All human activity is, in a certain sense, a mode
of self-expression. The works of man in the organization
of the State, in the development of industry,
in voluntary effort for the improvement of the common
order, are an utterance of his inner life.
But it is natural for him to seek a fuller, clearer,
more conscious mode of self-expression, to speak
more directly of his ideals, thoughts, and feelings.
It is this direct utterance of the Spirit of America,
as it is found in literature, which I propose now,
and in the following lectures,[1] to discuss.
Around the political and ecclesiastical and social
structures which men build for themselves there are
always flowing great tides and currents of human
speech; like the discussions in the studio of the architect,
the confused murmur of talk among the workmen,
the curious and wondering comments of the
passing crowd, when some vast cathedral or palace
or hall of industry is rising from the silent earth.
Man is a talking animal. The daily debates of the
forum and the market-place, the orations and lectures
of a thousand platforms, the sermons and exhortations
of the thousand pulpits, the ceaseless
conversation of the street and the fireside, all confess
that one of the deepest of human appetites and passions
is for self-expression and intercourse, to reveal
and to communicate the hidden motions of the spirit
that is in man.
Language, said a cynic, is chiefly useful to conceal
thought. But that is only a late-discovered, minor,
and decadent use of speech. If concealment had
been the first and chief need that man felt, he never
would have made a language. He would have remained
silent. He would have lived among the
trees, contented with that inarticulate chatter which
still keeps the thoughts of monkeys (if they have
any) so well concealed.
But vastly the greater part of human effort toward
self-expression serves only the need of the transient
individual, the passing hour. It sounds incessantly
beneath the silent stars,—this murmur, this roar,
this susurrus of mingled voices,—and melts continually
into the vague inane. The idle talk of the
multitude, the eloquence of golden tongues, the shouts
of brazen throats, go by and are forgotten, like the
wind that passes through the rustling leaves of the
forest.
In the fine arts man has invented not only a more
perfect and sensitive, but also a more enduring, form
for the expression of that which fills his spirit with
the joy and wonder of living. His sense of beauty
and order; the response of something within him
to certain aspects of nature, certain events of life;
his interpretation of the vague and mysterious things
about him which seem to suggest a secret meaning;
his delight in the intensity and clearness of single
impressions, in the symmetry and proportion of
related objects; his double desire to surpass nature,
on the one side by the simplicity and unity of his
work, or on the other side by the freedom of its range
and the richness of its imagery; his sudden glimpses
of truth; his persistent visions of virtue; his perception
of human misery and his hopes of human excellence;
his deep thoughts and solemn dreams of the
Divine,—all these he strives to embody, clearly or
vaguely, by symbol, or allusion, or imitation, in
painting and sculpture, music and architecture.
The medium of these arts is physical; they speak
to the eye and the ear. But their ultimate appeal is
spiritual, and the pleasure which they give goes far
deeper than the outward senses.
In literature we have another art whose very medium
is more than half spiritual. For words are
not like lines, or colours, or sounds. They are living
creatures begotten in the soul of man. They come
to us saturated with human meaning and association.
They are vitally related to the emotions and thoughts
out of which they have sprung. They have a wider
range, a more delicate precision, a more direct and penetrating
power than any other medium of expression.
The art of literature which weaves these living
threads into its fabric lies closer to the common
life and rises higher into the ideal life than any other
art. In the lyric, the drama, the epic, the romance,
the fable, the conte, the essay, the history, the biography,
it not only speaks to the present hour, but also
leaves its record for the future.
Literature consists of those writings which interpret
the meanings of nature and life, in words of
charm and power, touched with the personality of
the author, in artistic forms of permanent interest.
Out of the common utterances of men, the daily
flood of language spoken and written, by which they
express their thoughts and feelings,—out of that
current of journalism and oratory, preaching and
debate, literature comes. But with that current it
does not pass away. Art has endowed it with the
magic which confers a distinct life, a longer endurance,
a so-called immortality. It is the ark on the
flood. It is the light on the candlestick. It is the
flower among the leaves, the consummation of the
plant’s vitality, the crown of its beauty, the treasure-house
of its seeds.
Races and nations have existed without a literature.
But their life has been dumb. With their
death their power has departed.
What does the world know of the thoughts and
feelings of those unlettered tribes of white and black
and yellow and red, flitting in ghost-like pantomime
across the background of the stage? Whatever
message they may have had for us, of warning, of
encouragement, of hope, of guidance, remains undelivered.
They are but phantoms, mysterious and
ineffective.
But with literature life arrives at utterance and
lasting power. The Scythians, the Etruscans, the
Phœnicians, the Carthaginians, have vanished into
thin air. We grope among their ruined cities. We
collect their figured pottery, their rusted coins and
weapons. And we wonder what manner of men
they were. But the Greeks, the Hebrews, the Romans,
still live. We know their thoughts and feelings,
their loves and hates, their motives and ideals.
They touch us and move us to-day through a vital
literature. Nor should we fully understand their
other arts, nor grasp the meaning of their political
and social institutions without the light which is
kindled within them by the ever-burning torch of
letters.
The Americans do not belong among the dumb
races. Their spiritual descent is not from Etruria
and Phœnicia and Carthage, nor from the silent red
man of the western forests. Intellectually, like all
the leading races of Europe, they inherit from Greece
and Rome and Palestine.
Their instinct of self-expression in the arts has been
slower to assert itself than those other traits which
we have been considering,—self-reliance, fair-play,
common order, the desire of personal development.
But they have taken part, and they still
take part (not altogether inaudibly), in the general
conversation and current debate of the world. Moreover,
they have begun to create a native literature
which utters, to some extent at least, the thoughts
and feelings of the soul of the people.
This literature, considered in its ensemble as an
expression of our country, raises some interesting
questions which I should like to answer. Why
has it been so slow to begin? Why is it not more
recognizably American? What are the qualities
in which it really expresses the Spirit of America?
I. If you ask me why a native literature has been
so slow to begin in America, I answer, first, that it has
not been slow at all. Compared with other races,
the Americans have been rather less slow than the
average in seeking self-expression in literary form
and in producing books which have survived the
generation which produced them.
How long was it, for example, before the Hebrews
began to create a literature? A definite answer to
that question would bring us into trouble with the
theologians. But at least we may say that from
the beginning of the Hebrew Commonwealth to the
time of the prophet Samuel there were three centuries
and a half without literature.
How long did Rome exist before its literary activities
began? Of course we do not know what books
may have perished. But the first Romans whose
names have kept a place in literature were Nævius
and Ennius, who began to write more than five
hundred years after the city was founded.
Compared with these long periods of silence, the
two hundred years between the settlement of America
and the appearance of Washington Irving and James
Fenimore Cooper seems but a short time.
Even earlier than these writers I should be inclined
to claim a place in literature for two Americans,—Jonathan
Edwards and Benjamin Franklin.
Indeed it is possible that the clean-cut philosophical
essays of the iron-clad Edwards, and the intensely
human autobiography of the shrewd and genial
Franklin may continue to find critical admirers and
real readers long after many writers, at present more
praised, have been forgotten.
But if you will allow me this preliminary protest
against the superficial notion that the Americans
have been remarkably backward in producing a
national literature, I will make a concession to current
and commonplace criticism by admitting that
they were not as quick in turning to literary self-expression
as might have been expected. They were
not a mentally sluggish people. They were a race
of idealists. They were fairly well educated. Why
did they not go to work at once, with their intense
energy, to produce a national literature on demand?
One reason, perhaps, was that they had the good
sense to perceive that a national literature never has
been, and never can be, produced in this way. It is
not made to order. It grows.
Another reason, no doubt, was the fact that they
already had more books than they had time to read.
They were the inheritors of the literature of Europe.
They had the classics and the old masters. Milton
and Dryden and Locke wrote for them. Pope and
Johnson, Defoe and Goldsmith, wrote for them.
Cervantes and Le Sage wrote for them. Montesquieu
and Rousseau wrote for them. Richardson
and Smollett and Fielding gave them a plenty of
long-measure novels. Above all, they found an overflowing
supply of books of edification in the religious
writings of Thomas Fuller, Richard Baxter, John
Bunyan, Philip Doddridge, Matthew Henry, and
other copious Puritans. There was no pressing
need of mental food for the Americans. The supply
was equal to the demand.
Another reason, possibly, was the fact that they
did not have a new language, with all its words fresh
and vivid from their origin in life, to develop and
exploit. This was at once an advantage and a disadvantage.
English was not the mother-tongue of all the colonists.
For two or three generations there was a confusion
of speech in the middle settlements. It is
recorded of a certain young Dutchwoman from New
Amsterdam, travelling to the English province of
Connecticut, that she was in danger of being tried for
witchcraft because she spoke a diabolical tongue,
evidently marking her as “a child of Satan.”
But this polyglot period passed away, and the
people in general spoke
“the tongue that Shakespeare spoke,”—
spoke it indeed rather more literally than the English
did, retaining old locutions like “I guess,” and
sprinkling their talk with “Sirs,” and “Ma’ams,”—which
have since come to be considered as Americanisms,
whereas they are really Elizabethanisms.
The possession of a language that is already consolidated,
organized, enriched with a vast vocabulary,
and dignified by literary use, has two effects.
It makes the joyful and unconscious literature of
adolescence, the period of popular ballads and
rhymed chronicles, quaint animal-epics and miracle-plays,
impossible. It offers to the literature of maturity
an instrument of expression equal to its needs.
But such a language carries with it discouragements
as well as invitations. It sets a high standard
of excellence. It demands courage and strength to
use it in any but an imitative way.
Do not misunderstand me here. The Americans,
since that blending of experience which made them
one people, have never felt that the English language
was strange or foreign to them. They did not adopt
or borrow it. It was their own native tongue. They
grew up in it. They contributed to it. It belonged
to them. But perhaps they hesitated a little to use
it freely and fearlessly and originally while they
were still in a position of tutelage and dependence.
Perhaps they waited for the consciousness that they
were indeed grown up,—a consciousness which
did not fully come until after the War of 1812.
Perhaps they needed to feel the richness of their own
experience, the vigour of their own inward life, before
they could enter upon the literary use of that most
rich and vigorous of modern languages.
Another reason why American literature did not
develop sooner was the absorption of the energy
of the people in other tasks than writing. They
had to chop down trees, to build houses, to plough
prairies. It is one thing to explore the wilderness,
as Chateaubriand did, an elegant visitor looking
for the materials of romance. It is another thing to
live in the wilderness and fight with it for a living.
Real pioneers are sometimes poets at heart. But
they seldom write their poetry.
After the Americans had won their security and
their daily bread in the wild country, they had still
to make a State, to develop a social order, to provide
themselves with schools and churches, to do all
kinds of things which demand time, and toil, and the
sweat of the brow. It was a busy world. There
was more work to be done than there were workmen
to do it. Industry claimed every talent almost as
soon as it got into breeches.
A Franklin, who might have written essays or
philosophical treatises in the manner of Diderot,
must run a printing-press, invent stoves, pave streets,
conduct a postal service, raise money for the War of
Independence. A Freneau, who might have written
lyrics in the manner of André Chénier, must become
a soldier, a sea-captain, an editor, a farmer.
Even those talents which were drawn to the intellectual
side of life were absorbed in the efforts which
belong to the current discussions of affairs, the daily
debate of the world, rather than to literature. They
disputed, they argued, they exhorted, with a direct
aim at practical results in morals and conduct.
They became preachers, orators, politicians, pamphleteers.
They wrote a good deal; but their writing
has the effect of reported speech addressed to an
audience. The mass of sermons, and political
papers, and long letters on timely topics, which
America produced in her first two hundred years
is considerable. It contains much more vitality
than the imitative essays, poems, and romances of
the same period.
John Dickinson’s “Letters from a Pennsylvania
Farmer,” the sermons of President Witherspoon of
Princeton, the papers of Madison, Hamilton, and
Jay in the Federalist, are not bad reading, even
to-day. They are virile and significant. They
show that the Americans knew how to use the English
language in its eighteenth-century form. But
they were produced to serve a practical purpose.
Therefore they lack the final touch of that art whose
primary aim is the pleasure of self-expression in
forms as permanent and as perfect as may be found.
II. The second question which I shall try to
answer is this: Why is not the literature of America,
not only in the beginning but also in its later development,
more distinctly American?
The answer is simple: It is distinctly American.
But unfortunately the critics who are calling so persistently
and looking so eagerly for “Americanism”
in literature, do not recognize it when they see it.
They are looking for something strange, eccentric,
radical, and rude. When a real American like
Franklin, or Irving, or Emerson, or Longfellow, or
Lanier, or Howells appears, these critics will not
believe that he is the genuine article. They expect
something in the style of “Buffalo Bill.” They
imagine the Spirit of America always in a red shirt,
striped trousers, and rawhide boots.
They recognize the Americanism of Washington
when he crosses the forest to Fort Duquesne in his
leather blouse and leggings. But when he appears
at Mount Vernon in black velvet and lace ruffles,
they say, “This is no American after all, but a transplanted
English squire.” They acknowledge that
Francis Parkman is an American when he follows
the Oregon trail on horseback in hunter’s dress.
But when he sits in the tranquil library of his West
Roxbury home surrounded by its rose gardens, they
say, “This is no American, but a gentleman of Europe
in exile.”
How often must our critics be reminded that the
makers of America were not redskins nor amiable
ruffians, but rather decent folk, with perhaps an extravagant
admiration for order and respectability?
When will they learn that the descendants of these
people, when they come to write books, cannot be
expected to show the qualities of barbarians and
iconoclasts? How shall we persuade them to look
at American literature not for the by-product of
eccentricity, but for the self-expression of a sane and
civilized people? I doubt whether it will ever be
possible to effect this conversion and enlightenment;
for nothing is so strictly closed against criticism as
the average critic’s adherence to the point of view
imposed by his own limitations. But it is a pity,
in this case, that the point of view is not within sight
of the facts.
There is a story that the English poet Tennyson
once said that he was glad that he had never met
Longfellow, because he would not have liked to see
the American poet put his feet upon the table. If
the story is true, it is most laughable. For nothing
could be more unlike the super-refined Longfellow
than to put his feet in the wrong place, either on the
table, or in his verse. Yet he was an American of
the Americans, the literary idol of his country.
It seems to me that the literature of America would
be more recognizable if those who consider it from
the outside knew more of the real spirit of the country.
If they were not always looking for volcanoes
and earthquakes, they might learn to identify the
actual features of the landscape.
But when I have said this, honesty compels me to
go a little further and admit that the full, complete
life of America still lacks an adequate expression in
literature. Perhaps it is too large and variegated
in its outward forms, too simple in its individual
types, and too complex in their combination, ever to
find this perfect expression. Certainly we are still
waiting for “the great American Novel.”
It may be that we shall have to wait a long time
for this comprehensive and significant book which
will compress into a single cup of fiction all the different
qualities of the Spirit of America, all the fermenting
elements that mingle in the vintage of the
New World. But in this hope deferred,—if indeed
it be a hope that can be reasonably entertained at
all,—we are in no worse estate than the other complex
modern nations. What English novel gives a
perfect picture of all England in the nineteenth century?
Which of the French romances of the last
twenty years expresses the whole spirit of France?
Meantime it is not difficult to find certain partial
and local reflections of the inner and outer life of
the real America in the literature, limited in amount
though it be, which has already been produced in
that country. In some of it the local quality of
thought or language is so predominant as to act
almost as a barrier to exportation. But there is a
smaller quantity which may fairly be called “good
anywhere”; and to us it is, and ought to be, doubly
good because of its Americanism.
Thus, for example, any reader who understands
the tone and character of life in the Middle States,
around New York and Philadelphia, in the first
quarter of the nineteenth century, feels that the ideas
and feelings of the more intelligent people, those who
were capable of using or of appreciating literary
forms, are well enough represented in the writings
of the so-called “Knickerbocker School.”
Washington Irving, the genial humorist, the delicate
and sympathetic essayist and story-teller of
The Sketch-Book, was the first veritable “man of
letters” in America. Cooper, the inexhaustible teller-of-tales
in the open air, the lover of brave adventure
in the forest and on the sea, the Homer of the backwoodsman,
and the idealist of the noble savage, was
the discoverer of real romance in the New World.
Including other writers of slighter and less spontaneous
talent, like Halleck, Drake, and Paulding,
this school was marked by a cheerful and optimistic
view of life, a tone of feeling more sentimental than
impassioned, a friendly interest in humanity rather
than an intense moral enthusiasm, and a flowing,
easy style,—the manner of a company of people
living in comfort and good order, people of social
habits, good digestion, and settled opinions, who
sought in literature more of entertainment and relaxation
than of inspiration or what the strenuous reformers
call “uplift.”
After the days when its fashionable idol was Willis,
and its honoured though slightly cold poet was Bryant,
and its neglected and embittered genius was
Edgar Allan Poe, this school, lacking the elements of
inward coherence, passed into a period of decline.
It revived again in such writers as George William
Curtis, Donald Mitchell, Bayard Taylor, Charles
Dudley Warner, Frank R. Stockton; and it continues
some of its qualities in the present-day writers
whose centre is undoubtedly New York.
Is it imaginary, or can I really feel some traces, here
and there, of the same influences which affected the
“Knickerbocker School” in such different writers as
Mark Twain and William Dean Howells, in spite of
their western origin? Certainly it can be felt in
essayists like Hamilton Mabie and Edward S. Martin
and Brander Matthews, in novelists like Dr.
Weir Mitchell and Hopkinson Smith, in poets like
Aldrich and Stedman, and even in the later work of
a native lyrist like Richard Watson Gilder. There
is something,—I know not what,—a kind of urbanum
genus dicendi, which speaks of the great city
in the background and of a tradition continued.
Even in the work of such a cosmopolitan and relentless
novelist as Mrs. Wharton, or of such an independent
and searching critic as Mr. Brownell, my
mental palate catches a flavour of America and a
reminiscence of New York; though now indeed
there is little or nothing left of the Knickerbocker
optimism and cheerful sentimentality.
The American school of historians, including
such writers as Ticknor, Prescott, Bancroft, Motley,
and Parkman, represents the growing interest of the
people of the New World for the history of the Old,
as well as their desire to know more about their
own origin and development. Motley’s Rise of the
Dutch Republic, Parkman’s volumes on the French
settlements in Canada, Sloane’s Life of Napoleon,
and Henry C. Lea’s History of the Inquisition
are not only distinguished works of scholarship,
but also eminently readable and interesting expressions
of the mind of a great republic considering
important events and institutions in other countries
to which its own history was closely related.
The serious and laborious efforts of Bancroft to produce
a clear and complete History of the United
States resulted in a work of great dignity and value.
But much was left for others to do in the way of exploring
the sources of the nation, and in closer study
of its critical epochs. This task has been well
continued by such historians as John Fiske, Henry
Adams, James Bach McMaster, John Codman
Ropes, James Ford Rhodes, Justin Winsor, and
Sydney G. Fisher.
These are only some of the principal names which
may be cited to show that few countries have better
reason than the United States to be proud of a
school of historians whose works are not only well
documented, but also well written, and so entitled
to be counted as literature.
The Southern States, before the Civil War and
for a little time after, were not largely represented
in American letters. In prose they had a fluent
romancer, Simms, who wrote somewhat in the manner
of Cooper, but with less skill and force; an
exquisite artist of the short-story and the lyric, Poe,
who, although he was born in Boston and did most of
his work in Philadelphia and New York, may perhaps
be counted sympathetically with the South;
two agreeable story-tellers, John Esten Cooke and
John P. Kennedy; two delicate and charming lyrists,
Paul Hayne and Henry Timrod; and one greatly
gifted poet, Sidney Lanier, whose career was cut
short by a premature death.
But the distinctive spirit of the South did not
really find an adequate utterance in early American
literature, and it is only of late years that it is beginning
to do so. The fine and memorable stories of
George W. Cable reflect the poesy and romance
of the creole life in Louisiana. James Lane Allen
and Thomas Nelson Page express in their prose the
Southern atmosphere and temperament. The poems
of Madison Cawein are full of the bloom and fragrance
of Kentucky. Among the women who write,
Alice Hegan Rice, “Charles Egbert Craddock,”
Ruth McEnery Stuart, “George Madden Martin,”
and Mary Johnston may be named as charming
story-tellers of the South. Joel Chandler Harris
has made the old negro folk-tales classic, in his
Uncle Remus,—a work which belongs, if I mistake
not, to one of the most enduring types of literature.
But beyond a doubt the richest and finest flowering
of belles lettres in the United States during the
nineteenth century was that which has been called
“the Renaissance of New England.” The quickening
of moral and intellectual life which followed
the Unitarian movement in theology, the antislavery
agitation in society, and the transcendental fermentation
in philosophy may not have caused, but it
certainly influenced, the development of a group of
writers, just before the middle of the century, who
brought a deeper and fuller note into American
poetry and prose.
Hawthorne, profound and lonely genius, dramatist
of the inner life, master of the symbolic story,
endowed with the double gift of deep insight and
exquisite art; Emerson, herald of self-reliance and
poet of the intuitions, whose prose and verse flash
with gem-like thoughts and fancies, and whose
calm, vigorous accents were potent to awaken and
sustain the intellectual independence of America;
Longfellow, the sweetest and the richest voice of
American song, the household poet of the New
World; Whittier, the Quaker bard, whose ballads
and lyrics reflect so perfectly the scenery and the sentiment
of New England; Holmes, genial and pungent
wit, native humorist, with a deep spring of sympathy
and a clear vein of poetry in his many-sided personality;
Lowell, generous poet of high and noble emotions,
inimitable writer of dialect verse, penetrating
critic and essayist,—these six authors form a group
not yet equalled in the literary history of America.
The factors of strength, and the hidden elements
of beauty, in the Puritan character came to flower
and fruit in these men. They were liberated,
enlarged, quickened by the strange flood of poetry,
philosophy, and romantic sentiment which flowed
into the somewhat narrow and sombre enceinte of
Yankee thought and life. They found around them
a circle of eager and admiring readers who had
felt the same influences. The circle grew wider and
wider as the charm and power of these writers made
itself felt, and as their ideas were diffused. Their
work, always keeping a distinct New England colour,
had in it a substance of thought and feeling, an
excellence of form and texture, which gave it a much
broader appeal. Their fame passed from the sectional
to the national stage. In their day Boston
was the literary centre of the United States. And
in after days, though the sceptre has passed, the
influence of these men may be traced in almost all
American writers, of the East, the West, or the South,
in every field of literature, except perhaps the region
of realistic or romantic fiction.
Here it seems as if the West had taken the lead.
Bret Harte, with his frontier stories, always vivid
but not always accurate, was the founder of a new
school, or at least the discoverer of a new mine of
material, in which Frank Norris followed with some
powerful work, too soon cut short by death, and
where a number of living men like Owen Wister,
Stewart Edward White, and O. Henry are finding
graphic stories to tell. Hamlin Garland, Booth
Tarkington, William Allen White, and Robert
Herrick are vigorous romancers of the Middle West.
Winston Churchill studies politics and people in
various regions, while Robert Chambers explores
the social complications of New York; and both
write novels which are full of interest for Americans
and count their readers by the hundred thousand.
In the short-story Miss Jewett, Miss Wilkins, and
Mrs. Deland have developed characteristic and
charming forms of a difficult art. In poetry George
E. Woodberry and William Vaughn Moody have
continued the tradition of Emerson and Lowell in
lofty and pregnant verse. Joaquin Miller has sung
the songs of the Sierras, and Edwin Markham the
chant of labour. James Whitcomb Riley has put
the very heart of the Middle West into his familiar
poems, humorous and pathetic.
And Walt Whitman, the “democratic bard,” the
poet who broke all the poetic traditions? Is it too
soon to determine whether his revolution in literature
was a success, whether he was a great initiator
or only a great exception? Perhaps so. But it is
not too soon to recognize the beauty of feeling and
form, and the strong Americanism, of his poems on
the death of Lincoln, and the power of some of his
descriptive lines, whether they are verse or rhapsodic
prose.
It is evident that such a list of names as I have
been trying to give must necessarily be very imperfect.
Many names of substantial value are omitted.
The field is not completely covered. But at least
it may serve to indicate some of the different schools
and sources, and to give some idea of the large literary
activity in which various elements and aspects
of the Spirit of America have found and are finding
expression.
III. The real value of literature is to be sought
in its power to express and to impress. What relation
does it bear to the interpretation of nature and life
in a certain country at a certain time? That is the
question in its historical form. How clearly, how
beautifully, how perfectly, does it give that interpretation
in concrete works of art? That is the question
in its purely æsthetic form. What personal
qualities, what traits of human temperament and
disposition does it reveal most characteristically
in the spirit of the land? That is the question in
the form which belongs to the study of human nature.
It is in this last form that I wish to put the question,
just now, in order to follow logically the line
marked by the general title of these lectures. The
Spirit of America is to be understood not only by
the five elements of character which I have tried to
sketch in outline,—the instinct of self-reliance, the
love of fair-play, the energetic will, the desire of order,
the ambition of self-development. It has also certain
temperamental traits; less easy to define, perhaps;
certainly less clearly shown in national and
social institutions, but not less important to an intimate
acquaintance with the people.
These temperamental traits are the very things
which are most distinctive in literature. They give
it colour and flavour. They are the things which
touch it with personality. In American literature,
if you look at it broadly, I think you will find four
of these traits most clearly revealed,—a strong religious
feeling, a sincere love of nature, a vivid sense
of humour, and a deep sentiment of humanity.
(1) It may seem strange to say that a country
which does not even name the Supreme Being in its
national constitution, which has no established form
of worship or belief, and whose public schools and
universities are expressly disconnected from any
kind of church control, is at the same time strongly
religious, in its temperament. Yet strange as this
seems, it is true of America.
The entire independence of Church and State was
the result of a deliberate conviction, in which the
interest of religion was probably the chief consideration.
In the life of the people the Church has been
not less, but more, potent than in most other countries.
Professor Wendell was perfectly right in the lectures
which he delivered in Paris four years ago, when he
laid so much emphasis upon the influence of religion
in determining the course of thought and the character
of literature in America. Professor Münsterberg
is thoroughly correct when he says in his
excellent book The Americans, “The entire American
people are in fact profoundly religious, and
have been, from the day when the Pilgrim Fathers
landed, down to the present moment.”
The proof of this is not to be seen merely in outward
observance, though I suppose there is hardly
any other country, except Scotland, in which there
is so much church-going, Sabbath-keeping, and
Bible-reading. It is estimated that less than fifteen
of the eighty millions of total population are entirely
out of touch with any church. But all this might
be rather superficial, formal, conventional. It
might be only a hypocritical cover for practical infidelity.
And sometimes when one reads the “yellow
journals” with their flaming exposures of social
immorality, industrial dishonesty, and political corruption,
one is tempted to think that it may be so.
Yet a broader, deeper, saner view,—a steady
look into the real life of the typical American home,
the normal American community,—reveals the fact
that the black spots are on the surface and not in
the heart of the country.
The heart of the people at large is still old-fashioned
in its adherence to the idea that every man is
responsible to a higher moral and spiritual power,—that
duty is more than pleasure,—that life cannot
be translated in terms of the five senses, and that the
attempt to do so lowers and degrades the man who
makes it,—that religion alone can give an adequate
interpretation of life, and that morality alone can
make it worthy of respect and admiration. This
is the characteristic American way of looking at the
complicated and interesting business of living which
we men and women have upon our hands.
It is rather a sober and intense view. It is not
always free from prejudice, from bigotry, from
fanaticism, from superstition. It is open to invasion
by strange and uncouth forms of religiosity.
America has offered a fertile soil for the culture of
new and queer religions. But on the whole,—yes,
in immensely the larger proportion,—the old religion
prevails, and a rather simple and primitive
type of Christianity keeps its hold upon the hearts
and minds of the majority. The consequence of
this is (to quote again from Professor Münsterberg,
lest you should think me a prejudiced reporter),
that “however many sins there are, the life of the
people is intrinsically pure, moral, and devout.”
“The number of those who live above the general
level of moral requirement is astonishingly large.”
Now this habit of soul, this tone of life, is reflected
in American literature. Whatever defects it may
have, a lack of serious feeling and purpose is not
among them. It is pervaded, generally, by the spiritual
preconception. It approaches life from the
point of view of responsibility. It gives full value
to those instincts, desires, and hopes in man which
have to do with the unseen world.
Even in those writers who are moved by a sense
of revolt against the darkness and severity of certain
theological creeds, the attempt is not to escape from
religion, but to find a clearer, nobler, and more loving
expression of religion. Even in those works
which deal with subjects which are non-religious in
their specific quality,—stories of adventure, like
Cooper’s novels; poems of romance, like the ballads
of Longfellow and Whittier,—one feels the
implication of a spiritual background, a moral law,
a Divine providence,—
“Standeth God within the shadow, keeping watch above his own.”
This, hitherto, has been the characteristic note of
the literature of America. It has taken for granted
that there is a God, that men must answer to Him
for their actions, and that one of the most interesting
things about people, even in books, is their moral
quality.
(2) Another trait which seems to me strongly
marked in the American temperament and clearly
reflected in American literature is the love of nature.
The attractions of the big out-of-doors have taken
hold upon the people. They feel a strong affection
for their great, free, untended forests, their swift-rushing
rivers, their bright, friendly brooks, their
wooded mountain ranges of the East, their snowy
peaks and vast plains and many-coloured canyons
of the West.
I suppose there is no other country in the world
where so many people break away from the fatigues
of civilization every year, and go out to live in the
open for a vacation with nature. The business of
making tents and camp outfits for these voluntary
gypsies has grown to be enormous. In California
they do not even ask for a tent. They sleep à la
belle étoile.
The Audubon societies have spread to every
State. You will not find anywhere in Europe, except
perhaps in Switzerland, such companies of boys
and girls studying the wild flowers and the birds.
The interest is not altogether, nor mainly, scientific.
It is vital and temperamental. It is the expression
of an inborn sympathy with nature and a real delight
in her works.
This has found an utterance in the large and
growing “nature-literature” of America. John
James Audubon, Henry Thoreau, John Burroughs,
Clarence King, John Muir, Ernest Seton, Frank
Chapman, Ernest Ingersoll,—these are some of
the men who have not only carefully described, but
also lovingly interpreted, “nature in her visible
forms,” and so have given to their books, beyond the
value of accurate records of observation, the charm
of sympathetic and illuminative writing.
But it is not only in these special books that I
would look for evidence of the love of nature in the
American temperament. It is found all through the
poetry and the prose of the best writers. The most
perfect bit of writing in the works of that stern Calvinist,
Jonathan Edwards, is the description of an
early morning walk through a field of wild flowers.
Some of the best pages of Irving and Cooper are
sketches of landscape along the Hudson River.
The scenery of New England is drawn with infinite
delicacy and skill in the poetry of Bryant, Whittier,
and Emerson. Bret Harte and Joaquin Miller make
as see the painted desert and the ragged Sierras.
James Lane Allen shows us the hemp fields of
Kentucky, George Cable the bayous of Louisiana.
But the list of illustrations is endless. The whole
literature of America is filled with pictures of nature.
There is hardly a familiar bird or flower for which
some poet has not tried to find a distinct, personal,
significant expression in his verse.
(3) A third trait of the American temperament
is the sense of humour. This is famous, not to say
notorious. The Americans are supposed to be a
nation of jokers, whose daily jests, like their ready-made
shoes, have a peculiar oblique form which
makes it slightly difficult for people of other nationalities
to get into them.
There may be some truth in the latter part of this
supposition, for I have frequently observed that a
remark which seemed to me very amusing only puzzled
a foreigner. For example, a few years ago, when
Mark Twain was in Europe, a despatch appeared in
some of the American newspapers giving an account
of his sudden death. Knowing that this would
trouble his friends, and being quite well, he sent a
cablegram in these words, “Report of my death
grossly exaggerated, Mark Twain.” When I repeated
this to an Englishman, he looked at me pityingly
and said: “But how could you exaggerate a
thing like that, my dear fellow? Either he was
dead, or he was alive, don’t you know.” This
was perfectly incontestable, and the statement of it
represented the English point of view.
But to the American incontestable things often
have a double aspect: first that of the solemn fact;
and then that of the curious, unreal, pretentious
shape in which it is dressed by fashion, or vanity,
or stupid respectability. In this region of incongruities
created by the contrast between things as they
really are and the way in which dull or self-important
people usually talk about them, American humour
plays.
It is not irreverent toward the realities. But for
the conventionalities, the absurdities, the pomposities
of life, it has a habit of friendly satire and good-tempered
raillery. It is not like the French wit,
brilliant and pointed. It is not like the English fun,
in which practical joking plays so large a part. It
is not like the German joke, which announces its
arrival with the sound of a trumpet. It usually wears
rather a sober face and speaks with a quiet voice.
It delights in exposing pretensions by gravely carrying
them to the point of wild extravagance. It finds
its material in subjects which are laughable, but not
odious; and in people who are ridiculous, but not
hateful.
Its favourite method is to exaggerate the foibles
of persons who are excessive in certain directions, or
to make a statement absurd simply by taking it
literally. Thus a Yankee humorist said of a certain
old lady that she was so inquisitive that she put her
head out of all the front windows of the house at the
same time. A Westerner claimed the prize of inventiveness
for his town on the ground that one of its
citizens had taught his ducks to swim on hot water
in order that they might lay boiled eggs. Mr. Dooley
described the book in which President Roosevelt gave
his personal reminiscences of the Spanish-American
War under the title “Alone in Cubea.”
Once, when I was hunting in the Bad Lands of
North Dakota, and had lost my way, I met a solitary
horseman in the desert and said to him, “I
want to go to the Cannonball River.” “Well,
stranger,” he answered, looking at me with a solemn
air of friendly interest, “I guess ye can go if ye want
to; there ain’t no string on ye.” But when I laughed
and said what I really wanted was that he should
show me the way, he replied, “Why didn’t ye say
so?” and rode with me until we struck the trail to
camp.
All this is typical of native American humour,
quaint, good-natured, sober-faced, and extravagant.
At bottom it is based upon the democratic
assumption that the artificial distinctions and conventional
phrases of life are in themselves amusing.
It flavours the talk of the street and the dinner-table.
It makes the Americans inclined to prefer farce to
melodrama, comedietta to grand opera. In its
extreme and degenerate form it drifts into habitual
buffoonery, like the crude, continuous jests of the
comic supplements to the Sunday newspapers. In
its better shape it relieves the strenuousness and the
monotony of life by a free and kindly touch upon its
incongruities, just as a traveller on a serious errand
makes the time pass by laughing at his own mishaps
and at the queer people whom he meets by the way.
You will find it in literature in all forms: in
books of the professional humorists from Artemus
Ward to Mr. Dooley: in books of genre painting,
like Mark Twain’s Huckleberry Finn and
Pudd’nhead Wilson, or like David Harum,
which owed its immense popularity to the lifelike
portrait of an old horse trader in a rural town of
central New York: in books of sober purpose, like
the essays of Lowell or Emerson, where a sudden
smile flashes out at you from the gravest page.
Oliver Wendell Holmes shows it to you, in The
Autocrat of the Breakfast Table, dressed in the
proper garb of Boston; you may recognize it on
horseback among the cowboys, in the stories of
Owen Wister and O. Henry; it talks the Mississippi
River dialect in the admirable pages of
Charles D. Stewart’s Partners with Providence, and
speaks with the local accent of Louisville, Kentucky,
in Mrs. Wiggs of the Cabbage Patch. Almost
everywhere you will find the same general tone,
a compound of mock gravity, exaggeration, good
nature, and inward laughter.
You may catch the spirit of it all in a letter that
Benjamin Franklin sent to a London newspaper in
1765. He was having a little fun with English editors
who had been printing wild articles about
America. “All this,” wrote he, “is as certainly true
as the account, said to be from Quebec, in all the
papers of last week, that the inhabitants of Canada
are making preparations for a cod and whale fishery
this summer in the upper Lakes. Ignorant people
may object that the upper Lakes are fresh, and that
cod and whales are salt-water fish; but let them know,
Sir, that cod, like other fish, when attacked by their
enemies, fly into any water where they can be safest;
that whales, when they have a mind to eat cod, pursue
them wherever they fly; and that the grand leap
of the whale in the chase up the Falls of Niagara is
esteemed, by those who have seen it, as one of the
finest spectacles in Nature.”
(4) The last trait of the American temperament
on which I wish touch briefly is the sentiment of
humanity.
It is not an unkind country, this big republic,
where the manners are so “free and easy,” the
tempo of life so quick, the pressure of business so
heavy and continuous. The feeling of philanthropy
in its broader sense,—the impulse which makes men
inclined to help one another, to sympathize with the
unfortunate, to lift a neighbour or a stranger out of
a tight place,—good will, in short,—is in the blood
of the people.
When their blood is heated, they are hard hitters,
fierce fighters. But give them time to cool down,
and they are generous peacemakers. Abraham
Lincoln’s phrase, “With malice toward none, with
charity for all,” strikes the key-note. In the “mild
concerns of ordinary life” they like to cultivate
friendly relations, to show neighbourliness, to do
the useful thing.
There is a curious word of approbation in the
rural dialect of Pennsylvania. When the country
folk wish to express their liking for a man, they say,
“He is a very common person,”—meaning not that
he is low or vulgar, but approachable, sympathetic,
kind to all.
Underneath the surface of American life, often
rough and careless, there lies this widespread feeling:
that human nature everywhere is made of the same
stuff; that life’s joys and sorrows are felt in the same
way whether they are hidden under homespun and
calico or under silk and broadcloth; that it is every
man’s duty to do good and not evil to those who live
in the world with him.
In literature this feeling has shown itself in many
ways. It has given a general tone of sympathy with
“the under dog in a fight.” It has led writers to
look for subjects among the plain people. It has
made the novel of American “high life” incline
generally to satire or direct rebuke. In the typical
American romance the hero is seldom rich, the villain
seldom poor.
In the weaker writers the humane sentiment
dwindles into sentimentality. In the stronger writers
it gives, sometimes, a very noble and manly note.
In general you may say that it has impressed upon
American literature the mark of a moral purpose,—the
wish to elevate, to purify, to fortify the mind,
and so the life, of those who read.
Is this a merit or a fault in literature? Judge
for yourselves.
No doubt a supremely ethical intention is an insufficient
outfit for an author. His work may be
“Chaste as the icicle
That’s curded by the frost from purest snow
And hangs on Dian’s temple,”
and yet it may be without savour or permanence.
Often the desire to teach a good lesson bends a book
from the straight line of truth-to-the-facts, and makes
a so-called virtuous ending at the price of sincerity
and thoroughgoing honesty.
It is not profitable to real virtue to dwell in a world
of fiction where miracles are worked to crown the
good and proper folk with unvarying felicity and
to send all the rascals to prison or a miserable grave.
Nor is it a wise and useful thing for literature to
ignore the lower side of life for the sake of commending
the higher; to speak a false and timid
language for fear of shocking the sensitive; to evade
the actual problems and conflicts which men and
women of flesh and blood have to meet, for the sake
of creating a perfectly respectable atmosphere for
the imagination to live in.
This mistaking of prudery for decency, this unwillingness
to deal quite frankly with life as it is,
has perhaps acted with a narrowing and weakening
effect upon the course of American literature in the
past. But just now there seems to be a reaction
toward the other extreme. Among certain English
and American writers, especially of the female sex,
there is a new fashion of indiscriminate candour
which would make Balzac blush. But I suppose
that this will pass, since every extreme carries within
itself the seed of disintegration.
The morale of literature, after all, does not lie
outside of the great circle of ethics. It is a simple
application of the laws which embrace the whole of
human life to the specific business of a writer.
To speak the truth; to respect himself and his
readers; to do justly and to love mercy; to deal
with language as a living thing of secret and incalculable
power; not to call good, evil, or evil, good;
to honour the noble and to condemn the base; to
face the facts of life with courage, the humours of
life with sympathy, and the mysteries of life with
reverence; and to perform his task of writing as
carefully, as lovingly, as well as he can,—this, it
seems to me, is the whole duty of an author.
This, if I mistake not, has been the effort of the
chief writers of America. They have spoken surely
to the heart of a great people. They have kept the
fine ideals of the past alive in the conflicts of the
present. They have lightened the labours of a
weary day. They have left their readers a little happier,
perhaps a little wiser, certainly a little stronger
and braver, for the battle and the work of life.
The measure of their contribution to the small
group of world-books, the literature that is universal
in meaning and enduring in form, must be left for
the future to determine. But it is sure already that
American literature has done much to express and
to perpetuate the Spirit of America.
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