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        <author>Mencken, Henry Louis, 1880-1956</author>
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    <front>
      <div1 type="title page image">
        <p>
          <figure id="title" entity="menckentp">
            <p>[Title Page Image]</p>
          </figure>
        </p>
      </div1>
      <titlePage>
        <docTitle>
          <titlePart type="main">
            <emph rend="bold">PREJUDICES</emph>
          </titlePart>
          <titlePart type="main">FIRST SERIES</titlePart>
        </docTitle>
        <byline>By</byline>
        <docAuthor>H. L. MENCKEN</docAuthor>
        <docImprint>
          <pubPlace>PUBLISHED AT THE BORZOI - 
NEW YORK</pubPlace>
          <publisher>BY<lb/>
ALFRED - A - KNOPF</publisher>
        </docImprint>
        <titlePart type="verso">COPYRIGHT, 1919, BY ALFRED A. KNOPF, INC.
<lb/>
<hi rend="italics">Published September, 1919<lb/>
Second Printing, January, 1920<lb/>
Third Printing, April, 1920<lb/>
Fourth Printing, March, 1921<lb/>
Fifth Printing, December, 1921<lb/>
Sixth Printing, March, 1923<lb/>
Seventh Printing, August, 1924 </hi>
<lb/>
<hi rend="italics">Set up, electrotyped, and printed
by the Vail-Ballou Press, Inc.,
Binghamton, N.Y.
<lb/>Paper furnished by W.F. Etherington&amp; Co., New York.
<lb/>Bound by the Plimpton Press, Norwood, Mass.</hi>
 <lb/>
MANUFACTURED IN THE UNITED STATES OF 
AMERICA</titlePart>
      </titlePage>
      <div1 type="contents">
        <head>CONTENTS</head>
        <list type="simple">
          <item>I. CRITICISM OF CRITICISM OF CRITICISM,
<ref targOrder="U" target="men9">9</ref></item>
          <item>II. THE LATE MR. WELLS, <ref targOrder="U" target="men22">22</ref></item>
          <item>III. ARNOLD BENNETT, <ref targOrder="U" target="men36">36</ref></item>
          <item>IV.  THE DEAN, <ref targOrder="U" target="men52">52</ref></item>
          <item>V.  PROFESSOR VEBLEN, <ref targOrder="U" target="men59">59</ref></item>
          <item>VI.  THE NEW POETRY MOVEMENT, <ref targOrder="U" target="men83">83</ref></item>
          <item>VII.  THE HEIR OF MARK TWAIN, <ref targOrder="U" target="men97">97</ref></item>
          <item>VIII.  HERMANN SUDERMANN, <ref targOrder="U" target="men105">105</ref></item>
          <item>IX.  GEORGE ADE, <corr sic="113"><ref targOrder="U" target="men114">114</ref></corr></item>
          <item>X. THE BUTTE BASHKIRTSEFF, <ref targOrder="U" target="men123">123</ref></item>
          <item>XI. SIX MEMBERS OF THE INSTITUTE, <ref targOrder="U" target="men129">129</ref></item>
          <item>   1. The Boudoir Balzac, <ref targOrder="U" target="men129">129</ref></item>
          <item>   2. A Stranger on Parnassus, <ref targOrder="U" target="men134">134</ref></item>
          <item>   3. A Merchant of Mush, <ref targOrder="U" target="men138">138</ref></item>
          <item>   4. The Last of the Victorians, <ref targOrder="U" target="men139">139</ref></item>
          <item>   5. A Bad Novelist, <ref targOrder="U" target="men145">145</ref></item>
          <item>   6. A Broadway Brandes, <ref targOrder="U" target="men148">148</ref></item>
          <item>XII. THE GENEALOGY OF ETIQUETTE, <ref targOrder="U" target="men150">150</ref></item>
          <item>XIII. THE AMERICAN MAGAZINE, <ref targOrder="U" target="men171">171</ref></item>
          <item>XIV. THE ULSTER POLONIUS, <ref targOrder="U" target="men181">181</ref></item>
          <item>XV. AN UNHEEDED LAW-GIVER, <ref targOrder="U" target="men191">191</ref></item>
          <item>XVI. THE BLUSHFUL MYSTERY, <ref targOrder="U" target="men195">195</ref></item>
          <item>   1. Sex Hygiene, <ref targOrder="U" target="men195">195</ref></item>
          <item>   2. Art and Sex, <ref targOrder="U" target="men197">197</ref></item>
          <item>   3. A Loss to Romance, <ref targOrder="U" target="men199">199</ref></item>
          <item>   4. Sex on the Stage, <ref targOrder="U" target="men200">200</ref></item>
          <item>XVII. GEORGE JEAN NATHAN, <ref targOrder="U" target="men208">208</ref></item>
          <item>XVIII. PORTRAIT OF AN IMMORTAL SOUL, <ref targOrder="U" target="men224">224</ref></item>
          <item>XIX. JACK LONDON, <ref targOrder="U" target="men236">236</ref></item>
          <item>XX. AMONG THE AVATARS, <ref targOrder="U" target="men240">240</ref></item>
          <item>XXI. THREE AMERICAN IMMORTALS, <ref targOrder="U" target="men246">246</ref></item>
          <item>   1. <sic>Aristotolean</sic> Obsequies, <ref targOrder="U" target="men246">246</ref></item>
          <item>   2. Edgar Allan Poe, <ref targOrder="U" target="men247">247</ref></item>
          <item>   3. Memorial Service, <ref targOrder="U" target="men249">249</ref></item>
        </list>
      </div1>
    </front>
    <body>
      <pb id="men9" n="9"/>
      <div1 type="main text">
        <head>PREJUDICES: FIRST SERIES</head>
        <div2 type="chapter I">
          <head>I. CRITICISM OF CRITICISM <lb/>OF CRITICISM</head>
          <p>EVERY now and then, a sense of the futility of their
daily endeavors falling suddenly upon them,
the critics of Christendom turn to a somewhat
sour and depressing consideration of the nature
and objects of their own craft. That is to say,
they turn to criticizing criticism. What is it in
plain words? What is its aim, exactly stated in
legal terms? How far can it go? What good can
it do? What is its normal effect upon the artist
and the work of art?</p>
          <p>Such a spell of self-searching has been in progress
for several years past, and the critics of various
countries have contributed theories of more or less
lucidity and plausibility to the discussion. Their views of
their own art, it appears, are quite as divergent as their
views of the arts they more commonly deal with. One
group argues, partly by direct statement and partly by
attacking all other groups, that the one defensible
purpose of the critic is to encourage
<pb id="men10" n="10"/>
the virtuous and oppose the sinful  -  in brief,
to police the fine arts
and so hold them in tune with the moral order of the
world. Another group, repudiating this constabulary
function, argues hotly that the arts have nothing to do
with morality whatsoever  -  that their concern is solely
with pure beauty. A third group holds that the chief
aspect of a work of art, particularly in the field of
literature, is its aspect as psychological document  -  that
if it doesn't help men to know themselves it is nothing. A
fourth group reduces the thing to an exact science, and
sets up standards that resemble algebraic formulæ  -  this is
the group of metrists, of contrapuntists and of those who
gabble of light-waves. And so, in order, follow groups
five, six, seven, eight, nine, ten, each with its theory and
its proofs.</p>
          <p>Against the whole corps, moral and æsthetic,
psychological and algebraic, stands Major J. E.
Spingarn, U.S.A. Major Spingarn lately served formal
notice upon me that he had abandoned the life of the
academic grove for that of the armed array, and so I
give him his military title, but at the time he wrote his
“Creative Criticism“ he was a professor in Columbia
University, and I still find myself thinking of him, not as a
soldier extraordinarily literate, but as a professor in
rebellion. For his notions, whatever one may say in
opposition to them, are at least magnificently
unprofessorial  -  they fly violently in the
<pb id="men11" n="11"/>
face of the principles that distinguish the largest and most
influential group of campus critics. As witness: “To say
that poetry is moral or immoral is as meaningless as to
say that an equilateral triangle is moral and an isosceles
triangle immoral.” Or, worse: “It is only conceivable in a
world in which dinner-table conversation runs after this
fashion: ‘This cauliflower would be good if it had only
been prepared in accordance with international 
law.’”
One imagines, on hearing such atheism flying about, the
amazed indignation of Prof. Dr. William Lyon Phelps,
with his discovery that Joseph Conrad preaches “the
axiom of the moral law”; the “Hey, 
what's that!” of Prof.
Dr. W. C. Brownell, the Amherst Aristotle, with his
eloquent plea for standards as iron-clad as the
Westminster Confession; the loud, patriotic alarm of the
gifted Prof. Dr. Stuart P. Sherman, of Iowa, with his
maxim that Puritanism is the official philosophy of
America, and that all who dispute it are enemy aliens
and should be deported. Major Spingarn, in truth, here
performs a treason most horrible upon the reverend
order he once adorned, and having achieved it, he
straightway performs another and then another. That is
to say, he tackles all the antagonistic groups of orthodox
critics seriatim, and knocks them about unanimously  -  
first the aforesaid agents of the sweet and pious; then the
advocates of unities, meters, all rigid formulæ; then
<pb id="men12" n="12"/>
the experts in imaginary psychology; then the historical
comparers, pigeonholers and makers of categories; finally,
the professors of pure æsthetic. One and all, they take their
places upon his operating table, and one and all they are
stripped and anatomized.</p>
          <p>But what is the anarchistic ex-professor's own
theory?  -  for a professor must have a theory, as a dog
must have fleas. In brief, what he offers is a doctrine
borrowed from the Italian, Benedetto Croce, and by
Croce filched from Goethe  -  a doctrine anything but
new in the world, even in Goethe's time, but nevertheless
long buried in forgetfulness  -  to wit, the doctrine that it
is the critic's first and only duty, as Carlyle once put it, to
find out “what the poet's aim really and truly was, how
the task he had to do stood before his eye, and how far,
with such materials as were afforded him, he has fulfilled
it.” For poet, read artist, or, if literature is in question,
substitute the Germanic word
<hi rend="italics"><foreign lang="gr">Dichter</foreign></hi>  -
that is, the
artist in words, the creator of beautiful letters, whether in
verse or in prose. Ibsen always called himself a
<hi rend="italics"><foreign lang="gr">Digter</foreign></hi>,
not a <hi rend="italics"><foreign lang="gr">Dramatiker</foreign></hi>
or <hi rend="italics"><foreign lang="gr">Skuespiller</foreign></hi>.
So, I daresay, did
Shakespeare.... Well, what is this generalized poet trying
to do? asks Major Spingarn, and how has he done it?
That, and no more, is the critic's quest. The morality of
the work does not concern him. It is not his business to
determine whether it heeds Aristotle or flouts Aristotle.
He passes no judgment on its
<pb id="men13" n="13"/>
rhyme scheme, its length and breadth, its iambics, its
politics, its patriotism, its piety, its psychological
exactness, its good taste. He may note these things, but
he may not protest about them  -  he may not complain if
the thing criticized fails to fit into a pigeonhole. Every
sonnet, every drama, every novel is
<hi rend="italics"><foreign lang="la">sui generis</foreign></hi>;
it must
stand on its own bottom; it must be judged by its own
inherent intentions. “Poets,” says Major 
Spingarn, “do
not really write epics, pastorals, lyrics, however much
they may be deceived by these false abstractions; they
express <hi rend="italics">themselves, and this expression is
their only form</hi>. There are not, therefore, only three or ten or a
hundred literary kinds; there are as many kinds as there
are individual poets.” Nor is there any valid appeal
<hi rend="italics"><foreign lang="la">ad hominem</foreign></hi>.
The character and background of the poet
are beside the mark; the poem itself is the thing. Oscar
Wilde, weak and swine-like, yet wrote beautiful prose.
To reject that prose on the ground that Wilde had filthy
habits is as absurd as to reject “What Is Man?” on the
ground that its theology is beyond the intelligence of the
editor of the New York <hi rend="italics">Times</hi>.</p>
          <p>This Spingarn-Croce-Carlyle-Goethe theory, of
course, throws a heavy burden upon the critic. It
presupposes that he is a civilized and tolerant man,
hospitable to all intelligible ideas and capable of reading
them as he runs. This is a demand that at once rules out
nine-tenths of the grown-up sophomores
<pb id="men14" n="14"/>
who carry on the business of criticism in America.
Their trouble is simply that they lack the intellectual
resilience necessary for taking in ideas, and particularly
new ideas. The only way they can ingest one is by transforming
it into the nearest related formula  -  usually a harsh and
devastating operation. This fact accounts for their
chronic inability to understand all that is most personal
and original and hence most forceful and significant in
the emerging literature of the country. They can get down
what has been digested and re-digested, and so brought
into forms that they know, and carefully labeled by
predecessors of their own sort  -  but they exhibit alarm
immediately they come into the presence of the
extraordinary. Here we have an explanation of
Brownell's loud appeal for a tightening of standards  -  
<hi rend="italics">i.e.</hi>, a larger respect for precedents,
patterns, rubber-stamps
  -  and here we have an explanation of Phelps's
inability to comprehend the colossal phenomenon of
Dreiser, and of Boynton's childish nonsense about
realism, and of Sherman's effort to apply the Espionage
Act to the arts, and of More's querulous enmity to
romanticism, and of all the fatuous pigeon-holing that
passes for criticism in the more solemn literary
periodicals.</p>
          <p>As practiced by all such learned and diligent but
essentially ignorant and unimaginative men, criticism is
little more than a branch of homiletics. They judge
<pb id="men15" n="15"/>
a work of art, not by its clarity and sincerity, not by the
force and charm of its ideas, not by the technical
virtuosity of the artist, not by his originality and artistic
courage, but simply and solely by his orthodoxy. If he is
what is called a “right thinker,” if he devotes himself to
advocating the transient platitudes in a sonorous manner,
then he is worthy of respect. But if he lets fall the
slightest hint that he is in doubt about any of them, or,
worse still, that he is indifferent, then he is a scoundrel,
and hence, by their theory, a bad artist. Such pious piffle
is horribly familiar among us. I do not exaggerate its
terms. You will find it running through the critical writings
of practically all the dull fellows who combine criticism
with tutoring; in the words of many of them it is stated in
the plainest way and defended with much heat,
theological and pedagogical. In its baldest form it shows
itself in the doctrine that it is scandalous for an artist
  -  say a dramatist or a novelist  -  to depict vice as
attractive. The fact that vice, more often than not,
undoubtedly <hi rend="italics">is</hi> attractive  -  else
why should it ever gobble
any of us?  -  is disposed of with a lofty gesture. What of
it? say these birchmen. The artist is not a reporter, but a
Great Teacher. It is not his business to depict the world
as it is, but as it ought to be.</p>
          <p>Against this notion American criticism makes but
feeble headway. We are, in fact, a nation of
<pb id="men16" n="16"/>
evangelists; every third American devotes himself to improving
and lifting up his fellow-citizens, usually by force; the
messianic delusion is our national disease. Thus the moral
<hi rend="italics"><foreign lang="gr">Privatdozenten</foreign></hi>
have the crowd on their side, and it is
difficult to shake their authority; even the vicious are still
in favor of crying vice down. “Here is a novel,” says the
artist. “Why didn't you write a tract?” roars the professor
  -  and down the chute go novel and novelist. “This girl is
pretty,” says the painter. “But she has left off her
undershirt,” protests the head-master  -  and off goes the
poor dauber's head. At its mildest, this balderdash takes
the form of the late Hamilton Wright Mabie's “White List
of Books”, at its worst, it is comstockery, an idiotic and
abominable thing. Genuine criticism is as impossible to
such inordinately narrow and cocksure men as music is
to a man who is tone-deaf. The critic, to interpret his
artist, even to understand his artist, must be able to get
into the mind of his artist; he must feel and comprehend
the vast pressure of the creative passion; as Major
Spingarn says, “æsthetic judgment and artistic creation
are instinct with the same vital life.” This is why all the
best criticism of the world has been written by men who
have had within them, not only the reflective and
analytical faculty of critics, but also the gusto of artists  -  
Goethe, Carlyle, Lessing, Schlegel, Saint-Beuve, and, to
drop a story or two, Hazlitt, Hermann Bahr, Georg
<pb id="men17" n="17"/>
Brandes and James Huneker. Huneker, tackling “<foreign lang="gr">Also sprach Zarathustra</foreign>,” revealed its content in
illuminating
flashes. But tackled by Paul Elmer More, it became no
more than a dull student's exercise, ill-naturedly
corrected....</p>
          <p>So much for the theory of Major J. E. Spingarn, U.S.A.,
late professor of modern languages and literatures in
Columbia University. Obviously, it is a far sounder and
more stimulating theory than any of those cherished by
the other professors. It demands that the critic be a man
of intelligence, of toleration, of wide information, of
genuine hospitality to ideas, whereas the others only
demand that he have learning, and accept anything as
learning that has been said before. But once he has
stated his doctrine, the ingenious ex-professor, professor-like,
immediately begins to corrupt it by claiming too
much for it. Having laid and hatched, so to speak, his
somewhat stale but still highly nourishing egg, he begins
to argue fatuously that the resultant flamingo is the whole
mustering of the critical <hi rend="italics"><foreign lang="la">Aves</foreign></hi>. But the fact is, of course,
that criticism, as humanly practiced, must needs fall a
good deal short of this intuitive recreation of beauty, and
what is more, it must go a good deal further. For one
thing, it must be interpretation in terms that are not only
exact but are also comprehensible to the reader, else it
will leave the original mystery as dark as before  -  and once
interpretation
<pb id="men18" n="18"/>
comes in, paraphrase and transliteration come in.
What is recondite must be made plainer; the
transcendental, to some extent at least, must be done into
common modes of thinking. Well, what are morality,
trochaics, hexameters, movements, historical principles,
psychological maxims, the dramatic unities  -  what are all
these save common modes of thinking, short cuts, rubber
stamps, words of one syllable? Moreover, beauty as we
know it in this world is by no means the apparition
<hi rend="italicsa"><foreign lang="la">in vacuo</foreign></hi>
that Dr. Spingarn seems to see. It has its social, its
political, even its moral implications. The finale of
Beethoven's C minor symphony is not only colossal as
music, it is also colossal as revolt; it says something
against something. Yet more, the springs of beauty are
not within itself alone, nor even in genius alone, but often
in things without. Brahms wrote his Deutsches Requiem,
not only because he was a great artist, but also because
he was a good German. And in Nietzsche there are times
when the divine afflatus takes a back seat, and the
<hi rend="italics"><foreign lang="la">spirochaetae</foreign></hi>
have the floor.</p>
          <p>Major Spingarn himself seems to harbor some sense
of this limitation on his doctrine. He gives warning that
“the poet's intention must be judged at the moment of
the creative act”  -  which opens the door enough for
many an ancient to creep in. But limited or not, he at
least clears off a lot of moldy rubbish, and gets further
toward the truth than any
<pb id="men19" n="19"/>
of his former colleagues. They waste themselves upon theories
that only conceal the poet's achievement the more, the more
diligently they are applied; he, at all events, grounds himself
upon the sound notion that there should be free speech in
art, and no protective tariffs, and no
<hi rend="italics"><foreign lang="la">a priori</foreign></hi> assumptions,
and no testing of ideas by mere words. The safe ground
probably lies between the contestants, but nearer Spingarn.
The critic who really illuminates starts off much as he starts
off, but with a due regard for the prejudices and imbecilities
of the world. I think the best feasible practice is to be found
in certain chapters of Huneker, a critic of vastly more solid
influence and of infinitely more value to the arts than all the
prating pedagogues since Rufus Griswold. Here, as in the
case of Poe, a sensitive and intelligent artist recreates the
work of other artists, but there also comes to the ceremony
a man of the world, and the things he has to say are
apposite and instructive too. To denounce moralizing out of
hand is to pronounce a moral judgment. To dispute the
categories is to set up a new anti-categorical category. And
to admire the work of Shakespeare is to be interested in his
handling of blank verse, his social aspirations, his shot-gun
marriage and his frequent concessions to the bombastic
frenzy of his actors, and to have some curiosity about Mr.
W. H. The really competent critic must be an empiricist.
He must conduct his exploration
<pb id="men20" n="20"/>
with whatever means lie within the bounds of his personal
limitation. He must produce his effects with whatever
tools will work. If pills fail, he gets out his saw. If the
saw won't cut, he seizes a club....</p>
          <p>Perhaps, after all, the chief burden that lies upon
Major Spingarn's theory is to be found in its label. The
word “creative” is a bit too flamboyant; it says what he
wants to say, but it probably says a good deal more. In
this emergency, I propose getting rid of the misleading
label by pasting another over it. That is, I propose the
substitution of “catalytic” for “creative,” 
despite the fact
that “catalytic” is an unfamiliar word, and 
suggests the
dog-Latin of the seminaries. I borrow it from chemistry,
and its meaning is really quite simple. A catalyzer, in
chemistry, is a substance that helps two other substances
to react. For example, consider the case of ordinary
cane sugar and water. Dissolve the sugar in the water
and nothing happens. But add a few drops of acid and
the sugar changes into glucose and fructose. Meanwhile,
the acid itself is absolutely unchanged. All it does is to stir
up the reaction between the ureter and the sugar. The
process is called catalysis. The acid is a catalyzer.</p>
          <p>Well, this is almost exactly the function of a genuine
critic of the arts. It is his business to provoke the
reaction between the work of art and the spectator.
<pb id="men21" n="21"/>
The spectator, untutored, stands unmoved; he sees the
work of art, but it fails to make any intelligible
impression on him; if he were spontaneously sensitive to
it, there would be no need for criticism. But now comes
the critic with his catalysis. He makes the work of art
live for the spectator; he makes the spectator live for the
work of art. Out of the process comes understanding,
appreciation, intelligent enjoyment  -  and that is
precisely what the artist tried to produce.</p>
        </div2>
        <pb id="men22" n="22"/>
        <div2 type="chapter II">
          <head>II. THE LATE MR. WELLS</head>
          <p>THE man as artist, I fear, is extinct  -  not by some
sudden and romantic catastrophe, like his own Richard
Remington, but after a process of gradual and obscure
decay. In his day he was easily the most brilliant, if not
always the most profound, of contemporary English
novelists. There were in him all of the requisites for the
business and most of them very abundantly. He had a
lively and charming imagination, he wrote with the utmost
fluency and address, he had humor and eloquence, he
had a sharp eye for the odd and intriguing in human
character, and, most of all, he was full of feeling and
could transmit it to the reader. That high day of his
lasted, say, from 1908 to 1912. It began with
“Tono-Bungay”
and ended amid the last scenes of “Marriage,”
as the well-made play of Scribe gave up the ghost in the
last act of “A Doll's House.” There, in
“Marriage,” were
the first faint signs of something wrong. Invention
succumbed to theories that somehow failed to hang
together, and the story, after vast heavings,
incontinently went to pieces. One had begun with an
acute and highly diverting study of monogamy in modern
London; one found one's self, toward
<pb id="men23" n="23"/>
the close, gaping over an unconvincing fable of
marriage in the Stone Age. Coming directly after so
vivid a personage as Remington, Dr. Richard Godwin
Trafford simply refused to go down. And his Marjorie,
following his example, stuck in the gullet of the
imagination. One ceased to believe in them when they
set out for Labrador, and after that it was impossible to
revive interest in them. The more they were explained
and vivisected and drenched with theories, the more
unreal they became.</p>
          <p>Since then the decline of Wells has been as steady as
his rise was rapid. Call the roll of his books, and you
will discern a progressive and unmistakable falling off.
Into “The Passionate Friends” there 
crept the first
downright dullness. By this time his readers had become
familiar with his machinery and his materials  -  his
elbowing suffragettes, his tea-swilling London uplifters,
his smattering of quasi-science, his intellectualized
adulteries, his Thackerayan asides, his text-book
paragraphs, his journalistic raciness  -  and all these
things had thus begun to lose the blush of their first
charm. To help them out he heaved in larger and larger
doses of theory  -  often diverting enough, and
sometimes even persuasive, but in the long run a poor
substitute for the proper ingredients of character,
situation and human passion. Next came 
“The Wife of
Sir Isaac Harman,” an attempt to rewrite 
“A Doll's
House” (with a fourth act) in
<pb id="men24" n="24"/>
terms of ante-bellum 1914. The result was 500-odd pages of
bosh, a flabby and tedious piece of work, Wells for the first
time in the rôle of unmistakable bore. And then 
“Bealby,”
with its Palais Royal jocosity, its running in and out of
doors, its humor of physical collision, its reminiscences
of “A Trip to Chinatown” and “Peck's 
Bad Boy.” And
then “Boon,” a heavy-witted satire, often
incomprehensible, always incommoded by its disguise as
a novel. And then “The Research Magnificent”: a poor
soup from the dry bones of Nietzsche. And then “Mr.
Britling Sees It Through”...</p>
          <p>Here, for a happy moment, there seemed to be
something better  -  almost, in fact, a recrudescence of
the Wells of 1910. But that seeming was only seeming.
What confused the judgment was the enormous popular
success of the book. Because it presented a fifth-rate
Englishman in an heroic aspect, because it
sentimentalized the whole reaction of the English
proletariat to the war, it offered a subtle sort of flattery
to other fifth-rate Englishmen, and, <hi rend="italics">per
corollary</hi>, to
Americans of corresponding degree, to wit, the second.
Thus it made a great posher, and was hymned as a
masterpiece in such gazettes as the New York <hi rend="italics">Times</hi>,
as
Blasco Ibáñez's “The Four Horsemen of the
Apocalypse” was destined to be hymned three years
later. But there was in the book, in point of fact, a great
hollowness, and that hollowness presently
<pb id="men25" n="25"/>
begat an implosion that disposed of the shell. I daresay
many a novel-reader returns, now and then, to “Tono-Bungay,”
and even to “Ann Veronica.” But surely only a
reader with absolutely nothing else to read would return
to “Mr. Britling Sees It Through.” There followed  -  
what? “The Soul of a Bishop,” perhaps the worst novel
ever written by a serious novelist since novel-writing
began. And then  -  or perhaps a bit before, or
simultaneously  -  an idiotic religious tract  -  a tract so
utterly feeble and preposterous that even the
Scotchman, William Archer, could not stomach it. And
then, to make an end, came “Joan and Peter”  -  and the
collapse of Wells was revealed at last in its true
proportions.</p>
          <p>This “Joan and Peter” I confess, lingers in my memory
as unpleasantly as a summer cold, and so, in retrospect,
I may perhaps exaggerate its intrinsic badness. I would
not look into it again for gold and frankincense. I was at
the job of reading it for days and days, endlessly
daunted and halted by its laborious dullness, its flatulent
fatuity, its almost fabulous inconsequentiality. It was,
and is, nearly impossible to believe that the Wells of
“Tono-Bungay” and “The History of Mr. 
Polly” wrote it,
or that he was in the full possession of his faculties when
he allowed it to be printed under his name. For in it
there is the fault that the Wells of those days, almost
beyond any other fictioneer of the time, was incapable
of  -  
<pb id="men26" n="26"/>
the fault of dismalness, of tediousness  -  the witless
and contagious coma of the evangelist. Here, for nearly
six hundred pages of fine type, he rolls on in an intellectual
cloud, boring one abominably with uninteresting people,
pointless situations, revelations that reveal nothing,
arguments that have no appositeness, expositions that
expose naught save an insatiable and torturing garrulity.
Where is the old fine address of the man? Where is his
sharp eye for the salient and significant in character?
Where is his instinct for form, his skill at putting a story
together, his hand for making it unwind itself? These
things are so far gone that it becomes hard to believe that
they ever existed. There is not the slightest sign of them
in “Joan and Peter.” The book is a botch from end to
end, and in that botch there is not even the palliation of
an arduous enterprise gallantly attempted. No inherent
difficulty is visible. The story is anything but complex,
and surely anything but subtle. Its badness lies wholly in
the fact that the author made a mess of the writing, that
his quondam cunning, once so exhilarating, was gone
when he began it.</p>
          <p>Reviewing it at the time of its publication, I inclined
momentarily to the notion that the war was to blame.
No one could overestimate the cost of that struggle to
the English, not only in men and money, but also and
more importantly in the things of the
<pb id="men27" n="27"/>
spirit. It developed national traits that were greatly at
odds with the old ideal of Anglo-Saxon character  -  an extravagant
hysteria, a tendency to whimper under blows: political
radicalism and credulity. It overthrew the old ruling caste
of the land and gave over the control of things to
upstarts from the lowest classes  -  shady Jews, snuffling
Methodists, prehensile commercial gents, disgusting
demagogues, all sorts of self-seeking adventurers. Worst
of all, the strain seemed to work havoc with the
customary dignity and reticence, and even with the plain
commonsense of many Englishmen on a higher level, and
in particular many English writers. The astounding
bawling of Kipling and the no less astounding bombast
of G. K. Chesterton were anything but isolated; there
were, in fact, scores of other eminent authors in the
same state of eruption, and a study of the resultant
literature of objurgation will make a fascinating job for
some sweating Privatdozent of to-morrow, say out of
Göttingen or Jena. It occurred to me, as I say, that
Wells might have become afflicted by this same
demoralization, but reflection disposed of the notion. On
the one hand, there was the plain fact that his actual
writings on the war, while marked by the bitterness of
the time, were anything but insane, and on the other
hand there was the equally plain fact that his decay had
been in progress a long while before the Germans made
their fateful thrust at Liége.</p>
          <pb id="men28" n="28"/>
          <p>The precise thing that ailed him I found at last on page
272 <hi rend="italics"><foreign lang="la">et seq.</foreign></hi>
of the American edition of his book. There it
was plainly described, albeit unwittingly, but if you will
go back to the other novels since “Marriage” you will
find traces of it in all of them, and even more vivid
indications in the books of exposition and
philosophizing that have accompanied them. What has
slowly crippled him and perhaps disposed of him is his
gradual acceptance of the theory, corrupting to the artist
and scarcely less so to the man, that he is one of the
Great Thinkers of his era, charged with a pregnant
Message to the Younger Generation  -  that his ideas,
rammed into enough skulls, will Save the Empire, not
only from the satanic Nietzscheism of the Hindenburgs
and post-Hindenburgs, but also from all those inner
Weaknesses that taint and flabbergast its vitals, as the
tapeworm with nineteen heads devoured Atharippus of
Macedon. In brief, he suffers from a messianic delusion  -  
and once a man begins to suffer from a messianic
delusion his days as a serious artist are ended. He may
yet serve the state with laudable devotion, he may yet
enchant his millions; he may yet posture and gyrate
before the world as a man of mark. But not in the
character of artist. Not as a creator of sound books. Not
in the separate place of one who observes the eternal
tragedy of man with full sympathy and understanding,
and yet with a touch of god-like remoteness.
<pb id="men29" n="29"/>
Not as Homer saw it, smiting the while his blooming
lyre.</p>
          <p>I point, as I say, to page 272 of “Joan and Peter,”
whereon, imperfectly concealed by jocosity, you will
find Wells' private view of Wells  -  a view at once too
flattering and libelous. What it shows is the absorption of
the artist in the tin-pot reformer and professional wise
man. A descent, indeed! The man impinged upon us and
made his first solid success, not as a merchant of banal
pedagogics, not as a hawker of sociological liver-pills,
but as a master of brilliant and life-like representation, an
evoker of unaccustomed but none the less deep-seated
emotions, a dramatist of fine imagination and highly
resourceful execution. It was the stupendous drama and
spectacle of modern life, and not its dubious and
unintelligible lessons, that drew him from his test-tubes
and guinea-pigs and made an artist of him, and to the
business of that artist, once he had served his
apprenticeship, he brought a vision so keen, a point of
view so fresh and sane and a talent for exhibition so
lively and original that he straightway conquered all of
us. Nothing could exceed the sheer radiance of “Tono-Bungay.”
It is a work that glows with reality. It projects
a whole epoch with unforgettable effect. It is a moving-picture
conceived and arranged, not by the usual ex-bartender
or chorus man, but by an extremely civilized and
sophisticated observer,
<pb id="men30" n="30"/>
alert to every detail of the surface and yet acutely aware
of the internal play of forces, the essential springs, the
larger, deeper lines of it. In brief, it is a work of art of
the soundest merit, for it both represents accurately and
interprets convincingly, and under everything is a current
of feeling that coordinates and informs the whole.</p>
          <p>But in the success of the book and of the two or three
following it there was a temptation, and in the temptation
a peril. The audience was there, high in expectation,
eagerly demanding more. And in the ego of the man  -  a
true proletarian, and hence born with morals, faiths,
certainties, vasty gaseous hopes  -  there was an urge.
That urge, it seems to me, began to torture him when
he set about “The Passionate Friends.” In the presence
of it, he was dissuaded from the business of an
artist,  -  made discontented with the business of an artist.
It was not enough to display the life of his time with
accuracy and understanding; it was not even enough to
criticize it with a penetrating humor and sagacity. From
the depths of his being, like some foul miasma, there
arose the old, fatuous yearning to change it, to improve
it, to set it right where it was wrong, to make it over
according to some pattern superior to the one followed
by the Lord God Jehovah. With this sinister impulse, as
aberrant in an artist as a taste for legs in an archbishop,
the instinct that had created “Tono-Bungay”
<pb id="men31" n="31"/>
and “The New Machiavelli” gave battle, and for a while the
issue was in doubt. But with “Marriage,” 
its trend began
to be apparent  -  and before long the evangelist was
triumphant, and his bray battered the ear, and in the end
there was a quite different Wells before us, and a Wells
worth infinitely less than the one driven off. To-day one
must put him where he has begun to put himself  -  not
among the literary artists of English, but among the
brummagem prophets of England. His old rival was
Arnold Bennett. His new rival is the Fabian Society, or
maybe Lord Northcliffe, or the surviving Chesterton, or
the later Hillaire Belloc.</p>
          <p>The prophesying business is like writing fugues; it is
fatal to every one save the man of absolute genius. The
lesser fellow  -  and Wells, for all his cleverness, is
surely one of the lesser fellows  -  is bound to come to
grief at it, and one of the first signs of his coming to
grief is the drying up of his sense of humor. Compare
“The Soul of a Bishop” or “Joan and 
Peter” to “Ann
Veronica” or “The History of Mr. Polly.” 
One notices
instantly the disappearance of the comic spirit, the old
searching irony  -  in brief, of the precise thing that
keeps the breath of life in Arnold Bennett. It was in
“Boon,” I believe, that this irony showed its last flare.
There is a passage in that book which somehow lingers
in the memory: a portrait of the United States as it arose
in the mind of an Englishman
<pb id="men32" n="32"/>
reading the <hi rend="italics">Nation</hi> of yesteryear:
“a vain,
garrulous and prosperous female of uncertain age, and
still more uncertain temper, with unfounded pretensions
to intellectuality and an idea of refinement of the most
negative description...the Aunt Errant of
Christendom.” A capital whimsy  -  but blooming almost
alone. A sense of humor, had it been able to survive the
theology, would certainly have saved us from Lady
Sunderbund, in “The Soul of a Bishop,” 
and from Lady
Charlotte Sydenham in “Joan and Peter.” 
But it did not
and could not survive. It always withers in the presence
of the messianic delusion, like justice and the truth in
front of patriotic passion. What takes its place is the
oafish, witless buffoonishness of the chautauquas and
the floor of Congress  -  for example, the sort of thing
that makes an intolerable bore of “Bealby.”</p>
          <p>Nor are Wells' ideas, as he has so laboriously
expounded them, worth the sacrifice of his old lively
charm. They are, in fact, second-hand, and he often
muddles them in the telling. In “First and Last
Things” he
preaches a flabby Socialism, and then, toward the end,
admits frankly that it doesn't work. In “Boon”
he erects
a whole book upon an eighth-rate platitude, to wit, the
platitude that English literature, in these latter times, is
platitudinous  -  a three-cornered banality, indeed, for
his own argument is a case in point, and so helps to
prove what was already
<pb id="men33" n="33"/>
obvious. In “The Research Magnificent” 
he smouches an
idea from Nietzsche, and then mauls it so badly that one
begins to wonder whether he is in favor of it or against
it. In “The Undying Fire” he first states the 
obvious, and
then flees from it in alarm. In his war books he borrows
right and left  -  from Dr. Wilson, from the British
Socialists, from Romain Rolland, even from such
profound thinkers as James M. Beck, Lloyd-George
and the editor of the New York <hi rend="italics">Tribune</hi>  -
and everything
that he borrows is flat. In “Joan and Peter” he first
argues that England is going to pot because English
education is too formal and archaic, and then that
Germany is going to pot because German education is
too realistic and opportunist. He seems to respond to all
the varying crazes and fallacies of the day; he swallows
them without digesting them; he tries to substitute mere
timeliness for reflection and feeling. And under all the
rumble-bumble of bad ideas is the imbecile assumption
of the jitney messiah at all times and everywhere: that
human beings may be made over by changing the rules
under which they live, that progress is a matter of intent
and foresight, that an act of Parliament can cure the
blunders and check the practical joking of God.</p>
          <p>Such notions are surely no baggage for a serious
novelist. A novelist, of course, must have a point of
view, but it must be a point of view untroubled by
<pb id="men34" n="34"/>
the crazes of the moment, it must regard the internal
workings and meanings of existence and not merely its
superficial appearances. A novelist must view life from
some secure rock, drawing it into a definite perspective,
interpreting it upon an ordered plan. Even if he hold (as Conrad
does, and Dreiser, and Hardy, and Anatole France) that it is
essentially meaningless, he must at least display that
meaninglessness with reasonable clarity and consistency.
Wells shows no such solid and intelligible attitude. He is
too facile, too enthusiastic, too eager to teach to-day
what he learned yesterday. Van Wyck Brooks once
tried to reduce the whole body of his doctrine to a
succinct statement. The result was a little volume a great
deal more plausible than any that Wells himself has ever
written  -  but also one that probably surprised him now
and then as he read it. In it all his contradictions were
reconciled, all his gaps bridged, all his shifts ameliorated.
Brooks did for him, in brief, what William Bayard Hale
did for Dr. Wilson in “The New Freedom,” 
and has lived
to regret it, I daresay, or at all events the vain labor of it,
in the same manner....</p>
          <p>What remains of Wells? There remains a little shelf of
very excellent books, beginning with “Tono-Bungay”
and ending with “Marriage.” It is a shelf flanked on the
one side by a long row of extravagant romances in the
manner of Jules Verne, and on the
<pb id="men35" n="35"/>
other side by an even longer row of puerile tracts. But
let us not underestimate it because it is in such uninviting
company. There is on it some of the liveliest, most
original, most amusing, and withal most respectable
fiction that England has produced in our time. In that
fiction there is a sufficient memorial to a man who,
between two debauches of claptrap, had his day as an
artist.</p>
        </div2>
        <pb id="men36" n="36"/>
        <div2 type="chapter III">
          <head>III. ARNOLD BENNETT</head>
          <p>OF Bennett it is quite easy to conjure up a recognizable
picture by imaging everything that Wells is not  -  that is,
everything interior, everything having to do with attitudes
and ideas, everything beyond the mere craft of arranging
words in ingratiating sequences. As stylists, of course,
they have many points of contact. Each writes a
journalese that is extraordinarily fluent and tuneful; each
is apt to be carried away by the rush of his own
smartness. But in their matter they stand at opposite
poles. Wells has a believing mind, and cannot resist the
lascivious beckonings and eye-winkings of meretricious
novelty; Bennett carries skepticism so far that it often
takes on the appearance of a mere peasant-like
suspicion of ideas, bellicose and unintelligent. Wells is
astonishingly intimate and confidential; and more than
one of his novels reeks with a shameless sort of
autobiography; Bennett, even when he makes use of
personal experience, contrives to get impersonality into
it. Wells, finally, is a sentimentalist, and cannot conceal
his feelings; Bennett, of all the English novelists of the
day, is the most steadily aloof and ironical.
<pb id="men37" n="37"/>
This habit of irony, in truth, is the thing that gives
Bennett all his characteristic color, and is at the bottom
of both his peculiar merit and his peculiar limitation. On the
one hand it sets him free from the besetting sin of the
contemporary novelist: he never preaches, he has no
messianic delusion, he is above the puerile theories that
have engulfed such romantic men as Wells, Winston
Churchill and the late Jack London, and even, at times,
such sentimental agnostics as Dreiser. But on the other
hand it leaves him empty of the passion that is, when all
is said and done, the chief mark of the true novelist. The
trouble with him is that he cannot feel with his
characters, that he never involves himself emotionally in
their struggles against destiny, that the drama of their
lives never thrills or dismays him  -   and the result is that 
he is unable to arouse in the reader that penetrating
sense of kinship, that profound and instinctive sympathy,
which in its net effect is almost indistinguishable from the
understanding born of experiences actually endured and
emotions actually shared. Joseph Conrad, in a
memorable piece of criticism, once put the thing clearly.
“My task,” he said, “is, by the power of the written
word, to make you hear, to make you feel  -  it is,
above all, to make you see.”  Here seeing, it must be
obvious, is no more than feeling put into physical terms;
it is not the outward aspect that is to be seen, but the
inner truth  -  and the end
<pb id="men38" n="38"/>
to be sought by that apprehension of inner truth is responsive
recognition, the sympathy of poor mortal for poor mortal, the
tidal uprush of feeling that makes us all one. Bennett, it seems
to me, cannot evoke it. His characters, as they pass, have a
deceptive brilliance of outline, but they soon fade; one
never finds them haunting the memory as Lord Jim haunts
it, or Carrie Meeber, or Huck Finn, or Tom Jones. The
reason is not far to seek. It lies in the plain fact that they
appear to their creator, not as men and women whose
hopes and agonies are of poignant concern, not as tragic
comedians in isolated and concentrated dramas, but as
mean figures in an infinitely dispersed and unintelligible
farce, as helpless nobodies in an epic struggle that
transcends both their volition and their comprehension.
Thus viewing them, he fails to humanize them completely,
and so he fails to make their emotions contagious. They
are, in their way, often vividly real; they are thoroughly
accounted for; what there is of them is unfailingly life-like;
they move and breathe in an environment that pulses and
glows. But the attitude of the author toward them
remains, in the end, the attitude of a biologist toward his
laboratory animals. He does not <hi rend="italics">feel</hi>
with them  -  and
neither does his reader.</p>
          <p>Bennett's chief business, in fact, is not with individuals
at all, even though he occasionally brings them up
almost to life-size. What concerns him principally
<pb id="men39" n="39"/>
is the common life of large groups, the action and
reaction of castes and classes, the struggle among
societies. In particular, he is engrossed by the colossal
and disorderly functioning of the English middle class  -  a
division of mankind inordinately mixed in race, confused
in ideals and illogical in ideas. It is a group that has had
interpreters aplenty, past and present; a full half of the
literature of the Victorian era was devoted to it. But
never, I believe, has it had an interpreter more resolutely
detached and relentless  -  never has it had one less
shaken by emotional involvement. Here the very lack that
detracts so much from Bennett's stature as a novelist in
the conventional sense is converted into a valuable
possession. Better than any other man of his time he has
got upon paper the social anatomy and physiology of the
masses of average, everyday, unimaginative Englishmen.
One leaves the long series of Five Towns books with a
sense of having looked down the tube of a microscope
upon a huge swarm of infinitely little but incessantly
struggling organisms  -  creatures engaged furiously in the
pursuit of grotesque and unintelligible ends  -  helpless
participants in and victims of a struggle that takes on, to
their eyes, a thousand lofty purposes, all of them puerile
to the observer above its turmoil. Here, he seems to say,
is the middle, the average, the typical Englishman. Here is
the fellow as he appears to himself  -  virtuous, laborious,
<pb id="men40" n="40"/>
important, intelligent, made in God's image. And here he is
in fact  -  swinish, ineffective, inconsequential, stupid, a
feeble parody upon his maker. It is irony that penetrates and
devastates, and it is unrelieved by any show of the pity
that gets into the irony of Conrad, or of the tolerant
claim of kinship that mitigates that of Fielding and
Thackeray. It is harsh and cocksure. It has, at its
moments, some flavor of actual bounderism: one
instinctively shrinks from so smart-alecky a pulling off of
underclothes and unveiling of warts.</p>
          <p>It is easy to discern in it, indeed, a note of distinct
hostility, and even of disgust. The long exile of the author
is not without its significance. He not only got in France
something of the Frenchman's aloof and disdainful view
of the English; he must have taken a certain distaste for
the national scene with him in the first place, else he
would not have gone at all. The same attitude shows
itself in W. L. George, another Englishman smeared with
Gallic foreignness. Both men, it will be recalled, reacted
to the tremendous emotional assault of the war, not by
yielding to it ecstatically in the manner of the unpolluted
islanders, but by shrinking from it into a reserve that was
naturally misunderstood. George has put his sniffs into
“Blind Alley”; Bennett has got his into 
“The Pretty Lady.”
I do not say that either book is positively French; what I
do say is that both mirror an attitude
<pb id="men41" n="41"/>
that has been somehow emptied of mere nationalism. An
Italian adventure, I daresay, would have produced the same
effect, or a Spanish, or Russian, or German. But it
happened to be French. What the Bennett story attempts
to do is what every serious Bennett story attempts to do:
to exhibit dramatically the great gap separating the
substance from the appearance in the English character.
It seems to me that its prudent and self-centered G. J.
Hoape is a vastly more real Englishman of his class, and,
what is more, an Englishman vastly more useful and
creditable to England, than any of the gaudy Bayards and
Cids of conventional war fiction. Here, indeed, the irony
somehow fails. The man we are obviously expected to
disdain converts himself, toward the end, into a man not
without his touches of the admirable. He is no hero, God
knows, and there is no more brilliance in him than you
will find in an average country squire or Parliament man,
but he has the rare virtue of common sense, and that is
probably the virtue that has served the English better than
all others. Curiously enough, the English reading public
recognized the irony but failed to observe its confutation,
and so the book got Bennett into bad odor at home, and
into worse odor among the sedulous apes of English
ideas and emotions on this side of the water. But it is a
sound work nevertheless  -  a sound work with a large
and unescapable defect.</p>
          <pb id="men42" n="42"/>
          <p>That defect is visible in a good many of the other
things that Bennett has done. It is the product of his
emotional detachment and it commonly reveals itself as
an inability to take his own story seriously. Sometimes he
pokes open fun at it, as in “The Roll-Call”; more often he
simply abandons it before it is done, as if weary of a too
tedious foolery. This last process is plainly visible in “The
Pretty Lady.” The thing that gives form and direction to
that story is a simple enough problem in psychology, to
wit: what will happen when a man of sound education
and decent instincts, of sober age and prudent habit, of
common sense and even of certain mild cleverness  -  
what will happen, logically and naturally, when such a
normal, respectable, cautious fellow finds himself
disquietingly in love with a lady of no position at all  -  in
brief, with a lady but lately of the town? Bennett sets the
problem, and for a couple of hundred pages investigates
it with the utmost ingenuity and address, exposing and
discussing its sub-problems, tracing the gradual shifting
of its terms, prodding with sharp insight into the
psychological material entering into it. And then, as if
suddenly tired of it  -  worse, as if suddenly convinced
that the thing has gone on long enough, that he has
given the public enough of a book for its money  -  he
forthwith evades the solution altogether, and brings
down his curtain upon a palpably artificial dénouement.
The device murders the book.</p>
          <pb id="men43" n="43"/>
          <p>One is arrested at the start by a fascinating statement of
the problem, one follows a discussion of it that shows
Bennett at his brilliant best, fertile in detail, alert to every
twist of motive, incisively ironical at every step  -  and
then, at the end, one is incontinently turned out of the
booth. The effect is that of being assaulted with an ice-pick
by a hitherto amiable bartender, almost that of
being bitten by a pretty girl in the midst of an amicable
buss.</p>
          <p>That effect, unluckily, is no stranger to the reader of
Bennett novels. One encounters it in many of them.
There is a tremendous marshaling of meticulous and
illuminating observation, the background throbs with
color, the sardonic humor is never failing, it is a capital
show  -  but always one goes away from it with a sense
of having missed the conclusion, always there is a final
begging of the question. It is not hard to perceive the
attitude of mind underlying this chronic evasion of issues.
It is, in essence, agnosticism carried to the last place of
decimals. Life itself is meaningless; therefore, the
discussion of life is meaningless; therefore, why try
futilely to get a meaning into it? The reasoning, unluckily,
has holes in it. It may be sound logically, but it is
psychologically unworkable. One goes to novels, not for
the bald scientific fact, but for a romantic amelioration of
it. When they carry that amelioration to the point of
uncritical certainty, when they are full of “ideas”
<pb id="men44" n="44"/>
that click and whirl like machines, then the mind revolts
against the childish naïveté of the thing. But
when there is no organization of the spectacle at all,
when it is presented as
a mere formless panorama, when to the sense of its
unintelligibility is added the suggestion of its inherent
chaos, then the mind revolts no less. Art can never be
simple representation. It cannot deal solely with
precisely what is. It must, at the least, present the real in
the light of some recognizable ideal; it must give to the
eternal farce, if not some moral, then at all events some
direction. For without that formulation there can be no
clearcut separation of the individual will from the general
stew and turmoil of things, and without that separation
there can be no coherent drama, and without that drama
there can be no evocation of emotion, and without that
emotion art is unimaginable. The field of the novel is very
wide. There is room, on the one side, for a brilliant play
of ideas and theories, provided only they do not stiffen
the struggle of man with man, or of man with destiny,
into a mere struggle of abstractions. There is room, on
the other side, for the most complete agnosticism,
provided only it be tempered by feeling. Joseph Conrad
is quite as unshakable an agnostic as Bennett; he is a ten
times more implacable ironist. But there is yet a place in
his scheme for a sardonic sort of pity, and pity, however
sardonic, is perhaps as good an emotion as another.
<pb id="men45" n="45"/>
The trouble with Bennett is that he essays to sneer, not only
at the futile aspiration of man, but also at the agony that goes
with it. The result is an air of affectation, of superficiality,
almost of stupidity. The manner, on the one hand, is that
of a highly skillful and profoundly original artist, but on
the other hand it is that of a sophomore just made aware
of Haeckel, Bradlaugh and Nietzsche.</p>
          <p>Bennett's unmitigated skepticism explains two things
that have constantly puzzled the reviewers, and that
have been the cause of a great deal of idiotic writing
about him  -  for him as well as against him. One of
these things is his utter lack of anything properly
describable as artistic conscience  -  his extreme readiness
to play the star houri in the seraglio of the publishers; the
other is his habit of translating platitudes into racy
journalese and gravely offering them to the suburban
trade as “pocket philosophies.” Both crimes, it seems to
me, have their rise in his congenital incapacity for taking
ideas seriously, even including his own. “If this,” he
appears to say, “is the tosh you want, then here is
another dose of it. Personally, I have little interest in that
sort of thing. Even good novels  -  the best I can do  -  
are no more than compromises with a silly convention. I
am not interested in stories; I am interested in the
anatomy of human melancholy; I am a descriptive
sociologist, with overtones of malice. But if you want
stories, and can pay
<pb id="men46" n="46"/>
for them, I am willing to give them to you. And if you
prefer bad stories, then here is a bad one. Don't assume you
can shame me by deploring my willingness. Think of what your
doctors do every day, and your lawyers, and your men of God,
and your stockbrokers, and your traders and politicians.
I am surely no worse than the average. In fact, I am
probably a good deal superior to the average, for I am
at least not deceived by my own mountebankery  -  I at
least know my sound goods from my shoddy.” Such, I
daresay, is the process of thought behind such hollow
trade-goods as “Buried Alive” and “The
Lion's Share.”
One does not need the man's own amazing confidences
to hear his snickers at his audience, at his work and at
himself.</p>
          <p>The books of boiled-mutton “philosophy” in the
manner of Dr. Orison Swett Marden and Dr. Frank
Crane and the occasional pot-boilers for the
newspapers and magazines probably have much the
same origin. What appears in them is not a weakness for
ideas that are stale and obvious, but a distrust of all
ideas whatsoever. The public, with its mob yearning to
be instructed, edified and pulled by the nose, demands
certainties; it must be told definitely and a bit raucously
that this is true and that is false. But there
<hi rend="italics">are</hi> no
certainties. <hi rend="italics"><foreign lang="la">Ergo</foreign></hi>,
one notion is as good as another, and
if it happens to be utter flubdub, so much the better  -  
for it is precisely flubdub that penetrates
<pb id="men47" n="47"/>
the popular skull with the greatest facility. The way is
already made: the hole already gapes. An effort to
approach the hidden and baffling truth would simply
burden the enterprise with difficulty. Moreover, the
effort is intrinsically laborious and ungrateful. Moreover,
there is probably no hidden truth to be uncovered. Thus,
by the route of skepticism, Bennett apparently arrives at
his sooth-saying. That he actually believes in his own
theorizing is inconceivable. He is far too intelligent a man
to hold that any truths within the comprehension of the
popular audience are sound enough to be worth
preaching, or that it would do any good to preach them
if they were. No doubt he is considerably amused
<hi rend="italics"><foreign lang="it">in petto</foreign></hi>
by the gravity with which his bedizened platitudes
have been received by persons accustomed to that sort
of fare, particularly in America. It would be interesting to
hear his private view of the corn-fed critics who hymn
him as a profound and impassioned moralist, with a
mission to rescue the plain people from the heresies of
such fellows as Dreiser.</p>
          <p>So much for two of the salient symptoms of his
underlying skepticism. Another is to be found in his
incapacity to be, in the ordinary sense, ingratiating; it is
simply beyond him to say the pleasant thing with any
show of sincerity. Of all his books, probably the worst
are his book on the war and his book on the United
States. The latter was obviously undertaken
<pb id="men48" n="48"/>
with some notion of paying off a debt. Bennett
had been to the United States; the newspapers had
hailed him in their side-show way; the women's clubs
had pawed over him; he had, no doubt, come home a
good deal richer. What he essayed to do was to write a
volume on the republic that should be at once colorably
accurate and discreetly agreeable. The enterprise was
quite beyond him. The book not only failed to please
Americans; it offended them in a thousand subtle ways,
and from its appearance dates the decline of the author's
vogue among us. He is not, of course, completely
forgotten, but it must be plain that Wells now stands a
good deal above him in the popular estimation  -  even
the later Wells of bad novel after bad novel. His war
book missed fire in much the same way. It was
workmanlike, it was deliberately urbane, it was
undoubtedly truthful  -  but it fell flat in England and it fell
flat in America. There is no little significance in the fact
that the British government, in looking about for English
authors to uphold the British cause in America and labor
for American participation in the war, found no
usefulness in Bennett. Practically every other novelist
with an American audience was drafted for service, but
not Bennett. He was <hi rend="italics"><foreign lang="la">non
est</foreign></hi> during the heat of the fray,
and when at length he came forward with “The Pretty
Lady” the pained manner with which it
<pb id="men49" n="49"/>
was received quite justified the judgment of those who
had passed him over.</p>
          <p>What all this amounts to may be very briefly put: in
one of the requisite qualities of the first-rate novelist
Bennett is almost completely lacking, and so it would be
no juggling with paradox to argue that, at bottom, he is
scarcely a novelist at all. His books, indeed,  -  that is,
his serious books, the books of his better canon  -  often
fail utterly to achieve the effect that one associates with
the true novel. One carries away from them, not the
impression of a definite transaction, not the memory of
an outstanding and appealing personality, not the aftertaste
of a profound emotion, but merely the sense of
having witnessed a gorgeous but incomprehensible
parade, coming out of nowhere and going to God
knows where. They are magnificent as representation,
they bristle with charming detail, they radiate the humors
of an acute and extraordinary man, they are
entertainment of the best sort  -  but there is seldom
anything in them of that clear, well-aimed and solid effect
which one associates with the novel as work of art.
Most of these books, indeed, are no more than
collections of essays defectively dramatized. What is
salient in them is not their people, but their backgrounds
  -  and their people are forever fading into their
backgrounds. Is there a character in any of these books
that shows any sign of living as Pendennis
<pb id="men50" n="50"/>
lives, and Barry Lyndon, and Emma Bovary, and
David Copperfield, and the George Moore who is
always his own hero? Who remembers much about
Sophia Baines, save that she lived in the Five Towns, or
even about Clayhanger? Young George Cannon, in 
“The
Roll-Call,” is no more than an anatomical chart in a
lecture on modern marriage. Hilda 
Lessways-Cannon-Clayhanger
is not only inscrutable; she is also dim. The
man and woman of “Whom God Hath Joined,” 
perhaps
the best of all the Bennett novels, I have so far forgotten
that I cannot remember their names. Even Denry the
Audacious grows misty. One remembers that he was the
center of the farce, but now he is long gone and the
farce remains.</p>
          <p>This constant remainder, whether he be actually
novelist or no novelist, is sufficient to save Bennett, it
seems to me, from the swift oblivion that so often
overtakes the popular fictioneer. He may not play the
game according to the rules, but the game that he plays
is nevertheless extraordinarily diverting and calls for an
incessant display of the finest sort of skill. No writer of
his time has looked into the life of his time with sharper
eyes, or set forth his findings with a greater charm and
plausibility. Within his deliberately narrow limits he had
done precisely the thing that Balzac undertook to do,
and Zola after him: he has painted a full-length portrait of
a whole society, accurately, brilliantly and, in certain
areas,
<pb id="men51" n="51"/>
almost exhaustively. The middle Englishman  -  not the
individual, but the type  -  is there displayed more vividly
than he is displayed anywhere else that I know of. The
thing is rigidly held to its aim; there is no episodic
descent or ascent to other fields. But within that one
field every resource of observation, of invention and of
imagination has been brought to bear upon the business 
  -  every one save that deep feeling for man in his bitter
tragedy which is the most important of them all. Bennett,
whatever his failing in this capital function of the artist, is
certainly of the very highest consideration as craftsman.
Scattered through his books, even his bad books, there
are fragments of writing that are quite unsurpassed in
our day  -  the shoe-shining episode in “The Pretty
Lady,” the adulterous interlude in “Whom 
God Hath
Joined,” the dinner party in “Paris Nights,” 
the whole
discussion of the Cannon-Ingram marriage in “The 
Roll-Call,”
the studio party in “The Lion's Share.” Such
writing is rare and exhilarating. It is to be respected.
And the man who did it is not to be dismissed.</p>
        </div2>
        <pb id="men52" n="52"/>
        <div2 type="chapter IV">
          <head>IV. THE DEAN</head>
          <p>AMERICANS, obsessed by the problem of conduct,
usually judge their authors, not as artists, but as citizens,
Christians, men. Edgar Allan Poe, I daresay, will never
live down the fact that he was a periodical drunkard,
and died in an alcoholic ward. Mark Twain, the
incomparable artist, will probably never shake off Mark
Twain, the after-dinner comedian, the flaunter of white
dress clothes, the public character, the national wag. As
for William Dean Howells, he gains rather than loses by
this confusion of values, for, like the late Joseph H.
Choate, he is almost the national ideal: an urbane and
highly respectable old gentleman, a sitter on committees,
an intimate of professors and the prophets of
movements, a worthy vouched for by both the <hi rend="italics">Atlantic
Monthly</hi> and Alexander Harvey, a placid conformist.
The result is his general acceptance as a member of the
literary peerage, and of the rank of earl at least. For
twenty years past his successive books have not been
criticized, nor even adequately reviewed; they have been
merely fawned over; the lady critics of the newspapers
<pb id="men53" n="53"/>
would no more question them than they would question
Lincoln's Gettysburg speech, or Paul Elmer More, or
their own virginity. The dean of American letters in point
of years, and in point of published quantity, and in point
of public prominence and influence, he has been
gradually enveloped in a web of superstitious reverence,
and it grates harshly to hear his actual achievement
discussed in cold blood.</p>
          <p>Nevertheless, all this merited respect for an
industrious and inoffensive man is bound, soon or late,
to yield to a critical examination of the artist within, and
that examination, I fear, will have its bitter moments for
those who naïvely accept the Howells legend. It will
show, without doubt, a first-rate journeyman, a
contriver of pretty things, a clever stylist  -  but it will
also show a long row of uninspired and hollow books,
with no more ideas in them than so many volumes of
the <hi rend="italics">Ladies' Home Journal</hi>, and no more deep and
contagious feeling than so many reports of autopsies,
and no more glow and gusto than so many tables of
bond prices. The profound dread and agony of life, the
surge of passion and aspiration, the grand crash and
glitter of things, the tragedy that runs eternally under the
surface  -  all this the critic of the future will seek in vain in
Dr. Howells' elegant and shallow volumes. And
seeking it in vain, he will probably dismiss all of them
together with fewer words than he gives to
“Huckleberry Finn.”...</p>
          <pb id="men54" n="54"/>
          <p>Already, indeed, the Howells legend tends to become
a mere legend, and empty of all genuine significance.
Who actually reads the Howells novels? Who even
remembers their names? “The Minister's Charge,” 
“An
Imperative Duty,” “The Unexpected Guests,” 
“Out of the
Question,” “No Love Lost”  -  these 
titles are already as
meaningless as a roll of Sumerian kings. Perhaps “The
Rise of Silas Lapham” survives  -  but go read it if you
would tumble downstairs. The truth about Howells is
that he really has nothing to say, for all the charm he gets
into saying it. His psychology is superficial, amateurish,
often nonsensical; his irony is scarcely more than a polite
facetiousness; his characters simply refuse to live. No
figure even remotely comparable to Norris' McTeague
or Dreiser's Frank Cowperwood is to be encountered in
his novels. He is quite unequal to any such evocation of
the race-spirit, of the essential conflict of forces among
us, of the peculiar drift and color of American life. The
world he moves in is suburban, caged, flabby. He could
no more have written the last chapters of “Lord Jim”
than he could have written the Book of Mark.</p>
          <p>The vacuity of his method is well revealed by one of
the books of his old age, “The Leatherwood God.” Its
composition, we are told, spread over many years; its
genesis was in the days of his full maturity. An
examination of it shows nothing but a suave piling
<pb id="men55" n="55"/>
up of words, a vast accumulation of nothings. The central
character, one Dylks, is a backwoods evangelist who acquires
a belief in his own buncombe, and ends by announcing
that he is God. The job before the author was obviously
that of tracing the psychological steps whereby this
mountebank proceeds to that conclusion; the fact,
indeed, is recognized in the canned review, which says
that the book is “a study of American religious
psychology.” But an inspection of the text shows that no
such study is really in it. Dr. Howells does not
<hi rend="italics">show</hi>
how Dylks came to believe himself God; he merely
<hi rend="italics">says</hi> that he did so. The whole
discussion of the
process, indeed, is confined to two pages  -  172 and
173  -  and is quite infantile in its inadequacy. Nor do
we get anything approaching a revealing look into the
heads of the other converts  -  the saleratus-sodden,
hell-crazy, half-witted Methodists and Baptists of a remote
Ohio settlement of seventy or eighty years ago. All we
have is the casual statement that they are converted, and
begin to offer Dylks their howls of devotion. And when,
in the end, they go back to their original bosh,
dethroning Dylks overnight and restoring the gaseous
vertebrate of Calvin and Wesley  -  when this contrary
process is recorded, it is accompanied by no more
illumination. In brief, the story is not a “study”
at all,
whether psychological or otherwise, but simply an
anecdote, and without either point or interest. Its
<pb id="men56" n="56"/>
virtues are all negative ones: it is short, it keeps on
the track, it deals with a religious maniac and yet contrives
to offer no offense to other religious maniacs. But on the
positive side it merely skims the skin.</p>
          <p>So in all of the other Howells novels that I know.
Somehow, he seems blissfully ignorant that life is a
serious business, and full of mystery; it is a sort of
college town <hi rend="italics"><foreign lang="gr">Weltanschauung</foreign></hi> that one finds in him; he
is an Agnes Repplier in pantaloons. In one of the later
stories, “New Leaf Mills,” he makes a faltering gesture
of recognition. Here, so to speak, one gets at least a
sniff of the universal mystery; Howells seems about to
grow profound at last. But the sniff is only a sniff. The
tragedy, at the end, peters out. Compare the story to E. W.
Howe's “The Story of a Country Town,” which
Howells himself has intelligently praised, and you will get
some measure of his own failure. Howe sets much the
same stage and deals with much the same people. His
story is full of technical defects  -  for one thing, it is
overladen with melodrama and sentimentality. But
nevertheless it achieves the prime purpose of a work of
the imagination: it grips and stirs the emotions, it implants
a sense of something experienced. Such a book leaves
scars; one is not quite the same after reading it. But it
would be difficult to point to a Howells book that
produces any such effect. If he actually tries, like
Conrad, “to make you hear, to make you feel  -  before
<pb id="men57" n="57"/>
all, to make you <hi rend="italics">see</hi>,” then he
fails almost completely.
One often suspects, indeed, that he doesn't really feel
or see himself....</p>
          <p>As a critic he belongs to a higher level, if only
because of his eager curiosity, his gusto in novelty. His
praise of Howe I have mentioned. He dealt valiant licks
for other debutantes: Frank Norris, Edith Wharton and
William Vaughn Moody among them. He brought
forward the Russians diligently and persuasively, albeit
they left no mark upon his own manner. In his
ingratiating way, back in the seventies and eighties, he
made war upon the prevailing sentimentalities. But his
history as a critic is full of errors and omissions. One
finds him loosing a fanfare for W. B. Trites, the
Philadelphia Zola, and praising Frank A. Munsey  -  and
one finds him leaving the discovery of all the Shaws,
George Moores, Dreisers, Synges, Galsworthys,
Phillipses and George Ades to the Pollards, Meltzers
and Hunekers. Busy in the sideshows, he didn't see the
elephants go by.... Here temperamental defects
handicapped him. Turn to his “My Mark Twain” and
you will see what I mean. The Mark that is exhibited in
this book is a Mark whose Himalayan outlines are
discerned but hazily through a pink fog of Howells.
There is a moral note in the tale  -  an obvious effort to
palliate, to touch up, to excuse. The poor fellow, of
course, was charming, and there was
<pb id="men58" n="58"/>
talent in him, but what a weakness he had for thinking
aloud  -  and such shocking thoughts! What oaths in his
speech! What awful cigars he smoked! How 
barbarous his contempt
for the strict sonata form! It seems incredible, indeed,
that two men so unlike should have found common
denominators for a friendship lasting forty-four years.
The one derived from Rabelais, Chaucer, the
Elizabethans and Benvenuto  -  buccaneers of the
literary high seas, loud laughers, law-breakers, giants of
a lordlier day; the other came down from Jane Austen,
Washington Irving and Hannah More. The one wrote
English as Michelangelo hacked marble, broadly,
brutally, magnificently; the other was a maker of pretty
waxen groups. The one was utterly unconscious of the
way he achieved his staggering effects; the other was the
most toilsome, fastidious and self-conscious of
craftsmen....</p>
          <p>What remains of Howells is his style. He invented a
new harmony of “the old, old words.” 
He destroyed the
stately periods of the Poe tradition, and erected upon
the ruins a complex and savory carelessness, full of
naïvetés that were sophisticated to
 the last degree. He
loosened the tightness of English, and let a blast of
Elizabethan air into it. He achieved, for all his triviality,
for all his narrowness of vision, a pungent and admirable
style.</p>
        </div2>
        <pb id="men59" n="59"/>
        <div2 type="chapter V">
          <head>V. PROFESSOR VEBLEN</head>
          <p>TEN or twelve years ago, being engaged in a bombastic
discussion with what was then known as an intellectual
Socialist (like the rest of the <hi rend="italics">intelligentsia</hi>, he
succumbed to the first fife-corps of the war, pulled
down the red flag, damned Marx as a German spy, and
began whooping for Elihu Root, Otto Kahn and
Abraham Lincoln), I was greatly belabored and
incommoded by his long quotations from a certain Prof.
Dr. Thorstein Veblen, then quite unknown to me. My
antagonist manifestly attached a great deal of importance
to these borrowed sagacities, for he often heaved them
at me in lengths of a column or two, and urged me to
read every word of them. I tried hard enough, but found
it impossible going. The more I read them, in fact, the
less I could make of them, and so in the end, growing
impatient and impolite, I denounced this Prof. Veblen as
a geyser of pishposh, refused to waste any more time
upon his incomprehensible syllogisms, and applied
myself to the other Socialist witnesses in the case,
seeking to set fire to their shirts.</p>
          <p>That old debate, which took place by mail (for the
<pb id="men60" n="60"/>
Socialist lived like a munitions patriot on his country
estate and I was a wage-slave attached to a city
newspaper), was afterward embalmed in a dull book,
and made the mild pother of a day. The book, by name, “Men
vs. the Man,” is now as completely forgotten as Baxter's
“Saint's Rest” or the Constitution of the United States. I
myself, perhaps the only man who remembers it at all,
have not looked into it for six or eight years, and all I
can recall of my opponent's argument (beyond the fact
that it not only failed to convert me to the nascent
Bolshevism of the time, but left me a bitter and incurable
scoffer at democracy in all its forms) is his curious
respect for the aforesaid Prof. Dr. Thorstein Veblen,
and his delight in the learned gentleman's long, tortuous
and (to me, at least) intolerably flapdoodlish phrases.</p>
          <p>There was, indeed, a time when I forgot even this
  -  when my mind was empty of the professor's very
name. That was, say, from 1909 or thereabout to the
middle of 1917.  During those years, having lost all my
old superior interest in Socialism, even as an amateur
psychiatrist, I ceased to read its literature, and thus lost
track of its Great Thinkers. The periodicals that I then
gave an eye to, setting aside newspapers, were chiefly
the familiar American imitations of the English weeklies
of opinion, and in these the dominant Great Thinker was,
first, the late Prof. Dr. William James, and, after his
decease,
<pb id="men61" n="61"/>
Prof. Dr. John Dewey. The reign of James, as the
illuminated will recall, was long and glorious. For three
or four years running he was mentioned in every one of
those American <hi rend="italics">Spectators</hi> and
<hi rend="italics">Saturday Reviews</hi> at
least once a week, and often a dozen times. Among the
less somber gazettes of the republic, to be sure, there
were other heroes: Maeterlinck, Rabindranath Tagore,
Judge Ben B. Lindsey, the late Major-General
Roosevelt, Tom Lawson and so on. Still further down
the literary and intellectual scale there were yet others:
Hall Caine, Brieux and Jack Johnson among them, with
paper-bag cookery and the twilight sleep to dispute their
popularity. But on the majestic level of the old
<hi rend="italics">Nation</hi>,
among the white and lavender peaks of professorial
ratiocination, there was scarcely a serious rival to James.
Now and then, perhaps, Jane Addams had a month of
vogue, and during one winter there was a rage for
Bergson, and for a short space the unspeakable
Bernstorff tried to set up Eucken (now damned with
Wagner, Nietzsche and Ludendorff), but taking one day
with another James held his own against the field. His
ideas, immediately they were stated, became the ideas of
every pedagogue from Harvard to Leland Stanford, and
the pedagogues, laboring furiously at space rates,
rammed them into the skulls of the lesser
<hi rend="italics"><foreign lang="la">cerebelli</foreign></hi>. To
have called James an ass, during the year 1909, would
have been as fatal as to have written a sentence
<pb id="men62" n="62"/>
like this one without having used so many <hi rend="italics">haves</hi>.
He died a bit
later, but his ghost went marching on: it took three or four
years to interpret and pigeonhole his philosophical remains
and to take down and redact his messages (via Sir Oliver
Lodge, Little Brighteyes, Wah-Wah the Indian Chief,
and other gifted psychics) from the spirit world. But
then, gradually, he achieved the ultimate, stupendous and
irrevocable act of death, and there was a vacancy. To it
Prof. Dr. Dewey was elected by the acclamation of all
right-thinking and forward-looking men. He was an
expert in pedagogics, metaphysics, psychology, ethics,
logic politics, pedagogical metaphysics, metaphysical
psychology, psychological ethics, ethical logic, logical
politics and political pedagogics. He was
<hi rend="italics"><foreign lang="la">Artium Magister,
Philosophiæ Doctor</foreign></hi> and twice
<hi rend="italics"><foreign lang="la">Legum Doctor</foreign></hi>.
He had written a book called “How to Think.”
He sat in a professor's chair and caned sophomores for
blowing spit-balls. <hi rend="italics"><foreign lang="la">Ergo</foreign></hi>, he was the ideal candidate,
and so he was nominated, elected and inaugurated, and
for three years, more or less, he enjoyed a peaceful
reign in the groves of sapience, and the inferior
<hi rend="italics"><foreign lang="la">umbilicarii</foreign></hi>
venerated him as they had once venerated
James.</p>
          <p>I myself greatly enjoyed and profited by the
discourses of this Prof. Dewey and was in hopes that he
would last. Born so recently as 1859 and a man of the
highest bearable sobriety, he seemed likely to peg
<pb id="men63" n="63"/>
along until 1935 or 1940, a gentle and charming volcano of
correct thought. But it was not, alas, to be. Under cover of
pragmatism, that serpent's metaphysic, there was unrest
beneath the surface. Young professors in remote and
obscure universities, apparently as harmless as so many
convicts in the deathhouse, were secretly flirting with
new and red-hot ideas. Whole regiments and brigades
of them yielded in stealthy privacy to rebellious and
often incomprehensible yearnings. Now and then, as if
to reveal what was brewing, a hell fire blazed and a
Prof. Dr. Scott Nearing went sky-hooting through its
smoke. One heard whispers of strange heresies  -  
economic, sociological, even political. Gossip had it that
pedagogy was hatching vipers, nay, was already
brought to bed. But not much of this got into the home-made
<hi rend="italics">Saturday Reviews</hi> and <hi rend="italics">Yankee
Athenæums</hi>  -
a hint or two maybe, but no more. In the main they kept
to their old resolute demands for a pure civil-service, the
budget system in Congress, the abolition of hazing at the
Naval Academy, an honest primary and justice to the
Filipinos, with extermination of the Prussian serpent
added after August, 1914. And Dr. Dewey, on his
remote Socratic Alp, pursued the calm reënforcement of
the philosophical principles underlying these and all
other lofty and indignant causes....</p>
          <p>Then, of a sudden, Siss! Boom! Ah! Then,
<pb id="men64" n="64"/>
overnight, the upspringing of the intellectual soviets,
the headlong assault upon all the old axioms of pedagogical
speculation, the nihilistic dethronement of Prof. Dewey  -  
and rain, rain, rah for Prof. Dr. Thorstein Veblen!
Veblen? Could it be  -  ? Aye, it was! My old
acquaintance! The <hi rend="italics"><foreign lang="la">Doctor
obscurus</foreign></hi> of my half-forgotten
bout with the so-called intellectual Socialist!
The Great Thinker <hi rend="italics"><foreign lang="la">redivivus</foreign></hi>! Here, indeed, he was
again, and in a few months  -  almost it seemed a few
days  -  he was all over the <hi rend="italics">Nation</hi>, the
<hi rend="italics">Dial</hi>, the <hi rend="italics">New Republic</hi>
and the rest of them, and his books and
pamphlets began to pour from the presses, and the
newspapers reported his every wink and whisper, and
everybody who was anybody began gabbling about him.
The spectacle, I do not hesitate to say, somewhat
disconcerted me and even distressed me. On the one
hand, I was sorry to see so learned and interesting a man
as Dr. Dewey sent back to the insufferable dungeons of
Columbia, there to lecture in imperfect Yiddish to
classes of Grand Street Platos. And on the other hand, I
shrunk supinely from the appalling job, newly rearing
itself before me, of re-reading the whole canon of the
singularly laborious and muggy, the incomparably tangled
and unintelligible works of Prof. Dr. Thorstein Veblen....</p>
          <p>But if a sense of duty tortures a man, it also enables
him to achieve prodigies, and so I managed to
<pb id="men65" n="65"/>
get through the whole infernal job. I read “The 
Theory of
the Leisure Class,” I read “The Theory of 
Business Enterprise,”
and then I read “The Instinct of Workmanship.” 
An hiatus
followed; I was racked by a severe neuralgia, with
delusions of persecution. On recovering I tackled
“Imperial Germany and the Industrial 
Revolution.”
Malaria for a month, and then “The Nature of 
Peace and
the Terms of Its Perpetuation.” What ensued was never
diagnosed, probably it was some low infection of the
mesentery or spleen. When it passed off, leaving only an
asthmatic cough, I read “The Higher Learning in
America,” and then went to Mt. Clemens to drink the
Glauber's salts. Eureka! the business was done! It had
strained me, but now it was over. Alas, a good part of
the agony had been needless. What I found myself
aware of, coming to the end, was that practically the
whole system of Prof. Dr. Veblen was in his first book
and his last  -  that is, in “The Theory of the Leisure
Class,” and “The Higher Learning in America.”
 I pass on
the good news. Read these two, and you won't have to
read the others. And if even two daunt you, then read
the first. Once through it, though you will have missed
many a pearl and many a pain, you will have a fairly
good general acquaintance with the gifted
metaphysician's ideas.</p>
          <p>For those ideas, in the main, are quite simple, and
often anything but revolutionary in essence. What
<pb id="men66" n="66"/>
is genuinely remarkable about them is not their novelty, or
their complexity, nor even the fact that a professor should
harbor them; it is the astoundingly grandiose and rococo
manner of their statement, the almost unbelievable
tediousness and flatulence of the gifted headmaster's
prose, his unprecedented talent for saying nothing in an
august and heroic manner. There are tales of an actress
of the last generation, probably Sarah Bernhardt, who
could put pathos and even terror into a recitation of the
multiplication table. The late Louis James did something
of the sort; he introduced limericks into “Peer Gynt” and
still held the yokelry agape. The same talent, raised to a
high power, is in this Prof. Dr. Veblen. Tunnel under his
great moraines and stalagmites of words, dig down into
his vast kitchen-midden of discordant and raucous
polysyllables, blow up the hard, thick shell of his almost
theological manner, and what you will find in his
discourse is chiefly a mass of platitudes  -  the self-evident
made horrifying, the obvious in terms of the
staggering. Marx, I daresay, said a good deal of it, and
what Marx overlooked has been said over and over
again by his heirs and assigns. But Marx, at this business,
labored under a technical handicap: he wrote in German,
a language he actually understood. Prof. Dr. Veblen
submits himself to no such disadvantage. Though born, I
believe, in These States, and resident here all his life, he
achieves the effect,
<pb id="men67" n="67"/>
perhaps without employing the means, of thinking in
some unearthly foreign language  -  say Swahili,
Sumerian or Old Bulgarian  -  and then painfully clawing
his thoughts into a copious but uncertain and book-learned
English. The result is a style that affects the
higher cerebral centers like a constant roll of subway
expresses. The second result is a sort of bewildered
numbness of the senses, as before some fabulous and
unearthly marvel. And the third result, if I make no
mistake, is the celebrity of the professor as a Great
Thinker. In brief, he states his hollow nothings in such
high, astounding terms that they must inevitably arrest
and blister the right-thinking mind. He makes them
mysterious. He makes them shocking. He makes them
portentous. And so, flinging them at naïve and believing
minds, he makes them stick and burn.</p>
          <p>No doubt you think that I exaggerate  -  perhaps even
that I lie. If so, then consider this specimen  -  the first
paragraph of Chapter XIII of “The Theory of the
Leisure Class”:</p>
          <p rend="sc">In an increasing proportion as time goes on, the
anthropomorphic cult, with its code of devout observances,
suffers a progressive disintegration through the stress of
economic exigencies and the decay of the system of status. As
this disintegration proceeds, there come to be associated and
blended with the devout attitude certain other motives and
impulses that are not always of an anthropomorphic origin, nor
traceable to the habit of personal subservience.
<pb id="men68" n="68"/>
Not all of these subsidiary impulses that blend with the bait of
devoutness in the later devotional life are altogether congruous
with the devout attitude or with the anthropomorphic
apprehension of sequence of phenomena. Their origin being not
the same, their action upon the scheme of devout life is also not
in the same direction. In many ways they traverse the
underlying norm of subservience or vicarious life to which the
code of devout observances and the ecclesiastical and
sacerdotal institutions are to be traced as their substantial basis.
Through the presence of these alien motives the social and
industrial regime of status gradually disintegrates, and the
canon of personal subservience loses the support derived from
an unbroken tradition. Extraneous habits and proclivities
encroach upon the field of action occupied by this canon, and it
presently comes about that the ecclesiastical and sacerdotal
structures are partially converted to other uses, in some
measure alien to the purposes of the scheme of devout life as it
stood in the days of the most vigorous and characteristic
development of the priesthood.</p>
          <p>Well, what have we here? What does this appalling
salvo of rhetorical artillery signify? What is the sweating
professor trying to say? What is his Message now?
Simply that in the course of time, the worship of God is
commonly corrupted by other enterprises, and that the
church, ceasing to be a mere temple of adoration,
becomes the headquarters of these other enterprises.
More simply still, that men sometimes vary serving God
by serving other men, which means, of course, serving
themselves. This
<pb id="men69" n="69"/>
bald platitude, which must be obvious to any child who has
ever been to a church bazaar or a parish house, is here
tortured, worried and run through rollers until it is spread
out to 241 words, of which fully 200 are unnecessary.
The next paragraph is even worse. In it the master
undertakes to explain in his peculiar dialect the meaning
of “that non-reverent sense of æsthetic congruity with
the environment which is left as a residue of the latter-day
act of worship after elimination of its
anthropomorphic content.” Just what does he mean by
this “non-reverent sense of æsthetic
congruity”? I have
studied the whole paragraph for three days, halting only
for prayer and sleep, and I have come to certain
conclusions. I may be wrong, but nevertheless it is the
best that I can do. What I conclude is this: he is trying to
say that many people go to church, not because they are
afraid of the devil but because they enjoy the music, and
like to look at the stained glass, the potted lilies and the
rev. pastor. To get this profound and highly original
observation upon paper, he wastes, not merely 241, but
more than 300 words! To say what might be said on a
postage stamp he takes more than a page in his book!...</p>
          <p>And so it goes, alas, alas, in all his other volumes  -  a
cent's worth of information wrapped in a bale of
polysyllables. In “The Higher Learning in America” the
thing perhaps reaches its damndest and worst.
<pb id="men70" n="70"/>
It is as if the practice of that incredibly obscure and
malodorous style were a relentless disease, a sort of
progressive intellectual diabetes, a leprosy of the horse
sense. Words are flung upon words until all recollection
that there must be a meaning in them, a ground and
excuse for them, is lost. One wanders in a labyrinth of
nouns, adjectives, verbs, pronouns, adverbs,
prepositions, conjunctions and participles, most of them
swollen and nearly all of them unable to walk. It is
difficult to imagine worse English, within the limits of
intelligible grammar. It is clumsy, affected, opaque,
bombastic, windy, empty. It is without grace or
distinction and it is often without the most elementary
order. The learned professor gets himself enmeshed in
his gnarled sentences like a bull trapped by barbed wire,
and his efforts to extricate himself are quite as furious
and quite as spectacular. He heaves, he leaps, he
writhes; at times he seems to be at the point of yelling for
the police. It is a picture to bemuse the vulgar and to give
the judicious grief.</p>
          <p>Worse, there is nothing at the bottom of all this
strident wind-music  -  the ideas it is designed to set forth
are, in the overwhelming main, poor ideas, and often
they are ideas that are almost idiotic. One never gets the
thrill of sharp and original thinking, dexterously put
into phrases. The concepts underlying, say, “The Theory
of the Leisure Class” are
<pb id="men71" n="71"/>
simply Socialism and water; the concepts underlying “The
Higher Learning in America” are so childishly obvious
that even the poor drudges who write editorials for
newspapers have often voiced them. When, now and
then, the professor tires of this emission of stale bosh
and attempts flights of a more original character, he
straightway comes tumbling down into absurdity. What
the reader then has to struggle with is not only
intolerably bad writing, but also loose, flabby, cocksure
and preposterous thinking.... Again I take refuge in an
example. It is from Chapter IV of “The Theory of the
Leisure Class.” The problem before the author here has
to do with the social convention which frowns upon the
consumption of alcohol by women  -  at least to the
extent to which men may consume it decorously. Well,
then, what is his explanation of this convention? Here, in
brief, is his process of reasoning:</p>
          <p rend="sc">1. The leisure class, which is the predatory
class of feudal
times, reserves all luxuries for itself, and disapproves their use
by members of the lower classes, for this use takes away their
charm by taking away their exclusive possession.</p>
          <p rend="sc">2. Women are chattels in the possession of
the leisure class,
and hence subject to the rules made for inferiors. “The
patriarchal tradition... says that the woman, being a chattel,
should consume only what is necessary to her sustenance,
except so far as her further consumption contributes to the
comfort or the good repute of her master.”</p>
          <pb id="men72" n="72"/>
          <p rend="sc">3. The consumption of alcohol contributes nothing to the
comfort or good repute of the woman's master, but “detracts
sensibly from the comfort or pleasure” of her master.
<hi rend="italics"><foreign lang="la">Ergo</foreign></hi>,
she is forbidden to drink.</p>
          <p>This, I believe, is a fair specimen of the Veblenian
ratiocination. Observe it well, for it is typical. That is to
say, it starts off with a gratuitous and highly dubious
assumption, proceeds to an equally dubious deduction,
and then ends with a platitude which begs the whole
question. What sound reason is there for believing that
exclusive possession is the hall-mark of luxury? There is
none that I can see. It may be true of a few luxuries, but
it is certainly not true of the most familiar ones. Do I
enjoy a decent bath because I know that John Smith
cannot afford one  -  or because I delight in being clean?
Do I admire Beethoven's Fifth Symphony because it is
incomprehensible to Congressmen and Methodists  -  or
because I genuinely love music? Do I prefer terrapin à la
Maryland to fried liver because plowhands must put up
with the liver  -  or because the terrapin is intrinsically a
more charming dose? Do I prefer kissing a pretty girl to
kissing a charwoman because even a janitor may kiss a
charwoman  -  or because the pretty girl looks better,
smells better and kisses better? Now and then, to be
sure, the idea of exclusive possession enters into the
concept of luxury. I may, if I am a bibliophile, esteem
a book because it is a
<pb id="men73" n="73"/>
unique first edition. I may, if I am fond, esteem a woman
because she smiles on no one else. But even here, save in a
very small minority of cases, other attractions plainly enter
into the matter. It pleases me to have a unique first
edition, but I wouldn't care anything for a unique first
edition of Robert W. Chambers or Elinor Glyn; the
author must have my respect, the book must be
intrinsically valuable, there must be much more to it than
its mere uniqueness. And if, being fond, I glory in the
exclusive smiles of a certain Miss  -  or Mrs.  -  , then surely
my satisfaction depends chiefly upon the lady herself,
and not upon my mere monopoly. Would I delight in the
fidelity of the charwoman? Would it give me any joy to
learn that, through a sense of duty to me, she had
ceased to kiss the janitor?</p>
          <p>Confronted by such considerations, it seems to me
that there is little truth left in Prof. Dr. Veblen's theory of
conspicuous consumption and conspicuous waste  -  that
what remains of it, after it is practically applied a few
times, is no more than a wraith of balderdash. In so far
as it is true it is obvious. All the professor accomplishes
with it is to take what every one knows and pump it up
to such proportions that every one begins to doubt it.
What could be plainer than his failure in the case just
cited? He starts off with a platitude, and ends in
absurdity. No one denies, I take it, that in a clearly
limited sense,
<pb id="men74" n="74"/>
women occupy a place in the world  -  or, more accurately,
aspire to a place in the world  -  that is a good deal like
that of a chattel. Marriage, the goal of their only honest and
permanent hopes, invades their individuality; a married
woman becomes the function of another individuality.
Thus the appearance she presents to the world is often
the mirror of her husband's egoism. A rich man hangs his
wife with expensive clothes and jewels for the same
reason, among others, that he adorns his own head with a
plug hat: to notify everybody that he can afford it  -  in
brief, to excite the envy of Socialists. But he also does it,
let us hope, for another and far better and more powerful
reason, to wit, that she intrigues him, that he delights in
her, that he loves her  -  and so wants to make her gaudy
and happy. This reason may not appeal to Socialist
sociologists. In Russia, according to an old scandal
(officially endorsed by the British bureau for pulling
Yankee noses) the Bolsheviki actually repudiated it as
insane. Nevertheless, it continues to appeal very forcibly
to the majority of normal husbands in the nations of the
West, and I am convinced that it is a hundred times as
potent as any other reason. The American husband, in
particular, dresses his wife like a circus horse, not
primarily because he wants to display his wealth upon her
person, but because he is a soft and moony fellow and
ever ready to yield to her desires,
<pb id="men75" n="75"/>
however preposterous. If any conception of her as a chattel
were actively in him, even unconsciously, he would be a good
deal less her slave. As it is, her vicarious practice of
conspicuous waste commonly reaches such a
development that her master himself is forced into
renunciations  -  which brings Prof. Dr. Veblen's theory
to self-destruction.</p>
          <p>His final conclusion is as unsound as his premisses. All
it comes to is a plain begging of the question. Why does
a man forbid his wife to drink all the alcohol she can
hold? Because, he says, it “detracts sensibly from his
comfort or pleasure.” In other words, it detracts from his
comfort and pleasure because it detracts from his
comfort and pleasure. Meanwhile, the real answer is so
plain that even a professor should know it. A man
forbids his wife to drink too much because, deep in his
secret archives, he has records of the behavior of other
women who drank too much, and is eager to safeguard
his wife's self-respect and his own dignity against what
he knows to be certain invasion. In brief, it is a
commonplace of observation, familiar to all males
beyond the age of twenty-one, that once a woman is
drunk the rest is a mere matter of time and place: the girl
is already there. A husband, viewing this prospect,
perhaps shrinks from having his chattel damaged. But let
us be soft enough to think that he may also shrink from
seeing humiliation, ridicule and
<pb id="men76" n="76"/>
bitter regret inflicted upon one who is under his
protection, and one whose dignity and happiness are
precious to him, and one whom he regards with deep
and (I surely hope) lasting affection. A man's
grandfather is surely not his chattel, even by the terms of
the Veblen theory, and yet I am sure that no sane man
would let the old gentleman go beyond a discreet
cocktail or two if a bout of genuine bibbing were certain
to be followed by the complete destruction of his
dignity, his chastity and (if a Presbyterian) his immortal
soul....</p>
          <p>One more example of the Veblenian logic and I must
pass on: I have other fish to fry. On page 135 of “The
Theory of the Leisure Class” he turns his garish and
buzzing search-light upon another problem of the
domestic hearth, this time a double one. First, why do
we have lawns around our country houses? Secondly,
why don't we employ cows to keep them clipped,
instead of importing Italians, Croatians and blackamoors?
The first question is answered by an appeal to
ethnology: we delight in lawns because we are the
descendants of “a pastoral people inhabiting a region
with a humid climate.” True enough, there is in a well-kept
lawn “an element of sensuous beauty,” but that is
secondary: the main thing is that our dolicho-blond
ancestors had flocks, and thus took a keen professional
interest in grass. (The Marx <hi rend="italics">motif</hi>!
The economic interpretation of
<pb id="men77" n="77"/>
history in E flat.) But why don't <hi rend="italics">we</hi>
keep flocks? Why
do we renounce cows and hire Jugo-Slavs? Because
“to the average popular apprehension a herd of cattle so
pointedly suggests thrift and usefulness that their
presence...would be intolerably cheap.” With the
highest veneration, Bosh! Plowing through a bad book
from end to end, I can find nothing sillier than this. Here,
indeed, the whole “theory of conspicuous waste” is
exposed for precisely what it is: one per cent. platitude
and ninety-nine per cent. nonsense. Has the genial
professor, pondering his great problems, ever taken a
walk in the country? And has he, in the course of that
walk, ever crossed a pasture inhabited by a cow
(<hi rend="italics"><foreign lang="la">Bos taurus</foreign></hi>)?
And has he, making that crossing, ever
passed astern of the cow herself? And has he, thus
passing astern, ever stepped carelessly, and  -  </p>
          <p>But this is not a medical work, and so I had better haul
up. The cow, to me, symbolizes the whole speculation of
this laborious and humorless pedagogue. From end to
end you will find the same tedious torturing of plain facts,
the same relentless piling up of thin and over-labored
theory, the same flatulent bombast, the same intellectual
strabismus. And always with an air of vast importance,
always in vexed and formidable sentences, always in the
longest words possible, always in the most cacophonous
English that even a professor ever wrote. One visualizes
<pb id="men78" n="78"/>
him with his head thrown back, searching for cryptic answers
in the firmament and not seeing the overt and disconcerting
cow, not watching his step. One sees him as the pundit
<hi rend="italics"><foreign lang="fr">par excellence</foreign></hi>,
earnest and diligent, infinitely honest and
patient, but also infinitely humorless, futile and hollow....</p>
          <p>So much, at least for the present, for this Prof Dr.
Thorstein Veblen, head Great Thinker to the parlor
radicals, Socrates of the intellectual Greenwich Village,
chief star (at least transiently) of the American
<hi rend="italics">Athanæums</hi>. I am tempted to crowd
in mention of some of
his other astounding theories  -  for example, the theory
that the presence of pupils, the labor of teaching, a
concern with pedagogy, is necessary to the highest
functioning of a scientific investigator  -  a notion
magnificently supported by the examples of Flexner,
Ehrlich, Metchnikoff, Loeb and Carrel! I am tempted,
too, to devote a thirdly to the astounding materialism,
almost the downright hoggishness, of his whole system  -  
its absolute exclusion of everything approaching an
æsthetic motive. But I must leave all these fallacies and
absurdities to your own inquiry. More important than
any of them, more important as a phenomenon than the
professor himself and all his works, is the gravity with
which his muddled and highly dubious ideas have been
received. At the moment, I daresay, he is in decline;
such Great Thinkers have a way of going out as quickly
as they
<pb id="men79" n="79"/>
come in. But a year or so ago he dominated the American
scene. All the reviews were full of his ideas. A hundred
lesser sages reflected them. Every one of intellectual
pretensions read his books. Veblenism was shining in
full brilliance. There were Veblenists, Veblen clubs,
Veblen remedies for all the sorrows of the world. There
were even, in Chicago, Veblen Girls  -  perhaps Gibson
girls grown middle-aged and despairing.</p>
          <p>The spectacle, unluckily, was not novel. Go back
through the history of America since the early nineties,
and you will find a long succession of just such violent
and uncritical enthusiasms. James had his day; Dewey
had his day; Ibsen had his day; Maeterlinck had his day.
Almost every year sees another intellectual Munyon
arise, with his infallible peruna for all the current
malaises. Sometimes this Great Thinker is imported.
Once he was Pastor Wagner; once he was Bergson;
once he was Eucken; once he was Tolstoi; once he was
a lady, by name Ellen Key; again he was another lady,
Signorina Montessori. But more often he is of native
growth, and full of the pervasive cocksureness and
superficiality of the land. I do not rank Dr. Veblen
among the worst of these haruspices, save perhaps as a
stylist; I am actually convinced that he belongs among
the best of them. But that best is surely depressing
enough. What lies behind it is the besetting intellectual
sin of
<pb id="men80" n="80"/>
the United States  -  the habit of turning intellectual concepts
into emotional concepts, the vice of orgiastic and inflammatory
thinking. There is, in America, no orderly and thorough working
out of the fundamental problems of our society; there is
only, as one Englishman has said, an eternal combat of
crazes. The things of capital importance are habitually
discussed, not by men soberly trying to get at the truth
about them, but by brummagem Great Thinkers trying
only to get <hi rend="italics">kudos</hi> of them. We are beset
endlessly by
quacks  -  and they are not the less quacks when they
happen to be quite honest. In all fields, from politics to
pedagogics and from theology to public hygiene, there is
a constant emotional obscuration of the true issues, a
violent combat of credulities, an inane debasement of
scientific curiosity to the level of mob gaping.</p>
          <p>The thing to blame, of course, is our lack of an
intellectual aristocracy  -  sound in its information, skeptical
in its habit of mind, and, above all, secure in its
position and authority. Every other civilized country has
such an aristocracy. It is the natural corrective of
enthusiasms from below. It is hospitable to ideas, but as
adamant against crazes. It stands against the pollution of
logic by emotion, the sophistication of evidence to the
glory of God. But in America there is nothing of the sort.
On the one hand there is the populace  -  perhaps more
powerful
<pb id="men81" n="81"/>
here, more capable of putting its idiotic ideas into
execution, than anywhere else  -  and surely more eager to
follow platitudinous messiahs. On the other hand there is
the ruling plutocracy  -  ignorant, hostile to inquiry,
tyrannical in the exercise of its power, suspicious of
ideas of whatever sort. In the middle ground there is little
save an indistinct herd of intellectual eunuchs, chiefly
professors  -  often quite as stupid as the plutocracy and
always in great fear of it. When it produces a stray rebel
he goes over to the mob; there is no place for him within
his own order. This feeble and vacillating class,
unorganized and without authority, is responsible for
what passes as the well-informed opinion of the
country  -  for the sort of opinion that one encounters in
the serious periodicals  -  for what later on leaks down,
much diluted, into the few newspapers that are not
frankly imbecile. Dr. Veblen has himself described it in
“The Higher Learning in America”; he is one of its
characteristic products, and he proves that he is
thoroughly of it by the timorousness he shows in that
book. It is, in the main, only half-educated. It lacks
experience of the world, assurance, the consciousness of
class solidarity and security. Of no definite position in
our national life, exposed alike to the clamors of the mob
and the discipline of the plutocracy, it gets no public
respect and is deficient in self-respect. Thus the better
sort of men are not tempted to enter it. It
<pb id="men82" n="82"/>
recruits only men of feeble courage, men of small originality.
Its sublimest flower is the American college president, well
described by Dr. Veblen  -  a perambulating sycophant and
platitudinarian, a gaudy mendicant and bounder,
engaged all his life, not in the battle of ideas, the pursuit
and dissemination of knowledge, but in the courting of
rich donkeys and the entertainment of mobs....</p>
          <p>Nay, Veblen is not the worst. Veblen is almost the
best. The worst is  -  but I begin to grow indignant, and
indignation, as old Friedrich used to say, is foreign to
my nature.</p>
        </div2>
        <pb id="men83" n="83"/>
        <div2 type="chapter VI">
          <head>VI. THE NEW POETRY<lb/>
MOVEMENT</head>
          <p>THE current pother about poetry, now gradually
subsiding, seems to have begun about seven years ago  -  
say in 1912. It was during that year that Harriet
Monroe established <hi rend="italics">Poetry: A Magazine
of Verse</hi>, in
Chicago, and ever since then she has been the mother
superior of the movement. Other leaders have
occasionally disputed her command  -  the bombastic
Braithwaite, with his annual anthology of magazine verse;
Amy Lowell, with her solemn pronunciamentos in the
manner of a Harvard professor; Vachel Lindsay, with his
nebulous vaporings and Chautauqua posturings; even
such cheap jacks as Alfred Kreymborg, out of
Greenwich Village. But the importance of Miss Monroe
grows more manifest as year chases year. She was, to
begin with, clearly the pioneer. <hi rend="italics">Poetry</hi>
was on the
stands nearly two years before the first Braithwaite
anthology, and long before Miss Lowell had been lured
from her earlier finishing-school doggerels by the Franco-British
Imagists. It antedated, too, all the other salient
documents of the movement  -  Master's “Spoon River
<pb id="men84" n="84"/>
Anthology,” Frost's “North of Boston,”
Lindsay's
“General William Booth Enters Heaven,” the historic bulls
of the Imagists, the frantic balderdash of the “Others”
group. Moreover, Miss Monroe has always managed to
keep on good terms with all wings of the heaven-kissed
host, and has thus managed to exert a ponderable
influence both to starboard and to port. This, I daresay,
is because she is a very intelligent woman, which fact is
alone sufficient to give her an austere eminence in a
movement so beset by mountebanks and their dupes. I
have read <hi rend="italics">Poetry</hi> since the first number,
and find it
constantly entertaining. It has printed a great deal of
extravagant stuff, and not a little downright nonsensical
stuff, but in the main it has steered a safe and intelligible
course, with no salient blunders. No other poetry
magazine  -  and there have been dozens of them  -  has
even remotely approached it in interest, or, for that
matter, in genuine hospitality to ideas. Practically all of
the others have been operated by passionate enthusiasts,
often extremely ignorant and always narrow and
humorless. But Miss Monroe has managed to retain a
certain judicial calm in the midst of all the whooping and
clapper-clawing, and so she has avoided running amuck,
and her magazine has printed the very best of the new
poetry and avoided much of the worst.</p>
          <p>As I say, the movement shows signs of having spent
its strength. The mere bulk of the verse that it produces
<pb id="men85" n="85"/>
is a great deal less than it was three or four years
ago, or even one or two years ago, and there is a
noticeable tendency toward the conservatism once so
loftily disdained. I daresay the Knish-Morgan burlesque
of Witter Bynner and Arthur Davison Ficke was a hard
blow to the more fantastic radicals. At all events, they
subsided after it was perpetrated, and for a couple of
years nothing has been heard from them. These radicals,
chiefly collected in what was called the “Others” group,
rattled the slapstick in a sort of side-show to the main
exhibition. They attracted, of course, all the more
credulous and uninformed partisans of the movement,
and not a few advanced professors out of one-building
universities began to lecture upon them before bucolic
women's clubs. They committed hari-kari in the end by
beginning to believe in their own buncombe. When their
leaders took to the chautauquas and sought to convince
the peasantry that James Whitcomb Riley was a fraud
the time was ripe for the lethal buffoonery of MM.
Bynner and Ficke. That buffoonery was enormously
successful  -  perhaps the best hoax in American literary
history. It was swallowed, indeed, by so many
magnificoes that it made criticism very timorous
thereafter, and so did damage to not a few quite honest
bards. To-day a new poet, if he departs ever so little
from the path already beaten, is kept in a sort of literary
delousing pen until it is
<pb id="men86" n="86"/>
established that he is genuinely sincere, and not merely
another Bynner in hempen whiskers and a cloak to go invisible.</p>
          <p>Well, what is the net produce of the whole uproar?
How much actual poetry have all these truculent rebels
against Stedman's Anthology and McGuffey's Sixth
Reader manufactured? I suppose I have read nearly all
of it  -  a great deal of it, as a magazine editor, in
manuscript  -  and yet, as I look back, my memory is
lighted up by very few flashes of any lasting brilliance.
The best of all the lutists of the new school, I am inclined
to think, are Carl Sandburg and James Oppenheim, and
particularly Sandburg. He shows a great deal of raucous
crudity, he is often a bit uncertain and wobbly, and
sometimes he is downright banal  -  but, taking one bard
with another, he is probably the soundest and most
intriguing of the lot. Compare, for example, his war
poems  -  simple, eloquent and extraordinarily moving  -  
to the humorless balderdash of Amy Lowell, or, to go
outside the movement, to the childish gush of Joyce
Kilmer, Hermann Hagedorn and Charles Hanson
Towne. Often he gets memorable effects by
astonishingly austere means, as in his famous “Chicago”
rhapsody and his “Cool Tombs.” And always he is
thoroughly individual, a true original, his own man.
Oppenheim, equally eloquent, is more conventional. He
stands, as to one leg, on the shoulders of Walt Whitman,
and,
<pb id="men87" n="87"/>
as to the other, on a stack of Old Testaments. The stuff he
writes, despite his belief to the contrary, is not American
at all; it is absolutely Jewish, Levantine, almost Asiatic.
But here is something criticism too often forgets: the
Jew, intrinsically, is the greatest of poets. Beside his
gorgeous rhapsodies the highest flights of any western
bard seem feeble and cerebral. Oppenheim, inhabiting a
brick house in New York, manages to get that sonorous
Eastern note into his dithyrambs. They are often
inchoate and feverish, but at their best they have the
gigantic gusto of Solomon's Song.</p>
          <p>Miss Lowell is the schoolmarm of the movement, and
vastly more the pedagogue than the artist. She has
written perhaps half a dozen excellent pieces in imitation
of Richard Aldington and John Gould Fletcher, and a
great deal of highfalutin bathos. Her “A Dome of
Many-Colored Glass” is full of infantile poppycock, and
though it is true that it was first printed in 1912, before
she joined the Imagists, it is not to be forgotten that it
was reprinted with her consent in 1915, after she had
definitely set up shop as a foe of the
<hi rend="italics">cliché</hi>. Her
celebrity, I fancy, is largely extra-poetical; if she were
Miss Tilly Jones, of Fort Smith, Ark., there would be a
great deal less rowing about her, and her successive
masterpieces would be received less gravely. A literary
craftsman in America, as I have already said once or
twice,
<pb id="men88" n="88"/>
is never judged by his work alone. Miss Lowell has been
helped very much by her excellent social position. The majority,
and perhaps fully nine-tenths of the revolutionary poets are
of no social position at all  -  newspaper reporters,
Jews, foreigners of vague nationality, school teachers,
lawyers, advertisement writers, itinerant lecturers,
Greenwich Village posturers, and so on. I have a
suspicion that it has subtly flattered such denizens of the
<hi rend="italics"><foreign lang="fr">demi-monde</foreign></hi>
to find the sister of a president of Harvard
in their midst, and that their delight has materially
corrupted their faculties. Miss Lowell's book of
exposition, “Tendencies in Modern American Poetry,” is
commonplace to the last degree. Louis Untermeyer's
“The New Era in American Poetry” is very much better.
And so is Prof. Dr. John Livingston Lowes' “Convention
and Revolt in Poetry.”</p>
          <p>As for Edgar Lee Masters, for a short season the
undisputed Homer of the movement, I believe that he is
already extinct. What made the fame of “The Spoon
River Anthology” was not chiefly any great show of
novelty in it, nor any extraordinary poignancy, nor any
grim truthfulness unparalleled, but simply the public
notion that it was improper. It fell upon the country at
the height of the last sex wave  -  a wave eternally ebbing
and flowing, now high, now low. It was read, not as
work of art, but as document; its large circulation was
undoubtedly
<pb id="men89" n="89"/>
mainly among persons to whom poetry <hi rend="italics"><foreign lang="la">qua</foreign></hi> poetry was
as sour a dose as symphonic music. To such persons, of
course, it seemed something new under the sun. They
were unacquainted with the verse of George Crabbe;
they were quite innocent of E. A. Robinson and Robert
Frost; they knew nothing of the
<hi rend="italics"><foreign lang="la">Ubi
sunt</foreign></hi> formula; they
had never heard of the Greek Anthology. The roar of his
popular success won Masters' case with the critics. His
undoubted merits in detail  -  his half-wistful cynicism,
his capacity for evoking simple emotions, his deft skill at
managing the puny difficulties of
<hi rend="italics"><foreign lang="fr">vers
libre</foreign></hi>  -  were
thereupon pumped up to such an extent that his defects
were lost sight of. Those defects, however, shine
blindingly in his later books. Without the advantage of
content that went with the anthology, they reveal
themselves as volumes of empty doggerel, with now and
then a brief moment of illumination. It would be difficult,
indeed, to find poetry that is, in essence, less poetical.
Most of the pieces are actually tracts, and many of them
are very bad tracts.</p>
          <p>Lindsay? Alas, he has done his own burlesque. What
was new in him, at the start, was an echo of the barbaric
rhythms of the Jubilee Songs. But very soon the thing
ceased to be a marvel, and of late his elephantine
college yells have ceased to be amusing. His retirement
to the chautauquas is self-criticism of uncommon
penetration. Frost? A standard New
<pb id="men90" n="90"/>
England poet, with a few changes in phraseology, and
the substitution of sour resignationism for sweet
resignationism. Whittier without the whiskers. Robinson?
Ditto, but with a politer bow. He has written sound
poetry, but not much of it. The late Major-General
Roosevelt ruined him by praising him, as he ruined
Henry Bordeaux, Pastor Wagner, Francis Warrington
Dawson and many another. Giovannitti? A forth-rate
Sandburg. Ezra Pound? The American in headlong flight
from America  -  to England, to Italy, to the Middle
Ages, to ancient Greece, to Cathay and points East.
Pound, it seems to me, is the most picturesque man in
the whole movement  -  a professor turned fantee,
Abelard in grand opera. His knowledge is abysmal; he
has it readily on tap; moreover, he has a fine ear, and
has written many an excellent verse. But now all the
glow and gusto of the bard have been transformed into
the rage of the pamphleteer: he drops the lute for the
bayonet. One sympathizes with him in his choler. The
stupidity he combats is actually almost unbearable.
Every normal man must be tempted, at times, to spit on
his hands, hoist the black flag, and begin slitting throats.
But this business, alas, is fatal to the placid moods and
fine other-worldliness of the poet. Pound gives a thrilling
show, but  -  .... The remaining stars of the liberation
need not detain us. They are the streetboys following the
calliope. They have labored with
<pb id="men91" n="91"/>
diligence, but they have produced no poetry....</p>
          <p>Miss Monroe, if she would write a book about it,
would be the most competent historian of the movement,
and perhaps also its keenest critic. She has seen it from
the inside. She knows precisely what it is about. She is
able, finally, to detach herself from its extravagances,
and to estimate its opponents without bile. Her failure to
do a volume about it leaves Untermeyer's “The New Era
in American Poetry” the best in the field. Prof. Dr.
Lowes' treatise is very much more thorough, but it has
the defect of stopping with the fundamentals  -  it has too
little to say about specific poets. Untermeyer discusses
all of them, and then throws in a dozen or two orthodox
bards, wholly untouched by Bolshevism, for good
measure. His criticism is often trenchant and always very
clear. He thinks he knows what he thinks he knows, and
he states it with the utmost address  -  sometimes,
indeed, as in the case of Pound, with a good deal more
address than its essential accuracy deserves. But the
messianic note that gets into the bulls and ukases of
Pound himself, the profound solemnity of Miss Lowell,
the windy chautauqua-like nothings of Lindsay, the
contradictions of the Imagists, the puerilities of
Kreymborg <hi rend="italics"><foreign lang="la">et al</foreign></hi>  -
 all these things are happily absent.
And so it is possible to follow him amiably even when he
is palpably wrong.</p>
          <p>That is not seldom. At the very start, for example,
<pb id="men92" n="92"/>
he permits himself a lot of highly dubious rumble-bumble about
the “inherent Americanism” and soaring
democracy of the movement.
“Once,” he says, “the most exclusive
and aristocratic of
the arts, appreciated and fostered only by little
<hi rend="italics"><foreign lang="fr">salons</foreign></hi>
and erudite groups, poetry has suddenly swung away
from its self-imposed strictures and is expressing itself
once more in terms of democracy.” Pondering
excessively, I can think of nothing that would be more
untrue than this. The fact is that the new poetry is neither
American nor democratic. Despite its remote grounding
on Whitman, it started, not in the United States at all, but
in France, and its exotic color is still its most salient
characteristic. Practically every one of its practitioners is
palpably under some strong foreign influence, and most
of them are no more Anglo-Saxon than a samovar or a
toccata. The deliberate strangeness of Pound, his almost
fanatical anti-Americanism, is a mere accentuation of
what is in every other member of the fraternity. Many of
them, like Frost, Fletcher, H. D. and Pound, have exiled
themselves from the republic. Others, such as
Oppenheim, Sandburg, Giovannitti, Benét and
Untermeyer himself, are palpably Continental
Europeans, often with Levantine traces. Yet others, such
as Miss Lowell and Masters, are little more, at their
best, than translators and adapters  -  from the French,
from the Japanese, from the Greek. Even Lindsay,
<pb id="men93" n="93"/>
superficially the most national of them all, has also his
exotic smear, as I have shown. Let Miss Lowell herself
be a witness. “We shall see them,” she says at the
opening of her essay on E. A. Robinson, “ceding more
and more to the influence of other, alien, peoples....”
A glance is sufficient to show the correctness
of this observation. There is no more “inherent
Americanism” in the new poetry than there is in the new
American painting and music. It lies, in fact, quite
outside the main stream of American culture.</p>
          <p>Nor is it democratic, in any intelligible sense. The poetry
of Whittier and Longfellow was democratic. It voiced the
elemental emotions of the masses of the people; it was full
of their simple, rubber-stamp ideas; they comprehended it
and cherished it. And so with the poetry of James
Whitcomb Riley, and with that of Walt Mason and Ella
Wheeler Wilcox. But the new poetry, grounded firmly
upon novelty of form and boldness of idea, is quite beyond
their understanding. It seems to them to be idiotic, just as
the poetry of Whitman seemed to them to be idiotic, and if
they could summon up enough interest in it to examine it at
length they would undoubtedly clamor for laws making the
confection of it a felony. The mistake of Untermeyer, and
of others who talk to the same effect, lies in confusing the
beliefs of poets and the subject matter of their verse with
its position in
<pb id="men94" n="94"/>
the national consciousness. Oppenheim, Sandburg and Lindsay
are democrats, just as Whitman was a democrat, but their
poetry is no more a democratic phenomenon than his
was, or than, to go to music, Beethoven's Eroica
Symphony was. Many of the new poets, in truth, are
ardent enemies of democracy, for example, Pound. Only
one of them has ever actually sought to take his strophes
to the vulgar. That one is Lindsay  -  and there is not the
slightest doubt that the yokels welcomed him, not
because they were interested in his poetry, but because
it struck them as an amazing, and perhaps even a
fascinatingly obscene thing, for a sane man to go about
the country on any such bizarre and undemocratic
business.</p>
          <p>No sound art, in fact, could possibly be democratic.
Tolstoi wrote a whole book to prove the contrary, and
only succeeded in making his case absurd. The only art
that is capable of reaching the <hi rend="italics"><foreign lang="la">Homo
Boobus</foreign></hi> is art that
is already debased and polluted  -  band music, official
sculpture, Pears' Soap painting, the popular novel. What
is honest and worthy of praise in the new poetry is
Greek to the general. And, despite much nonsense, it
seems to me that there is no little in it that is honest and
worthy of praise. It has, for one thing, made an effective
war upon the <hi rend="italics">cliché</hi>, and
so purged the verse of the
nation of much of its old banality in subject and phrase.
The elegant album pieces of Richard Henry Stoddard
and Edmund Clarence
<pb id="men95" n="95"/>
Stedman are no longer in fashion  -  save, perhaps,
among the democrats that Untermeyer mentions. And in
the second place, it has substituted for this ancient
conventionality an eager curiosity in life as men and
women are actually living it  -  a spirit of daring
experimentation that has made poetry vivid and full of
human interest, as it was in the days of Elizabeth. The
thing often passes into the grotesque, it is shot through
and through with
<hi rend="italics"><foreign lang="fr">héliogabalisme</foreign></hi>,
but at its high points it
has achieved invaluable pioneering. A new poet,
emerging out of the Baptist night of Peoria or Little
Rock to-day, comes into an atmosphere charged with
subtle electricities. There is a stimulating restlessness;
ideas have a welcome, the art he aspires to is no longer
a merely formal exercise, like practicing Czerny. When a
Henry Van Dyke arises at some college banquet and
begins to discharge an old-fashioned ode to
<hi rend="italics"><foreign lang="la">alma mater</foreign></hi>
there is a definite snicker, it is almost as if he
were to appear in Congress gaiters or a beaver hat. An
audience for such things, of course, still exists. It is, no
doubt, an enormously large audience. But it has changed
a good deal qualitatively, if not quantitatively. The
relatively civilized reader has been educated to
something better. He has heard a music that has spoiled
his ear for the old wheezing of the melodeon. He weeps
no more over what wrung him yesteryear.</p>
          <p>Unluckily, the new movement, in America even
<pb id="men96" n="96"/>
more than in England, France and Germany, suffers from a very
crippling lack, and that is the lack of a genuinely first-rate
poet. It has produced many talents, but it has yet to
produce any genius, or even the shadow of genius.
There has been a general lifting of the plain, but no vasty
and melodramatic throwing up of new peaks. Worse
still, it has had to face hard competition from without  -  
that is, from poets who, while also emerged from
platitude, have yet stood outside it, and perhaps in some
doubt of it. Untermeyer discusses a number of such
poets in his book. There is one of them, Lizette
Woodworth Reese, who has written more sound poetry,
more genuinely eloquent and beautiful poetry, than all the
new poets put together  -  more than a whole posse of
Masterses and Lindsays, more than a hundred Amy
Lowells. And there are others, Neihardt and John
McClure among them  -  particularly McClure.
Untermeyer, usually anything but an ass, once committed
the unforgettable asininity of sneering at McClure. The
blunder, I daresay, is already lamented; it is not
embalmed in his book. But it will haunt him on Tyburn
Hill. For this McClure, attempting the simplest thing in
the simplest way, has done it almost superbly. He seems
to be entirely without theories. There is no pedagogical
passion in him. He is no reformer. But more than any of
the reformers now or lately in the arena, he is a poet.</p>
        </div2>
        <pb id="men97" n="97"/>
        <div2 type="chapter VII">
          <head>VII. THE HEIR OF MARK TWAIN</head>
          <p>NOTHING could be stranger than the current celebrity
of Irvin S. Cobb, an author of whom almost as much is
heard as if he were a new Thackeray or Molière. One is
solemnly told by various extravagant partisans, some of
them not otherwise insane, that he is at once the
successor to Mark Twain and the heir of Edgar Allan
Poe. One hears of public dinners given in devotion to
his genius, of public presentations, of learned degrees
conferred upon him by universities, of other
extraordinary adulations, few of them shared by such
relatively puny fellows as Howells and Dreiser. His
talents and sagacity pass into popular anecdotes; he has 
sedulous Boswells; he begins to take on the august
importance of an actor-manager. Behind the scenes, of
course, a highly dexterous publisher pulls the strings, but
much of it is undoubtedly more or less sincere; men
pledge their sacred honor to the doctrine that his
existence honors the national literature. Moreover, he
seems to take the thing somewhat seriously himself. He
gives his <hi rend="italics"><foreign lang="la">imprimatur</foreign></hi>
to various other authors, including
Joseph Conrad; he engages himself to lift
<pb id="men98" n="98"/>
the literary tone of moving-pictures; he lends his name to
movements; he exposes himself in the chautauquas; he takes on
the responsibilities of a patriot and a public man....
Altogether, a curious, and, in some of its aspects, a
caressingly ironical spectacle. One wonders what the
graduate sophomores of to-morrow, composing their dull
tomes upon American letters, will make of it....</p>
          <p>In the actual books of the man I can find nothing that
seems to justify so much enthusiasm, nor even the
hundredth part of it. His serious fiction shows a certain
undoubted facility, but there are at least forty other
Americans who do the thing quite as well. His public bulls
and ukases are no more than clever journalism  -  
superficial and inconsequential first saying one thing and
then quite another thing. And in his humor, which his
admirers apparently put first among his products, I can
discover, at best, nothing save a somewhat familiar
aptitude for grotesque anecdote, and, at worst, only the
laborious laugh-squeezing of Bill Nye. In the volume
called “Those Times and These” there is an excellent
comic story, to wit, “Hark, From the Tomb!” But it would
surely be an imbecility to call it a masterpiece; too many
other authors have done things quite as good; more than a
few (I need cite only George Ade, Owen Johnson and
Ring W. Lardner) have done things very much better.
Worse, it lies in the book like a slice of Smithfield
<pb id="men99" n="99"/>
ham between two slabs of stale store-bread. On both sides of
it are very stupid artificialities  -  stories without point,
stories in which rustic characters try to talk like Wilson
Mizner, stories altogether machine-made and depressing.
Turn, now, to another book, vastly praised in its year  -  by
name, “Cobb's Anatomy.” One laughs occasionally  -  but
precisely as one laughs over a comic supplement or the
jokes in <hi rend="italics">Ayer's Almanac</hi>. For example:</p>
          <p rend="sc">There never was a hansom cab made that would hold a
fat man comfortably unless he left the doors open, and
that makes him feel undressed.</p>
          <p>Again:</p>
          <p rend="sc">Your hair gives you bother so long as you have it and
more bother when it starts to go. You are always doing
something for it and it is always showing deep-dyed
ingratitude in return; or else the dye isn't deep enough,
which is even worse.</p>
          <p>Exactly; it is even worse. And then this:</p>
          <p rend="sc">Once there was a manicure lady who wouldn't take a
tip, but she is now no more. Her indignant sisters stabbed
her to death with hatpins and nail-files.</p>
          <p>I do not think I quote unfairly; I have tried to select
honest specimens of the author's fancy.... Perhaps it may
be well to glance at another book. I choose, at random,
“Speaking of Operations  -  ,” a
<pb id="men100" n="100"/>
work described by the publisher as “the funniest yet
written by Cobb” and “the funniest book we
know of.”
In this judgment many other persons seem to have
concurred. The thing was an undoubted success when
it appeared as an article in the <hi rend="italics">Saturday
Evening Post</hi>
and it sold thousands of copies between covers. Well,
what is in it? In it, after a diligent reading, I find half a
dozen mildly clever observations and sixty odd pages of
ancient and infantile wheezes, as flat to the taste as so
many crystals of hyposulphite of soda. For example, the
wheeze to the effect that in the days of the author's
nonage “germs had not been invented yet.” For example,
the wheeze to the effect that doctors bury their mistakes.
For example, the wheeze to the effect that the old-time
doctor always prescribed medicines of abominably evil
flavor.... But let us go into the volume more in detail, and
so unearth all its gems.</p>
          <p>On page 1, in the very first paragraph, there is the 
doddering old joke about the steepness of doctors' bills. In
the second paragraph there is the somewhat newer but still
fully adult joke about the extreme willingness of persons
who have been butchered by surgeons to talk about it
afterward. These two witticisms are all that I can find on
page 1. For the rest, it consists almost entirely of a
reference to MM. Bryan and Roosevelt  -  a reference
well known by all newspaper paragraphists and
vaudeville monologists to 
<pb id="men101" n="101"/>
be as provocative of laughter as a mention of bunions,
mothers-in-law or Pottstown, Pa. On page 2 Bryan and
Roosevelt are succeeded by certain heavy stuff in the
Petroleum V. Nasby manner upon the condition of
obstetrics, pediatrics and the allied sciences among
whales. Page 3 starts off with the old jocosity to the
effect that people talk too much about the weather. It
progresses or resolves, as the musicians say, into the
wheeze to the effect that people like to dispute over
what is the best thing to eat for breakfast. On page 4 we
come to what musicians would call the formal statement
of the main theme  -  that is, of the how-I-like-to-talk-of-my-operation
motif. We have thus covered four pages.</p>
          <p>Page 5 starts out with an enharmonic change: to wit,
from the idea that ex-patients like to talk of their
operations to the idea that patients in being like to swap
symptoms. Following this there is a repetition of the gold
theme  -  that is, the theme of the doctor's bill. On page
6 there are two chuckles. One springs out of a reference
to “light housekeeping,” a phrase which
invariably strikes
an American vaudeville audience as salaciously
whimsical. The other is grounded upon the well-known
desire of baseball fans to cut the umpire's throat. On
page 6 there enters for the first time what may be called
the second theme of the book. This is the whiskers
motif. The whole of this page, with the exception of a
sentence embodying
<pb id="men102" n="102"/>
the old wheeze about the happy times before germs were
invented, is given over to variations of the whiskers joke.
Page 8 continues this development section. Whiskers of
various fantastic varieties are mentioned  -  trellis
whiskers, bosky whiskers, ambush whiskers, loose,
luxuriant whiskers, landscaped whiskers, whiskers that
are winter quarters for pathogenic organisms. Some hard,
hard squeezing, and the humor in whiskers is temporarily
exhausted. Page 8 closes with the old joke about the cruel
thumping which doctors perform upon their patients'
clavicles.</p>
          <p>Now for page 9. It opens with a third statement of the
gold motif  -  “He then took my temperature and
$15.”
Following comes the dentist's office motif  -  that is, the
motif of reluctance, of oozing courage, of flight. At the
bottom of the page the gold motif is repeated in the key of
E minor. Pages 10 and 11 are devoted to simple
description, with very little effort at humor. On page 12
there is a second statement, for the full brass choir, of the
dentist's office motif. On page 13 there are more echoes
from Petroleum V. Nasby, the subject this time being a
man “who got his spleen back from the doctor's and now
keeps it in a bottle of alcohol.” On page 14 one finds the
innocent bystander joke; on page 15 the joke about the
terrifying effects of reading a patent medicine
<pb id="men103" n="103"/>
almanac. Also, at the bottom of the page, there is a third
statement of the dentist's office joke. On page 16 it gives
way to a restatement of the whiskers theme, in
augmentation, which in turn yields to the third or fifth
restatement of the gold theme.</p>
          <p>Let us now jump a few pages. On page 19 we come to
the old joke about the talkative barber; on page 22 to the
joke about the book agent; on the same page to the joke
about the fashionableness of appendicitis; on page 23 to
the joke about the clumsy carver who projects the
turkey's gizzard into the visiting pastor's eye; on page 28
to a restatement of the barber joke; on page 31 to another
statement  -  is it the fifth or sixth?  -  of the dentist's office
joke; on page 37 to the katzenjammer joke; on page 39 to
the old joke about doctors burying their mistakes.... And
so on. And so on and so on. And so on and so on and so
on. On pages 48 and 49 there is a perfect riot of old jokes,
including the <hi rend="italics">n</hi>th variation of the
whiskers joke and a
fearful and wonderful pun about Belgian hares and heirs...</p>
          <p>On second thoughts I go no further.... This, remember,
is the book that Cobb's publishers, apparently with his
own <hi rend="italics"><foreign lang="la">Nihil Obstat</foreign></hi>,
choose at his best. This is the
official masterpiece of the “new Mark Twain.”
Nevertheless, even so laboriously flabby a farceur has his
moments. I turn to Frank J. Wilstach's
<pb id="men104" n="104"/>
Dictionary of Similes and find this credited to him: “No
more privacy than a goldfish.” Here, at last, is something
genuinely humorous. Here, moreover, is something
apparently new.</p>
        </div2>
        <pb id="men105" n="105"/>
        <div2 type="chapter VIII">
          <head>VIII. HERMANN SUDERMANN</head>
          <p>THE fact that Sudermann is the author of the most
successful play that has come out of Germany since the
collapse of the romantic movement is the most eloquent
of all proofs, perhaps, of his lack of force and originality
as a dramatist. “<foreign lang="gr">Heimat</foreign>,”
Englished , Frenched and
Italianized as “Magda,” gave a new and
gaudy leading role
to all the middle-aged chewers of scenery; they fell
upon it as upon a new Marguerite Gautier, and with it
they coaxed the tears of all nations. That was in the
middle nineties. To-day the piece seems almost as
old-fashioned as “The Princess Bonnie,” and even in
Germany it has gone under the counter. If it is brought
out at all, it is to adorn the death agonies of some
doddering star of the last generation.</p>
          <p>Sudermann was one of the first deer flushed by Arno
Holz and Johannes Schlaf, the founders of German
naturalism. He had written a couple of successful
novels, “<foreign lang="gr">Frau Sorge</foreign>”
and “<foreign lang="gr">Der Katzensteg</foreign>,”
before the
<hi rend="italics"><foreign lang="gr">Uberbrettl'</foreign></hi>
got on its legs, and so he was a recruit
worth snaring. The initial fruit of his enlistment was
“<foreign lang="gr">Die Ehre</foreign>,” a
<foreign lang="la"><hi rend="italics">reductio ad
absurdum</hi></foreign> of
<pb id="men106" n="106"/>
Prussian notions of honor, as incomprehensible outside
of Germany as Franz Adam Beyerlein's
“<foreign lang="gr">Zapfenstreich</foreign>”
or Carl Bleibtreu's “<foreign lang="gr">Die
Edelsten der Nation</foreign>.” Then
followed “<foreign lang="gr">Sodoms Ende</foreign>,”
and after it, “<foreign lang="gr">Heimat</foreign>.”
Already
the emptiness of naturalism was beginning to oppress
Sudermann, as it was also oppressing Hauptmann. The
latter, in 1892, rebounded from it to the unblushing
romanticism of  “<foreign lang="gr">Hanneles
Himmelfahrt</foreign>.” As for
Sudermann, he chose to temper the rigors of the Schlaf-Holz
formula (by Ibsen out of Zola) with sardoodledum.
The result was this “<foreign lang="gr">Heimat</foreign>,”
in which naturalism was
wedded to a mellow sentimentality, caressing to
audiences bred upon the drama of perfumed adultery.
The whole last scene of the play, indeed, was no more
than an echo of Augier's “<foreign lang="fr">Le Mariage
d' Olympe</foreign>.” It is
no wonder that even Sarah Bernhardt pronounced it a
great work.</p>
          <p>Since then Sudermann has wobbled, and in the novel
as well as in the drama. Lacking the uncanny versatility
of Hauptmann, he has been unable to conquer the two
fields of romance and reality. Instead he has lost himself
between them, a rat without a tail. “<foreign lang="gr">Des
hohe Lied</foreign>,” his
most successful novel since “<foreign lang="gr">Frau
Sorge</foreign>,” is anything
but a first-rate work. Its opening chapter is a
superlatively fine piece of writing, but after that he
grows uncertain of his way, and toward the end one
begins to wonder what it is all about. No coherent
<pb id="men107" n="107"/>
idea is in it; it is simply a sentimentalization of the
unpleasant;
if it were not for the naughtiness of some of the scenes
no one would read it. An American dramatist has made
a play of it  -  a shocker for the same clowns who were
entranced by Brieux's “<foreign lang="fr">Les
Avariés</foreign>.”</p>
          <p>The trouble with Sudermann, here and elsewhere, is
that he has no sound underpinnings, and is a bit
uncertain about his characters and his story. He starts
off furiously, let us say, as a Zola, and then dilutes
Zolaism with romance, and then pulls himself up and
begins to imitate Ibsen, and then trips and falls headlong
into the sugar bowl of sentimentality. Lily Czepanek, in
“<foreign lang="gr">Des hohe Lied</foreign>,”
swoons at critical moments, like the
heroine of a tale for chambermaids. It is almost as if
Lord Jim should get converted at a gospel mission, or
Nora Helmer let down her hair...But these are
defects in Sudermann the novelist and dramatist, and in
that Sudermann only. In the short story they conceal
themselves; he is done before he begins to vacillate. In
this field, indeed, all his virtues  -  of brisk, incisive
writing, of flashing observation, of dexterous stage
management, of emotional fire and address  -  have a
chance to show themselves, and without any wearing
thin. The book translated as “The Indian Lily” contains
some of the best short stories that German  -  or any
other language, for that matter  -  can offer. They are
mordant, succinct and
<pb id="men108" n="108"/>
extraordinarily vivid character studies, each full of
penetrating
irony and sardonic pity, each with the chill wind
of disillusion
blowing through it, each preaching that life is a hideous
farce, that good and bad are almost meaningless words,
that truth is only the lie that is easiest to believe....</p>
          <p>It is hard to choose between stories so high in merit,
but surely “The Purpose” is one of the best. Of all the
latter-day Germans, only Ludwig Thoma, in
“<foreign lang="gr">Ein bayrischer Soldat</foreign>,”
has ever got a more brilliant reality
into a crowded space. Here, in less than fifteen thousand
words, Sudermann rehearses the tragedy of a whole life,
and so great is the art of the thing that one gets a sense
of perfect completeness, almost of exhaustiveness....
Antonie Wiesner, the daughter of a country innkeeper,
falls in love with Robert Messerschmidt, a medical
student, and they sin the scarlet sin. To Robert, perhaps,
the thing is a mere interlude of midsummer, but to Toni it
is all life's meaning and glory. Robert is poor and his
degree is still two years ahead; it is out of the question
for him to marry. Very well, Toni will find a father for
her child; she is her lover's property, and that property
must be protected. And she will wait willingly, careless
of the years, for the distant day of triumph and
redemption. All other ideas and ideals drop out of her
mind; she becomes an automaton moved by the one
impulse, the one yearning. She marries one
<pb id="men109" n="109"/>
Wiegand, a decayed innkeeper; he, poor fool, accepts
the parentage of her child. Her father, rich and
unsuspicious, buys them a likely inn; they begin to make
money. And then begins the second chapter of Toni's
sacrifice. She robs her husband systematically and
steadily; she takes commissions on all his goods; she
becomes the houri of his bar, that trade may grow and
pickings increase. Mark by mark, the money goes to
Robert. It sees him through the university; it gives him
his year or two in the hospitals; it buys him a practice; it
feeds and clothes him, and his mother with him. The
months and years pass endlessly  -  a young doctor's
progress is slow. But finally the great day approaches.
Soon Robert will be ready for his wife. But
Wiegand  -  what of him? Toni thinks of half a dozen
plans. The notion of poisoning him gradually formulates
itself. Not a touch of horror stays her. She is, by this
time, beyond all the common moralities  -  a monomaniac
with no thought for anything save her great purpose. But
an accident saves Wiegand. Toni, too elaborate in her
plans, poisons herself by mischance, and comes near
dying. Very well, if not poison, then some more subtle
craft. She puts a barmaid into Wiegand's path; she
manages the whole affair; before long she sees her
victim safely enmeshed. A divorce follows; the inn is
sold; her father's death makes her suddenly rich  -  at last
she is off to greet her lord!</p>
          <pb id="men110" n="110"/>
          <p>That meeting!...Toni waits in the little flat that she
has rented in the city  -  she and her child, the child of
Robert. Robert is to come at noon; as the slow
moments pass the burden of her happiness seems too
great to bear. And then suddenly the ecstatic
climax  -  the ring at the door.... “A gentleman entered. A
strange gentleman. Wholly strange. Had she met him on
the street she would not have known him. He had grown
old  -  forty, fifty, a hundred years. Yet his real age could
not be over twenty-eight!....He had grown fat. He
carried a little paunch around with him, round and
comfortable. And the honorable scars gleamed in round,
red cheeks. His eyes seemed small and receding.
....And when he said: ‘Here I am at last,’ it was no
longer the old voice, clear and a little resonant, which
had echoed and reëchoed in her spiritual ear. He
gurgled as though he had swallowed dumplings.” An oaf
without and an oaf within! Toni is for splendors,
triumphs, the life; Robert has “settled down.” His remote
village, hard by the Russian border, is to his liking; he
has made comfortable friends there; he is building up a
practice. He is, of course, a man of honor. He will marry
Toni  -  willingly and with gratitude, even with genuine
affection. Going further, he will pay back to her every
cent that ever came from Wiegand's till. He has kept a
strict account. Here it is, in a little blue notebook
<pb id="men111" n="111"/>
  -  seven years of entries. As he reads them aloud
the events of those seven years unroll themselves before
Toni and every mark brings up its picture  -  stolen cash
and trinkets, savings in railroad fares and food,
commissions upon furniture and wines, profits of
champagne debauches with the county councilor, sharp
trading in milk and eggs, “suspense and longing, an
inextricable web of falsification and trickery, of terror
and lying without end. The memory of no guilt is spared
her.” Robert is an honest, an honorable man. He has
kept a strict account; the money is waiting in bank. What
is more, he will make all necessary confessions. He has
not, perhaps, kept to the letter of fidelity. There was a
waitress in Berlin; there was a nurse at the surgical clinic;
there is even now a Lithuanian servant girl at his bachelor
quarters. The last named, of course, will be sent away
forthwith. Robert is a man of honor, a man sensitive to
every requirement of the punctilio, a gentleman. He will
order the announcement cards, consult a
clergyman  -  and not forget to get rid of the Lithuanian
and air the house.... Poor Toni stares at him as he
departs. “Will he come back soon?” asks the child. “I
scarcely think so,” she answers....“That night she broke the
purpose of her life, the purpose that had become interwoven
with a thousand others, and when the morning came she wrote
a letter of farewell to the beloved of her youth.”</p>
          <pb id="men112" n="112"/>
          <p>A short story of rare and excellent quality. A short
story  -  oh, miracle!  -  worth reading twice. It is not so
much that its motive is new  -  that motive, indeed, has
appeared in fiction many times, though usually with the
man as the protagonist  -  as that its workmanship is
superb. Sudermann here shows that, for all his failings
elsewhere, he knows superlatively how to write. His act
divisions are exactly right; his
<foreign lang="fr"><hi rend="italics">scènes à
faire</hi></foreign> are
magnificently managed; he has got into the thing that
rhythmic ebb and flow of emotion which makes for great
drama. And in most of the other stories in this book you
will find much the same skill. No other, perhaps, is quite
so good as “The Purpose,” but at least one of them,
“The Song of Death,” is not far behind. Here we have
the tragedy of a woman brought up rigorously,
puritanically, stupidly, who discovers, just as it is too
late, that love may be a wild dance, an ecstasy, an orgy.
I can imagine no more grotesquely pathetic scene than
that which shows this drab preacher's wife watching by
her husband's death-bed  -  while through the door
comes the sound of amorous delirium from the next
room. And then there is a strangely moving Christmas
story, “Merry Folk”  -  pathos with the hard
iron in it.
And there are “Autumn” and “The Indian Lily,”
elegies to
lost youth  -  the first of them almost a fit
complement to Joseph Conrad's great paean to
youth triumphant.
<pb id="men113" n="113"/>
Altogether, a collection of short stories of the very first
rank. Write off “<foreign lang="gr">Des hohe
Lied</foreign>,” “<foreign lang="gr">Frau
Sorge</foreign>” and all
the plays: a Sudermann remains who must be put in a
high and honorable place, and will be remembered.</p>
        </div2>
        <pb id="men114" n="114"/>
        <div2 type="chapter IX">
          <head>IX. GEORGE ADE</head>
          <p>WHEN, after the Japs and their vassals conquer us and
put us to the sword, and the republic descends into hell,
some literary don of Oxford or Mittel-Europa proceeds
to the predestined autopsy upon our Complete Works,
one of the things he will surely notice, reviewing our
literary history, is the curious persistence with which the
dons native to the land have overlooked its emerging
men of letters. I mean, of course, its genuine men of
letters, its salient and truly original men, its men of
intrinsic and unmistakable distinction. The fourth-raters
have fared well enough, God knows. Go back to any
standard literature book of ten, or twenty, or thirty, or
fifty years ago, and you will be amazed by its praise of
shoddy mediocrities, long since fly-blown and forgotten.
George William Curtis, now seldom heard of at all, save
perhaps in the reminiscences of senile publishers, was
treated in his day with all the deference due to a prince
of the blood. Artemus Ward, Petroleum V. Nasby and
half a dozen other such hollow buffoons were ranked
with Mark Twain, and even above him. Frank R.
<pb id="men115" n="115"/>
Stockton, for thirty years, was the delight of all
right-thinking reviewers. Richard Henry Stoddard and
Edmund Clarence Stedman were eminent personages,
both as critics and as poets. And Donald G. Mitchell, to
make an end of dull names, bulked so grandly in
the academic eye that he was snatched from his tear-jugs
and his tea-pots to become a charter member of
the National Institute of Arts and Letters, and actually
died a member of the American Academy!</p>
          <p>Meanwhile, three of the five indubitably first-rate
artists that America has produced went quite without
orthodox recognition at home until either foreign
enthusiasm or domestic clamor from below forced them
into a belated and grudging sort of notice. I need not say
that I allude to Poe, Whitman and Mark Twain. If it
ever occurred to any American critic of position, during
Poe's lifetime, that he was a greater man than either
Cooper or Irving, then I have been unable to find any
trace of the fact in the critical literature of the time. The
truth is that he was looked upon as a facile and
somewhat dubious journalist, too cocksure by half, and
not a man to be encouraged. Lowell praised him in
1845 and at the same time denounced the current over-praise
of lesser men, but later on this encomium was
diluted with very important reservations, and there the
matter stood until Baudelaire discovered the poet and
his belated fame came winging home. Whitman, as
every one
<pb id="men116" n="116"/>
knows, fared even worse. Emerson first hailed him and then
turned tail upon him, eager to avoid any share in his ill-repute
among blockheads. No other critic of any influence gave him
help. He was carried through his dark days of poverty
and persecution by a few private enthusiasts, none of
them with the ear of the public, and in the end it was
Frenchmen and Englishmen who lifted him into the light.
Imagine a Harvard professor lecturing upon him in 1865!
As for Mark Twain, the story of his first fifteen years has
been admirably told by Prof. Dr. William Lyon Phelps,
of Yale. The dons were unanimously against him. Some
sneered at him as a feeble mountebank; others refused to
discuss him at all; not one harbored the slightest
suspicion that he was a man of genius, or even one leg of
a man of genius. Phelps makes merry over this academic
attempt to dispose of Mark by putting him into Coventry
  -  and himself joins the sanctimonious brethren who
essay the same enterprise against Dreiser....</p>
          <p>I come by this route to George Ade  -  who perhaps
fails to fit into the argument doubly, for on the one hand
he is certainly not a literary artist of the first rank, and on
the other hand he has long enjoyed a meed of
appreciation and even of honor, for the National
Institute of Arts and Letters elevated him to its gilt-edged
purple in its first days, and he is still on its roll of
men of “notable achievement in art, music
<pb id="men117" n="117"/>
or literature,” along with Robert W. Chambers, Henry
Sydnor Harrison, Oliver Herford, E. S. Martin and
E. W. Townsend, author of “Chimmie Fadden.”
Nevertheless, he does not fall too far outside, after all,
for if he is not of the first rank then he surely deserves a
respectable place in the second rank, and if the National
Institute broke the spell by admitting him then it was
probably on the theory that he was a second Chambers
or Herford, or maybe even a second Martin or
Townsend. As for the text-book dons, they hold
resolutely to the doctrine that he scarcely exists, and is
not worth noticing at all. For example, there is Prof.
Fred Lewis Pattee, author of “A History of American
Literature Since 1870.” Prof. Pattee notices Chambers,
Marion Harland, Herford, Townsend, Amélie Rives, R. K.
Munkittrick and many other such ornaments of the
national letters, and even has polite bows for Gelett
Burgess, Carolyn Wells and John Kendrick Bangs, but
the name of Ade is missing from his index, as is that of
Dreiser. So with the other pedagogues. They are
unanimously shy of Ade in their horn-books for
sophomores, and they are gingery in their praise of him
in their innumerable review articles. He is commended,
when at all, much as the late Joseph Jefferson used to
be commended  -  that is, to the accompaniment of
reminders that even a clown is one of God's creatures,
and may have the heart of a Christian under his
<pb id="men118" n="118"/>
motley. The most laudatory thing ever said of him by any
critic of the apostolic succession, so far as I can
discover, is that he is clean  -  that he does not import
the lewd buffooneries of the barroom, the smoking-car
and the wedding reception into his books....</p>
          <p>But what are the facts? The facts are that Ade is one
of the few genuinely original literary craftsmen now in
practice among us; that he comes nearer to making
literature, when he has full steam up, than any save a
scant half-dozen of our current novelists, and that the
whole body of his work, both in books and for the
stage, is as thoroughly American, in cut and color, in
tang and savor, in structure and point of view, as the
work of Howells, E. W. Howe or Mark Twain. No
single American novel that I can think of shows half the
sense of nationality, the keen feeling for national
prejudice and peculiarity, the sharp and pervasive
Americanism of such Adean fables as “The Good Fairy
of the Eighth Ward and the Dollar Excursion of the
Steam-Fitters,” “The Mandolin Players and the Willing
Performer,” and “The Adult Girl Who Got Busy Before
They Could Ring the Bell on Her.” Here, amid a humor
so grotesque that it almost tortures the midriff, there is a
startlingly vivid and accurate evocation of the American
scene. Here, under all the labored extravagance, there
are brilliant flashlight pictures of the American people,
and American
<pb id="men119" n="119"/>
ways of thinking, and the whole of American
<foreign lang="gr"><hi rend="italics">Kultur</hi></foreign>.
Here
the veritable Americano stands forth, lacking not a
waggery, a superstition, a snuffle or a wen.</p>
          <p>Ade himself, for all his story-teller's pretense of
remoteness, is as absolutely American as any of his
prairie-town traders and pushers, Shylocks and
Dogberries, beaux and belles. No other writer of our
generation, save perhaps Howe, is more unescapably
national in his every gesture and trick of mind. He is as
American as buckwheat cakes, or the Knights of
Pythias, or the chautauqua or Billy Sunday, or a bull by
Dr. Wilson. He fairly reeks of the national Philistinism,
the national respect for respectability, the national
distrust of ideas. He is a marcher, one fancies, in
parades; he joins movements, and movements against
movements; he knows no language save his own; he
regards a Roosevelt quite seriously and a Mozart or an
Ibsen as a joke; one would not be surprised to hear
that, until he went off to his fresh-water college, he slept
in his underwear and read the <hi rend="italics">Epworth
Herald</hi>. But,
like Dreiser, he is a peasant touched by the divine fire;
somehow, a great instinctive artist got himself born out
there on that lush Indiana farm. He has the rare faculty
of seeing accurately, even when the thing seen is
directly under his nose, and he has the still rarer faculty
of recording vividly, of making the thing seen move
with life.
<pb id="men120" n="120"/>
One often doubts a character in a novel, even in a good
novel, but who ever doubted Gus in “The Two Mandolin
Players,” or Mae in “Sister Mae,” or,
to pass from the
fables, Payson in “Mr. Payson's Satirical
Christmas”?
Here, with strokes so crude and obvious that they seem
to be laid on with a broom, Ade achieves what O.
Henry, with all his ingenuity, always failed to achieve: he
fills his bizarre tales with human beings. There is never
any artfulness on the surface. The tale itself is never
novel, or complex; it never surprises; often it is
downright banal. But underneath there is an artfulness
infinitely well wrought, and that is the artfulness of a
story-teller who dredges his story out of his people,
swiftly and skillfully, and does not squeeze his people
into his story, laboriously and unconvincingly.</p>
          <p>Needless to say, a moralist stands behind the
comedian. He would teach; he even grows indignant.
Roaring like a yokel at a burlesque show over such wild
and light-hearted jocosities as “Paducah's Favorite
Comedians” and “Why ‘Gondola’
Was Put Away,” one
turns with something of a start to such things as “Little
Lutie,” “The Honest Money Maker” and “The
Corporation Director and the Mislaid Ambition.” Up to
a certain point it is all laughter, but after that there is a
flash of the knife, a show of teeth. Here a national
limitation often closes in upon the satirist. He cannot
quite separate the unaccustomed from the
<pb id="men121" n="121"/>
abominable; he is unable to avoid rattling his Philistine
trappings a bit proudly; he must prove that he, too, is a
right-thinking American, a solid citizen and a patriot,
unshaken in his lofty rectitude by such poisons as aristocracy,
adultery, <hi rend="italics"><foreign lang="fr">hors
d'œuvres</foreign></hi> and the sonata form.
But in other
directions this thoroughgoing nationalism helps him
rather than hinders him. It enables him, for one thing, to
see into sentimentality, and to comprehend it and project
it accurately. I know of no book which displays the
mooniness of youth with more feeling and sympathy than
“Artie,” save it be Frank Norris' forgotten
“Blix.” In such
fields Ade achieves a success that is rare and
indubitable. He makes the thing charming and he makes
it plain.
But all these fables and other compositions of his are
mere sketches, inconsiderable trifles, impromptus in bad
English, easy to write and of no importance! Are they,
indeed? Do not believe it for a moment. Fifteen or
twenty years ago, when Ade was at the height of his
celebrity as a newspaper Sganarelle, scores of hack
comedians tried to imitate him  -  and all failed. I myself
was of the number. I operated a so-called funny column
in a daily newspaper, and like my colleagues near and
far, I essayed to manufacture fables in slang. What
miserable botches they were! How easy it was to imitate
Ade's manner  -  and how impossible to imitate his
matter! No; please
<pb id="men122" n="122"/>
don't get the notion that it is a simple thing to write such
a fable as that of “The All-Night Seance and the Limit That
Ceased to Be,” or that of “The Preacher Who Flew His
Kite, But Not Because He Wished to Do So,” or that of
“The Roystering Blades.” Far from it! On the contrary,
the only way you will ever accomplish the feat will be by
first getting Ade's firm grasp upon American character,
and his ability to think out a straightforward, simple,
amusing story, and his alert feeling for contrast and
climax, and his extraordinary talent for devising novel,
vivid and unforgettable phrases. Those phrases of his
sometimes wear the external vestments of a passing
slang, but they are no more commonplace and vulgar at
bottom than Gray's “mute, inglorious Milton” or the
“somewheres East of Suez” of Kipling. They reduce an
idea to a few pregnant syllables. They give the attention
a fillip and light up a whole scene in a flash. They are the
running evidences of an eye that sees clearly and of a
mind that thinks shrewdly. They give distinction to the
work of a man who has so well concealed a highly
complex and efficient artistry that few have ever
noticed it.</p>
        </div2>
        <pb id="men123" n="123"/>
        <div2 type="chapter X">
          <head>X. THE BUTTE BASHKIRTSEFF</head>
          <p>OF all the pseudo-rebels who have raised a tarletan
black flag in These States, surely Mary MacLane is one
of the most pathetic. When, at nineteen, she fluttered
Vassar with “The Story of Mary MacLane,” the truth
about her was still left somewhat obscure; the charm of
her flapperhood, so to speak, distracted attention from
it, and so concealed it. But when, at thirty-five, she
achieved “I, Mary MacLane,” it emerged crystal-clear;
she had learned to describe her malady accurately,
though she still wondered, a bit wistfully, just what it was.
And that malady? That truth? Simply that a Scotch
Presbyterian with a soaring soul is as cruelly beset as a
wolf with fleas, a zebra with the botts. Let a spark of the
divine fire spring to life in that arid corpse, and it must
fight its way to flame through a drum fire of wet sponges.
A humming bird immersed in
<hi rend="italics"><foreign lang="gr">Kartoffelsuppe</foreign></hi>.
Walter
Pater writing for the London <hi rend="italics">Daily Mail</hi>.
Lucullus
traveling steerage....A Puritan wooed and tortured by
the leers of beauty, Mary MacLane in a moral republic,
in a Presbyterian diocese, in Butte....
<pb id="men124" n="124"/>
I hope my figures of speech are not too abstruse.
What I mean to say is simply this: that the secret of Mary
MacLane is simply this: that the origin of all her inchoate
naughtiness is simply this: that she is a Puritan who has
heard the call of joy and is struggling against it damnably.
Remember so much, and the whole of her wistful heresy
becomes intelligible. On the one hand the loveliness of
the world enchants her; on the other hand the fires of hell
warn her. This tortuous conflict accounts for her whole
bag of tricks; her timorous flirtations with the devil, her
occasional outbreaks of finishing-school rebellion, her
hurried protestations of virginity, above all her incurable
Philistinism. One need not be told that she admires the
late Major General Roosevelt and Mrs. Atherton, that
she wallows in the poetry of Keats. One knows quite as
well that her phonograph plays the “Peer Gynt”
suite, and
that she is charmed by the syllogisms of G. K.
Chesterton. She is, in brief, an absolutely typical
American of the transition stage between Christian
Endeavor and civilization. There is in her a definite
poison of ideas, an æsthetic impulse that will not down
  -  but every time she yields to it she is halted and plucked
back by qualms and doubts, by the dominant
superstitions of her race and time, by the dead hand of
her kirk-crazy Scotch forebears.</p>
          <p>It is precisely this grisly touch upon her shoulder
<pb id="men125" n="125"/>
that stimulates her to those naïve explosions of scandalous
confidence which make her what she is. If there were no
sepulchral voice in her ear, warning her that it is the
mark of a hussy to be kissed by a man with “iron-gray
hair, a brow like Apollo and a jowl like Bill Sykes,” she
would not confess it and boast of it, as she does on
page 121 of “I, Mary MacLane.” If it were not a
Presbyterian axiom that a lady who says “damn” is fit
only to join the white slaves, she would not pen a defiant
Damniad, as she does on pages 108, 109 and 110. And
if it were not held universally in Butte that sex passion is
the exclusive infirmity of the male, she would not blab
out in meeting that  -  but here I get into forbidden
waters and had better refer you to page 209. It is not
the godless voluptuary who patronizes leg-shows and
the cabaret; it is the Methodist deacon with
unaccustomed vine-leaves in his hair. It is not genuine
artists, serving beauty reverently and proudly, who herd
in Greenwich Village and bawl for art; it is precisely a
mob of Middle Western Baptists to whom the very idea
of art is still novel, and intoxicating, and more than a little
bawdy. And to make an end, it is not cocottes who read
the highly-spiced magazines which burden all the book-stalls;
it is sedentary married women who, while faithful
to their depressing husbands in the flesh, yet allow their
imaginations to play furtively upon the charms of
theoretical intrigues
<pb id="men126" n="126"/>
with such pretty fellows as Francis X. Bushman, Enrico
Caruso and Vincent Astor.</p>
          <p>An understanding of this plain fact not only explains
the MacLane and her gingery carnalities of the chair; it
also explains a good part of latter-day American
literature. That literature is the self-expression of a
people who have got only half way up the ladder leading
from moral slavery to intellectual freedom. At every step
there is a warning tug, a protest from below. Sometimes
the climber docilely drops back; sometimes he emits a
petulant defiance and reaches boldly for the next round.
It is this occasional defiance which accounts for the
periodical efflorescence of mere school-boy naughtiness
in the midst of our oleaginous virtue  -  for the
shouldering out of the <hi rend="italics">Ladies'
Home Journal</hi> by
magazines of adultery all compact  -  for the provocative
baring of calf and scapula by women who regard it as
immoral to take Benedictine with their coffee  -  for the
peopling of Greenwich Village by oafs who think it a
devilish adventure to victual in cellars, and read Krafft-Ebing,
and stare at the corset-scarred nakedness of
decadent cloak-models.</p>
          <p>I have said that the climber is but half way up the
ladder. I wish I could add that he is moving ahead, but
the truth is that he is probably quite stationary. We have
our spasms of revolt, our flarings up of peek-aboo
<pb id="men127" n="127"/>
waists, free love and “art,” but a mighty backwash of
piety fetches each and every one of them soon or late. A
mongrel and inferior people, incapable of any spiritual
aspiration above that of second-rate English colonials,
we seek refuge inevitably in the one sort of superiority
that the lower castes of men can authentically boast, to
wit, superiority in docility, in credulity, in resignation, in
morals. We are the most moral race in the world; there
is not another that we do not look down upon in that
department; our confessed aim and destiny as a nation is
to inoculate them all with our incomparable rectitude. In
the last analysis, all ideas are judged among us by moral
standards; moral values are our only permanent tests of
worth, whether in the arts, in politics, in philosophy or in
life itself. Even the instincts of man, so intrinsically
immoral, so innocent, are fitted with moral false-faces.
That bedevilment by sex ideas which punishes
continence, so abhorrent to nature, is converted into a
moral frenzy, pathological in the end. The impulse to
cavort and kick up one's legs, so healthy, so universal,
is hedged in by incomprehensible taboos; it becomes
stealthy, dirty, degrading. The desire to create and linger
over beauty, the sign and touchstone of man's rise above
the brute, is held down by doubts and hesitations; when
it breaks through it must do so by orgy and explosion,
half ludicrous
<pb id="men128" n="128"/>
and half pathetic. Our function, we choose to
believe, is to teach and inspire the world. We are
wrong. Our function is to amuse the world. We are the
Bryan, the Henry Ford, the Billy Sunday among the
nations....</p>
        </div2>
        <pb id="men129" n="129"/>
        <div2 type="chapter XI">
          <head>XI. SIX MEMBERS OF THE<lb/>
INSTITUTE</head>
          <div3 type="subchapter 1">
            <head>1</head>
            <head>
              <hi rend="italics">The Boudoir Balzac</hi>
            </head>
            <p>THE late Percival Pollard was, in my nonage, one of my
enthusiasms, and, later on, one of my friends. How, as a
youngster, I used to lie in wait for the
<hi rend="italics">Criterion</hi> every
week, and devour Pollard, Huneker, Meltzer and Vance
Thompson! That was in the glorious middle nineties and
savory pots were brewing. Scarcely a week went by
without a new magazine of some unearthly
<hi rend="italics">Tendenz</hi> or
other appearing on the stands; scarcely a month failed to
bring forth its new genius. Pollard was up to his hips in
the movement. He had a hand for every débutante. He
knew everything that was going on. Polyglot, catholic,
generous, alert, persuasive, forever oscillating between
New York and Paris, London and Berlin, he probably
covered a greater territory in the one art of letters than
Huneker covered in all seven. He worked so hard as
introducer of intellectual ambassadors, in fact, that he
never had time to write his own books. One very
brilliant volume,
<pb id="men130" n="130"/>
“Masks and Minstrels of New Germany,” adequately
represents him. The rest of his criticism, clumsily
dragged from the files of the <hi rend="italics">Criterion</hi>
and <hi rend="italics">Town Topics</hi>, is thrown together
ineptly in “Their Day in
Court.” Death sneaked upon him from behind; he was
gone before he could get his affairs in order. I shall
never forget his funeral  -  no doubt a fit finish for a
critic. Not one of the authors he had whooped and
battled for was present  -  not one, that is, save old
Ambrose Bierce. Bierce came in an elegant plug-hat and
told me some curious anecdotes on the way to the
crematory, chiefly of morgues, dissecting-rooms and
lonely church-yards: he was the most gruesome of men.
A week later, on a dark, sleety Christmas morning, I
returned to the crematory, got the ashes, and shipped
them West. Pollard awaits the Second Coming of his
Redeemer in Iowa, hard by the birthplace of Prof. Dr.
Stuart P. Sherman. Well, let us not repine. Huneker lives
in Flatbush and was born in Philadelphia. Cabell is a
citizen of Richmond, Va. Willa Sibert Cather was once
one of the editors of <hi rend="italics">McClure's
Magazine</hi>. Dreiser,
before his annunciation, edited dime novels for Street&amp;
Smith, and will be attended by a Methodist friar, I
daresay, on the gallows....</p>
            <p>Pollard, as I say, was a man I respected. He
knew a great deal. Half English, half German and wholly
cosmopolitan, he brought valuable knowledges and
<pb id="men131" n="131"/>
enthusiasms to the developing American literature of his
time. Moreover, I had affection for him as well as
respect, for he was a capital companion at the
<hi rend="italics"><foreign lang="gr">Biertisch</foreign></hi>
and was never too busy to waste a lecture on my lone
ear  -  say on Otto Julius Bierbaum (one of his friends),
or Anatole France, or the technic of the novel, or the
scoundrelism of publishers. It thus pains me to violate his
tomb  -  but let his shade forgive me as it hopes to be
forgiven! For it was Pollard, I believe, who set going the
doctrine that Robert W. Chambers is a man of talent  -  
a bit too commercial, perhaps, but still fundamentally a
man of talent. You will find it argued at length in “Their
Day in Court.” There Pollard called the roll of the
“promising young men” of the time,
<hi rend="italics"><foreign lang="la">circa</foreign></hi> 1908. They
were Winston Churchill, David Graham Phillips  -  and
Chambers! Alas, for all prophets and their
prognostications! Phillips, with occasional reversions to
honest work, devoted most of his later days to
sensational serials for the train-boy magazines, and when
he died his desk turned out to be full of them, and they
kept dribbling along for three or four years. Churchill,
seduced by the uplift, has become an evangelist and a
bore  -  a worse case, even, than that of H.G. Wells. And
Chambers? Let the New York <hi rend="italics">Times</hi>
answer. Here, in
all sobriety, is its description of the heroine of “The
Moonlit Way,” one of his latest pieces:</p>
            <pb id="men132" n="132"/>
            <p rend="sc">She is a lovely and fascinating
dancer who, before the
war, held the attention of all Europe and incited a great
many men who had nothing better to do to fall in love
with her. She bursts upon the astonished gaze of several
of the important characters of the story when she dashes
into the ballroom of the German Embassy
<hi rend="italics">standing upon a
bridled ostrich</hi>, which she compels to dance and go through
its paces at her command. She is dressed, Mr. Chambers
assures us, <hi rend="italics">in nothing but the skin
of her virtuous youth,
modified slightly by a yashmak and a zone of blue jewels
about her hips and waist.</hi></p>
            <p>The italics are mine. I wonder what poor Pollard
would think of it. He saw the shoddiness in Chambers,
the leaning toward “profitable pot-boiling,”
but he saw,
too, a fundamental earnestness and a high degree of
skill. What has become of these things? Are they visible,
even as ghosts, in the preposterous serials that engaud
the magazines of Mr. Hearst, and then load the
department-stores as books? Were they, in fact, ever
there at all? Did Pollard observe them, or did he merely
imagine them? I am inclined to think that he merely
imagined them  -  that his delight in what he described as
“many admirable tricks” led him into a fatuity that he
now has an eternity to regret. Chambers grows sillier
and sillier, emptier and emptier, worse and worse. But
was he ever more than a fifth-rater? I doubt it. Let us go
back half a dozen years, to the days before the war
forced the pot-boiler down into utter imbecility. I
<pb id="men133" n="133"/>
choose, at random, “The Gay Rebellion.”
Here is a
specimen of the dialogue:</p>
            <p rend="sc">“It startled me. How did I know
what it might have
been? It might have been a bear  -  or a cow.”</p>
            <p rend="sc">“You talk,” said Sayre angrily,
“like William Dean
Howells! Haven't you <hi rend="italics">any</hi>
romance in you?”</p>
            <p rend="sc">“Not what <hi rend="italics">you</hi>
call romance. Pass the flapjacks.”
Sayre passed them.</p>
            <p rend="sc">“My attention,” he said,
“instantly became riveted upon
the bushes. I strove to pierce them with a
piercing glance. Suddenly  -  ”</p>
            <p rend="sc">“Sure! ‘Suddenly’
always comes next.”</p>
            <p rend="sc">“Suddenly....the leaves were
stealthily parted,
and  -  ”</p>
            <p rend="sc">“A naked savage in full war paint  -
”</p>
            <p rend="sc">“Naked nothing! a young girl in  -
a perfectly fitting
gown stepped noiselessly out.”</p>
            <p rend="sc">“Out of what, you gink?”</p>
            <p rend="sc">“The bushes, dammit!....She looked at me; I gazed
at her. Somehow  -  ”</p>
            <p rend="sc">“In plainer terms, she gave you the eye.
What?”</p>
            <p rend="sc">“That's a peculiarly coarse
observation.”</p>
            <p rend="sc">“Then tell it in your own way.”</p>
            <p rend="sc">“I will. The sunlight fell softly
upon the trees of the ancient wood.”</p>
            <p rend="sc">“<hi rend="italics">Woodn't</hi>
that bark you!”</p>
            <p>And so on, and so on, for page after page. Can you
imagine more idiotic stuff  -  “pierce and
piercing,” “you
gink,” “she gave you the eye,”
“<hi rend="italics">woodn't</hi> that bark you?” One
is reminded of horrible things
<pb id="men134" n="134"/>
  -  the repartees of gas-house comedians in vaudeville,
the whimsical editorials in <hi rend="italics">Life</hi>,
the forbidding ghouleries
of Irvin Cobb among jokes pale and clammy in
death.... But let us, you may say, go back a bit further  -  
back to the days of the <hi rend="italics">Chap-Book</hi>.
 There was then,
perhaps, a far different Chambers  -  a fellow of sound
talent and artistic self-respect, well deserving the
confidence and encouragement of Pollard. Was there,
indeed? If you think so, go read “The King in
Yellow,”
<hi rend="italics"><foreign lang="la">circa</foreign></hi> 1895  -
if you can. I myself, full of hope, have
tried it. In it I have found drivel almost as dull as that,
say, in “Ailsa Page.”</p>
          </div3>
          <lb/>
          <div3 type="subchapter 2">
            <head>2</head>
            <head>
              <hi rend="italics">A Stranger on Parnassus</hi>
            </head>
            <p>The case of Hamlin Garland belongs to pathos in the
grand manner, as you will discover on reading his
autobiography, “A Son of the Middle Border.” What ails
him is a vision of beauty, a seductive strain of bawdy
music over the hills. He is a sort of male Mary
MacLane, but without either Mary's capacity for
picturesque blasphemy or her skill at plain English. The
vision, in his youth, tore him from his prairie plow and
set him to clawing the anthills at the foot of Parnassus.
He became an elocutionist  -  what, in modern times,
would be called a chautauquan. He aspired to write for
the <hi rend="italics">Atlantic Monthly</hi>. He fell
<pb id="men135" n="135"/>
under the spell of the Boston
<hi rend="italics"><foreign lang="es">aluminados</foreign></hi>
of 1885,
which is as if one were to take fire from a June-bug.
Finally, after embracing the Single Tax, he achieved a
couple of depressing story books, earnest, honest and
full of indignation.</p>
            <p>American criticism, which always mistakes a poignant
document for æsthetic form and organization, greeted
these moral volumes as works of art, and so Garland
found himself an accepted artist and has made shift to be
an artist ever since. No more grotesque miscasting of a
diligent and worthy man is recorded in profane history.
He has no more feeling for the intrinsic dignity of beauty,
no more comprehension of it as a thing in itself, than a
policeman. He is, and always has been, a moralist
endeavoring ineptly to translate his messianic passion
into æsthetic terms, and always failing. “A Son of the
Middle Border,” undoubtedly the best of all his books,
projects his failure brilliantly. It is, in substance, a
document of considerable value  -  a naïve and often highly
illuminating contribution to the history of the American
peasantry. It is, in form, a thoroughly third-rate piece of
writing  -  amateurish, flat, banal, repellent. Garland gets
facts into it; he gets the relentless sincerity of the rustic
Puritan; he gets a sort of evangelical passion. But he
doesn't get any charm. He doesn't get any beauty.</p>
            <p>In such a career, as in such a book, there is something
<pb id="men136" n="136"/>
profoundly pathetic. One follows the progress of
the man with a constant sense that he is steering by
faulty compasses, that fate is leading him into paths too
steep and rocky  -  nay, too dark and lovely  -  for him.
An awareness of beauty is there, and a wistful desire to
embrace it, but the confident gusto of the artist is always
lacking. What one encounters in its place is the
enthusiasm of the pedagogue, the desire to yank the
world up to the soaring Methodist level, the hot yearning
to displace old ideas with new ideas, and usually much
worse ideas, for example, the Single Tax and spook-chasing.
The natural goal of the man was the evangelical
stump. He was led astray when those Boston Brahmins
of the last generation, enchanted by his sophomoric
platitudes about Shakespeare, set him up as a critic of
the arts, and then as an imaginative artist. He should
have gone back to the saleratus belt, taken to the
chautauquas, preached his foreordained perunas, got
himself into Congress, and so helped to save the
republic from the demons that beset it. What a gladiator
he would have made against the Plunderbund, the White
Slave Traffic, the Rum Demon, the Kaiser! What a rival
to the Hon. Claude Kitchin, the Rev. Dr. Newell Dwight
Hillis!</p>
            <p>His worst work, I daresay, is in some of his fiction  -  
for example, in “The Forester's Daughter.” But my own
favorite among his books is “The Shadow
<pb id="men137" n="137"/>
World,” a record of his communings with the gaseous
precipitates of the departed. He takes great pains at the
start to assure us that he is a man of alert intelligence
and without prejudices or superstitions. He has no
patience, it appears, with those idiots who swallow the
buffooneries of spiritualist mediums too greedily. For him
the scientific method  -  the method which examines all
evidence cynically and keeps on doubting until the
accumulated proof, piled mountain-high, sweeps down
in an overwhelming avalanche.... Thus he proceeds to
the haunted chamber and begins his dalliance with the
banshees. They touch him with clammy, spectral hands;
they wring music for him out of locked pianos; they
throw heavy tables about the room; they give him
messages from the golden shore and make him the butt
of their coarse, transcendental humor. Through it all he
sits tightly and solemnly, his mind open and his verdict
up his sleeve. He is belligerently agnostic, and calls
attention to it proudly.... Then, in the end, he gives
himself away. One of his fellow “scientists,”
more frankly
credulous, expresses the belief that real scientists will
soon prove the existence of spooks. “I
hope they will,”
says the agnostic Mr. Garland....</p>
            <p>Well, let us not laugh. The believing mind is a curious
thing. It must absorb its endless rations of balderdash,
or perish....“A Son of the Middle Border” is less
amusing, but a good deal more respectable.
<pb id="men138" n="138"/>
It is an honest book. There is some bragging
in it, of course, but not too much. It tells an interesting
story. It radiates hard effort and earnest purpose.... But
what a devastating exposure of a member of the
American Academy of Arts and Letters!</p>
          </div3>
          <lb/>
          <div3 type="subchapter 3">
            <head>3</head>
            <head>
              <hi rend="italics">A Merchant of Mush</hi>
            </head>
            <p>Henry Sydnor Harrison is thoroughly American to this
extent: that his work is a bad imitation of something
English. Find me a second-rate American in any of the
arts and I'll find you his master and prototype among
third, fourth or fifth-rate Englishmen. In the present case
the model is obviously W. J. Locke. But between
master and disciple there is a great gap. Locke, at his
high points, is a man of very palpable merit. He has
humor. He has ingenuity. He has a keen eye for the
pathos that so often lies in the absurd. I can discover no
sign of any of these things in Harrison's 100,000 word
Christmas cards. They are simply sentimental bosh  -  
huge gum-drops for fat women to snuffle over. Locke's
grotesque and often extremely amusing characters are
missing; in place of them there are the heroic cripples,
silent lovers, maudlin war veterans and angelic grandams
of the old-time Sunday-school books. The people of “V.
V.'s Eyes” are preposterous and the thesis is too silly
<pb id="men139" n="139"/>
to be stated in plain words. No sane person would
believe it if it were put into an affidavit. “Queed” is
simply Locke diluted with vast drafts from “Laddie” and
“Pollyanna.” Queed, himself, long before the end,
becomes a marionette without a toe on the ground; his
Charlotte is incredible from the start. “Angela's
Business” touches the bottom of the tearjug; it would be
impossible to imagine a more vapid story. Harrison, in
fact, grows more mawkish book by book. He is
touched, I should say, by the delusion that he has a
mission to make life sweeter, to preach the Finer Things,
to radiate Gladness. What! More Gladness? Another
volt or two, and all civilized adults will join the Italians
and Jugo-Slavs in their headlong hegira. A few more
amperes, and the land will be abandoned to the Jews,
the ex-Confederates and the Bolsheviki.</p>
          </div3>
          <lb/>
          <div3 type="subchapter 4">
            <head>4</head>
            <head>
              <hi rend="italics">The Last of the Victorians</hi>
            </head>
            <p>If William Allen White lives as long as Tennyson, and
does not reform, our grandchildren will see the Victorian
era gasping out its last breath in 1951. And eighty-three
is no great age in Kansas, where sin is unknown. It may
be, in fact, 1960, or even 1970, before the world hears
the last of Honest Poverty, Chaste Affection and Manly
Tears. For so long
<pb id="men140" n="140"/>
as White holds a pen these ancient sweets will be on sale
at the department-store book-counters, and they will
grow sweeter and sweeter, I daresay, as he works them
over and over. In his very first book of fiction there was
a flavor of chewing-gum and marshmallows. In “A
Certain Rich Man” the intelligent palate detected
saccharine. In “In the Heart of a Fool,”
his latest, the
thing is carried a step further. If you are a forward-looker
and a right-thinker, if you believe that God is in
His heaven and all is for the best, if you yearn to uplift
and like to sob, then the volume will probably affect you,
in the incomparable phrase of Clayton Hamilton, like
“the music of a million Easter-lilies
leaping from the grave
and laughing with a silver singing.” But if
you are a carnal
fellow, as I am, with a stomach ruined by alcohol, it will
gag you.</p>
            <p>When I say that White is a Victorian I do not allude,
of course, to the Victorianism of Thackeray and
Tennyson, but to that of Felicia Hemens, of Samuel
Smiles and of Dickens at his most maudlin. Perhaps an
even closer relative is to be found in “The
Duchess.”
White, like “The Duchess” is absolutely
humorless, and,
when he begins laying on the mayonnaise, absolutely
shameless. I daresay the same sort of reader admires
both: the high-school girl first seized by amorous
tremors, the obese multipara in her greasy kimono, the
remote and weepful farm-wife.
<pb id="men141" n="141"/>
But here a doubt intrudes itself: is it possible to imagine a
woman sentimental enough to survive “In the Heart of a
Fool”? I am constrained to question it. In women, once
they get beyond adolescence, there is always a saving
touch of irony; the life they lead infallibly makes cynics
of them, though sometimes they don't know it. Observe
the books they write chiefly sardonic stuff, with heroes
who are fools. Even their “glad” books, enormously
successful among other women, stop far short of the
sentimentality put between covers by men  -  for
example, the aforesaid Harrison, Harold Bell Wright and
the present White. Nay, it is the male sex that snuffles
most and is easiest touched, particularly in America. The
American man is forever falling a victim to his tender
feelings. It was by that route that the collectors for the
Y.M.C.A. reached him; it is thus that he is bagged
incessantly by political tear-squeezers; it is precisely his
softness that makes him the slave of his women-folk.
What White gives him is exactly the sort of mush that is
on tap in the chautauquas. “In the Heart
of a Fool,” like
“A Certain Rich Man” is aimed
deliberately and with the
utmost accuracy at the delicate gizzard of the small-town
yokel, the small-town yokel <hi rend="italics">male</hi>,
the horrible end-product
of fifty years of Christian Endeavor, the little red
schoolhouse and the direct primary.</p>
            <p>The White formula is simple to the verge of austerity.
<pb id="men142" n="142"/>
It is, in essence, no more than a dramatization of
all the current political and sociological rumble-bumble,
by Roosevelt out of Coxey's Army, with music by the
choir of the First Methodist Church. On the one side are
the Hell Hounds of Plutocracy, the Money Demons, the
Plunderbund, and their attendant Bosses, Strike
Breakers, Seducers, Nietzscheans, Free Lovers,
Atheists and Corrupt Journalists. On the other side are
the great masses of the plain people, and their attendant
Uplifters, Good Samaritans, Honest Workingmen,
Faithful Husbands, Inspired Dreamers and tin-horn
Messiahs. These two armies join battle, the Bad against
the Good, and for five hundred pages or more the Good
get all the worst of it. Their jobs are taken away from
them, their votes are bartered, their mortgages are
foreclosed, their women are debauched, their savings
are looted, their poor orphans are turned out to starve.
A sad business, surely. One wallows in almost unendurable
emotions. The tears gush. It is as affecting as
a movie. Even the prose rises to a sort of gospel-tent
chant, like that of a Baptist Savonarola, with every
second sentence beginning with <hi rend="italics">and,
but</hi> or <hi rend="italics">for</hi>....
But we are already near the end, and no
escape is in sight. Can it be that White is stumped, like
Mark Twain in his mediæval romance  -  that Virtue will
succumb to the Interests? Do not fear! In the third from
the last chapter Hen Jackson, the stagehand,
<pb id="men143" n="143"/>
returns from the Dutchman's at the corner and
throws on a rose spot-light, and then an amber, and then
a violet, and then a blue. One by one the rays of Hope
begin to shoot across the stage, Dr. Hamilton's Easter-lilies
leap from their tomb, the
<hi rend="italics"><foreign lang="la">dramatis personæ</foreign></hi> (all save the local J. Pierpont Morgan!)
 begin “laughing with
a silver singing,” and as the curtain falls the whole scene
is bathed in luminiferous ether, and the professor breaks
into “Onward, Christian Soldiers!” on the cabinet-organ,
and there is a happy, comfortable sobbing, and an
upward rolling of eyes, and a vast blowing of noses. In
brief, the finish of a chautauqua lecture on “The Grand
Future of America, or, The Glory of Service.” In brief,
slobber....</p>
            <p>It would be difficult to imagine more saccharine
writing or a more mawkish and preposterous point of
view. Life, as White sees it, is a purely moral
phenomenon, like living pictures by the Epworth
League. The virtuous are the downtrodden; the up and
doing are all scoundrels. It pays to be poor and pious.
Ambition is a serpent. One honest Knight of Pythias is
worth ten thousand Rockefellers. The pastor is always
right. So is the <hi rend="italics">Ladies' Home Journal</hi>.
The impulse
that leads a young yokel of, say, twenty-two to seek
marriage with a poor working-girl of, say, eighteen, is
the most elevating, noble, honorable and godlike impulse
native to the human
<pb id="men144" n="144"/>
consciousness....Not the slightest sign of an apprehension of
life as the gaudiest and most gorgeous of spectacles  -  not a
trace of healthy delight in the eternal struggle for existence  -  
not the faintest suggestion of Dreiser's great gusto or of
Conrad's penetrating irony! Not even in the massive fact
of death itself  -  and, like all the other Victorians, this
one from the Kansas steppes is given to wholesale
massacres  -  does he see anything mysterious,
staggering, awful, inexplicable, but only an excuse for a
sentimental orgy.</p>
            <p>Alas, what would you? It is ghastly drivel, to be sure,
but isn't it, after all, thoroughly American? I have an
uneasy suspicion that it is  -  that “In the
Heart of a Fool”
is, at bottom, a vastly more American book than
anything that James Branch Cabell has done, or Vincent
O'Sullivan, or Edith Wharton, or even Howells. It
springs from the heart of the land. It is the æsthetic echo
of thousands of movements, of hundreds of thousands of
sentimental crusades, of millions of ecstatic gospel-meetings.
This is what the authentic American public, unpolluted
by intelligence, wants. And this is one of the
reasons why the English sniff whenever they look our
way....</p>
            <p>But has White no merit? He has. He is an honest and
a respectable man. He is a patriot. He trusts God. He
venerates what is left of the Constitution. He once wrote
a capital editorial, “What's the Matter With Kansas?”
He has the knack, when
<pb id="men145" n="145"/>
his tears are turned off, of writing a clear and graceful
English....</p>
          </div3>
          <lb/>
          <div3 type="subchapter 5">
            <head>5</head>
            <head>
              <hi rend="italics">A Bad Novelist</hi>
            </head>
            <p>As I have said, it is not the artistic merit and dignity of
a novel, but often simply its content as document, that
makes for its success in the United States. The criterion
of truth applied to it is not the criterion of an artist, but
that of a newspaper editorial writer; the question is not,
Is it in accord with the profoundest impulses and
motives of humanity? but Is it in accord with the current
pishposh? This accounts for the huge popularity of such
confections as Upton Sinclair's “The Jungle”
and Blasco
Ibáñez's “The Four Horsemen of
the Apocalypse.”
Neither had much value as a work of art  -  at all events,
neither was perceptibly superior to many contemporary
novels that made no stir at all  -  but each had the
advantage of reënforcing an emotion already aroused, of
falling into step with the procession of the moment. Had
there been no fever of muck-raking and trust busting in
1906, “The Jungle” would have died the death in the
columns of the <hi rend="italics">Appeal to Reason</hi>,
unheard of by the
populace in general. And had the United States been
engaged against France instead of for France in 1918,
there would have been no argument in the literary
weeklies that Blasco was a novelist
<pb id="men146" n="146"/>
of the first rank and his story a masterpiece
comparable to “Germinal.”</p>
            <p>Sinclair was made by “The Jungle” and has been
trying his hardest to unmake himself ever since. Another
of the same sort is Ernest Poole, author of “The
Harbor.” “The Harbor,” judged by any intelligible
æsthetic standard, was a bad novel. Its transactions
were forced and unconvincing; its central character was
shadowy and often incomprehensible; the manner of its
writing was quite without distinction. But it happened to
be printed at a time when the chief ideas in it had a great
deal of popularity  -  when its vague grappling with
insoluble sociological problems was the sport of all the
weeklies and of half the more sober newspapers  -  
when a nebulous, highfalutin Bolshevism was in the air  - 
and so it excited interest and took on an aspect of
profundity. That its discussion of those problems was
superficial, that it said nothing new and got nowhere  -  all
this was not an influence against its success, but an
influence in favor of its success, for the sort of mind that
fed upon the nebulous, professor-made politics and
sociology of 1915 was the sort of mind that is
chronically avid of half-truths and as chronically
suspicious of forthright thinking. This has been
demonstrated since that time by its easy
<hi rend="italics"><foreign lang="fr">volte face</foreign></hi>
in the
presence of emotion. The very ideas that Poole's
vapid hero toyed
<pb id="men147" n="147"/>
with in 1915, to the delight of the novel-reading
<hi rend="italics">intelligentsia</hi>, would have
damned the book as a pamphlet
for the I.W.W., or even, perhaps, as German propaganda, three
years later. But meanwhile, it had been forgotten, as
novels are always forgotten, and all that remained of it
was a general impression that Poole, in some way or
other, was a superior fellow and to be treated with
respect.</p>
            <p>His subsequent books have tried that theory severely.
“The Family” was grounded upon one
of the elemental
tragedies which serve a novelist most safely  -  the
dismay of an aging man as his children drift away from
him. Here was a subject full of poignant drama, and
what is more, drama simple enough to develop itself
without making any great demand upon the invention.
Poole burdened it with too much background, and then
killed it altogether by making his characters wooden. It
began with a high air; it creaked and wobbled at the
close; the catastrophe was quite without effect. “His
Second Wife” dropped several stories lower. It turned
out, on inspection, to be no more than a moral tale,
feeble, wishy-washy and irritating. Everything in it  -  
about the corrupting effects of money-lust and display,
about the swinishness of cabaret “society”
in New York,
about the American male's absurd slavery to his women
  -  had been said before by such gifted
<pb id="men148" n="148"/>
Balzacs as Robert W. Chambers and Owen Johnson,
and, what is more, far better said. The writing, in fact,
exactly matched the theme. It was labored, artificial,
dull. In the whole volume there was not a single original
phrase. Once it was put down, not a scene remained in
the memory, or a character. It was a cheap, a hollow
and, in places, almost an idiotic book....</p>
            <p>At the time I write, this is the whole product of Poole
as novelist: three novels, bad, worse, worst.</p>
          </div3>
          <lb/>
          <div3 type="subchapter 6">
            <head>6</head>
            <head>
              <hi rend="italics">A Broadway Brandes</hi>
            </head>
            <p>I have hitherto, in discussing White de Kansas,
presented a fragile dahlia from the rhetorical garden of
Clayton Hamilton, M.A. (Columbia). I now print the
whole passage:</p>
            <p rend="sc">Whenever in a world-historic war the side of
righteousness has triumphed, a great overflowing of art
has followed soon upon the fact of victory. The noblest instincts
of mankind  -  aroused in perilous moments fraught
with intimations of mortality  -  have surged and soared,
beneath the sunshine of a subsequent and dear-bought
peace, into an immeasurable empyrean of heroic
eloquence. Whenever right has circumvented might, Art
has sprung alive into the world, with the music of a million
Easter-lilies leaping from the grave and laughing with a
silver singing.</p>
            <pb id="men149" n="149"/>
            <p>With the highest respect for a
<hi rend="italics"><foreign lang="la">Magister Artium</foreign></hi>, a
pedagogue of Columbia University, a lecturer in Miss
Spence's School and the Classical School for Girls, and
a vice-president of the National Institute of Arts and
Letters  -  Booh!</p>
          </div3>
        </div2>
        <pb id="men150" n="150"/>
        <div2 type="chapter XII">
          <head>XII. THE GENEALOGY OF<lb/>
ETIQUETTE</head>
          <p>BARRING sociology (which is yet, of course, scarcely a
science at all, but rather a monkeyshine which happens
to pay, like play-acting or theology), psychology is the
youngest of the sciences, and hence chiefly guesswork,
empiricism, hocus-pocus, poppycock. On the one hand,
there are still enormous gaps in its data, so that the
determination of its simplest principles remains difficult,
not to say impossible; and, on the other hand, the very
hollowness and nebulosity of it, particularly around its
edges, encourages a horde of quacks to invade it,
sophisticate it and make nonsense of it. Worse, this
state of affairs tends to such confusion of effort and
direction that the quack and the honest inquirer are often
found in the same man. It is, indeed, a commonplace to
encounter a professor who spends his days in the
laborious accumulation of psychological statistics,
sticking pins into babies and platting upon a chart the
ebb and flow of their yells, and his nights chasing
poltergeists and other such celestial fauna over the
hurdles of a spiritualist's atelier, or gazing
<pb id="men151" n="151"/>
into a crystal in the privacy of his own chamber. The
Binét test and the buncombe of mesmerism are alike the
children of what we roughly denominate psychology,
and perhaps of equal legitimacy. Even so ingenious and
competent an investigator as Prof. Dr. Sigmund Freud,
who has told us a lot that is of the first importance about
the materials and machinery of thought, has also told us
a lot that is trivial and dubious. The essential doctrines of
Freudism, no doubt, come close to the truth, but many
of Freud's remoter deductions are far more scandalous
than sound, and many of the professed Freudians, both
American and European, have grease-paint on their
noses and bladders in their hands and are otherwise
quite indistinguishable from evangelists and circus
clowns.</p>
          <p>In this condition of the science it is no wonder that we
find it wasting its chief force upon problems that are
petty and idle when they are not downright and palpably
insoluble, and passing over problems that are of
immediate concern to all of us, and that might be quite
readily solved, or, at any rate, considerably illuminated,
by an intelligent study of the data already available. After
all, not many of us care a hoot whether Sir Oliver Lodge
and the Indian chief Wok-a-wok-a-mok are happy in
heaven, for not many of us have any hope or desire to
meet them there. Nor are we greatly excited by the
discovery that, of
<pb id="men152" n="152"/>
twenty-five freshmen who are hit with clubs, 17 3/4 will say
“Ouch!” and 22 1/5 will say “Damn!”;
nor by a table
showing that 38.2 per centum of all men accused of
homicide confess when locked up with the carcasses of
their victims, including 23.4 per centum who are
innocent; nor by plans and specifications, by Cagliostro
out of Lucrezia Borgia, for teaching poor, God-forsaken
school children to write before they can read
and to multiply before they can add; nor by endless
disputes between half-witted pundits as to the precise
difference between perception and cognition; nor by
even longer feuds, between pundits even crazier, over
free will, the subconscious, the endoneurium, the
functions of the corpora quadrigemina, and the meaning
of dreams in which one is pursued by hyenas, process-servers
or grass-widows.</p>
          <p>Nay; we do not bubble with rejoicing when such
fruits of psychological deep-down-diving and much-mud-upbringing
researches are laid before us, for after all
they do not offer us any nourishment, there is nothing in
them to engage our teeth, they fail to make life more
comprehensible, and hence more bearable. What we
yearn to know something about is the process whereby
the ideas of everyday are engendered in the skulls of
those about us, to the end that we may pursue a
straighter and a safer course through the muddle that is
life. Why do the great majority of Presbyterians (and,
for that matter, of Baptists,
<pb id="men153" n="153"/>
Episcopalians, and Swedenborgians as well) regard it as
unlucky to meet a black cat and lucky to find a pin?
What are the logical steps behind the theory that it is
indecent to eat peas with a knife? By what process does
an otherwise sane man arrive at the conclusion that he
will go to hell unless he is baptized by total immersion in
water? What causes men to be faithful to their wives:
habit, fear, poverty, lack of imagination, lack of
enterprise, stupidity, religion? What is the psychological
basis of commercial morality? What is the true nature of
the vague pooling of desires that Rousseau called the
social contract? Why does an American regard it as
scandalous to wear dress clothes at a funeral, and a
Frenchman regard it as equally scandalous <hi rend="italics">not</hi>
to wear
them? Why is it that men trust one another so readily,
and women trust one another so seldom? Why are we
all so greatly affected by statements that we know are
not true?  -  <hi rend="italics">e.g.</hi> in Lincoln's
Gettysburg speech, the
Declaration of Independence and the CIII Psalm. What
is the origin of the so-called double standard of
morality? Why are women forbidden to take off their
hats in church? What is happiness? Intelligence? Sin?
Courage? Virtue? Beauty?</p>
          <p>All these are questions of interest and importance to
all of us, for their solution would materially improve the
accuracy of our outlook upon the world, and with it
our mastery of our environment, but the psychologists,
<pb id="men154" n="154"/>
busily engaged in chasing their tails, leave
them unanswered, and, in most cases, even unasked.
The late William James, more acute than the general,
saw how precious little was known about the psychological
inwardness of religion, and to the illumination of
this darkness he addressed himself in his book, “The
Varieties of Religious Experience.” But life being short
and science long, he got little beyond the statement of
the problem and the marshaling of the grosser evidence  -  
and even at this business he allowed himself to be
constantly interrupted by spooks, hobgoblins, seventh
sons of seventh sons and other such characteristic pets
of psychologists. In the same way one Gustav le Bon, a
Frenchman, undertook a psychological study of the
crowd mind  -  and then blew up. Add the investigations
of Freud and his school, chiefly into abnormal states of
mind, and those of Lombroso and his school, chiefly
quackish and for the yellow journals, and the idle
romancing of such inquirers as Prof. Dr. Thorstein
Veblen, and you have exhausted the list of contributions
to what may be called practical and everyday
psychology. The rev. professors, I daresay, have been
doing some useful plowing and planting. All of their
meticulous pinsticking and measuring and chart-making,
in the course of time, will enable their successors to
approach the real problems of mind with more
assurance than is now possible, and perhaps help to
their
<pb id="men155" n="155"/>
solution. But in the meantime the public and social utility
of psychology remains very small, for it is still unable to
differentiate accurately between the true and the false,
or to give us any effective protection against the
fallacies, superstitions, crazes and hysterias which rage
in the world.</p>
          <p>In this emergency it is not only permissible but even
laudable for the amateur to sniff inquiringly through the
psychological pasture, essaying modestly to uproot
things that the myopic (or, perhaps more accurately,
hypermetropic) professionals have overlooked. The late
Friedrich Wilhelm Nietzsche did it often, and the
usufructs were many curious and daring guesses, some
of them probably close to accuracy, as to the genesis of
this, that or the other common delusion of man  -
<hi rend="italics">i. e.</hi>,
the delusion that the law of the survival of the fittest may
be repealed by an act of Congress. Into the same field
several very interesting expeditions have been made by
Dr. Elsie Clews Parsons, a lady once celebrated by
Park Row for her invention of trial marriage  -  an
invention, by the way, in which the Nietzsche aforesaid
preceded her by at least a dozen years. The records of
her researches are to be found in a brief series of books:
“The Family,” “The Old-Fashioned
Woman” and “Fear
and Conventionality.” Apparently they have wrung
relatively little esteem from the learned, for I seldom
encounter a reference to them, and Dr. Parsons
<pb id="men156" n="156"/>
herself is denied the very modest reward of mention in
“Who's Who in America.” Nevertheless,
they are extremely
instructive books, particularly “Fear and
Conventionality.” I know of no other work, indeed,
which offers a better array of observations upon that
powerful complex of assumptions, prejudices, instinctive
reactions, racial emotions and unbreakable vices of mind
which enters so massively into the daily thinking of all of
us. The author does not concern herself, as so many
psychologists fall into the habit of doing, with thinking as
a purely laboratory phenomenon, a process
<foreign lang="la">in vacuo</foreign>. What she deals
with is thinking as it is done by
men and women in the real world  -  thinking that is only
half intellectual, the other half being as automatic and
unintelligent as swallowing, blinking the eye or falling in
love.</p>
          <p>The power of the complex that I have mentioned is
usually very much underestimated, not only by
psychologists, but also by all other persons who pretend to
culture. We take pride in the fact that we are thinking
animals, and like to believe that our thoughts are free,
but the truth is that nine-tenths of them are rigidly
conditioned by the babbling that goes on around us from
birth, and that the business of considering this babbling
objectively, separating the true in it from the false, is an
intellectual feat of such stupendous difficulty that very
few men are ever able
<pb id="men157" n="157"/>
to achieve it. The amazing slanging which went on between
the English professors and the German professors in the
early days of the late war showed how little even cold
and academic men are really moved by the bald truth
and how much by hot and unintelligible likes and
dislikes. The patriotic hysteria of the war simply allowed
these eminent pedagogues to say of one another openly
and to loud applause what they would have been
ashamed to say in times of greater amenity, and what
most of them would have denied stoutly that they
believed. Nevertheless, it is probably a fact that before
there was a sign of war the average English professor,
deep down in his heart, thought that any man who ate
sauerkraut, and went to the opera in a sackcoat, and
intrigued for the appellation of
<hi rend="italics"><foreign lang="gr">Geheimrat</foreign></hi>,
and
preferred German music to English poetry, and
venerated Bismarck, and called his wife “Mutter,”
was a
scoundrel. He did not say so aloud, and no doubt it
would have offended him had you accused him of
believing it, but he believed it all the same, and his belief
in it gave a muddy, bilious color to his view of German
metaphysics, German electro-chemistry and the German
chronology of Babylonian kings. And by the same token
the average German professor, far down in the ghostly
recesses of his hulk, held that any man who read the
London <hi rend="italics">Times</hi>, and ate salt fish
at first breakfast, and
<pb id="men158" n="158"/>
drank tea of an afternoon, and spoke of Oxford as a university
was a <hi rend="italics"><foreign lang="gr">Schafskopf</foreign></hi>,
a <hi rend="italics"><foreign lang="gr">Schuft</foreign></hi>
and possibly even a <hi rend="italics"><foreign lang="gr">Schweinehund</foreign></hi>.</p>
          <p>Nay, not one of us is a free agent. Not one of us
actually thinks for himself, or in any orderly and scientific
manner. The pressure of environment, of mass ideas, of
the socialized intelligence, improperly so called, is too
enormous to be withstood. No American, no matter how
sharp his critical sense, can ever get away from the
notion that democracy is, in some subtle and mysterious
way, more conducive to human progress and more
pleasing to a just God than any of the systems of
government which stand opposed to it. In the privacy of
his study he may observe very clearly that it exalts the
facile and specious man above the really competent man,
and from this observation he may draw the conclusion
that its abandonment would be desirable, but once he
emerges from his academic seclusion and resumes the
rubbing of noses with his fellow-men, he will begin to be
tortured by a sneaking feeling that such ideas are
heretical and unmanly, and the next time the band begins
to play he will thrill with the best of them  -  or the worst.
The actual phenomenon, in truth, was copiously on display
during the war. Having myself the character among my
acquaintances of one holding the democratic theory in
some doubt, I was often approached by gentlemen who
told me, in great confidence,
<pb id="men159" n="159"/>
that they had been seized by the same tremors.
Among them were journalists employed daily in
demanding that democracy be forced upon the whole
world, and army officers engaged, at least theoretically,
in forcing it. All these men, in reflective moments,
struggled with ifs and buts. But every one of them, in his
public capacity as a good citizen, quickly went back to
<hi rend="italics">thinking</hi> as a good citizen was
then expected to think,
and even to a certain inflammatory ranting for what,
behind the door, he gravely questioned....</p>
          <p>It is the business of Dr. Parsons, in “Fear and
Conventionality,” to prod into certain of the ideas which
thus pour into every man's mind from the circumambient
air, sweeping away, like some huge cataract, the feeble
resistance that his own powers of ratiocination can offer.
In particular, she devotes herself to an examination of
those general ideas which condition the thought and
action of man as a social being  -  those general ideas
which govern his everyday attitude toward his fellow-men
and his prevailing view of himself. In one direction
they lay upon us the bonds of what we call etiquette,
<hi rend="italics">i. e.</hi>,
the duty of considering the habits and feelings of those
around us  -  and in another direction they throttle us with
what we call morality  -  <hi rend="italics">i. e.</hi>,
the rules which protect the
life and property of those around us. But, as Dr. Parsons
shows, the boundary between etiquette and morality is
<pb id="men160" n="160"/>
very dimly drawn, and it is often impossible to say of a given
action whether it is downright immoral or merely a breach of the
punctilio. Even when the moral law is plainly running,
considerations of mere amenity and politeness may still
make themselves felt. Thus, as Dr. Parsons points out,
there is even an etiquette of adultery. “The
<hi rend="italics"><foreign lang="fr">ami de la famille</foreign></hi>
vows not to kiss his mistress in her husband's
house”  -  not in fear, but “as an
expression of conjugal
consideration,” as a sign that he has not forgotten the
thoughtfulness expected of a gentleman. And in this
delicate field, as might be expected, the differences in
racial attitudes are almost diametrical. The Englishman,
surprising his wife with a lover, sues the rogue for
damages and has public opinion behind him, but for an
American to do it would be for him to lose caste at once
and forever. The plain and only duty of the American is
to open upon the fellow with artillery, hitting him if the
scene is south of the Potomac and missing him if it is
above.</p>
          <p>I confess to an endless interest in such puzzling
niceties, and to much curiosity as to their origins and
meaning. Why do we Americans take off our hats when
we meet a flapper on the street, and yet stand covered
before a male of the highest eminence? A Continental
would regard this last as boorish to the last degree; in
greeting any equal or superior, male or female, actual or
merely conventional, he lifts his
<pb id="men161" n="161"/>
head-piece. Why does it strike us as ludicrous to see a
man in dress clothes before 6 P.M.? The Continental
puts them on whenever he has a solemn visit to make,
whether the hour be six or noon. Why do we regard it
as indecent to tuck the napkin between the waistcoat
buttons  -  or into the neck!  -  at meals? The Frenchman
does it without thought of crime. So does the Italian. So
does the German. All three are punctilious men  -  far
more so, indeed, than we are. Why do we snicker at the
man who wears a wedding ring? Most Continentals
would stare askance at the husband who didn't. Why is
it bad manners in Europe and America to ask a stranger
his or her age, and a friendly attention in China? Why do
we regard it as absurd to distinguish a woman by her
husband's title  -  <hi rend="italics">e. g.</hi>, Mrs.
Judge Jones, Mrs. Professor
Smith? In Teutonic and Scandinavian Europe the
omission of the title would be looked upon as an affront.</p>
          <p>Such fine distinctions, so ardently supported, raise
many interesting questions, but the attempt to answer
them quickly gets one bogged. Several years ago I
ventured to lift a sad voice against a custom common in
America: that of married men, in speaking of their wives,
employing the full panoply of “Mrs. Brown.” It was my
contention  -  supported, I thought, by logical
considerations of the loftiest order  -  that a husband,
in speaking of his wife to his equals, should say “my
wife”  -  that the more formal mode of designation
<pb id="men162" n="162"/>
should be reserved for inferiors and for strangers of
undetermined position. This contention, somewhat to my
surprise, was vigorously combated by various volunteer
experts. At first they rested their case upon the mere
authority of custom, forgetting that this custom was by
no means universal. But finally one of them came
forward with a more analytical and cogent defense  -  
the defense, to wit, that “my wife” connoted
proprietorship and was thus offensive to a wife's
<hi rend="italics"><foreign lang="fr">amour propre</foreign></hi>.
But what of “my sister” and “my mother”?
Surely it is nowhere the custom for a man, addressing an
equal, to speak of his sister as “Miss Smith.”... The
discussion, however, came to nothing. It was impossible
to carry it on logically. The essence of all such inquiries
lies in the discovery that there is a force within the liver
and lights of man that is infinitely more potent than logic.
His reflections, perhaps, may take on intellectually
recognizable forms, but they seldom lead to intellectually
recognizable conclusions.</p>
          <p>Nevertheless, Dr. Parsons offers something in her
book that may conceivably help to a better
understanding of them, and that is the doctrine that the
strange persistence of these rubber-stamp ideas, often
unintelligible and sometimes plainly absurd, is due to
fear, and that this fear is the product of a very real
danger. The safety of human society lies in the
assumption that every individual composing it, in a
<pb id="men163" n="163"/>
given situation, will act in a manner hitherto approved as
seemly. That is to say, he is expected to react to his
environment according to a fixed pattern, not necessarily
because that pattern is the best imaginable, but simply
because it is determined and understood. If he fails to
do so, if he reacts in a novel manner  -  conducive,
perhaps, to his better advantage or to what he thinks is
his better advantage  -  then he disappoints the expectation
of those around him, and forces them to meet the new
situation he has created by the exercise of independent
thought. Such independent thought, to a good many
men, is quite impossible, and to the overwhelming
majority of men, extremely painful. “To all of us,” says
Dr. Parsons, “to the animal, to the savage and to the
civilized being, few demands are as uncomfortable,... 
disquieting or fearful, as the call to innovate... 
Adaptations we all of us dislike or hate. We dodge or
shirk them as best we may.” And the man who compels
us to make them against our wills we punish by
withdrawing from him that understanding and
friendliness which he, in turn, looks for and counts upon.
In other words, we set him apart as one who is
anti-social and not to be dealt with, and according as his
rebellion has been small or great, we call him a boor or
a criminal.</p>
          <p>This distrust of the unknown, this fear of doing
something unusual, is probably at the bottom of many
ideas and institutions that are commonly credited to
<pb id="men164" n="164"/>
other motives. For example, monogamy. The orthodox explanation
of monogamy is that it is a manifestation of the desire to
have and to hold property  -  that the husband defends
his solitary right to his wife, even at the cost of his own
freedom, because she is the pearl among his chattels.
But Dr. Parsons argues, and with a good deal of
plausibility, that the real moving force, both in the
husband and the wife, may be merely the force of habit,
the antipathy to experiment and innovation. It is easier
and safer to stick to the one wife than to risk adventures
with another wife  -  and the immense social pressure that I
have just described is all on the side of sticking.
Moreover, the indulgence of a habit automatically
strengthens its bonds. What we have done once or
thought once, we are more apt than we were before to
do and think again. Or, as the late Prof. William James
put it, “the selection of a particular hole to live in, of a
particular mate,... a particular anything, in short, out of
a possible multitude... carries with it an insensibility to
<hi rend="italics">other</hi> opportunities and occasions  -
 an insensibility
which can only be described physiologically as an
inhibition of new impulses by the habit of old ones
already formed. The possession of homes and wives of
our own makes us strangely insensible to the charms of
other people.... The original impulse which got us
homes, wives,... seems to exhaust itself in its first
achievements and to leave no
<pb id="men165" n="165"/>
surplus energy for reacting on new cases.” Thus the
benedict looks no more on women (at least for a while),
and the post-honeymoon bride, as the late David
Graham Phillips once told us, neglects the bedizenments
which got her a man.</p>
          <p>In view of the popular or general character of most of
the taboos which put a brake upon personal liberty in
thought and action  -  that is to say, in view of their
enforcement by people in the mass, and not by definite
specialists in conduct  -  it is quite natural to find that
they are of extra force in democratic societies, for it is
the distinguishing mark of democratic societies that they
exalt the powers of the majority almost infinitely, and
tend to deny the minority any rights whatever. Under a
society dominated by a small caste the revolutionist in
custom, despite the axiom to the contrary, has a
relatively easy time of it, for the persons whose approval
he seeks for his innovation are relatively few in number,
and most of them are already habituated to more or less
intelligible and independent thinking. But under a
democracy he is opposed by a horde so vast that it is a
practical impossibility for him, without complex and
expensive machinery, to reach and convince all of its
members, and even if he could reach them he would find
most of them quite incapable of rising out of their
accustomed grooves. They cannot understand
innovations that are genuinely novel and they don't want
to understand
<pb id="men166" n="166"/>
them; their one desire is to put them down. Even at this late
day, with enlightenment raging through the republic like a
pestilence, it would cost the average Southern or Middle
Western Congressman his seat if he appeared among
his constituents in spats, or wearing a wrist-watch. And
if a Justice of the Supreme Court of the United States,
however gigantic his learning and his juridic rectitude,
were taken in crim. con. with the wife of a Senator, he
would be destroyed instanter. And if, suddenly revolting
against the democratic idea, he were to propose,
however gingerly, its abandonment, he would be
destroyed with the same dispatch.</p>
          <p>But how, then, explain the fact that the populace is
constantly ravished and set aflame by fresh brigades of
moral, political and sociological revolutionists  -  that it is
forever playing the eager victim to new mountebanks?
The explanation lies in the simple circumstance that these
performers upon the public midriff are always careful to
ladle out nothing actually new, and hence nothing
incomprehensible, alarming and accursed. What they
offer is always the same old panacea with an extra-gaudy
label  -  the tried, tasted and much-loved dose,
the colic cure that mother used to make. Superficially,
the United States seems to suffer from an endless and
astounding neophilism; actually all its thinking is done
within the boundaries of a very small group of political,
<pb id="men167" n="167"/>
economic and religious ideas, most of them unsound. For
example, there is the fundamental idea of democracy  -  
the idea that all political power should remain in the
hands of the populace, that its exercise by superior men
is intrinsically immoral. Out of this idea spring
innumerable notions and crazes that are no more, at
bottom, than restatements of it in sentimental terms:
rotation in office, direct elections, the initiative and
referendum, the recall, the popular primary, and so on.
Again, there is the primary doctrine that the possession
of great wealth is a crime a doctrine half a religious
heritage and half the product of mere mob envy. Out of it
have come free silver, trust-busting, government
ownership, muck-raking, Populism, Bleaseism,
Progressivism, the milder forms of Socialism, the whole
gasconade of “reform” politics.
Yet again, there is the
ineradicable peasant suspicion of the man who is having
a better time in the world  -  a suspicion grounded, like
the foregoing, partly upon undisguised envy and partly
upon archaic and barbaric religious taboos. Out of it
have come all the glittering pearls of the uplift, from
Abolition to Prohibition, and from the crusade against
horseracing to the Mann Act. The whole political history
of the United States is a history of these three ideas.
There has never been an issue before the people that
could not be translated into one or another of them.
What is more, they have also colored the fundamental
<pb id="men168" n="168"/>
	
philosophical (and particularly epistemological) doctrines
of the American people, and their moral theory, and
even their foreign relations. The late war, very unpopular
at the start, was “sold” to them,
as the advertising phrase
has it, by representing it as a campaign for the salvation
of democracy, half religious and wholly altruistic. So
represented to them, they embraced it; represented as
the highly obscure and complex thing it actually was, it
would have been beyond their comprehension, and
hence abhorrent to them.</p>
          <p>Outside this circle of their elemental convictions they
are quite incapable of rational thought. One is not
surprised to hear of Bismarck, a thorough royalist,
discussing democracy with calm and fairness, but it
would be unimaginable for the American people, or for
any other democratic people, to discuss royalism in the
same manner: it would take a cataclysm to bring them to
any such violation of their mental habits. When such a
cataclysm occurs, they embrace the new ideas that are
its fruits with the same adamantine firmness. One year
before the French Revolution, disobedience to the king
was unthinkable to the average Frenchman; only a few
daringly immoral men cherished the notion. But one year
<hi rend="italics">after</hi> the fall of the Bastile,
obedience to the king was
equally unthinkable. The Russian Bolsheviki, whose
doings have furnished a great deal of immensely
interesting material
<pb id="men169" n="169"/>
to the student of popular psychology, put the principle
into plain words. Once they were in the saddle, they
decreed the abolition of the old imperial censorship and
announced that speech would be free henceforth  -  but
only so long as it kept within the bounds of the
Bolshevist revelation! In other words, any citizen was
free to think and speak whatever he pleased  -  but only
so long as it did not violate certain fundamental ideas.
This is precisely the sort of freedom that has prevailed in
the United States since the first days. It is the only sort
of freedom comprehensible to the average man. It
accurately reveals his constitutional inability to shake
himself free from the illogical and often quite unintelligible
prejudices, instincts and mental vices that condition
ninety per cent. of all his thinking....</p>
          <p>But here I wander into political speculation and no
doubt stand in contumacy of some statute of Congress.
Dr. Parsons avoids politics in her very interesting book.
She confines herself to the purely social relations,
<hi rend="italics">e. g.</hi>,
between man and woman, parent and child, host and
guest, master and servant. The facts she offers are vastly
interesting, and their discovery and coördination reveal a
tremendous industry, but of even greater interest are the
facts that lie over the margin of her inquiry. Here is a
golden opportunity for other investigators: I often
wonder that the field is so little explored. Perhaps the
Freudians,
<pb id="men170" n="170"/>
once they get rid of their sexual obsession, will enter it and
chart it. No doubt the inferiority complex described by Prof. Dr.
Alfred Adler will one day provide an intelligible
explanation of many of the puzzling phenomena of mob
thinking. In the work of Prof. Dr. Freud himself there is,
perhaps, a clew to the origin and anatomy of Puritanism,
that worst of intellectual nephritises. I live in hope that
the Freudians will fall upon the business without much
further delay. Why do otherwise sane men believe in
spirits? What is the genesis of the American axiom that
the fine arts are unmanly? What is the precise machinery
of the process called falling in love? Why do people
believe newspapers?... Let there be light!</p>
        </div2>
        <pb id="men171" n="171"/>
        <div2 type="chapter XIII">
          <head>XIII. THE AMERICAN MAGAZINE</head>
          <p>IT is astonishing, considering the enormous influence of
the popular magazine upon American literature, such as
it is, that there is but one book in type upon magazine
history in the republic. That lone volume is “The
Magazine in America,” by Prof. Dr. Algernon Tassin, a
learned birchman of the great university of Columbia,
and it is so badly written that the interest of its matter is
almost concealed  -  almost, but fortunately not quite.
The professor, in fact, puts English to paper with all the
traditional dullness of his flatulent order, and, as usual,
he is most horribly dull when he is trying most kittenishly
to be lively. I spare you examples of his writing; if you
know the lady essayists of the United States, and their
academic imitators in pantaloons, you know the sort of
arch and whimsical jocosity he ladles out. But, as I have
hinted, there is something worth attending to in his story,
for all the defects of its presentation, and so his book is
not to be sniffed at. He has, at all events, brought
together a great mass of scattered and concealed facts,
and arranged them conveniently for whoever deals with
them next. The job was plainly
<pb id="men172" n="172"/>
a long and laborious one, and rasping to the higher cerebral
centers. The historian had to make his mole-like way
through the endless files of old and stupid magazines; he
had to read the insipid biographies and
autobiographies of dead and forgotten editors, many of
them college professors, preachers out of work,
pre-historic uplifters and bad poets; he had to sort out
the facts from the fancies of such incurable liars as
Griswold; he had to hack and blast a path across a
virgin wilderness. The thing was worth doing, and, as I
say, it has been done with commendable pertinacity.</p>
          <p>Considering the noisiness of the American magazines
of to-day, it is rather instructive to glance back at the
timorous and bloodless quality of their progenitors. All
of the early ones, when they were not simply monthly
newspapers or almanacs, were depressingly
“literary” in
tone, and dealt chiefly in stupid poetry, silly essays and
artificial fiction. The one great fear of their editors seems
to have been that of offending some one; all of the
pioneer prospectuses were full of assurances that
nothing would be printed which even “the most
fastidious” could object to. Literature, in those
days,  -  say from 1830 to 1860  -  was almost
completely cut off from contemporary life. It mirrored,
not the struggle for existence, so fierce and dramatic in
the new nation, but the pallid reflections of poetasters,
self-advertising clergymen, sissified
<pb id="men173" n="173"/>
“gentlemen of taste,” and other such donkeys. Poe
waded into these <hi rend="italics"><foreign lang="la">literati</foreign></hi> and shook them up a bit, but
even after the Civil War the majority of them continued
to spin pretty cobwebs. Edmund Clarence Stedman and
Donald G. Mitchell were excellent specimens of the
clan; its last survivor was the lachrymose William
Winter. The “literature” manufactured by these
tear-squeezers, though often enough produced in beer
cellars, was frankly aimed at the Young Person. Its main
purpose was to avoid giving offense; it breathed a heavy
and oleaginous piety, a snug niceness, a sickening
sweetness. It is as dead to-day as Baalam's ass.</p>
          <p>The <hi rend="italics">Atlantic Monthly</hi> was set
up by men in revolt
against this reign of mush, as Putnam's had been a few
years before, but the business of reform proved to be
difficult and hazardous, and it was a long while before a
healthier breed of authors could be developed, and a
public for them found. “There is not much in the
<hi rend="italics">Atlantic</hi>,” wrote Charles
Eliot Norton to Lowell in
1874, “that is likely to be read twice save by
its writers,
and this is what the great public likes.... You should
hear Godkin express himself in private on this topic.”
<hi rend="italics">Harper's Magazine</hi>, in those days,
was made up almost
wholly of cribbings from England; the <hi rend="italics">North
American
Review</hi> had sunk into stodginess and imbecility;
<hi rend="italics">Putnam's</hi> was dead, or dying; the
<hi rend="italics">Atlantic</hi> had yet to
discover Mark Twain; it
<pb id="men174" n="174"/>
was the era of <hi rend="italics">Godey's Lady's Book</hi>.
The new note, so long
awaited was struck at last by <hi rend="italics">Scribner's</hi>, now the <hi rend="italics">Century</hi>
(and not to be confused with the <hi rend="italics">Scribner's</hi> of to-day).
It not only threw all the old traditions overboard; it
established new traditions almost at once. For the first
time a great magazine began to take notice of the daily
life of the American people. It started off with a truly
remarkable series of articles on the Civil War; it plunged
into contemporary politics; it eagerly sought out and
encouraged new writers; it began printing decent
pictures instead of the old chromos; it forced itself, by
the sheer originality and enterprise of its editing, upon the
public attention. American literature owes more to the
<hi rend="italics">Century</hi> than to any other
magazine, and perhaps
American thinking owes almost as much. It was the first
“literary” periodical to arrest and
interest the really first-class
men of the country. It beat the <hi rend="italics">Atlantic</hi> because it
wasn't burdened with the <hi rend="italics">Atlantic's</hi>
 decaying cargo of
Boston Brahmins. It beat all the others because it was
infinitely and obviously better. Almost everything that is
good in the American magazine of to-day, almost
everything that sets it above the English magazine or the
Continental magazine, stems from the <hi rend="italics">Century</hi>.</p>
          <p>At the moment, of course, it holds no such clear field;
perhaps it has served its function and is ready for a
placid old age. The thing that displaced it was
<pb id="men175" n="175"/>
the yellow magazine of the <hi rend="italics">McClure's</hi>
type a variety of
magazine which surpassed it in the race for circulation
by exaggerating and vulgarizing all its merits. Dr. Tassin
seems to think, with William Archer, that S.S. McClure
was the inventor of this type, but the truth is that its real
father was the unknown originator of the Sunday
supplement. What McClure  -  a shrewd literary
bagman  -  did was to apply the sensational methods of
the cheap newspaper to a new and cheap magazine.
Yellow journalism was rising and he went in on the tide.
The satanic Hearst was getting on his legs at the same
time, and I daresay that the muck-raking magazines,
even in their palmy days, followed him a good deal
more than they led him. McClure and the imitators of
McClure borrowed his adept thumping of the tom-tom;
Munsey and the imitators of Munsey borrowed his
mush. <hi rend="italics">McClure's</hi> and
<hi rend="italics">Everybody's</hi>, even when they
had the whole nation by the ears, did little save repeat in
solemn, awful tones what Hearst had said before. As for
<hi rend="italics">Munsey's</hi>, at the height of its
 circulation, it was little
more than a Sunday “magazine section” on smooth
paper, and with somewhat clearer half-tones than
Hearst could print. Nearly all the genuinely original ideas
of these Yankee Harmsworths of yesterday turned out
badly. John Brisben Walker, with the
<hi rend="italics">Cosmopolitan</hi>,
tried to make his magazine a sort of national university,
and it went to pot. Ridgway,
<pb id="men176" n="176"/>
of <hi rend="italics">Everybody's</hi>, planned a weekly to
be published in a dozen cities
simultaneously, and lost a fortune trying to establish it.
McClure, facing a situation to be described presently,
couldn't manage it, and his magazine got away from him. As
for Munsey, there are many wrecks behind him; he is forever
experimenting boldly and failing gloriously. Even his claim to
have invented the all-fiction magazine is open to caveat; there
were probably plenty of such things, in substance if not in
name, before the <hi rend="italics">Argosy</hi>. Hearst,
the teacher of them all,
now openly holds the place that belongs to him. He has
galvanized the corpse of the old <hi rend="italics">Cosmopolitan</hi> into a great
success, he has distanced all rivals with Hearst's, he has
beaten the English on their own ground with Nash's, and he
has rehabilitated various lesser magazines. More, he has
forced the other magazine publishers to imitate him. A glance
at <hi rend="italics">McClure's</hi> to-day offers all
the proof that is needed of his
influence upon his inferiors.</p>
          <p>Dr. Tassin, apparently in fear of making his book too
nearly good, halts his chronicle at its most interesting
point, for he says nothing of what has gone on since
1900  -  and very much, indeed, has gone on since
1900. For one thing, the <hi rend="italics">Saturday
Evening Post</hi> has
made its unparalleled success, created its new type of
American literature for department store buyers and
shoe drummers, and bred its school of brisk,
<pb id="men177" n="177"/>
business-like, high-speed authors. For another thing, the
<hi rend="italics">Ladies' Home Journal</hi>, once supreme
in its field, has
seen the rise of a swarm of imitators, some of them very
prosperous. For a third thing, the all-fiction magazine of
Munsey, Robert Bonner and Street&amp; Smith has
degenerated into so dubious a hussy that Munsey, a
very moral man, must blush every time he thinks of it.
For a fourth thing, the moving-picture craze has created
an entirely new type of magazine, and it has elbowed
many other types from the stands. And for a fifth thing,
to make an end, the muck-raking magazine has blown
up and is no more.</p>
          <p>Why this last? Have all the possible candidates for the
rake been raked? Is there no longer any taste for
scandal in the popular breast? I have heard endless
discussion of these questions and many ingenious
answers, but all of them fail to answer. In this
emergency I offer one of my own. It is this: that the
muck-raking magazine came to grief, not because the
public tired of muck-raking, but because the muck-raking
that it began with succeeded. That is to say, the
villains so long belabored by the Steffenses, the Tarbells
and the Phillipses were either driven from the national
scene or forced (at least temporarily) into rectitude.
Worse, their places in public life were largely taken by
nominees whose chemical purity was guaranteed by
these same magazines, and so the latter found their
occupation gone and their following
<pb id="men178" n="178"/>
with it. The great masses of the plain people, eager
to swallow denunciation in horse-doctor doses, gagged at
the first spoonful of praise. They chortled and read on
when Aldrich, Boss Cox, Gas Addicks, John D.
Rockefeller and the other bugaboos of the time were
belabored every month, but they promptly sickened and
went elsewhere when Judge Ben B. Lindsey, Francis J.
Heney, Governor Folk and the rest of the bogus saints
began to be hymned.</p>
          <p>The same phenomenon is constantly witnessed upon
the lower level of daily journalism. Let a vociferous
“reform” newspaper overthrow the old gang and elect its
own candidates, and at once it is in a perilous condition.
Its stock in trade is gone. It can no longer give a good
show  -  within the popular meaning of a good show. For
what the public wants eternally  -  at least the American
public  -  is rough work. It delights in vituperation. It revels
in scandal. It is always on the side of the man or journal
making the charges, no matter how slight the probability
that the accused is guilty. The late Roosevelt, perhaps
one of the greatest rabble-rousers the world has ever
seen, was privy to this fact, and made it the corner-stone
of his singularly cynical and effective politics. He was
forever calling names, making accusations, unearthing
and denouncing demons. Dr. Wilson, a performer of
scarcely less talent, has sought to pursue the same plan,
with varying fidelity and success. He
<pb id="men179" n="179"/>
was a popular hero so long as he confined himself to reviling
men and things  -  the Hell Hounds of Plutocracy, the
Socialists, the Kaiser, the Irish, the Senate minority. But
the moment he found himself on the side of the defense,
he began to wobble, just as Roosevelt before him had
begun to wobble when he found himself burdened with
the intricate constructive program of the Progressives.
Roosevelt shook himself free by deserting the
Progressives, but Wilson found it impossible to get rid of
his League of Nations, and so, for awhile at least, he
presented a quite typical picture of a muck-raker
ham-strung by blows from the wrong end of the rake.</p>
          <p>That the old appetite for bloody shows is not dead but
only sleepeth is well exhibited by the recent revival of the
weekly of opinion. Ten years ago the weekly seemed to
be absolutely extinct; even the <hi rend="italics">Nation</hi>
survived only as a
half-forgotten appendage of the<hi rend="italics"> Evening
Post</hi>. Then, of a
sudden, the alliance was broken, the <hi rend="italics">Evening
Post</hi>
succumbed to Wall Street, the <hi rend="italics">Nation</hi>
started on an
independent course  -  and straightway made a great
success. And why? Simply because it began breaking
heads  -  not the old heads of the <hi rend="italics">McClure's</hi> era, of course,
but nevertheless heads salient enough to make excellent
targets. For years it had been moribund; no one read it
save a dwindling company of old men; its influence
gradually approached <hi rend="italics">nil</hi>. But
by the elementary device
of
<pb id="men180" n="180"/>
switching from mild expostulation to violent and effective
denunciation it made a new public almost over-night, and is
now very widely read, extensively quoted and increasingly
heeded.... I often wonder that so few publishers of
periodicals seem aware of the psychological principle
here exposed. It is known to every newspaper publisher
of the slightest professional intelligence; all successful
newspapers are ceaselessly querulous and bellicose.
They never defend any one or anything if they can help
it; if the job is forced upon them, they tackle it by
denouncing some one or something else. The plan never
fails. Turn to the moving-picture trade magazines: the
most prosperous of them is given over, in the main, to
bitter attacks upon new films. Come back to daily
journalism. The New York <hi rend="italics">Tribune</hi>,
a decaying paper,
well nigh rehabilitated itself by attacking Hearst, the
cleverest muck-raker of them all. For a moment,
apparently dismayed, he attempted a defense of
himself  -  and came near falling into actual disaster.
Then, recovering his old form, he began a whole series
of counter attacks and cover attacks, and in six months
he was safe and sound again....</p>
        </div2>
        <pb id="men181" n="181"/>
        <div2 type="chapter XIV">
          <head>XIV. THE ULSTER POLONIUS</head>
          <p>A GOOD half of the humor of the late Mark Twain
consisted of admitting frankly the possession of vices
and weaknesses that all of us have and few of us care to
acknowledge. Practically all of the sagacity of George
Bernard Shaw consists of bellowing vociferously what
every one knows. I think I am as well acquainted with
his works, both hortatory and dramatic, as the next man.
I wrote the first book ever devoted to a discussion of
them, and I read them pretty steadily, even to-day, and
with endless enjoyment. Yet, so far as I know, I have
never found an original idea in them  -  never a single
statement of fact or opinion that was not anteriorly
familiar, and almost commonplace. Put the thesis of any
of his plays into a plain proposition, and I doubt that you
could find a literate man in Christendom who had not
heard it before, or who would seriously dispute it. The
roots of each one of them are in platitude; the roots of
<hi rend="italics">every</hi> effective stage-play are
in platitude; that a
dramatist is inevitably a platitudinarian is itself a platitude
double damned. But Shaw clings to the obvious even
when he is not hampered by the suffocating conventions
of the stage.
<pb id="men182" n="182"/>
His Fabian tracts and his pamphlets on the war are
veritable compendiums of the undeniable; what is
seriously stated in them is quite beyond logical dispute.
They have excited a great deal of ire, they have brought
down upon him a great deal of amusing abuse, but I
have yet to hear of any one actually controverting them.
As well try to controvert the Copernican astronomy.
They are as bullet-proof in essence as the multiplication
table, and vastly more bullet-proof than the Ten
Commandments or the Constitution of the United
States.</p>
          <p>Well, then, why does the Ulsterman kick up such a
pother? Why is he regarded as an arch-heretic, almost
comparable to Galileo, Nietzsche or Simon Magnus?
For the simplest of reasons. Because he practices with
great zest and skill the fine art of exhibiting the obvious
in unexpected and terrifying lights  -  because he is a
master of the logical trick of so matching two
apparently safe premisses that they yield an
incongruous and inconvenient conclusion  -  above all,
because he is a fellow of the utmost charm and
address, quick-witted, bold, limber-tongued,
persuasive, humorous, iconoclastic, ingratiating  -  in
brief, a true Kelt, and so the exact antithesis of the
solemn Sassenachs who ordinarily instruct and exhort
us. Turn to his “Man and Superman,” and you will see
the whole Shaw machine at work. What he starts out
with is the self-evident fact, disputed by no one
<pb id="men183" n="183"/>
not idiotic, that a woman has vastly more to gain by
marriage, under Christian monogamy, than a man. That
fact is as old as monogamy itself; it was, I daresay, the
admitted basis of the palace revolution which brought
monogamy into the world. But now comes Shaw with an
implication that the sentimentality of the world chooses
to conceal  -  with a deduction plainly resident in the
original proposition, but kept in safe silence there by a
preposterous and hypocritical taboo  -  to wit, the
deduction that women are well aware of the profit that
marriage yields for them, and that they are thus much
more eager to marry than men are, and ever alert to take
the lead in the business. This second fact, to any man
who has passed through the terrible years between
twenty-five and forty, is as plain as the first, but by a sort
of general consent it is not openly stated. Violate that
general consent and you are guilty of
<hi rend="italics"><foreign lang="la">scandalum
magnatum</foreign></hi>.
Shaw is simply one who is guilty of
<hi rend="italics"><foreign lang="la">scandalum
magnatum</foreign></hi>
habitually, a professional criminal in that department.
It is
his life work to announce the obvious in terms of the
scandalous.</p>
          <p>What lies under the horror of such blabbing is the
deepest and most widespread of human weaknesses,
which is to say, intellectual cowardice, the craven
appetite for mental ease and security, the fear of
thinking things out. All men are afflicted by it more or
less, not even the most courageous and frank of
<pb id="men184" n="184"/>
men likes to admit, in specific terms, that his wife is fat, or
that she seduced him to the altar by a transparent trick, or
that their joint progeny resemble her brother or father, and
are thus cads. A few extraordinary heroes of logic and
evidence may do it occasionally, but only occasionally.
The average man never does it at all. He is eternally in
fear of what he knows in his heart; his whole life is made
up of efforts to dodge it and conceal it; he is always
running away from what passes for his intelligence and
taking refuge in what pass for his higher feelings,
<hi rend="italics">i.e.</hi>,
his stupidities, his delusions, his sentimentalities
Shaw is devoted to the art of hauling this recreant fellow
up. He is one who, for purposes of sensation, often for
the mere joy of outraging the tender-minded, resolutely
and mercilessly thinks things out  -  sometimes with the
utmost ingenuity and humor, but often, it must be said, in
the same muddled way that the average right-thinker
would do it if he ever got up the courage. Remember
this formula, and all of the fellow's alleged originality
becomes no more than a sort of bad-boy audacity,
usually in bad taste. He drags skeletons from their closet
and makes them dance obscenely  -  but every one, of
course, knew that they were there all the while. He
would produce an excitement of exactly the same kind
(though perhaps superior in intensity) if he should walk
down the Strand bared to the waist, and so remind the
shocked
<pb id="men185" n="185"/>
Londoners of the unquestioned fact (though
conventionally concealed and forgotten) that he is a
mammal, and has an umbilicus.</p>
          <p>Turn to a typical play-and-preface of his later canon,
say “Androcles and the Lion.” Here the complete Shaw
formula is exposed. On the one hand there is a mass of
platitudes; on the other hand there is the air of a
peep-show. On the one hand he rehearses facts so stale
that even Methodist clergymen have probably heard of
them; on the other hand he states them so scandalously
that the pious get all of the thrills out of the business that
would accompany a view of the rector in liquor in the
pulpit. Here, for example, are some of his contentions:</p>
          <p rend="sc">(a) That the social and economic doctrines preached by
Jesus were indistinguishable from what is now called
Socialism.</p>
          <p rend="sc">(b) That the Pauline transcendentalism
visible in the Acts
and the Epistles differs enormously from the simple
humanitarianism set forth in the Four Gospels.</p>
          <p rend="sc">(c) That the Christianity on tap to-day
would be almost as
abhorrent to Jesus, supposing Him returned to earth, as the
theories of Nietzsche, Hindenburg or Clemenceau, and vastly
more abhorrent than those of Emma Goldman.</p>
          <p rend="sc">(d) That the rejection of the Biblical
miracles, and even of the
historical credibility of the Gospels, by no means disposes of
Christ Himself.</p>
          <p rend="sc">(e) That the early Christians were persecuted,
not because
their theology was regarded as unsound, but because their
public conduct constituted a nuisance.</p>
          <pb id="men186" n="186"/>
          <p>It is unnecessary to go on. Could any one imagine a
more abject surrender to the undeniable? Would it be
possible to reduce the German exegesis of a century
and a half to a more depressing series of platitudes?
But his discussion of the inconsistencies between the
Four Gospels is even worse; you will find all of its points
set forth in any elemental treatise upon New Testament
criticism  -  even in so childish a tract as Ramsden
Balmforth's. He actually dishes up, with a heavy air of
profundity, the news that there is a glaring conflict
between the genealogy of Jesus in Matthew i, 1-17, and
the direct claim of divine paternity in Matthew i, 18.
More, he breaks out with the astounding discovery that
Jesus was a good Jew, and that Paul's repudiation of
circumcision (now a cardinal article of the so-called
Christian faith) would have surprised Him and perhaps
greatly shocked Him. The whole preface, running to 114
pages, is made up of just such shop-worn stuff.
Searching it from end to end with eagle eye, I have failed
to find a single fact or argument that was not previously
familiar to me, despite the circumstance that I ordinarily
give little attention to the sacred sciences and thus might
have been expected to be surprised by their veriest
commonplaces.</p>
          <p>Nevertheless, this preface makes bouncing reading
  -  and therein lies the secret of the continued vogue of
Shaw. He has a large and extremely uncommon
<pb id="men187" n="187"/>
capacity for provocative utterance; he knows
how to get a touch
of bellicosity into the most banal of doctrines; he is
forever on tiptoe, forever challenging, forever
 <hi rend="italics"><foreign lang="it">sforzando
 </foreign></hi>.
His matter may be from the public store, even from the
public junk-shop, but his manner is always all his own.
The tune is old, but the words are new. Consider, for
example, his discussion of the personality of Jesus. The
idea is simple and obvious: Jesus was not a long-faced
prophet of evil, like John the Baptist, nor was He an
ascetic, or a mystic. But here is the Shaw way of saying
it: “He was... what we call an artist and a Bohemian in
His manner of life.” The fact remains unchanged, but in
the extravagant statement of it there is a shock for those
who have been confusing the sour donkey they hear of a
Sunday with the tolerant, likable Man they profess to
worship  -  and perhaps there is even a genial snicker in it
for their betters. So with his treatment of the Atonement.
His objections to it are time-worn, but suddenly he gets
the effect of novelty by pointing out the quite manifest
fact that acceptance of it is apt to make for weakness,
that the man who rejects it is thrown back upon his own
courage and circumspection, and is hence stimulated to
augment them. The first argument  -  that Jesus was of free
and easy habits  -  is so commonplace that I have heard it
voiced by a bishop. The second suggests itself so
naturally that I myself
<pb id="men188" n="188"/>
once employed it against a chance Christian
encountered in a Pullman smoking-room. This Christian
was at first shocked as he might have been by reading
Shaw, but in half an hour he was confessing that he had
long ago thought of the objection himself, and put it
away as immoral. I well remember his fascinated interest
as I showed him how my inability to accept the doctrine
put a heavy burden of moral responsibility upon me, and
forced me to be more watchful of my conduct than the
elect of God, and so robbed me of many pleasant
advantages in finance, the dialectic and amour....</p>
          <p>A double jest conceals itself in the Shaw legend. The
first half of it I have already disclosed. The second half
has to do with the fact that Shaw is not at all the
wholesale agnostic his fascinated victims see him, but an
orthodox Scotch Presbyterian of the most cock-sure
and bilious sort  -  in fact, almost the archetype of the
blue-nose. In the theory that he is Irish I
take little stock.
His very name is as Scotch as haggis, and the part of
Ireland from which he springs is peopled almost
exclusively by Scots. The true Irishman is a romantic.
He senses life as a mystery, a thing of wonder, an
experience of passion and beauty. In politics he is not
logical, but emotional. In religion his interest centers,
not in the commandments, but in the sacraments. The
Scot, on the contrary, is almost devoid of romanticism.
He
<pb id="men189" n="189"/>
is a materialist, a logician, a utilitarian. Life to him is
not a poem, but a series of police regulations. God is not an
indulgent father, but a hanging judge. There are no
saints, but only devils. Beauty is a lewdness, redeemable
only in the service of morality. It is more important to get
on in the world than to be brushed by angels' wings.
Here Shaw runs exactly true to type. Read his critical
writings from end to end, and you will not find the
slightest hint that objects of art were passing before him
as he wrote. He founded, in England, the superstition
that Ibsen was no more than a tin-pot evangelist  -  a sort
of brother to General Booth, Mrs. Pankhurst and the
syndics of the Sex Hygiene Society. He turned
Shakespeare into a bird of evil, croaking dismally in a
rain-barrel. He even injected a moral content (by dint of
herculean straining) into the music dramas of Richard
Wagner  -  surely the most colossal sacrifices of moral
ideas ever made on the altar of beauty! Always the
ethical obsession, the hall-mark of the Scotch Puritan, is
visible in him. His politics is mere moral indignation. His
æsthetic theory is cannibalism upon æsthetics. And in
his general writing he is forever discovering an atrocity in
what was hitherto passed as no more than a human
weakness; he is forever inventing new sins, and
demanding their punishment; he always sees his
opponent, not only as wrong, but also as a scoundrel. I
have called
<pb id="men190" n="190"/>
him a Presbyterian. Need I add that he flirts with
predestination under the quasi-scientific
<hi rend="italics"><foreign lang="fr">nom de
guerre</foreign></hi>
of determinism  -  that he seems to be convinced that,
while men may not be responsible for their virtues, they
are undoubtedly responsible for their offendings, and
deserve to be clubbed therefor?...</p>
          <p>And this is Shaw the revolutionist, the heretic! Next,
perhaps, we shall be hearing of Benedict XV, the
atheist....</p>
        </div2>
        <pb id="men191" n="191"/>
        <div2 type="chapter XV">
          <head>XV. AN UNHEEDED LAW-GIVER</head>
          <p>ONE discerns, in all right-thinking American criticism,
the doctrine that Ralph Waldo Emerson was a great
man, but the specifications supporting that doctrine are
seldom displayed with any clarity. Despite the vast mass
of writing about him, he remains to be worked out
critically; practically all the existing criticism of him is
marked by his own mellifluous obscurity. Perhaps a
good deal of this obscurity is due to contradictions
inherent in the man's character. He was dualism
ambulant. What he actually <hi rend="italics">was</hi>
was seldom identical
with what he represented himself to be or what his
admirers thought him to be. Universally greeted, in his
own day, as a revolutionary, he was, in point of fact,
imitative and cautious  -  an importer of stale German
elixirs, sometimes direct and sometimes through the
Carlylean branch house, who took good care to dilute
them with buttermilk before merchanting them. The
theoretical spokesman, all his life long, of bold and
forthright thinking, of the unafraid statement of ideas, he
stated his own so warily and so muggily that they were
ratified on the one hand by Nietzsche and
<pb id="men192" n="192"/>
on the other hand by the messiahs of the New Thought,
that lavender buncombe.</p>
          <p>What one notices about him chiefly is his lack of
influence upon the main stream of American thought,
such as it is. He had admirers and even worshipers, but
no apprentices. Nietzscheism and the New Thought are
alike tremendous violations of orthodox American
doctrine. The one makes a headlong attack upon
egalitarianism, the corner-stone of American politics; the
other substitutes mysticism, which is the notion that the
true realities are all concealed, for the prevailing
American notion that the only true realities lie upon the
surface, and are easily discerned by Congressmen,
newspaper editorial writers and members of the Junior
Order of United American Mechanics. The Emerson
cult, in America, has been an affectation from the start.
Not many of the chautauqua orators, literary professors,
vassarized old maids and other such bogus
<hi rend="italics">intelligentsia</hi>
who devote themselves to it have any intelligible
understanding of the Transcendentalism at the heart of it,
and not one of them, so far as I can make out, has ever
executed Emerson's command to “defer never to the
popular cry.” On the contrary, it is precisely within the
circle of Emersonian adulation that one finds the greatest
tendency to test all ideas by their respectability, to
combat free thought as something intrinsically vicious,
and to yield placidly to “some great
<pb id="men193" n="193"/>
decorum, some fetish of a government, some ephemeral
trade, or war, or man.” It is surely not unworthy of
notice that the country of this prophet of Man Thinking
is precisely the country in which every sort of dissent
from the current pishposh is combated most ferociously,
and in which there is the most vigorous existing tendency
to suppress free speech altogether.</p>
          <p>Thus Emerson, on the side of ideas, has left but faint
tracks behind him. His quest was for “facts amidst
appearances,” and his whole metaphysic revolved
around a doctrine of transcendental first causes, a
conception of interior and immutable realities, distinct
from and superior to mere transient phenomena. But the
philosophy that actually prevails among his
countrymen  -  a philosophy put into caressing terms by
William James  -  teaches an almost exactly contrary
doctrine: its central idea is that whatever satisfies the
immediate need is substantially true, that appearance is
the only form of fact worthy the consideration of a man
with money in the bank, and the old flag floating over
him, and hair on his chest. Nor has Emerson had any
ponderable influence as a literary artist in the technical
sense, or as the prophet of a culture  -  that is, at home.
Despite the feeble imitations of campus critics, his
manner has vanished with his matter. There is, in the true
sense, no Emersonian school of American writers.
<pb id="men194" n="194"/>
Current American writing, with its cocksureness, its
somewhat hard competence, its air of selling goods, is
utterly at war with his loose, impressionistic method, his
often mystifying groping for ideas, his relentless pursuit
of phrases. In the same way, one searches the country in
vain for any general reaction to the cultural ideal that he
set up. When one casts about for salient men whom he
moved profoundly, men who got light from his torch,
one thinks first and last, not of Americans, but of such
men as Nietzsche and Hermann Grimm, the Germans,
and Tyndall and Matthew Arnold, the Englishmen. What
remains of him at home, as I have said, is no more than,
on the one hand, a somewhat absurd affectation of
intellectual fastidiousness, now almost extinct even in
New England, and, on the other hand, a debased
Transcendentalism rolled into pills for fat women with
vague pains and inattentive husbands  -  in brief, the New
Thought  -  in brief, imbecility. This New Thought, a
decadent end-product of American superficiality, now
almost monopolizes him. One hears of him in its
preposterous literature and one hears of him in text-books
for the young, but not often elsewhere. Allowing
everything, it would surely be absurd to hold that he has
colored and conditioned the main stream of American
thought as Goethe colored and conditioned the thought
of Germany, or Pushkin that of Russia, or Voltaire that
of France....</p>
        </div2>
        <pb id="men195" n="195"/>
        <div2 type="chapter XVI">
          <head>XVI. THE BLUSHFUL MYSTERY</head>
          <div3 type="subchapter 1">
            <head>1</head>
            <head>
              <hi rend="italics">Sex Hygiene</hi>
            </head>
            <p>THE literature of sex hygiene, once so scanty and so
timorous, now piles mountain high. There are at least a
dozen formidable series of books of instruction for
inquirers of all ages, beginning with “What Every Child
of Ten Should Know” and ending with “What a Woman
of Forty-five Should Know,” and they all sell amazingly.
Scores of diligent authors, some medical, some clerical
and some merely shrewdly chautauqual, grow rich at the
industry of composing them. One of these amateur
Havelock Ellises had the honor, during the last century,
of instructing me in the elements of the sacred sciences.
He was then the pastor of a fourth-rate church in a
decaying neighborhood and I was sent to his Sunday-school
in response to some obscure notion that the
agony of it would improve me. Presently he
disappeared, and for a long while I heard nothing about
him. Then he came into sudden prominence as the
author of such a series of handbooks and as the chief
stockholder, it would seem, in the publishing house
printing them. By the time he
<pb id="men196" n="196"/>
died, a few years ago, he had been so well rewarded by a
just God that he was able to leave funds to establish a
missionary college in some remote and heathen land.</p>
            <p>This holy man, I believe, was honest, and took his
platitudinous compositions quite seriously. Regarding
other contributors to the literature it may be said without
malice that their altruism is obviously corrupted by a
good deal of hocus-pocus. Some of them lecture in the
chautauquas, peddling their books before and after
charming the yokels. Others, being members of the
faculty, seem to carry on medical practice on the side.
Yet others are kept in profitable jobs by the salacious
old men who finance vice crusades. It is hard to draw
the line between the mere thrifty enthusiast and the
downright fraud. So, too, with the actual vice crusaders.
The books of the latter, like the sex hygiene books, are
often sold, not as wisdom, but as pornography. True
enough, they are always displayed in the show-window
of the small-town Methodist Book Concern  -  but you
will also find them in the back-rooms of dubious second-hand
book-stores, side by side with the familiar scarlet-backed
editions of Rabelais, Margaret of Navarre and
Balzac's “Droll Tales.” Some time ago, in a book
advertisement headed “Snappy Fiction,” I found
announcements of “My Battles With Vice,” by Virginia
Brooks  -  and “Life
<pb id="men197" n="197"/>
of My Heart,” by Victoria Cross. The former was
described by the publisher as a record of “personal
experiences in the fight against the gray wolves and love
pirates of modern society.” The book was offered to all
comers by mail. One may easily imagine the effects of
such an offer.</p>
            <p>But even the most serious and honest of the sex
hygiene volumes are probably futile, for they are all
founded upon a pedagogical error. That is to say, they
are all founded upon an attempt to explain a romantic
mystery in terms of an exact science. Nothing could be
more absurd: as well attempt to interpret Beethoven in
terms of mathematical physics  -  as many a fatuous
contrapuntist, indeed, has tried to do. The mystery of
sex presents itself to the young, not as a scientific
problem to be solved, but as a romantic emotion to be
accounted for. The only result of the current endeavor to
explain its phenomena by seeking parallels in botany is
to make botany obscene....</p>
          </div3>
          <lb/>
          <div3 type="subchapter 2">
            <head>2</head>
            <head>
              <hi rend="italics">Art and Sex</hi>
            </head>
            <p>One of the favorite notions of the Puritan mullahs
who specialize in this moral pornography is that the sex
instinct, if suitably repressed, may be
“sublimated” into
the higher sorts of idealism, and especially
into æsthetic
idealism. That notion is to be found in all their books;
upon it they ground the
<pb id="men198" n="198"/>
theory that the enforcement of chastity by a huge force of
spies, stool pigeons and police would convert the republic
into a nation of incomparable uplifters, forward-lookers and
artists. All this, of course, is simply pious fudge. If the
notion were actually sound, then all the great artists of
the world would come from the ranks of the hermetically
repressed, <hi rend="italics">i.e.</hi>, from
the ranks of Puritan old maids,
male and female. But the truth is, as every one knows,
that the great artists of the world are never Puritans, and
seldom even ordinarily respectable. No virtuous
man  -  that is, virtuous in the Y.M.C.A. sense  -   has
ever painted a picture worth looking at, or written a
symphony worth hearing, or a book worth reading, and
it is highly improbable that the thing has ever been done
by a virtuous woman. The actual effect of repression,
lamentable though it may be, is to destroy idealism
altogether. The Puritan, for all his pretensions, is the
worst of materialists. Passed through his sordid and
unimaginative mind, even the stupendous romance of sex
is reduced to a disgusting transaction in physiology. As
artist he is thus hopeless; as well expect an auctioneer
to qualify for the Sistine Chapel choir. All he ever
achieves, taking pen or brush in hand, is a feeble
burlesque of his betters, all of whom, by his hog's
theology, are doomed to hell.</p>
          </div3>
          <div3 type="subchapter 3">
            <pb id="men199" n="199"/>
            <head>3</head>
            <head>
              <hi rend="italics">A Loss to Romance</hi>
            </head>
            <p>Perhaps the worst thing that this sex hygiene nonsense
has accomplished is the thing mourned by Agnes
Repplier in “The Repeal of Reticence.” In America, at
least, innocence has been killed, and romance has been
sadly wounded by the same discharge of smutty
artillery. The flapper is no longer naïve and charming;
she goes to the altar of God with a learned and even
cynical glitter in her eye. The school-girl of to-day, fed
upon Forel, Sylvanus Stall, Reginald Wright Kauffman
and the Freud books, knows as much as the midwife of
1885, and spends a good deal more time discharging
and disseminating her information. All this, of course, is
highly embarrassing to the more romantic and ingenuous
sort of men, of whom I have the honor to be one. We
are constantly in the position of General Mitchener in
Shaw's one-acter, “Press Cuttings,”
when he begs Mrs.
Farrell, the talkative charwoman, to reserve her
confidences for her medical adviser. One often
wonders, indeed, what women now talk of to
doctors....</p>
            <p>Please do not misunderstand me here. I do not object
to this New Freedom on moral grounds, but on
æsthetic grounds. In the relations
between the sexes
<pb id="men200" n="200"/>
all beauty is founded upon romance, all
romance is founded upon mystery, and all mystery is
founded upon ignorance, or, failing that, upon the
deliberate denial of the known truth. To be in love is
merely to be in a state of perceptual
anæsthesia  -  to
mistake an ordinary young man for a Greek god or an
ordinary young woman for a goddess. But how can this
condition of mind survive the deadly matter-of-factness
which sex hygiene and the new science of eugenics
impose? How can a woman continue to believe in the
honor, courage and loving tenderness of a man after she
has learned, perhaps by affidavit, that his hemoglobin
count is 117%, that he is free from sugar and albumen,
that his blood pressure is 112/79 and that his
Wassermann reaction is negative?... Moreover, all this
new-fangled “frankness” tends
to dam up, at least for
civilized adults, one of the principal
well-springs of art, to
wit, impropriety. What is neither hidden
nor forbidden is
seldom very charming. If women, continuing
 their present
tendency to its logical goal, end by going
stark naked,
there will be no more poets and painters, but only
dermatologists and photographers....</p>
          </div3>
          <lb/>
          <div3 type="subchapter 4">
            <head>4</head>
            <head>
              <hi rend="italics">Sex on the Stage</hi>
            </head>
            <p>The effort to convert the theater into a forum of
solemn sex discussion is another abhorrent by-product
<pb id="men201" n="201"/>
of the sex hygiene rumble-bumble. Fortunately, it seems
to be failing. A few years ago, crowds flocked to see
Brieux's “<foreign lang="fr">Les Avariés</foreign>,”
but to-day it is forgotten, and its
successors are all obscure. The movement originated in
Germany with the production of Frank Wedekind's
“<foreign lang="gr">Frühlings Erwachen</foreign>.”
The Germans gaped and twisted
in their seats for a season or two, and then abandoned
sex as a horror and went back to sex as a comedy. This
last is what it actually should be, at least in the theater.
The theater is no place for painful speculation; it is a
place for diverting representation. Its best and truest sex
plays are not such overstrained shockers as
“<foreign lang="fr">Le Mariage d' Olympe</foreign>”
and “Damaged Goods,” but such penetrating
and excellent comedies as “Much Ado
About Nothing”
and “The Taming of the Shrew.” In “Much
Ado” we
have an accurate and unforgettable picture of the way in
which the normal male of the human species is brought
to the altar  -  that is, by the way of appealing to his
hollow vanity, the way of capitalizing his native and
ineradicable asininity. And in “The Taming of
the Shrew”
we have a picture of the way in which the average
woman, having so snared him, is purged of her resultant
vainglory and bombast, and thus reduced to decent
discipline and decorum, that the marriage may go on in
solid tranquillity.</p>
            <p>The whole drama of sex, in real life, as well as on
<pb id="men202" n="202"/>
the stage, revolves around these two enterprises. One-half
of it consists of pitting the native intelligence of women
against the native sentimentality of men, and the other half
consists of bringing women into a reasonable order, that their
superiority may not be too horribly obvious. To the first
division belong the dramas of courtship, and a good
many of those of marital conflict. In each case the
essential drama is not a tragedy but a comedy  -  nay,
a farce. In each case the conflict is not between
imperishable verities but between mere vanities and
pretensions. This is the essence of the comic: the
unmasking of fraud, its destruction by worse fraud.
Marriage, as we know it in Christendom, though its utility
is obvious and its necessity is at least arguable, is just
such a series of frauds. It begins with the fraud that the
impulse to it is lofty, unearthly and disinterested. It
proceeds to the fraud that both parties are equally eager
for it and equally benefited by it  -  which actually happens
only when two Mondays come together. And it rests
thereafter upon the fraud that what is once agreeable (or
tolerable) remains agreeable ever thereafter  -  that I shall
be exactly the same man in 1938 that I am to-day, and
that my wife will be the same woman, and intrigued by
the merits of the same man. This last assumption is so
outrageous that, on purely evidential and logical grounds,
not even the most sentimental person would support it. It
thus
<pb id="men203" n="203"/>
becomes necessary to reënforce it by attaching to it
the concept
of honor. That is to say, it is held up, not on the ground that
it is actually true, but on the ground that a recognition of
its truth is part of the bargain made at the altar, and that
a repudiation of this bargain would be dishonorable.
Here we have honor, which is based upon a sense of the
deepest and most inviolable truth, brought in to support
something admittedly not true. Here, in other words, we
have a situation in comedy, almost exactly parallel to that
in which a colored bishop whoops “Onward, Christian
Soldiers!” like a calliope in order to drown out the
crowing of the rooster concealed beneath his chasuble.</p>
            <p>In all plays of the sort that are regarded as
“strong”
and “significant” in Greenwich Village,
in the finishing
schools and by the newspaper critics, connubial infidelity
is the chief theme. Smith, having a wife, Mrs. Smith,
betrays her love and trust by running off with Miss
Rabinowitz, his stenographer. Or Mrs. Brown, detecting
her husband, Mr. Brown, in lamentable proceedings
with a neighbor, the grass widow Kraus, forgives him
and continues to be true to him in consideration of her
children, Fred, Pansy and Little Fern. Both situations
produce a great deal of eye-rolling and snuffling among
the softies aforesaid. Yet neither contains the slightest
touch of tragedy, and neither at bottom is even honest.
Both, on the contrary, are based upon an assumption
that
<pb id="men204" n="204"/>
is unsound and ridiculous  -  the assumption, to wit, that
the position of the injured wife is grounded upon the
highest idealism  -  that the injury she suffers is directed
at her lofty and impeccable spirit  -  that it leaves her
standing in an heroic attitude. All this, soberly examined,
is found to be untrue. The fact is that her moving
impulse is simply a desire to cut a good figure before
her world  -  in brief, that plain vanity is what animates
her.</p>
            <p>This public expectation that she will endure and
renounce is itself hollow and sentimental, and so much
so that it can seldom stand much strain. If, for example,
her heroism goes beyond a certain modest point  -  if she
carries it to the extent of complete abnegation and
self-sacrifice
  -  her reward is not that she is thought heroic, but
that she is thought weak and foolish. And if, by any
chance, the external pressure upon her is removed and
she is left to go on with her alleged idealism alone  -  if,
say, her recreant husband dies and some new suitor
enters to dispute the theory of her deathless fidelity
  -  then it is regarded as down-right insane for her
to continue playing her artificial part.</p>
            <p>In frank comedy we see the situation more accurately
dealt with and hence more honestly and more
instructively. Instead of depicting one party as revolting
against the assumption of eternal fidelity
melodramatically and the other as facing the revolt
<pb id="men205" n="205"/>
heroically and tragically, we have both criticizing it by a
good-humored flouting of it  -  not necessarily by act, but
by attitude. This attitude is normal and sensible. It rests
upon genuine human traits and tendencies. It is sound,
natural and honest. It gives the comedy of the stage a
high validity that the bombastic fustian of the stage can
never show, all the sophomores to the contrary
notwithstanding.</p>
            <p>When I speak of infidelity, of course, I do not mean
only the gross infidelity of “strong” sex plays and the
divorce courts, but that lighter infidelity which relieves
and makes bearable the burdens of theoretical
fidelity  -  in brief, the natural reaction of human nature
against an artificial and preposterous assumption. The
assumption is that a sexual choice, once made, is
irrevocable  -  more, that all desire to revoke it, even
transiently, disappears. The fact is that no human choice
can ever be of that irrevocable character, and that the
very existence of such an assumption is a constant
provocation to challenge it and rebel against it.</p>
            <p>What we have in marriage actually  -  or in any other
such contract  -  is a constant war between the impulse to
give that rebellion objective reality and a social pressure
which puts a premium on submission. The rebel, if he
strikes out, at once collides with a solid wall, the bricks
of which are made up of the social assumption of his
docility, and the mortar of
<pb id="men206" n="206"/>
which is the frozen sentimentality of his own lost
yesterday  -  his fatuous assumption that what was once
agreeable to him would be always agreeable to him.
Here we have the very essence of comedy  -  a situation
almost exactly parallel to that of the pompous old
gentleman who kicks a plug hat lying on the sidewalk,
and stumps his toe against the cobblestone within.</p>
            <p>Under the whole of the conventional assumption
reposes an assumption even more foolish, to wit, that
sexual choice is regulated by some transcendental
process, that a mysterious accuracy gets into it, that it is
limited by impenetrable powers, that there is for every
man one certain woman. This sentimentality not only
underlies the theory of marriage, but is also the chief
apology for divorce. Nothing could be more ridiculous.
The truth is that marriages in Christendom are
determined, not by elective affinities, but by the most
trivial accidents, and that the issue of those accidents is
relatively unimportant. That is to say, a normal man
could be happy with any one of at least two dozen
women of his acquaintance, and a man specially fitted to
accept the false assumptions of marriage could be
happy with almost any presentable woman of his race,
class and age. He is married to Marie instead of to
Gladys because Marie definitely decided to marry him,
whereas Gladys vacillated between him and some other.
And Marie decided to
<pb id="men207" n="207"/>
marry him instead of some other, not because the
impulse was irresistibly stronger, but simply because the
thing seemed more feasible. In such choices, at least
among women, there is often not even any self-delusion
They see the facts clearly, and even if, later on, they are
swathed in sentimental trappings, the revelation is not
entirely obliterated.</p>
            <p>Here we have comedy double distilled  -  a combat of
pretensions, on the one side, perhaps, risen to
self-hallucination, but on the other side more or less
uneasily conscious and deliberate. This is the true soul of
high farce. This is something not to snuffle over but to
roar at.</p>
          </div3>
        </div2>
        <pb id="men208" n="208"/>
        <div2 type="chapter XVII">
          <head>XVII. GEORGE JEAN NATHAN</head>
          <p>ONE thinks of Gordon Craig, not as a jester, but as a
very serious and even solemn fellow. For a dozen
years past all the more sober dramatic critics of America
have approached him with the utmost politeness, and to
the gushing old maids and autointoxicated professors of
the Drama League of America he has stood for the last
word in theatrical æstheticism. Moreover, a good deal
of this veneration has been deserved, for Craig has done
excellent work in the theater, and is a man of much force
and ingenuity and no little originality. Nevertheless, there
must be some flavor of low, barroom wit in him, some
echo of Sir Toby Belch and the Captain of Köpenick,
for a year or so ago he shook up his admirers with a
joke most foul. Need I say that I refer to the notorious
Nathan affair? Imagine the scene: the campus Archers
and Walkleys in ponderous conclave, perhaps preparing
their monthly cablegram of devotion to Maeterlinck.
Arrives now a messenger with dreadful news. Gordon
Craig, from his far-off Italian retreat, has issued a bull
praising Nathan! Which Nathan? George Jean, of
<pb id="men209" n="209"/>
course. What! The <hi rend="italics">Smart Set</hi>
scaramouche, the ribald
fellow, the raffish mocker, with his praise of Florenz
Ziegfeld, his naughty enthusiasm for pretty legs, his
contumacious scoffing at Brieux, Belasco, Augustus
Thomas, Mrs. Fiske? Aye; even so. And what has Craig
to say of him?... In brief, that he is the
<hi rend="italics">only</hi> American
dramatic critic worth reading, that he knows far more
about the theater than all the honorary pallbearers of
criticism rolled together, that he is
immeasurably the superior, in learning, in sense, in
shrewdness, in candor, in plausibility, in skill at writing,
of  -  </p>
          <p>But names do not matter. Craig, in fact, did not
bother to rehearse them. He simply made a clean sweep
of the board, and then deftly placed the somewhat
disconcerted Nathan in the center of the vacant space.
It was a sad day for the honest donkeys who, for half a
decade, had been laboriously establishing Craig's
authority in America, but it was a glad day for Knopf,
the publisher. Knopf, at the moment, had just issued
Nathan's “The Popular Theater.” At once he rushed to a
job printer in Eighth avenue, ordered 100,000 copies of
the Craig encomium, and flooded the country with them.
The result was amusing, and typical of the republic.
Nathan's previous books, when praised at all, had been
praised faintly and with reservations. The fellow, it
appeared, was too spoofish; he lacked the sobriety and
<pb id="men210" n="210"/>
dignity necessary to a True Critic; he was entertaining
but not to be taken seriously. But now, with foreign backing,
and particularly English backing, he suddenly began to acquire
merit and even a certain vague solemnity  -  and “The Popular
Theater” was reviewed more lavishly and more favorably
than I have ever seen any other theater book reviewed,
before or since. The phenomenon, as I say, was typical.
The childish mass of superstitions passing for civilized
opinion in America was turned inside out over-night by
one authoritative foreign voice. I have myself been a
figure in the same familiar process. All of my books up to
“The American Language” were, in the main, hostilely
noticed. “A Book of Prefaces,” in particular, was
manhandled by the orthodox reviewers. Then, just before
“The American Language” was issued, the
<hi rend="italics"><foreign lang="fr">Mercure de France</foreign></hi>
printed an article commending “A Book of
Prefaces” in high, astounding terms. The consequence
was that “The American Language,” a far inferior work,
was suddenly discovered to be full of merit, and critics of
the utmost respectability, who had ignored all my former
books, printed extremely friendly reviews of it....</p>
          <p>But to return to Nathan. What deceived the Drama
Leaguers and other such imposing popinjays for so long,
causing them to mistake him for a mere sublimated Alan
Dale, was his refusal to take imbecilities seriously, his
easy casualness and avoidance
<pb id="men211" n="211"/>
of pedagogics, his frank delight in the theater as a
show-shop  -  above all, his bellicose iconoclasm and
devastating wit. What Craig, an intelligent man,
discerned underneath was his extraordinary capacity for
differentiating between sham and reality, his catholic
freedom from formulæ and prejudice, his
astonishing acquaintance with the literature of the
practical theater, his firm grounding in rational æsthetic
theory  -  above all, his capacity for making the thing he
writes of interesting, his uncommon craftsmanship. This
craftsmanship had already got him a large audience; he
had been for half a dozen years, indeed, one of the most
widely read of American dramatic critics. But the
traditional delusion that sagacity and dullness are
somehow identical had obscured the hard and accurate
thinking that made the show. What was so amusing
seemed necessarily superficial. It remained for Craig to
show that this appearance of superficiality was only an
appearance, that the Nathan criticism was well planned
and soundly articulated, that at the heart of it there was a
sound theory of the theater, and of the literature of the
theater no less.</p>
          <p>And what was that theory? You will find it nowhere
put into a ready formula, but the outlines of it must
surely be familiar to any one who has read “Another
Book on the Theater,” “The Popular Theater”
and “Mr.
George Jean Nathan Presents ”
<pb id="men212" n="212"/>
In brief, it is the doctrine preached with so much ardor
by Benedetto Croce and his disciple, Dr. J. E. Spingarn,
and by them borrowed from Goethe and Carlyle  -  the
doctrine, to wit, that every work of art is, at bottom,
unique, and that it is the business of the critic, not to
label it and pigeon-hole it, but to seek for its inner intent
and content, and to value it according as that intent is
carried out and that content is valid and worth while.
This is the precise opposite of the academic critical
attitude. The professor is nothing if not a maker
of card-indexes;
he must classify or be damned. His masterpiece
is the dictum that “it is excellent, but it is
not a play.”
Nathan has a far more intelligent and hospitable eye. His
criterion, elastic and undefined, is inimical only to the
hollow, the meretricious, the fraudulent. It bars out the
play of flabby and artificial sentiment. It bars out the
cheap melodrama, however gaudily set forth. It bars out
the moony mush of the bad imitators of Ibsen and
Maeterlinck. It bars out all mere clap-trap and
sensation-monging.
But it lets in every play, however conceived or
designed, that contains an intelligible idea well worked
out. It lets in every play by a dramatist who is ingenious,
and original, and genuinely amusing. And it lets in every
other sort of theatrical spectacle that has an honest aim,
and achieves that aim passably, and is presented frankly
for what it is.</p>
          <pb id="men213" n="213"/>
          <p>Bear this theory in mind, and you have a clear explanation
of Nathan's actual performances  -  first, his merciless
lampooning of the trade-goods of Broadway and the
pifflings of the Drama League geniuses, and secondly,
his ardent championing of such widely diverse men as
Avery Hopwood, Florenz Ziegfeld, Ludwig Thoma,
Lord Dunsany, Sasha Guitry, Lothar Schmidt, Ferenz
Molnar, Roberto Bracco and Gerhart Hauptmann, all of
whom have one thing in common: they are intelligent and
full of ideas and know their trade. In Europe, of course,
there are many more such men than in America, and
some of the least of them are almost as good as our
best. That is why Nathan is forever announcing them and
advocating the presentation of their works  -  not because
he favors foreignness for its own sake, but because it is
so often accompanied by sound achievement and by
stimulating example to our own artists. And that is why,
when he tackles the maudlin flubdub of the Broadway
dons, he does it with the weapons of comedy, and even
of farce. Does an Augustus Thomas rise up with his
corn-doctor magic and Sunday-school platitudes, proving
heavily that love is mightier than the sword, that a pure
heart will baffle the electric chair, that the eye is quicker
than the hand? Then Nathan proceeds against him with a
slapstick, and makes excellent practice upon his
pantaloons. Does a Belasco, thumb on forelock, posture
<pb id="men214" n="214"/>
before the yeomanry as a Great Artist, the evidence being
a large chromo of a Childs' restaurant, and a studio like a
Madison avenue antique-shop? Then Nathan flings a
laugh at him and puts him in his place. And does some
fat rhinoceros of an actress, unearthing a smutty play
by a corn-fed Racine, loose its banal obscenities upon
the vulgar in the name of Sex Hygiene, presuming thus to
teach a Great Lesson, and break the Conspiracy of
Silence, and carry on the Noble Work of Brieux and
company, and so save impatient flappers from the
Moloch's Sacrifice of the Altar  -  does such a bumptious
and preposterous baggage fill the newspapers with
her pishposh and the largest theater in Manhattan with
eager dunderheads? Then the ribald Jean has at her with
a flour-sack filled with the pollen of the
<hi rend="italics"><foreign lang="la">Ambrosia
artemisiaefolia</foreign></hi>, driving her from
the scene to the tune
of her own unearthly sneezing.</p>
          <p>Necessarily, he has to lay on with frequency. For one
honest play, honestly produced and honestly played,
Broadway sees two dozen that are simply so much
green-goods. To devote serious exposition to the
badness of such stuff would be to descend to the
donkeyish futility of William Winter. Sometimes, indeed,
even ridicule is not enough; there must be a briefer and
more dramatic display of the essential banality. Well,
then, why not recreate it in the manner of Croce  -  but
touching up a line here, a color
<pb id="men215" n="215"/>
there? The result is burlesque, but burlesque that is the
most searching and illuminating sort of criticism. Who will
forget Nathan's demonstration that a platitudinous play
by Thomas would be better if played backward? A
superb bravura piece, enormously beyond the talents of
any other American writer on the theater, it smashed the
Thomas legend with one stroke. In the little volume
called “Bottoms Up” you will find many other such
annihilating waggeries. Nathan does not denounce
melodrama with a black cap upon his head, painfully
demonstrating its inferiority to the drama of Ibsen,
Scribe and Euripides; he simply sits down and writes a
little melodrama so extravagantly ludicrous that the
whole genus collapses. And he does not prove in four
columns of a Sunday paper that French plays done into
American are spoiled; he simply shows the spoiling in six
lines.</p>
          <p>This method, of course, makes for broken heads; it
outrages the feelings of tender theatrical mountebanks; it
provokes reprisals more or less furtive and behind the
door. The theater in America, as in most other countries,
is operated chiefly by bouncers. Men so constantly
associated with actors tend to take on the qualities of
the actor  -  his idiotic vanity, his herculean stupidity, his
chronic underrating of his betters. The miasma spreads
to dramatists and dramatic critics; the former drift into
charlatanery and the latter into a cowardly and
disgusting dishonesty.
<pb id="men216" n="216"/>
Amid such scenes a man of positive ideas, of civilized
tastes and of unshakable integrity is a stranger, and he
must face all the hostility that the lower orders of men
display to strangers. There is, so far as I know, no
tripe-seller in Broadway who has not tried, at one time or
another, to dispose of Nathan by
<hi rend="italics"><foreign lang="gr">attentat</foreign></hi>.
He has been
exposed to all the measures ordinarily effective against
rebellious reviewers, and, resisting them, he has been
treated to special treatment with infernal machines of
novel and startling design. No writer for the theater has
been harder beset, and none has been less incommoded
by the onslaught. What is more, he has never made the
slightest effort to capitalize this drum-fire  -  the
invariable device of lesser men. So far as I am aware,
and I have been in close association with him for ten
years, it has had not the slightest effect upon him
whatsoever. A thoroughgoing skeptic, with no trace in
him of the messianic delusion, he has avoided
timorousness on the one hand and indignation on the
other. No man could be less a public martyr of the
Metcalfe type; it would probably amuse him vastly to
hear it argued that his unbreakable independence (and
often somewhat high and mighty sniffishness) has been
of any public usefulness. I sometimes wonder what
keeps such a man in the theater, breathing bad air
nightly, gaping at prancing imbeciles, sitting cheek by
jowl with cads. Perhaps there is, at bottom, a secret
<pb id="men217" n="217"/>
romanticism  -  a lingering residuum of a boyish delight in
pasteboard and spangles, gaudy colors and soothing
sounds, preposterous heroes and appetizing wenches.
But more likely it is a sense of humor  -  the zest of a
man to whom life is a spectacle that never grows
dull  -  a show infinitely surprising, amusing, buffoonish,
vulgar, obscene. The theater, when all is said and done,
is not life in miniature, but life enormously magnified, life
hideously exaggerated. Its emotions are ten times as
powerful as those of reality, its ideas are twenty times as
idiotic as those of real men, its lights and colors and
sounds are forty times as blinding and deafening as
those of nature, its people are grotesque burlesques of
every one we know. Here is diversion for a cynic. And
here, it may be, is the explanation of Nathan's fidelity.</p>
          <p>Whatever the cause of his enchantment, it seems to
be lasting. To a man so fertile in ideas and so facile in
putting them into words there is a constant temptation to
make experiments, to plunge into strange waters, to
seek self-expression in ever-widening circles. And yet,
at the brink of forty years, Nathan remains faithful to the
theater; of his half dozen books, only one does not deal
with it, and that one is a very small one. In four or five
years he has scarcely written of aught else. I doubt that
anything properly describable as enthusiasm is at the
bottom
<pb id="men218" n="218"/>
of this assiduity; perhaps the right word is curiosity. He
is interested mainly, not in the staple fare of the playhouse,
but in what might be called its fancy goods  -  in its endless
stream of new men, its restless innovations, the radical
overhauling that it has been undergoing in our time. I do
not recall, in any of his books or articles, a single
paragraph appraising the classics of the stage, or more
than a brief note or two on their interpretation. His
attention is always turned in a quite opposite direction.
He is intensely interested in novelty of whatever sort, if it
be only free from sham. Such experimentalists as Max
Reinhardt, George Bernard Shaw, Sasha Guitry and the
daring nobodies of the Grand Guignol, such divergent
originals as Dunsany, Ziegfeld, George M. Cohan and
Schnitzler, have enlisted his eager partisanship. He saw
something new to our theater in the farces of Hopwood
before any one else saw it; he was quick to welcome the
novel points of view of Eleanor Gates and Clare
Kummer; he at once rescued what was sound in the
Little Theatre movement from what was mere
attitudinizing and pseudo-intellectuality. In the view of
Broadway, an exigent and even malignant fellow,
wielding a pen dipped in
<hi rend="italics"><foreign lang="la">aqua fortis</foreign></hi>,
he is actually
amiable to the last degree, and constantly announces
pearls in the fodder of the swine. Is the new play in
Forty-second Street a serious work of art, as the
press-agents and the newspaper reviewers say?
<pb id="men219" n="219"/>
Then so are your grandmother's false teeth! Is Maeterlinck
a Great Thinker? Then so is Dr. Frank Crane! Is Belasco
a profound artist? Then so is the man who designs the
ceilings of hotel dining rooms! But let us not weep too
soon. In the play around the corner there is a clever
scene. Next door, amid sickening dullness, there are
two buffoons who could be worse: one clouts the other
with a <hi rend="italics"><foreign lang="gr">Blutwurst</foreign></hi>
filled with mayonnaise. And a block
away there is a girl in the second row with a very
charming twist of the <hi rend="italics"><foreign lang="la">vastus
medialis</foreign></hi>. Let us sniff the
roses and forget the thorns!</p>
          <p>What this attitude chiefly wars with, even above
cheapness, meretriciousness and banality, is the fatuous
effort to turn the theater, a place of amusement, into a
sort of outhouse to the academic grove  -  the
Maeterlinck-Brieux-Barker complex. No critic in
America, and none in England save perhaps Walkley,
has combated this movement more vigorously than
Nathan. He is under no illusion as to the functions and
limitations of the stage. He knows, with Victor Hugo,
that the best it can do, in the domain of ideas, is to “turn
thoughts into food for the crowd,” and he knows that
only the simplest and shakiest ideas may undergo that
transformation. Coming upon the scene at the height of
the Ibsen mania of half a generation ago, he ranged
himself against its windy pretenses from the start. He
saw
<pb id="men220" n="220"/>
at once the high merit of Ibsen as a dramatic craftsman and
welcomed him as a reformer of dramatic technique, but he also
saw how platitudinous was the ideational content of his plays
and announced the fact in terms highly offensive to the
Ibsenites.... But the Ibsenites have vanished and Nathan
remains. He has survived, too, the Brieux hubbub. He
has lived to preach the funeral sermon of the Belasco
legend. He has himself sworded Maeterlinck and
Granville Barker. He has done frightful execution upon
many a poor mime. And meanwhile, breasting the murky
tide of professorial buncombe, of solemn pontificating,
of Richard-Burtonism, Clayton-Hamiltonism and other
such decaying forms of William-Winterism, he has
rescued dramatic criticism among us from its exile with
theology, embalming and obstetrics, and given it a place
among what Nietzsche called the gay sciences, along
with war, fiddle-playing and laparotomy. He has made it
amusing, stimulating, challenging, even, at times, a bit
startling. And to the business, artfully concealed, he has
brought a sound and thorough acquaintance with the
heavy work of the pioneers, Lessing, Schlegel, Hazlitt,
Lewes <hi rend="italics"><foreign lang="la">et al</foreign></hi>  -
and an even wider acquaintance, lavishly
displayed, with every nook and corner of the current
theatrical scene across the water. And to discharge this
extraordinarily copious mass of information he
<pb id="men221" n="221"/>
has hauled and battered the English language into new and
often astounding forms, and when English has failed he
has helped it out with French, German, Italian,
American, Swedish, Russian, Turkish, Latin, Sanskrit
and Old Church Slavic, and with algebraic symbols,
chemical formulæ, musical notation and the signs of
the Zodiac....</p>
          <p>This manner, of course, is not without its perils. A
man so inordinately articulate is bound to succumb, now
and then, to the seductions of mere virtuosity. The
average writer, and particularly the average critic of the
drama, does well if he gets a single new and racy phrase
into an essay; Nathan does well if he dilutes his
inventions with enough commonplaces to enable the
average reader to understand his discourse at all. He
carries the avoidance of the <hi rend="italics">cliché</hi>
to the length of an
<hi rend="italics"><foreign lang="fr">idée
fixé</foreign></hi>. It would be difficult, in all
his books, to find a
dozen of the usual rubber stamps of criticism; I daresay
it would kill him, or, at all events, bring him down with
cholera morbus, to discover that he had called a play
“convincing” or found “authority”
in the snorting of an
English actor-manager. At best, this incessant flight from
the obvious makes for a piquant and arresting style, a
procession of fantastic and often highly pungent
neologisms  -  in brief, for Nathanism. At worst, it
becomes artificiality, pedantry, obscurity. I cite an
example from an essay
<pb id="men222" n="222"/>
on Eleanor Gates' “The Poor Little Rich Girl,” prefaced to
the printed play:</p>
          <p rend="sc">As against the not unhollow symbolic strut
and gasconade
of such over-pæaned pieces as, let us for
example say, “The
Blue Bird” of Maeterlinck, so simple and
unaffected a bit of
stage writing as this  -  of school dramatic intrinsically the same  -  
cajoles the more honest heart and satisfies more plausibly and
fully those of us whose thumbs are ever being pulled
professionally for a native stage less smeared with the
snobberies of empty, albeit high-sounding, nomenclatures from
overseas.</p>
          <p>Fancy that, Hedda!  -  and in praise of a “simple and
unaffected bit of stage writing”! I denounced it at the
time, <hi rend="italics"><foreign lang="la">circa</foreign></hi>
1916, and perhaps with some effect. At all
events, I seem to notice a gradual disentanglement of the
parts of speech. The old florid invention is still there; one
encounters startling coinages in even the most casual of
reviews; the thing still flashes and glitters; the tune is yet
upon the E string. But underneath I hear a more sober
rhythm than of old. The fellow, in fact, takes on a
sedater habit, both in style and in point of view. Without
abandoning anything essential, without making the
slightest concession to the orthodox opinion that he so
magnificently disdains, he yet begins to yield to the
middle years. The mere shocking of the stupid is no
longer as charming as it used to be. What he now offers
is rather more <hi rend="italics"><foreign lang="gr">gemütlich</foreign></hi>; sometimes it even verges
upon
<pb id="men223" n="223"/>
the instructive.... But I doubt that Nathan will ever become
a professor, even if he enjoys the hideously prolonged
senility of a William Winter. He will be full of surprises
to the end. With his last gasp he will make a phrase to
flabbergast a dolt.</p>
        </div2>
        <pb id="men224" n="224"/>
        <div2 type="chapter XVIII">
          <head>XVIII. PORTRAIT OF AN<lb/>
IMMORTAL SOUL</head>
          <p>ONE day in Spring, six or eight years ago, I received a
letter from a man somewhere beyond the Wabash
announcing that he had lately completed a very
powerful novel and hinting that my critical judgment upon
it would give him great comfort. Such notifications, at
that time, reached me far too often to be agreeable, and
so I sent him a form-response telling him that I was ill
with pleurisy, had just been forbidden by my oculist to
use my eyes, and was about to become a father. The aim
of this form-response was to shunt all that sort of trade
off to other reviewers, but for once it failed. That is to
say, the unknown kept on writing to me, and finally
offered to pay me an honorarium for my labor. This offer
was so unusual that it quite demoralized me, and before I
could recover I had received, cashed and dissipated a
modest check, and was confronted by an accusing
manuscript, perhaps four inches thick, but growing
thicker every time I glanced at it.</p>
          <p>One night, tortured by conscience and by the
inquiries and reminders arriving from the author by
<pb id="men225" n="225"/>
every post, I took up the sheets and settled down for a
depressing hour or two of it.... No, I did <hi rend="italics">not</hi> read all
night. No, it was <hi rend="italics">not</hi> a masterpiece. No,
it has <hi rend="italics">not</hi> made
the far-off stranger famous. Let me tell the story quite
honestly. I am, in fact, far too rapid a reader to waste a
whole night on a novel; I had got through this one by
midnight and was sound asleep at my usual time. And it
was by no means a masterpiece, on the contrary, it was
inchoate, clumsy, and, in part, artificial, insincere and
preposterous. And to this day the author remains
obscure.... But underneath all the amateurish writing, the
striving for effects that failed to come off, the absurd
literary self-consciousness, the recurrent falsity and
banality  -  underneath all these stigmata of a neophyte's
book there was yet a capital story, unusual in content,
naïve in manner and enormously engrossing. What is
more, the faults that it showed in execution were, most
of them, not ineradicable. On page after page, as I read
on, I saw chances to improve it  -  to get rid of its
intermittent bathos, to hasten its action, to eliminate its
spells of fine writing, to purge it of its imitations of all the
bad novels ever written  -  in brief, to tighten it, organize
it, and, as the painters say, tease it up.</p>
          <p>The result was that I spent the next morning writing
the author a long letter of advice. It went to him with
the manuscript, and for weeks I heard nothing
<pb id="men226" n="226"/>
from him. Then the manuscript returned, and I read it again.
This time I had a genuine surprise. Not only had the unknown
followed my suggestions with much intelligence; in
addition, once set up on the right track, he had devised a
great many excellent improvements of his own. In its
new form, in fact, the thing was a very competent and
even dexterous piece of writing, and after re-reading it
from the first word to the last with even keener interest
than before, I sent it to Mitchell Kennerley, then an
active publisher, and asked him to look through it.
Kennerley made an offer for it at once, and eight or nine
months later it was published with his imprint. The author
chose to conceal himself behind the
<hi rend="italics"><foreign lang="fr">nom
 de plume</foreign></hi> of
Robert Steele; I myself gave the book the title of “One
Man.” It came from the press  -  and straightway died
the death. The only favorable review it received was
mine in the <hi rend="italics">Smart Set</hi>. No other reviewer
paid any heed
to it. No one gabbled about it. No one, so far as I could
make out, even read it. The sale was small from the
start, and quickly stopped altogether.... To this day the
fact fills me with wonder. To this day I marvel that so
dramatic, so penetrating and so curiously moving a story
should have failed so overwhelmingly. . .</p>
          <p>For I have never been able to convince myself that I
was wrong about it. On the contrary, I am more
certain than ever, re-reading it after half a dozen
<pb id="men227" n="227"/>
years, that I was right  -  that it was and is one of the
most honest and absorbing human documents ever
printed in America. I have called it, following the author,
a novel. It is, in fact, nothing of the sort; it is
autobiography. More, it is autobiography unadorned and
shameless, autobiography almost unbelievably cruel and
betraying, autobiography that is as devoid of artistic
sophistication as an operation for gall-stones. This
so-called Steele is simply too stupid, too ingenuous, too
moral to lie. He is the very reverse of an artist; he is a
born and incurable Puritan  -  and in his alleged novel he
draws the most faithful and merciless picture of an
American Puritan that has ever got upon paper. There is
never the slightest effort at amelioration; he never evades
the ghastly horror of it; he never tries to palm off himself
as a good fellow, a hero. Instead, he simply takes his
stand in the center of the platform, where all the
spotlights meet, and there calmly strips off his raiment of
reticence  -  first his Sunday plug-hat, then his long-tailed
coat, then his boiled shirt, then his shoes and socks, and
finally his very B.V.D.'s. The closing scene shows the
authentic <hi rend="italics"><foreign lang="gr">Mensch-an-sich</foreign></hi>, the eternal blue-nose in the
nude, with every wart and pimple glittering and every
warped bone and flabby muscle telling its abhorrent tale.
There stands the Puritan stripped of every artifice and
concealment, like Thackeray's Louis XIV.</p>
          <pb id="men228" n="228"/>
          <p>Searching my memory, I can drag up no recollection
of another such self-opener of secret chambers and
skeletonic closets. Set beside this pious babbler, the late
Giovanni Jacopo Casanova de Seingalt shrinks to the
puny proportions of a mere barroom boaster, a smoking-car
Don Juan, an Eighteenth Century stock company
leading man or whiskey drummer. So, too, Benvenuto
Cellini: a fellow vastly entertaining, true enough, but after
all, not so much a psychological historian as a liar, a
yellow journalist. One always feels, in reading
Benvenuto, that the man who is telling the story is quite
distinct from the man about whom it is being told. The
fellow, indeed, was too noble an artist to do a mere
portrait with fidelity; he could not resist the temptation to
repair a cauliflower ear here, to paint out a tell-tale scar
there, to shine up the eyes a bit, to straighten the legs
down below. But this Steele  -  or whatever his name
may be  -  never steps out of himself. He is never
describing the gaudy one he would <hi rend="italics">like</hi>
to be, but
always the commonplace, the weak, the emotional, the
ignorant, the third-rate Christian male that he actually is.
He deplores himself, he distrusts himself, he plainly
wishes heartily that he was not himself, but he never
makes the slightest attempt to disguise and bedizen
himself. Such as he is, cheap, mawkish, unæsthetic,
conscience-stricken, he depicts himself with fierce and
unrelenting honesty.</p>
          <pb id="men229" n="229"/>
          <p>Superficially, the man that he sets before us seems to be
a felonious fellow, for he confesses frankly to a long
series of youthful larcenies, to a somewhat banal
adventure in forgery (leading to a term in jail), to sundry
petty deceits and breaches of trust, and to an almost
endless chain of exploits in amour, most of them sordid
and unrelieved by anything approaching romance. But
the inner truth about him, of course, is that he is really a
moralist of the moralists  -  that his one fundamental and
all-embracing virtue is what he himself regards as his
viciousness  -  that he is never genuinely human and
likable save in those moments which lead swiftly to his
most florid self-accusing. In brief, the history is that of a
moral young man, the child of God-fearing parents, and
its moral, if it has one, is that a strictly moral upbringing
injects poisons into the system that even the most
steadfast morality cannot resist. It is, in a way, the old
story of the preacher's son turned sot and cutthroat.</p>
          <p>Here we see an apparently sound and normal
youngster converted into a sneak and rogue by the
intolerable pressure of his father's abominable
Puritanism. And once a rogue, we see him make himself
into a scoundrel by the very force of his horror of his
roguery. Every step downward is helped from above. It
is not until he resigns himself frankly to the fact of his
incurable degradation, and
<pb id="men230" n="230"/>
so ceases to struggle against it, that he ever steps out
of it.</p>
          <p>The external facts of the chronicle are simple enough.
The son of a school teacher turned petty lawyer and
politician, the hero is brought up under such barbaric
rigors that he has already become a fluent and ingenious
liar, in sheer self-protection, at the age of five or six.
From lying he proceeds quite naturally to stealing: he lifts
a few dollars from a neighbor, and then rifles a tin bank,
and then takes to filching all sorts of small articles from
the storekeepers of the vicinage. His harsh, stupid,
Christian father, getting wind of these peccadilloes, has
at him in the manner of a mad bull, beating him,
screaming at him, half killing him. The boy, for all the
indecent cruelty of it, is convinced of the justice of it. He
sees himself as one lost; he accepts the fact that he is a
disgrace to his family; in the end, he embraces the
parental theory that there is something strange and
sinister in his soul, that he couldn't be good if he tried.
Finally, filled with some vague notion of taking his
abhorrent self out of sight, he runs away from home.
Brought back in the character of a felon, he runs away
again. Soon he is a felon in fact. That is to say, he forges
his father's name to a sheaf of checks, and his father
allows him to go to prison.</p>
          <p>This prison term gives the youngster a chance to
<pb id="men231" n="231"/>
think things out for himself, without the constant intrusion
of his father's Presbyterian notions of right or wrong. The
result is a measurably saner philosophy than that he
absorbed at home, but there is still enough left of the old
moral obsession to cripple him in all his thinking, and
especially in his thinking about himself. His attitude
toward women, for example, is constantly conditioned
by puritanical misgivings and superstitions. He can
never view them innocently, joyously, unmorally, as a
young fellow of twenty or twenty-one should, but is
always oppressed by Sunday-schoolish notions of his
duty to them, and to society in general. On the one hand,
he is appalled by his ready yielding to those hussies who
have at him unofficially, and on the other hand he is filled
with the idea that it would be immoral for him, an
ex-convict, to go to the altar with a virgin. The result of
these doubts is that he gives a good deal more earnest
thought to the woman question than is good for him. The
second result is that he proves an easy victim to the
discarded mistress of his employer. This worthy working
girl craftily snares him and marries him  -  and then breaks
down on their wedding night, unwomaned, so to speak,
by the pathetic innocence of the ass, and confesses to a
choice roll of her past doings, ending with the news that
she is suffering from what the vice crusaders mellifluously
denominate a “social disease.”</p>
          <pb id="men232" n="232"/>
          <p>Naturally enough, the blow almost kills the poor boy
  -  he is still, in fact, scarcely out of his nonage  -  and
the problems that grow out of the confession engage
him for the better part of the next two years. Always he
approaches them and wrestles with them morally;
always his search is for the way that the copy-book
maxims approve, not for the way that self-preservation
demands. Even when a brilliant chance for revenge
presents itself, and he is forced to embrace it by the
sheer magnetic pull of it, he does so hesitatingly,
doubtingly, ashamedly. His whole attitude to this affair,
indeed, is that of an Early Christian Father. He hates
himself for gathering rosebuds while he may; he hates the
woman with a double hatred for strewing them so
temptingly in his path. And in the end, like the moral and
upright fellow that he is, he sells out the temptress for
cash in hand, and salves his conscience by handing over
the money to an orphan asylum. This after prayers for
divine guidance. A fact! Don't miss the story of it in the
book. You will go far before you get another such
illuminating glimpse into a pure and righteous mind.</p>
          <p>So in episode after episode. One observes a constant
oscillation between a pharisaical piety and a hoggish
carnality. The praying brother of yesterday is the night-hack
roisterer of to-day; the roisterer of to-day is the
snuffling penitent and pledge-taker of to-morrow.
Finally, he is pulled both ways at once
<pb id="men233" n="233"/>
and suffers the greatest of all his tortures. Again, of course, a
woman is at the center of it  -  this time a stenographer.
He has no delusions about her virtue  -  she admits
herself, in fact, that it is extinct  -  but all the same he falls
head over heels in love with her, and is filled with an
inordinate yearning to marry her and settle down with
her. Why not, indeed? She is pretty and a nice girl; she
seems to reciprocate his affection; she is naturally eager
for the obliterating gold band; she will undoubtedly
make him an excellent wife. But he has forgotten his
conscience  -  and it rises up in revenge and floors him.
What! Marry a girl with such a Past! Take a fancy
woman to his bosom! Jealousy quickly comes to the aid
of conscience. Will he be able to forget? Contemplating
the damsel in the years to come, at breakfast, at dinner,
across the domestic hearth, in the cold, blue dawn, will
he ever rid his mind of those abhorrent images, those
phantasms of men?</p>
          <p>Here, at the very end, we come to the most
engrossing chapter in this extraordinary book. The
duelist of sex, thrust through the gizzard at last, goes off
to a lonely hunting camp to wrestle with his intolerable
problem. He describes his vacillations faithfully,
elaborately, cruelly. On the one side he sets his honest
yearning, his desire to have done with light loves, the girl
herself. On the other hand he ranges his moral qualms,
his sneaking distrusts, the
<pb id="men234" n="234"/>
sinister shadows of those nameless ones, his morganatic
brothers-in-law. The struggle within his soul is gigantic.
He suffers as Prometheus suffered on the rock; his very vitals
are devoured; he emerges battered and exhausted. He
decides, in the end, that he will marry the girl. She has
wasted the shining dowry of her sex; she comes to him
spotted and at second-hand; snickers will appear in the
polyphony of the wedding music  -  but he will marry her
nevertheless. It will be a marriage unblessed by Holy
Writ; it will be a flying in the face of Moses; luck and
the archangels will be against it  -  but he will marry
her all the same, Moses or no Moses. And so, with his face
made bright by his first genuine revolt against the
archaic, barbaric morality that has dragged him down,
and his heart pulsing to his first display of authentic,
unpolluted charity, generosity and nobility, he takes his
departure from us. May the fates favor him with their
mercy! May the Lord God strain a point to lift him out of
his purgatory at last! He has suffered all the agonies of
belief. He has done abominable penance for the
Westminster Catechism, and for the moral order of the
world, and for all the despairing misery of back-street,
black bombazine, Little Bethel goodness. He is
Puritanism incarnate, and Puritanism become
intolerable....</p>
          <p>I daresay any second-hand bookseller will be able to
find a copy of the book for you: “One Man,” by
<pb id="men235" n="235"/>
Robert Steele. There is some raciness in the detail of it.
Perhaps, despite its public failure, it enjoys a measure of
<hi rend="italics"><foreign lang="it">pizzicato</foreign></hi>
esteem behind the door. The author, having
achieved its colossal self-revelation, became intrigued by
the notion that he was a literary man of sorts, and
informed me that he was undertaking the story of the girl
last-named  -  the spotted ex-virgin. But he apparently
never finished it. No doubt he discovered, before he had
gone very far, that the tale was intrinsically beyond
him  -  that his fingers all turned into thumbs when he got
beyond his own personal history. Such a writer, once he
has told the one big story, is done for.</p>
        </div2>
        <pb id="men236" n="236"/>
        <div2 type="chapter XIX">
          <head>XIX. JACK LONDON</head>
          <p>THE quasi-science of genealogy, as it is practiced in the
United States, is directed almost exclusively toward
establishing aristocratic descents for nobodies. That is to
say, it records and glorifies decay. Its typical
masterpiece is the discovery that the wife of some
obscure county judge is the grandchild, infinitely
removed, of Mary Queen of Scots, or that the blood of
Geoffrey of Monmouth flows in the veins of a
Philadelphia stockbroker. How much more profitably its
professors might be employed in tracing the lineage of
truly salient and distinguished men! For example, the late
Jack London. Where did he get his hot artistic passion,
his delicate feeling for form and color, his extraordinary
skill with words? The man, in truth, was an instinctive
artist of a high order, and if ignorance often corrupted
his art, it only made the fact of his inborn mastery the
more remarkable. No other popular writer of his time
did any better writing than you will find in “The
Call of
the Wild,” or in parts of “John Barleycorn,”
or in such
short stories as “The Sea Farmer” and “Samuel.”
Here,
indeed, are all the
<pb id="men237" n="237"/>
elements of sound fiction: clear thinking, a sense of character,
the dramatic instinct, and, above all, the adept putting together of
words  -  words charming and slyly significant, words
arranged, in a French phrase, for the respiration and the ear.
You will never convince me that this æsthetic
sensitiveness,
so rare, so precious, so distinctively aristocratic, burst into
abiogenetic flower on a San Francisco sand-lot. There
must have been some intrusion of an alien and superior
strain, some <hi rend="italics"><foreign lang="it">pianissimo</foreign></hi> fillup from above; there was
obviously a great deal more to the thing than a routine
hatching in low life. Perhaps the explanation is to be sought
in a Jewish smear. Jews were not few in the California of a
generation ago, and one of them, at least, attained to a
certain high, if transient, fame with the pen. Moreover, the
name, London, has a Jewish smack; the Jews like to call
themselves after great cities. I have, indeed, heard this
possibility of an Old Testament descent put into an actual
rumor. Stranger genealogies are not unknown in seaports....</p>
          <p>But London the artist did not live
<hi rend="italics"><foreign lang="la">a cappella</foreign></hi>.
There
was also London the amateur Great Thinker, and the
second often hamstrung the first. That great thinking of
his, of course, took color from the sordid misery of his
early life; it was, in the main, a jejune Socialism, wholly
uncriticised by humor. Some of his propagandist and
expository books are almost
<pb id="men238" n="238"/>
unbelievably nonsensical, and whenever he allowed any of
his so-called ideas to sneak into an imaginative work the
intrusion promptly spoiled it. Socialism, in truth, is quite
incompatible with art; its cook-tent materialism is
fundamentally at war with the first principle of the
æsthetic gospel, which is that one daffodil is worth ten
shares of Bethlehem Steel. It is not by accident that
there has never been a book on Socialism which was
also a work of art. Papa Marx's “<foreign lang="gr">Das
Kapital</foreign>” at once
comes to mind. It is as wholly devoid of graces as “The
Origin of Species” or “Science and Health”;
one simply
cannot conceive a reasonable man reading it without
aversion; it is as revolting as a barrel organ. London,
preaching Socialism, or quasi-Socialism, or whatever it
was that he preached, took over this offensive dullness.
The materialistic conception of history was too heavy a
load for him to carry. When he would create beautiful
books he had to throw it overboard as Wagner threw
overboard democracy, the superman and free thought.
A sort of temporary Christian created “Parsifal.”
A sort
of temporary aristocrat created “The Call of the
Wild.”</p>
          <p>Also in another way London's early absorption of
social and economic nostrums damaged him as an artist.
It led him into a socialistic exaltation of mere money; it
put a touch of avarice into him. Hence his too deadly
industry, his relentless thousand
<pb id="men239" n="239"/>
words a day, his steady emission of half-done books. The
prophet of freedom, he yet sold himself into slavery to
the publishers, and paid off with his soul for his ranch,
his horses, his trappings of a wealthy cheese-monger.
His volumes rolled out almost as fast as those of E.
Phillips Oppenheim; he simply could not make them
perfect at such a gait. There are books on his list  -  for
example, “The Scarlet Plague” and “The
Little Lady of
the Big House”  -  that are little more than
garrulous
notes for books.</p>
          <p>But even in the worst of them one comes upon
sudden splashes of brilliant color, stray proofs of the
adept penman, half-wistful reminders that London, at
bottom, was no fraud. He left enough, I am convinced,
to keep him in mind. There was in him a delicacy
of perception, a high feeling, a sensitiveness to
beauty. And there was in him, too, under all his
blatancies a
poignant sense of the infinite romance and
mystery of human life.</p>
        </div2>
        <pb id="men240" n="240"/>
        <div2 type="chapter XX">
          <head>XX. AMONG THE AVATARS</head>
          <p>IT may be, as they say, that we Americanos lie in the
gutter of civilization, but all the while our eyes steal
cautious glances at the stars. In the midst of the
prevailing materialism  -  the thin incense of mysticism. As
a relief from money drives, politics and the struggle for
existence  -  Rosicrucianism, the Knights of Pythias,
passwords, grips, secret work, the 33rd degree. In flight
from Peruna, Mandrake Pills and Fletcherism  -  Christian
Science, the Emmanuel Movement, the New Thought.
The tendency already has its poets: Edwin Markham and
Ella Wheeler Wilcox. It has acquired its romancer: Will
Levington Comfort....</p>
          <p>This Comfort wields an easy pen. He has done,
indeed, some capital melodramas, and when his ardor
heats him up he grows downright eloquent. But of late
the whole force of his æsthetic engines has been thrown
into propaganda, by the Bhagavad-Gita out of Victorian
sentimentalism. The nature of this propaganda is quickly
discerned. What Comfort preaches is a sort of
mellowed mariolatry, a humorless exaltation of
woman, a flashy effort to turn
<pb id="men241" n="241"/>
the inter-attraction of the sexes, ordinarily a mere
cause of scandal, into something transcendental and highly
portentous. Woman, it appears, is the beyond-man, the
trans-mammal, the nascent angel; she is the Upward
Path, the Way to Consecration, the door to the Third
Lustrous Dimension; all the mysteries of the cosmos are
concentrated in Mystic Motherhood, whatever that may
be. I capitalize in the Comfortian (and New Thought)
manner. On one page of “Fate Knocks at the Door” I
find Voices, Pits of Trade, Woman, the Great Light, the
Big Deep and the Twentieth Century Lie. On another
are the Rising Road of Man, the Transcendental Soul
Essence, the Way Uphill, the Sempiternal Mother. Thus
Andrew Bedient, the spouting hero of the tale:</p>
          <p rend="sc">I believe in the natural greatness of Woman; that
through the spirit of Woman are born sons of strength;
that only through the potential greatness of Woman
comes the militant greatness of man.</p>
          <p rend="sc">I believe Mothering is the loveliest of
the Arts; that
great mothers are handmaidens of the Spirit, to whom
are intrusted God's avatars; that no prophet is greater
than his mother.</p>
          <p rend="sc">I believe when humanity arises to Spiritual
 evolution
(as it once evolved through Flesh, and is now evolving
through Mind) Woman will assume the ethical guiding of
the race.</p>
          <p rend="sc">I believe that the Holy Spirit of the
Trinity is Mystic
Motherhood, and the source of the divine principle is
Woman; that the prophets are the union of this divine
<pb id="men242" n="242"/>
principle and the higher manhood; that they are beyond the
attractions of women of flesh, because unto their manhood
has been added Mystic Motherhood....</p>
          <p rend="sc">I believe that the way to Godhood is the Rising Road of
Man.</p>
          <p rend="sc">I believe that, as the human mother brings a child to her
husband, the father  -  so Mystic Motherhood, the Holy Spirit,
is bringing the world to God, the Father.</p>
          <p>The capitals are Andrew's  -  or Comfort's. I merely
transcribe and perspire. This Andrew, it appears, is a
sea cook who has been mellowed and transfigured by
exhaustive study of the Bhagavad Gita, one of the
sacred nonsense books of the Hindus. He doesn't know
who his father was, and he remembers his mother only
as one dying in a strange city. When she finally passed
away he took to the high seas and mastered marine
cookery. Thus for many years, up and down the world.
Then he went ashore at Manila and became chef to an
army packtrain. Then he proceeded to China, to Japan.
Then to India, where he entered the forestry service and
plodded the Himalayan heights, always with the
Bhagavad Gita under his arm. At some time or other,
during his years of culinary seafaring, he saved the life of
a Yankee ship captain, and that captain, later dying, left
him untold millions in South America. But it is long after
all this is past that we have chiefly to do with him. He is
now a young Monte Cristo at large
<pb id="men243" n="243"/>
in New York, a Monte Cristo worshiped and gurgled over
by a crowd of mushy old maids, a hero of Uneeda-biscuit
parties in God-forsaken studios, the madness and
despair of senescent virgins.</p>
          <p>But it is not Andrew's wealth that inflames these old
girls, nor even his manly beauty, but rather his
revolutionary and astounding sapience, his great gift for
solemn and incomprehensible utterance, his skill as a
metaphysician. They hang upon his every word. His
rhetoric makes their heads swim. Once he gets fully
under way, they almost swoon.... And what girls they
are! Alas, what pathetic neck-stretching toward tinsel
stars! What eager hearing of the soulful, gassy stuff!
One of them has red hair and “wine dark eyes, now
cryptic black, now suffused with red glows like the night
sky above a prairie fire.” Another is “tall
and lovely in a
tragic, flower-like way” and performs upon the
violoncello. A third is “a tanned woman rather
variously
weathered,” who writes stupefying epigrams about
Whitman and Nietzsche  -  making the latter's name
Nietschze, of course! A fourth is “the Gray
One”  -  O
mystic appellation! A fifth  -  but enough! You get the
picture. You can imagine how Andrew's sagacity staggers
these poor dears. You can see them fighting for
him, each against all, with sharp, psychical excaliburs.</p>
          <p>Arm in arm with all this exaltation of Woman, of
<pb id="men244" n="244"/>
course, goes a great suspicion of mere woman. The
combination is as old as Christian mysticism, and
Havelock Ellis has discussed its origin and nature at
great length. On the one hand is the
<hi rend="italics"><foreign lang="gr">Übermensch</foreign></hi>; on
the other hand is the temptress, the Lorelei. The
Madonna and Mother Eve, the celestial virgins and the
succubi! The hero of “Fate Knocks at the
Door,” for all
his flaming words, still distrusts his goddess. His
colleague of “Down Among Men” is
poisoned by the
same suspicions. Woman has led him up to grace, she
has shown him the Upward Path, she has illuminated him
with her Mystic Motherhood  -  but the moment she lets
go his hand he takes to his heels. What is worse, he
sends a friend to her (I forget her name, and his) to
explain in detail how unfavorably any further communion
with her would corrupt his high mission, <hi rend="italics">i.e.</hi>, to save the
downtrodden by writing plays that fail and books that
not even Americans will read. An intellectual milk-toast!
A mixture of Dr. Frank Crane and Mother Tingley, of
Edward Bok and the Archangel Eddy!...</p>
          <p>So far, not much of this ineffable stuff has got among
the best-sellers, but I believe that it is on its way.
Despite materialism and pragmatism, mysticism is
steadily growing in fashion. I hear of paunchy
Freemasons holding sacramental meetings on Maundy
Thursday, of Senators in Congress railing against
<hi rend="italics"><foreign lang="la">materia medica</foreign></hi>,
of Presidents invoking
<pb id="men245" n="245"/>
divine intercession at Cabinet meetings. The New
Thoughters march on; they have at least a dozen
prosperous magazines, and one of them has a circulation
comparable to that of any 20-cent repository of lingerie
fiction. Such things as Karma, the Ineffable Essence
and the Zeitgeist become familiar fauna, chained up in
the cage of every woman's club. Thousands of
American women know far more about the
Subconscious than they know about plain sewing. The
pungency of myrrh and frankincense is mingled with
<hi rend="italics"><foreign lang="fr">odeur de femme</foreign></hi>.
Physiology is formally repealed and
repudiated; its laws are all lies. No doubt the fleshly
best-seller of the last decade, with its blushing amorousness,
its flashes of underwear, its obstetrics between chapters,
will give place to a more delicate piece of trade-goods
to-morrow. In this New Thought novel the hero and
heroine will seek each other out, not to spoon obscenely
behind the door, but for the purpose of uplifting the
race. Kissing is already unsanitary; in a few years it may
be downright sacrilegious, a crime against some obscure
avatar or other, a business libidinous and accursed.</p>
        </div2>
        <pb id="men246" n="246"/>
        <div2 type="chapter XXI">
          <head>XXI. THREE AMERICAN<lb/>
IMMORTALS</head>
          <div3 type="subchapter 1">
            <head>1</head>
            <head>
              <hi rend="italics"><sic>Aristotelean</sic> Obsequies</hi>
            </head>
            <p>I TAKE the following from the Boston <hi rend="italics">Herald</hi> of May 1, 1882:</p>
            <p rend="sc">A beautiful floral book stood at the left of the
 pulpit, being
spread out on a stand.... Its last page was composed of white
carnations, white daisies and light-colored immortelles. On the
leaf was displayed, in neat letters of purple immortelles, the
word “Finis.” This device was about two feet
square, and its
border was composed of different colored tea-roses. The other
portion of the book was composed of dark and light-colored
flowers.... The front of the large pulpit was covered with a mass
of white pine boughs laid on loosely. In the center of this mass
of boughs appeared a large harp composed of yellow jonquils....
Above this harp was a handsome bouquet of dark pansies.
On each side appeared large clusters of calla lilies.</p>
            <p>Well, what have we here? The funeral of a Grand
Exalted Pishposh of the Odd Fellows, of an East Side
Tammany leader, of an aged and much respected
<pb id="men247" n="247"/>
brothel-keeper? Nay. What we have here is
the funeral of Ralph Waldo Emerson. It was thus that
New England lavished the loveliest fruits of the Puritan
æsthetic upon the bier of her greatest son. It was thus
that Puritan <hi rend="italics"><foreign lang="gr">Kultur</foreign></hi> mourned a philosopher.</p>
          </div3>
          <lb/>
          <div3 type="subchapter 2">
            <head>2</head>
            <head>
              <hi rend="italics">Edgar Allan Poe</hi>
            </head>
            <p>The myth that there is a monument to Edgar Allan
Poe in Baltimore is widely believed; there are even
persons who, stopping off in Baltimore to eat oysters,
go to look at it. As a matter of fact, no such monument
exists. All that the explorer actually finds is a cheap and
hideous tombstone in the corner of a Presbyterian
churchyard  -  a tombstone quite as bad as the worst in
Père La Chaise. For twenty-six years after Poe's death
there was not even this: the grave remained wholly
unmarked. Poe had surviving relatives in Baltimore, and
they were well-to-do. One day one of them ordered a
local stonecutter to put a plain stone over the grave. The
stonecutter hacked it out and was preparing to haul it to
the churchyard when a runaway freight-train smashed
into his stoneyard and broke the stone to bits.
Thereafter the Poes seem to have forgotten Cousin
Edgar; at all events, nothing further was done.</p>
            <p>The existing tombstone was erected by a committee
<pb id="men248" n="248"/>
of Baltimore schoolmarms, and cost about $1,000. It
took the dear girls ten long years to raise the money.
They started out with a “literary entertainment” which
yielded $380. This was in 1865. Six years later the fund
had made such slow progress that, with accumulated
interest, it came to but $587.02. Three years more went
by: it now reached $627.55. Then some anonymous
Poeista came down with $100, two others gave $50
each, one of the devoted schoolmarms raised $52 in
nickels and dimes, and George W. Childs agreed to pay
any remaining deficit. During all this time not a single
American author of position gave the project any aid.
And when, finally, a stone was carved and set up and the
time came for the unveiling, the only one who appeared
at the ceremony was Walt Whitman. All the other
persons present were Baltimore nobodies  -  chiefly
schoolteachers and preachers. There were three set
speeches  -  one by the principal of a local high school,
the second by a teacher in the same seminary, and the
third by a man who was invited to give his “personal
recollections” of Poe, but who announced in his third
sentence that “I never saw Poe but once, and our
interview did not last an hour.”</p>
            <p>This was the gaudiest Poe celebration ever held in
America. The poet has never enjoyed such august
posthumous attentions as those which lately flattered the
shade of James Russell Lowell. At his actual
<pb id="men249" n="249"/>
burial, in 1849, exactly eight persons were present, of
whom six were relatives. He was planted, as I have
said, in a Presbyterian churchyard, among generations of
honest believers in infant damnation, but the officiating
clergyman was a Methodist. Two days after his death a
Baptist gentleman of God, the illustrious Rufus W. Griswold,
printed a defamatory article upon him in the New York
<hi rend="italics">Tribune</hi>,
and for years it set the tone of native criticism of him.
And so he rests: thrust among Presbyterians by a
Methodist and formally damned by a Baptist.</p>
          </div3>
          <lb/>
          <div3 type="subchapter 3">
            <head>3</head>
            <head>
              <hi rend="italics">Memorial Service</hi>
            </head>
            <p>Let us summon from the shades the immortal soul of
James Harlan, born in 1820, entered into rest in 1899.
In the year 1865 this Harlan resigned from the United
States Senate to enter the cabinet of Abraham Lincoln
as Secretary of the Interior. One of the clerks in that
department, at $600 a year, was Walt Whitman, lately
emerged from three years of hard service as an army
nurse during the Civil War. One day, discovering that
Whitman was the author of a book called “Leaves of
Grass,” Harlan ordered him incontinently kicked out, and
it was done forthwith. Let us remember this event and
this man; he is too precious to die. Let us repair, once a
year,
<pb id="men250" n="250"/>
to our accustomed houses of worship and there give thanks
to God that one day in 1865 brought together the greatest
poet that America has ever produced and the damndest ass.</p>
          </div3>
        </div2>
        <trailer>THE END</trailer>
      </div1>
    </body>
    <back>
      <pb id="men251" n="251"/>
      <div1 type="index">
        <list rend="sc" type="simple">
          <head>INDEX</head>
          <item>Ade, George, <ref targOrder="U" target="men98">98, </ref><ref targOrder="U" target="men114">114 <hi rend="italics">et seq.</hi></ref></item>
          <item>Adler, Alfred, <ref targOrder="U" target="men170">170</ref></item>
          <item><hi rend="italics">Ailsa Page</hi>, <ref targOrder="U" target="men134">134</ref></item>
          <item>American Academy of Arts and
  Letters,
  <ref targOrder="U" target="men115">115, </ref>
  <ref targOrder="U" target="men138">138
  </ref></item>
          <item><hi rend="italics">American Language, The</hi>,
 <ref targOrder="U" target="men210">210</ref></item>
          <item><hi rend="italics">Androcles and the Lion</hi>,
<ref targOrder="U" target="men185">185 <hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Angela's Business</hi>,
<ref targOrder="U" target="men139">139</ref></item>
          <item><hi rend="italics">Ann Veronica</hi>,
<ref targOrder="U" target="men25">25, </ref>
<ref targOrder="U" target="men31">31</ref></item>
          <item><hi rend="italics">Another Book on the Theater</hi>,
<ref targOrder="U" target="men211">211</ref></item>
          <item>Archer, William, <ref targOrder="U" target="men25">25, </ref>
<ref targOrder="U" target="men174">174</ref></item>
          <item>Arnold, Matthew,
<ref targOrder="U" target="men194">194</ref></item>
          <item><hi rend="italics">Artie</hi>,
<ref targOrder="U" target="men121">121</ref></item>
          <item><hi rend="italics">Atlantic Monthly</hi>,
<ref targOrder="U" target="men52">52, </ref>
<ref targOrder="U" target="men134">134, </ref>
<ref targOrder="U" target="men173">173, </ref>
<ref targOrder="U" target="men174">174</ref></item>
          <item>Augier, Emile,
<ref targOrder="U" target="men106">106</ref></item>
          <item><hi rend="italics"><foreign lang="fr">Avariés,
Les</foreign></hi>,
<ref targOrder="U" target="men107">107, </ref>
<ref targOrder="U" target="men201">201</ref></item>
          <item>Bahr, Hermann, <ref targOrder="U" target="men16">16</ref></item>
          <item>Balmforth, Rameden, <ref targOrder="U" target="men186">186</ref></item>
          <item>Balzac, H., <ref targOrder="U" target="men50">50</ref></item>
          <item>Barber, Granville, <ref targOrder="U" target="men219">219</ref></item>
          <item><hi rend="italics">Bealby</hi>,
<ref targOrder="U" target="men24">24,</ref>
<ref targOrder="U" target="men32"> 32</ref></item>
          <item>Beck, James M., <ref targOrder="U" target="men33">33</ref></item>
          <item>Beethoven, L. van, <ref targOrder="U" target="men18">18,</ref>
<ref targOrder="U" target="men72"> 72, </ref><ref targOrder="U" target="men94">94</ref></item>
          <item>Belasco, David, <ref targOrder="U" target="men213">213,</ref>
<ref targOrder="U" target="men219"> 219</ref></item>
          <item>Belloc, Hillaire, <ref targOrder="U" target="men31">31</ref></item>
          <item>Bennett Arnold, <ref targOrder="U" target="men31">31, </ref>
<ref targOrder="U" target="men36">36<hi rend="italics">et seq.</hi></ref></item>
          <item>Beyerlein, F.A., <ref targOrder="U" target="men106">106</ref></item>
          <item>Bierce, Ambrose, <ref targOrder="U" target="men130">130</ref></item>
          <item>Bierbaum, O.J., <ref targOrder="U" target="men131">131</ref></item>
          <item>Blasco Ibáñez, <ref targOrder="U" target="men24">24, </ref>
<ref targOrder="U" target="men145">145</ref></item>
          <item>Bleibtreu. K., <ref targOrder="U" target="men106">106</ref></item>
          <item><hi rend="italics">Book of Prefaces</hi>, A,
<ref targOrder="U" target="men210">210</ref></item>
          <item><hi rend="italics">Boon</hi>, <ref targOrder="U" target="men31">31</ref></item>
          <item>Boynton, H. W., <ref targOrder="U" target="men14">14</ref></item>
          <item>Brahms, Johannes, <ref targOrder="U" target="men18">18</ref></item>
          <item>Braithwaite, W.S., <ref targOrder="U" target="men83">83</ref></item>
          <item>Brandes, Georg, <ref targOrder="U" target="men17">17</ref></item>
          <item>Brieux, Eugene, <ref targOrder="U" target="men61">61, </ref>
<ref targOrder="U" target="men107">107, </ref><ref targOrder="U" target="men201">201, </ref>
<ref targOrder="U" target="men219">219</ref></item>
          <item>Brooks, Van Wyck, <ref targOrder="U" target="men34">34</ref></item>
          <item>Brownell, W. C., <ref targOrder="U" target="men11">11, </ref>
<ref targOrder="U" target="men14">14</ref></item>
          <item><hi rend="italics">Buried Alive</hi>,
<ref targOrder="U" target="men46">46</ref></item>
          <item>Bynner, Witter, <ref targOrder="U" target="men85">85</ref></item>
          <item>Cabell, James Branch, <ref targOrder="U" target="men144">144</ref></item>
          <item><hi rend="italics">Call of the Wild, The</hi>,
<ref targOrder="U" target="men236">236</ref></item>
          <item>Carlyle, Thomas, <ref targOrder="U" target="men12">12, </ref>
<ref targOrder="U" target="men16">16, </ref><ref targOrder="U" target="men191">191,</ref>
<ref targOrder="U" target="men212"> 212</ref></item>
          <item>Cather, Willa Sibert, <ref targOrder="U" target="men130">130</ref></item>
          <item><hi rend="italics">Century, The</hi>,
<ref targOrder="U" target="men174">174</ref></item>
          <item><hi rend="italics">Certain Rich Man, A</hi>,
<ref targOrder="U" target="men140">140</ref></item>
          <item>Chambers, R. W., <ref targOrder="U" target="men73">73, </ref>
<ref targOrder="U" target="men117">117, </ref><ref targOrder="U" target="men129">129
<hi rend="italics">et seq.</hi>, </ref>
<ref targOrder="U" target="men148">148</ref></item>
          <item><hi rend="italics">Chap-Book, The</hi>,
<ref targOrder="U" target="men134">134</ref></item>
          <item>Chesterton, G. K., <ref targOrder="U" target="men27">27, </ref>
<ref targOrder="U" target="men124">124</ref></item>
          <item>Childs, George W., <ref targOrder="U" target="men248">248</ref></item>
          <item>Churchill, Winston, <ref targOrder="U" target="men37">37, </ref>
<ref targOrder="U" target="men131">131</ref></item>
          <item>Clemens, S. L., <ref targOrder="U" target="men52">52, </ref>
<ref targOrder="U" target="men57">57, </ref><ref targOrder="U" target="men97">97, </ref>
<ref targOrder="U" target="men114">114, </ref><ref targOrder="U" target="men115">115, </ref>
<ref targOrder="U" target="men118">118</ref></item>
          <item>Cobb, Irvin, <ref targOrder="U" target="men97">97 <hi rend="italics">et seq.</hi>,</ref><ref targOrder="U" target="men134">134</ref></item>
          <item><hi rend="italics">Cobb's Anatomy</hi>,
<ref targOrder="U" target="men99">99</ref></item>
          <item>Comfort, W. L., <ref targOrder="U" target="men240">240
 <hi rend="italics">et seq.</hi></ref></item>
          <item>Conrad, Joseph, <ref targOrder="U" target="men11">11, </ref>
<ref targOrder="U" target="men34">34, </ref><ref targOrder="U" target="men38">38, </ref>
<ref targOrder="U" target="men40">40, </ref><ref targOrder="U" target="men44">44, </ref><ref targOrder="U" target="men56">56, </ref><ref targOrder="U" target="men97">97, </ref><ref targOrder="U" target="men112">112, </ref><ref targOrder="U" target="men144">144</ref></item>
          <item><hi rend="italics">Cosmopolitan, The</hi>,
<ref targOrder="U" target="men175">175 <hi rend="italics">et seq.</hi></ref></item>
          <item>Craig, Gordon, <ref targOrder="U" target="men208">208</ref></item>
          <item>Crane, Frank, <ref targOrder="U" target="men46">46, </ref>
<ref targOrder="U" target="men244">244</ref></item>
          <item><hi rend="italics">Criterion, The</hi>,
<ref targOrder="U" target="men129">129, </ref><ref targOrder="U" target="men130">130</ref></item>
          <item>Croce, Benedetto, <ref targOrder="U" target="men12">12, </ref>
<ref targOrder="U" target="men212">212</ref></item>
          <item>Curtis, George W., <ref targOrder="U" target="men114">114</ref></item>
          <item>Dewey, John, <ref targOrder="U" target="men61">61
<hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Dial, The</hi>,
 <ref targOrder="U" target="men64">64</ref></item>
          <item><hi rend="italics">Doll's House, A</hi>,
<ref targOrder="U" target="men22">22, </ref><ref targOrder="U" target="men23">23</ref></item>
          <item>Dreiser, Theodore, <ref targOrder="U" target="men14">14, </ref>
<ref targOrder="U" target="men34">34, </ref><ref targOrder="U" target="men38">38, </ref><ref targOrder="U" target="men47">47,</ref><ref targOrder="U" target="men54"> 54, </ref><ref targOrder="U" target="men97">97, </ref><ref targOrder="U" target="men116">116, </ref><ref targOrder="U" target="men119">119, </ref><ref targOrder="U" target="men130">130, </ref><ref targOrder="U" target="men144">144</ref></item>
          <item><hi rend="italics"><foreign lang="gr">Ehre, Die</foreign></hi>,
<ref targOrder="U" target="men105">105</ref></item>
          <item>Ellis, Havelock, <ref targOrder="U" target="men244">244</ref></item>
          <pb id="men252" n="252"/>
          <item>Emerson, R. W., <ref targOrder="U" target="men115">115, </ref>
<ref targOrder="U" target="men191">191 <hi rend="italics">et seq.</hi>,</ref>
<ref targOrder="U" target="men246"> 246</ref></item>
          <item><hi rend="italics">Everybody's Magazine</hi>,
<ref targOrder="U" target="men175">175</ref></item>
          <item><hi rend="italics">Family, The</hi> (Parsons),
<ref targOrder="U" target="men155">155</ref></item>
          <item><hi rend="italics">Family, The</hi> (Poole),
<ref targOrder="U" target="men147">147</ref></item>
          <item><hi rend="italics">Fate Knocks at the Door</hi>,
<ref targOrder="U" target="men241">241</ref></item>
          <item><hi rend="italics">Fear and Conventionality</hi>,
<ref targOrder="U" target="men155">155 <hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">First and Last Things</hi>,
<ref targOrder="U" target="men22">22</ref></item>
          <item>Fletcher, J.G., <ref targOrder="U" target="men92">92</ref></item>
          <item><hi rend="italics">Forester's Daughter, The</hi>,
<ref targOrder="U" target="men136">136</ref></item>
          <item><hi rend="italics">Four Horsemen of the Apocalypse,
  The</hi>, <ref targOrder="U" target="men24">24, </ref>
  <ref targOrder="U" target="men145">145</ref></item>
          <item>France, Anatole, <ref targOrder="U" target="men34">34, </ref>
<ref targOrder="U" target="men131">131</ref></item>
          <item><hi rend="italics"><foreign lang="gr">Frau Sorge</foreign></hi>,
<ref targOrder="U" target="men105">105</ref></item>
          <item>Freud, Sigmund, <ref targOrder="U" target="men151">151, </ref>
<ref targOrder="U" target="men170">170, </ref><ref targOrder="U" target="men199">199</ref></item>
          <item>Frost, Robert, <ref targOrder="U" target="men84">84, </ref>
<ref targOrder="U" target="men89">89, </ref><ref targOrder="U" target="men92">92</ref></item>
          <item><hi rend="italics"><foreign lang="gr">Frühlings Erwachen</foreign></hi>, <ref targOrder="U" target="men201">201</ref></item>
          <item>Garland, Hamlin, <ref targOrder="U" target="men134">134,
<hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Gay Rebellion, The</hi>,
<ref targOrder="U" target="men133">133</ref></item>
          <item>George, W. L., <ref targOrder="U" target="men40">40</ref></item>
          <item>Giovannitti, Ettore, <ref targOrder="U" target="men90">90, </ref>
<ref targOrder="U" target="men92">92</ref></item>
          <item><hi rend="italics">Godey's Lady's Book</hi>,
<ref targOrder="U" target="men174">174</ref></item>
          <item>Goethe, J. W., <ref targOrder="U" target="men12">12, </ref>
<ref targOrder="U" target="men16">16, </ref><ref targOrder="U" target="men194">194, </ref>
<ref targOrder="U" target="men212">212</ref></item>
          <item>Grimm, Hermann, <ref targOrder="U" target="men194">194</ref></item>
          <item>Griswold, Rufus, <ref targOrder="U" target="men19">19, </ref>
<ref targOrder="U" target="men172">172, </ref><ref targOrder="U" target="men249">249</ref></item>
          <item>H. D., <ref targOrder="U" target="men92">92</ref></item>
          <item>Haeckel, Ernst, <ref targOrder="U" target="men45">45</ref></item>
          <item>Hagedorn, Hermann, <ref targOrder="U" target="men86">86</ref></item>
          <item>Hale, William Bayard, <ref targOrder="U" target="men34">34</ref></item>
          <item>Hamilton, Clayton, <ref targOrder="U" target="men140">140, </ref>
<ref targOrder="U" target="men148">148 <hi rend="italics">et seq.</hi>, </ref>
<ref targOrder="U" target="men220">220</ref></item>
          <item><hi rend="italics">Harbor, The</hi>,
<ref targOrder="U" target="men146">146</ref></item>
          <item>Hardy, Thomas, <ref targOrder="U" target="men34">34</ref></item>
          <item>Harlan, James, <ref targOrder="U" target="men249">249</ref></item>
          <item><hi rend="italics">Harper's Magazine</hi>,
<ref targOrder="U" target="men173">173</ref></item>
          <item>Harrison, H. S., <ref targOrder="U" target="men117">117, </ref>
<ref targOrder="U" target="men139">139 <hi rend="italics">et seq.</hi>, </ref>
<ref targOrder="U" target="men141">141</ref></item>
          <item>Harvey, Alexander, <ref targOrder="U" target="men52">52</ref></item>
          <item>Hauptmann, Gerhart, <ref targOrder="U" target="men106">106, </ref>
<ref targOrder="U" target="men213">213</ref></item>
          <item>Hazlitt, Wm., <ref targOrder="U" target="men16">16</ref></item>
          <item>Hearst, W. R., <ref targOrder="U" target="men175">175
<hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Hearst's Magazine</hi>,
<ref targOrder="U" target="men176">176</ref></item>
          <item><hi rend="italics"><foreign lang="gr">Heimat</foreign></hi>,
<ref targOrder="U" target="men105">105</ref></item>
          <item><hi rend="italics">Higher Learning in America, The</hi>,
 <ref targOrder="U" target="men65">65, </ref><ref targOrder="U" target="men67">67, </ref>
 <ref targOrder="U" target="men71">71, </ref><ref targOrder="U" target="men81">81</ref></item>
          <item><hi rend="italics">His Second Wife</hi>,
<ref targOrder="U" target="men147">147</ref></item>
          <item><hi rend="italics">History of Mr. Polly, The</hi>,
<ref targOrder="U" target="men25">25, </ref><ref targOrder="U" target="men31">31</ref></item>
          <item><hi rend="italis"><foreign lang="gr">Hohe Lied, Das</foreign></hi>,
<ref targOrder="U" target="men107">107</ref></item>
          <item>Holz, Arno, <ref targOrder="U" target="men105">105</ref></item>
          <item>Howe, E. W., <ref targOrder="U" target="men56">56, </ref>
<ref targOrder="U" target="men118">118, </ref><ref targOrder="U" target="men119">119</ref></item>
          <item>Howells, W. D., <ref targOrder="U" target="men52">52
<hi rend="italics">et seq.</hi>, </ref><ref targOrder="U" target="men97">97, </ref>
<ref targOrder="U" target="men118">118, </ref><ref targOrder="U" target="men144">144</ref></item>
          <item><hi rend="italics">Huckleberry Finn</hi>,
<ref targOrder="U" target="men53">53</ref></item>
          <item>Huneker, James, <ref targOrder="U" target="men17">17, </ref>
<ref targOrder="U" target="men19">19, </ref><ref targOrder="U" target="men57">57, </ref>
<ref targOrder="U" target="men129">129, </ref><ref targOrder="U" target="men130">130</ref></item>
          <item>Ibsen, Henrik, <ref targOrder="U" target="men12">12, </ref>
<ref targOrder="U" target="men106">106, </ref><ref targOrder="U" target="men107">107, </ref>
<ref targOrder="U" target="men119">119,
 </ref><ref targOrder="U" target="men219">219</ref></item>
          <item><hi rend="italics">Imperial Germany and the
Industrial Revolution</hi>, <ref targOrder="U" target="men65">65</ref></item>
          <item><hi rend="italics">Indian Lily, The</hi>,
<ref targOrder="U" target="men107">107 <hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Instinct of Workmanship, The</hi>,
<ref targOrder="U" target="men65">65</ref></item>
          <item><hi rend="italics">In the Heart of a Fool</hi>,
<ref targOrder="U" target="men140">140</ref></item>
          <item>James, William, <ref targOrder="U" target="men60">60 <hi rend="italics">et seq.</hi>, </ref><ref targOrder="U" target="men154">154, </ref><ref targOrder="U" target="men193">193</ref></item>
          <item><hi rend="italics">Joan and Peter</hi>,
<ref targOrder="U" target="men25">25 <hi rend="italics">et seq.</hi>, </ref>
<ref targOrder="U" target="men31">31, </ref><ref targOrder="U" target="men32">32, </ref>
 <ref targOrder="U" target="men33">33</ref></item>
          <item><hi rend="italics">John Barleycorn</hi>,
<ref targOrder="U" target="men236">236</ref></item>
          <item>Johnson, Owen, <ref targOrder="U" target="men98">98, </ref>
<ref targOrder="U" target="men148">148</ref></item>
          <item><hi rend="italics">Jungle, The</hi>,
<ref targOrder="U" target="men145">145, </ref><ref targOrder="U" target="men146">146</ref></item>
          <item><hi rend="italics">Katzensteg, Der</hi>,
<ref targOrder="U" target="men105">105</ref></item>
          <item>Kauffman, RW., <ref targOrder="U" target="men199">199</ref></item>
          <item>Kilmer, Joyce, <ref targOrder="U" target="men86">86</ref></item>
          <item><hi rend="italics">King in Yellow, The</hi>,
<ref targOrder="U" target="men134">134</ref></item>
          <item>Kipling, Rudyard, <ref targOrder="U" target="men27">27</ref></item>
          <item>Kreymborg, Alfred, <ref targOrder="U" target="men83">83</ref></item>
          <item><hi rend="italics">Ladies' Home Journal</hi>,
<ref targOrder="U" target="men53">53, </ref><ref targOrder="U" target="men126">126, </ref>
<ref targOrder="U" target="men143">143, </ref><ref targOrder="U" target="men177">177</ref></item>
          <item>Lardner, Ring W., <ref targOrder="U" target="men98">98</ref></item>
          <item><hi rend="italics">Leatherwood God, The</hi>,
<ref targOrder="U" target="men54">54</ref></item>
          <item>Le Bon, Gustave, <ref targOrder="U" target="men154">154</ref></item>
          <item>Lindsay, Vachel, <ref targOrder="U" target="men83">83, </ref>
<ref targOrder="U" target="men84">84, </ref><ref targOrder="U" target="men89">89, </ref>
<ref targOrder="U" target="men92">92, </ref><ref targOrder="U" target="men94">94, </ref>
<ref targOrder="U" target="men96">96</ref></item>
          <item><hi rend="italics">Lion's Share, The</hi>,
<ref targOrder="U" target="men46">46, </ref><ref targOrder="U" target="men51">51</ref></item>
          <item><hi rend="italics">Little Lady of the Big House</hi>, The,
 <ref targOrder="U" target="men239">239</ref></item>
          <item>Lloyd-George, David, <ref targOrder="U" target="men33">33</ref></item>
          <item>London, Jack, <ref targOrder="U" target="men37">37, </ref>
<ref targOrder="U" target="men236">236 <hi rend="italics">et seq.</hi></ref></item>
          <pb id="men253" n="253"/>
          <item>Lowell, Amy, <ref targOrder="U" target="men83">83, </ref>
<ref targOrder="U" target="men86">86, </ref><ref targOrder="U" target="men87">87, </ref>
<ref targOrder="U" target="men92">92, </ref><ref targOrder="U" target="men96">96</ref></item>
          <item>Lowell, J. R., <ref targOrder="U" target="men115">115, </ref>
<ref targOrder="U" target="men173">173, </ref><ref targOrder="U" target="men248">248</ref></item>
          <item>Lowes, John Livingstone, <ref targOrder="U" target="men88">88</ref></item>
          <item>Mabie, H. W., <ref targOrder="U" target="men16">16</ref></item>
          <item>McClure, John, <ref targOrder="U" target="men96">96</ref></item>
          <item>McClure, S. S., <ref targOrder="U" target="men175">175</ref></item>
          <item><hi rend="italics">McClure's Magazine</hi>,
<ref targOrder="U" target="men175">175</ref></item>
          <item>MacLane, Mary, <ref targOrder="U" target="men123">123
 <hi rend="italics">et seq.</hi>, </ref>
 <ref targOrder="U" target="men134">134</ref></item>
          <item>Maeterlinck, Maurice, <ref targOrder="U" target="men61">61, </ref>
<ref targOrder="U" target="men79">79, </ref><ref targOrder="U" target="men219">219</ref></item>
          <item><hi rend="italics">Magazine in America, The</hi>,
 <ref targOrder="U" target="men171">171
<hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Magda</hi>,
<ref targOrder="U" target="men105">105</ref></item>
          <item><hi rend="italics">Man and Superman</hi>,
<ref targOrder="U" target="men182">182</ref></item>
          <item>Marden, O.S., <ref targOrder="U" target="men46">46</ref></item>
          <item><hi rend="italics">Marriage</hi>,
 <ref targOrder="U" target="men22">22, </ref><ref targOrder="U" target="men34">34</ref></item>
          <item>Marx, Karl, <ref targOrder="U" target="men66">66, </ref>
<ref targOrder="U" target="men238">238</ref></item>
          <item><hi rend="italics">Masks and Minstrels of New
  Germany</hi>, <ref targOrder="U" target="men130">130</ref></item>
          <item>Masters, Edgar Lee, <ref targOrder="U" target="men83">83, </ref>
<ref targOrder="U" target="men88">88, </ref><ref targOrder="U" target="men92">92, </ref>
<ref targOrder="U" target="men96">96</ref></item>
          <item>Meltzer, C.H., <ref targOrder="U" target="men57">57, </ref>
<ref targOrder="U" target="men129">129</ref></item>
          <item><hi rend="italics">Men vs. the Man</hi>,
<ref targOrder="U" target="men60">60</ref></item>
          <item><hi rend="italics"><foreign lang="fr">Mercure de
France</foreign></hi>, <ref targOrder="U" target="men210">210</ref></item>
          <item>Mitchell, D.O., <ref targOrder="U" target="men115">115, </ref>
<ref targOrder="U" target="men131">131</ref></item>
          <item>Monroe, Harriet, <ref targOrder="U" target="men83">83, </ref>
<ref targOrder="U" target="men91">91</ref></item>
          <item>Moody, Wm. Vaughn, <ref targOrder="U" target="men57">57</ref></item>
          <item><hi rend="italics">Moonlit Way, The</hi>,
<ref targOrder="U" target="men131">131</ref></item>
          <item>More, Paul Elmer, <ref targOrder="U" target="men17">17, </ref>
<ref targOrder="U" target="men53">53</ref></item>
          <item><hi rend="italics">Mr. Britling Sees It Through</hi>,
<ref targOrder="U" target="men24">24, </ref><ref targOrder="U" target="men25">25</ref></item>
          <item><hi rend="italics">Mr. George Jean Nathan
  Presents</hi>, <ref targOrder="U" target="men211">211</ref></item>
          <item>Munsey, Frank A., <ref targOrder="U" target="men175">175</ref></item>
          <item><hi rend="italics">Munsey's Magazine</hi>,
<ref targOrder="U" target="men175">175</ref></item>
          <item>Nasby, Petroleum V., <ref targOrder="U" target="men114">114</ref></item>
          <item>Nathan, G.J., <ref targOrder="U" target="men208">208
<hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Nation, The</hi>,
<ref targOrder="U" target="men32">32, </ref><ref targOrder="U" target="men64">64,
 </ref><ref targOrder="U" target="men179">179</ref></item>
          <item>National Institute of Arts and
  Letters, <ref targOrder="U" target="men115">115, </ref>
  <ref targOrder="U" target="men116">116, </ref><ref targOrder="U" target="men129">129
  <hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Nature of Peace and the Terms of
  Its Perpetuation, The</hi>, <ref targOrder="U" target="men65">65</ref></item>
          <item><hi rend="italics">New Leaf Mills</hi>,
<ref targOrder="U" target="men56">56</ref></item>
          <item><hi rend="italics">New Machiavelli, The</hi>,
<ref targOrder="U" target="men31">31</ref></item>
          <item><hi rend="italics">New Republic, The</hi>,
<ref targOrder="U" target="men64">64</ref></item>
          <item><hi rend="italics">New Thought</hi>,
<ref targOrder="U" target="men192">192, </ref><ref targOrder="U" target="men245">245</ref></item>
          <item>Nietzsche, F. W., <ref targOrder="U" target="men18">18, </ref>
<ref targOrder="U" target="men24">24, </ref><ref targOrder="U" target="men28">28, </ref>
<ref targOrder="U" target="men32">32, </ref><ref targOrder="U" target="men45">45, </ref>
<ref targOrder="U" target="men61">61, </ref><ref targOrder="U" target="men155">155, </ref>
<ref targOrder="U" target="men182">182, </ref><ref targOrder="U" target="men185">185, </ref>
<ref targOrder="U" target="men192">192, </ref><ref targOrder="U" target="men194">194, </ref>
<ref targOrder="U" target="men243">243</ref></item>
          <item>Norris, Frank, <ref targOrder="U" target="men54">54, </ref>
<ref targOrder="U" target="men57">57, </ref>
<ref targOrder="U" target="men121">121</ref></item>
          <item><hi rend="italics">North American Review</hi>,
 <ref targOrder="U" target="men123">123</ref></item>
          <item>Norton, Charles Eliot, <ref targOrder="U" target="men173">173</ref></item>
          <item><hi rend="italics">Old-Fashioned Woman, The</hi>,
<ref targOrder="U" target="men155">155</ref></item>
          <item><hi rend="italics">One Man</hi>,
<ref targOrder="U" target="men224">224<hi rend="italics">et seq.</hi></ref></item>
          <item>Oppenheim, James, <ref targOrder="U" target="men86">86, </ref>
<ref targOrder="U" target="men92">92, </ref>
<ref targOrder="U" target="men94">94</ref></item>
          <item>O'Sullivan, Vincent,
<ref targOrder="U" target="men144">144</ref></item>
          <item><hi rend="italics">Paris Nights</hi>,
<ref targOrder="U" target="men51">51</ref></item>
          <item>Parsons, Elsie Clews, <ref targOrder="U" target="men155">155
<hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Passionate Friends, The</hi>,
<ref targOrder="U" target="men23">23, </ref><ref targOrder="U" target="men30">30</ref></item>
          <item>Pattee, F. L.,
 <ref targOrder="U" target="men117">117</ref></item>
          <item>Phelps, W.L.,
<ref targOrder="U" target="men11">11, </ref>
<ref targOrder="U" target="men14">14, </ref>
<ref targOrder="U" target="men116">116</ref></item>
          <item>Phillips, D.G., <ref targOrder="U" target="men131">131</ref></item>
          <item>Poe, E.A., <ref targOrder="U" target="men19">19, </ref>
<ref targOrder="U" target="men52">52, </ref><ref targOrder="U" target="men97">97, </ref>
<ref targOrder="U" target="men115">115, </ref><ref targOrder="U" target="men247">247
<hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Poetry</hi>,
<ref targOrder="U" target="men83">83</ref></item>
          <item>Pollard, Percival,
<ref targOrder="U" target="men57">57</ref></item>
          <item>Poole, Ernest,
<ref targOrder="U" target="men145">145 <hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Popular Theater, The</hi>,
<ref targOrder="U" target="men209">209</ref></item>
          <item>Pound, Ezra, <ref targOrder="U" target="men90">90, </ref>
<ref targOrder="U" target="men92">92, </ref>
<ref targOrder="U" target="men94">94</ref></item>
          <item><hi rend="italics">Pretty Lady, The</hi>,
<ref targOrder="U" target="men42">42, </ref>
<ref targOrder="U" target="men48">48,</ref><ref targOrder="U" target="men51">51, </ref>
<ref targOrder="U" target="men129">129</ref></item>
          <item><hi rend="italics">Putnam's</hi>,
<ref targOrder="U" target="men173">173</ref></item>
          <item><hi rend="italics">Queed</hi>,
<ref targOrder="U" target="men139">139</ref></item>
          <item>Reese, Lizette W.,
<ref targOrder="U" target="men96">96</ref></item>
          <item>Repplier, Agnes,
<ref targOrder="U" target="men56">56, </ref>
<ref targOrder="U" target="men199">199</ref></item>
          <item><hi rend="italics">Research Magnificent,
The</hi>, <ref targOrder="U" target="men24">24, </ref>
<ref targOrder="U" target="men33">33</ref></item>
          <item><hi rend="italics">Rise of
Silas Lapham, The</hi>,
<ref targOrder="U" target="men54">54</ref></item>
          <item>Robinson, E.A.,
<ref targOrder="U" target="men90">90</ref></item>
          <item>Rolland, Romaine,
<ref targOrder="U" target="men33">33</ref></item>
          <item><hi rend="italics">Roll-Call, The</hi>,
<ref targOrder="U" target="men42">42, </ref>
<ref targOrder="U" target="men50">50, </ref>
<ref targOrder="U" target="men51">51</ref></item>
          <item>Roosevelt, Theodore,
<ref targOrder="U" target="men61">61, </ref>
<ref targOrder="U" target="men119">119, </ref>
<ref targOrder="U" target="men124">124, </ref>
<ref targOrder="U" target="men142">142, </ref>
<ref targOrder="U" target="men178">178</ref></item>
          <item>Saint-Beuve,
<ref targOrder="U" target="men16">16</ref></item>
          <item>Sandburg, Carl,
<ref targOrder="U" target="men86">86, </ref>
<ref targOrder="U" target="men92">92, </ref>
<ref targOrder="U" target="men94">94</ref></item>
          <item><hi rend="italics">Saturday Evening Post,
The</hi>, <ref targOrder="U" target="men100">100, </ref>
<ref targOrder="U" target="men176">176</ref></item>
          <item><hi rend="italics">Scarlet Plague, The</hi>,
<ref targOrder="U" target="men239">239</ref></item>
          <item><hi rend="italics">Scribner's</hi>,
<ref targOrder="U" target="men174">174</ref></item>
          <item><hi rend="italics">Shadow World, The</hi>,
<ref targOrder="U" target="men136">136</ref></item>
          <item>Shakespeare, <ref targOrder="U" target="men19">19, </ref>
<ref targOrder="U" target="men201">201</ref></item>
          <pb id="men254" n="254"/>
          <item>Shaw, G.B., <ref targOrder="U" target="men181">181
<hi rend="italics">et seq.</hi>, </ref>
<ref targOrder="U" target="men199">199, </ref>
<ref targOrder="U" target="men218">218</ref></item>
          <item>Sherman, S.P., <ref targOrder="U" target="men11">11, </ref>
<ref targOrder="U" target="men14">14, </ref>
<ref targOrder="U" target="men130">130</ref></item>
          <item>Sinclair, Upton,
<ref targOrder="U" target="men145">145</ref></item>
          <item><hi rend="italics"><foreign lang="gr">Sodoms
Ende</foreign></hi>,
<ref targOrder="U" target="men106">106</ref></item>
          <item><hi rend="italics">Son of the Middle Border, A.</hi>,
<ref targOrder="U" target="men134">134, </ref>
<ref targOrder="U" target="men135">135</ref></item>
          <item><hi rend="italics">Soul of a Bishop, The</hi>,
 <ref targOrder="U" target="men25">25, </ref><ref targOrder="U" target="men31">31, </ref>
 <ref targOrder="U" target="men32">32</ref></item>
          <item><hi rend="italics">Speaking of Operations  -  </hi>,
<ref targOrder="U" target="men99">99</ref></item>
          <item>Spingarn, J. E., <ref targOrder="U" target="men10">10
 <hi rend="italics">et seq.</hi>, </ref>
 <ref targOrder="U" target="men212">212</ref></item>
          <item><hi rend="italics">Spoon River Anthology, The</hi>,
<ref targOrder="U" target="men83">83</ref></item>
          <item>Stedman, E. C., <ref targOrder="U" target="men95">95, </ref>
<ref targOrder="U" target="men115">115, </ref>
<ref targOrder="U" target="men173">173</ref></item>
          <item>Steele, Robert,
<ref targOrder="U" target="men226">226
<hi rend="italics">et seq.</hi></ref></item>
          <item>Stockton, F. R.,
<ref targOrder="U" target="men115">115</ref></item>
          <item>Stoddard, R. H.,
<ref targOrder="U" target="men94">94, </ref>
<ref targOrder="U" target="men115">115</ref></item>
          <item><hi rend="italics">Story of a Country Town, The</hi>,
<ref targOrder="U" target="men56">56</ref></item>
          <item>Sudermann, Hermann,
<ref targOrder="U" target="men105">105
<hi rend="italics">et seq.</hi></ref></item>
          <item>Tassin, Algernon, <ref targOrder="U" target="men171">171
<hi rend="italics">et seq.</hi></ref></item>
          <item><hi rend="italics">Their Day in Court</hi>,
 <ref targOrder="U" target="men131">131</ref></item>
          <item><hi rend="italics">Theory of Business Enterprise,
  The</hi>, <ref targOrder="U" target="men65">65</ref></item>
          <item><hi rend="italics">Theory of the Leisure Class,
The</hi>, <ref targOrder="U" target="men65">65, </ref>
<ref targOrder="U" target="men67">67,</ref><ref targOrder="U" target="men70">70, </ref>
<ref targOrder="U" target="men71">71, </ref>
<ref targOrder="U" target="men76">76</ref></item>
          <item>Thoma, Ludwig, <ref targOrder="U" target="men108">108, </ref>
<ref targOrder="U" target="men213">213</ref></item>
          <item>Thomas, Augustus,
<ref targOrder="U" target="men115">115</ref></item>
          <item>Thompson, Vance, <ref targOrder="U" target="men129">129</ref></item>
          <item><hi rend="italics">Those Times and These</hi>,
 <ref targOrder="U" target="men98">98</ref></item>
          <item><hi rend="italics">Times</hi>, New York,
<ref targOrder="U" target="men13">13, </ref><ref targOrder="U" target="men24">24, </ref>
<ref targOrder="U" target="men131">131</ref></item>
          <item><hi rend="italics">Tono -Bungay</hi>,
<ref targOrder="U" target="men22">22, </ref>
<ref targOrder="U" target="men25">25, </ref>
<ref targOrder="U" target="men29">29, </ref>
<ref targOrder="U" target="men34">34</ref></item>
          <item><hi rend="italics">Town Topics</hi>,
<ref targOrder="U" target="men130">130</ref></item>
          <item>Towne, C.H.,
<ref targOrder="U" target="men86">86</ref></item>
          <item><hi rend="italics">Tribune</hi>, New York,
<ref targOrder="U" target="men33">33, </ref>
<ref targOrder="U" target="men180">180, </ref>
<ref targOrder="U" target="men249">249</ref></item>
          <item>Trites, W. B., <ref targOrder="U" target="men57">57</ref></item>
          <item>Tyndall, John, <ref targOrder="U" target="men194">194</ref></item>
          <item><hi rend="italics">Undying Fire, The</hi>,
<ref targOrder="U" target="men33">33</ref></item>
          <item>Untermeyer, Louis,
<ref targOrder="U" target="men88">88, </ref>
<ref targOrder="U" target="men91">91, </ref>
<ref targOrder="U" target="men92">92</ref></item>
          <item><hi rend="italics">V.V.'s Eyes</hi>,
<ref targOrder="U" target="men138">138</ref></item>
          <item>Van Dyke, Henry,
<ref targOrder="U" target="men95">95</ref></item>
          <item>Veblen, Thorstein,
<ref targOrder="U" target="men59">59
<hi rend="italics">et seq.</hi>, </ref>
<ref targOrder="U" target="men154">154</ref></item>
          <item>Wagner, Richard,
<ref targOrder="U" target="men238">238</ref></item>
          <item>Walker, J.B.,
<ref targOrder="U" target="men175">175</ref></item>
          <item>Ward, Artemas,
<ref targOrder="U" target="men114">114</ref></item>
          <item>Wedekind, Frank,
<ref targOrder="U" target="men201">201</ref></item>
          <item>Wells, H. G.,
<ref targOrder="U" target="men22">22 <hi rend="italics">et seq.</hi> </ref>
<ref targOrder="U" target="men36">36, </ref>
<ref targOrder="U" target="men37">37</ref></item>
          <item>Wharton, Edith, <ref targOrder="U" target="men57">57, </ref>
<ref targOrder="U" target="men144">144</ref></item>
          <item>White, William Allen,
<ref targOrder="U" target="men139">139 <hi rend="italics">et seq.</hi></ref></item>
          <item>Whitman, Walt,
<ref targOrder="U" target="men86">86, </ref>
<ref targOrder="U" target="men92">92, </ref>
<ref targOrder="U" target="men93">93, </ref>
<ref targOrder="U" target="men115">115, </ref>
<ref targOrder="U" target="men243">243, </ref>
<ref targOrder="U" target="men247">247, </ref>
<ref targOrder="U" target="men249">249</ref></item>
          <item><hi rend="italics">Whom
 God Hath Joined</hi>,
<ref targOrder="U" target="men50">50, </ref>
<ref targOrder="U" target="men51">51</ref></item>
          <item><hi rend="italics">Wife
of Sir Isaac Harmon, The</hi>,
<ref targOrder="U" target="men23">23</ref></item>
          <item>Wilde, Oscar,
<ref targOrder="U" target="men13">13</ref></item>
          <item>Wilson, Woodrow,
<ref targOrder="U" target="men33">33, </ref>
<ref targOrder="U" target="men34">34, </ref>
<ref targOrder="U" target="men119">119, </ref>
<ref targOrder="U" target="men178">178</ref></item>
          <item>Winter, William,
<ref targOrder="U" target="men173">173, </ref>
<ref targOrder="U" target="men214">214, </ref>
<ref targOrder="U" target="men220">220, </ref>
<ref targOrder="U" target="men223">223</ref></item>
          <item>Wright, Harold Bell,
<ref targOrder="U" target="men141">141</ref></item>
          <item>Zola, Emile,
<ref targOrder="U" target="men50">50, </ref>
<ref targOrder="U" target="men106">106, </ref>
<ref targOrder="U" target="men107">107</ref></item>
        </list>
      </div1>
    </back>
  </text>
</TEI.2>