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Rh have been an artistic loss and setback. The treatment of Negro life and character, overlaid with these forceful stereotypes, could not develop into artistically satisfactory portraiture.

Just as in the anti-slavery period, it had been impaled upon the dilemmas of controversy, Negro life with the Reconstruction, became involved in the paradoxes of social prejudice. Between the Civil War and the end of the century the subject of the Negro in literature is one that will some day inspire the literary historian with a magnificent theme. It will be magnificent not because there is any sharp emergence of character or incidents, but because of the immense paradox of racial life which came up thunderingly against the principles and doctrines of democracy, and put them to the severest test that they had known. But in literature, it was a period when Negro life was a shuttlecock between the two extremes of humor and pathos. The Negro was free, and was not free. The writers who dealt with him for the most part refused to see more than skin-deep,—the grin, the grimaces and the picturesque externalities. Occasionally there was some penetration into the heart and flesh of Negro characters, but to see more than the humble happy peasant would have been to flout the fixed ideas and conventions of an entire generation. For more than artistic reasons, indeed against them, these writers refused to see the tragedy of the Negro and capitalized his comedy. The social conscience had as much need for this comic mask as the Negro. However, if any of the writers of the period had possessed gifts of genius of the first caliber, they would have penetrated this deceptive exterior of Negro life, sounded the depths of tragedy in it, and produced a masterpiece.

American literature still feels the hold of this tradition and its indulgent sentimentalities. Irwin Russell was the first to discover the happy, care-free, humorous Negro. He became a fad. It must be sharply called to attention that the tradition of the ante-bellum Negro is a post-bellum product, stranger in truth than in fiction. Contemporary realism in American fiction has not only recorded his passing, but has thrown serious doubts upon his ever having been a very genuine and representa-