Chapter 12

In brief, the literature of that whole period, as Algernon Tassin shows in "The Magazine in America,"[39] was almost completely disassociated from life as men were then living it. Save one counts in such crude politico-puritan tracts as "Uncle Tom's Cabin," it is difficult to find a single contemporaneous work that interprets the culture of the time, or even accurately represents it. Later on, it found historians and anatomists, and in one work, at least, to wit, "Huckleberry Finn," it was studied and projected with the highest art, but no such impulse to make imaginative use of it showed itself contemporaneously, and there was not even the crude sentimentalization of here and now that one finds in the popular novels of today. Fenimore Cooper filled his romances, not with the people about him, but with the Indians beyond the sky-line, and made them half-fabulous to boot. Irving told fairy tales about the forgotten Knickerbockers; Hawthorne turned backward to the Puritans of Plymouth Rock; Longfellow to the Acadians and the prehistoric Indians; Emerson took flight from earth altogether; even Poe sought refuge in a land of fantasy. It was only the frank second-raters--_e.g._, Whittier and Lowell--who ventured to turn to the life around them, and the banality of the result is a sufficient indication of the crudeness of the current taste, and the mean position assigned to the art of letters. This was pre-eminently the era of the moral tale, the Sunday-school book. Literature was conceived, not as a thing in itself, but merely as a hand-maiden to politics or religion. The great celebrity of Emerson in New England was not the celebrity of a literary artist, but that of a theologian and metaphysician; he was esteemed in much the same way that Jonathan Edwards had been esteemed. Even down to our own time, indeed, his vague and empty philosophizing has been put above his undeniable capacity for graceful utterance, and it remained for Dr. Kellner to consider him purely as a literary artist, and to give him due praise for his skill.

The Civil War brought that era of sterility to an end. As I shall show later on, the shock of it completely reorganized the American scheme of things, and even made certain important changes in the national Puritanism, or, at all events, in its machinery. Whitman, whose career straddled, so to speak, the four years of the war, was the leader--and for a long while, the only trooper--of a double revolt. On the one hand he offered a courageous challenge to the intolerable prudishness and dirty-mindedness of Puritanism, and on the other hand he boldly sought the themes and even the modes of expression of his poetry in the arduous, contentious and highly melodramatic life that lay all about him. Whitman, however, was clearly before his time. His countrymen could see him only as immoralist; save for a pitiful few of them, they were dead to any understanding of his stature as artist, and even unaware that such a category of men existed. He was put down as an invader of the public decencies, a disturber of the public peace; even his eloquent war poems, surely the best of all his work, were insufficient to get him a hearing; the sentimental rubbish of "The Blue and the Gray" and the ecstatic supernaturalism of "The Battle Hymn of the Republic" were far more to the public taste. Where Whitman failed, indeed, all subsequent explorers of the same field have failed with him, and the great war has left no more mark upon American letters than if it had never been fought. Nothing remotely approaching the bulk and beam of Tolstoi's "War and Peace," or, to descend to a smaller scale, Zola's "The Attack on the Mill," has come out of it. Its appeal to the national imagination was undoubtedly of the most profound character; it coloured politics for fifty years, and is today a dominating influence in the thought of whole sections of the American people. But in all that stirring up there was no upheaval of artistic consciousness, for the plain reason that there was no artistic consciousness there to heave up, and all we have in the way of Civil War literature is a few conventional melodramas, a few half-forgotten short stories by Ambrose Bierce and Stephen Crane, and a half dozen idiotic popular songs in the manner of Randall's "Maryland, My Maryland."

In the seventies and eighties, with the appearance of such men as Henry James, William Dean Howells, Mark Twain and Bret Harte, a better day seemed to be dawning. Here, after a full century of infantile romanticizing, were four writers who at least deserved respectful consideration as literary artists, and what is more, three of them turned from the conventionalized themes of the past to the teeming and colourful life that lay under their noses. But this promise of better things was soon found to be no more than a promise. Mark Twain, after "The Gilded Age," slipped back into romanticism tempered by Philistinism, and was presently in the era before the Civil War, and finally in the Middle Ages, and even beyond. Harte, a brilliant technician, had displayed his whole stock when he had displayed his technique: his stories were not even superficially true to the life they presumed to depict; one searched them in vain for an interpretation of it; they were simply idle tales. As for Howells and James, both quickly showed that timorousness and reticence which are the distinguishing marks of the Puritan, even in his most intellectual incarnations. The American scene that they depicted with such meticulous care was chiefly peopled with marionettes. They shrunk, characteristically, from those larger, harsher clashes of will and purpose which one finds in all truly first-rate literature. In particular, they shrunk from any interpretation of life which grounded itself upon an acknowledgment of its inexorable and inexplicable tragedy. In the vast combat of instincts and aspirations about them they saw only a feeble jousting of comedians, unserious and insignificant. Of the great questions that have agitated the minds of men in Howells' time one gets no more than a faint and far-away echo in his novels. His investigations, one may say, are carried on _in vacuo_; his discoveries are not expressed in terms of passion, but in terms of giggles.

In the followers of Howells and James one finds little save an empty imitation of their emptiness, a somewhat puerile parodying of their highly artful but essentially personal technique. To wade through the books of such characteristic American fictioneers as Frances Hodgson Burnett, Mary E. Wilkins Freeman, F. Hopkinson Smith, Alice Brown, James Lane Allen, Winston Churchill, Ellen Glasgow, Gertrude Atherton and Sarah Orne Jewett is to undergo an experience that is almost terrible. The flow of words is completely purged of ideas; in place of them one finds no more than a romantic restatement of all the old platitudes and formulae. To call such an emission of graceful poppycock a literature, of course, is to mouth an absurdity, and yet, if the college professors who write treatises on letters are to be believed, it is the best we have to show. Turn, for example, to "A History of American Literature Since 1870," by Prof. Fred Lewis Pattee, one of the latest and undoubtedly one of the least unintelligent of these books. In it the gifted pedagogue gives extended notice to no less than six of the nine writers I have mentioned, and upon all of them his verdicts are flattering. He bestows high praises, direct and indirect, upon Mrs. Freeman's "grim and austere" manner, her "repression," her entire lack of poetical illumination. He compares Miss Jewett to both Howells and Hawthorne, not to mention Mrs. Gaskell--and Addison! He grows enthusiastic over a hollow piece of fine writing by Miss Brown. And he forgets altogether to mention Dreiser, or Sinclair, or Medill Patterson, or Harry Leon Wilson, or George Ade!...

So much for the best. The worst is beyond description. France has her Brieux and her Henry Bordeaux; Germany has her Mühlbach, her stars of the _Gartenlaube_; England contributes Caine, Corelli, Oppenheim and company. But it is in our country alone that banality in letters takes on the proportions of a national movement; it is only here that a work of the imagination is habitually judged by its sheer emptiness of ideas, its fundamental platitudinousness, its correspondence with the imbecility of mob thinking; it is only here that "glad" books run up sales of hundreds of thousands. Richard Harding Davis, with his ideals of a floor-walker; Gene Stratton-Porter, with her snuffling sentimentality; Robert W. Chambers, with his "society" romances for shop-girls; Irvin Cobb, with his laboured, _Ayers' Almanac_ jocosity; the authors of the _Saturday Evening Post_ school, with their heroic drummers and stockbrokers, their ecstatic celebration of the stupid, the sordid, the ignoble--these, after all, are our typical _literati_. The Puritan fear of ideas is the master of them all. Some of them, in truth, most of them, have undeniable talent; in a more favourable environment not a few of them might be doing sound work. But they see how small the ring is, and they make their tricks small to fit it. Not many of them ever venture a leg outside. The lash of the ringmaster is swift, and it stings damnably....

I say not many; I surely do not mean none at all. As a matter of fact, there have been intermittent rebellions against the prevailing pecksniffery and sentimentality ever since the days of Irving and Hawthorne. Poe led one of them--as critic more than as creative artist. His scathing attacks upon the Gerald Stanley Lees, the Hamilton Wright Mabies and the George E. Woodberrys of his time keep a liveliness and appositeness that the years have not staled; his criticism deserves to be better remembered. Poe sensed the Philistine pull of a Puritan civilization as none had before him, and combated it with his whole artillery of rhetoric. Another rebel, of course, was Whitman; how he came to grief is too well known to need recalling. What is less familiar is the fact that both the _Atlantic Monthly_ and the _Century_ (first called _Scribner's_) were set up by men in revolt against the reign of mush, as _Putnam's_ and the _Dial_ had been before them. The salutatory of the _Dial_, dated 1840, stated the case against the national mugginess clearly. The aim of the magazine, it said, was to oppose "that rigour of our conventions of religion and education which is turning us to stone" and to give expression to "new views and the dreams of youth." Alas, for these brave _révoltés_! _Putnam's_ succumbed to the circumambient rigours and duly turned to stone, and is now no more. The _Atlantic_, once so heretical, has become as respectable as the New York _Evening Post_. As for the _Dial_, it was until lately the very pope of orthodoxy and jealously guarded the college professors who read it from the pollution of ideas. Only the _Century_ has kept the faith unbrokenly. It is, indeed, the one first-class American magazine that has always welcomed newcomers, and that maintains an intelligent contact with the literature that is in being, and that consistently tries to make the best terms possible with the dominant Philistinism. It cannot go the whole way without running into danger; let it be said to the credit of its editors that they have more than once braved that danger.

The tale might be lengthened. Mark Twain, in his day, felt the stirrings of revolt, and not all his Philistinism was sufficient to hold him altogether in check. If you want to find out about the struggle that went on within him, read the biography by Albert Bigelow Paine, or, better still, "The Mysterious Stranger" and "What is Man?" Alive, he had his position to consider; dead, he now speaks out. In the preface to "What is Man?" dated 1905, there is a curious confession of his incapacity for defying the taboos which surrounded him. The studies for the book, he says, were begun "twenty-five or twenty-seven years ago"--the period of "A Tramp Abroad" and "The Prince and the Pauper." It was actually written "seven years ago"--that is, just after "Following the Equator" and "Personal Recollections of Joan of Arc." And why did it lie so long in manuscript, and finally go out stealthily, under a private imprint?[40] Simply because, as Mark frankly confesses, he "dreaded (_and could not bear_) the disapproval of the people around" him. He knew how hard his fight for recognition had been; he knew what direful penalties outraged orthodoxy could inflict; he had in him the somewhat pathetic discretion of a respectable family man. But, dead, he is safely beyond reprisal, and so, after a prudent interval, the faithful Paine begins printing books in which, writing knowingly behind six feet of earth, he could set down his true ideas without fear. Some day, perhaps, we shall have his microbe story, and maybe even his picture of the court of Elizabeth.

A sneer in Prof. Pattee's history, before mentioned, recalls the fact that Hamlin Garland was also a rebel in his day and bawled for the Truth with a capital T. That was in 1893. Two years later the guardians of the national rectitude fell afoul of "Rose of Dutchers' Coolly" and Garland began to think it over; today he devotes himself to the safer enterprise of chasing spooks; his name is conspicuously absent from the Dreiser Protest. Nine years before his brief offending John Hay had set off a discreet bomb in "The Bread-Winners"--anonymously because "my standing would be seriously compromised" by an avowal. Six years later Frank Norris shook up the Phelpses and Mores of the time with "McTeague." Since then there have been assaults timorous and assaults head-long--by Bierce, by Dreiser, by Phillips, by Fuller--by Mary MacLanes and by Upton Sinclairs--by ploughboy poets from the Middle West and by jitney geniuses in Greenwich Village--assaults gradually tapering off to a mere sophomoric brashness and deviltry. And all of them like snow-ballings of Verdun. All of them petered out and ineffectual. The normal, the typical American book of today is as fully a remouthing of old husks as the normal book of Griswold's day. The whole atmosphere of our literature, in William James' phrase, is "mawkish and dishwatery." Books are still judged among us, not by their form and organization as works of art, their accuracy and vividness as representations of life, their validity and perspicacity as interpretations of it, but by their conformity to the national prejudices, their accordance with set standards of niceness and propriety. The thing irrevocably demanded is a "sane" book; the ideal is a "clean," an "inspiring," a "glad" book.

§ 3

All this may be called the Puritan impulse from within. It is, indeed, but a single manifestation of one of the deepest prejudices of a religious and half-cultured people--the prejudice against beauty as a form of debauchery and corruption--the distrust of all ideas that do not fit readily into certain accepted axioms--the belief in the eternal validity of moral concepts--in brief, the whole mental sluggishness of the lower orders of men. But in addition to this internal resistance, there has been laid upon American letters the heavy hand of a Puritan authority from without, and no examination of the history and present condition of our literature could be of any value which did not take it constantly into account, and work out the means of its influence and operation. That authority, as I shall show, transcends both in power and in alertness the natural reactions of the national mind, and is incomparably more potent in combating ideas. It is supported by a body of law that is unmatched in any other country of Christendom, and it is exercised with a fanatical harshness and vigilance that make escape from its operations well nigh impossible. Some of its effects, both direct and indirect, I shall describe later, but before doing so it may be well to trace its genesis and development.

At bottom, of course, it rests upon the inherent Puritanism of the people; it could not survive a year if they were opposed to the principle visible in it. That deep-seated and uncorrupted Puritanism, that conviction of the pervasiveness of sin, of the supreme importance of moral correctness, of the need of savage and inquisitorial laws, has been a dominating force in American life since the very beginning. There has never been any question before the nation, whether political or economic, religious or military, diplomatic or sociological, which did not resolve itself, soon or late, into a purely moral question. Nor has there ever been any surcease of the spiritual eagerness which lay at the bottom of the original Puritan's moral obsession: the American has been, from the very start, a man genuinely interested in the eternal mysteries, and fearful of missing their correct solution. The frank theocracy of the New England colonies had scarcely succumbed to the libertarianism of a godless Crown before there came the Great Awakening of 1734, with its orgies of homiletics and its restoration of talmudism to the first place among polite sciences. The Revolution, of course, brought a set-back: the colonists faced so urgent a need of unity in politics that they declared a sort of _Treuga Dei_ in religion, and that truce, armed though it was, left its imprint upon the First Amendment to the Constitution. But immediately the young Republic emerged from the stresses of adolescence, a missionary army took to the field again, and before long the Asbury revival was paling that of Whitefield, Wesley and Jonathan Edwards, not only in its hortatory violence but also in the length of its lists of slain.

Thereafter, down to the outbreak of the Civil War, the country was rocked again and again by furious attacks upon the devil. On the one hand, this great campaign took a purely theological form, with a hundred new and fantastic creeds as its fruits; on the other hand, it crystallized into the hysterical temperance movement of the 30's and 40's, which penetrated to the very floor of Congress and put "dry" laws upon the statute-books of ten States; and on the third hand, as it were, it established a prudery in speech and thought from which we are yet but half delivered. Such ancient and innocent words as "bitch" and "bastard" disappeared from the American language; Bartlett tells us, indeed, in his "Dictionary of Americanisms,"[41] that even "bull" was softened to "male cow." This was the Golden Age of euphemism, as it was of euphuism; the worst inventions of the English mid-Victorians were adopted and improved. The word "woman" became a term of opprobrium, verging close upon downright libel; legs became the inimitable "limbs"; the stomach began to run from the "bosom" to the pelvic arch; pantaloons faded into "unmentionables"; the newspapers spun their parts of speech into such gossamer webs as "a statutory offence," "a house of questionable repute" and "an interesting condition." And meanwhile the Good Templars and Sons of Temperance swarmed in the land like a plague of celestial locusts. There was not a hamlet without its uniformed phalanx, its affecting exhibit of reformed drunkards. The Kentucky Legislature succumbed to a travelling recruiting officer, and two-thirds of the members signed the pledge. The National House of Representatives took recess after recess to hear eminent excoriators of the Rum Demon, and more than a dozen of its members forsook their duties to carry the new gospel to the bucolic heathen--the vanguard, one may note in passing, of the innumerable Chautauquan caravan of later years.

Beneath all this bubbling on the surface, of course, ran the deep and swift undercurrent of anti-slavery feeling--a tide of passion which historians now attempt to account for on economic grounds, but which showed no trace of economic origin while it lasted. Its true quality was moral, devout, ecstatic; it culminated, to change the figure, in a supreme discharge of moral electricity, almost fatal to the nation. The crack of that great spark emptied the jar; the American people forgot all about their pledges and pruderies during the four years of Civil War. The Good Templars, indeed, were never heard of again, and with them into memory went many other singular virtuosi of virtue--for example, the Millerites. But almost before the last smoke of battle cleared away, a renaissance of Puritan ardour began, and by the middle of the 70's it was in full flower. Its high points and flashing lighthouses halt the backward-looking eye; the Moody and Sankey uproar, the triumphal entry of the Salvation Army, the recrudescence of the temperance agitation and its culmination in prohibition, the rise of the Young Men's Christian Association and of the Sunday-school, the almost miraculous growth of the Christian Endeavour movement, the beginnings of the vice crusade, the renewed injection of moral conceptions and rages into party politics (the "crime" of 1873!), the furious preaching of baroque Utopias, the invention of muckraking, the mad, glad war of extermination upon the Mormons, the hysteria over the Breckenridge-Pollard case and other like causes, the enormous multiplication of moral and religious associations, the spread of zoöphilia, the attack upon Mammon, the dawn of the uplift, and last but far from least, comstockery.