We would not deprecate the fact, then, that America has a Race Problem. It is guaranty of the perpetuity and progress of her institutions, and insures the breadth of her culture and the symmetry of her development. More than all, let us not disparage the factor which the Negro is appointed to contribute to that problem. America needs the Negro for ballast if for nothing else. His tropical warmth and spontaneous emotionalism may form no unseemly counterpart to the cold and calculating Anglo-Saxon. And then his instinct for law and order, his inborn respect for authority, his inaptitude for rioting and anarchy, his gentleness and cheerfulness as a laborer, and his deep-rooted faith in God will prove indispensable and invaluable elements in a nation menaced as America is by anarchy, socialism, communism, and skepticism poured in with all the jail birds from the continents of Europe and Asia. I believe with our own Dr. Crummell that “the Almighty does not preserve, rescue, and build up a lowly people merely for ignoble ends.” And the historian of American civilization will yet congratulate this country that she has had a Race Problem and that descendants of the black race furnished one of its largest factors.
One Phase of American Literature
For nations as for individuals, a product, to be worthy the term literature, must contain something characteristic and sui generis.
So long as America remained a mere English colony, drawing all her life and inspiration from the mother country, it may well be questioned whether there was such a thing as American literature. “Who ever reads an American book?” it was scornfully asked in the eighteenth century. Imitation is the worst of suicides; it cuts the nerve of originality and condemns to mediocrity: and ’twas not till the pen of our writers was dipped in the lifeblood of their own nation and pictured out its own peculiar heartthrobs and agonies that the world cared to listen. The nightingale and the skylark had to give place to the mockingbird, the bobolink and the whippoorwill, the heather and the bluebells of Britain, to our own goldenrod and daisy; the insular and monarchic customs and habits of thought of old England must develop into the broader, looser, freer swing of democratic America, before her contributions to the world of thought could claim the distinction of individuality and gain an appreciative hearing.
And so our writers have succeeded in becoming national and representative in proportion as they have from year to year entered more and more fully, and more and more sympathetically, into the distinctive life of their nation, and endeavored to reflect and picture its homeliest pulsations and its elemental components. And so in all the arts, as men have gradually come to realize that
Nothing useless is or low
Each thing in its place is best,
and have wrought into their products, lovingly and impartially and reverently, every type, every tint, every tone that they felt or saw or heard, just to that degree have their expressions, whether by pen or brush or rhythmic cadence, adequately and simply given voice to the thought of Nature around them. No man can prophesy with another’s parable. For each of us truth means merely the representation of the sensations and experiences of our personal environment, colored and vivified—fused into consistency and crystallized into individuality in the crucible of our own feelings and imaginations. The mind of genius is merely the brook, picturing back its own tree and bush and bit of sky and cloud ensparkled by individual salts and sands and rippling motion. And paradoxical as it may seem, instead of making us narrow and provincial, this trueness to one’s habitat, this appreciative eye and ear for the tints and voices of one’s own little wood serves but to usher us into the eternal galleries and choruses of God. It is only through the unclouded perception of our tiny “part” that we can come to harmonize with the “stupendous whole,” and in order to do this our sympathies must be finely attuned and quick to vibrate under the touch of the commonplace and vulgar no less than at the hand of the elegant and refined. Nothing natural can be wholly unworthy; and we do so at our peril, if, what God has cleansed we presume to call common or unclean. Nature’s language is not writ in cipher. Her notes are always simple and sensuous, and the very meanest recesses and commonest byways are fairly deafening with her sermons and songs. It is only when we ourselves are out of tune through our pretentiousness and self-sufficiency, or are blinded and rendered insensate by reason of our foreign and unnatural “cultivation” that we miss her meanings and inadequately construe her multiform lessons.
For two hundred and fifty years there was in the American commonwealth a great silent factor. Though in themselves simple and unique their offices were those of the barest utility. Imported merely to be hewers of wood and drawers of water, no artist for many a generation thought them worthy the sympathetic study of a model. No Shakespeare
