THE BURDEN OF CHRISTMAS
It would be the pity of the world to destroy it, because it would be next to impossible to make another holiday as good as Christmas. Perhaps there is no danger, but the American people have developed an unexpected capacity for destroying things; they can destroy anything. They have even invented a phrase for it—running a thing into the ground. They have perfected the art of making so much of a thing as to kill it; they can magnify a man or a recreation or an institution to death. And they do it with such a hearty good-will and enjoyment. Their motto is that you cannot have too much of a good thing. They have almost made funerals unpopular by over-elaboration and display, especially what are called public funerals, in which an effort is made to confer great distinction on the dead. So far has it been carried often that there has been a reaction of popular sentiment and people have wished the man were alive. We prosecute everything so vigorously that we speedily either wear it out or wear ourselves out on it, whether it is a game, or a festival, or a holiday. We can use up any sport or game ever invented quicker than any other people. We can practice anything, like a vegetable diet, for instance, to an absurd conclusion with more vim than any other nation. This trait has its advantages; nowhere else will a delusion run so fast, and so soon run up a tree—another of our happy phrases. There is a largeness and exuberance about us which run even into our ordinary phraseology. The sympathetic clergyman, coming from the bedside of a parishioner dying of dropsy, says, with a heavy sigh, “The poor fellow is just swelling away.”
Is Christmas swelling away? If it is not, it is scarcely our fault. Since the American nation fairly got hold of the holiday—in some parts of the country, as in New England, it has been universal only about fifty years—we have made it hum, as we like to say. We have appropriated the English conviviality, the German simplicity, the Roman pomp, and we have added to it an element of expense in keeping with our own greatness. Is anybody beginning to feel it a burden, this sweet festival of charity and good-will, and to look forward to it with apprehension? Is the time approaching when we shall want to get somebody to play it for us, like base-ball? Anything that interrupts the ordinary flow of life, introduces into it, in short, a social cyclone that upsets everything for a fortnight, may in time be as hard to bear as that festival of housewives called housecleaning, that riot of cleanliness which men fear as they do a panic in business. Taking into account the present preparations for Christmas, and the time it takes to recover from it, we are beginning—are we not?—to consider it one of the most serious events of modern life.
The Drawer is led into these observations out of its love for Christmas. It is impossible to conceive of any holiday that could take its place, nor indeed would it seem that human wit could invent another so adapted to humanity. The obvious intention of it is to bring together, for a season at least, all men in the exercise of a common charity and a feeling of good-will, the poor and the rich, the successful and the unfortunate, that all the world may feel that in the time called the Truce of God the thing common to all men is the best thing in life. How will it suit this intention, then, if in our way of exaggerated ostentation of charity the distinction between rich and poor is made to appear more marked than on ordinary days? Blessed are those that expect nothing. But are there not an increasing multitude of persons in the United States who have the most exaggerated expectations of personal profit on Christmas Day? Perhaps it is not quite so bad as this, but it is safe to say that what the children alone expect to receive, in money value would absorb the national surplus, about which so much fuss is made. There is really no objection to this—the terror of the surplus is a sort of nightmare in the country—except that it destroys the simplicity of the festival, and belittles small offerings that have their chief value in affection. And it points inevitably to the creation of a sort of Christmas “Trust”—the modern escape out of ruinous competition. When the expense of our annual charity becomes so great that the poor are discouraged from sharing in it, and the rich even feel it a burden, there would seem to be no way but the establishment of neighborhood “Trusts” in order to equalize both cost and distribution. Each family could buy a share according to its means, and the division on Christmas Day would create a universal satisfaction in profit sharing—that is, the rich would get as much as the poor, and the rivalry of ostentation would be quieted. Perhaps with the money question a little subdued, and the female anxieties of the festival allayed, there would be more room for the development of that sweet spirit of brotherly kindness, or all-embracing charity, which we know underlies this best festival of all the ages. Is this an old sermon? The Drawer trusts that it is, for there can be nothing new in the preaching of simplicity.
THE RESPONSIBILITY OF WRITERS
It is difficult enough to keep the world straight without the interposition of fiction. But the conduct of the novelists and the painters makes the task of the conservators of society doubly perplexing. Neither the writers nor the artists have a due sense of the responsibilities of their creations. The trouble appears to arise from the imitativeness of the race. Nature herself seems readily to fall into imitation. It was noticed by the friends of nature that when the peculiar coal-tar colors were discovered, the same faded, aesthetic, and sometimes sickly colors began to appear in the ornamental flower-beds and masses of foliage plants. It was hardly fancy that the flowers took the colors of the ribbons and stuffs of the looms, and that the same instant nature and art were sicklied o'er with the same pale hues of fashion. If this relation of nature and art is too subtle for comprehension, there is nothing fanciful in the influence of the characters in fiction upon social manners and morals. To convince ourselves of this, we do not need to recall the effect of Werther, of Childe Harold, and of Don Juan, and the imitation of their sentimentality, misanthropy, and adventure, down to the copying of the rakishness of the loosely-knotted necktie and the broad turn-over collar. In our own generation the heroes and heroines of fiction begin to appear in real life, in dress and manner, while they are still warm from the press. The popular heroine appears on the street in a hundred imitations as soon as the popular mind apprehends her traits in the story. We did not know the type of woman in the poems of the aesthetic school and on the canvas of Rossetti—the red-haired, wide-eyed child of passion and emotion, in lank clothes, enmeshed in spider-webs —but so quickly was she multiplied in real life that she seemed to have stepped from the book and the frame, ready-made, into the street and the drawing-room. And there is nothing wonderful about this. It is a truism to say that the genuine creations in fiction take their places in general apprehension with historical characters, and sometimes they live more vividly on the printed page and on canvas than the others in their pale, contradictory, and incomplete lives. The characters of history we seldom agree about, and are always reconstructing on new information; but the characters of fiction are subject to no such vicissitudes.
The importance of this matter is hardly yet perceived. Indeed, it is unreasonable that it should be, when parents, as a rule, have so slight a feeling of responsibility for the sort of children they bring into the world. In the coming scientific age this may be changed, and society may visit upon a grandmother the sins of her grandchildren, recognizing her responsibility to the very end of the line. But it is not strange that in the apathy on this subject the novelists should be careless and inconsiderate as to the characters they produce, either as ideals or examples. They know that the bad example is more likely to be copied than to be shunned, and that the low ideal, being easy to, follow, is more likely to be imitated than the high ideal. But the novelists have too little sense of responsibility in this respect, probably from an inadequate conception of their power. Perhaps the most harmful sinners are not those who send into the world of fiction the positively wicked and immoral, but those who make current the dull, the commonplace, and the socially vulgar. For most readers the wicked character is repellant; but the commonplace raises less protest, and is soon deemed harmless, while it is most demoralizing. An underbred book—that is, a book in which the underbred characters are the natural outcome of the author's own, mind and apprehension of life—is worse than any possible epidemic; for while the epidemic may kill a number of useless or vulgar people, the book will make a great number. The keen observer must have noticed the increasing number of commonplace, undiscriminating people of low intellectual taste in the United States. These are to a degree the result of the feeble, underbred literature (so called) that is most hawked about, and most accessible, by cost and exposure, to the greater number of people. It is easy to distinguish the young ladies—many of them beautifully dressed, and handsome on first acquaintance—who have been bred on this kind of book. They are betrayed by their speech, their taste, their manners. Yet there is a marked public insensibility about this. We all admit that the scrawny young woman, anaemic and physically undeveloped, has not had proper nourishing food: But we seldom think that the mentally-vulgar girl, poverty-stricken in ideas, has been starved by a thin course of diet on anaemic books. The girls are not to blame if they are as vapid and uninteresting as the ideal girls they have been associating with in the books they have read. The responsibility is with the novelist and the writer of stories, the chief characteristic of which is vulgar commonplace.
Probably when the Great Assize is held one of the questions asked will be, “Did you, in America, ever write stories for children?” What a quaking of knees there will be! For there will stand the victims of this sort of literature, who began in their tender years to enfeeble their minds with the wishy-washy flood of commonplace prepared for them by dull writers and commercial publishers, and continued on in those so-called domestic stories (as if domestic meant idiotic) until their minds were diluted to that degree that they could not act upon anything that offered the least resistance. Beginning with the pepsinized books, they must continue with them, and the dull appetite by-and-by must be stimulated with a spice of vulgarity or a little pepper of impropriety. And fortunately for their nourishment in this kind, the dullest writers can be indecent.
Unfortunately the world is so ordered that the person of the feeblest constitution can communicate a contagious disease. And these people, bred on this pabulum, in turn make books. If one, it is now admitted, can do nothing else in this world, he can write, and so the evil widens and widens. No art is required, nor any selection, nor any ideality, only capacity for increasing the vacuous commonplace in life. A princess born may have this, or the leader of cotillons. Yet in the judgment the responsibility will rest upon the writers who set the copy.