Better than self-indulgent years
The outflung heart of youth,
Than pleasant songs in idle ears
The tumult of the truth!
That was the feeling in the heart of many a promising young southern or northern poet in midcentury, just as it was in 1776, when our best writers neglected literature for political satires against Whigs or Tories. Yet of the thousand works which the antislavery agitation inspired we can think of only one, Mrs. Stowe's Uncle Tom's Cabin, which lives with power to our own day; and there is something of universal human nature in that famous book, written not from knowledge or experience but from the imagination, which appeals broadly to our human sympathy, and which makes it welcome in countries where slavery as a political or a moral issue has long since been forgotten.
[Sidenote: GENERAL CHARACTERISTICS]
Though the ferment of the age produced no great books, it certainly influenced our literature, making it a very different product from that of the early national period. For example, nearly every political issue soon became a moral issue; and there is a deep ethical earnestness in the essays of Emerson, the poems of Longfellow and the novels of Hawthorne which sets them apart, as of a different spirit, from the works of Irving, Poe and Cooper.
Again, the mental unrest of the period showed itself in a passion for new ideas, new philosophy, new prose and poetry. We have already spoken of the transcendental philosophy, but even more significant was the sudden broadening of literary interest. American readers had long been familiar with the best English poets; now they desired to know how our common life had been reflected by poets of other nations. In answer to that desire came, first, the establishment of professorships of belles-lettres in our American colleges; and then a flood of translations from European and oriental literatures. As we shall presently see, every prominent writer from Emerson to Whitman was influenced by new views of life as reflected in the world's poetry. Longfellow is a conspicuous example; with his songs inspired by Spanish or German or Scandinavian originals he is at times more like an echo of Europe than a voice from the New World.
[Illustration: BIRTHPLACE OF LONGFELLOW, AT FALMOUTH (NOW PORTLAND), MAINE]
[Sidenote: AN AGE OF POETRY]
Finally, this period of conflict was governed more largely than usual by ideals, by sentiment, by intense feeling. Witness the war, with the heroic sentiments which it summoned up south and north. As the deepest human feeling cannot be voiced in prose, we confront the strange phenomenon of an American age of poetry. This would be remarkable Poetry enough to one who remembers that the genius of America had hitherto appeared practical and prosaic, given to action rather than speech, more concerned to "get on" in life than to tell what life means; but it is even more remarkable in view of the war, which covers the age with its frightful shadow. As Lincoln, sad and overburdened, found the relief of tears in the beautiful ending of Longfellow's "Building of the Ship," so, it seems, the heart of America, torn by the sight of her sons in conflict, found blessed relief in songs of love, of peace, of home, of beauty,—of all the lovely and immortal ideals to which every war offers violent but impotent contradiction. And this may be the simple explanation of the fact that the most cherished poems produced by any period of war are almost invariably its songs of peace.
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