I do not think that such a fact would now move the fancy of the liveliest
newspaper man, so much has the West since returned upon the East in a
refluent wave of authorship. But then the West was almost an unknown
quality in our literary problem; and in fact there was scarcely any
literature outside of New England. Even this was of New England origin,
for it was almost wholly the work of New England men and women in the
"splendid exile" of New York. The Atlantic Monthly, which was
distinctively literary, was distinctively a New England magazine, though
from the first it had been characterized by what was more national, what
was more universal, in the New England temperament. Its chief
contributors for nearly twenty years were Longfellow, Lowell, Holmes,
Whittier, Emerson, Doctor Hale, Colonel Higginson, Mrs. Stowe, Whipple,
Rose Terry Cooke, Mrs. Julia Ward Howe, Mrs. Prescott Spofford, Mrs.
Phelps Ward, and other New England writers who still lived in New
England, and largely in the region of Boston. Occasionally there came a
poem from Bryant, at New York, from Mr. Stedman, from Mr. Stoddard and
Mrs. Stoddard, from Mr. Aldrich, and from Bayard Taylor. But all these,
except the last, were not only of New England race, but of New England
birth. I think there was no contributor from the South but Mr. M. D.
Conway, and as yet the West scarcely counted, though four young poets
from Ohio, who were not immediately or remotely of Puritan origin, had
appeared in early numbers; Alice Cary, living with her sister in New
York, had written now and then from the beginning. Mr. John Hay solely
represented Illinois by a single paper, and he was of Rhode Island stock.
It was after my settlement at Boston that Mark Twain, of Missouri, became
a figure of world-wide fame at Hartford; and longer after, that Mr. Bret
Harte made that progress Eastward from California which was telegraphed
almost from hour to hour, as if it were the progress of a prince. Miss
Constance F. Woolson had not yet begun to write. Mr. James Whitcomb
Riley, Mr. Maurice Thompson, Miss Edith Thomas, Octave Thanet, Mr.
Charles Warren Stoddard, Mr. H. B. Fuller, Mrs. Catherwood, Mr. Hamlin
Garland, all whom I name at random among other Western writers, were then
as unknown as Mr. Cable, Miss Murfree, Mrs. Rives Chanler, Miss Grace
King, Mr. Joel Chandler Harris, Mr. Thomas Nelson Page, in the South,
which they by no means fully represent.
The editors of the Atlantic had been eager from the beginning to discover
any outlying literature; but, as I have said, there was in those days
very little good writing done beyond the borders of New England. If the
case is now different, and the best known among living American writers
are no longer New-Englanders, still I do not think the South and West
have yet trimmed the balance; and though perhaps the news writers now
more commonly appear in those quarters, I should not be so very sure that
they are not still characterized by New England ideals and examples. On
the other hand, I am very sure that in my early day we were characterized
by them, and wished to be so; we even felt that we failed in so far as we
expressed something native quite in our own way. The literary theories we
accepted were New England theories, the criticism we valued was New
England criticism, or, more strictly speaking, Boston theories, Boston
criticism.
Of those more constant contributors to the Atlantic whom I have
mentioned, it is of course known that Longfellow and Lowell lived in
Cambridge, Emerson at Concord, and Whittier at Amesbury. Colonel
Higginson was still and for many years afterwards at Newport; Mrs. Stowe
was then at Andover; Miss Prescott of Newburyport had become Mrs.
Spofford, and was presently in Boston, where her husband was a member of
the General Court; Mrs. Phelps Ward, as Miss Elizabeth Stuart Phelps,
dwelt in her father's house at Andover. The chief of the Bostonians were
Mrs. Julia Ward Howe, Doctor Holmes, and Doctor Hale. Yet Boston stood
for the whole Massachusetts group, and Massachusetts, in the literary
impulse, meant New England. I suppose we must all allow, whether we like
to do so or not, that the impulse seems now to have pretty well spent
itself. Certainly the city of Boston has distinctly waned in literature,
though it has waxed in wealth and population. I do not think there are
in Boston to-day even so many talents with a literary coloring in law,
science, theology, and journalism as there were formerly; though I have
no belief that the Boston talents are fewer or feebler than before. I
arrived in Boston, however, when all talents had more or less a literary
coloring, and when the greatest talents were literary. These expressed
with ripened fulness a civilization conceived in faith and brought forth
in good works; but that moment of maturity was the beginning of a
decadence which could only show itself much later. New England has
ceased to be a nation in itself, and it will perhaps never again have
anything like a national literature; but that was something like a
national literature; and it will probably be centuries yet before the
life of the whole country, the American life as distinguished from the
New England life, shall have anything so like a national literature. It
will be long before our larger life interprets itself in such imagination
as Hawthorne's, such wisdom as Emerson's, such poetry as Longfellow's,
such prophecy as Whittier's, such wit and grace as Holmes's, such humor
and humanity as Lowell's.
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.