Bliss Perry
Two Harvard men, teachers of English in the University of North Carolina, have recently published a new kind of textbook for undergraduates. Abandoning the conventional survey of literary types and the examination of literary history in the narrow sense of those words, they present a program of ideas, the dominant ideas of successive epochs in the life of England and America. They direct the attention of the young student, not so much to canons of art as to noteworthy expressions of communal thought and feeling, to the problems of self-government, of noble discipline, of ordered liberty. The title of this book is The Great Tradition. The fundamental idealism of the Anglo-Saxon race is illustrated by passages from Bacon and Raleigh, Spenser and Shakespeare. But William Bradford, as well as Cromwell and Milton, is chosen to represent the seventeenth-century struggle for faith and freedom. In the eighteenth century, Washington and Jefferson and Thomas Paine appear side by side with Burke and Burns and Wordsworth. Shelley and Byron, Tennyson and Carlyle are here of course, but with them are John Stuart Mill and John Bright and John Morley. There are passages from Webster and Emerson, from Lowell and Walt Whitman and Lincoln, and finally, from the eloquent lips of living men--from Lloyd George and Arthur Balfour and Viscount Grey and President Wilson--there are pleas for international honor and international justice and for a commonwealth of free nations.
It is a magnificent story, this record of Anglo-Saxon idealism during four hundred years. The six or seven hundred pages of the book which I have mentioned are indeed rich in purely literary material; in the illustration of the temper of historic periods; in the exhibition of changes in language and in literary forms. The lover of sheer beauty in words, the analyzer of literary types, the student of biography, find here ample material for their special investigations. But the stress is laid, not so much upon the quality of individual genius, as upon the political and moral instincts of the English-speaking races, their long fight for liberty and democracy, their endeavor to establish the terms upon which men may live together in society. And precisely here, I take it, is the significance of the pages which Professors Greenlaw and Hanford assign to James Russell Lowell. The man whom we commemorate to-night played his part in the evolution which has transformed the Elizabethan Englishman into the twentieth-century American. Lowell was an inheritor and an enricher of the Great Tradition.
This does not mean that he did not know whether he was American or English. He wrote in 1866 of certain Englishmen: "They seem to forget that more than half the people of the North have roots, as I have, that run down more than two hundred years deep into this new-world soil--that we have not a thought nor a hope that is not American." In 1876, when his political independence made him the target of criticism, he replied indignantly: "These fellows have no notion what love of country means. It is in my very blood and bones. If I am not an American, who ever was?"
It remains true, nevertheless, that Lowell's life and his best writing are keyed to that instinct of personal discipline and civic responsibility which characterized the seventeenth century emigrants from England. These successors of Roger Ascham and Thomas Elyot and Philip Sidney were Puritanic, moralistic, practical; and with their "faith in God, faith in man and faith in work" they built an empire. Lowell's own mind, like Franklin's, like Lincoln's, had a shrewd sense of what concerns the common interests of all. The inscription beneath his bust on the exterior of Massachusetts Hall runs as follows: "Patriot, scholar, orator, poet, public servant." Those words begin and end upon that civic note which is heard in all of Lowell's greater utterances. It has been the dominant note of much of the American writing that has endured. And it is by virtue of this note, touched so passionately, so nobly, throughout a long life, that Lowell belongs to the elect company of public souls.
No doubt we have had in this country distinguished practitioners of literature who have stood mainly or wholly outside the line of the Great Tradition. They drew their inspiration elsewhere. Poe, for example, is not of the company; Hawthorne in his lonelier moods is scarcely of the company. In purely literary fame, these names may be held to outrank the name of James Russell Lowell; as Emerson outranks him, of course, in range of vision, Longfellow in craftsmanship, and Walt Whitman in sheer power of emotion and of phrase. But it happens that Lowell stands with both Emerson and Whitman in the very centre of that group of poets and prose-men who have been inspired by the American idea. They were all, as we say proudly nowadays, "in the service," and the particular rank they may have chanced to win is a relatively insignificant question, except to critics and historians.
The centenary of the birth of a writer who reached three score and ten is usually ill-timed for a proper perspective of his work. A generation has elapsed since his death. Fashions have changed; writers, like bits of old furniture, have had time to "go out" and not time enough to come in again. George Eliot and Ruskin, for instance, whose centenaries fall in this year, suffer the dark reproach of having been "Victorians." The centenaries of Hawthorne and Longfellow and Whittier were celebrated at a period of comparative indifference to their significance. But if the present moment is still too near to Lowell's life-time to afford a desirable literary perspective, a moral touchstone of his worth is close at hand. In this hour of heightened national consciousness, when we are all absorbed with the part which the English-speaking races are playing in the service of the world, we may surely ask whether Lowell's mind kept faith with his blood and with his citizenship, or whether, like many a creator of exotic, hybrid beauty, he remained an alien in the spiritual commonwealth, a homeless, masterless man.
No one needs to speak in Cambridge of Lowell's devotion to the community in which he was born and in which he had the good fortune to die. In some of his most delightful pages he has recorded his affection for it. Yonder in the alcoves of Harvard Hall, then the College Library, he discovered many an author unrepresented among his father's books at Elmwood. In University Hall he attended chapel--occasionally. In the open space between Hollis and Holden he read his "Commemoration Ode." He wrote to President Hill in 1863: "Something ought to be done about the trees in the Yard." He loved the place. It was here in Sanders Theatre that he pronounced his memorable address at the two hundred and fiftieth anniversary of the founding of the College--an address rich in historic background, and not without solicitude for the future of his favorite humanistic studies--a solicitude, some will think, only too well justified. "Cambridge at all times is full of ghosts," said Emerson. But no ghost from the past, flitting along the Old Road from Elmwood to the Yard, and haunting the bleak lecture-rooms where it had recited as a careless boy and taught wearily as a man, could wear a more quizzical and friendly aspect than Lowell's. He commonly spoke of his life as a professor with whimsical disparagement, as Henry Adams wrote of his own teaching with a somewhat cynical disparagement. But the fact is that both of these self-depreciating New Englanders were stimulating and valuable teachers. From his happily idle boyhood to the close of his fruitful career, Lowell's loyalty to Cambridge and Harvard was unalterable. Other tastes changed after wider experience with the world. He even preferred, at last, the English blackbird to the American bobolink, but the Harvard Quinquennial Catalogue never lost its savor, and in the full tide of his social success in London he still thought that the society he had enjoyed at the Saturday Club was the best society in the world. To deracinate Lowell was impossible, and it was for this very reason that he became so serviceable an international personage. You knew where he stood. It was not for nothing that his roots ran down two hundred years deep. He was the incarnation of his native soil.
Lowell has recently been described, together with Whittier, Emerson, and others, as an "English provincial poet--in the sense that America still was a literary province of the mother country." To this amazing statement one can only rejoin that if "The Biglow Papers," the "Harvard Commemoration Ode," "Under the Old Elm," the "Fourth of July Ode," and the Agassiz elegy are English provincial poetry, most of us need a new map and a new vocabulary. Of both series of "Biglow Papers" we may surely exclaim, as did Quintilian concerning early Roman satire, "This is wholly ours." It is true that Lowell, like every young poet of his generation, had steeped himself in Spenser and the other Elizabethans. They were his literary ancestors by as indisputable an inheritance as a Masefield or a Kipling could claim. He had been brought up to revere Pope. Then he surrendered to Wordsworth and Keats and Shelley, and his earlier verses, like the early work of Tennyson, are full of echoes of other men's music. It is also true that in spite of his cleverness in versifying, or perhaps because of it, he usually showed little inventiveness in shaping new poetic patterns. His tastes were conservative. He lacked that restless technical curiosity which spurred Poe and Whitman to experiment with new forms. But Lowell revealed early extraordinary gifts of improvisation, retaining the old tunes of English verse as the basis for his own strains of unpremeditated art. He wrote "A Fable for Critics" faster than he could have written it in prose. "Sir Launfal" was composed in two days, the "Commemoration Ode" in one.
It was this facile, copious, enthusiastic poet, not yet thirty, who grew hot over the Mexican War and poured forth his indignation in an unforgettable political satire such as no English provincial poet could possibly have written. What a weapon he had, and how it flashed in his hand, gleaming with wit and humor and irony, edged with scorn, and weighted with two hundred years of Puritan tradition concerning right and wrong! For that, after all, was the secret of its success. Great satire must have a standard; and Lowell revealed his in the very first number and in one line: