Page:The Collected Works of Theodore Parker Politics volume 4 .djvu/112

100 authority, our philosophical turn, nor even our uncertainty as to first principles, still less our national intensity, our hope, and fresh intuitive perceptions of truth. It is a miserable imitation. Love of freedom is not there. The real national literature is found almost wholly in speeches, pamphlets, and newspapers. The latter are pretty thoroughly American: mirrors in which we see no very flattering likeness of our morals or our manners. Yet the picture is true: that vulgarity, that rant, that bragging violence, that recklessness of truth and justice, that disregard of right and duty, are a part of the nation's everyday life. Our newspapers are low and "wicked to a fault;" only in this weakness are they un-American. Yet they exhibit, and abundantly, the four qualities we have mentioned as belonging to the signs of our times. As a general rule, our orators are also American, with our good and ill. Now and then one rises who has studied Demosthenes in Leland or Francis, and got a second-hand acquaintance with old models: a man who uses literary common-places, and thinks himself original and classic because he can quote a line or so of Horace, in a Western House of Representatives, without getting so many words wrong as his reporter; but such men are rare, and after making due abatement for them, our orators all over the land are pretty thoroughly American, a little turgid, hot, sometimes brilliant, hopeful, intuitive, abounding in half truths, full of great ideas ; often inconsequent; sometimes coarse; patriotic, vain, self-confident, rash, strong, and young-mannish. Of course the most of our speeches are vulgar, ranting, and worthless; but we have produced some magnificent specimens of oratory, which are fresh, original, American, and brand new.

The more studied, polished, and elegant literature is not so; that is mainly an imitation. It seems not a thing of native growth. Sometimes, as in Channing, the thought and the hope are American, but the form and the colouring old and foreign. We dare not be original; our American pine must be cut to the trim pattern of the English yew, though the pine bleed at every clip. This poet tunes his lyre at the harp of Goethe, Milton, Pope, or Tennyson. His songs might be better sung on the Rhine than the Kennebec. They are not American in form or