Part 3
We mention these facts to show that there was once good ground for the author's ambition to be an artist. Yet at the age of eighteen, just when one would expect such a talent to exert itself irresistibly, young Wallace enlisted to fight against Mexico. He was made a second lieutenant and ordered to guard the stores at the mouth of the Rio Grande. In Mexico he found the material for "The Fair God," his first novel, on which he worked occasionally for twenty years. At the end of the Mexican war he returned to Indiana to study law, in which respect, it will be noticed, he followed in the footsteps of his father. Three years after his admission to the bar he married Susan Elston, of Crawfordsville, herself of no mean literary gifts, as her three collections of charming sketches, "The Land of the Pueblos," "The Storied Sea," and "The Repose in Egypt," attest. The Wallaces lived in Crawfordsville until the outbreak of the War of the Rebellion. Thereupon the young lawyer went straight to Indianapolis and offered his services to the governor. For a while he served as adjutant-general. Then he took the colonelcy of a regiment of zouaves, and with such vigor and success that early in September, 1861, he was brevetted brigadier-general. For gallantry at Fort Donelson he was afterwards brevetted major-general. At the close of the war he was one of the most distinguished soldiers in the land. As a recognition of his great services--in July, 1864, according to Secretary Stanton and General Grant, he had saved Washington from destruction--he was appointed to the commission which tried the assassins of Lincoln. That duty done, he returned to Crawfordsville.
This return home signalized the real beginning of his literary career. He was now not far from forty years of age, and he was not content to live on his military reputation. Law had little power over him. So he turned to the manuscript which had been growing slowly for many years; and 1873 saw the publication of "The Fair God," the souvenir of the author's service in the Mexican war. Compared with the average romance, "The Fair God" possesses exceptional power and originality. "Ben-Hur" appeared in 1880; but it must not be supposed that General Wallace gave this second book his exclusive attention for the seven years that had passed. It was half written when, in 1878, President Hayes appointed the distinguished Indianian Governor of New Mexico. The visitor at the Wallace homestead in Crawfordsville will be shown the beech tree in the shade of which the work was done. To the way in which he works we shall turn later. The concluding half of the tale was written at spare moments in the governor's palace in Santa Fé, which Mrs. Wallace has described as "the last rallying-place of the Pueblo Indians."
At first the more captious of the critics accented their discovery that "Ben-Hur" showed no rhetorical improvement over "The Fair God"; and, though they were right, they erred sadly in trying to measure the book with narrow rules. It has defects, as the most sympathetic critic must admit; but the impartial critic must also admit that in boldness and grandeur of conception and in vigor and beauty of style, the story stands unequalled in American literature, and, in parts, unexcelled in the romantic literature of any nation. Here and there are unbalanced sentences, graceless phrases, misplaced words, and interpolations that detract from the unity of effect desirable in all works of art; but here and there, too, especially in the chapters descriptive of the Grove of Daphne and of the chariot race, is a vivid power at once more charming and more thrilling than anything to be found in any other English novel. "A great historical romance," as one of our critics remarked many years ago, "is not to be made with reference to the square and the compass. It must be a vivid historical impression, and at the same time a wisely considered story of life." "Ben-Hur" adequately fulfills these two fundamental conditions. Moreover it perfectly fulfills, delicately yet impressively, the great moral purpose which the author imposed upon himself. As we recall the author's narrative of the writing of the tale, this moral purpose, beginning gently, gradually acquired a force that mastered him completely. It was like a flood that first trickles through the seam in the dam, and then, gathering in volume, sweeps all before it. The characters themselves, from Christ to the faithful steward, display the highest flight of imagination to be found in any American novel. Indeed, many of the landscape features themselves are so wonderfully vivid that the same praise awarded Tom Moore for his imaginative descriptions of the East may judiciously be extended to General Wallace. We have heard the General say that a scene which he had regarded as purely fictitious or imaginative appeared in surprising reality when, years after the book was published, he first visited Palestine.
Of the tremendous sensation which "Ben-Hur" made when it appeared, and of the phenomenal success which it has maintained even down to the present time, it is, we presume, unnecessary to speak. The author, as we noted before, has guarded its fame diligently, jealously; in fact, although Lawrence Barrett urged him years ago to allow the book to be dramatized, he did not yield to solicitation in this form until 1900. This circumstance reminds us that the General once wrote a play called "Commodus," but its multiplicity of leading characters has kept it in his desk. It would bankrupt any manager in America, they told him. "The Prince of India," the romance published in 1893, suffered, as it must have suffered, by comparison with "Ben-Hur." Judged by itself, it is delightful. It exemplifies the writer's remarkable creative force and his ever-youthful enthusiasm. Probably the last notable work from the General's pen will be the autobiography on which he has been at work for the last few years.
General Wallace's diplomatic experience at Constantinople is worthy of a chapter, but we must content ourselves with saying that it added brilliancy to the honors which he had earned as a soldier and as an author. Of late the General has been living a semi-pastoral life at his estate in Indiana. He has himself described his daily habits:
"I begin to write at about 9 A.M. Keep at work till noon. Resume about 1.30 P.M., and leave my studio about 4. I then exercise for two hours. I walk or ride horseback, according to the weather. When it rains I put on a heavy pair of boots and trudge five to seven miles across the country. I usually ride about a dozen miles. To this habit of taking regular exercise I attribute my good health. I eat just what I want and as much as I want. When night comes I lie down and sleep like a child, never once waking until morning. I usually retire at 9.30 and rise at 7.30, aiming to secure nine hours' sleep. I smoke at pleasure, a pipe or a cigar, but never a cigarette, which I consider the deadliest thing a person can put in his mouth. The amount of work I produce in a day varies greatly. Sometimes I write four hundred and sometimes twelve hundred words. What I write to-day in the rough, to-morrow I revise, perhaps reducing it to twenty words, perhaps striking out all the day's work and beginning at the same point once more. That constitutes my second copy. When proofs come from the publisher another revision takes place. It consists chiefly of condensation and expurgation."
He was asked once what he considered the secret of his success. "Work," he answered, "and, as an author, the doing it myself with my own hand, not by means of a typewriter, or amanuensis or stenographer. To work I would add universal reading."
"Who is your favorite novelist?" the questioner went on.
"Sir Walter Scott."
"What is your favorite novel?"
"'Ivanhoe.'"
"And your favorite poem?"
"'Idylls of the King.'"
"What do you consider the sublimest poetry in the world?"
"You will find it in the Psalms and Job, in Homer, in Milton and in Shakespeare."
"Who, in your judgment, are the three greatest warriors the world has produced?"
"Alexander, Cæsar, Napoleon."
"Who, in your opinion, were the greatest American statesmen?"
"George Washington, Alexander Hamilton, and James Madison. Alexander Hamilton is, in my judgment, the father of the American Constitution. But that Constitution would never have been adopted save for the support given it by the great name of George Washington."
We have said, after all, far too little of this distinguished man, but all that we might say would hardly give the right emphasis to the greatness of his manifold deeds and to the charm of his personal character.
GEORGE W. CABLE
During his visit to this country a few years ago Mr. J. M. Barrie said to the students at Smith College that no American novelist merits a higher rank than Mr. George W. Cable. True as, in the abstract, this foreign estimate of Mr. Cable's worth is, it would awaken a rather feeble echo among the devourers of our colonial literature. Yet one of the Southerner's characteristic stories, "The Grandissimes," for instance, or "Posson Jone," or "Madame Delphine," is deserving of a recommendation to the liveliest admirer of eighteenth century heroes and heroines.
At bottom, there is much in common between Mr. Barrie and Mr. Cable, and this circumstance may account for the Scotchman's enthusiastic utterance at Smith College. Each has a poetical love for nature; each has portrayed a picturesque corner of the world with the kindest intention, the broadest sympathy and the choicest skill; each has been the object of misunderstanding at home and of warm admiration abroad, and each has led where others may only follow. It is perfectly natural that two such lovable and loving men should clasp hands across the sea.
We must admit that the writer who has pictured New Orleans as vividly as Balzac pictured his beloved Paris was better known, say, ten years ago, than he is to-day. Then he had fewer distractions than he has to-day. Then he had reached the climax of his literary productivity. Then he was personally endearing himself to his fellow-countrymen with his inimitably delightful recitations and songs. There have been authors who drew larger audiences, and who, to use a homely phrase, made more noise on their tours, but there has never been an author whose readings from his works gave sweeter pleasure; and, as for his manner of singing the Creole folksongs, it was indescribably charming. Mr. John Fox, Jr., is the only other American author who has ventured to sing folk-songs publicly; and we may say, without fear of suggesting the odious comparison, that the younger man has been very successful, too.
"Many years ago," Mr. Cable once said, "when I discovered that these folk-songs of the slaves of former Louisiana Creoles had a great charm of their own and were preserved by tradition only, I was induced to gather them and reduce them to notation. I found that others were so strongly interested in the songs that, without pretending to any musical authority or original charm of voice, I was tempted to sing one or two of them before public audiences. The first time I did so was in Boston, and since then I have rarely been allowed to leave them out of my entertainment, when the length of my literary program left room for them."
But we must look back farther. To start at the very beginning, George Washington Cable was born in New Orleans on October 12, 1844. His father was of Virginian descent; his mother of New England. They were married in Indiana ten years before George was born, and they moved to New Orleans after the hard times of 1837. The father died in 1859, and then George, at the age of fifteen, went to work to help support the family. He was a very small boy for his age; and indeed it is related that in 1863, when the family was sent outside the Union lines for refusing to take the oath of allegiance, his sisters had no difficulty in obtaining permission to have their "little brother" accompany them. The "little brother," however, was not so harmless as he looked. He volunteered to fight for the Confederacy, and was mustered into the Fourth Mississippi Cavalry, then in Gen. Wirt Adams's brigade. For a time after the war he rolled cotton on the New Orleans levees and carried a surveyor's chain along the banks of the Atchafalaya; and by and by he found a place on the _New Orleans Picayune_. He is therefore to be counted among the authors whose literary career started in the reporter's room. His strong taste for culture and his zeal for the public welfare soon made an outlet for themselves in short articles touching on current topics; and, though the articles were much enjoyed by the readers of the _Picayune_, the young writer before long felt the distaste for newspaper work which, early or late, comes to almost every journalist with high literary aims. Journalism is the best school of experience in the world, but it can be attended too long.
Cable resisted the fascinations of journalism firmly and wisely. At the height of his success he left the _Picayune_ and went into the counting-room of a cotton house. He had a good eye for the picturesque features of daily life, the features met commonly in the daily papers, and at his leisure he wrote a few short stories based on New Orleans characters. One day these stories, which he had made no attempt to sell, came into the hands of an agent of the old _Scribner's Monthly_, who happened to visit Louisiana in connection with the well-remembered Great South papers. This agent, by name Edward King, praised the stories, and, at the author's request, sent one of them to New York. The story, for some reason, came back; but the next one sent, "Sieur George," brought a note of acceptance and encouragement from Richard Watson Gilder, Doctor Holland's associate.
A few years later a volume of these Louisiana sketches was published under the title of "Old Creole Days." It was immediately recognized as a notable addition to our short story literature. Nevertheless, the author stuck to his desk in the counting-room. Many another ambitious young writer, in the circumstances, would have given up his position and leaned entirely upon his pen. Young Cable had a cool head. He knew that he was moving forward handsomely, and that if he yielded to the excitement of the situation for a moment he might fall back. So his pen rusted for two years, when he accepted an order for a serial story. This turned out to be "The Grandissimes," a clear and entertaining exposition of the author's views of the old-fashioned Southern life, a happy mingling of fact and fiction, of fun and sobriety, of calm appreciation of the Louisiana aristocracy and a warm toleration of the struggles of the poor negro slaves. Of course, this attitude added nothing to the author's popularity among Southerners.
To illustrate this, a Southern woman, who happened to visit Northampton, where of late Mr. Cable has made his home, was asked if she ever read his stories. "Of course not," she indignantly answered; "I wouldn't think of looking at them." However, she was persuaded to look at them after a while; and it is a peculiar tribute to their delicate yet powerful charm that the woman expressed regret that she had misconceived his work and opposed his ideas.
"The Grandissimes" was so successful that the publishers are said to have sent the author a check for five hundred dollars more than the contract price. This first long tale was followed by another much the same in vein and in atmosphere, "Madame Delphine," which is the story-teller's own favorite. The subject and the style are equally delightful.
In 1879, when Mr. Cable was thirty-five years old, the business house in which he had worked to keep his feet on earth dissolved, and the clerk had to choose between returning to journalism and devoting himself entirely to literature. By this time he seems to have been more self-reliant and more confident. At any rate, he chose literature. The first thing he did was to decline to write for more than one publisher. It must be said again that a steadier head never produced a story.
A strong sense of duty, in fact, early established control of his work. His interests were not permitted to grow narrow. He realized that he possessed exceptionally abundant resources for the production of miscellaneous literature touching on the development of the middle South, and he determined to make the most of his possessions. In 1880, for example, we find him engaged in a special article on New Orleans for the Census Bureau, and his native city was also the theme of an article which he wrote for the "Encyclopedia Britannica." One of his critics has said: "Since Hawthorne's Custom House reports, few pages of the Government documents have been enriched by so discriminating a pen as in the exhaustive census monograph upon the past and present of the Southern metropolis." This paper led to a series of articles entitled "The Creoles of Louisiana," written for _The Century_, in which the reader will note an artistic combination of dry history and vivid imagination.
That such a painstaking, conscientious, dutiful writer should ever be charged with falling into an anachronism may seem preposterous; but although the charge has been made, we find no instance in which it has been sustained. A writer who once visited him brushed the charge aside vigorously: "Mr. Cable's plan of work," he said, "is unusually methodical, for his counting-room training has stood him in good stead. All his notes and references are carefully indexed and journalled, and so systematized that he can turn, without a moment's delay, to any authority he wishes to consult. In this respect, as in many others, he has not, perhaps, his equal among living authors. In making his notes, it is his usual custom to write in pencil on scraps of paper. These notes are next put into shape, still in pencil, and the third copy, intended for the press, is written in ink on note-paper--the chirography exceedingly neat, delicate and legible. He is always exact, and is untiring in his researches.... Before attempting to write upon any historical point, he gathers together all available material without reckoning time or trouble; and, under such conditions, nothing is more unlikely than that he should be guilty of error."
The business life which fortunately imposed so valuable a system upon him incidentally inspired his second novel, "Dr. Sevier," many of the scenes in which are faithful pictures of his own experiences as a youth. As in the historical sketches, so in this second novel the poetic imagination of the author fairly rivals his grasp of the prosaic relations existing between man and man. But such relations were supremely vital from his viewpoint, and his third novel, "Bonaventure," was written in moments stolen from the discussion of the questions of elections, prison systems, and the future of the negro. The reader will note in the hero of this story the personification of the practical strengthening and yet spiritualizing gospel which the author has enunciated in his private and public religious work. For it is important to chronicle that Mr. Cable has done as much to Christianize several communities as the most energetic minister would be expected to do; and from his scrupulous performance of not merely the ordinary Christian duties but also of duties self-imposed, he has never allowed literature or society to beguile him.
Naturally his social and political studies drew many invitations to address public meetings. It was at Johns Hopkins University, while lecturing on literary art, that, upon the suggestion of President Gilman, he ventured for the first time to read selections from his own stories. The delight of the audience was no less a surprise to him than the realization of his own elocutionary skill. This he set about to cultivate, and with such success that for years afterward he was enthusiastically welcomed to the great cities. It was once estimated that in his busiest years on the platform he traveled more than ten thousand miles every twelve months.
For various reasons, particularly that he might be able to write of the South impartially and that he might be nearer the literary market, he moved to Simsbury, Conn., in 1884, and the next year to Northampton, Mass., where he has lived ever since. But he has never lost sight of his native concern in the progress of the South; and as for his philanthropy, in Northampton it has spread wider and wider.
There, on the edge of one of the quietest and loveliest towns in Massachusetts, he has had built for himself a home suited to all his excellent tastes, and there he lives, intent always on making someone happy, and writing simply enough to maintain the brilliancy and popularity of his name.
HENRY JAMES
Henry James has been at pains, lately, to put a stop to a report that he proposes to return to America, yet by descent and at heart he is undoubtedly as loyal an American as his neighbor in England, Bret Harte. Even a cosmopolite may be patriotic.
Mr. James has been called the first American cosmopolitan author. It is an unusually interesting fact that, like Mr. Harte, who also lives in England, James was born in Albany, N. Y., the date of his birth being April 15, 1843. His grandfather, William James, who made a fortune in the Syracuse salt works, had settled in Albany soon after his immigration from Ireland. His millions were divided among eleven children, one of whom was Henry James, Sr., the novelist's father. This branch of the James family moved to Germany when our author was a boy; and there he and his brothers and sister were educated for some years. It used to be said that, like his distinguished contemporaries, Howells and Aldrich, James never enjoyed the advantages of a college education; but it is a fact, nevertheless, that the James children were thoroughly educated. Henry James, Sr., intellectually, was a remarkable man, and Miss Walsh of New York, whom he married, has been described as "his complement in the possession of sterling practical qualities and the sustaining common sense of woman." Besides, there were the educational advantages of travel which the James children enjoyed. When the Jameses returned to this country they settled in Cambridge. It was there that Howells made the acquaintance of the elder James.
We are tempted to quote extensively from Howells's memories of Henry James, Sr., but we shall confine our quotation to a single paragraph:
"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 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."