
himself publish the book and give him a percentage three times as large.
He said Grant seemed to doubt whether he could honorably withdraw from
the negotiation at that point, but Clemens overbore his scruples, and it
was his unparalleled privilege, his princely pleasure, to pay the author
a far larger check for his work than had ever been paid to an author
before. He valued even more than this splendid opportunity the sacred
moments in which their business brought him into the presence of the
slowly dying, heroically living man whom he was so befriending; and he
told me in words which surely lost none of their simple pathos through
his report how Grant described his suffering.
The prosperity, of this venture was the beginning of Clemens's adversity,
for it led to excesses of enterprise which were forms of dissipation.
The young sculptor who had come back to him from Paris modelled a small
bust of Grant, which Clemens multiplied in great numbers to his great
loss, and the success of Grant's book tempted him to launch on publishing
seas where his bark presently foundered. The first and greatest of his
disasters was the Life of Pope Leo XIII, which he came to tell me of,
when he had imagined it, in a sort of delirious exultation. He had no
words in which to paint the magnificence of the project, or to forecast
its colossal success. It would have a currency bounded only by the
number of Catholics in Christendom. It would be translated into every
language which was anywhere written or printed; it would be circulated
literally in every country of the globe, and Clemens's book agents would
carry the prospectuses and then the bound copies of the work to the ends
of the whole earth. Not only would every Catholic buy it, but every
Catholic must, as he was a good Catholic, as he hoped to be saved. It
was a magnificent scheme, and it captivated me, as it had captivated
Clemens; it dazzled us both, and neither of us saw the fatal defect in
it. We did not consider how often Catholics could not read, how often
when they could, they might not wish to read. The event proved that
whether they could read or not the immeasurable majority did not wish to
read the life of the Pope, though it was written by a dignitary of the
Church and issued to the world with every sanction from the Vatican.
The failure was incredible to Clemens; his sanguine soul was utterly
confounded, and soon a silence fell upon it where it had been so
exuberantly jubilant.
XIX.
The occasions which brought us to New York together were not nearly so
frequent as those which united us in Boston, but there was a dinner given
him by a friend which remains memorable from the fatuity of two men
present, so different in everything but their fatuity. One was the sweet
old comedian Billy Florence, who was urging the unsuccessful dramatist
across the table to write him a play about Oliver Cromwell, and giving
the reasons why he thought himself peculiarly fitted to portray the
character of Cromwell. The other was a modestly millioned rich man who
was then only beginning to amass the moneys afterward heaped so high, and
was still in the condition to be flattered by the condescension of a yet
greater millionaire. His contribution to our gaiety was the verbatim
report of a call he had made upon William H. Vanderbilt, whom he had
found just about starting out of town, with his trunks actually in the
front hall, but who had stayed to receive the narrator. He had, in fact,
sat down on one of the trunks, and talked with the easiest friendliness,
and quite, we were given to infer, like an ordinary human being. Clemens
often kept on with some thread of the talk when we came away from a
dinner, but now he was silent, as if "high sorrowful and cloyed"; and it
was not till well afterward that I found he had noted the facts from the
bitterness with which he mocked the rich man, and the pity he expressed
for the actor.
He had begun before that to amass those evidences against mankind which
eventuated with him in his theory of what he called "the damned human
race." This was not an expression of piety, but of the kind contempt to
which he was driven by our follies and iniquities as he had observed them
in himself as well as in others. It was as mild a misanthropy, probably,
as ever caressed the objects of its malediction. But I believe it was
about the year 1900 that his sense of our perdition became insupportable
and broke out in a mixed abhorrence and amusement which spared no
occasion, so that I could quite understand why Mrs. Clemens should have
found some compensation, when kept to her room by sickness, in the
reflection that now she should not hear so much about "the damned human
race." He told of that with the same wild joy that he told of
overhearing her repetition of one of his most inclusive profanities, and
her explanation that she meant him to hear it so that he might know how
it sounded. The contrast of the lurid blasphemy with her heavenly
whiteness should have been enough to cure any one less grounded than he
in what must be owned was as fixed a habit as smoking with him. When I
first knew him he rarely vented his fury in that sort, and I fancy he was
under a promise to her which he kept sacred till the wear and tear of his
nerves with advancing years disabled him. Then it would be like him to
struggle with himself till he could struggle no longer and to ask his
promise back, and it would be like her to give it back. His profanity
was the heritage of his boyhood and young manhood in social conditions
and under the duress of exigencies in which everybody swore about as
impersonally as he smoked. It is best to recognize the fact of it, and I
do so the more readily because I cannot suppose the Recording Angel
really minded it much more than that Guardian. Angel of his. It
probably grieved them about equally, but they could equally forgive it.
Nothing came of his pose regarding "the damned human race" except his
invention of the Human Race Luncheon Club. This was confined to four
persons who were never all got together, and it soon perished of their
indifference.
In the earlier days that I have more specially in mind one of the
questions that we used to debate a good deal was whether every human
motive was not selfish. We inquired as to every impulse, the noblest,
the holiest in effect, and he found them in the last analysis of selfish
origin. Pretty nearly the whole time of a certain railroad run from New
York to Hartford was taken up with the scrutiny of the self-sacrifice of
a mother for her child, of the abandon of the lover who dies in saving
his mistress from fire or flood, of the hero's courage in the field and
the martyr's at the stake. Each he found springing from the unconscious
love of self and the dread of the greater pain which the self-sacrificer
would suffer in-forbearing the sacrifice. If we had any time left from
this inquiry that day, he must have devoted it to a high regret that
Napoleon did not carry out his purpose of invading England, for then he
would have destroyed the feudal aristocracy, or "reformed the lords," as
it might be called now. He thought that would have been an incalculable
blessing to the English people and the world. Clemens was always
beautifully and unfalteringly a republican. None of his occasional
misgivings for America implicated a return to monarchy. Yet he felt
passionately the splendor of the English monarchy, and there was a time
when he gloried in that figurative poetry by which the king was phrased
as "the Majesty of England." He rolled the words deep-throatedly out,
and exulted in their beauty as if it were beyond any other glory of the
world. He read, or read at, English history a great deal, and one of the
by-products of his restless invention was a game of English Kings (like
the game of Authors) for children. I do not know whether he ever
perfected this, but I am quite sure it was not put upon the market. Very
likely he brought it to a practicable stage, and then tired of it, as he
was apt to do in the ultimation of his vehement undertakings.
XX.
He satisfied the impassioned demand of his nature for incessant
activities of every kind by taking a personal as well as a pecuniary
interest in the inventions of others. At one moment "the damned human
race" was almost to be redeemed by a process of founding brass without
air bubbles in it; if this could once be accomplished, as I understood,
or misunderstood, brass could be used in art-printing to a degree
hitherto impossible. I dare say I have got it wrong, but I am not
mistaken as to Clemens's enthusiasm for the process, and his heavy losses
in paying its way to ultimate failure. He was simultaneously absorbed in
the perfection of a type-setting machine, which he was paying the
inventor a salary to bring to a perfection so expensive that it was
practically impracticable. We were both printers by trade, and I could
take the same interest in this wonderful piece of mechanism that he
could; and it was so truly wonderful that it did everything but walk and
talk. Its ingenious creator was so bent upon realizing the highest ideal
in it that he produced a machine of quite unimpeachable efficiency. But
it was so costly, when finished, that it could not be made for less than
twenty thousand dollars, if the parts were made by hand. This sum was
prohibitive of its introduction, unless the requisite capital could be
found for making the parts by machinery, and Clemens spent many months in
vainly trying to get this money together. In the mean time simpler
machines had been invented and the market filled, and his investment of
three hundred thousand dollars in the beautiful miracle remained
permanent but not profitable. I once went with him to witness its
performance, and it did seem to me the last word in its way, but it had
been spoken too exquisitely, too fastidiously. I never heard him devote
the inventor to the infernal gods, as he was apt to do with the geniuses
he lost money by, and so I think he did not regard him as a traitor.
In these things, and in his other schemes for the 'subiti guadagni' of
the speculator and the "sudden making of splendid names" for the
benefactors of our species, Clemens satisfied the Colonel Sellers nature
in himself (from which he drew the picture of that wild and lovable
figure), and perhaps made as good use of his money as he could. He did
not care much for money in itself, but he luxuriated in the lavish use of
it, and he was as generous with it as ever a man was. He liked giving it,
but he commonly wearied of giving it himself, and wherever he lived he
established an almoner, whom he fully trusted to keep his left hand
ignorant of what his right hand was doing. I believe he felt no finality
in charity, but did it because in its provisional way it was the only
thing a man could do. I never heard him go really into any sociological
inquiry, and I have a feeling that that sort of thing baffled and
dispirited him. No one can read The Connecticut Yankee and not be aware
of the length and breadth of his sympathies with poverty, but apparently
he had not thought out any scheme for righting the economic wrongs we
abound in. I cannot remember our ever getting quite down to a discussion
of the matter; we came very near it once in the day of the vast wave of
emotion sent over the world by 'Looking Backward,' and again when we were
all so troubled by the great coal strike in Pennsylvania; in considering
that he seemed to be for the time doubtful of the justice of the
workingman's cause. At all other times he seemed to know that whatever
wrongs the workingman committed work was always in the right.
When Clemens returned to America with his family, after lecturing round
the world, I again saw him in New York, where I so often saw him while he
was shaping himself for that heroic enterprise. He would come to me, and
talk sorrowfully over his financial ruin, and picture it to himself as
the stuff of some unhappy dream, which, after long prosperity, had
culminated the wrong way. It was very melancholy, very touching, but the
sorrow to which he had come home from his long journey had not that
forlorn bewilderment in it. He was looking wonderfully well, and when I
wanted the name of his elixir, he said it was plasmon. He was apt, for a
man who had put faith so decidedly away from him, to take it back and pin
it to some superstition, usually of a hygienic sort. Once, when he was
well on in years, he came to New York without glasses, and announced that
he and all his family, so astigmatic and myopic and old-sighted, had, so
to speak, burned their spectacles behind them upon the instruction of
some sage who had found out that they were a delusion. The next time he
came he wore spectacles freely, almost ostentatiously, and I heard from
others that the whole Clemens family had been near losing their eyesight
by the miracle worked in their behalf. Now, I was not surprised to learn
that "the damned human race" was to be saved by plasmon, if anything, and
that my first duty was to visit the plasmon agency with him, and procure
enough plasmon to secure my family against the ills it was heir to for
evermore. I did not immediately understand that plasmon was one of the
investments which he had made from "the substance of things hoped for,"
and in the destiny of a disastrous disappointment. But after paying off
the creditors of his late publishing firm, he had to do something with
his money, and it was not his fault if he did not make a fortune out of
plasmon.
XXI.
For a time it was a question whether he should not go back with his
family to their old home in Hartford. Perhaps the father's and mother's
hearts drew them there all the more strongly because of the grief written
ineffaceably over it, but for the younger ones it was no longer the
measure of the world. It was easier for all to stay on indefinitely in
New York, which is a sojourn without circumstance, and equally the home
of exile and of indecision. The Clemenses took a pleasant, spacious
house at Riverdale, on the Hudson, and there I began to see them again on
something like the sweet old terms. They lived far more unpretentiously
than they used, and I think with a notion of economy, which they had
never very successfully practised. I recall that at the end of a certain
year in Hartford, when they had been saving and paying cash for
everything, Clemens wrote, reminding me of their avowed experiment, and
asking me to guess how many bills they had at New Year's; he hastened to
say that a horse-car would not have held them. At Riverdale they kept no
carriage, and there was a snowy night when I drove up to their handsome
old mansion in the station carryall, which was crusted with mud as from
the going down of the Deluge after transporting Noah and his family from
the Ark to whatever point they decided to settle at provisionally. But
the good talk, the rich talk, the talk that could never suffer poverty of
mind or soul, was there, and we jubilantly found ourselves again in our
middle youth. It was the mighty moment when Clemens was building his
engines of war for the destruction of Christian Science, which
superstition nobody, and he least of all, expected to destroy. It would
not be easy to say whether in his talk of it his disgust for the
illiterate twaddle of Mrs. Eddy's book, or his admiration of her genius
for organization was the greater. He believed that as a religious
machine the Christian Science Church was as perfect as the Roman Church
and destined to be, more formidable in its control of the minds of men.
He looked for its spread over the whole of Christendom, and throughout
the winter he spent at Riverdale he was ready to meet all listeners more
than half-way with his convictions of its powerful grasp of the average
human desire to get something for nothing. The vacuous vulgarity of its
texts was a perpetual joy to him, while he bowed with serious respect to
the sagacity which built so securely upon the everlasting rock of human
credulity and folly.
An interesting phase of his psychology in this business was not only his
admiration for the masterly, policy of the Christian Science hierarchy,
but his willingness to allow the miracles of its healers to be tried on
his friends and family, if they wished it. He had a tender heart for the
whole generation of empirics, as well as the newer sorts of scientitians,
but he seemed to base his faith in them largely upon the failure of the
regulars rather than upon their own successes, which also he believed in.
He was recurrently, but not insistently, desirous that you should try
their strange magics when you were going to try the familiar medicines.
XXII.
The order of my acquaintance, or call it intimacy, with Clemens was this:
our first meeting in Boston, my visits to him in Hartford, his visits to
me in Cambridge, in Belmont, and in Boston, our briefer and less frequent
meetings in Paris and New York, all with repeated interruptions through
my absences in Europe, and his sojourns in London, Berlin, Vienna, and
Florence, and his flights to the many ends, and odds and ends, of the
earth. I will not try to follow the events, if they were not rather the
subjective experiences, of those different periods and points of time
which I must not fail to make include his summer at York Harbor, and his
divers residences in New York, on Tenth Street and on Fifth Avenue, at
Riverdale, and at Stormfield, which his daughter has told me he loved
best of all his houses and hoped to make his home for long years.
Not much remains to me of the week or so that we had together in Paris
early in the summer of 1904. The first thing I got at my bankers was a
cable message announcing that my father was stricken with paralysis, but
urging my stay for further intelligence, and I went about, till the final
summons came, with my head in a mist of care and dread. Clemens was very
kind and brotherly through it all. He was living greatly to his mind in
one of those arcaded little hotels in the Rue de Rivoli, and he was free
from all household duties to range with me. We drove together to make
calls of digestion at many houses where he had got indigestion through
his reluctance from their hospitality, for he hated dining out. But,
as he explained, his wife wanted him to make these visits, and he did it,
as he did everything she wanted. 'At one place, some suburban villa,
he could get no answer to his ring, and he "hove" his cards over the gate
just as it opened, and he had the shame of explaining in his
unexplanatory French to the man picking them up. He was excruciatingly
helpless with his cabmen, but by very cordially smiling and casting
himself on the drivers' mercy he always managed to get where he wanted.
The family was on the verge of their many moves, and he was doing some
small errands; he said that the others did the main things, and left him
to do what the cat might.
It was with that return upon the buoyant billow of plasmon, renewed in
look and limb, that Clemens's universally pervasive popularity began in
his own country. He had hitherto been more intelligently accepted or
more largely imagined in Europe, and I suppose it was my sense of this
that inspired the stupidity of my saying to him when we came to consider
"the state of polite learning" among us, "You mustn't expect people to
keep it up here as they do in England." But it appeared that his
countrymen were only wanting the chance, and they kept it up in honor of
him past all precedent. One does not go into a catalogue of dinners,
receptions, meetings, speeches, and the like, when there are more vital
things to speak of. He loved these obvious joys, and he eagerly strove
with the occasions they gave him for the brilliancy which seemed so
exhaustless and was so exhausting. His friends saw that he was wearing
himself out, and it was not because of Mrs. Clemens's health alone that
they were glad to have him take refuge at Riverdale. The family lived
there two happy, hopeless years, and then it was ordered that they should
change for his wife's sake to some less exacting climate. Clemens was
not eager to go to Florence, but his imagination was taken as it would
have been in the old-young days by the notion of packing his furniture
into flexible steel cages from his house in Hartford and unpacking it
from them untouched at his villa in Fiesole. He got what pleasure any
man could out of that triumph of mind over matter, but the shadow was
creeping up his life. One sunny afternoon we sat on the grass before the
mansion, after his wife had begun to get well enough for removal, and we
looked up toward a balcony where by-and-by that lovely presence made
itself visible, as if it had stooped there from a cloud. A hand frailly
waved a handkerchief; Clemens ran over the lawn toward it, calling
tenderly: "What? What?" as if it might be an asking for him instead of
the greeting it really was for me. It was the last time I saw her, if
indeed I can be said to have seen her then, and long afterward when I
said how beautiful we all thought her, how good, how wise, how
wonderfully perfect in every relation of life, he cried out in a breaking
voice: "Oh, why didn't you ever tell her? She thought you didn't like
her." What a pang it was then not to have told her, but how could we
have told her? His unreason endeared him to me more than all his wisdom.
To that Riverdale sojourn belong my impressions of his most violent anti-
Christian Science rages, which began with the postponement of his book,
and softened into acceptance of the delay till he had well-nigh forgotten
his wrath when it come out. There was also one of those joint episodes
of ours, which, strangely enough, did not eventuate in entire failure, as
most of our joint episodes did. He wrote furiously to me of a wrong
which had been done to one of the most helpless and one of the most
helped of our literary brethren, asking me to join with him in recovering
the money paid over by that brother's publisher to a false friend who had
withheld it and would not give any account of it. Our hapless brother
had appealed to Clemens, as he had to me, with the facts, but not asking
our help, probably because he knew he need not ask; and Clemens enclosed
to me a very taking-by-the-throat message which he proposed sending to
the false friend. For once I had some sense, and answered that this
would never do, for we had really no power in the matter, and I contrived
a letter to the recreant so softly diplomatic that I shall always think
of it with pride when my honesties no longer give me satisfaction, saying
that this incident had come to our knowledge, and suggesting that we felt
sure he would not finally wish to withhold the money. Nothing more,
practically, than that, but that was enough; there came promptly back a
letter of justification, covering a very substantial check, which we
hilariously forwarded to our beneficiary. But the helpless man who was
so used to being helped did not answer with the gladness I, at least,
expected of him. He acknowledged the check as he would any ordinary
payment, and then he made us observe that there was still a large sum due
him out of the moneys withheld. At this point I proposed to Clemens that
we should let the nonchalant victim collect the remnant himself. Clouds
of sorrow had gathered about the bowed head of the delinquent since we
began on him, and my fickle sympathies were turning his way from the
victim who was really to blame for leaving his affairs so unguardedly to
him in the first place. Clemens made some sort of grit assent, and we
dropped the matter. He was more used to ingratitude from those he helped
than I was, who found being lain down upon not so amusing as he found my
revolt. He reckoned I was right, he said, and after that I think we
never recurred to the incident. It was not ingratitude that he ever
minded; it was treachery, that really maddened him past forgiveness.
XXIII.
During the summer he spent at York Harbor I was only forty minutes away
at Kittery Point, and we saw each other often; but this was before the
last time at Riverdale. He had a wide, low cottage in a pine grove
overlooking York River, and we used to sit at a corner of the veranda
farthest away from Mrs. Clemens's window, where we could read our
manuscripts to each other, and tell our stories, and laugh our hearts out
without disturbing her. At first she had been about the house, and there
was one gentle afternoon when she made tea for us in the parlor, but that
was the last time I spoke with her. After that it was really a question
of how soonest and easiest she could be got back to Riverdale; but, of
course, there were specious delays in which she seemed no worse and
seemed a little better, and Clemens could work at a novel he had begun.
He had taken a room in the house of a friend and neighbor, a fisherman
and boatman; there was a table where he could write, and a bed where he
could lie down and read; and there, unless my memory has played me one of
those constructive tricks that people's memories indulge in, he read me
the first chapters of an admirable story. The scene was laid in a
Missouri town, and the characters such as he had known in boyhood; but as
often as I tried to make him own it, he denied having written any such
story; it is possible that I dreamed it, but I hope the MS. will yet be
found. Upon reflection I cannot believe that I dreamed it, and I cannot
believe that it was an effect of that sort of pseudomnemonics which I
have mentioned. The characters in the novel are too clearly outlined in
my recollection, together with some critical reservations of my own
concerning them. Not only does he seem to have read me those first
chapters, but to have talked them over with me and outlined the whole
story.
I cannot say whether or not he believed that his wife would recover; he
fought the fear of her death to the end; for her life was far more
largely his than the lives of most men's wives are theirs. For his own
life I believe he would never have much cared, if I may trust a saying of
one who was so absolutely without pose as he was. He said that he never
saw a dead man whom he did not envy for having had it over and being done
with it. Life had always amused him, and in the resurgence of its
interests after his sorrow had ebbed away he was again deeply interested
in the world and in the human race, which, though damned, abounded in
subjects of curious inquiry. When the time came for his wife's removal
from York Harbor I went with him to Boston, where he wished to look up
the best means of her conveyance to New York. The inquiry absorbed him:
the sort of invalid car he could get; how she could be carried to the
village station; how the car could be detached from the eastern train at
Boston and carried round to the southern train on the other side of the
city, and then how it could be attached to the Hudson River train at New
York and left at Riverdale. There was no particular of the business
which he did not scrutinize and master, not only with his poignant
concern for her welfare, but with his strong curiosity as to how these
unusual things were done with the usual means. With the inertness that
grows upon an aging man he had been used to delegating more and more
things, but of that thing I perceived that he would not delegate the
least detail.
He had meant never to go abroad again, but when it came time to go he did
not look forward to returning; he expected to live in Florence always
after that; they were used to the life and they had been happy there some
years earlier before he went with his wife for the cure of Nauheim. But
when he came home again it was for good and all. It was natural that he
should wish to live in New York, where they had already had a pleasant
year in Tenth Street. I used to see him there in an upper room, looking
south over a quiet open space of back yards where we fought our battles
in behalf of the Filipinos and the Boers, and he carried on his campaign
against the missionaries in China. He had not yet formed his habit of
lying for whole days in bed and reading and writing there, yet he was a
good deal in bed, from weakness, I suppose, and for the mere comfort of
it.
My perspectives are not very clear, and in the foreshortening of events
which always takes place in our review of the past I may not always time
things aright. But I believe it was not until he had taken his house at
21 Fifth Avenue that he began to talk to me of writing his autobiography.
He meant that it should be a perfectly veracious record of his life and
period; for the first time in literature there should be a true history
of a man and a true presentation of the men the man had known. As we
talked it over the scheme enlarged itself in our riotous fancy. We said
it should be not only a book, it should be a library, not only a library,
but a literature. It should make good the world's loss through Omar's
barbarity at Alexandria; there was no image so grotesque, so extravagant
that we did not play with it; and the work so far as he carried it was
really done on a colossal scale. But one day he said that as to veracity
it was a failure; he had begun to lie, and that if no man ever yet told
the truth about himself it was because no man ever could. How far he had
carried his autobiography I cannot say; he dictated the matter several
hours each day; and the public has already seen long passages from it,
and can judge, probably, of the make and matter of the whole from these.
It is immensely inclusive, and it observes no order or sequence. Whether
now, after his death, it will be published soon or late I have no means
of knowing. Once or twice he said in a vague way that it was not to be
published for twenty years, so that the discomfort of publicity might be
minimized for all the survivors. Suddenly he told me he was not working
at it; but I did not understand whether he had finished it or merely
dropped it; I never asked.
We lived in the same city, but for old men rather far apart, he at Tenth
Street and I at Seventieth, and with our colds and other disabilities we
did not see each other often. He expected me to come to him, and I would
not without some return of my visits, but we never ceased to be friends,
and good friends, so far as I know. I joked him once as to how I was
going to come out in his autobiography, and he gave me some sort of
joking reassurance. There was one incident, however, that brought us
very frequently and actively together. He came one Sunday afternoon to
have me call with him on Maxim Gorky, who was staying at a hotel a few
streets above mine. We were both interested in Gorky, Clemens rather
more as a revolutionist and I as a realist, though I too wished the
Russian Tsar ill, and the novelist well in his mission to the Russian
sympathizers in this republic. But I had lived through the episode of
Kossuth's visit to us and his vain endeavor to raise funds for the
Hungarian cause in 1851, when we were a younger and nobler nation than
now, with hearts if not hands, opener to the "oppressed of Europe"; the
oppressed of America, the four or five millions of slaves, we did not
count. I did not believe that Gorky could get the money for the cause of
freedom in Russia which he had come to get; as I told a valued friend of
his and mine, I did not believe he could get twenty-five hundred dollars,
and I think now I set the figure too high. I had already refused to sign
the sort of general appeal his friends were making to our principles and
pockets because I felt it so wholly idle, and when the paper was produced
in Gorky's presence and Clemens put his name to it I still refused. The
next day Gorky was expelled from his hotel with the woman who was not his
wife, but who, I am bound to say, did not look as if she were not, at
least to me, who am, however, not versed in those aspects of human
nature.
I might have escaped unnoted, but Clemens's familiar head gave us away to
the reporters waiting at the elevator's mouth for all who went to see
Gorky. As it was, a hunt of interviewers ensued for us severally and
jointly. I could remain aloof in my hotel apartment, returning answer to
such guardians of the public right to know everything that I had nothing
to say of Gorky's domestic affairs; for the public interest had now
strayed far from the revolution, and centred entirely upon these. But
with Clemens it was different; he lived in a house with a street door
kept by a single butler, and he was constantly rung for. I forget how
long the siege lasted, but long enough for us to have fun with it. That
was the moment of the great Vesuvian eruption, and we figured ourselves
in easy reach of a volcano which was every now and then "blowing a cone
off," as the telegraphic phrase was. The roof of the great market in
Naples had just broken in under its load of ashes and cinders, and
crashed hundreds of people; and we asked each other if we were not sorry
we had not been there, where the pressure would have been far less
terrific than it was with us in Fifth Avenue. The forbidden butler came
up with a message that there were some gentlemen below who wanted to see
Clemens.
"How many?" he demanded.
"Five," the butler faltered.
"Reporters?"
The butler feigned uncertainty.
"What would you do?" he asked me.
"I wouldn't see them," I said, and then Clemens went directly down to
them. How or by what means he appeased their voracity I cannot say, but
I fancy it was by the confession of the exact truth, which was harmless
enough. They went away joyfully, and he came back in radiant
satisfaction with having seen them. Of course he was right and I wrong,
and he was right as to the point at issue between Gorky and those who had
helplessly treated him with such cruel ignominy. In America it is not
the convention for men to live openly in hotels with women who are not
their wives. Gorky had violated this convention and he had to pay the
penalty; and concerning the destruction of his efficiency as an emissary
of the revolution, his blunder was worse than a crime.
XXIV.
To the period of Clemens's residence in Fifth Avenue belongs his
efflorescence in white serge. He was always rather aggressively
indifferent about dress, and at a very early date in our acquaintance
Aldrich and I attempted his reform by clubbing to buy him a cravat.
But he would not put away his stiff little black bow, and until he
imagined the suit of white serge, he wore always a suit of black serge,
truly deplorable in the cut of the sagging frock. After his measure had
once been taken he refused to make his clothes the occasion of personal
interviews with his tailor; he sent the stuff by the kind elderly woman
who had been in the service of the family from the earliest days of his
marriage, and accepted the result without criticism. But the white serge
was an inspiration which few men would have had the courage to act upon.
The first time I saw him wear it was at the authors' hearing before the
Congressional Committee on Copyright in Washington. Nothing could have
been more dramatic than the gesture with which he flung off his long
loose overcoat, and stood forth in white from his feet to the crown of
his silvery head. It was a magnificent coup, and he dearly loved a coup;
but the magnificent speech which he made, tearing to shreds the venerable
farrago of nonsense about nonproperty in ideas which had formed the basis
of all copyright legislation, made you forget even his spectacularity.
It is well known how proud he was of his Oxford gown, not merely because
it symbolized the honor in which he was held by the highest literary body
in the world, but because it was so rich and so beautiful. The red and
the lavender of the cloth flattered his eyes as the silken black of the
same degree of Doctor of Letters, given him years before at Yale, could
not do. His frank, defiant happiness in it, mixed with a due sense of
burlesque, was something that those lacking his poet-soul could never
imagine; they accounted it vain, weak; but that would not have mattered
to him if he had known it. In his London sojourn he had formed the top-
hat habit, and for a while he lounged splendidly up and down Fifth Avenue
in that society emblem; but he seemed to tire of it, and to return kindly
to the soft hat of his Southwestern tradition.
He disliked clubs; I don't know whether he belonged to any in New York,
but I never met him in one. As I have told, he himself had formed the
Human Race Club, but as he never could get it together it hardly counted.
There was to have been a meeting of it the time of my only visit to
Stormfield in April of last year; but of three who were to have come I
alone came. We got on very well without the absentees, after finding
them in the wrong, as usual, and the visit was like those I used to have
with him so many years before in Hartford, but there was not the old
ferment of subjects. Many things had been discussed and put away for
good, but we had our old fondness for nature and for each other, who were
so differently parts of it. He showed his absolute content with his
house, and that was the greater pleasure for me because it was my son who
designed it. The architect had been so fortunate as to be able to plan
it where a natural avenue of savins, the closeknit, slender, cypress-like
cedars of New England, led away from the rear of the villa to the little
level of a pergola, meant some day to be wreathed and roofed with vines.
But in the early spring days all the landscape was in the beautiful
nakedness of the northern winter. It opened in the surpassing loveliness
of wooded and meadowed uplands, under skies that were the first days
blue, and the last gray over a rainy and then a snowy floor. We walked
up and down, up and down, between the villa terrace and the pergola, and
talked with the melancholy amusement, the sad tolerance of age for the
sort of men and things that used to excite us or enrage us; now we were
far past turbulence or anger. Once we took a walk together across the
yellow pastures to a chasmal creek on his grounds, where the ice still
knit the clayey banks together like crystal mosses; and the stream far
down clashed through and over the stones and the shards of ice. Clemens
pointed out the scenery he had bought to give himself elbow-room, and
showed me the lot he was going to have me build on. The next day we came
again with the geologist he had asked up to Stormfield to analyze its
rocks. Truly he loved the place, though he had been so weary of change
and so indifferent to it that he never saw it till he came to live in it.
He left it all to the architect whom he had known from a child in the
intimacy which bound our families together, though we bodily lived far
enough apart. I loved his little ones and he was sweet to mine and was
their delighted-in and wondered-at friend. Once and once again, and yet
again and again, the black shadow that shall never be lifted where it
falls, fell in his house and in mine, during the forty years and more
that we were friends, and endeared us the more to each other.
XXV.
My visit at Stormfield came to an end with tender relucting on his part
and on mine. Every morning before I dressed I heard him sounding my name
through the house for the fun of it and I know for the fondness; and if I
looked out of my door, there he was in his long nightgown swaying up and
down the corridor, and wagging his great white head like a boy that
leaves his bed and comes out in the hope of frolic with some one. The
last morning a soft sugarsnow had fallen and was falling, and I drove
through it down to the station in the carriage which had been given him
by his wife's father when they were first married, and been kept all
those intervening years in honorable retirement for this final use. Its
springs had not grown yielding with time; it had rather the stiffness and
severity of age; but for him it must have swung low like the sweet
chariot of the negro "spiritual" which I heard him sing with such fervor,
when those wonderful hymns of the slaves began to make their way
northward. 'Go Down, Daniel', was one in which I can hear his quavering
tenor now. He was a lover of the things he liked, and full of a passion
for them which satisfied itself in reading them matchlessly aloud. No
one could read 'Uncle Remus' like him; his voice echoed the voices of the
negro nurses who told his childhood the wonderful tales. I remember
especially his rapture with Mr. Cable's 'Old Creole Days,' and the
thrilling force with which he gave the forbidding of the leper's brother
when the city's survey ran the course of an avenue through the cottage
where the leper lived in hiding: "Strit must not pass!"
Out of a nature rich and fertile beyond any I have known, the material
given him by the Mystery that makes a man and then leaves him to make
himself over, he wrought a character of high nobility upon a foundation
of clear and solid truth. At the last day he will not have to confess
anything, for all his life was the free knowledge of any one who would
ask him of it. The Searcher of hearts will not bring him to shame at
that day, for he did not try to hide any of the things for which he was
often so bitterly sorry. He knew where the Responsibility lay, and he
took a man's share of it bravely; but not the less fearlessly he left the
rest of the answer to the God who had imagined men.
It is in vain that I try to give a notion of the intensity with which he
pierced to the heart of life, and the breadth of vision with which he
compassed the whole world, and tried for the reason of things, and then
left trying. We had other meetings, insignificantly sad and brief; but
the last time I saw him alive was made memorable to me by the kind, clear
judicial sense with which he explained and justified the labor-unions as
the sole present help of the weak against the strong.
Next I saw him dead, lying in his coffin amid those flowers with which we
garland our despair in that pitiless hour. After the voice of his old
friend Twichell had been lifted in the prayer which it wailed through in
broken-hearted supplication, I looked a moment at the face I knew so
well; and it was patient with the patience I had so often seen in it:
something of puzzle, a great silent dignity, an assent to what must be
from the depths of a nature whose tragical seriousness broke in the
laughter which the unwise took for the whole of him. Emerson,
Longfellow, Lowell, Holmes--I knew them all and all the rest of our
sages, poets, seers, critics, humorists; they were like one another and
like other literary men; but Clemens was sole, incomparable, the Lincoln
of our literature.
ETEXT EDITOR'S BOOKMARKS:
Absolute devotion to the day of her death,
Absolutely, so positively, so almost aggressively truthful
Addressed to their tenderness out of his tenderness
Amiable perception, and yet with a sort of remote absence
Amuse him, even when they wronged him
Amusingly realized the situation to their friends
But now I remember that he gets twenty dollars a month"
Christianity had done nothing to improve morals and conditions
Church: "Oh yes, I go It 'most kills me, but I go,"
Clemens was sole, incomparable, the Lincoln of our literature
Despair broke in laughter
Despised the avoidance of repetitions out of fear of tautology
Everlasting rock of human credulity and folly
Flowers with which we garland our despair in that pitiless hour
He did not care much for fiction
He did not paw you with his hands to show his affection
He was a youth to the end of his days
Heroic lies
His coming almost killed her, but it was worth it
Honest men are few when it comes to themselves
It was mighty pretty, as Pepys would say
Jane Austen
Left him to do what the cat might
Lie, of course, and did to save others from grief or harm
Liked to find out good things and great things for himself
Livy Clemens: nthe loveliest person I have ever seen
Marriages are what the parties to them alone really know
Mind and soul were with those who do the hard work of the world
Mock modesty of print forbids my repeating here
Most desouthernized Southerner I ever knew
Most serious, the most humane, the most conscientious of men
Nearly nothing as chaos could be
Never saw a dead man whom he did not envy
Never saw a man more regardful of negroes
No man ever yet told the truth about himself
No man more perfectly sensed and more entirely abhorred slavery
Not possible for Clemens to write like anybody else
Ought not to call coarse without calling one's self prudish
Polite learning hesitated his praise
Praised it enough to satisfy the author
Reparation due from every white to every black man
Shackles of belief worn so long
Some superstition, usually of a hygienic sort
Stupidly truthful
The ornament of a house is the friends who frequent it
Truthful
Used to ingratitude from those he helped
Vacuous vulgarity of its texts
Walter-Scotticized, pseudo-chivalry of the Southern ideal
We have never ended before, and we do not see how we can end
Well, if you are to be lost, I want to be lost with you
What he had done he owned to, good, bad, or indifferent
Whether every human motive was not selfish
Wonder why we hate the past so--"It's so damned humiliating!"
End of this Project Gutenberg Etext of My Mark Twain
by William Dean Howells
ETEXT EDITOR'S BOOKMARKS:
Absolute devotion to the day of her death,
Absolutely, so positively, so almost aggressively truthful
Abstract, the air-drawn, afflicted me like physical discomforts
Act officiously, not officially
Addressed to their tenderness out of his tenderness
Always sumptuously providing out of his destitution
Amiable perception, and yet with a sort of remote absence
Amuse him, even when they wronged him
Amusingly realized the situation to their friends
Anglo-American genius for ugliness
Appeal, which he had come to recognize as invasive
Appeared to have no grudge left
Backed their credulity with their credit
Bayard Taylor: incomparable translation of Faust
Became gratefully strange
Best talkers are willing that you should talk if you like
But now I remember that he gets twenty dollars a month"
Candle burning on the table for the cigars
Celia Thaxter
Charles Reade
Charles F. Browne
Christianity had done nothing to improve morals and conditions
Church: "Oh yes, I go It 'most kills me, but I go,"
Clemens was sole, incomparable, the Lincoln of our literature
Cold-slaw
Collective opacity
Confidence I have nearly always felt when wrong
Could make us feel that our faults were other people's
Could easily believe now that it was some one else who saw it
Could only by chance be caught in earnest about anything
Couldn't fire your revolver without bringing down a two volumer
Dawn upon him through a cloud of other half remembered faces
Death of the joy that ought to come from work
Death's vague conjectures to the broken expectations of life
Despair broke in laughter
Despised the avoidance of repetitions out of fear of tautology
Did not feel the effect I would so willingly have experienced
Dinner was at the old-fashioned Boston hour of two
Discomfort which mistaken or blundering praise
Dollars were of so much farther flight than now
Edmund Quincy
Edward Everett Hale
Either to deny the substance of things unseen, or to affirm it
Emerson
Enjoying whatever was amusing in the disadvantage to himself
Espoused the theory of Bacon's authorship of Shakespeare
Ethical sense, not the aesthetical sense
Everlasting rock of human credulity and folly
Expectation of those who will come no more
Express the appreciation of another's fit word
Feigned the gratitude which I could see that he expected
Fell either below our pride or rose above our purse
Felt that this was my misfortune more than my fault
Few men last over from one reform to another
First dinner served in courses that I had sat down to
Flowers with which we garland our despair in that pitiless hour
Forbearance of a wise man content to bide his time
Forebore to speak needlessly to him, or to shake his hand
Found life was not all poetry
Francis Parkman
Gay laugh comes across the abysm of the years
Generous lover of all that was excellent in literature
George William Curtis
Giggle which Charles Lamb found the best thing in life
Give him your best wine
Got out of it all the fun there was in it
Greeting of great impersonal cordiality
Grieving that there could be such ire in heavenly minds
Hard of hearing on one side. But it isn't deafness
Harriet Beecher Stowe and the Autocrat clashed upon homeopathy
Hate of hate, the scorn of scorn, The love of love
He was not bored because he would not be
He did not care much for fiction
He was not constructive; he was essentially observant
He had no time to make money
He was a youth to the end of his days
He did not paw you with his hands to show his affection
Heine
Heroic lies
His remembrance absolutely ceased with an event
His readers trusted and loved him
His enemies suffered from it almost as much as his friends
His coming almost killed her, but it was worth it
His plays were too bad for the stage, or else too good for it
Hollowness, the hopelessness, the unworthiness of life
Honest men are few when it comes to themselves
I find this young man worthy
I believe neither in heroes nor in saints
I did not know, and I hated to ask
If he was half as bad, he would have been too bad to be
If he was not there to your touch, it was no fault of his
In the South there was nothing but a mistaken social ideal
Incredible in their insipidity
Industrial slavery
Insatiable English fancy for the wild America no longer there
Intellectual poseurs
It is well to hold one's country to her promises
It was mighty pretty, as Pepys would say
Jane Austen
Julia Ward Howe
Left him to do what the cat might
Lie, of course, and did to save others from grief or harm
Liked being with you, not for what he got, but for what he gave
Liked to find out good things and great things for himself
Lincoln
Literary dislikes or contempts
Livy Clemens: nthe loveliest person I have ever seen
Long breath was not his; he could not write a novel
Longfellow
Looked as if Destiny had sat upon it
Love of freedom and the hope of justice
Love and gratitude are only semi-articulate at the best
Lowell
Made all men trust him when they doubted his opinions
Man who may any moment be out of work is industrially a slave
Man who had so much of the boy in him
Marriages are what the parties to them alone really know
Mellow cordial of a voice that was like no other
Memory will not be ruled
Men who took themselves so seriously as that need
Men's lives ended where they began, in the keeping of women
Met with kindness, if not honor
Might so far forget myself as to be a novelist
Mind and soul were with those who do the hard work of the world
Mock modesty of print forbids my repeating here
Most desouthernized Southerner I ever knew
Most serious, the most humane, the most conscientious of men
Motley
Napoleonic height which spiritually overtops the Alps
Nearly nothing as chaos could be
Never saw a man more regardful of negroes
Never saw a dead man whom he did not envy
Never paid in anything but hopes of paying
No man ever yet told the truth about himself
No time to make money
No man more perfectly sensed and more entirely abhorred slavery
Not quite himself till he had made you aware of his quality
Not a man who cared to transcend; he liked bounds
Not much patience with the unmanly craving for sympathy
Not much of a talker, and almost nothing of a story-teller
Not possible for Clemens to write like anybody else
Now death has come to join its vague conjectures
NYC, a city where money counts for more and goes for less
Odious hilarity, without meaning and without remission
Offers mortifyingly mean, and others insultingly vague
Old man's tendency to revert to the past
Old man's disposition to speak of his infirmities
One could be openly poor in Cambridge without open shame
Only one concerned who was quite unconcerned
Ought not to call coarse without calling one's self prudish
Pathos of revolt from the colorless rigidities
Person who wished to talk when he could listen
Plain-speaking or Rude Speaking
Pointed the moral in all they did
Polite learning hesitated his praise
Praised it enough to satisfy the author
Praised extravagantly, and in the wrong place
Put your finger on the present moment and enjoy it
Quarrel was with error, and not with the persons who were in it
Quebec was a bit of the seventeenth century
Reformers, who are so often tedious and ridiculous
Remember the dinner-bell
Reparation due from every white to every black man
Secret of the man who is universally interesting
Seen through the wrong end of the telescope
Shackles of belief worn so long
Shy of his fellow-men, as the scholar seems always to be
So refined, after the gigantic coarseness of California
Some superstition, usually of a hygienic sort
Sometimes they sacrificed the song to the sermon
Sought the things that he could agree with you upon
Spare his years the fatigue of recalling your identity
Standards were their own, and they were satisfied with them
Stoddard
Study in a corner by the porch
Stupidly truthful
The world is well lost whenever the world is wrong
The ornament of a house is the friends who frequent it
Things common to all, however peculiar in each
Thoreau
Those who have sorrowed deepest will understand this best
Times when a man's city was a man's country
Tired themselves out in trying to catch up with him
True to an ideal of life rather than to life itself
Truthful
Turn of the talk toward the mystical
Used to ingratitude from those he helped
Vacuous vulgarity of its texts
Visited one of the great mills
Walter-Scotticized, pseudo-chivalry of the Southern ideal
Wasted face, and his gay eyes had the death-look
We have never ended before, and we do not see how we can end
Welcome me, and make the least of my shyness and strangeness
Well, if you are to be lost, I want to be lost with you
What he had done he owned to, good, bad, or indifferent
When to be an agnostic was to be almost an outcast
Whether every human motive was not selfish
Whitman's public use of his privately written praise
Wit that tries its teeth upon everything
Women's rights
Wonder why we hate the past so--"It's so damned humiliating!"
Wonderful to me how it should remain so unintelligible
Work gives the impression of an uncommon continuity
Wrote them first and last in the spirit of Dickens
End of this Project Gutenberg Etext of Literary Friends, Entire
by William Dean Howells
LITERATURE AND LIFE, Entire
by William Dean Howells
CONTENTS:
Man of Letters in Business
Confessions of a Summer Colonist
The Young Contributor
Last Days in a Dutch Hotel
Anomalies of the Short Story
Spanish Prisoners of War
American Literary Centers
Standard Household Effect Co.
Notes of a Vanished Summer
Worries of a Winter Walk
Summer Isles of Eden
Wild Flowers of the Asphalt
A Circus in the Suburbs
A She Hamlet
The Midnight Platoon
The Beach at Rockaway
Sawdust in the Arena
At a Dime Museum
American Literature in Exile
The Horse Show
The Problem of the Summer
Aesthetic New York Fifty-odd Years Ago
From New York into New England
The Art of the Adsmith
The Psychology of Plagiarism
Puritanism in American Fiction
The What and How in Art
Politics in American Authors
Storage
"Floating down the River on the O-hi-o"
LITERATURE AND LIFE--The Man of Letters as a Man of Business
by William Dean Howells
BIBLIOGRAPHICAL
Perhaps the reader may not feel in these papers that inner solidarity
which the writer is conscious of; and it is in this doubt that the writer
wishes to offer a word of explanation. He owns, as he must, that they
have every appearance of a group of desultory sketches and essays,
without palpable relation to one another, or superficial allegiance to
any central motive. Yet he ventures to hope that the reader who makes
his way through them will be aware, in the retrospect, of something like
this relation and this allegiance.
For my own part, if I am to identify myself with the writer who is here
on his defence, I have never been able to see much difference between
what seemed to me Literature and what seemed to me Life. If I did not
find life in what professed to be literature, I disabled its profession,
and possibly from this habit, now inveterate with me, I am never quite
sure of life unless I find literature in it. Unless the thing seen
reveals to me an intrinsic poetry, and puts on phrases that clothe it
pleasingly to the imagination, I do not much care for it; but if it will
do this, I do not mind how poor or common or squalid it shows at first
glance: it challenges my curiosity and keeps my sympathy. Instantly I
love it and wish to share my pleasure in it with some one else, or as
many ones else as I can get to look or listen. If the thing is something
read, rather than seen, I am not anxious about the matter: if it is like
life, I know that it is poetry, and take it to my heart. There can be no
offence in it for which its truth will not make me amends.
Out of this way of thinking and feeling about these two great things,
about Literature and Life, there may have arisen a confusion as to which
is which. But I do not wish to part them, and in their union I have
found, since I learned my letters, a joy in them both which I hope will
last till I forget my letters.
"So was it when my life began;
So is it, now I am a man;
So be it when I shall grow old."
It is the rainbow in the sky for me; and I have seldom seen a sky without
some bit of rainbow in it. Sometimes I can make others see it, sometimes
not; but I always like to try, and if I fail I harbor no worse thought of
them than that they have not had their eyes examined and fitted with
glasses which would at least have helped their vision.
As to the where and when of the different papers, in which I suppose
their bibliography properly lies, I need not be very exact. "The Man of
Letters as a Man of Business" was written in a hotel at Lakewood in the
May of 1892 or 1893, and pretty promptly printed in Scribner's Magazine;
"Confessions of a Summer Colonist" was done at York Harbor in the fall of
1898 for the Atlantic Monthly, and was a study of life at that pleasant
resort as it was lived-in the idyllic times of the earlier settlement,
long before motors and almost before private carriages; "American
Literary Centres," "American Literature in Exile," "Puritanism in
American Fiction," "Politics of American Authors," were, with three or
four other papers, the endeavors of the American correspondent of the
London Times's literary supplement, to enlighten the British
understanding as to our ways of thinking and writing eleven years ago,
and are here left to bear the defects of the qualities of their obsolete
actuality in the year 1899. Most of the studies and sketches are from an
extinct department of "Life and Letters" which I invented for Harper's
Weekly, and operated for a year or so toward the close of the nineteenth
century. Notable among these is the "Last Days in a Dutch Hotel," which
was written at Paris in 1897; it is rather a favorite of mine, perhaps
because I liked Holland so much; others, which more or less personally
recognize effects of sojourn in New York or excursions into New England,
are from the same department; several may be recalled by the longer-
memoried reader as papers from the "Editor's Easy Chair" in Harper's
Monthly; "Wild Flowers of the Asphalt" is the review of an ever-
delightful book which I printed in Harper's Bazar; "The Editor's
Relations with the Young Contributor" was my endeavor in Youth's
Companion to shed a kindly light from my experience in both seats upon
the too-often and too needlessly embittered souls of literary beginners.
So it goes as to the motives and origins of the collection which may
persist in disintegrating under the reader's eye, in spite of my well-
meant endeavors to establish a solidarity for it. The group at least
attests, even in this event, the wide, the wild, variety of my literary
production in time and space. From the beginning the journalist's
independence of the scholar's solitude and seclusion has remained with
me, and though I am fond enough of a bookish entourage, of the serried
volumes of the library shelves, and the inviting breadth of the library
table, I am not disabled by the hard conditions of a bedroom in a summer
hotel, or the narrow possibilities of a candle-stand, without a
dictionary in the whole house, or a book of reference even in the running
brooks outside.
W. D. HOWELLS.
LITERATURE AND LIFE
THE MAN OF LETTERS AS A MAN OF BUSINESS
I think that every man ought to work for his living, without exception,
and that, when he has once avouched his willingness to work, society
should provide him with work and warrant him a living. I do not think
any man ought to live by an art. A man's art should be his privilege,
when he has proven his fitness to exercise it, and has otherwise earned
his daily bread; and its results should be free to all. There is an
instinctive sense of this, even in the midst of the grotesque confusion
of our economic being; people feel that there is something profane,
something impious, in taking money for a picture, or a poem, or a statue.
Most of all, the artist himself feels this. He puts on a bold front with
the world, to be sure, and brazens it out as Business; but he knows very
well that there is something false and vulgar in it; and that the work
which cannot be truly priced in money cannot be truly paid in money.
He can, of course, say that the priest takes money for reading the
marriage service, for christening the new-born babe, and for saying the
last office for the dead; that the physician sells healing; that justice
itself is paid for; and that he is merely a party to the thing that is
and must be. He can say that, as the thing is, unless he sells his art
he cannot live, that society will leave him to starve if he does not hit
its fancy in a picture, or a poem, or a statue; and all this is bitterly
true. He is, and he must be, only too glad if there is a market for his
wares. Without a market for his wares he must perish, or turn to making
something that will sell better than pictures, or poems, or statues.
All the same, the sin and the shame remain, and the averted eye sees them
still, with its inward vision. Many will make believe otherwise, but I
would rather not make believe otherwise; and in trying to write of
Literature as Business I am tempted to begin by saying that Business is
the opprobrium of Literature.
I.
Literature is at once the most intimate and the most articulate of the
arts. It cannot impart its effect through the senses or the nerves as
the other arts can; it is beautiful only through the intelligence; it is
the mind speaking to the mind; until it has been put into absolute terms,
of an invariable significance, it does not exist at all. It cannot
awaken this emotion in one, and that in another; if it fails to express
precisely the meaning of the author, if it does not say him, it says
nothing, and is nothing. So that when a poet has put his heart, much or
little, into a poem, and sold it to a magazine, the scandal is greater
than when a painter has sold a picture to a patron, or a sculptor has
modelled a statue to order. These are artists less articulate and less
intimate than the poet; they are more exterior to their work; they are
less personally in it; they part with less of themselves in the dicker.
It does not change the nature of the case to say that Tennyson and
Longfellow and Emerson sold the poems in which they couched the most
mystical messages their genius was charged to bear mankind. They
submitted to the conditions which none can escape; but that does not
justify the conditions, which are none the less the conditions of
hucksters because they are imposed upon poets. If it will serve to make
my meaning a little clearer, we will suppose that a poet has been crossed
in love, or has suffered some real sorrow, like the loss of a wife or
child. He pours out his broken heart in verse that shall bring tears of
sacred sympathy from his readers, and an editor pays him a hundred
dollars for the right of bringing his verse to their notice. It is
perfectly true that the poem was not written for these dollars, but it is
perfectly true that it was sold for them. The poet must use his emotions
to pay his provision bills; he has no other means; society does not
propose to pay his bills for him. Yet, and at the end of the ends, the
unsophisticated witness finds the transaction ridiculous, finds it
repulsive, finds it shabby. Somehow he knows that if our huckstering
civilization did not at every moment violate the eternal fitness of
things, the poet's song would have been given to the world, and the poet
would have been cared for by the whole human brotherhood, as any man
should be who does the duty that every man owes it.
The instinctive sense of the dishonor which money-purchase does to art is
so strong that sometimes a man of letters who can pay his way otherwise
refuses pay for his work, as Lord Byron did, for a while, from a noble
pride, and as Count Tolstoy has tried to do, from a noble conscience.
But Byron's publisher profited by a generosity which did not reach his
readers; and the Countess Tolstoy collects the copyright which her
husband foregoes; so that these two eminent instances of protest against
business in literature may be said not to have shaken its money basis.
I know of no others; but there may be many that I am culpably ignorant
of. Still, I doubt if there are enough to affect the fact that
Literature is Business as well as Art, and almost as soon. At present
business is the only human solidarity; we are all bound together with
that chain, whatever interests and tastes and principles separate us,
and I feel quite sure that in writing of the Man of Letters as a Man of
Business I shall attract far more readers than I should in writing of him
as an Artist. Besides, as an artist he has been done a great deal
already; and a commercial state like ours has really more concern in him
as a business man. Perhaps it may sometime be different; I do not
believe it will till the conditions are different, and that is a long way
off.
II.
In the mean time I confidently appeal to the reader's imagination with
the fact that there are several men of letters among us who are such good
men of business that they can command a hundred dollars a thousand words
for all they write. It is easy to write a thousand words a day, and,
supposing one of these authors to work steadily, it can be seen that his
net earnings during the year would come to some such sum as the President
of the United States gets for doing far less work of a much more
perishable sort. If the man of letters were wholly a business man, this
is what would happen; he would make his forty or fifty thousand dollars a
year, and be able to consort with bank presidents, and railroad
officials, and rich tradesmen, and other flowers of our plutocracy on
equal terms. But, unfortunately, from a business point of view, he is
also an artist, and the very qualities that enable him to delight the
public disable him from delighting it uninterruptedly. "No rose blooms
right along," as the English boys at Oxford made an American collegian
say in a theme which they imagined for him in his national parlance; and
the man of letters, as an artist, is apt to have times and seasons when
he cannot blossom. Very often it shall happen that his mind will lie
fallow between novels or stories for weeks and months at a stretch; when
the suggestions of the friendly editor shall fail to fruit in the essays
or articles desired; when the muse shall altogether withhold herself, or
shall respond only in a feeble dribble of verse which he might sell
indeed, but which it would not be good business for him to put on the
market. But supposing him to be a very diligent and continuous worker,
and so happy as to have fallen on a theme that delights him and bears him
along, he may please himself so ill with the result of his labors that he
can do nothing less in artistic conscience than destroy a day's work, a
week's work, a month's work. I know one man of letters who wrote to-day
and tore up tomorrow for nearly a whole summer. But even if part of the
mistaken work may be saved, because it is good work out of place, and not
intrinsically bad, the task of reconstruction wants almost as much time
as the production; and then, when all seems done, comes the anxious and
endless process of revision. These drawbacks reduce the earning capacity
of what I may call the high-cost man of letters in such measure that an
author whose name is known everywhere, and whose reputation is
commensurate with the boundaries of his country, if it does not transcend
them, shall have the income, say, of a rising young physician, known to a
few people in a subordinate city.
In view of this fact, so humiliating to an author in the presence of a
nation of business men like ours, I do not know that I can establish the
man of letters in the popular esteem as very much of a business man,
after all. He must still have a low rank among practical people; and he
will be regarded by the great mass of Americans as perhaps a little off,
a little funny, a little soft! Perhaps not; and yet I would rather not
have a consensus of public opinion on the question; I think I am more
comfortable without it.
III.
There is this to be said in defence of men of letters on the business
side, that literature is still an infant industry with us, and, so far
from having been protected by our laws, it was exposed for ninety years
after the foundation of the republic to the vicious competition of stolen
goods. It is true that we now have the international copyright law at
last, and we can at least begin to forget our shame; but literary
property has only forty-two years of life under our unjust statutes, and
if it is attacked by robbers the law does not seek out the aggressors and
punish them, as it would seek out and punish the trespassers upon any
other kind of property; it leaves the aggrieved owner to bring suit
against them, and recover damages, if he can. This may be right enough
in itself; but I think, then, that all property should be defended by
civil suit, and should become public after forty-two years of private
tenure. The Constitution guarantees us all equality before the law, but
the law-makers seem to have forgotten this in the case of our literary
industry. So long as this remains the case, we cannot expect the best
business talent to go into literature, and the man of letters must keep
his present low grade among business men.
As I have hinted, it is but a little while that he has had any standing
at all. I may say that it is only since the Civil War that literature
has become a business with us. Before that time we had authors, and very
good ones; it is astonishing how good they were; but I do not remember
any of them who lived by literature except Edgar A. Poe, perhaps; and we
all know how he lived; it was largely upon loans. They were either men
of fortune, or they were editors or professors, with salaries or incomes
apart from the small gains of their pens; or they were helped out with
public offices; one need not go over their names or classify them. Some
of them must have made money by their books, but I question whether any
one could have lived, even very simply, upon the money his books brought
him. No one could do that now, unless he wrote a book that we could not
recognize as a work of literature. But many authors live now, and live
prettily enough, by the sale of the serial publication of their writings
to the magazines. They do not live so nicely as successful tradespeople,
of course, or as men in the other professions when they begin to make
themselves names; the high state of brokers, bankers, railroad operators,
and the like is, in the nature of the case, beyond their fondest dreams
of pecuniary affluence and social splendor. Perhaps they do not want the
chief seats in the synagogue; it is certain they do not get them. Still,
they do very fairly well, as things go; and several have incomes that
would seem riches to the great mass of worthy Americans who work with
their hands for a living--when they can get the work. Their incomes are
mainly from serial publication in the different magazines; and the
prosperity of the magazines has given a whole class existence which, as a
class, was wholly unknown among us before the Civil War. It is not only
the famous or fully recognized authors who live in this way, but the much
larger number of clever people who are as yet known chiefly to the
editors, and who may never make themselves a public, but who do well a
kind of acceptable work. These are the sort who do not get reprinted
from the periodicals; but the better recognized authors do get reprinted,
and then their serial work in its completed form appeals to the readers
who say they do not read serials. The multitude of these is not great,
and if an author rested his hopes upon their favor he would be a much
more imbittered man than he now generally is. But he understands
perfectly well that his reward is in the serial and not in the book; the
return from that he may count as so much money found in the road--a few
hundreds, a very few thousands, at the most, unless he is the author of
an historical romance.
IV
I doubt, indeed, whether the earnings of literary men are absolutely as
great as they were earlier in the century, in any of the English-speaking
countries; relatively they are nothing like as great. Scott had forty
thousand dollars for 'Woodstock,' which was not a very large novel, and
was by no means one of his best; and forty thousand dollars then had at
least the purchasing power of sixty thousand now. Moore had three
thousand guineas for 'Lalla Rookh,' but what publisher would be rash
enough to pay fifteen thousand dollars for the masterpiece of a minor
poet now? The book, except in very rare instances, makes nothing like
the return to the author that the magazine makes, and there are few
leading authors who find their account in that form of publication.
Those who do, those who sell the most widely in book form, are often not
at all desired by editors; with difficulty they get a serial accepted by
any principal magazine. On the other hand, there are authors whose
books, compared with those of the popular favorites, do not sell, and yet
they are eagerly sought for by editors; they are paid the highest prices,
and nothing that they offer is refused. These are literary artists; and
it ought to be plain from what I am saying that in belles-lettres, at
least, most of the best literature now first sees the light in the
magazines, and most of the second-best appears first in book form. The
old-fashioned people who flatter themselves upon their distinction in not
reading magazine fiction or magazine poetry make a great mistake, and
simply class themselves with the public whose taste is so crude that they
cannot enjoy the best. Of course, this is true mainly, if not merely, of
belles-lettres; history, science, politics, metaphysics, in spite of the
many excellent articles and papers in these sorts upon what used to be
called various emergent occasions, are still to be found at their best in
books. The most monumental example of literature, at once light and
good, which has first reached the public in book form is in the different
publications of Mark Twain; but Mr. Clemens has of late turned to the
magazines too, and now takes their mint-mark before he passes into
general circulation. All this may change again, but at present the
magazines--we have no longer any reviews form the most direct approach to
that part of our reading public which likes the highest things in
literary art. Their readers, if we may judge from the quality of the
literature they get, are more refined than the book readers in our
community; and their taste has no doubt been cultivated by that of the
disciplined and experienced editors. So far as I have known these, they
are men of aesthetic conscience and of generous sympathy. They have
their preferences in the different kinds, and they have their theory of
what kind will be most acceptable to their readers; but they exercise
their selective function with the wish to give them the best things they
can. I do not know one of them--and it has been, my good fortune to know
them nearly all--who would print a wholly inferior thing for the sake of
an inferior class of readers, though they may sometimes decline a good
thing because for one reason or another, they believe it would not be
liked. Still, even this does not often happen; they would rather chance
the good thing they doubted of than underrate their readers' judgment.
The young author who wins recognition in a first-class magazine has
achieved a double success, first, with the editor, and then with the best
reading public. Many factitious and fallacious literary reputations have
been made through books, but very few have been made through the
magazines, which are not only the best means of living, but of outliving,
with the author; they are both bread and fame to him. If I insist a
little upon the high office which this modern form of publication fulfils
in the literary world, it is because I am impatient of the antiquated and
ignorant prejudice which classes the magazines as ephemeral. They are
ephemeral in form, but in substance they are not ephemeral, and what is
best in them awaits its resurrection in the book, which, as the first
form, is so often a lasting death. An interesting proof of the value of
the magazine to literature is the fact that a good novel will often have
wider acceptance as a book from having been a magazine serial.
V.
Under the 'regime' of the great literary periodicals the prosperity of
literary men would be much greater than it actually is if the magazines
were altogether literary. But they are not, and this is one reason why
literature is still the hungriest of the professions. Two-thirds of the
magazines are made up of material which, however excellent, is without
literary quality. Very probably this is because even the highest class
of readers, who are the magazine readers, have small love of pure
literature, which seems to have been growing less and less in all
classes. I say seems, because there are really no means of ascertaining
the fact, and it may be that the editors are mistaken in making their
periodicals two-thirds popular science, politics, economics, and the
timely topics which I will call contemporanics. But, however that may
be, their efforts in this direction have narrowed the field of literary
industry, and darkened the hope of literary prosperity kindled by the
unexampled prosperity of their periodicals. They pay very well indeed
for literature; they pay from five or six dollars a thousand words for
the work of the unknown writer to a hundred and fifty dollars a thousand
words for that of the most famous, or the most popular, if there is a
difference between fame and popularity; but they do not, altogether, want
enough literature to justify the best business talent in devoting itself
to belles-lettres, to fiction, or poetry, or humorous sketches of travel,
or light essays; business talent can do far better in dry goods,
groceries, drugs, stocks, real estate, railroads, and the like. I do not
think there is any danger of a ruinous competition from it in the field
which, though narrow, seems so rich to us poor fellows, whose business
talent is small, at the best.
The most of the material contributed to the magazines is the subject of
agreement between the editor and the author; it is either suggested by
the author or is the fruit of some suggestion from the editor; in any
case the price is stipulated beforehand, and it is no longer the custom
for a well-known contributor to leave the payment to the justice or the
generosity of the publisher; that was never a fair thing to either, nor
ever a wise thing. Usually, the price is so much a thousand words, a
truly odious method of computing literary value, and one well calculated
to make the author feel keenly the hatefulness of selling his art at all.
It is as if a painter sold his picture at so much a square inch, or a
sculptor bargained away a group of statuary by the pound. But it is a
custom that you cannot always successfully quarrel with, and most writers
gladly consent to it, if only the price a thousand words is large enough.
The sale to the editor means the sale of the serial rights only, but if
the publisher of the magazine is also a publisher of books, the
republication of the material is supposed to be his right, unless there
is an understanding to the contrary; the terms for this are another
affair. Formerly something more could be got for the author by the
simultaneous appearance of his work in an English magazine; but now the
great American magazines, which pay far higher prices than any others in
the world, have a circulation in England so much exceeding that of any
English periodical that the simultaneous publication can no longer be
arranged for from this side, though I believe it is still done here from
the other side.
VI.
I think this is the case of authorship as it now stands with regard to
the magazines. I am not sure that the case is in every way improved for
young authors. The magazines all maintain a staff for the careful
examination of manuscripts, but as most of the material they print has
been engaged, the number of volunteer contributions that they can use is
very small; one of the greatest of them, I know, does not use fifty in
the course of a year. The new writer, then, must be very good to be
accepted, and when accepted he may wait long before he is printed.
The pressure is so great in these avenues to the public favor that one,
two, three years, are no uncommon periods of delay. If the young writer
has not the patience for this, or has a soul above cooling his heels in
the courts of fame, or must do his best to earn something at once, the
book is his immediate hope. How slight a hope the book is I have tried
to hint already, but if a book is vulgar enough in sentiment, and crude
enough in taste, and flashy enough in incident, or, better or worse
still, if it is a bit hot in the mouth, and promises impropriety if not
indecency, there is a very fair chance of its success; I do not mean
success with a self-respecting publisher, but with the public, which does
not personally put its name to it, and is not openly smirched by it.
I will not talk of that kind of book, however, but of the book which the
young author has written out of an unspoiled heart and an untainted mind,
such as most young men and women write; and I will suppose that it has
found a publisher. It is human nature, as competition has deformed human
nature, for the publisher to wish the author to take all the risks, and
he possibly proposes that the author shall publish it at his own expense,
and let him have a percentage of the retail price for managing it. If
not that, he proposes that the author shall pay for the stereotype
plates, and take fifteen per cent. of the price of the book; or if this
will not go, if the author cannot, rather than will not, do it (he is
commonly only too glad to do any thing he can), then the publisher offers
him ten per cent. of the retail price after the first thousand copies
have been sold. But if he fully believes in the book, he will give ten
per cent. from the first copy sold, and pay all the costs of publication
himself. The book is to be retailed for a dollar and a half, and the
publisher is not displeased with a new book that sells fifteen hundred
copies. Whether the author has as much reason to be pleased is a
question, but if the book does not sell more he has only himself to
blame, and had better pocket in silence the two hundred and twenty-five
dollars he gets for it, and bless his publisher, and try to find work
somewhere at five dollars a week. The publisher has not made any more,
if quite as much as the author, and until a book has sold two thousand
copies the division is fair enough. After that, the heavier expenses of
manufacturing have been defrayed and the book goes on advertising itself;
there is merely the cost of paper, printing, binding, and marketing to be
met, and the arrangement becomes fairer and fairer for the publisher.
The author has no right to complain of this, in the case of his first
book, which he is only too grateful to get accepted at all. If it
succeeds, he has himself to blame for making the same arrangement for his
second or third; it is his fault, or else it is his necessity, which is
practically the same thing. It will be business for the publisher to
take advantage of his necessity quite the same as if it were his fault;
but I do not say that he will always do so; I believe he will very often
not do so.
At one time there seemed a probability of the enlargement of the author's
gains by subscription publication, and one very well-known American
author prospered fabulously in that way. The percentage offered by the
subscription houses was only about half as much as that paid by the
trade, but the sales were so much greater that the author could very well
afford to take it. Where the book-dealer sold ten, the book-agent sold a
hundred; or at least he did so in the case of Mark Twain's books; and we
all thought it reasonable he could do so with ours. Such of us as made
experiment of him, however, found the facts illogical. No book of
literary quality was made to go by subscription except Mr. Clemens's
books, and I think these went because the subscription public never knew
what good literature they were. This sort of readers, or buyers, were so
used to getting something worthless for their money that they would not
spend it for artistic fiction, or, indeed, for any fiction at all except
Mr. Clemens's, which they probably supposed bad. Some good books of
travel had a measurable success through the book-agents, but not at all
the success that had been hoped for; and I believe now the subscription
trade again publishes only compilations, or such works as owe more to the
skill of the editor than the art of the writer. Mr. Clemens himself no
longer offers his books to the public in that way.
It is not common, I think, in this country, to publish on the half-
profits system, but it is very common in England, where, owing probably
to the moisture in the air, which lends a fairy outline to every
prospect, it seems to be peculiarly alluring. One of my own early books
was published there on these terms, which I accepted with the insensate
joy of the young author in getting any terms from a publisher. The book
sold, sold every copy of the small first edition, and in due time the
publisher's statement came. I did not think my half of the profits was
very great, but it seemed a fair division after every imaginable cost had
been charged up against my poor book, and that frail venture had been
made to pay the expenses of composition, corrections, paper, printing,
binding, advertising, and editorial copies. The wonder ought to have
been that there was anything at all coming to me, but I was young and
greedy then, and I really thought there ought to have been more. I was
disappointed, but I made the best of it, of course, and took the account
to the junior partner of the house which employed me, and said that I
should like to draw on him for the sum due me from the London publishers.
He said, Certainly; but after a glance at the account he smiled and said
he supposed I knew how much the sum was? I answered, Yes; it was eleven
pounds nine shillings, was not it? But I owned at the same time that I
never was good at figures, and that I found English money peculiarly
baffling. He laughed now, and said, It was eleven shillings and
ninepence. In fact, after all those charges for composition,
corrections, paper, printing, binding, advertising, and editorial copies,
there was a most ingenious and wholly surprising charge of ten per cent.
commission on sales, which reduced my half from pounds to shillings, and
handsomely increased the publisher's half in proportion. I do not now
dispute the justice of the charge. It was not the fault of the half-
profits system; it was the fault of the glad young author who did not
distinctly inform himself of its mysterious nature in agreeing to it, and
had only to reproach himself if he was finally disappointed.
But there is always something disappointing in the accounts of
publishers, which I fancy is because authors are strangely constituted,
rather than because publishers are so. I will confess that I have such
inordinate expectations of the sale of my books, which I hope I think
modestly of, that the sales reported to me never seem great enough. The
copyright due me, no matter how handsome it is, appears deplorably mean,
and I feel impoverished for several days after I get it. But, then, I
ought to add that my balance in the bank is always much less than I have
supposed it to be, and my own checks, when they come back to me, have the
air of having been in a conspiracy to betray me.
No, we literary men must learn, no matter how we boast ourselves in
business, that the distress we feel from our publisher's accounts is
simply idiopathic; and I for one wish to bear my witness to the constant
good faith and uprightness of publishers. It is supposed that because
they have the affair altogether in their hands they are apt to take
advantage in it; but this does not follow, and as a matter of fact they
have the affair no more in their own hands than any other business man
you have an open account with. There is nothing to prevent you from
looking at their books, except your own innermost belief and fear that
their books are correct, and that your literature has brought you so
little because it has sold so little.
The author is not to blame for his superficial delusion to the contrary,
especially if he has written a book that has set every one talking,
because it is of a vital interest. It may be of a vital interest,
without being at all the kind of book people want to buy; it may be the
kind of book that they are content to know at second hand; there are such
fatal books; but hearing so much, and reading so much about it, the
author cannot help hoping that it has sold much more than the publisher
says. The publisher is undoubtedly honest, however, and the author had
better put away the comforting question of his integrity.
The English writers seem largely to suspect their publishers; but I
believe that American authors, when not flown with flattering reviews,
as largely trust theirs. Of course there are rogues in every walk of
life. I will not say that I ever personally met them in the flowery
paths of literature, but I have heard of other people meeting them there,
just as I have heard of people seeing ghosts, and I have to believe in
both the rogues and the ghosts, without the witness of my own senses.
I suppose, upon such grounds mainly, that there are wicked publishers,
but, in the case of our books that do not sell, I am afraid that it is
the graceless and inappreciative public which is far more to blame than
the wickedest of the publishers. It is true that publishers will drive a
hard bargain when they can, or when they must; but there is nothing to
hinder an author from driving a hard bargain, too, when he can, or when
he must; and it is to be said of the publisher that he is always more
willing to abide by the bargain when it is made than the author is;
perhaps because he has the best of it. But he has not always the best of
it; I have known publishers too generous to take advantage of the
innocence of authors; and I fancy that if publishers had to do with any
race less diffident than authors, they would have won a repute for
unselfishness that they do now now enjoy. It is certain that in the long
period when we flew the black flag of piracy there were many among our
corsairs on the high seas of literature who paid a fair price for the
stranger craft they seized; still oftener they removed the cargo and
released their capture with several weeks' provision; and although there
was undoubtedly a good deal of actual throat-cutting and scuttling, still
I feel sure that there was less of it than there would have been in any
other line of business released to the unrestricted plunder of the
neighbor. There was for a long time even a comity among these amiable
buccaneers, who agreed not to interfere with each other, and so were
enabled to pay over to their victims some portion of the profit from
their stolen goods. Of all business men publishers are probably the most
faithful and honorable, and are only surpassed in virtue when men of
letters turn business men.
VII.
Publishers have their little theories, their little superstitions, and
their blind faith in the great god Chance which we all worship. These
things lead them into temptation and adversity, but they seem to do
fairly well as business men, even in their own behalf. They do not make
above the usual ninety-five per cent. of failures, and more publishers
than authors get rich.
Some theories or superstitions publishers and authors share together.
One of these is that it is best to keep your books all in the hands of
one publisher if you can, because then he can give them more attention
and sell more of them. But my own experience is that when my books were
in the hands of three publishers they sold quite as well as when one had
them; and a fellow-author whom I approached in question of this venerable
belief laughed at it. This bold heretic held that it was best to give
each new book to a new publisher, for then the fresh man put all his
energies into pushing it; but if you had them all together, the publisher
rested in a vain security that one book would sell another, and that the
fresh venture would revive the public interest in the stale ones.
I never knew this to happen; and I must class it with the superstitions
of the trade. It may be so in other and more constant countries, but in
our fickle republic each last book has to fight its own way to public
favor, much as if it had no sort of literary lineage. Of course this is
stating it rather largely, and the truth will be found inside rather than
outside of my statement; but there is at least truth enough in it to give
the young author pause. While one is preparing to sell his basket of
glass, he may as well ask himself whether it is better to part with all
to one dealer or not; and if he kicks it over, in spurning the imaginary
customer who asks the favor of taking the entire stock, that will be his
fault, and not the fault of the customer.
However, the most important question of all with the man of letters as a
man of business is what kind of book will sell the best of itself,
because, at the end of the ends, a book sells itself or does not sell at
all; kissing, after long ages of reasoning and a great deal of culture,
still goes by favor, and though innumerable generations of horses have
been led to the water, not one horse has yet been made to drink. With
the best, or the worst, will in the world, no publisher can force a book
into acceptance. Advertising will not avail, and reviewing is
notoriously futile. If the book does not strike the popular fancy,
or deal with some universal interest, which need by no means be a
profound or important one, the drums and the cymbals shall be beaten in
vain. The book may be one of the best and wisest books in the world,
but if it has not this sort of appeal in it the readers of it, and,
worse yet, the purchasers, will remain few, though fit. The secret of
this, like most other secrets of a rather ridiculous world, is in the
awful keeping of fate, and we can only hope to surprise it by some lucky
chance. To plan a surprise of it, to aim a book at the public favor,
is the most hopeless of all endeavors, as it is one of the unworthiest;
and I can, neither as a man of letters nor as a man of business, counsel
the young author to do it. The best that you can do is to write the book
that it gives you the most pleasure to write, to put as much heart and
soul as you have about you into it, and then hope as hard as you can to
reach the heart and soul of the great multitude of your fellow-men. That,
and that alone, is good business for a man of letters.
The man of letters must make up his mind that in the United States the
fate of a book is in the hands of the women. It is the women with us who
have the most leisure, and they read the most books. They are far better
educated, for the most part, than our men, and their tastes, if not their
minds, are more cultivated. Our men read the newspapers, but our women
read the books; the more refined among them read the magazines. If they
do not always know what is good, they do know what pleases them, and it
is useless to quarrel with their decisions, for there is no appeal from
them. To go from them to the men would be going from a higher to a lower
court, which would be honestly surprised and bewildered, if the thing
were possible. As I say, the author of light literature, and often the
author of solid literature, must resign himself to obscurity unless the
ladies choose to recognize him. Yet it would be impossible to forecast
their favor for this kind or that. Who could prophesy it for another,
who guess it for himself? We must strive blindly for it, and hope
somehow that our best will also be our prettiest; but we must remember at
the same time that it is not the ladies' man who is the favorite of the
ladies.
There are, of course, a few, a very few, of our greatest authors who have
striven forward to the first place in our Valhalla without the help of
the largest reading-class among us; but I should say that these were
chiefly the humorists, for whom women are said nowhere to have any warm
liking, and who have generally with us come up through the newspapers,
and have never lost the favor of the newspaper readers. They have become
literary men, as it were, without the newspaper readers' knowing it; but
those who have approached literature from another direction have won fame
in it chiefly by grace of the women, who first read them; and then made
their husbands and fathers read them. Perhaps, then, and as a matter of
business, it would be well for a serious author, when he finds that he is
not pleasing the women, and probably never will please them, to turn
humorous author, and aim at the countenance of the men. Except as a
humorist he certainly never will get it, for your American, when he is
not making money, or trying to do it, is making a joke, or trying to do
it.
VIII
I hope that I have not been hinting that the author who approaches
literature through journalism is not as fine and high a literary man as
the author who comes directly to it, or through some other avenue; I have
not the least notion of condemning myself by any such judgment. But I
think it is pretty certain that fewer and fewer authors are turning from
journalism to literature, though the 'entente cordiale' between the two
professions seems as great as ever. I fancy, though I may be as mistaken
in this as I am in a good many other things, that most journalists would
have been literary men if they could, at the beginning, and that the
kindness they almost always show to young authors is an effect of the
self-pity they feel for their own thwarted wish to be authors. When an
author is once warm in the saddle, and is riding his winged horse to
glory, the case is different: they have then often no sentiment about
him; he is no longer the image of their own young aspiration, and they
would willingly see Pegasus buck under him, or have him otherwise brought
to grief and shame. They are apt to gird at him for his unhallowed
gains, and they would be quite right in this if they proposed any way for
him to live without them; as I have allowed at the outset, the gains are
unhallowed. Apparently it is unseemly for two or three authors to be
making half as much by their pens as popular ministers often receive in
salary; the public is used to the pecuniary prosperity of some of the
clergy, and at least sees nothing droll in it; but the paragrapher can
always get a smile out of his readers at the gross disparity between the
ten thousand dollars Jones gets for his novel and the five pounds Milton
got for his epic. I have always thought Milton was paid too little, but
I will own that he ought not to have been paid at all, if it comes to
that. Again I say that no man ought to live by any art; it is a shame to
the art if not to the artist; but as yet there is no means of the
artist's living otherwise and continuing an artist.
The literary man has certainly no complaint to make of the newspaper man,
generally speaking. I have often thought with amazement of the kindness
shown by the press to our whole unworthy craft, and of the help so
lavishly and freely given to rising and even risen authors. To put it
coarsely, brutally, I do not suppose that any other business receives so
much gratuitous advertising, except the theatre. It is, enormous, the
space given in the newspapers to literary notes, literary announcements,
reviews, interviews, personal paragraphs, biographies, and all the rest,
not to mention the vigorous and incisive attacks made from time to time
upon different authors for their opinions of romanticism, realism,
capitalism, socialism, Catholicism, and Sandemanianism. I have sometimes
doubted whether the public cared for so much of it all as the editors
gave them, but I have always said this under my breath, and I have
thankfully taken my share of the common bounty. A curious fact, however,
is that this vast newspaper publicity seems to have very little to do
with an author's popularity, though ever so much with his notoriety.
Some of those strange subterranean fellows who never come to the surface
in the newspapers, except for a contemptuous paragraph at long intervals,
outsell the famousest of the celebrities, and secretly have their horses
and yachts and country seats, while immodest merit is left to get about
on foot and look up summer-board at the cheaper hotels. That is probably
right, or it would not happen; it seems to be in the general scheme, like
millionairism and pauperism; but it becomes a question, then, whether the
newspapers, with all their friendship for literature, and their actual
generosity to literary men, can really help one much to fortune, however
much they help one to fame. Such a question is almost too dreadful, and,
though I have asked it, I will not attempt to answer it. I would much
rather consider the question whether, if the newspapers can make an
author, they can also unmake him, and I feel pretty safe in saying that I
do not think they can. The Afreet, once out of the bottle, can never be
coaxed back or cudgelled back; and the author whom the newspapers have
made cannot be unmade by the newspapers. Perhaps he could if they would
let him alone; but the art of letting alone the creature of your favor,
when he has forfeited your favor, is yet in its infancy with the
newspapers. They consign him to oblivion with a rumor that fills the
land, and they keep visiting him there with an uproar which attracts more
and more notice to him. An author who has long enjoyed their favor
suddenly and rather mysteriously loses it, through his opinions on
certain matters of literary taste, say. For the space of five or six
years he is denounced with a unanimity and an incisive vigor that ought
to convince him there is something wrong. If he thinks it is his
censors, he clings to his opinions with an abiding constancy, while
ridicule, obloquy, caricature, burlesque, critical refutation, and
personal detraction follow unsparingly upon every expression, for
instance, of his belief that romantic fiction is the highest form of
fiction, and that the base, sordid, photographic, commonplace school of
Tolstoy, Tourgunief, Zola, Hardy, and James is unworthy a moment's
comparison with the school of Rider Haggard. All this ought certainly to
unmake the author in question, but this is not really the effect. Slowly
but surely the clamor dies away, and the author, without relinquishing
one of his wicked opinions, or in any wise showing himself repentant,
remains apparently whole; and he even returns in a measure to the old
kindness--not indeed to the earlier day of perfectly smooth things, but
certainly to as much of it as he merits.
I would not have the young author, from this imaginary case; believe that
it is well either to court or to defy the good opinion of the press. In
fact, it will not only be better taste, but it will be better business,
for him to keep it altogether out of his mind. There is only one whom he
can safely try to please, and that is himself. If he does this he will
very probably please other people; but if he does not please himself he
may be sure that he will not please them; the book which he has not
enjoyed writing no one will enjoy reading. Still, I would not have him
attach too little consequence to the influence of the press. I should
say, let him take the celebrity it gives him gratefully but not too
seriously; let him reflect that he is often the necessity rather than the
ideal of the paragrapher, and that the notoriety the journalists bestow
upon him is not the measure of their acquaintance with his work, far less
his meaning. They are good fellows, those hard-pushed, poor fellows of
the press, but the very conditions of their censure, friendly or
unfriendly, forbid it thoroughness, and it must often have more zeal than
knowledge in it.
IX.
There are some sorts of light literature once greatly in demand, but now
apparently no longer desired by magazine editors, who ought to know what
their readers desire. Among these is the travel sketch, to me a very
agreeable kind, and really to be regretted in its decline. There are
some reasons for its decline besides a change of taste in readers, and a
possible surfeit. Travel itself has become so universal that everybody,
in a manner, has been everywhere, and the foreign scene has no longer the
charm of strangeness. We do not think the Old World either so romantic
or so ridiculous as we used; and perhaps from an instinctive perception
of this altered mood writers no longer appeal to our sentiment or our
humor with sketches of outlandish people and places. Of course, this can
hold true only in a general way; the thing is still done, but not nearly
so much done as formerly. When one thinks of the long line of American
writers who have greatly pleased in this sort, and who even got their
first fame in it, one must grieve to see it obsolescent. Irving, Curtis,
Bayard Taylor, Herman Melville, Ross Browne, Warner, Ik Marvell,
Longfellow, Lowell, Story, Mr. James, Mr. Aldrich, Mr. Hay, Mrs. Hunt,
Mr. C. W. Stoddard, Mark Twain, and many others whose names will not come
to me at the moment, have in their several ways richly contributed to our
pleasure in it; but I cannot now fancy a young author finding favor with
an editor in a sketch of travel or a study of foreign manners and
customs; his work would have to be of the most signal importance and
brilliancy to overcome the editor's feeling that the thing had been done
already; and I believe that a publisher, if offered a book of such
things, would look at it askance and plead the well-known quiet of the
trade. Still, I may be mistaken.
I am rather more confident about the decline of another literary species
--namely, the light essay. We have essays enough and to spare of certain
soberer and severer sorts, such as grapple with problems and deal with
conditions; but the kind that I mean, the slightly humorous, gentle,
refined, and humane kind, seems no longer to abound as it once did. I do
not know whether the editor discourages them, knowing his readers' frame,
or whether they do not offer themselves, but I seldom find them in the
magazines. I certainly do not believe that if any one were now to write
essays such as Warner's Backlog Studies, an editor would refuse them; and
perhaps nobody really writes them. Nobody seems to write the sort that
Colonel Higginson formerly contributed to the periodicals, or such as
Emerson wrote. Without a great name behind it, I am afraid that a volume
of essays would find few buyers, even after the essays had made a public
in the magazines. There are, of course, instances to the contrary, but
they are not so many or so striking as to make me think that the essay
could be offered as a good opening for business talent.
I suspect that good poetry by well-known hands was never better paid in
the magazines than it is now. I must say, too, that I think the quality
of the minor poetry of our day is better than that of twenty-five or
thirty years ago. I could name half a score of young poets whose work
from time to time gives me great pleasure, by the reality of its feeling
and the delicate perfection of its art, but I will not name them, for
fear of passing over half a score of others equally meritorious. We have
certainly no reason to be discouraged, whatever reason the poets
themselves have to be so, and I do not think that even in the short story
our younger writers are doing better work than they are doing in the
slighter forms of verse. Yet the notion of inviting business talent into
this field would be as preposterous as that of asking it to devote itself
to the essay. What book of verse by a recent poet, if we except some
such peculiarly gifted poet as Mr. Whitcomb Riley, has paid its expenses,
not to speak of any profit to the author? Of course, it would be rather
more offensive and ridiculous that it should do so than that any other
form of literary art should do so; and yet there is no more provision in
our economic system for the support of the poet apart from his poems than
there is for the support of the novelist apart from his novel. One could
not make any more money by writing poetry than by writing history, but it
is a curious fact that while the historians have usually been rich men,
and able to afford the luxury of writing history, the poets have usually
been poor men, with no pecuniary justification in their devotion to a
calling which is so seldom an election.
To be sure, it can be said for them that it costs far less to set up poet
than to set up historian. There is no outlay for copying documents, or
visiting libraries, or buying books. In fact, except as historian, the
man of letters, in whatever walk, has not only none of the expenses of
other men of business, but none of the expenses of other artists. He has
no such outlay to make for materials, or models, or studio rent as the
painter or the sculptor has, and his income, such as it is, is immediate.
If he strikes the fancy of the editor with the first thing he offers, as
he very well may, it is as well with him as with other men after long
years of apprenticeship. Although he will always be the better for an
apprenticeship, and the longer apprenticeship the better, he may
practically need none at all. Such are the strange conditions of his
acceptance with the public, that he may please better without it than
with it. An author's first book is too often not only his luckiest, but
really his best; it has a brightness that dies out under the school he
puts himself to, but a painter or a sculptor is only the gainer by all
the school he can give himself.
X.
In view of this fact it becomes again very hard to establish the author's
status in the business world, and at moments I have grave question
whether he belongs there at all, except as a novelist. There is, of
course, no outlay for him in this sort, any more than in any other sort
of literature, but it at least supposes and exacts some measure of
preparation. A young writer may produce a brilliant and very perfect
romance, just as he may produce a brilliant and very perfect poem, but in
the field of realistic fiction, or in what we used to call the novel of
manners, a writer can only produce an inferior book at the outset. For
this work he needs experience and observation, not so much of others as
of himself, for ultimately his characters will all come out of himself,
and he will need to know motive and character with such thoroughness and
accuracy as he can acquire only through his own heart. A man remains in
a measure strange to himself as long as he lives, and the very sources of
novelty in his work will be within himself; he can continue to give it
freshness in no other way than by knowing himself better and better. But
a young writer and an untrained writer has not yet begun to be acquainted
even with the lives of other men. The world around him remains a secret
as well as the world within him, and both unfold themselves
simultaneously to that experience of joy and sorrow that can come only
with the lapse of time. Until he is well on towards forty, he will
hardly have assimilated the materials of a great novel, although he may
have amassed them. The novelist, then, is a man of letters who is like a
man of business in the necessity of preparation for his calling, though
he does not pay store-rent, and may carry all his affairs under his hat,
as the phrase is. He alone among men of letters may look forward to that
sort of continuous prosperity which follows from capacity and diligence
in other vocations; for story-telling is now a fairly recognized trade,
and the story-teller has a money-standing in the economic world. It is
not a very high standing, I think, and I have expressed the belief that
it does not bring him the respect felt for men in other lines of
business. Still our people cannot deny some consideration to a man who
gets a hundred dollars a thousand words or whose book sells five hundred
thousand copies or less. That is a fact appreciable to business, and the
man of letters in the line of fiction may reasonably feel that his place
in our civilization, though he may owe it to the women who form the great
mass of his readers, has something of the character of a vested interest
in the eyes of men. There is, indeed, as yet no conspiracy law which
will avenge the attempt to injure him in his business. A critic, or a
dark conjuration of critics, may damage him at will and to the extent of
their power, and he has no recourse but to write better books, or worse.
The law will do nothing for him, and a boycott of his books might be
preached with immunity by any class of men not liking his opinions on the
question of industrial slavery or antipaedobaptism. Still the market for
his wares is steadier than the market for any other kind of literary
wares, and the prices are better. The historian, who is a kind of
inferior realist, has something like the same steadiness in the market,
but the prices he can command are much lower, and the two branches of the
novelist's trade are not to be compared in a business way. As for the
essayist, the poet, the traveller, the popular scientist, they are
nowhere in the competition for the favor of readers. The reviewer,
indeed, has a pretty steady call for his work, but I fancy the reviewers
who get a hundred dollars a thousand words could all stand upon the point
of a needle without crowding one another; I should rather like to see
them doing it. Another gratifying fact of the situation is that the best
writers of fiction, who are most in demand with the magazines, probably
get nearly as much money for their work as the inferior novelists who
outsell them by tens of thousands, and who make their appeal to the
innumerable multitude of the less educated and less cultivated buyers of
fiction in book form. I think they earn their money, but if I did not
think all of the higher class of novelists earned so much money as they
get, I should not be so invidious as to single out for reproach those who
did not.
The difficulty about payment, as I have hinted, is that literature has no
objective value really, but only a subjective value, if I may so express
it. A poem, an essay, a novel, even a paper on political economy, may be
worth gold untold to one reader, and worth nothing whatever to another.
It may be precious to one mood of the reader, and worthless to another
mood of the same reader. How, then, is it to be priced, and how is it to
be fairly marketed? All people must be fed, and all people must be
clothed, and all people must be housed; and so meat, raiment, and shelter
are things of positive and obvious necessity, which may fitly have a
market price put upon them. But there is no such positive and obvious
necessity, I am sorry to say, for fiction, or not for the higher sort of
fiction. The sort of fiction which corresponds in literature to the
circus and the variety theatre in the show-business seems essential to
the spiritual health of the masses, but the most cultivated of the
classes can get on, from time to time, without an artistic novel. This
is a great pity, and I should be-very willing that readers might feel
something like the pangs of hunger and cold, when deprived of their finer
fiction; but apparently they never do. Their dumb and passive need is
apt only to manifest itself negatively, or in the form of weariness of
this author or that. The publisher of books can ascertain the fact
through the declining sales of a writer; but the editor of a magazine,
who is the best customer of the best writers, must feel the market with a
much more delicate touch. Sometimes it may be years before he can
satisfy himself that his readers are sick of Smith, and are pining for
Jones; even then he cannot know how long their mood will last, and he is
by no means safe in cutting down Smith's price and putting up Jones's.
With the best will in the world to pay justly, he cannot. Smith, who has
been boring his readers to death for a year, may write tomorrow a thing
that will please them so much that he will at once be a prime favorite
again; and Jones, whom they have been asking for, may do something so
uncharacteristic and alien that it will be a flat failure in the
magazine. The only thing that gives either writer positive value is his
acceptance with the reader; but the acceptance is from month to month
wholly uncertain. Authors are largely matters of fashion, like this
style of bonnet, or that shape of gown. Last spring the dresses were all
made with lace berthas, and Smith was read; this year the butterfly capes
are worn, and Jones is the favorite author. Who shall forecast the fall
and winter modes?
XI.
In this inquiry it is always the author rather than the publisher, always
the contributor rather than the editor, whom I am concerned for. I study
the difficulties of the publisher and editor only because they involve
the author and the contributor; if they did not, I will not say with how
hard a heart I should turn from them; my only pang now in scrutinizing
the business conditions of literature is for the makers of literature,
not the purveyors of it.
After all, and in spite of my vaunting title, is the man of letters ever
am business man? I suppose that, strictly speaking, he never is, except
in those rare instances where, through need or choice, he is the
publisher as well as the author of his books. Then he puts something on
the market and tries to sell it there, and is a man of business. But
otherwise he is an artist merely, and is allied to the great mass of
wage-workers who are paid for the labor they have put into the thing done
or the thing made; who live by doing or making a thing, and not by
marketing a thing after some other man has done it or made it. The
quality of the thing has nothing to do with the economic nature of the
case; the author is, in the last analysis, merely a working-man, and is
under the rule that governs the working-man's life. If he is sick or
sad, and cannot work, if he is lazy or tipsy, and will not, then he earns
nothing. He cannot delegate his business to a clerk or a manager; it
will not go on while he is sleeping. The wage he can command depends
strictly upon his skill and diligence.
I myself am neither sorry nor ashamed for this; I am glad and proud to be
of those who eat their bread in the sweat of their own brows, and not the
sweat of other men's brows; I think my bread is the sweeter for it. In
the mean time, I have no blame for business men; they are no more of the
condition of things than we working-men are; they did no more to cause it
or create it; but I would rather be in my place than in theirs, and I
wish that I could make all my fellow-artists realize that economically
they are the same as mechanics, farmers, day-laborers. It ought to be
our glory that we produce something, that we bring into the world
something that was not choately there before; that at least we fashion or
shape something anew; and we ought to feel the tie that binds us to all
the toilers of the shop and field, not as a galling chain, but as a
mystic bond also uniting us to Him who works hitherto and evermore.
I know very well that to the vast multitude of our fellow-working-men we
artists are the shadows of names, or not even the shadows. I like to
look the facts in the face, for though their lineaments are often
terrible, yet there is light nowhere else; and I will not pretend, in
this light, that the masses care any more for us than we care for the
masses, or so much. Nevertheless, and most distinctly, we are not of the
classes. Except in our work, they have no use for us; if now and then
they fancy qualifying their material splendor or their spiritual dulness
with some artistic presence, the attempt is always a failure that bruises
and abashes. In so far as the artist is a man of the world, he is the
less an artist, and if he fashions himself upon fashion, he deforms his
art. We all know that ghastly type; it is more absurd even than the
figure which is really of the world, which was born and bred in it, and
conceives of nothing outside of it, or above it. In the social world, as
well as in the business world, the artist is anomalous, in the actual
conditions, and he is perhaps a little ridiculous.
Yet he has to be somewhere, poor fellow, and I think that he will do well
to regard himself as in a transition state. He is really of the masses,
but they do not know it, and what is worse, they do not know him; as yet
the common people do not hear him gladly or hear him at all. He is
apparently of the classes; they know him, and they listen to him; he
often amuses them very much; but he is not quite at ease among them;
whether they know it or not, he knows that he is not of their kind.
Perhaps he will never be at home anywhere in the world as long as there
are masses whom he ought to consort with, and classes whom he cannot
consort with. The prospect is not brilliant for any artist now living,
but perhaps the artist of the future will see in the flesh the
accomplishment of that human equality of which the instinct has been
divinely planted in the human soul.
ETEXT EDITOR'S BOOKMARKS:
Artist has seasons, as trees, when he cannot blossom
Book that they are content to know at second hand
Business to take advantage of his necessity
Competition has deformed human nature
Conditions of hucksters imposed upon poets
Fate of a book is in the hands of the women
God of chance leads them into temptation and adversity
Historian, who is a kind of inferior realist
I do not think any man ought to live by an art
If he has not enjoyed writing no one will enjoy reading
Impropriety if not indecency promises literary success
Literature beautiful only through the intelligence
Literature has no objective value
Literature is Business as well as Art
Man is strange to himself as long as he lives
Men read the newspapers, but our women read the books
More zeal than knowledge in it
Most journalists would have been literary men if they could
Never quite sure of life unless I find literature in it
No man ought to live by any art
No rose blooms right along
Our huckstering civilization
Public whose taste is so crude that they cannot enjoy the best
Results of art should be free to all
Reviewers
Reward is in the serial and not in the book--19th Century
Rogues in every walk of life
There is small love of pure literature
Two branches of the novelist's trade: Novelist and Historian
Warner's Backlog Studies
Work not truly priced in money cannot be truly paid in money
End of this Project Gutenberg Etext of Man of Letters in Business
by William Dean Howells
LITERATURE AND LIFE--The Confessions of a Summer Colonist
by William Dean Howells
CONFESSIONS OF A SUMMER COLONIST
The season is ending in the little summer settlement on the Down East
coast where I have been passing the last three months, and with each
loath day the sense of its peculiar charm grows more poignant.
A prescience of the homesickness I shall feel for it when I go already
begins to torment me, and I find myself wishing to imagine some form of
words which shall keep a likeness of it at least through the winter; some
shadowy semblance which I may turn to hereafter if any chance or change
should destroy or transform it, or, what is more likely, if I should
never come back to it. Perhaps others in the distant future may turn to
it for a glimpse of our actual life in one of its most characteristic
phases; I am sure that in the distant present there are many millions of
our own inlanders to whom it would be altogether strange.
I.
In a certain sort fragile is written all over our colony; as far as the
visible body of it is concerned it is inexpressibly perishable; a fire
and a high wind could sweep it all away; and one of the most American of
all American things is the least fitted among them to survive from the
present to the future, and impart to it the significance of what may soon
be a "portion and parcel" of our extremely forgetful past.
It is also in a supremely transitional moment: one might say that last
year it was not quite what it is now, and next year it may be altogether
different. In fact, our summer colony is in that happy hour when the
rudeness of the first summer conditions has been left far behind, and
vulgar luxury has not yet cumbrously succeeded to a sort of sylvan
distinction.
The type of its simple and sufficing hospitalities is the seven-o'clock
supper. Every one, in hotel or in cottage, dines between one and two,
and no less scrupulously sups at seven, unless it is a few extremists who
sup at half-past seven. At this function, which is our chief social
event, it is 'de rigueur' for the men not to dress, and they come in any
sort of sack or jacket or cutaway, letting the ladies make up the pomps
which they forego. From this fact may be inferred the informality of the
men's day-time attire; and the same note is sounded in the whole range of
the cottage life, so that once a visitor from the world outside, who had
been exasperated beyond endurance by the absence of form among us (if
such an effect could be from a cause so negative), burst out with the
reproach, "Oh, you make a fetish of your informality!"
"Fetish" is, perhaps, rather too strong a word, but I should not mind
saying that informality was the tutelary genius of the place. American
men are everywhere impatient of form. It burdens and bothers them, and
they like to throw it off whenever they can. We may not be so very
democratic at heart as we seem, but we are impatient of ceremonies that
separate us when it is our business or our pleasure to get at one
another; and it is part of our splendor to ignore the ceremonies, as we
do the expenses. We have all the decent grades of riches and poverty in
our colony, but our informality is not more the treasure of the humble
than of the great. In the nature of things it cannot last, however, and
the only question is how long it will last. I think, myself, until some
one imagines giving an eight-o'clock dinner; then all the informalities
will go, and the whole train of evils which such a dinner connotes will
rush in.
II.
The cottages themselves are of several sorts, and some still exist in the
earlier stages of mutation from the fishermen's and farmers' houses which
formed their germ. But these are now mostly let as lodgings to bachelors
and other single or semi-detached folks who go for their meals to the
neighboring hotels or boarding-houses. The hotels are each the centre of
this sort of centripetal life, as well as the homes of their own scores
or hundreds of inmates. A single boarding-house gathers about it half a
dozen dependent cottages which it cares for, and feeds at its table; and
even where the cottages have kitchens and all the housekeeping
facilities, their inmates sometimes prefer to dine at the hotels.
By far the greater number of cottagers, however, keep house, bringing
their service with them from the cities, and settling in their summer
homes for three or four or five months.
The houses conform more or less to one type: a picturesque structure of
colonial pattern, shingled to the ground, and stained or left to take a
weather-stain of grayish brown, with cavernous verandas, and dormer-
windowed roofs covering ten or twelve rooms. Within they are, if not
elaborately finished, elaborately fitted up, with a constant regard to
health in the plumbing and drainage. The water is brought in a system of
pipes from a lake five miles away, and as it is only for summer use the
pipes are not buried from the frost, but wander along the surface,
through the ferns and brambles of the tough little sea-side knolls on
which the cottages are perched, and climb the old tumbling stone walls of
the original pastures before diving into the cemented basements.
Most of the cottages are owned by their occupants, and furnished by them;
the rest, not less attractive and hardly less tastefully furnished,
belong to natives, who have caught on to the architectural and domestic
preferences of the summer people, and have built them to let. The
rugosities of the stony pasture land end in a wooded point seaward, and
curve east and north in a succession of beaches. It is on the point, and
mainly short of its wooded extremity, that the cottages of our settlement
are dropped, as near the ocean as may be, and with as little order as
birds' nests in the grass, among the sweet-fern, laurel, bay, wild
raspberries, and dog-roses, which it is the ideal to leave as untouched
as possible. Wheel-worn lanes that twist about among the hollows find
the cottages from the highway, but foot-paths approach one cottage from
another, and people walk rather than drive to each other's doors.
From the deep-bosomed, well-sheltered little harbor the tides swim
inland, half a score of winding miles, up the channel of a river which
without them would be a trickling rivulet. An irregular line of cottages
follows the shore a little way, and then leaves the river to the
schooners and barges which navigate it as far as the oldest pile-built
wooden bridge in New England, and these in their turn abandon it to the
fleets of row-boats and canoes in which summer youth of both sexes
explore it to its source over depths as clear as glass, past wooded
headlands and low, rush-bordered meadows, through reaches and openings of
pastoral fields, and under the shadow of dreaming groves.
If there is anything lovelier than the scenery of this gentle river I do
not know it; and I doubt if the sky is purer and bluer in paradise. This
seems to be the consensus, tacit or explicit, of the youth who visit it,
and employ the landscape for their picnics and their water parties from
the beginning to the end of summer.
The river is very much used for sunsets by the cottagers who live on it,
and who claim a superiority through them to the cottagers on the point.
An impartial mind obliges me to say that the sunsets are all good in our
colony; there is no place from which they are bad; and yet for a certain
tragical sunset, where the dying day bleeds slowly into the channel till
it is filled from shore to shore with red as far as the eye can reach,
the river is unmatched.
For my own purposes, it is not less acceptable, however, when the fog has
come in from the sea like a visible reverie, and blurred the whole valley
with its whiteness. I find that particularly good to look at from the
trolley-car which visits and revisits the river before finally leaving
it, with a sort of desperation, and hiding its passion with a sudden
plunge into the woods.
III.
The old fishing and seafaring village, which has now almost lost the
recollection of its first estate in its absorption with the care of the
summer colony, was sparsely dropped along the highway bordering the
harbor, and the shores of the river, where the piles of the time-worn
wharves are still rotting. A few houses of the past remain, but the type
of the summer cottage has impressed itself upon all the later building,
and the native is passing architecturally, if not personally, into
abeyance. He takes the situation philosophically, and in the season he
caters to the summer colony not only as the landlord of the rented
cottages, and the keeper of the hotels and boarding-houses, but as
livery-stableman, grocer, butcher, marketman, apothecary, and doctor;
there is not one foreign accent in any of these callings. If the native
is a farmer, he devotes himself to vegetables, poultry, eggs, and fruit
for the summer folks, and brings these supplies to their doors; his
children appear with flowers; and there are many proofs that he has
accurately sized the cottagers up in their tastes and fancies as well as
their needs. I doubt if we have sized him up so well, or if our somewhat
conventionalized ideal of him is perfectly representative. He is,
perhaps, more complex than he seems; he is certainly much more self-
sufficing than might have been expected. The summer folks are the
material from which his prosperity is wrought, but he is not dependent,
and is very far from submissive. As in all right conditions, it is here
the employer who asks for work, not the employee; and the work must be
respectfully asked for. There are many fables to this effect, as, for
instance, that of the lady who said to a summer visitor, critical of the
week's wash she had brought home, "I'll wash you and I'll iron you, but I
won't take none of your jaw." A primitive independence is the keynote of
the native character, and it suffers no infringement, but rather boasts
itself. "We're independent here, I tell you," said the friendly person
who consented to take off the wire door. "I was down Bangor way doin' a
piece of work, and a fellow come along, and says he, 'I want you should
hurry up on that job.' 'Hello!' says I, 'I guess I'll pull out.' Well,
we calculate to do our work," he added, with an accent which sufficiently
implied that their consciences needed no bossing in the performance.
The native compliance with any summer-visiting request is commonly in
some such form as, "Well, I don't know but what I can," or, "I guess
there ain't anything to hinder me." This compliance is so rarely, if
ever, carried to the point of domestic service that it may fairly be said
that all the domestic service, at least of the cottagers, is imported.
The natives will wait at the hotel tables; they will come in "to
accommodate"; but they will not "live out." I was one day witness of the
extreme failure of a friend whose city cook had suddenly abandoned him,
and who applied to a friendly farmer's wife in the vain hope that she
might help him to some one who would help his family out in their strait.
"Why, there ain't a girl in the Hollow that lives out! Why, if you was
sick abed, I don't know as I know anybody 't you could git to set up with
you." The natives will not live out because they cannot keep their self-
respect in the conditions of domestic service. Some people laugh at this
self-respect, but most summer folks like it, as I own I do.
In our partly mythical estimate of the native and his relation to us, he
is imagined as holding a kind of carnival when we leave him at the end of
the season, and it is believed that he likes us to go early. We have had
his good offices at a fair price all summer, but as it draws to a close
they are rendered more and more fitfully. From some, perhaps flattered,
reports of the happiness of the natives at the departure of the
sojourners, I have pictured them dancing a sort of farandole, and
stretching with linked hands from the farthest summer cottage up the
river to the last on the wooded point. It is certain that they get
tired, and I could not blame them if they were glad to be rid of their
guests, and to go back to their own social life. This includes church
festivals of divers kinds, lectures and shows, sleigh-rides, theatricals,
and reading-clubs, and a plentiful use of books from the excellently
chosen free village library. They say frankly that the summer folks have
no idea how pleasant it is when they are gone, and I am sure that the
gayeties to which we leave them must be more tolerable than those which
we go back to in the city. It may be, however, that I am too confident,
and that their gayeties are only different. I should really like to know
just what the entertainments are which are given in a building devoted to
them in a country neighborhood three or four miles from the village. It
was once a church, but is now used solely for social amusements.
IV
The amusements of the summer colony I have already hinted at. Besides
suppers, there are also teas, of larger scope, both afternoon and
evening. There are hops every week at the two largest hotels, which are
practically free to all; and the bathing-beach is, of course, a supreme
attraction. The bath-houses, which are very clean and well equipped,
are not very cheap, either for the season or for a single bath, and there
is a pretty pavilion at the edge of the sands. This is always full of
gossiping spectators of the hardy adventurers who brave tides too remote
from the Gulf Stream to be ever much warmer than sixty or sixty-five
degrees. The bathers are mostly young people, who have the courage of
their pretty bathing-costumes or the inextinguishable ardor of their
years. If it is not rather serious business with them all, still I
admire the fortitude with which some of them remain in fifteen minutes.
Beyond our colony, which calls itself the Port, there is a far more
populous watering-place, east of the Point, known as the Beach, which is
the resort of people several grades of gentility lower than ours: so
many, in fact, that we never can speak of the Beach without averting our
faces, or, at the best, with a tolerant smile. It is really a succession
of beaches, all much longer and, I am bound to say, more beautiful than
ours, lined with rows of the humbler sort of summer cottages known as
shells, and with many hotels of corresponding degree. The cottages may
be hired by the week or month at about two dollars a day, and they are
supposed to be taken by inland people of little social importance. Very
likely this is true; but they seemed to be very nice, quiet people, and I
commonly saw the ladies reading, on their verandas, books and magazines,
while the gentlemen sprayed the dusty road before them with the garden
hose. The place had also for me an agreeable alien suggestion, and in
passing the long row of cottages I was slightly reminded of Scheveningen.
Beyond the cottage settlements is a struggling little park, dedicated to
the only Indian saint I ever heard of, though there may be others. His
statue, colossal in sheet-lead, and painted the copper color of his race,
offers any heathen comer the choice between a Bible in one of his hands
and a tomahawk in the other, at the entrance of the park; and there are
other sheet-lead groups and figures in the white of allegory at different
points. It promises to be a pretty enough little place in future years,
but as yet it is not much resorted to by the excursions which largely
form the prosperity of the Beach. The concerts and the "high-class
vaudeville" promised have not flourished in the pavilion provided for
them, and one of two monkeys in the zoological department has perished of
the public inattention. This has not fatally affected the captive bear,
who rises to his hind legs, and eats peanuts and doughnuts in that
position like a fellow-citizen. With the cockatoos and parrots, and the
dozen deer in an inclosure of wire netting, he is no mean attraction; but
he does not charm the excursionists away from the summer village at the
shore, where they spend long afternoons splashing among the waves, or in
lolling groups of men, women, and children on the sand. In the more
active gayeties, I have seen nothing so decided during the whole season
as the behavior of three young girls who once came up out of the sea, and
obliged me by dancing a measure on the smooth, hard beach in their
bathing-dresses.
I thought it very pretty, but I do not believe such a thing could have
been seen on OUR beach, which is safe from all excursionists, and sacred
to the cottage and hotel life of the Port.
Besides our beach and its bathing, we have a reading-club for the men,
evolved from one of the old native houses, and verandaed round for summer
use; and we have golf-links and a golf club-house within easy trolley
reach. The links are as energetically, if not as generally, frequented
as the sands, and the sport finds the favor which attends it everywhere
in the decay of tennis. The tennis-courts which I saw thronged about by
eager girl-crowds, here, seven years ago, are now almost wholly abandoned
to the lovers of the game, who are nearly always men.
Perhaps the only thing (besides, of course, our common mortality) which
we have in common with the excursionists is our love of the trolley-line.
This, by its admirable equipment, and by the terror it inspires in
horses, has well-nigh abolished driving; and following the old country
roads, as it does, with an occasional short-cut though the deep, green-
lighted woods or across the prismatic salt meadows, it is of a
picturesque variety entirely satisfying. After a year of fervent
opposition and protest, the whole community--whether of summer or of
winter folks--now gladly accepts the trolley, and the grandest cottager
and the lowliest hotel dweller meet in a grateful appreciation of its
beauty and comfort.
Some pass a great part of every afternoon on the trolley, and one lady
has achieved celebrity by spending four dollars a week in trolley-rides.
The exhilaration of these is varied with an occasional apprehension when
the car pitches down a sharp incline, and twists almost at right angles
on a sudden curve at the bottom without slacking its speed. A lady who
ventured an appeal to the conductor at one such crisis was reassured, and
at the same time taught her place, by his reply: "That motorman's life,
ma'am, is just as precious to him as what yours is to you."
She had, perhaps, really ventured too far, for ordinarily the employees
of the trolley do not find occasion to use so much severity with their
passengers. They look after their comfort as far as possible, and seek
even to anticipate their wants in unexpected cases, if I may believe a
story which was told by a witness. She had long expected to see some one
thrown out of the open car at one of the sharp curves, and one day she
actually saw a woman hurled from the seat into the road. Luckily the
woman slighted on her feet, and stood looking round in a daze.
"Oh! oh!" exclaimed another woman in the seat behind, "she's left her
umbrella!"
The conductor promptly threw it out to her.
"Why," demanded the witness, "did that lady wish to get out here?"
The conductor hesitated before he jerked the bellpull to go on: Then he
said, "Well, she'll want her umbrella, anyway."
The conductors are, in fact, very civil as well as kind. If they see a
horse in anxiety at the approach of the car, they considerately stop, and
let him get by with his driver in safety. By such means, with their
frequent trips and low fares, and with the ease and comfort of their
cars, they have conciliated public favor, and the trolley has drawn
travel away from the steam railroad in such measure that it ran no trains
last winter.
The trolley, in fact, is a fad of the summer folks this year; but what it
will be another no one knows; it may be their hissing and by-word. In
the mean time, as I have already suggested, they have other amusements.
These are not always of a nature so general as the trolley, or so
particular as the tea. But each of the larger hotels has been fully
supplied with entertainments for the benefit of their projectors, though
nearly everything of the sort had some sort of charitable slant. I
assisted at a stereopticon lecture on Alaska for the aid of some youthful
Alaskans of both sexes, who were shown first in their savage state, and
then as they appeared after a merely rudimental education, in the
costumes and profiles of our own civilization. I never would have
supposed that education could do so much in so short a time; and I gladly
gave my mite for their further development in classic beauty and a final
elegance. My mite was taken up in a hat, which, passed round among the
audience, is a common means of collecting the spectators' expressions of
appreciation. Other entertainments, of a prouder frame, exact an
admission fee, but I am not sure that these are better than some of the
hat-shows, as they are called.
The tale of our summer amusements would be sadly incomplete without some
record of the bull-fights given by the Spanish prisoners of war on the
neighboring island, where they were confined the year of the war.
Admission to these could be had only by favor of the officers in charge,
and even among the Elite of the colony those who went were a more elect
few. Still, the day I went, there were some fifty or seventy-five
spectators, who arrived by trolley near the island, and walked to the
stockade which confined the captives. A real bull-fight, I believe, is
always given on Sunday, and Puritan prejudice yielded to usage even in
the case of a burlesque bull-fight; at any rate, it was on a Sunday that
we crouched in an irregular semicircle on a rising ground within the
prison pale, and faced the captive audience in another semicircle, across
a little alley for the entrances and exits of the performers. The
president of the bull-fight was first brought to the place of honor in a
hand-cart, and then came the banderilleros, the picadores, and the
espada, wonderfully effective and correct in white muslin and colored
tissue-paper. Much may be done in personal decoration with advertising
placards; and the lofty mural crown of the president urged the public on
both sides to Use Plug Cut. The picador's pasteboard horse was attached
to his middle, fore and aft, and looked quite the sort of hapless jade
which is ordinarily sacrificed to the bulls. The toro himself was
composed of two prisoners, whose horizontal backs were covered with a
brown blanket; and his feet, sometimes bare and sometimes shod with
india-rubber boots, were of the human pattern. Practicable horns, of a
somewhat too yielding substance, branched from a front of pasteboard, and
a cloth tail, apt to come off in the charge, swung from his rear. I have
never seen a genuine corrida, but a lady present, who had, told me that
this was conducted with all the right circumstance; and it is certain
that the performers entered into their parts with the artistic gust of
their race. The picador sustained some terrific falls, and in his
quality of horse had to be taken out repeatedly and sewed up; the
banderilleros tormented and eluded the toro with table-covers, one red
and two drab, till the espada took him from them, and with due ceremony,
after a speech to the president, drove his blade home to the bull's
heart. I stayed to see three bulls killed; the last was uncommonly
fierce, and when his hindquarters came off or out, his forequarters
charged joyously among the aficionados on the prisoners' side, and made
havoc in their thickly packed ranks. The espada who killed this bull was
showered with cigars and cigarettes from our side.
I do not know what the Sabbath-keeping shades of the old Puritans made of
our presence at such a fete on Sunday; but possibly they had got on so
far in a better life as to be less shocked at the decay of piety among us
than pleased at the rise of such Christianity as had brought us, like
friends and comrades, together with our public enemies in this harmless
fun. I wish to say that the tobacco lavished upon the espada was
collected for the behoof of all the prisoners.
Our fiction has made so much of our summer places as the mise en scene of
its love stories that I suppose I ought to say something of this side of
our colonial life. But after sixty I suspect that one's eyes are poor
for that sort of thing, and I can only say that in its earliest and
simplest epoch the Port was particularly famous for the good times that
the young people had. They still have good times, though whether on just
the old terms I do not know. I know that the river is still here with
its canoes and rowboats, its meadowy reaches apt for dual solitude, and
its groves for picnics. There is not much bicycling--the roads are rough
and hilly--but there is something of it, and it is mighty pretty to see
the youth of both sexes bicycling with their heads bare. They go about
bareheaded on foot and in buggies, too, and the young girls seek the tan
which their mothers used so anxiously to shun.
The sail-boats, manned by weather-worn and weatherwise skippers, are
rather for the pleasure of such older summer folks as have a taste for
cod-fishing, which is here very good. But at every age, and in whatever
sort our colonists amuse themselves, it is with the least possible
ceremony. It is as if, Nature having taken them so hospitably to her
heart, they felt convention an affront to her. Around their cottages, as
I have said, they prefer to leave her primitive beauty untouched, and she
rewards their forbearance with such a profusion of wild flowers as I have
seen nowhere else. The low, pink laurel flushed all the stony fields to
the edges of their verandas when we first came; the meadows were milk-
white with daisies; in the swampy places delicate orchids grew, in the
pools the flags and flowering rushes; all the paths and way-sides were
set with dog-roses; the hollows and stony tops were broadly matted with
ground juniper. Since then the goldenrod has passed from glory to glory,
first mixing its yellow-powdered plumes with the red-purple tufts of the
iron-weed, and then with the wild asters everywhere. There has come
later a dwarf sort, six or ten inches high, wonderfully rich and fine,
which, with a low, white aster, seems to hold the field against
everything else, though the taller golden-rod and the masses of the high,
blue asters nod less thickly above it. But these smaller blooms deck the
ground in incredible profusion, and have an innocent air of being stuck
in, as if they had been fancifully used for ornament by children or
Indians.
In a little while now, as it is almost the end of September, all the
feathery gold will have faded to the soft, pale ghosts of that
loveliness. The summer birds have long been silent; the crows, as if
they were so many exultant natives, are shouting in the blue sky above
the windrows of the rowan, in jubilant prescience of the depopulation of
our colony, which fled the hotels a fortnight ago. The days are growing
shorter, and the red evenings falling earlier; so that the cottagers'
husbands who come up every Saturday from town might well be impatient for
a Monday of final return. Those who came from remoter distances have
gone back already; and the lady cottagers, lingering hardily on till
October, must find the sight of the empty hotels and the windows of the
neighboring houses, which no longer brighten after the chilly nightfall,
rather depressing. Every one says that this is the loveliest time of
year, and that it will be divine here all through October. But there are
sudden and unexpected defections; there is a steady pull of the heart
cityward, which it is hard to resist. The first great exodus was on the
first of the month, when the hotels were deserted by four-fifths of their
guests. The rest followed, half of them within the week, and within a
fortnight none but an all but inaudible and invisible remnant were left,
who made no impression of summer sojourn in the deserted trolleys.
The days now go by in moods of rapid succession. There have been days
when the sea has lain smiling in placid derision of the recreants who
have fled the lingering summer; there have been nights when the winds
have roared round the cottages in wild menace of the faithful few who
have remained.
We have had a magnificent storm, which came, as an equinoctial storm
should, exactly at the equinox, and for a day and a night heaped the sea
upon the shore in thundering surges twenty and thirty feet high. I
watched these at their awfulest, from the wide windows of a cottage that
crouched in the very edge of the surf, with the effect of clutching the
rocks with one hand and holding its roof on with the other. The sea was
such a sight as I have not seen on shipboard, and while I luxuriously
shuddered at it, I had the advantage of a mellow log-fire at my back,
purring and softly crackling in a quiet indifference to the storm.
Twenty-four hours more made all serene again. Bloodcurdling tales of
lobster-pots carried to sea filled the air; but the air was as blandly
unconscious of ever having been a fury as a lady who has found her lost
temper. Swift alternations of weather are so characteristic of our
colonial climate that the other afternoon I went out with my umbrella
against the raw, cold rain of the morning, and had to raise it against
the broiling sun. Three days ago I could say that the green of the woods
had no touch of hectic in it; but already the low trees of the swamp-land
have flamed into crimson. Every morning, when I look out, this crimson
is of a fierier intensity, and the trees on the distant uplands are
beginning slowly to kindle, with a sort of inner glow which has not yet
burst into a blaze. Here and there the golden-rod is rusting; but there
seems only to be more and more asters sorts; and I have seen ladies
coming home with sheaves of blue gentians; I have heard that the orchids
are beginning again to light their tender lamps from the burning
blackberry vines that stray from the pastures to the edge of the swamps.
After an apparently total evanescence there has been a like resuscitation
of the spirit of summer society. In the very last week of September we
have gone to a supper, which lingered far out of its season like one of
these late flowers, and there has been an afternoon tea which assembled
an astonishing number of cottagers, all secretly surprised to find one
another still here, and professing openly a pity tinged with contempt for
those who are here no longer.
I blamed those who had gone home, but I myself sniff the asphalt afar;
the roar of the street calls to me with the magic that the voice of the
sea is losing. Just now it shines entreatingly, it shines winningly, in
the sun which is mellowing to an October tenderness, and it shines under
a moon of perfect orb, which seems to have the whole heavens to itself in
"the first watch of the night," except for "the red planet Mars." This
begins to burn in the west before the flush of sunset has passed from it;
and then, later, a few moon-washed stars pierce the vast vault with their
keen points. The stars which so powdered the summer sky seem mostly to
have gone back to town, where no doubt people take them for electric
lights.
ETEXT EDITOR'S BOOKMARKS:
Ladies make up the pomps which they (the men) forego
Summer folks have no idea how pleasant it is when they are gone
Their consciences needed no bossing in the performance
End of this Project Gutenberg Etext of Confessions of a Summer Colonist,
by William Dean Howells
LITERATURE AND LIFE--The Young Contributor
by William Dean Howells
THE EDITOR'S RELATIONS WITH THE YOUNG CONTRIBUTOR
One of the trustiest jokes of the humorous paragrapher is that the editor
is in great and constant dread of the young contributor; but neither my
experience nor my observation bears out his theory of the case.
Of course one must not say anything to encourage a young person to
abandon an honest industry in the vain hope of early honor and profit
from literature; but there have been and there will be literary men and
women always, and these in the beginning have nearly always been young;
and I cannot see that there is risk of any serious harm in saying that it
is to the young contributor the editor looks for rescue from the old
contributor, or from his failing force and charm.
The chances, naturally, are against the young contributor, and vastly
against him; but if any periodical is to live, and to live long, it is by
the infusion of new blood; and nobody knows this better than the editor,
who may seem so unfriendly and uncareful to the young contributor. The
strange voice, the novel scene, the odor of fresh woods and pastures new,
the breath of morning, the dawn of tomorrow--these are what the editor is
eager for, if he is fit to be an editor at all; and these are what the
young contributor alone can give him.
A man does not draw near the sixties without wishing people to believe
that he is as young as ever, and he has not written almost as many books
as he has lived years without persuading himself that each new work of
his has all the surprise of spring; but possibly there are wonted traits
and familiar airs and graces in it which forbid him to persuade others.
I do not say these characteristics are not charming; I am very far from
wishing to say that; but I do say and must say that after the fiftieth
time they do not charm for the first time; and this is where the
advantage of the new contributor lies, if he happens to charm at all.
I.
The new contributor who does charm can have little notion how much he
charms his first reader, who is the editor. That functionary may bide
his pleasure in a short, stiff note of acceptance, or he may mask his joy
in a check of slender figure; but the contributor may be sure that he has
missed no merit in his work, and that he has felt, perhaps far more than
the public will feel, such delight as it can give.
The contributor may take the acceptance as a token that his efforts have
not been neglected, and that his achievements will always be warmly
welcomed; that even his failures will be leniently and reluctantly
recognized as failures, and that he must persist long in failure before
the friend he has made will finally forsake him.
I do not wish to paint the situation wholly rose color; the editor will
have his moods, when he will not see so clearly or judge so justly as at
other times; when he will seem exacting and fastidious, and will want
this or that mistaken thing done to the story, or poem, or sketch, which
the author knows to be simply perfect as it stands; but he is worth
bearing with, and he will be constant to the new contributor as long as
there is the least hope of him.
The contributor may be the man or the woman of one story, one poem, one
sketch, for there are such; but the editor will wait the evidence of
indefinite failure to this effect. His hope always is that he or she is
the man or the woman of many stories, many poems, many sketches, all as
good as the first.
From my own long experience as a magazine editor, I may say that the
editor is more doubtful of failure in one who has once done well than of
a second success. After all, the writer who can do but one good thing is
rarer than people are apt to think in their love of the improbable; but
the real danger with a young contributor is that he may become his own
rival.
What would have been quite good enough from him in the first instance is
not good enough in the second, because he has himself fixed his standard
so high. His only hope is to surpass himself, and not begin resting on
his laurels too soon; perhaps it is never well, soon or late, to rest
upon one's laurels. It is well for one to make one's self scarce, and
the best way to do this is to be more and more jealous of perfection in
one's work.
The editor's conditions are that having found a good thing he must get as
much of it as he can, and the chances are that he will be less exacting
than the contributor imagines. It is for the contributor to be exacting,
and to let nothing go to the editor as long as there is the possibility
of making it better. He need not be afraid of being forgotten because he
does not keep sending; the editor's memory is simply relentless; he could
not forget the writer who has pleased him if he would, for such writers
are few.
I do not believe that in my editorial service on the Atlantic Monthly,
which lasted fifteen years in all, I forgot the name or the
characteristic quality, or even the handwriting, of a contributor who had
pleased me, and I forgot thousands who did not. I never lost faith in a
contributor who had done a good thing; to the end I expected another good
thing from him. I think I was always at least as patient with him as he
was with me, though he may not have known it.
At the time I was connected with that periodical it had almost a monopoly
of the work of Longfellow, Emerson, Holmes, Lowell, Whittier, Mrs. Stowe,
Parkman, Higginson, Aldrich, Stedman, and many others not so well known,
but still well known. These distinguished writers were frequent
contributors, and they could be counted upon to respond to almost any
appeal of the magazine; yet the constant effort of the editors was to
discover new talent, and their wish was to welcome it.
I know that, so far as I was concerned, the success of a young
contributor was as precious as if I had myself written his paper or poem,
and I doubt if it gave him more pleasure. The editor is, in fact, a sort
of second self for the contributor, equally eager that he should stand
well with the public, and able to promote his triumphs without egotism
and share them without vanity.
II.
In fact, my curious experience was that if the public seemed not to feel
my delight in a contribution I thought good, my vexation and
disappointment were as great as if the work hod been my own. It was even
greater, for if I had really written it I might have had my misgivings of
its merit, but in the case of another I could not console myself with
this doubt. The sentiment was at the same time one which I could not
cherish for the work of an old contributor; such a one stood more upon
his own feet; and the young contributor may be sure that the editor's
pride, self-interest, and sense of editorial infallibility will all
prompt him to stand by the author whom he has introduced to the public,
and whom he has vouched for.
I hope I am not giving the young contributor too high an estimate of his
value to the editor. After all, he must remember that he is but one of a
great many others, and that the editor's affections, if constant, are
necessarily divided. It is good for the literary aspirant to realize
very early that he is but one of many; for the vice of our comparatively
virtuous craft is that it tends to make each of us imagine himself
central, if not sole.
As a matter of fact, however, the universe does not revolve around any
one of us; we make our circuit of the sun along with the other
inhabitants of the earth, a planet of inferior magnitude. The thing we
strive for is recognition, but when this comes it is apt to turn our
heads. I should say, then, that it was better it should not come in a
great glare and aloud shout, all at once, but should steal slowly upon
us, ray by ray, breath by breath.
In the mean time, if this happens, we shall have several chances of
reflection, and can ask ourselves whether we are really so great as we
seem to other people, or seem to seem.
The prime condition of good work is that we shall get ourselves out of
our minds. Sympathy we need, of course, and encouragement; but I am not
sure that the lack of these is not a very good thing, too. Praise
enervates, flattery poisons; but a smart, brisk snub is always rather
wholesome.
I should say that it was not at all a bad thing for a young contributor
to get his manuscript back, even after a first acceptance, and even a
general newspaper proclamation that he is one to make the immortals
tremble for their wreaths of asphodel--or is it amaranth? I am never
sure which.
Of course one must have one's hour, or day, or week, of disabling the
editor's judgment, of calling him to one's self fool, and rogue, and
wretch; but after that, if one is worth while at all, one puts the
rejected thing by, or sends it off to some other magazine, and sets about
the capture of the erring editor with something better, or at least
something else.
III.
I think it a great pity that editors ever deal other than frankly with
young contributors, or put them off with smooth generalities of excuse,
instead of saying they do not like this thing or that offered them. It
is impossible to make a criticism of all rejected manuscripts, but in the
case of those which show promise I think it is quite possible; and if I
were to sin my sins over again, I think I should sin a little more on the
side of candid severity. I am sure I should do more good in that way,
and I am sure that when I used to dissemble my real mind I did harm to
those whose feelings I wished to spare. There ought not, in fact, to be
question of feeling in the editor's mind.
I know from much suffering of my own that it is terrible to get back a
manuscript, but it is not fatal, or I should have been dead a great many
times before I was thirty, when the thing mostly ceased for me. One
survives it again and again, and one ought to make the reflection that it
is not the first business of a periodical to print contributions of this
one or of that, but that its first business is to amuse and instruct its
readers.
To do this it is necessary to print contributions, but whose they are, or
how the writer will feel if they are not printed, cannot be considered.
The editor can consider only what they are, and the young contributor
will do well to consider that, although the editor may not be an
infallible judge, or quite a good judge, it is his business to judge, and
to judge without mercy. Mercy ought no more to qualify judgment in an
artistic result than in a mathematical result.
IV.
I suppose, since I used to have it myself, that there is a superstition
with most young contributors concerning their geographical position. I
used to think that it was a disadvantage to send a thing from a small or
unknown place, and that it doubled my insignificance to do so. I
believed that if my envelope had borne the postmark of New York, or
Boston, or some other city of literary distinction, it would have arrived
on the editor's table with a great deal more authority. But I am sure
this was a mistake from the first, and when I came to be an editor myself
I constantly verified the fact from my own dealings with contributors.
A contribution from a remote and obscure place at once piqued my
curiosity, and I soon learned that the fresh things, the original things,
were apt to come from such places, and not from the literary centres.
One of the most interesting facts concerning the arts of all kinds is
that those who wish to give their lives to them do not appear where the
appliances for instruction in them exist. An artistic atmosphere does
not create artists a literary atmosphere does not create literators;
poets and painters spring up where there was never a verse made or a
picture seen.
This suggests that God is no more idle now than He was at the beginning,
but that He is still and forever shaping the human chaos into the
instruments and means of beauty. It may also suggest to that scholar-
pride, that vanity of technique, which is so apt to vaunt itself in the
teacher, that the best he can do, after all, is to let the pupil teach
himself. If he comes with divine authority to the thing he attempts, he
will know how to use the appliances, of which the teacher is only the
first.
The editor, if he does not consciously perceive the truth, will
instinctively feel it, and will expect the acceptable young contributor
from the country, the village, the small town, and he will look eagerly
at anything that promises literature from Montana or Texas, for he will
know that it also promises novelty.
If he is a wise editor, he will wish to hold his hand as much as
possible; he will think twice before he asks the contributor to change
this or correct that; he will leave him as much to himself as he can.
The young contributor; on his part, will do well to realize this, and to
receive all the editorial suggestions, which are veiled commands in most
cases, as meekly and as imaginatively as possible.
The editor cannot always give his reasons; however strongly he may feel
them, but the contributor, if sufficiently docile, can always divine
them. It behooves him to be docile at all times, for this is merely the
willingness to learn; and whether he learns that he is wrong, or that the
editor is wrong, still he gains knowledge.
A great deal of knowledge comes simply from doing, and a great deal more
from doing over, and this is what the editor generally means.
I think that every author who is honest with himself must own that his
work would be twice as good if it were done twice. I was once so
fortunately circumstanced that I was able entirely to rewrite one of my
novels, and I have always thought it the best written, or at least
indefinitely better than it would have been with a single writing. As a
matter of fact, nearly all of them have been rewritten in a certain way.
They have not actually been rewritten throughout, as in the case I speak
of, but they have been gone over so often in manuscript and in proof that
the effect has been much the same.
Unless you are sensible of some strong frame within your work, something
vertebral, it is best to renounce it, and attempt something else in which
you can feel it. If you are secure of the frame you must observe the
quality and character of everything you build about it; you must touch,
you must almost taste, you must certainly test, every material you
employ; every bit of decoration must undergo the same scrutiny as the
structure.
It will be some vague perception of the want of this vigilance in the
young contributor's work which causes the editor to return it to him for
revision, with those suggestions which he will do well to make the most
of; for when the editor once finds a contributor he can trust, he
rejoices in him with a fondness which the contributor will never perhaps
understand.
It will not do to write for the editor alone; the wise editor understands
this, and averts his countenance from the contributor who writes at him;
but if he feels that the contributor conceives the situation, and will
conform to the conditions which his periodical has invented for itself,
arid will transgress none of its unwritten laws; if he perceives that he
has put artistic conscience in every general and detail, and though he
has not done the best, has done the best that he can do, he will begin to
liberate him from every trammel except those he must wear himself, and
will be only too glad to leave him free. He understands, if he is at all
fit for his place, that a writer can do well only what he likes to do,
and his wish is to leave him to himself as soon as possible.
V.
In my own case, I noticed that the contributors who could be best left to
themselves were those who were most amenable to suggestion and even
correction, who took the blue pencil with a smile, and bowed gladly to
the rod of the proof-reader. Those who were on the alert for offence,
who resented a marginal note as a slight, and bumptiously demanded that
their work should be printed just as they had written it, were commonly
not much more desired by the reader than by the editor.
Of course the contributor naturally feels that the public is the test of
his excellence, but he must not forget that the editor is the beginning
of the public; and I believe he is a faithfuller and kinder critic than
the writer will ever find again.
Since my time there is a new tradition of editing, which I do not think
so favorable to the young contributor as the old. Formerly the magazines
were made up of volunteer contributions in much greater measure than they
are now. At present most of the material is invited and even engaged; it
is arranged for a long while beforehand, and the space that can be given
to the aspirant, the unknown good, the potential excellence, grows
constantly less and less.
A great deal can be said for either tradition; perhaps some editor will
yet imagine a return to the earlier method. In the mean time we must
deal with the thing that is, and submit to it until it is changed. The
moral to the young contributor is to be better than ever, to leave
nothing undone that shall enhance his small chances of acceptance.
If he takes care to be so good that the editor must accept him in spite
of all the pressure upon his pages, he will not only be serving-himself
best, but may be helping the editor to a conception of his duty that
shall be more hospitable to all other young contributors. As it is,
however, it must be owned that their hope of acceptance is very, very
small, and they will do well to make sure that they love literature so
much that they can suffer long and often repeated disappointment in its
cause.
The love of it is the great and only test of fitness for it. It is
really inconceivable how any one should attempt it without this, but
apparently a great many do. It is evident to every editor that a vast
number of those who write the things he looks at so faithfully, and reads
more or less, have no artistic motive.
People write because they wish to be known, or because they have heard
that money is easily made in that way, or because they think they will
chance that among a number of other things. The ignorance of technique
which they often show is not nearly so disheartening as the palpable
factitiousness of their product. It is something that they have made; it
is not anything that has grown out of their lives.
I should think it would profit the young contributor, before he puts pen
to paper, to ask himself why he does so, and, if he finds that he has no
motive in the love of the thing, to forbear.
Am I interested in what I am going to write about? Do I feel it
strongly? Do I know it thoroughly? Do I imagine it clearly? The young
contributor had better ask himself all these questions, and as many more
like them as he can think of. Perhaps he will end by not being a young
contributor.
But if he is able to answer them satisfactorily to his own conscience, by
all means let him begin. He may at once put aside all anxiety about
style; that is a thing that will take care of itself; it will be added
unto him if he really has something to say; for style is only a man's way
of saying a thing.
If he has not much to say, or if he has nothing to say, perhaps he will
try to say it in some other man's way, or to hide his own vacuity with
rags of rhetoric and tags and fringes of manner, borrowed from this
author and that. He will fancy that in this disguise his work will be
more literary, and that there is somehow a quality, a grace, imparted to
it which will charm in spite of the inward hollowness. His vain hope
would be pitiful if it were not so shameful, but it is destined to suffer
defeat at the first glance of the editorial eye.
If he really has something to say, however, about something he knows and
loves, he is in the best possible case to say it well. Still, from time
to time he may advantageously call a halt, and consider whether he is
saying the thing clearly and simply.
If he has a good ear he will say it gracefully, and musically; and I
would by no means have him aim to say it barely or sparely. It is not so
that people talk, who talk well, and literature is only the thought of
the writer flowing from the pen instead of the tongue.
To aim at succinctness and brevity merely, as some teach, is to practice
a kind of quackery almost as offensive as the charlatanry of rhetoric.
In either case the life goes out of the subject.
To please one's self, honestly and thoroughly, is the only way to please
others in matters of art. I do not mean to say that if you please
yourself you will always please others, but that unless you please
yourself you will please no one else. It is the sweet and sacred
privilege of work done artistically to delight the doer. Art is the
highest joy, but any work done in the love of it is art, in a kind, and
it strikes the note of happiness as nothing else can.
We hear much of drudgery, but any sort of work that is slighted becomes
drudgery; poetry, fiction, painting, sculpture, acting, architecture, if
you do not do your best by them, turn to drudgery sore as digging
ditches, hewing wood, or drawing water; and these, by the same blessings
of God, become arts if they are done with conscience and the sense of
beauty.
The young contributor may test his work before the editor assays it, if
he will, and he may know by a rule that is pretty infallible whether it
is good or not, from his own experience in doing it. Did it give him
pleasure? Did he love it as it grew under his hand? Was he glad and
willing with it? Or did he force himself to it, and did it hang heavy
upon him?
There is nothing mystical in all this; it is a matter of plain, every-day
experience, and I think nearly every artist will say the same thing about
it, if he examines himself faithfully.
If the young contributor finds that he has no delight in the thing he has
attempted, he may very well give it up, for no one else will delight in
it. But he need not give it up at once; perhaps his mood is bad; let him
wait for a better, and try it again. He may not have learned how to do
it well, and therefore he cannot love it, but perhaps he can learn to do
it well.
The wonder and glory of art is that it is without formulas. Or, rather,
each new piece of work requires the invention of new formulas, which will
not serve again for another. You must apprentice yourself afresh at
every fresh undertaking, and our mastery is always a victory over certain
unexpected difficulties, and not a dominion of difficulties overcome
before.
I believe, in other words, that mastery is merely the strength that comes
of overcoming and is never a sovereign power that smooths the path of all
obstacles. The combinations in art are infinite, and almost never the
same; you must make your key and fit it to each, and the key that unlocks
one combination will not unlock another.
VI.
There is no royal road to excellence in literature, but the young
contributor need not be dismayed at that. Royal roads are the ways that
kings travel, and kings are mostly dull fellows, and rarely have a good
time. They do not go along singing; the spring that trickles into the
mossy log is not for them, nor
"The wildwood flower that simply blows."
But the traveller on the country road may stop for each of these; and it
is not a bad condition of his progress that he must move so slowly that
he can learn every detail of the landscape, both earth and sky, by heart.
The trouble with success is that it is apt to leave life behind, or
apart. The successful writer especially is in danger of becoming
isolated from the realities that nurtured in him the strength to win
success. When he becomes famous, he becomes precious to criticism, to
society, to all the things that do not exist from themselves, or have not
the root of the matter in them.
Therefore, I think that a young writer's upward course should be slow and
beset with many obstacles, even hardships. Not that I believe in
hardships as having inherent virtues; I think it is stupid to regard them
in that way; but they oftener bring out the virtues inherent in the
sufferer from them than what I may call the 'softships'; and at least
they stop him, and give him time to think.
This is the great matter, for if we prosper forward rapidly, we have no
time for anything but prospering forward rapidly. We have no time for
art, even the art by which we prosper.
I would have the young contributor above all things realize that success
is not his concern. Good work, true work, beautiful work is his affair,
and nothing else. If he does this, success will take care of itself.
He has no business to think of the thing that will take. It is the
editor's business to think of that, and it is the contributor's business
to think of the thing that he can do with pleasure, the high pleasure
that comes from the sense of worth in the thing done. Let him do the
best he can, and trust the editor to decide whether it will take.
It will take far oftener than anything he attempts perfunctorily; and
even if the editor thinks it will not take, and feels obliged to return
it for that reason, he will return it with a real regret, with the honor
and affection which we cannot help feeling for any one who has done a
piece of good work, and with the will and the hope to get something from
him that will take the next time, or the next, or the next.
ETEXT EDITOR'S BOOKMARKS:
An artistic atmosphere does not create artists
Any sort of work that is slighted becomes drudgery
Put aside all anxiety about style
Should sin a little more on the side of candid severity
Trouble with success is that it is apt to leave life behind
Work would be twice as good if it were done twice
End of this Project Gutenberg Etext of The Young Contributor
by William Dean Howells
LITERATURE AND LIFE--Last Days in a Dutch Hotel
by William Dean Howells
LAST DAYS IN A DUTCH HOTEL
(1897)
When we said that we were going to Scheveningen, in the middle of
September, the portier of the hotel at The Hague was sure we should be
very cold, perhaps because we had suffered so much in his house already;
and he was right, for the wind blew with a Dutch tenacity of purpose for
a whole week, so that the guests thinly peopling the vast hostelry seemed
to rustle through its chilly halls and corridors like so many autumn
leaves. We were but a poor hundred at most where five hundred would not
have been a crowd; and, when we sat down at the long tables d'hote in the
great dining-room, we had to warm our hands with our plates before we
could hold our spoons. From time to time the weather varied, as it does
in Europe (American weather is of an exemplary constancy in comparison),
and three or four times a day it rained, and three or four times it
cleared; but through all the wind blew cold and colder. We were
promised, however, that the hotel would not close till October, and we
made shift, with a warm chimney in one room and three gas-burners in
another, if not to keep warm quite, yet certainly to get used to the
cold.
I.
In the mean time the sea-bathing went resolutely on with all its forms.
Every morning the bathing machines were drawn down to the beach from the
esplanade, where they were secured against the gale every night; and
every day a half-dozen hardy invalids braved the rigors of wind and wave.
At the discreet distance which one ought always to keep one could not
always be sure whether these bold bathers were mermen or mermaids; for
the sea costume of both sexes is the same here, as regards an absence of
skirts and a presence of what are, after the first plunge, effectively
tights. The first time I walked down to the beach I was puzzled to make
out some object rolling about in the low surf, which looked like a
barrel, and which two bathing-machine men were watching with apparently
the purpose of fishing it out. Suddenly this object reared itself from
the surf and floundered towards the steps of a machine; then I saw that
it was evidently not a barrel, but a lady, and after that I never dared
carry my researches so far. I suppose that the bathing-tights are more
becoming in some cases than in others; but I hold to a modest preference
for skirts, however brief, in the sea-gear of ladies. Without them there
may sometimes be the effect of beauty, and sometimes the effect of
barrel.
For the convenience and safety of the bathers there were, even in the
last half of September, some twenty machines, and half as many bath-men
and bath-women, who waded into the water and watched that the bathers
came to no harm, instead of a solitary lifeguard showing his statuesque
shape as he paced the shore beside the lifelines, or cynically rocked in
his boat beyond the breakers, as the custom is on Long Island. Here
there is no need of life-lines, and, unless one held his head resolutely
under water, I do not see how he could drown within quarter of a mile of
the shore. Perhaps it is to prevent suicide that the bathmen are so
plentifully provided.
They are a provision of the hotel, I believe, which does not relax itself
in any essential towards its guests as they grow fewer. It seems, on the
contrary, to use them with a more tender care, and to console them as it
may for the inevitable parting near at hand. Now, within three or four
days of the end, the kitchen is as scrupulously and vigilantly perfect as
it could be in the height of the season; and our dwindling numbers sit
down every night to a dinner that we could not get for much more love or
vastly more money in the month of August, at any shore hotel in America.
It is true that there are certain changes going on, but they are going on
delicately, almost silently. A strip of carpeting has come up from along
our corridor, but we hardly miss it from the matting which remains.
Through the open doors of vacant chambers we can see that beds are coming
down, and the dismantling extends into the halls at places. Certain
decorative carved chairs which repeated themselves outside the doors have
ceased to be there; but the pictures still hang on the walls, and within
our own rooms everything is as conscientious as in midsummer. The
service is instant, and, if there is some change in it, the change is not
for the worse. Yesterday our waiter bade me good-bye, and when I said I
was sorry he was going he alleged a boil on his cheek in excuse; he would
not allow that his going had anything to do with the closing of the
hotel, and he was promptly replaced by another who speaks excellent
English. Now that the first is gone, I may own that he seemed not to
speak any foreign language long, but, when cornered in English, took
refuge in French, and then fled from pursuit in that to German, and
brought up in final Dutch, where he was practically inaccessible.
The elevator runs regularly, if not rapidly; the papers arrive
unfailingly in the reading-room, including a solitary London Times, which
even I do not read, perhaps because I have no English-reading rival to
contend for it with. Till yesterday, an English artist sometimes got it;
but he then instantly offered it to me; and I had to refuse it because I
would not be outdone in politeness. Now even he is gone, and on all
sides I find myself in an unbroken circle of Dutch and German, where no
one would dispute the Times with me if he could.
Every night the corridors are fully lighted, and some mornings swept,
while the washing that goes on all over Holland, night and morning, does
not always spare our unfrequented halls and stairs. I note these little
facts, for the contrast with those of an American hotel which we once
assisted in closing, and where the elevator stopped two weeks before we
left, and we fell from electricity to naphtha-gas, and even this died out
before us except at long intervals in the passages; while there were
lightning changes in the service, and a final failure of it till we had
to go down and get our own ice-water of the lingering room-clerk, after
the last bell-boy had winked out.
II.
But in Europe everything is permanent, and in America everything is
provisional. This is the great distinction which, if always kept in
mind, will save a great deal of idle astonishment. It is in nothing more
apparent than in the preparation here at Scheveningen for centuries of
summer visitors, while at our Long Island hotel there was a losing bet on
a scant generation of them. When it seemed likely that it might be a
winning bet the sand was planked there in front of the hotel to the sea
with spruce boards. It was very handsomely planked, but it was never
afterwards touched, apparently, for any manner of repairs. Here, for
half a mile the dune on which the hotel stands is shored up with massive
masonry, and bricked for carriages, and tiled for foot-passengers; and it
is all kept as clean as if wheel or foot had never passed over it. I am
sure that there is not a broken brick or a broken tile in the whole
length or breadth of it. But the hotel here is not a bet; it is a
business. It has come to stay; and on Long Island it had come to see how
it would like it.
Beyond the walk and drive, however, the dunes are left to the winds, and
to the vegetation with which the Dutch planting clothes them against the
winds. First a coarse grass or rush is sown; then a finer herbage comes;
then a tough brushwood, with flowers and blackberry-vines; so that while
the seaward slopes of the dunes are somewhat patched and tattered, the
landward side and all the pleasant hollows between are fairly held
against such gales as on Long Island blow the lower dunes hither and yon.
The sheep graze in the valleys at some points; in many a little pocket of
the dunes I found a potato-patch of about the bigness of a city lot, and
on week-days I saw wooden-shod men slowly, slowly gathering in the crop.
On Sundays I saw the pleasant nooks and corners of these sandy hillocks
devoted, as the dunes of Long Island were, to whispering lovers, who are
here as freely and fearlessly affectionate as at home. Rocking there is
not, and cannot be, in the nature of things, as there used to be at Mount
Desert; but what is called Twoing at York Harbor is perfectly
practicable.
It is practicable not only in the nooks and corners of the dunes, but on
discreeter terms in those hooded willow chairs, so characteristic of the
Dutch sea-side. These, if faced in pairs towards each other, must be as
favorable to the exchange of vows as of opinions, and if the crowd is
ever very great, perhaps one chair could be made to hold two persons.
It was distinctly a pang, the other day, to see men carrying them up from
the beach, and putting them away to hibernate in the basement of the
hotel. Not all, but most of them, were taken; though I dare say that on
fine days throughout October they will go trooping back to the sands on
the heads of the same men, like a procession of monstrous, two-legged
crabs. Such a day was last Sunday, and then the beach offered a lively
image of its summer gayety. It was dotted with hundreds of hooded
chairs, which foregathered in gossiping groups or confidential couples;
and as the sun shone quite warm the flaps of the little tents next the
dunes were let down against it, and ladies in summer white saved
themselves from sunstroke in their shelter. The wooden booths for the
sale of candies and mineral waters, and beer and sandwiches, were flushed
with a sudden prosperity, so that when I went to buy my pound of grapes
from the good woman who understands my Dutch, I dreaded an indifference
in her which by no means appeared. She welcomed me as warmly as if I had
been her sole customer, and did not put up the price on me; perhaps
because it was already so very high that her imagination could not rise
above it.
The hotel showed the same admirable constancy. The restaurant was
thronged with new-comers, who spread out even over the many-tabled
esplanade before it; but it was in no wise demoralized. That night we
sat down in multiplied numbers to a table d'hote of serenely unconscious
perfection; and we permanent guests--alas! we are now becoming transient,
too--were used with unfaltering recognition of our superior worth. We
shared the respect which, all over Europe, attaches to establishment, and
which sometimes makes us poor Americans wish for a hereditary nobility,
so that we could all mirror our ancestral value in the deference of our
inferiors. Where we should get our inferiors is another thing, but I
suppose we could import them for the purpose, if the duties were not too
great under our tariff.
We have not yet imported the idea of a European hotel in any respect,
though we long ago imported what we call the European plan. No travelled
American knows it in the extortionate prices of rooms when he gets home,
or the preposterous charges of our restaurants, where one portion of
roast beef swimming in a lake of lukewarm juice costs as much as a
diversified and delicate dinner in Germany or Holland. But even if there
were any proportion in these things the European hotel will not be with
us till we have the European portier, who is its spring and inspiration.
He must not, dear home-keeping reader, be at all imagined in the moral or
material figure of our hotel porter, who appears always in his shirt-
sleeves, and speaks with the accent of Cork or of Congo. The European
portier wears a uniform, I do not know why, and a gold-banded cap, and he
inhabits a little office at the entrance of the hotel. He speaks eight
or ten languages, up to certain limit, rather better than people born to
them, and his presence commands an instant reverence softening to
affection under his universal helpfulness. There is nothing he cannot
tell you, cannot do for you; and you may trust yourself implicitly to
him. He has the priceless gift of making each nationality, each
personality, believe that he is devoted to its service alone. He turns
lightly from one language to another, as if he had each under his tongue,
and he answers simultaneously a fussy French woman, an angry English
tourist, a stiff Prussian major, and a thin-voiced American girl in
behalf of a timorous mother, and he never mixes the replies. He is an
inexhaustible bottle of dialects; but this is the least of his merits, of
his miracles.
Our portier here is a tall, slim Dutchman (most Dutchmen are tall and
slim), and in spite of the waning season he treats me as if I were
multitude, while at the same time he uses me with the distinction due the
last of his guests. Twenty times in as many hours he wishes me good-day,
putting his hand to his cap for the purpose; and to oblige me he wears
silver braid instead of gilt on his cap and coat. I apologized yesterday
for troubling him so often for stamps, and said that I supposed he was
much more bothered in the season.
"Between the first of August and the fifteenth," he answered, "you cannot
think. All that you can do is to say, Yes, No; Yes, No." And he left me
to imagine his responsibilities.
I am sure he will hold out to the end, and will smile me a friendly
farewell from the door of his office, which is also his dining-room, as I
know from often disturbing him at his meals there. I have no fear of the
waiters either, or of the little errand-boys who wear suits of sailor
blue, and touch their foreheads when they bring you your letters like so
many ancient sea-dogs. I do not know why the elevator-boy prefers a suit
of snuff-color; but I know that he will salute us as we step out of his
elevator for the last time as unfalteringly as if we had just arrived at
the beginning of the summer.
IV
It is our last day in the hotel at Scheveningen, and I will try to recall
in their pathetic order the events of the final week.
Nothing has been stranger throughout than the fluctuation of the guests.
At times they have dwindled to so small a number that one must reckon
chiefly upon their quality for consolation; at other times they swelled
to such a tide as to overflow the table, long or short, at dinner, and
eddy round a second board beside it. There have been nights when I have
walked down the long corridor to my seaward room through a harking
solitude of empty chambers; there have been mornings when I have come out
to breakfast past door-mats cheerful with boots of both sexes, and door-
post hooks where dangling coats and trousers peopled the place with a
lively if a somewhat flaccid semblance of human presence. The worst was
that, when some one went, we lost a friend, and when some one came we
only won a stranger.
Among the first to go were the kindly English folk whose acquaintance we
made across the table the first night, and who took with them so large a
share of our facile affections that we quite forgot the ancestral
enmities, and grieved for them as much as if they had been Americans.
There have been, in fact, no Americans here but ourselves, and we have
done what we could with the Germans who spoke English. The nicest of
these were a charming family from F-----, father and mother, and son and
daughter, with whom we had a pleasant week of dinners. At the very first
we disagreed with the parents so amicably about Ibsen and Sudermann that
I was almost sorry to have the son take our modern side of the
controversy and declare himself an admirer of those authors with us.
Our frank literary difference established a kindness between us that was
strengthened by our community of English, and when they went they left us
to the sympathy of another German family with whom we had mainly our
humanity in common. They spoke no English, and I only a German which
they must have understood with their hearts rather than their heads,
since it consisted chiefly of good-will. But in the air of their sweet
natures it flourished surprisingly, and sufficed each day for praise of
the weather after it began to be fine, and at parting for some fond
regrets, not unmixed with philosophical reflections, sadly perplexed in
the genders and the order of the verbs: with me the verb will seldom
wait, as it should in German, to the end. Both of these families, very
different in social tradition, I fancied, were one in the amiability
which makes the alien forgive so much militarism to the German nation,
and hope for its final escape from the drill-sergeant. When they went,
we were left for some meals to our own American tongue, with a brief
interval of that English painter and his wife with whom we spoke, our
language as nearly like English as we could. Then followed a desperate
lunch and dinner where an unbroken forest of German, and a still more
impenetrable morass of Dutch, hemmed us in. But last night it was our
joy to be addressed in our own speech by a lady who spoke it as admirably
as our dear friends from F-----. She was Dutch, and when she found we
were Americans she praised our historian Motley, and told us how his
portrait is gratefully honored with a place in the Queen's palace, The
House in the Woods, near Scheveningen.
V.
She had come up from her place in the country, four hours away, for the
last of the concerts here, which have been given throughout the summer by
the best orchestra in Europe, and which have been thronged every
afternoon and evening by people from The Hague.
One honored day this week even the Queen and the Queen Mother came down
to the concert, and gave us incomparably the greatest event of our waning
season. I had noticed all the morning a floral perturbation about the
main entrance of the hotel, which settled into the form of banks of
autumnal bloom on either side of the specially carpeted stairs, and put
forth on the roof of the arcade in a crown, much bigger round than a
barrel, of orange-colored asters, in honor of the Queen's ancestral house
of Orange. Flags of blue, white, and red fluttered nervously about in
the breeze from the sea, and imparted to us an agreeable anxiety not to
miss seeing the Queens, as the Dutch succinctly call their sovereign and
her parent; and at three o'clock we saw them drive up to the hotel.
Certain officials in civil dress stood at the door of the concert-room to
usher the Queens in, and a bareheaded, bald-headed dignity of military
figure backed up the stairs before them. I would not rashly commit
myself to particulars concerning their dress, but I am sure that the
elder Queen wore black, and the younger white. The mother has one of the
best and wisest faces I have seen any woman wear (and most of the good,
wise faces in this imperfectly balanced world are women's) and the
daughter one of the sweetest and prettiest. Pretty is the word for her
face, and it showed pink through her blond veil, as she smiled and bowed
right and left; her features are small and fine, and she is not above the
middle height.
As soon as she had passed into the concert-room, we who had waited to see
her go in ran round to another door and joined the two or three thousand
people who were standing to receive the Queens. These had already
mounted to the royal box, and they stood there while the orchestra played
one of the Dutch national airs. (One air is not enough for the Dutch;
they must have two.) Then the mother faded somewhere into the
background, and the daughter sat alone in the front, on a gilt throne,
with a gilt crown at top, and a very uncomfortable carved Gothic back.
She looked so young, so gentle, and so good that the rudest Republican
could not have helped wishing her well out of a position so essentially
and irreparably false as a hereditary sovereign's. One forgot in the
presence of her innocent seventeen years that most of the ruling princes
of the world had left it the worse for their having been in it; at
moments one forgot her altogether as a princess, and saw her only as a
charming young girl, who had to sit up rather stiffly.
At the end of the programme the Queens rose and walked slowly out, while
the orchestra played the other national air.
VI.
I call them the Queens, because the Dutch do; and I like Holland so much
that I should hate to differ with the Dutch in anything. But, as a
matter of fact, they are neither of them quite Queens; the mother is the
regent and the daughter will not be crowned till next year.
But, such as they are, they imparted a supreme emotion to our dying
season, and thrilled the hotel with a fulness of summer life. Since they
went, the season faintly pulses and respires, so that one can just say
that it is still alive. Last Sunday was fine, and great crowds came down
from The Hague to the concert, and spread out on the seaward terrace of
the hotel, around the little tables which I fancied that the waiters had
each morning wiped dry of the dew, from a mere Dutch desire of cleaning
something. The hooded chairs covered the beach; the children played in
the edges of the surf and delved in the sand; the lovers wandered up into
the hollows of the dunes.
There was only the human life, however. I have looked in vain for the
crabs, big and little, that swarm on the Long Island shore, and there are
hardly any gulls, even; perhaps because there are no crabs for them to
eat, if they eat crabs; I never saw gulls doing it, but they must eat
something. Dogs there are, of course, wherever there are people; but
they are part of the human life. Dutch dogs are in fact very human; and
one I saw yesterday behaved quite as badly as a bad boy, with respect to
his muzzle. He did not like his muzzle, and by dint of turning
somersaults in the sand he got it off, and went frolicking to his master
in triumph to show him what he had done.
VII.
It is now the last day, and the desolation is thickening upon our hotel.
This morning the door-posts up and down my corridor showed not a single
pair of trousers; not a pair of boots flattered the lonely doormats. In
the lower hall I found the tables of the great dining-room assembled, and
the chairs inverted on them with their legs in the air; but decently,
decorously, not with the reckless abandon displayed by the chairs in our
Long Island hotel for weeks before it closed. In the smaller dining-room
the table was set for lunch as if we were to go on dining there forever;
in the breakfast-room the service and the provision were as perfect as
ever. The coffee was good, the bread delicious, the butter of an
unfaltering sweetness; and the glaze of wear on the polished dress-coats
of the waiters as respectable as it could have been on the first day of
the season. All was correct, and if of a funereal correctness to me, I
am sure this effect was purely subjective.
The little bell-boys in sailor suits (perhaps they ought to be spelled
bell-buoys) clustered about the elevator-boy like so many Roman sentinels
at their posts; the elevator-boy and his elevator were ready to take us
up or down at any moment.
The portier and I ignored together the hour of parting, which we had
definitely ascertained and agreed upon, and we exchanged some compliments
to the weather, which is now settled, as if we expected to enjoy it long
together. I rather dread going in to lunch, however, for I fear the
empty places.
VIII.
All is over; we are off. The lunch was an heroic effort of the hotel to
hide the fact of our separation. It was perfect, unless the boiled beef
was a confession of human weakness; but even this boiled beef was
exquisite, and the horseradish that went with it was so mellowed by art
that it checked rather than provoked the parting tear. The table d'hote
had reserved a final surprise for us; and when we sat down with the fear
of nothing but German around us, we heard the sound of our own speech
from the pleasantest English pair we had yet encountered; and the
travelling English are pleasant; I will say it, who am said by Sir Walter
Besant to be the only American who hates their nation. It was really an
added pang to go, on their account, but the carriage was waiting at the
door; the 'domestique' had already carried our baggage to the steam-tram
station; the kindly menial train formed around us for an ultimate
'douceur', and we were off, after the 'portier' had shut us into our
vehicle and touched his oft-touched cap for the last time, while the
hotel facade dissembled its grief by architecturally smiling in the soft
Dutch sun.
I liked this manner of leaving better than carrying part of my own
baggage to the train, as I had to do on Long Island, though that, too,
had its charm; the charm of the whole fresh, pungent American life, which
at this distance is so dear.
End of this Project Gutenberg Etext of Last Days in a Dutch Hotel
by William Dean Howells
LITERATURE AND LIFE--Some Anomalies of the Short Story
by William Dean Howells
SOME ANOMALIES OF THE SHORT STORY
The interesting experiment of one of our great publishing houses in
putting out serially several volumes of short stories, with the hope that
a courageous persistence may overcome the popular indifference to such
collections when severally administered, suggests some questions as to
this eldest form of fiction which I should like to ask the reader's
patience with. I do not know that I shall be able to answer them, or
that I shall try to do so; the vitality of a question that is answered
seems to exhale in the event; it palpitates no longer; curiosity flutters
away from the faded flower, which is fit then only to be folded away in
the 'hortus siccus' of accomplished facts. In view of this I may wish
merely to state the problems and leave them for the reader's solution,
or, more amusingly, for his mystification.
I.
One of the most amusing questions concerning the short story is why a
form which is singly so attractive that every one likes to read a short
story when he finds it alone is collectively so repellent as it is said
to be. Before now I have imagined the case to be somewhat the same as
that of a number of pleasant people who are most acceptable as separate
householders, but who lose caste and cease to be desirable acquaintances
when gathered into a boarding-house.
Yet the case is not the same quite, for we see that the short story where
it is ranged with others of its species within the covers of a magazine
is so welcome that the editor thinks his number the more brilliant the
more short story writers he can call about his board, or under the roof
of his pension. Here the boardinghouse analogy breaks, breaks so
signally that I was lately moved to ask a distinguished editor why a book
of short stories usually failed and a magazine usually succeeded because
of them. He answered, gayly, that the short stories in most books of
them were bad; that where they were good, they went; and he alleged
several well-known instances in which books of prime short stories had a
great vogue. He was so handsomely interested in my inquiry that I could
not well say I thought some of the short stories which he had boasted in
his last number were indifferent good, and yet, as he allowed, had mainly
helped sell it. I had in mind many books of short stories of the first
excellence which had failed as decidedly as those others had succeeded,
for no reason that I could see; possibly there is really no reason in any
literary success or failure that can be predicted, or applied in another
Base.
I could name these books, if it would serve any purpose, but, in my
doubt, I will leave the reader to think of them, for I believe that his
indolence or intellectual reluctance is largely to blame for the failure
of good books of short stories. He is commonly so averse to any
imaginative exertion that he finds it a hardship to respond to that
peculiar demand which a book of good short stories makes upon him. He
can read one good short story in a magazine with refreshment, and a
pleasant sense of excitement, in the sort of spur it gives to his own
constructive faculty. But, if this is repeated in ten or twenty stories,
he becomes fluttered and exhausted by the draft upon his energies;
whereas a continuous fiction of the same quantity acts as an agreeable
sedative. A condition that the short story tacitly makes with the
reader, through its limitations, is that he shall subjectively fill in
the details and carry out the scheme which in its small dimensions the
story can only suggest; and the greater number of readers find this too
much for their feeble powers, while they cannot resist the incitement to
attempt it.
My theory does not wholly account for the fact (no theory wholly accounts
for any fact), and I own that the same objections would lie from the
reader against a number of short stories in a magazine. But it may be
that the effect is not the same in the magazine because of the variety in
the authorship, and because it would be impossibly jolting to read all
the short stories in a magazine 'seriatim'. On the other hand, the
identity of authorship gives a continuity of attraction to the short
stories in a book which forms that exhausting strain upon the imagination
of the involuntary co-partner.
II.
Then, what is the solution as to the form of publication for short
stories, since people do not object to them singly but collectively, and
not in variety, but in identity of authorship? Are they to be printed
only in the magazines, or are they to be collected in volumes combining a
variety of authorship? Rather, I could wish, it might be found feasible
to purvey them in some pretty shape where each would appeal singly to the
reader and would not exhaust him in the subjective after-work required of
him. In this event many short stories now cramped into undue limits by
the editorial exigencies of the magazines might expand to greater length
and breadth, and without ceasing to be each a short story might not make
so heavy a demand upon the subliminal forces of the reader.
If any one were to say that all this was a little fantastic, I should not
contradict him; but I hope there is some reason in it, if reason can help
the short story to greater favor, for it is a form which I have great
pleasure in as a reader, and pride in as an American. If we have not
excelled all other moderns in it, we have certainly excelled in it;
possibly because we are in the period of our literary development which
corresponds to that of other peoples when the short story pre-eminently
flourished among them. But when one has said a thing like this, it
immediately accuses one of loose and inaccurate statement, and requires
one to refine upon it, either for one's own peace of conscience or for
one's safety from the thoughtful reader. I am not much afraid of that
sort of reader, for he is very rare, but I do like to know myself what I
mean, if I mean anything in particular.
In this instance I am obliged to ask myself whether our literary
development can be recognized separately from that of the whole English-
speaking world. I think it can, though, as I am always saying American
literature is merely a condition of English literature. In some sense
every European literature is a condition of some other European
literature, yet the impulse in each eventuates, if it does not originate
indigenously. A younger literature will choose, by a sort of natural
selection, some things for assimilation from an elder literature, for no
more apparent reason than it will reject other things, and it will
transform them in the process so that it will give them the effect of
indigeneity. The short story among the Italians, who called it the
novella, and supplied us with the name devoted solely among us to fiction
of epical magnitude, refined indefinitely upon the Greek romance, if it
derived from that; it retrenched itself in scope, and enlarged itself in
the variety of its types. But still these remained types, and they
remained types with the French imitators of the Italian novella. It was
not till the Spaniards borrowed the form of the novella and transplanted
it to their racier soil that it began to bear character, and to fruit in
the richness of their picaresque fiction. When the English borrowed it
they adapted it, in the metrical tales of Chaucer, to the genius of their
nation, which was then both poetical and humorous. Here it was full of
character, too, and more and more personality began to enlarge the bounds
of the conventional types and to imbue fresh ones. But in so far as the
novella was studied in the Italian sources, the French, Spanish, and
English literatures were conditions of Italian literature as distinctly,
though, of course, not so thoroughly, as American literature is a
condition of English literature. Each borrower gave a national cast to
the thing borrowed, and that is what has happened with us, in the full
measure that our nationality has differenced itself from the English.
Whatever truth there is in all this, and I will confess that a good deal
of it seems to me hardy conjecture, rather favors my position that we are
in some such period of our literary development as those other peoples
when the short story flourished among them. Or, if I restrict our claim,
I may safely claim that they abundantly had the novella when they had not
the novel at all, and we now abundantly have the novella, while we have
the novel only subordinately and of at least no such quantitative
importance as the English, French, Spanish, Norwegians, Russians, and
some others of our esteemed contemporaries, not to name the Italians. We
surpass the Germans, who, like ourselves, have as distinctly excelled in
the modern novella as they have fallen short in the novel. Or, if I may
not quite say this, I will make bold to say that I can think of many
German novelle that I should like to read again, but scarcely one German
novel; and I could honestly say the same of American novelle, though not
of American novels.
III.
The abeyance, not to say the desuetude, that the novella fell into for
several centuries is very curious, and fully as remarkable as the modern
rise of the short story. It began to prevail in the dramatic form, for a
play is a short story put on the stage; it may have satisfied in that
form the early love of it, and it has continued to please in that form;
but in its original shape it quite vanished, unless we consider the
little studies and sketches and allegories of the Spectator and Tatler
and Idler and Rambler and their imitations on the Continent as guises of
the novella. The germ of the modern short story may have survived in
these, or in the metrical form of the novella which appeared in Chaucer
and never wholly disappeared. With Crabbe the novella became as
distinctly the short story as it has become in the hands of Miss Wilkins.
But it was not till our time that its great merit as a form was felt, for
until our time so great work was never done with it. I remind myself of
Boccaccio, and of the Arabian Nights, without the wish to hedge from my
bold stand. They are all elemental; compared with some finer modern work
which deepens inward immeasurably, they are all of their superficial
limits. They amuse, but they do not hold, the mind and stamp it with
large and profound impressions.
An Occidental cannot judge the literary quality of the Eastern tales; but
I will own my suspicion that the perfection of the Italian work is
philological rather than artistic, while the web woven by Mr. James or
Miss Jewett, by Kielland or Bjornson, by Maupassant, by Palacio Valdes,
by Giovanni Verga, by Tourguenief, in one of those little frames seems to
me of an exquisite color and texture and of an entire literary
preciousness, not only as regards the diction, but as regards those more
intangible graces of form, those virtues of truth and reality, and those
lasting significances which distinguish the masterpiece.
The novella has in fact been carried so far in the short story that it
might be asked whether it had not left the novel behind, as to perfection
of form; though one might not like to affirm this. Yet there have been
but few modern fictions of the novel's dimensions which have the beauty
of form many a novella embodies. Is this because it is easier to give
form in the small than in the large, or only because it is easier to hide
formlessness? It is easier to give form in the novella than in the
novel, because the design of less scope can be more definite, and because
the persons and facts are fewer, and each can be more carefully treated.
But, on the other hand, the slightest error in execution shows more in
the small than in the large, and a fault of conception is more evident.
The novella must be clearly imagined, above all things, for there is no
room in it for those felicities of characterization or comment by which
the artist of faltering design saves himself in the novel.
IV.
The question as to where the short story distinguishes itself from the
anecdote is of the same nature as that which concerns the bound set
between it and the novel. In both cases the difference of the novella is
in the motive, or the origination. The anecdote is too palpably simple
and single to be regarded as a novella, though there is now and then a
novella like The Father, by Bjornson, which is of the actual brevity of
the anecdote, but which, when released in the reader's consciousness,
expands to dramatic dimensions impossible to the anecdote. Many
anecdotes have come down from antiquity, but not, I believe, one short
story, at least in prose; and the Italians, if they did not invent the
story, gave us something most sensibly distinguishable from the classic
anecdote in the novella. The anecdote offers an illustration of
character, or records a moment of action; the novella embodies a drama
and develops a type.
It is not quite so clear as to when and where a piece of fiction ceases
to be a novella and becomes a novel. The frontiers are so vague that one
is obliged to recognize a middle species, or rather a middle magnitude,
which paradoxically, but necessarily enough, we call the novelette.
First we have the short story, or novella, then we have the long story,
or novel, and between these we have the novelette, which is in name a
smaller than the short story, though it is in point of fact two or three
times longer than a short story. We may realize them physically if we
will adopt the magazine parlance and speak of the novella as a one-number
story, of the novel as a serial, and of the novelette as a two-number or
a three-number story; if it passes the three-number limit it seems to
become a novel. As a two-number or three-number story it is the despair
of editors and publishers. The interest of so brief a serial will not
mount sufficiently to carry strongly over from month to month; when the
tale is completed it will not make a book which the Trade (inexorable
force!) cares to handle. It is therefore still awaiting its
authoritative avatar, which it will be some one's prosperity and glory to
imagine; for in the novelette are possibilities for fiction as yet
scarcely divined.
The novelette can have almost as perfect form as the novella. In fact,
the novel has form in the measure that it approaches the novelette; and
some of the most symmetrical modern novels are scarcely more than
novelettes, like Tourguenief's Dmitri Rudine, or his Smoke, or Spring
Floods. The Vicar of Wakefield, the father of the modern novel, is
scarcely more than a novelette, and I have sometimes fancied, but no
doubt vainly, that the ultimated novel might be of the dimensions of
Hamlet. If any one should say there was not room in Hamlet for the
character and incident requisite in a novel, I should be ready to answer
that there seemed a good deal of both in Hamlet.
But no doubt there are other reasons why the novel should not finally be
of the length of Hamlet, and I must not let my enthusiasm for the
novelette carry me too far, or, rather, bring me up too short. I am
disposed to dwell upon it, I suppose, because it has not yet shared the
favor which the novella and the novel have enjoyed, and because until
somebody invents a way for it to the public it cannot prosper like the
one-number story or the serial. I should like to say as my last word for
it here that I believe there are many novels which, if stripped of their
padding, would turn out to have been all along merely novelettes in
disguise.
It does not follow, however, that there are many novelle which, if they
were duly padded, would be found novelettes. In that dim, subjective
region where the aesthetic origins present themselves almost with the
authority of inspirations there is nothing clearer than the difference
between the short-story motive and the long-story motive. One, if one is
in that line of work, feels instinctively just the size and carrying
power of the given motive. Or, if the reader prefers a different figure,
the mind which the seed has been dropped into from Somewhere is
mystically aware whether the seed is going to grow up a bush or is going
to grow up a tree, if left to itself. Of course, the mind to which the
seed is intrusted may play it false, and wilfully dwarf the growth, or
force it to unnatural dimensions; but the critical observer will easily
detect the fact of such treasons. Almost in the first germinal impulse
the inventive mind forefeels the ultimate difference and recognizes the
essential simplicity or complexity of the motive. There will be a
prophetic subdivision into a variety of motives and a multiplication of
characters and incidents and situations; or the original motive will be
divined indivisible, and there will be a small group of people
immediately interested and controlled by a single, or predominant, fact.
The uninspired may contend that this is bosh, and I own that something
might be said for their contention, but upon the whole I think it is
gospel.
The right novel is never a congeries of novelle, as might appear to the
uninspired. If it indulges even in episodes, it loses in reality and
vitality. It is one stock from which its various branches put out, and
form it a living growth identical throughout. The right novella is never
a novel cropped back from the size of a tree to a bush, or the branch of
a tree stuck into the ground and made to serve for a bush. It is another
species, destined by the agencies at work in the realm of unconsciousness
to be brought into being of its own kind, and not of another.
V.
This was always its case, but in the process of time the short story,
while keeping the natural limits of the primal novella (if ever there was
one), has shown almost limitless possibilities within them. It has shown
itself capable of imparting the effect of every sort of intention,
whether of humor or pathos, of tragedy or comedy or broad farce or
delicate irony, of character or action. The thing that first made itself
known as a little tale, usually salacious, dealing with conventionalized
types and conventionalized incidents, has proved itself possibly the most
flexible of all the literary forms in its adaptation to the needs of the
mind that wishes to utter itself, inventively or constructively, upon
some fresh occasion, or wishes briefly to criticise or represent some
phase or fact of life.
The riches in this shape of fiction are effectively inestimable, if we
consider what has been done in the short story, and is still doing
everywhere. The good novels may be easily counted, but the good novelle,
since Boccaccio began (if it was he that first began) to make them,
cannot be computed. In quantity they are inexhaustible, and in quality
they are wonderfully satisfying. Then, why is it that so very, very few
of the most satisfactory of that innumerable multitude stay by you, as
the country people say, in characterization or action? How hard it is to
recall a person or a fact out of any of them, out of the most signally
good! We seem to be delightfully nourished as we read, but is it, after
all, a full meal? We become of a perfect intimacy and a devoted
friendship with the men and women in the short stories, but not
apparently of a lasting acquaintance. It is a single meeting we have
with them, and though we instantly love or hate them dearly, recurrence
and repetition seem necessary to that familiar knowledge in which we hold
the personages in a novel.
It is here that the novella, so much more perfect in form, shows its
irremediable inferiority to the novel, and somehow to the play, to the
very farce, which it may quantitatively excel. We can all recall by name
many characters out of comedies and farces; but how many characters out
of short stories can we recall? Most persons of the drama give
themselves away by name for types, mere figments of allegory, and perhaps
oblivion is the penalty that the novella pays for the fineness of its
characterizations; but perhaps, also, the dramatic form has greater
facilities for repetition, and so can stamp its persons more indelibly on
the imagination than the narrative form in the same small space. The
narrative must give to description what the drama trusts to
representation; but this cannot account for the superior permanency of
the dramatic types in so great measure as we might at first imagine, for
they remain as much in mind from reading as from seeing the plays. It is
possible that as the novella becomes more conscious, its persons will
become more memorable; but as it is, though we now vividly and with
lasting delight remember certain short stories, we scarcely remember by
name any of the people in them. I may be risking too much in offering an
instance, but who, in even such signal instances as The Revolt of Mother,
by Miss Wilkins, or The Dulham Ladies, by Miss Jewett, can recall by name
the characters that made them delightful?
VI.
The defect of the novella which we have been acknowledging seems an
essential limitation; but perhaps it is not insuperable; and we may yet
have short stories which shall supply the delighted imagination with
creations of as much immortality as we can reasonably demand. The
structural change would not be greater than the moral or material change
which has been wrought in it since it began as a yarn, gross and
palpable, which the narrator spun out of the coarsest and often the
filthiest stuff, to snare the thick fancy or amuse the lewd leisure of
listeners willing as children to have the same persons and the same
things over and over again. Now it has not only varied the persons and
things, but it has refined and verified them in the direction of the
natural and the supernatural, until it is above all other literary forms
the vehicle of reality and spirituality. When one thinks of a bit of Mr.
James's psychology in this form, or a bit of Verga's or Kielland's
sociology, or a bit of Miss Jewett's exquisite veracity, one perceives
the immense distance which the short story has come on the way to the
height it has reached. It serves equally the ideal and the real; that
which it is loath to serve is the unreal, so that among the short stories
which have recently made reputations for their authors very few are of
that peculiar cast which we have no name for but romanticistic. The only
distinguished modern writer of romanticistic novelle whom I can think of
is Mr. Bret Harte, and he is of a period when romanticism was so
imperative as to be almost a condition of fiction. I am never so
enamoured of a cause that I will not admit facts that seem to tell
against it, and I will allow that this writer of romanticistic short
stories has more than any other supplied us with memorable types and
characters. We remember Mr. John Oakhurst by name; we remember Kentuck
and Tennessee's Partner, at least by nickname; and we remember their
several qualities. These figures, if we cannot quite consent that they
are persons, exist in our memories by force of their creator's
imagination, and at the moment I cannot think of any others that do,
out of the myriad of American short stories, except Rip Van Winkle out of
Irving's Legend of Sleepy Hollow, and Marjorie Daw out of Mr. Aldrich's
famous little caprice of that title, and Mr. James's Daisy Miller.
It appears to be the fact that those writers who have first distinguished
themselves in the novella have seldom written novels of prime order.
Mr. Kipling is an eminent example, but Mr. Kipling has yet a long life
before him in which to upset any theory about him, and one can only
instance him provisionally. On the other hand, one can be much more
confident that the best novelle have been written by the greatest
novelists, conspicuously Maupassant, Verga, Bjornson, Mr. Thomas Hardy,
Mr. James, Mr. Cable, Tourguenief, Tolstoy, Valdes, not to name others.
These have, in fact, all done work so good in this form that one is
tempted to call it their best work. It is really not their best, but it
is work so good that it ought to have equal acceptance with their novels,
if that distinguished editor was right who said that short stories sold
well when they were good short stories. That they ought to do so is so
evident that a devoted reader of them, to whom I was submitting the
anomaly the other day, insisted that they did. I could only allege the
testimony of publishers and authors to the contrary, and this did not
satisfy him.
It does not satisfy me, and I wish that the general reader, with whom the
fault lies, could be made to say why, if he likes one short story by
itself and four short stories in a magazine, he does not like, or will
not have, a dozen short stories in a book. This was the baffling
question which I began with and which I find myself forced to end with,
after all the light I have thrown upon the subject. I leave it where I
found it, but perhaps that is a good deal for a critic to do. If I had
left it anywhere else the reader might not feel bound to deal with it
practically by reading all the books of short stories he could lay hands
on, and either divining why he did not enjoy them, or else forever
foregoing his prejudice against them because of his pleasure in them.
End of this Project Gutenberg Etext of Some Anomalies of the Short Story,
by William Dean Howells
LITERATURE AND LIFE--Spanish Prisoners of War
by William Dean Howells
SPANISH PRISONERS OF WAR
Certain summers ago our cruisers, the St. Louis and the Harvard, arrived
at Portsmouth, New Hampshire, with sixteen or seventeen hundred Spanish
prisoners from Santiago de Cuba. They were partly soldiers of the land
forces picked up by our troops in the fights before the city, but by far
the greater part were sailors and marines from Cervera's ill-fated fleet.
I have not much stomach for war, but the poetry of the fact I have stated
made a very potent appeal to me on my literary side, and I did not hold
out against it longer than to let the St. Louis get away with Cervera to
Annapolis, when only her less dignified captives remained with those of
the Harvard to feed either the vainglory or the pensive curiosity of the
spectator. Then I went over from our summer colony to Kittery Point, and
got a boat, and sailed out to have a look at these subordinate enemies in
the first hours of their imprisonment.
I.
It was an afternoon of the brilliancy known only to an afternoon of the
American summer, and the water of the swift Piscataqua River glittered in
the sun with a really incomparable brilliancy. But nothing could light
up the great monster of a ship, painted the dismal lead-color which our
White Squadrons put on with the outbreak of the war, and she lay sullen
in the stream with a look of ponderous repose, to which the activities of
the coaling-barges at her side, and of the sailors washing her decks,
seemed quite unrelated. A long gun forward and a long gun aft threatened
the fleet of launches, tugs, dories, and cat-boats which fluttered about
her, but the Harvard looked tired and bored, and seemed as if asleep.
She had, in fact, finished her mission. The captives whom death had
released had been carried out and sunk in the sea; those who survived to
a further imprisonment had all been taken to the pretty island a mile
farther up in the river, where the tide rushes back and forth through the
Narrows like a torrent. Its defiant rapidity has won it there the
graphic name of Pull-and-be-Damned; and we could only hope to reach the
island by a series of skilful tacks, which should humor both the wind and
the tide, both dead against us. Our boatman, one of those shore New
Englanders who are born with a knowledge of sailing, was easily master of
the art of this, but it took time, and gave me more than the leisure I
wanted for trying to see the shore with the strange eyes of the captives
who had just looked upon it. It was beautiful, I had to own, even in my
quality of exile and prisoner. The meadows and the orchards came down to
the water, or, where the wandering line of the land was broken and lifted
in black fronts of rock, they crept to the edge of the cliff and peered
over it. A summer hotel stretched its verandas along a lovely level;
everywhere in clovery hollows and on breezy knolls were gray old farm-
houses and summer cottages-like weather-beaten birds' nests, and like
freshly painted marten-boxes; but all of a cold New England neatness
which made me homesick for my malodorous Spanish fishing-village,
shambling down in stony lanes to the warm tides of my native seas. Here,
every place looked as if it had been newly scrubbed with soap and water,
and rubbed down with a coarse towel, and was of an antipathetic
alertness. The sweet, keen breeze made me shiver, and the northern sky,
from which my blinding southern sun was blazing, was as hard as sapphire.
I tried to bewilder myself in the ignorance of a Catalonian or Asturian
fisherman, and to wonder with his darkened mind why it should all or any
of it have been, and why I should have escaped from the iron hell in
which I had fought no quarrel of my own to fall into the hands of
strangers, and to be haled over seas to these alien shores for a
captivity of unknown term. But I need not have been at so much pains;
the intelligence (I do not wish to boast) of an American author would
have sufficed; for if there is anything more grotesque than another in
war it is its monstrous inconsequence. If we had a grief with the
Spanish government, and if it was so mortal we must do murder for it, we
might have sent a joint committee of the House and Senate, and, with the
improved means of assassination which modern science has put at our
command, killed off the Spanish cabinet, and even the queen--mother and
the little king. This would have been consequent, logical, and in a sort
reasonable; but to butcher and capture a lot of wretched Spanish peasants
and fishermen, hapless conscripts to whom personally and nationally we
were as so many men in the moon, was that melancholy and humiliating
necessity of war which makes it homicide in which there is not even the
saving grace of hate, or the excuse of hot blood.
I was able to console myself perhaps a little better for the captivity of
the Spaniards than if I had really been one of them, as we drew nearer
and nearer their prison isle, and it opened its knotty points and little
ravines, overrun with sweet-fern, blueberry-bushes, bay, and low
blackberry-vines, and rigidly traversed with a high stockade of yellow
pine boards. Six or eight long, low, wooden barracks stretched side by
side across the general slope, with the captive officers' quarters,
sheathed in weather-proof black paper, at one end of them. About their
doors swarmed the common prisoners, spilling out over the steps and on
the grass, where some of them lounged smoking. One operatic figure in a
long blanket stalked athwart an open space; but there was such poverty of
drama in the spectacle at the distance we were keeping that we were glad
of so much as a shirt-sleeved contractor driving out of the stockade in
his buggy. On the heights overlooking the enclosure Gatling guns were
posted at three or four points, and every thirty or forty feet sentries
met and parted, so indifferent to us, apparently, that we wondered if we
might get nearer. We ventured, but at a certain moment a sentry called to
us, "Fifty yards off, please!" Our young skipper answered, "All right,"
and as the sentry had a gun on his shoulder which we had every reason to
believe was loaded, it was easily our pleasure to retreat to the
specified limit. In fact, we came away altogether, after that, so little
promise was there of our being able to satisfy our curiosity further.
We came away care fully nursing such impression as we had got of a spec
tacle whose historical quality we did our poor best to feel. It related
us, after solicitation, to the wars against the Moors, against the
Mexicans and Peruvians, against the Dutch; to the Italian campaigns of
the Gran Capitan, to the Siege of Florence, to the Sack of Rome, to the
wars of the Spanish Succession, and what others. I do not deny that
there was a certain aesthetic joy in having the Spanish prisoners there
for this effect; we came away duly grateful for what we had seen of them;
and we had long duly resigned ourselves to seeing no more, when word was
sent to us that our young skipper had got a permit to visit the island,
and wished us to go with him.
II.
It was just such another afternoon when we went again, but this time we
took the joyous trolley-car, and bounded and pirouetted along as far as
the navyyard of Kittery, and there we dismounted and walked among the
vast, ghostly ship-sheds, so long empty of ships. The grass grew in the
Kittery navy-yard, but it was all the pleasanter for the grass, and those
pale, silent sheds were far more impressive in their silence than they
would have been if resonant with saw and hammer. At several points, an
unarmed marine left his leisure somewhere, and lunged across our path
with a mute appeal for our permit; but we were nowhere delayed till we
came to the office where it had to be countersigned, and after that we
had presently crossed a bridge, by shady, rustic ways, and were on the
prison island. Here, if possible, the sense of something pastoral
deepened; a man driving a file of cows passed before us under kindly
trees, and the bell which the foremost of these milky mothers wore about
her silken throat sent forth its clear, tender note as if from the depth
of some grassy bosk, and instantly witched me away to the woods-pastures
which my boyhood knew in southern Ohio. Even when we got to what seemed
fortifications they turned out to be the walls of an old reservoir, and
bore on their gate a paternal warning that children unaccompanied by
adults were not allowed within.
We mounted some stone steps over this portal and were met by a young
marine, who left his Gatling gun for a moment to ask for our permit, and
then went back satisfied. Then we found ourselves in the presence of a
sentry with a rifle on his shoulder, who was rather more exacting.
Still, he only wished to be convinced, and when he had pointed out the
headquarters where we were next to go, he let us over his beat. At the
headquarters there was another sentry, equally serious, but equally
civil, and with the intervention of an orderly our leader saw the officer
of the day. He came out of the quarters looking rather blank, for he had
learned that his pass admitted our party to the lines, but not to the
stockade, which we might approach, at a certain point of vantage and look
over into, but not penetrate. We resigned ourselves, as we must, and
made what we could of the nearest prison barrack, whose door overflowed
and whose windows swarmed with swarthy captives. Here they were, at such
close quarters that their black, eager eyes easily pierced the pockets
full of cigarettes which we had brought for them. They looked mostly
very young, and there was one smiling rogue at the first window who was
obviously prepared to catch anything thrown to him. He caught, in fact,
the first box of cigarettes shied over the stockade; the next box flew
open, and spilled its precious contents outside the dead-line under the
window, where I hope some compassionate guard gathered them up and gave
them to the captives.
Our fellows looked capable of any kindness to their wards short of
letting them go. They were a most friendly company, with an effect of
picnicking there among the sweet-fern and blueberries, where they had
pitched their wooden tents with as little disturbance to the shrubbery as
possible. They were very polite to us, and when, after that misadventure
with the cigarettes (I had put our young leader up to throwing the box,
merely supplying the corpus delicti myself), I wandered vaguely towards a
Gatling gun planted on an earthen platform where the laurel and the
dogroses had been cut away for it, the man in charge explained with a
smile of apology that I must not pass a certain path I had already
crossed.
One always accepts the apologies of a man with a Gatling gun to back
them, and I retreated. That seemed the end; and we were going
crestfallenly away when the officer of the day came out and allowed us to
make his acquaintance. He permitted us, with laughing reluctance, to
learn that he had been in the fight at Santiago, and had come with the
prisoners, and he was most obligingly sorry that our permit did not let
us into the stockade. I said I had some cigarettes for the prisoners,
and I supposed I might send them; in, but he said he could not allow
this, for they had money to buy tobacco; and he answered another of our
party, who had not a soul above buttons, and who asked if she could get
one from the Spaniards, that so far from promoting her wish, he would
have been obliged to take away any buttons she might have got from them.
"The fact is," he explained, "you've come to the wrong end for
transactions in buttons and tobacco."
But perhaps innocence so great as ours had wrought upon him. When we
said we were going, and thanked him for his unavailing good-will, he
looked at his watch and said they were just going to feed the prisoners;
and after some parley he suddenly called out, "Music of the guard!"
Instead of a regimental band, which I had supposed summoned, a single
corporal ran out the barracks, touching his cap.
"Take this party round to the gate," the officer said, and he promised us
that he would see us there, and hoped we would not mind a rough walk. We
could have answered that to see his prisoners fed we would wade through
fathoms of red-tape; but in fact we were arrested at the last point by
nothing worse than the barbed wire which fortified the outer gate. Here
two marines were willing to tell us how well the prisoners lived, while
we stared into the stockade through an inner gate of plank which was run
back for us. They said the Spaniards had a breakfast of coffee, and hash
or stew and potatoes, and a dinner of soup and roast; and now at five
o'clock they were to have bread and coffee, which indeed we saw the
white-capped, whitejacketed cooks bringing out in huge tin wash-boilers.
Our marines were of opinion, and no doubt rightly, that these poor
Spaniards had never known in their lives before what it was to have full
stomachs. But the marines said they never acknowledged it, and the one
who had a German accent intimated that gratitude was not a virtue of any
Roman (I suppose he meant Latin) people. But I do not know that if I
were a prisoner, for no fault of my own, I should be very explicitly
thankful for being unusually well fed. I thought (or I think now) that a
fig or a bunch of grapes would have been more acceptable to me under my
own vine and fig-tree than the stew and roast of captors who were indeed
showing themselves less my enemies than my own government, but were still
not quite my hosts.
III.
How is it the great pieces of good luck fall to us? The clock strikes
twelve as it strikes two, and with no more premonition. As we stood
there expecting nothing better of it than three at the most, it suddenly
struck twelve. Our officer appeared at the inner gate and bade our
marines slide away the gate of barbed wire and let us into the enclosure,
where he welcomed us to seats on the grass against the stockade, with
many polite regrets that the tough little knots of earth beside it were
not chairs.
The prisoners were already filing out of their quarters, at a rapid trot
towards the benches where those great wash-boilers of coffee were set.
Each man had a soup-plate and bowl of enamelled tin, and each in his turn
received quarter of a loaf of fresh bread and a big ladleful of steaming
coffee, which he made off with to his place at one of the long tables
under a shed at the side of the stockade. One young fellow tried to get
a place not his own in the shade, and our officer when he came back
explained that he was a guerrillero, and rather unruly. We heard that
eight of the prisoners were in irons, by sentence of their own officers,
for misconduct, but all save this guerrillero here were docile and
obedient enough, and seemed only too glad to get peacefully at their
bread and coffee.
First among them came the men of the Cristobal Colon, and these were the
best looking of all the captives. From their pretty fair average the
others varied to worse and worse, till a very scrub lot, said to be ex-
convicts, brought up the rear. They were nearly all little fellows, and
very dark, though here and there a six-footer towered up, or a blond
showed among them. They were joking and laughing together, harmlessly
enough, but I must own that they looked a crew of rather sorry jail-
birds; though whether any run of humanity clad in misfits of our navy
blue and white, and other chance garments, with close-shaven heads, and
sometimes bare feet, would have looked much less like jail-birds I am not
sure. Still, they were not prepossessing, and though some of them were
pathetically young, they had none of the charm of boyhood. No doubt they
did not do themselves justice, and to be herded there like cattle did not
improve their chances of making a favorable impression on the observer.
They were kindly used by our officer and his subordinates, who mixed
among them, and straightened out the confusion they got into at times,
and perhaps sometimes wilfully. Their guards employed a few handy words
of Spanish with them; where these did not avail, they took them by the
arm and directed them; but I did not hear a harsh tone, and I saw no
violence, or even so much indignity offered them as the ordinary trolley-
car passenger is subjected to in Broadway. At a certain bugle-call they
dispersed, when they had finished their bread and coffee, and scattered
about over the grass, or returned to their barracks. We were told that
these children of the sun dreaded its heat, and kept out of it whenever
they could, even in its decline; but they seemed not so much to withdraw
and hide themselves from that, as to vanish into the history of "old,
unhappy, far-off" times, where prisoners of war, properly belong. I
roused myself with a start as if I had lost them in the past.
Our officer came towards us and said gayly, "Well, you have seen the
animals fed," and let us take our grateful leave. I think we were rather
a loss, in our going, to the marines, who seemed glad of a chance to
talk. I am sure we were a loss to the man on guard at the inner gate,
who walked his beat with reluctance when it took him from us, and eagerly
when it brought him back. Then he delayed for a rapid and comprehensive
exchange of opinions and ideas, successfully blending military
subordination with American equality in his manner.
The whole thing was very American in the perfect decorum and the utter
absence of ceremony. Those good fellows were in the clothes they wore
through the fights at Santiago, and they could not have put on much
splendor if they had wished, but apparently they did not wish. They were
simple, straightforward, and adequate. There was some dry joking about
the superiority of the prisoners' rations and lodgings, and our officer
ironically professed his intention of messing with the Spanish officers.
But there was no grudge, and not a shadow of ill will, or of that stupid
and atrocious hate towards the public enemy which abominable newspapers
and politicians had tried to breed in the popular mind. There was
nothing manifest but a sort of cheerful purpose to live up to that
military ideal of duty which is so much nobler than the civil ideal of
self-interest. Perhaps duty will yet become the civil ideal, when the
peoples shall have learned to live for the common good, and are united
for the operation of the industries as they now are for the hostilities.
IV.
Shall I say that a sense of something domestic, something homelike,
imparted itself from what I had seen? Or was this more properly an
effect from our visit, on the way back to the hospital, where a hundred
and fifty of the prisoners lay sick of wounds and fevers? I cannot say
that a humaner spirit prevailed here than in the camp; it was only a more
positive humanity which was at work. Most of the sufferers were
stretched on the clean cots of two long, airy, wooden shells, which
received them, four days after the orders for their reception had come,
with every equipment for their comfort. At five o'clock, when we passed
down the aisles between their beds, many of them had a gay, nonchalant
effect of having toothpicks or cigarettes in their mouths; but it was
really the thermometers with which the nurses were taking their
temperature. It suggested a possibility to me, however, and I asked if
they were allowed to smoke, and being answered that they did smoke,
anyway, whenever they could, I got rid at last of those boxes of
cigarettes which had been burning my pockets, as it were, all afternoon.
I gave them to such as I was told were the most deserving among the sick
captives, but Heaven knows I would as willingly have given them to the
least. They took my largesse gravely, as became Spaniards; one said,
smiling sadly, "Muchas gracias," but the others merely smiled sadly; and
I looked in vain for the response which would have twinkled up in the
faces of even moribund Italians at our looks of pity. Italians would
have met our sympathy halfway; but these poor fellows were of another
tradition, and in fact not all the Latin peoples are the same, though we
sometimes conveniently group them together for our detestation. Perhaps
there are even personal distinctions among their several nationalities,
and there are some Spaniards who are as true and kind as some Americans.
When we remember Cortez let us not forget Las Casas.
They lay in their beds there, these little Spanish men, whose dark faces
their sickness could not blanch to more than a sickly sallow, and as they
turned their dull black eyes upon us I must own that I could not "support
the government" so fiercely as I might have done elsewhere. But the
truth is, I was demoralized by the looks of these poor little men, who,
in spite of their character of public enemies, did look so much like
somebody's brothers, and even somebody's children. I may have been
infected by the air of compassion, of scientific compassion, which
prevailed in the place. There it was as wholly business to be kind and
to cure as in another branch of the service it was business to be cruel
and to kill. How droll these things are! The surgeons had their
favorites among the patients, to all of whom they were equally devoted;
inarticulate friendships had sprung up between them and certain of their
hapless foes, whom they spoke of as "a sort of pets." One of these was
very useful in making the mutinous take their medicine; another was liked
apparently because he was so likable. At a certain cot the chief surgeon
stopped and said, "We did not expect this boy to live through the night."
He took the boy's wrist between his thumb and finger, and asked tenderly
as he leaned over him, "Poco mejor?" The boy could not speak to say that
he was a little better; he tried to smile--such things do move the
witness; nor does the sight of a man whose bandaged cheek has been half
chopped away by a machete tend to restore one's composure.
End of this Project Gutenberg Etext of Spanish Prisoners of War,
by William Dean Howells
LITERATURE AND LIFE--American Literary Centers
by William Dean Howells
AMERICAN LITERARY CENTRES
One of the facts which we Americans have a difficulty in making clear to
a rather inattentive world outside is that, while we have apparently a
literature of our own, we have no literary centre. We have so much
literature that from time to time it seems even to us we must have a
literary centre. We say to ourselves, with a good deal of logic, Where
there is so much smoke there must be some fire, or at least a fireplace.
But it is just here that, misled by tradition, and even by history, we
deceive ourselves. Really, we have no fireplace for such fire as we have
kindled; or, if any one is disposed to deny this, then I say, we have a
dozen fireplaces; which is quite as bad, so far as the notion of a
literary centre is concerned, if it is not worse.
I once proved this fact to my own satisfaction in some papers which I
wrote several years ago; but it appears, from a question which has lately
come to me from England, that I did not carry conviction quite so far as
that island; and I still have my work all before me, if I understand the
London friend who wishes "a comparative view of the centres of literary
production" among us; "how and why they change; how they stand at
present; and what is the relation, for instance, of Boston to other such
centres."
I.
Here, if I cut my coat according to my cloth, t should have a garment
which this whole volume would hardly stuff out with its form; and I have
a fancy that if I begin by answering, as I have sometimes rather too
succinctly done, that we have no more a single literary centre than Italy
or than Germany has (or had before their unification), I shall not be
taken at my word. I shall be right, all the same, and if I am told that
in those countries there is now a tendency to such a centre, I can only
say that there is none in this, and that, so far as I can see, we get
further every day from having such a centre. The fault, if it is a
fault, grows upon us, for the whole present tendency of American life is
centrifugal, and just so far as literature is the language of our life,
it shares this tendency. I do not attempt to say how it will be when, in
order to spread ourselves over the earth, and convincingly to preach the
blessings of our deeply incorporated civilization by the mouths of our
eight-inch guns, the mind of the nation shall be politically centred at
some capital; that is the function of prophecy, and I am only writing
literary history, on a very small scale, with a somewhat crushing sense
of limits.
Once, twice, thrice there was apparently an American literary centre: at
Philadelphia, from the time Franklin went to live there until the death
of Charles Brockden Brown, our first romancer; then at New York, during
the period which may be roughly described as that of Irving, Poe, Willis,
and Bryant; then at Boston, for the thirty or forty years illumined by
the presence of Longfellow, Lowell, Whittier, Hawthorne, Emerson, Holmes,
Prescott, Parkman, and many lesser lights. These are all still great
publishing centres. If it were not that the house with the largest list
of American authors was still at Boston, I should say New York was now
the chief publishing centre; but in the sense that London and Paris, or
even Madrid and Petersburg, are literary centres, with a controlling
influence throughout England and France, Spain and Russia, neither New
York nor Boston is now our literary centre, whatever they may once have
been. Not to take Philadelphia too seriously, I may note that when New
York seemed our literary centre Irving alone among those who gave it
lustre was a New-Yorker, and he mainly lived abroad; Bryant, who was a
New Englander, was alone constant to the city of his adoption; Willis, a
Bostonian, and Poe, a Marylander, went and came as their poverty or their
prosperity compelled or invited; neither dwelt here unbrokenly, and Poe
did not even die here, though he often came near starving. One cannot
then strictly speak of any early American literary centre except Boston,
and Boston, strictly speaking, was the New England literary centre.
However, we had really no use for an American literary centre before the
Civil War, for it was only after the Civil War that we really began to
have an American literature. Up to that time we had a Colonial
literature, a Knickerbocker literature, and a New England literature.
But as soon as the country began to feel its life in every limb with the
coming of peace, it began to speak in the varying accents of all the
different sections--North, East, South, West, and Farthest West; but not
before that time.
II.
Perhaps the first note of this national concord, or discord, was sounded
from California, in the voices of Mr. Bret Harte, of Mark Twain, of Mr.
Charles Warren Stoddard (I am sorry for those who do not know his
beautiful Idyls of the South Seas), and others of the remarkable group of
poets and humorists whom these names must stand for. The San Francisco
school briefly flourished from 1867 till 1872 or so, and while it endured
it made San Francisco the first national literary centre we ever had, for
its writers were of every American origin except Californian.
After the Pacific Slope, the great Middle West found utterance in the
dialect verse of Mr. John Hay, and after that began the exploitation of
all the local parlances, which has sometimes seemed to stop, and then has
begun again. It went on in the South in the fables of Mr. Joel Chandler
Harris's Uncle Remus, and in the fiction of Miss Murfree, who so long
masqueraded as Charles Egbert Craddock. Louisiana found expression in
the Creole stories of Mr. G. W. Cable, Indiana in the Hoosier poems of
Mr. James Whitcomb Riley, and central New York in the novels of Mr.
Harold Frederic; but nowhere was the new impulse so firmly and finely
directed as in New England, where Miss Sarah Orne Jewett's studies of
country life antedated Miss Mary Wilkins's work. To be sure, the
portrayal of Yankee character began before either of these artists was
known; Lowell's Bigelow Papers first reflected it; Mrs. Stowe's Old Town
Stories caught it again and again; Mrs. Harriet Prescott Spofford, in her
unromantic moods, was of an excellent fidelity to it; and Mrs. Rose Terry
Cooke was even truer to the New England of Connecticut. With the later
group Mrs. Lily Chase Wyman has pictured Rhode Island work-life with
truth pitiless to the beholder, and full of that tender humanity for the
material which characterizes Russian fiction.
Mr. James Lane Allen has let in the light upon Kentucky; the Red Men and
White of the great plains have found their interpreter in Mr. Owen
Wister, a young Philadelphian witness of their dramatic conditions and
characteristics; Mr. Hamlin Garlafid had already expressed the sad
circumstances of the rural Northwest in his pathetic idyls, colored from
the experience of one who had been part of what he saw. Later came Mr.
Henry B. Fuller, and gave us what was hardest and most sordid, as well as
something of what was most touching and most amusing, in the burly-burly
of Chicago.
III.
A survey of this sort imparts no just sense of the facts, and I own that
I am impatient of merely naming authors and books that each tempt me to
an expansion far beyond the limits of this essay; for, if I may be so
personal, I have watched the growth of our literature in Americanism with
intense sympathy. In my poor way I have always liked the truth, and in
times past I am afraid that I have helped to make it odious to those who
believed beauty was something different; but I hope that I shall not now
be doing our decentralized literature a disservice by saying that its
chief value is its honesty, its fidelity to our decentralized life.
Sometimes I wish this were a little more constant; but upon the whole I
have no reason to complain; and I think that as a very interested
spectator of New York I have reason to be content with the veracity with
which some phases of it have been rendered. The lightning-or the flash-
light, to speak more accurately--has been rather late in striking this
ungainly metropolis, but it has already got in its work with notable
effect at some points. This began, I believe, with the local dramas of
Mr. Edward Harrigan, a species of farces, or sketches of character,
loosely hung together, with little sequence or relevancy, upon the thread
of a plot which would keep the stage for two or three hours. It was very
rough magic, as a whole, but in parts it was exquisite, and it held the
mirror up towards politics on their social and political side, and gave
us East-Side types--Irish, German, negro, and Italian--which were
instantly recognizable and deliciously satisfying. I never could
understand why Mr. Harrigan did not go further, but perhaps he had gone
far enough; and, at any rate, he left the field open for others. The
next to appear noticeably in it was Mr. Stephen Crane, whose Red Badge of
Courage wronged the finer art which he showed in such New York studies as
Maggie: A Girl of the Streets, and George's Mother. He has been followed
by Abraham Cahan, a Russian Hebrew, who has done portraits of his race
and nation with uncommon power. They are the very Russian Hebrews of
Hester Street translated from their native Yiddish into English, which
the author mastered after coming here in his early manhood. He brought
to his work the artistic qualities of both the Slav and the Jew, and in
his 'Jekl: A Story of the Ghetto', he gave proof of talent which his more
recent book of sketches--'The Imported Bride groom'--confirms. He sees
his people humorously, and he is as unsparing of their sordidness as he
is compassionate of their hard circumstance and the somewhat frowsy
pathos of their lives. He is a Socialist, but his fiction is wholly
without "tendentiousness."
A good many years ago--ten or twelve, at least--Mr. Harry Harland had
shown us some politer New York Jews, with a romantic coloring, though
with genuine feeling for the novelty and picturesqueness of his material;
but I do not think of any one who has adequately dealt with our Gentile
society. Mr. James has treated it historically in Washington Square, and
more modernly in some passages of The Bostonians, as well as in some of
his shorter stories; Mr. Edgar Fawcett has dealt with it intelligently
and authoritatively in a novel or two; and Mr. Brander Matthews has
sketched it, in this aspect, and that with his Gallic cleverness,
neatness, and point. In the novel, 'His Father's Son', he in fact faces
it squarely and renders certain forms of it with masterly skill. He has
done something more distinctive still in 'The Action and the Word', one
of the best American stories I know. But except for these writers, our
literature has hardly taken to New York society.
IV.
It is an even thing: New York society has not taken to our literature.
New York publishes it, criticises it, and circulates it, but I doubt if
New York society much reads it or cares for it, and New York is therefore
by no means the literary centre that Boston once was, though a large
number of our literary men live in or about New York. Boston, in my time
at least, had distinctly a literary atmosphere, which more or less
pervaded society; but New York has distinctly nothing of the kind, in any
pervasive sense. It is a vast mart, and literature is one of the things
marketed here; but our good society cares no more for it than for some
other products bought and sold here; it does not care nearly so much for
books as for horses or for stocks, and I suppose it is not unlike the
good society of any other metropolis in this. To the general, here,
journalism is a far more appreciable thing than literature, and has
greater recognition, for some very good reasons; but in Boston literature
had vastly more honor, and even more popular recognition, than
journalism. There journalism desired to be literary, and here literature
has to try hard not to be journalistic. If New York is a literary centre
on the business side, as London is, Boston was a literary centre, as
Weimar was, and as Edinburgh was. It felt literature, as those capitals
felt it, and if it did not love it quite so much as might seem, it always
respected it.
To be quite clear in what I wish to say of the present relation of Boston
to our other literary centres, I must repeat that we have now no such
literary centre as Boston was. Boston itself has perhaps outgrown the
literary consciousness which formerly distinguished it from all our other
large towns. In a place of nearly a million people (I count in the
outlying places) newspapers must be more than books; and that alone says
everything.
Mr. Aldrich once noticed that whenever an author died in Boston, the New-
Yorkers thought they had a literary centre; and it is by some such means
that the primacy has passed from Boston, even if it has not passed to New
York. But still there is enough literature left in the body at Boston to
keep her first among equals in some things, if not easily first in all.
Mr. Aldrich himself lives in Boston, and he is, with Mr. Stedman, the
foremost of our poets. At Cambridge live Colonel T. W. Higginson, an
essayist in a certain sort without rival among us; and Mr. William James,
the most interesting and the most literary of psychologists, whose repute
is European as well as American. Mr. Charles Eliot Norton alone survives
of the earlier Cambridge group--Longfellow, Lowell, Richard Henry Dana,
Louis Agassiz, Francis J. Child, and Henry James, the father of the
novelist and the psychologist.
To Boston Mr. James Ford Rhodes, the latest of our abler historians, has
gone from Ohio; and there Mr. Henry Cabot Lodge, the Massachusetts
Senator, whose work in literature is making itself more and more known,
was born and belongs, politically, socially, and intellectually. Mrs.
Julia Ward Howe, a poet of wide fame in an elder generation, lives there;
Mr. T. B. Aldrich lives there; and thereabouts live Mrs. Elizabeth Stuart
Phelps Ward and Mrs. Harriet Prescott Spofford, the first of a fame
beyond the last, who was known to us so long before her. Then at Boston,
or near Boston, live those artists supreme in the kind of short story
which we have carried so far: Miss Jewett, Miss Wilkins, Miss Alice
Brown, Mrs. Chase-Wyman, and Miss Gertrude Smith, who comes from Kansas,
and writes of the prairie farm-life, though she leaves Mr. E. W. Howe
(of 'The Story of a Country Town' and presently of the Atchison Daily
Globe) to constitute, with the humorous poet Ironquill, a frontier
literary centre at Topeka. Of Boston, too, though she is of western
Pennsylvania origin, is Mrs. Margaret Deland, one of our most successful
novelists. Miss Wilkins has married out of Massachusetts into New
Jersey, and is the neighbor of Mr. H. M. Alden at Metuchen.
All these are more or less embodied and represented in the Atlantic
Monthly, still the most literary, and in many things still the first of
our magazines. Finally, after the chief publishing house in New York,
the greatest American publishing house is in Boston, with by far the
largest list of the best American books. Recently several firms of
younger vigor and valor have recruited the wasted ranks of the Boston
publishers, and are especially to be noted for the number of rather nice
new poets they give to the light.
V.
Dealing with the question geographically, in the right American way, we
descend to Hartford obliquely by way of Springfield, Massachusetts,
where, in a little city of fifty thousand, a newspaper of metropolitan
influence and of distinctly literary tone is published. At Hartford
while Charles Dudley Warner lived, there was an indisputable literary
centre; Mark Twain lives there no longer, and now we can scarcely count
Hartford among our literary centres, though it is a publishing centre of
much activity in subscription books.
At New Haven, Yale University has latterly attracted Mr. William H.
Bishop, whose novels I always liked for the best reasons, and has long
held Professor J. T. Lounsbury, who is, since Professor Child's death at
Cambridge, our best Chaucer scholar. Mr. Donald G. Mitchell, once
endeared to the whole fickle American public by his Reveries of a
Bachelor and his Dream Life, dwells on the borders of the pleasant town,
which is also the home of Mr. J. W. De Forest, the earliest real American
novelist, and for certain gifts in seeing and telling our life also one
of the greatest.
As to New York (where the imagination may arrive daily from New Haven,
either by a Sound boat or by eight or ten of the swiftest express trains
in the world), I confess I am more and more puzzled. Here abide the
poets, Mr. R. H. Stoddard, Mr. E. C. Stedman, Mr. R. W. Gilder, and many
whom an envious etcetera must hide from view; the fictionists, Mr. R. H.
Davis, Mrs. Kate Douglas Wiggin, Mr. Brander Matthews, Mr. Frank
Hopkinson Smith, Mr. Abraham Cahan, Mr. Frank Norris, and Mr. James Lane
Allen, who has left Kentucky to join the large Southern contingent, which
includes Mrs. Burton Harrison and Mrs. McEnery Stuart; the historians,
Professor William M. Sloane and Dr. Eggleston (reformed from a novelist);
the literary and religious and economic essayists, Mr. Hamilton W.
Mabie, Mr. H. M. Alden, Mr. J. J. Chapman, and Mr. E. L. Godkin, with
critics, dramatists, satirists, magazinists, and journalists of literary
stamp in number to convince the wavering reason against itself that here
beyond all question is the great literary centre of these States. There
is an Authors' Club, which alone includes a hundred and fifty authors,
and, if you come to editors, there is simply no end. Magazines are
published here and circulated hence throughout the land by millions; and
books by the ton are the daily output of our publishers, who are the
largest in the country.
If these things do not mean a great literary centre, it would be hard to
say what does; and I am not going to try for a reason against such facts.
It is not quality that is wanting, but perhaps it is the quantity of the
quality; there is leaven, but not for so large a lump. It may be that
New York is going to be our literary centre, as London is the literary
centre of England, by gathering into itself all our writing talent, but
it has by no means done this yet. What we can say is that more authors
come here from the West and South than go elsewhere; but they often stay
at home, and I fancy very wisely. Mr. Joel Chandler Harris stays at
Atlanta, in Georgia; Mr. James Whitcomb Riley stays at Indianapolis; Mr.
Maurice Thompson spent his whole literary life, and General Lew. Wallace
still lives at Crawfordsville, Indiana; Mr. Madison Cawein stays at
Louisville, Kentucky; Miss Murfree stays at St. Louis, Missouri; Francis
R. Stockton spent the greater part of the year at his place in West
Virginia, and came only for the winter months to New York; Mr. Edward
Bellamy, until his failing health exiled him to the Far West, remained at
Chicopee, Massachusetts; and I cannot think of one of these writers whom
it would have advantaged in any literary wise to dwell in New York. He
would not have found greater incentive than at home; and in society he
would not have found that literary tone which all society had, or wished
to have, in Boston when Boston was a great town and not yet a big town.
In fact, I doubt if anywhere in the world there was ever so much taste
and feeling for literature as there was in that Boston. At Edinburgh (as
I imagine it) there was a large and distinguished literary class, and at
Weimar there was a cultivated court circle; but in Boston there was not
only such a group of authors as we shall hardly see here again for
hundreds of years, but there was such regard for them and their calling,
not only in good society, but among the extremely well-read people of the
whole intelligent city, as hardly another community has shown. New York,
I am quite sure, never was such a centre, and I see no signs that it ever
will be. It does not influence the literature of the whole country as
Boston once did through writers whom all the young writers wished to
resemble; it does not give the law, and it does not inspire the love that
literary Boston inspired. There is no ideal that it represents.
A glance at the map of the Union will show how very widely our smaller
literary centres are scattered; and perhaps it will be useful in
following me to other more populous literary centres. Dropping southward
from New York, now, we find ourselves in a literary centre of importance
at Philadelphia, since that is the home of Mr. J. B. McMasters, the
historian of the American people; of Mr. Owen Wister, whose fresh and
vigorous work I have mentioned; and of Dr. Weir Mitchell, a novelist of
power long known to the better public, and now recognized by the larger
in the immense success of his historical romance, Hugh Wynne.
If I skip Baltimore, I may ignore a literary centre of great promise, but
while I do not forget the excellent work of Johns Hopkins University in
training men for the solider literature of the future, no Baltimore names
to conjure with occur to me at the moment; and we must really get on to
Washington. This, till he became ambassador at the Court of St. James,
was the home of Mr. John Hay, a poet whose biography of Lincoln must rank
him with the historians, and whose public service as Secretary of State
classes him high among statesmen. He blotted out one literary centre at
Cleveland, Ohio, when he removed to Washington, and Mr. Thomas Nelson
Page another at Richmond, Virginia, when he came to the national capital.
Mr. Paul Dunbar, the first negro poet to divine and utter his race,
carried with him the literary centre of Dayton, Ohio, when he came to be
an employee in the Congressional Library; and Mr. Charles Warren
Stoddard, in settling at Washington as Professor of Literature in the
Catholic University, brought somewhat indirectly away with him the last
traces of the old literary centre at San Francisco.
A more recent literary centre in the Californian metropolis went to
pieces when Mr. Gelett Burgess came to New York and silenced the 'Lark',
a bird of as new and rare a note as ever made itself heard in this air;
but since he has returned to California, there is hope that the literary
centre may form itself there again. I do not know whether Mrs. Charlotte
Perkins Stetson wrecked a literary centre in leaving Los Angeles or not.
I am sure only that she has enriched the literary centre of New York by
the addition of a talent in sociological satire which would be
extraordinary even if it were not altogether unrivalled among us.
Could one say too much of the literary centre at Chicago? I fancy, yes;
or too much, at least, for the taste of the notable people who constitute
it. In Mr. Henry B. Fuller we have reason to hope, from what he has
already done, an American novelist of such greatness that he may well
leave being the great American novelist to any one who likes taking that
role. Mr. Hamlin Garland is another writer of genuine and original gift
who centres at Chicago; and Mrs. Mary Catherwood has made her name well
known in romantic fiction. Miss Edith Wyatt is a talent, newly known, of
the finest quality in minor fiction; Mr. Robert Herrick, Mr. Will Payne
in their novels, and Mr. George Ade and Mr. Peter Dump in their satires
form with those named a group not to be matched elsewhere in the country.
It would be hard to match among our critical journals the 'Dial' of
Chicago; and with a fair amount of publishing in a sort of books often as
good within as they are uncommonly pretty without, Chicago has a claim to
rank with our first literary centres.
It is certainly to be reckoned not so very far below London, which, with
Mr. Henry James, Mr. Harry Harland, and Mr. Bret Harte, seems to me an
American literary centre worthy to be named with contemporary Boston.
Which is our chief literary centre, however, I am not, after all, ready
to say. When I remember Mr. G. W. Cable, at Northampton, Massachusetts,
I am shaken in all my preoccupations; when I think of Mark Twain, it
seems to me that our greatest literary centre is just now at Riverdale-
on-the-Hudson.
ETEXT EDITOR'S BOOKMARKS:
Leaven, but not for so large a lump
Mark Twain
Not lack of quality but quantity of the quality
Our deeply incorporated civilization
End of this Project Gutenberg Etext of American Literary Centers,
by William Dean Howells
LITERATURE AND LIFE--The Standard Household-Effect Company
by William Dean Howells
THE STANDARD HOUSEHOLD-EFFECT COMPANY
My friend came in the other day, before we had left town, and looked
round at the appointments of the room in their summer shrouds, and said,
with a faint sigh, "I see you have had the eternal-womanly with you,
too."
I.
"Isn't the eternal-womanly everywhere? What has happened to you?"
I asked.
"I wish you would come to my house and see. Every rug has been up for a
month, and we have been living on bare floors. Everything that could be
tied up has been tied up, everything that could be sewed up has been
sewed up. Everything that could be moth-balled and put away in chests
has been moth-balled and put away. Everything that could be taken down
has been taken down. Bags with draw-strings at their necks have been
pulled over the chandeliers and tied. The pictures have been hidden in
cheese-cloth, and the mirrors veiled in gauze so that I cannot see my own
miserable face anywhere."
"Come! That's something."
"Yes, it's something. But I have been thinking this matter over very
seriously, and I believe it is going from bad to worse. I have heard
praises of the thorough housekeeping of our grandmothers, but the
housekeeping of their granddaughters is a thousand times more intense."
"Do you really believe that?" I asked. "And if you do, what of it?"
"Simply this, that if we don't put a stop to it, at the gait it's going,
it will put a stop to the eternal-womanly."
"I suppose we should hate that."
"Yes, it would be bad. It would be very bad; and I have been turning the
matter over in my mind, and studying out a remedy."
"The highest type of philosopher turns a thing over in his mind and lets
some one else study out a remedy."
"Yes, I know. I feel that I may be wrong in my processes, but I am sure
that I am right in my results. The reason why our grandmothers could be
such good housekeepers without danger of putting a stop to the eternal-
womanly was that they had so few things to look after in their houses.
Life was indefinitely simpler with them. But the modern improvements,
as we call them, have multiplied the cares of housekeeping without
subtracting its burdens, as they were expected to do. Every novel
convenience and comfort, every article of beauty and luxury, every means
of refinement and enjoyment in our houses, has been so much added to the
burdens of housekeeping, and the granddaughters have inherited from the
grandmothers an undiminished conscience against rust and the moth, which
will not suffer them to forget the least duty they owe to the naughtiest
of their superfluities."
"Yes, I see what you mean," I said. This is what one usually says when
one does not quite know what another is driving at; but in this case I
really did know, or thought I did. "That survival of the conscience is a
very curious thing, especially in our eternal-womanly. I suppose that
the North American conscience was evolved from the rudimental European
conscience during the first centuries of struggle here, and was more or
less religious and economical in its origin. But with the advance of
wealth and the decay of faith among us, the conscience seems to be simply
conscientious, or, if it is otherwise, it is social. The eternal-womanly
continues along the old lines of housekeeping from an atavistic impulse,
and no one woman can stop because all the other women are going on. It
is something in the air, or something in the blood. Perhaps it is
something in both."
"Yes," said my friend, quite as I had said already, "I see what you mean.
But I think it is in the air more than in the blood. I was in Paris,
about this time last year, perhaps because I was the only thing in my
house that had not been swathed in cheese-cloth, or tied up in a bag with
drawstrings, or rolled up with moth-balls and put away in chests. At any
rate, I was there. One day I left my wife in New York carefully tagging
three worn-out feather dusters, and putting them into a pillow-case, and
tagging it, and putting the pillow-case into a camphorated self-sealing
paper sack, and tagging it; and another day I was in Paris, dining at the
house of a lady whom I asked how she managed with the things in her house
when she went into the country for the summer. 'Leave them just as they
are,' she said. 'But what about the dust and the moths, and the rust and
the tarnish?' She said, 'Why, the things would have to be all gone over
when I came back in the autumn, anyway, and why should I give myself
double trouble?' I asked her if she didn't even roll anything up and put
it away in closets, and she said: 'Oh, you mean that old American horror
of getting ready to go away. I used to go through all that at home, too,
but I shouldn't dream of it here. In the first place, there are no
closets in the house, and I couldn't put anything away if I wanted to.
And really nothing happens. I scatter some Persian powder along the
edges of things, and under the lower shelves, and in the dim corners, and
I pull down the shades. When I come back in the fall I have the powder
swept out, and the shades pulled up, and begin living again. Suppose a
little dust has got in, and the moths have nibbled a little here and
there? The whole damage would not amount to half the cost of putting
everything away and taking everything out, not to speak of the weeks of
discomfort, and the wear and tear of spirit. No, thank goodness--I left
American housekeeping in America.' I asked her: 'But if you went back?'
and she gave a sigh, and said:
"'I suppose I should go back to that, along with all the rest. Everybody
does it there.' So you see," my friend concluded, "it's in the air,
rather than the blood."
"Then your famous specific is that our eternal-womanly should go and live
in Paris?"
"Oh, dear, not" said my friend. "Nothing so drastic as all that. Merely
the extinction of household property."
"I see what you mean," I said. "But--what do you mean?"
"Simply that hired houses, such as most of us live in, shall all be
furnished houses, and that the landlord shall own every stick in them,
and every appliance down to the last spoon and ultimate towel. There
must be no compromise, by which the tenant agrees to provide his own
linen and silver; that would neutralize the effect I intend by the
expropriation of the personal proprietor, if that says what I mean. It
must be in the lease, with severe penalties against the tenant in case of
violation, that the landlord into furnish everything in perfect order
when the tenant comes in, and is to put everything in perfect order when
the tenant goes out, and the tenant is not to touch anything, to clean
it, or dust it, or roll it up in moth-balls and put it away in chests.
All is to be so sacredly and inalienably the property of the landlord
that it shall constitute a kind of trespass if the tenant attempts to
close the house for the summer or to open it for the winter in the usual
way that houses are now closed and opened. Otherwise my scheme would be
measurably vitiated."
"I see what you mean," I murmured. "Well?"
"Some years ago," my friend went on, "when we came home from Europe, we
left our furniture in storage for a time, while we rather drifted about,
and did not settle anywhere in particular. During that interval my wife
opened and closed five furnished houses in two years."
"And she has lived to tell the tale?"
"She has lived to tell it a great many times. She can hardly be kept
from telling it yet. But it is my belief that, although she brought to
the work all the anguish of a quickened conscience, under the influence
of the American conditions she had returned to, she suffered far less in
her encounters with either of those furnished houses than she now does
with our own furniture when she shuts up our house in the summer, and
opens it for the winter. But if there had been a clause in the lease, as
there should have been, forbidding her to put those houses in order when
she left them, life would have been simply a rapture. Why, in Europe
custom almost supplies the place of statute in such cases, and you come
and go so lightly in and out of furnished houses that you do not mind
taking them for a month, or a few weeks. We are very far behind in this
matter, but I have no doubt that if we once came to do it on any extended
scale we should do it, as we do everything else we attempt, more
perfectly than any other people in the world. You see what I mean?"
"I am not sure that I do. But go on."
"I would invert the whole Henry George principle, and I would tax
personal property of the household kind so heavily that it would
necessarily pass out of private hands; I would make its tenure so costly
that it would be impossible to any but the very rich, who are also the
very wicked, and ought to suffer."
"Oh, come, now!"
"I refer you to your Testament. In the end, all household property would
pass into the hands of the state."
"Aren't you getting worse and worse?"
"Oh, I'm not supposing there won't be a long interval when household
property will be in the hands of powerful monopolies, and many
millionaires will be made by letting it out to middle-class tenants like
you and me, along with the houses we hire of them. I have no doubt that
there will be a Standard Household-Effect Company, which will extend its
relations to Europe, and get the household effects of the whole world
into its grasp. It will be a fearful oppression, and we shall probably
groan under it for generations, but it will liberate us from our personal
ownership of them, and from the far more crushing weight of the moth-
ball. We shall suffer, but--"
"I see what you mean," I hastened to interrupt at this point, "but these
suggestive remarks of yours are getting beyond--Do you think you could
defer the rest of your incompleted sentence for a week?"
"Well, for not more than a week," said my friend, with an air of
discomfort in his arrest.
II.
--"We shall not suffer so much as we do under our present system," said
my friend, completing his sentence after the interruption of a week. By
this time we had both left town, and were taking up the talk again on the
veranda of a sea-side hotel. "As for the eternal-womanly, it will be her
salvation from herself. When once she is expropriated from her household
effects, and forbidden under severe penalties from meddling with those of
the Standard Household-Effect Company, she will begin to get back her
peace of mind, and be the same blessing she was before she began
housekeeping."
"That may all very well be," I assented, though I did not believe it, and
I found something almost too fantastical in my friend's scheme. "But
when we are expropriated from all our dearest belongings, what is to
become of our tender and sacred associations with them?"
"What has become of devotion to the family gods, and the worship of
ancestors? Once the graves of the dead were at the door of the living,
so that libations might be conveniently poured out on them, and the
ground where they lay was inalienable because it was supposed to be used
by their spirits as well as their bodies. A man could not sell the
bones, because he could not sell the ghosts, of his kindred. By-and by,
when religion ceased to be domestic and became social, and the service of
the gods was carried on in temples common to all, it was found that the
tombs of one's forefathers could be sold without violence to their
spectres. I dare say it wouldn't be different in the case of our tender
and sacred associations with tables and chairs, pots and pans, beds and
bedding, pictures and bric-a-brac. We have only to evolve a little
further. In fact we have already evolved far beyond the point that
troubles you. Most people in modern towns and cities have changed their
domiciles from ten to twenty times during their lives, and have not paid
the slightest attention to the tender and sacred associations connected
with them. I don't suppose you would say that a man has no such
associations with the house that has sheltered him, while he has them
with the stuff that has furnished it?"
"No, I shouldn't say that."
"If anything, the house should be dearer than the household gear. Yet at
each remove we drag a lengthening chain of tables, chairs, side-boards,
portraits, landscapes, bedsteads, washstands, stoves, kitchen utensils,
and bric-a-brac after us, because, as my wife says, we cannot bear to
part with them. At several times in our own lives we have accumulated
stuff enough to furnish two or three house and have paid a pretty stiff
house-rent in the form of storage for the overflow. Why, I am doing that
very thing now! Aren't you?"
"I am--in a certain degree," I assented.
"We all are, we well-to-do people, as we think ourselves. Once my wife
and I revolted by a common impulse against the ridiculous waste and
slavery of the thing. We went to the storage warehouse and sent three or
four vanloads of the rubbish to the auctioneer. Some of the pieces we
had not seen for years, and as each was hauled out for us to inspect and
decide upon, we condemned it to the auction-block with shouts of
rejoicing. Tender and sacred associations! We hadn't had such light
hearts since we had put everything in storage and gone to Europe
indefinitely as we had when we left those things to be carted out of our
lives forever. Not one had been a pleasure to us; the sight of every one
had been a pang. All we wanted was never to set eyes on them again."
"I must say you have disposed of the tender and sacred associations
pretty effectually, so far as they relate to things in storage. But the
things that we have in daily use?"
"It is exactly the same with them. Why should they be more to us than
the floors and walls of the houses we move in and move out of with no
particular pathos? And I think we ought not to care for them, certainly
not to the point of letting them destroy our eternal-womanly with the
anxiety she feels for them. She is really much more precious, if she
could but realize it, than anything she swathes in cheese-cloth or wraps
up with moth-balls. The proof of the fact that the whole thing is a
piece of mere sentimentality is that we may live in a furnished house for
years, amid all the accidents of birth and death, joy and sorrow, and yet
not form the slightest attachment to the furniture. Why should we have
tender and sacred associations with a thing we have bought, and not with
a thing we have hired?"
"I confess, I don't know. And do you really think we could liberate
ourselves from our belongings if they didn't belong to us? Wouldn't the
eternal-womanly still keep putting them away for summer and taking them
out for winter?"
"At first, yes, there might be some such mechanical action in her; but it
would be purely mechanical, and it would soon cease. When the Standard
Household-Effect Company came down on the temporal-manly with a penalty
for violation of the lease, the eternal-womanly would see the folly of
her ways and stop; for the eternal-womanly is essentially economical,
whatever we say about the dressmaker's bills; and the very futilities of
putting away and taking out, that she now wears herself to a thread with,
are founded in the instinct of saving."
"But," I asked, "wouldn't our household belongings lose a good deal of
character if they didn't belong to us? Wouldn't our domestic interiors
become dreadfully impersonal?"
"How many houses now have character-personality? Most people let the
different dealers choose for them, as it is. Why not let the Standard
Household-Effect Company, and finally the state? I am sure that either
would choose much more wisely than people choose for themselves, in the
few cases where they even seem to choose for themselves. In most
interiors the appointments are without fitness, taste, or sense; they are
the mere accretions of accident in the greater number of cases; where
they are the result of design, they are worse. I see what you mean by
character and personality in them. You mean the sort of madness that let
itself loose a few years ago in what was called household art, and has
since gone to make the junk-shops hideous. Each of the eternal-womanly
was supposed suddenly to have acquired a talent for decoration and a gift
for the selection and arrangement of furniture, and each began to stamp
herself upon our interiors. One painted a high-shouldered stone bottle
with a stork and stood it at the right corner of the mantel on a scarf;
another gilded the bottle and stood it at the left corner, and tied the
scarf through its handle. One knotted a ribbon around the arm of a
chair; another knotted it around the leg. In a day, an hour, a moment,
the chairs suddenly became angular, cushionless, springless; and the
sofas were stood across corners, or parallel with the fireplace, in
slants expressive of the personality of the presiding genius. The walls
became all frieze and dado; and instead of the simple and dignified
ugliness of the impersonal period our interiors abandoned themselves to a
hysterical chaos, full of character. Some people had their doors painted
black, and the daughter or mother of the house then decorated them with
morning-glories. I saw such a door in a house I looked at the other day,
thinking I might hire it. The sight of that black door and its morning-
glories made me wish to turn aside and live with the cattle, as Walt
Whitman says. No, the less we try to get personality and character into
our household effects the more beautiful and interesting they will be.
As soon as we put the Standard Household-Effect Company in possession and
render it a relentless monopoly, it will corrupt a competent architect
and decorator in each of our large towns and cities, and when you hire a
new house these will be sent to advise with the eternal-womanly
concerning its appointments, and tell her what she wants, and what she
will like; for at present the eternal womanly, as soon as she has got a
thing she wants, begins to hate it. The company's agents will begin by
convincing her that she does not need half the things she has lumbered up
her house with, and that every useless thing is an ugly thing, even in
the region of pure aesthetics. I once asked an Italian painter if he did
not think a certain nobly imagined drawing-room was fine, and he said
'SI. Ma troppa roba.' There were too many rugs, tables, chairs, sofas,
pictures; vases, statues, chandeliers. 'Troppa roba' is the vice of all
our household furnishing, and it will be the death of the eternal-womanly
if it is not stopped. But the corrupt agents of a giant monopoly will
teach the eternal-womanly something of the wise simplicity of the South,
and she will end by returning to the ideal of housekeeping as it prevails
among the Latin races, whom it began with, whom civilization began with.
What of a harmless, necessary moth or two, or even a few fleas?"
"That might be all very well as far as furniture and carpets and curtains
are concerned," I said, "but surely you wouldn't apply it to pictures and
objects of art?"
"I would apply it to them first of all and above all," rejoined my
friend, hardily. "Among all the people who buy and own such things there
is not one in a thousand who has any real taste or feeling for them, and
the objects they choose are generally such as can only deprave and
degrade them further. The pictures, statues, and vases supplied by the
Standard Household-Effect Company would be selected by agents with a real
sense of art, and a knowledge of it. When the house-letting and house-
furnishing finally passed into the hands of the state, these things would
be lent from the public galleries, or from immense municipal stores for
the purpose."
"And I suppose you would have ancestral portraits supplied along with the
other pictures?" I sneered.
"Ancestral portraits, of course," said my friend, with unruffled temper.
"So few people have ancestors of their own that they will be very glad to
have ancestral portraits chosen for them out of the collections of the
company or the state. The agents of the one, or the officers of the
other, will study the existing type of family face, and will select
ancestors and ancestresses whose modelling, coloring, and expression
agree with it, and will keep in view the race and nationality of the
family whose ancestral portraits are to be supplied, so that there shall
be no chance of the grossly improbable effect which ancestral portraits
now have in many cases. Yes, I see no flaw in the scheme," my friend
concluded, "and no difficulty that can't be easily overcome. We must
alienate our household furniture, and make it so sensitively and
exclusively the property of some impersonal agency--company or community,
I don't care which--that any care of it shall be a sort of crime; any
sense of responsibility for its preservation a species of incivism
punishable by fine or imprisonment. This, and nothing short of it, will
be the salvation of the eternal-womanly."
"And the perdition of something even more precious than that!"
"What can be more precious?"
"Individuality."
"My dear friend," demanded my visitor, who had risen, and whom I was
gradually edging to the door, "do you mean to say there is any
individuality in such things now? What have we been saying about
character?"
"Ah, I see what you mean," I said.
ETEXT EDITOR'S BOOKMARK:
As soon as she has got a thing she wants, begins to hate it
Heard praises of the thorough housekeeping of our grandmothers
Yes, I see what you mean
End of this Project Gutenberg Etext of Standard Household Effect Co.
by William Dean Howells
LITERATURE AND LIFE--Staccato Notes of a Vanished Summer
by William Dean Howells
STACCATO NOTES OF A VANISHED SUMMER
Monday afternoon the storm which had been beating up against the
southeasterly wind nearly all day thickened, fold upon fold, in the
northwest. The gale increased, and blackened the harbor and whitened the
open sea beyond, where sail after sail appeared round the reef of
Whaleback Light, and ran in a wild scamper for the safe anchorages
within.
Since noon cautious coasters of all sorts had been dropping in with a
casual air; the coal schooners and barges had rocked and nodded knowingly
to one another, with their taper and truncated masts, on the breast of
the invisible swell; and the flock of little yachts and pleasure-boats
which always fleck the bay huddled together in the safe waters. The
craft that came scurrying in just before nightfall were mackerel seiners
from Gloucester. They were all of one graceful shape and one size; they
came with all sail set, taking the waning light like sunshine on their
flying-jibs, and trailing each two dories behind them, with their seines
piled in black heaps between the thwarts. As soon as they came inside
their jibs weakened and fell, and the anchor-chains rattled from their
bows. Before the dark hid them we could have counted sixty or seventy
ships in the harbor, and as the night fell they improvised a little
Venice under the hill with their lights, which twinkled rhythmically,
like the lamps in the basin of St. Mark, between the Maine and New
Hampshire coasts.
There was a dash of rain, and we thought the storm had begun; but that
ended it, as so many times this summer a dash of rain has ended a storm.
The morning came veiled in a fog that kept the shipping at anchor through
the day; but the next night the weather cleared. We woke to the clucking
of tackle, and saw the whole fleet standing dreamily out to sea. When
they were fairly gone, the summer, which had held aloof in dismay of the
sudden cold, seemed to return and possess the land again; and the
succession of silver days and crystal nights resumed the tranquil round
which we thought had ceased.
I.
One says of every summer, when it is drawing near its end, "There never
was such a summer"; but if the summer is one of those which slip from the
feeble hold of elderly hands, when the days of the years may be reckoned
with the scientific logic of the insurance tables and the sad conviction
of the psalmist, one sees it go with a passionate prescience of never
seeing its like again such as the younger witness cannot know. Each new
summer of the few left must be shorter and swifter than the last: its
Junes will be thirty days long, and its Julys and Augusts thirty-one, in
compliance with the almanac; but the days will be of so small a compass
that fourteen of them will rattle round in a week of the old size like
shrivelled peas in a pod.
To be sure they swell somewhat in the retrospect, like the same peas put
to soak; and I am aware now of some June days of those which we first
spent at Kittery Point this year, which were nearly twenty-four hours
long. Even the days of declining years linger a little here, where there
is nothing to hurry them, and where it is pleasant to loiter, and muse
beside the sea and shore, which are so netted together at Kittery Point
that they hardly know themselves apart. The days, whatever their length,
are divided, not into hours, but into mails. They begin, without regard
to the sun, at eight o'clock, when the first mail comes with a few
letters and papers which had forgotten themselves the night before. At
half-past eleven the great mid-day mail arrives; at four o'clock there is
another indifferent and scattering post, much like that at eight in the
morning; and at seven the last mail arrives with the Boston evening
papers and the New York morning papers, to make you forget any letters
you were looking for. The opening of the mid-day mail is that which most
throngs with summer folks the little postoffice under the elms, opposite
the weather-beaten mansion of Sir William Pepperrell; but the evening
mail attracts a large and mainly disinterested circle of natives. The
day's work on land and sea is then over, and the village leisure, perched
upon fences and stayed against house walls, is of a picturesqueness which
we should prize if we saw it abroad, and which I am not willing to slight
on our own ground.
II.
The type is mostly of a seafaring brown, a complexion which seems to be
inherited rather than personally acquired; for the commerce of Kittery
Point perished long ago, and the fishing fleets that used to fit out from
her wharves have almost as long ago passed to Gloucester. All that is
left of the fishing interest is the weir outside which supplies, fitfully
and uncertainly, the fish shipped fresh to the nearest markets. But in
spite of this the tint taken from the suns and winds of the sea lingers
on the local complexion; and the local manner is that freer and easier
manner of people who have known other coasts, and are in some sort
citizens of the world. It is very different from the inland New England
manner; as different as the gentle, slow speech of the shore from the
clipped nasals of the hill-country. The lounging native walk is not the
heavy plod taught by the furrow, but has the lurch and the sway of the
deck in it.
Nothing could be better suited to progress through the long village,
which rises and sinks beside the shore like a landscape with its sea-legs
on; and nothing could be more charming and friendly than this village.
It is quite untainted as yet by the summer cottages which have covered so
much of the coast, and made it look as if the aesthetic suburbs of New
York and Boston had gone ashore upon it. There are two or three old-
fashioned summer hotels; but the summer life distinctly fails to
characterize the place. The people live where their forefathers have
lived for two hundred and fifty years; and for the century since the
baronial domain of Sir William was broken up and his possessions
confiscated by the young Republic, they have dwelt in small red or white
houses on their small holdings along the slopes and levels of the low
hills beside the water, where a man may pass with the least inconvenience
and delay from his threshold to his gunwale. Not all the houses are
small; some are spacious and ambitious to be of ugly modern patterns; but
most are simple and homelike. Their gardens, following the example of
Sir William's vanished pleasaunce, drop southward to the shore, where the
lobster-traps and the hen-coops meet in unembarrassed promiscuity. But
the fish-flakes which once gave these inclines the effect of terraced
vineyards have passed as utterly as the proud parterres of the old
baronet; and Kittery Point no longer "makes" a cod or a haddock for the
market.
Three groceries, a butcher shop, and a small variety store study the few
native wants; and with a little money one may live in as great real
comfort here as for much in a larger place. The street takes care of
itself; the seafaring housekeeping of New England is not of the
insatiable Dutch type which will not spare the stones of the highway; but
within the houses are of almost terrifying cleanliness. The other day I
found myself in a kitchen where the stove shone like oxidized silver; the
pump and sink were clad in oilcloth as with blue tiles; the walls were
papered; the stainless floor was strewn with home-made hooked and braided
rugs; and I felt the place so altogether too good for me that I pleaded
to stay there for the transaction of my business, lest a sharper sense of
my unfitness should await me in the parlor.
The village, with scarcely an interval of farm-lands, stretches four
miles along the water-side to Portsmouth; but it seems to me that just at
the point where our lines have fallen there is the greatest concentration
of its character. This has apparently not been weakened, it has been
accented, by the trolley-line which passes through its whole length, with
gayly freighted cars coming and going every half-hour. I suppose they
are not longer than other trolley-cars, but they each affect me like a
procession. They are cheerful presences by day, and by night they light
up the dim, winding street with the flare of their electric bulbs, and
bring to the country a vision of city splendor upon terms that do not
humiliate or disquiet. During July and August they are mostly filled
with summer folks from a great summer resort beyond us, and their lights
reveal the pretty fashions of hats and gowns in all the charm of the
latest lines and tints. But there is an increasing democracy in these
splendors, and one might easily mistake a passing excursionist from some
neighboring inland town, or even a local native with the instinct of
clothes, for a social leader from York Harbor.
With the falling leaf, the barge-like open cars close up into well-warmed
saloons, and falter to hourly intervals in their course. But we are
still far from the falling leaf; we are hardly come to the blushing or
fading leaf. Here and there an impassioned maple confesses the autumn;
the ancient Pepperrell elms fling down showers of the baronet's fairy
gold in the September gusts; the sumacs and the blackberry vines are
ablaze along the tumbling black stone walls; but it is still summer, it
is still summer: I cannot allow otherwise!
III.
The other day I visited for the first time (in the opulent indifference
of one who could see it any time) the stately tomb of the first
Pepperrell, who came from Cornwall to these coasts, and settled finally
at Kittery Point. He laid there the foundations of the greatest fortune
in colonial New England, which revolutionary New England seized and
dispersed, as I cannot but feel, a little ruthlessly. In my personal
quality I am of course averse to all great fortunes; and in my civic
capacity I am a patriot. But still I feel a sort of grace in wealth a
century old, and if I could now have my way, I would not have had their
possessions reft from those kindly Pepperrells, who could hardly help
being loyal to the fountain of their baronial honors. Sir William,
indeed; had helped, more than any other man, to bring the people who
despoiled him to a national consciousness. If he did not imagine, he
mainly managed the plucky New England expedition against Louisbourg at
Cape Breton a half century before the War of Independence; and his
splendid success in rending that stronghold from the French taught the
colonists that they were Americans, and need be Englishmen no longer than
they liked. His soldiers were of the stamp of all succeeding American
armies, and his leadership was of the neighborly and fatherly sort
natural to an amiable man who knew most of them personally. He was
already the richest man in America, and his grateful king made him a
baronet; but he came contentedly back to Kittery, and took up his old
life in a region where he had the comfortable consideration of an
unrivalled magnate. He built himself the dignified mansion which still
stands across the way from the post-office on Kittery Point, within an
easy stone's cast of the far older house, where his father wedded Margery
Bray, when he came, a thrifty young Welsh fisherman, from the Isles of
Shoals, and established his family on Kittery. The Bray house had been
the finest in the region a hundred years before the Pepperrell mansion
was built; it still remembers its consequence in the panelling and
wainscoting of the large, square parlor where the young people were
married and in the elaborate staircase cramped into the little, square
hall; and the Bray fortune helped materially to swell the wealth of the
Pepperrells.
I do not know that I should care now to have a man able to ride thirty
miles on his own land; but I do not mind Sir William's having done it
here a hundred and fifty years ago; and I wish the confiscations had left
his family, say, about a mile of it. They could now, indeed, enjoy it
only in the collateral branches, for all Sir William's line is extinct.
The splendid mansion which he built his daughter is in alien hands, and
the fine old house which Lady Pepperrell built herself after his death
belongs to the remotest of kinsmen. A group of these, the descendants of
a prolific sister of the baronet, meets every year at Kittery Point as
the Pepperrell Association, and, in a tent hard by the little grove of
drooping spruces which shade the admirable renaissance cenotaph of Sir
William's father, cherishes the family memories with due American
"proceedings."
IV.
The meeting of the Pepperrell Association was by no means the chief
excitement of our summer. In fact, I do not know that it was an
excitement at all; and I am sure it was not comparable to the presence of
our naval squadron, when for four days the mighty dragon and kraken
shapes of steel, which had crumbled the decrepit pride of Spain in the
fight at Santiago, weltered in our peaceful waters, almost under my
window.
I try now to dignify them with handsome epithets; but while they were
here I had moments of thinking they looked like a lot of whited
locomotives, which had broken through from some trestle, in a recent
accident, and were waiting the offices of a wrecking-train. The poetry
of the man-of-war still clings to the "three-decker out of the foam" of
the past; it is too soon yet for it to have cast a mischievous halo about
the modern battle-ship; and I looked at the New York and the Texas and
the Brooklyn and the rest, and thought, "Ah, but for you, and our need of
proving your dire efficiency, perhaps we could have got on with the
wickedness of Spanish rule in Cuba, and there had been no war!" Under my
reluctant eyes the great, dreadful spectacle of the Santiago fight
displayed itself in peaceful Kittery Harbor. I saw the Spanish ships
drive upon the reef where a man from Dover, New Hampshire, was camping in
a little wooden shanty unconscious; and I heard the dying screams of the
Spanish sailors, seethed and scalded within the steel walls of their own
wicked war-kettles.
As for the guns, battle or no battle, our ships, like "kind Lieutenant
Belay of the 'Hot Cross-Bun'," seemed to be "banging away the whole day
long." They set a bad example to the dreamy old fort on the Newcastle
shore, which, till they came, only recollected itself to salute the
sunrise and sunset with a single gun; but which, under provocation of the
squadron, formed a habit of firing twenty or thirty times at noon.
Other martial shows and noises were not so bad. I rather liked seeing
the morning drill of the marines and the bluejackets on the iron decks,
with the lively music that went with it. The bugle calls and the bells
were charming; the week's wash hung out to dry had its picturesqueness by
day, and by night the spectral play of the search-lights along the waves
and shores, and against the startled skies, was even more impressive.
There was a band which gave us every evening the airs of the latest coon-
songs, and the national anthems which we have borrowed from various
nations; and yes, I remember the white squadron kindly, though I was so
glad to have it go, and let us lapse back into our summer silence and
calm. It was (I do not mind saying now) a majestic sight to see those
grotesque monsters gather themselves together, and go wallowing, one
after another, out of the harbor, and drop behind the ledge of Whaleback
Light, as if they had sunk into the sea.
V.
A deep peace fell upon us when they went, and it must have been at this
most receptive moment, when all our sympathies were adjusted in a mood of
hospitable expectation, that Jim appeared.
Jim was, and still is, and I hope will long be, a cat; but unless one has
lived at Kittery Point, and realized, from observation and experience,
what a leading part cats may play in society, one cannot feel the full
import of this fact. Not only has every house in Kittery its cat, but
every house seems to have its half-dozen cats, large, little, old, and
young; of divers colors, tending mostly to a dark tortoise-shell. With a
whole ocean inviting to the tragic rite, I do not believe there is ever a
kitten drowned in Kittery; the illimitable sea rather employs itself in
supplying the fish to which "no cat's averse," but which the cats of
Kittery demand to have cooked. They do not like raw fish; they say it
plainly, and they prefer to have the bones taken out for them, though
they do not insist upon that point.
At least, Jim never did so from the time when he first scented the odor
of delicate young mackerel in the evening air about our kitchen, and
dropped in upon the maids there with a fine casual effect of being merely
out for a walk, and feeling it a neighborly thing to call. He had on a
silver collar, engraved with his name and surname, which offered itself
for introduction like a visiting-card. He was too polite to ask himself
to the table at once, but after he had been welcomed to the family
circle, he formed the habit of finding himself with us at breakfast and
supper, when he sauntered in like one who should say, "Did I smell fish?"
but would not go further in the way of hinting.
He had no need to do so. He was made at home, and freely invited to our
best not only in fish, but in chicken, for which he showed a nice taste,
and in sweetcorn, for which he revealed a most surprising fondness when
it was cut from the cob for him. After he had breakfasted or supped he
gracefully suggested that he was thirsty by climbing to the table where
the water-pitcher stood and stretching his fine feline head towards it.
When he had lapped up his saucer of water; he marched into the parlor,
and riveted the chains upon our fondness by taking the best chair and
going to sleep in it in attitudes of Egyptian, of Assyrian majesty.
His arts were few or none; he rather disdained to practise any; he
completed our conquest by maintaining himself simply a fascinating
presence; and perhaps we spoiled Jim. It is certain that he came under
my window at two o'clock one night, and tried the kitchen door. It
resisted his efforts to get in, and then Jim began to use language which
I had never heard from the lips of a cat before, and seldom from the lips
of a man. I will not repeat it; enough that it carried to the listener
the conviction that Jim was not sober. Where he could have got his
liquor in the totally abstinent State of Maine I could not positively
say, but probably of some sailor who had brought it from the neighboring
New Hampshire coast. There could be no doubt, however, that Jim was
drunk; and a dash from the water-pitcher seemed the only thing for him.
The water did not touch him, but he started back in surprise and grief,
and vanished into the night without a word.
His feelings must have been deeply wounded, for it was almost a week
before he came near us again; and then I think that nothing but young
lobster would have brought him. He forgave us finally, and made us of
his party in the quarrel he began gradually to have with the large yellow
cat of a next-door neighbor. This culminated one afternoon, after a long
exchange of mediaeval defiance and insult, in a battle upon a bed of rag-
weed, with wild shrieks of rage, and prodigious feats of ground and lofty
tumbling. It seemed to our anxious eyes that Jim was getting the worst
of it; but when we afterwards visited the battle-field and picked up
several tufts of blond fur, we were in a doubt which was afterwards
heightened by Jim's invasion of the yellow cat's territory, where he
stretched himself defiantly upon the grass and seemed to be challenging
the yellow cat to come out and try to put him off the premises.
ETEXT EDITOR'S BOOKMARKS:
Ambitious to be of ugly modern patterns
Here and there an impassioned maple confesses the autumn
Houses are of almost terrifying cleanliness
Leading part cats may play in society
Picturesqueness which we should prize if we saw it abroad
Has the lurch and the sway of the deck in it
End of this Project Gutenberg Etext of Notes of a Vanished Summer
by William Dean Howells
LITERATURE AND LIFE--Short Stories and Essays
by William Dean Howells
CONTENTS:
Worries of a Winter Walk
Summer Isles of Eden
Wild Flowers of the Asphalt
A Circus in the Suburbs
A She Hamlet
The Midnight Platoon
The Beach at Rockaway
Sawdust in the Arena
At a Dime Museum
American Literature in Exile
The Horse Show
The Problem of the Summer
Aesthetic New York Fifty-odd Years Ago
From New York into New England
The Art of the Adsmith
The Psychology of Plagiarism
Puritanism in American Fiction
The What and How in Art
Politics in American Authors
Storage
"Floating down the River on the O-hi-o"
WORRIES OF A WINTER WALK
The other winter, as I was taking a morning walk down to the East River,
I came upon a bit of our motley life, a fact of our piebald civilization,
which has perplexed me from time to time, ever since, and which I wish
now to leave with the reader, for his or her more thoughtful
consideration.
I.
The morning was extremely cold. It professed to be sunny, and there was
really some sort of hard glitter in the air, which, so far from being
tempered by this effulgence, seemed all the stonier for it. Blasts of
frigid wind swept the streets, and buffeted each other in a fury of
resentment when they met around the corners. Although I was passing
through a populous tenement-house quarter, my way was not hindered by the
sports of the tenement-house children, who commonly crowd one from the
sidewalks; no frowzy head looked out over the fire-escapes; there were no
peddlers' carts or voices in the road-way; not above three or four shawl-
hooded women cowered out of the little shops with small purchases in
their hands; not so many tiny girls with jugs opened the doors of the
beer saloons. The butchers' windows were painted with patterns of frost,
through which I could dimly see the frozen meats hanging like hideous
stalactites from the roof. When I came to the river, I ached in sympathy
with the shipping painfully atilt on the rocklike surface of the brine,
which broke against the piers, and sprayed itself over them like showers
of powdered quartz.
But it was before I reached this final point that I received into my
consciousness the moments of the human comedy which have been an
increasing burden to it. Within a block of the river I met a child so
small that at first I almost refused to take any account of her, until
she appealed to my sense of humor by her amusing disproportion to the
pail which she was lugging in front of her with both of her little
mittened hands. I am scrupulous about mittens, though I was tempted to
write of her little naked hands, red with the pitiless cold. This would
have been more effective, but it would not have been true, and the truth
obliges me to own that she had a stout, warm-looking knit jacket on.
The pail-which was half her height and twice her bulk-was filled to
overflowing with small pieces of coal and coke, and if it had not been
for this I might have taken her for a child of the better classes, she
was so comfortably clad. But in that case she would have had to be
fifteen or sixteen years old, in order to be doing so efficiently and
responsibly the work which, as the child of the worse classes, she was
actually doing at five or six. We must, indeed, allow that the early
self-helpfulness of such children is very remarkable, and all the more so
because they grow up into men and women so stupid that, according to the
theories of all polite economists, they have to have their discontent
with their conditions put into their heads by malevolent agitators.
From time to time this tiny creature put down her heavy burden to rest;
it was, of course, only relatively heavy; a man would have made nothing
of it. From time to time she was forced to stop and pick up the bits of
coke that tumbled from her heaping pail. She could not consent to lose
one of them, and at last, when she found she could not make all of them
stay on the heap, she thriftily tucked them into the pockets of her
jacket, and trudged sturdily on till she met a boy some years older, who
planted himself in her path and stood looking at her, with his hands in
his pockets. I do not say he was a bad boy, but I could see in his
furtive eye that she was a sore temptation to him. The chance to have
fun with her by upsetting her bucket, and scattering her coke about till
she cried with vexation, was one which might not often present itself,
and I do not know what made him forego it, but I know that he did, and
that he finally passed her, as I have seen a young dog pass a little cat,
after having stopped it, and thoughtfully considered worrying it.
I turned to watch the child out of sight, and when I faced about towards
the river again I received the second instalment of my present
perplexity. A cart, heavily laden with coke, drove out of the coal-yard
which I now perceived I had come to, and after this cart followed two
brisk old women, snugly clothed and tightly tucked in against the cold
like the child, who vied with each other in catching up the lumps of coke
that were jolted from the load, and filling their aprons with them; such
old women, so hale, so spry, so tough and tireless, with the withered
apples red in their cheeks, I have not often seen. They may have been
about sixty years, or sixty-five, the time of life when most women are
grandmothers and are relegated on their merits to the cushioned seats of
their children's homes, softly silk-gowned and lace-capped, dear visions
of lilac and lavender, to be loved and petted by their grandchildren.
The fancy can hardly put such sweet ladies in the place of those nimble
beldams, who hopped about there in the wind-swept street, plucking up
their day's supply of firing from the involuntary bounty of the cart.
Even the attempt is unseemly, and whether mine is at best but a feeble
fancy, not bred to strenuous feats of any kind, it fails to bring them
before me in that figure. I cannot imagine ladies doing that kind of
thing; I can only imagine women who had lived hard and worked hard all
their lives doing it; who had begun to fight with want from their
cradles, like that little one with the pail, and must fight without
ceasing to their graves. But I am not unreasonable; I understand and I
understood what I saw to be one of the things that must be, for the
perfectly good and sufficient reason that they always have been; and at
the moment I got what pleasure I could out of the stolid indifference of
the cart-driver, who never looked about him at the scene which interested
me, but jolted onward, leaving a trail of pungent odors from his pipe in
the freezing eddies of the air behind him.
II.
It is still not at all, or not so much, the fact that troubles me; it is
what to do with the fact. The question began with me almost at once, or
at least as soon as I faced about and began to walk homeward with the
wind at my back. I was then so much more comfortable that the aesthetic
instinct thawed out in me, and I found myself wondering what use I could
make of what I had seen in the way of my trade. Should I have something
very pathetic, like the old grandmother going out day after day to pick
up coke for her sick daughter's freezing orphans till she fell sick
herself? What should I do with the family in that case? They could not
be left at that point, and I promptly imagined a granddaughter, a girl of
about eighteen, very pretty and rather proud, a sort of belle in her
humble neighborhood, who should take her grandmother's place. I decided
that I should have her Italian, because I knew something of Italians, and
could manage that nationality best, and I should call her Maddalena;
either Maddalena or Marina; Marina would be more Venetian, and I saw that
I must make her Venetian. Here I was on safe ground, and at once the
love-interest appeared to help me out. By virtue of the law of
contrasts; it appeared to me in the person of a Scandinavian lover, tall,
silent, blond, whom I at once felt I could do, from my acquaintance with
Scandinavian lovers in Norwegian novels. His name was Janssen, a good,
distinctive Scandinavian name; I do not know but it is Swedish; and I
thought he might very well be a Swede; I could imagine his manner from
that of a Swedish waitress we once had.
Janssen--Jan Janssen, say-drove the coke-cart which Marina's grandmother
used to follow out of the coke-yard, to pick up the bits of coke as they
were jolted from it, and he had often noticed her with deep indifference.
At first he noticed Marina--or Nina, as I soon saw I must call her--with
the same unconcern; for in her grandmother's hood and jacket and check
apron, with her head held shamefacedly downward, she looked exactly like
the old woman. I thought I would have Nina make her self-sacrifice
rebelliously, as a girl like her would be apt to do, and follow the
cokecart with tears. This would catch Janssen's notice, and he would
wonder, perhaps with a little pang, what the old woman was crying about,
and then he would see that it was not the old woman. He would see that
it was Nina, and he would be in love with her at once, for she would not
only be very pretty, but he would know that she was good, if she were
willing to help her family in that way.
He would respect the girl, in his dull, sluggish, Northern way. He would
do nothing to betray himself. But little by little he would begin to
befriend her. He would carelessly overload his cart before he left the
yard, so that the coke would fall from it more lavishly; and not only
this, but if he saw a stone or a piece of coal in the street he would
drive over it, so that more coke would be jolted from his load.
Nina would get to watching for him. She must not notice him much at
first, except as the driver of the overladen, carelessly driven cart.
But after several mornings she must see that he is very strong and
handsome. Then, after several mornings more, their eyes must meet, her
vivid black eyes, with the tears of rage and shame in them, and his cold
blue eyes. This must be the climax; and just at this point I gave my
fancy a rest, while I went into a drugstore at the corner of Avenue B to
get my hands warm.
They were abominably cold, even in my pockets, and I had suffered past
several places trying to think of an excuse to go in. I now asked the
druggist if he had something which I felt pretty sure he had not, and
this put him in the wrong, so that when we fell into talk he was very
polite. We agreed admirably about the hard times, and he gave way
respectfully when I doubted his opinion that the winters were getting
milder. I made him reflect that there was no reason for this, and that
it was probably an illusion from that deeper impression which all
experiences made on us in the past, when we were younger; I ought to say
that he was an elderly man, too. I said I fancied such a morning as this
was not very mild for people that had no fires, and this brought me back
again to Janssen and Marina, by way of the coke-cart. The thought of
them rapt me so far from the druggist that I listened to his answer with
a glazing eye, and did not know what he said. My hands had now got warm,
and I bade him good-morning with a parting regret, which he civilly
shared, that he had not the thing I had not wanted, and I pushed out
again into the cold, which I found not so bad as before.
My hero and heroine were waiting for me there, and I saw that to be truly
modern, to be at once realistic and mystical, to have both delicacy and
strength, I must not let them get further acquainted with each other.
The affair must simply go on from day to day, till one morning Jan must
note that it was again the grandmother and no longer the girl who was
following his cart. She must be very weak from a long sickness--I was
not sure whether to have it the grippe or not, but I decided upon that
provisionally and she must totter after Janssen, so that he must get down
after a while to speak to her under pretence of arranging the tail-board
of his cart, or something of that kind; I did not care for the detail.
They should get into talk in the broken English which was the only
language they could have in common, and she should burst into tears, and
tell him that now Nina was sick; I imagined making this very simple, but
very touching, and I really made it so touching that it brought the lump
into my own throat, and I knew it would be effective with the reader.
Then I had Jan get back upon his cart, and drive stolidly on again, and
the old woman limp feebly after.
There should not be any more, I decided, except that one very cold
morning, like that; Jan should be driving through that street, and should
be passing the door of the tenement house where Nina had lived, just as a
little procession should be issuing from it. The fact must be told in
brief sentences, with a total absence of emotionality. The last touch
must be Jan's cart turning the street corner with Jan's figure sharply
silhouetted against the clear, cold morning light. Nothing more.
But it was at this point that another notion came into my mind, so antic,
so impish, so fiendish, that if there were still any Evil One, in a world
which gets on so poorly without him, I should attribute it to his
suggestion; and this was that the procession which Jan saw issuing from
the tenement-house door was not a funeral procession, as the reader will
have rashly fancied, but a wedding procession, with Nina at the head of
it, quite well again, and going to be married to the little brown youth
with ear-rings who had long had her heart.
With a truly perverse instinct, I saw how strong this might be made, at
the fond reader's expense, to be sure, and how much more pathetic, in
such a case, the silhouetted figure on the coke-cart would really be.
I should, of course, make it perfectly plain that no one was to blame,
and that the whole affair had been so tacit on Jan's part that Nina might
very well have known nothing of his feeling for her. Perhaps at the very
end I might subtly insinuate that it was possible he might have had no
such feeling towards her as the reader had been led to imagine.
III.
The question as to which ending I ought to have given my romance is what
has ever since remained to perplex me, and it is what has prevented my
ever writing it. Here is material of the best sort lying useless on my
hands, which, if I could only make up my mind, might be wrought into a
short story as affecting as any that wring our hearts in fiction; and I
think I could get something fairly unintelligible out of the broken
English of Jan and Nina's grandmother, and certainly something novel.
All that I can do now, however, is to put the case before the reader, and
let him decide for himself how it should end.
The mere humanist, I suppose, might say, that I am rightly served for
having regarded the fact I had witnessed as material for fiction at all;
that I had no business to bewitch it with my miserable art; that I ought
to have spoken to that little child and those poor old women, and tried
to learn something of their lives from them, that I might offer my
knowledge again for the instruction of those whose lives are easy and
happy in the indifference which ignorance breeds in us. I own there is
something in this, but then, on the other hand, I have heard it urged by
nice people that they do not want to know about such squalid lives, that
it is offensive and out of taste to be always bringing them in, and that
we ought to be writing about good society, and especially creating
grandes dames for their amusement. This sort of people could say to the
humanist that he ought to be glad there are coke-carts for fuel to fall
off from for the lower classes, and that here was no case for sentiment;
for if one is to be interested in such things at all, it must be
aesthetically, though even this is deplorable in the presence of fiction
already overloaded with low life, and so poor in grades dames as ours.
SUMMER ISLES OF EDEN
It may be all an illusion of the map, where the Summer Islands glimmer a
small and solitary little group of dots and wrinkles, remote from
continental shores, with a straight line descending southeastwardly upon
them, to show how sharp and swift the ship's course is, but they seem so
far and alien from my wonted place that it is as if I had slid down a
steepy slant from the home-planet to a group of asteroids nebulous
somewhere in middle space, and were resting there, still vibrant from the
rush of the meteoric fall. There were, of course, facts and incidents
contrary to such a theory: a steamer starting from New York in the raw
March morning, and lurching and twisting through two days of diagonal
seas, with people aboard dining and undining, and talking and smoking and
cocktailing and hot-scotching and beef-teaing; but when the ship came in
sight of the islands, and they began to lift their cedared slopes from
the turquoise waters, and to explain their drifted snows as the white
walls and white roofs of houses, then the waking sense became the
dreaming sense, and the sweet impossibility of that drop through air
became the sole reality.
I.
Everything here, indeed, is so strange that you placidly accept whatever
offers itself as the simplest and naturalest fact. Those low hills, that
climb, with their tough, dark cedars, from the summer sea to the summer
sky, might have drifted down across the Gulf Stream from the coast of
Maine; but when, upon closer inspection, you find them skirted with palms
and bananas, and hedged with oleanders, you merely wonder that you had
never noticed these growths in Maine before, where you were so familiar
with the cedars. The hotel itself, which has brought the Green Mountains
with it, in every detail, from the dormer-windowed mansard-roof, and the
white-painted, green-shuttered walls, to the neat, school-mistressly
waitresses in the dining-room, has a clump of palmettos beside it,
swaying and sighing in the tropic breeze, and you know that when it
migrates back to the New England hill-country, at the end of the season,
you shall find it with the palmettos still before its veranda, and
equally at home, somewhere in the Vermont or New Hampshire July. There
will be the same American groups looking out over them, and rocking and
smoking, though, alas! not so many smoking as rocking.
But where, in that translation, would be the gold braided red or blue
jackets of the British army and navy which lend their lustre and color
here to the veranda groups? Where should one get the house walls of
whitewashed stone and the garden walls which everywhere glow in the sun,
and belt in little spaces full of roses and lilies? These things must
come from some other association, and in the case of him who here
confesses, the lustrous uniforms and the glowing walls rise from waters
as far away in time as in space, and a long-ago apparition of Venetian
Junes haunts the coral shore. (They are beginning to say the shore is
not coral; but no matter.) To be sure, the white roofs are not accounted
for in this visionary presence; and if one may not relate them to the
snowfalls of home winters, then one must frankly own them absolutely
tropical, together with the green-pillared and green-latticed galleries.
They at least suggest the tropical scenery of Prue and I as one remembers
seeing it through Titbottom's spectacles; and yet, if one supplies roofs
of brown-red tiles, it is all Venetian enough, with the lagoon-like
expanses that lend themselves to the fond effect. It is so Venetian,
indeed, that it wants but a few silent gondolas and noisy gondoliers,
in place of the dark, taciturn oarsmen of the clumsy native boats, to
complete the coming and going illusion; and there is no good reason why
the rough little isles that fill the bay should not call themselves
respectively San Giorgio and San Clemente, and Sant' Elena and San
Lazzaro: they probably have no other names!
II.
These summer isles of Eden have this advantage over the scriptural Eden,
that apparently it was not woman and her seed who were expelled, when
once she set foot here, but the serpent and his seed: women now abound in
the Summer Islands, and there is not a snake anywhere to be found. There
are some tortoises and a great many frogs in their season, but no other
reptiles. The frogs are fabled of a note so deep and hoarse that its
vibration almost springs the environing mines of dynamite, though it has
never yet done so; the tortoises grow to a great size and a patriarchal
age, and are fond of Boston brown bread and baked beans, if their
preferences may be judged from those of a colossal specimen in the care
of an American family living on the islands. The observer who
contributes this fact to science is able to report the case of a parrot-
fish, on the same premises, so exactly like a large brown and purple
cockatoo that, seeing such a cockatoo later on dry land, it was with a
sense of something like cruelty in its exile from its native waters.
The angel-fish he thinks not so much like angels; they are of a
transparent purity of substance, and a cherubic innocence of expression,
but they terminate in two tails, which somehow will not lend themselves
to the resemblance.
Certainly the angel-fish is not so well named as the parrot-fish; it
might better be called the ghostfish, it is so like a moonbeam in the
pools it haunts, and of such a convertible quality with the iridescent
vegetable growths about it. All things here are of a weird
convertibility to the alien perception, and the richest and rarest facts
of nature lavish themselves in humble association with the commonest and
most familiar. You drive through long stretches of wayside willows, and
realize only now and then that these willows are thick clumps of
oleanders; and through them you can catch glimpses of banana-orchards,
which look like dishevelled patches of gigantic cornstalks. The fields
of Easter lilies do not quite live up to their photographs; they are
presently suffering from a mysterious blight, and their flowers are not
frequent enough to lend them that sculpturesque effect near to, which
they wear as far off as New York. The potato-fields, on the other hand,
are of a tender delicacy of coloring which compensates for the lilies'
lack, and the palms give no just cause for complaint, unless because they
are not nearly enough to characterize the landscape, which in spite of
their presence remains so northern in aspect. They were much whipped and
torn by a late hurricane, which afflicted all the vegetation of the
islands, and some of the royal palms were blown down. Where these are
yet standing, as four or five of them are in a famous avenue now quite
one-sided, they are of a majesty befitting that of any king who could
pass by them: no sovereign except Philip of Macedon in his least judicial
moments could pass between them.
The century-plant, which here does not require pampering under glass,
but boldly takes its place out doors with the other trees of the garden,
employs much less than a hundred years to bring itself to bloom.
It often flowers twice or thrice in that space of time, and ought to take
away the reproach of the inhabitants for a want of industry and
enterprise: a century-plant at least could do no more in any air, and it
merits praise for its activity in the breath of these languorous seas.
One such must be in bloom at this very writing, in the garden of a house
which this very writer marked for his own on his first drive ashore from
the steamer to the hotel, when he bestowed in its dim, unknown interior
one of the many multiples of himself which are now pretty well dispersed
among the pleasant places of the earth. It fills the night with a heavy
heliotropean sweetness, and on the herb beneath, in the effulgence of the
waxing moon, the multiple which has spiritually expropriated the legal
owners stretches itself in an interminable reverie, and hears Youth come
laughing back to it on the waters kissing the adjacent shore, where other
white houses (which also it inhabits) bathe their snowy underpinning.
In this dream the multiple drives home from the balls of either hotel
with the young girls in the little victorias which must pass its sojourn;
and, being but a vision itself, fore casts the shapes of flirtation which
shall night-long gild the visions of their sleep with the flash of
military and naval uniforms. Of course the multiple has been at the
dance too (with a shadowy heartache for the dances of forty years ago),
and knows enough not to confuse the uniforms.
III.
In whatever way you walk, at whatever hour, the birds are sweetly calling
in the way-side oleanders and the wild sage-bushes and the cedar-tops.
They are mostly cat-birds, quite like our own; and bluebirds, but of a
deeper blue than ours, and redbirds of as liquid a note, but not so
varied, as that of the redbirds of our woods. How came they all here,
seven hundred miles from any larger land? Some think, on the stronger
wings of tempests, for it is not within the knowledge of men that men
brought them. Men did, indeed, bring the pestilent sparrows which swarm
about their habitations here, and beat away the gentler and lovelier
birds with a ferocity unknown in the human occupation of the islands.
Still, the sparrows have by no means conquered, and in the wilder places
the catbird makes common cause with the bluebird and the redbird, and
holds its own against them. The little ground-doves mimic in miniature
the form and markings and the gait and mild behavior of our turtle-doves,
but perhaps not their melancholy cooing. Nature has nowhere anything
prettier than these exquisite creatures, unless it be the long-tailed
white gulls which sail over the emerald shallows of the landlocked seas,
and take the green upon their translucent bodies as they trail their
meteoric splendor against the midday sky. Full twenty-four inches they
measure from the beak to the tip of the single pen that protracts them a
foot beyond their real bulk; but it is said their tempers are shorter
than they, and they attack fiercely anything they suspect of too intimate
a curiosity concerning their nests.
They are probably the only short-tempered things in the Summer Islands,
where time is so long that if you lose your patience you easily find it
again. Sweetness, if not light, seems to be the prevailing human
quality, and a good share of it belongs to such of the natives as are in
no wise light. Our poor brethren of a different pigment are in the large
majority, and they have been seventy years out of slavery, with the full
enjoyment of all their civil rights, without lifting themselves from
their old inferiority. They do the hard work, in their own easy way, and
possibly do not find life the burden they make it for the white man, whom
here, as in our own country, they load up with the conundrum which their
existence involves for him. They are not very gay, and do not rise to a
joke with that flashing eagerness which they show for it at home. If you
have them against a background of banana-stems, or low palms, or feathery
canes, nothing could be more acceptably characteristic of the air and
sky; nor are they out of place on the box of the little victorias, where
visitors of the more inquisitive sex put them to constant question. Such
visitors spare no islander of any color. Once, in the pretty Public
Garden which the multiple had claimed for its private property, three
unmerciful American women suddenly descended from the heavens and began
to question the multiple's gardener, who was peacefully digging at the
rate of a spadeful every five minutes. Presently he sat down on his
wheelbarrow, and then shifted, without relief, from one handle of it to
the other. Then he rose and braced himself desperately against the tool-
house, where, when his tormentors drifted away, he seemed to the soft eye
of pity pinned to the wall by their cruel interrogations, whose barbed
points were buried in the stucco behind him, and whose feathered shafts
stuck out half a yard before his breast.
Whether he was black or not, pity could not see, but probably he was.
At least the garrison of the islands is all black, being a Jamaican
regiment of that color; and when one of the warriors comes down the white
street, with his swagger-stick in his hand, and flaming in scarlet and
gold upon the ground of his own blackness, it is as if a gigantic oriole
were coming towards you, or a mighty tulip. These gorgeous creatures
seem so much readier than the natives to laugh, that you wish to test
them with a joke. But it might fail. The Summer Islands are a British
colony, and the joke does not flourish so luxuriantly, here as some other
things.
To be sure, one of the native fruits seems a sort of joke when you hear
it first named, and when you are offered a 'loquat', if you are of a
frivolous mind you search your mind for the connection with 'loquor'
which it seems to intimate. Failing in this, you taste the fruit, and
then, if it is not perfectly ripe, you are as far from loquaciousness as
if you had bitten a green persimmon. But if it is ripe, it is delicious,
and may be consumed indefinitely. It is the only native fruit which one
can wish to eat at all, with an unpractised palate, though it is claimed
that with experience a relish may come for the pawpaws. These break out
in clusters of the size of oranges at the top of a thick pole, which may
have some leaves or may not, and ripen as they fancy in the indefinite
summer. They are of the color and flavor of a very insipid little
muskmelon which has grown too near a patch of squashes.
One may learn to like this pawpaw, yes, but one must study hard. It is
best when plucked by a young islander of Italian blood whose father
orders him up the bare pole in the sunny Sunday morning air to oblige the
signori, and then with a pawpaw in either hand stands talking with them
about the two bad years there have been in Bermuda, and the probability
of his doing better in Nuova York. He has not imagined our winter,
however, and he shrinks from its boldly pictured rigors, and lets the
signori go with a sigh, and a bunch of pink and crimson roses.
The roses are here, budding and blooming in the quiet bewilderment which
attends the flowers and plants from the temperate zone in this latitude,
and which in the case of the strawberries offered with cream and cake at
another public garden expresses itself in a confusion of red, ripe fruit
and white blossoms on the same stem. They are a pleasure to the nose and
eye rather than the palate, as happens with so many growths of the
tropics, if indeed the Summer Islands are tropical, which some plausibly
deny; though why should not strawberries, fresh picked from the plant in
mid-March, enjoy the right to be indifferent sweet?
IV.
What remains? The events of the Summer Islands are few, and none out of
the order of athletics between teams of the army and navy, and what may
be called societetics, have happened in the past enchanted fortnight.
But far better things than events have happened: sunshine and rain of
such like quality that one could not grumble at either, and gales, now
from the south and now from the north, with the languor of the one and
the vigor of the other in them. There were drives upon drives that were
always to somewhere, but would have been delightful the same if they had
been mere goings and comings, past the white houses overlooking little
lawns through the umbrage of their palm-trees. The lawns professed to be
of grass, but were really mats of close little herbs which were not
grass; but which, where the sparse cattle were grazing them, seemed to
satisfy their inexacting stomachs. They are never very green, and in
fact the landscape often has an air of exhaustion and pause which it
wears with us in late August; and why not, after all its interminable,
innumerable summers? Everywhere in the gentle hollows which the coral
hills (if they are coral) sink into are the patches of potatoes and
lilies and onions drawing their geometrical lines across the brown-red,
weedless soil; and in very sheltered spots are banana-orchards which are
never so snugly sheltered there but their broad leaves are whipped to
shreds. The white road winds between gray walls crumbling in an amiable
disintegration, but held together against ruin by a network of maidenhair
ferns and creepers of unknown name, and overhung by trees where the
cactus climbs and hangs in spiky links, or if another sort, pierces them
with speary stems as tall and straight as the stalks of the neighboring
bamboo. The loquat-trees cluster--like quinces in the garden closes, and
show their pale golden, plum-shaped fruit.
For the most part the road runs by still inland waters, but sometimes it
climbs to the high downs beside the open sea, grotesque with wind-worn
and wave-worn rocks, and beautiful with opalescent beaches, and the black
legs of the negro children paddling in the tints of the prostrate
rainbow.
All this seems probable and natural enough at the writing; but how will
it be when one has turned one's back upon it? Will it not lapse into the
gross fable of travellers, and be as the things which the liars who swap
them cannot themselves believe? What will be said to you when you tell
that in the Summer Islands one has but to saw a hole in his back yard and
take out a house of soft, creamy sandstone and set it up and go to living
in it? What, when you relate that among the northern and southern
evergreens there are deciduous trees which, in a clime where there is no
fall or spring, simply drop their leaves when they are tired of keeping
them on, and put out others when they feel like it? What, when you
pretend that in the absence of serpents there are centipedes a span long,
and spiders the bigness of bats, and mosquitoes that sweetly sing in the
drowsing ear, but bite not; or that there are swamps but no streams, and
in the marshes stand mangrove-trees whose branches grow downward into the
ooze, as if they wished to get back into the earth and pull in after them
the holes they emerged from?
These every-day facts seem not only incredible to the liar himself, even
in their presence, but when you begin the ascent of that steep slant back
to New York you foresee that they will become impossible. As impossible
as the summit of the slant now appears to the sense which shudderingly
figures it a Bermuda pawpaw-tree seven hundred miles high, and fruiting
icicles and snowballs in the March air!
WILD FLOWERS OF THE ASPHALT
Looking through Mrs. Caroline A. Creevey's charming book on the Flowers
of Field, Hill, and Swamp, the other day, I was very forcibly reminded of
the number of these pretty, wilding growths which I had been finding all
the season long among the streets of asphalt and the sidewalks of
artificial stone in this city; and I am quite sure that any one who has
been kept in New York, as I have been this year, beyond the natural time
of going into the country, can have as real a pleasure in this sylvan
invasion as mine, if he will but give himself up to a sense of it.
I.
Of course it is altogether too late, now, to look for any of the early
spring flowers, but I can recall the exquisite effect of the tender blue
hepatica fringing the centre rail of the grip-cars, all up and down
Broadway, and apparently springing from the hollow beneath, where the
cable ran with such a brooklike gurgle that any damp-living plant must
find itself at home there. The water-pimpernel may now be seen, by any
sympathetic eye, blowing delicately along the track, in the breeze of the
passing cabs, and elastically lifting itself from the rush of the cars.
The reader can easily verify it by the picture in Mrs. Creevey's book.
He knows it by its other name of brook weed; and he will have my delight,
I am sure, in the cardinal-flower which will be with us in August. It is
a shy flower, loving the more sequestered nooks, and may be sought along
the shady stretches of Third Avenue, where the Elevated Road overhead
forms a shelter as of interlacing boughs. The arrow-head likes such
swampy expanses as the converging surface roads form at Dead Man's Curve
and the corners of Twenty third Street. This is in flower now, and will
be till September; and St.-John's-wort, which some call the false golden-
rod, is already here. You may find it in any moist, low ground, but the
gutters of Wall Street, or even the banks of the Stock Exchange, are not
too dry for it. The real golden-rod is not much in evidence with us, for
it comes only when summer is on the wane. The other night, however, on
the promenade of the Madison Square Roof Garden, I was delighted to see
it growing all over the oblong dome of the auditorium, in response to the
cry of a homesick cricket which found itself in exile there at the base
of a potted ever green. This lonely insect had no sooner sounded its
winter-boding note than the fond flower began sympathetically to wave and
droop along those tarry slopes, as I have seen it on how many hill-side
pastures! But this may have been only a transitory response to the
cricket, and I cannot promise the visitor to the Roof Garden that he will
find golden-rod there every night. I believe there is always Golden
Seal, but it is the kind that comes in bottles, and not in the gloom of
"deep, cool, moist woods," where Mrs. Creevey describes it as growing,
along with other wildings of such sweet names or quaint as Celandine, and
Dwarf Larkspur, and Squirrel-corn, and Dutchman's breeches, and
Pearlwort, and Wood-sorrel, and Bishop's--cap, and Wintergreen, and
Indian-pipe, and Snowberry, and Adder's-tongue, and Wakerobin, and
Dragon-root, and Adam-and-Eve, and twenty more, which must have got their
names from some fairy of genius. I should say it was a female fairy of
genius who called them so, and that she had her own sex among mortals in
mind when she invented their nomenclature, and was thinking of little
girls, and slim, pretty maids, and happy young wives. The author tells
how they all look, with a fine sense of their charm in her words, but one
would know how they looked from their names; and when you call them over
they at once transplant themselves to the depths of the dells between our
sky-scrapers, and find a brief sojourn in the cavernous excavations
whence other sky-scrapers are to rise.
II.
That night on the Roof Garden, when the cricket's cry flowered the dome
with golden-rod, the tall stems of rye growing among the orchestra sloped
all one way at times, just like the bows of violins, in the half-dollar
gale that always blows over the city at that height. But as one turns
the leaves of Mrs. Creevey's magic book-perhaps one ought to say turns
its petals--the forests and the fields come and make themselves at home
in the city everywhere. By virtue of it I have been more in the country
in a half-hour than if I had lived all June there. When I lift my eyes
from its pictures or its letter-press my vision prints the eidolons of
wild flowers everywhere, as it prints the image of the sun against the
air after dwelling on his brightness. The rose-mallow flaunts along
Fifth Avenue and the golden threads of the dodder embroider the house
fronts on the principal cross streets; and I might think at times that it
was all mere fancy, it has so much the quality of a pleasing illusion.
Yet Mrs. Creevey's book is not one to lend itself to such a deceit by any
of the ordinary arts. It is rather matter of fact in form and manner,
and largely owes what magic it has to the inherent charm of its subject.
One feels this in merely glancing at the index, and reading such titles
of chapters as "Wet Meadows and Low Grounds"; "Dry Fields--Waste Places--
Waysides"; "Hills and Rocky Woods, Open Woods"; and "Deep, Cool, Moist
Woods"; each a poem in itself, lyric or pastoral, and of a surpassing
opulence of suggestion. The spring and, summer months pass in stately
processional through the book, each with her fillet inscribed with the
names of her characteristic flowers or blossoms, and brightened with the
blooms themselves.
They are plucked from where nature bade them grow in the wild places, or
their own wayward wills led them astray. A singularly fascinating
chapter is that called "Escaped from Gardens," in which some of these
pretty runagates are catalogued. I supposed in my liberal ignorance that
the Bouncing Bet was the only one of these, but I have learned that the
Pansy and the Sweet Violet love to gad, and that the Caraway, the
Snapdragon, the Prince's Feather, the Summer Savory, the Star of
Bethlehem, the Day-Lily, and the Tiger-Lily, and even the sluggish Stone
Crop are of the vagrant, fragrant company. One is not surprised to meet
the Tiger-Lily in it; that must always have had the jungle in its heart;
but that the Baby's Breath should be found wandering by the road-sides
from Massachusetts and Virginia to Ohio, gives one a tender pang as for a
lost child. Perhaps the poor human tramps, who sleep in barns and feed
at back doors along those dusty ways, are mindful of the Baby's Breath,
and keep a kindly eye out for the little truant.
III.
As I was writing those homely names I felt again how fit and lovely they
were, how much more fit and lovely than the scientific names of the
flowers. Mrs. Creevey will make a botanist of you if you will let her,
and I fancy a very good botanist, though I cannot speak from experience,
but she will make a poet of you in spite of yourself, as I very well
know; and she will do this simply by giving you first the familiar name
of the flowers she loves to write of. I am not saying that the Day-Lily
would not smell as sweet by her title of 'Hemerocallis Fulva', or that
the homely, hearty Bouncing Bet would not kiss as deliciously in her
scholar's cap and gown of 'Saponaria Officinalis'; but merely that their
college degrees do not lend themselves so willingly to verse, or even
melodious prose, which is what the poet is often after nowadays. So I
like best to hail the flowers by the names that the fairies gave them,
and the children know them by, especially when my longing for them makes
them grow here in the city streets. I have a fancy that they would all
vanish away if I saluted them in botanical terms. As long as I talk of
cat-tail rushes, the homeless grimalkins of the areas and the back fences
help me to a vision of the swamps thickly studded with their stiff
spears; but if I called them 'Typha Latifolia', or even 'Typha
Angustifolia', there is not the hardiest and fiercest prowler of the roof
and the fire-escape but would fly the sound of my voice and leave me
forlorn amid the withered foliage of my dream. The street sparrows,
pestiferous and persistent as they are, would forsake my sylvan pageant
if I spoke of the Bird-foot Violet as the 'Viola Pedata'; and the
commonest cur would run howling if he beard the gentle Poison Dogwood
maligned as the 'Rhus Venenata'. The very milk-cans would turn to their
native pumps in disgust from my attempt to invoke our simple American
Cowslip as the 'Dodecatheon Meadia'.
IV
Yet I do not deny that such scientific nomenclature has its uses; and I
should be far from undervaluing this side of Mrs. Creevey's book. In
fact, I secretly respect it the more for its botanical lore, and if ever
I get into the woods or fields again I mean to go up to some of the
humblest flowers, such as I can feel myself on easy terms with, and tell
them what they are in Latin. I think it will surprise them, and I dare
say they will some of them like it, and will want their initials
inscribed on their leaves, like those signatures which the medicinal
plants bear, or are supposed to bear. But as long as I am engaged in
their culture amid this stone and iron and asphalt, I find it best to
invite their presence by their familiar names, and I hope they will not
think them too familiar. I should like to get them all naturalized here,
so that the thousands of poor city children, who never saw them growing
in their native places, might have some notion of how bountifully the
world is equipped with beauty, and how it is governed by many laws which
are not enforced by policemen. I think that would interest them very
much, and I shall not mind their plucking my Barmecide blossoms, and
carrying them home by the armfuls. When good-will costs nothing we ought
to practise it even with the tramps, and these are very welcome, in their
wanderings over the city pave, to rest their weary limbs in any of my
pleached bowers they come to.
A CIRCUS IN THE SUBURBS
We dwellers in cities and large towns, if we are well-to-do, have more
than our fill of pleasures of all kinds; and for now many years past we
have been used to a form of circus where surfeit is nearly as great
misery as famine in that kind could be. For our sins, or some of our
friends' sins, perhaps, we have now gone so long to circuses of three
rings and two raised-platforms that we scarcely realize that in the
country there are still circuses of one ring and no platform at all.
We are accustomed, in the gross and foolish-superfluity of these city
circuses, to see no feat quite through, but to turn our greedy eyes at
the most important instant in the hope of greater wonders in another
ring. We have four or five clowns, in as many varieties of grotesque
costume, as well as a lady clown in befitting dress; but we hear none of
them speak, not even the lady clown, while in the country circus the old
clown of our childhood, one and indivisible, makes the same style of
jokes, if not the very same jokes, that we used to hear there. It is not
easy to believe all this, and I do not know that I should quite believe
it myself if I had not lately been witness of it in the suburban village
where I was passing the summer.
I.
The circus announced itself in the good old way weeks beforehand by the
vast posters of former days and by a profusion of small bills which fell
upon the village as from the clouds, and left it littered everywhere with
their festive pink. They prophesied it in a name borne by the first
circus I ever saw, which was also an animal show, but the animals must
all have died during the fifty years past, for there is now no menagerie
attached to it. I did not know this when I heard the band braying
through the streets of the village on the morning of the performance,
and for me the mangy old camels and the pimpled elephants of yore led the
procession through accompanying ranks of boys who have mostly been in
their graves for half a lifetime; the distracted ostrich thrust an
advertising neck through the top of its cage, and the lion roared to
himself in the darkness of his moving prison. I felt the old thrill of
excitement, the vain hope of something preternatural and impossible, and
I do not know what could have kept me from that circus as soon as I had
done lunch. My heart rose at sight of the large tent (which was yet so
very little in comparison with the tents of the three-ring and two-
platform circuses); the alluring and illusory sideshows of fat women and
lean men; the horses tethered in the background and stamping under the
fly-bites; the old, weather-beaten grand chariot, which looked like the
ghost of the grand chariot which used to drag me captive in its triumph;
and the canvas shelters where the cooks were already at work over their
kettles on the evening meal of the circus folk.
I expected to be kept a long while from the ticket-wagon by the crowd,
but there was no crowd, and perhaps there never used to be much of a
crowd. I bought my admittances without a moment's delay, and the man who
sold me my reserve seats had even leisure to call me back and ask to look
at the change he had given me, mostly nickels. "I thought I didn't give
you enough," he said, and he added one more, and sent me on to the
doorkeeper with my faith in human nature confirmed and refreshed.
It was cool enough outside, but within it was very warm, as it should be,
to give the men with palm-leaf fans and ice-cold lemonade a chance. They
were already making their rounds, and crying their wares with voices from
the tombs of the dead past; and the child of the young mother who took my
seat-ticket from me was going to sleep at full length on the lowermost
tread of the benches, so that I had to step across its prostrate form.
These reserved seats were carpeted; but I had forgotten how little one
rank was raised above another, and how very trying they were upon the
back and legs. But for the carpeting, I could not see how I was
advantaged above the commoner folk in the unreserved seats, and I
reflected how often in this world we paid for an inappreciable splendor.
I could not see but they were as well off as I; they were much more gayly
dressed, and some of them were even smoking cigars, while they were
nearly all younger by ten, twenty, forty, or fifty years, and even more.
They did not look like the country people whom I rather hoped and
expected to see, but were apparently my fellow-villagers, in different
stages of excitement. They manifested by the usual signs their
impatience to have the performance begin, and I confess that I shared
this, though I did not take part in the demonstration.
II.
I have no intention of following the events seriatim. Front time to time
during their progress I renewed my old one-sided acquaintance with the
circus-men. They were quite the same people, I believe, but strangely
softened and ameliorated, as I hope I am, and looking not a day older,
which I cannot say of myself, exactly. The supernumeraries were patently
farmer boys who had entered newly upon that life in a spirit of
adventure, and who wore their partial liveries, a braided coat here and a
pair of striped trousers there, with a sort of timorous pride, a
deprecating bravado, as if they expected to be hooted by the spectators
and were very glad when they were not. The man who went round with a dog
to keep boys from hooking in under the curtain had grown gentler, and his
dog did not look as if he would bite the worst boy in town. The man came
up and asked the young mother about her sleeping child, and I inferred
that the child had been sick, and was therefore unusually interesting to
all the great, kind-hearted, simple circus family. He was good to the
poor supes, and instructed them, not at all sneeringly, how best to
manage the guy ropes for the nets when the trapeze events began.
There was, in fact, an air of pleasing domesticity diffused over the
whole circus. This was, perhaps, partly an effect from our extreme
proximity to its performances; I had never been on quite such intimate
terms with equitation and aerostation of all kinds; but I think it was
also largely from the good hearts of the whole company. A circus must
become, during the season, a great brotherhood and sisterhood, especially
sisterhood, and its members must forget finally that they are not united
by ties of blood. I dare say they often become so, as husbands and wives
and fathers and mothers, if not as brothers.
The domestic effect was heightened almost poignantly when a young lady in
a Turkish-towel bath-gown came out and stood close by the band, waiting
for her act on a barebacked horse of a conventional pattern. She really
looked like a young goddess in a Turkish-towel bath-gown: goddesses must
have worn bath-gowns, especially Venus, who was often imagined in the
bath, or just out of it. But when this goddess threw off her bath-gown,
and came bounding into the ring as gracefully as the clogs she wore on
her slippers would let her, she was much more modestly dressed than most
goddesses. What I am trying to say, however, is that, while she stood
there by the band, she no more interested the musicians than if she were
their collective sister. They were all in their shirt-sleeves for the
sake of the coolness, and they banged and trumpeted and fluted away as
indifferent to her as so many born brothers.
Indeed, when the gyrations of her horse brought her to our side of the
ring, she was visibly not so youthful and not so divine as she might have
been; but the girl who did the trapeze acts, and did them wonderfully,
left nothing to be desired in that regard; though really I do not see why
we who have neither youth nor beauty should always expect it of other
people. I think it would have been quite enough for her to do the
trapeze acts so perfectly; but her being so pretty certainly added a
poignancy to the contemplation of her perils. One could follow every
motion of her anxiety in that close proximity: the tremor of her chin as
she bit her lips before taking her flight through the air, the straining
eagerness of her eye as she measured the distance, the frown with which
she forbade herself any shrinking or reluctance.
III.
How strange is life, how sad and perplexing its contradictions! Why
should such an exhibition as that be supposed to give pleasure? Perhaps
it does not give pleasure, but is only a necessary fulfilment of one of
the many delusions we are in with regard to each other in this
bewildering world. They are of all sorts and degrees, these delusions,
and I suppose that in the last analysis it was not pleasure I got from
the clown and his clowning, clowned he ever so merrily. I remember that
I liked hearing his old jokes, not because they were jokes, but because
they were old and endeared by long association. He sang one song which I
must have heard him sing at my first circus (I am sure it was he), about
"Things that I don't like to see," and I heartily agreed with him that
his book of songs, which he sent round to be sold, was fully worth the
half-dime asked for it, though I did not buy it.
Perhaps the rival author in me withheld me, but, as a brother man, I will
not allow that I did not feel for him and suffer with him because of the
thick, white pigment which plentifully coated his face, and, with the
sweat drops upon it, made me think of a newly painted wall in the rain.
He was infinitely older than his personality, than his oldest joke
(though you never can be sure how old a joke is), and, representatively,
I dare say he outdated the pyramids. They must have made clowns whiten
their faces in the dawn of time, and no doubt there were drolls among the
antediluvians who enhanced the effect of their fun by that means. All
the same, I pitied this clown for it, and I fancied in his wildest
waggery the note of a real irascibility. Shall I say that he seemed the
only member of that little circus who was not of an amiable temper? But
I do not blame him, and I think it much to have seen a clown once more
who jested audibly with the ringmaster and always got the better of him
in repartee. It was long since I had known that pleasure.
IV.
Throughout the performance at this circus I was troubled by a curious
question, whether it were really of the same moral and material grandeur
as the circuses it brought to memory, or whether these were thin and
slight, too. We all know how the places of our childhood, the heights,
the distances, shrink and dwindle when we go back to them, and was it
possible that I had been deceived in the splendor of my early circuses?
The doubt was painful, but I was forced to own that there might be more
truth in it than in a blind fealty to their remembered magnificence.
Very likely circuses have grown not only in size, but in the richness and
variety of their entertainments, and I was spoiled for the simple joys
of this. But I could see no reflection of my dissatisfaction on the
young faces around me, and I must confess that there was at least so much
of the circus that I left when it was half over. I meant to go into the
side-shows and see the fat woman and the living skeleton, and take the
giant by the hand and the armless man by his friendly foot, if I might be
so honored. But I did none of these things, and I am willing to believe
the fault was in me, if I was disappointed in the circus. It was I who
had shrunk and dwindled, and not it. To real boys it was still the size
of the firmament, and was a world of wonders and delights. At least I
can recognize this fact now, and can rejoice in the peaceful progress all
over the country of the simple circuses which the towns never see, but
which help to render the summer fairer and brighter to the unspoiled eyes
and hearts they appeal to. I hope it will be long before they cease to
find profit in the pleasure they give.
A SHE HAMLET
The other night as I sat before the curtain of the Garden Theatre and
waited for it to rise upon the Hamlet of Mme. Bernhardt, a thrill of the
rich expectation which cannot fail to precede the rise of any curtain
upon any Hamlet passed through my eager frame. There is, indeed, no
scene of drama which is of a finer horror (eighteenth-century horror)
than that which opens the great tragedy. The sentry pacing up and down
upon the platform at Elsinore under the winter night; the greeting
between him and the comrade arriving to relieve him, with its hints of
the bitter cold; the entrance of Horatio and Marcellus to these before
they can part; the mention of the ghost, and, while the soldiers are in
the act of protesting it a veridical phantom, the apparition of the
ghost, taking the word from their lips and hushing all into a pulseless
awe: what could be more simply and sublimely real, more naturally
supernatural? What promise of high mystical things to come there is in
the mere syllabling of the noble verse, and how it enlarges us from
ourselves, for that time at least, to a disembodied unity with the
troubled soul whose martyry seems foreboded in the solemn accents!
As the many Hamlets on which the curtain had risen in my time passed in
long procession through my memory, I seemed to myself so much of their
world, and so little of the world that arrogantly calls itself the actual
one, that I should hardly have been surprised to find myself one of the
less considered persons of the drama who were seen but not heard in its
course.
I.
The trouble in judging anything is that if you have the materials for an
intelligent criticism, the case is already prejudiced in your hands.
You do not bring a free mind to it, and all your efforts to free your
mind are a species of gymnastics more or less admirable, but not really
effective for the purpose. The best way is to own yourself unfair at the
start, and then you can have some hope of doing yourself justice, if not
your subject. In other words, if you went to see the Hamlet of Mme.
Bernhardt frankly expecting to be disappointed, you were less likely in
the end to be disappointed in your expectations, and you could not blame
her if you were. To be ideally fair to that representation, it would be
better not to have known any other Hamlet, and, above all, the Hamlet of
Shakespeare.
From the first it was evident that she had three things overwhelmingly
against her--her sex, her race, and her speech. You never ceased to feel
for a moment that it was a woman who was doing that melancholy Dane, and
that the woman was a Jewess, and the Jewess a French Jewess. These three
removes put a gulf impassable between her utmost skill and the
impassioned irresolution of that inscrutable Northern nature which is in
nothing so masculine as its feminine reluctances and hesitations, or so
little French as in those obscure emotions which the English poetry
expressed with more than Gallic clearness, but which the French words
always failed to convey. The battle was lost from the first, and all you
could feel about it for the rest was that if it was magnificent it was
not war.
While the battle went on I was the more anxious to be fair, because I
had, as it were, pre-espoused the winning side; and I welcomed, in the
interest of critical impartiality, another Hamlet which came to mind,
through readily traceable associations. This was a Hamlet also of French
extraction in the skill and school of the actor, but as much more deeply
derived than the Hamlet of Mme. Bernhardt as the large imagination of
Charles Fechter transcended in its virile range the effect of her
subtlest womanish intuition. His was the first blond Hamlet known to our
stage, and hers was also blond, if a reddish-yellow wig may stand for a
complexion; and it was of the quality of his Hamlet in masterly
technique.
II.
The Hamlet of Fechter, which rose ghostlike out of the gulf of the past,
and cloudily possessed the stage where the Hamlet of Mme. Bernhardt was
figuring, was called a romantic Hamlet thirty years ago; and so it was in
being a break from the classic Hamlets of the Anglo-American theatre.
It was romantic as Shakespeare himself was romantic, in an elder sense of
the word, and not romanticistic as Dumas was romanticistic. It was,
therefore, the most realistic Hamlet ever yet seen, because the most
naturally poetic. Mme. Bernhardt recalled it by the perfection of her
school; for Fechter's poetic naturalness differed from the
conventionality of the accepted Hamlets in nothing so much as the
superiority of its self-instruction. In Mme. Bernhardt's Hamlet, as in
his, nothing was trusted to chance, or "inspiration." Good or bad, what
one saw was what was meant to be seen. When Fechter played Edmond Dantes
or Claude Melnotte, he put reality into those preposterous inventions,
and in Hamlet even his alien accent helped him vitalize the part; it
might be held to be nearer the Elizabethan accent than ours; and after
all, you said Hamlet was a foreigner, and in your high content with what
he gave you did not mind its being in a broken vessel. When he
challenged the ghost with "I call thee keeng, father, rawl-Dane," you
Would hardly have had the erring utterance bettered. It sufficed as it
was; and when he said to Rosencrantz, "Will you pleh upon this pyip?"
it was with such a princely authority and comradely entreaty that you
made no note of the slips in the vowels except to have pleasure of their
quaintness afterwards. For the most part you were not aware of these
betrayals of his speech; and in certain high things it was soul
interpreted to soul through the poetry of Shakespeare so finely, so
directly, that there was scarcely a sense of the histrionic means.
He put such divine despair into the words, "Except my life, except my
life, except my life!" following the mockery with which he had assured
Polonius there was nothing he would more willingly part withal than his
leave, that the heart-break of them had lingered with me for thirty
years, and I had been alert for them with every Hamlet since. But before
I knew, Mme. Bernhardt had uttered them with no effect whatever. Her
Hamlet, indeed, cut many of the things that we have learned to think the
points of Hamlet, and it so transformed others by its interpretation of
the translator's interpretation of Shakespeare that they passed
unrecognized. Soliloquies are the weak invention of the enemy, for the
most part, but as such things go that soliloquy of Hamlet's, "To be or
not to be," is at least very noble poetry; and yet Mme. Bernhardt was so
unimpressive in it that you scarcely noticed the act of its delivery.
Perhaps this happened because the sumptuous and sombre melancholy of
Shakespeare's thought was transmitted in phrases that refused it its
proper mystery. But there was always a hardness, not always from the
translation, upon this feminine Hamlet. It was like a thick shell with
no crevice in it through which the tenderness of Shakespeare's Hamlet
could show, except for the one moment at Ophelia's grave, where he
reproaches Laertes with those pathetic words
"What is the reason that you use me thus?
I loved you ever; but it is no matter."
Here Mme. Bernhardt betrayed a real grief, but as a woman would, and not
a man. At the close of the Gonzago play, when Hamlet triumphs in a mad
whirl, her Hamlet hopped up and down like a mischievous crow, a
mischievous she-crow.
There was no repose in her Hamlet, though there were moments of leaden
lapse which suggested physical exhaustion; and there was no range in her
elocution expressive of the large vibration of that tormented spirit.
Her voice dropped out, or jerked itself out, and in the crises of strong
emotion it was the voice of a scolding or a hysterical woman. At times
her movements, which she must have studied so hard to master, were drolly
womanish, especially those of the whole person. Her quickened pace was a
woman's nervous little run, and not a man's swift stride; and to give
herself due stature, it was her foible to wear a woman's high heels to
her shoes, and she could not help tilting on them.
In the scene with the queen after the play, most English and American
Hamlets have required her to look upon the counterfeit presentment of two
brothers in miniatures something the size of tea-plates; but Mme.
Bernhardt's preferred full-length, life-size family portraits. The dead
king's effigy did not appear a flattered likeness in the scene-painter's
art, but it was useful in disclosing his ghost by giving place to it in
the wall at the right moment. She achieved a novelty by this treatment
of the portraits, and she achieved a novelty in the tone she took with
the wretched queen. Hamlet appeared to scold her mother, but though it
could be said that her mother deserved a scolding, was it the part of a
good daughter to give it her?
One should, of course, say a good son, but long before this it had become
impossible to think at all of Mme. Bernhardt's Hamlet as a man, if it
ever had been possible. She had traversed the bounds which tradition as
well as nature has set, and violated the only condition upon which an
actress may personate a man. This condition is that there shall be
always a hint of comedy in the part, that the spectator shall know all
the time that the actress is a woman, and that she shall confess herself
such before the play is over; she shall be fascinating in the guise of a
man only because she is so much more intensely a woman in it.
Shakespeare had rather a fancy for women in men's roles, which, as
women's roles in his time were always taken by pretty and clever boys,
could be more naturally managed then than now. But when it came to the
eclaircissement, and the pretty boys, who had been playing the parts of
women disguised as men, had to own themselves women, the effect must have
been confused if not weakened. If Mme. Bernhardt, in the necessity of
doing something Shakespearean, had chosen to do Rosalind, or Viola, or
Portia, she could have done it with all the modern advantages of women in
men's roles. These characters are, of course, "lighter motions bounded
in a shallower brain" than the creation she aimed at; but she could at
least have made much of them, and she does not make much of Hamlet.
III.
The strongest reason against any woman Hamlet is that it does violence to
an ideal. Literature is not so rich in great imaginary masculine types
that we can afford to have them transformed to women; and after seeing
Mme. Bernhardt's Hamlet no one can altogether liberate himself from the
fancy that the Prince of Denmark was a girl of uncertain age, with crises
of mannishness in which she did not seem quite a lady. Hamlet is in
nothing more a man than in the things to which as a man he found himself
unequal; for as a woman he would have been easily superior to them.
If we could suppose him a woman as Mme. Bernhardt, in spite of herself,
invites us to do, we could only suppose him to have solved his
perplexities with the delightful precipitation of his putative sex.
As the niece of a wicked uncle, who in that case would have had to be a
wicked aunt, wedded to Hamlet's father hard upon the murder of her
mother, she would have made short work of her vengeance. No fine
scruples would have delayed her; she would not have had a moment's
question whether she had not better kill herself; she would have out with
her bare bodkin and ended the doubt by first passing it through her
aunt's breast.
To be sure, there would then have been no play of "Hamlet," as we have
it; but a Hamlet like that imagined, a frankly feminine Hamlet, Mme.
Bernhardt could have rendered wonderfully. It is in attempting a
masculine Hamlet that she transcends the imaginable and violates an
ideal. It is not thinkable. After you have seen it done, you say, as
Mr. Clemens is said to have said of bicycling: "Yes, I have seen it, but
it's impossible. It doesn't stand to reason."
Art, like law, is the perfection of reason, and whatever is unreasonable
in the work of an artist is inartistic. By the time I had reached these
bold conclusions I was ready to deduce a principle from them, and to
declare that in a true civilization such a thing as that Hamlet would be
forbidden, as an offence against public morals, a violence to something
precious and sacred.
In the absence of any public regulation the precious and sacred ideals in
the arts must be trusted to the several artists, who bring themselves to
judgment when they violate them. After Mme. Bernhardt was perversely
willing to attempt the part of Hamlet, the question whether she did it
well or not was of slight consequence. She had already made her failure
in wishing to play the part. Her wish impugned her greatness as an
artist; of a really great actress it would have been as unimaginable as
the assumption of a sublime feminine role by a really great actor. There
is an obscure law in this matter which it would be interesting to trace,
but for the present I must leave the inquiry with the reader. I can note
merely that it seems somehow more permissible for women in imaginary
actions to figure as men than for men to figure as women. In the theatre
we have conjectured how and why this may be, but the privilege, for less
obvious reasons, seems yet more liberally granted in fiction. A woman
may tell a story in the character of a man and not give offence, but a
man cannot write a novel in autobiographical form from the personality of
a woman without imparting the sense of something unwholesome. One feels
this true even in the work of such a master as Tolstoy, whose Katia is a
case in point. Perhaps a woman may play Hamlet with a less shocking
effect than a man may play Desdemona, but all the same she must not play
Hamlet at all. That sublime ideal is the property of the human
imagination, and may not be profaned by a talent enamoured of the
impossible. No harm could be done by the broadest burlesque, the most
irreverent travesty, for these would still leave the ideal untouched.
Hamlet, after all the horse-play, would be Hamlet; but Hamlet played by a
woman, to satisfy her caprice, or to feed her famine for a fresh effect,
is Hamlet disabled, for a long time, at least, in its vital essence.
I felt that it would take many returns to the Hamlet of Shakespeare to
efface the impression of Mme. Bernhardt's Hamlet; and as I prepared to
escape from my row of stalls in the darkening theatre, I experienced a
noble shame for having seen the Dane so disnatured, to use Mr. Lowell's
word. I had not been obliged to come; I had voluntarily shared in the
wrong done; by my presence I had made myself an accomplice in the wrong.
It was high ground, but not too high for me, and I recovered a measure of
self-respect in assuming it.
THE MIDNIGHT PLATOON
He had often heard of it. Connoisseurs of such matters, young newspaper
men trying to make literature out of life and smuggle it into print under
the guard of unwary editors, and young authors eager to get life into
their literature, had recommended it to him as one of the most impressive
sights of the city; and he had willingly agreed with them that he ought
to see it. He imagined it very dramatic, and he was surprised to find it
in his experience so largely subjective. If there was any drama at all
it was wholly in his own consciousness. But the thing was certainly
impressive in its way.
I.
He thought it a great piece of luck that he should come upon it by
chance, and so long after he had forgotten about it that he was surprised
to recognize it for the spectacle he had often promised himself the
pleasure of seeing.
Pleasure is the right word; for pleasure of the painful sort that all
hedonists will easily imagine was what he expected to get from it; though
upon the face of it there seems no reason why a man should delight to see
his fellow-men waiting in the winter street for the midnight dole of
bread which must in some cases be their only meal from the last midnight
to the next midnight. But the mere thought of it gave him pleasure, and
the sight of it, from the very first instant. He was proud of knowing
just what it was at once, with the sort of pride which one has in knowing
an earthquake, though one has never felt one before. He saw the double
file of men stretching up one street, and stretching down the other from
the corner of the bakery where the loaves were to be given out on the
stroke of twelve, and he hugged himself in a luxurious content with his
perspicacity.
It was all the more comfortable to do this because he was in a coup,
warmly shut against the sharp, wholesome Christmas-week weather, and was
wrapped to the chin in a long fur overcoat, which he wore that night as a
duty to his family, with a conscience against taking cold and alarming
them for his health. He now practised another piece of self-denial: he
let the cabman drive rapidly past the interesting spectacle, and carry
him to the house where he was going to fetch away the child from the
Christmas party. He wished to be in good time, so as to save the child
from anxiety about his coming; but he promised himself to stop, going
back, and glut his sensibility in a leisurely study of the scene. He got
the child, with her arms full of things from the Christmas-tree, into the
coup, and then he said to the cabman, respectfully leaning as far over
from his box to listen as his thick greatcoat would let him: "When you
get up there near that bakery again, drive slowly. I want to have a look
at those men."
"All right, sir," said the driver intelligently, and he found his why
skilfully out of the street among the high banks of the seasonable
Christmas-week snow, which the street-cleaners had heaped up there till
they could get round to it with their carts.
When they were in Broadway again it seemed lonelier and silenter than it
was a few minutes before. Except for their own coup, the cable-cars,
with their flaming foreheads, and the mechanical clangor of their gongs
at the corners, seemed to have it altogether to themselves. A tall,
lumbering United States mail van rolled by, and impressed my friend in
the coup with a cheap and agreeable sense of mystery relative to the
letters it was carrying to their varied destination at the Grand Central
Station. He listened with half an ear to the child's account of the fun
she had at the party, and he watched with both eyes for the sight of the
men waiting at the bakery for the charity of the midnight loaves.
He played with a fear that they might all have vanished, and with an
apprehension that the cabman might forget and whirl him rapidly by the
place where he had left them. But the driver remembered, and checked his
horses in good time; and there were the men still, but in even greater
number than before, stretching farther up Broadway and farther out along
the side street. They stood slouched in dim and solemn phalanx under the
night sky, so seasonably, clear and frostily atwinkle with Christmas-week
stars; two by two they stood, slouched close together, perhaps for their
mutual warmth, perhaps in an unconscious effort to get near the door
where the loaves were to be given out, in time to share in them before
they were all gone.
II.
My friend's heart beat with glad anticipation. He was really to see this
important, this representative thing to the greatest possible advantage.
He rapidly explained to his companion that the giver of the midnight
loaves got rid of what was left of his daily bread in that way: the next
day it could not be sold, and he preferred to give it away to those who
needed it, rather than try to find his account in it otherwise. She
understood, and he tried to think that sometimes coffee was given with
the bread, but he could not make sure of this, though he would have liked
very much to have it done; it would have been much more dramatic.
Afterwards he learned that it was done, and he was proud of having
fancied it.
He decided that when he came alongside of the Broadway file he would get
out, and go to the side door of the bakery and watch the men receiving
the bread. Perhaps he would find courage to speak to them, and ask them
about themselves. At the time it did not strike him that it would be
indecent.
A great many things about them were open to reasonable conjecture. It
was not probable that they were any of them there for their health, as
the saying is. They were all there because they were hungry, or else
they were there in behalf of some one else who was hungry. But it was
always possible that some of them were impostors, and he wondered if any
test was applied to them that would prove them deserving or undeserving.
If one were poor, one ought to be deserving; if one were rich, it did not
so much matter.
It seemed to him very likely that if he asked these men questions they
would tell him lies. A fantastic association of their double files and
those of the galley-slaves whom Don Quixote released, with the tonguey
Gines de Passamonte at their head, came into his mind. He smiled, and
then he thought how these men were really a sort of slaves and convicts
--slaves to want and self-convicted of poverty. All at once he fancied
them actually manacled there together, two by two, a coffle of captives
taken in some cruel foray, and driven to a market where no man wanted to
buy. He thought how old their slavery was; and he wondered if it would
ever be abolished, as other slaveries had been. Would the world ever
outlive it? Would some New-Year's day come when some President would
proclaim, amid some dire struggle, that their slavery was to be no more?
That would be fine.
III.
He noticed how still the most of them were. A few of them stepped a
little out of the line, and stamped to shake off the cold; but all the
rest remained motionless, shrinking into themselves, and closer together.
They might have been their own dismal ghosts, they were so still, with no
more need of defence from the cold than the dead have.
He observed now that not one among them had a fur overcoat on; and at a
second glance he saw that there was not an overcoat of any kind among
them. He made his reflection that if any of them were impostors, and not
true men, with real hunger, and if they were alive to feel that stiff,
wholesome, Christmas-week cold, they were justly punished for their
deceit.
He was interested by the celerity, the simultaneity of his impressions,
his reflections. It occurred to him that his abnormal alertness must be
something like that of a drowning person, or a person in mortal peril,
and being perfectly safe and well, he was obscurely flattered by the
fact.
To test his condition further he took note of the fine mass of the great
dry-goods store on the hither corner, blocking itself out of the blue-
black night, and of the Gothic beauty of the church beyond, so near that
the coffle of captives might have issued from its sculptured portal,
after vain prayer.
Fragments of conjecture, of speculation, drifted through his mind. How
early did these files begin to form themselves for the midnight dole of
bread? As early as ten, as nine o'clock? If so, did the fact argue
habitual destitution, or merely habitual leisure? Did the slaves in the
coffle make acquaintance, or remain strangers to one another, though they
were closely neighbored night after night by their misery? Perhaps they
joked away the weary hours of waiting; they must have their jokes. Which
of them were old-comers, and which novices? Did they ever quarrel over
questions of precedence? Had they some comity, some etiquette, which a
man forced to leave his place could appeal to, and so get it back? Could
one say to his next-hand man, "Will you please keep my place?" and would
this man say to an interloper, "Excuse me, this place is engaged"? How
was it with them, when the coffle worked slowly or swiftly past the door
where the bread and coffee were given out, and word passed to the rear
that the supply was exhausted? This must sometimes happen, and what did
they do then?
IV.
My friend did not quite like to think. Vague, reproachful thoughts for
all the remote and immediate luxury of his life passed through his mind.
If he reformed that and gave the saving to hunger and cold? But what was
the use? There was so much hunger, so much cold, that it could not go
round.
The cabman was obeying his orders too faithfully. He was not only
walking by the Broadway coffle, he was creeping by. His action caught
the notice of the slaves, and as the coups passed them they all turned
and faced it, like soldiers under review making ready to salute a
superior. They were perfectly silent, perfectly respectful, but their
eyes seemed to pierce the coupe through and through.
My friend was suddenly aware of a certain quality of representivity; he
stood to these men for all the ease and safety that they could never,
never hope to know. He was Society: Society that was to be preserved
because it embodies Civilization. He wondered if they hated him in his
capacity of Better Classes. He no longer thought of getting out and
watching their behavior as they took their bread and coffee. He would
have liked to excuse that thought, and protest that he was ashamed of it;
that he was their friend, and wished them well--as well as might be
without the sacrifice of his own advantages or superfluities, which he
could have persuaded them would be perfectly useless. He put his hand on
that of his companion trembling on his arm with sympathy, or at least
with intelligence.
"You mustn't mind. What we are and what we do is all right. It's what
they are and what they suffer that's all wrong."
V.
"Does that view of the situation still satisfy you?" I asked, when he
had told me of this singular experience; I liked his apparently not
coloring it at all.
"I don't know," he answered. "It seems to be the only way out."
"Well, it's an easy way," I admitted, "and it's an idea that ought to
gratify the midnight platoon."
THE BEACH AT ROCKAWAY
I confess that I cannot hear people rejoice in their summer sojourn as
beyond the reach of excursionists without a certain rebellion; and yet I
have to confess also that after spending a Sunday afternoon of late July,
four or five years ago, with the excursionists at one of the beaches near
New York, I was rather glad that my own summer sojourn was not within
reach of them. I know very well that the excursionists must go
somewhere, and as a man and a brother I am willing they should go
anywhere, but as a friend of quiet and seclusion I should be sorry to
have them come much where I am. It is not because I would deny them a
share of any pleasure I enjoy, but because they are so many and I am so
few that I think they would get all the pleasure and I none. I hope the
reader will see how this attitude distinguishes me from the selfish
people who inhumanly exult in their remoteness from excursionists.
I.
It was at Rockaway Beach that I saw these fellow-beings whose mere
multitude was too much for me. They were otherwise wholly without
offence towards me, and so far as I noted, towards each other; they were,
in fact, the most entirely peaceable multitude I ever saw in any country,
and the very quietest.
There were thousands, mounting well up towards tens of thousands, of
them, in every variety of age and sex; yet I heard no voice lifted above
the conversational level, except that of some infant ignorant of its
privileges in a day at the sea-side, or some showman crying the
attractions of the spectacle in his charge. I used to think the American
crowds rather boisterous and unruly, and many years ago, when I lived in
Italy, I celebrated the greater amiability and self-control of the
Italian crowds. But we have certainly changed all that within a
generation, and if what I saw the other day was a typical New York crowd,
then the popular joy of our poorer classes is no longer the terror it
once was to the peaceful observer. The tough was not visibly present,
nor the toughness, either of the pure native East Side stock or of the
Celtic extraction; yet there were large numbers of Americans with rather
fewer recognizable Irish among the masses, who were mainly Germans,
Russians, Poles, and the Jews of these several nationalities.
There was eating and drinking without limit, on every hand and in every
kind, at the booths abounding in fried seafood, and at the tables under
all the wide-spreading verandas of the hotels and restaurants; yet I saw
not one drunken man, and of course not any drunken women. No one that I
saw was even affected by drink, and no one was guilty of any rude or
unseemly behavior. The crowd was, in short, a monument to the democratic
ideal of life in that very important expression of life, personal
conduct, I have not any notion who or what the people were, or how
virtuous or vicious they privately might be; but I am sure that no
society assemblage could be of a goodlier outside; and to be of a goodly
outside is all that the mere spectator has a right to ask of any crowd.
I fancied, however, that great numbers of this crowd, or at least all the
Americans in it, were Long-Islanders from the inland farms and villages
within easy distance of the beach. They had probably the hereditary
habit of coming to it, for it was a favorite resort in the time of their
fathers and grandfathers, who had
--"many an hour whiled away
Listening to the breakers' roar
That washed the beach at Rockaway."
But the clothing store and the paper pattern have equalized the cheaper
dress of the people so that you can no longer know citizen and countryman
apart by their clothes, still less citizeness and countrywoman; and I can
only conjecture that the foreign-looking folk I saw were from New York
and Brooklyn. They came by boat, and came and went by the continually
arriving and departing trains, and last but not least by bicycles, both
sexes. A few came in the public carriages and omnibuses of the
neighborhood, but by far the vaster number whom neither the boats nor the
trains had brought had their own vehicles, the all-pervading bicycles,
which no one seemed so poor as not to be able to keep. The bicyclers
stormed into the frantic village of the beach the whole afternoon, in the
proportion of one woman to five men, and most of these must have ridden
down on their wheels from the great cities. Boys ran about in the
roadway with bunches of brasses, to check the wheels, and put them for
safekeeping in what had once been the stable-yards of the hotels; the
restaurants had racks for them, where you could see them in solid masses,
side by side, for a hundred feet, and no shop was without its door-side
rack, which the wheelman might slide his wheel into when he stopped for a
soda, a cigar, or a sandwich. All along the road the gay bicycler and
bicycless swarmed upon the piazzas of the inns, munching, lunching, while
their wheels formed a fantastic decoration for the underpinning of the
house and a novel balustering for the steps.
II.
The amusements provided for these throngs of people were not different
from those provided for throngs of people everywhere, who must be of much
the same mind and taste the world over. I had fine moments when I moved
in an illusion of the Midway Plaisance; again I was at the Fete de
Neuilly, with all of Paris but the accent about me; yet again the county
agricultural fairs of my youth spread their spectral joys before me. At
none of these places, however, was there a sounding sea or a mountainous
chute, and I made haste to experience the variety these afforded,
beginning with the chute, since the sea was always there, and the chute
might be closed for the day if I waited to view it last. I meant only to
enjoy the pleasure of others in it, and I confined my own participation
to the ascent of the height from which the boat plunges down the watery
steep into the oblong pool below. When I bought my ticket for the car
that carried passengers up, they gave me also a pasteboard medal,
certifying for me, "You have shot the chute," and I resolved to keep this
and show it to doubting friends as a proof of my daring; but it is a
curious evidence of my unfitness for such deceptions that I afterwards
could not find the medal. So I will frankly own that for me it was quite
enough to see others shoot the chute, and that I came tamely down myself
in the car. There is a very charming view from the top, of the sea with
its ships, and all the mad gayety of the shore, but of course my main
object was to exult in the wild absurdity of those who shot the chute.
There was always a lady among the people in the clumsy flat-boat that
flew down the long track, and she tried usually to be a pretty girl, who
clutched her friends and lovers and shrieked aloud in her flight; but
sometimes it was a sober mother of a family, with her brood about her,
who was probably meditating, all the way, the inculpation of their father
for any harm that came of it. Apparently no harm came of it in any case.
The boat struck the water with the impetus gained from a half-
perpendicular slide of a hundred feet, bounded high into the air, struck
again and again, and so flounced awkwardly across the pond to the farther
shore, where the passengers debarked and went away to commune with their
viscera, and to get their breath as they could. I did not ask any of
them what their emotions or sensations were, but, so far as I could
conjecture, the experience of shooting the chute must comprise the rare
transport of a fall from a ten-story building and the delight of a
tempestuous passage of the Atlantic, powerfully condensed.
The mere sight was so athletic that it took away any appetite I might
have had to witness the feats of strength performed by Madame La Noire at
the nearest booth on my coming out, though madame herself was at the
door-to testify, in her own living picture, how much muscular force may
be masked in vast masses of adipose. She had a weary, bored look, and
was not without her pathos, poor soul, as few of those are who amuse the
public; but I could not find her quite justifiable as a Sunday
entertainment. One forgot, however, what day it was, and for the time I
did not pretend to be so much better than my neighbors that I would not
compromise upon a visit to, an animal show a little farther on. It was a
pretty fair collection of beasts that had once been wild, perhaps, and in
the cage of the lions there was a slight, sad-looking, long-haired young
man, exciting them to madness by blows of a whip and pistol-shots whom I
was extremely glad to have get away without being torn in pieces, or at
least bitten in two. A little later I saw him at the door of the tent,
very breathless, dishevelled, and as to his dress not of the spotlessness
one could wish. But perhaps spotlessness is not compatible with the
intimacy of lions and lionesses. He had had his little triumph; one
spectator of his feat had declared that you would not see anything like
that at Coney Island; and soiled and dusty as he was in his cotton
tights, he was preferable to the living picture of a young lady whom he
replaced as an attraction of the show. It was professedly a moral show;
the manager exhorted us as we came out to say whether it was good or not;
and in the box-office sat a kind and motherly faced matron who would have
apparently abhorred to look upon a living picture at any distance, much
less have it at her elbow.
Upon the whole, there seemed a melancholy mistake in it all; the people
to whom the showmen made their appeal were all so much better, evidently,
than the showmen supposed; the showmen themselves appeared harmless
enough, and one could not say that there was personally any harm in the
living picture; rather she looked listless and dull, but as to the face
respectable enough.
I would not give the impression that most of the amusements were not in
every respect decorous. As a means of pleasure, the merry-go-round, both
horizontal with horses and vertical with swinging cradles, prevailed, and
was none the worse for being called by the French name of carrousel, for
our people aniglicize the word, and squeeze the last drop of Gallic
wickedness from it by pronouncing it carousal. At every other step there
were machines for weighing you and ascertaining your height; there were
photographers' booths, and X-ray apparatus for showing you the inside of
your watch; and in one open tent I saw a gentleman (with his back to the
public) having his fortune read in the lines of his hand by an Egyptian
seeress. Of course there was everywhere soda, and places of the softer
drinks abounded.
III.
I think you could only get a hard drink by ordering something to eat and
sitting down to your wine or beer at a table. Again I say that I saw no
effects of drink in the crowd, and in one of the great restaurants built
out over the sea on piers, where there was perpetual dancing to the
braying of a brass-band, the cotillon had no fire imparted to its figures
by the fumes of the bar. In fact it was a very rigid sobriety that
reigned here, governing the common behavior by means of the placards
which hung from the roof over the heads of the dancers, and repeatedly
announced that gentlemen were not allowed to dance together, or to carry
umbrellas or canes while dancing, while all were entreated not to spit on
the floor.
The dancers looked happy and harmless, if not very wise or splendid; they
seemed people of the same simple neighborhoods, village lovers, young
wives and husbands, and parties of friends who had come together for the
day's pleasure. A slight mother, much weighed down by a heavy baby,
passed, rapt in an innocent envy of them, and I think she and the child's
father meant to join them as soon as they could find a place where to lay
it. Almost any place would do; at another great restaurant I saw two
chairs faced together, and a baby sleeping on them as quietly amid the
coming and going of lagers and frankfurters as if in its cradle at home.
Lagers and frankfurters were much in evidence everywhere, especially
frankfurters, which seemed to have whole booths devoted to broiling them.
They disputed this dignity with soft-shell crabs, and sections of eels,
piled attractively on large platters, or sizzling to an impassioned brown
in deep skillets of fat. The old acrid smell of frying brought back many
holidays of Italy to me, and I was again at times on the Riva at Venice,
and in the Mercato Vecchio at Florence. But the Continental Sunday
cannot be felt to have quite replaced the old American Sabbath yet; the
Puritan leaven works still, and though so many of our own people consent
willingly to the transformation, I fancy they always enjoy themselves on
Sunday with a certain consciousness of wrong-doing.
IV.
I have already said that the spectator quite lost sense of what day it
was. Nothing could be more secular than all the sights and sounds. It
was the Fourth of July, less the fire-crackers and the drunkenness, and
it was the high day of the week. But if it was very wicked, and I must
recognize that the scene would be shocking to most of my readers, I feel
bound to say that the people themselves did not look wicked. They looked
harmless; they even looked good, the most of them. I am sorry to say
they were not very good-looking. The women were pretty enough, and the
men were handsome enough; perhaps the average was higher in respect of
beauty than the average is anywhere else; I was lately from New England,
where the people were distinctly more hard-favored; but among all those
thousands at Rockaway I found no striking types. It may be that as we
grow older and our satisfaction with our own looks wanes, we become more
fastidious as to the looks of others. At any rate, there seems to be
much less beauty in the world than there was thirty or forty years ago.
On the other hand, the dresses seem indefinitely prettier, as they should
be in compensation. When we were all so handsome we could well afford to
wear hoops or peg-top trousers, but now it is different, and the poor
things must eke out their personal ungainliness with all the devices of
the modiste and the tailor. I do not mean that there was any distinction
in the dress of the crowd, but I saw nothing positively ugly or
grotesquely out of taste. The costumes were as good as the customs, and
I have already celebrated the manners of this crowd. I believe I must
except the costumes of the bicyclesses, who were unfailingly dumpy in
effect when dismounted, and who were all the more lamentable for
tottering about, in their short skirts, upon the tips of their narrow
little, sharp-pointed, silly high-heeled shoes. How severe I am!
But those high heels seemed to take all honesty from their daring in the
wholesome exercise of the wheel, and to keep them in the tradition of
cheap coquetry still, and imbecilly dependent.
V.
I have almost forgotten in the interest of the human spectacle that there
is a sea somewhere about at Rockaway Beach, and it is this that the
people have come for. I might well forget that modest sea, it is so
built out of sight by the restaurants and bath-houses and switch-backs
and shops that border it, and by the hotels and saloons and shows flaring
along the road that divides the village, and the planked streets that
intersect this. But if you walk southward on any of the streets, you
presently find the planks foundering in sand, which drifts far up over
them, and then you find yourself in full sight of the ocean and the ocean
bathing. Swarms and heaps of people in all lolling and lying and
wallowing shapes strew the beach, and the water is full of slopping and
shouting and shrieking human creatures, clinging with bare white arms to
the life-lines that run from the shore to the buoys; beyond these the
lifeguard stays himself in his boat with outspread oars, and rocks on the
incoming surf.
All that you can say of it is that it is queer. It is not picturesque,
or poetic, or dramatic; it is queer. An enfilading glance gives this
impression and no other; if you go to the balcony of the nearest marine
restaurant for a flanking eye-shot, it is still queer, with the added
effect, in all those arms upstretched to the life-lines, of frogs' legs
inverted in a downward plunge.
On the sand before this spectacle I talked with a philosopher of humble
condition who backed upon me and knocked my umbrella out of my hand.
This made us beg each other's pardon; he said that he did not know I was
there, and I said it did not matter. Then we both looked at the bathing,
and he said:
"I don't like that."
"Why," I asked, "do you see any harm in it?"
"No. But I don't like the looks of it. It ain't nice. It's queer."
It was indeed like one of those uncomfortable dreams where you are not
dressed sufficiently for company, or perhaps at all, and yet are making a
very public appearance. This promiscuous bathing was not much in excess
of the convention that governs the sea-bathing of the politest people; it
could not be; and it was marked by no grave misconduct. Here and there a
gentleman was teaching a lady to swim, with his arms round her; here and
there a wild nereid was splashing another; a young Jew pursued a flight
of naiads with a section of dead eel in his hand. But otherwise all was
a damp and dreary decorum. I challenged my philosopher in vain for a
specific cause of his dislike of the scene.
Most of the people on the sand were in bathing-dress, but there were a
multitude of others who had apparently come for the sea-air and not the
sea-bathing. A mother sat with a sick child on her knees; babies were
cradled in the sand asleep, and people walked carefully round and over
them. There were everywhere a great many poor mothers and children, who
seemed getting the most of the good that was going.
VI.
But upon the whole, though I drove away from the beach celebrating the
good temper and the good order of the scene to an applausive driver, I
have since thought of it as rather melancholy. It was in fact no wiser
or livelier than a society function in the means of enjoyment it
afforded. The best thing about it was that it left the guests very much
to their own devices. The established pleasures were clumsy and
tiresome-looking; but one could eschew them. The more of them one
eschewed, the merrier perhaps; for I doubt if the race is formed for much
pleasure; and even a day's rest is more than most people can bear. They
endure it in passing, but they get home weary and cross, even after a
twenty-mile run on the wheel. The road, by-the-by, was full of homeward
wheels by this time, single and double and tandem, and my driver
professed that their multitude greatly increased the difficulties of his
profession.
SAWDUST IN THE ARENA
It was in the old Roman arena of beautiful Verona that the circus events
I wish to speak of took place; in fact, I had the honor and profit of
seeing two circuses there. Or, strictly speaking, it was one entire
circus that I saw, and the unique speciality of another, the dying glory
of a circus on its last legs, the triumphal fall of a circus superb in
adversity.
I.
The entire circus was altogether Italian, with the exception of the
clowns, who, to the credit of our nation, are always Americans, or
advertised as such, in Italy. Its chief and almost absorbing event was a
reproduction of the tournament which had then lately been held at Rome in
celebration of Prince Tommaso's coming of age, and for a copy of a copy
it was really fine. It had fitness in the arena, which must have
witnessed many such mediaeval shows in their time, and I am sensible
still of the pleasure its effects of color gave me. There was one
beautiful woman, a red blonde in a green velvet gown, who might have
ridden, as she was, out of a canvas of Titian's, if he had ever painted
equestrian pictures, and who at any rate was an excellent Carpaccio.
Then, the 'Clowns Americani' were very amusing, from a platform devoted
solely to them, and it was a source of pride if not of joy with me to
think that we were almost the only people present who understood their
jokes. In the vast oval of the arena, however, the circus ring looked
very little, not half so large, say, as the rim of a lady's hat in front
of you at the play; and on the gradines of the ancient amphitheatre we
were all such a great way off that a good field-glass would have been
needed to distinguish the features of the actors. I could not make out,
therefore, whether the 'Clowns Americani' had the national expression or
not, but one of them, I am sorry to say, spoke the United States language
with a cockney accent. I suspect that he was an Englishman who had
passed himself off upon the Italian management as a true Yankee, and who
had formed himself upon our school of clowning, just as some of the
recent English humorists have patterned after certain famous wits of
ours. I do not know that I would have exposed this impostor, even if
occasion had offered, for, after all, his fraud was a tribute to our own
primacy in clowning, and the Veronese were none the worse for his erring
aspirates.
The audience was for me the best part of the spectacle, as the audience
always is in Italy, and I indulged my fancy in some cheap excursions
concerning the place and people. I reflected that it was the same race
essentially as that which used to watch the gladiatorial shows in that
arena when it was new, and that very possibly there were among these
spectators persons of the same blood as those Veronese patricians who had
left their names carved on the front of the gradines in places, to claim
this or that seat for their own. In fact, there was so little
difference, probably, in their qualities, from that time to this, that I
felt the process of the generations to be a sort of impertinence; and if
Nature had been present, I might very well have asked her why, when she
had once arrived at a given expression of humanity, she must go on
repeating it indefinitely? How were all those similar souls to know
themselves apart in their common eternity? Merely to have been
differently circumstanced in time did not seem enough; and I think Nature
would have been puzzled to answer me. But perhaps not; she may have had
her reasons, as that you cannot have too much of a good thing, and that
when the type was so fine in most respects as the Italian you could not
do better than go on repeating impressions from it.
Certainly I myself could have wished no variation from it in the young
officer of 'bersaglieri', who had come down from antiquity to the topmost
gradine of the arena over against me, and stood there defined against the
clear evening sky, one hand on his hip, and the other at his side, while
his thin cockerel plumes streamed in the light wind. I have since
wondered if he knew how beautiful he was, and I am sure that, if he did
not, all the women there did, and that was doubtless enough for the young
officer of 'bersaglieri'.
II.
I think that he was preliminary to the sole event of that partial circus
I have mentioned. This event was one that I have often witnessed
elsewhere, but never in such noble and worthy keeping. The top of the
outer arena wall must itself be fifty feet high, and the pole in the
centre of its oval seemed to rise fifty feet higher yet. At its base an
immense net was stretched, and a man in a Prince Albert coat and a derby
hat was figuring about, anxiously directing the workmen who were fixing
the guy-ropes, and testing every particular of the preparation with his
own hands. While this went on, a young girl ran out into the arena, and,
after a bow to the spectators, quickly mounted to the top of the pole,
where she presently stood in statuesque beauty that took all eyes even
from the loveliness of the officer of 'bersaglieri'. There the man in
the Prince Albert coat and the derby hat stepped back from the net and
looked up at her.
She called down, in English that sounded like some delocalized,
denaturalized speech, it was so strange then and there, "Is it all
right?"
He shouted back in the same alienated tongue, "Yes; keep to the left,"
and she dived straight downward in the long plunge, till, just before she
reached the net, she turned a quick somersault into its elastic mesh.
It was all so exquisitely graceful that one forgot how wickedly dangerous
it was; but I think that the brief English colloquy was the great wonder
of the event for me, and I doubt if I could ever have been perfectly
happy again, if chance had not amiably suffered me to satisfy my
curiosity concerning the speakers. A few evenings after that, I was at
that copy of a copy of a tournament, and, a few gradines below me, I saw
the man of the Prince Albert coat and the derby hat. I had already made
up my mind that he was an American, for I supposed that an Englishman
would rather perish than wear such a coat with such a hat, and as I had
wished all my life to speak to a circus-man, I went down and boldly
accosted him. "Are you a brother Yankee?" I asked, and he laughed, and
confessed that he was an Englishman, but he said he was glad to meet any
one who spoke English, and he made a place for me by his side. He was
very willing to tell how he happened to be there, and he explained that
he was the manager of a circus, which had been playing to very good
business all winter in Spain. In an evil hour he decided to come to
Italy, but he found the prices so ruinously low that he was forced to
disband his company. This diving girl was all that remained to him of
its many attractions, and he was trying to make a living for both in a
country where the admission to a circus was six of our cents, with fifty
for a reserved seat. But he was about to give it up and come to America,
where he said Barnum had offered him an engagement. I hope he found it
profitable, and is long since an American citizen, with as good right as
any of us to wear a Prince Albert coat with a derby hat.
III.
There used to be very good circuses in Venice, where many Venetians had
the only opportunity of their lives to see a horse. The horses were the
great attraction for them, and, perhaps in concession to their habitual
destitution in this respect, the riding was providentially very good. It
was so good that it did not bore me, as circus-riding mostly does,
especially that of the silk-clad jockey who stands in his high boots, on
his back-bared horse, and ends by waving an American flag in triumph at
having been so tiresome.
I am at a loss to know why they make such an ado about the lady who jumps
through paper hoops, which have first had holes poked in them to render
her transit easy, or why it should be thought such a merit in her to hop
over a succession of banners which are swept under her feet in a manner
to minify her exertion almost to nothing, but I observe it is so at all
circuses. At my first Venetian circus, which was on a broad expanse of
the Riva degli Schiavoni, there was a girl who flung herself to the
ground and back to her horse again, holding by his mane with one hand,
quite like the goddess out of the bath-gown at my village circus the
other day; and apparently there are more circuses in the world than
circus events. It must be as hard to think up anything new in that kind
as in romanticistic fiction, which circus-acting otherwise largely
resembles.
At a circus which played all one winter in Florence I saw for the first
time-outside of polite society--the clown in evening dress, who now seems
essential to all circuses of metropolitan pretensions, and whom I missed
so gladly at my village circus. He is nearly as futile as the lady
clown, who is one of the saddest and strangest developments of New
Womanhood.
Of the clowns who do not speak, I believe I like most the clown who
catches a succession of peak-crowned soft hats on his head, when thrown
across the ring by an accomplice. This is a very pretty sight always,
and at the Hippodrome in Paris I once saw a gifted creature take his
stand high up on the benches among the audience and catch these hats on
his head from a flight of a hundred feet through the air. This made me
proud of human nature, which is often so humiliating; and altogether I do
not think that after a real country circus there are many better things
in life than the Hippodrome. It had a state, a dignity, a smoothness, a
polish, which I should not know where to match, and when the superb coach
drove into the ring to convey the lady performers to the scene of their
events, there was a majesty in the effect which I doubt if courts have
the power to rival. Still, it should be remembered that I have never
been at court, and speak from a knowledge of the Hippodrome only.
AT A DIME MUSEUM
"I see," said my friend, "that you have been writing a good deal about
the theatre during the past winter. You have been attacking its high
hats and its high prices, and its low morals; and I suppose that you
think you have done good, as people call it."
I.
This seemed like a challenge of some sort, and I prepared myself to take
it up warily. I said I should be very sorry to do good, as people called
it; because such a line of action nearly always ended in spiritual pride
for the doer and general demoralization for the doee. Still, I said, a
law had lately been passed in Ohio giving a man who found himself behind
a high hat at the theatre a claim for damages against the manager; and if
the passage of this law could be traced ever so faintly and indirectly to
my teachings, I should not altogether grieve for the good I had done.
I added that if all the States should pass such a law, and other laws
fixing a low price for a certain number of seats at the theatres, or
obliging the managers to give one free performance every month, as the
law does in Paris, and should then forbid indecent and immoral plays--
"I see what you mean," said my friend, a little impatiently. "You mean
sumptuary legislation. But I have not come to talk to you upon that
subject, for then you would probably want to do all the talking yourself.
I want to ask you if you have visited any of the cheaper amusements of
this metropolis, or know anything of the really clever and charming
things one may see there for a very little money."
"Ten cents, for instance?"
"Yes."
I answered that I would never own to having come as low down as that; and
I expressed a hardy and somewhat inconsistent doubt of the quality of the
amusement that could be had for that money. I questioned if anything
intellectual could be had for it.
"What do you say to the ten-cent magazines?" my friend retorted. "And
do you pretend that the two-dollar drama is intellectual?"
I had to confess that it generally was not, and that this was part of my
grief with it.
Then he said: "I don't contend that it is intellectual, but I say that it
is often clever and charming at the ten-cent shows, just as it is less
often clever and charming in the ten-cent magazines. I think the average
of propriety is rather higher than it is at the two-dollar theatres; and
it is much more instructive at the ten-cent shows, if you come to that.
The other day," said my friend, and in squaring himself comfortably in
his chair and finding room for his elbow on the corner of my table he
knocked off some books for review, "I went to a dime museum for an hour
that I had between two appointments, and I must say that I never passed
an hour's time more agreeably. In the curio hall, as one of the
lecturers on the curios called it--they had several lecturers in white
wigs and scholars' caps and gowns--there was not a great deal to see, I
confess; but everything was very high-class. There was the inventor of a
perpetual motion, who lectured upon it and explained it from a diagram.
There was a fortune-teller in a three-foot tent whom I did not interview;
there were five macaws in one cage, and two gloomy apes in another. On a
platform at the end of the hall was an Australian family a good deal
gloomier than the apes, who sat in the costume of our latitude, staring
down the room with varying expressions all verging upon melancholy
madness, and who gave me such a pang of compassion as I have seldom got
from the tragedy of the two-dollar theatres. They allowed me to come
quite close up to them, and to feed my pity upon their wild dejection in
exile without stint. I couldn't enter into conversation with them, and
express my regret at finding them so far from their native boomerangs and
kangaroos and pinetree grubs, but I know they felt my sympathy, it was so
evident. I didn't see their performance, and I don't know that they had
any. They may simply have been there ethnologically, but this was a good
object, and the sight of their spiritual misery was alone worth the price
of admission.
"After the inventor of the perpetual motion had brought his harangue to a
close, we all went round to the dais where a lady in blue spectacles
lectured us upon a fire-escape which she had invented, and operated a
small model of it. None of the events were so exciting that we could
regret it when the chief lecturer announced that this was the end of the
entertainment in the curio hall, and that now the performance in the
theatre was about to begin. He invited us to buy tickets at an
additional charge of five, ten, or fifteen cents for the gallery,
orchestra circle, or orchestra.
"I thought I could afford an orchestra stall, for once. We were three in
the orchestra, another man and a young mother, not counting the little
boy she had with her; there were two people in the gallery, and a dozen
at least in the orchestra circle. An attendant shouted, 'Hats off!' and
the other man and I uncovered, and a lady came up from under the stage
and began to play the piano in front of it. The curtain rose, and the
entertainment began at once. It was a passage apparently from real life,
and it involved a dissatisfied boarder and the daughter of the landlady.
There was not much coherence in it, but there was a good deal of
conscience on the part of the actors, who toiled through it with
unflagging energy. The young woman was equipped for the dance she
brought into it at one point rather than for the part she had to sustain
in the drama. It was a very blameless dance, and she gave it as if she
was tired of it, but was not going to falter. She delivered her lines
with a hard, Southwestern accent, and I liked fancying her having come up
in a simpler-hearted section of the country than ours, encouraged by a
strong local belief that she was destined to do Juliet and Lady Macbeth,
or Peg Woffington at the least; but very likely she had not.
"Her performance was followed by an event involving a single character.
The actor, naturally, was blackened as to his skin, but as to his dress
he was all in white, and at the first glance I could see that he had
temperament. I suspect that he thought I had, too, for he began to
address his entire drama to me. This was not surprising, for it would
not have been the thing for him to single out the young mother; and the
other man in the orchestra stalls seemed a vague and inexperienced youth,
whom he would hardly have given the preference over me. I felt the
compliment, but upon the whole it embarrassed me; it was too intimate,
and it gave me a publicity I would willingly have foregone. I did what I
could to reject it, by feigning an indifference to his jokes; I even
frowned a measure of disapproval; but this merely stimulated his
ambition. He was really a merry creature, and when he had got off a
number of very good things which were received in perfect silence, and
looked over his audience with a woe-begone eye, and said, with an effect
of delicate apology, 'I hope I'm not disturbing you any,' I broke down
and laughed, and that delivered me into his hand. He immediately said to
me that now he would tell me about a friend of his, who had a pretty
large family, eight of them living, and one in Philadelphia; and then for
no reason he seemed to change his mind, and said he would sing me a song
written expressly for him--by an expressman; and he went on from one wild
gayety to another, until he had worked his audience up to quite a frenzy
of enthusiasm, and almost had a recall when he went off.
"I was rather glad to be rid of him, and I was glad that the next
performers, who were a lady and a gentleman contortionist of Spanish-
American extraction, behaved more impartially. They were really
remarkable artists in their way, and though it's a painful way, I
couldn't help admiring their gift in bowknots and other difficult poses.
The gentleman got abundant applause, but the lady at first got none. I
think perhaps it was because, with the correct feeling that prevailed
among us, we could not see a lady contort herself with so much approval
as a gentleman, and that there was a wound to our sense of propriety in
witnessing her skill. But I could see that the poor girl was hurt in her
artist pride by our severity, and at the next thing she did I led off the
applause with my umbrella. She instantly lighted up with a joyful smile,
and the young mother in the orchestra leaned forward to nod her sympathy
to me while she clapped. We were fast becoming a domestic circle, and it
was very pleasant, but I thought that upon the whole I had better go."
"And do you think you had a profitable hour at that show?" I asked, with
a smile that was meant to be sceptical.
"Profitable?" said my friend. "I said agreeable. I don't know about
the profit. But it was very good variety, and it was very cheap. I
understand that this is the kind of thing you want the two-dollar theatre
to come down to, or up to."
"Not exactly, or not quite," I returned, thoughtfully, "though I must say
I think your time was as well spent as it would have been at most of the
plays I have seen this winter."
My friend left the point, and said, with a dreamy air: "It was all very
pathetic, in a way. Three out of those five people were really clever,
and certainly artists. That colored brother was almost a genius, a very
common variety of genius, but still a genius, with a gift for his calling
that couldn't be disputed. He was a genuine humorist, and I sorrowed
over him--after I got safely away from his intimacy--as I should over
some author who was struggling along without winning his public. Why
not? One is as much in the show business as the other. There is a
difference of quality rather than of kind. Perhaps by-and-by my colored
humorist will make a strike with his branch of the public, as you are
always hoping to do with yours."
"You don't think you're making yourself rather offensive?" I suggested.
"Not intentionally. Aren't the arts one? How can you say that any art
is higher than the others? Why is it nobler to contort the mind than to
contort the body?"
"I am always saying that it is not at all noble to contort the mind,"
I returned, "and I feel that to aim at nothing higher than the amusement
of your readers is to bring yourself most distinctly to the level of the
show business."
"Yes, I know that is your pose," said my friend. "And I dare say you
really think that you make a distinction in facts when you make a
distinction in terms. If you don't amuse your readers, you don't keep
them; practically, you cease to exist. You may call it interesting them,
if you like; but, really, what is the difference? You do your little
act, and because the stage is large and the house is fine, you fancy you
are not of that sad brotherhood which aims to please in humbler places,
with perhaps cruder means--"
"I don't know whether I like your saws less than your instances, or your
instances less than your saws," I broke in. "Have you been at the circus
yet?"
II.
"Yet?" demanded my friend. "I went the first night, and I have been a
good deal interested in the examination of my emotions ever since.
I can't find out just why I have so much pleasure in the trapeze.
Half the time I want to shut my eyes, and a good part of the time I do
look away; but I wouldn't spare any actor the most dangerous feat.
One of the poor girls, that night, dropped awkwardly into the net after
her performance, and limped off to the dressing-room with a sprained
ankle. It made me rather sad to think that now she must perhaps give up
her perilous work for a while, and pay a doctor, and lose her salary, but
it didn't take away my interest in the other trapezists flying through
the air above another net.
"If I had honestly complained of anything it would have been of the
superfluity which glutted rather than fed me. How can you watch three
sets of trapezists at once? You really see neither well. It's the same
with the three rings. There should be one ring, and each act should have
a fair chance with the spectator, if it took six hours; I would willingly
give the time. Fancy three stages at the theatre, with three plays going
on at once!"
"No, don't fancy that!" I entreated. "One play is bad enough."
"Or fancy reading three novels simultaneously, and listening at the same
time to a lecture and a sermon, which could represent the two platforms
between the rings," my friend calmly persisted. "The three rings are an
abuse and an outrage, but I don't know but I object still more to the
silencing of the clowns. They have a great many clowns now, but they are
all dumb, and you only get half the good you used to get out of the
single clown of the old one-ring circus. Why, it's as if the literary
humorist were to lead up to a charming conceit or a subtle jest, and then
put asterisks where the humor ought to come in."
"Don't you think you are going from bad to worse?" I asked.
My friend went on: "I'm afraid the circus is spoiled for me. It has
become too much of a good thing; for it is a good thing; almost the best
thing in the way of an entertainment that there is. I'm still very fond
of it, but I come away defeated and defrauded because I have been
embarrassed with riches, and have been given more than I was able to
grasp. My greed has been overfed. I think I must keep to those
entertainments where you can come at ten in the morning and stay till ten
at night, with a perpetual change of bill, only one stage, and no fall of
the curtain. I suppose you would object to them because they're getting
rather dear; at the best of them now they ask you a dollar for the first
seats."
I said that I did not think this too much for twelve hours, if the
intellectual character of the entertainment was correspondingly high.
"It's as high as that of some magazines," said my friend, "though I could
sometimes wish it were higher. It's like the matter in the Sunday
papers--about that average. Some of it's good, and most of it isn't.
Some of it could hardly be worse. But there is a great deal of it, and
you get it consecutively and not simultaneously. That constitutes its
advantage over the circus."
My friend stopped, with a vague smile, and I asked:
"Then, do I understand that you would advise me to recommend the dime
museums, the circus, and the perpetual-motion varieties in the place of
the theatres?"
"You have recommended books instead, and that notion doesn't seem to have
met with much favor, though you urged their comparative cheapness. Now,
why not suggest something that is really level with the popular taste?"
AMERICAN LITERATURE IN EXILE
A recently lecturing Englishman is reported to have noted the unenviable
primacy of the United States among countries where the struggle for
material prosperity has been disastrous to the pursuit of literature.
He said, or is said to have said (one cannot be too careful in
attributing to a public man the thoughts that may be really due to an
imaginative frame in the reporter), that among us, "the old race of
writers of distinction, such as Longfellow, Bryant, Holmes, and
Washington Irving, have (sic) died out, and the Americans who are most
prominent in cultivated European opinion in art or literature, like
Sargent, Henry James, or Marion Crawford, live habitually out of America,
and draw their inspiration from England, France, and Italy."
I.
If this were true, I confess that I am so indifferent to what many
Americans glory in that it would not distress me, or wound me in the sort
of self-love which calls itself patriotism. If it would at all help to
put an end to that struggle for material prosperity which has eventuated
with us in so many millionaires and so many tramps, I should be glad to
believe that it was driving our literary men out of the country. This
would be a tremendous object-lesson, and might be a warning to the
millionaires and the tramps. But I am afraid it would not have this
effect, for neither our very rich nor our very poor care at all for the
state of polite learning among us; though for the matter of that, I
believe that economic conditions have little to do with it; and that if a
general mediocrity of fortune prevailed and there were no haste to be
rich and to get poor, the state of polite learning would not be
considerably affected. As matters stand, I think we may reasonably ask
whether the Americans "most prominent in cultivated European opinion,"
the Americans who "live habitually out of America," are not less exiles
than advance agents of the expansion now advertising itself to the world.
They may be the vanguard of the great army of adventurers destined to
overrun the earth from these shores, and exploit all foreign countries to
our advantage. They probably themselves do not know it, but in the act
of "drawing their inspiration" from alien scenes, or taking their own
where they find it, are not they simply transporting to Europe "the
struggle for material prosperity," which Sir Lepel supposes to be fatal
to them here?
There is a question, however, which comes before this, and that is the
question whether they have quitted us in such numbers as justly to alarm
our patriotism. Qualitatively, in the authors named and in the late Mr.
Bret Harte, Mr. Harry Harland, and the late Mr. Harold Frederic, as well
as in Mark Twain, once temporarily resident abroad, the defection is very
great; but quantitatively it is not such as to leave us without a fair
measure of home-keeping authorship. Our destitution is not nearly so
great now in the absence of Mr. James and Mr. Crawford as it was in the
times before the "struggle for material prosperity" when Washington
Irving went and lived in England and on the European continent well-nigh
half his life.
Sir Lepel Griffin--or Sir Lepel Griffin's reporter--seems to forget the
fact of Irving's long absenteeism when he classes him with "the old race"
of eminent American authors who stayed at home. But really none of those
he names were so constant to our air as he seems--or his reporter seems--
to think. Longfellow sojourned three or four years in Germany, Spain,
and Italy; Holmes spent as great time in Paris; Bryant was a frequent
traveller, and each of them "drew his inspiration" now and then from
alien sources. Lowell was many years in Italy, Spain, and England;
Motley spent more than half his life abroad; Hawthorne was away from us
nearly a decade.
II.
If I seem to be proving too much in one way, I do not feel that I am
proving too much in another. My facts go to show that the literary
spirit is the true world-citizen, and is at home everywhere. If any good
American were distressed by the absenteeism of our authors, I should
first advise him that American literature was not derived from the folk-
lore of the red Indians, but was, as I have said once before, a condition
of English literature, and was independent even of our independence.
Then I should entreat him to consider the case of foreign authors who had
found it more comfortable or more profitable to live out of their
respective countries than in them. I should allege for his consolation
the case of Byron, Shelley, and Leigh Hunt, and more latterly that of the
Brownings and Walter Savage Landor, who preferred an Italian to an
English sojourn; and yet more recently that of Mr. Rudyard Kipling, who
voluntarily lived several years in Vermont, and has "drawn his
inspiration" in notable instances from the life of these States. It will
serve him also to consider that the two greatest Norwegian authors,
Bjornsen and Ibsen, have both lived long in France and Italy. Heinrich
Heine loved to live in Paris much better than in Dusseldorf, or even in
Hamburg; and Tourguenief himself, who said that any man's country could
get on without him, but no man could get on without his country, managed
to dispense with his own in the French capital, and died there after he
was quite free to go back to St. Petersburg. In the last century
Rousseau lived in France rather than Switzerland; Voltaire at least tried
to live in Prussia, and was obliged to a long exile elsewhere; Goldoni
left fame and friends in Venice for the favor of princes in Paris.
Literary absenteeism, it seems to me, is not peculiarly an American vice
or an American virtue. It is an expression and a proof of the modern
sense which enlarges one's country to the bounds of civilization.
I cannot think it justly a reproach in the eyes of the world, and if any
American feels it a grievance, I suggest that he do what he can to have
embodied in the platform of his party a plank affirming the right of
American authors to a public provision that will enable them to live as
agreeably at home as they can abroad on the same money. In the mean
time, their absenteeism is not a consequence of "the struggle for
material prosperity," not a high disdain of the strife which goes on not
less in Europe than in America, and must, of course, go on everywhere as
long as competitive conditions endure, but is the result of chances and
preferences which mean nothing nationally calamitous or discreditable.
THE HORSE SHOW
"As good as the circus--not so good as the circus--better than the
circus." These were my varying impressions, as I sat looking down upon
the tanbark, the other day, at the Horse Show in Madison Square Garden;
and I came away with their blend for my final opinion.
I.
I might think that the Horse Show (which is so largely a Man Show and a
Woman Show) was better or worse than the circus, or about as good; but I
could not get away from the circus, in my impression of it. Perhaps the
circus is the norm of all splendors where the horse and his master are
joined for an effect upon the imagination of the spectator. I am sure
that I have never been able quite to dissociate from it the
picturesqueness of chivalry, and that it will hereafter always suggest to
me the last correctness of fashion. It is through the horse that these
far extremes meet; in all times the horse has been the supreme expression
of aristocracy; and it may very well be that a dream of the elder world
prophesied the ultimate type of the future, when the Swell shall have
evolved into the Centaur.
Some such teasing notion of their mystical affinity is what haunts you as
you make your round of the vast ellipse, with the well-groomed men about
you and the well-groomed horses beyond the barrier.
In this first affair of the new--comer, the horses are not so much on
show as the swells; you get only glimpses of shining coats and tossing
manes, with a glint here and there of a flying hoof through the lines of
people coming and going, and the ranks of people, three or four feet
deep, against the rails of the ellipse; but the swells are there in
perfect relief, and it is they who finally embody the Horse Show to you.
The fact is that they are there to see, of course, but the effect is that
they are there to be seen.
The whole spectacle had an historical quality, which I tasted with
pleasure. It was the thing that had eventuated in every civilization,
and the American might feel a characteristic pride that what came to Rome
in five hundred years had come to America in a single century. There was
something fine in the absolutely fatal nature of the result, and I
perceived that nowhere else in our life, which is apt to be reclusive in
its exclusiveness, is the prime motive at work in it so dramatically
apparent. "Yes," I found myself thinking, "this is what it all comes to:
the 'subiti guadagni' of the new rich, made in large masses and seeking a
swift and eager exploitation, and the slowly accumulated fortunes, put
together from sparing and scrimping, from slaving and enslaving, in
former times, and now in the stainless white hands of the second or third
generation, they both meet here to the purpose of a common ostentation,
and create a Horse Show."
I cannot say that its creators looked much as if they liked it, now they
had got it; and, so far as I have been able to observe them, people of
wealth and fashion always dissemble their joy, and have the air of being
bored in the midst of their amusements. This reserve of rapture may be
their delicacy, their unwillingness to awaken envy in the less prospered;
and I should not have objected to the swells at the Horse Show looking
dreary if they had looked more like swells; except for a certain hardness
of the countenance (which I found my own sympathetically taking on) I
should not have thought them very patrician, and this hardness may have
been merely the consequence of being so much stared at. Perhaps, indeed,
they were not swells whom I saw in the boxes, but only companies of
ordinary people who had clubbed together and hired their boxes;
I understand that this can be done, and the student of civilization so
far misled. But certainly if they were swells they did not look quite up
to themselves; though, for that matter, neither do the nobilities of
foreign countries, and on one or two occasions when I have seen them,
kings and emperors have failed me in like manner. They have all wanted
that indescribable something which I have found so satisfying in
aristocracies and royalties on the stage; and here at the Horse Show,
while I made my tour, I constantly met handsome, actor-like folk on foot
who could much better have taken the role of the people in the boxes.
The promenaders may not have been actors at all; they may have been the
real thing for which I was in vain scanning the boxes, but they looked
like actors, who indeed set an example to us all in personal beauty and
in correctness of dress.
I mean nothing offensive either to swells or to actors. We have not
distinction, as a people; Matthew Arnold noted that; and it is not our
business to have it: When it is our business our swells will have it,
just as our actors now have it, especially our actors of English birth.
I had not this reflection about me at the time to console me for my
disappointment, and it only now occurs to me that what I took for an
absence of distinction may have been such a universal prevalence of it
that the result was necessarily a species of indistinction. But in the
complexion of any social assembly we Americans are at a disadvantage with
Europeans from the want of uniforms. A few military scattered about in
those boxes, or even a few sporting bishops in shovel-hats and aprons,
would have done much to relieve them from the reproach I have been
heaping upon them. Our women, indeed, poor things, always do their duty
in personal splendor, and it is not of a poverty in their modes at the
Horse Show that I am complaining. If the men had borne their part as
well, there would not have been these tears: and yet, what am I saying?
There was here and there a clean-shaven face (which I will not believe
was always an actor's), and here and there a figure superbly set up, and
so faultlessly appointed as to shoes, trousers, coat, tie, hat, and
gloves as to have a salience from the mass of good looks and good clothes
which I will not at last call less than distinction.
II.
At any rate, I missed these marked presences when I left the lines of the
promenaders around the ellipse, and climbed to a seat some tiers above
the boxes. I am rather anxious to have it known that my seat was not one
of those cheap ones in the upper gallery, but was with the virtuous poor
who could afford to pay a dollar and a half for their tickets. I bought
it of a speculator on the sidewalk, who said it was his last, so that I
conceived it the last in the house; but I found the chairs by no means
all filled, though it was as good an audience as I have sometimes seen in
the same place at other circuses. The people about me were such as I had
noted at the other circuses, hotel-sojourners, kindly-looking comers from
provincial towns and cities, whom I instantly felt myself at home with,
and free to put off that gloomy severity of aspect which had grown upon
me during my association with the swells below. My neighbors were
sufficiently well dressed, and if they had no more distinction than their
betters, or their richers, they had not the burden of the occasion upon
them, and seemed really glad of what was going on in the ring.
There again I was sensible of the vast advantage of costume. The bugler
who stood up at one end of the central platform and blew a fine fanfare
(I hope it was a fanfare) towards the gates where the horses were to
enter from their stalls in the basement was a hussar-like shape that
filled my romantic soul with joy; and the other figures of the management
I thought very fortunate compromises between grooms and ringmasters. At
any rate, their nondescript costumes were gay, and a relief from the
fashions in the boxes and the promenade; they were costumes, and costumes
are always more sincere, if not more effective, than fashions. As I have
hinted, I do not know just what costumes they were, but they took the
light well from the girandole far aloof and from the thousands of little
electric bulbs that beaded the roof in long lines, and dispersed the
sullenness of the dull, rainy afternoon. When the knights entered the
lists on the seats of their dog-carts, with their squires beside them,
and their shining tandems before them, they took the light well, too, and
the spectacle was so brilliant that I trust my imagery may be forgiven a
novelist pining for the pageantries of the past. I do not know to this
moment whether these knights were bona fide gentlemen, or only their
deputies, driving their tandems for them, and I am equally at a loss to
account for the variety, of their hats. Some wore tall, shining silk
hats; some flat-topped, brown derbys; some simple black pot-hats;--and is
there, then, no rigor as to the head-gear of people driving tandems?
I felt that there ought to be, and that there ought to be some rule as to
where the number of each tandem should be displayed. As it was, this was
sometimes carelessly stuck into the seat of the cart; sometimes it was
worn at the back of the groom's waist, and sometimes full upon his
stomach. In the last position it gave a touch of burlesque which wounded
me; for these are vital matters, and I found myself very exacting in
them.
With the horses themselves I could find no fault upon the grounds of my
censure of the show in some other ways. They had distinction; they were
patrician; they were swell. They felt it, they showed it, they rejoiced
in it; and the most reluctant observer could not deny them the glory of
blood, of birth, which the thoroughbred horse has expressed in all lands
and ages. Their lordly port was a thing that no one could dispute, and
for an aristocracy I suppose that they had a high average of
intelligence, though there might be two minds about this. They made me
think of mettled youths and haughty dames; they abashed the humble spirit
of the beholder with the pride of their high-stepping, their curvetting
and caracoling, as they jingled in their shining harness around the long
ring. Their noble uselessness took the fancy, for I suppose that there
is nothing so superbly superfluous as a tandem, outside or inside of the
best society. It is something which only the ambition of wealth and
unbroken leisure can mount to; and I was glad that the display of tandems
was the first event of the Horse Show which I witnessed, for it seemed to
me that it must beyond all others typify the power which created the
Horse Show. I wished that the human side of it could have been more
unquestionably adequate, but the equine side of the event was perfect.
Still, I felt a certain relief, as in something innocent and simple and
childlike, in the next event.
III.
This was the inundation of the tan-bark with troops of pretty Shetland
ponies of all ages, sizes, and colors. A cry of delight went up from a
group of little people near me, and the spell of the Horse Show was
broken. It was no longer a solemnity of fashion, it was a sweet and
kindly pleasure which every one could share, or every one who had ever
had, or ever wished to have, a Shetland pony; the touch of nature made
the whole show kin. I could not see that the freakish, kittenish
creatures did anything to claim our admiration, but they won our
affection by every trait of ponyish caprice and obstinacy. The small
colts broke away from the small mares, and gambolled over the tanbark in
wanton groups, with gay or plaintive whinnyings, which might well have
touched a responsive chord in the bosom of fashion itself: I dare say it
is not so hard as it looks. The scene remanded us to a moment of
childhood; and I found myself so fond of all the ponies that I felt it
invidious of the judges to choose among them for the prizes; they ought
every one to have had the prize.
I suppose a Shetland pony is not a very useful animal in our conditions;
no doubt a good, tough, stubbed donkey would be worth all their tribe
when it came down to hard work; but we cannot all be hard-working
donkeys, and some of us may be toys and playthings without too great
reproach. I gazed after the broken, refluent wave of these amiable
creatures, with the vague toleration here formulated, but I was not quite
at peace in it, or fully consoled in my habitual ethicism till the next
event brought the hunters with their high-jumping into the ring. These
noble animals unite use and beauty in such measure that the censor must
be of Catonian severity who can refuse them his praise. When I reflected
that by them and their devoted riders our civilization had been
assimilated to that of the mother-country in its finest expression, and
another tie added to those that bind us to her through the language of
Shakespeare and Milton; that they had tamed the haughty spirit of the
American farmer in several parts of the country so that he submitted for
a consideration to have his crops ridden over, and that they had all but
exterminated the ferocious anise-seed bag, once so common and destructive
among us, I was in a fit mood to welcome the bars and hurdles which were
now set up at four or five places for the purposes of the high-jumping.
As to the beauty of the hunting-horse, though, I think I must hedge a
little, while I stand firmly to my admiration of his use. To be honest,
the tandem horse is more to my taste. He is better shaped, and he bears
himself more proudly. The hunter is apt to behave, whatever his reserve
of intelligence, like an excited hen; he is apt to be ewe-necked and bred
away to nothing where the ideal horse abounds; he has the behavior of a
turkey-hen when not behaving like the common or garden hen. But there
can be no question of his jumping, which seems to be his chief business
in a world where we are all appointed our several duties, and I at once
began to take a vivid pleasure in his proficiency. I have always felt a
blind and insensate joy in running races, which has no relation to any
particular horse, and I now experienced an impartial rapture in the
performances of these hunters. They looked very much alike, and if it
had not been for the changing numbers on the sign-board in the centre of
the ring announcing that 650, 675, or 602 was now jumping, I might have
thought it was 650 all the time.
A high jump is not so fine a sight as a running race when the horses have
got half a mile away and look like a covey of swift birds, but it is
still a fine sight. I became very fastidious as to which moment of it
was the finest, whether when the horse rose in profile, or when his
aerial hoof touched the ground (with the effect of half jerking his
rider's head half off), or when he showed a flying heel in perspective;
and I do not know to this hour which I prefer. But I suppose I was
becoming gradually spoiled by my pleasure, for as time went on I noticed
that I was not satisfied with the monotonous excellence of the horses'
execution. Will it be credited that I became willing something should
happen, anything, to vary it? I asked myself why, if some of the more
exciting incidents of the hunting-field which I had read of must befall;
I should not see them. Several of the horses had balked at the barriers,
and almost thrown their riders across them over their necks, but not
quite done it; several had carried away the green-tufted top rail with
their heels; when suddenly there came a loud clatter from the farther
side of the ellipse, where a whole panel of fence had gone down. I
looked eagerly for the prostrate horse and rider under the bars, but they
were cantering safely away.
IV.
It was enough, however. I perceived that I was becoming demoralized, and
that if I were to write of the Horse Show with at all the superiority one
likes to feel towards the rich and great, I had better come away. But I
came away critical, even in my downfall, and feeling that, circus for
circus, the Greatest Show on Earth which I had often seen in that place
had certain distinct advantages of the Horse Show. It had three rings
and two platforms; and, for another thing, the drivers and riders in the
races, when they won, bore the banner of victory aloft in their hands,
instead of poorly letting a blue or red ribbon flicker at their horses'
ears. The events were more frequent and rapid; the costumes infinitely
more varied and picturesque. As for the people in the boxes, I do not
know that they were less distinguished than these at the Horse Show, but
if they were not of the same high level in which distinction was
impossible, they did not show it in their looks.
The Horse Show, in fine, struck me as a circus of not all the first
qualities; and I had moments of suspecting that it was no more than the
evolution of the county cattle show. But in any case I had to own that
its great success was quite legitimate; for the horse, upon the whole,
appeals to a wider range of humanity, vertically as well as horizontally,
than any other interest, not excepting politics or religion. I cannot,
indeed, regard him as a civilizing influence; but then we cannot be
always civilizing.
THE PROBLEM OF THE SUMMER
It has sometimes seemed to me that the solution of the problem how and
where to spend the summer was simplest with those who were obliged to
spend it as they spent the winter, and increasingly difficult in the
proportion of one's ability to spend it wherever and however one chose.
Few are absolutely released to this choice, however, and those few are
greatly to be pitied. I know that they are often envied and hated for it
by those who have no such choice, but that is a pathetic mistake. If we
could look into their hearts, indeed, we should witness there so much
misery that we should wish rather to weep over them than to reproach them
with their better fortune, or what appeared so.
I.
For most people choice is a curse, and it is this curse that the summer
brings upon great numbers who would not perhaps otherwise be afflicted.
They are not in the happy case of those who must stay at home; their hard
necessity is that they can go away, and try to be more agreeably placed
somewhere else; but although I say they are in great numbers, they are an
infinitesimal minority of the whole bulk of our population. Their bane
is not, in its highest form, that of the average American who has no
choice of the kind; and when one begins to speak of the summer problem,
one must begin at once to distinguish. It is the problem of the East
rather than of the West (where people are much more in the habit of
staying at home the year round), and it is the problem of the city and
not of the country. I am not sure that there is one practical farmer in
the whole United States who is obliged to witness in his household those
sad dissensions which almost separate the families of professional men as
to where and how they shall pass the summer. People of this class, which
is a class with some measure of money, ease, and taste, are commonly of
varying and decided minds, and I once knew a family of the sort whose
combined ideal for their summer outing was summed up in the simple desire
for society and solitude, mountain-air and sea-bathing. They spent the
whole months of April, May, and June in a futile inquiry for a resort
uniting these attractions, and on the first of July they drove to the
station with no definite point in view. But they found that they could
get return tickets for a certain place on an inland lake at a low figure,
and they took the first train for it. There they decided next morning to
push on to the mountains, and sent their baggage to the station, but
before it was checked they changed their minds, and remained two weeks
where they were. Then they took train for a place on the coast, but in
the cars a friend told them they ought to go to another place; they
decided to go there, but before arriving at the junction they decided
again to keep on. They arrived at their original destination, and the
following day telegraphed for rooms at a hotel farther down the coast.
The answer came that there were no rooms, and being by this time ready to
start, they started, and in due time reported themselves at the hotel.
The landlord saw that something must be done, and he got them rooms, at a
smaller house, and 'mealed' them (as it used to be called at Mt. Desert)
in his own. But upon experiment of the fare at the smaller house they
liked it so well that they resolved to live there altogether, and they
spent a summer of the greatest comfort there, so that they would hardly
come away when the house closed in the fall.
This was an extreme case, and perhaps such a venture might not always
turn out so happily; but I think that people might oftener trust
themselves to Providence in these matters than they do. There is really
an infinite variety of pleasant resorts of all kinds now, and one could
quite safely leave it to the man in the ticket-office where one should
go, and check one's baggage accordingly. I think the chances of an
agreeable summer would be as good in that way as in making a hard-and-
fast choice of a certain place and sticking to it. My own experience is
that in these things chance makes a very good choice for one, as it does
in most non-moral things.
II.
A joke dies hard, and I am not sure that the life is yet quite out of the
kindly ridicule that was cast for a whole generation upon the people who
left their comfortable houses in town to starve upon farm-board or stifle
in the narrow rooms of mountain and seaside hotels. Yet such people were
in the right, and their mockers were in the wrong, and their patient
persistence in going out of town for the summer in the face of severe
discouragements has multiplied indefinitely the kinds of summer resorts,
and reformed them altogether. I believe the city boarding-house remains
very much what it used to be; but I am bound to say that the country
boarding-house has vastly improved since I began to know it. As for the
summer hotel, by steep or by strand, it leaves little to be complained of
except the prices. I take it for granted, therefore, that the out-of-
town summer has come to stay, for all who can afford it, and that the
chief sorrow attending it is that curse of choice, which I have already
spoken of.
I have rather favored chance than choice, because, whatever choice you
make, you are pretty sure to regret it, with a bitter sense of
responsibility added, which you cannot feel if chance has chosen for you.
I observe that people who own summer cottages are often apt to wish they
did not, and were foot-loose to roam where they listed, and I have been
told that even a yacht is not a source of unmixed content, though so
eminently detachable. To great numbers Europe looks from this shore like
a safe refuge from the American summer problem; and yet I am not sure
that it is altogether so; for it is not enough merely to go to Europe;
one has to choose where to go when one has got there. A European city is
certainly always more tolerable than an American city, but one cannot
very well pass the summer in Paris, or even in London. The heart there,
as here, will yearn for some blessed seat
"Where falls not hail, or rain, or any snow,
Nor ever wind blows loudly; but it lies
Deep-meadow'd, happy, fair with orchard lawns
And bowery hollows crown'd with summer sea,"
and still, after your keel touches the strand of that alluring old world,
you must buy your ticket and register your trunk for somewhere in
particular.
III.
It is truly a terrible stress, this summer problem, and, as I say, my
heart aches much more for those who have to solve it and suffer the
consequences of their choice than for those who have no choice, but must
stay the summer through where their work is, and be humbly glad that they
have any work to keep them there. I am not meaning now, of course,
business men obliged to remain in the city to earn the bread--or, more
correctly, the cake--of their families in the country, or even their
clerks and bookkeepers, and porters and messengers, but such people as I
sometimes catch sight of from the elevated trains (in my reluctant
midsummer flights through the city), sweltering in upper rooms over
sewing-machines or lap-boards, or stewing in the breathless tenement
streets, or driving clangorous trucks, or monotonous cars, or bending
over wash-tubs at open windows for breaths of the no-air without.
These all get on somehow, and at the end of the summer they have not to
accuse themselves of folly in going to one place rather than another.
Their fate is decided for them, and they submit to it; whereas those who
decide their fate are always rebelling against it. They it is whom I am
truly sorry for, and whom I write of with tears in my ink. Their case is
hard, and it will seem all the harder if we consider how foolish they
will look and how flat they will feel at the judgment-day, when they are
asked about their summer outings. I do not really suppose we shall be
held to a very strict account for our pleasures because everybody else
has not enjoyed them, too; that would be a pity of our lives; and yet
there is an old-fashioned compunction which will sometimes visit the
heart if we take our pleasures ungraciously, when so many have no
pleasures to take. I would suggest, then, to those on whom the curse of
choice between pleasures rests, that they should keep in mind those who
have chiefly pains to their portion in life.
I am not, I hope, urging my readers to any active benevolence, or
counselling them to share their pleasures with others; it has been
accurately ascertained that there are not pleasures enough to go round,
as things now are; but I would seriously entreat them to consider whether
they could not somewhat alleviate the hardships of their own lot at the
sea-side or among the mountains, by contrasting it with the lot of others
in the sweat-shops and the boiler-factories of life. I know very well
that it is no longer considered very good sense or very good morality to
take comfort in one's advantages from the disadvantages of others, and
this is not quite what I mean to teach. Perhaps I mean nothing more than
an overhauling of the whole subject of advantages and disadvantages,
which would be a light and agreeable occupation for the leisure of the
summer outer. It might be very interesting, and possibly it might be
amusing, for one stretched upon the beach or swaying in the hammock to
inquire into the reasons for his or her being so favored, and it is not
beyond the bounds of expectation that a consensus of summer opinion on
this subject would go far to enlighten the world upon a question that has
vexed the world ever since mankind was divided into those who work too
much and those who rest too much.
AESTHETIC NEW YORK FIFTY-ODD YEARS AGO
A study of New York civilization in 1849 has lately come into my hands,
with a mortifying effect, which I should like to share with the reader,
to my pride of modernity. I had somehow believed that after half a
century of material prosperity, such as the world has never seen before,
New York in 1902 must be very different from New York in 1849, but if I
am to trust either the impressions of the earlier student or my own, New
York is essentially the same now that it was then. The spirit of the
place has not changed; it is as it was, splendidly and sordidly
commercial. Even the body of it has undergone little or no alteration;
it was as shapeless, as incongruous; as ugly when the author of 'New York
in Slices' wrote as it is at this writing; it has simply grown, or
overgrown, on the moral and material lines which seem to have been
structural in it from the beginning. He felt in his time the same
vulgarity, the same violence, in its architectural anarchy that I have
felt in my time, and he noted how all dignity and beauty perished, amid
the warring forms, with a prescience of my own affliction, which deprives
me of the satisfaction of a discoverer and leaves me merely the sense of
being rather old-fashioned in my painful emotions.
I.
I wish I could pretend that my author philosophized the facts of his New
York with something less than the raw haste of the young journalist; but
I am afraid I must own that 'New York in Slices' affects one as having
first been printed in an evening paper, and that the writer brings to the
study of the metropolis something like the eager horror of a country
visitor. This probably enabled him to heighten the effect he wished to
make with readers of a kindred tradition, and for me it adds a certain
innocent charm to his work. I may make myself better understood if I say
that his attitude towards the depravities of a smaller New York is much
the same as that of Mr. Stead towards the wickedness of a much larger
Chicago. He seizes with some such avidity upon the darker facts of the
prisons, the slums, the gambling-houses, the mock auctions, the toughs
(who then called themselves b'hoys and g'hals), the quacks, the theatres,
and even the intelligence offices, and exploits their iniquities with a
ready virtue which the wickedest reader can enjoy with him.
But if he treated of these things alone, I should not perhaps have
brought his curious little book to the polite notice of my readers.
He treats also of the press, the drama, the art, and, above all,
"the literary soirees" of that remote New York of his in a manner to make
us latest New-Yorkers feel our close proximity to it. Fifty-odd years
ago journalism had already become "the absorbing, remorseless, clamorous
thing" we now know, and very different from the thing it was when
"expresses were unheard of, and telegraphs were uncrystallized from the
lightning's blue and fiery film." Reporterism was beginning to assume
its present importance, but it had not yet become the paramount
intellectual interest, and did not yet "stand shoulder to shoulder" with
the counting-room in authority. Great editors, then as now, ranked great
authors in the public esteem, or achieved a double primacy by uniting
journalism and literature in the same personality. They were often the
owners as well as the writers of their respective papers, and they
indulged for the advantage of the community the rancorous rivalries,
recriminations, and scurrilities which often form the charm, if not the
chief use, of our contemporaneous journals. Apparently, however,
notarially authenticated boasts of circulation had not yet been made the
delight of their readers, and the press had not become the detective
agency that it now is, nor the organizer and distributer of charities.
But as dark a cloud of doubt rested upon its relations to the theatre as
still eclipses the popular faith in dramatic criticism. "How can you
expect," our author asks, "a frank and unbiassed criticism upon the
performance of George Frederick Cooke Snooks . . . when the editor or
reporter who is to write it has just been supping on beefsteak and stewed
potatoes at Windust's, and regaling himself on brandy-and-water cold,
without, at the expense of the aforesaid George Frederick Cooke Snooks?"
The severest censor of the press, however, would hardly declare now that
"as to such a thing as impartial and independent criticism upon theatres
in the present state of the relations between editors, reporters,
managers, actors--and actresses--the thing is palpably out of the
question," and if matters were really at the pass hinted, the press has
certainly improved in fifty years, if one may judge from its present
frank condemnations of plays and players. The theatre apparently has
not, for we read that at that period "a very great majority of the
standard plays and farces on the stage depend mostly for their piquancy
and their power of interesting an audience upon intrigues with married
women, elopements, seductions, bribery, cheating, and fraud of every
description . . . . Stage costume, too, wherever there is half a
chance, is usually made as lascivious and immodest as possible; and a
freedom and impropriety prevails among the characters of the piece which
would be kicked out of private society the instant it would have the
audacity to make its appearance there."
II.
I hope private society in New York would still be found as correct if not
quite so violent; and I wish I could believe that the fine arts were
presently in as flourishing a condition among us as they were in 1849.
That was the prosperous day of the Art Unions, in which the artists
clubbed their output, and the subscribers parted the works among
themselves by something so very like raffling that the Art Unions were
finally suppressed under the law against lotteries. While they lasted,
however, they had exhibitions thronged by our wealth, fashion, and
intellect (to name them in the order they hold the New York mind), as our
private views now are, or ought to be; and the author "devotes an entire
number" of his series "to a single institution"--fearless of being
accused of partiality by any who rightly appreciate the influences of the
fine arts upon the morals and refinement of mankind.
He devotes even more than an entire number to literature; for, besides
treating of various literary celebrities at the "literary soirees," he
imagines encountering several of them at the high-class restaurants.
At Delmonico's, where if you had "French and money" you could get in that
day "a dinner which, as a work of art, ranks with a picture by
Huntington, a poem by Willis, or a statue by Powers," he meets such a
musical critic as Richard Grant White, such an intellectual epicurean as
N. P. Willis, such a lyric poet as Charles Fenno Hoffman. But it would
be a warm day for Delmonico's when the observer in this epoch could
chance upon so much genius at its tables, perhaps because genius among us
has no longer the French or the money. Indeed, the author of 'New York
in Slices' seems finally to think that he has gone too far, even for his
own period, and brings himself up with the qualifying reservation that if
Willis and Hoffman never did dine together at Delmonico's, they ought to
have done so. He has apparently no misgivings as to the famous musical
critic, and he has no scruple in assembling for us at his "literary
soiree" a dozen distinguished-looking men and "twice as many women....
listening to a tall, deaconly man, who stands between two candles held by
a couple of sticks summoned from the recesses of the back parlor, reading
a basketful of gilt-edged notes. It is . . . the annual Valentine
Party, to which all the male and female authors have contributed for the
purpose of saying on paper charming things of each other, and at which,
for a few hours, all are gratified with the full meed of that praise
which a cold world is chary of bestowing upon its literary cobweb-
spinners."
It must be owned that we have no longer anything so like a 'salon' as
this. It is, indeed, rather terrible, and it is of a quality in its
celebrities which may well carry dismay to any among us presently
intending immortality. Shall we, one day, we who are now in the rich
and full enjoyment of our far-reaching fame, affect the imagination of
posterity as these phantoms of the past affect ours? Shall we, too,
appear in some pale limbo of unimportance as thin and faded as "John
Inman, the getter-up of innumerable things for the annuals and
magazines," or as Dr. Rufus Griswold, supposed for picturesque purposes
to be "stalking about with an immense quarto volume under his arm . . .
an early copy of his forthcoming 'Female Poets of America'"; or as Lewis
Gaylord Clark, the "sunnyfaced, smiling" editor of the Knickerbocker
Magazine, "who don't look as if the Ink-Fiend had ever heard of him,"
as he stands up to dance a polka with "a demure lady who has evidently
spilled the inkstand over her dress"; or as "the stately Mrs. Seba Smith,
bending aristocratically over the centre-table, and talking in a bright,
cold, steady stream, like an antique fountain by moonlight"; or as "the
spiritual and dainty Fanny Osgood, clapping her hands and crowing like a
baby," where she sits "nestled under a shawl of heraldic devices, like a
bird escaped from its cage"; or as Margaret Fuller, "her large, gray eyes
Tamping inspiration, and her thin, quivering lip prophesying like a
Pythoness"?
I hope not; I earnestly hope not. Whatever I said at the outset,
affirming the persistent equality of New York characteristics and
circumstances, I wish to take back at this point; and I wish to warn
malign foreign observers, of the sort who have so often refused to see us
as we see ourselves, that they must not expect to find us now grouped in
the taste of 1849. Possibly it was not so much the taste of 1849 as the
author of 'New York in Slices' would have us believe; and perhaps any one
who trusted his pictures of life among us otherwise would be deceived by
a parity of the spirit in which they are portrayed with that of our
modern "society journalism."
FROM NEW YORK INTO NEW ENGLAND
There is, of course, almost a world's difference between England and the
Continent anywhere; but I do not recall just now any transition between
Continental countries which involves a more distinct change in the
superficial aspect of things than the passage from the Middle States into
New England. It is all American, but American of diverse ideals; and you
are hardly over the border before you are sensible of diverse effects,
which are the more apparent to you the more American you are. If you
want the contrast at its sharpest you had better leave New York on a
Sound boat; for then you sleep out of the Middle State civilization and
wake into the civilization of New England, which seems to give its stamp
to nature herself. As to man, he takes it whether native or alien; and
if he is foreign-born it marks him another Irishman, Italian, Canadian,
Jew, or negro from his brother in any other part of the United States.
I.
When you have a theory of any kind, proofs of it are apt to seek you out,
and I, who am rather fond of my faith in New England's influence of this
sort, had as pretty an instance of it the day after my arrival as I could
wish. A colored brother of Massachusetts birth, as black as a man can
well be, and of a merely anthropoidal profile, was driving me along shore
in search of a sea-side hotel when we came upon a weak-minded young
chicken in the road. The natural expectation is that any chicken in
these circumstances will wait for your vehicle, and then fly up before it
with a loud screech; but this chicken may have been overcome by the heat
(it was a land breeze and it drew like the breath of a furnace over the
hay-cocks and the clover), or it may have mistimed the wheel, which
passed over its head and left it to flop a moment in the dust and then
fall still. The poor little tragedy was sufficiently distressful to me,
but I bore it well, compared with my driver. He could hardly stop
lamenting it; and when presently we met a young farmer, he pulled up.
"You goin' past Jim Marden's?" "Yes." "Well, I wish you'd tell him I
just run over a chicken of his, and I killed it, I guess. I guess it was
a pretty big one." "Oh no," I put in, "it was only a broiler. What do
you think it was worth?" I took out some money, and the farmer noted the
largest coin in my hand; "About half a dollar, I guess." On this I put
it all back in my pocket, and then he said, "Well, if a chicken don't
know enough to get out of the road, I guess you ain't to blame."
I expressed that this was my own view of the case, and we drove on. When
we parted I gave the half-dollar to my driver, and begged him not to let
the owner of the chicken come on me for damages; and though he chuckled
his pleasure in the joke, I could see that he was still unhappy, and I
have no doubt that he has that pullet on his conscience yet, unless he
has paid for it. He was of a race which elsewhere has so immemorially
plundered hen-roosts that chickens are as free to it as the air it
breathes, without any conceivable taint of private ownership. But the
spirit of New England had so deeply entered into him that the imbecile
broiler of another, slain by pure accident and by its own contributory
negligence, was saddening him, while I was off in my train without a pang
for the owner and with only an agreeable pathos for the pullet.
II.
The instance is perhaps extreme; and, at any rate, it has carried me in a
psychological direction away from the simpler differences which I meant
to note in New England. They were evident as soon as our train began to
run from the steamboat landing into the country, and they have
intensified, if they have not multiplied, themselves as I have penetrated
deeper and deeper into the beautiful region. The land is poorer than the
land to the southward--one sees that at once; the soil is thin, and often
so thickly burdened with granite bowlders that it could never have borne
any other crop since the first Puritans, or Pilgrims, cut away the
primeval woods and betrayed its hopeless sterility to the light. But
wherever you come to a farm-house, whether standing alone or in one of
the village groups that New England farm-houses have always liked to
gather themselves into, it is of a neatness that brings despair, and of a
repair that ought to bring shame to the beholder from more easy-going
conditions. Everything is kept up with a strenuous virtue that imparts
an air of self-respect to the landscape, which the bleaching and
blackening stone walls, wandering over the hill-slopes, divide into wood
lots of white birch and pine, stony pastures, and little patches of
potatoes and corn. The mowing-lands alone are rich; and if the New
England year is in the glory of the latest June, the breath of the clover
blows honey--sweet into the car windows, and the fragrance of the new-cut
hay rises hot from the heavy swaths that seem to smoke in the sun.
We have struck a hot spell, one of those torrid mood of continental
weather which we have telegraphed us ahead to heighten our suffering by
anticipation. But the farmsteads and village houses are safe in the
shade of their sheltering trees amid the fluctuation of the grass that
grows so tall about them that the June roses have to strain upward to get
themselves free of it. Behind each dwelling is a billowy mass of
orchard, and before it the Gothic archway of the elms stretches above the
quiet street. There is no tree in the world so full of sentiment as the
American elm, and it is nowhere so graceful as in these New England
villages, which are themselves, I think, the prettiest and wholesomest of
mortal sojourns. By a happy instinct, their wooden houses are all
painted white, to a marble effect that suits our meridional sky, and the
contrast of their dark-green shutters is deliciously refreshing. There
was an evil hour, the terrible moment of the aesthetic revival now
happily past, when white walls and green blinds were thought in bad
taste, and the village houses were often tinged a dreary ground color, or
a doleful olive, or a gloomy red, but now they have returned to their
earlier love. Not the first love; that was a pale buff with white trim;
but I doubt if it were good for all kinds of village houses; the eye
rather demands the white. The pale buff does very well for large
colonial mansions, like Lowell's or Longfellow's in Cambridge; but when
you come, say, to see the great square houses built in Portsmouth, New
Hampshire; early in this century, and painted white, you find that white,
after all, is the thing for our climate, even in the towns.
In such a village as my colored brother drove me through on the way to
the beach it was of an absolute fitness; and I wish I could convey a due
sense of the exquisite keeping of the place. Each white house was more
or less closely belted in with a white fence, of panels or pickets; the
grassy door-yards glowed with flowers, and often a climbing rose
embowered the door-way with its bloom. Away backward or sidewise
stretched the woodshed from the dwelling to the barn, and shut the whole
under one cover; the turf grew to the wheel-tracks of the road-way, over
which the elms rose and drooped; and from one end of the village to the
other you could not, as the saying is, find a stone to throw at a dog.
I know Holland; I have seen the wives of Scheveningen scrubbing up for
Sunday to the very middle of their brick streets, but I doubt if Dutch
cleanliness goes so far without, or comes from so deep a scruple within,
as the cleanliness of New England. I felt so keenly the feminine quality
of its motive as I passed through that village, that I think if I had
dropped so much as a piece of paper in the street I must have knocked at
the first door and begged the lady of the house (who would have opened it
in person after wiping her hands from her work, taking off her apron, and
giving a glance at herself in the mirror and at me through the window
blind) to report me to the selectmen in the interest of good morals.
III.
I did not know at once quite how to reconcile the present foulness of the
New England capital with the fairness of the New England country; and I
am still somewhat embarrassed to own that after New York (even under the
relaxing rule of Tammany) Boston seemed very dirty when we arrived there.
At best I was never more than a naturalized Bostonian; but it used to
give me great pleasure--so penetratingly does the place qualify even the
sojourning Westerner--to think of the defect of New York in the virtue
that is next to godliness; and now I had to hang my head for shame at the
mortifying contrast of the Boston streets to the well-swept asphalt which
I had left frying in the New York sun the afternoon before. Later,
however, when I began to meet the sort of Boston faces I remembered so
well--good, just, pure, but set and severe, with their look of challenge,
of interrogation, almost of reproof--they not only ignored the
disgraceful untidiness of the streets, but they convinced me of a state
of transition which would leave the place swept and garnished behind it;
and comforted me against the litter of the winding thoroughfares and
narrow lanes, where the dust had blown up against the brick walls, and
seemed permanently to have smutched and discolored them.
In New York you see the American face as Europe characterizes it; in
Boston you see it as it characterizes Europe; and it is in Boston that
you can best imagine the strenuous grapple of the native forces which all
alien things must yield to till they take the American cast. It is
almost dismaying, that physiognomy, before it familiarizes itself anew;
and in the brief first moment while it is yet objective, you ransack your
conscience for any sins you may have committed in your absence from it
and make ready to do penance for them. I felt almost as if I had brought
the dirty streets with me, and were guilty of having left them lying
about, so impossible were they with reference to the Boston face.
It is a face that expresses care, even to the point of anxiety, and it
looked into the window of our carriage with the serious eyes of our
elderly hackman to make perfectly sure of our destination before we drove
away from the station. It was a little rigorous with us, as requiring us
to have a clear mind; but it was not unfriendly, not unkind, and it was
patient from long experience. In New York there are no elderly hackmen;
but in Boston they abound, and I cannot believe they would be capable of
bad faith with travellers. In fact, I doubt if this class is anywhere as
predatory as it is painted; but in Boston it appears to have the public
honor in its keeping. I do not mean that it was less mature, less self-
respectful in Portsmouth, where we were next to arrive; more so it could
not be; an equal sense of safety, of ease, began with it in both places,
and all through New England it is of native birth, while in New York it
is composed of men of many nations, with a weight in numbers towards the
Celtic strain. The prevalence of the native in New England helps you
sensibly to realize from the first moment that here you are in America as
the first Americans imagined and meant it; and nowhere in New England is
the original tradition more purely kept than in the beautiful old seaport
of New Hampshire. In fact, without being quite prepared to defend a
thesis to this effect, I believe that Portsmouth is preeminently
American, and in this it differs from Newburyport and from Salem, which
have suffered from different causes an equal commercial decline, and,
though among the earliest of the great Puritan towns after Boston, are
now largely made up of aliens in race and religion; these are actually
the majority, I believe, in Newburyport.
IV.
The adversity of Portsmouth began early in the century, but before that
time she had prospered so greatly that her merchant princes were able to
build themselves wooden palaces with white walls and green shutters, of a
grandeur and beauty unmatched elsewhere in the country. I do not know
what architect had his way with them, though his name is richly worth
remembrance, but they let him make them habitations of such graceful
proportion and of such delicate ornament that they have become shrines of
pious pilgrimage with the young architects of our day who hope to house
our well-to-do people fitly in country or suburbs. The decoration is
oftenest spent on a porch or portal, or a frieze of peculiar refinement;
or perhaps it feels its way to the carven casements or to the delicate
iron-work of the transoms; the rest is a simplicity and a faultless
propriety of form in the stately mansions which stand under the arching
elms, with their gardens sloping, or dropping by easy terraces behind
them to the river, or to the borders of other pleasances. They are all
of wood, except for the granite foundations and doorsteps, but the stout
edifices rarely sway out of the true line given them, and they look as if
they might keep it yet another century.
Between them, in the sun-shotten shade, lie the quiet streets, whose
gravelled stretch is probably never cleaned because it never needs
cleaning. Even the business streets, and the quaint square which gives
the most American of towns an air so foreign and Old Worldly, look as if
the wind and rain alone cared for them; but they are not foul, and the
narrower avenues, where the smaller houses of gray, unpainted wood crowd
each other, flush upon the pavements, towards the water--side, are
doubtless unvisited by the hoe or broom, and must be kept clean by a New
England conscience against getting them untidy.
When you get to the river-side there is one stretch of narrow, high-
shouldered warehouses which recall Holland, especially in a few with
their gables broken in steps, after the Dutch fashion. These, with their
mouldering piers and grass-grown wharves, have their pathos, and the
whole place embodies in its architecture an interesting record of the
past, from the time when the homesick exiles huddled close to the water's
edge till the period of post-colonial prosperity, when proud merchants
and opulent captains set their vast square houses each in its handsome
space of gardened ground.
My adjectives might mislead as to size, but they could not as to beauty,
and I seek in vain for those that can duly impart the peculiar charm of
the town. Portsmouth still awaits her novelist; he will find a rich
field when he comes; and I hope he will come of the right sex, for it
needs some minute and subtle feminine skill, like that of Jane Austen, to
express a fit sense of its life in the past. Of its life in the present
I know nothing. I could only go by those delightful, silent houses, and
sigh my longing soul into their dim interiors. When now and then a young
shape in summer silk, or a group of young shapes in diaphanous muslin,
fluttered out of them, I was no wiser; and doubtless my elderly fancy
would have been unable to deal with what went on in them. Some girl of
those flitting through the warm, odorous twilight must become the
creative historian of the place; I can at least imagine a Jane Austen now
growing up in Portsmouth.
V.
If Miss Jewett were of a little longer breath than she has yet shown
herself in fiction, I might say the Jane Austen of Portsmouth was already
with us, and had merely not yet begun to deal with its precious material.
One day when we crossed the Piscataqua from New Hampshire into Maine, and
took the trolley-line for a run along through the lovely coast country,
we suddenly found ourselves in the midst of her own people, who are a
little different sort of New-Englanders from those of Miss Wilkins. They
began to flock into the car, young maidens and old, mothers and
grandmothers, and nice boys and girls, with a very, very few farmer youth
of marriageable age, and more rustic and seafaring elders long past it,
all in the Sunday best which they had worn to the graduation exercises at
the High School, where we took them mostly up. The womenkind were in a
nervous twitter of talk and laughter, and the men tolerantly gay beyond
their wont, "passing the time of day" with one another, and helping the
more tumultuous sex to get settled in the overcrowded open car. They
courteously made room for one another, and let the children stand between
their knees, or took them in their laps, with that unfailing American
kindness which I am prouder of than the American valor in battle,
observing in all that American decorum which is no bad thing either. We
had chanced upon the high and mighty occasion of the neighborhood year,
when people might well have been a little off their balance, but there
was not a boisterous note in the subdued affair. As we passed the
school-house door, three dear, pretty maids in white gowns and white
slippers stood on the steps and gently smiled upon our company. One
could see that they were inwardly glowing and thrilling with the
excitement of their graduation, but were controlling their emotions to a
calm worthy of the august event, so that no one might ever have it to say
that they had appeared silly.
The car swept on, and stopped to set down passengers at their doors or
gates, where they severally left it, with an easy air as of private
ownership, into some sense of which the trolley promptly flatters people
along its obliging lines. One comfortable matron, in a cinnamon silk,
was just such a figure as that in the Miss Wilkins's story where the
bridegroom fails to come on the wedding-day; but, as I say, they made me
think more of Miss Jewett's people. The shore folk and the Down-Easters
are specifically hers; and these were just such as might have belonged in
'The Country of the Pointed Firs', or 'Sister Wisby's Courtship', or
'Dulham Ladies', or 'An Autumn Ramble', or twenty other entrancing tales.
Sometimes one of them would try her front door, and then, with a bridling
toss of the head, express that she had forgotten locking it, and slip
round to the kitchen; but most of the ladies made their way back at once
between the roses and syringas of their grassy door-yards, which were as
neat and prim as their own persons, or the best chamber in their white-
walled, green-shuttered, story-and-a-half house, and as perfectly kept as
the very kitchen itself.
The trolley-line had been opened only since the last September, but in an
effect of familiar use it was as if it had always been there, and it
climbed and crooked and clambered about with the easy freedom of the
country road which it followed. It is a land of low hills, broken by
frequent reaches of the sea, and it is most amusing, most amazing, to see
how frankly the trolley-car takes and overcomes its difficulties. It
scrambles up and down the little steeps like a cat, and whisks round a
sharp and sudden curve with a feline screech, broadening into a loud
caterwaul as it darts over the estuaries on its trestles. Its course
does not lack excitement, and I suppose it does not lack danger; but as
yet there have been no accidents, and it is not so disfiguring as one
would think. The landscape has already accepted it, and is making the
best of it; and to the country people it is an inestimable convenience.
It passes everybody's front door or back door, and the farmers can get
themselves or their produce (for it runs an express car) into Portsmouth
in an hour, twice an hour, all day long. In summer the cars are open,
with transverse seats, and stout curtains that quite shut out a squall of
wind or rain. In winter the cars are closed, and heated by electricity.
The young motorman whom I spoke with, while we waited on a siding to let
a car from the opposite direction get by, told me that he was caught out
in a blizzard last Winter, and passed the night in a snowdrift. "But the
cah was so wa'm, I neva suff'ed a mite."
"Well," I summarized, "it must be a great advantage to all the people
along the line."
"Well, you wouldn't 'a' thought so, from the kick they made."
"I suppose the cottagers"--the summer colony--"didn't like the noise."
"Oh yes; that's what I mean. The's whe' the kick was. The natives like
it. I guess the summa folks 'll like it, too."
He looked round at me with enjoyment of his joke in his eye, for we both
understood that the summer folks could not help themselves, and must bow
to the will of the majority.
THE ART OF THE ADSMITH
The other day, a friend of mine, who professes all the intimacy of a bad
conscience with many of my thoughts and convictions, came in with a bulky
book under his arm, and said, "I see by a guilty look in your eye that
you are meaning to write about spring."
"I am not," I retorted, "and if I were, it would be because none of the
new things have been said yet about spring, and because spring is never
an old story, any more than youth or love."
"I have heard something like that before," said my friend, "and I
understand. The simple truth of the matter is that this is the fag-end
of the season, and you have run low in your subjects. Now take my advice
and don't write about spring; it will make everybody hate you, and will
do no good. Write about advertising." He tapped the book under his arm
significantly. "Here is a theme for you."
I.
He had no sooner pronounced these words than I began to feel a weird and
potent fascination in his suggestion. I took the book from him and
looked it eagerly through. It was called Good Advertising, and it was
written by one of the experts in the business who have advanced it almost
to the grade of an art, or a humanity.
"But I see nothing here," I said, musingly, "which would enable a self-
respecting author to come to the help of his publisher in giving due hold
upon the public interest those charming characteristics of his book which
no one else can feel so penetratingly or celebrate so persuasively."
"I expected some such objection from you," said my friend. "You will
admit that there is everything else here?"
"Everything but that most essential thing. You know how we all feel
about it: the bitter disappointment, the heart-sickening sense of
insufficiency that the advertised praises of our books give us poor
authors. The effect is far worse than that of the reviews, for the
reviewer is not your ally and copartner, while your publisher--"
"I see what you mean," said my friend. "But you must have patience.
If the author of this book can write so luminously of advertising in
other respects, I am sure he will yet be able to cast a satisfactory
light upon your problem. The question is, I believe, how to translate
into irresistible terms all that fond and exultant regard which a writer
feels for his book, all his pervasive appreciation of its singular
beauty, unique value, and utter charm, and transfer it to print, without
infringing upon the delicate and shrinking modesty which is the
distinguishing ornament of the literary spirit?"
"Something like that. But you understand."
"Perhaps a Roentgen ray might be got to do it," said my friend,
thoughtfully, "or perhaps this author may bring his mind to bear upon it
yet. He seems to have considered every kind of advertising except book-
advertising."
"The most important of all!" I cried, impatiently.
"You think so because you are in that line. If you were in the line of
varnish, or bicycles, or soap, or typewriters, or extract of beef, or of
malt--"
"Still I should be interested in book--advertising, because it is the
most vital of human interests."
"Tell me," said my friend, "do you read the advertisements of the books
of rival authors?"
"Brother authors," I corrected him.
"Well, brother authors."
I said, No, candidly, I did not; and I forbore to add that I thought them
little better than a waste of the publishers' money.
II.
My friend did not pursue his inquiry to my personal disadvantage, but
seemed to prefer a more general philosophy of the matter.
"I have often wondered," he said, "at the enormous expansion of
advertising, and doubted whether it was not mostly wasted. But my
author, here, has suggested a brilliant fact which I was unwittingly
groping for. When you take up a Sunday paper"--I shuddered, and my
friend smiled intelligence--" you are simply appalled at the miles of
announcements of all sorts. Who can possibly read them? Who cares even
to look at them? But if you want something in particular--to furnish a
house, or buy a suburban place, or take a steamer for Europe, or go, to
the theatre--then you find out at once who reads the advertisements, and
cares to look at them. They respond to the multifarious wants of the
whole community. You have before you the living operation of that law of
demand and supply which it has always been such a bore to hear about.
As often happens, the supply seems to come before the demand; but that's
only an appearance. You wanted something, and you found an offer to meet
your want."
"Then you don't believe that the offer to meet your want suggested it?"
"I see that my author believes something of the kind. We may be full of
all sorts of unconscious wants which merely need the vivifying influence
of an advertisement to make them spring into active being; but I have a
feeling that the money paid for advertising which appeals to potential
wants is largely thrown away. You must want a thing, or think you want
it; otherwise you resent the proffer of it as a kind of impertinence."
"There are some kinds of advertisements, all the same, that I read
without the slightest interest in the subject matter. Simply the beauty
of the style attracts me."
"I know. But does it ever move you to get what you don't want?"
"Never; and I should be glad to know what your author thinks of that sort
of advertising: the literary, or dramatic, or humorous, or quaint."
"He doesn't contemn it, quite. But I think he feels that it may have had
its day. Do you still read such advertisements with your early zest?"
"No; the zest for nearly everything goes. I don't care so much for
Tourguenief as I used. Still, if I come upon the jaunty and laconic
suggestions of a certain well-known clothing-house, concerning the
season's wear, I read them with a measure of satisfaction. The
advertising expert--"
"This author calls him the adsmith."
"Delightful! Ad is a loathly little word, but we must come to it. It's
as legitimate as lunch. But as I was saying, the adsmith seems to have
caught the American business tone, as perfectly as any of our novelists
have caught the American social tone."
"Yes," said my friend, "and he seems to have prospered as richly by it.
You know some of those chaps make fifteen or twenty thousand dollars by
adsmithing. They have put their art quite on a level with fiction
pecuniarily."
"Perhaps it is a branch of fiction."
"No; they claim that it is pure fact. My author discourages the
slightest admixture of fable. The truth, clearly and simply expressed,
is the best in an ad.
"It is best in a wof, too. I am always saying that."
"Wof?"
"Well, work of fiction. It's another new word, like lunch or ad."
"But in a wof," said my friend, instantly adopting it, "my author
insinuates that the fashion of payment tempts you to verbosity, while in
an ad the conditions oblige you to the greatest possible succinctness.
In one case you are paid by the word; in the other you pay by the word.
That is where the adsmith stands upon higher moral ground than the
wofsmith."
"I should think your author might have written a recent article in
'The ---------, reproaching fiction with its unhallowed gains."
"If you mean that for a sneer, it is misplaced. He would have been
incapable of it. My author is no more the friend of honesty in
adsmithing than he is of propriety, He deprecates jocosity in
apothecaries and undertakers, not only as bad taste, but as bad business;
and he is as severe as any one could be upon ads that seize the attention
by disgusting or shocking the reader.
"He is to be praised for that, and for the other thing; and I shouldn't
have minded his criticising the ready wofsmith. I hope he attacks the
use of display type, which makes our newspapers look like the poster-
plastered fences around vacant lots. In New York there is only one paper
whose advertisements are not typographically a shock to the nerves."
"Well," said my friend, "he attacks foolish and ineffective display."
"It is all foolish and ineffective. It is like a crowd of people trying
to make themselves heard by shouting each at the top of his voice.
A paper full of display advertisements is an image of our whole congested
and delirious state of competition; but even in competitive conditions it
is unnecessary, and it is futile. Compare any New York paper but one
with the London papers, and you will see what I mean. Of course I refer
to the ad pages; the rest of our exception is as offensive with pictures
and scare heads as all the rest. I wish your author could revise his
opinions and condemn all display in ads."
"I dare say he will when he knows what you think," said my friend, with
imaginable sarcasm.
III.
"I wish," I went on, "that he would give us some philosophy of the
prodigious increase of advertising within the last twenty-five years, and
some conjecture as to the end of it all. Evidently, it can't keep on
increasing at the present rate. If it does, there will presently be no
room in the world for things; it will be filled up with the
advertisements of things."
"Before that time, perhaps," my friend suggested, "adsmithing will have
become so fine and potent an art that advertising will be reduced in
bulk, while keeping all its energy and even increasing its
effectiveness."
"Perhaps," I said, "some silent electrical process will be contrived, so
that the attractions of a new line of dress-goods or the fascination of a
spring or fall opening may be imparted to a lady's consciousness without
even the agency of words. All other facts of commercial and industrial
interest could be dealt with in the same way. A fine thrill could be
made to go from the last new book through the whole community, so that
people would not willingly rest till they had it. Yes, one can see an
indefinite future for advertising in that way. The adsmith may be the
supreme artist of the twentieth century. He may assemble in his grasp,
and employ at will, all the arts and sciences."
"Yes," said my friend, with a sort of fall in his voice, "that is very
well. But what is to become of the race when it is penetrated at every
pore with a sense of the world's demand and supply?"
"Oh, that is another affair. I was merely imagining the possible
resources of invention in providing for the increase of advertising while
guarding the integrity of the planet. I think, very likely, if the thing
keeps on, we shall all go mad; but then we shall none of us be able to
criticise the others. Or possibly the thing may work its own cure. You
know the ingenuity of the political economists in justifying the egotism
to which conditions appeal. They do not deny that these foster greed and
rapacity in merciless degree, but they contend that when the wealth-
winner drops off gorged there is a kind of miracle wrought, and good
comes of it all. I never could see how; but if it is true, why shouldn't
a sort of ultimate immunity come back to us from the very excess and
invasion of the appeals now made to us, and destined to be made to us
still more by the adsmith? Come, isn't there hope in that?"
"I see a great opportunity for the wofsmith in some such dream," said my
friend. "Why don't you turn it to account?"
"You know that isn't my line; I must leave that sort of wofsmithing to
the romantic novelist. Besides, I have my well-known panacea for all the
ills our state is heir to, in a civilization which shall legislate
foolish and vicious and ugly and adulterate things out of the possibility
of existence. Most of the adsmithing is now employed in persuading
people that such things are useful, beautiful, and pure. But in any
civilization they shall not even be suffered to be made, much less
foisted upon the community by adsmiths."
"I see what you mean," said my friend; and he sighed gently. "I had much
better let you write about spring."
THE PSYCHOLOGY OF PLAGIARISM
A late incident in the history of a very widespread English novelist,
triumphantly closed by the statement of his friend that the novelist had
casually failed to accredit a given passage in his novel to the real
author, has brought freshly to my mind a curious question in ethics.
The friend who vindicated the novelist, or, rather, who contemptuously
dismissed the matter, not only confessed the fact of adoption, but
declared that it was one of many which could be found in the novelist's
works. The novelist, he said, was quite in the habit of so using
material in the rough, which he implied was like using any fact or idea
from life, and he declared that the novelist could not bother to answer
critics who regarded these exploitations as a sort of depredation. In a
manner he brushed the impertinent accusers aside, assuring the general
public that the novelist always meant, at his leisure, and in his own
way, duly to ticket the flies preserved in his amber.
I.
When I read this haughty vindication, I thought at first that if the case
were mine I would rather have several deadly enemies than such a friend
as that; but since, I have not been so sure. I have asked myself upon a
careful review of the matter whether plagiarism may not be frankly
avowed, as in nowise dishonest, and I wish some abler casuist would take
the affair into consideration and make it clear for me. If we are to
suppose that offences against society disgrace the offender, and that
public dishonor argues the fact of some such offence, then apparently
plagiarism is not such an offence; for in even very flagrant cases it
does not disgrace. The dictionary, indeed, defines it as "the crime of
literary theft"; but as no penalty attaches to it, and no lasting shame,
it is hard to believe it either a crime or a theft; and the offence, if
it is an offence (one has to call it something, and I hope the word is
not harsh), is some such harmless infraction of the moral law as white-
lying.
The much-perverted saying of Moliere, that he took his own where he found
it, is perhaps in the consciousness of those who appropriate the things
other people have rushed in with before them. But really they seem to
need neither excuse nor defence with the impartial public if they are
caught in the act of reclaiming their property or despoiling the rash
intruder upon their premises. The novelist in question is by no means
the only recent example, and is by no means a flagrant example. While
the ratification of the treaty with Spain was pending before the Senate
of the United States, a member of that body opposed it in a speech almost
word for word the same as a sermon delivered in New York City only a few
days earlier and published broadcast. He was promptly exposed by the
parallel-column system; but I have never heard that his standing was
affected or his usefulness impaired by the offence proven against him. A
few years ago an eminent divine in one of our cities preached as his own
the sermon of a brother divine, no longer living; he, too, was detected
and promptly exposed by the parallel-column system, but nothing whatever
happened from the exposure. Every one must recall like instances, more
or less remote. I remember one within my youthfuller knowledge of a
journalist who used as his own all the denunciatory passages of
Macaulay's article on Barrere, and applied them with changes of name to
the character and conduct of a local politician whom he felt it his duty
to devote to infamy. He was caught in the fact, and by means of the
parallel column pilloried before the community. But the community did
not mind it a bit, and the journalist did not either. He prospered on
amid those who all knew what he had done, and when he removed to another
city it was to a larger one, and to a position of more commanding
influence, from which he was long conspicuous in helping shape the
destinies of the nation.
So far as any effect from these exposures was concerned, they were as
harmless as those exposures of fraudulent spiritistic mediums which from
time to time are supposed to shake the spiritistic superstition to its
foundations. They really do nothing of the kind; the table-tippings,
rappings, materializations, and levitations keep on as before; and I do
not believe that the exposure of the novelist who has been the latest
victim of the parallel column will injure him a jot in the hearts or
heads of his readers.
II.
I am very glad of it, being a disbeliever in punishments of all sorts.
I am always glad to have sinners get off, for I like to get off from my
own sins; and I have a bad moment from my sense of them whenever
another's have found him out. But as yet I have not convinced myself
that the sort of thing we have been considering is a sin at all, for it
seems to deprave no more than it dishonors; or that it is what the
dictionary (with very unnecessary brutality) calls a "crime" and a
"theft." If it is either, it is differently conditioned, if not
differently natured, from all other crimes and thefts. These may be more
or less artfully and hopefully concealed, but plagiarism carries
inevitable detection with it. If you take a man's hat or coat out of his
hall, you may pawn it before the police overtake you; if you take his
horse out of his stable, you may ride it away beyond pursuit and sell it;
if you take his purse out of his pocket, you may pass it to a pal in the
crowd, and easily prove your innocence. But if you take his sermon, or
his essay, or even his apposite reflection, you cannot escape discovery.
The world is full of idle people reading books, and they are only too
glad to act as detectives; they please their miserable vanity by showing
their alertness, and are proud to hear witness against you in the court
of parallel columns. You have no safety in the obscurity of the author
from whom you take your own; there is always that most terrible reader,
the reader of one book, who knows that very author, and will the more
indecently hasten to bring you to the bar because he knows no other, and
wishes to display his erudition. A man may escape for centuries and yet
be found out. In the notorious case of William Shakespeare the offender
seemed finally secure of his prey; and yet one poor lady, who ended in a
lunatic asylum, was able to detect him at last, and to restore the goods
to their rightful owner, Sir Francis Bacon.
In spite, however, of this almost absolute certainty of exposure,
plagiarism goes on as it has always gone on; and there is no probability
that it will cease as long as there are novelists, senators, divines, and
journalists hard pressed for ideas which they happen not to have in mind
at the time, and which they see going to waste elsewhere. Now and then
it takes a more violent form and becomes a real mania, as when the
plagiarist openly claims and urges his right to a well-known piece of
literary property. When Mr. William Allen Butler's famous poem of
"Nothing to Wear" achieved its extraordinary popularity, a young girl
declared and apparently quite believed that she had written it and lost
the MS. in an omnibus. All her friends apparently believed so, too; and
the friends of the different gentlemen and ladies who claimed the
authorship of "Beautiful Snow" and "Rock Me to Sleep" were ready to
support them by affidavit against the real authors of those pretty
worthless pieces.
From all these facts it must appear to the philosophic reader that
plagiarism is not the simple "crime" or "theft" that the lexicographers
would have us believe. It argues a strange and peculiar courage on the
part of those who commit it or indulge it, since they are sure of having
it brought home to them, for they seem to dread the exposure, though it
involves no punishment outside of themselves. Why do they do it, or,
having done it, why do they mind it, since the public does not? Their
temerity and their timidity are things almost irreconcilable, and the
whole position leaves one quite puzzled as to what one would do if one's
own plagiarisms were found out. But this is a mere question of conduct,
and of infinitely less interest than that of the nature or essence of the
thing itself.
PURITANISM IN AMERICAN FICTION
The question whether the fiction which gives a vivid impression of
reality does truly represent the conditions studied in it, is one of
those inquiries to which there is no very final answer. The most
baffling fact of such fiction is that its truths are self-evident;
and if you go about to prove them you are in some danger of shaking the
convictions of those whom they have persuaded. It will not do to affirm
anything wholesale concerning them; a hundred examples to the contrary
present themselves if you know the ground, and you are left in doubt of
the verity which you cannot gainsay. The most that you can do is to
appeal to your own consciousness, and that is not proof to anybody else.
Perhaps the best test in this difficult matter is the quality of the art
which created the picture. Is it clear, simple, unaffected? Is it true
to human experience generally? If it is so, then it cannot well be false
to the special human experience it deals with.
I.
Not long ago I heard of something which amusingly, which pathetically,
illustrated the sense of reality imparted by the work of one of our
writers, whose art is of the kind I mean. A lady was driving with a
young girl of the lighter-minded civilization of New York through one of
those little towns of the North Shore in Massachusetts, where the small;
wooden houses cling to the edges of the shallow bay, and the schooners
slip, in and out on the hidden channels of the salt meadows as if they
were blown about through the tall grass. She tried to make her feel the
shy charm of the place, that almost subjective beauty, which those to the
manner born are so keenly aware of in old-fashioned New England villages;
but she found that the girl was not only not looking at the sad-colored
cottages, with their weather-worn shingle walls, their grassy door-yards
lit by patches of summer bloom, and their shutterless windows with their
close-drawn shades, but she was resolutely averting her eyes from them,
and staring straightforward until she should be out of sight of them
altogether. She said that they were terrible, and she knew that in each
of them was one of those dreary old women, or disappointed girls, or
unhappy wives, or bereaved mothers, she had read of in Miss Wilkins's
stories.
She had been too little sensible of the humor which forms the relief of
these stories, as it forms the relief of the bare, duteous,
conscientious, deeply individualized lives portrayed in them; and no
doubt this cannot make its full appeal to the heart of youth aching for
their stoical sorrows. Without being so very young, I, too, have found
the humor hardly enough at times, and if one has not the habit of
experiencing support in tragedy itself, one gets through a remote New
England village, at nightfall, say, rather limp than otherwise, and in
quite the mood that Miss Wilkins's bleaker studies leave one in. At mid-
day, or in the bright sunshine of the morning, it is quite possible to
fling off the melancholy which breathes the same note in the fact and the
fiction; and I have even had some pleasure at such times in identifying
this or, that one-story cottage with its lean-to as a Mary Wilkins house
and in placing one of her muted dramas in it. One cannot know the people
of such places without recognizing her types in them, and one cannot know
New England without owning the fidelity of her stories to New England
character, though, as I have already suggested, quite another sort of
stories could be written which should as faithfully represent other
phases of New England village life.
To the alien inquirer, however, I should be by no means confident that
their truth would evince itself, for the reason that human nature is
seldom on show anywhere. I am perfectly certain of the truth of Tolstoy
and Tourguenief to Russian life, yet I should not be surprised if I went
through Russia and met none of their people. I should be rather more
surprised if I went through Italy and met none of Verga's or Fogazzaro's,
but that would be because I already knew Italy a little. In fact, I
suspect that the last delight of truth in any art comes only to the
connoisseur who is as well acquainted with the subject as the artist
himself. One must not be too severe in challenging the truth of an
author to life; and one must bring a great deal of sympathy and a great
deal of patience to the scrutiny. Types are very backward and shrinking
things, after all; character is of such a mimosan sensibility that if you
seize it too abruptly its leaves are apt to shut and hide all that is
distinctive in it; so that it is not without some risk to an author's
reputation for honesty that he gives his readers the impression of his
truth.
II.
The difficulty with characters in fiction is that the reader there finds
them dramatized; not only their actions, but also their emotions are
dramatized; and the very same sort of persons when one meets them in real
life are recreantly undramatic. One might go through a New England
village and see Mary Wilkins houses and Mary Wilkins people, and yet not
witness a scene nor hear a word such as one finds in her tales. It is
only too probable that the inhabitants one met would say nothing quaint
or humorous, or betray at all the nature that she reveals in them; and
yet I should not question her revelation on that account. The life of
New England, such as Miss Wilkins deals with, and Miss Sarah O. Jewett,
and Miss Alice Brown, is not on the surface, or not visibly so, except to
the accustomed eye. It is Puritanism scarcely animated at all by the
Puritanic theology. One must not be very positive in such things, and I
may be too bold in venturing to say that while the belief of some New
Englanders approaches this theology the belief of most is now far from
it; and yet its penetrating individualism so deeply influenced the New
England character that Puritanism survives in the moral and mental make
of the people almost in its early strength. Conduct and manner conform
to a dead religious ideal; the wish to be sincere, the wish to be just,
the wish to be righteous are before the wish to be kind, merciful,
humble. A people are not a chosen people for half a dozen generations
without acquiring a spiritual pride that remains with them long after
they cease to believe themselves chosen. They are often stiffened in the
neck and they are often hardened in the heart by it, to the point of
making them angular and cold; but they are of an inveterate
responsibility to a power higher than themselves, and they are
strengthened for any fate. They are what we see in the stories which,
perhaps, hold the first place in American fiction.
As a matter of fact, the religion of New England is not now so
Puritanical as that of many parts of the South and West, and yet the
inherited Puritanism stamps the New England manner, and differences it
from the manner of the straightest sects elsewhere. There was, however,
always a revolt against Puritanism when Puritanism was severest and
securest; this resulted in types of shiftlessness if not wickedness,
which have not yet been duly studied, and which would make the fortune of
some novelist who cared to do a fresh thing. There is also a
sentimentality, or pseudo-emotionality (I have not the right phrase for
it), which awaits full recognition in fiction. This efflorescence from
the dust of systems and creeds, carried into natures left vacant by the
ancestral doctrine, has scarcely been noticed by the painters of New
England manners. It is often a last state of Unitarianism, which
prevailed in the larger towns and cities when the Calvinistic theology
ceased to be dominant, and it is often an effect of the spiritualism so
common in New England, and, in fact, everywhere in America. Then, there
is a wide-spread love of literature in the country towns and villages
which has in great measure replaced the old interest in dogma, and which
forms with us an author's closest appreciation, if not his best. But as
yet little hint of all this has got into the short stories, and still
less of that larger intellectual life of New England, or that exalted
beauty of character which tempts one to say that Puritanism was a
blessing if it made the New-Englanders what they are; though one can
always be glad not to have lived among them in the disciplinary period.
Boston, the capital of that New England nation which is fast losing
itself in the American nation, is no longer of its old literary primacy,
and yet most of our right thinking, our high thinking, still begins
there, and qualifies the thinking of the country at large. The good
causes, the generous causes, are first befriended there, and in a
wholesome sort the New England culture, as well as the New England
conscience, has imparted itself to the American people.
Even the power of writing short stories, which we suppose ourselves to
have in such excellent degree, has spread from New England. That is,
indeed, the home of the American short story, and it has there been
brought to such perfection in the work of Miss Wilkins, of Miss Jewett,
of Miss Brown, and of that most faithful, forgotten painter of manners,
Mrs. Rose Terry Cook, that it presents upon the whole a truthful picture
of New England village life in some of its more obvious phases. I say
obvious because I must, but I have already said that this is a life which
is very little obvious; and I should not blame any one who brought the
portrait to the test of reality, and found it exaggerated, overdrawn, and
unnatural, though I should be perfectly sure that such a critic was
wrong.
THE WHAT AND THE HOW IN ART
One of the things always enforcing itself upon the consciousness of the
artist in any sort is the fact that those whom artists work for rarely
care for their work artistically. They care for it morally, personally,
partially. I suspect that criticism itself has rather a muddled
preference for the what over the how, and that it is always haunted by a
philistine question of the material when it should, aesthetically
speaking, be concerned solely with the form.
I.
The other night at the theatre I was witness of a curious and amusing
illustration of my point. They were playing a most soul-filling
melodrama, of the sort which gives you assurance from the very first that
there will be no trouble in the end, but everything will come out just as
it should, no matter what obstacles oppose themselves in the course of
the action. An over-ruling Providence, long accustomed to the exigencies
of the stage, could not fail to intervene at the critical moment in
behalf of innocence and virtue, and the spectator never had the least
occasion for anxiety. Not unnaturally there was a black-hearted villain
in the piece; so very black-hearted that he seemed not to have a single
good impulse from first to last. Yet he was, in the keeping of the stage
Providence, as harmless as a blank cartridge, in spite of his deadly
aims. He accomplished no more mischief, in fact, than if all his intents
had been of the best; except for the satisfaction afforded by the
edifying spectacle of his defeat and shame, he need not have been in the
play at all; and one might almost have felt sorry for him, he was so
continually baffled. But this was not enough for the audience, or for
that part of it which filled the gallery to the roof. Perhaps he was
such an uncommonly black-hearted villain, so very, very cold-blooded in
his wickedness that the justice unsparingly dealt out to him by the
dramatist could not suffice. At any rate, the gallery took such a vivid
interest in his punishment that it had out the actor who impersonated the
wretch between all the acts, and hissed him throughout his deliberate
passage across the stage before the curtain. The hisses were not at all
for the actor, but altogether for the character. The performance was
fairly good, quite as good as the performance of any virtuous part in the
piece, and easily up to the level of other villanous performances (I
never find much nature in them, perhaps because there is not much nature
in villany itself; that is, villany pure and simple); but the mere
conception of the wickedness this bad man had attempted was too much for
an audience of the average popular goodness. It was only after he had
taken poison, and fallen dead before their eyes, that the spectators
forbore to visit him with a lively proof of their abhorrence; apparently
they did not care to "give him a realizing sense that there was a
punishment after death," as the man in Lincoln's story did with the dead
dog.
II.
The whole affair was very amusing at first, but it has since put me upon
thinking (I like to be put upon thinking; the eighteenth-century
essayists were) that the attitude of the audience towards this deplorable
reprobate is really the attitude of most readers of books, lookers at
pictures and statues, listeners to music, and so on through the whole
list of the arts. It is absolutely different from the artist's attitude,
from the connoisseur's attitude; it is quite irreconcilable with their
attitude, and yet I wonder if in the end it is not what the artist works
for. Art is not produced for artists, or even for connoisseurs; it is
produced for the general, who can never view it otherwise than morally,
personally, partially, from their associations and preconceptions.
Whether the effect with the general is what the artist works for or not,
he, does not succeed without it. Their brute liking or misliking is the
final test; it is universal suffrage that elects, after all. Only, in
some cases of this sort the polls do not close at four o'clock on the
first Tuesday after the first Monday of November, but remain open
forever, and the voting goes on. Still, even the first day's canvass is
important, or at least significant. It will not do for the artist to
electioneer, but if he is beaten, he ought to ponder the causes of his
defeat, and question how he has failed to touch the chord of universal
interest. He is in the world to make beauty and truth evident to his
fellowmen, who are as a rule incredibly stupid and ignorant of both, but
whose judgment he must nevertheless not despise. If he can make
something that they will cheer, or something that they will hiss, he may
not have done any great thing, but if he has made something that they
will neither cheer nor hiss, he may well have his misgivings, no matter
how well, how finely, how truly he has done the thing.
This is very humiliating, but a tacit snub to one's artist-pride such as
one gets from public silence is not a bad thing for one. Not long ago I
was talking about pictures with a painter, a very great painter, to my
thinking; one whose pieces give me the same feeling I have from reading
poetry; and I was excusing myself to him with respect to art, and perhaps
putting on a little more modesty than I felt. I said that I could enjoy
pictures only on the literary side, and could get no answer from my soul
to those excellences of handling and execution which seem chiefly to
interest painters. He replied that it was a confession of weakness in a
painter if he appealed merely or mainly to technical knowledge in the
spectator; that he narrowed his field and dwarfed his work by it; and
that if he painted for painters merely, or for the connoisseurs of
painting, he was denying his office, which was to say something clear and
appreciable to all sorts of men in the terms of art. He even insisted
that a picture ought to tell a story.
The difficulty in humbling one's self to this view of art is in the ease
with which one may please the general by art which is no art. Neither
the play nor the playing that I saw at the theatre when the actor was
hissed for the wickedness of the villain he was personating, was at all
fine; and yet I perceived, on reflection, that they had achieved a
supreme effect. If I may be so confidential, I will say that I should be
very sorry to have written that piece; yet I should be very proud if, on
the level I chose and with the quality I cared for, I could invent a
villain that the populace would have out and hiss for his surpassing
wickedness. In other words, I think it a thousand pities whenever an
artist gets so far away from the general, so far within himself or a
little circle of amateurs, that his highest and best work awakens no
response in the multitude. I am afraid this is rather the danger of the
arts among us, and how to escape it is not so very plain. It makes one
sick and sorry often to see how cheaply the applause of the common people
is won. It is not an infallible test of merit, but if it is wanting to
any performance, we may be pretty sure it is not the greatest
performance.
III.
The paradox lies in wait here, as in most other human affairs, to
confound us, and we try to baffle it, in this way and in that. We talk,
for instance, of poetry for poets, and we fondly imagine that this is
different from talking of cookery for cooks. Poetry is not made for
poets; they have enough poetry of their own, but it is made for people
who are not poets. If it does not please these, it may still be poetry,
but it is poetry which has failed of its truest office. It is none the
less its truest office because some very wretched verse seems often to do
it.
The logic of such a fact is not that the poet should try to achieve this
truest office of his art by means of doggerel, but that he should study
how and where and why the beauty and the truth he has made manifest are
wanting in universal interest, in human appeal. Leaving the drama out of
the question, and the theatre which seems now to be seeking only the
favor of the dull rich, I believe that there never was a time or a race
more open to the impressions of beauty and of truth than ours. The
artist who feels their divine charm, and longs to impart it, has now and
here a chance to impart it more widely than ever artist had in the world
before. Of course, the means of reaching the widest range of humanity
are the simple and the elementary, but there is no telling when the
complex and the recondite may not universally please. 288
The art is to make them plain to every one, for every one has them in
him. Lowell used to say that Shakespeare was subtle, but in letters a
foot high.
The painter, sculptor, or author who pleases the polite only has a
success to be proud of as far as it goes, and to be ashamed of that it
goes no further. He need not shrink from giving pleasure to the vulgar
because bad art pleases them. It is part of his reason for being that he
should please them, too; and if he does not it is a proof that he is
wanting in force, however much he abounds in fineness. Who would not
wish his picture to draw a crowd about it? Who would not wish his novel
to sell five hundred thousand copies, for reasons besides the sordid love
of gain which I am told governs novelists? One should not really wish it
any the less because chromos and historical romances are popular.
Sometime, I believe, the artist and his public will draw nearer together
in a mutual understanding, though perhaps not in our present conditions.
I put that understanding off till the good time when life shall be more
than living, more even than the question of getting a living; but in the
mean time I think that the artist might very well study the springs of
feeling in others; and if I were a dramatist I think I should quite
humbly go to that play where they hiss the villain for his villany, and
inquire how his wickedness had been made so appreciable, so vital, so
personal. Not being a dramatist, I still cannot indulge the greatest
contempt of that play and its public.
POLITICS OF AMERICAN AUTHORS
No thornier theme could well be suggested than I was once invited to
consider by an Englishman who wished to know how far American politicians
were scholars, and how far American authors took part in politics. In my
mind I first revolted from the inquiry, and then I cast about, in the
fascination it began to have for me, to see how I might handle it and
prick myself least. In a sort, which it would take too long to set
forth, politics are very intimate matters with us, and if one were to
deal quite frankly with the politics of a contemporary author, one might
accuse one's self of an unwarrantable personality. So, in what I shall
have to say in answer to the question asked me, I shall seek above all
things not to be quite frank.
I.
My uncandor need not be so jealously guarded in speaking of authors no
longer living. Not to go too far back among these, it is perfectly safe
to say that when the slavery question began to divide all kinds of men
among us, Lowell, Longfellow, Whittier, Curtis, Emerson, and Bryant more
or less promptly and openly took sides against slavery. Holmes was very
much later in doing so, but he made up for his long delay by his final
strenuousness; as for Hawthorne, he was, perhaps, too essentially a
spectator of life to be classed with either party, though his
associations, if not his sympathies, were with the Northern men who had
Southern principles until the civil war came. After the war, when our
political questions ceased to be moral and emotional and became economic
and sociological, literary men found their standing with greater
difficulty. They remained mostly Republicans, because the Republicans
were the anti-slavery party, and were still waging war against slavery in
their nerves.
I should say that they also continued very largely the emotional
tradition in politics, and it is doubtful if in the nature of things the
politics of literary men can ever be otherwise than emotional. In fact,
though the questions may no longer be so, the politics of vastly the
greater number of Americans are so. Nothing else would account for the
fact that during the last ten or fifteen years men have remained
Republicans and remained Democrats upon no tangible issues except of
office, which could practically concern only a few hundreds or thousands
out of every million voters. Party fealty is praised as a virtue, and
disloyalty to party is treated as a species of incivism next in
wickedness to treason. If any one were to ask me why then American
authors were not active in American politics, as they once were, I should
feel a certain diffidence in replying that the question of other people's
accession to office was, however emotional, unimportant to them as
compared with literary questions. I should have the more diffidence
because it might be retorted that literary men were too unpractical for
politics when they did not deal with moral issues.
Such a retort would be rather mild and civil, as things go, and might
even be regarded as complimentary. It is not our custom to be tender
with any one who doubts if any actuality is right, or might not be
bettered, especially in public affairs. We are apt to call such a one
out of his name and to punish him for opinions he has never held. This
may be a better reason than either given why authors do not take part in
politics with us. They are a thin-skinned race, fastidious often, and
always averse to hard knocks; they are rather modest, too, and distrust
their fitness to lead, when they have quite a firm faith in their
convictions. They hesitate to urge these in the face of practical
politicians, who have a confidence in their ability to settle all affairs
of State not surpassed even by that of business men in dealing with
economic questions.
I think it is a pity that our authors do not go into politics at least
for the sake of the material it would yield them; but really they do not.
Our politics are often vulgar, but they are very picturesque; yet, so
far, our fiction has shunned them even more decidedly than it has shunned
our good society--which is not picturesque or apparently anything but a
tiresome adaptation of the sort of drama that goes on abroad under the
same name. In nearly the degree that our authors have dealt with our
politics as material, they have given the practical politicians only too
much reason to doubt their insight and their capacity to understand the
mere machinery, the simplest motives, of political life.
II.
There are exceptions, of course, and if my promise of reticence did not
withhold me I might name some striking ones. Privately and
unprofessionally, I think our authors take as vivid an interest in public
affairs as any other class of our citizens, and I should be sorry to
think that they took a less intelligent interest. Now and then, but only
very rarely, one of them speaks out, and usually on the unpopular side.
In this event he is spared none of the penalties with which we like to
visit difference of opinion; rather they are accumulated on him.
Such things are not serious, and they are such as no serious man need
shrink from, but they have a bearing upon what I am trying to explain,
and in a certain measure they account for a certain attitude in our
literary men. No one likes to have stones, not to say mud, thrown at
him, though they are not meant to hurt him badly and may be partly thrown
in joke. But it is pretty certain that if a man not in politics takes
them seriously, he will have more or less mud, not to say stones, thrown
at him. He might burlesque or caricature them, or misrepresent them,
with safety; but if he spoke of public questions with heart and
conscience, he could not do it with impunity, unless he were authorized
to do so by some practical relation to them. I do not mean that then he
would escape; but in this country, where there were once supposed to be
no classes, people are more strictly classified than in any other.
Business to the business man, law to the lawyer, medicine to the
physician, politics to the politician, and letters to the literary man;
that is the rule. One is not expected to transcend his function, and
commonly one does not. We keep each to his last, as if there were not
human interests, civic interests, which had a higher claim than the last
upon our thinking and feeling. The tendency has grown upon us severally
and collectively through the long persistence of our prosperity; if
public affairs were going ill, private affairs were going so well that we
did not mind the others; and we Americans are, I think, meridional in our
improvidence. We are so essentially of to-day that we behave as if to-
morrow no more concerned us than yesterday. We have taught ourselves to
believe that it will all come out right in the end so long that we have
come to act upon our belief; we are optimistic fatalists.
III.
The turn which our politics have taken towards economics, if I may so
phrase the rise of the questions of labor and capital, has not largely
attracted literary men. It is doubtful whether Edward Bellamy himself,
whose fancy of better conditions has become the abiding faith of vast
numbers of Americans, supposed that he was entering the field of
practical politics, or dreamed of influencing elections by his hopes of
economic equality. But he virtually founded the Populist party, which,
as the vital principle of the Democratic party, came so near electing its
candidate for the Presidency some years ago; and he is to be named first
among our authors who have dealt with politics on their more human side
since the days of the old antislavery agitation. Without too great
disregard of the reticence concerning the living which I promised myself,
I may mention Dr. Edward Everett Hale and Colonel Thomas Wentworth
Higginson as prominent authors who encouraged the Nationalist movement
eventuating in Populism, though they were never Populists. It may be
interesting to note that Dr. Hale and Colonel Higginson, who later came
together in their sociological sympathies, were divided by the schism of
1884, when the first remained with the Republicans and the last went off
to the Democrats. More remotely, Colonel Higginson was anti slavery
almost to the point of Abolitionism, and he led a negro regiment in the
war. Dr. Hale was of those who were less radically opposed to slavery
before the war, but hardly so after it came. Since the war a sort of
refluence of the old anti-slavery politics carried from his moorings in
Southern tradition Mr. George W. Cable, who, against the white sentiment
of his section, sided with the former slaves, and would, if the indignant
renunciation of his fellow-Southerners could avail, have consequently
ceased to be the first of Southern authors, though he would still have
continued the author of at least one of the greatest American novels.
If I must burn my ships behind me in alleging these modern instances, as
I seem really to be doing, I may mention Mr. R. W. Gilder, the poet, as
an author who has taken part in the politics of municipal reform, Mr.
Hamlin Garland has been known from the first as a zealous George man, or
single-taxer. Mr. John Hay, Mr. Theodore Roosevelt, and Mr. Henry Cabot
Lodge are Republican politicians, as well as recognized literary men.
Mr. Joel Chandler Harris, when not writing Uncle Remus, writes political
articles in a leading Southern journal. Mark Twain is a leading anti-
imperialist.
IV.
I am not sure whether I have made out a case for our authors or against
them; perhaps I have not done so badly; but I have certainly not tried to
be exhaustive; the exhaustion is so apt to extend from the subject to the
reader, and I wish to leave him in a condition to judge for himself
whether American literary men take part in American politics or not.
I think they bear their share, in the quieter sort of way which we hope
(it may be too fondly) is the American way. They are none of them
politicians in the Latin sort. Few, if any, of our statesmen have come
forward with small volumes of verse in their hands as they used to do in
Spain; none of our poets or historians have been chosen Presidents of the
republic as has happened to their French confreres; no great novelist of
ours has been exiled as Victor Hugo was, or atrociously mishandled as
Zola has been, though I have no doubt that if, for instance, one had once
said the Spanish war wrong he would be pretty generally 'conspue'.
They have none of them reached the heights of political power, as several
English authors have done; but they have often been ambassadors,
ministers, and consuls, though they may not often have been appointed for
political reasons. I fancy they discharge their duties in voting rather
faithfully, though they do not often take part in caucuses or
conventions.
As for the other half of the question--how far American politicians are
scholars--one's first impulse would be to say that they never were so.
But I have always had an heretical belief that there were snakes in
Ireland; and it may be some such disposition to question authority that
keeps me from yielding to this impulse. The law of demand and supply
alone ought to have settled the question in favor of the presence of the
scholar in our politics, there has been such a cry for him among us for
almost a generation past. Perhaps the response has not been very direct,
but I imagine that our politicians have never been quite so destitute of
scholarship as they would sometimes make appear. I do not think so many
of them now write a good style, or speak a good style, as the politicians
of forty, or fifty, or sixty years ago; but this may be merely part of
the impression of the general worsening of things, familiar after middle
life to every one's experience, from the beginning of recorded time. If
something not so literary is meant by scholarship, if a study of finance,
of economics, of international affairs is in question, it seems to go on
rather more to their own satisfaction than that of their critics. But
without being always very proud of the result, and without professing to
know the facts very profoundly, one may still suspect that under an
outside by no means academic there is a process of thinking in our
statesmen which is not so loose, not so unscientific, and not even so
unscholarly as it might be supposed. It is not the effect of specific
training, and yet it is the effect of training. I do not find that the
matters dealt with are anywhere in the world intrusted to experts; and in
this sense scholarship has not been called to the aid of our legislation
or administration; but still I should not like to say that none of our
politicians were scholars. That would be offensive, and it might not be
true. In fact, I can think of several whom I should be tempted to call
scholars if I were not just here recalled to a sense of my purpose not to
deal quite frankly with this inquiry.
STORAGE
It has been the belief of certain kindly philosophers that if the one
half of mankind knew how the other half lived, the two halves might be
brought together in a family affection not now so observable in human
relations. Probably if this knowledge were perfect, there would still be
things, to bar the perfect brotherhood; and yet the knowledge itself is
so interesting, if not so salutary as it has been imagined, that one can
hardly refuse to impart it if one has it, and can reasonably hope, in the
advantage of the ignorant, to find one's excuse with the better informed.
I.
City and country are still so widely apart in every civilization that one
can safely count upon a reciprocal strangeness in many every-day things.
For instance, in the country, when people break up house-keeping, they
sell their household goods and gods, as they did in cities fifty or a
hundred years ago; but now in cities they simply store them; and vast
warehouses in all the principal towns have been devoted to their storage.
The warehouses are of all types, from dusty lofts over stores, and
ammoniacal lofts over stables, to buildings offering acres of space, and
carefully planned for the purpose. They are more or less fire-proof,
slow-burning, or briskly combustible, like the dwellings they have
devastated. But the modern tendency is to a type where flames do not
destroy, nor moth corrupt, nor thieves break through and steal. Such a
warehouse is a city in itself, laid out in streets and avenues, with the
private tenements on either hand duly numbered, and accessible only to
the tenants or their order. The aisles are concreted, the doors are
iron, and the roofs are ceiled with iron; the whole place is heated by
steam and lighted by electricity. Behind the iron doors, which in the
New York warehouses must number hundreds of thousands, and throughout all
our other cities, millions, the furniture of a myriad households is
stored--the effects of people who have gone to Europe, or broken up
house-keeping provisionally or definitively, or have died, or been
divorced. They are the dead bones of homes, or their ghosts, or their
yet living bodies held in hypnotic trances; destined again in some future
time to animate some house or flat anew. In certain cases the spell
lasts for many years, in others for a few, and in others yet it prolongs
itself indefinitely.
I may mention the case of one owner whom I saw visiting the warehouse to
take out the household stuff that had lain there a long fifteen years.
He had been all that while in Europe, expecting any day to come home and
begin life again, in his own land. That dream had passed, and now he was
taking his stuff out of storage and shipping it to Italy. I did not envy
him his feelings as the parts of his long-dead past rose round him in
formless resurrection. It was not that they were all broken or defaced.
On the contrary, they were in a state of preservation far more
heartbreaking than any decay. In well-managed storage warehouses the
things are handled with scrupulous care, and they are so packed into the
appointed rooms that if not disturbed they could suffer little harm in
fifteen or fifty years. The places are wonderfully well kept, and if you
will visit them, say in midwinter, after the fall influx of furniture has
all been hidden away behind the iron doors of the several cells, you
shall find their far-branching corridors scrupulously swept and dusted,
and shall walk up and down their concrete length with some such sense of
secure finality as you would experience in pacing the aisle of your
family vault.
That is what it comes to. One may feign that these storage warehouses
are cities, but they are really cemeteries: sad columbaria on whose
shelves are stowed exanimate things once so intimately of their owners'
lives that it is with the sense of looking at pieces and bits of one's
dead self that one revisits them. If one takes the fragments out to fit
them to new circumstance, one finds them not only uncomformable and
incapable, but so volubly confidential of the associations in which they
are steeped, that one wishes to hurry them back to their cell and lock it
upon them forever. One feels then that the old way was far better, and
that if the things had been auctioned off, and scattered up and down, as
chance willed, to serve new uses with people who wanted them enough to
pay for them even a tithe of their cost, it would have been wiser.
Failing this, a fire seems the only thing for them, and their removal to
the cheaper custody of a combustible or slow-burning warehouse the best
recourse. Desperate people, aging husbands and wives, who have attempted
the reconstruction of their homes with these
"Portions and parcels of the dreadful past"
have been known to wish for an earthquake, even, that would involve their
belongings in an indiscriminate ruin.
II.
In fact, each new start in life should be made with material new to you,
if comfort is to attend the enterprise. It is not only sorrowful but it
is futile to store your possessions, if you hope to find the old
happiness in taking them out and using them again. It is not that they
will not go into place, after a fashion, and perform their old office,
but that the pang they will inflict through the suggestion of the other
places where they served their purpose in other years will be only the
keener for the perfection with which they do it now. If they cannot be
sold, and if no fire comes down from heaven to consume them, then they
had better be stored with no thought of ever taking them out again.
That will be expensive, or it will be inexpensive, according to the sort
of storage they are put into. The inexperienced in such matters may be
surprised, and if they have hearts they may be grieved, to learn that the
fire-proof storage of the furniture of the average house would equal the
rent of a very comfortable domicile in a small town, or a farm by which a
family's living can be earned, with a decent dwelling in which it can be
sheltered. Yet the space required is not very great; three fair-sized
rooms will hold everything; and there is sometimes a fierce satisfaction
in seeing how closely the things that once stood largely about, and
seemed to fill ample parlors and chambers, can be packed away. To be
sure they are not in their familiar attitudes; they lie on their sides or
backs, or stand upon their heads; between the legs of library or dining
tables are stuffed all kinds of minor movables, with cushions, pillows,
pictures, cunningly adjusted to the environment; and mattresses pad the
walls, or interpose their soft bulk between pieces of furniture that
would otherwise rend each other. Carpets sewn in cotton against moths,
and rugs in long rolls; the piano hovering under its ample frame a whole
brood of helpless little guitars, mandolins, and banjos, and supporting
on its broad back a bulk of lighter cases to the fire-proof ceiling of
the cell; paintings in boxes indistinguishable outwardly from their
companioning mirrors; barrels of china and kitchen utensils, and all the
what-not of householding and house-keeping contribute to the repletion.
There is a science observed in the arrangement of the various effects;
against the rear wall and packed along the floor, and then in front of
and on top of these, is built a superstructure of the things that may be
first wanted, in case of removal, or oftenest wanted in some exigency of
the homeless life of the owners, pending removal. The lightest and
slightest articles float loosely about the door, or are interwoven in a
kind of fabric just within, and curtaining the ponderous mass behind.
The effect is not so artistic as the mortuary mosaics which the Roman
Capuchins design with the bones of their dead brethren in the crypt of
their church, but the warehousemen no doubt have their just pride in it,
and feel an artistic pang in its provisional or final disturbance.
It had better never be disturbed, for it is disturbed only in some futile
dream of returning to the past; and we never can return to the past on
the old terms. It is well in all things to accept life implicitly, and
when an end has come to treat it as the end, and not vainly mock it as a
suspense of function. When the poor break up their homes, with no
immediate hope of founding others, they must sell their belongings
because they cannot afford to pay storage on them. The rich or richer
store their household effects, and cheat themselves with the illusion
that they are going some time to rehabilitate with them just such a home
as they have dismantled. But the illusion probably deceives nobody so
little as those who cherish the vain hope. As long as they cherish it,
however--and they must cherish it till their furniture or themselves fall
to dust--they cannot begin life anew, as the poor do who have kept
nothing of the sort to link them to the past. This is one of the
disabilities of the prosperous, who will probably not be relieved of it
till some means of storing the owner as well as the' furniture is
invented. In the immense range of modern ingenuity, this is perhaps not
impossible. Why not, while we are still in life, some sweet oblivious
antidote which shall drug us against memory, and after time shall elapse
for the reconstruction of a new home in place of the old, shall repossess
us of ourselves as unchanged as the things with which we shall again
array it? Here is a pretty idea for some dreamer to spin into the filmy
fabric of a romance, and I handsomely make a present of it to the first
comer. If the dreamer is of the right quality he will know how to make
the reader feel that with the universal longing to return to former
conditions or circumstances it must always be a mistake to do so, and he
will subtly insinuate the disappointment and discomfort of the stored
personality in resuming its old relations. With that just mixture of the
comic and pathetic which we desire in romance, he will teach convincingly
that a stored personality is to be desired only if it is permanently
stored, with the implication of a like finality in the storage of its
belongings.
Save in some signal exception, a thing taken out of storage cannot be
established in its former function without a sense of its comparative
inadequacy. It stands in the old place, it serves the old use, and yet
a new thing would be better; it would even in some subtle wise be more
appropriate, if I may indulge so audacious a paradox; for the time is
new, and so will be all the subconscious keeping in which our lives are
mainly passed. We are supposed to have associations with the old things
which render them precious, but do not the associations rather render
them painful? If that is true of the inanimate things, how much truer it
is of those personalities which once environed and furnished our lives!
Take the article of old friends, for instance: has it ever happened to
the reader to witness the encounter of old friends after the lapse of
years? Such a meeting is conventionally imagined to be full of tender
joy, a rapture that vents itself in manly tears, perhaps, and certainly
in womanly tears. But really is it any such emotion? Honestly is not it
a cruel embarrassment, which all the hypocritical pretences cannot hide?
The old friends smile and laugh, and babble incoherently at one another,
but are they genuinely glad? Is not each wishing the other at that end
of the earth from which he came? Have they any use for each other such
as people of unbroken associations have?
I have lately been privy to the reunion of two old comrades who are bound
together more closely than most men in a community of interests,
occupations, and ideals. During a long separation they had kept account
of each other's opinions as well as experiences; they had exchanged
letters, from time to time, in which they opened their minds fully to
each other, and found themselves constantly in accord. When they met
they made a great shouting, and each pretended that he found the other
just what he used to be. They talked a long, long time, fighting the
invisible enemy which they felt between them. The enemy was habit, the
habit of other minds and hearts, the daily use of persons and things
which in their separation they had not had in common. When the old
friends parted they promised to meet every day, and now, since their
lines had been cast in the same places again, to repair the ravage of the
envious years, and become again to each other all that they had ever
been. But though they live in the same town, and often dine at the same
table, and belong to the same club, yet they have not grown together
again. They have grown more and more apart, and are uneasy in each
other's presence, tacitly self-reproachful for the same effect which
neither of them could avert or repair. They had been respectively in
storage, and each, in taking the other out, has experienced in him the
unfitness which grows upon the things put away for a time and reinstated
in a former function.
III.
I have not touched upon these facts of life, without the purpose of
finding some way out of the coil. There seems none better than the
counsel of keeping one's face set well forward, and one's eyes fixed
steadfastly upon the future. This is the hint we will get from nature if
we will heed her, and note how she never recurs, never stores or takes
out of storage. Fancy rehabilitating one's first love: how nature would
mock at that! We cannot go back and be the men and women we were, any
more than we can go back and be children. As we grow older, each year's
change in us is more chasmal and complete. There is no elixir whose
magic will recover us to ourselves as we were last year; but perhaps we
shall return to ourselves more and more in the times, or the eternity, to
come. Some instinct or inspiration implies the promise of this, but only
on condition that we shall not cling to the life that has been ours, and
hoard its mummified image in our hearts. We must not seek to store
ourselves, but must part with what we were for the use and behoof of
others, as the poor part with their worldly gear when they move from one
place to another. It is a curious and significant property of our
outworn characteristics that, like our old furniture, they will serve
admirably in the life of some other, and that this other can profitably
make them his when we can no longer keep them ours, or ever hope to
resume them. They not only go down to successive generations, but they
spread beyond our lineages, and serve the turn of those whom we never
knew to be within the circle of our influence.
Civilization imparts itself by some such means, and the lower classes are
clothed in the cast conduct of the upper, which if it had been stored
would have left the inferiors rude and barbarous. We have only to think
how socially naked most of us would be if we had not had the beautiful
manners of our exclusive society to put on at each change of fashion when
it dropped them.
All earthly and material things should be worn out with use, and not
preserved against decay by any unnatural artifice. Even when broken and
disabled from overuse they have a kind of respectability which must
commend itself to the observer, and which partakes of the pensive grace
of ruin. An old table with one leg gone, and slowly lapsing to decay in
the woodshed, is the emblem of a fitter order than the same table, with
all its legs intact, stored with the rest of the furniture from a broken
home. Spinning-wheels gathering dust in the garret of a house that is
itself falling to pieces have a dignity that deserts them when they are
dragged from their refuge, and furbished up with ribbons and a tuft of
fresh tow, and made to serve the hollow occasions of bric-a-brac, as they
were a few years ago. A pitcher broken at the fountain, or a battered
kettle on a rubbish heap, is a venerable object, but not crockery and
copper-ware stored in the possibility of future need. However carefully
handed down from one generation to another, the old objects have a
forlorn incongruity in their successive surroundings which appeals to the
compassion rather than the veneration of the witness.
It was from a truth deeply mystical that Hawthorne declared against any
sort of permanence in the dwellings of men, and held that each generation
should newly house itself. He preferred the perishability of the wooden
American house to the durability of the piles of brick or stone which in
Europe affected him as with some moral miasm from the succession of sires
and sons and grandsons that had died out of them. But even of such
structures as these it is impressive how little the earth makes with the
passage of time. Where once a great city of them stood, you shall find a
few tottering walls, scarcely more mindful of the past than "the cellar
and the well" which Holmes marked as the ultimate monuments, the last
witnesses, to the existence of our more transitory habitations. It is
the law of the patient sun that everything under it shall decay, and if
by reason of some swift calamity, some fiery cataclysm, the perishable
shall be overtaken by a fate that fixes it in unwasting arrest, it cannot
be felt that the law has been set aside in the interest of men's
happiness or cheerfulness. Neither Pompeii nor Herculaneum invites the
gayety of the spectator, who as he walks their disinterred thoroughfares
has the weird sense of taking a former civilization out of storage, and
the ache of finding it wholly unadapted to the actual world. As far as
his comfort is concerned, it had been far better that those cities had
not been stored, but had fallen to the ruin that has overtaken all their
contemporaries.
IV
No, good friend, sir or madam, as the case may be, but most likely madam:
if you are about to break up your household for any indefinite period,
and are not so poor that you need sell your things, be warned against
putting them in storage, unless of the most briskly combustible type.
Better, far better, give them away, and disperse them by that means to a
continuous use that shall end in using them up; or if no one will take
them, then hire a vacant lot, somewhere, and devote them to the flames.
By that means you shall bear witness against a custom that insults the
order of nature, and crowds the cities with the cemeteries of dead homes,
where there is scarcely space for the living homes. Do not vainly fancy
that you shall take your stuff out of storage and find it adapted to the
ends that it served before it was put in. You will not be the same, or
have the same needs or desire, when you take it out, and the new place
which you shall hope to equip with it will receive it with cold
reluctance, or openly refuse it, insisting upon forms and dimensions that
render it ridiculous or impossible. The law is that nothing taken out of
storage is the same as it was when put in, and this law, hieroglyphed in
those rude 'graffiti' apparently inscribed by accident in the process of
removal, has only such exceptions as prove the rule.
The world to which it has returned is not the same, and that makes all
the difference. Yet, truth and beauty do not change, however the moods
and fashions change. The ideals remain, and these alone you can go back
to, secure of finding them the same, to-day and to-morrow, that they were
yesterday. This perhaps is because they have never been in storage, but
in constant use, while the moods and fashions have been put away and
taken out a thousand times. Most people have never had ideals, but only
moods and fashions, but such people, least of all, are fitted to find in
them that pleasure of the rococo which consoles the idealist when the old
moods and fashions reappear.
"FLOATING DOWN THE RIVER ON THE O-HI-O"
There was not much promise of pleasure in the sodden afternoon of a mid-
March day at Pittsburg, where the smoke of a thousand foundry chimneys
gave up trying to rise through the thick, soft air, and fell with the
constant rain which it dyed its own black. But early memories stirred
joyfully in the two travellers in whose consciousness I was making my
tour, at sight of the familiar stern-wheel steamboat lying beside the
wharf boat at the foot of the dilapidated levee, and doing its best to
represent the hundreds of steamboats that used to lie there in the old
days. It had the help of three others in its generous effort, and the
levee itself made a gallant pretence of being crowded with freight, and
succeeded in displaying several saturated piles of barrels and
agricultural implements on the irregular pavement whose wheel-worn
stones, in long stretches, were sunken out of sight in their parent mud.
The boats and the levee were jointly quite equal to the demand made upon
them by the light-hearted youngsters of sixty-five and seventy, who were
setting out on their journey in fulfilment of a long-cherished dream, and
for whom much less freight and much fewer boats would have rehabilitated
the past.
I.
When they mounted the broad stairway, tidily strewn with straw to save it
from the mud of careless boots, and entered the long saloon of the
steamboat, the promise of their fancy was more than made good for them.
From the clerk's office, where they eagerly paid their fare, the saloon
stretched two hundred feet by thirty away to the stern, a cavernous
splendor of white paint and gilding, starred with electric bulbs, and
fenced at the stern with wide windows of painted glass. Midway between
the great stove in the bow where the men were herded, and the great stove
at the stern where the women kept themselves in the seclusion which the
tradition of Western river travel still guards, after well-nigh a hundred
years, they were given ample state-rooms, whose appointments so exactly
duplicated those they remembered from far-off days that they could have
believed themselves awakened from a dream of insubstantial time, with the
events in which it had seemed to lapse, mere feints of experience. When
they sat down at the supper-table and were served with the sort of
belated steamboat dinner which it recalled as vividly, the kind, sooty
faces and snowy aprons of those who served them were so quite those of
other days that they decided all repasts since were mere Barmecide
feasts, and made up for the long fraud practised upon them with the
appetites of the year 1850.
II.
A rigider sincerity than shall be practised here might own that the table
of the good steamboat 'Avonek' left something to be desired, if tested by
more sophisticated cuisines, but in the article of corn-bread it was of
an inapproachable preeminence. This bread was made of the white corn
which North knows not, nor the hapless East; and the buckwheat cakes at
breakfast were without blame, and there was a simple variety in the
abundance which ought to have satisfied if it did not flatter the choice.
The only thing that seemed strangely, that seemed sadly, anomalous in a
land flowing with ham and bacon was that the 'Avonek' had not imagined
providing either for the guests, no one of whom could have had a
religious scruple against them.
The thing, indeed, which was first and last conspicuous in the
passengers, was their perfectly American race and character. At the
start, when with an acceptable observance of Western steamboat tradition
the 'Avonek' left her wharf eight hours behind her appointed time, there
were very few passengers; but they began to come aboard at the little
towns of both shores as she swam southward and westward, till all the
tables were so full that, in observance of another Western steamboat
tradition; one did well to stand guard over his chair lest some other who
liked it should seize it earlier. The passengers were of every age and
condition, except perhaps the highest condition, and they seemed none the
worse for being more like Americans of the middle of the last century
than of the beginning of this. Their fashions were of an approximation
to those of the present, but did not scrupulously study detail; their
manners were those of simpler if not sincerer days.
The women kept to themselves at their end of the saloon, aloof from the
study of any but their husbands or kindred, but the men were everywhere
else about, and open to observation. They were not so open to
conversation, for your mid-Westerner is not a facile, though not an
unwilling, talker. They sat by their tall, cast-iron stove (of the oval
pattern unvaried since the earliest stove of the region), and silently
ruminated their tobacco and spat into the clustering, cuspidors at their
feet. They would always answer civilly if questioned, and oftenest
intelligently, but they asked nothing in return, and they seemed to have
none of that curiosity once known or imagined in them by Dickens and
other averse aliens. They had mostly faces of resolute power, and such a
looking of knowing exactly what they wanted as would not have promised
well for any collectively or individually opposing them. If ever the
sense of human equality has expressed itself in the human countenance it
speaks unmistakably from American faces like theirs.
They were neither handsome nor unhandsome; but for a few striking
exceptions, they had been impartially treated by nature; and where they
were notably plain their look of force made up for their lack of beauty.
They were notably handsomest in a tall young fellow of a lean face,
absolute Greek in profile, amply thwarted with a branching mustache, and
slender of figure, on whom his clothes, lustrous from much sitting down
and leaning up, grew like the bark on a tree, and who moved slowly and
gently about, and spoke with a low, kind voice. In his young comeliness
he was like a god, as the gods were fancied in the elder world: a chewing
and a spitting god, indeed, but divine in his passionless calm.
He was a serious divinity, and so were all the mid-Western human-beings
about him. One heard no joking either of the dapper or cockney sort of
cities, or the quaint graphic phrasing of Eastern country folk; and it
may have been not far enough West for the true Western humor. At any
rate, when they were not silent these men still were serious.
The women were apparently serious, too, and where they were associated
with the men were, if they were not really subject, strictly abeyant, in
the spectator's eye. The average of them was certainly not above the
American woman's average in good looks, though one young mother of six
children, well grown save for the baby in her arms, was of the type some
masters loved to paint, with eyes set wide under low arched brows. She
had the placid dignity and the air of motherly goodness which goes fitly
with such beauty, and the sight of her was such as to disperse many of
the misgivings that beset the beholder who looketh upon the woman when
she is New. As she seemed, so any man might wish to remember his mother
seeming.
All these river folk, who came from the farms and villages along the
stream, and never from the great towns or cities, were well mannered, if
quiet manners are good; and though the men nearly all chewed tobacco and
spat between meals, at the table they were of an exemplary behavior. The
use of the fork appeared strange to them, and they handled it strenuously
rather than agilely, yet they never used their knives shovel-wise,
however they planted their forks like daggers in the steak: the steak
deserved no gentler usage, indeed. They were usually young, and they
were constantly changing, bent upon short journeys between the shore
villages; they were mostly farm youth, apparently, though some were said
to be going to find work at the great potteries up the river for wages
fabulous to home-keeping experience.
One personality which greatly took the liking of one of our tourists was
a Kentucky mountaineer who, after three years' exile in a West Virginia
oil town, was gladly returning to the home for which he and all his
brood-of large and little comely, red-haired boys and girls-had never
ceased to pine. His eagerness to get back was more than touching; it was
awing; for it was founded on a sort of mediaeval patriotism that could
own no excellence beyond the borders of the natal region. He had
prospered at high wages in his trade at that oil town, and his wife and
children had managed a hired farm so well as to pay all the family
expenses from it, but he was gladly leaving opportunity behind, that he
might return to a land where, if you were passing a house at meal-time,
they came out and made you come in and eat. "When you eat where I've
been living you pay fifty cents," he explained. "And are you taking all
your household stuff with you?" "Only the cook-stove. Well, I'll tell
you: we made the other things ourselves; made them out of plank, and they
were not worth-moving." Here was the backwoods surviving into the day of
Trusts; and yet we talk of a world drifted hopelessly far from the old
ideals!
III.
The new ideals, the ideals of a pitiless industrialism, were sufficiently
expressed along the busy shores, where the innumerable derricks of oil-
wells silhouetted their gibbet shapes against the horizon, and the myriad
chimneys of the foundries sent up the smoke of their torment into the
quiet skies and flamed upon the forehead of the evening like baleful
suns. But why should I be so violent of phrase against these guiltless
means of millionairing? There must be iron and coal as well as wheat and
corn in the world, and without their combination we cannot have bread.
If the combination is in the form of a trust, such as has laid its giant
clutch upon all those warring industries beside the Ohio and swept them
into one great monopoly, why, it has still to show that it is worse than
competition; that it is not, indeed, merely the first blind stirrings of
the universal cooperation of which the dreamers of ideal commonwealths
have always had the vision.
The derricks and the chimneys, when one saw them, seem to have all the
land to themselves; but this was an appearance only, terrifying in its
strenuousness, but not, after all, the prevalent aspect. That was rather
of farm, farms, and evermore farms, lying along the rich levels of the
stream, and climbing as far up its beautiful hills as the plough could
drive. In the spring and in the Mall, when it is suddenly swollen by the
earlier and the later rains, the river scales its banks and swims over
those levels to the feet of those hills, and when it recedes it leaves
the cornfields enriched for the crop that, has never failed since the
forests were first cut from the land. Other fertilizing the fields have
never had any, but they teem as if the guano islands had been emptied
into their laps. They feel themselves so rich that they part with great
lengths and breadths of their soil to the river, which is not good for
the river, and is not well for the fields; so that the farmers, whose
ease learns slowly, are beginning more and more to fence their borders
with the young willows which form a hedge in the shallow wash such a
great part of the way up and down the Ohio. Elms and maples wade in
among the willows, and in time the river will be denied the indigestion
which it confesses in shoals and bars at low water, and in a difficulty
of channel at all stages.
Meanwhile the fields flourish in spite of their unwise largesse to the
stream, whose shores the comfortable farmsteads keep so constantly that
they are never out of sight. Most commonly they are of brick, but
sometimes of painted wood, and they are set on little eminences high
enough to save them from the freshets, but always so near the river that
they cannot fail of its passing life. Usually a group of planted
evergreens half hides the house from the boat, but its inmates will not
lose any detail of the show, and come down to the gate of the paling
fence to watch the 'Avonek' float by: motionless men and women, who lean
upon the supporting barrier, and rapt children who hold by their skirts
and hands. There is not the eager New England neatness about these
homes; now and then they have rather a sloven air, which does not discord
with their air of comfort; and very, very rarely they stagger drunkenly
in a ruinous neglect. Except where a log cabin has hardily survived the
pioneer period, the houses are nearly all of one pattern; their facades
front the river, and low chimneys point either gable, where a half-story
forms the attic of the two stories below. Gardens of pot-herbs flank
them, and behind cluster the corn-cribs, and the barns and stables
stretch into the fields that stretch out to the hills, now scantily
wooded, but ever lovely in the lines that change with the steamer's
course.
Except in the immediate suburbs of the large towns, there is no ambition
beyond that of rustic comfort in the buildings on the shore. There is no
such thing, apparently, as a summer cottage, with its mock humility of
name, up or down the whole tortuous length of the Ohio. As yet the land
is not openly depraved by shows of wealth; those who amass it either keep
it to themselves or come away to spend it in European travel, or pause to
waste it unrecognized on the ungrateful Atlantic seaboard. The only
distinctions that are marked are between the homes of honest industry
above the banks and the homes below them of the leisure, which it is
hoped is not dishonest. But, honest or dishonest, it is there apparently
to stay in the house-boats which line the shores by thousands, and repeat
on Occidental terms in our new land the river-life of old and far Cathay.
They formed the only feature of their travel which our tourists found
absolutely novel; they could clearly or dimly recall from the past every
other feature but the houseboats, which they instantly and gladly
naturalized to their memories of it. The houses had in common the form
of a freight-car set in a flat-bottomed boat; the car would be shorter or
longer, with one, or two, or three windows in its sides, and a section of
stovepipe softly smoking from its roof. The windows might be curtained
or they might be bare, but apparently there was no other distinction
among the houseboat dwellers, whose sluggish craft lay moored among the
willows, or tied to an elm or a maple, or even made fast to a stake on
shore. There were cases in which they had not followed the fall of the
river promptly enough, and lay slanted on the beach, or propped up to a
more habitable level on its slope; in a sole, sad instance, the house had
gone down with the boat and lay wallowing in the wash of the flood. But
they all gave evidence of a tranquil and unhurried life which the soul of
the beholder envied within him, whether it manifested itself in the lord
of the house-boat fishing from its bow, or the lady coming to cleanse
some household utensil at its stern. Infrequently a group of the house-
boat dwellers seemed to be drawing a net, and in one high event they
exhibited a good-sized fish of their capture, but nothing so strenuous
characterized their attitude on any other occasion. The accepted theory
of them was that they did by day as nearly nothing as men could do and
live, and that by night their forays on the bordering farms supplied the
simple needs of people who desired neither to toil nor to spin, but only
to emulate Solomon in his glory with the least possible exertion. The
joyful witness of their ease would willingly have sacrificed to them any
amount of the facile industrial or agricultural prosperity about them and
left them slumberously afloat, unmolested by dreams of landlord or tax-
gatherer. Their existence for the fleeting time seemed the true
interpretation of the sage's philosophy, the fulfilment of the poet's
aspiration.
"Why should we only toil, that are the roof and crown of things."
How did they pass their illimitable leisure, when they rested from the
fishing-net by day and the chicken-coop by night? Did they read the new
historical fictions aloud to one another? Did some of them even meditate
the thankless muse and not mind her ingratitude? Perhaps the ladies of
the house-boats, when they found themselves--as they often did--in
companies of four or five, had each other in to "evenings," at which one
of them read a paper on some artistic or literary topic.
IV.
The trader's boat, of an elder and more authentic tradition, sometimes
shouldered the house-boats away from a village landing, but it, too, was
a peaceful home, where the family life visibly went hand-in-hand with
commerce. When the trader has supplied all the wants and wishes of a
neighborhood, he unmoors his craft and drops down the river's tide to
where it meets the ocean's tide in the farthermost Mississippi, and there
either sells out both his boat and his stock, or hitches his home to some
returning steamboat, and climbs slowly, with many pauses, back to the
upper Ohio. But his home is not so interesting as that of the
houseboatman, nor so picturesque as that of the raftsman, whose floor of
logs rocks flexibly under his shanty, but securely rides the current. As
the pilots said, a steamboat never tries to hurt a raft of logs, which is
adapted to dangerous retaliation; and by night it always gives a wide
berth to the lantern tilting above the raft from a swaying pole. By day
the raft forms one of the pleasantest aspects of the river-life, with its
convoy of skiffs always searching the stream or shore for logs which have
broken from it, and which the skiffmen recognize by distinctive brands or
stamps. Here and there the logs lie in long ranks upon the shelving
beaches, mixed with the drift of trees and fence-rails, and frames of
corn-cribs and hencoops, and even house walls, which the freshets have
brought down and left stranded. The tops of the little willows are
tufted gayly with hay and rags, and other spoil of the flood; and in one
place a disordered mattress was lodged high among the boughs of a water-
maple, where it would form building material for countless generations of
birds. The fat cornfields were often littered with a varied wreckage
which the farmers must soon heap together and burn, to be rid of it, and
everywhere were proofs of the river's power to devastate as well as
enrich its shores. The dwellers there had no power against it, in its
moments of insensate rage, and the land no protection from its
encroachments except in the simple device of the willow hedges, which, if
planted, sometimes refused to grow, but often came of themselves and kept
the torrent from the loose, unfathomable soil of the banks, otherwise
crumbling helplessly into it.
The rafts were very well, and the house-boats and the traders' boats, but
the most majestic feature of the riverlife was the tow of coal-barges
which, going or coming, the 'Avonek' met every few miles. Whether going
or coming they were pushed, not pulled, by the powerful steamer which
gathered them in tens and twenties before her, and rode the mid-current
with them, when they were full, or kept the slower water near shore when
they were empty. They claimed the river where they passed, and the
'Avonek' bowed to an unwritten law in giving them the full right of way,
from the time when their low bulk first rose in sight, with the chimneys
of their steamer towering above them and her gay contours gradually
making themselves seen, till she receded from the encounter, with the
wheel at her stern pouring a cataract of yellow water from its blades.
It was insurpassably picturesque always, and not the tapering masts or
the swelling sails of any sea-going craft could match it.
V.
So at least the travellers thought who were here revisiting the earliest
scenes of childhood, and who perhaps found them unduly endeared. They
perused them mostly from an easy seat at the bow of the hurricane-deck,
and, whenever the weather favored them, spent the idle time in selecting
shelters for their declining years among the farmsteads that offered
themselves to their choice up and down the shores. The weather commonly
favored them, and there was at least one whole day on the lower river
when the weather was divinely flattering. The soft, dull air lulled
their nerves while it buffeted their faces, and the sun, that looked
through veils of mist and smoke, gently warmed their aging frames and
found itself again in their hearts. Perhaps it was there that the water-
elms and watermaples chiefly budded, and the red-birds sang, and the
drifting flocks of blackbirds called and clattered; but surely these also
spread their gray and pink against the sky and filled it with their
voices. There were meadow-larks and robins without as well as within,
and it was no subjective plough that turned the earliest furrows in those
opulent fields.
When they were tired of sitting there, they climbed, invited or
uninvited, but always welcomed, to the pilothouse, where either pilot of
the two who were always on watch poured out in an unstinted stream the
lore of the river on which all their days had been passed. They knew
from indelible association every ever-changing line of the constant
hills; every dwelling by the low banks; every aspect of the smoky towns;
every caprice of the river; every-tree, every stump; probably every bud
and bird in the sky. They talked only of the river; they cared for
nothing else. The Cuban cumber and the Philippine folly were equally far
from them; the German prince was not only as if he had never been here,
but as if he never had been; no public question concerned them but that
of abandoning the canals which the Ohio legislature was then foolishly
debating. Were not the canals water-ways, too, like the river, and if
the State unnaturally abandoned them would not it be for the behoof of
those railroads which the rivermen had always fought, and which would
have made a solitude of the river if they could?
But they could not, and there was nothing more surprising and delightful
in this blissful voyage than the evident fact that the old river traffic
had strongly survived, and seemed to be more strongly reviving. Perhaps
it was not; perhaps the fondness of those Ohio-river-born passengers was
abused by an illusion (as subjective as that of the buds and birds) of a
vivid variety of business and pleasure on the beloved stream. But again,
perhaps not. They were seldom out of sight of the substantial proofs of
both in the through or way packets they encountered, or the nondescript
steam craft that swarmed about the mouths of the contributory rivers, and
climbed their shallowing courses into the recesses of their remotest
hills, to the last lurking-places of their oil and coal.
VI.
The Avonek was always stopping to put off or take on merchandise or men.
She would stop for a single passenger, plaited in the mud with his
telescope valise or gripsack under the edge of a lonely cornfield, or to
gather upon her decks the few or many casks or bales that a farmer wished
to ship. She lay long hours by the wharf-boats of busy towns, exchanging
one cargo for another, in that anarchic fetching and carrying which we
call commerce, and which we drolly suppose to be governed by laws. But
wherever she paused or parted, she tested the pilot's marvellous skill;
for no landing, no matter how often she landed in the same place, could
be twice the same. At each return the varying stream and shore must be
studied, and every caprice of either divined. It was always a triumph,
a miracle, whether by day or by night, a constant wonder how under the
pilot's inspired touch she glided softly to her moorings, and without a
jar slipped from them again and went on her course.
But the landings by night were of course the finest. Then the wide fan
of the search-light was unfurled upon the point to be attained and the
heavy staging lowered from the bow to the brink, perhaps crushing the
willow hedges in it's fall, and scarcely touching the land before a
black, ragged deck-hand had run out through the splendor and made a line
fast to the trunk of the nearest tree. Then the work of lading or
unlading rapidly began in the witching play of the light that set into
radiant relief the black, eager faces and the black, eager figures of the
deck-hands struggling up or down the staging under boxes of heavy wares,
or kegs of nails, or bales of straw, or blocks of stone, steadily mocked
or cursed at in their shapeless effort, till the last of them reeled back
to the deck down the steep of the lifting stage, and dropped to his
broken sleep wherever he could coil himself, doglike, down among the
heaps of freight.
No dog, indeed, leads such a hapless life as theirs; and ah! and ah! why
should their sable shadows intrude in a picture that was meant to be all
so gay and glad? But ah! and ah! where, in what business of this hard
world, is not prosperity built upon the struggle of toiling men, who
still endeavor their poor best, and writhe and writhe under the burden of
their brothers above, till they lie still under the lighter load of their
mother earth?
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Begun to fight with want from their cradles
Blasts of frigid wind swept the streets
Clemens is said to have said of bicycling
Could not, as the saying is, find a stone to throw at a dog
Disbeliever in punishments of all sorts
Do not want to know about such squalid lives
Early self-helpfulness of children is very remarkable
Encounter of old friends after the lapse of years
Even a day's rest is more than most people can bear
Eyes fixed steadfastly upon the future
Face that expresses care, even to the point of anxiety
For most people choice is a curse
General worsening of things, familiar after middle life
Happy in the indifference which ignorance breeds in us
Hard to think up anything new
Heart of youth aching for their stoical sorrows
Heighten our suffering by anticipation
If one were poor, one ought to be deserving
Lascivious and immodest as possible
Literary spirit is the true world-citizen
Look of challenge, of interrogation, almost of reproof
Malevolent agitators
Meet here to the purpose of a common ostentation
Neatness that brings despair
Noble uselessness
Openly depraved by shows of wealth
People have never had ideals, but only moods and fashions
People might oftener trust themselves to Providence
People of wealth and fashion always dissemble their joy
Plagiarism carries inevitable detection with it
Pure accident and by its own contributory negligence
Refused to see us as we see ourselves
Should be very sorry to do good, as people called it
So many millionaires and so many tramps
So touching that it brought the lump into my own throat
Solution of the problem how and where to spend the summer
Some of it's good, and most of it isn't
Some of us may be toys and playthings without reproach
Superiority one likes to feel towards the rich and great
Take our pleasures ungraciously
The old and ugly are fastidious as to the looks of others
They are so many and I am so few
Those who decide their fate are always rebelling against it
Those who work too much and those who rest too much
Unfailing American kindness
Visitors of the more inquisitive sex
We cannot all be hard-working donkeys
We who have neither youth nor beauty should always expect it
Whatever choice you make, you are pretty sure to regret it
End of this Project Gutenberg Etext of Short Stories and Essays
by William Dean Howells
MY LITERARY PASSIONS
By William Dean Howells
1895
BIBLIOGRAPHICAL.
I. THE BOOKCASE AT HOME
II. GOLDSMITH
III. CERVANTES
IV. IRVING
V. FIRST FICTION AND DRAMA
VI. LONGFELLOW'S "SPANISH STUDENT"
VII. SCOTT
VIII. LIGHTER FANCIES
IX. POPE
X. VARIOUS PREFERENCES
XI. UNCLE TOM'S CABIN
XII. OSSIAN
XIII. SHAKESPEARE
XIV. IK MARVEL
XV. DICKENS
XVI. WORDSWORTH, LOWELL, CHAUCER
XVII. MACAULAY.
XVIII. CRITICS AND REVIEWS.
XIX. A NON-LITERARY EPISODE
XX. THACKERAY
XXI. "LAZARILLO DE TORMES"
XXII. CURTIS, LONGFELLOW, SCHLEGEL
XXIII. TENNYSON
XXIV. HEINE
XXV. DE QUINCEY, GOETHE, LONGFELLOW.
XXVI. GEORGE ELIOT, HAWTHORNE, GOETHE, HEINE
XXVII. CHARLES READE
XXVIII. DANTE.
XXIX. GOLDONI, MANZONI, D'AZEGLIO
XXX. "PASTOR FIDO," "AMINTA," "ROMOLA," "YEAST," "PAUL FERROLL"
XXXI. ERCKMANN-CHATRIAN, BJORSTJERNE BJORNSON
XXXII. TOURGUENIEF, AUERBACH
XXXIII. CERTAIN PREFERENCES AND EXPERIENCES
XXXIV. VALDES, GALDOS, VERGA, ZOLA, TROLLOPE, HARDY
XXXV. TOLSTOY
BIBLIOGRAPHICAL
The papers collected here under the name of 'My Literary Passions' were
printed serially in a periodical of such vast circulation that they might
well have been supposed to have found there all the acceptance that could
be reasonably hoped for them. Nevertheless, they were reissued in a
volume the year after they first appeared, in 1895, and they had a
pleasing share of such favor as their author's books have enjoyed. But
it is to be doubted whether any one liked reading them so much as he
liked writing them--say, some time in the years 1893 and 1894, in a New
York flat, where he could look from his lofty windows over two miles and
a half of woodland in Central Park, and halloo his fancy wherever he
chose in that faery realm of books which he re-entered in reminiscences
perhaps too fond at times, and perhaps always too eager for the reader's
following. The name was thought by the friendly editor of the popular
publication where they were serialized a main part of such inspiration as
they might be conjectured to have, and was, as seldom happens with editor
and author, cordially agreed upon before they were begun.
The name says, indeed, so exactly and so fully what they are that little
remains for their bibliographer to add beyond the meagre historical
detail here given. Their short and simple annals could be eked out by
confidences which would not appreciably enrich the materials of the
literary history of their time, and it seems better to leave them to the
imagination of such posterity as they may reach. They are rather
helplessly frank, but not, I hope, with all their rather helpless
frankness, offensively frank. They are at least not part of the polemic
which their author sustained in the essays following them in this volume,
and which might have been called, in conformity with 'My Literary
Passions', by the title of 'My Literary Opinions' better than by the
vague name which they actually wear.
They deal, to be sure, with the office of Criticism and the art of
Fiction, and so far their present name is not a misnomer. It follows
them from an earlier date and could not easily be changed, and it may
serve to recall to an elder generation than this the time when their
author was breaking so many lances in the great, forgotten war between
Realism and Romanticism that the floor of the "Editor's Study" in
Harper's Magazine was strewn with the embattled splinters. The "Editor's
Study" is now quite another place, but he who originally imagined it in
1886, and abode in it until 1892, made it at once the scene of such
constant offence that he had no time, if he had the temper, for defence.
The great Zola, or call him the immense Zola, was the prime mover in the
attack upon the masters of the Romanticistic school; but he lived to own
that he had fought a losing fight, and there are some proofs that he was
right. The Realists, who were undoubtedly the masters of fiction in
their passing generation, and who prevailed not only in France, but in
Russia, in Scandinavia, in Spain, in Portugal, were overborne in all
Anglo-Saxon countries by the innumerable hosts of Romanticism, who to
this day possess the land; though still, whenever a young novelist does
work instantly recognizable for its truth and beauty among us, he is seen
and felt to have wrought in the spirit of Realism. Not even yet,
however, does the average critic recognize this, and such lesson as the
"Editor's Study" assumed to teach remains here in all its essentials for
his improvement.
Month after month for the six years in which the "Editor's Study"
continued in the keeping of its first occupant, its lesson was more or
less stormily delivered, to the exclusion, for the greater part, of other
prophecy, but it has not been found well to keep the tempestuous manner
along with the fulminant matter in this volume. When the author came to
revise the material, he found sins against taste which his zeal for
righteousness could not suffice to atone for. He did not hesitate to
omit the proofs of these, and so far to make himself not only a precept,
but an example in criticism. He hopes that in other and slighter things
he has bettered his own instruction, and that in form and in fact the
book is altogether less crude and less rude than the papers from which it
has here been a second time evolved.
The papers, as they appeared from month to month, were not the product of
those unities of time and place which were the happy conditioning of
'My Literary Passions.' They could not have been written in quite so
many places as times, but they enjoyed a comparable variety of origin.
Beginning in Boston, they were continued in a Boston suburb, on the
shores of Lake George, in a Western New York health resort, in Buffalo,
in Nahant; once, twice, and thrice in New York, with reversions to
Boston, and summer excursions to the hills and waters of New England,
until it seemed that their author had at last said his say, and he
voluntarily lapsed into silence with the applause of friends and enemies
alike.
The papers had made him more of the last than of the first, but not as
still appears to him with greater reason. At moments his deliverances
seemed to stir people of different minds to fury in two continents, so
far as they were English-speaking, and on the coasts of the seven seas;
and some of these came back at him with such violent personalities as it
is his satisfaction to remember that he never indulged in his attacks
upon their theories of criticism and fiction. His opinions were always
impersonal; and now as their manner rather than their make has been
slightly tempered, it may surprise the belated reader to learn that it
was the belief of one English critic that their author had "placed
himself beyond the pale of decency" by them. It ought to be less
surprising that, since these dreadful words were written of him, more
than one magnanimous Englishman has penitently expressed to the author
the feeling that he was not so far wrong in his overboldly hazarded
convictions. The penitence of his countrymen is still waiting
expression, but it may come to that when they have recurred to the
evidences of his offence in their present shape.
KITTERY POINT, MAINE, July, 1909.
MY LITERARY PASSIONS
I. THE BOOKCASE AT HOME
To give an account of one's reading is in some sort to give an account of
one's life; and I hope that I shall not offend those who follow me in
these papers, if I cannot help speaking of myself in speaking of the
authors I must call my masters: my masters not because they taught me
this or that directly, but because I had such delight in them that I
could not fail to teach myself from them whatever I was capable of
learning. I do not know whether I have been what people call a great
reader; I cannot claim even to have been a very wise reader; but I have
always been conscious of a high purpose to read much more, and more
discreetly, than I have ever really done, and probably it is from the
vantage-ground of this good intention that I shall sometimes be found
writing here rather than from the facts of the case.
But I am pretty sure that I began right, and that if I had always kept
the lofty level which I struck at the outset I should have the right to
use authority in these reminiscences without a bad conscience. I shall
try not to use authority, however, and I do not expect to speak here of
all my reading, whether it has been much or little, but only of those
books, or of those authors that I have felt a genuine passion for. I
have known such passions at every period of my life, but it is mainly of
the loves of my youth that I shall write, and I shall write all the more
frankly because my own youth now seems to me rather more alien than that
of any other person.
I think that I came of a reading race, which has always loved literature
in a way, and in spite of varying fortunes and many changes. From a
letter of my great-grandmother's written to a stubborn daughter upon some
unfilial behavior, like running away to be married, I suspect that she
was fond of the high-colored fiction of her day, for she tells the wilful
child that she has "planted a dagger in her mother's heart," and I should
not be surprised if it were from this fine-languaged lady that my
grandfather derived his taste for poetry rather than from his father, who
was of a worldly wiser mind. To be sure, he became a Friend by
Convincement as the Quakers say, and so I cannot imagine that he was
altogether worldly; but he had an eye to the main chance: he founded the
industry of making flannels in the little Welsh town where he lived, and
he seems to have grown richer, for his day and place, than any of us have
since grown for ours. My grandfather, indeed, was concerned chiefly in
getting away from the world and its wickedness. He came to this country
early in the nineteenth century and settled his family in a log-cabin in
the Ohio woods, that they might be safe from the sinister influences of
the village where he was managing some woollen-mills. But he kept his
affection for certain poets of the graver, not to say gloomier sort, and
he must have suffered his children to read them, pending that great
question of their souls' salvation which was a lifelong trouble to him.
My father, at any rate, had such a decided bent in the direction of
literature, that he was not content in any of his several economical
experiments till he became the editor of a newspaper, which was then the
sole means of satisfying a literary passion. His paper, at the date when
I began to know him, was a living, comfortable and decent, but without
the least promise of wealth in it, or the hope even of a much better
condition. I think now that he was wise not to care for the advancement
which most of us have our hearts set upon, and that it was one of his
finest qualities that he was content with a lot in life where he was not
exempt from work with his hands, and yet where he was not so pressed by
need but he could give himself at will not only to the things of the
spirit, but the things of the mind too. After a season of scepticism he
had become a religious man, like the rest of his race, but in his own
fashion, which was not at all the fashion of my grandfather: a Friend who
had married out of Meeting, and had ended a perfervid Methodist. My
father, who could never get himself converted at any of the camp-meetings
where my grandfather often led the forces of prayer to his support, and
had at last to be given up in despair, fell in with the writings of
Emanuel Swedenborg, and embraced the doctrine of that philosopher with a
content that has lasted him all the days of his many years. Ever since I
can remember, the works of Swedenborg formed a large part of his library;
he read them much himself, and much to my mother, and occasionally a
"Memorable Relation" from them to us children. But he did not force them
upon our notice, nor urge us to read them, and I think this was very
well. I suppose his conscience and his reason kept him from doing so.
But in regard to other books, his fondness was too much for him, and when
I began to show a liking for literature he was eager to guide my choice.
His own choice was for poetry, and the most of our library, which was not
given to theology, was given to poetry. I call it the library now, but
then we called it the bookcase, and that was what literally it was,
because I believe that whatever we had called our modest collection of
books, it was a larger private collection than any other in the town
where we lived. Still it was all held, and shut with glass doors, in a
case of very few shelves. It was not considerably enlarged during my
childhood, for few books came to my father as editor, and he indulged
himself in buying them even more rarely. My grandfather's book store
(it was also the village drug-store) had then the only stock of
literature for sale in the place; and once, when Harper & Brothers' agent
came to replenish it, be gave my father several volumes for review. One
of these was a copy of Thomson's Seasons, a finely illustrated edition,
whose pictures I knew long before I knew the poetry, and thought them the
most beautiful things that ever were. My father read passages of the
book aloud, and he wanted me to read it all myself. For the matter of
that he wanted me to read Cowper, from whom no one could get anything but
good, and he wanted me to read Byron, from whom I could then have got no
harm; we get harm from the evil we understand. He loved Burns, too, and
he used to read aloud from him, I must own, to my inexpressible
weariness. I could not away with that dialect, and I could not then feel
the charm of the poet's wit, nor the tender beauty of his pathos. Moore,
I could manage better; and when my father read "Lalla Rookh" to my mother
I sat up to listen, and entered into all the woes of Iran in the story of
the "Fire Worshippers." I drew the line at the "Veiled Prophet of
Khorassan," though I had some sense of the humor of the poet's conception
of the critic in "Fadladeen." But I liked Scott's poems far better, and
got from Ispahan to Edinburgh with a glad alacrity of fancy. I followed
the "Lady of the Lake" throughout, and when I first began to contrive
verses of my own I found that poem a fit model in mood and metre.
Among other volumes of verse on the top shelf of the bookcase, of which I
used to look at the outside without penetrating deeply within, were
Pope's translation of the Iliad and the Odyssey, and Dryden's Virgil,
pretty little tomes in tree-calf, published by James Crissy in
Philadelphia, and illustrated with small copper-plates, which somehow
seemed to put the matter hopelessly beyond me. It was as if they said to
me in so many words that literature which furnished the subjects of such
pictures I could not hope to understand, and need not try. At any rate,
I let them alone for the time, and I did not meddle with a volume of
Shakespeare, in green cloth and cruelly fine print, which overawed me in
like manner with its wood-cuts. I cannot say just why I conceived that
there was something unhallowed in the matter of the book; perhaps this
was a tint from the reputation of the rather profligate young man from
whom my father had it. If he were not profligate I ask his pardon. I
have not the least notion who he was, but that was the notion I had of
him, whoever he was, or wherever he now is. There may never have been
such a young man at all; the impression I had may have been pure
invention of my own, like many things with children, who do not very
distinctly know their dreams from their experiences, and live in the
world where both project the same quality of shadow.
There were, of course, other books in the bookcase, which my
consciousness made no account of, and I speak only of those I remember.
Fiction there was none at all that I can recall, except Poe's 'Tales of
the Grotesque and the Arabesque' (I long afflicted myself as to what
those words meant, when I might easily have asked and found out) and
Bulwer's Last Days of Pompeii, all in the same kind of binding. History
is known, to my young remembrance of that library, by a History of the
United States, whose dust and ashes I hardly made my way through; and by
a 'Chronicle of the Conquest of Granada', by the ever dear and precious
Fray Antonio Agapida, whom I was long in making out to be one and the
same as Washington Irving.
In school there was as little literature then as there is now, and I
cannot say anything worse of our school reading; but I was not really
very much in school, and so I got small harm from it. The printing-
office was my school from a very early date. My father thoroughly
believed in it, and he had his beliefs as to work, which he illustrated
as soon as we were old enough to learn the trade he followed. We could
go to school and study, or we could go into the printing-office and work,
with an equal chance of learning, but we could not be idle; we must do
something, for our souls' sake, though he was willing enough we should
play, and he liked himself to go into the woods with us, and to enjoy the
pleasures that manhood can share with childhood. I suppose that as the
world goes now we were poor. His income was never above twelve hundred a
year, and his family was large; but nobody was rich there or then; we
lived in the simple abundance of that time and place, and we did not know
that we were poor. As yet the unequal modern conditions were undreamed
of (who indeed could have dreamed of them forty or fifty years ago?) in
the little Southern Ohio town where nearly the whole of my most happy
boyhood was passed.
II. GOLDSMITH
When I began to have literary likings of my own, and to love certain
books above others, the first authors of my heart were Goldsmith,
Cervantes, and Irving. In the sharply foreshortened perspective of the
past I seem to have read them all at once, but I am aware of an order of
time in the pleasure they gave me, and I know that Goldsmith came first.
He came so early that I cannot tell when or how I began to read him, but
it must have been before I was ten years old. I read other books about
that time, notably a small book on Grecian and Roman mythology, which I
perused with such a passion for those pagan gods and goddesses that, if
it had ever been a question of sacrificing to Diana, I do not really know
whether I should have been able to refuse. I adored indiscriminately all
the tribes of nymphs and naiads, demigods and heroes, as well as the high
ones of Olympus; and I am afraid that by day I dwelt in a world peopled
and ruled by them, though I faithfully said my prayers at night, and fell
asleep in sorrow for my sins. I do not know in the least how Goldsmith's
Greece came into my hands, though I fancy it must have been procured for
me because of a taste which I showed for that kind of reading, and I can
imagine no greater luck for a small boy in a small town of Southwestern
Ohio well-nigh fifty years ago. I have the books yet; two little, stout
volumes in fine print, with the marks of wear on them, but without those
dishonorable blots, or those other injuries which boys inflict upon books
in resentment of their dulness, or out of mere wantonness. I was always
sensitive to the maltreatment of books; I could not bear to see a book
faced down or dogs-eared or broken-backed. It was like a hurt or an
insult to a thing that could feel.
Goldsmith's History of Rome came to me much later, but quite as
immemorably, and after I had formed a preference for the Greek Republics,
which I dare say was not mistaken. Of course I liked Athens best, and
yet there was something in the fine behavior of the Spartans in battle,
which won a heart formed for hero-worship. I mastered the notion of
their communism, and approved of their iron money, with the poverty it
obliged them to, yet somehow their cruel treatment of the Helots failed
to shock me; perhaps I forgave it to their patriotism, as I had to
forgive many ugly facts in the history of the Romans to theirs. There
was hardly any sort of bloodshed which I would not pardon in those days
to the slayers of tyrants; and the swagger form of such as despatched a
despot with a fine speech was so much to my liking that I could only
grieve that I was born too late to do and to say those things.
I do not think I yet felt the beauty of the literature which made them
all live in my fancy, that I conceived of Goldsmith as an artist using
for my rapture the finest of the arts; and yet I had been taught to see
the loveliness of poetry, and was already trying to make it on my own
poor account. I tried to make verses like those I listened to when my
father read Moore and Scott to my mother, but I heard them with no such
happiness as I read my beloved histories, though I never thought then of
attempting to write like Goldsmith. I accepted his beautiful work as
ignorantly as I did my other blessings. I was concerned in getting at
the Greeks and Romans, and I did not know through what nimble air and by
what lovely ways I was led to them. Some retrospective perception of
this came long afterward when I read his essays, and after I knew all of
his poetry, and later yet when I read the 'Vicar of Wakefield'; but for
the present my eyes were holden, as the eyes of a boy mostly are in the
world of art. What I wanted with my Greeks and Romans after I got at
them was to be like them, or at least to turn them to account in verse,
and in dramatic verse at that. The Romans were less civilized than the
Greeks, and so were more like boys, and more to a boy's purpose. I did
not make literature of the Greeks, but I got a whole tragedy out of the
Romans; it was a rhymed tragedy, and in octosyllabic verse, like the
"Lady of the Lake." I meant it to be acted by my schoolmates, but I am
not sure that I ever made it known to them. Still, they were not
ignorant of my reading, and I remember how proud I was when a certain
boy, who had always whipped me when we fought together, and so outranked
me in that little boys' world, once sent to ask me the name of the Roman
emperor who lamented at nightfall, when he had done nothing worthy, that
he had lost a day. The boy was going to use the story, in a composition,
as we called the school themes then, and I told him the emperor's name; I
could not tell him now without turning to the book.
My reading gave me no standing among the boys, and I did not expect it to
rank me with boys who were more valiant in fight or in play; and I have
since found that literature gives one no more certain station in the
world of men's activities, either idle or useful. We literary folk try
to believe that it does, but that is all nonsense. At every period of
life, among boys or men, we are accepted when they are at leisure, and
want to be amused, and at best we are tolerated rather than accepted.
I must have told the boys stories out of my Goldsmith's Greece and Rome,
or it would not have been known that I had read them, but I have no
recollection now of doing so, while I distinctly remember rehearsing the
allegories and fables of the 'Gesta Romanorum', a book which seems to
have been in my hands about the same time or a little later. I had a
delight in that stupid collection of monkish legends which I cannot
account for now, and which persisted in spite of the nightmare confusion
it made of my ancient Greeks and Romans. They were not at all the
ancient Greeks and Romans of Goldsmith's histories.
I cannot say at what times I read these books, but they must have been
odd times, for life was very full of play then, and was already beginning
to be troubled with work. As I have said, I was to and fro between the
schoolhouse and the printing-office so much that when I tired of the one
I must have been very promptly given my choice of the other. The
reading, however, somehow went on pretty constantly, and no doubt my love
for it won me a chance for it. There were some famous cherry-trees in
our yard, which, as I look back at them, seem to have been in flower or
fruit the year round; and in one of them there was a level branch where a
boy could sit with a book till his dangling legs went to sleep, or till
some idler or busier boy came to the gate and called him down to play
marbles or go swimming. When this happened the ancient world was rolled
up like a scroll, and put away until the next day, with all its orators
and conspirators, its nymphs and satyrs, gods and demigods; though
sometimes they escaped at night and got into the boy's dreams.
I do not think I cared as much as some of the other boys for the 'Arabian
Nights' or 'Robinson Crusoe,' but when it came to the 'Ingenious
Gentleman of La Mancha,' I was not only first, I was sole.
Before I speak, however, of the beneficent humorist who next had my
boyish heart after Goldsmith, let me acquit myself in full of my debt to
that not unequal or unkindred spirit. I have said it was long after I
had read those histories, full of his inalienable charm, mere pot-boilers
as they were, and far beneath his more willing efforts, that I came to
know his poetry. My father must have read the "Deserted Village" to us,
and told us something of the author's pathetic life, for I cannot
remember when I first knew of "sweet Auburn," or had the light of the
poet's own troubled day upon the "loveliest village of the plain."
The 'Vicar of Wakefield' must have come into my life after that poem and
before 'The Traveler'. It was when I would have said that I knew all
Goldsmith; we often give ourselves credit for knowledge in this way
without having any tangible assets; and my reading has always been very
desultory. I should like to say here that the reading of any one who
reads to much purpose is always very desultory, though perhaps I had
better not say so, but merely state the fact in my case, and own that I
never read any one author quite through without wandering from him to
others. When I first read the 'Vicar of Wakefield' (for I have since
read it several times, and hope yet to read it many times), I found its
persons and incidents familiar, and so I suppose I must have heard it
read. It is still for me one of the most modern novels: that is to say,
one of the best. It is unmistakably good up to a certain point, and then
unmistakably bad, but with always good enough in it to be forever
imperishable. Kindness and gentleness are never out of fashion; it is
these in Goldsmith which make him our contemporary, and it is worth the
while of any young person presently intending deathless renown to take a
little thought of them. They are the source of all refinement, and I do
not believe that the best art in any kind exists without them. The style
is the man, and he cannot hide himself in any garb of words so that we
shall not know somehow what manner of man he is within it; his speech
betrayeth him, not only as to his country and his race, but more subtly
yet as to his heart, and the loves and hates of his heart. As to
Goldsmith, I do not think that a man of harsh and arrogant nature, of
worldly and selfish soul, could ever have written his style, and I do not
think that, in far greater measure than criticism has recognized, his
spiritual quality, his essential friendliness, expressed itself in the
literary beauty that wins the heart as well as takes the fancy in his
work.
I should have my reservations and my animadversions if it came to close
criticism of his work, but I am glad that he was the first author I
loved, and that even before I knew I loved him I was his devoted reader.
I was not consciously his admirer till I began to read, when I was
fourteen, a little volume of his essays, made up, I dare say, from the
'Citizen of the World' and other unsuccessful ventures of his. It
contained the papers on Beau Tibbs, among others, and I tried to write
sketches and studies of life in their manner. But this attempt at
Goldsmith's manner followed a long time after I tried to write in the
style of Edgar A. Poe, as I knew it from his 'Tales of the Grotesque
erred Arabesque.' I suppose the very poorest of these was the "Devil in
the Belfry," but such as it was I followed it as closely as I could in
the "Devil in the Smoke-Pipes"; I meant tobacco-pipes. The resemblance
was noted by those to whom I read my story; I alone could not see it or
would not own it, and I really felt it a hardship that I should be found
to have produced an imitation.
It was the first time I had imitated a prose writer, though I had
imitated several poets like Moore, Campbell, and Goldsmith himself.
I have never greatly loved an author without wishing to write like him.
I have now no reluctance to confess that, and I do not see why I should
not say that it was a long time before I found it best to be as like
myself as I could, even when I did not think so well of myself as of some
others. I hope I shall always be able and willing to learn something
from the masters of literature and still be myself, but for the young
writer this seems impossible. He must form himself from time to time
upon the different authors he is in love with, but when he has done this
he must wish it not to be known, for that is natural too. The lover
always desires to ignore the object of his passion, and the adoration
which a young writer has for a great one is truly a passion passing the
love of women. I think it hardly less fortunate that Cervantes was one
of my early passions, though I sat at his feet with no more sense of his
mastery than I had of Goldsmith's.
III. CERVANTES
I recall very fully the moment and the place when I first heard of 'Don
Quixote,' while as yet I could not connect it very distinctly with
anybody's authorship. I was still too young to conceive of authorship,
even in my own case, and wrote my miserable verses without any notion of
literature, or of anything but the pleasure of seeing them actually come
out rightly rhymed and measured. The moment was at the close of a
summer's day just before supper, which, in our house, we had lawlessly
late, and the place was the kitchen where my mother was going about her
work, and listening as she could to what my father was telling my brother
and me and an apprentice of ours, who was like a brother to us both, of a
book that he had once read. We boys were all shelling peas, but the
story, as it went on, rapt us from the poor employ, and whatever our
fingers were doing, our spirits were away in that strange land of
adventures and mishaps, where the fevered life of the knight truly
without fear and without reproach burned itself out. I dare say that my
father tried to make us understand the satirical purpose of the book.
I vaguely remember his speaking of the books of chivalry it was meant to
ridicule; but a boy could not care for this, and what I longed to do at
once was to get that book and plunge into its story. He told us at
random of the attack on the windmills and the flocks of sheep, of the
night in the valley of the fulling-mills with their trip-hammers, of the
inn and the muleteers, of the tossing of Sancho in the blanket, of the
island that was given him to govern, and of all the merry pranks at the
duke's and duchess's, of the liberation of the galley-slaves, of the
capture of Mambrino's helmet, and of Sancho's invention of the enchanted
Dulcinea, and whatever else there was wonderful and delightful in the
most wonderful and delightful book in the world. I do not know when or
where my father got it for me, and I am aware of an appreciable time that
passed between my hearing of it and my having it. The event must have
been most important to me, and it is strange I cannot fix the moment when
the precious story came into my hands; though for the matter of that
there is nothing more capricious than a child's memory, what it will hold
and what it will lose.
It is certain my Don Quixote was in two small, stout volumes not much
bigger each than my Goldsmith's 'Greece', bound in a sort of law-calf,
well fitted to withstand the wear they were destined to undergo. The
translation was, of course, the old-fashioned version of Jervas, which,
whether it was a closely faithful version or not, was honest eighteenth-
century English, and reported faithfully enough the spirit of the
original. If it had any literary influence with me the influence must
have been good. But I cannot make out that I was sensible of the
literature; it was the forever enchanting story that I enjoyed.
I exulted in the boundless freedom of the design; the open air of that
immense scene, where adventure followed adventure with the natural
sequence of life, and the days and the nights were not long enough for
the events that thronged them, amidst the fields and woods, the streams
and hills, the highways and byways, hostelries and hovels, prisons and
palaces, which were the setting of that matchless history. I took it as
simply as I took everything else in the world about me. It was full of
meaning that I could not grasp, and there were significances of the kind
that literature unhappily abounds in, but they were lost upon my
innocence. I did not know whether it was well written or not; I never
thought about that; it was simply there in its vast entirety, its
inexhaustible opulence, and I was rich in it beyond the dreams of
avarice.
My father must have told us that night about Cervantes as well as about
his 'Don Quixote', for I seem to have known from the beginning that he
was once a slave in Algiers, and that he had lost a hand in battle, and I
loved him with a sort of personal affection, as if he were still living
and he could somehow return my love. His name and nature endeared the
Spanish name and nature to me, so that they were always my romance, and
to this day I cannot meet a Spanish man without clothing him in something
of the honor and worship I lavished upon Cervantes when I was a child.
While I was in the full flush of this ardor there came to see our school,
one day, a Mexican gentleman who was studying the American system of
education; a mild, fat, saffron man, whom I could almost have died to
please for Cervantes' and Don Quixote's sake, because I knew he spoke
their tongue. But he smiled upon us all, and I had no chance to
distinguish myself from the rest by any act of devotion before the
blessed vision faded, though for long afterwards, in impassioned
reveries, I accosted him and claimed him kindred because of my fealty,
and because I would have been Spanish if I could.
I would not have had the boy-world about me know anything of these fond
dreams; but it was my tastes alone, my passions, which were alien there;
in everything else I was as much a citizen as any boy who had never heard
of Don Quixote. But I believe that I carried the book about with me most
of the time, so as not to lose any chance moment of reading it. Even in
the blank of certain years, when I added little other reading to my
store, I must still have been reading it. This was after we had removed
from the town where the earlier years of my boyhood were passed, and I
had barely adjusted myself to the strange environment when one of my
uncles asked me to come with him and learn the drug business, in the
place, forty miles away, where he practised medicine. We made the long
journey, longer than any I have made since, in the stage-coach of those
days, and we arrived at his house about twilight, he glad to get home,
and I sick to death with yearning for the home I had left. I do not know
how it was that in this state, when all the world was one hopeless
blackness around me, I should have got my 'Don Quixote' out of my bag;
I seem to have had it with me as an essential part of my equipment for my
new career. Perhaps I had been asked to show it, with the notion of
beguiling me from my misery; perhaps I was myself trying to drown my
sorrows in it. But anyhow I have before me now the vision of my sweet
young aunt and her young sister looking over her shoulder, as they stood
together on the lawn in the summer evening light. My aunt held my Don
Quixote open in one hand, while she clasped with the other the child she
carried on her arm. She looked at the book, and then from time to time
she looked at me, very kindly but very curiously, with a faint smile, so
that as I stood there, inwardly writhing in my bashfulness, I had the
sense that in her eyes I was a queer boy. She returned the book without
comment, after some questions, and I took it off to my room, where the
confidential friend of Cervantes cried himself to sleep.
In the morning I rose up and told them I could not stand it, and I was
going home. Nothing they could say availed, and my uncle went down to
the stage-office with me and took my passage back.
The horror of cholera was then in the land; and we heard in the stage-
office that a man lay dead of it in the hotel overhead. But my uncle led
me to his drugstore, where the stage was to call for me, and made me
taste a little camphor; with this prophylactic, Cervantes and I somehow
got home together alive.
The reading of 'Don Quixote' went on throughout my boyhood, so that I
cannot recall any distinctive period of it when I was not, more or less,
reading that book. In a boy's way I knew it well when I was ten, and a
few years ago, when I was fifty, I took it up in the admirable new
version of Ormsby, and found it so full of myself and of my own
irrevocable past that I did not find it very gay. But I made a great
many discoveries in it; things I had not dreamt of were there, and must
always have been there, and other things wore a new face, and made a new
effect upon me. I had my doubts, my reserves, where once I had given it
my whole heart without question, and yet in what formed the greatness of
the book it seemed to me greater than ever. I believe that its free and
simple design, where event follows event without the fettering control of
intrigue, but where all grows naturally out of character and conditions,
is the supreme form of fiction; and I cannot help thinking that if we
ever have a great American novel it must be built upon some such large
and noble lines. As for the central figure, Don Quixote himself, in his
dignity and generosity, his unselfish ideals, and his fearless devotion
to them, he is always heroic and beautiful; and I was glad to find in my
latest look at his history that I had truly conceived of him at first,
and had felt the sublimity of his nature. I did not want to laugh at him
so much, and I could not laugh at all any more at some of the things done
to him. Once they seemed funny, but now only cruel, and even stupid, so
that it was strange to realize his qualities and indignities as both
flowing from the same mind. But in my mature experience, which threw a
broader light on the fable, I was happy to keep my old love of an author
who had been almost personally, dear to me.
IV
IRVING
I have told how Cervantes made his race precious to me, and I am sure
that it must have been he who fitted me to understand and enjoy the
American author who now stayed me on Spanish ground and kept me happy in
Spanish air, though I cannot trace the tie in time and circumstance
between Irving and Cervantes. The most I can make sure of is that I read
the 'Conquest of Granada' after I read Don Quixote, and that I loved the
historian so much because I had loved the novelist much more. Of course
I did not perceive then that Irving's charm came largely from Cervantes
and the other Spanish humorists yet unknown to me, and that he had formed
himself upon them almost as much as upon Goldsmith, but I dare say that
this fact had insensibly a great deal to do with my liking. Afterwards I
came to see it, and at the same time to see what was Irving's own in
Irving; to feel his native, if somewhat attenuated humor, and his
original, if somewhat too studied grace. But as yet there was no
critical question with me. I gave my heart simply and passionately to
the author who made the scenes of that most pathetic history live in my
sympathy, and companioned me with the stately and gracious actors in
them.
I really cannot say now whether I loved the Moors or the Spaniards more.
I fought on both sides; I would not have had the Spaniards beaten, and
yet when the Moors lost I was vanquished with them; and when the poor
young King Boabdil (I was his devoted partisan and at the same time a
follower of his fiery old uncle and rival, Hamet el Zegri) heaved the
Last Sigh of the Moor, as his eyes left the roofs of Granada forever, it
was as much my grief as if it had burst from my own breast. I put both
these princes into the first and last historical romance I ever wrote.
I have now no idea what they did in it, but as the story never came to a
conclusion it does not greatly matter. I had never yet read an
historical romance that I can make sure of, and probably my attempt must
have been based almost solely upon the facts of Irving's history. I am
certain I could not have thought of adding anything to them, or at all
varying them.
In reading his 'Chronicle' I suffered for a time from its attribution to
Fray Antonio Agapida, the pious monk whom he feigns to have written it,
just as in reading 'Don Quixote' I suffered from Cervantes masquerading
as the Moorish scribe, Cid Hamet Ben Engeli. My father explained the
literary caprice, but it remained a confusion and a trouble for me, and I
made a practice of skipping those passages where either author insisted
upon his invention. I will own that I am rather glad that sort of thing
seems to be out of fashion now, and I think the directer and franker
methods of modern fiction will forbid its revival. Thackeray was fond of
such open disguises, and liked to greet his reader from the mask of
Yellowplush and Michael Angelo Titmarsh, but it seems to me this was in
his least modern moments.
My 'Conquest of Granada' was in two octavo volumes, bound in drab boards,
and printed on paper very much yellowed with time at its irregular edges.
I do not know when the books happened in my hands. I have no remembrance
that they were in any wise offered or commended to me, and in a sort of
way they were as authentically mine as if I had made them. I saw them at
home, not many months ago, in my father's library (it has long outgrown
the old bookcase, which has gone I know not where), and upon the whole I
rather shrank from taking them down, much more from opening them, though
I could not say why, unless it was from the fear of perhaps finding the
ghost of my boyish self within, pressed flat like a withered leaf,
somewhere between the familiar pages.
When I learned Spanish it was with the purpose, never yet fulfilled, of
writing the life of Cervantes, although I have since had some forty-odd
years to do it in. I taught myself the language, or began to do so, when
I knew nothing of the English grammar but the prosody at the end of the
book. My father had the contempt of familiarity with it, having himself
written a very brief sketch of our accidence, and he seems to have let me
plunge into the sea of Spanish verbs and adverbs, nouns and pronouns, and
all the rest, when as yet I could not confidently call them by name, with
the serene belief that if I did not swim I would still somehow get ashore
without sinking. The end, perhaps, justified him, and I suppose I did
not do all that work without getting some strength from it; but I wish I
had back the time that it cost me; I should like to waste it in some
other way. However, time seemed interminable then, and I thought there
would be enough of it for me in which to read all Spanish literature; or,
at least, I did not propose to do anything less.
I followed Irving, too, in my later reading, but at haphazard, and with
other authors at the same time. I did my poor best to be amused by his
'Knickerbocker History of New York', because my father liked it so much,
but secretly I found it heavy; and a few years ago when I went carefully
through it again. I could not laugh. Even as a boy I found some other
things of his uphill work. There was the beautiful manner, but the
thought seemed thin; and I do not remember having been much amused by
'Bracebridge Hall', though I read it devoutly, and with a full sense that
it would be very 'comme il faut' to like it. But I did like the 'Life of
Goldsmith'; I liked it a great deal better than the more authoritative
'Life by Forster', and I think there is a deeper and sweeter sense of
Goldsmith in it. Better than all, except the 'Conquest of Granada',
I liked the 'Legend of Sleepy Hollow' and the story of Rip Van Winkle,
with their humorous and affectionate caricatures of life that was once of
our own soil and air; and the 'Tales of the Alhambra', which transported
me again, to the scenes of my youth beside the Xenil. It was long after
my acquaintance with his work that I came to a due sense of Irving as an
artist, and perhaps I have come to feel a full sense of it only now, when
I perceive that he worked willingly only when he worked inventively.
At last I can do justice to the exquisite conception of his 'Conquest of
Granada', a study of history which, in unique measure, conveys not only
the pathos, but the humor of one of the most splendid and impressive
situations in the experience of the race. Very possibly something of the
severer truth might have been sacrificed to the effect of the pleasing
and touching tale, but I do not under stand that this was really done.
Upon the whole I am very well content with my first three loves in
literature, and if I were to choose for any other boy I do not see how I
could choose better than Goldsmith and Cervantes and Irving, kindred
spirits, and each not a master only, but a sweet and gentle friend, whose
kindness could not fail to profit him.
V. FIRST FICTION AND DRAMA
In my own case there followed my acquaintance with these authors certain
Boeotian years, when if I did not go backward I scarcely went forward in
the paths I had set out upon. They were years of the work, of the over-
work, indeed, which falls to the lot of so many that I should be ashamed
to speak of it except in accounting for the fact. My father had sold his
paper in Hamilton and had bought an interest in another at Dayton, and we
were all straining our utmost to help pay for it. My daily tasks began
so early and ended so late that I had little time, even if I had the
spirit, for reading; and it was not till what we thought ruin, but what
was really release, came to us that I got back again to my books. Then
we went to live in the country for a year, and that stress of toil, with
the shadow of failure darkening all, fell from me like the horror of an
evil dream. The only new book which I remember to have read in those two
or three years at Dayton, when I hardly remember to have read any old
ones, was the novel of 'Jane Eyre,' which I took in very imperfectly, and
which I associate with the first rumor of the Rochester Knockings, then
just beginning to reverberate through a world that they have not since
left wholly at peace. It was a gloomy Sunday afternoon when the book
came under my hand; and mixed with my interest in the story was an
anxiety lest the pictures on the walls should leave their nails and come
and lay themselves at my feet; that was what the pictures had been doing
in Rochester and other places where the disembodied spirits were
beginning to make themselves felt. The thing did not really happen in my
case, but I was alone in the house, and it might very easily have
happened.
If very little came to me in those days from books, on the other hand my
acquaintance with the drama vastly enlarged itself. There was a hapless
company of players in the town from time to time, and they came to us for
their printing. I believe they never paid for it, or at least never
wholly, but they lavished free passes upon us, and as nearly as I can
make out, at this distance of time, I profited by their generosity, every
night. They gave two or three plays at every performance to houses
ungratefully small, but of a lively spirit and impatient temper that
would not brook delay in the representation; and they changed the bill
each day. In this way I became familiar with Shakespeare before I read
him, or at least such plays of his as were most given in those days, and
I saw "Macbeth" and "Hamlet," and above all "Richard III.," again and
again. I do not know why my delight in those tragedies did not send me
to the volume of his plays, which was all the time in the bookcase at
home, but I seem not to have thought of it, and rapt as I was in them I
am not sure that they gave me greater pleasure, or seemed at all finer,
than "Rollo," "The Wife," "The Stranger," "Barbarossa," "The Miser of
Marseilles," and the rest of the melodramas, comedies, and farces which I
saw at that time. I have a notion that there were some clever people in
one of these companies, and that the lighter pieces at least were well
played, but I may be altogether wrong. The gentleman who took the part
of villain, with an unfailing love of evil, in the different dramas, used
to come about the printing-office a good deal, and I was puzzled to find
him a very mild and gentle person. To be sure he had a mustache, which
in those days devoted a man to wickedness, but by day it was a blond
mustache, quite flaxen, in fact, and not at all the dark and deadly thing
it was behind the footlights at night. I could scarcely gasp in his
presence, my heart bounded so in awe and honor of him when he paid a
visit to us; perhaps he used to bring the copy of the show-bills. The
company he belonged to left town in the adversity habitual with them.
Our own adversity had been growing, and now it became overwhelming. We
had to give up the paper we had struggled so hard to keep, but when the
worst came it was not half so bad as what had gone before. There was no
more waiting till midnight for the telegraphic news, no more waking at
dawn to deliver the papers, no more weary days at the case, heavier for
the doom hanging over us. My father and his brothers had long dreamed of
a sort of family colony somewhere in the country, and now the uncle who
was most prosperous bought a milling property on a river not far from
Dayton, and my father went out to take charge of it until the others
could shape their business to follow him. The scheme came to nothing
finally, but in the mean time we escaped from the little city and its
sorrowful associations of fruitless labor, and had a year in the country,
which was blest, at least to us children, by sojourn in a log-cabin,
while a house was building for us.
VI. LONGFELLOW'S "SPANISH STUDENT"
This log-cabin had a loft, where we boys slept, and in the loft were
stored in barrels the books that had now begun to overflow the bookcase.
I do not know why I chose the loft to renew my long-neglected friendship
with them. The light could not have been good, though if I brought my
books to the little gable window that overlooked the groaning and
whistling gristmill I could see well enough. But perhaps I liked the
loft best because the books were handiest there, and because I could be
alone. At any rate, it was there that I read Longfellow's "Spanish
Student," which I found in an old paper copy of his poems in one of the
barrels, and I instantly conceived for it the passion which all things
Spanish inspired in me. As I read I not only renewed my acquaintance
with literature, but renewed my delight in people and places where I had
been happy before those heavy years in Dayton. At the same time I felt a
little jealousy, a little grudge, that any one else should love them as
well as I, and if the poem had not been so beautiful I should have hated
the poet for trespassing on my ground. But I could not hold out long
against the witchery of his verse. The "Spanish Student" became one of
my passions; a minor passion, not a grand one, like 'Don Quixote' and the
'Conquest of Granada', but still a passion, and I should dread a little
to read the piece now, lest I should disturb my old ideal of its beauty.
The hero's rogue servant, Chispa, seemed to me, then and long afterwards,
so fine a bit of Spanish character that I chose his name for my first
pseudonym when I began to write for the newspapers, and signed my
legislative correspondence for a Cincinnati paper with it. I was in love
with the heroine, the lovely dancer whose 'cachucha' turned my head,
along with that of the cardinal, but whose name even I have forgotten,
and I went about with the thought of her burning in my heart, as if she
had been a real person.
VII. SCOTT
All the while I was bringing up the long arrears of play which I had not
enjoyed in the toil-years at Dayton, and was trying to make my Spanish
reading serve in the sports that we had in the woods and by the river.
We were Moors and Spaniards almost as often as we were British and
Americans, or settlers and Indians. I suspect that the large, mild boy,
the son of a neighboring farmer, who mainly shared our games, had but a
dim notion of what I meant by my strange people, but I did my best to
enlighten him, and he helped me make a dream out of my life, and did his
best to dwell in the region of unrealities where I preferably had my
being; he was from time to time a Moor when I think he would rather have
been a Mingo.
I got hold of Scott's poems, too, in that cabin loft, and read most of
the tales which were yet unknown to me after those earlier readings of my
father's. I could not say why "Harold the Dauntless" most took my fancy;
the fine, strongly flowing rhythm of the verse had a good deal to do with
it, I believe. I liked these things, all of them, and in after years I
liked the "Lady of the Lake" more and more, and from mere love of it got
great lengths of it by heart; but I cannot say that Scott was then or
ever a great passion with me. It was a sobered affection at best, which
came from my sympathy with his love of nature, and the whole kindly and
humane keeping of his genius. Many years later, during the month when I
was waiting for my passport as Consul for Venice, and had the time on my
hands, I passed it chiefly in reading all his novels, one after another,
without the interruption of other reading. 'Ivanhoe' I had known before,
and the 'Bride of Lammermoor' and 'Woodstock', but the rest had remained
in that sort of abeyance which is often the fate of books people expect
to read as a matter of course, and come very near not reading at all, or
read only very late. Taking them in this swift sequence, little or
nothing of them remained with me, and my experience with them is against
that sort of ordered and regular reading, which I have so often heard
advised for young people by their elders. I always suspect their elders
of not having done that kind of reading themselves.
For my own part I believe I have never got any good from a book that I
did not read lawlessly and wilfully, out of all leading and following,
and merely because I wanted to read it; and I here make bold to praise
that way of doing. The book which you read from a sense of duty, or
because for any reason you must, does not commonly make friends with you.
It may happen that it will yield you an unexpected delight, but this will
be in its own unentreated way and in spite of your good intentions.
Little of the book read for a purpose stays with the reader, and this is
one reason why reading for review is so vain and unprofitable. I have
done a vast deal of this, but I have usually been aware that the book was
subtly withholding from me the best a book can give, since I was not
reading it for its own sake and because I loved it, but for selfish ends
of my own, and because I wished to possess myself of it for business
purposes, as it were. The reading that does one good, and lasting good,
is the reading that one does for pleasure, and simply and unselfishly,
as children do. Art will still withhold herself from thrift, and she
does well, for nothing but love has any right to her.
Little remains of the events of any period, however vivid they were in
passing. The memory may hold record of everything, as it is believed,
but it will not be easily entreated to give up its facts, and I find
myself striving in vein to recall the things that I must have read that
year in the country. Probably I read the old things over; certainly I
kept on with Cervantes, and very likely with Goldsmith. There was a
delightful history of Ohio, stuffed with tales of the pioneer times,
which was a good deal in the hands of us boys; and there was a book of
Western Adventure, full of Indian fights and captivities, which we wore
to pieces. Still, I think that it was now that I began to have a
literary sense of what I was reading. I wrote a diary, and I tried to
give its record form and style, but mostly failed. The versifying which
I was always at was easier, and yielded itself more to my hand. I should
be very glad to, know at present what it dealt with.
VIII. LIGHTER FANCIES
When my uncles changed their minds in regard to colonizing their families
at the mills, as they did in about a year, it became necessary for my
father to look about for some new employment, and he naturally looked in
the old direction. There were several schemes for getting hold of this
paper and that, and there were offers that came to nothing. In that day
there were few salaried editors in the country outside of New York, and
the only hope we could have was of some place as printers in an office
which we might finally buy. The affair ended in our going to the State
capital, where my father found work as a reporter of legislative
proceedings for one of the daily journals, and I was taken into the
office as a compositor. In this way I came into living contact with
literature again, and the daydreams began once more over the familiar
cases of type. A definite literary ambition grew up in me, and in the
long reveries of the afternoon, when I was distributing my case,
I fashioned a future of overpowering magnificence and undying celebrity.
I should be ashamed to say what literary triumphs I achieved in those
preposterous deliriums. What I actually did was to write a good many
copies of verse, in imitation, never owned, of Moore and Goldsmith, and
some minor poets, whose work caught my fancy, as I read it in the
newspapers or put it into type.
One of my pieces, which fell so far short of my visionary performances as
to treat of the lowly and familiar theme of Spring, was the first thing I
ever had in print. My father offered it to the editor of the paper I
worked on, and I first knew, with mingled shame and pride, of what he had
done when I saw it in the journal. In the tumult of my emotions I
promised myself that if I got through this experience safely I would
never suffer anything else of mine to be published; but it was not long
before I offered the editor a poem myself. I am now glad to think it
dealt with so humble a fact as a farmer's family leaving their old home
for the West. The only fame of my poem which reached me was when another
boy in the office quoted some lines of it in derision. This covered me
with such confusion that I wonder that I did not vanish from the earth.
At the same time I had my secret joy in it, and even yet I think it was
attempted in a way which was not false or wrong. I had tried to sketch
an aspect of life that I had seen and known, and that was very well
indeed, and I had wrought patiently and carefully in the art of the poor
little affair.
My elder brother, for whom there was no place in the office where I
worked, had found one in a store, and he beguiled the leisure that light
trade left on his hands by reading the novels of Captain Marryat. I read
them after him with a great deal of amusement, but without the passion
that I bestowed upon my favorite authors. I believe I had no critical
reserves in regard to them, but simply they did not take my fancy.
Still, we had great fun with Japhet in 'Search of a Father', and with
'Midshipman Easy', and we felt a fine physical shiver in the darkling
moods of 'Snarle-yow the Dog-Fiend.' I do not remember even the names of
the other novels, except 'Jacob Faithful,' which I chanced upon a few
years ago and found very, hard reading.
We children who were used to the free range of woods and fields were
homesick for the country in our narrow city yard, and I associate with
this longing the 'Farmer's Boy of Bloomfield,' which my father got for
me. It was a little book in blue cloth, and there were some mild wood-
cuts in it. I read it with a tempered pleasure, and with a vague
resentment of its trespass upon Thomson's ground in the division of its
parts under the names of the seasons. I do not know why I need have felt
this. I was not yet very fond of Thomson. I really liked Bloomfield
better; for one thing, his poem was written in the heroic decasyllabics
which I preferred to any other verse.
IX. POPE
I infer, from the fact of this preference that I had already begun to
read Pope, and that I must have read the "Deserted Village" of Goldsmith.
I fancy, also, that I must by this time have read the Odyssey, for the
"Battle of the Frogs and Mice" was in the second volume, and it took me
so much that I paid it the tribute of a bald imitation in a mock-heroic
epic of a cat fight, studied from the cat fights in our back yard, with
the wonted invocation to the Muse, and the machinery of partisan gods and
goddesses. It was in some hundreds of verses, which I did my best to
balance as Pope did, with a caesura falling in the middle of the line,
and a neat antithesis at the end.
The story of the Odyssey charmed me, of course, and I had moments of
being intimate friends with Ulysses, but I was passing out of that phase,
and was coming to read more with a sense of the author, and less with a
sense of his characters as real persons; that is, I was growing more
literary, and less human. I fell in love with Pope, whose life I read
with an ardor of sympathy which I am afraid he hardly merited. I was of
his side in all his quarrels, as far as I understood them, and if I did
not understand them I was of his side anyway. When I found that he was a
Catholic I was almost ready to abjure the Protestant religion for his
sake; but I perceived that this was not necessary when I came to know
that most of his friends were Protestants. If the truth must be told,
I did not like his best things at first, but long remained chiefly
attached to his rubbishing pastorals, which I was perpetually imitating,
with a whole apparatus of swains and shepherdesses, purling brooks,
enamelled meads, rolling years, and the like.
After my day's work at the case I wore the evening away in my boyish
literary attempts, forcing my poor invention in that unnatural kind, and
rubbing and polishing at my wretched verses till they did sometimes take
on an effect, which, if it was not like Pope's, was like none of mine.
With all my pains I do not think I ever managed to bring any of my
pastorals to a satisfactory close. They all stopped somewhere about
halfway. My swains could not think of anything more to say, and the
merits of my shepherdesses remained undecided. To this day I do not know
whether in any given instance it was the champion of Chloe or of Sylvia
that carried off the prize for his fair, but I dare say it does not much
matter. I am sure that I produced a rhetoric as artificial and treated
of things as unreal as my master in the art, and I am rather glad that I
acquainted myself so thoroughly with a mood of literature which, whatever
we may say against it, seems to have expressed very perfectly a mood of
civilization.
The severe schooling I gave myself was not without its immediate use.
I learned how to choose between words after a study of their fitness,
and though I often employed them decoratively and with no vital sense of
their qualities, still in mere decoration they had to be chosen
intelligently, and after some thought about their structure and meaning.
I could not imitate Pope without imitating his methods, and his method
was to the last degree intelligent. He certainly knew what he was doing,
and although I did not always know what I was doing, he made me wish to
know, and ashamed of not knowing. There are several truer poets who
might not have done this; and after all the modern contempt of Pope, he
seems to me to have been at least one of the great masters, if not one of
the great poets. The poor man's life was as weak and crooked as his
frail, tormented body, but he had a dauntless spirit, and he fought his
way against odds that might well have appalled a stronger nature.
I suppose I must own that he was from time to time a snob, and from time
to time a liar, but I believe that he loved the truth, and would have
liked always to respect himself if he could. He violently revolted,
now and again, from the abasement to which he forced himself, and he
always bit the heel that trod on him, especially if it was a very high,
narrow heel, with a clocked stocking and a hooped skirt above it.
I loved him fondly at one time, and afterwards despised him, but now I am
not sorry for the love, and I am very sorry for the despite. I humbly,
own a vast debt to him, not the least part of which is the perception
that he is a model of ever so much more to be shunned than to be followed
in literature.
He was the first of the writers of great Anna's time whom I knew, and he
made me ready to understand, if he did not make me understand at once,
the order of mind and life which he belonged to. Thanks to his
pastorals, I could long afterwards enjoy with the double sense requisite
for full pleasure in them, such divinely excellent artificialities at
Tasso's "Aminta" and Guarini's "Pastor Fido"; things which you will
thoroughly like only after you are in the joke of thinking how people
once seriously liked them as high examples of poetry.
Of course I read other things of Pope's besides his pastorals, even at
the time I read these so much. I read, or not very easily or willingly
read at, his 'Essay on Man,' which my father admired, and which he
probably put Pope's works into my hands to have me read; and I read the
'Dunciad,' with quite a furious ardor in the tiresome quarrels it
celebrates, and an interest in its machinery, which it fatigues me to
think of. But it was only a few years ago that I read the 'Rape of the
Lock,' a thing perfect of its kind, whatever we may choose to think of
the kind. Upon the whole I think much better of the kind than I once
did, though still not so much as I should have thought if I had read the
poem when the fever of my love for Pope was at the highest.
It is a nice question how far one is helped or hurt by one's
idealizations of historical or imaginary characters, and I shall not try
to answer it fully. I suppose that if I once cherished such a passion
for Pope personally that I would willingly have done the things that he
did, and told the lies, and vented the malice, and inflicted the
cruelties that the poor soul was full of, it was for the reason, partly,
that I did not see these things as they were, and that in the glamour of
his talent I was blind to all but the virtues of his defects, which he
certainly had, and partly that in my love of him I could not take sides
against him, even when I knew him to be wrong. After all, I fancy not
much harm comes to the devoted boy from his enthusiasms for this
imperfect hero or that. In my own case I am sure that I distinguished as
to certain sins in my idols. I could not cast them down or cease to
worship them, but some of their frailties grieved me and put me to secret
shame for them. I did not excuse these things in them, or try to believe
that they were less evil for them than they would have been for less
people. This was after I came more or less to the knowledge of good and
evil. While I remained in the innocence of childhood I did not even
understand the wrong. When I realized what lives some of my poets had
led, how they were drunkards, and swindlers, and unchaste, and untrue,
I lamented over them with a sense of personal disgrace in them, and to
this day I have no patience with that code of the world which relaxes
itself in behalf of the brilliant and gifted offender; rather he should
suffer more blame. The worst of the literature of past times, before an
ethical conscience began to inform it, or the advance of the race
compelled it to decency, is that it leaves the mind foul with filthy
images and base thoughts; but what I have been trying to say is that the
boy, unless he is exceptionally depraved beforehand, is saved from these
through his ignorance. Still I wish they were not there, and I hope the
time will come when the beast-man will be so far subdued and tamed in us
that the memory of him in literature shall be left to perish; that what
is lewd and ribald in the great poets shall be kept out of such editions
as are meant for general reading, and that the pedant-pride which now
perpetuates it as an essential part of those poets shall no longer have
its way. At the end of the ends such things do defile, they do corrupt.
We may palliate them or excuse them for this reason or that, but that is
the truth, and I do not see why they should not be dropped from
literature, as they were long ago dropped from the talk of decent people.
The literary histories might keep record of them, but it is loath some to
think of those heaps of ordure, accumulated from generation to
generation, and carefully passed down from age to age as something
precious and vital, and not justly regarded as the moral offal which they
are.
During the winter we passed at Columbus I suppose that my father read
things aloud to us after his old habit, and that I listened with the
rest. I have a dim notion of first knowing Thomson's 'Castle of
Indolence' in this way, but I was getting more and more impatient of
having things read to me. The trouble was that I caught some thought or
image from the text, and that my fancy remained playing with that while
the reading went on, and I lost the rest. But I think the reading was
less in every way than it had been, because his work was exhausting and
his leisure less. My own hours in the printing-office began at seven and
ended at six, with an hour at noon for dinner, which I often used for
putting down such verses as had come to me during the morning. As soon
as supper was over at night I got out my manuscripts, which I kept in
great disorder, and written in several different hands on several
different kinds of paper, and sawed, and filed, and hammered away at my
blessed Popean heroics till nine, when I went regularly to bed, to rise
again at five. Sometimes the foreman gave me an afternoon off on
Saturdays, and though the days were long the work was not always
constant, and was never very severe. I suspect now the office was not so
prosperous as might have been wished. I was shifted from place to place
in it, and there was plenty of time for my day-dreams over the
distribution of my case. I was very fond of my work, though, and proud
of my swiftness and skill in it. Once when the perplexed foreman could
not think of any task to set me he offered me a holiday, but I would not
take it, so I fancy that at this time I was not more interested in my art
of poetry than in my trade of printing. What went on in the office
interested me as much as the quarrels of the Augustan age of English
letters, and I made much more record of it in the crude and shapeless
diary which I kept, partly in verse and partly in prose, but always of a
distinctly lower literary kind than that I was trying otherwise to write.
There must have been some mention in it of the tremendous combat with wet
sponges I saw there one day between two of the boys who hurled them back
and forth at each other. This amiable fray, carried on during the
foreman's absence, forced upon my notice for the first time the boy who
has come to be a name well-known in literature. I admired his vigor as a
combatant, but I never spoke to him at that time, and I never dreamed
that he, too, was effervescing with verse, probably as fiercely as
myself. Six or seven years later we met again, when we had both become
journalists, and had both had poems accepted by Mr. Lowell for the
Atlantic Monthly, and then we formed a literary friendship which
eventuated in the joint publication of a volume of verse. 'The Poems of
Two Friends' became instantly and lastingly unknown to fame; the West
waited, as it always does, to hear what the East should say; the East
said nothing, and two-thirds of the small edition of five hundred came
back upon the publisher's hands. I imagine these copies were "ground up"
in the manner of worthless stock, for I saw a single example of the book
quoted the other day in a book-seller's catalogue at ten dollars, and I
infer that it is so rare as to be prized at least for its rarity. It was
a very pretty little book, printed on tinted paper then called "blush,"
in the trade, and it was manufactured in the same office where we had
once been boys together, unknown to each other. Another boy of that time
had by this time become foreman in the office, and he was very severe
with us about the proofs, and sent us hurting messages on the margin.
Perhaps he thought we might be going to take on airs, and perhaps we
might have taken on airs if the fate of our book had been different.
As it was I really think we behaved with sufficient meekness, and after
thirty four or five years for reflection I am still of a very modest mind
about my share of the book, in spite of the price it bears in the book-
seller's catalogue. But I have steadily grown in liking for my friend's
share in it, and I think that there is at present no American of twenty-
three writing verse of so good a quality, with an ideal so pure and high,
and from an impulse so authentic as John J. Piatt's were then. He
already knew how to breathe into his glowing rhyme the very spirit of the
region where we were both native, and in him the Middle West has its true
poet, who was much more than its poet, who had a rich and tender
imagination, a lovely sense of color, and a touch even then securely and
fully his own. I was reading over his poems in that poor little book a
few days ago, and wondering with shame and contrition that I had not at
once known their incomparable superiority to mine. But I used then and
for long afterwards to tax him with obscurity, not knowing that my own
want of simplicity and directness was to blame for that effect.
My reading from the first was such as to enamour me of clearness, of
definiteness; anything left in the vague was intolerable to me; but my
long subjection to Pope, while it was useful in other ways, made me so
strictly literary in my point of view that sometimes I could not see what
was, if more naturally approached and without any technical
preoccupation, perfectly transparent. It remained for another great
passion, perhaps the greatest of my life, to fuse these gyves in which I
was trying so hard to dance, and free me forever from the bonds which I
had spent so much time and trouble to involve myself in. But I was not
to know that passion for five or six years yet, and in the mean time I
kept on as I had been going, and worked out my deliverance in the
predestined way. What I liked then was regularity, uniformity,
exactness. I did not conceive of literature as the expression of life,
and I could not imagine that it ought to be desultory, mutable, and
unfixed, even if at the risk of some vagueness.
X. VARIOUS PREFERENCES
My father was very fond of Byron, and I must before this have known that
his poems were in our bookcase. While we were still in Columbus I began
to read them, but I did not read so much of them as could have helped me
to a truer and freer ideal. I read "English Bards and Scotch Reviewers,"
and I liked its vulgar music and its heavy-handed sarcasm. These would,
perhaps, have fascinated any boy, but I had such a fanaticism for
methodical verse that any variation from the octosyllabic and
decasyllabic couplets was painful to me. The Spencerian stanza, with its
rich variety of movement and its harmonious closes, long shut "Childe
Harold" from me, and whenever I found a poem in any book which did not
rhyme its second line with its first I read it unwillingly or not at all.
This craze could not last, of course, but it lasted beyond our stay in
Columbus, which ended with the winter, when the Legislature adjourned,
and my father's employment ceased. He tried to find some editorial work
on the paper which had printed his reports, but every place was full, and
it was hopeless to dream of getting a proprietary interest in it. We had
nothing, and we must seek a chance where something besides money would
avail us. This offered itself in the village of Ashtabula, in the
northeastern part of the State, and there we all found ourselves one
moonlight night of early summer. The Lake Shore Railroad then ended at
Ashtabula, in a bank of sand, and my elder brother and I walked up from
the station, while the rest of the family, which pretty well filled the
omnibus, rode. We had been very happy at Columbus, as we were apt to be
anywhere, but none of us liked the narrowness of city streets, even so
near to the woods as those were, and we were eager for the country again.
We had always lived hitherto in large towns, except for that year at the
Mills, and we were eager to see what a village was like, especially a
village peopled wholly by Yankees, as our father had reported it. I must
own that we found it far prettier than anything we had known in Southern
Ohio, which we were so fond of and so loath to leave, and as I look back
it still seems to me one of the prettiest little places I have ever
known, with its white wooden houses, glimmering in the dark of its elms
and maples, and their silent gardens beside each, and the silent, grass-
bordered, sandy streets between them. The hotel, where we rejoined our
family, lurked behind a group of lofty elms, and we drank at the town
pump before it just for the pleasure of pumping it.
The village was all that we could have imagined of simply and sweetly
romantic in the moonlight, and when the day came it did not rob it of its
charm. It was as lovely in my eyes as the loveliest village of the
plain, and it had the advantage of realizing the Deserted Village without
being deserted.
XI. UNCLE TOM'S CABIN
The book that moved me most, in our stay of six months at Ashtabula, was
then beginning to move the whole world more than any other book has moved
it. I read it as it came out week after week in the old National Era,
and I broke my heart over Uncle Tom's Cabin, as every one else did. Yet
I cannot say that it was a passion of mine like Don Quixote, or the other
books that I had loved intensely. I felt its greatness when I read it
first, and as often as I have read it since, I have seen more and more
clearly that it was a very great novel. With certain obvious lapses in
its art, and with an art that is at its best very simple, and perhaps
primitive, the book is still a work of art. I knew this, in a measure
then, as I know it now, and yet neither the literary pride I was
beginning to have in the perception of such things, nor the powerful
appeal it made to my sympathies, sufficed to impassion me of it. I could
not say why this was so. Why does the young man's fancy, when it lightly
turns to thoughts of love, turn this way and not that? There seems no
more reason for one than for the other.
Instead of remaining steeped to the lips in the strong interest of what
is still perhaps our chief fiction, I shed my tribute of tears, and went
on my way. I did not try to write a story of slaver, as I might very
well have done; I did not imitate either the make or the manner of Mrs.
Stowe's romance; I kept on at my imitation of Pope's pastorals, which I
dare say I thought much finer, and worthier the powers of such a poet as
I meant to be. I did this, as I must have felt then, at some personal
risk of a supernatural kind, for my studies were apt to be prolonged into
the night after the rest of the family had gone to bed, and a certain
ghost, which I had every reason to fear, might very well have visited the
small room given me to write in. There was a story, which I shrank from
verifying, that a former inmate of our house had hung himself in it, but
I do not know to this day whether it was true or not. The doubt did not
prevent him from dangling at the door-post, in my consciousness, and many
a time I shunned the sight of this problematical suicide by keeping my
eyes fastened on the book before me. It was a very simple device, but
perfectly effective, as I think any one will find who employs it in like
circumstances; and I would really like to commend it to growing boys
troubled as I was then.
I never heard who the poor soul was, or why he took himself out of the
world, if he really did so, or if he ever was in it; but I am sure that
my passion for Pope, and my purpose of writing pastorals, must have been
powerful indeed to carry me through dangers of that kind. I suspect that
the strongest proof of their existence was the gloomy and ruinous look of
the house, which was one of the oldest in the village, and the only one
that was for rent there. We went into it because we must, and we were to
leave it as soon as we could find a better. But before this happened we
left Ashtabula, and I parted with one of the few possibilities I have
enjoyed of seeing a ghost on his own ground, as it were.
I was not sorry, for I believe I never went in or came out of the place,
by day or by night, without a shudder, more or less secret; and at least,
now, we should be able to get another house.
XII. OSSIAN
Very likely the reading of Ossian had something to do with my morbid
anxieties. I had read Byron's imitation of him before that, and admired
it prodigiously, and when my father got me the book--as usual I did not
know where or how he got it--not all the tall forms that moved before the
eyes of haunted bards in the dusky vale of autumn could have kept me from
it. There were certain outline illustrations in it, which were very good
in the cold Flaxman manner, and helped largely to heighten the
fascination of the poems for me. They did not supplant the pastorals of
Pope in my affections, and they were never the grand passion with me that
Pope's poems had been.
I began at once to make my imitations of Ossian, and I dare say they were
not windier and mistier than the original. At the same time I read the
literature of the subject, and gave the pretensions of Macpherson an
unquestioning faith. I should have made very short work of any one who
had impugned the authenticity of the poems, but happily there was no one
who held the contrary opinion in that village, so far as I knew, or who
cared for Ossian, or had even heard of him. This saved me a great deal
of heated controversy with my contemporaries, but I had it out in many
angry reveries with Dr. Johnson and others, who had dared to say in their
time that the poems of Ossian were not genuine lays of the Gaelic bard,
handed down from father to son, and taken from the lips of old women in
Highland huts, as Macpherson claimed.
In fact I lived over in my small way the epoch of the eighteenth century
in which these curious frauds found polite acceptance all over Europe,
and I think yet that they were really worthier of acceptance than most of
the artificialities that then passed for poetry. There was a light of
nature in them, and this must have been what pleased me, so long-shut up
to the studio-work of Pope. But strangely enough I did not falter in my
allegiance to him, or realize that here in this free form was a
deliverance, if I liked, from the fetters and manacles which I had been
at so much pains to fit myself with. Probably nothing would then have
persuaded me to put them off permanently, or to do more than lay them
aside for the moment while I tried that new stop and that new step.
I think that even then I had an instinctive doubt whether formlessness
was really better than formality. Something, it seems to me, may be
contained and kept alive in formality, but in formlessness everything
spills and wastes away. This is what I find the fatal defect of our
American Ossian, Walt Whitman, whose way is where artistic madness lies.
He had great moments, beautiful and noble thoughts, generous aspirations,
and a heart wide and warm enough for the whole race, but he had no
bounds, no shape; he was as liberal as the casing air, but he was often
as vague and intangible. I cannot say how long my passion for Ossian
lasted, but not long, I fancy, for I cannot find any trace of it in the
time following our removal from Ashtabula to the county seat at
Jefferson. I kept on with Pope, I kept on with Cervantes, I kept on with
Irving, but I suppose there was really not substance enough in Ossian to
feed my passion, and it died of inanition.
XIII. SHAKESPEARE
The establishment of our paper in the village where there had been none
before, and its enlargement from four to eight pages, were events so
filling that they left little room for any other excitement but that of
getting acquainted with the young people of the village, and going to
parties, and sleigh rides, and walks, and drives, and picnics, and
dances, and all the other pleasures in which that community seemed to
indulge beyond any other we had known. The village was smaller than the
one we had just left, but it was by no means less lively, and I think
that for its size and time and place it had an uncommon share of what has
since been called culture. The intellectual experience of the people was
mainly theological and political, as it was everywhere in that day, but
there were several among them who had a real love for books, and when
they met at the druggist's, as they did every night, to dispute of the
inspiration of the Scriptures and the principles of the Free Soil party,
the talk sometimes turned upon the respective merits of Dickens and
Thackeray, Gibbon and Macaulay, Wordsworth and Byron. There were law
students who read "Noctes Ambrosianae," the 'Age of Reason', and Bailey's
"Festus," as well as Blackstone's 'Commentaries;' and there was a public
library in that village of six hundred people, small but very well
selected, which was kept in one of the lawyers' offices, and was free to
all. It seems to me now that the people met there oftener than they do
in most country places, and rubbed their wits together more, but this may
be one of those pleasing illusions of memory which men in later life are
subject to.
I insist upon nothing, but certainly the air was friendlier to the tastes
I had formed than any I had yet known, and I found a wider if not deeper
sympathy with them. There was one of our printers who liked books, and
we went through 'Don Quixote' together again, and through the 'Conquest
of Granada', and we began to read other things of Irving's. There was a
very good little stock of books at the village drugstore, and among those
that began to come into my hands were the poems of Dr. Holmes, stray
volumes of De Quincey, and here and there minor works of Thackeray.
I believe I had no money to buy them, but there was an open account,
or a comity, between the printer and the bookseller, and I must have been
allowed a certain discretion in regard to getting books.
Still I do not think I went far in the more modern authors, or gave my
heart to any of them. Suddenly, it was now given to Shakespeare, without
notice or reason, that I can recall, except that my friend liked him too,
and that we found it a double pleasure to read him together. Printers in
the old-time offices were always spouting Shakespeare more or less, and I
suppose I could not have kept away from him much longer in the nature of
things. I cannot fix the time or place when my friend and I began to
read him, but it was in the fine print of that unhallowed edition of
ours, and presently we had great lengths of him by heart, out of
"Hamlet," out of "The Tempest," out of "Macbeth," out of "Richard III.,"
out of "Midsummer-Night's Dream," out of the "Comedy of Errors," out of
"Julius Caesar," out of "Measure for Measure," out of "Romeo and Juliet,"
out of "Two Gentlemen of Verona."
These were the plays that we loved, and must have read in common, or at
least at the same time: but others that I more especially liked were the
Histories, and among them particularly were the Henrys, where Falstaff
appeared. This gross and palpable reprobate greatly took my fancy.
I delighted in him immensely, and in his comrades, Pistol, and Bardolph,
and Nym. I could not read of his death without emotion, and it was a
personal pang to me when the prince, crowned king, denied him: blackguard
for blackguard, I still think the prince the worse blackguard. Perhaps I
flatter myself, but I believe that even then, as a boy of sixteen,
I fully conceived of Falstaff's character, and entered into the author's
wonderfully humorous conception of him. There is no such perfect
conception of the selfish sensualist in literature, and the conception is
all the more perfect because of the wit that lights up the vice of
Falstaff, a cold light without tenderness, for he was not a good fellow,
though a merry companion. I am not sure but I should put him beside
Hamlet, and on the name level, for the merit of his artistic
completeness, and at one time I much preferred him, or at least his
humor.
As to Falstaff personally, or his like, I was rather fastidious, and
would not have made friends with him in the flesh, much or little.
I revelled in all his appearances in the Histories, and I tried to be as
happy where a factitious and perfunctory Falstaff comes to life again in
the "Merry Wives of Windsor," though at the bottom of my heart I felt the
difference. I began to make my imitations of Shakespeare, and I wrote 57
out passages where Falstaff and Pistol and Bardolph talked together, in
that Ercles vein which is so easily caught. This was after a year or two
of the irregular and interrupted acquaintance with the author which has
been my mode of friendship with all the authors I have loved. My worship
of Shakespeare went to heights and lengths that it had reached with no
earlier idol, and there was a supreme moment, once, when I found myself
saying that the creation of Shakespeare was as great as the creation of a
planet.
There ought certainly to be some bound beyond which the cult of favorite
authors should not be suffered to go. I should keep well within the
limit of that early excess now, and should not liken the creation of
Shakespeare to the creation of any heavenly body bigger, say, than one of
the nameless asteroids that revolve between Mars and Jupiter. Even this
I do not feel to be a true means of comparison, and I think that in the
case of all great men we like to let our wonder mount and mount, till it
leaves the truth behind, and honesty is pretty much cast out as ballast.
A wise criticism will no more magnify Shakespeare because he is already
great than it will magnify any less man. But we are loaded down with the
responsibility of finding him all we have been told he is, and we must do
this or suspect ourselves of a want of taste, a want of sensibility. At
the same time, we may really be honester than those who have led us to
expect this or that of him, and more truly his friends. I wish the time
might come when we could read Shakespeare, and Dante, and Homer, as
sincerely and as fairly as we read any new book by the least known of our
contemporaries. The course of criticism is towards this, but when I
began to read Shakespeare I should not have ventured to think that he was
not at every moment great. I should no more have thought of questioning
the poetry of any passage in him than of questioning the proofs of holy
writ. All the same, I knew very well that much which I read was really
poor stuff, and the persons and positions were often preposterous. It is
a great pity that the ardent youth should not be permitted and even
encouraged to say this to himself, instead of falling slavishly before a
great author and accepting him at all points as infallible. Shakespeare
is fine enough and great enough when all the possible detractions are
made, and I have no fear of saying now that he would be finer and greater
for the loss of half his work, though if I had heard any one say such a
thing then I should have held him as little better than one of the
wicked.
Upon the whole it was well that I had not found my way to Shakespeare
earlier, though it is rather strange that I had not. I knew him on the
stage in most of the plays that used to be given. I had shared the
conscience of Macbeth, the passion of Othello, the doubt of Hamlet; many
times, in my natural affinity for villains, I had mocked and suffered
with Richard III.
Probably no dramatist ever needed the stage less, and none ever brought
more to it. There have been few joys for me in life comparable to that
of seeing the curtain rise on "Hamlet," and hearing the guards begin to
talk about the ghost; and yet how fully this joy imparts itself without
any material embodiment! It is the same in the whole range of his plays:
they fill the scene, but if there is no scene they fill the soul. They
are neither worse nor better because of the theatre. They are so great
that it cannot hamper them; they are so vital that they enlarge it to
their own proportions and endue it with something of their own living
force. They make it the size of life, and yet they retire it so wholly
that you think no more of it than you think of the physiognomy of one who
talks importantly to you. I have heard people say that they would rather
not see Shakespeare played than to see him played ill, but I cannot agree
with them. He can better afford to be played ill than any other man that
ever wrote. Whoever is on the stage, it is always Shakespeare who is
speaking to me, and perhaps this is the reason why in the past I can
trace no discrepancy between reading his plays and seeing them.
The effect is so equal from either experience that I am not sure as to
some plays whether I read them or saw them first, though as to most of
them I am aware that I never saw them at all; and if the whole truth must
be told there is still one of his plays that I have not read, and I
believe it is esteemed one of his greatest. There are several, with all
my reading of others, that I had not read till within a few years; and I
do not think I should have lost much if I, had never read "Pericles" and
"Winter's Tale."
In those early days I had no philosophized preference for reality in
literature, and I dare say if I had been asked, I should have said that
the plays of Shakespeare where reality is least felt were the most
imaginative; that is the belief of the puerile critics still; but I
suppose it was my instinctive liking for reality that made the great
Histories so delightful to me, and that rendered "Macbeth" and "Hamlet"
vital in their very ghosts and witches. There I found a world
appreciable to experience, a world inexpressibly vaster and grander than
the poor little affair that I had only known a small obscure corner of,
and yet of one quality with it, so that I could be as much at home and
citizen in it as where I actually lived. There I found joy and sorrow
mixed, and nothing abstract or typical, but everything standing for
itself, and not for some other thing. Then, I suppose it was the
interfusion of humor through so much of it, that made it all precious and
friendly. I think I had a native love of laughing, which was fostered in
me by my father's way of looking at life, and had certainly been
flattered by my intimacy with Cervantes; but whether this was so or not,
I know that I liked best and felt deepest those plays and passages in
Shakespeare where the alliance of the tragic and the comic was closest.
Perhaps in a time when self-consciousness is so widespread, it is the
only thing that saves us from ourselves. I am sure that without it I
should not have been naturalized to that world of Shakespeare's
Histories, where I used to spend so much of my leisure, with such a sense
of his own intimate companionship there as I had nowhere else. I felt
that he must somehow like my being in the joke of it all, and that in his
great heart he had room for a boy willing absolutely to lose himself in
him, and be as one of his creations.
It was the time of life with me when a boy begins to be in love with the
pretty faces that then peopled this world so thickly, and I did not fail
to fall in love with the ladies of that Shakespeare-world where I lived
equally. I cannot tell whether it was because I found them like my
ideals here, or whether my ideals acquired merit because of their
likeness to the realities there; they appeared to be all of one degree of
enchanting loveliness; but upon the whole I must have preferred them in
the plays, because it was so much easier to get on with them there; I was
always much better dressed there; I was vastly handsomer; I was not
bashful or afraid, and I had some defects of these advantages to contend
with here.
That friend of mine, the printer whom I have mentioned, was one with me
in a sense of the Shakespearean humor, and he dwelt with me in the sort
of double being I had in those two worlds. We took the book into the
woods at the ends of the long summer afternoons that remained to us when
we had finished our work, and on the shining Sundays of the warm, late
spring, the early, warm autumn, and we read it there on grassy slopes or
heaps of fallen leaves; so that much of the poetry is mixed for me with a
rapturous sense of the out-door beauty of this lovely natural world.
We read turn about, one taking the story up as the other tired, and as we
read the drama played itself under the open sky and in the free air with
such orchestral effects as the soughing woods or some rippling stream
afforded. It was not interrupted when a squirrel dropped a nut on us
from the top of a tall hickory; and the plaint of a meadow-lark prolonged
itself with unbroken sweetness from one world to the other.
But I think it takes two to read in the open air. The pressure of walls
is wanted to keep the mind within itself when one reads alone; otherwise
it wanders and disperses itself through nature. When my friend left us
for want of work in the office, or from the vagarious impulse which is so
strong in our craft, I took my Shakespeare no longer to the woods and
fields, but pored upon him mostly by night, in the narrow little space
which I had for my study, under the stairs at home. There was a desk
pushed back against the wall, which the irregular ceiling eloped down to
meet behind it, and at my left was a window, which gave a good light on
the writing-leaf of my desk. This was my workshop for six or seven
years, and it was not at all a bad one; I have had many since that were
not so much to the purpose; and though I would not live my life over, I
would willingly enough have that little study mine again. But it is gone
an utterly as the faces and voices that made home around it, and that I
was fierce to shut out of it, so that no sound or sight should molest me
in the pursuit of the end which I sought gropingly, blindly, with very
little hope, but with an intense ambition, and a courage that gave way
under no burden, before no obstacle. Long ago changes were made in the
low, rambling house which threw my little closet into a larger room; but
this was not until after I had left it many years; and as long as I
remained a part of that dear and simple home it was my place to read, to
write, to muse, to dream.
I sometimes wish in these later years that I had spent less time in it,
or that world of books which it opened into; that I had seen more of the
actual world, and had learned to know my brethren in it better. I might
so have amassed more material for after use in literature, but I had to
fit myself to use it, and I suppose that this was what I was doing, in my
own way, and by such light as I had. I often toiled wrongly and
foolishly; but certainly I toiled, and I suppose no work is wasted. Some
strength, I hope, was coming to me, even from my mistakes, and though I
went over ground that I need not have traversed, if I had not been left
so much to find the way alone, yet I was not standing still, and some of
the things that I then wished to do I have done. I do not mind owning
that in others I have failed. For instance, I have never surpassed
Shakespeare as a poet, though I once firmly meant to do so; but then, it
is to be remembered that very few other people have surpassed him, and
that it would not have been easy.
XIV. IK MARVEL
My ardor for Shakespeare must have been at its height when I was between
sixteen and seventeen years old, for I fancy when I began to formulate my
admiration, and to try to measure his greatness in phrases, I was less
simply impassioned than at some earlier time. At any rate, I am sure
that I did not proclaim his planetary importance in creation until I was
at least nineteen. But even at an earlier age I no longer worshipped at
a single shrine; there were many gods in the temple of my idolatry, and I
bowed the knee to them all in a devotion which, if it was not of one
quality, was certainly impartial. While I was reading, and thinking, and
living Shakespeare with such an intensity that I do not see how there
could have been room in my consciousness for anything else, there seem to
have been half a dozen other divinities there, great and small, whom I
have some present difficulty in distinguishing. I kept Irving, and
Goldsmith, and Cervantes on their old altars, but I added new ones, and
these I translated from the contemporary: literary world quite as often
as from the past. I am rather glad that among them was the gentle and
kindly Ik Marvel, whose 'Reveries of a Bachelor' and whose 'Dream Life'
the young people of that day were reading with a tender rapture which
would not be altogether surprising, I dare say, to the young people of
this. The books have survived the span of immortality fixed by our
amusing copyright laws, and seem now, when any pirate publisher may
plunder their author, to have a new life before them. Perhaps this is
ordered by Providence, that those who have no right to them may profit by
them, in that divine contempt of such profit which Providence so often
shows.
I cannot understand just how I came to know of the books, but I suppose
it was through the contemporary criticism which I was then beginning to
read, wherever I could find it, in the magazines and newspapers; and I
could not say why I thought it would be very 'comme il faut' to like
them. Probably the literary fine world, which is always rubbing
shoulders with the other fine world, and bringing off a little of its
powder and perfume, was then dawning upon me, and I was wishing to be of
it, and to like the things that it liked; I am not so anxious to do it
now. But if this is true, I found the books better than their friends,
and had many a heartache from their pathos, many a genuine glow of
purpose from their high import, many a tender suffusion from their
sentiment. I dare say I should find their pose now a little old-
fashioned. I believe it was rather full of sighs, and shrugs and starts,
expressed in dashes, and asterisks, and exclamations, but I am sure that
the feeling was the genuine and manly sort which is of all times and
always the latest wear. Whatever it was, it sufficed to win my heart,
and to identify me with whatever was most romantic and most pathetic in
it. I read 'Dream Life' first--though the 'Reveries of a Bachelor' was
written first, and I believe is esteemed the better book--and 'Dream
Life' remains first in my affections. I have now little notion what it
was about, but I love its memory. The book is associated especially in
my mind with one golden day of Indian summer, when I carried it into the
woods with me, and abandoned myself to a welter of emotion over its page.
I lay, under a crimson maple, and I remember how the light struck through
it and flushed the print with the gules of the foliage. My friend was
away by this time on one of his several absences in the Northwest, and I
was quite alone in the absurd and irrelevant melancholy with which I read
myself and my circumstances into the book. I began to read them out
again in due time, clothed with the literary airs and graces that I
admired in it, and for a long time I imitated Ik Marvel in the voluminous
letters I wrote my friend in compliance with his Shakespearean prayer:
"To Milan let me hear from thee by letters,
Of thy success in love, and what news else
Betideth here in absence of thy friend;
And I likewise will visit thee with mine."
Milan was then presently Sheboygan, Wisconsin, and Verona was our little
village; but they both served the soul of youth as well as the real
places would have done, and were as really Italian as anything else in
the situation was really this or that. Heaven knows what gaudy
sentimental parade we made in our borrowed plumes, but if the travesty
had kept itself to the written word it would have been all well enough.
My misfortune was to carry it into print when I began to write a story,
in the Ik Marvel manner, or rather to compose it in type at the case, for
that was what I did; and it was not altogether imitated from Ik Marvel
either, for I drew upon the easier art of Dickens at times, and helped
myself out with bald parodies of Bleak House in many places. It was all
very well at the beginning, but I had not reckoned with the future
sufficiently to have started with any clear ending in my mind, and as I
went on I began to find myself more and more in doubt about it. My
material gave out; incidents failed me; the characters wavered and
threatened to perish on my hands. To crown my misery there grew up an
impatience with the story among its readers, and this found its way to me
one day when I overheard an old farmer who came in for his paper say that
he did not think that story amounted to much. I did not think so either,
but it was deadly to have it put into words, and how I escaped the mortal
effect of the stroke I do not know. Somehow I managed to bring the
wretched thing to a close, and to live it slowly into the past. Slowly
it seemed then, but I dare say it was fast enough; and there is always
this consolation to be whispered in the ear of wounded vanity, that the
world's memory is equally bad for failure and success; that if it will
not keep your triumphs in mind as you think it ought, neither will it
long dwell upon your defeats. But that experience was really terrible.
It was like some dreadful dream one has of finding one's self in battle
without the courage needed to carry one creditably through the action,
or on the stage unprepared by study of the part which one is to appear
in. I have hover looked at that story since, so great was the shame and
anguish that I suffered from it, and yet I do not think it was badly
conceived, or attempted upon lines that were mistaken. If it were not
for what happened in the past I might like some time to write a story on
the same lines in the future.
XV. DICKENS
What I have said of Dickens reminds me that I had been reading him at the
same time that I had been reading Ik Marvel; but a curious thing about
the reading of my later boyhood is that the dates do not sharply detach
themselves one from another. This may be so because my reading was much
more multifarious than it had been earlier, or because I was reading
always two or three authors at a time. I think Macaulay a little
antedated Dickens in my affections, but when I came to the novels of that
masterful artist (as I must call him, with a thousand reservations as to
the times when he is not a master and not an artist), I did not fail to
fall under his spell.
This was in a season of great depression, when I began to feel in broken
health the effect of trying to burn my candle at both ends. It seemed
for a while very simple and easy to come home in the middle of the
afternoon, when my task at the printing-office was done, and sit down to
my books in my little study, which I did not finally leave until the
family were in bed; but it was not well, and it was not enough that I
should like to do it. The most that can be said in defence of such a
thing is that with the strong native impulse and the conditions it was
inevitable. If I was to do the thing I wanted to do I was to do it in
that way, and I wanted to do that thing, whatever it was, more than I
wanted to do anything else, and even more than I wanted to do nothing.
I cannot make out that I was fond of study, or cared for the things I was
trying to do, except as a means to other things. As far as my pleasure
went, or my natural bent was concerned, I would rather have been
wandering through the woods with a gun on my shoulder, or lying under a
tree, or reading some book that cost me no sort of effort. But there was
much more than my pleasure involved; there was a hope to fulfil, an aim
to achieve, and I could no more have left off trying for what I hoped and
aimed at than I could have left off living, though I did not know very
distinctly what either was. As I look back at the endeavor of those days
much of it seems mere purblind groping, wilful and wandering. I can see
that doing all by myself I was not truly a law to myself, but only a sort
of helpless force.
I studied Latin because I believed that I should read the Latin authors,
and I suppose I got as much of the language as most school-boys of my
age, but I never read any Latin author but Cornelius Nepos. I studied
Greek, and I learned so much of it as to read a chapter of the Testament,
and an ode of Anacreon. Then I left it, not because I did not mean to go
farther, or indeed stop short of reading all Greek literature, but
because that friend of mine and I talked it over and decided that I could
go on with Greek any time, but I had better for the present study German,
with the help of a German who had come to the village. Apparently I was
carrying forward an attack on French at the same time, for I distinctly
recall my failure to enlist with me an old gentleman who had once lived a
long time in France, and whom I hoped to get at least an accent from.
Perhaps because he knew he had no accent worth speaking of, or perhaps
because he did not want the bother of imparting it, he never would keep
any of the engagements he made with me, and when we did meet he so
abounded in excuses and subterfuges that he finally escaped me, and I was
left to acquire an Italian accent of French in Venice seven or eight
years later. At the same time I was reading Spanish, more or less,
but neither wisely nor too well. Having had so little help in my
studies, I had a stupid pride in refusing all, even such as I might have
availed myself of, without shame, in books, and I would not read any
Spanish author with English notes. I would have him in an edition wholly
Spanish from beginning to end, and I would fight my way through him
single-handed, with only such aid as I must borrow from a lexicon.
I now call this stupid, but I have really no more right to blame the boy
who was once I than I have to praise him, and I am certainly not going to
do that. In his day and place he did what he could in his own way; he
had no true perspective of life, but I do not know that youth ever has
that. Some strength came to him finally from the mere struggle,
undirected and misdirected as it often was, and such mental fibre as he
had was toughened by the prolonged stress. It could be said, of course,
that the time apparently wasted in these effectless studies could have
been well spent in deepening and widening a knowledge of English
literature never yet too great, and I have often said this myself; but
then, again, I am not sure that the studies were altogether effectless.
I have sometimes thought that greater skill had come to my hand from them
than it would have had without, and I have trusted that in making known
to me the sources of so much English, my little Latin and less Greek have
enabled me to use my own speech with a subtler sense of it than I should
have had otherwise.
But I will by no means insist upon my conjecture. What is certain is
that for the present my studies, without method and without stint, began
to tell upon my health, and that my nerves gave way in all manner of
hypochondriacal fears. These finally resolved themselves into one,
incessant, inexorable, which I could escape only through bodily fatigue,
or through some absorbing interest that took me out of myself altogether
and filled my morbid mind with the images of another's creation.
In this mood I first read Dickens, whom I had known before in the reading
I had listened to. But now I devoured his books one after another as
fast as I could read them. I plunged from the heart of one to another,
so as to leave myself no chance for the horrors that beset me. Some of
them remain associated with the gloom and misery of that time, so that
when I take them up they bring back its dreadful shadow. But I have
since read them all more than once, and I have had my time of thinking
Dickens, talking Dickens, and writing Dickens, as we all had who lived in
the days of the mighty magician. I fancy the readers who have come to
him since he ceased to fill the world with his influence can have little
notion how great it was. In that time he colored the parlance of the
English-speaking race, and formed upon himself every minor talent
attempting fiction. While his glamour lasted it was no more possible for
a young novelist to escape writing Dickens than it was for a young poet
to escape writing Tennyson. I admired other authors more; I loved them
more, but when it came to a question of trying to do something in fiction
I was compelled, as by a law of nature, to do it at least partially in
his way.
All the while that he held me so fast by his potent charm I was aware
that it was a very rough magic now and again, but I could not assert my
sense of this against him in matters of character and structure. To
these I gave in helplessly; their very grotesqueness was proof of their
divine origin, and I bowed to the crudest manifestations of his genius in
these kinds as if they were revelations not to be doubted without
sacrilege. But in certain small matters, as it were of ritual, I
suffered myself to think, and I remember boldly speaking my mind about
his style, which I thought bad.
I spoke it even to the quaint character whom I borrowed his books from,
and who might almost have come out of his books. He lived in Dickens in
a measure that I have never known another to do, and my contumely must
have brought him a pang that was truly a personal grief. He forgave it,
no doubt because I bowed in the Dickens worship without question on all
other points. He was then a man well on towards fifty, and he had come
to America early in life, and had lived in our village many years,
without casting one of his English prejudices, or ceasing to be of a
contrary opinion on every question, political, religious and social.
He had no fixed belief, but he went to the service of his church whenever
it was held among us, and he revered the Book of Common Prayer while he
disputed the authority of the Bible with all comers. He had become a
citizen, but he despised democracy, and achieved a hardy consistency only
by voting with the pro-slavery party upon all measures friendly to the
institution which he considered the scandal and reproach of the American
name. From a heart tender to all, he liked to say wanton, savage and
cynical things, but he bore no malice if you gainsaid him. I know
nothing of his origin, except the fact of his being an Englishman, or
what his first calling had been; but he had evolved among us from a
house-painter to an organ-builder, and he had a passionate love of music.
He built his organs from the ground up, and made every part of them with
his own hands; I believe they were very good, and at any rate the
churches in the country about took them from him as fast as he could make
them. He had one in his own house, and it was fine to see him as he sat
before it, with his long, tremulous hands outstretched to the keys, his
noble head thrown back and his sensitive face lifted in the rapture of
his music. He was a rarely intelligent creature, and an artist in every
fibre; and if you did not quarrel with his manifold perversities, he was
a delightful companion.
After my friend went away I fell much to him for society, and we took
long, rambling walks together, or sat on the stoop before his door,
or lounged over the books in the drug-store, and talked evermore of
literature. He must have been nearly three times my age, but that did
not matter; we met in the equality of the ideal world where there is
neither old nor young, any more than there is rich or poor. He had read
a great deal, but of all he had read he liked Dickens best, and was
always coming back to him with affection, whenever the talk strayed.
He could not make me out when I criticised the style of Dickens; and when
I praised Thackeray's style to the disadvantage of Dickens's he could
only accuse me of a sort of aesthetic snobbishness in my preference.
Dickens, he said, was for the million, and Thackeray was for the upper
ten thousand. His view amused me at the time, and yet I am not sure that
it was altogether mistaken.
There is certainly a property in Thackeray that somehow flatters the
reader into the belief that he is better than other people. I do not
mean to say that this was why I thought him a finer writer than Dickens,
but I will own that it was probably one of the reasons why I liked him
better; if I appreciated him so fully as I felt, I must be of a finer
porcelain than the earthen pots which were not aware of any particular
difference in the various liquors poured into them. In Dickens the
virtue of his social defect is that he never appeals to the principle
which sniffs, in his reader. The base of his work is the whole breadth
and depth of humanity itself. It is helplessly elemental, but it is not
the less grandly so, and if it deals with the simpler manifestations of
character, character affected by the interests and passions rather than
the tastes and preferences, it certainly deals with the larger moods
through them. I do not know that in the whole range of his work he once
suffers us to feel our superiority to a fellow-creature through any
social accident, or except for some moral cause. This makes him very fit
reading for a boy, and I should say that a boy could get only good from
him. His view of the world and of society, though it was very little
philosophized, was instinctively sane and reasonable, even when it was
most impossible.
We are just beginning to discern that certain conceptions of our
relations to our fellow-men, once formulated in generalities which met
with a dramatic acceptation from the world, and were then rejected by it
as mere rhetoric, have really a vital truth in them, and that if they
have ever seemed false it was because of the false conditions in which we
still live. Equality and fraternity, these are the ideals which once
moved the world, and then fell into despite and mockery, as unrealities;
but now they assert themselves in our hearts once more.
Blindly, unwittingly, erringly as Dickens often urged them, these ideals
mark the whole tendency of his fiction, and they are what endear him to
the heart, and will keep him dear to it long after many a cunninger
artificer in letters has passed into forgetfulness. I do not pretend
that I perceived the full scope of his books, but I was aware of it in
the finer sense which is not consciousness. While I read him, I was in a
world where the right came out best, as I believe it will yet do in this
world, and where merit was crowned with the success which I believe will
yet attend it in our daily life, untrammelled by social convention or
economic circumstance. In that world of his, in the ideal world, to
which the real world must finally conform itself, I dwelt among the shows
of things, but under a Providence that governed all things to a good end,
and where neither wealth nor birth could avail against virtue or right.
Of course it was in a way all crude enough, and was already contradicted
by experience in the small sphere of my own being; but nevertheless it
was true with that truth which is at the bottom of things, and I was
happy in it. I could not fail to love the mind which conceived it, and
my worship of Dickens was more grateful than that I had yet given any
writer. I did not establish with him that one-sided understanding which
I had with Cervantes and Shakespeare; with a contemporary that was not
possible, and as an American I was deeply hurt at the things he had said
against us, and the more hurt because I felt that they were often so
just. But I was for the time entirely his, and I could not have wished
to write like any one else.
I do not pretend that the spell I was under was wholly of a moral or
social texture. For the most part I was charmed with him because he was
a delightful story-teller; because he could thrill me, and make me hot
and cold; because he could make me laugh and cry, and stop my pulse and
breath at will. There seemed an inexhaustible source of humor and pathos
in his work, which I now find choked and dry; I cannot laugh any more at
Pickwick or Sam Weller, or weep for little Nell or Paul Dombey; their
jokes, their griefs, seemed to me to be turned on, and to have a
mechanical action. But beneath all is still the strong drift of a
genuine emotion, a sympathy, deep and sincere, with the poor, the lowly,
the unfortunate. In all that vast range of fiction, there is nothing
that tells for the strong, because they are strong, against the weak,
nothing that tells for the haughty against the humble, nothing that tells
for wealth against poverty. The effect of Dickens is purely democratic,
and however contemptible he found our pseudo-equality, he was more truly
democratic than any American who had yet written fiction. I suppose it
was our instinctive perception in the region of his instinctive
expression, that made him so dear to us, and wounded our silly vanity so
keenly through our love when he told us the truth about our horrible sham
of a slave-based freedom. But at any rate the democracy is there in his
work more than he knew perhaps, or would ever have known, or ever
recognized by his own life. In fact, when one comes to read the story of
his life, and to know that he was really and lastingly ashamed of having
once put up shoe-blacking as a boy, and was unable to forgive his mother
for suffering him to be so degraded, one perceives that he too was the
slave of conventions and the victim of conditions which it is the highest
function of his fiction to help destroy.
I imagine that my early likes and dislikes in Dickens were not very
discriminating. I liked 'David Copperfield,' and 'Barnaby Rudge,' and
'Bleak House,' and I still like them; but I do not think I liked them
more than 'Dombey & Son,' and 'Nicholas Nickleby,' and the 'Pickwick
Papers,' which I cannot read now with any sort of patience, not to speak
of pleasure. I liked 'Martin Chuzzlewit,' too, and the other day I read
a great part of it again, and found it roughly true in the passages that
referred to America, though it was surcharged in the serious moods, and
caricatured in the comic. The English are always inadequate observers;
they seem too full of themselves to have eyes and ears for any alien
people; but as far as an Englishman could, Dickens had caught the look of
our life in certain aspects. His report of it was clumsy and farcical;
but in a large, loose way it was like enough; at least he had caught the
note of our self-satisfied, intolerant, and hypocritical provinciality,
and this was not altogether lost in his mocking horse-play.
I cannot make out that I was any the less fond of Dickens because of it.
I believe I was rather more willing to accept it as a faithful
portraiture then than I should be now; and I certainly never made any
question of it with my friend the organ-builder. 'Martin Chuzzlewit' was
a favorite book with him, and so was the 'Old Curiosity Shop.' No doubt
a fancied affinity with Tom Pinch through their common love of music made
him like that most sentimental and improbable personage, whom he would
have disowned and laughed to scorn if he had met him in life; but it was
a purely altruistic sympathy that he felt with Little Nell and her
grandfather. He was fond of reading the pathetic passages from both
books, and I can still hear his rich, vibrant voice as it lingered in
tremulous emotion on the periods he loved. He would catch the volume up
anywhere, any time, and begin to read, at the book-store, or the harness-
shop, or the law-office, it did not matter in the wide leisure of a
country village, in those days before the war, when people had all the
time there was; and he was sure of his audience as long as he chose to
read. One Christmas eve, in answer to a general wish, he read the
'Christmas Carol' in the Court-house, and people came from all about to
hear him.
He was an invalid and he died long since, ending a life of suffering in
the saddest way. Several years before his death money fell to his
family, and he went with them to an Eastern city, where he tried in vain
to make himself at home. He never ceased to pine for the village be had
left, with its old companionships, its easy usages, its familiar faces;
and he escaped to it again and again, till at last every tie was severed,
and he could come back no more. He was never reconciled to the change,
and in a manner he did really die of the homesickness which deepened an
hereditary taint, and enfeebled him to the disorder that carried him.
off. My memories of Dickens remain mingled with my memories of this
quaint and most original genius, and though I knew Dickens long before I
knew his lover, I can scarcely think of one without thinking of the
other.
XVI. WORDSWORTH, LOWELL, CHAUCER
Certain other books I associate with another pathetic nature, of whom the
organ-builder and I were both fond. This was the young poet who looked
after the book half of the village drug and book store, and who wrote
poetry in such leisure as he found from his duties, and with such
strength as he found in the disease preying upon him. He must have been
far gone in consumption when I first knew him, for I have no recollection
of a time when his voice was not faint and husky, his sweet smile wan,
and his blue eyes dull with the disease that wasted him away,
"Like wax in the fire,
Like snow in the sun."
People spoke of him as once strong and vigorous, but I recall him fragile
and pale, gentle, patient, knowing his inexorable doom, and not hoping or
seeking to escape it. As the end drew near he left his employment and
went home to the farm, some twenty miles away, where I drove out to see
him once through the deep snow of a winter which was to be his last.
My heart was heavy all the time, but he tried to make the visit pass
cheerfully with our wonted talk about books. Only at parting, when he
took my hand in his thin, cold clasp, he said, "I suppose my disease is
progressing," with the patience he always showed.
I did not see him again, and I am not sure now that his gift was very
distinct or very great. It was slight and graceful rather, I fancy,
and if he had lived it might not have sufficed to make him widely known,
but he had a real and a very delicate sense of beauty in literature,
and I believe it was through sympathy with his preferences that I came
into appreciation of several authors whom I had not known, or had not
cared for before. There could not have been many shelves of books in
that store, and I came to be pretty well acquainted with them all before
I began to buy them. For the most part, I do not think it occurred to me
that they were there to be sold; for this pale poet seemed indifferent to
the commercial property in them, and only to wish me to like them.
I am not sure, but I think it was through some volume which I found in
his charge that I first came to know of De Quincey; he was fond of
Dr. Holmes's poetry; he loved Whittier and Longfellow, each represented
in his slender stock by some distinctive work. There were several stray
volumes of Thackeray's minor writings, and I still have the 'Yellowplush
Papers' in the smooth red cloth (now pretty well tattered) of Appleton's
Popular Library, which I bought there. But most of the books were in the
famous old brown cloth of Ticknor & Fields, which was a warrant of
excellence in the literature it covered. Besides these there were
standard volumes of poetry, published by Phillips & Sampson, from worn-
out plates; for a birthday present my mother got me Wordsworth in this
shape, and I am glad to think that I once read the "Excursion" in it,
for I do not think I could do so now, and I have a feeling that it is
very right and fit to have read the "Excursion." To be honest, it was
very hard reading even then, and I cannot truthfully pretend that I have
ever liked Wordsworth except in parts, though for the matter of that,
I do not suppose that any one ever did. I tried hard enough to like
everything in him, for I had already learned enough to know that I ought
to like him, and that if I did not, it was a proof of intellectual and
moral inferiority in me. My early idol, Pope, had already been tumbled
into the dust by Lowell, whose lectures on English Poetry had lately been
given in Boston, and had met with my rapturous acceptance in such
newspaper report as I had of them. So, my preoccupations were all in
favor of the Lake School, and it was both in my will and my conscience to
like Wordsworth. If I did not do so it was not my fault, and the fault
remains very much what it first was.
I feel and understand him more deeply than I did then, but I do not think
that I then failed of the meaning of much that I read in him, and I am
sure that my senses were quick to all the beauty in him. After suffering
once through the "Excursion" I did not afflict myself with it again,
but there were other poems of his which I read over and over, as I fancy
it is the habit of every lover of poetry to do with the pieces he is fond
of. Still, I do not make out that Wordsworth was ever a passion of mine;
on the other hand, neither was Byron. Him, too, I liked in passages and
in certain poems which I knew before I read Wordsworth at all; I read him
throughout, but I did not try to imitate him, and I did not try to
imitate Wordsworth.
Those lectures of Lowell's had a great influence with me, and I tried to
like whatever they bade me like, after a fashion common to young people
when they begin to read criticisms; their aesthetic pride is touched;
they wish to realize that they too can feel the fine things the critic
admires. From this motive they do a great deal of factitious liking;
but after all the affections will not be bidden, and the critic can only
avail to give a point of view, to enlighten a perspective. When I read
Lowell's praises of him, I had all the will in the world to read Spencer,
and I really meant to do so, but I have not done so to this day, and as
often as I have tried I have found it impossible. It was not so with
Chaucer, whom I loved from the first word of his which I found quoted in
those lectures, and in Chambers's 'Encyclopaedia of English Literature,'
which I had borrowed of my friend the organ-builder.
In fact, I may fairly class Chaucer among my passions, for I read him
with that sort of personal attachment I had for Cervantes, who resembled
him in a certain sweet and cheery humanity. But I do not allege this as
the reason, for I had the same feeling for Pope, who was not like either
of them. Kissing goes by favor, in literature as in life, and one cannot
quite account for one's passions in either; what is certain is, I liked
Chaucer and I did not like Spencer; possibly there was an affinity
between reader and poet, but if there was I should be at a loss to name
it, unless it was the liking for reality; and the sense of mother earth
in human life. By the time I had read all of Chaucer that I could find
in the various collections and criticisms, my father had been made a
clerk in the legislature, and on one of his visits home he brought me the
poet's works from the State Library, and I set about reading them with a
glossary. It was not easy, but it brought strength with it, and lifted
my heart with a sense of noble companionship.
I will not pretend that I was insensible to the grossness of the poet's
time, which I found often enough in the poet's verse, as well as the
goodness of his nature, and my father seems to have felt a certain
misgiving about it. He repeated to me the librarian's question as to
whether he thought he ought to put an unexpurgated edition in the hands
of a boy, and his own answer that he did not believe it would hurt me.
It was a kind of appeal to me to make the event justify him, and I
suppose he had not given me the book without due reflection. Probably he
reasoned that with my greed for all manner of literature the bad would
become known to me along with the good at any rate, and I had better know
that he knew it.
The streams of filth flow down through the ages in literature, which
sometimes seems little better than an open sewer, and, as I have said,
I do not see why the time should not come when the noxious and noisome
channels should be stopped; but the base of the mind is bestial, and so
far the beast in us has insisted upon having his full say. The worst of
lewd literature is that it seems to give a sanction to lewdness in the
life, and that inexperience takes this effect for reality: that is the
danger and the harm, and I think the fact ought not to be blinked.
Compared with the meaner poets the greater are the cleaner, and Chaucer
was probably safer than any other English poet of his time, but I am not
going to pretend that there are not things in Chaucer which a boy would
be the better for not reading; and so far as these words of mine shall be
taken for counsel, I am not willing that they should unqualifiedly praise
him. The matter is by no means simple; it is not easy to conceive of a
means of purifying the literature of the past without weakening it, and
even falsifying it, but it is best to own that it is in all respects just
what it is, and not to feign it otherwise. I am not ready to say that
the harm from it is positive, but you do get smeared with it, and the
filthy thought lives with the filthy rhyme in the ear, even when it does
not corrupt the heart or make it seem a light thing for the reader's
tongue and pen to sin in kind.
I loved my Chaucer too well, I hope, not to get some good from the best
in him; and my reading of criticism had taught me how and where to look
for the best, and to know it when I had found it. Of course I began to
copy him. That is, I did not attempt anything like his tales in kind;
they must have seemed too hopelessly far away in taste and time, but I
studied his verse, and imitated a stanza which I found in some of his
things and had not found elsewhere; I rejoiced in the freshness and
sweetness of his diction, and though I felt that his structure was
obsolete, there was in his wording something homelier and heartier than
the imported analogues that had taken the place of the phrases he used.
I began to employ in my own work the archaic words that I fancied most,
which was futile and foolish enough, and I formed a preference for the
simpler Anglo-Saxon woof of our speech, which was not so bad. Of course,
being left so much as I was to my own whim in such things, I could not
keep a just mean; I had an aversion for the Latin derivatives which was
nothing short of a craze. Some half-bred critic whom I had read made me
believe that English could be written without them, and had better be
written so, and I did not escape from this lamentable error until I had
produced with weariness and vexation of spirit several pieces of prose
wholly composed of monosyllables. I suspect now that I did not always
stop to consider whether my short words were not as Latin by race as any
of the long words I rejected, and that I only made sure they were short.
The frivolous ingenuity which wasted itself in this exercise happily
could not hold out long, and in verse it was pretty well helpless from
the beginning. Yet I will not altogether blame it, for it made me know,
as nothing else could, the resources of our tongue in that sort; and in
the revolt from the slavish bondage I took upon myself I did not go so
far as to plunge into any very wild polysyllabic excesses. I still like
the little word if it says the thing I want to say as well as the big
one, but I honor above all the word that says the thing. At the same
time I confess that I have a prejudice against certain words that I
cannot overcome; the sight of some offends me, the sound of others, and
rather than use one of those detested vocables, even when I perceive that
it would convey my exact meaning, I would cast about long for some other.
I think this is a foible, and a disadvantage, but I do not deny it.
An author who had much to do with preparing me for the quixotic folly in
point was that Thomas Babington Macaulay, who taught simplicity of
diction in phrases of as "learned length and thundering sound," as any he
would have had me shun, and who deplored the Latinistic English of
Johnson in terms emulous of the great doctor's orotundity and
ronderosity. I wonder now that I did not see how my physician avoided
his medicine, but I did not, and I went on to spend myself in an endeavor
as vain and senseless as any that pedantry has conceived. It was none
the less absurd because I believed in it so devoutly, and sacrificed
myself to it with such infinite pains and labor. But this was long after
I read Macaulay, who was one of my grand passions before Dickens or
Chaucer.
XVII. MACAULAY
One of the many characters of the village was the machinist who had his
shop under our printing-office when we first brought our newspaper to the
place, and who was just then a machinist because he was tired of being
many other things, and had not yet made up his mind what he should be
next. He could have been whatever he turned his agile intellect and his
cunning hand to; he had been a schoolmaster and a watch-maker, and I
believe an amateur doctor and irregular lawyer; he talked and wrote
brilliantly, and he was one of the group that nightly disposed of every
manner of theoretical and practical question at the drug-store; it was
quite indifferent to him which side he took; what he enjoyed was the
mental exercise. He was in consumption, as so many were in that region,
and he carbonized against it, as he said; he took his carbon in the
liquid form, and the last time I saw him the carbon had finally prevailed
over the consumption, but it had itself become a seated vice; that was
many years since, and it is many years since he died.
He must have been known to me earlier, but I remember him first as he
swam vividly into my ken, with a volume of Macaulay's essays in his hand,
one day. Less figuratively speaking, he came up into the printing-office
to expose from the book the nefarious plagiarism of an editor in a
neighboring city, who had adapted with the change of names and a word or
two here and there, whole passages from the essay on Barere, to the
denunciation of a brother editor. It was a very simple-hearted fraud,
and it was all done with an innocent trust in the popular ignorance which
now seems to me a little pathetic; but it was certainly very barefaced,
and merited the public punishment which the discoverer inflicted by means
of what journalists call the deadly parallel column. The effect ought
logically to have been ruinous for the plagiarist, but it was really
nothing of the kind. He simply ignored the exposure, and the comments of
the other city papers, and in the process of time he easily lived down
the memory of it and went on to greater usefulness in his profession.
But for the moment it appeared to me a tremendous crisis, and I listened
as the minister of justice read his communication, with a thrill which
lost itself in the interest I suddenly felt in the plundered author.
Those facile and brilliant phrases and ideas struck me as the finest
things I had yet known in literature, and I borrowed the book and read it
through. Then I borrowed another volume of Macaulay's essays, and
another and another, till I had read them every one. It was like a long
debauch, from which I emerged with regret that it should ever end.
I tried other essayists, other critics, whom the machinist had in his
library, but it was useless; neither Sidney Smith nor Thomas Carlyle
could console me; I sighed for more Macaulay and evermore Macaulay. I
read his History of England, and I could measurably console myself with
that, but only measurably; and I could not go back to the essays and read
them again, for it seemed to me I had absorbed them so thoroughly that I
had left nothing unenjoyed in them. I used to talk with the machinist
about them, and with the organ-builder, and with my friend the printer,
but no one seemed to feel the intense fascination in them that I did, and
that I should now be quite unable to account for.
Once more I had an author for whom I could feel a personal devotion, whom
I could dream of and dote upon, and whom I could offer my intimacy in
many an impassioned revery. I do not think T. B. Macaulay would really
have liked it; I dare say he would not have valued the friendship of the
sort of a youth I was, but in the conditions he was helpless, and I
poured out my love upon him without a rebuff. Of course I reformed my
prose style, which had been carefully modelled upon that of Goldsmith and
Irving, and began to write in the manner of Macaulay, in short, quick
sentences, and with the prevalent use of brief Anglo-Saxon words, which
he prescribed, but did not practise. As for his notions of literature, I
simply accepted them with the feeling that any question of them would
have been little better than blasphemy.
For a long time he spoiled my taste for any other criticism; he made it
seem pale, and poor, and weak; and he blunted my sense to subtler
excellences than I found in him. I think this was a pity, but it was a
thing not to be helped, like a great many things that happen to our hurt
in life; it was simply inevitable. How or when my frenzy for him began
to abate I cannot say, but it certainly waned, and it must have waned
rapidly, for after no great while I found myself feeling the charm of
quite different minds, as fully as if his had never enslaved me. I
cannot regret that I enjoyed him so keenly as I did; it was in a way a
generous delight, and though he swayed me helplessly whatever way he
thought, I do not think yet that he swayed me in any very wrong way. He
was a bright and clear intelligence, and if his light did not go far, it
is to be said of him that his worst fault was only to have stopped short
of the finest truth in art, in morals, in politics.
XVIII. CRITICS AND REVIEWS
What remained to me from my love of Macaulay was a love of criticism,
and I read almost as much in criticism as I read in poetry and history
and fiction. It was of an eccentric doctor, another of the village
characters, that I got the works of Edgar A. Poe; I do not know just how,
but it must have been in some exchange of books; he preferred
metaphysics. At any rate I fell greedily upon them, and I read with no
less zest than his poems the bitter, and cruel, and narrow-minded
criticisms which mainly filled one of the volumes. As usual, I accepted
them implicitly, and it was not till long afterwards that I understood
how worthless they were.
I think that hardly less immoral than the lubricity of literature, and
its celebration of the monkey and the goat in us, is the spectacle such
criticism affords of the tigerish play of satire. It is monstrous that
for no offence but the wish to produce something beautiful, and the
mistake of his powers in that direction, a writer should become the prey
of some ferocious wit, and that his tormentor should achieve credit by
his lightness and ease in rending his prey; it is shocking to think how
alluring and depraving the fact is to the young reader emulous of such
credit, and eager to achieve it. Because I admired these barbarities of
Poe's, I wished to irritate them, to spit some hapless victim on my own
spear, to make him suffer and to make the reader laugh. This is as far
as possible from the criticism that enlightens and ennobles, but it is
still the ideal of most critics, deny it as they will; and because it is
the ideal of most critics criticism still remains behind all the other
literary arts.
I am glad to remember that at the same time I exulted in these ferocities
I had mind enough and heart enough to find pleasure in the truer and
finer work, the humaner work of other writers, like Hazlitt, and Leigh
Hunt, and Lamb, which became known to me at a date I cannot exactly fix.
I believe it was Hazlitt whom I read first, and he helped me to clarify
and formulate my admiration of Shakespeare as no one else had yet done;
Lamb helped me too, and with all the dramatists, and on every hand I was
reaching out for light that should enable me to place in literary history
the authors I knew and loved.
I fancy it was well for me at this period to have got at the four great
English reviews, the Edinburgh, the Westminster, the London Quarterly,
and the North British, which I read regularly, as well as Blackwood's
Magazine. We got them in the American editions in payment for printing
the publisher's prospectus, and their arrival was an excitement, a joy,
and a satisfaction with me, which I could not now describe without having
to accuse myself of exaggeration. The love of literature, and the hope
of doing something in it, had become my life to the exclusion of all
other interests, or it was at least the great reality, and all other
things were as shadows. I was living in a time of high political tumult,
and I certainly cared very much for the question of slavery which was
then filling the minds of men; I felt deeply the shame and wrong of our
Fugitive Slave Law; I was stirred by the news from Kansas, where the
great struggle between the two great principles in our nationality was
beginning in bloodshed; but I cannot pretend that any of these things
were more than ripples on the surface of my intense and profound interest
in literature. If I was not to live by it, I was somehow to live for it.
If I thought of taking up some other calling it was as a means only;
literature was always the end I had in view, immediately or finally.
I did not see how it was to yield me a living, for I knew that almost all
the literary men in the country had other professions; they were editors,
lawyers, or had public or private employments; or they were men of
wealth; there was then not one who earned his bread solely by his pen in
fiction, or drama, or history, or poetry, or criticism, in a day when
people wanted very much less butter on their bread than they do now.
But I kept blindly at my studies, and yet not altogether blindly, for,
as I have said, the reading I did had more tendency than before, and I
was beginning to see authors in their proportion to one another, and to
the body of literature.
The English reviews were of great use to me in this; I made a rule of
reading each one of them quite through. To be sure I often broke this
rule, as people are apt to do with rules of the kind; it was not possible
for a boy to wade through heavy articles relating to English politics and
economics, but I do not think I left any paper upon a literary topic
unread, and I did read enough politics, especially in Blackwood's, to be
of Tory opinions; they were very fit opinions for a boy, and they did not
exact of me any change in regard to the slavery question.
XIX. A NON-LITERARY EPISODE
I suppose I might almost class my devotion to English reviews among my
literary passions, but it was of very short lease, not beyond a year or
two at the most. In the midst of it I made my first and only essay aside
from the lines of literature, or rather wholly apart from it. After some
talk with my father it was decided, mainly by myself, I suspect, that I
should leave the printing-office and study law; and it was arranged with
the United States Senator who lived in our village, and who was at home
from Washington for the summer, that I was to come into his office. The
Senator was by no means to undertake my instruction himself; his nephew,
who had just begun to read law, was to be my fellow-student, and we were
to keep each other up to the work, and to recite to each other, until we
thought we had enough law to go before a board of attorneys and test our
fitness for admission to the bar.
This was the custom in that day and place, as I suppose it is still in
most parts of the country. We were to be fitted for practice in the
courts, not only by our reading, but by a season of pettifogging before
justices of the peace, which I looked forward to with no small shrinking
of my shy spirit; but what really troubled me most, and was always the
grain of sand between my teeth, was Blackstone's confession of his own
original preference for literature, and his perception that the law was
"a jealous mistress," who would suffer no rival in his affections.
I agreed with him that I could not go through life with a divided
interest; I must give up literature or I must give up law. I not only
consented to this logically, but I realized it in my attempt to carry on
the reading I had loved, and to keep at the efforts I was always making
to write something in verse or prose, at night, after studying law all
day. The strain was great enough when I had merely the work in the
printing-office; but now I came home from my Blackstone mentally fagged,
and I could not take up the authors whom at the bottom of my heart I
loved so much better. I tried it a month, but almost from the fatal day
when I found that confession of Blackstone's, my whole being turned from
the "jealous mistress" to the high minded muses: I had not only to go
back to literature, but I had also to go back to the printing-office.
I did not regret it, but I had made my change of front in the public eye,
and I felt that it put me at a certain disadvantage with my fellow-
citizens; as for the Senator, whose office I had forsaken, I met him now
and then in the street, without trying to detain him, and once when he
came to the printing-office for his paper we encountered at a point where
we could not help speaking. He looked me over in my general effect of
base mechanical, and asked me if I had given up the law; I had only to
answer him I had, and our conference ended. It was a terrible moment for
me, because I knew that in his opinion I had chosen a path in life, which
if it did not lead to the Poor House was at least no way to the White
House. I suppose now that he thought I had merely gone back to my trade,
and so for the time I had; but I have no reason to suppose that he judged
my case narrow-mindedly, and I ought to have had the courage to have the
affair out with him, and tell him just why I had left the law; we had
sometimes talked the English reviews over, for he read them as well as I,
and it ought not to have been impossible for me to be frank with him;
but as yet I could not trust any one with my secret hope of some day
living for literature, although I had already lived for nothing else.
I preferred the disadvantage which I must be at in his eyes, and in the
eyes of most of my fellow-citizens; I believe I had the applause of the
organ-builder, who thought the law no calling for me.
In that village there was a social equality which, if not absolute, was
as nearly so as can ever be in a competitive civilization; and I could
have suffered no slight in the general esteem for giving up a profession
and going back to a trade; if I was despised at all it was because I had
thrown away the chance of material advancement; I dare say some people
thought I was a fool to do that. No one, indeed, could have imagined the
rapture it was to do it, or what a load rolled from my shoulders when I
dropped the law from them. Perhaps Sinbad or Christian could have
conceived of my ecstatic relief; yet so far as the popular vision reached
I was not returning to literature, but to the printing business, and I
myself felt the difference. My reading had given me criterions different
from those of the simple life of our village, and I did not flatter
myself that my calling would have been thought one of great social
dignity in the world where I hoped some day to make my living.
My convictions were all democratic, but at heart I am afraid I was a
snob, and was unworthy of the honest work which I ought to have felt it
an honor to do; this, whatever we falsely pretend to the contrary, is the
frame of every one who aspires beyond the work of his hands. I do not
know how it had become mine, except through my reading, and I think it
was through the devotion I then had for a certain author that I came to a
knowledge not of good and evil so much as of common and superfine.
XX. THACKERAY
It was of the organ-builder that I had Thackeray's books first. He knew
their literary quality, and their rank in the literary, world; but I
believe he was surprised at the passion I instantly conceived for them.
He could not understand it; he deplored it almost as a moral defect in
me; though he honored it as a proof of my critical taste. In a certain
measure he was right.
What flatters the worldly pride in a young man is what fascinates him
with Thackeray. With his air of looking down on the highest, and
confidentially inviting you to be of his company in the seat of the
scorner he is irresistible; his very confession that he is a snob, too,
is balm and solace to the reader who secretly admires the splendors he
affects to despise. His sentimentality is also dear to the heart of
youth, and the boy who is dazzled by his satire is melted by his easy
pathos. Then, if the boy has read a good many other books, he is taken
with that abundance of literary turn and allusion in Thackeray; there is
hardly a sentence but reminds him that he is in the society of a great
literary swell, who has read everything, and can mock or burlesque life
right and left from the literature always at his command. At the same
time he feels his mastery, and is abjectly grateful to him in his own
simple love of the good for his patronage of the unassuming virtues.
It is so pleasing to one's 'vanity, and so safe, to be of the master's
side when he assails those vices and foibles which are inherent in the
system of things, and which one can contemn with vast applause so long as
one does not attempt to undo the conditions they spring from.
I exulted to have Thackeray attack the aristocrats, and expose their
wicked pride and meanness, and I never noticed that he did not propose to
do away with aristocracy, which is and must always be just what it has
been, and which cannot be changed while it exists at all. He appeared to
me one of the noblest creatures that ever was when he derided the shams
of society; and I was far from seeing that society, as we have it, was
necessarily a sham; when he made a mock of snobbishness I did not know
but snobbishness was something that might be reached and cured by
ridicule. Now I know that so long as we have social inequality we shall
have snobs; we shall have men who bully and truckle, and women who snub
and crawl. I know that it is futile to, spurn them, or lash them for
trying to get on in the world, and that the world is what it must be from
the selfish motives which underlie our economic life. But I did not know
these things then, nor for long afterwards, and so I gave my heart to
Thackeray, who seemed to promise me in his contempt of the world a refuge
from the shame I felt for my own want of figure in it. He had the effect
of taking me into the great world, and making me a party to his splendid
indifference to titles, and even to royalties; and I could not see that
sham for sham he was unwittingly the greatest sham of all.
I think it was 'Pendennis' I began with, and I lived in the book to the
very last line of it, and made its alien circumstance mine to the
smallest detail. I am still not sure but it is the author's greatest
book, and I speak from a thorough acquaintance with every line he has
written, except the Virginians, which I have never been able to read
quite through; most of his work I have read twice, and some of it twenty
times.
After reading 'Pendennis' I went to 'Vanity Fair,' which I now think the
poorest of Thackeray's novels--crude, heavy-handed, caricatured. About
the same time I revelled in the romanticism of 'Henry Esmond,' with its
pseudo-eighteenth-century sentiment, and its appeals to an overwrought
ideal of gentlemanhood and honor. It was long before I was duly revolted
by Esmond's transfer of his passion from the daughter to the mother whom
he is successively enamoured of. I believe this unpleasant and
preposterous affair is thought one of the fine things in the story; I do
not mind owning that I thought it so myself when I was seventeen; and if
I could have found a Beatrix to be in love with, and a Lady Castlewood to
be in love with me, I should have asked nothing finer of fortune.
The glamour of Henry Esmond was all the deeper because I was reading the
'Spectator' then, and was constantly in the company of Addison, and
Steele, and Swift, and Pope, and all the wits at Will's, who are
presented evanescently in the romance. The intensely literary keeping,
as well as quality, of the story I suppose is what formed its highest
fascination for me; but that effect of great world which it imparts to
the reader, making him citizen, and, if he will, leading citizen of it,
was what helped turn my head.
This is the toxic property of all Thackeray's writing. He is himself
forever dominated in imagination by the world, and even while he tells
you it is not worth while he makes you feel that it is worth while. It
is not the honest man, but the man of honor, who shines in his page; his
meek folk are proudly meek, and there is a touch of superiority, a glint
of mundane splendor, in his lowliest. He rails at the order of things,
but he imagines nothing different, even when he shows that its baseness,
and cruelty, and hypocrisy are well-nigh inevitable, and, for most of
those who wish to get on in it, quite inevitable. He has a good word for
the virtues, he patronizes the Christian graces, he pats humble merit on
the head; he has even explosions of indignation against the insolence and
pride of birth, and purse-pride. But, after all, he is of the world,
worldly, and the highest hope he holds out is that you may be in the
world and despise its ambitions while you compass its ends.
I should be far from blaming him for all this. He was of his time; but
since his time men have thought beyond him, and seen life with a vision
which makes his seem rather purblind. He must have been immensely in
advance of most of the thinking and feeling of his day, for people then
used to accuse his sentimental pessimism of cynical qualities which we
could hardly find in it now. It was the age of intense individualism,
when you were to do right because it was becoming to you, say, as a
gentleman, and you were to have an eye single to the effect upon your
character, if not your reputation; you were not to do a mean thing
because it was wrong, but because it was mean. It was romanticism
carried into the region of morals. But I had very little concern then as
to that sort of error.
I was on a very high esthetic horse, which I could not have conveniently
stooped from if I had wished; it was quite enough for me that Thackeray's
novels were prodigious works of art, and I acquired merit, at least with
myself, for appreciating them so keenly, for liking them so much. It
must be, I felt with far less consciousness than my formulation of the
feeling expresses, that I was of some finer sort myself to be able to
enjoy such a fine sort. No doubt I should have been a coxcomb of some
kind, if not that kind, and I shall not be very strenuous in censuring
Thackeray for his effect upon me in this way. No doubt the effect was
already in me, and he did not so much produce it as find it.
In the mean time he was a vast delight to me, as much in the variety of
his minor works--his 'Yellowplush,' and 'Letters of Mr. Brown,' and
'Adventures of Major Gahagan,' and the 'Paris Sketch Book,' and the
'Irish Sketch Book,' and the 'Great Hoggarty Diamond,' and the 'Book of
Snobs,' and the 'English Humorists,' and the 'Four Georges,' and all the
multitude of his essays, and verses, and caricatures--as in the spacious
designs of his huge novels, the 'Newcomes,' and 'Pendennis,' and 'Vanity
Fair,' and 'Henry Esmond,' and 'Barry Lyndon.'
There was something in the art of the last which seemed to me then, and
still seems, the farthest reach of the author's great talent. It is
couched, like so much of his work, in the autobiographic form, which next
to the dramatic form is the most natural, and which lends itself with
such flexibility to the purpose of the author. In 'Barry Lyndon' there
is imagined to the life a scoundrel of such rare quality that he never
supposes for a moment but he is the finest sort of a gentleman; and so,
in fact, he was, as most gentlemen went in his day. Of course, the
picture is over-colored; it was the vice of Thackeray, or of Thackeray's
time, to surcharge all imitations of life and character, so that a
generation apparently much slower, if not duller than ours, should not
possibly miss the artist's meaning. But I do not think it is so much
surcharged as 'Esmond;' 'Barry Lyndon' is by no manner of means so
conscious as that mirror of gentlemanhood, with its manifold self-
reverberations; and for these reasons I am inclined to think he is the
most perfect creation of Thackeray's mind.
I did not make the acquaintance of Thackeray's books all at once, or even
in rapid succession, and he at no time possessed the whole empire of my
catholic, not to say, fickle, affections, during the years I was
compassing a full knowledge and sense of his greatness, and burning
incense at his shrine. But there was a moment when he so outshone and
overtopped all other divinities in my worship that I was effectively his
alone, as I have been the helpless and, as it were, hypnotized devotee of
three or four others of the very great. From his art there flowed into
me a literary quality which tinged my whole mental substance, and made it
impossible for me to say, or wish to say, anything without giving it the
literary color. That is, while he dominated my love and fancy, if I had
been so fortunate as to have a simple concept of anything in life, I must
have tried to give the expression of it some turn or tint that would
remind the reader of books even before it reminded him of men.
It is hard to make out what I mean, but this is a try at it, and I do not
know that I shall be able to do better unless I add that Thackeray, of
all the writers that I have known, is the most thoroughly and profoundly
imbued with literature, so that when he speaks it is not with words and
blood, but with words and ink. You may read the greatest part of
Dickens, as you may read the greatest part of Hawthorne or Tolstoy, and
not once be reminded of literature as a business or a cult, but you can
hardly read a paragraph, hardly a sentence, of Thackeray's without being
reminded of it either by suggestion or downright allusion.
I do not blame him for this; he was himself, and he could not have been
any other manner of man without loss; but I say that the greatest talent
is not that which breathes of the library, but that which breathes of the
street, the field, the open sky, the simple earth. I began to imitate
this master of mine almost as soon as I began to read him; this must be,
and I had a greater pride and joy in my success than I should probably
have known in anything really creative; I should have suspected that, I
should have distrusted that, because I had nothing to test it by, no
model; but here before me was the very finest and noblest model, and I
had but to form my lines upon it, and I had produced a work of art
altogether more estimable in my eyes than anything else could have been.
I saw the little world about me through the lenses of my master's
spectacles, and I reported its facts, in his tone and his attitude, with
his self-flattered scorn, his showy sighs, his facile satire. I need not
say I was perfectly satisfied with the result, or that to be able to
imitate Thackeray was a much greater thing for me than to have been able
to imitate nature. In fact, I could have valued any picture of the life
and character I knew only as it put me in mind of life and character as
these had shown themselves to me in his books.
XXI. "LAZARILLO DE TORMES"
At the same time, I was not only reading many books besides Thackeray's,
but I was studying to get a smattering of several languages as well as I
could, with or without help. I could now manage Spanish fairly well, and
I was sending on to New York for authors in that tongue. I do not
remember how I got the money to buy them; to be sure it was no great sum;
but it must have been given me out of the sums we were all working so
hard to make up for the debt, and the interest on the debt (that is
always the wicked pinch for the debtor!), we had incurred in the purchase
of the newspaper which we lived by, and the house which we lived in.
I spent no money on any other sort of pleasure, and so, I suppose, it was
afforded me the more readily; but I cannot really recall the history of
those acquisitions on its financial side. In any case, if the sums I
laid out in literature could not have been comparatively great, the
excitement attending the outlay was prodigious.
I know that I used to write on to Messrs. Roe Lockwood & Son, New York,
for my Spanish books, and I dare say that my letters were sufficiently
pedantic, and filled with a simulated acquaintance with all Spanish
literature. Heaven knows what they must have thought, if they thought
anything, of their queer customer in that obscure little Ohio village;
but he could not have been queerer to them than to his fellow-villagers,
I am sure. I haunted the post-office about the time the books were due,
and when I found one of them in our deep box among a heap of exchange
newspapers and business letters, my emotion was so great that it almost
took my breath. I hurried home with the precious volume, and shut myself
into my little den, where I gave myself up to a sort of transport in it.
These books were always from the collection of Spanish authors published
by Baudry in Paris, and they were in saffron-colored paper cover, printed
full of a perfectly intoxicating catalogue of other Spanish books which I
meant to read, every one, some time. The paper and the ink had a certain
odor which was sweeter to me than the perfumes of Araby. The look of the
type took me more than the glance of a girl, and I had a fever of longing
to know the heart of the book, which was like a lover's passion. Some
times I did not reach its heart, but commonly I did. Moratin's 'Origins
of the Spanish Theatre,' and a large volume of Spanish dramatic authors,
were the first Spanish books I sent for, but I could not say why I sent
for them, unless it was because I saw that there were some plays of
Cervantes among the rest. I read these and I read several comedies of
Lope de Vega, and numbers of archaic dramas in Moratin's history, and I
really got a fairish perspective of the Spanish drama, which has now
almost wholly faded from my mind. It is more intelligible to me why I
should have read Conde's 'Dominion of the Arabs in Spain;' for that was
in the line of my reading in Irving, which would account for my pleasure
in the 'History of the Civil Wars of Granada;' it was some time before I
realized that the chronicles in this were a bundle of romances and not
veritable records; and my whole study in these things was wholly
undirected and unenlightened. But I meant to be thorough in it, and I
could not rest satisfied with the Spanish-English grammars I had; I was
not willing to stop short of the official grammar of the Spanish Academy.
I sent to New York for it, and my booksellers there reported that they
would have to send to Spain for it. I lived till it came to hand through
them from Madrid; and I do not understand why I did not perish then from
the pride and joy I had in it.
But, after all, I am not a Spanish scholar, and can neither speak nor
write the language. I never got more than a good reading use of it,
perhaps because I never really tried for more. But I am very glad of
that, because it has been a great pleasure to me, and even some profit,
and it has lighted up many meanings in literature, which must always have
remained dark to me. Not to speak now of the modern Spanish writers whom
it has enabled me to know in their own houses as it were, I had even in
that remote day a rapturous delight in a certain Spanish book, which was
well worth all the pains I had undergone to get at it. This was the
famous picaresque novel, 'Lazarillo de Tormes,' by Hurtado de Mendoza,
whose name then so familiarized itself to my fondness that now as I write
it I feel as if it were that of an old personal friend whom I had known
in the flesh. I believe it would not have been always comfortable to
know Mendoza outside of his books; he was rather a terrible person; he
was one of the Spanish invaders of Italy, and is known in Italian history
as the Tyrant of Sierra. But at my distance of time and place I could
safely revel in his friendship, and as an author I certainly found him a
most charming companion. The adventures of his rogue of a hero, who
began life as the servant and accomplice of a blind beggar, and then
adventured on through a most diverting career of knavery, brought back
the atmosphere of Don Quixote, and all the landscape of that dear wonder-
world of Spain, where I had lived so much, and I followed him with all
the old delight.
I do not know that I should counsel others to do so, or that the general
reader would find his account in it, but I am sure that the intending
author of American fiction would do well to study the Spanish picaresque
novels; for in their simplicity of design he will find one of the best
forms for an American story. The intrigue of close texture will never
suit our conditions, which are so loose and open and variable; each man's
life among us is a romance of the Spanish model, if it is the life of a
man who has risen, as we nearly all have, with many ups and downs. The
story of 'Latzarillo' is gross in its facts, and is mostly "unmeet for
ladies," like most of the fiction in all languages before our times; but
there is an honest simplicity in the narration, a pervading humor, and a
rich feeling for character that gives it value.
I think that a good deal of its foulness was lost upon me, but I
certainly understood that it would not do to present it to an American
public just as it was, in the translation which I presently planned to
make. I went about telling the story to people, and trying to make them
find it as amusing as I did, but whether I ever succeeded I cannot say,
though the notion of a version with modifications constantly grew with
me, till one day I went to the city of Cleveland with my father. There
was a branch house of an Eastern firm of publishers in that place, and I
must have had the hope that I might have the courage to propose a
translation of Lazarillo to them. My father urged me to try my fortune,
but my heart failed me. I was half blind with one of the headaches that
tormented me in those days, and I turned my sick eyes from the sign,
"J. P. Jewett & Co., Publishers," which held me fascinated, and went home
without at least having my much-dreamed-of version of Lazarillo refused.
XXII. CURTIS, LONGFELLOW, SCHLEGEL
I am quite at a loss to know why my reading had this direction or that in
those days. It had necessarily passed beyond my father's suggestion, and
I think it must have been largely by accident or experiment that I read
one book rather than another. He made some sort of newspaper arrangement
with a book-store in Cleveland, which was the means of enriching our home
library with a goodly number of books, shop-worn, but none the worse for
that, and new in the only way that books need be new to the lover of
them. Among these I found a treasure in Curtis's two books, the 'Nile
Notes of a Howadji,' and the 'Howadji in Syria.' I already knew him by
his 'Potiphar Papers,' and the ever-delightful reveries which have since
gone under the name of 'Prue and I;' but those books of Eastern travel
opened a new world of thinking and feeling. They had at once a great
influence upon me. The smooth richness of their diction; the amiable
sweetness of their mood, their gracious caprice, the delicacy of their
satire (which was so kind that it should have some other name), their
abundance of light and color, and the deep heart of humanity underlying
their airiest fantasticality, all united in an effect which was different
from any I had yet known.
As usual, I steeped myself in them, and the first runnings of my fancy
when I began to pour it out afterwards were of their flavor. I tried to
write like this new master; but whether I had tried or not, I should
probably have done so from the love I bore him. He was a favorite not
only of mine, but of all the young people in the village who were reading
current literature, so that on this ground at least I had abundant
sympathy. The present generation can have little notion of the deep
impression made upon the intelligence and conscience of the whole nation
by the 'Potiphar Papers,' or how its fancy was rapt with the 'Prue and I'
sketches, These are among the most veritable literary successes we have
had, and probably we who were so glad when the author of these beautiful
things turned aside from the flowery paths where he led us, to battle for
freedom in the field of politics, would have felt the sacrifice too great
if we could have dreamed it would be life-long. But, as it was, we could
only honor him the more, and give him a place in our hearts which he
shared with Longfellow.
This divine poet I have never ceased to read. His Hiawatha was a new
book during one of those terrible Lake Shore winters, but all the other
poems were old friends with me by that time. With a sister who is no
longer living I had a peculiar affection for his pretty and touching and
lightly humorous tale of 'Kavanagh,' which was of a village life enough
like our own, in some things, to make us know the truth of its delicate
realism. We used to read it and talk it fondly over together, and I
believe some stories of like make and manner grew out of our pleasure in
it. They were never finished, but it was enough to begin them, and there
were few writers, if any, among those I delighted in who escaped the
tribute of an imitation. One has to begin that way, or at least one had
in my day; perhaps it is now possible for a young writer to begin by
being himself; but for my part, that was not half so important as to be
like some one else. Literature, not life, was my aim, and to reproduce
it was my joy and my pride.
I was widening my knowledge of it helplessly and involuntarily, and I was
always chancing upon some book that served this end among the great
number of books that I read merely for my pleasure without any real
result of the sort. Schlegel's 'Lectures on Dramatic Literature' came
into my hands not long after I had finished my studies in the history of
the Spanish theatre, and it made the whole subject at once luminous.
I cannot give a due notion of the comfort this book afforded me by the
light it cast upon paths where I had dimly made my way before, but which
I now followed in the full day.
Of course, I pinned my faith to everything that Schlegel said.
I obediently despised the classic unities and the French and Italian
theatre which had perpetuated them, and I revered the romantic drama
which had its glorious course among the Spanish and English poets, and
which was crowned with the fame of the Cervantes and the Shakespeare whom
I seemed to own, they owned me so completely. It vexes me now to find
that I cannot remember how the book came into my hands, or who could have
suggested it to me. It is possible that it may have been that artist who
came and stayed a month with us while she painted my mother's portrait.
She was fresh from her studies in New York, where she had met authors and
artists at the house of the Carey sisters, and had even once seen my
adored Curtis somewhere, though she had not spoken with him. Her talk
about these things simply emparadised me; it lifted me into a heaven of
hope that I, too, might some day meet such elect spirits and converse
with them face to face. My mood was sufficiently foolish, but it was not
such a frame of mind as I can be ashamed of; and I could wish a boy no
happier fortune than to possess it for a time, at least.
XXIII. TENNYSON
I cannot quite see now how I found time for even trying to do the things
I had in hand more or less. It is perfectly clear to me that I did none
of them well, though I meant at the time to do none of them other than
excellently. I was attempting the study of no less than four languages,
and I presently added a fifth to these. I was reading right and left in
every direction, but chiefly in that of poetry, criticism, and fiction.
From time to time I boldly attacked a history, and carried it by a 'coup
de main,' or sat down before it for a prolonged siege. There was
occasionally an author who worsted me, whom I tried to read and quietly
gave up after a vain struggle, but I must say that these authors were
few. I had got a very fair notion of the range of all literature, and
the relations of the different literatures to one another, and I knew
pretty well what manner of book it was that I took up before I committed
myself to the task of reading it. Always I read for pleasure, for the
delight of knowing something more; and this pleasure is a very different
thing from amusement, though I read a great deal for mere amusement, as I
do still, and to take my mind away from unhappy or harassing thoughts.
There are very few things that I think it a waste of time to have read;
I should probably have wasted the time if I had not read them, and at the
period I speak of I do not think I wasted much time.
My day began about seven o'clock, in the printing-office, where it took
me till noon to do my task of so many thousand ems, say four or five.
Then we had dinner, after the simple fashion of people who work with
their hands for their dinners. In the afternoon I went back and
corrected the proof of the type I had set, and distributed my case for
the next day. At two or three o'clock I was free, and then I went home
and began my studies; or tried to write something; or read a book.
We had supper at six, and after that I rejoiced in literature, till I
went to bed at ten or eleven. I cannot think of any time when I did not
go gladly to my books or manuscripts, when it was not a noble joy as well
as a high privilege.
But it all ended as such a strain must, in the sort of break which was
not yet known as nervous prostration. When I could not sleep after my
studies, and the sick headaches came oftener, and then days and weeks of
hypochondriacal misery, it was apparent I was not well; but that was not
the day of anxiety for such things, and if it was thought best that I
should leave work and study for a while, it was not with the notion that
the case was at all serious, or needed an uninterrupted cure. I passed
days in the woods and fields, gunning or picking berries; I spent myself
in heavy work; I made little journeys; and all this was very wholesome
and very well; but I did not give up my reading or my attempts to write.
No doubt I was secretly proud to have been invalided in so great a cause,
and to be sicklied over with the pale cast of thought, rather than by
some ignoble ague or the devastating consumption of that region. If I
lay awake, noting the wild pulsations of my heart, and listening to the
death-watch in the wall, I was certainly very much scared, but I was not
without the consolation that I was at least a sufferer for literature.
At the same time that I was so horribly afraid of dying, I could have
composed an epitaph which would have moved others to tears for my
untimely fate. But there was really not impairment of my constitution,
and after a while I began to be better, and little by little the health
which has never since failed me under any reasonable stress of work
established itself.
I was in the midst of this unequal struggle when I first became
acquainted with the poet who at once possessed himself of what was best
worth having in me. Probably I knew of Tennyson by extracts, and from
the English reviews, but I believe it was from reading one of Curtis's
"Easy Chair" papers that I was prompted to get the new poem of "Maud,"
which I understood from the "Easy Chair" was then moving polite youth in
the East. It did not seem to me that I could very well live without that
poem, and when I went to Cleveland with the hope that I might have
courage to propose a translation of Lazarillo to a publisher it was with
the fixed purpose of getting "Maud" if it was to be found in any book-
store there.
I do not know why I was so long in reaching Tennyson, and I can only
account for it by the fact that I was always reading rather the earlier
than the later English poetry. To be sure I had passed through what I
may call a paroxysm of Alexander Smith, a poet deeply unknown to the
present generation, but then acclaimed immortal by all the critics, and
put with Shakespeare, who must be a good deal astonished from time to
time in his Elysian quiet by the companionship thrust upon him. I read
this now dead-and-gone immortal with an ecstasy unspeakable; I raved of
him by day, and dreamed of him by night; I got great lengths of his
"Life-Drama" by heart; and I can still repeat several gorgeous passages
from it; I would almost have been willing to take the life of the sole
critic who had the sense to laugh at him, and who made his wicked fun in
Graham's Magazine, an extinct periodical of the old extinct Philadelphian
species. I cannot tell how I came out of this craze, but neither could
any of the critics who led me into it, I dare say. The reading world is
very susceptible of such-lunacies, and all that can be said is that at a
given time it was time for criticism to go mad over a poet who was
neither better nor worse than many another third-rate poet apotheosized
before and since. What was good in Smith was the reflected fire of the
poets who had a vital heat in them; and it was by mere chance that I
bathed myself in his second-hand effulgence. I already knew pretty well
the origin of the Tennysonian line in English poetry; Wordsworth, and
Keats, and Shelley; and I did not come to Tennyson's worship a sudden
convert, but my devotion to him was none the less complete and exclusive.
Like every other great poet he somehow expressed the feelings of his day,
and I suppose that at the time he wrote "Maud" he said more fully what
the whole English-speaking race were then dimly longing to utter than any
English poet who has lived.
One need not question the greatness of Browning in owning the fact that
the two poets of his day who preeminently voiced their generation were
Tennyson and Longfellow; though Browning, like Emerson, is possibly now
more modern than either. However, I had then nothing to do with
Tennyson's comparative claim on my adoration; there was for the time no
parallel for him in the whole range of literary divinities that I had
bowed the knee to. For that while, the temple was not only emptied of
all the other idols, but I had a richly flattering illusion of being his
only worshipper. When I came to the sense of this error, it was with the
belief that at least no one else had ever appreciated him so fully, stood
so close to him in that holy of holies where he wrought his miracles.
I say tawdily and ineffectively and falsely what was a very precious and
sacred experience with me. This great poet opened to me a whole world of
thinking and feeling, where I had my being with him in that mystic
intimacy, which cannot be put into words. I at once identified myself
not only with the hero of the poem, but in some so with the poet himself,
when I read "Maud"; but that was only the first step towards the lasting
state in which his poetry has upon the whole been more to me than that of
any other poet. I have never read any other so closely and continuously,
or read myself so much into and out of his verse. There have been times
and moods when I have had my questions, and made my cavils, and when it
seemed to me that the poet was less than I had thought him; and certainly
I do not revere equally and unreservedly all that he has written; that
would be impossible. But when I think over all the other poets I have
read, he is supreme above them in his response to some need in me that he
has satisfied so perfectly.
Of course, "Maud" seemed to me the finest poem I had read, up to that
time, but I am not sure that this conclusion was wholly my own; I think
it was partially formed for me by the admiration of the poem which I felt
to be everywhere in the critical atmosphere, and which had already
penetrated to me. I did not like all parts of it equally well, and some
parts of it seemed thin and poor (though I would not suffer myself to say
so then), and they still seem so. But there were whole passages and
spaces of it whose divine and perfect beauty lifted me above life. I did
not fully understand the poem then; I do not fully understand it now, but
that did not and does not matter; for there something in poetry that
reaches the soul by other enues than the intelligence. Both in this poem
and others of Tennyson, and in every poet that I have loved, there are
melodies and harmonies enfolding significance that appeared long after I
had first read them, and had even learned them by heart; that lay weedy
in my outer ear and were enough in their Mere beauty of phrasing, till
the time came for them to reveal their whole meaning. In fact they could
do this only to later and greater knowledge of myself and others, as
every one must recognize who recurs in after-life to a book that he read
when young; then he finds it twice as full of meaning as it was at first.
I could not rest satisfied with "Maud"; I sent the same summer to
Cleveland for the little volume which then held all the poet's work, and
abandoned myself so wholly to it, that for a year I read no other verse
that I can remember. The volume was the first of that pretty blue-and-
gold series which Ticknor & Fields began to publish in 1856, and which
their imprint, so rarely affixed to an unworthy book, at once carried far
and wide. Their modest old brown cloth binding had long been a quiet
warrant of quality in the literature it covered, and now this splendid
blossom of the bookmaking art, as it seemed, was fitly employed to convey
the sweetness and richness of the loveliest poetry that I thought the
world had yet known. After an old fashion of mine, I read it
continuously, with frequent recurrences from each new poem to some that
had already pleased me, and with a most capricious range among the
pieces. "In Memoriam" was in that book, and the "Princess"; I read the
"Princess" through and through, and over and over, but I did not then
read "In Memoriam" through, and I have never read it in course; I am not
sure that I have even yet read every part of it. I did not come to the
"Princess," either, until I had saturated my fancy and my memory with
some of the shorter poems, with the "Dream of Fair Women," with the
"Lotus-Eaters," with the "Miller's Daughter," with the "Morte d'Arthur,"
with "Edwin Morris, or The Lake," with "Love and Duty," and a score of
other minor and briefer poems. I read the book night and day, in-doors
and out, to myself and to whomever I could make listen. I have no words
to tell the rapture it was to me; but I hope that in some more articulate
being, if it should ever be my unmerited fortune to meet that 'sommo
poeta' face to face, it shall somehow be uttered from me to him, and he
will understand how completely he became the life of the boy I was then.
I think it might please, or at least amuse, that lofty ghost, and that he
would not resent it, as he would probably have done on earth. I can well
understand why the homage of his worshippers should have afflicted him
here, and I could never have been one to burn incense in his earthly
presence; but perhaps it might be done hereafter without offence.
I eagerly caught up and treasured every personal word I could find about
him, and I dwelt in that sort of charmed intimacy with him through his
verse, in which I could not presume nor he repel, and which I had enjoyed
in turn with Cervantes and Shakespeare, without a snub from them.
I have never ceased to adore Tennyson, though the rapture of the new
convert could not last. That must pass like the flush of any other
passion. I think I have now a better sense of his comparative greatness,
but a better sense of his positive greatness I could not have than I had
at the beginning; and I believe this is the essential knowledge of a
poet. It is very well to say one is greater than Keats, or not so great
as Wordsworth; that one is or is not of the highest order of poets like
Shakespeare and Dante and Goethe; but that does not mean anything of
value, and I never find my account in it. I know it is not possible for
any less than the greatest writer to abide lastingly in one's life. Some
dazzling comer may enter and possess it for a day, but he soon wears his
welcome out, and presently finds the door, to be answered with a not-at-
home if he knocks again. But it was only this morning that I read one of
the new last poems of Tennyson with a return of the emotion which he
first woke in me well-nigh forty years ago. There has been no year of
those many when I have not read him and loved him with something of the
early fire if not all the early conflagration; and each successive poem
of his has been for me a fresh joy.
He went with me into the world from my village when I left it to make my
first venture away from home. My father had got one of those legislative
clerkships which used to fall sometimes to deserving country editors when
their party was in power, and we together imagined and carried out a
scheme for corresponding with some city newspapers. We were to furnish a
daily, letter giving an account of the legislative proceedings which I
was mainly to write up from material he helped me to get together. The
letters at once found favor with the editors who agreed to take them, and
my father then withdrew from the work altogether, after telling them who
was doing it. We were afraid they might not care for the reports of a
boy of nineteen, but they did not seem to take my age into account, and I
did not boast of my youth among the lawmakers. I looked three or four
years older than I was; but I experienced a terrible moment once when a
fatherly Senator asked me my age. I got away somehow without saying, but
it was a great relief to me when my twentieth birthday came that winter,
and I could honestly proclaim that I was in my twenty-first year.
I had now the free range of the State Library, and I drew many sorts of
books from it. Largely, however, they were fiction, and I read all the
novels of Bulwer, for whom I had already a great liking from 'The
Caxtons' and 'My Novel.' I was dazzled by them, and I thought him a
great writer, if not so great a one as he thought himself. Little or
nothing of those romances, with their swelling prefaces about the poet
and his function, their glittering criminals, and showy rakes and rogues
of all kinds, and their patrician perfume and social splendor, remained
with me; they may have been better or worse; I will not attempt to say.
If I may call my fascination with them a passion at all, I must say that
it was but a fitful fever. I also read many volumes of Zschokke's
admirable tales, which I found in a translation in the Library, and I
think I began at the same time to find out De Quincey. These authors I
recall out of the many that passed through my mind almost as tracelessly
as they passed through my hands. I got at some versions of Icelandic
poems, in the metre of "Hiawatha"; I had for a while a notion of studying
Icelandic, and I did take out an Icelandic grammar and lexicon, and
decided that I would learn the language later. By this time I must have
begun German, which I afterwards carried so far, with one author at
least, as to find in him a delight only second to that I had in Tennyson;
but as yet Tennyson was all in all to me in poetry. I suspect that I
carried his poems about with me a great part of the time; I am afraid
that I always had that blue-and-gold Tennyson in my pocket; and I was
ready to draw it upon anybody, at the slightest provocation. This is the
worst of the ardent lover of literature: he wishes to make every one else
share his rapture, will he, nill he. Many good fellows suffered from my
admiration of this author or that, and many more pretty, patient maids.
I wanted to read my favorite passages, my favorite poems to them; I am
afraid I often did read, when they would rather have been talking; in the
case of the poems I did worse, I repeated them. This seems rather
incredible now, but it is true enough, and absurd as it is, it at least
attests my sincerity. It was long before I cured myself of so pestilent
a habit; and I am not yet so perfectly well of it that I could be safely
trusted with a fascinating book and a submissive listener. I dare say I
could not have been made to understand at this time that Tennyson was not
so nearly the first interest of life with other people as he was with me;
I must often have suspected it, but I was helpless against the wish to
make them feel him as important to their prosperity and well-being as he
was to mine. My head was full of him; his words were always behind my
lips; and when I was not repeating his phrase to myself or to some one
else, I was trying to frame something of my own as like him as I could.
It was a time of melancholy from ill-health, and of anxiety for the
future in which I must make my own place in the world. Work, and hard
work, I had always been used to and never afraid of; but work is by no
means the whole story. You may get on without much of it, or you may do
a great deal, and not get on. I was willing to do as much of it as I
could get to do, but I distrusted my health, somewhat, and I had many
forebodings, which my adored poet helped me to transfigure to the
substance of literature, or enabled me for the time to forget. I was
already imitating him in the verse I wrote; he now seemed the only worthy
model for one who meant to be as great a poet as I did. None of the
authors whom I read at all displaced him in my devotion, and I could not
have believed that any other poet would ever be so much to me. In fact,
as I have expressed, none ever has been.
XXIV. HEINE
That winter passed very quickly and happily for me, and at the end of the
legislative session I had acquitted myself so much to the satisfaction of
one of the newspapers which I wrote for that I was offered a place on it.
I was asked to be city editor, as it was called in that day, and I was to
have charge of the local reporting. It was a great temptation, and for a
while I thought it the greatest piece of good fortune. I went down to
Cincinnati to acquaint myself with the details of the work, and to fit
myself for it by beginning as reporter myself. One night's round of the
police stations with the other reporters satisfied me that I was not
meant for that work, and I attempted it no farther. I have often been
sorry since, for it would have made known to me many phases of life that
I have always remained ignorant of, but I did not know then that life was
supremely interesting and important. I fancied that literature, that
poetry was so; and it was humiliation and anguish indescribable to think
of myself torn from my high ideals by labors like those of the reporter.
I would not consent even to do the office work of the department, and the
proprietor and editor who was more especially my friend tried to make
some other place for me. All the departments were full but the one I
would have nothing to do with, and after a few weeks of sufferance and
suffering I turned my back on a thousand dollars a year, and for the
second time returned to the printing-office.
I was glad to get home, for I had been all the time tormented by my old
malady of homesickness. But otherwise the situation was not cheerful for
me, and I now began trying to write something for publication that I
could sell. I sent off poems and they came back; I offered little
translations from the Spanish that nobody wanted. At the same time I
took up the study of German, which I must have already played with, at
such odd times as I could find. My father knew something of it, and that
friend of mine among the printers was already reading it and trying to
speak it. I had their help with the first steps so far as the
recitations from Ollendorff were concerned, but I was impatient to read
German, or rather to read one German poet who had seized my fancy from
the first line of his I had seen.
This poet was Heinrich Heine, who dominated me longer than any one author
that I have known. Where or when I first acquainted myself with his most
fascinating genius, I cannot be sure, but I think it was in some article
of the Westminster Review, where several poems of his were given in
English and German; and their singular beauty and grace at once possessed
my soul. I was in a fever to know more of him, and it was my great good
luck to fall in with a German in the village who had his books. He was a
bookbinder, one of those educated artisans whom the revolutions of 1848
sent to us in great numbers. He was a Hanoverian, and his accent was
then, I believe, the standard, though the Berlinese is now the accepted
pronunciation. But I cared very little for accent; my wish was to get at
Heine with as little delay as possible; and I began to cultivate the
friendship of that bookbinder in every way. I dare say he was glad of
mine, for he was otherwise quite alone in the village, or had no
companionship outside of his own family. I clothed him in all the
romantic interest I began to feel for his race and language, which new
took the place of the Spaniards and Spanish in my affections. He was a
very quick and gay intelligence, with more sympathy for my love of our
author's humor than for my love of his sentiment, and I can remember very
well the twinkle of his little sharp black eyes, with their Tartar slant,
and the twitching of his keenly pointed, sensitive nose, when we came to
some passage of biting satire, or some phrase in which the bitter Jew had
unpacked all the insult of his soul.
We began to read Heine together when my vocabulary had to be dug almost
word by word out of the dictionary, for the bookbinder's English was
rather scanty at the best, and was not literary. As for the grammar, I
was getting that up as fast as I could from Ollendorff, and from other
sources, but I was enjoying Heine before I well knew a declension or a
conjugation. As soon as my task was done at the office, I went home to
the books, and worked away at them until supper. Then my bookbinder and
I met in my father's editorial room, and with a couple of candles on the
table between us, and our Heine and the dictionary before us, we read
till we were both tired out.
The candles were tallow, and they lopped at different angles in the flat
candlesticks heavily loaded with lead, which compositors once used.
It seems to have been summer when our readings began, and they are
associated in my memory with the smell of the neighboring gardens, which
came in at the open doors and windows, and with the fluttering of moths,
and the bumbling of the dorbugs, that stole in along with the odors.
I can see the perspiration on the shining forehead of the bookbinder as
he looks up from some brilliant passage, to exchange a smile of triumph
with me at having made out the meaning with the meagre facilities we had
for the purpose; he had beautiful red pouting lips, and a stiff little
branching mustache above them, that went to the making of his smile.
Sometimes, in the truce we made with the text, he told a little story of
his life at home, or some anecdote relevant to our reading, or quoted a
passage from some other author. It seemed to me the make of a high
intellectual banquet, and I should be glad if I could enjoy anything as
much now.
We walked home as far as his house, or rather his apartment over one of
the village stores; and as he mounted to it by an outside staircase, we
exchanged a joyous "Gute Nacht," and I kept on homeward through the dark
and silent village street, which was really not that street, but some
other, where Heine had been, some street out of the Reisebilder, of his
knowledge, or of his dream. When I reached home it was useless to go to
bed. I shut myself into my little study, and went over what we had read,
till my brain was so full of it that when I crept up to my room at last,
it was to lie down to slumbers which were often a mere phantasmagory of
those witching Pictures of Travel.
I was awake at my father's call in the morning, and before my mother had
breakfast ready I had recited my lesson in Ollendorff to him. To tell
the truth, I hated those grammatical studies, and nothing but the love of
literature, and the hope of getting at it, could ever have made me go
through them. Naturally, I never got any scholarly use of the languages
I was worrying at, and though I could once write a passable literary
German, it has all gone from me now, except for the purposes of reading.
It cost me so much trouble, however, to dig the sense out of the grammar
and lexicon, as I went on with the authors I was impatient to read, that
I remember the words very well in all their forms and inflections, and I
have still what I think I may call a fair German vocabulary.
The German of Heine, when once you are in the joke of his capricious
genius, is very simple, and in his poetry it is simple from the first,
so that he was, perhaps, the best author I could have fallen in with if I
wanted to go fast rather than far. I found this out later, when I
attempted other German authors without the glitter of his wit or the
lambent glow of his fancy to light me on my hard way. I should find it
hard to say just why his peculiar genius had such an absolute fascination
for me from the very first, and perhaps I had better content myself with
saying simply that my literary liberation began with almost the earliest
word from him; for if he chained me to himself he freed me from all other
bondage. I had been at infinite pains from time to time, now upon one
model and now upon another, to literarify myself, if I may make a word
which does not quite say the thing for me. What I mean is that I had
supposed, with the sense at times that I was all wrong, that the
expression of literature must be different from the expression of life;
that it must be an attitude, a pose, with something of state or at least
of formality in it; that it must be this style, and not that; that it
must be like that sort of acting which you know is acting when you see it
and never mistake for reality. There are a great many children,
apparently grown-up, and largely accepted as critical authorities, who
are still of this youthful opinion of mine. But Heine at once showed me
that this ideal of literature was false; that the life of literature was
from the springs of the best common speech and that the nearer it could
be made to conform, in voice, look and gait, to graceful, easy,
picturesque and humorous or impassioned talk, the better it was.
He did not impart these truths without imparting certain tricks with
them, which I was careful to imitate as soon as I began to write in his
manner, that is to say instantly. His tricks he had mostly at second-
hand, and mainly from Sterne, whom I did not know well enough then to
know their origin. But in all essentials he was himself, and my final
lesson from him, or the final effect of all my lessons from him, was to
find myself, and to be for good or evil whatsoever I really was.
I kept on writing as much like Heine as I could for several years,
though, and for a much longer time than I should have done if I had
ever become equally impassioned of any other author.
Some traces of his method lingered so long in my work that nearly ten
years afterwards Mr. Lowell wrote me about something of mine that
he had been reading: "You must sweat the Heine out of your bones as
men do mercury," and his kindness for me would not be content with less
than the entire expulsion of the poison that had in its good time saved
my life. I dare say it was all well enough not to have it in my bones
after it had done its office, but it did do its office.
It was in some prose sketch of mine that his keen analysis had found the
Heine, but the foreign property had been so prevalent in my earlier work
in verse that he kept the first contribution he accepted from me for the
Atlantic Monthly a long time, or long enough to make sure that it was not
a translation of Heine. Then he printed it, and I am bound to say that
the poem now justifies his doubt to me, in so much that I do not see why
Heine should not have had the name of writing it if he had wanted. His
potent spirit became immediately so wholly my "control," as the mediums
say, that my poems might as well have been communications from him so far
as any authority of my own was concerned; and they were quite like other
inspirations from the other world in being so inferior to the work of the
spirit before it had the misfortune to be disembodied and obliged to use
a medium. But I do not think that either Heine or I had much lasting
harm from it, and I am sure that the good, in my case at least, was one
that can only end with me. He undid my hands, which had taken so much
pains to tie behind my back, and he forever persuaded me that though it
may be ingenious and surprising to dance in chains, it is neither pretty
nor useful.
XXV. DE QUINCEY, GOETHE, LONGFELLOW
Another author who was a prime favorite with me about this time was De
Quincey, whose books I took out of the State Library, one after another,
until I had read them all. We who were young people of that day thought
his style something wonderful, and so indeed it was, especially in those
passages, abundant everywhere in his work, relating to his own life with
an intimacy which was always-more rather than less. His rhetoric there,
and in certain of his historical studies, had a sort of luminous
richness, without losing its colloquial ease. I keenly enjoyed this
subtle spirit, and the play of that brilliant intelligence which lighted
up so many ways of literature with its lambent glow or its tricksy
glimmer, and I had a deep sympathy with certain morbid moods and
experiences so like my own, as I was pleased to fancy. I have not looked
at his Twelve Caesars for twice as many years, but I should be greatly
surprised to find it other than one of the greatest historical monographs
ever written. His literary criticisms seemed to me not only exquisitely
humorous, but perfectly sane and just; and it delighted me to have him
personally present, with the warmth of his own temperament in regions of
cold abstraction; I am not sure that I should like that so much now. De
Quincey was hardly less autobiographical when he wrote of Kant, or the
Flight of the Crim-Tartars, than when he wrote of his own boyhood or the
miseries of the opium habit. He had the hospitable gift of making you at
home with him, and appealing to your sense of comradery with something of
the flattering confidentiality of Thackeray, but with a wholly different
effect.
In fact, although De Quincey was from time to time perfunctorily Tory,
and always a good and faithful British subject, he was so eliminated from
his time and place by his single love for books, that one could be in his
company through the whole vast range of his writings, and come away
without a touch of snobbishness; and that is saying a great deal for an
English writer. He was a great little creature, and through his intense
personality he achieved a sort of impersonality, so that you loved the
man, who was forever talking-of himself, for his modesty and reticence.
He left you feeling intimate with him but by no means familiar; with all
his frailties, and with all those freedoms he permitted himself with the
lives of his contemporaries, he is to me a figure of delicate dignity,
and winning kindness. I think it a misfortune for the present generation
that his books have fallen into a kind of neglect, and I believe that
they will emerge from it again to the advantage of literature.
In spite of Heine and Tennyson, De Quincey had a large place in my
affections, though this was perhaps because he was not a poet; for more
than those two great poets there was then not much room. I read him the
first winter I was at Columbus, and when I went down from the village the
next winter, to take up my legislative correspondence again, I read him
more than ever. But that was destined to be for me a very disheartening
time. I had just passed through a rheumatic fever, which left my health
more broken than before, and one morning shortly after I was settled in
the capital, I woke to find the room going round me like a wheel. It was
the beginning of a vertigo which lasted for six months, and which I began
to fight with various devices and must yield to at last. I tried
medicine and exercise, but it was useless, and my father came to take my
letters off my hands while I gave myself some ineffectual respites.
I made a little journey to my old home in southern Ohio, but there and
everywhere, the sure and firm-set earth waved and billowed under my feet,
and I came back to Columbus and tried to forget in my work the fact that
I was no better. I did not give up trying to read, as usual, and part of
my endeavor that winter was with Schiller, and Uhland, and even Goethe,
whose 'Wahlverwandschaften,' hardly yielded up its mystery to me. To
tell the truth, I do not think that I found my account in that novel.
It must needs be a disappointment after Wilhelm Meister, which I had read
in English; but I dare say my disappointment was largely my own fault;
I had certainly no right to expect such constant proofs and instances of
wisdom in Goethe as the unwisdom of his critics had led me to hope for.
I remember little or nothing of the story, which I tried to find very
memorable, as I held my, sick way through it. Longfellow's "Miles
Standish" came out that winter, and I suspect that I got vastly more real
pleasure from that one poem of his than I found in all my German authors
put together, the adored Heine always excepted; though certainly I felt
the romantic beauty of 'Uhland,' and was aware of something of Schiller's
generous grandeur.
Of the American writers Longfellow has been most a passion with me, as
the English, and German, and Spanish, and Russian writers have been. I
am sure that this was largely by mere chance. It was because I happened,
in such a frame and at such a time, to come upon his books that I loved
them above those of other men as great. I am perfectly sensible that
Lowell and Emerson outvalue many of the poets and prophets I have given
my heart to; I have read them with delight and with a deep sense of their
greatness, and yet they have not been my life like those other, those
lesser, men. But none of the passions are reasoned, and I do not try to
account for my literary preferences or to justify them.
I dragged along through several months of that winter, and did my best to
carry out that notable scheme of not minding my vertigo. I tried doing
half-work, and helping my father with the correspondence, but when it
appeared that nothing would avail, he remained in charge of it, till the
close of the session, and I went home to try what a complete and
prolonged rest would do for me. I was not fit for work in the printing-
office, but that was a simpler matter than the literary work that was
always tempting me. I could get away from it only by taking my gun and
tramping day after day through the deep, primeval woods. The fatigue was
wholesome, and I was so bad a shot that no other creature suffered loss
from my gain except one hapless wild pigeon. The thawing snow left the
fallen beechnuts of the autumn before uncovered among the dead leaves,
and the forest was full of the beautiful birds. In most parts of the
middle West they are no longer seen, except in twos or threes, but once
they were like the sands of the sea for multitude. It was not now the
season when they hid half the heavens with their flight day after day;
but they were in myriads all through the woods, where their iridescent
breasts shone like a sudden untimely growth of flowers when you came upon
them from the front. When they rose in fright, it was like the upward
leap of fire, and with the roar of flame. I use images which, after all,
are false to the thing I wish to express; but they must serve. I tried
honestly enough to kill the pigeons, but I had no luck, or too much, till
I happened to bring down one of a pair that I found apart from the rest
in a softy tree-top. The poor creature I had widowed followed me to the
verge of the woods, as I started home with my prey, and I do not care to
know more personally the feelings of a murderer than I did then. I tried
to shoot the bird, but my aim was so bad that I could not do her this
mercy, and at last she flew away, and I saw her no more.
The spring was now opening, and I was able to keep more and more with
Nature, who was kinder to me than I was to her other children, or wished
to be, and I got the better of my malady, which gradually left me for no
more reason apparently than it came upon me. But I was still far from
well, and I was in despair of my future. I began to read again--
I suppose I had really never altogether stopped. I borrowed from my
friend the bookbinder a German novel, which had for me a message of
lasting cheer. It was the 'Afraja' of Theodore Mugge, a story of life in
Norway during the last century, and I remember it as a very lovely story
indeed, with honest studies of character among the Norwegians, and a
tender pathos in the fate of the little Lap heroine Gula, who was perhaps
sufficiently romanced. The hero was a young Dane, who was going up among
the fiords to seek his fortune in the northern fisheries; and by a
process inevitable in youth I became identified with him, so that I
adventured, and enjoyed, and suffered in his person throughout. There
was a supreme moment when he was sailing through the fiords, and finding
himself apparently locked in by their mountain walls without sign or hope
of escape, but somehow always escaping by some unimagined channel, and
keeping on. The lesson for him was one of trust and courage; and I, who
seemed to be then shut in upon a mountain-walled fiord without inlet or
outlet, took the lesson home and promised myself not to lose heart again.
It seems a little odd that this passage of a book, by no means of the
greatest, should have had such an effect with me at a time when I was no
longer so young as to be unduly impressed by what I read; but it is true
that I have never since found myself in circumstances where there seemed
to be no getting forward or going back, without a vision of that fiord
scenery, and then a rise of faith, that if I kept on I should, somehow,
come out of my prisoning environment.
XXVI. GEORGE ELIOT, HAWTHORNE, GOETHE, HEINE
I got back health enough to be of use in the printing office that autumn,
and I was quietly at work there with no visible break in my surroundings
when suddenly the whole world opened to me through what had seemed an
impenetrable wall. The Republican newspaper at the capital had been
bought by a new management, and the editorial force reorganized upon a
footing of what we then thought metropolitan enterprise; and to my great
joy and astonishment I was asked to come and take a place in it. The
place offered me was not one of lordly distinction; in fact, it was
partly of the character of that I had already rejected in Cincinnati,
but I hoped that in the smaller city its duties would not be so odious;
and by the time I came to fill it, a change had taken place in the
arrangements so that I was given charge of the news department. This
included the literary notices and the book reviews, and I am afraid that
I at once gave my prime attention to these.
It was an evening paper, and I had nearly as much time for reading and
study as I had at home. But now society began to claim a share of this
leisure, which I by no means begrudged it. Society was very charming in
Columbus then, with a pretty constant round of dances and suppers, and an
easy cordiality, which I dare say young people still find in it
everywhere. I met a great many cultivated people, chiefly young ladies,
and there were several houses where we young fellows went and came almost
as freely as if they were our own. There we had music and cards, and
talk about books, and life appeared to me richly worth living; if any one
had said this was not the best planet in the universe I should have
called him a pessimist, or at least thought him so, for we had not the
word in those days. A world in which all those pretty and gracious women
dwelt, among the figures of the waltz and the lancers, with chat between
about the last instalment of 'The Newcomes,' was good enough world for
me; I was only afraid it was too good. There were, of course, some girls
who did not read, but few openly professed indifference to literature,
and there was much lending of books back and forth, and much debate of
them. That was the day when 'Adam Bede' was a new book, and in this I
had my first knowledge of that great intellect for which I had no
passion, indeed, but always the deepest respect, the highest honor; and
which has from time to time profoundly influenced me by its ethics.
I state these things simply and somewhat baldly; I might easily refine
upon them, and study that subtle effect for good and for evil which young
people are always receiving from the fiction they read; but this its not
the time or place for the inquiry, and I only wish to own that so far as
I understand it, the chief part of my ethical experience has been from
novels. The life and character I have found portrayed there have
appealed always to the consciousness of right and wrong implanted in me;
and from no one has this appeal been stronger than from George Eliot.
Her influence continued through many years, and I can question it now
only in the undue burden she seems to throw upon the individual, and her
failure to account largely enough for motive from the social environment.
There her work seems to me unphilosophical.
It shares whatever error there is in its perspective with that of
Hawthorne, whose 'Marble Faun' was a new book at the same time that 'Adam
Bede' was new, and whose books now came into my life and gave it their
tinge. He was always dealing with the problem of evil, too, and I found
a more potent charm in his more artistic handling of it than I found in
George Eliot. Of course, I then preferred the region of pure romance
where he liked to place his action; but I did not find his instances the
less veritable because they shone out in
"The light that never was on sea or land."
I read the 'Marble Faun' first, and then the 'Scarlet Letter,' and then
the 'House of Seven Gables,' and then the 'Blithedale Romance;' but I
always liked best the last, which is more nearly a novel, and more
realistic than the others. They all moved me with a sort of effect such
as I had not felt before. They veers so far from time and place that,
although most of them related to our country and epoch, I could not
imagine anything approximate from them; and Hawthorne himself seemed a
remote and impalpable agency, rather than a person whom one might
actually meet, as not long afterward happened with me. I did not hold
the sort of fancied converse with him that I held with ether authors,
and I cannot pretend that I had the affection for him that attracted me
to them. But he held me by his potent spell, and for a time he dominated
me as completely as any author I have read. More truly than any other
American author he has been a passion with me, and lately I heard with a
kind of pang a young man saying that he did not believe I should find the
'Scarlet Letter' bear reading now. I did not assent to the possibility,
but the notion gave me a shiver of dismay. I thought how much that book
had been to me, how much all of Hawthorne's books had been, and to have
parted with my faith in their perfection would have been something I
would not willingly have risked doing.
Of course there is always something fatally weak in the scheme of the
pure romance, which, after the color of the contemporary mood dies out of
it, leaves it in danger of tumbling into the dust of allegory; and
perhaps this inherent weakness was what that bold critic felt in the
'Scarlet Letter.' But none of Hawthorne's fables are without a profound
and distant reach into the recesses of nature and of being. He came back
from his researches with no solution of the question, with no message,
indeed, but the awful warning, "Be true, be true," which is the burden of
the Scarlet Letter; yet in all his books there is the hue of thoughts
that we think only in the presence of the mysteries of life and death.
It is not his fault that this is not intelligence, that it knots the brow
in sorer doubt rather than shapes the lips to utterance of the things
that can never be said. Some of his shorter stories I have found thin
and cold to my later reading, and I have never cared much for the 'House
of Seven Gables,' but the other day I was reading the 'Blithedale
Romance' again, and I found it as potent, as significant, as sadly and
strangely true as when it first enthralled my soul.
In those days when I tried to kindle my heart at the cold altar of
Goethe, I did read a great deal of his prose and somewhat of his poetry,
but it was to be ten years yet before I should go faithfully through with
his Faust and come to know its power. For the present, I read 'Wilhelm
Meister' and the 'Wahlverwandschaften,' and worshipped him much at
second-hand through Heine. In the mean time I invested such Germans as
I met with the halo of their national poetry, and there was one lady of
whom I heard with awe that she had once known my Heine. When I came to
meet her, over a glass of the mild egg-nog which she served at her house
on Sunday nights, and she told me about Heine, and how he looked, and
some few things he said, I suffered an indescribable disappointment; and
if I could have been frank with myself I should have owned to a fear that
it might have been something like that, if I had myself met the poet in
the flesh, and tried to hold the intimate converse with him that I held
in the spirit. But I shut my heart to all such misgivings and went on
reading him much more than I read any other German author. I went on
writing him too, just as I went on reading and writing Tennyson. Heine
was always a personal interest with me, and every word of his made me
long to have had him say it to me, and tell me why he said it. In a poet
of alien race and language and religion I found a greater sympathy than I
have experienced with any other. Perhaps the Jews are still the chosen
people, but now they bear the message of humanity, while once they bore
the message of divinity. I knew the ugliness of Heine's nature: his
revengefulness, and malice, and cruelty, and treachery, and uncleanness;
and yet he was supremely charming among the poets I have read. The
tenderness I still feel for him is not a reasoned love, I must own; but,
as I am always asking, when was love ever reasoned?
I had a room-mate that winter in Columbus who was already a contributor
to the Atlantic Monthly, and who read Browning as devotedly as I read
Heine. I will not say that he wrote him as constantly, but if that had
been so, I should not have cared. What I could not endure without pangs
of secret jealousy was that he should like Heine, too, and should read
him, though it was but an arm's-length in an English version. He had
found the origins of those tricks and turns of Heine's in 'Tristram
Shandy' and the 'Sentimental Journey;' and this galled me, as if he had
shown that some mistress of my soul had studied her graces from another
girl, and that it was not all her own hair that she wore. I hid my
rancor as well as I could, and took what revenge lay in my power by
insinuating that he might have a very different view if he read Heine in
the original. I also made haste to try my own fate with the Atlantic,
and I sent off to Mr. Lowell that poem which he kept so long in order to
make sure that Heine had not written it, as well as authorized it.
XXVII. CHARLES READE
This was the winter when my friend Piatt and I made our first literary
venture together in those 'Poems of Two Friends;' which hardly passed the
circle of our amity; and it was altogether a time of high literary
exaltation with me. I walked the streets of the friendly little city by
day and by night with my head so full of rhymes and poetic phrases that
it seemed as if their buzzing might have been heard several yards away;
and I do not yet see quite how I contrived to keep their music out of my
newspaper paragraphs. Out of the newspaper I could not keep it, and from
time to time I broke into verse in its columns, to the great amusement of
the leading editor, who knew me for a young man with a very sharp tooth
for such self-betrayals in others. He wanted to print a burlesque review
he wrote of the 'Poems of Two Friends' in our paper, but I would not
suffer it. I must allow that it was very, funny, and that he was always
a generous friend, whose wounds would have been as faithful as any that
could have been dealt me then. He did not indeed care much for any
poetry but that of Shakespeare and the 'Ingoldsby Legends;' and when one
morning a State Senator came into the office with a volume of Tennyson,
and began to read,
"The poet in a golden clime was born,
With golden stars above;
Dowered with the hate of hate, the scorn of scorn
The love of love,"
he hitched his chair about, and started in on his leader for the day.
He might have been more patient if he had known that this State Senator
was to be President Garfield. But who could know anything of the
tragical history that was so soon to follow that winter of 1859-60?
Not I; at least I listened rapt by the poet and the reader, and it seemed
to me as if the making and the reading of poetry were to go on forever,
and that was to be all there was of it. To be sure I had my hard little
journalistic misgivings that it was not quite the thing for a State
Senator to come round reading Tennyson at ten o'clock in the morning, and
I dare say I felt myself superior in my point of view, though I could not
resist the charm of the verse. I myself did not bring Tennyson to the
office at that time. I brought Thackeray, and I remember that one day
when I had read half an hour or so in the 'Book of Snobs,' the leading
editor said frankly, Well, now, he guessed we had had enough of that.
He apologized afterwards as if he were to blame, and not I, but I dare
say I was a nuisance with my different literary passions, and must have
made many of my acquaintances very tired of my favorite authors. I had
some consciousness of the fact, but I could not help it.
I ought not to omit from the list of these favorites an author who was
then beginning to have his greatest vogue, and who somehow just missed of
being a very great one. We were all reading his jaunty, nervy, knowing
books, and some of us were questioning whether we ought not to set him
above Thackeray and Dickens and George Eliot, 'tulli quanti', so great
was the effect that Charles Reade had with our generation. He was a man
who stood at the parting of the ways between realism and romanticism, and
if he had been somewhat more of a man he might have been the master of a
great school of English realism; but, as it was, he remained content to
use the materials of realism and produce the effect of romanticism. He
saw that life itself infinitely outvalued anything that could be feigned
about it, but its richness seemed to corrupt him, and he had not the
clear, ethical conscience which forced George Eliot to be realistic when
probably her artistic prepossessions were romantic.
As yet, however, there was no reasoning of the matter, and Charles Reade
was writing books of tremendous adventure and exaggerated character,
which he prided himself on deriving from the facts of the world around
him. He was intoxicated with the discovery he had made that the truth
was beyond invention, but he did not know what to do with the truth in
art after he had found it in life, and to this day the English mostly do
not. We young people were easily taken with his glittering error, and we
read him with much the same fury, that he wrote. 'Never Too Late to
Mend;' 'Love Me Little, Love Me Long;' 'Christie Johnstone;' 'Peg
Woffington;' and then, later, 'Hard Cash,' 'The Cloister and the Hearth,'
'Foul Play,' 'Put Yourself in His Place'--how much they all meant once,
or seemed to mean!
The first of them, and the other poems and fictions I was reading, meant
more to me than the rumors of war that were then filling the air, and
that so soon became its awful actualities. To us who have our lives so
largely in books the material world is always the fable, and the ideal
the fact. I walked with my feet on the ground, but my head was in the
clouds, as light as any of them. I neither praise nor blame this fact;
but I feel bound to own it, for that time, and for every time in my life,
since the witchery of literature began with me.
Those two happy winters in Columbus, when I was finding opportunity and
recognition, were the heydey of life for me. There has been no time like
them since, though there have been smiling and prosperous times a plenty;
for then I was in the blossom of my youth, and what I had not I could
hope for without unreason, for I had so much of that which I had most
desired. Those times passed, and there came other times, long years of
abeyance, and waiting, and defeat, which I thought would never end, but
they passed, too.
I got my appointment of Consul to Venice, and I went home to wait for my
passport and to spend the last days, so full of civic trouble, before I
should set out for my post. If I hoped to serve my country there and
sweep the Confederate cruisers from the Adriatic, I am afraid my prime
intent was to add to her literature and to my own credit. I intended,
while keeping a sleepless eye out for privateers, to write poems.
concerning American life which should eclipse anything yet done in that
kind, and in the mean time I read voraciously and perpetually, to make
the days go swiftly which I should have been so glad to have linger. In
this month I devoured all the 'Waverley novels,' but I must have been
devouring a great many others, for Charles Reade's 'Christie Johnstone'
is associated with the last moment of the last days.
A few months ago I was at the old home, and I read that book again,
after not looking at it for more than thirty years; and I read it with
amazement at its prevailing artistic vulgarity, its prevailing aesthetic
error shot here and there with gleams of light, and of the truth that
Reade himself was always dimly groping for. The book is written
throughout on the verge of realism, with divinations and conjectures
across its border, and with lapses into the fool's paradise of
romanticism, and an apparent content with its inanity and impossibility.
But then it was brilliantly new and surprising; it seemed to be the last
word that could be said for the truth in fiction; and it had a spell that
held us like an anesthetic above the ache of parting, and the anxiety for
the years that must pass, with all their redoubled chances, before our
home circle could be made whole again. I read on, and the rest listened,
till the wheels of the old stage made themselves heard in their approach
through the absolute silence of the village street. Then we shut the
book and all went down to the gate together, and parted under the pale
sky of the October night. There was one of the home group whom I was not
to see again: the young brother who died in the blossom of his years
before I returned from my far and strange sojourn. He was too young then
to share our reading of the novel, but when I ran up to his room to bid
him good-by I found him awake, and, with aching hearts, we bade each
other good-by forever!
XXVIII. DANTE
I ran through an Italian grammar on my way across the Atlantic, and from
my knowledge of Latin, Spanish, and French, I soon had a reading
acquaintance with the language. I had really wanted to go to Germany,
that I might carry forward my studies in German literature, and I first
applied for the consulate at Munich. The powers at Washington thought it
quite the same thing to offer me Rome; but I found that the income of the
Roman consulate would not give me a living, and I was forced to decline
it. Then the President's private secretaries, Mr. John Nicolay and Mr.
John Hay, who did not know me except as a young Westerner who had written
poems in the Atlantic Monthly, asked me how I would like Venice, and
promised that they would have the salary put up to a thousand a year,
under the new law to embarrass privateers. It was really put up to
fifteen hundred, and with this income assured me I went out to the city
whose influence changed the whole course of my literary life.
No privateers ever came, though I once had notice from Turin that the
Florida had been sighted off Ancona; and I had nearly four years of
nearly uninterrupted leisure at Venice, which I meant to employ in
reading all Italian literature, and writing a history of the republic.
The history, of course, I expected would be a long affair, and I did not
quite suppose that I could despatch the literature in any short time;
besides, I had several considerable poems on hand that occupied me a good
deal, and worked at these as well as advanced myself in Italian,
preparatory to the efforts before me.
I had already a slight general notion of Italian letters from Leigh Hunt,
and from other agreeable English Italianates; and I knew that I wanted to
read not only the four great poets, Dante, Petrarch, Ariosto, and Tasso,
but that whole group of burlesque poets, Pulci, Berni, and the rest, who,
from what I knew of them, I thought would be even more to my mind. As a
matter of fact, and in the process of time, I did read somewhat of all
these, but rather in the minor than the major way; and I soon went off
from them to the study of the modern poets, novelists, and playwrights
who interested me so much more. After my wonted fashion I read half a
dozen of these authors together, so that it would be hard to say which I
began with, but I had really a devotion to Dante, though not at that
time, or ever for the whole of Dante. During my first year in Venice I
met an ingenious priest, who had been a tutor in a patrician family, and
who was willing to lead my faltering steps through the "Inferno." This
part of the "Divine Comedy" I read with a beginner's carefulness, and
with a rapture in its beauties, which I will whisper the reader do not
appear in every line.
Again I say it is a great pity that criticism is not honest about the
masterpieces of literature, and does not confess that they are not every
moment masterly, that they are often dull and tough and dry, as is
certainly the case with Dante's. Some day, perhaps, we shall have this
way of treating literature, and then the lover of it will not feel
obliged to browbeat himself into the belief that if he is not always
enjoying himself it is his own fault. At any rate I will permit myself
the luxury of frankly saying that while I had a deep sense of the majesty
and grandeur of Dante's design, many points of its execution bored me,
and that I found the intermixture of small local fact and neighborhood
history in the fabric of his lofty creation no part of its noblest
effect. What is marvellous in it is its expression of Dante's
personality, and I can never think that his personalities enhance its
greatness as a work of art. I enjoyed them, however, and I enjoyed them
the more, as the innumerable perspectives of Italian history began to
open all about me. Then, indeed, I understood the origins if I did not
understand the aims of Dante, which there is still much dispute about
among those who profess to know them clearly. What I finally perceived
was that his poem came through him from the heart of Italian life, such
as it was in his time, and that whatever it teaches, his poem expresses
that life, in all its splendor and squalor, its beauty and deformity, its
love and its hate.
Criticism may torment this sense or that sense out of it, but at the end
of the ends the "Divine Comedy" will stand for the patriotism of
medieval Italy, as far as its ethics is concerned, and for a profound and
lofty ideal of beauty, as far as its aesthetics is concerned. This is
vague enough and slight enough, I must confess, but I must confess also
that I had not even a conception of so much when I first read the
"Inferno." I went at it very simply, and my enjoyment of it was that
sort which finds its account in the fine passages, the brilliant
episodes, the striking pictures. This was the effect with me of all the
criticism which I had hitherto read, and I am not sure yet that the
criticism which tries to be of a larger scope, and to see things "whole,"
is of any definite effect. As a matter of fact we see nothing whole,
neither life nor art. We are so made, in soul and in sense, that we can
deal only with parts, with points, with degrees; and the endeavor to
compass any entirety must involve a discomfort and a danger very
threatening to our intellectual integrity.
Or if this postulate is as untenable as all the others, still I am very
glad that I did not then lose any fact of the majesty, and beauty, and
pathos of the great certain measures for the sake of that fourth
dimension of the poem which is not yet made palpable or visible. I took
my sad heart's fill of the sad story of "Paolo and Francesca," which I
already knew in Leigh Hunt's adorable dilution, and most of the lines
read themselves into my memory, where they linger yet. I supped on the
horrors of Ugolino's fate with the strong gust of youth, which finds
every, exercise of sympathy a pleasure. My good priest sat beside me in
these rich moments, knotting in his lap the calico handkerchief of the
snuff-taker, and entering with tremulous eagerness into my joy in things
that he had often before enjoyed. No doubt he had an inexhaustible
pleasure in them apart from mine, for I have found my pleasure in them
perennial, and have not failed to taste it as often as I have read or
repeated any of the great passages of the poem to myself. This pleasure
came often from some vital phrase, or merely the inspired music of a
phrase quite apart from its meaning. I did not get then, and I have not
got since, a distinct conception of the journey through Hell, and as
often as I have tried to understand the topography of the poem I have
fatigued myself to no purpose, but I do not think the essential meaning
was lost upon me.
I dare say my priest had his notion of the general shape and purport,
the gross material body of the thing, but he did not trouble me with it,
while we sat tranced together in the presence of its soul. He seemed,
at times, so lost in the beatific vision, that he forgot my stumblings in
the philological darkness, till I appealed to him for help. Then he
would read aloud with that magnificent rhythm the Italians have in
reading their verse, and the obscured meaning would seem to shine out of
the mere music of the poem, like the color the blind feel in sound.
I do not know what has become of him, but if he is like the rest of the
strange group of my guides, philosophers, and friends in literature--the
printer, the organ-builder, the machinist, the drug-clerk, and the
bookbinder--I am afraid he is dead. In fact, I who was then I, might be
said to be dead too, so little is my past self like my present self in
anything but the "increasing purpose" which has kept me one in my love of
literature. He was a gentle and kindly man, with a life and a longing,
quite apart from his vocation, which were never lived or fulfilled.
I did not see him after he ceased to read Dante with me, and in fact I
was instructed by the suspicions of my Italian friends to be careful how
I consorted with a priest, who might very well be an Austrian spy.
I parted with him for no such picturesque reason, for I never believed
him other than the truest and faithfulest of friends, but because I was
then giving myself more entirely to work in which he could not help me.
Naturally enough this was a long poem in the terza rima of the "Divina
Commedia," and dealing with a story of our civil war in a fashion so
remote that no editor would print it. This was the first fruits and the
last of my reading of Dante, in verse, and it was not so like Dante as I
would have liked to make it; but Dante is not easy to imitate; he is too
unconscious, and too single, too bent upon saying the thing that is in
him, with whatever beauty inheres in it, to put on the graces that others
may catch.
XXIX. GOLDONI, MANZONI, D'AZEGLIO
However, this poem only shared the fate of nearly, all the others that I
wrote at this time; they came back to me with unfailing regularity from
all the magazine editors of the English-speaking world; I had no success
with any of them till I sent Mr. Lowell a paper on recent Italian comedy
for the North American Review, which he and Professor Norton had then
begun to edit. I was in the mean time printing the material of Venetian
Life and the Italian Journeys in a Boston newspaper after its rejection
by the magazines; and my literary life, almost without my willing it, had
taken the course of critical observance of books and men in their
actuality.
That is to say, I was studying manners, in the elder sense of the word,
wherever I could get at them in the frank life of the people about me,
and in such literature of Italy as was then modern. In this pursuit I
made a discovery that greatly interested me, and that specialized my
inquiries. I found that the Italians had no novels which treated of
their contemporary life; that they had no modern fiction but the
historical romance. I found that if I wished to know their life from
their literature I must go to their drama, which was even then
endeavoring to give their, stage a faithful picture of their
civilization. There was even then in the new circumstance of a people
just liberated from every variety of intellectual repression and
political oppression, a group of dramatic authors, whose plays were not
only delightful to see but delightful to read, working in the good
tradition of one of the greatest realists who has ever lived, and
producing a drama of vital strength and charm. One of them, whom I by no
means thought the best, has given us a play, known to all the world,
which I am almost ready to think with Zola is the greatest play of modern
times; or if it is not so, I should be puzzled to name the modern drama
that surpasses "La Morte Civile" of Paolo Giacometti. I learned to know
all the dramatists pretty well, in the whole range of their work, on the
stage and in the closet, and I learned to know still better, and to love
supremely, the fine, amiable genius whom, as one of them said, they did
not so much imitate as learn from to imitate nature.
This was Carlo Goldoni, one of the first of the realists, but antedating
conscious realism so long as to have been born at Venice early in the
eighteenth century, and to have come to his hand-to-hand fight with the
romanticism of his day almost before that century had reached its noon.
In the early sixties of our own century I was no more conscious of his
realism than he was himself a hundred years before; but I had eyes in my
head, and I saw that what he had seen in Venice so long before was so
true that it was the very life of Venice in my own day; and because I
have loved the truth in art above all other things, I fell instantly and
lastingly in love with Carlo Goldoni. I was reading his memoirs, and
learning to know his sweet, honest, simple nature while I was learning to
know his work, and I wish that every one who reads his plays would read
his life as well; one must know him before one can fully know them. I
believe, in fact, that his autobiography came into my hands first. But,
at any rate, both are associated with the fervors and languors of that
first summer in Venice, so that I cannot now take up a book of Goldoni's
without a renewed sense of that sunlight and moonlight, and of the sounds
and silences of a city that is at once the stillest and shrillest in the
world.
Perhaps because I never found his work of great ethical or aesthetical
proportions, but recognized that it pretended to be good only within its
strict limitations, I recur to it now without that painful feeling of a
diminished grandeur in it, which attends us so often when we go back to
something that once greatly pleased us. It seemed to me at the time that
I must have read all his comedies in Venice, but I kept reading new ones
after I came home, and still I can take a volume of his from the shelf,
and when thirty years are past, find a play or two that I missed before.
Their number is very great, but perhaps those that I fancy I have not
read, I have really read once or more and forgotten. That might very
easily be, for there is seldom anything more poignant in any one of them
than there is in the average course of things. The plays are light and
amusing transcripts from life, for the most part, and where at times they
deepen into powerful situations, or express strong emotions, they do so
with persons so little different from the average of our acquaintance
that we do not remember just who the persons are.
There is no doubt but the kindly playwright had his conscience, and meant
to make people think as well as laugh. I know of none of his plays that
is of wrong effect, or that violates the instincts of purity, or insults
common sense with the romantic pretence that wrong will be right if you
will only paint it rose-color. He is at some obvious pains to "punish
vice and reward virtue," but I do not mean that easy morality when I
praise his; I mean the more difficult sort that recognizes in each man's
soul the arbiter not of his fate surely, but surely of his peace. He
never makes a fool of the spectator by feigning that passion is a reason
or justification, or that suffering of one kind can atone for wrong of
another. That was left for the romanticists of our own century to
discover; even the romanticists whom Goldoni drove from the stage, were
of that simpler eighteenth-century sort who had not yet liberated the
individual from society, but held him accountable in the old way. As for
Goldoni himself, he apparently never dreams of transgression; he is of
rather an explicit conventionality in most things, and he deals with
society as something finally settled. How artfully he deals with it,
how decently, how wholesomely, those who know Venetian society of the
eighteenth century historically, will perceive when they recall the
adequate impression he gives of it without offence in character or
language or situation. This is the perpetual miracle of his comedy,
that it says so much to experience and worldly wisdom, and so little to
inexperience and worldly innocence. No doubt the Serenest Republic was
very strict with the theatre, and suffered it to hold the mirror up to
nature only when nature was behaving well, or at least behaving as if
young people were present. Yet the Italians are rather plain-spoken, and
they recognize facts which our company manners at least do not admit the
existence of. I should say that Goldoni was almost English, almost
American, indeed, in his observance of the proprieties, and I like this
in him; though the proprieties are not virtues, they are very good
things, and at least are better than the improprieties.
This, however, I must own, had not a great deal to do with my liking him
so much, and I should be puzzled to account for my passion, as much in
his case as in most others. If there was any reason for it, perhaps it
was that he had the power of taking me out of my life, and putting me
into the lives of others, whom I felt to be human beings as much as
myself. To make one live in others, this is the highest effect of
religion as well as of art, and possibly it will be the highest bliss we
shall ever know. I do not pretend that my translation was through my
unselfishness; it was distinctly through that selfishness which perceives
that self is misery; and I may as well confess here that I do not regard
the artistic ecstasy as in any sort noble. It is not noble to love the
beautiful, or to live for it, or by it; and it may even not be refining.
I would not have any reader of mine, looking forward to some aesthetic
career, suppose that this love is any merit in itself; it may be the
grossest egotism. If you cannot look beyond the end you aim at, and seek
the good which is not your own, all your sacrifice is to yourself and not
of yourself, and you might as well be going into business. In itself and
for itself it is no more honorable to win fame than to make money, and
the wish to do the one is no more elevating than the wish to do the
other.
But in the days I write of I had no conception of this, and I am sure
that my blindness to so plain a fact kept me even from seeking and
knowing the highest beauty in the things I worshipped. I believe that if
I had been sensible of it I should hays read much more of such humane
Italian poets and novelists as Manzoni and D'Azeglio, whom I perceived to
be delightful, without dreaming of them in the length and breadth of
their goodness. Now and then its extent flashed upon me, but the glimpse
was lost to my retroverted vision almost as soon as won. It is only in
thinking back to there that I can realize how much they might always have
meant to me. They were both living in my time in Italy, and they were
two men whom I should now like very much to have seen, if I could have
done so without that futility which seems to attend every effort to pay
one's duty to such men.
The love of country in all the Italian poets and romancers of the long
period of the national resurrection ennobled their art in a measure which
criticism has not yet taken account of. I conceived of its effect then,
but I conceived of it as a misfortune, a fatality; now I am by no means
sure that it was so; hereafter the creation of beauty, as we call it, for
beauty's sake, may be considered something monstrous. There is forever a
poignant meaning in life beyond what mere living involves, and why should
not there be this reference in art to the ends beyond art?
The situation, the long patience, the hope against hope, dignified and
beautified the nature of the Italian writers of that day, and evoked from
them a quality which I was too little trained in their school to
appreciate. But in a sort I did feel it, I did know it in them all, so
far as I knew any of them, and in the tragedies of Manzoni, and in the
romances of D'Azeglio, and yet more in the simple and modest records of
D'Azeglio's life published after his death, I profited by it, and
unconsciously prepared myself for that point of view whence all the arts
appear one with all the uses, and there is nothing beautiful that is
false.
I am very glad of that experience of Italian literature, which I look
back upon as altogether wholesome and sanative, after my excesses of
Heine. No doubt it was all a minor affair as compared with equal
knowledge of French literature, and so far it was a loss of time. It is
idle to dispute the general positions of criticism, and there is no
useful gainsaying its judgment that French literature is a major
literature and Italian a minor literature in this century; but whether
this verdict will stand for all time, there may be a reasonable doubt.
Criterions may change, and hereafter people may look at the whole affair
so differently that a literature which went to the making of a people
will not be accounted a minor literature, but will take its place with
the great literary movements.
I do not insist upon this possibility, and I am far from defending myself
for liking the comedies of Goldoni better than the comedies of Moliere,
upon purely aesthetic grounds, where there is no question as to the
artistic quality. Perhaps it is because I came to Moliere's comedies
later, and with my taste formed for those of Goldoni; but again, it is
here a matter of affection; I find Goldoni for me more sympathetic, and
because he is more sympathetic I cannot do otherwise than find him more
natural, more true. I will allow that this is vulnerable, and as I say,
I do not defend it. Moliere has a place in literature infinitely loftier
than Goldoni's; and he has supplied types, characters, phrases, to the
currency of thought, and Goldoni has supplied none. It is, therefore,
without reason which I can allege that I enjoy Goldoni more. I am
perfectly willing to be rated low for my preference, and yet I think that
if it had been Goldoni's luck to have had the great age of a mighty
monarchy for his scene, instead of the decline of an outworn republic,
his place in literature might have been different.
XXX. "PASTOR FIDO," "AMINTA," "ROMOLA," "YEAST," "PAUL FERROLL"
I have always had a great love for the absolutely unreal, the purely
fanciful in all the arts, as well as of the absolutely real; I like the
one on a far lower plane than the other, but it delights me, as a
pantomime at a theatre does, or a comic opera, which has its being wholly
outside the realm of the probabilities. When I once transport myself to
this sphere I have no longer any care for them, and if I could I would
not exact of them an allegiance which has no concern with them. For this
reason I have always vastly enjoyed the artificialities of pastoral
poetry; and in Venice I read with a pleasure few serious poems have given
me the "Pastor Fido" of Guarini. I came later but not with fainter zest
to the "Aminta" of Tasso, without which, perhaps, the "Pastor Fido" would
not have been, and I revelled in the pretty impossibilities of both these
charming effects of the liberated imagination.
I do not the least condemn that sort of thing; one does not live by
sweets, unless one is willing to spoil one's digestion; but one may now
and then indulge one's self without harm, and a sugar-plum or two after
dinner may even be of advantage. What I object to is the romantic thing
which asks to be accepted with all its fantasticality on the ground of
reality; that seems to me hopelessly bad. But I have been able to dwell
in their charming out-land or no-land with the shepherds and
shepherdesses and nymphs, satyrs, and fauns, of Tasso and Guarini, and I
take the finest pleasure in their company, their Dresden china loves and
sorrows, their airy raptures, their painless throes, their polite
anguish, their tears not the least salt, but flowing as sweet as the
purling streams of their enamelled meadows. I wish there were more of
that sort of writing; I should like very much to read it.
The greater part of my reading in Venice, when I began to find that I
could not help writing about the place, was in books relating to its life
and history, which I made use of rather than found pleasure in. My
studies in Italian literature were full of the most charming interest,
and if I had to read a good many books for conscience' sake, there were a
good many others I read for their own sake. They were chiefly poetry;
and after the first essays in which I tasted the classic poets, they were
chiefly the books of the modern poets.
For the present I went no farther in German literature, and I recurred to
it in later years only for deeper and fuller knowledge of Heine; my
Spanish was ignored, as all first loves are when one has reached the age
of twenty-six. My English reading was almost wholly in the Tauchnitz
editions, for otherwise English books were not easily come at then and
there. George Eliot's 'Romola' was then new, and I read it again and
again with the sense of moral enlargement which the first fiction to
conceive of the true nature of evil gave all of us who were young in that
day. Tito Malema was not only a lesson, he was a revelation, and I
trembled before him as in the presence of a warning and a message from
the only veritable perdition. His life, in which so much that was good
was mixed, with so much that was bad, lighted up the whole domain of
egotism with its glare, and made one feel how near the best and the worst
were to each other, and how they sometimes touched without absolute
division in texture and color. The book was undoubtedly a favorite of
mine, and I did not see then the artistic falterings in it which were
afterwards evident to me.
There were not Romolas to read all the time, though, and I had to devolve
upon inferior authors for my fiction the greater part of the time. Of
course, I kept up with 'Our Mutual Friend,' which Dickens was then
writing, and with 'Philip,' which was to be the last of Thackeray. I was
not yet sufficiently instructed to appreciate Trollope, and I did not
read him at all.
I got hold of Kingsley, and read 'Yeast,' and I think some other novels
of his, with great relish, and without sensibility to his Charles
Readeish lapses from his art into the material of his art. But of all
the minor fiction that I read at this time none impressed me so much as
three books which had then already had their vogue, and which I knew
somewhat from reviews. They were Paul Ferroll, 'Why Paul Ferroll Killed
His Wife,' and 'Day after Day.' The first two were, of course, related
to each other, and they were all three full of unwholesome force. As to
their aesthetic merit I will not say anything, for I have not looked at
either of the books for thirty years. I fancy, however, that their
strength was rather of the tetanic than the titanic sort. They made your
sympathies go with the hero, who deliberately puts his wife to death for
the lie she told to break off his marriage with the woman he had loved,
and who then marries this tender and gentle girl, and lives in great
happiness with her till her death. Murder in the first degree is
flattered by his fate up to the point of letting him die peacefully in
Boston after these dealings of his in England; and altogether his story
could not be commended to people with a morbid taste for bloodshed.
Naturally enough the books were written by a perfectly good woman, the
wife of an English clergyman, whose friends were greatly scandalized by
them. As a sort of atonement she wrote 'Day after Day,' the story of a
dismal and joyless orphan, who dies to the sound of angelic music, faint
and farheard, filling the whole chamber. A carefuller study of the
phenomenon reveals the fact that the seraphic strains are produced by the
steam escaping from the hot-water bottles at the feet of the invalid.
As usual, I am not able fully to account for my liking of these books,
and I am so far from wishing to justify it that I think I ought rather to
excuse it. But since I was really greatly fascinated with them, and read
them with an evergrowing fascination, the only honest thing to do is to
own my subjection to them. It would be an interesting and important
question for criticism to study, that question why certain books at a.
certain time greatly dominate our fancy, and others manifestly better
have no influence with us. A curious proof of the subtlety of these Paul
Ferroll books in the appeal they made to the imagination is the fact that
I came to them fresh from 'Romolo,' and full of horror for myself in
Tito; yet I sympathized throughout with Paul Ferroll, and was glad when
he got away.
XXXI. ERCKMANN-CHATRIAN, BJORSTJERNE BJORNSON
On my return to America, my literary life immediately took such form that
most of my reading was done for review. I wrote at first a good many of
the lighter criticisms in 'The Nation', at New York, and after I went to
Boston to become the assistant editor of the 'Atlantic Monthly' I wrote
the literary notices in that periodical for four or five years.
It was only when I came into full charge of the magazine that I began to
share these labors with others, and I continued them in some measure as
long as I had any relation to it. My reading for reading's sake, as I
had hitherto done it, was at an end, and I read primarily for the sake of
writing about the book in hand, and secondarily for the pleasure it might
give me. This was always considerable, and sometimes so great that I
forgot the critic in it, and read on and on for pleasure. I was master
to review this book or that as I chose, and generally I reviewed only
books I liked to read, though sometimes I felt that I ought to do a book,
and did it from a sense of duty; these perfunctory criticisms I do not
think were very useful, but I tried to make them honest.
In a long sickness, which I had shortly after I went to live in
Cambridge, a friend brought me several of the stories of Erckmann-
Chatrian, whom people were then reading much more than they are now, I
believe; and I had a great joy in them, which I have renewed since as
often as I have read one of their books. They have much the same quality
of simple and sincerely moralized realism that I found afterwards in the
work of the early Swiss realist, Jeremias Gotthelf, and very likely it
was this that captivated my judgment. As for my affections, battered and
exhausted as they ought to have been in many literary passions, they
never went out with fresher enjoyment than they did to the charming story
of 'L'Ami Fritz,' which, when I merely name it, breathes the spring sun
and air about me, and fills my senses with the beauty and sweetness of
cherry blossoms. It is one of the loveliest and kindest books that ever
was written, and my heart belongs to it still; to be sure it belongs to
several hundreds of other books in equal entirety.
It belongs to all the books of the great Norwegian Bjorstjerne Bjornson,
whose 'Arne,' and whose 'Happy Boy,' and whose 'Fisher Maiden' I read in
this same fortunate sickness. I have since read every other book of his
that I could lay hands on: 'Sinnove Solbakken,' and 'Magnhild,' and
'Captain Manzanca,' and 'Dust,' and 'In God's Ways,' and 'Sigurd,' and
plays like "The Glove" and "The Bankrupt." He has never, as some authors
have, dwindled in my sense; when I open his page, there I find him as
large, and free, and bold as ever. He is a great talent, a clear
conscience, a beautiful art. He has my love not only because he is a
poet of the most exquisite verity, but because he is a lover of men,
with a faith in them such as can move mountains of ignorance,
and dulness, and greed. He is next to Tolstoy in his willingness to give
himself for his kind; if he would rather give himself in fighting than in
suffering wrong, I do not know that his self-sacrifice is less in degree.
I confess, however, that I do not think of him as a patriot and a
socialist when I read him; he is then purely a poet, whose gift holds me
rapt above the world where I have left my troublesome and wearisome self
for the time. I do not know of any novels that a young endeavorer in
fiction could more profitably read than his for their large and simple
method, their trust of the reader's intelligence, their sympathy with
life. With him the problems are all soluble by the enlightened and
regenerate will; there is no baffling Fate, but a helping God. In
Bjornson there is nothing of Ibsen's scornful despair, nothing of his
anarchistic contempt, but his art is full of the warmth and color of a
poetic soul, with no touch of the icy cynicism which freezes you in the
other. I have felt the cold fascination of Ibsen, too, and I should be
far from denying his mighty mastery, but he has never possessed me with
the delight that Bjornson has.
In those days I read not only all the new books, but I made many forays
into the past, and came back now and then with rich spoil, though I
confess that for the most part I had my trouble for my pains; and I wish
now that I had given the time I spent on the English classics to
contemporary literature, which I have not the least hesitation in saying
I like vastly better. In fact, I believe that the preference for the
literature of the past, except in the case of the greatest masters, is
mainly the affectation of people who cannot otherwise distinguish
themselves from the herd, and who wish very much to do so.
There is much to be learned from the minor novelists and poets of the
past about people's ways of thinking and feeling, but not much that the
masters do not give you in better quality and fuller measure; and I
should say, Read the old masters and let their schools go, rather than
neglect any possible master of your own time. Above all, I would not
have any one read an old author merely that he might not be ignorant of
him; that is most beggarly, and no good can come of it. When literature
becomes a duty it ceases to be a passion, and all the schoolmastering in
the world, solemnly addressed to the conscience, cannot make the fact
otherwise. It is well to read for the sake of knowing a certain ground
if you are to make use of your knowledge in a certain way, but it would
be a mistake to suppose that this is a love of literature.
XXXII. TOURGUENIEF, AUERBACH
In those years at Cambridge my most notable literary experience without
doubt was the knowledge of Tourguenief's novels, which began to be
recognized in all their greatness about the middle seventies. I think
they made their way with such of our public as were able to appreciate
them before they were accepted in England; but that does not matter. It
is enough for the present purpose that 'Smoke,' and 'Lisa,' and 'On the
Eve,' and 'Dimitri Roudine,' and 'Spring Floods,' passed one after
another through my hands, and that I formed for their author one of the
profoundest literary passions of my life.
I now think that there is a finer and truer method than his, but in its
way, Tourguenief's method is as far as art can go. That is to say, his
fiction is to the last degree dramatic. The persons are sparely
described, and briefly accounted for, and then they are left to transact
their affair, whatever it is, with the least possible comment or
explanation from the author. The effect flows naturally from their
characters, and when they have done or said a thing you conjecture why as
unerringly as you would if they were people whom you knew outside of a
book. I had already conceived of the possibility of this from Bjornson,
who practises the same method, but I was still too sunken in the gross
darkness of English fiction to rise to a full consciousness of its
excellence. When I remembered the deliberate and impertinent moralizing
of Thackeray, the clumsy exegesis of George Eliot, the knowing nods and
winks of Charles Reade, the stage-carpentering and limelighting of
Dickens, even the fine and important analysis of Hawthorne, it was with a
joyful astonishment that I realized the great art of Tourguenief.
Here was a master who was apparently not trying to work out a plot, who
was not even trying to work out a character, but was standing aside from
the whole affair, and letting the characters work the plot out. The
method was revealed perfectly in 'Smoke,' but each successive book of his
that I read was a fresh proof of its truth, a revelation of its
transcendent superiority. I think now that I exaggerated its value
somewhat; but this was inevitable in the first surprise. The sane
aesthetics of the first Russian author I read, however, have seemed more
and more an essential part of the sane ethics of all the Russians I have
read. It was not only that Tourguenief had painted life truly, but that
he had painted it conscientiously.
Tourguenief was of that great race which has more than any other fully
and freely uttered human nature, without either false pride or false
shame in its nakedness. His themes were oftenest those of the French
novelist, but how far he was from handling them in the French manner and
with the French spirit! In his hands sin suffered no dramatic
punishment; it did not always show itself as unhappiness, in the personal
sense, but it was always unrest, and without the hope of peace. If the
end did not appear, the fact that it must be miserable always appeared.
Life showed itself to me in different colors after I had once read
Tourguenief; it became more serious, more awful, and with mystical
responsibilities I had not known before. My gay American horizons were
bathed in the vast melancholy of the Slav, patient, agnostic, trustful.
At the same time nature revealed herself to me through him with an
intimacy she had not hitherto shown me. There are passages in this
wonderful writer alive with a truth that seems drawn from the reader's
own knowledge; who else but Tourguenief and one's own most secret self
ever felt all the rich, sad meaning of the night air drawing in at the
open window, of the fires burning in the darkness on the distant fields?
I try in vain to give some notion of the subtle sympathy with nature
which scarcely put itself into words with him. As for the people of his
fiction, though they were of orders and civilizations so remote from my
experience, they were of the eternal human types whose origin and
potentialities every one may find in his own heart, and I felt their
verity in every touch.
I cannot describe the satisfaction his work gave me; I can only impart
some sense of it, perhaps, by saying that it was like a happiness I had
been waiting for all my life, and now that it had come, I was richly
content forever. I do not mean to say that the art of Tourguenief
surpasses the art of Bjornson; I think Bjornson is quite as fine and
true. But the Norwegian deals with simple and primitive circumstances
for the most part, and always with a small world; and the Russian has to
do with human nature inside of its conventional shells, and his scene is
often as large as Europe. Even when it is as remote as Norway, it is
still related to the great capitals by the history if not the actuality
of the characters. Most of Tourguenief's books I have read many times
over, all of them I have read more than twice. For a number of years I
read them again and again without much caring for other fiction. It was
only the other day that I read Smoke through once more, with no
diminished sense of its truth, but with somewhat less than my first
satisfaction in its art. Perhaps this was because I had reached the
point through my acquaintance with Tolstoy where I was impatient even of
the artifice that hid itself. In 'Smoke' I was now aware of an artifice
that kept out of sight, but was still always present somewhere, invisibly
operating the story.
I must not fail to own the great pleasure that I have had in some of the
stories of Auerbach. It is true that I have never cared greatly for 'On
the Heights,' which in its dealing with royalties seems too far aloof
from the ordinary human life, and which on the moral side finally fades
out into a German mistiness. But I speak of it with the imperfect
knowledge of one who was never able to read it quite through, and I have
really no right to speak of it. The book of his that pleased me most was
'Edelweiss,' which, though the story was somewhat too catastrophical,
seemed to me admirably good and true. I still think it very delicately
done, and with a deep insight; but there is something in all Auerbach's
work which in the retrospect affects me as if it dealt with pigmies.
XXXIII. CERTAIN PREFERENCES AND EXPERIENCES
I have always loved history, whether in the annals of peoples or in the
lives of persons, and I have at all times read it. I am not sure but I
rather prefer it to fiction, though I am aware that in looking back over
this record of my literary passions I must seem to have cared for very
little besides fiction. I read at the time I have just been speaking of,
nearly all the new poetry as it came out, and I constantly recurred to it
in its mossier sources, where it sprang from the green English ground, or
trickled from the antique urns of Italy.
I do not think that I have ever cared much for metaphysics, or to read
much in that way, but from time to time I have done something of it.
Travels, of course, I have read as part of the great human story, and
autobiography has at times appeared to me the most delightful reading in
the world; I have a taste in it that rejects nothing, though I have never
enjoyed any autobiographies so much as those of such Italians as have
reasoned of themselves.
I suppose I have not been a great reader of the drama, and I do not know
that I have ever greatly relished any plays but those of Shakespeare and
Goldoni, and two or three of Beaumont and Fletcher, and one or so of
Marlow's, and all of Ibsen's and Maeterlinck's. The taste for the old
English dramatists I believe I have never formed.
Criticism, ever since I filled myself so full of it in my boyhood, I have
not cared for, and often I have found it repulsive.
I have a fondness for books of popular science, perhaps because they too
are part of the human story.
I have read somewhat of the theology of the Swedenborgian faith I was
brought up in, but I have not read other theological works; and I do not
apologize for not liking any. The Bible itself was not much known to me
at an age when most children have been obliged to read it several times
over; the gospels were indeed familiar, and they have always been to me
the supreme human story; but the rest of the New Testament I had not read
when a man grown, and only passages of the Old Testament, like the story
of the Creation, and the story of Joseph, and the poems of Job and
Ecclesiastes, with occasional Psalms. I therefore came to the Scriptures
with a sense at once fresh and mature, and I can never be too glad that I
learned to see them under the vaster horizon and in the truer
perspectives of experience.
Again as lights on the human story I have liked to read such books of
medicine as have fallen in my way, and I seldom take up a medical
periodical without reading of all the cases it describes, and in fact
every article in it.
But I did not mean to make even this slight departure from the main
business of these papers, which is to confide my literary passions to the
reader; he probably has had a great many of his own. I think I may class
the "Ring and the Book" among them, though I have never been otherwise a
devotee of Browning. But I was still newly home from Italy, or away from
home, when that poem appeared, and whether or not it was because it took
me so with the old enchantment of that land, I gave my heart promptly to
it. Of course, there are terrible longueurs in it, and you do get tired
of the same story told over and over from the different points of view,
and yet it is such a great story, and unfolded with such a magnificent
breadth and noble fulness, that one who blames it lightly blames himself
heavily. There are certain books of it--"Caponsacchi's story,"
"Pompilia's story," and "Count Guido's story"--that I think ought to rank
with the greatest poetry ever written, and that have a direct, dramatic
expression of the fact and character, which is without rival. There is a
noble and lofty pathos in the close of Caponsacchi's statement, an
artless and manly break from his self-control throughout, that seems to
me the last possible effect in its kind; and Pompilia's story holds all
of womanhood in it, the purity, the passion, the tenderness, the
helplessness. But if I begin to praise this or any of the things I have
liked, I do not know when I should stop. Yes, as I think it over, the
"Ring and the Book" appears to me one of the great few poems whose
splendor can never suffer lasting eclipse, however it may have presently
fallen into abeyance. If it had impossibly come down to us from some
elder time, or had not been so perfectly modern in its recognition of
feeling and motives ignored by the less conscious poetry of the past, it
might be ranked with the great epics.
Of other modern poets I have read some things of William Morris, like the
"Life and Death of Jason," the "Story of Gudrun," and the "Trial of
Guinevere," with a pleasure little less than passionate, and I have
equally liked certain pieces of Dante Rossetti. I have had a high joy in
some of the great minor poems of Emerson, where the goddess moves over
Concord meadows with a gait that is Greek, and her sandalled tread
expresses a high scorn of the india-rubber boots that the American muse
so often gets about in.
The "Commemoration Ode" of Lowell has also been a source from which I
drank something of the divine ecstasy of the poet's own exalted mood, and
I would set this level with the 'Biglow Papers,' high above all his other
work, and chief of the things this age of our country shall be remembered
by. Holmes I always loved, and not for his wit alone, which is so
obvious to liking, but for those rarer and richer strains of his in which
he shows himself the lover of nature and the brother of men. The deep
spiritual insight, the celestial music, and the brooding tenderness of
Whittier have always taken me more than his fierier appeals and his civic
virtues, though I do not underrate the value of these in his verse.
My acquaintance with these modern poets, and many I do not name because
they are so many, has been continuous with their work, and my pleasure in
it not inconstant if not equal. I have spoken before of Longfellow as
one of my first passions, and I have never ceased to delight in him; but
some of the very newest and youngest of our poets have given me thrills
of happiness, for which life has become lastingly sweeter.
Long after I had thought never to read it--in fact when I was 'nel mezzo
del cammin di nostra vita'--I read Milton's "Paradise Lost," and found in
it a majestic beauty that justified to me the fame it wears, and eclipsed
the worth of those lesser poems which I had ignorantly accounted his
worthiest. In fact, it was one of the literary passions of the time I
speak of, and it shared my devotion for the novels of Tourguenief and
(shall I own it?) the romances of Cherbuliez. After all, it is best to
be honest, and if it is not best, it is at least easiest; it involves the
fewest embarrassing consequences; and if I confess the spell that the
Revenge of Joseph Noirel cast upon me for a time, perhaps I shall be able
to whisper the reader behind my hand that I have never yet read the
"AEneid" of Virgil; the "Georgics," yes; but the "AEneid," no. Some
time, however, I expect to read it and to like it immensely. That is
often the case with things that I have held aloof from indefinitely.
One fact of my experience which the reader may, find interesting is that
when I am writing steadily I have little relish for reading. I fancy,
that reading is not merely a pastime when it is apparently the merest
pastime, but that a certain measure of mind-stuff is used up in it, and
that if you are using up all the mind stuff you have, much or little, in
some other way, you do not read because you have not the mind-stuff for
it. At any rate it is in this sort only that I can account for my
failure to read a great deal during four years of the amplest quiet that
I spent in the country at Belmont, whither we removed from Cambridge.
I had promised myself that in this quiet, now that I had given up
reviewing, and wrote little or nothing in the magazine but my stories,
I should again read purely for the pleasure of it, as I had in the early
days before the critical purpose had qualified it with a bitter alloy.
But I found that not being forced to read a number of books each month,
so that I might write about them, I did not read at all, comparatively
speaking. To be sure I dawdled over a great many books that I had read
before, and a number of memoirs and biographies, but I had no intense
pleasure from reading in that time, and have no passions to record of it.
It may have been a period when no new thing happened in literature deeply
to stir one's interest; I only state the fact concerning myself, and
suggest the most plausible theory I can think of.
I wish also to note another incident, which may or may not have its
psychological value. An important event of these years was a long
sickness which kept me helpless some seven or eight weeks, when I was
forced to read in order to pass the intolerable time. But in this misery
I found that I could not read anything of a dramatic cast, whether in the
form of plays or of novels. The mere sight of the printed page, broken
up in dialogue, was anguish. Yet it was not the excitement of the
fiction that I dreaded, for I consumed great numbers of narratives of
travel, and was not in the least troubled by hairbreadth escapes, or
shipwrecks, or perils from wild beasts or deadly serpents; it was the
dramatic effect contrived by the playwright or novelist, and worked up to
in the speech of his characters that I could not bear. I found a like
impossible stress from the Sunday newspaper which a mistaken friend sent
in to me, and which with its scare-headings, and artfully wrought
sensations, had the effect of fiction, as in fact it largely was.
At the end of four years we went abroad again, and travel took away the
appetite for reading as completely as writing did. I recall nothing read
in that year in Europe which moved me, and I think I read very little,
except the local histories of the Tuscan cities which I afterwards wrote
of.
XXXIV. VALDES, GALDOS, VERGA, ZOLA, TROLLOPE, HARDY
In fact, it was not till I returned, and took up my life again in Boston,
in the old atmosphere of work, that I turned once more to books. Even
then I had to wait for the time when I undertook a critical department in
one of the magazines, before I felt the rise of the old enthusiasm for an
author. That is to say, I had to begin reading for business again before
I began reading for pleasure. One of the first great pleasures which I
had upon these terms was in the book of a contemporary Spanish author.
This was the 'Marta y Maria' of Armando Palacio Valdes, a novelist who
delights me beyond words by his friendly and abundant humor, his feeling
for character, and his subtle insight. I like every one of his books
that I have read, and I believe that I have read nearly every one that he
has written. As I mention 'Riverito, Maximina, Un Idilio de un Inferno,
La Hermana de San Sulpizio, El Cuarto Poder, Espuma,' the mere names
conjure up the scenes and events that have moved me to tears and
laughter, and filled me with a vivid sense of the life portrayed in them.
I think the 'Marta y Maria' one of the most truthful and profound
fictions I have read, and 'Maximina' one of the most pathetic, and
'La Hermana de San Sulpizio' one of the most amusing. Fortunately, these
books of Valdes's have nearly all been translated, and the reader may
test the matter in English; though it necessarily halts somewhat behind
the Spanish.
I do not know whether the Spaniards themselves rank Valdes with Galdos or
not, and I have no wish to decide upon their relative merits. They are
both present passions of mine, and I may say of the 'Dona Perfecta' of
Galdos that no book, if I except those of the greatest Russians, has
given me a keener and deeper impression; it is infinitely pathetic, and
is full of humor, which, if more caustic than that of Valdes, is not less
delicious. But I like all the books of Galdos that I have read, and
though he seems to have worked more tardily out of his romanticism than
Valdes, since be has worked finally into such realism as that of Leon
Roch, his greatness leaves nothing to be desired.
I have read one of the books of Emilia Pardo-Bazan, called 'Morrina,'
which must rank her with the great realists of her country and age; she,
too, has that humor of her race, which brings us nearer the Spanish than
any other non-Anglo-Saxon people.
A contemporary Italian, whom I like hardly less than these noble
Spaniards, is Giovanni Verga, who wrote 'I Malavoglia,' or, as we call it
in English, 'The House by the Medlar Tree': a story of infinite beauty,
tenderness and truth. As I have said before, I think with Zola that
Giacometti, the Italian author of "La Morte Civile," has written almost
the greatest play, all round, of modern times.
But what shall I say of Zola himself, and my admiration of his epic
greatness? About his material there is no disputing among people of our
Puritanic tradition. It is simply abhorrent, but when you have once
granted him his material for his own use, it is idle and foolish to deny
his power. Every literary theory of mine was contrary to him when I took
up 'L'Assommoir,' though unconsciously I had always been as much of a
realist as I could, but the book possessed me with the same fascination
that I felt the other day in reading his 'L'Argent.' The critics know
now that Zola is not the realist he used to fancy himself, and he is full
of the best qualities of the romanticism he has hated so much; but for
what he is, there is but one novelist of our time, or of any, that
outmasters him, and that is Tolstoy. For my own part, I think that the
books of Zola are not immoral, but they are indecent through the facts
that they nakedly represent; they are infinitely more moral than the
books of any other French novelist. This may not be saying a great deal,
but it is saying the truth, and I do not mind owning that he has been one
of my great literary passions, almost as great as Flaubert, and greater
than Daudet or Maupassant, though I have profoundly appreciated the
exquisite artistry of both these. No French writer, however, has moved
me so much as the Spanish, for the French are wanting in the humor which
endears these, and is the quintessence of their charm.
You cannot be at perfect ease with a friend who does not joke, and I
suppose this is what deprived me of a final satisfaction in the company
of Anthony Trollope, who jokes heavily or not at all, and whom I should
otherwise make bold to declare the greatest of English novelists; as it
is, I must put before him Jane Austen, whose books, late in life, have
been a youthful rapture with me. Even without, much humor Trollope's
books have been a vast pleasure to me through their simple truthfulness.
Perhaps if they were more humorous they would not be so true to the
British life and character present in them in the whole length and
breadth of its expansive commonplaceness. It is their serious fidelity
which gives them a value unique in literature, and which if it were
carefully analyzed would afford a principle of the same quality in an
author who was undoubtedly one of the finest of artists as well as the
most Philistine of men.
I came rather late, but I came with all the ardor of what seems my
perennial literary youth, to the love of Thomas Hardy, whom I first knew
in his story 'A Pair of Blue Eyes.' As usual, after I had read this book
and felt the new charm in it, I wished to read the books of no other
author, and to read his books over and over. I love even the faults of
Hardy; I will let him play me any trick he chooses (and he is not above
playing tricks, when he seems to get tired of his story or perplexed with
it), if only he will go on making his peasants talk, and his rather
uncertain ladies get in and out of love, and serve themselves of every
chance that fortune offers them of having their own way. We shrink from
the unmorality of the Latin races, but Hardy has divined in the heart of
our own race a lingering heathenism, which, if not Greek, has certainly
been no more baptized than the neo-hellenism of the Parisians. His
heroines especially exemplify it, and I should be safe in saying that his
Ethelbertas, his Eustacias, his Elfridas, his Bathshebas, his Fancies,
are wholly pagan. I should not dare to ask how much of their charm came
from that fact; and the author does not fail to show you how much harm,
so that it is not on my conscience. His people live very close to the
heart of nature, and no one, unless it is Tourguenief, gives you a richer
and sweeter sense of her unity with human nature. Hardy is a great poet
as well as a great humorist, and if he were not a great artist also his
humor would be enough to endear him to me.
XXXV. TOLSTOY
I come now, though not quite in the order of time, to the noblest of all
these enthusiasms--namely, my devotion for the writings of Lyof Tolstoy.
I should wish to speak of him with his own incomparable truth, yet I do
not know how to give a notion of his influence without the effect of
exaggeration. As much as one merely human being can help another I
believe that he has helped me; he has not influenced me in aesthetics
only, but in ethics, too, so that I can never again see life in the way I
saw it before I knew him. Tolstoy awakens in his reader the will to be a
man; not effectively, not spectacularly, but simply, really. He leads
you back to the only true ideal, away from that false standard of the
gentleman, to the Man who sought not to be distinguished from other men,
but identified with them, to that Presence in which the finest gentleman
shows his alloy of vanity, and the greatest genius shrinks to the measure
of his miserable egotism. I learned from Tolstoy to try character and
motive by no other test, and though I am perpetually false to that
sublime ideal myself, still the ideal remains with me, to make me ashamed
that I am not true to it. Tolstoy gave me heart to hope that the world
may yet be made over in the image of Him who died for it, when all
Caesars things shall be finally rendered unto Caesar, and men shall come
into their own, into the right to labor and the right to enjoy the fruits
of their labor, each one master of himself and servant to every other.
He taught me to see life not as a chase of a forever impossible personal
happiness, but as a field for endeavor towards the happiness of the whole
human family; and I can never lose this vision, however I close my eyes,
and strive to see my own interest as the highest good. He gave me new
criterions, new principles, which, after all, were those that are taught
us in our earliest childhood, before we have come to the evil wisdom of
the world. As I read his different ethical books, 'What to Do,'
'My Confession,' and 'My Religion,' I recognized their truth with a
rapture such as I have known in no other reading, and I rendered them my
allegiance, heart and soul, with whatever sickness of the one and despair
of the other. They have it yet, and I believe they will have it while I
live. It is with inexpressible astonishment that I bear them attainted
of pessimism, as if the teaching of a man whose ideal was simple goodness
must mean the prevalence of evil. The way he showed me seemed indeed
impossible to my will, but to my conscience it was and is the only
possible way. If there, is any point on which he has not convinced my
reason it is that of our ability to walk this narrow way alone. Even
there he is logical, but as Zola subtly distinguishes in speaking of
Tolstoy's essay on "Money," he is not reasonable. Solitude enfeebles and
palsies, and it is as comrades and brothers that men must save the world
from itself, rather than themselves from the world. It was so the
earliest Christians, who had all things common, understood the life of
Christ, and I believe that the latest will understand it so.
I have spoken first of the ethical works of Tolstoy, because they are of
the first importance to me, but I think that his aesthetical works are as
perfect. To my thinking they transcend in truth, which is the highest
beauty, all other works of fiction that have been written, and I believe
that they do this because they obey the law of the author's own life.
His conscience is one ethically and one aesthetically; with his will to
be true to himself he cannot be false to his knowledge of others. I
thought the last word in literary art had been said to me by the novels
of Tourguenief, but it seemed like the first, merely, when I began to
acquaint myself with the simpler method of Tolstoy. I came to it by
accident, and without any manner, of preoccupation in The Cossacks, one
of his early books, which had been on my shelves unread for five or six
years. I did not know even Tolstoy's name when I opened it, and it was
with a kind of amaze that I read it, and felt word by word, and line by
line, the truth of a new art in it.
I do not know how it is that the great Russians have the secret of
simplicity. Some say it is because they have not a long literary past
and are not conventionalized by the usage of many generations of other
writers, but this will hardly account for the brotherly directness of
their dealing with human nature; the absence of experience elsewhere
characterizes the artist with crudeness, and simplicity is the last
effect of knowledge. Tolstoy is, of course, the first of them in this
supreme grace. He has not only Tourguenief's transparency of style,
unclouded by any mist of the personality which we mistakenly value in
style, and which ought no more to be there than the artist's personality
should be in a portrait; but he has a method which not only seems without
artifice, but is so. I can get at the manner of most writers, and tell
what it is, but I should be baffled to tell what Tolstoy's manner is;
perhaps he has no manner. This appears to me true of his novels, which,
with their vast variety of character and incident, are alike in their
single endeavor to get the persons living before you, both in their
action and in the peculiarly dramatic interpretation of their emotion and
cogitation. There are plenty of novelists to tell you that their
characters felt and thought so and so, but you have to take it on trust;
Tolstoy alone makes you know how and why it was so with them and not
otherwise. If there is anything in him which can be copied or burlesqued
it is this ability of his to show men inwardly as well as outwardly; it
is the only trait of his which I can put my hand on.
After 'The Cossacks' I read 'Anna Karenina' with a deepening sense of the
author's unrivalled greatness. I thought that I saw through his eyes a
human affair of that most sorrowful sort as it must appear to the
Infinite Compassion; the book is a sort of revelation of human nature in
circumstances that have been so perpetually lied about that we have
almost lost the faculty of perceiving the truth concerning an illicit
love. When you have once read 'Anna Karenina' you know how fatally
miserable and essentially unhappy such a love must be. But the character
of Karenin himself is quite as important as the intrigue of Anna and
Vronsky. It is wonderful how such a man, cold, Philistine and even mean
in certain ways, towers into a sublimity unknown (to me, at least), in
fiction when he forgives, and yet knows that he cannot forgive with
dignity. There is something crucial, and something triumphant, not
beyond the power, but hitherto beyond the imagination of men in this
effect, which is not solicited, not forced, not in the least romantic,
but comes naturally, almost inevitably, from the make of man.
The vast prospects, the far-reaching perspectives of 'War and Peace' made
it as great a surprise for me in the historical novel as 'Anna Karenina'
had been in the study of contemporary life; and its people and interests
did not seem more remote, since they are of a civilization always as
strange and of a humanity always as known.
I read some shorter stories of Tolstoy's before I came to this greatest
work of his: I read 'Scenes of the Siege of Sebastopol,' which is so much
of the same quality as 'War and Peace;' and I read 'Policoushka' and most
of his short stories with a sense of my unity with their people such as I
had never felt with the people of other fiction.
His didactic stories, like all stories of the sort, dwindle into
allegories; perhaps they do their work the better for this, with the
simple intelligences they address; but I think that where Tolstoy becomes
impatient of his office of artist, and prefers to be directly a teacher,
he robs himself of more than half his strength with those he can move
only through the realization of themselves in others. The simple pathos,
and the apparent indirectness of such a tale as that of 'Poticoushka,'
the peasant conscript, is of vastly more value to the world at large than
all his parables; and 'The Death of Ivan Ilyitch,' the Philistine
worldling, will turn the hearts of many more from the love of the world
than such pale fables of the early Christian life as "Work while ye have
the Light." A man's gifts are not given him for nothing, and the man who
has the great gift of dramatic fiction has no right to cast it away or to
let it rust out in disuse.
Terrible as the 'Kreutzer Sonata' was, it had a moral effect dramatically
which it lost altogether when the author descended to exegesis, and
applied to marriage the lesson of one evil marriage. In fine, Tolstoy is
certainly not to be held up as infallible. He is very, distinctly
fallible, but I think his life is not less instructive because in certain
things it seems a failure. There was but one life ever lived upon the
earth which was without failure, and that was Christ's, whose erring and
stumbling follower Tolstoy is. There is no other example, no other
ideal, and the chief use of Tolstoy is to enforce this fact in our age,
after nineteen centuries of hopeless endeavor to substitute ceremony for
character, and the creed for the life. I recognize the truth of this
without pretending to have been changed in anything but my point of view
of it. What I feel sure is that I can never look at life in the mean and
sordid way that I did before I read Tolstoy.
Artistically, he has shown me a greatness that he can never teach me.
I am long past the age when I could wish to form myself upon another
writer, and I do not think I could now insensibly take on the likeness of
another; but his work has been a revelation and a delight to me, such as
I am sure I can never know again. I do not believe that in the whole
course of my reading, and not even in the early moment of my literary
enthusiasms, I have known such utter satisfaction in any writer, and this
supreme joy has come to me at a time of life when new friendships, not to
say new passions, are rare and reluctant. It is as if the best wine at
this high feast where I have sat so long had been kept for the last, and
I need not deny a miracle in it in order to attest my skill in judging
vintages. In fact, I prefer to believe that my life has been full of
miracles, and that the good has always come to me at the right time, so
that I could profit most by it. I believe if I had not turned the corner
of my fiftieth year, when I first knew Tolstoy, I should not have been
able to know him as fully as I did. He has been to me that final
consciousness, which he speaks of so wisely in his essay on "Life."
I came in it to the knowledge of myself in ways I had not dreamt of
before, and began at least to discern my relations to the race, without
which we are each nothing. The supreme art in literature had its highest
effect in making me set art forever below humanity, and it is with the
wish to offer the greatest homage to his heart and mind, which any man
can pay another, that I close this record with the name of Lyof Tolstoy.
ETEXT EDITOR'S BOOKMARKS:
Account of one's reading is an account of one's life
Adam Bede
Affections will not be bidden
Air of looking down on the highest
Alliance of the tragic and the comic
Anthony Trollope
Authors I must call my masters
Capriciousness of memory: what it will hold and what lose
Celebration of the monkey and the goat in us
Conquest of Granada
Contemptible he found our pseudo-equality
Criticism still remains behind all the other literary arts
Dickens is purely democratic
Escaped at night and got into the boy's dreams
Fictions subtle effect for good and for evil on the young
Finer sort myself to be able to enjoy such a fine sort
Had the sense that in her eyes I was a queer boy
Hardly any sort of bloodshed which I would not pardon
Hazlitt
He undid my hands
Hospitable gift of making you at home with him
In school there was as little literature then as there is now
Inexperience takes this effect (literary lewdness) for realit
Jews are still the chosen people
Kindness and gentleness are never out of fashion
Kissing goes by favor, in literature as in life
Lamb
Lewd literature seems to give a sanction to lewdness in the life
Life of Goldsmith
Live it slowly into the past
Lubricity of literature
Made many of my acquaintances very tired of my favorite authors
Men who bully and truckle
Mustache, which in those days devoted a man to wickedness
My own youth now seems to me rather more alien
My reading gave me no standing among the boys
Neither worse nor better because of the theatre
Never appeals to the principle which sniffs, in his reader
None of the passions are reasoned,
Not very distinctly know their dreams from their experiences
Now little notion what it was about, but I love its memory
Our horrible sham of a slave-based freedom
Pendennis
Prejudice against certain words that I cannot overcome
President Garfield
Probably no dramatist ever needed the stage less
Rape of the Lock
Rapture of the new convert could not last
Reservations as to the times when he is not a master
Responsibility of finding him all we have been told he is
Secretly admires the splendors he affects to despise
Self-flattered scorn, his showy sighs, his facile satire
Self-satisfied, intolerant, and hypocritical provinciality
Should probably have wasted the time if I had not read them
Slave-based freedom
So long as we have social inequality we shall have snobs
Society, as we have it, was necessarily a sham
Somehow expressed the feelings of his day
Somewhat too studied grace
Speaks it is not with words and blood, but with words and ink
Spit some hapless victim: make him suffer and the reader laugh
Style is the man, and he cannot hide himself in any garb
Surcharge all imitations of life and character
Surcharged in the serious moods, and caricatured in the comic
Swedenborg
Tales of the Alhambra
The great doctor's orotundity and ronderosity
To be for good or evil whatsoever I really was
Toiled, and I suppose no work is wasted
Trace no discrepancy between reading his plays and seeing them
Tried to like whatever they bade me like
Truth is beyond invention
Unmeet for ladies
Vicar of Wakefield
Vices and foibles which are inherent in the system of things
We did not know that we were poor
We see nothing whole, neither life nor art
What I had not I could hope for without unreason
What we thought ruin, but what was really release
When was love ever reasoned?
Wide leisure of a country village
Women who snub and crawl
Words of learned length and thundering sound
World's memory is equally bad for failure and success
Worst came it was not half so bad as what had gone before
You cannot be at perfect ease with a friend who does not joke
You may do a great deal(of work), and not get on
End of this Project Gutenberg Etext of My Literary Passions
by William Dean Howells
CRITICISM AND FICTION
By William Dean Howells
The question of a final criterion for the appreciation of art is one that
perpetually recurs to those interested in any sort of aesthetic endeavor.
Mr. John Addington Symonds, in a chapter of 'The Renaissance in Italy'
treating of the Bolognese school of painting, which once had so great
cry, and was vaunted the supreme exemplar of the grand style, but which
he now believes fallen into lasting contempt for its emptiness and
soullessness, seeks to determine whether there can be an enduring
criterion or not; and his conclusion is applicable to literature as to
the other arts. "Our hope," he says, "with regard to the unity of taste
in the future then is, that all sentimental or academical seekings after
the ideal having been abandoned, momentary theories founded upon
idiosyncratic or temporary partialities exploded, and nothing accepted
but what is solid and positive, the scientific spirit shall make men
progressively more and more conscious of these 'bleibende Verhaltnisse,'
more and more capable of living in the whole; also, that in proportion as
we gain a firmer hold upon our own place in the world, we shall come to
comprehend with more instinctive certitude what is simple, natural, and
honest, welcoming with gladness all artistic products that exhibit these
qualities. The perception of the enlightened man will then be the task
of a healthy person who has made himself acquainted with the laws of
evolution in art and in society, and is able to test the excellence of
work in any stage from immaturity to decadence by discerning what there
is of truth, sincerity, and natural vigor in it."
I
That is to say, as I understand, that moods and tastes and fashions
change; people fancy now this and now that; but what is unpretentious and
what is true is always beautiful and good, and nothing else is so. This
is not saying that fantastic and monstrous and artificial things do not
please; everybody knows that they do please immensely for a time, and
then, after the lapse of a much longer time, they have the charm of the
rococo. Nothing is more curious than the charm that fashion has.
Fashion in women's dress, almost every fashion, is somehow delightful,
else it would never have been the fashion; but if any one will look
through a collection of old fashion plates, he must own that most
fashions have been ugly. A few, which could be readily instanced, have
been very pretty, and even beautiful, but it is doubtful if these have
pleased the greatest number of people. The ugly delights as well as the
beautiful, and not merely because the ugly in fashion is associated with
the young loveliness of the women who wear the ugly fashions, and wins a
grace from them, not because the vast majority of mankind are tasteless,
but for some cause that is not perhaps ascertainable. It is quite as
likely to return in the fashions of our clothes and houses and furniture,
and poetry and fiction and painting, as the beautiful, and it may be from
an instinctive or a reasoned sense of this that some of the extreme
naturalists have refused to make the old discrimination against it, or to
regard the ugly as any less worthy of celebration in art than the
beautiful; some of them, in fact, seem to regard it as rather more
worthy, if anything. Possibly there is no absolutely ugly, no absolutely
beautiful; or possibly the ugly contains always an element of the
beautiful better adapted to the general appreciation than the more
perfectly beautiful. This is a somewhat discouraging conjecture, but I
offer it for no more than it is worth; and I do not pin my faith to the
saying of one whom I heard denying, the other day, that a thing of beauty
was a joy forever. He contended that Keats's line should have read,
"Some things of beauty are sometimes joys forever," and that any
assertion beyond this was too hazardous.
II
I should, indeed, prefer another line of Keats's, if I were to profess
any formulated creed, and should feel much safer with his "Beauty is
Truth, Truth Beauty," than even with my friend's reformation of the more
quoted verse. It brings us back to the solid ground taken by Mr.
Symonds, which is not essentially different from that taken in the great
Mr. Burke's Essay on the Sublime and the Beautiful--a singularly modern
book, considering how long ago it was wrote (as the great Mr. Steele
would have written the participle a little longer ago), and full of a
certain well-mannered and agreeable instruction. In some things it is of
that droll little eighteenth-century world, when philosophy had got the
neat little universe into the hollow of its hand, and knew just what it
was, and what it was for; but it is quite without arrogance. "As for
those called critics," the author says, "they have generally sought
the rule of the arts in the wrong place; they have sought among poems,
pictures, engravings, statues, and buildings; but art can never give the
rules that make an art. This is, I believe, the reason why artists in
general, and poets principally, have been confined in so narrow a circle;
they have been rather imitators of one another than of nature. Critics
follow them, and therefore can do little as guides. I can judge but
poorly of anything while I measure it by no other standard than itself.
The true standard of the arts is in every man's power; and an easy
observation of the most common, sometimes of the meanest things, in
nature will give the truest lights, where the greatest sagacity and
industry that slights such observation must leave us in the dark, or,
what is worse, amuse and mislead us by false lights."
If this should happen to be true and it certainly commends itself to
acceptance--it might portend an immediate danger to the vested interests
of criticism, only that it was written a hundred years ago; and we shall
probably have the "sagacity and industry that slights the observation" of
nature long enough yet to allow most critics the time to learn some more
useful trade than criticism as they pursue it. Nevertheless, I am in
hopes that the communistic era in taste foreshadowed by Burke is
approaching, and that it will occur within the lives of men now overawed
by the foolish old superstition that literature and art are anything but
the expression of life, and are to be judged by any other test than that
of their fidelity to it. The time is coming, I hope, when each new
author, each new artist, will be considered, not in his proportion to any
other author or artist, but in his relation to the human nature, known to
us all, which it is his privilege, his high duty, to interpret. "The
true standard of the artist is in every man's power" already, as Burke
says; Michelangelo's "light of the piazza," the glance of the common eye,
is and always was the best light on a statue; Goethe's "boys and
blackbirds" have in all ages been the real connoisseurs of berries; but
hitherto the mass of common men have been afraid to apply their own
simplicity, naturalness, and honesty to the appreciation of the
beautiful. They have always cast about for the instruction of some one
who professed to know better, and who browbeat wholesome common-sense
into the self-distrust that ends in sophistication. They have fallen
generally to the worst of this bad species, and have been "amused and
misled" (how pretty that quaint old use of amuse is!) "by the false
lights" of critical vanity and self-righteousness. They have been taught
to compare what they see and what they read, not with the things that
they have observed and known, but with the things that some other artist
or writer has done. Especially if they have themselves the artistic
impulse in any direction they are taught to form themselves, not upon
life, but upon the masters who became masters only by forming themselves
upon life. The seeds of death are planted in them, and they can produce
only the still-born, the academic. They are not told to take their work
into the public square and see if it seems true to the chance passer, but
to test it by the work of the very men who refused and decried any other
test of their own work. The young writer who attempts to report the
phrase and carriage of every-day life, who tries to tell just how he has
heard men talk and seen them look, is made to feel guilty of something
low and unworthy by people who would like to have him show how
Shakespeare's men talked and looked, or Scott's, or Thackeray's, or
Balzac's, or Hawthorne's, or Dickens's; he is instructed to idealize his
personages, that is, to take the life-likeness out of them, and put the
book-likeness into them. He is approached in the spirit of the pedantry
into which learning, much or little, always decays when it withdraws
itself and stands apart from experience in an attitude of imagined
superiority, and which would say with the same confidence to the
scientist: "I see that you are looking at a grasshopper there which you
have found in the grass, and I suppose you intend to describe it. Now
don't waste your time and sin against culture in that way. I've got a
grasshopper here, which has been evolved at considerable pains and
expense out of the grasshopper in general; in fact, it's a type. It's
made up of wire and card-board, very prettily painted in a conventional
tint, and it's perfectly indestructible. It isn't very much like a real
grasshopper, but it's a great deal nicer, and it's served to represent
the notion of a grasshopper ever since man emerged from barbarism. You
may say that it's artificial. Well, it is artificial; but then it's
ideal too; and what you want to do is to cultivate the ideal. You'll
find the books full of my kind of grasshopper, and scarcely a trace of
yours in any of them. The thing that you are proposing to do is
commonplace; but if you say that it isn't commonplace, for the very
reason that it hasn't been done before, you'll have to admit that it's
photographic."
As I said, I hope the time is coming when not only the artist, but the
common, average man, who always "has the standard of the arts in his
power," will have also the courage to apply it, and will reject the ideal
grasshopper wherever he finds it, in science, in literature, in art,
because it is not "simple, natural, and honest," because it is not like a
real grasshopper. But I will own that I think the time is yet far off,
and that the people who have been brought up on the ideal grasshopper,
the heroic grasshopper, the impassioned grasshopper, the self-devoted,
adventureful, good old romantic card-board grasshopper, must die out
before the simple, honest, and natural grasshopper can have a fair field.
I am in no haste to compass the end of these good people, whom I find in
the mean time very amusing. It is delightful to meet one of them, either
in print or out of it--some sweet elderly lady or excellent gentleman
whose youth was pastured on the literature of thirty or forty years ago
--and to witness the confidence with which they preach their favorite
authors as all the law and the prophets. They have commonly read little
or nothing since, or, if they have, they have judged it by a standard
taken from these authors, and never dreamed of judging it by nature; they
are destitute of the documents in the case of the later writers; they
suppose that Balzac was the beginning of realism, and that Zola is its
wicked end; they are quite ignorant, but they are ready to talk you down,
if you differ from them, with an assumption of knowledge sufficient for
any occasion. The horror, the resentment, with which they receive any
question of their literary saints is genuine; you descend at once very
far in the moral and social scale, and anything short of offensive
personality is too good for you; it is expressed to you that you are one
to be avoided, and put down even a little lower than you have naturally
fallen.
These worthy persons are not to blame; it is part of their intellectual
mission to represent the petrifaction of taste, and to preserve an image
of a smaller and cruder and emptier world than we now live in, a world
which was feeling its way towards the simple, the natural, the honest,
but was a good deal "amused and misled" by lights now no longer
mistakable for heavenly luminaries. They belong to a time, just passing
away, when certain authors were considered authorities in certain kinds,
when they must be accepted entire and not questioned in any particular.
Now we are beginning to see and to say that no author is an authority
except in those moments when he held his ear close to Nature's lips and
caught her very accent. These moments are not continuous with any
authors in the past, and they are rare with all. Therefore I am not
afraid to say now that the greatest classics are sometimes not at all
great, and that we can profit by them only when we hold them, like our
meanest contemporaries, to a strict accounting, and verify their work by
the standard of the arts which we all have in our power, the simple, the
natural, and the honest.
Those good people must always have a hero, an idol of some sort, and it
is droll to find Balzac, who suffered from their sort such bitter scorn
and hate for his realism while he was alive, now become a fetich in his
turn, to be shaken in the faces of those who will not blindly worship
him. But it is no new thing in the history of literature: whatever is
established is sacred with those who do not think. At the beginning of
the century, when romance was making the same fight against effete
classicism which realism is making to-day against effete romanticism, the
Italian poet Monti declared that "the romantic was the cold grave of the
Beautiful," just as the realistic is now supposed to be. The romantic of
that day and the real of this are in certain degree the same.
Romanticism then sought, as realism seeks now, to widen the bounds of
sympathy, to level every barrier against aesthetic freedom, to escape
from the paralysis of tradition. It exhausted itself in this impulse;
and it remained for realism to assert that fidelity to experience and
probability of motive are essential conditions of a great imaginative
literature. It is not a new theory, but it has never before universally
characterized literary endeavor. When realism becomes false to itself,
when it heaps up facts merely, and maps life instead of picturing it,
realism will perish too. Every true realist instinctively knows this,
and it is perhaps the reason why he is careful of every fact, and feels
himself bound to express or to indicate its meaning at the risk of
overmoralizing. In life he finds nothing insignificant; all tells for
destiny and character; nothing that God has made is contemptible. He
cannot look upon human life and declare this thing or that thing unworthy
of notice, any more than the scientist can declare a fact of the material
world beneath the dignity of his inquiry. He feels in every nerve the
equality of things and the unity of men; his soul is exalted, not by vain
shows and shadows and ideals, but by realities, in which alone the truth
lives. In criticism it is his business to break the images of false gods
and misshapen heroes, to take away the poor silly, toys that many grown
people would still like to play with. He cannot keep terms with "Jack
the Giant-killer" or "Puss-in-Boots," under any name or in any place,
even when they reappear as the convict Vautrec, or the Marquis de
Montrivaut, or the Sworn Thirteen Noblemen. He must say to himself that
Balzac, when he imagined these monsters, was not Balzac, he was Dumas; he
was not realistic, he was romanticistic.
III
Such a critic will not respect Balzac's good work the less for contemning
his bad work. He will easily account for the bad work historically, and
when he has recognized it, will trouble himself no further with it. In
his view no living man is a type, but a character; now noble, now
ignoble; now grand, now little; complex, full of vicissitude. He will
not expect Balzac to be always Balzac, and will be perhaps even more
attracted to the study of him when he was trying to be Balzac than when
he had become so. In 'Cesar Birotteau,' for instance, he will be
interested to note how Balzac stood at the beginning of the great things
that have followed since in fiction. There is an interesting likeness
between his work in this and Nicolas Gogol's in 'Dead Souls,' which
serves to illustrate the simultaneity of the literary movement in men of
such widely separated civilizations and conditions. Both represent their
characters with the touch of exaggeration which typifies; but in bringing
his story to a close, Balzac employs a beneficence unknown to the
Russian, and almost as universal and as apt as that which smiles upon the
fortunes of the good in the Vicar of Wakefield. It is not enough to have
rehabilitated Birotteau pecuniarily and socially; he must make him die
triumphantly, spectacularly, of an opportune hemorrhage, in the midst of
the festivities which celebrate his restoration to his old home. Before
this happens, human nature has been laid under contribution right and
left for acts of generosity towards the righteous bankrupt; even the king
sends him six thousand francs. It is very pretty; it is touching, and
brings the lump into the reader's throat; but it is too much, and one
perceives that Balzac lived too soon to profit by Balzac. The later men,
especially the Russians, have known how to forbear the excesses of
analysis, to withhold the weakly recurring descriptive and caressing
epithets, to let the characters suffice for themselves. All this does
not mean that 'Cesar Birotteau' is not a beautiful and pathetic story,
full of shrewdly considered knowledge of men, and of a good art
struggling to free itself from self-consciousness. But it does mean that
Balzac, when he wrote it, was under the burden of the very traditions
which he has helped fiction to throw off. He felt obliged to construct a
mechanical plot, to surcharge his characters, to moralize openly and
baldly; he permitted himself to "sympathize" with certain of his people,
and to point out others for the abhorrence of his readers. This is not
so bad in him as it would be in a novelist of our day. It is simply
primitive and inevitable, and he is not to be judged by it.
IV
In the beginning of any art even the most gifted worker must be crude in
his methods, and we ought to keep this fact always in mind when we turn,
say, from the purblind worshippers of Scott to Scott himself, and
recognize that he often wrote a style cumbrous and diffuse; that he was
tediously analytical where the modern novelist is dramatic, and evolved
his characters by means of long-winded explanation and commentary; that,
except in the case of his lower-class personages, he made them talk as
seldom man and never woman talked; that he was tiresomely descriptive;
that on the simplest occasions he went about half a mile to express a
thought that could be uttered in ten paces across lots; and that he
trusted his readers' intuitions so little that he was apt to rub in his
appeals to them. He was probably right: the generation which he wrote
for was duller than this; slower-witted, aesthetically untrained, and in
maturity not so apprehensive of an artistic intention as the children of
to-day. All this is not saying Scott was not a great man; he was a great
man, and a very great novelist as compared with the novelists who went
before him. He can still amuse young people, but they ought to be
instructed how false and how mistaken he often is, with his mediaeval
ideals, his blind Jacobitism, his intense devotion to aristocracy and
royalty; his acquiescence in the division of men into noble and ignoble,
patrician and plebeian, sovereign and subject, as if it were the law of
God; for all which, indeed, he is not to blame as he would be if he were
one of our contemporaries. Something of this is true of another master,
greater than Scott in being less romantic, and inferior in being more
German, namely, the great Goethe himself. He taught us, in novels
otherwise now antiquated, and always full of German clumsiness, that it
was false to good art--which is never anything but the reflection of
life--to pursue and round the career of the persons introduced, whom he
often allowed to appear and disappear in our knowledge as people in the
actual world do. This is a lesson which the writers able to profit by it
can never be too grateful for; and it is equally a benefaction to
readers; but there is very little else in the conduct of the Goethean
novels which is in advance of their time; this remains almost their sole
contribution to the science of fiction. They are very primitive in
certain characteristics, and unite with their calm, deep insight, an
amusing helplessness in dramatization. "Wilhelm retired to his room, and
indulged in the following reflections," is a mode of analysis which would
not be practised nowadays; and all that fancifulness of nomenclature in
Wilhelm Meister is very drolly sentimental and feeble. The adventures
with robbers seem as if dreamed out of books of chivalry, and the
tendency to allegorization affects one like an endeavor on the author's
part to escape from the unrealities which he must have felt harassingly,
German as he was. Mixed up with the shadows and illusions are honest,
wholesome, every-day people, who have the air of wandering homelessly
about among them, without definite direction; and the mists are full of a
luminosity which, in spite of them, we know for common-sense and poetry.
What is useful in any review of Goethe's methods is the recognition of
the fact, which it must bring, that the greatest master cannot produce a
masterpiece in a new kind. The novel was too recently invented in
Goethe's day not to be, even in his hands, full of the faults of
apprentice work.
V.
In fact, a great master may sin against the "modesty of nature" in many
ways, and I have felt this painfully in reading Balzac's romance--it is
not worthy the name of novel--'Le Pere Goriot,' which is full of a
malarial restlessness, wholly alien to healthful art. After that
exquisitely careful and truthful setting of his story in the shabby
boarding-house, he fills the scene with figures jerked about by the
exaggerated passions and motives of the stage. We cannot have a cynic
reasonably wicked, disagreeable, egoistic; we must have a lurid villain
of melodrama, a disguised convict, with a vast criminal organization at
his command, and
"So dyed double red"
indeed and purpose that he lights up the faces of the horrified
spectators with his glare. A father fond of unworthy children, and
leading a life of self-denial for their sake, as may probably and
pathetically be, is not enough; there must be an imbecile, trembling
dotard, willing to promote even the liaisons of his daughters to give
them happiness and to teach the sublimity of the paternal instinct.
The hero cannot sufficiently be a selfish young fellow, with alternating
impulses of greed and generosity; he must superfluously intend a career
of iniquitous splendor, and be swerved from it by nothing but the most
cataclysmal interpositions. It can be said that without such personages
the plot could not be transacted; but so much the worse for the plot.
Such a plot had no business to be; and while actions so unnatural are
imagined, no mastery can save fiction from contempt with those who really
think about it. To Balzac it can be forgiven, not only because in his
better mood he gave us such biographies as 'Eugenie Grandet,' but because
he wrote at a time when fiction was just beginning to verify the
externals of life, to portray faithfully the outside of men and things.
It was still held that in order to interest the reader the characters
must be moved by the old romantic ideals; we were to be taught that
"heroes" and "heroines" existed all around us, and that these abnormal
beings needed only to be discovered in their several humble disguises,
and then we should see every-day people actuated by the fine frenzy of
the creatures of the poets. How false that notion was, few but the
critics, who are apt to be rather belated, need now be told. Some of
these poor fellows, however, still contend that it ought to be done, and
that human feelings and motives, as God made them and as men know them,
are not good enough for novel-readers.
This is more explicable than would appear at first glance. The critics
--and in speaking of them one always modestly leaves one's self out of
the count, for some reason--when they are not elders ossified in
tradition, are apt to be young people, and young people are necessarily
conservative in their tastes and theories. They have the tastes and
theories of their instructors, who perhaps caught the truth of their day,
but whose routine life has been alien to any other truth. There is
probably no chair of literature in this country from which the principles
now shaping the literary expression of every civilized people are not
denounced and confounded with certain objectionable French novels, or
which teaches young men anything of the universal impulse which has given
us the work, not only of Zola, but of Tourguenief and Tolstoy in Russia,
of Bjornson and Ibsen in Norway, of Valdes and Galdos in Spain, of Verga
in Italy. Till these younger critics have learned to think as well as to
write for themselves they will persist in heaving a sigh, more and more
perfunctory, for the truth as it was in Sir Walter, and as it was in
Dickens and in Hawthorne. Presently all will have been changed; they
will have seen the new truth in larger and larger degree; and when it
shall have become the old truth, they will perhaps see it all.
VI.
In the mean time the average of criticism is not wholly bad with us.
To be sure, the critic sometimes appears in the panoply of the savages
whom we have supplanted on this continent; and it is hard to believe that
his use of the tomahawk and the scalping-knife is a form of conservative
surgery. It is still his conception of his office that he should assail
those who differ with him in matters of taste or opinion; that he must be
rude with those he does not like. It is too largely his superstition
that because he likes a thing it is good, and because he dislikes a thing
it is bad; the reverse is quite possibly the case, but he is yet
indefinitely far from knowing that in affairs of taste his personal
preference enters very little. Commonly he has no principles, but only
an assortment of prepossessions for and against; and this otherwise very
perfect character is sometimes uncandid to the verge of dishonesty. He
seems not to mind misstating the position of any one he supposes himself
to disagree with, and then attacking him for what he never said, or even
implied; he thinks this is droll, and appears not to suspect that it is
immoral. He is not tolerant; he thinks it a virtue to be intolerant; it
is hard for him to understand that the same thing may be admirable at one
time and deplorable at another; and that it is really his business to
classify and analyze the fruits of the human mind very much as the
naturalist classifies the objects of his study, rather than to praise or
blame them; that there is a measure of the same absurdity in his
trampling on a poem, a novel, or an essay that does not please him as in
the botanist's grinding a plant underfoot because he does not find it
pretty. He does not conceive that it is his business rather to identify
the species and then explain how and where the specimen is imperfect and
irregular. If he could once acquire this simple idea of his duty he
would be much more agreeable company than he now is, and a more useful
member of society; though considering the hard conditions under which he
works, his necessity of writing hurriedly from an imperfect examination
of far more books, on a greater variety of subjects, than he can even
hope to read, the average American critic--the ordinary critic of
commerce, so to speak--is even now very, well indeed. Collectively he is
more than this; for the joint effect of our criticism is the pretty
thorough appreciation of any book submitted to it
VII.
The misfortune rather than the fault of our individual critic is that he
is the heir of the false theory and bad manners of the English school.
The theory of that school has apparently been that almost any person of
glib and lively expression is competent to write of almost any branch of
polite literature; its manners are what we know. The American, whom it
has largely formed, is by nature very glib and very lively, and commonly
his criticism, viewed as imaginative work, is more agreeable than that of
the Englishman; but it is, like the art of both countries, apt to be
amateurish. In some degree our authors have freed themselves from
English models; they have gained some notion of the more serious work of
the Continent: but it is still the ambition of the American critic to
write like the English critic, to show his wit if not his learning, to
strive to eclipse the author under review rather than illustrate him.
He has not yet caught on to the fact that it is really no part of his
business to display himself, but that it is altogether his duty to place
a book in such a light that the reader shall know its class, its
function, its character. The vast good-nature of our people preserves us
from the worst effects of this criticism without principles. Our critic,
at his lowest, is rarely malignant; and when he is rude or untruthful,
it is mostly without truculence; I suspect that he is often offensive
without knowing that he is so. Now and then he acts simply under
instruction from higher authority, and denounces because it is the
tradition of his publication to do so. In other cases the critic is
obliged to support his journal's repute for severity, or for wit, or for
morality, though he may himself be entirely amiable, dull, and wicked;
this necessity more or less warps his verdicts.
The worst is that he is personal, perhaps because it is so easy and so
natural to be personal, and so instantly attractive. In this respect our
criticism has not improved from the accession of numbers of ladies to its
ranks, though we still hope so much from women in our politics when they
shall come to vote. They have come to write, and with the effect to
increase the amount of little-digging, which rather superabounded in our
literary criticism before. They "know what they like"--that pernicious
maxim of those who do not know what they ought to like and they pass
readily from censuring an author's performance to censuring him. They
bring a stock of lively misapprehensions and prejudices to their work;
they would rather have heard about than known about a book; and they take
kindly to the public wish to be amused rather than edified. But neither
have they so much harm in them: they, too, are more ignorant than
malevolent.
VIII.
Our criticism is disabled by the unwillingness of the critic to learn
from an author, and his readiness to mistrust him. A writer passes his
whole life in fitting himself for a certain kind of performance; the
critic does not ask why, or whether the performance is good or bad, but
if he does not like the kind, he instructs the writer to go off and do
some other sort of thing--usually the sort that has been done already,
and done sufficiently. If he could once understand that a man who has
written the book he dislikes, probably knows infinitely more about its
kind and his own fitness for doing it than any one else, the critic might
learn something, and might help the reader to learn; but by putting
himself in a false position, a position of superiority, he is of no use.
He is not to suppose that an author has committed an offence against him
by writing the kind of book he does not like; he will be far more
profitably employed on behalf of the reader in finding out whether they
had better not both like it. Let him conceive of an author as not in any
wise on trial before him, but as a reflection of this or that aspect of
life, and he will not be tempted to browbeat him or bully him.
The critic need not be impolite even to the youngest and weakest author.
A little courtesy, or a good deal, a constant perception of the fact that
a book is not a misdemeanor, a decent self-respect that must forbid the
civilized man the savage pleasure of wounding, are what I would ask for
our criticism, as something which will add sensibly to its present
lustre.
IX.
I would have my fellow-critics consider what they are really in the world
for. The critic must perceive, if he will question himself more
carefully, that his office is mainly to ascertain facts and traits of
literature, not to invent or denounce them; to discover principles, not
to establish them; to report, not to create.
It is so much easier to say that you like this or dislike that, than to
tell why one thing is, or where another thing comes from, that many
flourishing critics will have to go out of business altogether if the
scientific method comes in, for then the critic will have to know
something besides his own mind. He will have to know something of the
laws of that mind, and of its generic history.
The history of all literature shows that even with the youngest and
weakest author criticism is quite powerless against his will to do his
own work in his own way; and if this is the case in the green wood, how
much more in the dry! It has been thought by the sentimentalist that
criticism, if it cannot cure, can at least kill, and Keats was long
alleged in proof of its efficacy in this sort. But criticism neither
cured nor killed Keats, as we all now very well know. It wounded, it
cruelly hurt him, no doubt; and it is always in the power of the critic
to give pain to the author--the meanest critic to the greatest author--
for no one can help feeling a rudeness. But every literary movement has
been violently opposed at the start, and yet never stayed in the least,
or arrested, by criticism; every author has been condemned for his
virtues, but in no wise changed by it. In the beginning he reads the
critics; but presently perceiving that he alone makes or mars himself,
and that they have no instruction for him, he mostly leaves off reading
them, though he is always glad of their kindness or grieved by their
harshness when he chances upon it. This, I believe, is the general
experience, modified, of course, by exceptions.
Then, are we critics of no use in the world? I should not like to think
that, though I am not quite ready to define our use. More than one sober
thinker is inclining at present to suspect that aesthetically or
specifically we are of no use, and that we are only useful historically;
that we may register laws, but not enact them. I am not quite prepared
to admit that aesthetic criticism is useless, though in view of its
futility in any given instance it is hard to deny that it is so.
It certainly seems as useless against a book that strikes the popular
fancy, and prospers on in spite of condemnation by the best critics,
as it is against a book which does not generally please, and which no
critical favor can make acceptable. This is so common a phenomenon that
I wonder it has never hitherto suggested to criticism that its point of
view was altogether mistaken, and that it was really necessary to judge
books not as dead things, but as living things--things which have an
influence and a power irrespective of beauty and wisdom, and merely as
expressions of actuality in thought and feeling. Perhaps criticism has a
cumulative and final effect; perhaps it does some good we do not know of.
It apparently does not affect the author directly, but it may reach him
through the reader. It may in some cases enlarge or diminish his
audience for a while, until he has thoroughly measured and tested his own
powers. If criticism is to affect literature at all, it must be through
the writers who have newly left the starting-point, and are reasonably
uncertain of the race, not with those who have won it again and again in
their own way.
X.
Sometimes it has seemed to me that the crudest expression of any creative
art is better than the finest comment upon it. I have sometimes
suspected that more thinking, more feeling certainly, goes to the
creation of a poor novel than to the production of a brilliant criticism;
and if any novel of our time fails to live a hundred years, will any
censure of it live? Who can endure to read old reviews? One can hardly
read them if they are in praise of one's own books.
The author neglected or overlooked need not despair for that reason, if
he will reflect that criticism can neither make nor unmake authors; that
there have not been greater books since criticism became an art than
there were before; that in fact the greatest books seem to have come much
earlier.
That which criticism seems most certainly to have done is to have put a
literary consciousness into books unfelt in the early masterpieces,
but unfelt now only in the books of men whose lives have been passed in
activities, who have been used to employing language as they would have
employed any implement, to effect an object, who have regarded a thing to
be said as in no wise different from a thing to be done. In this sort I
have seen no modern book so unconscious as General Grant's 'Personal
Memoirs.' The author's one end and aim is to get the facts out in words.
He does not cast about for phrases, but takes the word, whatever it is,
that will best give his meaning, as if it were a man or a force of men
for the accomplishment of a feat of arms. There is not a moment wasted
in preening and prettifying, after the fashion of literary men; there is
no thought of style, and so the style is good as it is in the 'Book of
Chronicles,' as it is in the 'Pilgrim's Progress,' with a peculiar,
almost plebeian, plainness at times. There is no more attempt at
dramatic effect than there is at ceremonious pose; things happen in that
tale of a mighty war as they happened in the mighty war itself, without
setting, without artificial reliefs one after another, as if they were
all of one quality and degree. Judgments are delivered with the same
unimposing quiet; no awe surrounds the tribunal except that which comes
from the weight and justice of the opinions; it is always an unaffected,
unpretentious man who is talking; and throughout he prefers to wear the
uniform of a private, with nothing of the general about him but the
shoulder-straps, which he sometimes forgets.
XI.
Canon Fairfax,'s opinions of literary criticism are very much to my
liking, perhaps because when I read them I found them so like my own,
already delivered in print. He tells the critics that "they are in no
sense the legislators of literature, barely even its judges and police";
and he reminds them of Mr. Ruskin's saying that "a bad critic is probably
the most mischievous person in the world," though a sense of their
relative proportion to the whole of life would perhaps acquit the worst
among them of this extreme of culpability. A bad critic is as bad a
thing as can be, but, after all, his mischief does not carry very far.
Otherwise it would be mainly the conventional books and not the original
books which would survive; for the censor who imagines himself a law-
giver can give law only to the imitative and never to the creative mind.
Criticism has condemned whatever was, from time to time, fresh and vital
in literature; it has always fought the new good thing in behalf of the
old good thing; it has invariably fostered and encouraged the tame, the
trite, the negative. Yet upon the whole it is the native, the novel, the
positive that has survived in literature. Whereas, if bad criticism were
the most mischievous thing in the world, in the full implication of the
words, it must have been the tame, the trite, the negative, that
survived.
Bad criticism is mischievous enough, however; and I think that much if
not most current criticism as practised among the English and Americans
is bad, is falsely principled, and is conditioned in evil. It is falsely
principled because it is unprincipled, or without principles; and it is
conditioned in evil because it is almost wholly anonymous. At the best
its opinions are not conclusions from certain easily verifiable
principles, but are effects from the worship of certain models. They are
in so far quite worthless, for it is the very nature of things that the
original mind cannot conform to models; it has its norm within itself; it
can work only in its own way, and by its self-given laws. Criticism does
not inquire whether a work is true to life, but tacitly or explicitly
compares it with models, and tests it by them. If literary art travelled
by any such road as criticism would have it go, it would travel in a
vicious circle, and would arrive only at the point of departure. Yet
this is the course that criticism must always prescribe when it attempts
to give laws. Being itself artificial, it cannot conceive of the
original except as the abnormal. It must altogether reconceive its
office before it can be of use to literature. It must reduce this to the
business of observing, recording, and comparing; to analyzing the
material before it, and then synthetizing its impressions. Even then, it
is not too much to say that literature as an art could get on perfectly
well without it. Just as many good novels, poems, plays, essays,
sketches, would be written if there were no such thing as criticism in
the literary world, and no more bad ones.
But it will be long before criticism ceases to imagine itself a
controlling force, to give itself airs of sovereignty, and to issue
decrees. As it exists it is mostly a mischief, though not the greatest
mischief; but it may be greatly ameliorated in character and softened in
manner by the total abolition of anonymity.
I think it would be safe to say that in no other relation of life is so
much brutality permitted by civilized society as in the criticism of
literature and the arts. Canon Farrar is quite right in reproaching
literary criticism with the uncandor of judging an author without
reference to his aims; with pursuing certain writers from spite and
prejudice, and mere habit; with misrepresenting a book by quoting a
phrase or passage apart from the context; with magnifying misprints and
careless expressions into important faults; with abusing an author for
his opinions; with base and personal motives.
Every writer of experience knows that certain critical journals will
condemn his work without regard to its quality, even if it has never been
his fortune to learn, as one author did from a repentent reviewer, that
in a journal pretending to literary taste his books were given out for
review with the caution, "Remember that the Clarion is opposed to Mr.
Blank's books."
The final conclusion appears to be that the man, or even the young lady,
who is given a gun, and told to shoot at some passer from behind a hedge,
is placed in circumstances of temptation almost too strong for human
nature.
XII.
As I have already intimated, I doubt the more lasting effects of unjust
criticism. It is no part of my belief that Keats's fame was long delayed
by it, or Wordsworth's, or Browning's. Something unwonted, unexpected,
in the quality of each delayed his recognition; each was not only a poet,
he was a revolution, a new order of things, to which the critical
perceptions and habitudes had painfully to adjust themselves: But I have
no question of the gross and stupid injustice with which these great men
were used, and of the barbarization of the public mind by the sight of
the wrong inflicted on them with impunity. This savage condition still
persists in the toleration of anonymous criticism, an abuse that ought to
be as extinct as the torture of witnesses. It is hard enough to treat a
fellow-author with respect even when one has to address him, name to
name, upon the same level, in plain day; swooping down upon him in the
dark, panoplied in the authority of a great journal, it is impossible.
Every now and then some idealist comes forward and declares that you
should say nothing in criticism of a man's book which you would not say
of it to his face. But I am afraid this is asking too much. I am afraid
it would put an end to all criticism; and that if it were practised
literature would be left to purify itself. I have no doubt literature
would do this; but in such a state of things there would be no provision
for the critics. We ought not to destroy critics, we ought to reform
them, or rather transform them, or turn them from the assumption of
authority to a realization of their true function in the civilized state.
They are no worse at heart, probably, than many others, and there are
probably good husbands and tender fathers, loving daughters and careful
mothers, among them.
It is evident to any student of human nature that the critic who is
obliged to sign his review will be more careful of an author's feelings
than he would if he could intangibly and invisibly deal with him as the
representative of a great journal. He will be loath to have his name
connected with those perversions and misstatements of an author's meaning
in which the critic now indulges without danger of being turned out of
honest company. He will be in some degree forced to be fair and just
with a book he dislikes; he will not wish to misrepresent it when his sin
can be traced directly to him in person; he will not be willing to voice
the prejudice of a journal which is "opposed to the books" of this or
that author; and the journal itself, when it is no longer responsible for
the behavior of its critic, may find it interesting and profitable to
give to an author his innings when he feels wronged by a reviewer and
desires to right himself; it may even be eager to offer him the
opportunity. We shall then, perhaps, frequently witness the spectacle of
authors turning upon their reviewers, and improving their manners and
morals by confronting them in public with the errors they may now commit
with impunity. Many an author smarts under injuries and indignities
which he might resent to the advantage of literature and civilization,
if he were not afraid of being browbeaten by the journal whose nameless
critic has outraged him.
The public is now of opinion that it involves loss of dignity to creative
talent to try to right itself if wronged, but here we are without the
requisite statistics. Creative talent may come off with all the dignity
it went in with, and it may accomplish a very good work in demolishing
criticism.
In any other relation of life the man who thinks himself wronged tries to
right himself, violently, if he is a mistaken man, and lawfully if he is
a wise man or a rich one, which is practically the same thing. But the
author, dramatist, painter, sculptor, whose book, play, picture, statue,
has been unfairly dealt with, as he believes, must make no effort to
right himself with the public; he must bear his wrong in silence; he is
even expected to grin and bear it, as if it were funny. Every body
understands that it is not funny to him, not in the least funny, but
everybody says that he cannot make an effort to get the public to take
his point of view without loss of dignity. This is very odd, but it is
the fact, and I suppose that it comes from the feeling that the author,
dramatist, painter, sculptor, has already said the best he can for his
side in his book, play, picture, statue. This is partly true, and yet if
he wishes to add something more to prove the critic wrong, I do not see
how his attempt to do so should involve loss of dignity. The public,
which is so jealous for his dignity, does not otherwise use him as if he
were a very great and invaluable creature; if he fails, it lets him
starve like any one else. I should say that he lost dignity or not as he
behaved, in his effort to right himself, with petulance or with
principle. If he betrayed a wounded vanity, if he impugned the motives
and accused the lives of his critics, I should certainly feel that he was
losing dignity; but if he temperately examined their theories, and tried
to show where they were mistaken, I think he would not only gain dignity,
but would perform a very useful work.
XIII.
I would beseech the literary critics of our country to disabuse
themselves of the mischievous notion that they are essential to the
progress of literature in the way critics have imagined. Canon Farrar
confesses that with the best will in the world to profit by the many
criticisms of his books, he has never profited in the least by any of
them; and this is almost the universal experience of authors. It is not
always the fault of the critics. They sometimes deal honestly and fairly
by a book, and not so often they deal adequately. But in making a book,
if it is at all a good book, the author has learned all that is knowable
about it, and every strong point and every weak point in it, far more
accurately than any one else can possibly learn them. He has learned to
do better than well for the future; but if his book is bad, he cannot be
taught anything about it from the outside. It will perish; and if he has
not the root of literature in him, he will perish as an author with it.
But what is it that gives tendency in art, then? What is it makes people
like this at one time, and that at another? Above all, what makes a
better fashion change for a worse; how can the ugly come to be preferred
to the beautiful; in other words, how can an art decay?
This question came up in my mind lately with regard to English fiction
and its form, or rather its formlessness. How, for instance, could
people who had once known the simple verity, the refined perfection of
Miss Austere, enjoy, anything less refined and less perfect?
With her example before them, why should not English novelists have gone
on writing simply, honestly, artistically, ever after? One would think
it must have been impossible for them to do otherwise, if one did not
remember, say, the lamentable behavior of the actors who support Mr.
Jefferson, and their theatricality in the very presence of his beautiful
naturalness. It is very difficult, that simplicity, and nothing is so
hard as to be honest, as the reader, if he has ever happened to try it,
must know. "The big bow-wow I can do myself, like anyone going," said
Scott, but he owned that the exquisite touch of Miss Austere was denied
him; and it seems certainly to have been denied in greater or less
measure to all her successors. But though reading and writing come by
nature, as Dogberry justly said, a taste in them may be cultivated, or
once cultivated, it may be preserved; and why was it not so among those
poor islanders? One does not ask such things in order to be at the pains
of answering them one's self, but with the hope that some one else will
take the trouble to do so, and I propose to be rather a silent partner in
the enterprise, which I shall leave mainly to Senor Armando Palacio
Valdes. This delightful author will, however, only be able to answer my
question indirectly from the essay on fiction with which he prefaces one
of his novels, the charming story of 'The Sister of San Sulpizio,' and I
shall have some little labor in fitting his saws to my instances. It is
an essay which I wish every one intending to read, or even to write, a
novel, might acquaint himself with; for it contains some of the best and
clearest things which have been said of the art of fiction in a time when
nearly all who practise it have turned to talk about it.
Senor Valdes is a realist, but a realist according to his own conception
of realism; and he has some words of just censure for the French
naturalists, whom he finds unnecessarily, and suspects of being sometimes
even mercenarily, nasty. He sees the wide difference that passes between
this naturalism and the realism of the English and Spanish; and he goes
somewhat further than I should go in condemning it. "The French
naturalism represents only a moment, and an insignificant part of life."
. . . It is characterized by sadness and narrowness. The prototype of
this literature is the 'Madame Bovary' of Flaubert. I am an admirer of
this novelist, and especially of this novel; but often in thinking of it
I have said, How dreary would literature be if it were no more than this!
There is something antipathetic and gloomy and limited in it, as there is
in modern French life; but this seems to me exactly the best possible
reason for its being. I believe with Senor Valdes that "no literature
can live long without joy," not because of its mistaken aesthetics,
however, but because no civilization can live long without joy. The
expression of French life will change when French life changes; and
French naturalism is better at its worst than French unnaturalism at its
best. "No one," as Senor Valdes truly says, "can rise from the perusal
of a naturalistic book . . . without a vivid desire to escape" from
the wretched world depicted in it, "and a purpose, more or less vague,
of helping to better the lot and morally elevate the abject beings who
figure in it. Naturalistic art, then, is not immoral in itself, for then
it would not merit the name of art; for though it is not the business of
art to preach morality, still I think that, resting on a divine and
spiritual principle, like the idea of the beautiful, it is perforce
moral. I hold much more immoral other books which, under a glamour of
something spiritual and beautiful and sublime, portray the vices in which
we are allied to the beasts. Such, for example, are the works of Octave
Feuillet, Arsene Houssaye, Georges Ohnet, and other contemporary
novelists much in vogue among the higher classes of society."
But what is this idea of the beautiful which art rests upon, and so
becomes moral? "The man of our time," says Senor Valdes, "wishes to know
everything and enjoy everything: he turns the objective of a powerful
equatorial towards the heavenly spaces where gravitates the infinitude of
the stars, just as he applies the microscope to the infinitude of the
smallest insects; for their laws are identical. His experience, united
with intuition, has convinced him that in nature there is neither great
nor small; all is equal. All is equally grand, all is equally just, all
is equally beautiful, because all is equally divine." But beauty, Senor
Valdes explains, exists in the human spirit, and is the beautiful effect
which it receives from the true meaning of things; it does not matter
what the things are, and it is the function of the artist who feels this
effect to impart it to others. I may add that there is no joy in art
except this perception of the meaning of things and its communication;
when you have felt it, and portrayed it in a poem, a symphony, a novel,
a statue, a picture, an edifice, you have fulfilled the purpose for which
you were born an artist.
The reflection of exterior nature in the individual spirit, Senor Valdes
believes to be the fundamental of art. "To say, then, that the artist
must not copy but create is nonsense, because he can in no wise copy, and
in no wise create. He who sets deliberately about modifying nature,
shows that he has not felt her beauty, and therefore cannot make others
feel it. The puerile desire which some artists without genius manifest
to go about selecting in nature, not what seems to them beautiful, but
what they think will seem beautiful to others, and rejecting what may
displease them, ordinarily produces cold and insipid works. For, instead
of exploring the illimitable fields of reality, they cling to the forms
invented by other artists who have succeeded, and they make statues of
statues, poems of poems, novels of novels. It is entirely false that the
great romantic, symbolic, or classic poets modified nature; such as they
have expressed her they felt her; and in this view they are as much
realists as ourselves. In like manner if in the realistic tide that now
bears us on there are some spirits who feel nature in another way, in the
romantic way, or the classic way, they would not falsify her in
expressing her so. Only those falsify her who, without feeling classic
wise or romantic wise, set about being classic or romantic, wearisomely
reproducing the models of former ages; and equally those who, without
sharing the sentiment of realism, which now prevails, force themselves to
be realists merely to follow the fashion."
The pseudo-realists, in fact, are the worse offenders, to my thinking,
for they sin against the living; whereas those who continue to celebrate
the heroic adventures of "Puss-in-Boots" and the hair-breadth escapes of
"Tom Thumb," under various aliases, only cast disrespect upon the
immortals who have passed beyond these noises.
XIV.
"The principal cause," our Spaniard says, "of the decadence of
contemporary literature is found, to my thinking, in the vice which has
been very graphically called effectism, or the itch of awaking at all
cost in the reader vivid and violent emotions, which shall do credit to
the invention and originality of the writer. This vice has its roots in
human nature itself, and more particularly in that of the artist; he has
always some thing feminine in him, which tempts him to coquet with the
reader, and display qualities that he thinks will astonish him, as women
laugh for no reason, to show their teeth when they have them white and
small and even, or lift their dresses to show their feet when there is no
mud in the street . . . . What many writers nowadays wish, is to
produce an effect, grand and immediate, to play the part of geniuses.
For this they have learned that it is only necessary to write exaggerated
works in any sort, since the vulgar do not ask that they shall be quietly
made to think and feel, but that they shall be startled; and among the
vulgar, of course, I include the great part of those who write literary
criticism, and who constitute the worst vulgar, since they teach what
they do not know .. . . There are many persons who suppose that the
highest proof an artist can give of his fantasy is the invention of a
complicated plot, spiced with perils, surprises, and suspenses; and that
anything else is the sign of a poor and tepid imagination. And not only
people who seem cultivated, but are not so, suppose this, but there are
sensible persons, and even sagacious and intelligent critics, who
sometimes allow themselves to be hoodwinked by the dramatic mystery and
the surprising and fantastic scenes of a novel. They own it is all
false; but they admire the imagination, what they call the 'power' of the
author. Very well; all I have to say is that the 'power' to dazzle with
strange incidents, to entertain with complicated plots and impossible
characters, now belongs to some hundreds of writers in Europe; while
there are not much above a dozen who know how to interest with the
ordinary events of life, and by the portrayal of characters truly human.
If the former is a talent, it must be owned that it is much commoner than
the latter . . . . If we are to rate novelists according to their
fecundity, or the riches of their invention, we must put Alexander Dumas
above Cervantes. Cervantes wrote a novel with the simplest plot, without
belying much or little the natural and logical course of events. This
novel which was called 'Don Quixote,' is perhaps the greatest work of
human wit. Very well; the same Cervantes, mischievously influenced
afterwards by the ideas of the vulgar, who were then what they are now
and always will be, attempted to please them by a work giving a lively
proof of his inventive talent, and wrote the 'Persiles and Sigismunda,'
where the strange incidents, the vivid complications, the surprises, the
pathetic scenes, succeed one another so rapidly and constantly that it
really fatigues you . . . . But in spite of this flood of invention,
imagine," says Seflor Valdes, "the place that Cervantes would now occupy
in the heaven of art, if he had never written 'Don Quixote,'" but only
'Persiles and Sigismund!'
From the point of view of modern English criticism, which likes to be
melted, and horrified, and astonished, and blood-curdled, and goose-
fleshed, no less than to be "chippered up" in fiction, Senor Valdes were
indeed incorrigible. Not only does he despise the novel of complicated
plot, and everywhere prefer 'Don Quixote' to 'Persiles and Sigismunda,'
but he has a lively contempt for another class of novels much in favor
with the gentilities of all countries. He calls their writers "novelists
of the world," and he says that more than any others they have the rage
of effectism. "They do not seek to produce effect by novelty and
invention in plot . . . they seek it in character. For this end they
begin by deliberately falsifying human feelings, giving them a
paradoxical appearance completely inadmissible . . . . Love that
disguises itself as hate, incomparable energy under the cloak of
weakness, virginal innocence under the aspect of malice and impudence,
wit masquerading as folly, etc., etc. By this means they hope to make an
effect of which they are incapable through the direct, frank, and
conscientious study of character." He mentions Octave Feuillet as the
greatest offender in this sort among the French, and Bulwer among the
English; but Dickens is full of it (Boffin in 'Our Mutual Friend' will
suffice for all example), and most drama is witness of the result of this
effectism when allowed full play.
But what, then, if he is not pleased with Dumas, or with the effectists
who delight genteel people at all the theatres, and in most of the
romances, what, I ask, will satisfy this extremely difficult Spanish
gentleman? He would pretend, very little. Give him simple, lifelike
character; that is all he wants. "For me, the only condition of
character is that it be human, and that is enough. If I wished to know
what was human, I should study humanity."
But, Senor Valdes, Senor Valdes! Do not you know that this small
condition of yours implies in its fulfilment hardly less than the gift of
the whole earth? You merely ask that the character portrayed in fiction
be human; and you suggest that the novelist should study humanity if he
would know whether his personages are human. This appears to me the
cruelest irony, the most sarcastic affectation of humility. If you had
asked that character in fiction be superhuman, or subterhuman, or
preterhuman, or intrahuman, and had bidden the novelist go, not to
humanity, but the humanities, for the proof of his excellence, it would
have been all very easy. The books are full of those "creations," of
every pattern, of all ages, of both sexes; and it is so much handier to
get at books than to get at Men; and when you have portrayed "passion"
instead of feeling, and used "power" instead of common-sense, and shown
yourself a "genius" instead of an artist, the applause is so prompt and
the glory so cheap, that really anything else seems wickedly wasteful of
one's time. One may not make one's reader enjoy or suffer nobly, but one
may give him the kind of pleasure that arises from conjuring, or from a
puppet-show, or a modern stage-play, and leave him, if he is an old fool,
in the sort of stupor that comes from hitting the pipe; or if he is a
young fool, half crazed with the spectacle of qualities and impulses like
his own in an apotheosis of achievement and fruition far beyond any
earthly experience.
But apparently Senor Valdes would not think this any great artistic
result. "Things that appear ugliest in reality to the spectator who is
not an artist, are transformed into beauty and poetry when the spirit of
the artist possesses itself of them. We all take part every day in a
thousand domestic scenes, every day we see a thousand pictures in life,
that do not make any impression upon us, or if they make any it is one of
repugnance; but let the novelist come, and without betraying the truth,
but painting them as they appear to his vision, he produces a most
interesting work, whose perusal enchants us. That which in life left us
indifferent, or repelled us, in art delights us. Why? Simply because
the artist has made us see the idea that resides in it. Let not the
novelists, then, endeavor to add anything to reality, to turn it and
twist it, to restrict it. Since nature has endowed them with this
precious gift of discovering ideas in things, their work will be
beautiful if they paint these as they appear. But if the reality does
not impress them, in vain will they strive to make their work impress
others."
XV.
Which brings us again, after this long way about, to Jane Austen and her
novels, and that troublesome question about them. She was great and they
were beautiful, because she and they were honest, and dealt with nature
nearly a hundred years ago as realism deals with it to-day. Realism is
nothing more and nothing less than the truthful treatment of material,
and Jane Austen was the first and the last of the English novelists to
treat material with entire truthfulness. Because she did this, she
remains the most artistic of the English novelists, and alone worthy to
be matched with the great Scandinavian and Slavic and Latin artists. It
is not a question of intellect, or not wholly that. The English have
mind enough; but they have not taste enough; or, rather, their taste has
been perverted by their false criticism, which is based upon personal
preference, and not upon, principle; which instructs a man to think that
what he likes is good, instead of teaching him first to distinguish what
is good before he likes it. The art of fiction, as Jane Austen knew it,
declined from her through Scott, and Bulwer, and Dickens, and Charlotte
Bronte, and Thackeray, and even George Eliot, because the mania of
romanticism had seized upon all Europe, and these great writers could not
escape the taint of their time; but it has shown few signs of recovery in
England, because English criticism, in the presence of the Continental
masterpieces, has continued provincial and special and personal, and has
expressed a love and a hate which had to do with the quality of the
artist rather than the character of his work. It was inevitable that in
their time the English romanticists should treat, as Senor Valdes says,
"the barbarous customs of the Middle Ages, softening and distorting them,
as Walter Scott and his kind did;" that they should "devote themselves to
falsifying nature, refining and subtilizing sentiment, and modifying
psychology after their own fancy," like Bulwer and Dickens, as well as
like Rousseau and Madame de Stael, not to mention Balzac, the worst of
all that sort at his worst. This was the natural course of the disease;
but it really seems as if it were their criticism that was to blame for
the rest: not, indeed, for the performance of this writer or that, for
criticism can never affect the actual doing of a thing; but for the
esteem in which this writer or that is held through the perpetuation of
false ideals. The only observer of English middle-class life since Jane
Austen worthy to be named with her was not George Eliot, who was first
ethical and then artistic, who transcended her in everything but the form
and method most essential to art, and there fell hopelessly below her.
It was Anthony Trollope who was most like her in simple honesty and
instinctive truth, as unphilosophized as the light of common day; but he
was so warped from a wholesome ideal as to wish at times to be like
Thackeray, and to stand about in his scene, talking it over with his
hands in his pockets, interrupting the action, and spoiling the illusion
in which alone the truth of art resides. Mainly, his instinct was too
much for his ideal, and with a low view of life in its civic relations
and a thoroughly bourgeois soul, he yet produced works whose beauty is
surpassed only by the effect of a more poetic writer in the novels of
Thomas Hardy. Yet if a vote of English criticism even at this late day,
when all Continental Europe has the light of aesthetic truth, could be
taken, the majority against these artists would be overwhelmingly in
favor of a writer who had so little artistic sensibility, that he never
hesitated on any occasion, great or small, to make a foray among his
characters, and catch them up to show them to the reader and tell him how
beautiful or ugly they were; and cry out over their amazing properties.
"How few materials," says Emerson, "are yet used by our arts! The mass of
creatures and of qualities are still hid and expectant," and to break new
ground is still one of the uncommonest and most heroic of the virtues.
The artists are not alone to blame for the timidity that keeps them in
the old furrows of the worn-out fields; most of those whom they live to
please, or live by pleasing, prefer to have them remain there; it wants
rare virtue to appreciate what is new, as well as to invent it; and the
"easy things to understand" are the conventional things. This is why the
ordinary English novel, with its hackneyed plot, scenes, and figures, is
more comfortable to the ordinary American than an American novel, which
deals, at its worst, with comparatively new interests and motives. To
adjust one's self to the enjoyment of these costs an intellectual effort,
and an intellectual effort is what no ordinary person likes to make. It
is only the extraordinary person who can say, with Emerson: "I ask not
for the great, the remote, the romantic . . . . I embrace the common;
I sit at the feet of the familiar and the low . . . . Man is
surprised to find that things near are not less beautiful and wondrous
than things remote . . . . The perception of the worth of the vulgar
is fruitful in discoveries . . . . The foolish man wonders at the
unusual, but the wise man at the usual . . . . To-day always looks
mean to the thoughtless; but to-day is a king in disguise . . . .
Banks and tariffs, the newspaper and caucus, Methodism and Unitarianism,
are flat and dull to dull people, but rest on the same foundations of
wonder as the town of Troy and the temple of Delphos."
Perhaps we ought not to deny their town of Troy and their temple of
Delphos to the dull people; but if we ought, and if we did, they would
still insist upon having them. An English novel, full of titles and
rank, is apparently essential to the happiness of such people; their weak
and childish imagination is at home in its familiar environment; they
know what they are reading; the fact that it is hash many times warmed
over reassures them; whereas a story of our own life, honestly studied
and faithfully represented, troubles them with varied misgiving. They
are not sure that it is literature; they do not feel that it is good
society; its characters, so like their own, strike them as commonplace;
they say they do not wish to know such people.
Everything in England is appreciable to the literary sense, while the
sense of the literary worth of things in America is still faint and weak
with most people, with the vast majority who "ask for the great, the
remote, the romantic," who cannot "embrace the common," cannot "sit at
the feet of the familiar and the low," in the good company of Emerson.
We are all, or nearly all, struggling to be distinguished from the mass,
and to be set apart in select circles and upper classes like the fine
people we have read about. We are really a mixture of the plebeian
ingredients of the whole world; but that is not bad; our vulgarity
consists in trying to ignore "the worth of the vulgar," in believing that
the superfine is better.
XVII.
Another Spanish novelist of our day, whose books have given me great
pleasure, is so far from being of the same mind of Senor Valdes about
fiction that he boldly declares himself, in the preface to his 'Pepita
Ximenez,' "an advocate of art for art's sake." I heartily agree with him
that it is "in very bad taste, always impertinent and often pedantic, to
attempt to prove theses by writing stories," and yet if it is true that
"the object of a novel should be to charm through a faithful
representation of human actions and human passions, and to create by this
fidelity to nature a beautiful work," and if "the creation of the
beautiful" is solely "the object of art," it never was and never can be
solely its effect as long as men are men and women are women. If ever
the race is resolved into abstract qualities, perhaps this may happen;
but till then the finest effect of the "beautiful" will be ethical and
not aesthetic merely. Morality penetrates all things, it is the soul of
all things. Beauty may clothe it on, whether it is false morality and an
evil soul, or whether it is true and a good soul. In the one case the
beauty will corrupt, and in the other it will edify, and in either case
it will infallibly and inevitably have an ethical effect, now light, now
grave, according as the thing is light or grave. We cannot escape from
this; we are shut up to it by the very conditions of our being. For the
moment, it is charming to have a story end happily, but after one has
lived a certain number of years, and read a certain number of novels, it
is not the prosperous or adverse fortune of the characters that affects
one, but the good or bad faith of the novelist in dealing with them.
Will he play us false or will he be true in the operation of this or that
principle involved? I cannot hold him to less account than this: he must
be true to what life has taught me is the truth, and after that he may
let any fate betide his people; the novel ends well that ends faithfully.
The greater his power, the greater his responsibility before the human
conscience, which is God in us. But men come and go, and what they do in
their limited physical lives is of comparatively little moment; it is
what they say that really survives to bless or to ban; and it is the evil
which Wordsworth felt in Goethe, that must long sur vive him. There is a
kind of thing--a kind of metaphysical lie against righteousness and
common-sense which is called the Unmoral; and is supposed to be different
from the Immoral; and it is this which is supposed to cover many of the
faults of Goethe. His 'Wilhelm Meister,' for example, is so far removed
within the region of the "ideal" that its unprincipled, its evil
principled, tenor in regard to women is pronounced "unmorality," and is
therefore inferably harmless. But no study of Goethe is complete without
some recognition of the qualities which caused Wordsworth to hurl the
book across the room with an indignant perception of its sensuality.
For the sins of his life Goethe was perhaps sufficiently punished in his
life by his final marriage with Christiane; for the sins of his
literature many others must suffer. I do not despair, however, of the
day when the poor honest herd of man kind shall give universal utterance
to the universal instinct, and shall hold selfish power in politics, in
art, in religion, for the devil that it is; when neither its crazy pride
nor its amusing vanity shall be flattered by the puissance of the
"geniuses" who have forgotten their duty to the common weakness, and have
abused it to their own glory. In that day we shall shudder at many
monsters of passion, of self-indulgence, of heartlessness, whom we still
more or less openly adore for their "genius," and shall account no man
worshipful whom we do not feel and know to be good. The spectacle of
strenuous achievement will then not dazzle or mislead; it will not
sanctify or palliate iniquity; it will only render it the more hideous
and pitiable.
In fact, the whole belief in "genius" seems to me rather a mischievous
superstition, and if not mischievous always, still always a superstition.
From the account of those who talk about it, "genius" appears to be the
attribute of a sort of very potent and admirable prodigy which God has
created out of the common for the astonishment and confusion of the rest
of us poor human beings. But do they really believe it? Do they mean
anything more or less than the Mastery which comes to any man according
to his powers and diligence in any direction? If not, why not have an
end of the superstition which has caused our race to go on so long
writing and reading of the difference between talent and genius? It is
within the memory of middle-aged men that the Maelstrom existed in the
belief of the geographers, but we now get on perfectly well without it;
and why should we still suffer under the notion of "genius" which keeps
so many poor little authorlings trembling in question whether they have
it, or have only "talent"?
One of the greatest captains who ever lived [General U. S. Grant D.W.]
--a plain, taciturn, unaffected soul--has told the story of his wonderful
life as unconsciously as if it were all an every-day affair, not
different from other lives, except as a great exigency of the human race
gave it importance. So far as he knew, he had no natural aptitude for
arms, and certainly no love for the calling. But he went to West Point
because, as he quaintly tells us, his father "rather thought he would
go"; and he fought through one war with credit, but without glory. The
other war, which was to claim his powers and his science, found him
engaged in the most prosaic of peaceful occupations; be obeyed its call
because he loved his country, and not because he loved war. All the
world knows the rest, and all the world knows that greater military
mastery has not been shown than his campaigns illustrated. He does not
say this in his book, or hint it in any way; he gives you the facts, and
leaves them with you. But the Personal Memoirs of U. S. Grant, written
as simply and straightforwardly as his battles were fought, couched in
the most unpretentious phrase, with never a touch of grandiosity or
attitudinizing, familiar, homely in style, form a great piece of
literature, because great literature is nothing more nor less than the
clear expression of minds that have some thing great in them, whether
religion, or beauty, or deep experience. Probably Grant would have said
that he had no more vocation to literature than he had to war. He owns,
with something like contrition, that he used to read a great many novels;
but we think he would have denied the soft impeachment of literary power.
Nevertheless, he shows it, as he showed military power, unexpectedly,
almost miraculously. All the conditions here, then, are favorable to
supposing a case of "genius." Yet who would trifle with that great heir
of fame, that plain, grand, manly soul, by speaking of "genius" and him
together? Who calls Washington a genius? or Franklin, or Bismarck, or
Cavour, or Columbus, or Luther, or Darwin, or Lincoln? Were these men
second-rate in their way? Or is "genius" that indefinable, preternatural
quality, sacred to the musicians, the painters, the sculptors, the
actors, the poets, and above all, the poets? Or is it that the poets,
having most of the say in this world, abuse it to shameless self-
flattery, and would persuade the inarticulate classes that they are on
peculiar terms of confidence with the deity?
XVIII.
In General Grant's confession of novel-reading there is a sort of
inference that he had wasted his time, or else the guilty conscience of
the novelist in me imagines such an inference. But however this may be,
there is certainly no question concerning the intention of a
correspondent who once wrote to me after reading some rather bragging
claims I had made for fiction as a mental and moral means. "I have very
grave doubts," he said, "as to the whole list of magnificent things that
you seem to think novels have done for the race, and can witness in
myself many evil things which they have done for me. Whatever in my
mental make-up is wild and visionary, whatever is untrue, whatever is
injurious, I can trace to the perusal of some work of fiction. Worse
than that, they beget such high-strung and supersensitive ideas of life
that plain industry and plodding perseverance are despised, and matter-
of-fact poverty, or every-day, commonplace distress, meets with no
sympathy, if indeed noticed at all, by one who has wept over the
impossibly accumulated sufferings of some gaudy hero or heroine."
I am not sure that I had the controversy with this correspondent that he
seemed to suppose; but novels are now so fully accepted by every one
pretending to cultivated taste and they really form the whole
intellectual life of such immense numbers of people, without question of
their influence, good or bad, upon the mind that it is refreshing to have
them frankly denounced, and to be invited to revise one's ideas and
feelings in regard to them. A little honesty, or a great deal of
honesty, in this quest will do the novel, as we hope yet to have it, and
as we have already begun to have it, no harm; and for my own part I will
confess that I believe fiction in the past to have been largely
injurious, as I believe the stage-play to be still almost wholly
injurious, through its falsehood, its folly, its wantonness, and its
aimlessness. It may be safely assumed that most of the novel-reading
which people fancy an intellectual pastime is the emptiest dissipation,
hardly more related to thought or the wholesome exercise of the mental
faculties than opium-eating; in either case the brain is drugged, and
left weaker and crazier for the debauch. If this may be called the
negative result of the fiction habit, the positive injury that most
novels work is by no means so easily to be measured in the case of young
men whose character they help so much to form or deform, and the women of
all ages whom they keep so much in ignorance of the world they
misrepresent. Grown men have little harm from them, but in the other
cases, which are the vast majority, they hurt because they are not true--
not because they are malevolent, but because they are idle lies about
human nature and the social fabric, which it behooves us to know and to
understand, that we may deal justly with ourselves and with one another.
One need not go so far as our correspondent, and trace to the fiction
habit "whatever is wild and visionary, whatever is untrue, whatever is
injurious," in one's life; bad as the fiction habit is it is probably not
responsible for the whole sum of evil in its victims, and I believe that
if the reader will use care in choosing from this fungus-growth with
which the fields of literature teem every day, he may nourish himself as
with the true mushroom, at no risk from the poisonous species.
The tests are very plain and simple, and they are perfectly infallible.
If a novel flatters the passions, and exalts them above the principles,
it is poisonous; it may not kill, but it will certainly injure; and this
test will alone exclude an entire class of fiction, of which eminent
examples will occur to all. Then the whole spawn of so-called unmoral
romances, which imagine a world where the sins of sense are unvisited by
the penalties following, swift or slow, but inexorably sure, in the real
world, are deadly poison: these do kill. The, novels that merely tickle
our prejudices and lull our judgment, or that coddle our sensibilities or
pamper our gross appetite for the marvellous, are not so fatal, but they
are innutritious, and clog the soul with unwholesome vapors of all kinds.
No doubt they too help to weaken the moral fibre, and make their readers
indifferent to "plodding perseverance and plain industry," and to
"matter-of-fact poverty and commonplace distress."
Without taking them too seriously, it still must be owned that the "gaudy
hero and heroine" are to blame for a great deal of harm in the world.
That heroine long taught by example, if not precept, that Love, or the
passion or fancy she mistook for it, was the chief interest of a life,
which is really concerned with a great many other things; that it was
lasting in the way she knew it; that it was worthy of every sacrifice,
and was altogether a finer thing than prudence, obedience, reason; that
love alone was glorious and beautiful, and these were mean and ugly in
comparison with it. More lately she has begun to idolize and illustrate
Duty, and she is hardly less mischievous in this new role, opposing duty,
as she did love, to prudence, obedience, and reason. The stock hero,
whom, if we met him, we could not fail to see was a most deplorable
person, has undoubtedly imposed himself upon the victims of the fiction
habit as admirable. With him, too, love was and is the great affair,
whether in its old romantic phase of chivalrous achievement or manifold
suffering for love's sake, or its more recent development of the
"virile," the bullying, and the brutal, or its still more recent agonies
of self-sacrifice, as idle and useless as the moral experiences of the
insane asylums. With his vain posturings and his ridiculous splendor he
is really a painted barbarian, the prey of his passions and his
delusions, full of obsolete ideals, and the motives and ethics of a
savage, which the guilty author of his being does his best--or his worst
--in spite of his own light and knowledge, to foist upon the reader as
something generous and noble. I am not merely bringing this charge
against that sort of fiction which is beneath literature and outside of
it, "the shoreless lakes of ditch-water," whose miasms fill the air below
the empyrean where the great ones sit; but I am accusing the work of some
of the most famous, who have, in this instance or in that, sinned against
the truth, which can alone exalt and purify men. I do not say that they
have constantly done so, or even commonly done so; but that they have
done so at all marks them as of the past, to be read with the due
historical allowance for their epoch and their conditions. For I believe
that, while inferior writers will and must continue to imitate them in
their foibles and their errors, no one here after will be able to achieve
greatness who is false to humanity, either in its facts or its duties.
The light of civilization has already broken even upon the novel, and no
conscientious man can now set about painting an image of life without
perpetual question of the verity of his work, and without feeling bound
to distinguish so clearly that no reader of his may be misled, between
what is right and what is wrong, what is noble and what is base, what is
health and what is perdition, in the actions and the characters he
portrays.
The fiction that aims merely to entertain--the fiction that is to serious
fiction as the opera-bouffe, the ballet, and the pantomime are to the
true drama--need not feel the burden of this obligation so deeply; but
even such fiction will not be gay or trivial to any reader's hurt, and
criticism should hold it to account if it passes from painting to
teaching folly.
I confess that I do not care to judge any work of the imagination without
first of all applying this test to it. We must ask ourselves before we
ask anything else, Is it true?--true to the motives, the impulses, the
principles that shape the life of actual men and women? This truth,
which necessarily includes the highest morality and the highest artistry-
this truth given, the book cannot be wicked and cannot be weak; and
without it all graces of style and feats of invention and cunning of
construction are so many superfluities of naughtiness. It is well for
the truth to have all these, and shine in them, but for falsehood they
are merely meretricious, the bedizenment of the wanton; they atone for
nothing, they count for nothing. But in fact they come naturally of
truth, and grace it without solicitation; they are added unto it. In the
whole range of fiction I know of no true picture of life--that is, of
human nature--which is not also a masterpiece of literature, full of
divine and natural beauty. It may have no touch or tint of this special
civilization or of that; it had better have this local color well
ascertained; but the truth is deeper and finer than aspects, and if the
book is true to what men and women know of one another's souls it will be
true enough, and it will be great and beautiful. It is the conception of
literature as something apart from life, superfinely aloof, which makes
it really unimportant to the great mass of mankind, without a message or
a meaning for them; and it is the notion that a novel may be false in its
portrayal of causes and effects that makes literary art contemptible even
to those whom it amuses, that forbids them to regard the novelist as a
serious or right-minded person. If they do not in some moment of
indignation cry out against all novels, as my correspondent does, they
remain besotted in the fume of the delusions purveyed to them, with no
higher feeling for the author than such maudlin affection as the
frequenter of an opium-joint perhaps knows for the attendant who fills
his pipe with the drug.
Or, as in the case of another correspondent who writes that in his youth
he "read a great many novels, but always regarded it as an amusement,
like horse racing and card-playing," for which he had no time when he
entered upon the serious business of life, it renders them merely
contemptuous. His view of the matter may be commended to the brotherhood
and sisterhood of novelists as full of wholesome if bitter suggestion;
and I urge them not to dismiss it with high literary scorn as that of
some Boeotian dull to the beauty of art. Refuse it as we may, it is
still the feeling of the vast majority of people for whom life is
earnest, and who find only a distorted and misleading likeness of it in
our books. We may fold ourselves in our scholars' gowns, and close the
doors of our studies, and affect to despise this rude voice; but we
cannot shut it out. It comes to us from wherever men are at work, from
wherever they are truly living, and accuses us of unfaithfulness, of
triviality, of mere stage-play; and none of us can escape conviction
except he prove himself worthy of his time--a time in which the great
masters have brought literature back to life, and filled its ebbing veins
with the red tides of reality. We cannot all equal them; we need not
copy them; but we can all go to the sources of their inspiration and
their power; and to draw from these no one need go far--no one need
really go out of himself.
Fifty years ago, Carlyle, in whom the truth was always alive, but in whom
it was then unperverted by suffering, by celebrity, and by despair, wrote
in his study of Diderot: "Were it not reasonable to prophesy that this
exceeding great multitude of novel-writers and such like must, in a new
generation, gradually do one of two things: either retire into the
nurseries, and work for children, minors, and semi-fatuous persons of
both sexes, or else, what were far better, sweep their novel-fabric into
the dust-cart, and betake themselves with such faculty as they have to
understand and record what is true, of which surely there is, and will
forever be, a whole infinitude unknown to us of infinite importance to
us? Poetry, it will more and more come to be understood, is nothing but
higher knowledge; and the only genuine Romance (for grown persons),
Reality."
If, after half a century, fiction still mainly works for "children,
minors, and semi-fatuous persons of both sexes," it is nevertheless one
of the hopefulest signs of the world's progress that it has begun to work
for "grown persons," and if not exactly in the way that Carlyle might
have solely intended in urging its writers to compile memoirs instead of
building the "novel-fabric," still it has, in the highest and widest
sense, already made Reality its Romance. I cannot judge it, I do not
even care for it, except as it has done this; and I can hardly conceive
of a literary self-respect in these days compatible with the old trade of
make-believe, with the production of the kind of fiction which is too
much honored by classification with card-playing and horse-racing. But
let fiction cease to lie about life; let it portray men and women as they
are, actuated by the motives and the passions in the measure we all know;
let it leave off painting dolls and working them by springs and wires;
let it show the different interests in their true proportions; let it
forbear to preach pride and revenge, folly and insanity, egotism and
prejudice, but frankly own these for what they are, in whatever figures
and occasions they appear; let it not put on fine literary airs; let it
speak the dialect, the language, that most Americans know--the language
of unaffected people everywhere--and there can be no doubt of an
unlimited future, not only of delightfulness but of usefulness, for it.
XIX.
This is what I say in my severer moods, but at other times I know that,
of course, no one is going to hold all fiction to such strict account.
There is a great deal of it which may be very well left to amuse us, if
it can, when we are sick or when we are silly, and I am not inclined to
despise it in the performance of this office. Or, if people find
pleasure in having their blood curdled for the sake of having it
uncurdled again at the end of the book, I would not interfere with their
amusement, though I do not desire it.
There is a certain demand in primitive natures for the kind of fiction
that does this, and the author of it is usually very proud of it. The
kind of novels he likes, and likes to write, are intended to take his
reader's mind, or what that reader would probably call his mind, off
himself; they make one forget life and all its cares and duties; they are
not in the least like the novels which make you think of these, and shame
you into at least wishing to be a helpfuller and wholesomer creature than
you are. No sordid details of verity here, if you please; no wretched
being humbly and weakly struggling to do right and to be true, suffering
for his follies and his sins, tasting joy only through the mortification
of self, and in the help of others; nothing of all this, but a great,
whirling splendor of peril and achievement, a wild scene of heroic
adventure and of emotional ground and lofty tumbling, with a stage
"picture" at the fall of the curtain, and all the good characters in a
row, their left hands pressed upon their hearts, and kissing their right
hands to the audience, in the old way that has always charmed and always
will charm, Heaven bless it!
In a world which loves the spectacular drama and the practically
bloodless sports of the modern amphitheatre the author of this sort of
fiction has his place, and we must not seek to destroy him because he
fancies it the first place. In fact, it is a condition of his doing well
the kind of work he does that he should think it important, that he
should believe in himself; and I would not take away this faith of his,
even if I could. As I say, he has his place. The world often likes to
forget itself, and he brings on his heroes, his goblins, his feats, his
hair-breadth escapes, his imminent deadly breaches, and the poor,
foolish, childish old world renews the excitements of its nonage.
Perhaps this is a work of beneficence; and perhaps our brave conjurer in
his cabalistic robe is a philanthropist in disguise.
Within the last four or five years there has been throughout the whole
English-speaking world what Mr. Grant Allen happily calls the
"recrudescence" of taste in fiction. The effect is less noticeable in
America than in England, where effete Philistinism, conscious of the dry-
rot of its conventionality, is casting about for cure in anything that is
wild and strange and unlike itself. But the recrudescence has been
evident enough here, too; and a writer in one of our periodicals has put
into convenient shape some common errors concerning popularity as a test
of merit in a book. He seems to think, for instance, that the love of
the marvellous and impossible in fiction, which is shown not only by
"the unthinking multitude clamoring about the book counters" for fiction
of that sort, but by the "literary elect" also, is proof of some
principle in human nature which ought to be respected as well as
tolerated. He seems to believe that the ebullition of this passion forms
a sufficient answer to those who say that art should represent life, and
that the art which misrepresents life is feeble art and false art. But
it appears to me that a little carefuller reasoning from a little closer
inspection of the facts would not have brought him to these conclusions.
In the first place, I doubt very much whether the "literary elect" have
been fascinated in great numbers by the fiction in question; but if I
supposed them to have really fallen under that spell, I should still be
able to account for their fondness and that of the "unthinking multitude"
upon the same grounds, without honoring either very much. It is the
habit of hasty casuists to regard civilization as inclusive of all the
members of a civilized community; but this is a palpable error. Many
persons in every civilized community live in a state of more or less
evident savagery with respect to their habits, their morals, and their
propensities; and they are held in check only by the law. Many more yet
are savage in their tastes, as they show by the decoration of their
houses and persons, and by their choice of books and pictures; and these
are left to the restraints of public opinion. In fact, no man can be
said to be thoroughly civilized or always civilized; the most refined,
the most enlightened person has his moods, his moments of barbarism, in
which the best, or even the second best, shall not please him. At these
times the lettered and the unlettered are alike primitive and their
gratifications are of the same simple sort; the highly cultivated person
may then like melodrama, impossible fiction, and the trapeze as sincerely
and thoroughly as a boy of thirteen or a barbarian of any age.
I do not blame him for these moods; I find something instructive and
interesting in them; but if they lastingly established themselves in him,
I could not help deploring the state of that person. No one can really
think that the "literary elect," who are said to have joined the
"unthinking multitude" in clamoring about the book counters for the
romances of no-man's land, take the same kind of pleasure in them as they
do in a novel of Tolstoy, Tourguenief, George Eliot, Thackeray, Balzac,
Manzoni, Hawthorne, Mr. Henry James, Mr. Thomas Hardy, Senor Palacio
Valdes, or even Walter Scott. They have joined the "unthinking
multitude," perhaps because they are tired of thinking, and expect to
find relaxation in feeling--feeling crudely, grossly, merely. For once
in a way there is no great harm in this; perhaps no harm at all. It is
perfectly natural; let them have their innocent debauch. But let us
distinguish, for our own sake and guidance, between the different kinds
of things that please the same kind of people; between the things that
please them habitually and those that please them occasionally; between
the pleasures that edify them and those that amuse them. Otherwise we
shall be in danger of becoming permanently part of the "unthinking
multitude," and of remaining puerile, primitive, savage. We shall be so
in moods and at moments; but let us not fancy that those are high moods
or fortunate moments. If they are harmless, that is the most that can be
said for them. They are lapses from which we can perhaps go forward more
vigorously; but even this is not certain.
My own philosophy of the matter, however, would not bring me to
prohibition of such literary amusements as the writer quoted seems to
find significant of a growing indifference to truth and sanity in
fiction. Once more, I say, these amusements have their place, as the
circus has, and the burlesque and negro minstrelsy, and the ballet, and
prestidigitation. No one of these is to be despised in its place; but we
had better understand that it is not the highest place, and that it is
hardly an intellectual delight. The lapse of all the "literary elect"
in the world could not dignify unreality; and their present mood, if it
exists, is of no more weight against that beauty in literature which
comes from truth alone, and never can come from anything else, than the
permanent state of the "unthinking multitude."
Yet even as regards the "unthinking multitude," I believe I am not able
to take the attitude of the writer I have quoted. I am afraid that I
respect them more than he would like to have me, though I cannot always
respect their taste, any more than that of the "literary elect."
I respect them for their good sense in most practical matters; for their
laborious, honest lives; for their kindness, their good-will; for that
aspiration towards something better than themselves which seems to stir,
however dumbly, in every human breast not abandoned to literary pride or
other forms of self-righteousness. I find every man interesting, whether
he thinks or unthinks, whether he is savage or civilized; for this reason
I cannot thank the novelist who teaches us not to know but to unknow our
kind. Yet I should by no means hold him to such strict account as
Emerson, who felt the absence of the best motive, even in the greatest of
the masters, when he said of Shakespeare that, after all, he was only
master of the revels. The judgment is so severe, even with the praise
which precedes it, that one winces under it; and if one is still young,
with the world gay before him, and life full of joyous promise, one is
apt to ask, defiantly, Well, what is better than being such a master of
the revels as Shakespeare was? Let each judge for himself. To the heart
again of serious youth, uncontaminate and exigent of ideal good, it must
always be a grief that the great masters seem so often to have been
willing to amuse the leisure and vacancy of meaner men, and leave their
mission to the soul but partially fulfilled. This, perhaps, was what
Emerson had in mind; and if he had it in mind of Shakespeare, who gave
us, with his histories and comedies and problems, such a searching homily
as "Macbeth," one feels that he scarcely recognized the limitations of
the dramatist's art. Few consciences, at times, seem so enlightened as
that of this personally unknown person, so withdrawn into his work, and
so lost to the intensest curiosity of after-time; at other times he seems
merely Elizabethan in his coarseness, his courtliness, his imperfect
sympathy.
XX.
Of the finer kinds of romance, as distinguished from the novel, I would
even encourage the writing, though it is one of the hard conditions of
romance that its personages starting with a 'parti pris' can rarely be
characters with a living growth, but are apt to be types, limited to the
expression of one principle, simple, elemental, lacking the God-given
complexity of motive which we find in all the human beings we know.
Hawthorne, the great master of the romance, had the insight and the power
to create it anew as a kind in fiction; though I am not sure that 'The
Scarlet Letter' and the 'Blithedale Romance' are not, strictly speaking,
novels rather than romances. They, do not play with some old
superstition long outgrown, and they do not invent a new superstition to
play with, but deal with things vital in every one's pulse. I am not
saying that what may be called the fantastic romance--the romance that
descends from 'Frankenstein' rather than 'The Scarlet Letter'--ought not
to be. On the contrary, I should grieve to lose it, as I should grieve
to lose the pantomime or the comic opera, or many other graceful things
that amuse the passing hour, and help us to live agreeably in a world
where men actually sin, suffer, and die. But it belongs to the
decorative arts, and though it has a high place among them, it cannot be
ranked with the works of the imagination--the works that represent and
body forth human experience. Its ingenuity, can always afford a refined
pleasure, and it can often, at some risk to itself, convey a valuable
truth.
Perhaps the whole region of historical romance might be reopened with
advantage to readers and writers who cannot bear to be brought face to
face with human nature, but require the haze of distance or a far
perspective, in which all the disagreeable details shall be lost. There
is no good reason why these harmless people should not be amused, or
their little preferences indulged.
But here, again, I have my modest doubts, some recent instances are so
fatuous, as far as the portrayal of character goes, though I find them
admirably contrived in some respects. When I have owned the excellence
of the staging in every respect, and the conscience with which the
carpenter (as the theatrical folks say) has done his work, I am at the
end of my praises. The people affect me like persons of our generation
made up for the parts; well trained, well costumed, but actors, and
almost amateurs. They have the quality that makes the histrionics of
amateurs endurable; they are ladies and gentlemen; the worst, the
wickedest of them, is a lady or gentleman behind the scene.
Yet, no doubt it is well that there should be a reversion to the earlier
types of thinking and feeling, to earlier ways of looking at human
nature, and I will not altogether refuse the pleasure offered me by the
poetic romancer or the historical romancer because I find my pleasure
chiefly in Tolstoy and Valdes and Thomas Hardy and Tourguenief, and
Balzac at his best.
XXI.
It used to be one of the disadvantages of the practice of romance in
America, which Hawthorne more or less whimsically lamented, that there
were so few shadows and inequalities in our broad level of prosperity;
and it is one of the reflections suggested by Dostoievsky's novel, 'The
Crime and the Punishment,' that whoever struck a note so profoundly
tragic in American fiction would do a false and mistaken thing--as false
and as mistaken in its way as dealing in American fiction with certain
nudities which the Latin peoples seem to find edifying. Whatever their
deserts, very few American novelists have been led out to be shot, or
finally exiled to the rigors of a winter at Duluth; and in a land where
journeymen carpenters and plumbers strike for four dollars a day the sum
of hunger and cold is comparatively small, and the wrong from class to
class has been almost inappreciable, though all this is changing for the
worse. Our novelists, therefore, concern themselves with the more
smiling aspects of life, which are the more American, and seek the
universal in the individual rather than the social interests. It is
worth while, even at the risk of being called commonplace, to be true to
our well-to-do actualities; the very passions themselves seem to be
softened and modified by conditions which formerly at least could not be
said to wrong any one, to cramp endeavor, or to cross lawful desire.
Sin and suffering and shame there must always be in the world, I suppose,
but I believe that in this new world of ours it is still mainly from one
to another one, and oftener still from one to one's self. We have death,
too, in America, and a great deal of disagreeable and painful disease,
which the multiplicity of our patent medicines does not seem to cure;
but this is tragedy that comes in the very nature of things, and is not
peculiarly American, as the large, cheerful average of health and success
and happy life is. It will not do to boast, but it is well to be true to
the facts, and to see that, apart from these purely mortal troubles,
the race here has enjoyed conditions in which most of the ills that have
darkened its annals might be averted by honest work and unselfish
behavior.
Fine artists we have among us, and right-minded as far as they go; and we
must not forget this at evil moments when it seems as if all the women
had taken to writing hysterical improprieties, and some of the men were
trying to be at least as hysterical in despair of being as improper.
Other traits are much more characteristic of our life and our fiction.
In most American novels, vivid and graphic as the best of them are, the
people are segregated if not sequestered, and the scene is sparsely
populated. The effect may be in instinctive response to the vacancy of
our social life, and I shall not make haste to blame it. There are few
places, few occasions among us, in which a novelist can get a large
number of polite people together, or at least keep them together. Unless
he carries a snap-camera his picture of them has no probability; they
affect one like the figures perfunctorily associated in such deadly old
engravings as that of "Washington Irving and his Friends." Perhaps it is
for this reason that we excel in small pieces with three or four figures,
or in studies of rustic communities, where there is propinquity if not
society. Our grasp of more urbane life is feeble; most attempts to
assemble it in our pictures are failures, possibly because it is too
transitory, too intangible in its nature with us, to be truthfully
represented as really existent.
I am not sure that the Americans have not brought the short story nearer
perfection in the all-round sense that almost any other people, and for
reasons very simple and near at hand. It might be argued from the
national hurry and impatience that it was a literary form peculiarly
adapted to the American temperament, but I suspect that its extraordinary
development among us is owing much more to more tangible facts.
The success of American magazines, which is nothing less than prodigious,
is only commensurate with their excellence. Their sort of success is not
only from the courage to decide which ought to please, but from the
knowledge of what does please; and it is probable that, aside from the
pictures, it is the short stories which please the readers of our best
magazines. The serial novels they must have, of course; but rather more
of course they must have short stories, and by operation of the law of
supply and demand, the short stories, abundant in quantity and excellent
in quality, are forthcoming because they are wanted. By another
operation of the same law, which political economists have more recently
taken account of, the demand follows the supply, and short stories are
sought for because there is a proven ability to furnish them, and people
read them willingly because they are usually very good. The art of
writing them is now so disciplined and diffused with us that there is no
lack either for the magazines or for the newspaper "syndicates" which
deal in them almost to the exclusion of the serials.
An interesting fact in regard to the different varieties of the short
story among us is that the sketches and studies by the women seem
faithfuller and more realistic than those of the men, in proportion to
their number. Their tendency is more distinctly in that direction, and
there is a solidity, an honest observation, in the work of such women,
which often leaves little to be desired. I should, upon the whole,
be disposed to rank American short stories only below those of such
Russian writers as I have read, and I should praise rather than blame
their free use of our different local parlances, or "dialects," as people
call them. I like this because I hope that our inherited English may be
constantly freshened and revived from the native sources which our
literary decentralization will help to keep open, and I will own that as
I turn over novels coming from Philadelphia, from New Mexico, from
Boston, from Tennessee, from rural New England, from New York, every
local flavor of diction gives me courage and pleasure. Alphonse Daudet,
in a conversation with H. H. Boyesen said, speaking of Tourguenief,
"What a luxury it must be to have a great big untrodden barbaric language
to wade into! We poor fellows who work in the language of an old
civilization, we may sit and chisel our little verbal felicities, only to
find in the end that it is a borrowed jewel we are polishing. The crown-
jewels of our French tongue have passed through the hands of so many
generations of monarchs that it seems like presumption on the part of any
late-born pretender to attempt to wear them."
This grief is, of course, a little whimsical, yet it has a certain
measure of reason in it, and the same regret has been more seriously
expressed by the Italian poet Aleardi:
"Muse of an aged people, in the eve
Of fading civilization, I was born.
. . . . . . Oh, fortunate,
My sisters, who in the heroic dawn
Of races sung! To them did destiny give
The virgin fire and chaste ingenuousness
Of their land's speech; and, reverenced, their hands
Ran over potent strings."
It will never do to allow that we are at such a desperate pass in
English, but something of this divine despair we may feel too in thinking
of "the spacious times of great Elizabeth," when the poets were trying
the stops of the young language, and thrilling with the surprises of
their own music. We may comfort ourselves, however, unless we prefer a
luxury of grief, by remembering that no language is ever old on the lips
of those who speak it, no matter how decrepit it drops from the pen.
We have only to leave our studies, editorial and other, and go into the
shops and fields to find the "spacious times" again; and from the
beginning Realism, before she had put on her capital letter, had divined
this near-at-hand truth along with the rest. Lowell, almost the greatest
and finest realist who ever wrought in verse, showed us that Elizabeth
was still Queen where he heard Yankee farmers talk. One need not invite
slang into the company of its betters, though perhaps slang has been
dropping its "s" and becoming language ever since the world began, and is
certainly sometimes delightful and forcible beyond the reach of the
dictionary. I would not have any one go about for new words, but if one
of them came aptly, not to reject its help. For our novelists to try to
write Americanly, from any motive, would be a dismal error, but being
born Americans, I then use "Americanisms" whenever these serve their
turn; and when their characters speak, I should like to hear them speak
true American, with all the varying Tennesseean, Philadelphian,
Bostonian, and New York accents. If we bother ourselves to write what
the critics imagine to be "English," we shall be priggish and artificial,
and still more so if we make our Americans talk "English." There is also
this serious disadvantage about "English," that if we wrote the best
"English" in the world, probably the English themselves would not know
it, or, if they did, certainly would not own it. It has always been
supposed by grammarians and purists that a language can be kept as they
find it; but languages, while they live, are perpetually changing. God
apparently meant them for the common people; and the common people will
use them freely as they use other gifts of God. On their lips our
continental English will differ more and more from the insular English,
and I believe that this is not deplorable, but desirable.
In fine, I would have our American novelists be as American as they
unconsciously can. Matthew Arnold complained that he found no
"distinction" in our life, and I would gladly persuade all artists
intending greatness in any kind among us that the recognition of the fact
pointed out by Mr. Arnold ought to be a source of inspiration to them,
and not discouragement. We have been now some hundred years building up
a state on the affirmation of the essential equality of men in their
rights and duties, and whether we have been right or been wrong the gods
have taken us at our word, and have responded to us with a civilization
in which there is no "distinction" perceptible to the eye that loves and
values it. Such beauty and such grandeur as we have is common beauty,
common grandeur, or the beauty and grandeur in which the quality of
solidarity so prevails that neither distinguishes itself to the
disadvantage of anything else. It seems to me that these conditions
invite the artist to the study and the appreciation of the common, and to
the portrayal in every art of those finer and higher aspects which unite
rather than sever humanity, if he would thrive in our new order of
things. The talent that is robust enough to front the every-day world
and catch the charm of its work-worn, care-worn, brave, kindly face, need
not fear the encounter, though it seems terrible to the sort nurtured in
the superstition of the romantic, the bizarre, the heroic, the
distinguished, as the things alone worthy of painting or carving or
writing. The arts must become democratic, and then we shall have the
expression of America in art; and the reproach which Arnold was half
right in making us shall have no justice in it any longer; we shall be
"distinguished."
XXII.
In the mean time it has been said with a superficial justice that our
fiction is narrow; though in the same sense I suppose the present English
fiction is as narrow as our own; and most modern fiction is narrow in a
certain sense. In Italy the best men are writing novels as brief and
restricted in range as ours; in Spain the novels are intense and deep,
and not spacious; the French school, with the exception of Zola, is
narrow; the Norwegians are narrow; the Russians, except Tolstoy, are
narrow, and the next greatest after him, Tourguenief, is the narrowest
great novelist, as to mere dimensions, that ever lived, dealing nearly
always with small groups, isolated and analyzed in the most American
fashion. In fact, the charge of narrowness accuses the whole tendency of
modern fiction as much as the American school. But I do not by any means
allow that this narrowness is a defect, while denying that it is a
universal characteristic of our fiction; it is rather, for the present,
a virtue. Indeed, I should call the present American work, North and
South, thorough rather than narrow. In one sense it is as broad as life,
for each man is a microcosm, and the writer who is able to acquaint us
intimately with half a dozen people, or the conditions of a neighborhood
or a class, has done something which cannot in any, bad sense be called
narrow; his breadth is vertical instead of lateral, that is all; and this
depth is more desirable than horizontal expansion in a civilization like
ours, where the differences are not of classes, but of types, and not of
types either so much as of characters. A new method was necessary in
dealing with the new conditions, and the new method is worldwide, because
the whole world is more or less Americanized. Tolstoy is exceptionally
voluminous among modern writers, even Russian writers; and it might be
said that the forte of Tolstoy himself is not in his breadth sidewise,
but in his breadth upward and downward. 'The Death of Ivan Ilyitch'
leaves as vast an impression on the reader's soul as any episode of
'War and Peace,' which, indeed, can be recalled only in episodes, and not
as a whole. I think that our writers may be safely counselled to
continue their work in the modern way, because it is the best way yet
known. If they make it true, it will be large, no matter what its
superficies are; and it would be the greatest mistake to try to make it
big. A big book is necessarily a group of episodes more or less loosely
connected by a thread of narrative, and there seems no reason why this
thread must always be supplied. Each episode may be quite distinct, or
it may be one of a connected group; the final effect will be from the
truth of each episode, not from the size of the group.
The whole field of human experience as never so nearly covered by
imaginative literature in any age as in this; and American life
especially is getting represented with unexampled fulness. It is true
that no one writer, no one book, represents it, for that is not possible;
our social and political decentralization forbids this, and may forever
forbid it. But a great number of very good writers are instinctively
striving to make each part of the country and each phase of our
civilization known to all the other parts; and their work is not narrow
in any feeble or vicious sense. The world was once very little, and it
is now very large. Formerly, all science could be grasped by a single
mind; but now the man who hopes to become great or useful in science must
devote himself to a single department. It is so in everything--all arts,
all trades; and the novelist is not superior to the universal rule
against universality. He contributes his share to a thorough knowledge
of groups of the human race under conditions which are full of inspiring
novelty and interest. He works more fearlessly, frankly, and faithfully
than the novelist ever worked before; his work, or much of it, may be
destined never to be reprinted from the monthly magazines; but if he
turns to his book-shelf and regards the array of the British or other
classics, he knows that they, too, are for the most part dead; he knows
that the planet itself is destined to freeze up and drop into the sun at
last, with all its surviving literature upon it. The question is merely
one of time. He consoles himself, therefore, if he is wise, and works
on; and we may all take some comfort from the thought that most things
cannot be helped. Especially a movement in literature like that which
the world is now witnessing cannot be helped; and we could no more turn
back and be of the literary fashions of any age before this than we could
turn back and be of its social, economical, or political conditions.
If I were authorized to address any word directly to our novelists I
should say, Do not trouble yourselves about standards or ideals; but try
to be faithful and natural: remember that there is no greatness, no
beauty, which does not come from truth to your own knowledge of things;
and keep on working, even if your work is not long remembered.
At least three-fifths of the literature called classic, in all languages,
no more lives than the poems and stories that perish monthly in our
magazines. It is all printed and reprinted, generation after generation,
century after century; but it is not alive; it is as dead as the people
who wrote it and read it, and to whom it meant something, perhaps; with
whom it was a fashion, a caprice, a passing taste. A superstitious piety
preserves it, and pretends that it has aesthetic qualities which can
delight or edify; but nobody really enjoys it, except as a reflection of
the past moods and humors of the race, or a revelation of the author's
character; otherwise it is trash, and often very filthy trash, which the
present trash generally is not.
XXIII.
One of the great newspapers the other day invited the prominent American
authors to speak their minds upon a point in the theory and practice of
fiction which had already vexed some of them. It was the question of how
much or how little the American novel ought to deal with certain facts of
life which are not usually talked of before young people, and especially
young ladies. Of course the question was not decided, and I forget just
how far the balance inclined in favor of a larger freedom in the matter.
But it certainly inclined that way; one or two writers of the sex which
is somehow supposed to have purity in its keeping (as if purity were a
thing that did not practically concern the other sex, preoccupied with
serious affairs) gave it a rather vigorous tilt to that side. In view of
this fact it would not be the part of prudence to make an effort to dress
the balance; and indeed I do not know that I was going to make any such
effort. But there are some things to say, around and about the subject,
which I should like to have some one else say, and which I may myself
possibly be safe in suggesting.
One of the first of these is the fact, generally lost sight of by those
who censure the Anglo-Saxon novel for its prudishness, that it is really
not such a prude after all; and that if it is sometimes apparently
anxious to avoid those experiences of life not spoken of before young
people, this may be an appearance only. Sometimes a novel which has this
shuffling air, this effect of truckling to propriety, might defend
itself, if it could speak for itself, by saying that such experiences
happened not to come within its scheme, and that, so far from maiming or
mutilating itself in ignoring them, it was all the more faithfully
representative of the tone of modern life in dealing with love that was
chaste, and with passion so honest that it could be openly spoken of
before the tenderest society bud at dinner. It might say that the guilty
intrigue, the betrayal, the extreme flirtation even, was the exceptional
thing in life, and unless the scheme of the story necessarily involved
it, that it would be bad art to lug it in, and as bad taste as to
introduce such topics in a mixed company. It could say very justly that
the novel in our civilization now always addresses a mixed company, and
that the vast majority of the company are ladies, and that very many, if
not most, of these ladies are young girls. If the novel were written for
men and for married women alone, as in continental Europe, it might be
altogether different. But the simple fact is that it is not written for
them alone among us, and it is a question of writing, under cover of our
universal acceptance, things for young girls to read which you would be
put out-of-doors for saying to them, or of frankly giving notice of your
intention, and so cutting yourself off from the pleasure--and it is a
very high and sweet one of appealing to these vivid, responsive
intelligences, which are none the less brilliant and admirable because
they are innocent.
One day a novelist who liked, after the manner of other men, to repine at
his hard fate, complained to his friend, a critic, that he was tired of
the restriction he had put upon himself in this regard; for it is a
mistake, as can be readily shown, to suppose that others impose it. "See
how free those French fellows are!" he rebelled. "Shall we always be
shut up to our tradition of decency?"
"Do you think it's much worse than being shut up to their tradition of
indecency?" said his friend.
Then that novelist began to reflect, and he remembered how sick the
invariable motive of the French novel made him. He perceived finally
that, convention for convention, ours was not only more tolerable, but on
the whole was truer to life, not only to its complexion, but also to its
texture. No one will pretend that there is not vicious love beneath the
surface of our society; if he did, the fetid explosions of the divorce
trials would refute him; but if he pretended that it was in any just
sense characteristic of our society, he could be still more easily
refuted. Yet it exists, and it is unquestionably the material of
tragedy, the stuff from which intense effects are wrought. The question,
after owning this fact, is whether these intense effects are not rather
cheap effects. I incline to think they are, and I will try to say why I
think so, if I may do so without offence. The material itself, the mere
mention of it, has an instant fascination; it arrests, it detains, till
the last word is said, and while there is anything to be hinted. This is
what makes a love intrigue of some sort all but essential to the
popularity of any fiction. Without such an intrigue the intellectual
equipment of the author must be of the highest, and then he will succeed
only with the highest class of readers. But any author who will deal
with a guilty love intrigue holds all readers in his hand, the highest
with the lowest, as long as he hints the slightest hope of the smallest
potential naughtiness. He need not at all be a great author; he may be a
very shabby wretch, if he has but the courage or the trick of that sort
of thing. The critics will call him "virile" and "passionate"; decent
people will be ashamed to have been limed by him; but the low average
will only ask another chance of flocking into his net. If he happens to
be an able writer, his really fine and costly work will be unheeded, and
the lure to the appetite will be chiefly remembered. There may be other
qualities which make reputations for other men, but in his case they will
count for nothing. He pays this penalty for his success in that kind;
and every one pays some such penalty who deals with some such material.
But I do not mean to imply that his case covers the whole ground. So far
as it goes, though, it ought to stop the mouths of those who complain
that fiction is enslaved to propriety among us. It appears that of a
certain kind of impropriety it is free to give us all it will, and more.
But this is not what serious men and women writing fiction mean when they
rebel against the limitations of their art in our civilization. They
have no desire to deal with nakedness, as painters and sculptors freely
do in the worship of beauty; or with certain facts of life, as the stage
does, in the service of sensation. But they ask why, when the
conventions of the plastic and histrionic arts liberate their followers
to the portrayal of almost any phase of the physical or of the emotional
nature, an American novelist may not write a story on the lines of 'Anna
Karenina' or 'Madame Bovary.' They wish to touch one of the most serious
and sorrowful problems of life in the spirit of Tolstoy and Flaubert, and
they ask why they may not. At one time, they remind us, the Anglo-Saxon
novelist did deal with such problems--De Foe in his spirit, Richardson in
his, Goldsmith in his. At what moment did our fiction lose this
privilege? In what fatal hour did the Young Girl arise and seal the lips
of Fiction, with a touch of her finger, to some of the most vital
interests of life?
Whether I wished to oppose them in their aspiration for greater freedom,
or whether I wished to encourage them, I should begin to answer them by
saying that the Young Girl has never done anything of the kind. The
manners of the novel have been improving with those of its readers; that
is all. Gentlemen no longer swear or fall drunk under the table, or
abduct young ladies and shut them up in lonely country-houses, or so
habitually set about the ruin of their neighbors' wives, as they once
did. Generally, people now call a spade an agricultural implement; they
have not grown decent without having also grown a little squeamish, but
they have grown comparatively decent; there is no doubt about that. They
require of a novelist whom they respect unquestionable proof of his
seriousness, if he proposes to deal with certain phases of life; they
require a sort of scientific decorum. He can no longer expect to be
received on the ground of entertainment only; he assumes a higher
function, something like that of a physician or a priest, and they expect
him to be bound by laws as sacred as those of such professions; they hold
him solemnly pledged not to betray them or abuse their confidence. If he
will accept the conditions, they give him their confidence, and he may
then treat to his greater honor, and not at all to his disadvantage, of
such experiences, such relations of men and women as George Eliot treats
in 'Adam Bede,' in 'Daniel Deronda,' in 'Romola,' in almost all her
books; such as Hawthorne treats in 'The Scarlet Letter;' such as Dickens
treats in 'David Copperfield;' such as Thackeray treats in 'Pendennis,'
and glances at in every one of his fictions; such as most of the masters
of English fiction have at same time treated more or less openly. It is
quite false or quite mistaken to suppose that our novels have left
untouched these most important realities of life. They have only not
made them their stock in trade; they have kept a true perspective in
regard to them; they have relegated them in their pictures of life to the
space and place they occupy in life itself, as we know it in England and
America. They have kept a correct proportion, knowing perfectly well
that unless the novel is to be a map, with everything scrupulously laid
down in it, a faithful record of life in far the greater extent could be
made to the exclusion of guilty love and all its circumstances and
consequences.
I justify them in this view not only because I hate what is cheap and
meretricious, and hold in peculiar loathing the cant of the critics who
require "passion" as something in itself admirable and desirable in a
novel, but because I prize fidelity in the historian of feeling and
character. Most of these critics who demand "passion" would seem to have
no conception of any passion but one. Yet there are several other
passions: the passion of grief, the passion of avarice, the passion of
pity, the passion of ambition, the passion of hate, the passion of envy,
the passion of devotion, the passion of friendship; and all these have a
greater part in the drama of life than the passion of love, and
infinitely greater than the passion of guilty love. Wittingly or
unwittingly, English fiction and American fiction have recognized this
truth, not fully, not in the measure it merits, but in greater degree
than most other fiction.
XXIV.
Who can deny that fiction would be incomparably stronger, incomparably
truer, if once it could tear off the habit which enslaves it to the
celebration chiefly of a single passion, in one phase or another, and
could frankly dedicate itself to the service of all the passions, all the
interests, all the facts? Every novelist who has thought about his art
knows that it would, and I think that upon reflection he must doubt
whether his sphere would be greatly enlarged if he were allowed to treat
freely the darker aspects of the favorite passion. But, as I have shown,
the privilege, the right to do this, is already perfectly recognized.
This is proved again by the fact that serious criticism recognizes as
master-works (I will not push the question of supremacy) the two great
novels which above all others have, moved the world by their study of
guilty love. If by any chance, if by some prodigious miracle, any
American should now arise to treat it on the level of 'Anna Karenina' and
'Madame Bovary,' he would be absolutely sure of success, and of fame and
gratitude as great as those books have won for their authors.
But what editor of what American magazine would print such a story?
Certainly I do not think any one would; and here our novelist must again
submit to conditions. If he wishes to publish such a story (supposing
him to have once written it), he must publish it as a book. A book is
something by itself, responsible for its character, which becomes quickly
known, and it does not necessarily penetrate to every member of the
household. The father or the mother may say to the child, "I would
rather you wouldn't read that book"; if the child cannot be trusted, the
book may be locked up. But with the magazine and its serial the affair
is different. Between the editor of a reputable English or American
magazine and the families which receive it there is a tacit agreement
that he will print nothing which a father may not read to his daughter,
or safely leave her to read herself.
After all, it is a matter of business; and the insurgent novelist should
consider the situation with coolness and common-sense. The editor did
not create the situation; but it exists, and he could not even attempt to
change it without many sorts of disaster. He respects it, therefore,
with the good faith of an honest man. Even when he is himself a
novelist, with ardor for his art and impatience of the limitations put
upon it, he interposes his veto, as Thackeray did in the case of Trollope
when a contributor approaches forbidden ground.
It does not avail to say that the daily papers teem with facts far fouler
and deadlier than any which fiction could imagine. That is true, but it
is true also that the sex which reads the most novels reads the fewest
newspapers; and, besides, the reporter does not command the novelist's
skill to fix impressions in a young girl's mind or to suggest conjecture.
The magazine is a little despotic, a little arbitrary; but unquestionably
its favor is essential to success, and its conditions are not such narrow
ones. You cannot deal with Tolstoy's and Flaubert's subjects in the
absolute artistic freedom of Tolstoy and Flaubert; since De Foe, that is
unknown among us; but if you deal with them in the manner of George
Eliot, of Thackeray, of Dickens, of society, you may deal with them even
in the magazines. There is no other restriction upon you. All the
horrors and miseries and tortures are open to you; your pages may drop
blood; sometimes it may happen that the editor will even exact such
strong material from you. But probably he will require nothing but the
observance of the convention in question; and if you do not yourself
prefer bloodshed he will leave you free to use all sweet and peaceable
means of interesting his readers.
It is no narrow field he throws open to you, with that little sign to
keep off the grass up at one point only. Its vastness is still almost
unexplored, and whole regions in it are unknown to the fictionist. Dig
anywhere, and do but dig deep enough, and you strike riches; or, if you
are of the mind to range, the gentler climes, the softer temperatures,
the serener skies, are all free to you, and are so little visited that
the chance of novelty is greater among them.
XXV.
While the Americans have greatly excelled in the short story generally,
they have almost created a species of it in the Thanksgiving story.
We have transplanted the Christmas story from England, while the
Thanksgiving story is native to our air; but both are of Anglo-Saxon
growth. Their difference is from a difference of environment; and the
Christmas story when naturalized among us becomes almost identical in
motive, incident, and treatment with the Thanksgiving story. If I were
to generalize a distinction between them, I should say that the one dealt
more with marvels and the other more with morals; and yet the critic
should beware of speaking too confidently on this point. It is certain,
however, that the Christmas season is meteorologically more favorable to
the effective return of persons long supposed lost at sea, or from a
prodigal life, or from a darkened mind. The longer, darker, and colder
nights are better adapted to the apparition of ghosts, and to all manner
of signs and portents; while they seem to present a wider field for the
intervention of angels in behalf of orphans and outcasts. The dreams of
elderly sleepers at this time are apt to be such as will effect a lasting
change in them when they awake, turning them from the hard, cruel, and
grasping habits of a lifetime, and reconciling them to their sons,
daughters, and nephews, who have thwarted them in marriage; or softening
them to their meek, uncomplaining wives, whose hearts they have trampled
upon in their reckless pursuit of wealth; and generally disposing them to
a distribution of hampers among the sick and poor, and to a friendly
reception of gentlemen with charity subscription papers.
Ships readily drive upon rocks in the early twilight, and offer exciting
difficulties of salvage; and the heavy snows gather quickly round the
steps of wanderers who lie down to die in them, preparatory to their
discovery and rescue by immediate relatives. The midnight weather is
also very suitable for encounter with murderers and burglars; and the
contrast of its freezing gloom with the light and cheer in-doors promotes
the gayeties which merge, at all well-regulated country-houses, in love
and marriage. In the region of pure character no moment could be so
available for flinging off the mask of frivolity, or imbecility, or
savagery, which one has worn for ten or twenty long years, say, for the
purpose of foiling some villain, and surprising the reader, and helping
the author out with his plot. Persons abroad in the Alps, or Apennines,
or Pyrenees, or anywhere seeking shelter in the huts of shepherds or the
dens of smugglers, find no time like it for lying in a feigned slumber,
and listening to the whispered machinations of their suspicious looking
entertainers, and then suddenly starting up and fighting their way out;
or else springing from the real sleep into which they have sunk
exhausted, and finding it broad day and the good peasants whom they had
so unjustly doubted, waiting breakfast for them.
We need not point out the superior advantages of the Christmas season for
anything one has a mind to do with the French Revolution, of the Arctic
explorations, or the Indian Mutiny, or the horrors of Siberian exile;
there is no time so good for the use of this material; and ghosts on
shipboard are notoriously fond of Christmas Eve. In our own logging
camps the man who has gone into the woods for the winter, after
quarrelling with his wife, then hears her sad appealing voice, and is
moved to good resolutions as at no other period of the year; and in the
mining regions, first in California and later in Colorado, the hardened
reprobate, dying in his boots, smells his mother's doughnuts, and
breathes his last in a soliloquized vision of the old home, and the
little brother, or sister, or the old father coming to meet him from
heaven; while his rude companions listen round him, and dry their eyes on
the butts of their revolvers.
It has to be very grim, all that, to be truly effective; and here,
already, we have a touch in the Americanized Christmas story of the
moralistic quality of the American Thanksgiving story. This was seldom
written, at first, for the mere entertainment of the reader; it was meant
to entertain him, of course; but it was meant to edify him, too, and to
improve him; and some such intention is still present in it. I rather
think that it deals more probably with character to this end than its
English cousin, the Christmas story, does. It is not so improbable that
a man should leave off being a drunkard on Thanksgiving, as that he
should leave off being a curmudgeon on Christmas; that he should conquer
his appetite as that he should instantly change his nature, by good
resolutions. He would be very likely, indeed, to break his resolutions
in either case, but not so likely in the one as in the other.
Generically, the Thanksgiving story is cheerfuller in its drama and
simpler in its persons than the Christmas story. Rarely has it dealt
with the supernatural, either the apparition of ghosts or the
intervention of angels. The weather being so much milder at the close of
November than it is a month later, very little can be done with the
elements; though on the coast a northeasterly storm has been, and can be,
very usefully employed. The Thanksgiving story is more restricted in its
range; the scene is still mostly in New England, and the characters are
of New England extraction, who come home from the West usually, or New
York, for the event of the little drama, whatever it may be. It may be
the reconciliation of kinsfolk who have quarrelled; or the union of
lovers long estranged; or husbands and wives who have had hard words and
parted; or mothers who had thought their sons dead in California and find
themselves agreeably disappointed in their return; or fathers who for old
time's sake receive back their erring and conveniently dying daughters.
The notes are not many which this simple music sounds, but they have a
Sabbath tone, mostly, and win the listener to kindlier thoughts and
better moods. The art is at its highest in some strong sketch of Rose
Terry Cooke's, or some perfectly satisfying study of Miss Jewett's, or
some graphic situation of Miss Wilkins's; and then it is a very fine art.
But mostly it is poor and rude enough, and makes openly, shamelessly, for
the reader's emotions, as well as his morals. It is inclined to be
rather descriptive. The turkey, the pumpkin, the corn-field, figure
throughout; and the leafless woods are blue and cold against the evening
sky behind the low hip-roofed, old-fashioned homestead. The parlance is
usually the Yankee dialect and its Western modifications.
The Thanksgiving story is mostly confined in scene to the country; it
does not seem possible to do much with it in town; and it is a serious
question whether with its geographical and topical limitations it can
hold its own against the Christmas story; and whether it would not be
well for authors to consider a combination with its elder rival.
The two feasts are so near together in point of time that they could be
easily covered by the sentiment of even a brief narrative. Under the
agglutinated style of 'A Thanksgiving-Christmas Story,' fiction
appropriate to both could be produced, and both could be employed
naturally and probably in the transaction of its affairs and the
development of its characters. The plot for such a story could easily be
made to include a total-abstinence pledge and family reunion at
Thanksgiving, and an apparition and spiritual regeneration over a bowl of
punch at Christmas.
XXVI.
It would be interesting to know the far beginnings of holiday literature,
and I commend the quest to the scientific spirit which now specializes
research in every branch of history. In the mean time, without being too
confident of the facts, I venture to suggest that it came in with the
romantic movement about the beginning of this century, when mountains
ceased to be horrid and became picturesque; when ruins of all sorts, but
particularly abbeys and castles, became habitable to the most delicate
constitutions; when the despised Gothick of Addison dropped its "k," and
arose the chivalrous and religious Gothic of Scott; when ghosts were
redeemed from the contempt into which they had fallen, and resumed their
place in polite society; in fact, the politer the society; the welcomer
the ghosts, and whatever else was out of the common. In that day the
Annual flourished, and this artificial flower was probably the first
literary blossom on the Christmas Tree which has since borne so much
tinsel foliage and painted fruit. But the Annual was extremely Oriental;
it was much preoccupied with, Haidees and Gulnares and Zuleikas, with
Hindas and Nourmahals, owing to the distinction which Byron and Moore had
given such ladies; and when it began to concern itself with the
actualities of British beauty, the daughters of Albion, though inscribed
with the names of real countesses and duchesses, betrayed their descent
from the well-known Eastern odalisques. It was possibly through an
American that holiday literature became distinctively English in
material, and Washington Irving, with his New World love of the past, may
have given the impulse to the literary worship of Christmas which has
since so widely established itself. A festival revived in popular
interest by a New-Yorker to whom Dutch associations with New-year's had
endeared the German ideal of Christmas, and whom the robust gayeties of
the season in old-fashioned country-houses had charmed, would be one of
those roundabout results which destiny likes, and "would at least be
Early English."
If we cannot claim with all the patriotic confidence we should like to
feel that it was Irving who set Christmas in that light in which Dickens
saw its aesthetic capabilities, it is perhaps because all origins are
obscure. For anything that we positively know to the contrary, the
Druidic rites from which English Christmas borrowed the inviting
mistletoe, if not the decorative holly, may have been accompanied by the
recitations of holiday triads. But it is certain that several plays of
Shakespeare were produced, if not written, for the celebration of the
holidays, and that then the black tide of Puritanism which swept over
men's souls blotted out all such observance of Christmas with the
festival itself. It came in again, by a natural reaction, with the
returning Stuarts, and throughout the period of the Restoration it
enjoyed a perfunctory favor. There is mention of it; often enough in the
eighteenth-century essayists, in the Spectators and Idlers and Tatlers;
but the world about the middle of the last century laments the neglect
into which it had fallen. Irving seems to have been the first to observe
its surviving rites lovingly, and Dickens divined its immense advantage
as a literary occasion. He made it in some sort entirely his for a time,
and there can be no question but it was he who again endeared it to the
whole English-speaking world, and gave it a wider and deeper hold than it
had ever had before upon the fancies and affections of our race.
The might of that great talent no one can gainsay, though in the light of
the truer work which has since been done his literary principles seem
almost as grotesque as his theories of political economy. In no one
direction was his erring force more felt than in the creation of holiday
literature as we have known it for the last half-century. Creation, of
course, is the wrong word; it says too much; but in default of a better
word, it may stand. He did not make something out of nothing; the
material was there before him; the mood and even the need of his time
contributed immensely to his success, as the volition of the subject
helps on the mesmerist; but it is within bounds to say that he was the
chief agency in the development of holiday literature as we have known
it, as he was the chief agency in universalizing the great Christian
holiday as we now have it. Other agencies wrought with him and after
him; but it was he who rescued Christmas from Puritan distrust, and
humanized it and consecrated it to the hearts and homes of all.
Very rough magic, as it now seems, he used in working his miracle, but
there is no doubt about his working it. One opens his Christmas stories
in this later day--'The Carol, The Chimes, The Haunted Man, The Cricket
on the Hearth,' and all the rest--and with "a heart high-sorrowful and
cloyed," asks himself for the preternatural virtue that they once had.
The pathos appears false and strained; the humor largely horseplay; the
character theatrical; the joviality pumped; the psychology commonplace;
the sociology alone funny. It is a world of real clothes, earth, air,
water, and the rest; the people often speak the language of life, but
their motives are as disproportioned and improbable, and their passions
and purposes as overcharged, as those of the worst of Balzac's people.
Yet all these monstrosities, as they now appear, seem to have once had
symmetry and verity; they moved the most cultivated intelligences of the
time; they touched true hearts; they made everybody laugh and cry.
This was perhaps because the imagination, from having been fed mostly
upon gross unrealities, always responds readily to fantastic appeals.
There has been an amusing sort of awe of it, as if it were the channel of
inspired thought, and were somehow sacred. The most preposterous
inventions of its activity have been regarded in their time as the
greatest feats of the human mind, and in its receptive form it has been
nursed into an imbecility to which the truth is repugnant, and the fact
that the beautiful resides nowhere else is inconceivable. It has been
flattered out of all sufferance in its toyings with the mere elements of
character, and its attempts to present these in combinations foreign to
experience are still praised by the poorer sort of critics as
masterpieces of creative work.
In the day of Dickens's early Christmas stories it was thought admirable
for the author to take types of humanity which everybody knew, and to add
to them from his imagination till they were as strange as beasts and
birds talking. Now we begin to feel that human nature is quite enough,
and that the best an author can do is to show it as it is. But in those
stories of his Dickens said to his readers, Let us make believe so-and-
so; and the result was a joint juggle, a child's-play, in which the
wholesome allegiance to life was lost. Artistically, therefore, the
scheme was false, and artistically, therefore, it must perish. It did
not perish, however, before it had propagated itself in a whole school of
unrealities so ghastly that one can hardly recall without a shudder those
sentimentalities at secondhand to which holiday literature was abandoned
long after the original conjurer had wearied of his performance.
Under his own eye and of conscious purpose a circle of imitators grew up
in the fabrication of Christmas stories. They obviously formed
themselves upon his sobered ideals; they collaborated with him, and it
was often hard to know whether it was Dickens or Sala or Collins who was
writing. The Christmas book had by that time lost its direct application
to Christmas. It dealt with shipwrecks a good deal, and with perilous
adventures of all kinds, and with unmerited suffering, and with ghosts
and mysteries, because human nature, secure from storm and danger in a
well-lighted room before a cheerful fire, likes to have these things
imaged for it, and its long-puerilized fancy will bear an endless
repetition of them. The wizards who wrought their spells with them
contented themselves with the lasting efficacy of these simple means;
and the apprentice-wizards and journeyman-wizards who have succeeded them
practise the same arts at the old stand; but the ethical intention which
gave dignity to Dickens's Christmas stories of still earlier date has
almost wholly disappeared. It was a quality which could not be worked so
long as the phantoms and hair-breadth escapes. People always knew that
character is not changed by a dream in a series of tableaux; that a ghost
cannot do much towards reforming an inordinately selfish person; that a
life cannot be turned white, like a head of hair, in a single night, by
the most allegorical apparition; that want and sin and shame cannot be
cured by kettles singing on the hob; and gradually they ceased to make
believe that there was virtue in these devices and appliances. Yet the
ethical intention was not fruitless, crude as it now appears.
It was well once a year, if not oftener, to remind men by parable of the
old, simple truths; to teach them that forgiveness, and charity, and the
endeavor for life better and purer than each has lived, are the
principles upon which alone the world holds together and gets forward.
It was well for the comfortable and the refined to be put in mind of the
savagery and suffering all round them, and to be taught, as Dickens was
always teaching, that certain feelings which grace human nature, as
tenderness for the sick and helpless, self-sacrifice and generosity,
self-respect and manliness and womanliness, are the common heritage of
the race; the direct gift of Heaven, shared equally by the rich and poor.
It did not necessarily detract from the value of the lesson that, with
the imperfect art of the time, he made his paupers and porters not only
human, but superhuman, and too altogether virtuous; and it remained true
that home life may be lovely under the lowliest roof, although he liked
to paint it without a shadow on its beauty there. It is still a fact
that the sick are very often saintly, although he put no peevishness into
their patience with their ills. His ethical intention told for manhood
and fraternity and tolerance, and when this intention disappeared from
the better holiday literature, that literature was sensibly the poorer
for the loss.
XXVII.
But if the humanitarian impulse has mostly disappeared from Christmas
fiction, I think it has never so generally characterized all fiction.
One may refuse to recognize this impulse; one may deny that it is in any
greater degree shaping life than ever before, but no one who has the
current of literature under his eye can fail to note it there. People
are thinking and feeling generously, if not living justly, in our time;
it is a day of anxiety to be saved from the curse that is on selfishness,
of eager question how others shall be helped, of bold denial that the
conditions in which we would fain have rested are sacred or immutable.
Especially in America, where the race has gained a height never reached
before, the eminence enables more men than ever before to see how even
here vast masses of men are sunk in misery that must grow every day more
hopeless, or embroiled in a struggle for mere life that must end in
enslaving and imbruting them.
Art, indeed, is beginning to find out that if it does not make friends
with Need it must perish. It perceives that to take itself from the many
and leave them no joy in their work, and to give itself to the few whom
it can bring no joy in their idleness, is an error that kills. The men
and women who do the hard work of the world have learned that they have a
right to pleasure in their toil, and that when justice is done them they
will have it. In all ages poetry has affirmed something of this sort,
but it remained for ours to perceive it and express it somehow in every
form of literature. But this is only one phase of the devotion of the
best literature of our time to the service of humanity. No book written
with a low or cynical motive could succeed now, no matter how brilliantly
written; and the work done in the past to the glorification of mere
passion and power, to the deification of self, appears monstrous and
hideous. The romantic spirit worshipped genius, worshipped heroism, but
at its best, in such a man as Victor Hugo, this spirit recognized the
supreme claim of the lowest humanity. Its error was to idealize the
victims of society, to paint them impossibly virtuous and beautiful; but
truth, which has succeeded to the highest mission of romance, paints
these victims as they are, and bids the world consider them not because
they are beautiful and virtuous, but because they are ugly and vicious,
cruel, filthy, and only not altogether loathsome because the divine can
never wholly die out of the human. The truth does not find these victims
among the poor alone, among the hungry, the houseless, the ragged; but it
also finds them among the rich, cursed with the aimlessness, the satiety,
the despair of wealth, wasting their lives in a fool's paradise of shows
and semblances, with nothing real but the misery that comes of
insincerity and selfishness.
I do not think the fiction of our own time even always equal to this
work, or perhaps more than seldom so. But as I once expressed, to the
long-reverberating discontent of two continents, fiction is now a finer
art than it, has been hitherto, and more nearly meets the requirements of
the infallible standard. I have hopes of real usefulness in it, because
it is at last building on the only sure foundation; but I am by no means
certain that it will be the ultimate literary form, or will remain as
important as we believe it is destined to become. On the contrary, it is
quite imaginable that when the great mass of readers, now sunk in the
foolish joys of mere fable, shall be lifted to an interest in the meaning
of things through the faithful portrayal of life in fiction, then fiction
the most faithful may be superseded by a still more faithful form of
contemporaneous history. I willingly leave the precise character of this
form to the more robust imagination of readers whose minds have been
nurtured upon romantic novels, and who really have an imagination worth
speaking of, and confine myself, as usual, to the hither side of the
regions of conjecture.
The art which in the mean time disdains the office of teacher is one of
the last refuges of the aristocratic spirit which is disappearing from
politics and society, and is now seeking to shelter itself in aesthetics.
The pride of caste is becoming the pride of taste; but as before, it is
averse to the mass of men; it consents to know them only in some
conventionalized and artificial guise. It seeks to withdraw itself, to
stand aloof; to be distinguished, and not to be identified. Democracy in
literature is the reverse of all this. It wishes to know and to tell the
truth, confident that consolation and delight are there; it does not care
to paint the marvellous and impossible for the vulgar many, or to
sentimentalize and falsify the actual for the vulgar few. Men are more
like than unlike one another: let us make them know one another better,
that they may be all humbled and strengthened with a sense of their
fraternity. Neither arts, nor letters, nor sciences, except as they
somehow, clearly or obscurely, tend to make the race better and kinder,
are to be regarded as serious interests; they are all lower than the
rudest crafts that feed and house and clothe, for except they do this
office they are idle; and they cannot do this except from and through the
truth.
ETEXT EDITOR'S BOOKMARKS:
A Thanksgiving-Christmas Story
Anthony Trollope
Authorities
Browbeat wholesome common-sense into the self-distrust
Canon Fairfax,'s opinions of literary criticism
Comfort from the thought that most things cannot be helped
Concerning popularity as a test of merit in a book
Critical vanity and self-righteousness
Critics are in no sense the legislators of literature
Dickens rescued Christmas from Puritan distrust
Effectism
Fact that it is hash many times warmed over reassures them
Forbear the excesses of analysis
Glance of the common eye, is and always was the best light
Greatest classics are sometimes not at all great
Holiday literature
Imitators of one another than of nature
Jane Austen
Languages, while they live, are perpetually changing
Let fiction cease to lie about life
Long-puerilized fancy will bear an endless repetition
Made them talk as seldom man and never woman talked
Michelangelo's "light of the piazza,"
No greatness, no beauty, which does not come from truth
Novels hurt because they are not true
Plain industry and plodding perseverance are despised
Pseudo-realists
Public wish to be amused rather than edified
Teach what they do not know
Tediously analytical
To break new ground
Unless we prefer a luxury of grief
Vulgarity: bad art to lug it in
What makes a better fashion change for a worse
Whatever is established is sacred with those who do not think
End of this Project Gutenberg Etext of Criticism and Fiction
by William Dean Howells
ETEXT EDITOR'S BOOKMARKS FOR THE ENTIRE FILE:
Absence of distinction
Advertising
Aim at nothing higher than the amusement of your readers
Ambitious to be of ugly modern patterns
An artistic atmosphere does not create artists
Anise-seed bag
Any man's country could get on without him
Any sort of work that is slighted becomes drudgery
Artist has seasons, as trees, when he cannot blossom
As soon as she has got a thing she wants, begins to hate it
Begun to fight with want from their cradles
Blasts of frigid wind swept the streets
Book that they are content to know at second hand
Business to take advantage of his necessity
Clemens is said to have said of bicycling
Competition has deformed human nature
Conditions of hucksters imposed upon poets
Could not, as the saying is, find a stone to throw at a dog
Disbeliever in punishments of all sorts
Do not want to know about such squalid lives
Early self-helpfulness of children is very remarkable
Encounter of old friends after the lapse of years
Even a day's rest is more than most people can bear
Eyes fixed steadfastly upon the future
Face that expresses care, even to the point of anxiety
Fate of a book is in the hands of the women
For most people choice is a curse
General worsening of things, familiar after middle life
God of chance leads them into temptation and adversity
Happy in the indifference which ignorance breeds in us
Hard to think up anything new
Heart of youth aching for their stoical sorrows
Heighten our suffering by anticipation
Here and there an impassioned maple confesses the autumn
Historian, who is a kind of inferior realist
Houses are of almost terrifying cleanliness
I do not think any man ought to live by an art
If he has not enjoyed writing no one will enjoy reading
If one were poor, one ought to be deserving
Impropriety if not indecency promises literary success
Ladies make up the pomps which they (the men) forego
Lascivious and immodest as possible
Leading part cats may play in society
Leaven, but not for so large a lump
Literary spirit is the true world-citizen
Literature beautiful only through the intelligence
Literature has no objective value
Literature is Business as well as Art
Look of challenge, of interrogation, almost of reproof
Malevolent agitators
Man is strange to himself as long as he lives
Mark Twain
Meet here to the purpose of a common ostentation
Men read the newspapers, but our women read the books
More zeal than knowledge in it
Most journalists would have been literary men if they could
Neatness that brings despair
Never quite sure of life unless I find literature in it
No man ought to live by any art
No rose blooms right along
Noble uselessness
Not lack of quality but quantity of the quality
Openly depraved by shows of wealth
Our deeply incorporated civilization
Our huckstering civilization
People have never had ideals, but only moods and fashions
People might oftener trust themselves to Providence
People of wealth and fashion always dissemble their joy
Picturesqueness which we should prize if we saw it abroad
Plagiarism carries inevitable detection with it
Public whose taste is so crude that they cannot enjoy the best
Pure accident and by its own contributory negligence
Put aside all anxiety about style
Refused to see us as we see ourselves
Results of art should be free to all
Reviewers
Reward is in the serial and not in the book--19th Century
Rogues in every walk of life
Should be very sorry to do good, as people called it
Should sin a little more on the side of candid severity
So many millionaires and so many tramps
So touching that it brought the lump into my own throat
Solution of the problem how and where to spend the summer
Some of it's good, and most of it isn't
Some of us may be toys and playthings without reproach
Summer folks have no idea how pleasant it is when they are gone
Superiority one likes to feel towards the rich and great
Take our pleasures ungraciously
The old and ugly are fastidious as to the looks of others
Their consciences needed no bossing in the performance
There is small love of pure literature
They are so many and I am so few
Those who decide their fate are always rebelling against it
Those who work too much and those who rest too much
Trouble with success is that it is apt to leave life behind
Two branches of the novelist's trade: Novelist and Historian
Unfailing American kindness
Visitors of the more inquisitive sex
Wald with the lurch and the sway of the deck in it
Warner's Backlog Studies
We cannot all be hard-working donkeys
We who have neither youth nor beauty should always expect it
Whatever choice you make, you are pretty sure to regret it
Work not truly priced in money cannot be truly paid in money
Work would be twice as good if it were done twice
End of this Project Gutenberg Etext of Literature and Life, Entire
by William Dean Howells
ETEXT EDITOR'S BOOKMARKS FOR THE ENTIRE "OF LITERATURE":
Absence of distinction
Absolute devotion to the day of her death,
Absolutely, so positively, so almost aggressively truthful
Abstract, the air-drawn, afflicted me like physical discomforts
Act officiously, not officially
Addressed to their tenderness out of his tenderness
Advertising
Aim at nothing higher than the amusement of your readers
Always sumptuously providing out of his destitution
Ambitious to be of ugly modern patterns
Amiable perception, and yet with a sort of remote absence
Amuse him, even when they wronged him
Amusingly realized the situation to their friends
An artistic atmosphere does not create artists
Anglo-American genius for ugliness
Anise-seed bag
Any sort of work that is slighted becomes drudgery
Any man's country could get on without him
Appeal, which he had come to recognize as invasive
Appeared to have no grudge left
Artist has seasons, as trees, when he cannot blossom
As soon as she has got a thing she wants, begins to hate it
Backed their credulity with their credit
Bayard Taylor: incomparable translation of Faust
Became gratefully strange
Begun to fight with want from their cradles
Best talkers are willing that you should talk if you like
Blasts of frigid wind swept the streets
Book that they are content to know at second hand
Business to take advantage of his necessity
But now I remember that he gets twenty dollars a month"
Candle burning on the table for the cigars
Celia Thaxter
Charles F. Browne
Charles Reade
Christianity had done nothing to improve morals and conditions
Church: "Oh yes, I go It 'most kills me, but I go,"
Clemens was sole, incomparable, the Lincoln of our literature
Clemens is said to have said of bicycling
Cold-slaw
Collective opacity
Competition has deformed human nature
Conditions of hucksters imposed upon poets
Confidence I have nearly always felt when wrong
Could easily believe now that it was some one else who saw it
Could make us feel that our faults were other people's
Could not, as the saying is, find a stone to throw at a dog
Could only by chance be caught in earnest about anything
Couldn't fire your revolver without bringing down a two volumer
Dawn upon him through a cloud of other half remembered faces
Death of the joy that ought to come from work
Death's vague conjectures to the broken expectations of life
Despair broke in laughter
Despised the avoidance of repetitions out of fear of tautology
Did not feel the effect I would so willingly have experienced
Dinner was at the old-fashioned Boston hour of two
Disbeliever in punishments of all sorts
Discomfort which mistaken or blundering praise
Do not want to know about such squalid lives
Dollars were of so much farther flight than now
Early self-helpfulness of children is very remarkable
Edmund Quincy
Edward Everett Hale
Either to deny the substance of things unseen, or to affirm it
Emerson
Encounter of old friends after the lapse of years
Enjoying whatever was amusing in the disadvantage to himself
Espoused the theory of Bacon's authorship of Shakespeare
Ethical sense, not the aesthetical sense
Even a day's rest is more than most people can bear
Everlasting rock of human credulity and folly
Expectation of those who will come no more
Express the appreciation of another's fit word
Eyes fixed steadfastly upon the future
Face that expresses care, even to the point of anxiety
Fate of a book is in the hands of the women
Feigned the gratitude which I could see that he expected
Fell either below our pride or rose above our purse
Felt that this was my misfortune more than my fault
Few men last over from one reform to another
First dinner served in courses that I had sat down to
Flowers with which we garland our despair in that pitiless hour
For most people choice is a curse
Forbearance of a wise man content to bide his time
Forebore to speak needlessly to him, or to shake his hand
Found life was not all poetry
Francis Parkman
Gay laugh comes across the abysm of the years
General worsening of things, familiar after middle life
Generous lover of all that was excellent in literature
George William Curtis
Giggle which Charles Lamb found the best thing in life
Give him your best wine
God of chance leads them into temptation and adversity
Got out of it all the fun there was in it
Greeting of great impersonal cordiality
Grieving that there could be such ire in heavenly minds
Happy in the indifference which ignorance breeds in us
Hard of hearing on one side. But it isn't deafness
Hard to think up anything new
Harriet Beecher Stowe and the Autocrat clashed upon homeopathy
Hate of hate, the scorn of scorn, The love of love
He did not care much for fiction
He was not bored because he would not be
He was not constructive; he was essentially observant
He did not paw you with his hands to show his affection
He was a youth to the end of his days
He had no time to make money
Heart of youth aching for their stoical sorrows
Heighten our suffering by anticipation
Heine
Here and there an impassioned maple confesses the autumn
Heroic lies
His plays were too bad for the stage, or else too good for it
His coming almost killed her, but it was worth it
His remembrance absolutely ceased with an event
His enemies suffered from it almost as much as his friends
His readers trusted and loved him
Historian, who is a kind of inferior realist
Hollowness, the hopelessness, the unworthiness of life
Honest men are few when it comes to themselves
Houses are of almost terrifying cleanliness
I do not think any man ought to live by an art
I find this young man worthy
I believe neither in heroes nor in saints
I did not know, and I hated to ask
If he was not there to your touch, it was no fault of his
If he was half as bad, he would have been too bad to be
If he has not enjoyed writing no one will enjoy reading
If one were poor, one ought to be deserving
Impropriety if not indecency promises literary success
In the South there was nothing but a mistaken social ideal
Incredible in their insipidity
Industrial slavery
Insatiable English fancy for the wild America no longer there
Intellectual poseurs
It was mighty pretty, as Pepys would say
It is well to hold one's country to her promises
Jane Austen
Julia Ward Howe
Ladies make up the pomps which they (the men) forego
Lascivious and immodest as possible
Leading part cats may play in society
Leaven, but not for so large a lump
Left him to do what the cat might
Lie, of course, and did to save others from grief or harm
Liked being with you, not for what he got, but for what he gave
Liked to find out good things and great things for himself
Lincoln
Literary dislikes or contempts
Literary spirit is the true world-citizen
Literature has no objective value
Literature is Business as well as Art
Literature beautiful only through the intelligence
Livy Clemens: nthe loveliest person I have ever seen
Long breath was not his; he could not write a novel
Longfellow
Look of challenge, of interrogation, almost of reproof
Looked as if Destiny had sat upon it
Love and gratitude are only semi-articulate at the best
Love of freedom and the hope of justice
Lowell
Made all men trust him when they doubted his opinions
Malevolent agitators
Man who may any moment be out of work is industrially a slave
Man is strange to himself as long as he lives
Man who had so much of the boy in him
Mark Twain
Marriages are what the parties to them alone really know
Meet here to the purpose of a common ostentation
Mellow cordial of a voice that was like no other
Memory will not be ruled
Men who took themselves so seriously as that need
Men read the newspapers, but our women read the books
Men's lives ended where they began, in the keeping of women
Met with kindness, if not honor
Might so far forget myself as to be a novelist
Mind and soul were with those who do the hard work of the world
Mock modesty of print forbids my repeating here
More zeal than knowledge in it
Most desouthernized Southerner I ever knew
Most serious, the most humane, the most conscientious of men
Most journalists would have been literary men if they could
Motley
Napoleonic height which spiritually overtops the Alps
Nearly nothing as chaos could be
Neatness that brings despair
Never saw a dead man whom he did not envy
Never quite sure of life unless I find literature in it
Never paid in anything but hopes of paying
Never saw a man more regardful of negroes
No rose blooms right along
No man ever yet told the truth about himself
No man ought to live by any art
No time to make money
No man more perfectly sensed and more entirely abhorred slavery
Noble uselessness
Not much patience with the unmanly craving for sympathy
Not a man who cared to transcend; he liked bounds
Not quite himself till he had made you aware of his quality
Not lack of quality but quantity of the quality
Not much of a talker, and almost nothing of a story-teller
Not possible for Clemens to write like anybody else
Now death has come to join its vague conjectures
NYC, a city where money counts for more and goes for less
Odious hilarity, without meaning and without remission
Offers mortifyingly mean, and others insultingly vague
Old man's tendency to revert to the past
Old man's disposition to speak of his infirmities
One could be openly poor in Cambridge without open shame
Only one concerned who was quite unconcerned
Openly depraved by shows of wealth
Ought not to call coarse without calling one's self prudish
Our huckstering civilization
Our deeply incorporated civilization
Pathos of revolt from the colorless rigidities
People have never had ideals, but only moods and fashions
People might oftener trust themselves to Providence
People of wealth and fashion always dissemble their joy
Person who wished to talk when he could listen
Picturesqueness which we should prize if we saw it abroad
Plagiarism carries inevitable detection with it
Plain-speaking or Rude Speaking
Pointed the moral in all they did
Polite learning hesitated his praise
Praised it enough to satisfy the author
Praised extravagantly, and in the wrong place
Public whose taste is so crude that they cannot enjoy the best
Pure accident and by its own contributory negligence
Put your finger on the present moment and enjoy it
Put aside all anxiety about style
Quarrel was with error, and not with the persons who were in it
Quebec was a bit of the seventeenth century
Reformers, who are so often tedious and ridiculous
Refused to see us as we see ourselves
Remember the dinner-bell
Reparation due from every white to every black man
Results of art should be free to all
Reviewers
Reward is in the serial and not in the book--19th Century
Rogues in every walk of life
Secret of the man who is universally interesting
Seen through the wrong end of the telescope
Shackles of belief worn so long
Should sin a little more on the side of candid severity
Should be very sorry to do good, as people called it
Shy of his fellow-men, as the scholar seems always to be
So refined, after the gigantic coarseness of California
So many millionaires and so many tramps
So touching that it brought the lump into my own throat
Solution of the problem how and where to spend the summer
Some superstition, usually of a hygienic sort
Some of us may be toys and playthings without reproach
Some of it's good, and most of it isn't
Sometimes they sacrificed the song to the sermon
Sought the things that he could agree with you upon
Spare his years the fatigue of recalling your identity
Standards were their own, and they were satisfied with them
Stoddard
Study in a corner by the porch
Stupidly truthful
Summer folks have no idea how pleasant it is when they are gone
Superiority one likes to feel towards the rich and great
Take our pleasures ungraciously
The ornament of a house is the friends who frequent it
The old and ugly are fastidious as to the looks of others
The world is well lost whenever the world is wrong
Their consciences needed no bossing in the performance
There is small love of pure literature
They are so many and I am so few
Things common to all, however peculiar in each
Thoreau
Those who work too much and those who rest too much
Those who have sorrowed deepest will understand this best
Those who decide their fate are always rebelling against it
Times when a man's city was a man's country
Tired themselves out in trying to catch up with him
Trouble with success is that it is apt to leave life behind
True to an ideal of life rather than to life itself
Truthful
Turn of the talk toward the mystical
Two branches of the novelist's trade: Novelist and Historian
Unfailing American kindness
Used to ingratitude from those he helped
Vacuous vulgarity of its texts
Visited one of the great mills
Visitors of the more inquisitive sex
Wald with the lurch and the sway of the deck in it
Walter-Scotticized, pseudo-chivalry of the Southern ideal
Warner's Backlog Studies
Wasted face, and his gay eyes had the death-look
We who have neither youth nor beauty should always expect it
We have never ended before, and we do not see how we can end
We cannot all be hard-working donkeys
Welcome me, and make the least of my shyness and strangeness
Well, if you are to be lost, I want to be lost with you
What he had done he owned to, good, bad, or indifferent
Whatever choice you make, you are pretty sure to regret it
When to be an agnostic was to be almost an outcast
Whether every human motive was not selfish
Whitman's public use of his privately written praise
Wit that tries its teeth upon everything
Women's rights
Wonder why we hate the past so--"It's so damned humiliating!"
Wonderful to me how it should remain so unintelligible
Work would be twice as good if it were done twice
Work not truly priced in money cannot be truly paid in money
Work gives the impression of an uncommon continuity
Wrote them first and last in the spirit of Dickens
End of this Project Gutenberg Etext "Of Literature", Entire
by William Dean Howells
