The most talked about of all the forces in this diversified civilization, they seemed the great American fact, the one objective reality, on which scholars sharpened their wits, at which orators and statesmen fired their eloquence, and from which, after so long a time, authors, with varied success and truthfulness have begun at last to draw subjects and models. Full of imagination and emotion, their sensuous pictures of the “New Jerusalem,” “the golden slippers,” “the long white robe,” “the pearly gates,” etc., etc., seem fairly to steam with tropical luxuriance and naive abandon. The paroxysms of religious fervor into which this simple-minded, childlike race were thrown by the contemplation of Heaven and rest and freedom, would have melted into sympathy and tender pity if not into love, a race less cold and unresponsive than the one with which they were thrown in closest contact. There was something truly poetic in their weird moanings, their fitful gleams of hope and trust, flickering amidst the darkness of their wailing helplessness, their strange sad songs, the half coherent ebullitions of souls in pain, which become, the more they are studied, at once the wonder and the despair of musical critics and imitators. And if one had the insight and the simplicity to gather together, to digest and assimilate these original lispings of an unsophisticated people while they were yet close—so close—to nature and to nature’s God, there is material here, one might almost believe, as rich, as unhackneyed, as original and distinctive as ever inspired a Homer, or a Caedmon or other simple genius of a people’s infancy and lisping childhood.
In the days of their bitterest persecution, their patient endurance and Christian manliness inspired Uncle Tom’s Cabin, which revolutionized the thought of the world on the subject of slavery and at once placed its author in the front rank of the writers of her country and age. Here at last was a work which England could not parallel. Here was a work indigenous to American soil and characteristic of the country—a work which American forces alone could have produced. The subject was at once seen to be fresh and interesting to the world as well as national and peculiar to America; and so it has since been eagerly cultivated by later writers with widely varying degrees of fitness and success.
By a rough classification, authors may be separated into two groups: first, those in whom the artistic or poetic instinct is uppermost—those who write to please—or rather who write because they please; who simply paint what they see, as naturally, as instinctively, and as irresistibly as the bird sings—with no thought of an audience—singing because it loves to sing—singing because God, nature, truth sings through it. For such writers, to be true to themselves and true to Nature is the only canon. They cannot warp a character or distort a fact in order to prove a point. They have nothing to prove. All who care to, may listen while they make the woods resound with their glad sweet carolling; and the listeners may draw their own conclusions as to the meaning of the cadences of this minor strain, or that hushed and almost awful note of rage or despair. And the myriad-minded multitude attribute their myriad-fold impressions to the myriad-minded soul by which they have severally been enchanted, each in his own way according to what he brings to the witching auditorium. But the singer sings on with his hat before his face, unmindful, it may be unconscious, of the varied strains reproduced from him in the multitudinous echoes of the crowd. Such was Shakespeare, such was George Eliot, such was Robert Browning. Such, in America, was Poe, was Bryant, was Longfellow; and such, in his own degree perhaps, is Mr. Howells.
In the second group belong the preachers—whether of righteousness or unrighteousness—all who have an idea to propagate, no matter in what form their talent enables them to clothe it, whether poem, novel, or sermon—all those writers with a purpose or a lesson, who catch you by the buttonhole and pommel you over the shoulder till you are forced to give assent in order to escape their vociferations; or they may lure you into listening with the soft music of the siren’s tongue—no matter what the expedient to catch and hold your attention, they mean to fetter you with their one idea, whatever it is, and make you, if possible, ride their hobby. In this group I would place Milton in much of his writing, Carlyle in all of his, often our own Whittier, the great reformer-poet, and Lowell; together with such novelists as E. P. Roe, Bellamy, Tourgée and some others.
Now in my judgment writings of the first class will be the ones to withstand the ravages of time. “Isms” have their day and pass away. New necessities arise with new conditions and the emphasis has to be shifted to suit the times. No finite mind can grasp and give out the whole circle of truth. We do well if we can
