The Americans

by Hugo Münsterberg

The surprisingly large sales of expensive books among rich families is quite as gratifying as the huge consumption of magazines among the middle classes. Editions de luxe are often sold entire at fabulous prices before the edition is out, and illustrated scientific works costing hundreds of dollars always find a ready sale. These are merely the symptoms of the fact that every American home has its bookcases proportionate to its resources, and large private libraries are found not merely in the homes of scholars and specialists. In the palaces of merchant princes, the library is often the handsomest room, although it is sometimes so papered with books that it looks as if the architect had supplied them along with the rugs and chandeliers. One more commonly finds that the library is the real living-room of the house. If one looks about in such treasure apartments, one soon loses the sense of wonder completely; rare editions and valuable curiosities are there brought together with the greatest care and intelligence into an appropriate home. There are probably very few German private houses with collections of books and paintings comparable, for instance, to that of J. Montgomery Sears in Boston. The whole interior is so wonderfully harmonious that even the autograph poems and letters of Goethe and Schiller seem a matter of course. But from the book-shelves of the millionaire to the carefully selected little shelf of the poor school-ma’am, from the monumental home of the national library to the modest little library building of every small village, from the nervous and rapid perusal of the scholar to the slow making-out of the working-man who pores over his newspaper on the street corner, or of the shop-girl with the latest novel in the elevated train, there is everywhere life and activity centring around the world of print, and this popularity of books is growing day by day.

By far the most of what the American reads is written by Americans. This does not mean that any important book which appears in other parts of the world escapes him; on the contrary just as the American everywhere wants only the best, uses the latest machines and listens to the most famous musicians, so in the matter of literature he is observant of every new tendency in poetry, whether from Norway or Italy, and the great works of the world’s literature have their thoughtful readers. There are probably more persons who read Dante in Boston than in Berlin. Of German intellectual productions, the scientific books are most read, and if strictly scientific they are read in the original by the best educated Americans; the popular books are mostly read in translation. Of the belles-lettres, Schiller and Lessing are generally put aside with the school-books, while Goethe and Heine remain welcome; and beside them are translations of modern story-writers from Freytag and Spielhagen down to Sudermann. French literature is more apt to be read in the original than German, but with increasing distaste. The moral feeling of the American is separated by such a chasm from the atmosphere of the Parisian romance that modern French literature has never become so popular in America as it has in Germany.

As a matter of course, English literature of every sort has by far the greatest influence; English magazines are little read or appreciated, while English poetry, novels, dramas, and works of general interest are as much read in America as in England. Books so unlike as the novels of Mrs. Ward, of Du Maurier, and of Kipling have about the same very large circulation; and all the standard literature of England, from Chaucer to Browning, forms the educational background of every American, especially of every American woman. In spite of all this, it remains true that the most of that which is read in the United States is written by Americans.

How and what does the American write?

Europe has a ready answer, and pieces together a mental picture of “echt amerikanische” literature out of its unfriendly prejudices, mostly reminiscent of Buffalo Bill and Barnum’s circus. It is still not forgotten how England suddenly celebrated Joaquin Miller’s freakish and inartistic poems of the Western prairie as the great American achievement, and called this tasteless versifier, who was wholly unrecognized in his own country, the American Byron. He was not only unimportant, but he was not typically American. And of American humour the European observer has about as just an opinion. Nothing but ridiculous caricatures are considered. Mark Twain’s first writings, whose sole secret was their wild exaggeration, were more popular in Germany than in America; while the truly American humour of Lowell or Holmes has lain unnoticed. The American is supposed to be quite destitute of any sense for form or measure, and to be in every way inartistic; and if any true poet were to be granted to the New World, he would be expected to be noisy like Niagara. In this sense the real literature of America has hitherto remained un-American, perhaps too un-American. For the main thing which it has lacked has been force. There have been men like Uhland, Geibel, and Heyse, but there has so far been no one like Hebbel.

There is no absolutely new note in American literature, and especially no one trait which is common to all American writings and which is not found in any European. If there is anything unique in American literature, it is perhaps the peculiar combination of elements long familiar. An enthusiastic American has said that to be American means to be both fresh and mature, and this is in fact a combination which is new, and which well characterizes the literary temperament of the country. To be fresh and young generally means to be immature, and to be mature and seasoned means to have lost the enthusiasm and freshness of youth. Of course, this is not a contradiction realized. It would be impossible, for instance, to be both naïve and mature; but the American is not and never has been naïve. Just as this nation has never had a childhood, has never originated ballads, epics, and popular songs, like other peoples during their naïve beginnings, because this nation brought with it from Europe a finished culture; so the vigorous youthfulness in the national literary temperament has in it nothing of naïve simplicity. It is the enthusiasm of youth, but not the innocence of boyhood. It would also be impossible to be both fresh and decadent; the American is mature but not over-ripe, not weakened by the sceptical ennui of senility.

To be fresh means to be confident, optimistic and eager, lively, unspoiled, and courageous; it means to strive toward one’s best ideals with the ardour of youth; while to be mature means to understand things in their historic connection, in their true proportions, and with a due feeling for form; to be mature means to be simple, and reposeful, and not breathlessly anxious over the outcome of things. To be sure, this optimistic feeling of strength, this enthusiastic self-confidence, is hardly able to seize the things which are finest and most subtle. It looks only into the full sunlight, never into the shadows with their less obvious beauties. There are no half-tones, no sentimental and uncertain moods; wonder and meditation come into the soul only with pessimism. And most of all, the enthusiasm of youth not only looks on but wants to work, to change and to make over; and so the American is less an artist than an insistent herald. Behind the observer stands always the reformer, enthusiastic to improve the world. On the other hand, the disillusionment of maturity should have cooled the passions, soothed hot inspiration, and put the breathless tragic muse to sleep. It avoids dramatic excitement, holds aloof, and looks on with quiet friendliness and sober understanding of mankind. So it happens that finished art is incompatible with such an enthusiastic eagerness to press onward, and sensuous emotion is incompatible with such an idealism. And so we find in the American temperament a finished feeling for form, but a more ethical than artistic content, and we find humour without its favourite attendant of sentiment. Of course, the exceptions crowd quickly to mind to contradict the formula: had not Poe the demoniac inspiration; was not Hawthorne a thorough artist; did not Whitman violate all rules of form; and does not Henry James see the half-tones? And still such variations from the usual are due to exceptional circumstances, and every formula can apply only in a general way.

Still, in these general traits, one can see the workings of great forces. This enthusiastic self-confidence and youthful optimism in literature are only another expression of American initiative, which has developed so powerfully in the fight with nature during the colonial and pioneer days, and which has made the industrial power of America. And, as Barrett Wendell has shown, not a little of this enthusiastic and spontaneous character is inherited from the old English stock of three hundred years ago. In England itself, the industrial development changed the people; the subjects of Queen Victoria were very little like those of Queen Elizabeth; the spontaneity of Shakespeare’s time no longer suits the smug and insular John Bull. But that same English stock found in America conditions that were well calculated to arouse its spontaneity and enthusiasm.

Then, on the other hand, the clear, composed, and formal maturity which distinguish the literary work of the new nation is traceable principally to the excellent influence of English literature. The ancient culture of England spared this nation a period of immaturity. Then, too, there has been the intellectual domination of the New England States, whose Puritan spirit has given to literature its ethical quality, and at the same time contributed a certain quiet superiority to the common turmoil. Throughout the century, and even to-day, almost all of the best literature originates with those who are consciously reacting against the vulgar taste. Just because the number of sellers and readers of books is so much greater than in Europe, the unliterary circles of readers who, as everywhere, enjoy the broadly vulgar, must by their numbers excite the disgust of the real friend of literature; and this conscious duty of opposition, which becomes a sort of mission, sharpens the artistic consciousness, fortifies the feeling of form, and struggles against all that is immature.

Undoubtedly these external conditions are as responsible for many of the failings of American literature as for its excellences; most of all for the lack of shading and twilight tones, of all that is dreamy, pessimistic, sentimental, and “decadent.” This is a lack in the American life which in other important connections is doubtless a great advantage. There are no old castles, no crumbling ruins, no picturesque customs, no church mysticism, nor wonderful symbols; there are no striking contrasts between social groups, no romantic vagabondage, and none of the fascinating pomp of monarchy. Everywhere is solid and healthy contentment, thrifty and well clothed, on broad streets, and under a bright sun. It is no accident that true poets have not described their own surroundings, but have taken their material so far as it has been American, as did Hawthorne, from the colonial times which were already a part of the romantic past, or out of the Indian legends, or later from the remote adventurous life of the West, or from the negro life in far Southern plantations; the daily life surrounding the poet was not yet suitable for poetry. And by being so cruelly clear and without atmosphere as not to invite poetic treatment, it has left the whole literature somewhat glaringly sharp, sane, and homely.