Part 1

PREJUDICES

SECOND SERIES

By H. L. MENCKEN

JONATHAN CAPE

11 GOWER STREET

LONDON

1921

CONTENTS

I THE NATIONAL LETTERS, 9

1. Prophets and Their Visions, 9 2. The Answering Fact, 14 3. The Ashes of New England, 18 4. The Ferment Underground, 25 5. In the Literary Abattoir, 32 6. Underlying Causes, 39 7. The Lonesome Artist, 54 8. The Cultural Background, 65 9. Under the Campus Pump, 78 10. The Intolerable Burden, 87 11. Epilogue, 98

II ROOSEVELT: AN AUTOPSY, 102

III THE SAHARA OF THE BOZART, 136

IV THE DIVINE AFFLATUS, 155

V SCIENTIFIC EXAMINATION OF A POPULAR VIRTUE, 172

VI EXEUNT OMNES, 180

VII THE ALLIED ARTS, 194

1. On Music-Lovers, 194 2. Opera, 197 3. The Music of To-morrow, 201 4. Tempo di Valse, 204 5. The Puritan as Artist, 206 6. The Human Face, 206 7. The Cerebral Mime, 208

VIII THE CULT OF HOPE, 211

IX THE DRY MILLENNIUM, 219

1. The Holy War, 219 2. The Lure of Babylon, 222 3. Cupid and Well-Water, 225 4. The Triumph of Idealism, 226

X APPENDIX ON A TENDER THEME, 229

1. The Nature of Love, 229 2. The Incomparable Buzzsaw, 236 3. Women as Spectacles, 238 4. Woman and the Artist, 240 5. Martyrs, 243 6. The Burnt Child, 244 7. The Supreme Comedy, 244 8. A Hidden Cause, 245 9. Bad Workmanship, 245

PREJUDICES: SECOND SERIES

I. THE NATIONAL LETTERS

1

_Prophets and Their Visions_

It is convenient to begin, like the gentlemen of God, with a glance at a text or two. The first, a short one, is from Ralph Waldo Emerson's celebrated oration, "The American Scholar," delivered before the Phi Beta Kappa Society at Cambridge on August 31st, 1837. Emerson was then thirty-four years old and almost unknown in his own country:, though he had already published "Nature" and established his first contacts with Landor and Carlyle. But "The American Scholar" brought him into instant notice at home, partly as man of letters but more importantly as seer and prophet, and the fame thus founded has endured without much diminution, at all events in New England, to this day. Oliver Wendell Holmes, giving words to what was undoubtedly the common feeling, hailed the address as the intellectual declaration of independence of the American people, and that judgment, amiably passed on by three generations of pedagogues, still survives in the literature books. I quote from the first paragraph:

Our day of dependence, our long apprenticeship to the learning of other lands, draws to a close.... Events, actions arise, that must be sung, that will sing themselves. Who can doubt that poetry will revive and lead in a new age, as the star in the constellation Harp, which now flames in our zenith, astronomers announce, shall one day be the pole-star for a thousand years?

This, as I say, was in 1837. Thirty-three years later, in 1870, Walt Whitman echoed the prophecy in his even more famous "Democratic Vistas." What he saw in his vision and put into his gnarled and gasping prose was

a class of native authors, literatuses, far different, far higher in grade, than any yet known, sacerdotal, modern, fit to cope with our occasions, lands, permeating the whole mass of American morality, taste, belief, breathing into it a new breath of life, giving it decision, affecting politics far more than the popular superficial suffrage, with results inside and underneath the elections of Presidents or Congress--radiating, begetting appropriate teachers, schools, manners, and, as its grandest result, accomplishing, (what neither the schools nor the churches and their clergy have hitherto accomplished, and without which this nation will no more stand, permanently, soundly, than a house will stand without a substratum,) a religious and moral character beneath the political and productive and intellectual bases of the States.

And out of the vision straightway came the prognostication:

The promulgation and belief in such a class or order--a new and greater literatus order--its possibility, (nay, certainty,) underlies these entire speculations.... Above all previous lands, a great original literature is sure to become the justification and reliance, (in some respects the sole reliance,) of American democracy.

Thus Whitman in 1870, the time of the first draft of "Democratic Vistas." He was of the same mind, and said so, in 1888, four years before his death. I could bring up texts of like tenor in great number, from the years before 1837, from those after 1888, and from every decade between. The dream of Emerson, though the eloquence of its statement was new and arresting, embodied no novel projection of the fancy; it merely gave a sonorous _Wald-horn_ tone to what had been dreamed and said before. You will find almost the same high hope, the same exuberant confidence in the essays of the elder Channing and in the "Lectures on American Literature" of Samuel Lorenzo Knapp, LL.D., the first native critic of beautiful letters--the primordial tadpole of all our later Mores, Brownells, Phelpses, Mabies, Brander Matthewses and other such grave and glittering fish. Knapp believed, like Whitman long after him, that the sheer physical grandeur of the New World would inflame a race of bards to unprecedented utterance. "What are the Tibers and Scamanders," he demanded, "measured by the Missouri and the Amazon? Or what the loveliness of Illysus or Avon by the Connecticut or the Potomack? Whenever a nation wills it, prodigies are born." That is to say, prodigies literary and ineffable as well as purely material--prodigies aimed, in his own words, at "the olympick crown" as well as at mere railroads, ships, wheatfields, droves of hogs, factories and money. Nor were Channing and Knapp the first of the haruspices. Noah Webster, the lexicographer, who "taught millions to spell but not one to sin," had seen the early starlight of the same Golden Age so early as 1789, as the curious will find by examining his "Dissertations on the English Language," a work fallen long since into undeserved oblivion. Nor was Whitman, taking sober second thought exactly a century later, the last of them. Out of many brethren of our own day, extravagantly articulate in print and among the chautauquas, I choose one--not because his hope is of purest water, but precisely because, like Emerson, he dilutes it with various discreet where-ases. He is Van Wyck Brooks, a young man far more intelligent, penetrating and hospitable to fact than any of the reigning professors--a critic who is sharply differentiated from them, indeed, by the simple circumstance that he has information and sense. Yet this extraordinary Mr. Brooks, in his "Letters and Leadership," published in 1918, rewrites "The American Scholar" in terms borrowed almost bodily from "Democratic Vistas"--that is to say, he prophesies with Emerson and exults with Whitman. First there is the Emersonian doctrine of the soaring individual made articulate by freedom and realizing "the responsibility that lies upon us, each in the measure of his own gift." And then there is Whitman's vision of a self-interpretative democracy, forced into high literary adventures by Joseph Conrad's "obscure inner necessity," and so achieving a "new synthesis adaptable to the unique conditions of our life." And finally there is the specific prediction, the grandiose, Adam Forepaugh mirage: "We shall become a luminous people, dwelling in the light and sharing our light." ...

As I say, the roll of such soothsayers might be almost endlessly lengthened. There is, in truth, scarcely a formal discourse upon the national letters (forgetting, perhaps, Barrett Wendell's sour threnody upon the New England _Aufklärung)_ that is without some touch of this previsional exultation, this confident hymning of glories to come, this fine assurance that American literature, in some future always ready to dawn, will burst into so grand a flowering that history will cherish its loveliest blooms even above such salient American gifts to culture as the moving-picture, the phonograph, the New Thought and the bi-chloride tablet. If there was ever a dissenter from the national optimism, in this as in other departments, it was surely Edgar Allan Poe--without question the bravest and most original, if perhaps also the least orderly and judicious, of all the critics that we have produced. And yet even Poe, despite his general habit of disgust and dismay, caught a flash or two of that engaging picture--even Poe, for an instant, in 1846, thought that he saw the beginnings of a solid and autonomous native literature, its roots deep in the soil of the republic--as you will discover by turning to his forgotten essay on J. G. C. Brainard, a thrice-forgotten doggereleer of Jackson's time. Poe, of course, was too cautious to let his imagination proceed to details; one feels that a certain doubt, a saving peradventure or two, played about the unaccustomed vision as he beheld it. But, nevertheless, he unquestionably beheld it....

2

_The Answering Fact_

Now for the answering fact. How has the issue replied to these visionaries? It has replied in a way that is manifestly to the discomfiture of Emerson as a prophet, to the dismay of Poe as a pessimist disarmed by transient optimism, and to the utter collapse of Whitman. We have, as every one knows, produced no such "new and greater literatus order" as that announced by old Walt. We have given a gaping world no books that "radiate," and surely none intelligibly comparable to stars and constellations. We have achieved no prodigies of the first class, and very few of the second class, and not many of the third and fourth classes. Our literature, despite several false starts that promised much, is chiefly remarkable, now as always, for its respectable mediocrity. Its typical great man, in our own time, has been Howells, as its typical great man a generation ago was Lowell, and two generations ago, Irving. Viewed largely, its salient character appears as a sort of timorous flaccidity, an amiable hollowness. In bulk it grows more and more formidable, in ease and decorum it makes undoubted progress, and on the side of mere technic, of the bald capacity to write, it shows an ever-widening competence. But when one proceeds from such agencies and externals to the intrinsic substance, to the creative passion within, that substance quickly reveals itself as thin and watery, and that passion fades to something almost puerile. In all that mass of suave and often highly diverting writing there is no visible movement toward a distinguished and singular excellence, a signal national quality, a ripe and stimulating flavor, or, indeed, toward any other describable goal. _What_ one sees is simply a general irresolution, a pervasive superficiality. There is no sober grappling with fundamentals, but only a shy sporting on the surface; there is not even any serious approach, such as Whitman dreamed of, to the special experiences and emergencies of the American people. When one turns to any other national literature--to Russian literature, say, or French, or German or Scandinavian--one is conscious immediately of a definite attitude toward the primary mysteries of existence, the unsolved and ever-fascinating problems at the bottom of human life, and of a definite preoccupation with some of them, and a definite way of translating their challenge into drama. These attitudes and preoccupations raise a literature above mere poetizing and tale-telling; they give it dignity and importance; above all, they give it national character. But it is precisely here that the literature of America, and especially the later literature, is most colorless and inconsequential. As if paralyzed by the national fear of ideas, the democratic distrust of whatever strikes beneath the prevailing platitudes, it evades all resolute and honest dealing with what, after all, must be every healthy literature's elementary materials. One is conscious of no brave and noble earnestness in it, of no generalized passion for intellectual and spiritual adventure, of no organized determination to think things out. What is there is a highly self-conscious and insipid correctness, a bloodless respectability, a submergence of matter in manner--in brief, what is there is the feeble, uninspiring quality of German painting and English music.

It was so in the great days and it is so to-day. There has always been hope and there has always been failure. Even the most optimistic prophets of future glories have been united, at all times, in their discontent with the here and now. "The mind of this country," said Emerson, speaking of what was currently visible in 1837, "is taught to aim at low objects.... There is no work for any but the decorous and the complaisant.... Books are written ... by men of talent ... who start wrong, who set out from accepted dogmas, not from their own sight of principles." And then, turning to the way out: "The office of the scholar (_i.e.,_ of Whitman's 'literatus') is to cheer, to raise and to guide men by showing them _facts amid appearances._" Whitman himself, a full generation later, found that office still unfilled. "Our fundamental want to-day in the United States," he said, "with closest, amplest reference to present conditions, and to the future, is of a class, and the clear idea of a class, of native authors, literatuses, far different, far higher in grade, than any yet known"--and so on, as I have already quoted him. And finally, to make an end of the prophets, there is Brooks, with nine-tenths of his book given over, not to his prophecy--it is crowded, indeed, into the last few pages--but to a somewhat heavy mourning over the actual scene before him. On the side of letters, the æsthetic side, the side of ideas, we present to the world at large, he says, "the spectacle of a vast, undifferentiated herd of good-humored animals"--Knights of Pythias, Presbyterians, standard model Ph.D.'s, readers of the _Saturday Evening Post,_ admirers of Richard Harding Davis and O. Henry, devotees of Hamilton Wright Mabie's "white list" of books, members of the Y. M. C. A. or the Drama League, weepers at chautauquas, wearers of badges, 100 per cent. patriots, children of God. Poe I pass over; I shall turn to him again later on. Nor shall I repeat the parrotings of Emerson and Whitman in the jeremiads of their innumerable heirs and assigns. What they all establish is what is already obvious: that American thinking, when it concerns itself with beautiful letters as when it concerns itself with religious dogma or political theory, is extraordinarily timid and superficial--that it evades the genuinely serious problems of life and art as if they were stringently taboo--that the outward virtues it undoubtedly shows are always the virtues, not of profundity, not of courage, not of originality, but merely those of an emasculated and often very trashy dilettantism.

3

_The Ashes of New England_

The current scene is surely depressing enough. What one observes is a literature in three layers, and each inordinately doughy and uninspiring--each almost without flavor or savor. It is hard to say, with much critical plausibility, which layer deserves to be called the upper, but for decorum's sake the choice may be fixed upon that which meets with the approval of the reigning Lessings. This is the layer of the novels of the late Howells, Judge Grant, Alice Brown and the rest of the dwindling survivors of New England _Kultur,_ of the brittle, academic poetry of Woodberry and the elder Johnson, of the tea-party essays of Crothers, Miss Repplier and company, and of the solemn, highly judicial, coroner's inquest criticism of More, Brownell, Babbitt and their imitators. Here we have manner, undoubtedly. The thing is correctly done; it is never crude or gross; there is in it a faint perfume of college-town society. But when this highly refined and attenuated manner is allowed for what remains is next to nothing. One never remembers a character in the novels of these aloof and de-Americanized Americans; one never encounters an idea in their essays; one never carries away a line out of their poetry. It is literature as an academic exercise for talented grammarians, almost as a genteel recreation for ladies and gentlemen of fashion--the exact equivalent, in the field of letters, of eighteenth century painting and German _Augenmusik._

What ails it, intrinsically, is a dearth of intellectual audacity and of æsthetic passion. Running through it, and characterizing the work of almost every man and woman producing it, there is an unescapable suggestion of the old Puritan suspicion of the fine arts as such--of the doctrine that they offer fit asylum for good citizens only when some ulterior and superior purpose is carried into them. This purpose, naturally enough, most commonly shows a moral tinge. The aim of poetry, it appears, is to fill the mind with lofty thoughts--not to give it joy, but to give it a grand and somewhat gaudy sense of virtue. The essay is a weapon against the degenerate tendencies of the age. The novel, properly conceived, is a means of uplifting the spirit; its aim is to inspire, not merely to satisfy the low curiosity of man in man. The Puritan, of course, is not entirely devoid of æsthetic feeling. He has a taste for good form; he responds to style; he is even capable of something approaching a purely æsthetic emotion. But he fears this æsthetic emotion as an insinuating distraction from his chief business in life: the sober consideration of the all-important problem of conduct. Art is a temptation, a seduction, a Lorelei, and the Good Man may safely have traffic with it only when it is broken to moral uses--in other words, when its innocence is pumped out of it, and it is purged of gusto. It is precisely this gusto that one misses in all the work of the New England school, and in all the work of the formal schools that derive from it. One observes in such a fellow as Dr. Henry Van Dyke an excellent specimen of the whole clan. He is, in his way, a genuine artist. He has a hand for pretty verses. He wields a facile rhetoric. He shows, in indiscreet moments, a touch of imagination. But all the while he remains a sound Presbyterian, with one eye on the devil. He is a Presbyterian first and an artist second, which is just as comfortable as trying to be a Presbyterian first and a chorus girl second. To such a man it must inevitably appear that a Molière, a Wagner, a Goethe or a Shakespeare was more than a little bawdy.

The criticism that supports this decaying caste of literary Brahmins is grounded almost entirely upon ethical criteria. You will spend a long while going through the works of such typical professors as More, Phelps, Boynton, Burton, Perry, Brownell and Babbitt before ever you encounter a purely æsthetic judgment upon an æsthetic question. It is almost as if a man estimating daffodils should do it in terms of artichokes. Phelps' whole body of "we church-goers" criticism--the most catholic and tolerant, it may be said in passing, that the faculty can show--consists chiefly of a plea for correctness, and particularly for moral correctness; he never gets very far from "the axiom of the moral law." Brownell argues eloquently for standards that would bind an imaginative author as tightly as a Sunday-school super-intendent is bound by the Ten Commandments and the Mann Act. Sherman tries to save Shakespeare for the right-thinking by proving that he was an Iowa Methodist--a member of his local Chamber of Commerce, a contemner of Reds, an advocate of democracy and the League of Nations, a patriotic dollar-a-year-man during the Armada scare. Elmer More devotes himself, year in and year out, to denouncing the Romantic movement, _i. e.,_ the effort to emancipate the artist from formulæ and categories, and so make him free to dance with arms and legs. And Babbitt, to make an end, gives over his days and his nights to deploring Rousseau's anarchistic abrogation of "the veto power" over the imagination, leading to such "wrongness" in both art and life that it threatens "to wreck civilization." In brief, the alarms of schoolmasters. Not many of them deal specifically with the literature that is in being. It is too near to be quite nice. To More or Babbitt only death can atone for the primary offense of the artist. But what they preach nevertheless has its echoes contemporaneously, and those echoes, in the main, are woefully falsetto. I often wonder what sort of picture of These States is conjured up by foreigners who read, say, Crothers, Van Dyke, Babbitt, the later Winston Churchill, and the old maids of the Freudian suppression school. How can such a foreigner, moving in those damp, asthmatic mists, imagine such phenomena as Roosevelt, Billy Sunday, Bryan, the Becker case, the I. W. W., Newport, Palm Beach, the University of Chicago, Chicago itself--the whole, gross, glittering, excessively dynamic, infinitely grotesque, incredibly stupendous drama of American life?

As I have said, it is not often that the _ordentlichen Professoren_ deign to notice contemporary writers, even of their own austere kidney. In all the Shelburne Essays there is none on Howells, or on Churchill, or on Mrs. Wharton; More seems to think of American literature as expiring with Longfellow and Donald G. Mitchell. He has himself hinted that in the department of criticism of criticism there enters into the matter something beyond mere aloof ignorance. "I soon learned (as editor of the pre-Bolshevik _Nation),_" he says, "that it was virtually impossible to get fair consideration for a book written by a scholar not connected with a university from a reviewer so connected." This class consciousness, however, should not apply to artists, who are admittedly inferior to professors, and it surely does not show itself in such men as Phelps and Spingarn, who seem to be very eager to prove that they are not professorial. Yet Phelps, in the course of a long work on the novel, pointedly omits all mention of such men as Dreiser, and Spingarn, as the aforesaid Brooks has said, "appears to be less inclined even than the critics with whom he is theoretically at war to play an active, public part in the secular conflict of darkness and light." When one comes to the _Privat-Dozenten_ there is less remoteness, but what takes the place of it is almost as saddening. To Sherman and Percy Boynton the one aim of criticism seems to be the enforcement of correctness--in Emerson's phrase, the upholding of "some great decorum, some fetish of a government, some ephemeral trade, or war, or man"--e. g., Puritanism, democracy, monogamy, the League of Nations, the Wilsonian piffle. Even among the critics who escape the worst of this schoolmastering frenzy there is some touch of the heavy "culture" of the provincial schoolma'm. For example, consider Clayton Hamilton, M.A., vice-president of the National Institute of Arts and Letters. Here are the tests he proposes for dramatic critics, _i. e.,_ for gentlemen chiefly employed in reviewing such characteristic American compositions as the Ziegfeld Follies, "Up in Mabel's Room," "Ben-Hur" and "The Witching Hour":

1. Have you ever stood bareheaded in the nave of Amiens?

2. Have you ever climbed to the Acropolis by moonlight?

3. Have you ever walked with whispers into the hushed presence of the Frari Madonna of Bellini?