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 example, was produced with immense popularity by Edward Payson Roe (1838–1888), who shared the same vogue as Josiah Gilbert Holland (1819–1881), and both fell heir to the same audience which in the earlier period had welcomed The Wide, Wide World with the same broad acceptance.

The essay, and the miscellaneous work which may be classed with it, was cultivated with most distinction by Thomas Wentworth Higginson (born 1823), one of the Boston group, a writer of the greatest versatility, as in his life he followed many employments, from that of preaching in a Unitarian pulpit to that of commanding a negro regiment in the Civil War. He has written good verse and excellent prose, and his familiar style, often brilliant with life and wit, especially becomes the social essay or reminiscent paper in which he excelled, and gives agreeableness to his writings in every form. Atlantic Essays (1871) is a characteristic book; and, in general, in his volumes is to be found a valuable fund of reminiscence about the literature and the times of his long life, not elsewhere so abundant or entertaining. Charles Dudley Warner (1829–1900) of Hartford, also in close touch in the later years with the Boston group, was more gifted with gentle humour and of a literary temperament that made the social essay his natural expression. He won popularity by My Summer in a Garden (1870), and was the author of many volumes of travel and several novels, but the familiar essay, lighted with humour and touched with a reminiscence of the Irving quality in sentiment, was his distinctive work. The long life of Edward Everett Hale (1822–1909), minister at Boston, was fruitful in many miscellaneous volumes, including fiction of note, The Man Without a Country (1868), but the most useful writing from his pen falls into prose resembling the essay in its form and manner of address, though cousin, too, to the sermon. John Burroughs (b. 1837) of New York carried on in essay form the nature tradition of Thoreau, touched with Emersonianism in the thought, and after his example books of mingled observation, sentiment and literary quality, with an out-of-door atmosphere, have multiplied.

American humour often cultivates a form akin to the essay, but it also falls into the mould of the tale or scene from life. In the period before the Civil War, to sum up the whole subject in this place, it had the traits which it has since maintained, as its local tang, of burlesque, extravaganza, violence, but it recorded better an actual state of manners and scene of life in raw aspects. Its noteworthy writers were Seba Smith (1792–1868) of Maine, author of the Letters of Major Jack Downing, which began to appear in the press in 1830; Augustus Baldwin Longstreet of Georgia in Georgia Scenes (1835); William Tappan Thompson (1812–1882), born in Ohio but associated with the. South by descent and residence, in Major Jones' Courtship  (1840), a Georgian publication; Joseph G. Baldwin (1815–1864) in Flush Times in Alabama and Mississippi (1853); and Benjamin Penhallow Shillaber (1814–1890) in Life and Sayings of Mrs Partington (1854). A fresh form, attended by whimsicality, appears in George Horatio Derby’s (1823–1861) Phoenixiana  (1855). In the war-times Robert Henry Newell (1836–1901) and David Ross Locke (1833–1888), respectively known as “Orpheus C. Kerr” and “Petroleum V. Nasby” cultivated grotesque orthography in a characteristic vein of wit; and with more quaintness and drollery Henry Wheeler Shaw (1818–1885) and Charles Farrar Browne (1834–1867), known as “Josh Billings” and “Artemus Ward,” won immense popularity which extended to England. These latter writers were men of Northern birth, but of Western and wandering journalistic experience as a rule. Their works make up a body of what is known as “American humour,” a characteristic native product of social conditions and home talent. One poet, John Godfrey Saxe (1816–1887) of Vermont, attempted something similar in literary verse after the style of Tom Hood. The heir to this tradition of farce, drollery and joke was Samuel Langhorne Clemens (1835–1910), known as “Mark Twain,” born in Missouri, who raised it to an extraordinary height of success and won world-wide reputation as a great and original humorist. His works, however, include a broader compass of fiction, greater humanity and reality, and ally him to the masters of humorous creation. Joel Chandler Harris (1848–1908) of Georgia introduced a new variety in Nights with Uncle Remus (1883), which is literary negro folklore, and Finley Peter Dunne (born 1857) of Chicago, the creator of “Mr Dooley,” continues the older American style in its original traits.

History was represented in this period with a distinction not inferior to that of the elder group by Francis Parkman (1823–1863) of Boston, who, however, really belongs with the preceding age by his affiliations; his series of histories fell after the Civil War by their dates of publication, but they began with History of the Conspiracy of Pontiac (1851); he was the contemporary of Lowell and differed from the other members of the elder group, who survived, only by the fact of the later maturing of his work. He was not less eminent than Motley and Prescott and his history is of a more modern type. In the next generation the field of American history was cultivated by many scholars, and a large part of local history and of national biography was for the first time recorded. James Ford Rhodes’s (1848) History of the United States (1892) holds standard rank; the various writings of John Fiske (1842–1901), distinguished also as a philosophical writer, in the colonial and revolutionary periods are valued both for scholarship and for excellent literary style; and Theodore Roosevelt’s (born 1858) The Winning of the West (1889) and his several biographical studies deserve mention by their merit as well as for his eminent position. The historians, however, have seldom sought literary excellence, and their works belong rather to learning than to literature. The same statement is true of the scholarship of the universities in general, where the spirit of literary study has changed. In the department of scholarship little requires mention beyond Horace Howard Furness’s (born 1833) lifelong work on his Variorum Edition of Shakespeare, the Shakespearian labours of Henry Norman Hudson (1814–1886) and Richard Grant White (1821–1885), the Chaucerian studies of Thomas Raynesford Lounsbury (born 1838) of Yale, and the translations of Dante (1867, 1892) by Charles Eliot Norton (1827–1908) of Harvard.

The period has been one of great literary activity, effort and ambition, but it affects one by its mass rather than its details; it presents few eminent names. The romantic motives fixed in early colonizing history as a taking possession of the land by a race of Puritans, pioneers, river-voyagers, backwoodsmen, argonauts, have been exhausted; and no new motives have been found. The national tradition has been absorbed and incorporated, so far as literature was able to accomplish this. The national character on the other hand has been expressed rather in local types, the colour of isolated communities and provincial conditions for their picturesque value and human truth, and in commonplace characters of average life; but no broadly ideal types of the old English tradition have been created, and the great scene of life has not been staged after the manner of the imaginative masters of the past. There has been no product of ideas since Emerson; he was, indeed, the sole author who received and fertilized ideas as such, and he has had no successor. America is, in truth, perhaps intellectually more remote from Europe than in its earlier days. The contact of its romanticism with that of Europe was, as has been seen, imperfect, but its touch with the later developments and reactions of the movement in Europe is far more imperfect. With Tolstoy, Ibsen, d’Annunzio, Zola, Nietzsche, Maeterlinck, Sudermann, the American people can have no effectual touch; their social tradition and culture make them impenetrable to the present ideas of Europe as they are current in literary forms. Nor has anything been developed from within that is fertile in literature. The political unity of the nation is achieved, but it is not an integral people in other respects. It has not the unity of England or France or even of the general European mind; it rather contains such disparate elements as characterize the Roman or the Turkish empire. It is cleft by political tradition and in social moral conviction, north and south, and by intellectual strata of culture east and west; it is still a people in the making. Its literature has been regional, as was said, centred in New England, New York, Philadelphia, contributed to sporadically from the