"We must go, go, go away from here, On the other side the world we're overdue."

That is the song which sings itself forever in the heart of youth.

Champlain and Cartier heard it in the sixteenth century, Bradford no less than Morton in the seventeenth. Some Eldorado has always been calling to the more adventurous spirits upon American soil. The pa.s.sion of the forty-niner neither began nor ended with the discovery of gold in California. It is within us. It trans.m.u.tes the harsh or drab-colored everyday routine into tissue of fairyland. It makes our "winning of the West" a magnificent national epic. It changes to-day the black belt of Texas, or the wheat-fields of Dakota, into pots of gold that lie at the end of rainbows, only that the pot of gold is actually there. The human hunger of it all, the gorgeous dream-like quality of it all, the boundlessness of the vast American s.p.a.ces, the sense of forest and prairie and sky, are all inexplicably blended with our notion of the ideal America. Henry James once tried to explain the difference between Turgenieff and a typical French novelist by saying that the back door of the Russian's imagination was always open upon the endless Russian steppe. No one can understand the spirit of American romance if he is not conscious of this ever-present hinterland in which our spirits have, from the beginning, taken refuge and found solace.

We have already noticed, in the chapter on idealism, how swiftly the American imagination modifies the prosaic facts of everyday experience. The idealistic glamour which falls upon the day's work changes easily, in the more emotional temperaments, and at times, indeed, in all of us, into the fervor of true romance. Then, the prosaic buying and selling becomes the "game." A combination of buyers and sellers becomes the "system." The place where these buyers and sellers most do congregate and concentrate becomes "Wall Street"--a sort of anthropomorphic monster which seems to buy and sell the bodies and souls of men. Seen half a continent away, through the mists of ignorance and prejudice and partisan pa.s.sion, "Wall Street" has loomed like some vast Gibraltar. To the broker's clerk who earns his weekly salary in that street, the Nebraska notion of "Wall Street" is too grotesque for discussion.

How easily every phase of American business life may take on the hues of romance is ill.u.s.trated by the history of our railroads. No wonder that Bret Harte wrote a poem about the meeting of the eastward and westward facing engines when the two sections of the Union Pacific Railroad at last drew near each other on the interminable plains and the two engines could talk. Of course what they said was poetry. There was a time when even the Erie Ca.n.a.l was poetic. The Panama Ca.n.a.l to-day, in the eyes of most Americans, is something other than a mere feat of engineering. We are doing more than making "the dirt fly." The ca.n.a.l represents victory over hostile forces, conquest of unwilling Nature, achievement of what had long been deemed impossible, the making not of a ditch, but of History.

So with all that American zest for camping, fishing, sailing, racing, which lies deep in the Anglo-Saxon, and which succeeds to the more primitive era of actual struggle against savage beasts or treacherous men or mysterious forests. It is at once an outlet and a nursery for romantic emotion. The out-of-doors movement which began with Th.o.r.eau's hut on Walden Pond, and which has gone on broadening and deepening to this hour, implies far more than mere variation from routine. It furnishes, indeed, a healthful escape from the terrific pressure of modern social and commercial exigencies. Yet its more important function is to provide for grown-ups a chance to "play Indian" too.

But outdoors and indoors, after all, lie in the heart and mind, rather than in the realm of actual experience. The romantic imagination insists upon taking its holiday, whether the man who possesses it gets his holiday or not. I have never known a more truly romantic figure than a certain tin-pedler in Connecticut who, in response to the question, "Do you do a good business?" made this perfectly Stevensonian reply: "Well, I make a living selling crockery and tinware, but my _business_ is the propagation of truth."

This wandering idealist may serve to remind us again of the difference between romance and romanticism. The true romance is of the spirit.

Romanticism shifts and changes with external fortunes, with altering emotions, with the alternate play of light and shade over the vast landscape of human experience. The typical romanticist, as we have seen, is a man of moods. It is only a Poe who can keep the pitch through the whole concert of experience. But the deeper romance of the spirit is oblivious of these changes of external fortune, this rising or falling of the emotional temperature. The moral life of America furnishes striking ill.u.s.trations of the steadfastness with which certain moral causes have been kept, as it were, in the focus of intense feeling. Poetry, undefeated and unwavering poetry, has transfigured such practical propaganda as the abolition of slavery, the emanc.i.p.ation of woman, the fight against the liquor traffic, the emanc.i.p.ation of the individual from the clutches of economic and commercial despotism. Men like Colonel Thomas Wentworth Higginson, women like Julia Ward Howe, fought for these causes throughout their lives. Colonel Higginson's att.i.tude towards women was not merely chivalric (for one may be chivalrous without any marked predisposition to romance), but n.o.bly romantic also. James Russell Lowell, poet as he was, outlived that particular phase of romantic moral reform which he had been taught by Maria White. But in other men and women bred in that old New England of the eighteen-forties, the moral fervor knew no restraint. Garrison, although in many respects a most unromantic personality, was engaged in a task which gave him all the inspiration of romance. A romantic "atmosphere," fully as highly colored as any of the romantic atmospheres that we are accustomed to mark in literature, surrounded as with a luminous mist the figures of the New England transcendentalists. They, too, as Heine said of himself, were soldiers.

They felt themselves enlisted for a long but ultimately victorious campaign. They were willing to pardon, in their comrades and in themselves, those imaginative excesses which resemble the physical excesses of a soldier's camp. Transcendentalism was thus a militant philosophy and religion, with both a destructively critical and a positively constructive creed. Channing, Parker, Alcott, Margaret Fuller, were warrior-priests, poets and prophets of a gallant campaign against inherited darkness and bigotry, and for the light.

The atmosphere of that score of years in New England was now superheated, now rarefied, thin, and cold; but it was never quite the normal atmosphere of every day. On the purely literary side, it is needless to say, these men and women sought inspiration in Coleridge and Carlyle and other English and German romanticists. In fact, the most enduring literature of New England between 1830 and 1865 was distinctly a romantic literature. It was rooted, however, not so much in those swift changes of historic condition, those startling liberations of the human spirit which gave inspiration to the romanticism of the Continent, as it was in the deep and vital fervor with which these New Englanders envisaged the problems of the moral life.

Other ill.u.s.trations of the American capacity for romance lie equally close at hand. Take, for instance, the stout volume in which Mr. Burton Stevenson has collected the _Poems of American History_. Here are nearly seven hundred pages of closely printed patriotic verse. While Stedman's _Anthology_ reveals no doubt national aspirations and national sentiment, as well as the emotional fervor of individuals, Mr.

Stevenson's collection has the advantage of focussing this national feeling upon specific events. Stedman's _Anthology_ is an enduring doc.u.ment of American idealism, touching in the sincerity of its poetic moods, pathetic in its long lists of men and women who are known by one poem only, or who have never, for one reason or another, fulfilled their poetic promise. The thousand poems which it contains are more striking, in fact, for their promise than for their performance. They are intimations of what American men and women would have liked to do or to be. In this sense, it is a precious volume, but it is certainly not commensurate, either in pa.s.sion or in artistic perfection, with the forces of that American life which it tries to interpret. Indeed, Mr.

Stedman, after finishing his task of compilation, remarked to more than one of his friends that what this country needed was some "adult male verse."

The _Poems of American History_ collected by Mr. Stevenson are at least vigorous and concrete. One aspect of our history which especially lends itself to Mr. Stevenson's purpose is the romance which attaches itself to war. It is scarcely necessary to say nowadays that all wars, even the n.o.blest, have had their sordid, grimy, selfish, b.e.s.t.i.a.l aspect; and that the intelligence and conscience of our modern world are more and more engaged in the task of making future wars impossible. But the slightest acquaintance with American history reveals the immense reservoir of romantic emotion which has been drawn upon in our national struggles. War, of course, is an immemorial source of romantic feeling.

William James's notable essay on "A Moral Subst.i.tute for War"

endeavored to prove that our modern economic and social life, if properly organized, would give abundant outlet and satisfaction to those romantic impulses which formerly found their sole gratification in battle. Many of us believe that he was right; but for the moment we must look backward and not forward. We must remember the stern if rude poetry inspired by our Revolutionary struggle, the romantic halo that falls upon the youthful figure of Nathan Hale, the baleful light that touches the pale face of Benedict Arnold, the romance of the Bennington fight to the followers of Stark and Ethan Allen, the serene voice of the "little captain," John Paul Jones:--"We have not struck, we have just begun our part of the fighting." The colors of romance still drape the Chesapeake and the Shannon, Tec.u.mseh and Tippecanoe. The hunters of Kentucky, the explorers of the Yellowstone and the Columbia, the emigrants who left their bones along the old Santa Fe Trail, are our Homeric men.

The Mexican War affords pertinent ill.u.s.tration, not only of romance, but of reaction. The earlier phases of the Texan struggle for independence have much of the daring, the splendid rashness, the glorious and tragic catastrophes of the great romantic adventures of the Old World. It is not the Texans only who still "remember the Alamo," but when those brilliant and dramatic adventures of border warfare became drawn into the larger struggle for the extension of slavery, the poetic reaction began. The physical and moral pretence of warfare, the cheap splendors of epaulets and feathers, shrivelled at the single touch of the satire of the _Biglow Papers_. Lowell, writing at that moment with the instinct and fervor of a prophet, brought the whole vainglorious business back to the simple issue of right and wrong:

"'Taint your eppyletts an' feathers Make the thing a grain more right; 'Taint afollerin' your bell-wethers Will excuse ye in His sight; Ef you take a sword an' dror it, An' go stick a feller thru, Guv'ment aint to answer for it, G.o.d'll send the bill to you."

But far more interesting is the revelation of the American capacity for romance which was made possible by the war between the States.

Stevenson's _Poems of American History_ and Stedman's _Anthology_ give abundant ill.u.s.tration of almost every aspect of that epical struggle.

The South was in a romantic mood from the very beginning. The North drifted into it after Sumter. I have already said that no one can examine a collection of Civil War verse without being profoundly moved by its evidence of American idealism. In specific phases of the struggle, in connection with certain battle-fields and certain leaders of both North and South, this idealism is heightened into pure romance, so that even our novelists feel that they can give no adequate picture of the war without using the colors of poetry. Most critics, no doubt, agree in feeling that we are still too near to that epoch-making crisis of our national existence to do it any justice in the terms of literature. Perhaps we must wait for the perfected romance of the years 1861-65, until the men and the events of that struggle are as remote as the heroes of Greece and Troy. Certainly no one can pa.s.s a final judgment upon the verse occasioned by recent struggles in arms. Any one who has studied the English poetry inspired by the South-African War will be painfully conscious of the emotional and moral complexity of all such issues, of the bitter injustice which poets, as well as other men, render to one another, of the impossibility of trans.m.u.ting into the pure gold of romance the emotions originating in the stock market, in race-hatred, and in national vainglory.

We have lingered too long, perhaps, over these various evidences of the romantic temper of America. We must now glance at the forces of reaction, the recoil to fact. What is it which contradicts, inhibits, or negatives the romantic tendency? Among other forces, there is certainly humor. Humor and romance often go hand in hand, but humor is commonly fatal to romanticism. There is satire, which rebukes both romanticism and romance, which exposes the fallacies of the one, and punctures the exuberance of the other. More effective, perhaps, than either humor or satire as an antiseptic against romance, is the overmastering sense of fact. This is what Emerson called the instinct for the milk in the pan, an instinct which Emerson himself possessed extraordinarily on his purely Yankee side, and which a pioneer country is forced continually to develop and to recognize. Camping, for instance, develops both the romantic sense and the fact sense. Supper must be cooked, even at Walden Pond. There must be hewers of wood and drawers of water, and the dishes ought to be washed.

On a higher plane, also, than this mere sense of physical necessity, there are forces limiting the influence of romance. Schiller put it all into one famous line:--

"Und was uns alle bandigt, das Gemeine."

Or listen to Keats:--

"'T is best to remain aloof from people, and like their good parts, without being eternally troubled with the dull process of their everyday lives.... All I can say is that standing at Charing Cross, and looking East, West, North and South, I can see nothing but dullness."

And Henry James, describing New York in his book, _The American Scene_, speaks of "the overwhelming preponderance of the unmitigated 'business-man' face ... the consummate monotonous commonness of the pushing male crowd, moving in its dense ma.s.s--with the confusion carried to chaos for any intelligence, any perception; a welter of objects and sounds in which relief, detachment, dignity, meaning, perished utterly and lost all rights ... the universal _will to move_--to move, move, move, as an end in itself, an appet.i.te at any price."

One need not be a poet like Keats or an inveterate psychologist like Henry James, in order to become aware how the commonplaceness of the world rests like a fog upon the mind and heart. No one goes to his day's work and comes home again without a consciousness of contact with an unspiritual atmosphere, or incompletely spiritualized forces, not merely with indifference, to what Emerson would term "the over-soul,"

but with a lack of any faith in the things which are unseen. Take those very forces which have limited the influence of Emerson throughout the United States; they ill.u.s.trate the universal forces which clip the wings of romance. The obstacles in the path of Emerson's influence are not merely the religious and denominational differences which Dr.

George A. Gordon portrayed in a notable article at the time of the Emerson Centenary. The real obstacles are more serious. It is true that Dr. Park of Andover, Dr. Bushnell of Hartford, and Dr. Hodge of Princeton, could say in Emerson's lifetime: "We know a better, a more Scriptural and certificated road toward the very things which Emerson is seeking for. We do not grant that we are less idealistic than he. We think him a dangerous guide, following wandering fires. It is better to journey safely with us."

But I have known at least two livery-stable keepers and many college professors who would unite in saying: "Hodge and Park and Bushnell and Emerson are all following after something that does not exist. One is not much more mistaken than the others. We can get along perfectly well in our business without any of those ideas at all. Let us stick to the milk in the pan, the horse in the stall, the doc.u.ments which you will find in the library."

There exists, in other words, in all cla.s.ses of American society to-day, just as there existed during the Revolution, during the transcendental movement, or the Civil War, an immense ma.s.s of unspiritualized, unvitalized American manhood and womanhood. No literature comes from it and no religion, though there is much human kindness, much material progress, and some indestructible residuum of that idealism which lifts man above the brute.

Yet the curious and the endlessly fascinating thing about these forces of reaction is that they themselves shift and change. We have seen that external romance depending upon strangeness of scene, novelty of adventure, rich atmospheric distance of s.p.a.ce or time, disappears with the changes of civilization. The farm expands over the wolf's den, the Indian becomes a blacksmith, but do the gross and material instincts ultimately triumph? He would be a hardy prophet who should venture to a.s.sert it. We must reckon always with the swing of the human pendulum, with the reaction against reaction. Here, for example, during the last decade, has been book after book written about the reaction against democracy. All over the world, it is a.s.serted, there are unmistakable signs that democracy will not practically work in the face of the modern tasks to which the world has set itself. One reads these books, one persuades himself that the hour for democracy is pa.s.sing, and then one goes out on the street and buys a morning newspaper and discovers that democracy has scored again. So is it with the experience of the individual. You may fancy that the romance of the seas pa.s.ses, for you, with the pa.s.sing of the square-sailed ship. If Mr. Kipling's poetry cannot rouse you from that mood of reaction, walk down to the end of the pier to-morrow and watch the ocean liner come up the harbor. If there is no romance there, you do not know romance when you see it!

Take the case of the farmer; his prosaic life is the b.u.t.t of the newspaper paragraphers from one end of the country to the other. But does romance disappear from the farm with machinery and scientific agriculture? There are farmers who follow Luther Burbank's experiments with plants, with all the fascination which used to attach to alchemy and astrology. The farmer has no longer Indians to fight or a wilderness to subdue, but the soils of his farm are a.n.a.lyzed at his state university by men who live in the daily atmosphere of the romance of science, and who say, as a professor in the University of Chicago said once, that "a flower is so wonderful that if you knew what was going on within its cell-structure, you would be afraid to stay alone with it in the dark."

The reaction from romance, therefore, real as it is, and dead weight as it lies upon the soul of the nation, often breeds the very forces which destroy it. In other words, the reaction against one type of romance produces inevitably another type of romance, other aspects of wonder, terror, and beauty. Following the romance of adventure comes, after never so deep a trough in the sea, the romance of science, like the crest of another wave; and then comes what we call, for lack of a better word, the psychological romance, the old mystery and strangeness of the human soul, aeschylus and Job, as Victor Hugo says, in the poor crawfish gatherer on the rocks of Brittany.

We must remember that we are endeavoring to measure great s.p.a.ces and to take account of the "amplitude of time." The individual "fact-man," as Coleridge called him, remains perhaps a fact-man to the end, just as the dreamer may remain a dreamer. But no single generation is compounded all of fact or all of dream. Longfellow felt, no doubt, that there was an ideal United States, which d.i.c.kens did not discover during that first visit of 1842; he would have set the Cambridge which he knew over against the Cincinnati viewed by Mrs. Trollope; he would have a.s.serted that the homes characterized by refinement, by cultivation, by pure and simple sentiment, made up the true America.

But even among Longfellow's own contemporaries there was Whitman, who felt that the true America was something very different from that exquisitely tempered ideal of Longfellow. There was Th.o.r.eau, who, over in Concord, had been pushing forward the frontier of the mind and senses, who had opened his back-yard gate, as it were, upon the boundless and mysterious territory of Nature. There was Emerson, who was preaching an intellectual independence of the Old World which should correspond to the political and social independence of the Western Hemisphere. There was Parkman, whose hatred of philanthropy, whose lack of spirituality, is a striking ill.u.s.tration of the rebound of New England idealism against itself, of the reaction into stoicism.

What different worlds these men lived in, and yet they were all inhabitants, so to speak, of the same parish; most of them met often around the same table! The lesson of their variety of experience and differences of gifts as workmen in that great palace of literature which is so variously built, is that no action and reaction in the imaginative world is ever final. Least of all do these actions and reactions affect the fortunes of true romance. The born dreamer may fall from one dream into another, but he still murmurs, in the famous line of William Ellery Channing,--

"If my bark sinks, 't is to another sea."

No line in our literature is more truly American,--unless it be that other splendid metaphor, by David Wa.s.son, which says the same thing in other words:--

"Life's gift outruns my fancies far, And drowns the dream In larger stream, As morning drinks the morning-star."

V

Humor and Satire

A distinguished professor in the Harvard Divinity School once began a lecture on Comedy by saying that the study of the comic had made him realize for the first time that a joke was one of the most solemn things in the world. The a.n.a.lysis of humor is no easy matter. It is hard to say which is the more dreary: an essay on humor ill.u.s.trated by a series of jokes, or an exposition of humor in the technical terms of philosophy. No subject has been more constantly discussed. But it remains difficult to decide what humor is. It is easier to declare what seemed humorous to our ancestors, or what seems humorous to us to-day.

For humor is a shifting thing. The well-known collections of the writings of American humorists surprise us by their revelation of the changes in public taste. Humor--or the sense of humor--alters while we are watching. What seemed a good joke to us yesterday seems but a poor joke to-day. And yet it is the same joke! What is true of the individual is all the more true of the national sense of humor. This vast series of kaleidoscopic changes which we call America; has it produced a humor of its own?

Let us avoid for the moment the treacherous territory of definitions.

Let us, rather, take one concrete example: a pair of men, a knight and his squire, who for three hundred years have ridden together down the broad highway of the world's imagination. Everybody sees that Don Quixote and Sancho Panza are humorous. Define them as you will--idealist and realist, knight and commoner, dreamer and proverb-maker--these figures represent to all the world two poles of human experience. A Frenchman once said that all of us are Don Quixotes on one day and Sancho Panzas on the next. Humor springs from this contrast. It is the electric flash between the two poles of experience.

Most philosophers who have meditated upon the nature of the comic point out that it is closely allied with the tragic. Flaubert once compared our human idealism to the flight of a swallow; at one moment it is soaring toward the sunset, at the next moment some one shoots it and it tumbles into the mud with blood upon its glistening wings. The sudden poignant contrast between light, s.p.a.ce, freedom, and the wounded bleeding bird in the mud, is of the very essence of tragedy. But something like that is always happening in comedy. There is the same element of incongruity, without the tragic consequence. It is only the humorist who sees things truly because he sees both the greatness and the littleness of mortals; but even he may not know whether to laugh or to cry at what he sees. Those collisions and contrasts out of which the stuff of tragedy is woven, such as the clash between the higher and lower nature of a man, between his past and his present, between one's duties to himself and to his family or the state, between, in a word, his character and his situation, are all ill.u.s.trated in comedy as completely as in tragedy. The countryman in the city, the city man in the country, is in a comic situation. Here is a coward named Falstaff, and Shakespeare puts him into battle. Here is a vain person, and Malvolio is imprisoned and twitted by a clown. Here is an ignoramus, and Dogberry is placed on the judge's bench. These contrasts might, indeed, be tragic enough, but they are actually comic. Such characters are not ruled by fate but by a sportive chance. The G.o.ds connive at them. They are ruled, like tragic characters, by necessity and blindness; but the blindness, instead of leading to tragic ruin, leads only to being caught as in some harmless game of blind-man's-buff.

There is retribution, but Falstaff is only pinched by the fairies.

Comedy of intrigue and comedy of character lead to no real catastrophe.

The end of it on the stage is not death but matrimony; and "home well pleased we go."

A thousand definitions of humor lay stress upon this element of incongruity. Hazlitt begins his illuminating lectures on the Comic Writers by declaring, "Man is the only animal that laughs or weeps; for he is the only animal that is struck with the difference between what things are and what they ought to be." James Russell Lowell took the same ground. "Humor," he said once, "lies in the contrast of two ideas.

It is the universal disenchanter. It is the sense of comic contradiction which arises from the perpetual comment which the understanding makes upon the impressions received through the imagination." If that sentence seems too abstract, all we need do is to think of Sancho Panza, the man of understanding, talking about Don Quixote, the man of imagination.

We must not multiply quotations, but it is impossible not to remember the distinction made by Carlyle in writing about Richter. "True humor,"

says Carlyle, "springs not more from the head than from the heart. It is not contempt; its essence is love." In other words, not merely the great humorists of the world's literature--Cervantes, Rabelais, Fielding, Thackeray, d.i.c.kens--but the writers of comic paragraphs for to-morrow's newspaper, all regard our human incongruities with a sort of affection. The comic spirit is essentially a social spirit. The great figures of tragedy are solitary. The immortal figures of comedy belong to a social group.

No recent discussion of humor is more illuminating and more directly applicable to the conditions of American life than that of the contemporary French philosopher Bergson. Bergson insists throughout his brilliant little book on _Laughter_ that laughter is a social function. Life demands elasticity. Hence whatever is stiff, automatic, machine-like, excites a smile. We laugh when a person gives us the impression of being a thing,--a sort of mechanical toy. Every inadaptation of the individual to society is potentially comic. Thus laughter becomes a social initiation. It is a kind of hazing which we visit upon one another. But we do not isolate the comic personage as we do the solitary, tragic figure. The comic personage is usually a type; he is one of an absurd group; he is a miser, a pedant, a pretentious person, a doctor or a lawyer in whom the professional traits have become automatic so that he thinks more of his professional behavior than he does of human health and human justice. Of all these separatist tendencies, laughter is the great corrective. When the individual becomes set in his ways, obstinate, preoccupied, automatic, the rest of us laugh him out of it if we can. Of course all that we are thinking about at the moment is his ridiculousness. But nevertheless, by laughing we become the saviors of society.

No one, I think, can help observing that this conception of humor as incongruity is particularly applicable to a new country. On the new soil and under the new sky, in new social groupings, all the fundamental contrasts and absurdities of our human society a.s.sume a new value. We see them under a fresh light. They are differently focussed.