CULTURE
I
The Boston Enchantment
Yet even as I write of the universities as the central intellectual organ of a modern state, as I sit implying salvation by schools, there comes into my mind a mass of qualification. The devil in the American world drama may be mercantilism, ensnaring, tempting, battling against my hero, the creative mind of man, but mercantilism is not the only antagonist. In Fifth Avenue or Paterson one may find nothing but the zenith and nadir of the dollar hunt, at a Harvard table one may encounter nothing but living minds, but in Boston—I mean not only Beacon Street and Commonwealth Avenue, but that Boston of the mind and heart that pervades American refinement and goes about the world—one finds the human mind not base, nor brutal, nor stupid, nor ignorant, but mysteriously enchanting and ineffectual, so that having eyes it yet does not see, having powers it achieves nothing....
I remember Boston as a quiet effect, as something a little withdrawn, as a place standing aside from the throbbing interchange of East and West. When I hear the word Boston now it is that quality returns. I do not think of the spreading parkways of Mr. Woodbury and Mr. Olmstead nor of the crowded harbor; the congested tenement-house regions, full of those aliens whose tongues struck so strangely on the ears of Mr. Henry James, come not to mind. But I think of rows of well-built, brown and ruddy homes, each with a certain sound architectural distinction, each with its two squares of neatly trimmed grass between itself and the broad, quiet street, and each with its family of cultured people within. I am reminded of deferential but unostentatious servants, and of being ushered into large, dignified entrance-halls. I think of spacious stairways, curtained archways, and rooms of agreeable, receptive persons. I recall the finished informality of the high tea. All the people of my impression have been taught to speak English with a quite admirable intonation; some of the men and most of the women are proficient in two or three languages; they have travelled in Italy, they have all the recognized classics of European literature in their minds, and apt quotations at command. And I think of the constant presence of treasured associations with the titanic and now mellowing literary reputations of Victorian times, with Emerson (who called Poe "that jingle man"), and with Longfellow, whose house is now sacred, its view towards the Charles River and the stadium—it is a real, correct stadium—secured by the purchase of the sward before it forever....
At the mention of Boston I think, too, of autotypes and then of plaster casts. I do not think I shall ever see an autotype again without thinking of Boston. I think of autotypes of the supreme masterpieces of sculpture and painting, and particularly of the fluttering garments of the "Nike of Samothrace." (That I saw, also, in little casts and big, and photographed from every conceivable point of view.) It is incredible how many people in Boston have selected her for their æsthetic symbol and expression. Always that lady was in evidence about me, unobtrusively persistent, until at last her frozen stride pursued me into my dreams. That frozen stride became the visible spirit of Boston in my imagination, a sort of blind, headless, and unprogressive fine resolution that took no heed of any contemporary thing. Next to that I recall, as inseparably Bostonian, the dreaming grace of Botticelli's "Prima vera." All Bostonians admire Botticelli, and have a feeling for the roof of the Sistine chapel—to so casual and adventurous a person as myself, indeed, Boston presents a terrible, a terrifying unanimity of æsthetic discriminations. I was nearly brought back to my childhood's persuasion that, after all, there is a right and wrong in these things. And Boston clearly thought the less of Mr. Bernard Shaw when I told her he had induced me to buy a pianola, not that Boston ever did set much store by so contemporary a person as Mr. Bernard Shaw. The books she reads are toned and seasoned books—preferably in the old or else in limited editions, and by authors who may be lectured upon without decorum....
Boston has in her symphony concerts the best music in America, and here her tastes are severely orthodox and classic. I heard Beethoven's Fifth Symphony extraordinarily well done, the familiar pinnacled Fifth Symphony, and now, whenever I grind that out upon the convenient mechanism beside my desk at home, mentally I shall be transferred to Boston again, shall hear its magnificent aggressive thumpings transfigured into exquisite orchestration, and sit again among that audience of pleased and pleasant ladies in chaste, high-necked, expensive dresses, and refined, attentive, appreciative, bald, or iron-gray men....
II
Boston's Antiquity