Chapter 40

Not what is the use of Greek, of any culture in art or literature, but what is the good to me of your knowing Greek, is the latest question of the ditch-digger to the scholar--what better off am I for your learning? And the question, in view of the interdependence of all members of society, is one that cannot be put away as idle. One reason why the scholar does not make the world of the past, the world of books, real to his fellows and serviceable to them, is that it is not real to himself, but a mere unsubstantial place of intellectual idleness, where he dallies some years before he begins his task in life. And another reason is that, while it may be real to him, while he is actually cultured and trained, he fails to see or to feel that his culture is not a thing apart, and that all the world has a right to share its blessed influence. Failing to see this, he is isolated, and, wanting his sympathy, the untutored world mocks at his super-fineness and takes its own rough way to rougher ends. Greek art was for the people, Greek poetry was for the people; Raphael painted his immortal frescoes where throngs could be lifted in thought and feeling by them; Michael Angelo hung the dome over St. Peter's so that the far-off peasant on the Campagna could see it, and the maiden kneeling by the shrine in the Alban hills. Do we often stop to think what influence, direct or other, the scholar, the man of high culture, has today upon the great mass of our people? Why do they ask, what is the use of your learning and your art?

The artist, in the retirement of his studio, finishes a charming, suggestive, historical picture. The rich man buys it and hangs it in his library, where the privileged few can see it. I do not deny that the average rich man needs all the refining influence the picture can exert on him, and that the picture is doing missionary work in his house; but it is nevertheless an example of an educating influence withdrawn and appropriated to narrow uses. But the engraver comes, and, by his mediating art, transfers it to a thousand sheets, and scatters its sweet influence far abroad. All the world, in its toil, its hunger, its sordidness, pauses a moment to look on it--that gray seacoast, the receding Mayflower, the two young Pilgrims in the foreground regarding it, with tender thoughts of the far home--all the world looks on it perhaps for a moment thoughtfully, perhaps tearfully, and is touched with the sentiment of it, is kindled into a glow of nobleness by the sight of that faith and love and resolute devotion which have tinged our early history with the faint light of romance. So art is no longer the enjoyment of the few, but the help and solace of the many.

The scholar who is cultured by books, reflection, travel, by a refined society, consorts with his kind, and more and more removes himself from the sympathies of common life. I know how almost inevitable this is, how almost impossible it is to resist the segregation of classes according to the affinities of taste. But by what mediation shall the culture that is now the possession of the few be made to leaven the world and to elevate and sweeten ordinary life? By books? Yes. By the newspaper? Yes. By the diffusion of works of art? Yes. But when all is done that can be done by such letters-missive from one class to another, there remains the need of more personal contact, of a human sympathy, diffused and living. The world has had enough of charities. It wants respect and consideration. We desire no longer to be legislated for, it says; we want to be legislated with. Why do you never come to see me but you bring me something? asks the sensitive and poor seamstress. Do you always give some charity to your friends? I want companionship, and not cold pieces; I want to be treated like a human being who has nerves and feelings, and tears too, and as much interest in the sunset, and in the birth of Christ, perhaps as you. And the mass of uncared-for ignorance and brutality, finding a voice at length, bitterly repels the condescensions of charity; you have your culture, your libraries, your fine houses, your church, your religion, and your God, too; let us alone, we want none of them. In the bear-pit at Berne, the occupants, who are the wards of the city, have had meat thrown to them daily for I know not how long, but they are not tamed by this charity, and would probably eat up any careless person who fell into their clutches, without apology.

Do not impute to me quixotic notions with regard to the duties of men and women of culture, or think that I undervalue the difficulties in the way, the fastidiousness on the one side, or the jealousies on the other. It is by no means easy to an active participant to define the drift of his own age; but I seem to see plainly that unless the culture of the age finds means to diffuse itself, working downward and reconciling antagonisms by a commonness of thought and feeling and aim in life, society must more and more separate itself into jarring classes, with mutual misunderstandings and hatred and war. To suggest remedies is much more difficult than to see evils; but the comprehension of dangers is the first step towards mastering them. The problem of our own time--the reconciliation of the interests of classes--is as yet very ill defined. This great movement of labor, for instance, does not know definitely what it wants, and those who are spectators do not know what their relations are to it. The first thing to be done is for them to try to understand each other. One class sees that the other has lighter or at least different labor, opportunities of travel, a more liberal supply of the luxuries of life, a higher enjoyment and a keener relish of the beautiful, the immaterial. Looking only at external conditions, it concludes that all it needs to come into this better place is wealth, and so it organizes war upon the rich, and it makes demands of freedom from toil and of compensation which it is in no man's power to give it, and which would not, if granted over and over again, lift it into that condition it desires. It is a tale in the Gulistan, that a king placed his son with a preceptor, and said, “This is your son; educate him in the same manner as your own.” The preceptor took pains with him for a year, but without success, whilst his own sons were completed in learning and accomplishments. The king reproved the preceptor, and said, “You have broken your promise, and not acted faithfully.”

He replied, “O king, the education was the same, but the capacities are different. Although silver and gold are produced from a stone, yet these metals are not to be found in every stone. The star Canopus shines all over the world, but the scented leather comes only from Yemen.” “'Tis an absolute, and, as it were, a divine perfection,” says Montaigne, “for a man to know how loyally to enjoy his being. We seek other conditions, by reason we do not understand the use of our own; and go out of ourselves, because we know not how there to reside.”

But nevertheless it becomes a necessity for us to understand the wishes of those who demand a change of condition, and it is necessary that they should understand the compensations as well as the limitations of every condition. The dervish congratulated himself that although the only monument of his grave would be a brick, he should at the last day arrive at and enter the gate of Paradise before the king had got from under the heavy stones of his costly tomb. Nothing will bring us into this desirable mutual understanding except sympathy and personal contact. Laws will not do it; institutions of charity and relief will not do it.

We must believe, for one thing, that the graces of culture will not be thrown away if exercised among the humblest and the least cultured; it is found out that flowers are often more welcome in the squalid tenement-houses of Boston than loaves of bread. It is difficult to say exactly how culture can extend its influence into places uncongenial and to people indifferent to it, but I will try and illustrate what I mean by an example or two.

Criminals in this country, when the law took hold of them, used to be turned over to the care of men who often had more sympathy with the crime than with the criminal, or at least to those who were almost as coarse in feeling and as brutal in speech as their charges. There have been some changes of late years in the care of criminals, but does public opinion yet everywhere demand that jailers and prison-keepers and executioners of the penal law should be men of refinement, of high character, of any degree of culture? I do not know any class more needing the best direct personal influence of the best civilization than the criminal. The problem of its proper treatment and reformation is one of the most pressing, and it needs practically the aid of our best men and women. I should have great hope of any prison establishment at the head of which was a gentleman of fine education, the purest tastes, the most elevated morality and lively sympathy with men as such, provided he had also will and the power of command. I do not know what might not be done for the viciously inclined and the transgressors, if they could come under the influence of refined men and women. And yet you know that a boy or a girl may be arrested for crime, and pass from officer to keeper, and jailer to warden, and spend years in a career of vice and imprisonment, and never once see any man or woman, officially, who has tastes, or sympathies, or aspirations much above that vulgar level whence the criminals came. Anybody who is honest and vigilant is considered good enough to take charge of prison birds.

The age is merciful and abounds in charities-houses of refuge for poor women, societies for the conservation of the exposed and the reclamation of the lost. It is willing to pay liberally for their support, and to hire ministers and distributors of its benefactions. But it is beginning to see that it cannot hire the distribution of love, nor buy brotherly feeling. The most encouraging thing I have seen lately is an experiment in one of our cities. In the thick of the town the ladies of the city have furnished and opened a reading-room, sewing-room, conversation-room, or what not, where young girls, who work for a living and have no opportunity for any culture, at home or elsewhere, may spend their evenings. They meet there always some of the ladies I have spoken of, whose unostentatious duty and pleasure it is to pass the evening with them, in reading or music or the use of the needle, and the exchange of the courtesies of life in conversation. Whatever grace and kindness and refinement of manner they carry there, I do not suppose are wasted. These are some of the ways in which culture can serve men. And I take it that one of the chief evidences of our progress in this century is the recognition of the truth that there is no selfishness so supreme--not even that in the possession of wealth--as that which retires into itself with all the accomplishments of liberal learning and rare opportunities, and looks upon the intellectual poverty of the world without a wish to relieve it. “As often as I have been among men,” says Seneca, “I have returned less a man.” And Thomas a Kempis declared that “the greatest saints avoided the company of men as much as they could, and chose to live to God in secret.” The Christian philosophy was no improvement upon the pagan in this respect, and was exactly at variance with the teaching and practice of Jesus of Nazareth.

The American scholar cannot afford to live for himself, nor merely for scholarship and the delights of learning. He must make himself more felt in the material life of this country. I am aware that it is said that the culture of the age is itself materialistic, and that its refinements are sensual; that there is little to choose between the coarse excesses of poverty and the polished and more decorous animality of the more fortunate. Without entering directly upon the consideration of this much-talked-of tendency, I should like to notice the influence upon our present and probable future of the bounty, fertility, and extraordinary opportunities of this still new land.

The American grows and develops himself with few restraints. Foreigners used to describe him as a lean, hungry, nervous animal, gaunt, inquisitive, inventive, restless, and certain to shrivel into physical inferiority in his dry and highly oxygenated atmosphere. This apprehension is not well founded. It is quieted by his achievements the continent over, his virile enterprises, his endurance in war and in the most difficult explorations, his resistance of the influence of great cities towards effeminacy and loss of physical vigor. If ever man took large and eager hold of earthly things and appropriated them to his own use, it is the American. We are gross eaters, we are great drinkers. We shall excel the English when we have as long practice as they. I am filled with a kind of dismay when I see the great stock-yards of Chicago and Cincinnati, through which flow the vast herds and droves of the prairies, marching straight down the throats of Eastern people. Thousands are always sowing and reaping and brewing and distilling, to slake the immortal thirst of the country. We take, indeed, strong hold of the earth; we absorb its fatness. When Leicester entertained Elizabeth at Kenilworth, the clock in the great tower was set perpetually at twelve, the hour of feasting. It is always dinner-time in America. I do not know how much land it takes to raise an average citizen, but I should say a quarter section. He spreads himself abroad, he riots in abundance; above all things he must have profusion, and he wants things that are solid and strong. On the Sorrentine promontory, and on the island of Capri, the hardy husbandman and fisherman draws his subsistence from the sea and from a scant patch of ground. One may feast on a fish and a handful of olives. The dinner of the laborer is a dish of polenta, a few figs, some cheese, a glass of thin wine. His wants are few and easily supplied. He is not overfed, his diet is not stimulating; I should say that he would pay little to the physician, that familiar of other countries whose family office is to counteract the effects of over-eating. He is temperate, frugal, content, and apparently draws not more of his life from the earth or the sea than from the genial sky. He would never build a Pacific Railway, nor write a hundred volumes of commentary on the Scriptures; but he is an example of how little a man actually needs of the gross products of the earth.

I suppose that life was never fuller in certain ways than it is here in America. If a civilization is judged by its wants, we are certainly highly civilized. We cannot get land enough, nor clothes enough, nor houses enough, nor food enough. A Bedouin tribe would fare sumptuously on what one American family consumes and wastes. The revenue required for the wardrobe of one woman of fashion would suffice to convert the inhabitants of I know not how many square miles in Africa. It absorbs the income of a province to bring up a baby. We riot in prodigality, we vie with each other in material accumulation and expense. Our thoughts are mainly on how to increase the products of the world; and get them into our own possession.

I think this gross material tendency is strong in America, and more likely to get the mastery over the spiritual and the intellectual here than elsewhere, because of our exhaustless resources. Let us not mistake the nature of a real civilization, nor suppose we have it because we can convert crude iron into the most delicate mechanism, or transport ourselves sixty miles an hour, or even if we shall refine our carnal tastes so as to be satisfied at dinner with the tongues of ortolans and the breasts of singing-birds.

Plato banished the musicians from his feasts because he would not have the charms of conversation interfered with. By comparison, music was to him a sensuous enjoyment. In any society the ideal must be the banishment of the more sensuous; the refinement of it will only repeat the continued experiment of history--the end of a civilization in a polished materialism, and its speedy fall from that into grossness.

I am sure that the scholar, trained to “plain living and high thinking,” knows that the prosperous life consists in the culture of the man, and not in the refinement and accumulation of the material. The word culture is often used to signify that dainty intellectualism which is merely a sensuous pampering of the mind, as distinguishable from the healthy training of the mind as is the education of the body in athletic exercises from the petting of it by luxurious baths and unguents. Culture is the blossom of knowledge, but it is a fruit blossom, the ornament of the age but the seed of the future. The so-called culture, a mere fastidiousness of taste, is a barren flower.

You would expect spurious culture to stand aloof from common life, as it does, to extend its charities at the end of a pole, to make of religion a mere 'cultus,' to construct for its heaven a sort of Paris, where all the inhabitants dress becomingly, and where there are no Communists. Culture, like fine manners, is not always the result of wealth or position. When monseigneur the archbishop makes his rare tour through the Swiss mountains, the simple peasants do not crowd upon him with boorish impudence, but strew his stony path with flowers, and receive him with joyous but modest sincerity. When the Russian prince made his landing in America the determined staring of a bevy of accomplished American women nearly swept the young man off the deck of the vessel. One cannot but respect that tremulous sensitiveness which caused the maiden lady to shrink from staring at the moon when she heard there was a man in it.

The materialistic drift of this age--that is, its devotion to material development--is frequently deplored. I suppose it is like all other ages in that respect, but there appears to be a more determined demand for change of condition than ever before, and a deeper movement for equalization. Here in America this is, in great part, a movement for merely physical or material equalization. The idea seems to be well-nigh universal that the millennium is to come by a great deal less work and a great deal more pay. It seems to me that the millennium is to come by an infusion into all society of a truer culture, which is neither of poverty nor of wealth, but is the beautiful fruit of the development of the higher part of man's nature.

And the thought I wish to leave with you, as scholars and men who can command the best culture, is that it is all needed to shape and control the strong growth of material development here, to guide the blind instincts of the mass of men who are struggling for a freer place and a breath of fresh air; that you cannot stand aloof in a class isolation; that your power is in a personal sympathy with the humanity which is ignorant but discontented; and that the question which the man with the spade asks about the use of your culture to him is a menace.

MODERN FICTION

By Charles Dudley Warner

One of the worst characteristics of modern fiction is its so-called truth to nature. For fiction is an art, as painting is, as sculpture is, as acting is. A photograph of a natural object is not art; nor is the plaster cast of a man's face, nor is the bare setting on the stage of an actual occurrence. Art requires an idealization of nature. The amateur, though she may be a lady, who attempts to represent upon the stage the lady of the drawing-room, usually fails to convey to the spectators the impression of a lady. She lacks the art by which the trained actress, who may not be a lady, succeeds. The actual transfer to the stage of the drawing-room and its occupants, with the behavior common in well-bred society, would no doubt fail of the intended dramatic effect, and the spectators would declare the representation unnatural.

However our jargon of criticism may confound terms, we do not need to be reminded that art and nature are distinct; that art, though dependent on nature, is a separate creation; that art is selection and idealization, with a view to impressing the mind with human, or even higher than human, sentiments and ideas. We may not agree whether the perfect man and woman ever existed, but we do know that the highest representations of them in form--that in the old Greek sculptures--were the result of artistic selection of parts of many living figures.

When we praise our recent fiction for its photographic fidelity to nature we condemn it, for we deny to it the art which would give it value. We forget that the creation of the novel should be, to a certain extent, a synthetic process, and impart to human actions that ideal quality which we demand in painting. Heine regards Cervantes as the originator of the modern novel. The older novels sprang from the poetry of the Middle Ages; their themes were knightly adventure, their personages were the nobility; the common people did not figure in them. These romances, which had degenerated into absurdities, Cervantes overthrew by “Don Quixote.” But in putting an end to the old romances he created a new school of fiction, called the modern novel, by introducing into his romance of pseudo-knighthood a faithful description of the lower classes, and intermingling the phases of popular life. But he had no one-sided tendency to portray the vulgar only; he brought together the higher and the lower in society, to serve as light and shade, and the aristocratic element was as prominent as the popular. This noble and chivalrous element disappears in the novels of the English who imitated Cervantes. “These English novelists since Richardson's reign,” says Heine, “are prosaic natures; to the prudish spirit of their time even pithy descriptions of the life of the common people are repugnant, and we see on yonder side of the Channel those bourgeoisie novels arise, wherein the petty humdrum life of the middle classes is depicted.” But Scott appeared, and effected a restoration of the balance in fiction. As Cervantes had introduced the democratic element into romances, so Scott replaced the aristocratic element, when it had disappeared, and only a prosaic, bourgeoisie fiction existed. He restored to romances the symmetry which we admire in “Don Quixote.” The characteristic feature of Scott's historical romances, in the opinion of the great German critic, is the harmony between the artistocratic and democratic elements.