Criticism And Fiction Part 4

It has to be very grim, all that, to be truly effective; and here, already, we have a touch in the Americanized Christmas story of the moralistic quality of the American Thanksgiving story. This was seldom written, at first, for the mere entertainment of the reader; it was meant to entertain him, of course; but it was meant to edify him, too, and to improve him; and some such intention is still present in it. I rather think that it deals more probably with character to this end than its English cousin, the Christmas story, does. It is not so improbable that a man should leave off being a drunkard on Thanksgiving, as that he should leave off being a curmudgeon on Christmas; that he should conquer his appet.i.te as that he should instantly change his nature, by good resolutions. He would be very likely, indeed, to break his resolutions in either case, but not so likely in the one as in the other.

Generically, the Thanksgiving story is cheerfuller in its drama and simpler in its persons than the Christmas story. Rarely has it dealt with the supernatural, either the apparition of ghosts or the intervention of angels. The weather being so much milder at the close of November than it is a month later, very little can be done with the elements; though on the coast a northeasterly storm has been, and can be, very usefully employed. The Thanksgiving story is more restricted in its range; the scene is still mostly in New England, and the characters are of New England extraction, who come home from the West usually, or New York, for the event of the little drama, whatever it may be. It may be the reconciliation of kinsfolk who have quarrelled; or the union of lovers long estranged; or husbands and wives who have had hard words and parted; or mothers who had thought their sons dead in California and find themselves agreeably disappointed in their return; or fathers who for old time's sake receive back their erring and conveniently dying daughters.

The notes are not many which this simple music sounds, but they have a Sabbath tone, mostly, and win the listener to kindlier thoughts and better moods. The art is at its highest in some strong sketch of Rose Terry Cooke's, or some perfectly satisfying study of Miss Jewett's, or some graphic situation of Miss Wilkins's; and then it is a very fine art.

But mostly it is poor and rude enough, and makes openly, shamelessly, for the reader's emotions, as well as his morals. It is inclined to be rather descriptive. The turkey, the pumpkin, the corn-field, figure throughout; and the leafless woods are blue and cold against the evening sky behind the low hip-roofed, old-fas.h.i.+oned homestead. The parlance is usually the Yankee dialect and its Western modifications.

The Thanksgiving story is mostly confined in scene to the country; it does not seem possible to do much with it in town; and it is a serious question whether with its geographical and topical limitations it can hold its own against the Christmas story; and whether it would not be well for authors to consider a combination with its elder rival.

The two feasts are so near together in point of time that they could be easily covered by the sentiment of even a brief narrative. Under the agglutinated style of 'A Thanksgiving-Christmas Story,' fiction appropriate to both could be produced, and both could be employed naturally and probably in the transaction of its affairs and the development of its characters. The plot for such a story could easily be made to include a total-abstinence pledge and family reunion at Thanksgiving, and an apparition and spiritual regeneration over a bowl of punch at Christmas.

XXVI.

It would be interesting to know the far beginnings of holiday literature, and I commend the quest to the scientific spirit which now specializes research in every branch of history. In the mean time, without being too confident of the facts, I venture to suggest that it came in with the romantic movement about the beginning of this century, when mountains ceased to be horrid and became picturesque; when ruins of all sorts, but particularly abbeys and castles, became habitable to the most delicate const.i.tutions; when the despised Gothick of Addison dropped its "k," and arose the chivalrous and religious Gothic of Scott; when ghosts were redeemed from the contempt into which they had fallen, and resumed their place in polite society; in fact, the politer the society; the welcomer the ghosts, and whatever else was out of the common. In that day the Annual flourished, and this artificial flower was probably the first literary blossom on the Christmas Tree which has since borne so much tinsel foliage and painted fruit. But the Annual was extremely Oriental; it was much preoccupied with, Haidees and Gulnares and Zuleikas, with Hindas and Nourmahals, owing to the distinction which Byron and Moore had given such ladies; and when it began to concern itself with the actualities of British beauty, the daughters of Albion, though inscribed with the names of real countesses and d.u.c.h.esses, betrayed their descent from the well-known Eastern odalisques. It was possibly through an American that holiday literature became distinctively English in material, and Was.h.i.+ngton Irving, with his New World love of the past, may have given the impulse to the literary wors.h.i.+p of Christmas which has since so widely established itself. A festival revived in popular interest by a New-Yorker to whom Dutch a.s.sociations with New-year's had endeared the German ideal of Christmas, and whom the robust gayeties of the season in old-fas.h.i.+oned country-houses had charmed, would be one of those roundabout results which destiny likes, and "would at least be Early English."

If we cannot claim with all the patriotic confidence we should like to feel that it was Irving who set Christmas in that light in which d.i.c.kens saw its aesthetic capabilities, it is perhaps because all origins are obscure. For anything that we positively know to the contrary, the Druidic rites from which English Christmas borrowed the inviting mistletoe, if not the decorative holly, may have been accompanied by the recitations of holiday triads. But it is certain that several plays of Shakespeare were produced, if not written, for the celebration of the holidays, and that then the black tide of Puritanism which swept over men's souls blotted out all such observance of Christmas with the festival itself. It came in again, by a natural reaction, with the returning Stuarts, and throughout the period of the Restoration it enjoyed a perfunctory favor. There is mention of it; often enough in the eighteenth-century essayists, in the Spectators and Idlers and Tatlers; but the world about the middle of the last century laments the neglect into which it had fallen. Irving seems to have been the first to observe its surviving rites lovingly, and d.i.c.kens divined its immense advantage as a literary occasion. He made it in some sort entirely his for a time, and there can be no question but it was he who again endeared it to the whole English-speaking world, and gave it a wider and deeper hold than it had ever had before upon the fancies and affections of our race.

The might of that great talent no one can gainsay, though in the light of the truer work which has since been done his literary principles seem almost as grotesque as his theories of political economy. In no one direction was his erring force more felt than in the creation of holiday literature as we have known it for the last half-century. Creation, of course, is the wrong word; it says too much; but in default of a better word, it may stand. He did not make something out of nothing; the material was there before him; the mood and even the need of his time contributed immensely to his success, as the volition of the subject helps on the mesmerist; but it is within bounds to say that he was the chief agency in the development of holiday literature as we have known it, as he was the chief agency in universalizing the great Christian holiday as we now have it. Other agencies wrought with him and after him; but it was he who rescued Christmas from Puritan distrust, and humanized it and consecrated it to the hearts and homes of all.

Very rough magic, as it now seems, he used in working his miracle, but there is no doubt about his working it. One opens his Christmas stories in this later day--'The Carol, The Chimes, The Haunted Man, The Cricket on the Hearth,' and all the rest--and with "a heart high-sorrowful and cloyed," asks himself for the preternatural virtue that they once had.

The pathos appears false and strained; the humor largely horseplay; the character theatrical; the joviality pumped; the psychology commonplace; the sociology alone funny. It is a world of real clothes, earth, air, water, and the rest; the people often speak the language of life, but their motives are as disproportioned and improbable, and their pa.s.sions and purposes as overcharged, as those of the worst of Balzac's people.

Yet all these monstrosities, as they now appear, seem to have once had symmetry and verity; they moved the most cultivated intelligences of the time; they touched true hearts; they made everybody laugh and cry.

This was perhaps because the imagination, from having been fed mostly upon gross unrealities, always responds readily to fantastic appeals.

There has been an amusing sort of awe of it, as if it were the channel of inspired thought, and were somehow sacred. The most preposterous inventions of its activity have been regarded in their time as the greatest feats of the human mind, and in its receptive form it has been nursed into an imbecility to which the truth is repugnant, and the fact that the beautiful resides nowhere else is inconceivable. It has been flattered out of all sufferance in its toyings with the mere elements of character, and its attempts to present these in combinations foreign to experience are still praised by the poorer sort of critics as masterpieces of creative work.

In the day of d.i.c.kens's early Christmas stories it was thought admirable for the author to take types of humanity which everybody knew, and to add to them from his imagination till they were as strange as beasts and birds talking. Now we begin to feel that human nature is quite enough, and that the best an author can do is to show it as it is. But in those stories of his d.i.c.kens said to his readers, Let us make believe so-and- so; and the result was a joint juggle, a child's-play, in which the wholesome allegiance to life was lost. Artistically, therefore, the scheme was false, and artistically, therefore, it must perish. It did not perish, however, before it had propagated itself in a whole school of unrealities so ghastly that one can hardly recall without a shudder those sentimentalities at secondhand to which holiday literature was abandoned long after the original conjurer had wearied of his performance.

Under his own eye and of conscious purpose a circle of imitators grew up in the fabrication of Christmas stories. They obviously formed themselves upon his sobered ideals; they collaborated with him, and it was often hard to know whether it was d.i.c.kens or Sala or Collins who was writing. The Christmas book had by that time lost its direct application to Christmas. It dealt with s.h.i.+pwrecks a good deal, and with perilous adventures of all kinds, and with unmerited suffering, and with ghosts and mysteries, because human nature, secure from storm and danger in a well-lighted room before a cheerful fire, likes to have these things imaged for it, and its long-puerilized fancy will bear an endless repet.i.tion of them. The wizards who wrought their spells with them contented themselves with the lasting efficacy of these simple means; and the apprentice-wizards and journeyman-wizards who have succeeded them practise the same arts at the old stand; but the ethical intention which gave dignity to d.i.c.kens's Christmas stories of still earlier date has almost wholly disappeared. It was a quality which could not be worked so long as the phantoms and hair-breadth escapes. People always knew that character is not changed by a dream in a series of tableaux; that a ghost cannot do much towards reforming an inordinately selfish person; that a life cannot be turned white, like a head of hair, in a single night, by the most allegorical apparition; that want and sin and shame cannot be cured by kettles singing on the hob; and gradually they ceased to make believe that there was virtue in these devices and appliances. Yet the ethical intention was not fruitless, crude as it now appears.

It was well once a year, if not oftener, to remind men by parable of the old, simple truths; to teach them that forgiveness, and charity, and the endeavor for life better and purer than each has lived, are the principles upon which alone the world holds together and gets forward.

It was well for the comfortable and the refined to be put in mind of the savagery and suffering all round them, and to be taught, as d.i.c.kens was always teaching, that certain feelings which grace human nature, as tenderness for the sick and helpless, self-sacrifice and generosity, self-respect and manliness and womanliness, are the common heritage of the race; the direct gift of Heaven, shared equally by the rich and poor.

It did not necessarily detract from the value of the lesson that, with the imperfect art of the time, he made his paupers and porters not only human, but superhuman, and too altogether virtuous; and it remained true that home life may be lovely under the lowliest roof, although he liked to paint it without a shadow on its beauty there. It is still a fact that the sick are very often saintly, although he put no peevishness into their patience with their ills. His ethical intention told for manhood and fraternity and tolerance, and when this intention disappeared from the better holiday literature, that literature was sensibly the poorer for the loss.

XXVII.

But if the humanitarian impulse has mostly disappeared from Christmas fiction, I think it has never so generally characterized all fiction.

One may refuse to recognize this impulse; one may deny that it is in any greater degree shaping life than ever before, but no one who has the current of literature under his eye can fail to note it there. People are thinking and feeling generously, if not living justly, in our time; it is a day of anxiety to be saved from the curse that is on selfishness, of eager question how others shall be helped, of bold denial that the conditions in which we would fain have rested are sacred or immutable.

Especially in America, where the race has gained a height never reached before, the eminence enables more men than ever before to see how even here vast ma.s.ses of men are sunk in misery that must grow every day more hopeless, or embroiled in a struggle for mere life that must end in enslaving and imbruting them.

Art, indeed, is beginning to find out that if it does not make friends with Need it must perish. It perceives that to take itself from the many and leave them no joy in their work, and to give itself to the few whom it can bring no joy in their idleness, is an error that kills. The men and women who do the hard work of the world have learned that they have a right to pleasure in their toil, and that when justice is done them they will have it. In all ages poetry has affirmed something of this sort, but it remained for ours to perceive it and express it somehow in every form of literature. But this is only one phase of the devotion of the best literature of our time to the service of humanity. No book written with a low or cynical motive could succeed now, no matter how brilliantly written; and the work done in the past to the glorification of mere pa.s.sion and power, to the deification of self, appears monstrous and hideous. The romantic spirit wors.h.i.+pped genius, wors.h.i.+pped heroism, but at its best, in such a man as Victor Hugo, this spirit recognized the supreme claim of the lowest humanity. Its error was to idealize the victims of society, to paint them impossibly virtuous and beautiful; but truth, which has succeeded to the highest mission of romance, paints these victims as they are, and bids the world consider them not because they are beautiful and virtuous, but because they are ugly and vicious, cruel, filthy, and only not altogether loathsome because the divine can never wholly die out of the human. The truth does not find these victims among the poor alone, among the hungry, the houseless, the ragged; but it also finds them among the rich, cursed with the aimlessness, the satiety, the despair of wealth, wasting their lives in a fool's paradise of shows and semblances, with nothing real but the misery that comes of insincerity and selfishness.

I do not think the fiction of our own time even always equal to this work, or perhaps more than seldom so. But as I once expressed, to the long-reverberating discontent of two continents, fiction is now a finer art than it, has been hitherto, and more nearly meets the requirements of the infallible standard. I have hopes of real usefulness in it, because it is at last building on the only sure foundation; but I am by no means certain that it will be the ultimate literary form, or will remain as important as we believe it is destined to become. On the contrary, it is quite imaginable that when the great ma.s.s of readers, now sunk in the foolish joys of mere fable, shall be lifted to an interest in the meaning of things through the faithful portrayal of life in fiction, then fiction the most faithful may be superseded by a still more faithful form of contemporaneous history. I willingly leave the precise character of this form to the more robust imagination of readers whose minds have been nurtured upon romantic novels, and who really have an imagination worth speaking of, and confine myself, as usual, to the hither side of the regions of conjecture.

The art which in the mean time disdains the office of teacher is one of the last refuges of the aristocratic spirit which is disappearing from politics and society, and is now seeking to shelter itself in aesthetics.

The pride of caste is becoming the pride of taste; but as before, it is averse to the ma.s.s of men; it consents to know them only in some conventionalized and artificial guise. It seeks to withdraw itself, to stand aloof; to be distinguished, and not to be identified. Democracy in literature is the reverse of all this. It wishes to know and to tell the truth, confident that consolation and delight are there; it does not care to paint the marvellous and impossible for the vulgar many, or to sentimentalize and falsify the actual for the vulgar few. Men are more like than unlike one another: let us make them know one another better, that they may be all humbled and strengthened with a sense of their fraternity. Neither arts, nor letters, nor sciences, except as they somehow, clearly or obscurely, tend to make the race better and kinder, are to be regarded as serious interests; they are all lower than the rudest crafts that feed and house and clothe, for except they do this office they are idle; and they cannot do this except from and through the truth.