It was nearly a century later, in the person of Horace Greeley, editor of the New York Tribune during the anti-slavery struggle, that the journal of opinion reached its highest expression in America. America has had better newspaper men than Horace Greeley, although none, perhaps, whose opinions exercised so wide an influence. “The New York Tribune,” says Charles Francis Adams, “during those years was the greatest educational factor, economically and morally, this country has ever known.”
IV. THE INDEPENDENT PRESS
The power of the press, as represented by the older type of newspaper, rested in the final analysis upon the ability of its editors to create a party and lead it. The journal of opinion is, by its very nature, predestined to become the organ of a party, or at any rate the mouthpiece of a school.
So long as political activities were organized on the basis of village life, the party system worked. In the village community, where life was and still is relatively fixed and settled, custom and tradition provided for most of the exigencies of daily life. In such a community, where every deviation from the ordinary routine of life was a matter of observation and comment and all the facts were known, the political process was, at any rate, a comparatively simple matter. Under these circumstances the work of the newspaper, as a gatherer and interpreter of the news, was but an extension of the function which was otherwise performed spontaneously by the community itself through the medium of personal contact and gossip.
But as our cities expanded and life grew more complicated, it turned out that political parties, in order to survive, must have a permanent organization. Eventually party morale became a greater value than the issues for the determination of which the parties are supposed to exist. The effect upon the party press was to reduce it to the position of a sort of house organ of the party organization. It no longer knew from day to day just what its opinions were. The editor was no longer a free agent. It was of this subjugated Tribune that Walt Whitman was thinking when he coined the phrase, “the kept editor.”
When, finally, the exigencies of party politics, under conditions of life in great cities, developed the political machine, some of the more independent newspapers revolted. This was the origin of the independent press. It was one of the independent papers, the New York Times of that day, that first assailed and eventually overthrew, with the aid of a cartoonist, Thomas Nast, the Tweed Ring, the first and most outrageous of the political machines that party politics in this country has so far produced. Presently there was a general breaking away, particularly by the metropolitan, as distinguished from the country, papers, from the domination of the parties. Party loyalty ceased to be a virtue.
Meanwhile a new political power had arisen and found expression in the press. This power was embodied, not in the editorial and the editorial writer, however, but in the news and the reporter. In spite of the fact that the prestige of the press, up to this time, had rested on its rôle of champion of popular causes, the older newspapers were not read by the masses of the people.
The ordinary man is more interested in news than he is in political doctrines or abstract ideas. H. L. Mencken has called attention to the fact that the average man does not understand more than two-thirds of what “comes from the lips of the average political orator or clergyman.”
The ordinary man, as the Saturday Evening Post has discovered, thinks in concrete images, anecdotes, pictures, and parables. He finds it difficult and tiresome to read a long article unless it is dramatized and takes the form of what newspapers call a “story.” “News story” and “fiction story” are two forms of modern literature that are now so like one another that it is sometimes difficult to distinguish them.
The Saturday Evening Post, for example, writes the news in the form of fiction, while the daily press frequently writes fiction in the form of news. When it is not possible to present ideas in the concrete, dramatic form of a story, the ordinary reader likes them stated in a short paragraph.