Delphi complete works of.., p.1434
Delphi Complete Works of William Dean Howells, page 1434
II.
The literature of those great men was, if I may suffer myself the figure, the Socinian graft of a Calvinist stock. Their faith, in its varied shades, was Unitarian, but their art was Puritan. So far as it was imperfect — and great and beautiful as it was, I think it had its imperfections — it was marred by the intense ethicism that pervaded the New England mind for two hundred years, and that still characterizes it. They or their fathers had broken away from orthodoxy in the great schism at the beginning of the century, but, as if their heterodoxy were conscience-stricken, they still helplessly pointed the moral in all they did; some pointed it more directly, some less directly; but they all pointed it. I should be far from blaming them for their ethical intention, though I think they felt their vocation as prophets too much for their good as poets. Sometimes they sacrificed the song to the sermon, though not always, nor nearly always. It was in poetry and in romance that they excelled; in the novel, so far as they attempted it, they failed. I say this with the names of all the Bostonian group, and those they influenced, in mind, and with a full sense of their greatness. It may be ungracious to say that they have left no heirs to their peculiar greatness; but it would be foolish to say that they left an estate where they had none to bequeath. One cannot take account of such a fantasy as Judd’s Margaret. The only New-Englander who has attempted the novel on a scale proportioned to the work of the New-Englanders in philosophy, in poetry, in romance, is Mr. De Forest, who is of New Haven, and not of Boston. I do not forget the fictions of Doctor Holmes, or the vivid inventions of Doctor Hale, but I do not call them novels; and I do not forget the exquisitely realistic art of Miss Jewett or Miss Wilkins, which is free from the ethicism of the great New England group, but which has hardly the novelists’s scope. New England, in Hawthorne’s work, achieved supremacy in romance; but the romance is always an allegory, and the novel is a picture in which the truth to life is suffered to do its unsermonized office for conduct; and New England yet lacks her novelist, because it was her instinct and her conscience in fiction to be true to an ideal of life rather than to life itself.
Even when we come to the exception that proves the rule, even to such a signal exception as ‘Uncle Tom’s Cabin’, I think that what I say holds true. That is almost the greatest work of imagination that we have produced in prose, and it is the work of a New England woman, writing from all the inspirations and traditions of New England. It is like begging the question to say that I do not call it a novel, however; but really, is it a novel, in the sense that ‘War and Peace’ is a novel, or ‘Madame Flaubert’, or ‘L’Assommoir’, or ‘Phineas Finn’, or ‘Dona Perfecta’, or ‘Esther Waters’, or ‘Marta y Maria’, or ‘The Return of the Native’, or ‘Virgin Soil’, or ‘David Grieve’? In a certain way it is greater than any of these except the first; but its chief virtue, or its prime virtue, is in its address to the conscience, and not its address to the taste; to the ethical sense, not the aesthetical sense.
This does not quite say the thing, but it suggests it, and I should be sorry if it conveyed to any reader a sense of slight; for I believe no one has felt more deeply than myself the value of New England in literature. The comparison of the literary situation at Boston to the literary situation at Edinburgh in the times of the reviewers has never seemed to me accurate or adequate, and it holds chiefly in the fact that both seem to be of the past. Certainly New York is yet no London in literature, and I think Boston was once vastly more than Edinburgh ever was, at least in quality. The Scotch literature of the palmy days was not wholly Scotch, and even when it was rooted in Scotch soil it flowered in the air of an alien speech. But the New England literature of the great day was the blossom of a New England root; and the language which the Bostonians wrote was the native English of scholars fitly the heirs of those who had brought the learning of the universities to Massachusetts Bay two hundred years before, and was of as pure a lineage as the English of the mother-country.
III.
The literary situation which confronted me when I came to Boston was, then, as native as could well be; and whatever value I may be able to give a personal study of it will be from the effect it made upon me as one strange in everything but sympathy. I will not pretend that I saw it in its entirety, and I have no hope of presenting anything like a kinetoscopic impression of it. What I can do is to give here and there a glimpse of it; and I shall wish the reader to keep in mind the fact that it was in a “state of transition,” as everything is always and everywhere. It was no sooner recognizably native than it ceased to be fully so; and I became a witness of it after the change had begun. The publishing house which so long embodied New England literature was already attempting enterprises out of the line of its traditions, and one of these had brought Mr. T. B. Aldrich from New York, a few weeks before I arrived upon the scene in that dramatic quality which I think never impressed any one but Mr. Bowles. Mr. Aldrich was the editor of ‘Every Saturday’ when I came to be assistant editor of the Atlantic Monthly. We were of nearly the same age, but he had a distinct and distinguished priority of reputation, insomuch that in my Western remoteness I had always ranged him with such elders and betters of mine as Holmes and Lowell, and never imagined him the blond, slight youth I found him, with every imaginable charm of contemporaneity. It is no part of the office which I have intended for these slight and sufficiently wandering glimpses of the past to show any writer in his final place; and above all I do not presume to assign any living man his rank or station. But I should be false to my own grateful sense of beauty in the work of this poet if I did not at all times recognize his constancy to an ideal which his name stands for. He is known in several kinds, but to my thinking he is best in a certain nobler kind of poetry; a serious sort in which the thought holds him above the scrupulosities of the art he loves and honors so much. Sometimes the file slips in his hold, as the file must and will; it is but an instrument at the best; but there is no mistouch in the hand that lays itself upon the reader’s heart with the pulse of the poet’s heart quick and true in it. There are sonnets of his, grave, and simple, and lofty, which I think of with the glow and thrill possible only from very beautiful poetry, and which impart such an emotion as we can feel only
“When a great thought strikes along the brain
And flushes all the cheek.”
When I had the fortune to meet him first, I suppose that in the employ of the kindly house we were both so eager to serve, our dignities were about the same; for if the ‘Atlantic Monthly’ was a somewhat prouder affair than an eclectic weekly like ‘Every Saturday’, he was supreme in his place, and I was subordinate in mine. The house was careful, in the attitude of its senior partner, not to distinguish between us, and we were not slow to perceive the tact used in managing us; we had our own joke of it; we compared notes to find whether we were equally used in this thing or that; and we promptly shared the fun of our discovery with Fields himself.
We had another impartial friend (no less a friend of joy in the life which seems to have been pretty nearly all joy, as I look back upon it) in the partner who became afterwards the head of the house, and who forecast in his bold enterprises the change from a New England to an American literary situation. In the end James R. Osgood failed, though all his enterprises succeeded. The anomaly is sad, but it is not infrequent. They were greater than his powers and his means, and before they could reach their full fruition, they had to be enlarged to men of longer purse and longer patience. He was singularly fitted both by instinct and by education to become a great publisher; and he early perceived that if a leading American house were to continue at Boston, it must be hospitable to the talents of the whole country. He founded his future upon those generous lines; but he wanted the qualities as well as the resources for rearing the superstructure. Changes began to follow each other rapidly after he came into control of the house. Misfortune reduced the size and number of its periodicals. ‘The Young Folks’ was sold outright, and the ‘North American Review’ (long before Mr. Rice bought it and carried it to New York) was cut down one-half, so that Aldrich said, it looked as if Destiny had sat upon it. His own periodical, ‘Every Saturday’, was first enlarged to a stately quarto and illustrated; and then, under stress of the calamities following the great Boston fire, It collapsed to its former size. Then both the ‘Atlantic Monthly’ and ‘Every Saturday’ were sold away from their old ownership, and ‘Every Saturday’ was suppressed altogether, and we two ceased to be of the same employ. There was some sort of evening rite (more funereal than festive) the day after they were sold, and we followed Osgood away from it, under the lamps. We all knew that it was his necessity that had caused him to part with the periodicals; but he professed that it was his pleasure, and he said he had not felt so light-hearted since he was a boy. We asked him, How could he feel gay when he was no longer paying us our salaries, and how could he justify it to his conscience? He liked our mocking, and limped away from us with a rheumatic easing of his weight from one foot to another: a figure pathetic now that it has gone the way to dusty death, and dear to memory through benefactions unalloyed by one unkindness.
IV.
But when I came to Boston early in 1866, the ‘Atlantic Monthly’ and ‘Harper’s’ then divided our magazine world between them; the ‘North American Review’, in the control of Lowell and Professor Norton, had entered upon a new life; ‘Every Saturday’ was an instant success in the charge of Mr. Aldrich, who was by taste and training one of the best editors; and ‘Our Young Folks’ had the field of juvenile periodical literature to itself.
It was under the direction of Miss Lucy Larcom and of Mr. J. T. Trowbridge, who had come from western New York, where he was born, and must be noted as one of the first returners from the setting to the rising sun. He naturalized himself in Boston in his later boyhood, and he still breathes Boston air, where he dwells in the street called Pleasant, on the shore of Spy Pond, at Arlington, and still weaves the magic web of his satisfying stories for boys. He merges in their popularity the fame of a poet which I do not think will always suffer that eclipse, for his poems show him to have looked deeply into the heart of common humanity, with a true and tender sense of it.
Miss Larcom scarcely seemed to change from date to date in the generation that elapsed between the time I first saw her and the time I saw her last, a year or two before her death. A goodness looked out of her comely face, which made me think of the Madonna’s in Titian’s “Assumption,” and her whole aspect expressed a mild and friendly spirit which I find it hard to put in words. She was never of the fine world of literature; she dwelt where she was born, in that unfashionable Beverly which is not Beverly Farms, and was of a simple, sea-faring, God-fearing race, as she has told in one of the loveliest autobiographies I know, “A New England Girlhood.” She was the author of many poems, whose number she constantly enlarged, but she was chiefly, and will be most lastingly, famed for the one poem, ‘Hannah Binding Shoes’, which years before my days in Boston had made her so widely known. She never again struck so deep or so true a note; but if one has lodged such a note in the ear of time, it is enough; and if we are to speak of eternity, one might very well hold up one’s head in the fields of asphodel, if one could say to the great others there, “I wrote Hannah Binding Shoes.” Her poem is very, very sad, as all who have read it will remember; but Miss Larcom herself was above everything cheerful, and she had a laugh of mellow richness which willingly made itself heard. She was not only of true New England stock, and a Boston author by right of race, but she came up to that city every winter from her native town.
By the same right and on the same terms, another New England poetess, whom I met those first days in Boston, was a Boston author. When I saw Celia Thaxter she was just beginning to make her effect with those poems and sketches which the sea sings and flashes through as it sings and flashes around the Isles of Shoals, her summer home, where her girlhood had been passed in a freedom as wild as the curlew’s. She was a most beautiful creature, still very young, with a slender figure, and an exquisite perfection of feature; she was in presence what her work was: fine, frank, finished. I do not know whether other witnesses of our literary history feel that the public has failed to keep her as fully in mind as her work merited; but I do not think there can be any doubt but our literature would be sensibly the poorer without her work. It is interesting to remember how closely she kept to her native field, and it is wonderful to consider how richly she made those sea-beaten rocks to blossom. Something strangely full and bright came to her verse from the mystical environment of the ocean, like the luxury of leaf and tint that it gave the narrower flower-plots of her native isles. Her gift, indeed, could not satisfy itself with the terms of one art alone, however varied, and she learned to express in color the thoughts and feelings impatient of the pallor of words.
She remains in my memories of that far Boston a distinct and vivid personality; as the authoress of ‘Amber Gods’, and ‘In a Cellar’, and ‘Circumstance’, and those other wild romantic tales, remains the gentle and somewhat evanescent presence I found her. Miss Prescott was now Mrs. Spofford, and her husband was a rising young politician of the day. It was his duties as member of the General Court that had brought them up from Newburyport to Boston for that first winter; and I remember that the evening when we met he was talking of their some time going to Italy that she might study for imaginative literature certain Italian cities he named. I have long since ceased to own those cities, but at the moment I felt a pang of expropriation which I concealed as well as I could; and now I heartily wish she could have fulfilled that purpose if it was a purpose, or realized that dream if it was only a dream. Perhaps, however, that sumptuous and glowing fancy of hers, which had taken the fancy of the young readers of that day, needed the cold New England background to bring out all its intensities of tint, all its splendors of light. Its effects were such as could not last, or could not be farther evolved; they were the expression of youth musing away from its environment and smitten with the glories of a world afar and beyond, the great world, the fine world, the impurpled world of romantic motives and passions. But for what they were, I can never think them other than what they appeared: the emanations of a rarely gifted and singularly poetic mind. I feel better than I can say how necessarily they were the emanations of a New England mind, and how to the subtler sense they must impart the pathos of revolt from the colorless rigidities which are the long result of puritanism in the physiognomy of New England life.
Their author afterwards gave herself to the stricter study of this life in many tales and sketches which showed an increasing mastery; but they could not have the flush, the surprise, the delight of a young talent trying itself in a kind native and, so far as I know, peculiar to it. From time to time I still come upon a poem of hers which recalls that earlier strain of music, of color, and I am content to trust it for my abiding faith in the charm of things I have not read for thirty years.
V.
I speak of this one and that, as it happens, and with no thought of giving a complete prospect of literary Boston thirty years ago. I am aware that it will seem sparsely peopled in the effect I impart, and I would have the reader always keep in mind the great fames at Cambridge and at Concord, which formed so large a part of the celebrity of Boston. I would also like him to think of it as still a great town, merely, where every one knew every one else, and whose metropolitan liberation from neighborhood was just begun.
Most distinctly of that yet uncitified Boston was the critic Edwin P. Whipple, whose sympathies were indefinitely wider than his traditions. He was a most generous lover of all that was excellent in literature; and though I suppose we should call him an old-fashioned critic now, I suspect it would be with no distinct sense of what is newer fashioned. He was certainly as friendly to what promised well in the younger men as he was to what was done well in their elders; and there was no one writing in his day whose virtues failed of his recognition, though it might happen that his foibles would escape Whipple’s censure. He wrote strenuously and of course conscientiously; his point of view was solely and always that which enabled him best to discern qualities. I doubt if he had any theory of criticism except to find out what was good in an author and praise it; and he rather blamed what was ethically bad than what was aesthetically bad. In this he was strictly of New England, and he was of New England in a certain general intelligence, which constantly grew with an interrogative habit of mind.
