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Americans (search for this): chapter 10
pageant. At no time since The Prince of Parthia was first acted in Philadelphia in 1767 has such a large percentage of Americans been artistically and commercially interested in the drama, but as to the literary results of the new movement it is to Such revival and experiment have often, in the past, been the preludes of great epochs of poetical production. Living Americans have certainly never seen such a widespread demand for contemporary verse, such technical curiosity as to the possible the continuity and integrity of race-consciousness, in the whole field of its manifestation. He does not feel, as many Americans do, that they are turning their back on life when they turn to books. Perhaps the truth is that although we are a re term than nationality. Chauvinism is nowhere more repellent than in the things of the mind. It is difficult for some Americans to think internationally even in political affairs — to construe our national policy and duty in terms of obligation to
H. S. Canby (search for this): chapter 10
h Thoreau and practised by Thomas Wentworth Higginson, Starr King, John Burroughs, John Muir, Clarence King, Bradford Torrey, Theodore Roosevelt, William J. Long, Thompson-Seton, Stewart Edward White, and many others. Their books represent, Professor Canby Back to Nature, by H. S. Canby, Yale review, July, 1917. believes, the adventures of the American subconsciousness, the promptings of forgotten memories, a racial tradition of contact with the wilderness, and hence one of the most genuinH. S. Canby, Yale review, July, 1917. believes, the adventures of the American subconsciousness, the promptings of forgotten memories, a racial tradition of contact with the wilderness, and hence one of the most genuinely American traits of our literature. Other forms of essay writing, surely, have seemed in our own generation less distinctive of our peculiar quality. While admirable biographical and critical studies appear from time to time, and here and there a whimsical or trenchant discursive essay like those of Miss Repplier or Dr. Crothers, no one would claim that we approach France or even England in the field of criticism, literary history, memoirs, the bookish essay, and biography. We may have
D. Litt (search for this): chapter 10
ed himself Mark Twain took its soundings! Then came a series of far greater books-Roughing it, Life on the Mississippi, The Gilded age (in collaboration), and Tom Sawyer and Huckleberry Finn --books that make our American Odyssey, rich in the spirit of romance and revealing the magic of the great river as no other pages can ever do again. Gradually Mark Twain became a public character; he retrieved on the lecture platform the loss of a fortune earned by his books; he enjoyed his honorary D. Litt. from Oxford University. Every reader of American periodicals came to recognize the photographs of that thick shock of hair, those heavy eyebrows, the gallant drooping little figure, the striking clothes, the inevitable cigar: all these things seemed to go with the part of professional humorist, to be like the caressing drawl of Mark's voice. The force of advertisement could no further go. But at bottom he was far other than a mere maker of boisterous jokes for people with frontier prefe
Orne Jewett (search for this): chapter 10
ame Harriet Prescott Spofford and Elizabeth Stuart Phelps, women with nerves; and finally the three artists who have written, out of the material offered by a decadent New England, as perfect short stories as France or Russia can produce-Sarah Orne Jewett, Mary Wilkins Freeman, and Alice Brown. These gifted writers portrayed, with varying technique and with singular differences in their instinctive choice of material, the dominant qualities of an isolated, in-bred race, still proud in its decld mental power degenerating into smartness; cold and hard under long repression of emotion, yet capable of passion and fanaticism; at worst, a mere trader, a crank, a grim recluse; at best. endowed with an austere physical and moral beauty. Miss Jewett preferred to touch graciously the sunnier slopes of this provincial temperament, to linger in its ancient dignities and serenities. Miss Brown has shown the pathos of its thwarted desires, its hunger for a beauty and a happiness denied. Mary
Thomas Wentworth Higginson (search for this): chapter 10
with little artistic advance in design. The same temporary arrest of progress has been noted in France and England, however, where different causes have been at work. No one can tell, in truth, what makes some plants in the literary garden wither at the same moment that others are outgrowing their borders. There is one plant in our own garden, however, whose flourishing state will be denied by nobodynamely, that kind of nature-writing identified with Thoreau and practised by Thomas Wentworth Higginson, Starr King, John Burroughs, John Muir, Clarence King, Bradford Torrey, Theodore Roosevelt, William J. Long, Thompson-Seton, Stewart Edward White, and many others. Their books represent, Professor Canby Back to Nature, by H. S. Canby, Yale review, July, 1917. believes, the adventures of the American subconsciousness, the promptings of forgotten memories, a racial tradition of contact with the wilderness, and hence one of the most genuinely American traits of our literature.
Sidney Lanier (search for this): chapter 10
the veterans. It will be recalled that Bryant survived until 1878, Longfellow and Emerson until 1882, Lowell until 1891, Whittier and Whitman until 1892, and Holmes until 1894. Compared with these men the younger writers of verse seemed overmatched. The National Ode for the Centennial celebration in 1876 was intrusted to Bayard Taylor, a hearty person, author of capital books of travel, plentiful verse, and a skilful translation of Faust. But an adequate National Ode was not in him. Sidney Lanier, who was writing in that year his Psalm of the West and was soon to compose The Marshes of Glynn, had far more of the divine fire. He was a bookish Georgia youth who had served with the Confederate army, and afterward, with broken health and in dire poverty, gave his brief life to music and poetry. He had rich capacities for both arts, but suffered in both from the lack of discipline and from an impetuous, restless imagination which drove him on to over-ambitious designs. Whatever th
Starr King (search for this): chapter 10
. Irwin Russell, Joel Chandler Harris, and Thomas Nelson Page portrayed in verse and prose the humorous, pathetic, unique traits of the Southern negro, a type hitherto chiefly sketched in caricature or by strangers. Page, Hopkinson Smith, Grace King, and a score of other artists began to draw affectionate pictures of the vanished Southern mansion of plantation days, when all the women were beautiful and all the men were brave, when the very horses were more spirited and the dogs lazier and ththat others are outgrowing their borders. There is one plant in our own garden, however, whose flourishing state will be denied by nobodynamely, that kind of nature-writing identified with Thoreau and practised by Thomas Wentworth Higginson, Starr King, John Burroughs, John Muir, Clarence King, Bradford Torrey, Theodore Roosevelt, William J. Long, Thompson-Seton, Stewart Edward White, and many others. Their books represent, Professor Canby Back to Nature, by H. S. Canby, Yale review, Jul
Davy Crockett (search for this): chapter 10
es and the Bay of Naples offer themselves freely to the artist, generation after generation. What is lost is the glamour of youth, the specific atmosphere of a given historical epoch. Colonel W. F. Cody ( Buffalo Bill ) has typified to millions of American boys the great period of the Plains, with its Indian fighting, its slaughter of buffaloes, its robbing of stage-coaches, its superb riders etched against the sky. But the Wild West was retreating, even in the days of Daniel Boone and Davy Crockett. The West of the cowboys, as Theodore Roosevelt and Owen Wister knew it and wrote of it in the eighties and nineties, has disappeared, though it lives on in fiction and on the screen. Jack London, born in California in 1876, was forced to find his West in Alaska--and in alcohol. He was what he and his followers liked to call the virile or red-blooded type, responsive to the Call of the wild, living life naked and tensely. In his talk Jack London was simple and boyish, with plenty o
Alice Brown (search for this): chapter 10
beth Stuart Phelps, women with nerves; and finally the three artists who have written, out of the material offered by a decadent New England, as perfect short stories as France or Russia can produce-Sarah Orne Jewett, Mary Wilkins Freeman, and Alice Brown. These gifted writers portrayed, with varying technique and with singular differences in their instinctive choice of material, the dominant qualities of an isolated, in-bred race, still proud in its decline; still inquisitive and acquisitive,ere trader, a crank, a grim recluse; at best. endowed with an austere physical and moral beauty. Miss Jewett preferred to touch graciously the sunnier slopes of this provincial temperament, to linger in its ancient dignities and serenities. Miss Brown has shown the pathos of its thwarted desires, its hunger for a beauty and a happiness denied. Mary Wilkins Freeman revealed its fundamental tragedies of will. Two of the best known writers of New England fiction in this period were not nati
William Vaughn Moody (search for this): chapter 10
notes and occasional darker questionings of his later verse are embodied in lines of impeccable workmanship. Aloof from the social and political conflicts of his day, he gave himself to the fastidious creation of beautiful lines, believing that the beautiful line is the surest road to Arcady, and that Herrick, whom he idolized, had shown the way. To some readers of these pages it may seem like profanation to pass over poets like Sill, George Woodberry, Edith Thomas, Richard Hovey, William Vaughn Moody, Madison Cawein — to mention but half a dozen distinguished names out of a larger company — and to suggest that James Whitcomb Riley, more completely than any American poet since Longfellow, succeeded in expressing the actual poetic feelings of the men and women who composed his immense audience. Riley, like Aldrich, went to school to Herrick, Keats, Tennyson, and Longfellow, but when he began writing newspaper verse in his native Indiana he was guided by two impulses which gave ind
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