“A correspondent of the Charlestown Gazette tells an anecdote connected with the Duke of Saxe-Weimar’s recent journey through our country, which we do not recollect to have heard before, although some such story is told of the veritable Capt. Basil Hall. The scene occurred on the route between Augusta and Milledgeville; it seems that the sagacious Duke engaged three or four, or more seats, in the regular stage, for the accommodation of himself and suite, and thought by this that he had secured the monopoly of the vehicle. Not so, however; a traveller came along, and entered his name upon the book, and secured his seat by payment of the customary charges. To the Duke’s great surprise on entering the stage, he found our traveller comfortably housed in one of the most eligible seats, wrapt up in his fear-nought, and snoring like a buffalo. The Duke, greatly irritated, called for the question of consideration. He demanded, in broken English, the cause of the gross intrusion, and insisted in a very princely manner, though not, it seems in very princely language, upon the incumbent vacating the seat in which he had made himself so impudently at home. But the Duke had yet to learn his first lesson of republicanism. The driver was one of those sturdy southrons, who can always, and at a moment’s warning, whip his weight in wild cats: and he as resolutely told the Duke, that the traveller was as good, if not a better man, than himself; and that no alteration of the existing arrangement could be permitted. Saxe-Weimar became violent at this opposition, so unlike any to which his education hitherto had ever subjected him, and threatened John with the application of the bamboo. This was one of those threats which in Georgia dialect would subject a man to “a rowing up salt river;” and, accordingly, down leaped our driver from his box, and peeling himself for the combat, he leaped about the vehicle in the most wild-boar style, calling upon the prince of a five acre patch to put his threat in execution. But he of the star refused to make up issue in the way suggested, contenting himself with assuring the enraged southron of a complaint to his excellency the Governor, on arriving at the seat of government. This threat was almost as unlucky as the former, for it wrought the individual for whom it was intended into that species of fury, which, through discriminating in its madness, is nevertheless without much limit in its violence, and he swore that the Governor might go to —, and for his part he would just as leave lick the Governor as the Duke; he’d like no better fun than to give both Duke and Governor a dressing in the same breath; could do it, he had little doubt, &c. &c.; and instigating one fist to diverge into the face of the marvelling and panic-stricken nobleman, with the other he thrust him down into a seat alongside the traveller, whose presence had been originally of such sore discomfort to his excellency, and bidding the attendants jump in with their discomfited master, he mounted his box in triumph, and went on his journey.” I fully believe that this brutal history would be as distasteful to the travelled and polished few who are to be found scattered through the Union, as it is to me: but if they do not deem the possibility of such a scene to be a national degradation, I differ from them. The American people (speaking of the great mass) have no more idea of what constitutes the difference between this “Prince of a five acre patch,” and themselves, than a dray-horse has of estimating the points of the elegant victor of the race-course. Could the dray-horse speak, when expected to yield the daintiest stall to his graceful rival, he would say, “a horse is a horse;” and is it not with the same logic that the transatlantic Houynnhnm puts down all superiority with “a man is a man?”
This story justifies the reply of Talleyrand, when asked by Napoleon what he thought of the Americans, “Sire, ce sont des fiers cochons, et des cochons fiers.”
CHAPTER XXIX
Literature—Extracts—Fine Arts—Education
The character of the American literature is, generally speaking, pretty justly appreciated in Europe. The immense exhalation of periodical trash, which penetrates into every cot and corner of the country, and which is greedily sucked in by all ranks, is unquestionably one great cause of its inferiority. Where newspapers are the principal vehicles of the wit and wisdom of a people, the higher graces of composition can hardly be looked for.
That there are many among them who can write well, is most certain; but it is at least equally so, that they have little encouragement to exercise the power in any manner more dignified than becoming the editor of a newspaper or a magazine. As far as I could judge, their best writers are far from being the most popular. The general taste is decidedly bad; this is obvious, not only from the mass of slip-slop poured forth by the daily and weekly press, but from the inflated tone of eulogy in which their insect authors are lauded.
To an American writer, I should think it must be a flattering distinction to escape the admiration of the newspapers. Few persons of taste, I imagine, would like such notice as the following, which I copied from a New York paper, where it followed the advertisement of a partnership volume of poems by a Mr, and Mrs. Brooks; but of such, are their literary notices chiefly composed.
“The lovers of impassioned and classical numbers may promise themselves much gratification from the muse of Brooks, while the many-stringed harp of his lady, the Norna of the Courier Harp, which none but she can touch, has a chord for every heart.”
Another obvious cause of inferiority in the national literature, is the very slight acquaintance with the best models of composition, which is thought necessary for persons called well educated. There may be reason for deprecating the lavish expense of time bestowed in England on the acquirement of Latin and Greek, and it may be doubtful whether the power of composing in these languages with correctness and facility, be worth all the labour it costs; but as long as letters shall be left on the earth, the utility of a perfect familiarity with the exquisite models of antiquity, cannot be doubted. I think I run no risk of contradiction, when I say that an extremely small proportion of the higher classes in America possess this familiar acquaintance with the classics. It is vain to suppose that translations may suffice. Noble as are the thoughts the ancients have left us, their power of expression is infinitely more important as a study to modern writers; and this no translation can furnish. Nor did it appear to me that their intimacy with modern literature was such as to assist them much in the formation of style. What they class as modern literature seems to include little beyond the English publications of the day.
To speak of Chaucer, or even Spenser, as a modern, appears to them inexpressibly ridiculous; and all the rich and varied eloquence of Italy, from Dante to Monti, is about as much known to them, as the Welsh effusions of Urien and Modred, to us.