CRITICISMS ON AMERICAN LITERATURE.

CONDITIONS AND CHARACTERISTICS OF AMERICAN LITERATURE.

The conditions under which the communities of the New World were established, and the terms on which they hitherto existed, have been unfavorable to Art. The religious and commercial enthusiasms of the first adventurers to her shores, supplying themes for the romancers of a later age, were themselves antagonistic to romance. The spirit which tore down the aisles of St. Regulus, and was revived in England in a reaction against music, painting and poetry, the Pilgrim Fathers bore with them in the “Mayflower” and planted across the seas. The life of the early colonists left no leisure for refinement. They had to conquer nature before admiring it, to feed and clothe before analyzing themselves. The ordinary cares of existence beset them to the exclusion of its embellishments. While Dryden, Pope and Addison were polishing stanzas and adding grace to English prose, they were felling trees, navigating rivers, and fertilizing valleys.… An enlightened people in a new land “where almost every one has facilities elsewhere unknown for making his fortune,” it is not to be wondered that the pursuit of wealth has been their leading impulse; nor is it perhaps to be regretted that much of their originality has been expended upon inventing machines instead of manufacturing verses, or that their religion itself has taken a practical turn. One of their own authors confesses that the “common New England life is still a lean, impoverished life, in distinction from a rich and suggestive one,” but it is there alone that the speculative and artistic tendencies of recent years have found room and occasion for development. Our travelers find a peculiar charm in the manly force and rough adventurous spirit of the Far West, but the poetry of the pioneer is unconscious. The attractive culture of the South has been limited in extent and degree. The hothouse fruit of wealth and leisure, it has never struck its roots deeply into native soil.… All the best transatlantic literature is inspired by the spirit of confidence—often of over-confidence—in labor. It has only flourished freely in a free soil; and for almost all its vitality and aspirations, its comparatively scant performance and large promise we must turn to New England. Its defects and merits are those of the national character as developed in the northern states, and we must seek for an explanation of its peculiarities in the physical and moral circumstances which surround them.

When European poets and essayists write of nature it is to contrast her permanence with the mutability of human life. We talk of the everlasting hills, the perennial fountains, the ever-recurring seasons.… In America, on the other hand, it is the extent of nature that is dwelt upon—the infinity of space, rather than the infinity of time, is opposed to the limited rather than to the transient existence of man. Nothing strikes a traveler in that country so much as this feature of magnitude. The rivers like rolling lakes, the lakes which are inland seas, the forests, the plains, Niagara itself, with its world of waters, owe their magnificence to their immensity; and by a transference, not unnatural, although fallacious, the Americans generally have modeled their ideas of art after the same standard of size. Their wars, their hotels, their language, are pitched on the huge scale of their distances. “Orphaned of the solemn inspiration of antiquity,” they gain in surface what they have lost in age; in hope, what they have lost in memory.

is all their own; and they have the area and the expectation of a continent to set against the culture and the ancestral voices of a thousand years. Where Englishmen remember, Americans anticipate. In thought and action they are ever rushing into empty spaces. Except in a few of the older states, a family mansion is rarely rooted to the same town or district; and the tie which unites one generation with another being easily broken, the want of continuity in life breeds a want of continuity in thought. The American mind delights in speculative and practical, social and political experiments, as Shakerism, Mormonism, Pantagamy; and a host of authors from Emerson to Walt. Whitman, have tried to glorify every mode of human life from the transcendental to the brutish. The habit of instability, fostered by the rapid vicissitudes of their commercial life and the melting of one class into another drifts away all their landmarks but that of temporary public opinion; and where there is little time for verification and the study of details, men satisfy their curiosity with crude generalizations. The great literary fault of the Americans has thus come to be impatience. The majority of them have never learned that “raw haste is half-sister to delay,” that “works done least rapidly, art most cherishes.” The make-shifts which were first a necessity with the northern settlers have grown into a custom. They adopt ten half measures instead of one whole one; and, beginning bravely like the grandiloquent preambles to their Constitutions end sometimes in the sublime, and sometimes in the ridiculous.

The critics of one nation must, to a certain extent, regard the works of another from an outside point of view. Few are able to divest themselves wholly of the influence of local standards; and this is preëminently the case when the early efforts of a young country are submitted to the judgment of an older country, strong in its prescriptive rights, and intolerant of changes the drift of which it is unable or unwilling to appreciate. English critics are apt to bear down on the writers and thinkers of the new world with a sort of aristocratic hauteur; they are perpetually reminding them of their immaturity and their disregard of the golden mean. Americans, on the other hand, are impossible to please. Ordinary men among them are as sensitive to foreign, and above all to British censure, as the irritable genus of other lands. Mr. Emerson is permitted to impress home truths on his countrymen, as “your American eagle is all very well, but beware of the American peacock.” Such remarks are not permitted to Englishmen; if they point to any flaws in American manners or ways of thinking, with an effort after politeness, it is “the good natured cynicism of a well-to-do age;” if they commend transatlantic institutions or achievements, it is, according to Mr. Lowell, “with that pleasant European air of self-compliment in condescending to be pleased by American merit which we find so conciliating.” Now that the United States have reached their full majority, it is time that England should cease to assume the attitude of their guardian, and time that they should cease to be on the alert to resent the assumption. Foremost among the more attractive features of transatlantic literature is its freshness. The authority which is the guide of old nations constantly threatens to become tyrannical; they wear their traditions like a chain; and in the canonization of laws of taste, the creative powers are depressed. Even in England we write under fixed conditions; with the fear of critics before our eyes, we are all bound to cast our ideas into similar moulds, and the name of “free-thinkers” has grown into a term of reproach. Bunyan’s “Pilgrim’s Progress” is perhaps the last book written without a thought of being reviewed. There is a gain in the habit of self-restraint fostered by this state of things; but there is a loss in the consequent lack of spontaneity, and we may learn something from a literature which is ever ready for adventure. In America the love of uniformity gives place to impetuous impulses; the most extreme sentiments are made audible; the most noxious “have their day and cease to be;” and truth being left to vindicate itself, the overthrow of error, though more gradual, may at last prove more complete. A New England poet can write with confidence of his country as the land

Another feature of American literature is its comprehensiveness; what it has lost in depth it has gained in breadth. Addressing a vast audience it appeals to universal sympathies.—Abridged from “American Literature” in Encyclopædia Britannica.

OUR LITERATURE IMITATIVE.

Literature is a positive element of civilized life; but in different countries and epochs it exists sometimes as a passive taste or means of culture, and at others as a development of productive tendencies. The first is the usual form in colonial societies, where the habit of looking to the fatherland for intellectual nutriment as well as political authority is the natural result even of patriotic feeling. The circumstances, too, of young communities, like those of the individual, are unfavorable to original literary production. Life is too absorbing to be recorded otherwise than in statistics. The wants of the hour and the exigencies of practical responsibility wholly engage the mind. Half a century ago, it was usual to sneer in England at the literary pretensions of America; but the ridicule was quite as unphilosophical as unjust, for it was to be expected that the new settlements would find their chief mental subsistence in the rich heritage of British literature, endeared to them by a community of language, political sentiment, and historical association. And when a few of the busy denizens of a new republic ventured to give expression to their thoughts, it was equally natural that the spirit and the principles of their ancestral literature should reappear. Scenery, border-life, the vicinity of the aborigines, and a great political experiment were the only novel features in the new world upon which to found anticipations of originality; in academic culture, habitual reading, moral and domestic tastes, and cast of mind, the Americans were identified with the mother country, and, in all essential particulars, would naturally follow the style thus inherent in their natures and confirmed by habit and study. At first, therefore, the literary development of the United States was imitative; but with the progress of the country, and her increased leisure and means of education, the writings of the people became more and more characteristic; theological and political occasions gradually ceased to be the exclusive moulds of thought; and didactic, romantic, and picturesque compositions appeared from time to time. Irving peopled “Sleepy Hollow” with fanciful creations; Bryant described not only with truth and grace, but with devotional sentiment, the characteristic scenes of his native land; Cooper introduced Europeans to the wonders of her forest and seacoast; Bancroft made her story eloquent; and Webster proved that the race of orators who once roused her children to freedom was not extinct. The names of Edwards and Franklin were echoed abroad; the bonds of mental dependence were gradually loosened; the inherited tastes remained, but they were freshened with a more native zest; and although Brockden Brown is still compared to Godwin, Irving to Addison, Cooper to Scott, Hoffman to Moore, Emerson to Carlyle, and Holmes to Pope, a characteristic vein, an individuality of thought, and a local significance is now generally recognized in the emanations of the American mind; and the best of them rank favorably and harmoniously with similar exemplars in British literature; while, in a few instances, the nationality is so marked, and so sanctioned by true genius, as to challenge the recognition of all impartial and able critics. The majority, however, of our authors are men of talent rather than of genius; the greater part of the literature of the country has sprung from New England, and is therefore, as a general rule, too unimpassioned and coldly elegant for popular effect. There have been a lamentable want of self-reliance, and an obstinate blindness to the worth of native material, both scenic, historical, and social. The great defect of our literature has been a lack of independence, and too exclusive a deference to hackneyed models; there has been, and is, no deficiency of intellectual life; it has thus far, however, often proved too diffusive and conventional for great results.—Henry T. Tuckerman.

POETRY OF AMERICA.

America abounds in the material of poetry. Its history, its scenery, the structure of its social life, the thoughts which pervade its political forms, the meaning which underlies its hot contests, are all capable of being exhibited in a poetical aspect. Carlyle, in speaking of the settlement of Plymouth by the Pilgrims, remarks that, if we had the open sense of the Greeks, we should have “found a poem here; one of nature’s own poems, such as she writes in broad facts over great continents.” If we have a literature, it should be a national literature; no feeble or sonorous echo of Germany or England, but essentially American in its tone and object. No matter how meritorious a composition may be, as long as any foreign nation can say that it has done the same thing better, so long shall we be spoken of with contempt, or in a spirit of impertinent patronage. We begin to sicken of the custom, now so common, of presenting even our best poems to the attention of foreigners with a deprecating, apologetic air; as if their acceptance of the offering, with a few soft and silky compliments, would be an act of kindness demanding our warmest acknowledgements. If the Quarterly Review or Blackwood’s Magazine speaks well of an American production, we think that we can praise it ourselves, without incurring the reproach of bad taste. The folly we yearly practice, of flying into a passion with some inferior English writer, who caricatures our faults, and tells dull jokes about his tour through the land, has only the effect to exalt an insignificant scribbler into notoriety, and give a nominal value to his recorded impertinence. If the mind and heart of the country had its due expression, if its life had taken form in a literature worthy of itself, we should pay little regard to the childish tattling of a pert coxcomb, who was discontented with our taverns, or the execrations of some bluff sea-captain, who was shocked with our manners. The uneasy sense we have of something in our national existence which has not yet been fitly expressed, gives poignancy to the least ridicule launched at faults and follies which lie on the superficies of our life. Every person feels that a book which condemns the country for its peculiarities of manners and customs does not pierce into the heart of the matter, and is essentially worthless. If Bishop Berkeley, when he visited Malebranche, had paid exclusive attention to the habitation, raiment, and manners of the man, and neglected the conversation of the metaphysician, and, when he returned to England, had entertained Pope, Swift, Gay, and Arbuthnot, with satirical descriptions of the “complement extern” of his eccentric host, he would have acted just as wisely as many an English tourist, with whose malicious pleasantry on our habits of chewing, spitting, and eating, we are silly enough to quarrel. To the United States, in reference to the pop-gun shots of foreign tourists, might be addressed the warning which Peter Plymley thundered against Bonaparte, in reference to the Anti-Jacobin jests of Canning: Tremble, oh thou land of many spitters and voters, “for a pleasant man has come out against thee, and thou shalt be laid low by a joker of jokes, and he shall talk his pleasant talk to thee, and thou shalt be no more!”

In order that America may take its due rank in the commonwealth of nations, a literature is needed which shall be the exponent of its higher life. We live in times of turbulence and change. There is a general dissatisfaction, manifesting itself often in rude contests and ruder speech, with the gulf which separates principles from actions. Men are struggling to realize dim ideals of right and truth, and each failure adds to the desperate earnestness of their efforts. Beneath all the shrewdness and selfishness of the American character, there is a smouldering enthusiasm which flames out at the first touch of fire,—sometimes at the hot and hasty words of party, and sometimes at the bidding of great thoughts and unselfish principles. The heart of the nation is easily stirred to its depths; but those who rouse its fiery impulses into action are often men compounded of ignorance and wickedness, and wholly unfit to guide the passions which they are able to excite. There is no country in the world which has nobler ideas embodied in more worthless shapes. All our factions, fanaticisms, reforms, parties, creeds, ridiculous or dangerous though they often appear, are founded on some aspiration or reality which deserves a better form and expression. There is a mighty power in great speech. If the sources of what we call our fooleries and faults were rightly addressed, they would echo more majestic and kindling truths. We want a poetry which shall speak in clear, loud tones to the people; a poetry which shall make us more in love with our native land, by converting its ennobling scenery into the images of lofty thought; which shall give visible form and life to the abstract ideas of our written constitutions; which shall confer upon virtue all the strength of principle, and all the energy of passion; which shall disentangle freedom from cant and senseless hyperbole, and render it a thing of such loveliness and grandeur as to justify all self-sacrifice; which shall make us love man by the new consecrations it sheds on his life and destiny; which shall force through the thin partitions of conventionalism and expediency; vindicate the majesty of reason; give new power to the voice of conscience, and new vitality to human affection; soften and elevate passion; guide enthusiasm in a right direction, and speak out in the high language of men to a nation of men.—E. P. Whipple.

THE THREE PERIODS OF OUR LITERATURE.

The literary history of the United States may be treated under three distinctly marked periods, viz.: a colonial, or ante-revolutionary period, during which the literature of the country was closely assimilated in form and character to that of England; a first American period (from 1775 to 1820) which witnessed the transition from a style for the most part imitative to one national or peculiar, as a consequence of the revolutionary struggle and the ideas generated by it; a second American (from 1820 to the present time), in which the literature of the country assumed a decided character of originality.

Though men of letters were found everywhere among the colonists, in New England alone, where the first printing press was established, was there any considerable progress made in literary culture, and the literature of the colonial period was chiefly confined to that locality or indirectly connected with it. The earliest development, owing to the religious character of the people, and to the fact that during the first century after the settlement of the country the clergy were the best informed and educated class, was theological. Some of the works, by Edwards and others, in defense of the dogmas of the church were very elaborate, and the positions taken maintained with much ability and acuteness of argument.

The influence of the great English essayists and novelists of the eighteenth century had, meanwhile, begun to affect the literature of the New World; and in the essays, the collection of maxims published under the title of “Poor Richard,” or “The Way to Wealth,” the scientific papers and autobiography of Benjamin Franklin, we have specimens of practical philosophy, or of simple narrative expressed in a style eminently clear, pleasing, and condensed; and not unfrequently embellished by the wit and elegance characteristic of the best writers of Queen Anne’s time. His investigations in electricity and other scientific subjects are not less felicitously narrated, and together with the works of James Logan, Paul Dudley, Cadwallader Colden and John Bartram, a naturalist, and one of the earliest of American travelers, constitute the chief contributions to scientific literature during the colonial period.

II. The earliest works produced during the first American period, commencing with the Revolution, are naturally associated with the causes which led to that event. The severance of the intellectual reliance of the colonies on the mother country followed as a consequence of their political independence, and as early as the commencement of the revolutionary struggle the high literary ability as well as practical wisdom evinced in the public documents of the principal American statesmen, were recognized by Lord Chatham, in whose opinion these productions rivaled the masterpieces of antiquity. Politics now gained a prominence almost equal to that enjoyed by theology in the preceding period. The discussions accorded thoroughly with the popular taste, and the influence of political writers and orators in giving a decided national type to American literature is unmistakable.

III. The last period of American literature presents a marked contrast with those which preceded in the national character, as well as in the variety and extent of its productions. In 1820 the poverty of American Literature was sneeringly commented upon by Sydney Smith in the Edinburgh Review, but from that date, the political crisis being past, the intellectual development of the country has been commensurate with its social and material progress, until at the present day it can be said there is no department of human knowledge which has not been more or less thoroughly explored by American authors. In history, natural science, jurisprudence, and imaginative literature their efforts have not been exceeded by those of contemporary authors in any part of the world.

The catalogue of American books, many of them having rare excellence, published in the last half century would fill volumes.

Perhaps in her periodical literature, more than elsewhere, America excels. Her leading quarterlies and literary magazines are scarcely inferior to the best we get from Europe; while their number and circulation are matter of astonishment. The masses in America read far more than in other countries. They patronize 11,403 different periodicals, that have an aggregate circulation of 31,177,924. Of these 3,637,224 are received daily, making 148,451,110 papers a year. There are 19,459,107 papers published weekly, making 97,295,535 a year. Others are published semi-weekly, monthly, semi-monthly, or quarterly.—Abridged from American Cyclopædia.

For when a man is brought up honorably, he feels ashamed to act basely; every one trained to noble deeds blushes to be found recreant; valor may be taught, as we teach a child to speak, to hear those things which he knows not; such love as the child learns he retains with fondness to old age—strong incitements to train your children well.—Euripides.