GEORGE E. WOODBERRY
A man's place in the generations of mankind is not wholly determined by the date of his birth. If William James were alive he would be eighty years old; but he belongs to us, to the living present. Mr. George Edward Woodberry is only sixty-seven; yet he already seems like the last figure in a tradition which has come to an end—so far as any period in literature may truly be said to end. James was aware of something like this twenty years ago. He gave Mr. Woodberry the praise that is his due, but expressed at the same time his essential weakness. Of "The Heart of Man" James wrote in a letter:
The essays are grave and noble in the extreme. I hail another American author. They can't be popular, and for cause. The respect of him for the Queen's English, the classic leisureliness and explicitness, which give so rare a dignity to his style, also take from it that which our generation seems to need, the sudden word, the unmeditated transition, the flash of perception that makes reasonings unnecessary. Poor Woodberry, so high, so true, so good, so original in his total make-up, and yet so unoriginal if you take him spot-wise—and therefore so ineffective.
Mr. Woodberry is not out of date in a mere journalistic sense or in the hasty judgment of an irreverent generation which affects a trivial contemporaneity and regards even the end of the last century as old fogy. He is out of date because he did not gear with his own times, but remained aloof and backward-looking and so became the last of the Lowells instead of the first of the Woodberrys. It could not have been a conscious or servile emulation on his part, for he has a spirit of his own. But his surroundings and his education were too strong for his fine talent. He was brought up in the twilight of the New England demigods. They handed him the "torch," and he has carried it with pious devotion. To younger men as docile as himself, he became, almost officially, the representative in the flesh of the elders over whose graves he prayed. His publishers announce with pride, with no sense of the depressing implications of what they are saying, that there is a Woodberry Society, "probably the only organization in America dedicated to a living writer." Thus the anachronism is fulfilled. Mr. Woodberry was old when he was young, and he is an institution before he is dead. Some books are epoch making; other books, even great and original books, lie comfortably in their times without being either innovative or conclusive; Mr. Woodberry's six solid volumes[ [1] are epoch closing, a collection of such words as will not be written again by a man of genuine talent and wisdom.
The feeling that Mr. Woodberry is a voice from the past that immediately preceded him comes over me most heavily when I read his essays on Lowell's Addresses, on Democracy, and on Wendell Phillips. It may be only the essayist's strict fidelity to Lowell's ideas—no doubt a merit—which leaves the impression that the essayist knows only what Lowell knew and no more, that the pupil has not moved a step beyond the master. It is Lowell over again without the slightest addition from the lessons of time. The London Nation has said of Mr. Woodberry's essays that most of them have "a unity and life that make many of Lowell's seem those of a shrewd but old-fashioned amateur." Yet Lowell was at least a vivid amateur, who expressed something that belonged to the 'fifties, 'sixties and 'seventies; and he had an old gentleman's right to be old in the 'eighties. It is not to be expected that a critic should begin where Lowell leaves off—only a thinker of real genius makes such long strides. But the critic following Lowell in time and not moving half a step ahead of him seems older than Lowell himself.
The same thing is true of the address on Wendell Phillips, "The Faith of an American." It is fine, even eloquent, but it is abstract and curiously old-fashioned. Phillips in his own utterances is more of to-day and of to-morrow than is his eulogist who was a child in Beverley when Phillips was in mid-career. The reason, of course, is that Phillips was a fighter, hot with real issues, and it is not the critic's business to fight but to examine the ideas of the fighter. These ideas necessarily become somewhat abstract when a critic quotes or rephrases them, especially since Phillips was an orator and flung at his audiences sweeping generalities which in a less inspired man are mere tall talk. But Mr. Woodberry devitalizes Phillips, especially the later Phillips who went on from one issue to the next until he dropped. Mr. Woodberry has not a single clear, plain word about one of Phillips' last fights, that for the Labor party. Mr. Woodberry stops with the actual Phillips before Phillips stopped, and the end of the address fades out in vagueness and platitude. There is something rather touching about Mr. Woodberry's declaration: "I know that what I have said to-night is heavy with risk." One looks in vain to discover the risk. Surely in 1911, when the address was delivered, a man might talk in Mr. Woodberry's mild way every night in the week and invite no more severe punishment than a scolding from Dr. Nicholas Murray Butler.
Mr. Woodberry's ideas and his expressions are all gentle, though not timid nor emasculate. His general faith in "Democracy" is too serenely above the tumult to disturb anybody or provoke a riot call in the quietude of Beverley. I do not know what he means by "Democracy," whether such actual democracy as existed in America in 1899, or some beautiful dream of the future. If democracy is a dream, an unrealized dream, then any beautiful thing a poet says about it is true. But Mr. Woodberry seems to be talking about something actually existing, something already realized in considerable part if not completely, for he says: "Democracy has its great career, for the first time, in our national being, and exhibits here most purely its formative powers, and unfolds destiny on the grand scale." That was not true twenty years ago, and it is certainly not true now. It is the sort of thing that Emerson and Lowell could say with rousing conviction, but twenty years ago it was as obsolete as a beaver hat except in newspaper editorials and political speeches, where it is still going strong—even if not quite so strong as it used to be.
Mr. Woodberry seems to imply that he is somewhat more of a realist than Lowell. But he is in fact less of a realist than Lowell; for Lowell in his time did grapple with the facts of politics. In poetry it is not necessary, it is better not, to be a realist. But in dealing with politics and contemporaneous history the true citizen must be a realist and leave it to the politicians to fly with the eagle. No wisdom is to be derived from such a statement as this: "There is always an ideality of the human spirit in all its [Democracy's] works, if one will search them out." Or this: "Democracy is a mode of dealing with souls." Or this: "Not that other governments have not had regard to the soul, but in democracy, it is spirituality that gives the law and rules the issue." It is, alas, not true that "education, high education even, is more respected and counts for more in a democracy than under the older systems," or that "the law becomes the embodied persuasion of the community," or that "all these blessings [aversion to war, devotion to public duty and many other enumerated virtues] unconfined as the element, belong to all our people."
Mr. Woodberry's democracy simply does not exist and never did exist. Yet there is one existent glory of my country which I believe I appreciate better than he does. He says: "It behooves us, especially, to be modest, for our magnificent America has never yet produced a poet even of the rank of Gray." That was written fourteen years after the death of Whitman. Mr. Woodberry's democracy had not yet come along, but one of its great poets had arrived and departed leaving Mr. Woodberry none the wiser. There is another glory of my country which I appreciate better than Mr. Woodberry does—Poe, whose poetry Mr. Woodberry has never understood, though he has written what is altogether the best biography of the man! To save the six best lyrics of Poe, I would, if such a sacrifice were necessary, cheerfully sink Gray in the deepest sea of oblivion, "Elegy," letters and all. But that is only a slight difference of judgment, and there is no more futile business than to draw up minor poets in grades and ranks. Whitman is another matter; the critic who misses him in this day of the world is simply incompetent. The excuse for Mr. Woodberry is that he does not belong to this day of the world.