I got back health enough to be of use in the printing office that autumn, and I was quietly at work there with no visible break in my surroundings when suddenly the whole world opened to me through what had seemed an impenetrable wall. The Republican newspaper at the capital had been bought by a new management, and the editorial force reorganized upon a footing of what we then thought metropolitan enterprise; and to my great joy and astonishment I was asked to come and take a place in it. The place offered me was not one of lordly distinction; in fact, it was partly of the character of that I had already rejected in Cincinnati, but I hoped that in the smaller city its duties would not be so odious; and by the time I came to fill it, a change had taken place in the arrangements so that I was given charge of the news department. This included the literary notices and the book reviews, and I am afraid that I at once gave my prime attention to these.
It was an evening paper, and I had nearly as much time for reading and study as I had at home. But now society began to claim a share of this leisure, which I by no means begrudged it. Society was very charming in Columbus then, with a pretty constant round of dances and suppers, and an easy cordiality, which I dare say young people still find in it everywhere. I met a great many cultivated people, chiefly young ladies, and there were several houses where we young fellows went and came almost as freely as if they were our own. There we had music and cards, and talk about books, and life appeared to me richly worth living; if any one had said this was not the best planet in the universe I should have called him a pessimist, or at least thought him so, for we had not the word in those days. A world in which all those pretty and gracious women dwelt, among the figures of the waltz and the lancers, with chat between about the last instalment of 'The Newcomes,' was good enough world for me; I was only afraid it was too good. There were, of course, some girls who did not read, but few openly professed indifference to literature, and there was much lending of books back and forth, and much debate of them. That was the day when 'Adam Bede' was a new book, and in this I had my first knowledge of that great intellect for which I had no passion, indeed, but always the deepest respect, the highest honor; and which has from time to time profoundly influenced me by its ethics.
I state these things simply and somewhat baldly; I might easily refine upon them, and study that subtle effect for good and for evil which young people are always receiving from the fiction they read; but this its not the time or place for the inquiry, and I only wish to own that so far as I understand it, the chief part of my ethical experience has been from novels. The life and character I have found portrayed there have appealed always to the consciousness of right and wrong implanted in me; and from no one has this appeal been stronger than from George Eliot. Her influence continued through many years, and I can question it now only in the undue burden she seems to throw upon the individual, and her failure to account largely enough for motive from the social environment. There her work seems to me unphilosophical.
It shares whatever error there is in its perspective with that of Hawthorne, whose 'Marble Faun' was a new book at the same time that 'Adam Bede' was new, and whose books now came into my life and gave it their tinge. He was always dealing with the problem of evil, too, and I found a more potent charm in his more artistic handling of it than I found in George Eliot. Of course, I then preferred the region of pure romance where he liked to place his action; but I did not find his instances the less veritable because they shone out in
"The light that never was on sea or land."
I read the 'Marble Faun' first, and then the 'Scarlet Letter,' and then the 'House of Seven Gables,' and then the 'Blithedale Romance;' but I always liked best the last, which is more nearly a novel, and more realistic than the others. They all moved me with a sort of effect such as I had not felt before. They veers so far from time and place that, although most of them related to our country and epoch, I could not imagine anything approximate from them; and Hawthorne himself seemed a remote and impalpable agency, rather than a person whom one might actually meet, as not long afterward happened with me. I did not hold the sort of fancied converse with him that I held with ether authors, and I cannot pretend that I had the affection for him that attracted me to them. But he held me by his potent spell, and for a time he dominated me as completely as any author I have read. More truly than any other American author he has been a passion with me, and lately I heard with a kind of pang a young man saying that he did not believe I should find the 'Scarlet Letter' bear reading now. I did not assent to the possibility, but the notion gave me a shiver of dismay. I thought how much that book had been to me, how much all of Hawthorne's books had been, and to have parted with my faith in their perfection would have been something I would not willingly have risked doing.
Of course there is always something fatally weak in the scheme of the pure romance, which, after the color of the contemporary mood dies out of it, leaves it in danger of tumbling into the dust of allegory; and perhaps this inherent weakness was what that bold critic felt in the 'Scarlet Letter.' But none of Hawthorne's fables are without a profound and distant reach into the recesses of nature and of being. He came back from his researches with no solution of the question, with no message, indeed, but the awful warning, "Be true, be true," which is the burden of the Scarlet Letter; yet in all his books there is the hue of thoughts that we think only in the presence of the mysteries of life and death. It is not his fault that this is not intelligence, that it knots the brow in sorer doubt rather than shapes the lips to utterance of the things that can never be said. Some of his shorter stories I have found thin and cold to my later reading, and I have never cared much for the 'House of Seven Gables,' but the other day I was reading the 'Blithedale Romance' again, and I found it as potent, as significant, as sadly and strangely true as when it first enthralled my soul.
In those days when I tried to kindle my heart at the cold altar of Goethe, I did read a great deal of his prose and somewhat of his poetry, but it was to be ten years yet before I should go faithfully through with his Faust and come to know its power. For the present, I read 'Wilhelm Meister' and the 'Wahlverwandschaften,' and worshipped him much at second-hand through Heine. In the mean time I invested such Germans as I met with the halo of their national poetry, and there was one lady of whom I heard with awe that she had once known my Heine. When I came to meet her, over a glass of the mild egg-nog which she served at her house on Sunday nights, and she told me about Heine, and how he looked, and some few things he said, I suffered an indescribable disappointment; and if I could have been frank with myself I should have owned to a fear that it might have been something like that, if I had myself met the poet in the flesh, and tried to hold the intimate converse with him that I held in the spirit. But I shut my heart to all such misgivings and went on reading him much more than I read any other German author. I went on writing him too, just as I went on reading and writing Tennyson. Heine was always a personal interest with me, and every word of his made me long to have had him say it to me, and tell me why he said it. In a poet of alien race and language and religion I found a greater sympathy than I have experienced with any other. Perhaps the Jews are still the chosen people, but now they bear the message of humanity, while once they bore the message of divinity. I knew the ugliness of Heine's nature: his revengefulness, and malice, and cruelty, and treachery, and uncleanness; and yet he was supremely charming among the poets I have read. The tenderness I still feel for him is not a reasoned love, I must own; but, as I am always asking, when was love ever reasoned?
I had a room-mate that winter in Columbus who was already a contributor to the Atlantic Monthly, and who read Browning as devotedly as I read Heine. I will not say that he wrote him as constantly, but if that had been so, I should not have cared. What I could not endure without pangs of secret jealousy was that he should like Heine, too, and should read him, though it was but an arm's-length in an English version. He had found the origins of those tricks and turns of Heine's in 'Tristram Shandy' and the 'Sentimental Journey;' and this galled me, as if he had shown that some mistress of my soul had studied her graces from another girl, and that it was not all her own hair that she wore. I hid my rancor as well as I could, and took what revenge lay in my power by insinuating that he might have a very different view if he read Heine in the original. I also made haste to try my own fate with the Atlantic, and I sent off to Mr. Lowell that poem which he kept so long in order to make sure that Heine had not written it, as well as authorized it.
This was the winter when my friend Piatt and I made our first literary venture together in those 'Poems of Two Friends;' which hardly passed the circle of our amity; and it was altogether a time of high literary exaltation with me. I walked the streets of the friendly little city by day and by night with my head so full of rhymes and poetic phrases that it seemed as if their buzzing might have been heard several yards away; and I do not yet see quite how I contrived to keep their music out of my newspaper paragraphs. Out of the newspaper I could not keep it, and from time to time I broke into verse in its columns, to the great amusement of the leading editor, who knew me for a young man with a very sharp tooth for such self-betrayals in others. He wanted to print a burlesque review he wrote of the 'Poems of Two Friends' in our paper, but I would not suffer it. I must allow that it was very, funny, and that he was always a generous friend, whose wounds would have been as faithful as any that could have been dealt me then. He did not indeed care much for any poetry but that of Shakespeare and the 'Ingoldsby Legends;' and when one morning a State Senator came into the office with a volume of Tennyson, and began to read,
"The poet in a golden clime was born,With golden stars above;Dowered with the hate of hate, the scorn of scornThe love of love,"
he hitched his chair about, and started in on his leader for the day.
He might have been more patient if he had known that this State Senator was to be President Garfield. But who could know anything of the tragical history that was so soon to follow that winter of 1859-60? Not I; at least I listened rapt by the poet and the reader, and it seemed to me as if the making and the reading of poetry were to go on forever, and that was to be all there was of it. To be sure I had my hard little journalistic misgivings that it was not quite the thing for a State Senator to come round reading Tennyson at ten o'clock in the morning, and I dare say I felt myself superior in my point of view, though I could not resist the charm of the verse. I myself did not bring Tennyson to the office at that time. I brought Thackeray, and I remember that one day when I had read half an hour or so in the 'Book of Snobs,' the leading editor said frankly, Well, now, he guessed we had had enough of that. He apologized afterwards as if he were to blame, and not I, but I dare say I was a nuisance with my different literary passions, and must have made many of my acquaintances very tired of my favorite authors. I had some consciousness of the fact, but I could not help it.
I ought not to omit from the list of these favorites an author who was then beginning to have his greatest vogue, and who somehow just missed of being a very great one. We were all reading his jaunty, nervy, knowing books, and some of us were questioning whether we ought not to set him above Thackeray and Dickens and George Eliot, 'tulli quanti', so great was the effect that Charles Reade had with our generation. He was a man who stood at the parting of the ways between realism and romanticism, and if he had been somewhat more of a man he might have been the master of a great school of English realism; but, as it was, he remained content to use the materials of realism and produce the effect of romanticism. He saw that life itself infinitely outvalued anything that could be feigned about it, but its richness seemed to corrupt him, and he had not the clear, ethical conscience which forced George Eliot to be realistic when probably her artistic prepossessions were romantic.
As yet, however, there was no reasoning of the matter, and Charles Reade was writing books of tremendous adventure and exaggerated character, which he prided himself on deriving from the facts of the world around him. He was intoxicated with the discovery he had made that the truth was beyond invention, but he did not know what to do with the truth in art after he had found it in life, and to this day the English mostly do not. We young people were easily taken with his glittering error, and we read him with much the same fury, that he wrote. 'Never Too Late to Mend;' 'Love Me Little, Love Me Long;' 'Christie Johnstone;' 'Peg Woffington;' and then, later, 'Hard Cash,' 'The Cloister and the Hearth,' 'Foul Play,' 'Put Yourself in His Place'—how much they all meant once, or seemed to mean!
The first of them, and the other poems and fictions I was reading, meant more to me than the rumors of war that were then filling the air, and that so soon became its awful actualities. To us who have our lives so largely in books the material world is always the fable, and the ideal the fact. I walked with my feet on the ground, but my head was in the clouds, as light as any of them. I neither praise nor blame this fact; but I feel bound to own it, for that time, and for every time in my life, since the witchery of literature began with me.
Those two happy winters in Columbus, when I was finding opportunity and recognition, were the heydey of life for me. There has been no time like them since, though there have been smiling and prosperous times a plenty; for then I was in the blossom of my youth, and what I had not I could hope for without unreason, for I had so much of that which I had most desired. Those times passed, and there came other times, long years of abeyance, and waiting, and defeat, which I thought would never end, but they passed, too.
I got my appointment of Consul to Venice, and I went home to wait for my passport and to spend the last days, so full of civic trouble, before I should set out for my post. If I hoped to serve my country there and sweep the Confederate cruisers from the Adriatic, I am afraid my prime intent was to add to her literature and to my own credit. I intended, while keeping a sleepless eye out for privateers, to write poems. concerning American life which should eclipse anything yet done in that kind, and in the mean time I read voraciously and perpetually, to make the days go swiftly which I should have been so glad to have linger. In this month I devoured all the 'Waverley novels,' but I must have been devouring a great many others, for Charles Reade's 'Christie Johnstone' is associated with the last moment of the last days.
A few months ago I was at the old home, and I read that book again, after not looking at it for more than thirty years; and I read it with amazement at its prevailing artistic vulgarity, its prevailing aesthetic error shot here and there with gleams of light, and of the truth that Reade himself was always dimly groping for. The book is written throughout on the verge of realism, with divinations and conjectures across its border, and with lapses into the fool's paradise of romanticism, and an apparent content with its inanity and impossibility. But then it was brilliantly new and surprising; it seemed to be the last word that could be said for the truth in fiction; and it had a spell that held us like an anesthetic above the ache of parting, and the anxiety for the years that must pass, with all their redoubled chances, before our home circle could be made whole again. I read on, and the rest listened, till the wheels of the old stage made themselves heard in their approach through the absolute silence of the village street. Then we shut the book and all went down to the gate together, and parted under the pale sky of the October night. There was one of the home group whom I was not to see again: the young brother who died in the blossom of his years before I returned from my far and strange sojourn. He was too young then to share our reading of the novel, but when I ran up to his room to bid him good-by I found him awake, and, with aching hearts, we bade each other good-by forever!
I ran through an Italian grammar on my way across the Atlantic, and from my knowledge of Latin, Spanish, and French, I soon had a reading acquaintance with the language. I had really wanted to go to Germany, that I might carry forward my studies in German literature, and I first applied for the consulate at Munich. The powers at Washington thought it quite the same thing to offer me Rome; but I found that the income of the Roman consulate would not give me a living, and I was forced to decline it. Then the President's private secretaries, Mr. John Nicolay and Mr. John Hay, who did not know me except as a young Westerner who had written poems in the Atlantic Monthly, asked me how I would like Venice, and promised that they would have the salary put up to a thousand a year, under the new law to embarrass privateers. It was really put up to fifteen hundred, and with this income assured me I went out to the city whose influence changed the whole course of my literary life.
No privateers ever came, though I once had notice from Turin that the Florida had been sighted off Ancona; and I had nearly four years of nearly uninterrupted leisure at Venice, which I meant to employ in reading all Italian literature, and writing a history of the republic. The history, of course, I expected would be a long affair, and I did not quite suppose that I could despatch the literature in any short time; besides, I had several considerable poems on hand that occupied me a good deal, and worked at these as well as advanced myself in Italian, preparatory to the efforts before me.
I had already a slight general notion of Italian letters from Leigh Hunt, and from other agreeable English Italianates; and I knew that I wanted to read not only the four great poets, Dante, Petrarch, Ariosto, and Tasso, but that whole group of burlesque poets, Pulci, Berni, and the rest, who, from what I knew of them, I thought would be even more to my mind. As a matter of fact, and in the process of time, I did read somewhat of all these, but rather in the minor than the major way; and I soon went off from them to the study of the modern poets, novelists, and playwrights who interested me so much more. After my wonted fashion I read half a dozen of these authors together, so that it would be hard to say which I began with, but I had really a devotion to Dante, though not at that time, or ever for the whole of Dante. During my first year in Venice I met an ingenious priest, who had been a tutor in a patrician family, and who was willing to lead my faltering steps through the "Inferno." This part of the "Divine Comedy" I read with a beginner's carefulness, and with a rapture in its beauties, which I will whisper the reader do not appear in every line.
Again I say it is a great pity that criticism is not honest about the masterpieces of literature, and does not confess that they are not every moment masterly, that they are often dull and tough and dry, as is certainly the case with Dante's. Some day, perhaps, we shall have this way of treating literature, and then the lover of it will not feel obliged to browbeat himself into the belief that if he is not always enjoying himself it is his own fault. At any rate I will permit myself the luxury of frankly saying that while I had a deep sense of the majesty and grandeur of Dante's design, many points of its execution bored me, and that I found the intermixture of small local fact and neighborhood history in the fabric of his lofty creation no part of its noblest effect. What is marvellous in it is its expression of Dante's personality, and I can never think that his personalities enhance its greatness as a work of art. I enjoyed them, however, and I enjoyed them the more, as the innumerable perspectives of Italian history began to open all about me. Then, indeed, I understood the origins if I did not understand the aims of Dante, which there is still much dispute about among those who profess to know them clearly. What I finally perceived was that his poem came through him from the heart of Italian life, such as it was in his time, and that whatever it teaches, his poem expresses that life, in all its splendor and squalor, its beauty and deformity, its love and its hate.
Criticism may torment this sense or that sense out of it, but at the end of the ends the "Divine Comedy" will stand for the patriotism of medieval Italy, as far as its ethics is concerned, and for a profound and lofty ideal of beauty, as far as its aesthetics is concerned. This is vague enough and slight enough, I must confess, but I must confess also that I had not even a conception of so much when I first read the "Inferno." I went at it very simply, and my enjoyment of it was that sort which finds its account in the fine passages, the brilliant episodes, the striking pictures. This was the effect with me of all the criticism which I had hitherto read, and I am not sure yet that the criticism which tries to be of a larger scope, and to see things "whole," is of any definite effect. As a matter of fact we see nothing whole, neither life nor art. We are so made, in soul and in sense, that we can deal only with parts, with points, with degrees; and the endeavor to compass any entirety must involve a discomfort and a danger very threatening to our intellectual integrity.
Or if this postulate is as untenable as all the others, still I am very glad that I did not then lose any fact of the majesty, and beauty, and pathos of the great certain measures for the sake of that fourth dimension of the poem which is not yet made palpable or visible. I took my sad heart's fill of the sad story of "Paolo and Francesca," which I already knew in Leigh Hunt's adorable dilution, and most of the lines read themselves into my memory, where they linger yet. I supped on the horrors of Ugolino's fate with the strong gust of youth, which finds every exercise of sympathy a pleasure. My good priest sat beside me in these rich moments, knotting in his lap the calico handkerchief of the snuff-taker, and entering with tremulous eagerness into my joy in things that he had often before enjoyed. No doubt he had an inexhaustible pleasure in them apart from mine, for I have found my pleasure in them perennial, and have not failed to taste it as often as I have read or repeated any of the great passages of the poem to myself. This pleasure came often from some vital phrase, or merely the inspired music of a phrase quite apart from its meaning. I did not get then, and I have not got since, a distinct conception of the journey through Hell, and as often as I have tried to understand the topography of the poem I have fatigued myself to no purpose, but I do not think the essential meaning was lost upon me.
I dare say my priest had his notion of the general shape and purport, the gross material body of the thing, but he did not trouble me with it, while we sat tranced together in the presence of its soul. He seemed, at times, so lost in the beatific vision, that he forgot my stumblings in the philological darkness, till I appealed to him for help. Then he would read aloud with that magnificent rhythm the Italians have in reading their verse, and the obscured meaning would seem to shine out of the mere music of the poem, like the color the blind feel in sound.
I do not know what has become of him, but if he is like the rest of the strange group of my guides, philosophers, and friends in literature—the printer, the organ-builder, the machinist, the drug-clerk, and the bookbinder—I am afraid he is dead. In fact, I who was then I, might be said to be dead too, so little is my past self like my present self in anything but the "increasing purpose" which has kept me one in my love of literature. He was a gentle and kindly man, with a life and a longing, quite apart from his vocation, which were never lived or fulfilled. I did not see him after he ceased to read Dante with me, and in fact I was instructed by the suspicions of my Italian friends to be careful how I consorted with a priest, who might very well be an Austrian spy. I parted with him for no such picturesque reason, for I never believed him other than the truest and faithfulest of friends, but because I was then giving myself more entirely to work in which he could not help me.
Naturally enough this was a long poem in the terza rima of the "Divina Commedia," and dealing with a story of our civil war in a fashion so remote that no editor would print it. This was the first fruits and the last of my reading of Dante, in verse, and it was not so like Dante as I would have liked to make it; but Dante is not easy to imitate; he is too unconscious, and too single, too bent upon saying the thing that is in him, with whatever beauty inheres in it, to put on the graces that others may catch.
However, this poem only shared the fate of nearly, all the others that I wrote at this time; they came back to me with unfailing regularity from all the magazine editors of the English-speaking world; I had no success with any of them till I sent Mr. Lowell a paper on recent Italian comedy for the North American Review, which he and Professor Norton had then begun to edit. I was in the mean time printing the material of Venetian Life and the Italian Journeys in a Boston newspaper after its rejection by the magazines; and my literary life, almost without my willing it, had taken the course of critical observance of books and men in their actuality.
That is to say, I was studying manners, in the elder sense of the word, wherever I could get at them in the frank life of the people about me, and in such literature of Italy as was then modern. In this pursuit I made a discovery that greatly interested me, and that specialized my inquiries. I found that the Italians had no novels which treated of their contemporary life; that they had no modern fiction but the historical romance. I found that if I wished to know their life from their literature I must go to their drama, which was even then endeavoring to give their stage a faithful picture of their civilization. There was even then in the new circumstance of a people just liberated from every variety of intellectual repression and political oppression, a group of dramatic authors, whose plays were not only delightful to see but delightful to read, working in the good tradition of one of the greatest realists who has ever lived, and producing a drama of vital strength and charm. One of them, whom I by no means thought the best, has given us a play, known to all the world, which I am almost ready to think with Zola is the greatest play of modern times; or if it is not so, I should be puzzled to name the modern drama that surpasses "La Morte Civile" of Paolo Giacometti. I learned to know all the dramatists pretty well, in the whole range of their work, on the stage and in the closet, and I learned to know still better, and to love supremely, the fine, amiable genius whom, as one of them said, they did not so much imitate as learn from to imitate nature.
This was Carlo Goldoni, one of the first of the realists, but antedating conscious realism so long as to have been born at Venice early in the eighteenth century, and to have come to his hand-to-hand fight with the romanticism of his day almost before that century had reached its noon. In the early sixties of our own century I was no more conscious of his realism than he was himself a hundred years before; but I had eyes in my head, and I saw that what he had seen in Venice so long before was so true that it was the very life of Venice in my own day; and because I have loved the truth in art above all other things, I fell instantly and lastingly in love with Carlo Goldoni. I was reading his memoirs, and learning to know his sweet, honest, simple nature while I was learning to know his work, and I wish that every one who reads his plays would read his life as well; one must know him before one can fully know them. I believe, in fact, that his autobiography came into my hands first. But, at any rate, both are associated with the fervors and languors of that first summer in Venice, so that I cannot now take up a book of Goldoni's without a renewed sense of that sunlight and moonlight, and of the sounds and silences of a city that is at once the stillest and shrillest in the world.
Perhaps because I never found his work of great ethical or aesthetical proportions, but recognized that it pretended to be good only within its strict limitations, I recur to it now without that painful feeling of a diminished grandeur in it, which attends us so often when we go back to something that once greatly pleased us. It seemed to me at the time that I must have read all his comedies in Venice, but I kept reading new ones after I came home, and still I can take a volume of his from the shelf, and when thirty years are past, find a play or two that I missed before. Their number is very great, but perhaps those that I fancy I have not read, I have really read once or more and forgotten. That might very easily be, for there is seldom anything more poignant in any one of them than there is in the average course of things. The plays are light and amusing transcripts from life, for the most part, and where at times they deepen into powerful situations, or express strong emotions, they do so with persons so little different from the average of our acquaintance that we do not remember just who the persons are.
There is no doubt but the kindly playwright had his conscience, and meant to make people think as well as laugh. I know of none of his plays that is of wrong effect, or that violates the instincts of purity, or insults common sense with the romantic pretence that wrong will be right if you will only paint it rose-color. He is at some obvious pains to "punish vice and reward virtue," but I do not mean that easy morality when I praise his; I mean the more difficult sort that recognizes in each man's soul the arbiter not of his fate surely, but surely of his peace. He never makes a fool of the spectator by feigning that passion is a reason or justification, or that suffering of one kind can atone for wrong of another. That was left for the romanticists of our own century to discover; even the romanticists whom Goldoni drove from the stage, were of that simpler eighteenth-century sort who had not yet liberated the individual from society, but held him accountable in the old way. As for Goldoni himself, he apparently never dreams of transgression; he is of rather an explicit conventionality in most things, and he deals with society as something finally settled. How artfully he deals with it, how decently, how wholesomely, those who know Venetian society of the eighteenth century historically, will perceive when they recall the adequate impression he gives of it without offence in character or language or situation. This is the perpetual miracle of his comedy, that it says so much to experience and worldly wisdom, and so little to inexperience and worldly innocence. No doubt the Serenest Republic was very strict with the theatre, and suffered it to hold the mirror up to nature only when nature was behaving well, or at least behaving as if young people were present. Yet the Italians are rather plain-spoken, and they recognize facts which our company manners at least do not admit the existence of. I should say that Goldoni was almost English, almost American, indeed, in his observance of the proprieties, and I like this in him; though the proprieties are not virtues, they are very good things, and at least are better than the improprieties.
This, however, I must own, had not a great deal to do with my liking him so much, and I should be puzzled to account for my passion, as much in his case as in most others. If there was any reason for it, perhaps it was that he had the power of taking me out of my life, and putting me into the lives of others, whom I felt to be human beings as much as myself. To make one live in others, this is the highest effect of religion as well as of art, and possibly it will be the highest bliss we shall ever know. I do not pretend that my translation was through my unselfishness; it was distinctly through that selfishness which perceives that self is misery; and I may as well confess here that I do not regard the artistic ecstasy as in any sort noble. It is not noble to love the beautiful, or to live for it, or by it; and it may even not be refining. I would not have any reader of mine, looking forward to some aesthetic career, suppose that this love is any merit in itself; it may be the grossest egotism. If you cannot look beyond the end you aim at, and seek the good which is not your own, all your sacrifice is to yourself and not of yourself, and you might as well be going into business. In itself and for itself it is no more honorable to win fame than to make money, and the wish to do the one is no more elevating than the wish to do the other.
But in the days I write of I had no conception of this, and I am sure that my blindness to so plain a fact kept me even from seeking and knowing the highest beauty in the things I worshipped. I believe that if I had been sensible of it I should hays read much more of such humane Italian poets and novelists as Manzoni and D'Azeglio, whom I perceived to be delightful, without dreaming of them in the length and breadth of their goodness. Now and then its extent flashed upon me, but the glimpse was lost to my retroverted vision almost as soon as won. It is only in thinking back to there that I can realize how much they might always have meant to me. They were both living in my time in Italy, and they were two men whom I should now like very much to have seen, if I could have done so without that futility which seems to attend every effort to pay one's duty to such men.
The love of country in all the Italian poets and romancers of the long period of the national resurrection ennobled their art in a measure which criticism has not yet taken account of. I conceived of its effect then, but I conceived of it as a misfortune, a fatality; now I am by no means sure that it was so; hereafter the creation of beauty, as we call it, for beauty's sake, may be considered something monstrous. There is forever a poignant meaning in life beyond what mere living involves, and why should not there be this reference in art to the ends beyond art? The situation, the long patience, the hope against hope, dignified and beautified the nature of the Italian writers of that day, and evoked from them a quality which I was too little trained in their school to appreciate. But in a sort I did feel it, I did know it in them all, so far as I knew any of them, and in the tragedies of Manzoni, and in the romances of D'Azeglio, and yet more in the simple and modest records of D'Azeglio's life published after his death, I profited by it, and unconsciously prepared myself for that point of view whence all the arts appear one with all the uses, and there is nothing beautiful that is false.
I am very glad of that experience of Italian literature, which I look back upon as altogether wholesome and sanative, after my excesses of Heine. No doubt it was all a minor affair as compared with equal knowledge of French literature, and so far it was a loss of time. It is idle to dispute the general positions of criticism, and there is no useful gainsaying its judgment that French literature is a major literature and Italian a minor literature in this century; but whether this verdict will stand for all time, there may be a reasonable doubt. Criterions may change, and hereafter people may look at the whole affair so differently that a literature which went to the making of a people will not be accounted a minor literature, but will take its place with the great literary movements.
I do not insist upon this possibility, and I am far from defending myself for liking the comedies of Goldoni better than the comedies of Moliere, upon purely aesthetic grounds, where there is no question as to the artistic quality. Perhaps it is because I came to Moliere's comedies later, and with my taste formed for those of Goldoni; but again, it is here a matter of affection; I find Goldoni for me more sympathetic, and because he is more sympathetic I cannot do otherwise than find him more natural, more true. I will allow that this is vulnerable, and as I say, I do not defend it. Moliere has a place in literature infinitely loftier than Goldoni's; and he has supplied types, characters, phrases, to the currency of thought, and Goldoni has supplied none. It is, therefore, without reason which I can allege that I enjoy Goldoni more. I am perfectly willing to be rated low for my preference, and yet I think that if it had been Goldoni's luck to have had the great age of a mighty monarchy for his scene, instead of the decline of an outworn republic, his place in literature might have been different.
I have always had a great love for the absolutely unreal, the purely fanciful in all the arts, as well as of the absolutely real; I like the one on a far lower plane than the other, but it delights me, as a pantomime at a theatre does, or a comic opera, which has its being wholly outside the realm of the probabilities. When I once transport myself to this sphere I have no longer any care for them, and if I could I would not exact of them an allegiance which has no concern with them. For this reason I have always vastly enjoyed the artificialities of pastoral poetry; and in Venice I read with a pleasure few serious poems have given me the "Pastor Fido" of Guarini. I came later but not with fainter zest to the "Aminta" of Tasso, without which, perhaps, the "Pastor Fido" would not have been, and I revelled in the pretty impossibilities of both these charming effects of the liberated imagination.
I do not the least condemn that sort of thing; one does not live by sweets, unless one is willing to spoil one's digestion; but one may now and then indulge one's self without harm, and a sugar-plum or two after dinner may even be of advantage. What I object to is the romantic thing which asks to be accepted with all its fantasticality on the ground of reality; that seems to me hopelessly bad. But I have been able to dwell in their charming out-land or no-land with the shepherds and shepherdesses and nymphs, satyrs, and fauns, of Tasso and Guarini, and I take the finest pleasure in their company, their Dresden china loves and sorrows, their airy raptures, their painless throes, their polite anguish, their tears not the least salt, but flowing as sweet as the purling streams of their enamelled meadows. I wish there were more of that sort of writing; I should like very much to read it.
The greater part of my reading in Venice, when I began to find that I could not help writing about the place, was in books relating to its life and history, which I made use of rather than found pleasure in. My studies in Italian literature were full of the most charming interest, and if I had to read a good many books for conscience' sake, there were a good many others I read for their own sake. They were chiefly poetry; and after the first essays in which I tasted the classic poets, they were chiefly the books of the modern poets.
For the present I went no farther in German literature, and I recurred to it in later years only for deeper and fuller knowledge of Heine; my Spanish was ignored, as all first loves are when one has reached the age of twenty-six. My English reading was almost wholly in the Tauchnitz editions, for otherwise English books were not easily come at then and there. George Eliot's 'Romola' was then new, and I read it again and again with the sense of moral enlargement which the first fiction to conceive of the true nature of evil gave all of us who were young in that day. Tito Malema was not only a lesson, he was a revelation, and I trembled before him as in the presence of a warning and a message from the only veritable perdition. His life, in which so much that was good was mixed, with so much that was bad, lighted up the whole domain of egotism with its glare, and made one feel how near the best and the worst were to each other, and how they sometimes touched without absolute division in texture and color. The book was undoubtedly a favorite of mine, and I did not see then the artistic falterings in it which were afterwards evident to me.
There were not Romolas to read all the time, though, and I had to devolve upon inferior authors for my fiction the greater part of the time. Of course, I kept up with 'Our Mutual Friend,' which Dickens was then writing, and with 'Philip,' which was to be the last of Thackeray. I was not yet sufficiently instructed to appreciate Trollope, and I did not read him at all.
I got hold of Kingsley, and read 'Yeast,' and I think some other novels of his, with great relish, and without sensibility to his Charles Readeish lapses from his art into the material of his art. But of all the minor fiction that I read at this time none impressed me so much as three books which had then already had their vogue, and which I knew somewhat from reviews. They were Paul Ferroll, 'Why Paul Ferroll Killed His Wife,' and 'Day after Day.' The first two were, of course, related to each other, and they were all three full of unwholesome force. As to their aesthetic merit I will not say anything, for I have not looked at either of the books for thirty years. I fancy, however, that their strength was rather of the tetanic than the titanic sort. They made your sympathies go with the hero, who deliberately puts his wife to death for the lie she told to break off his marriage with the woman he had loved, and who then marries this tender and gentle girl, and lives in great happiness with her till her death. Murder in the first degree is flattered by his fate up to the point of letting him die peacefully in Boston after these dealings of his in England; and altogether his story could not be commended to people with a morbid taste for bloodshed. Naturally enough the books were written by a perfectly good woman, the wife of an English clergyman, whose friends were greatly scandalized by them. As a sort of atonement she wrote 'Day after Day,' the story of a dismal and joyless orphan, who dies to the sound of angelic music, faint and farheard, filling the whole chamber. A carefuller study of the phenomenon reveals the fact that the seraphic strains are produced by the steam escaping from the hot-water bottles at the feet of the invalid.
As usual, I am not able fully to account for my liking of these books, and I am so far from wishing to justify it that I think I ought rather to excuse it. But since I was really greatly fascinated with them, and read them with an evergrowing fascination, the only honest thing to do is to own my subjection to them. It would be an interesting and important question for criticism to study, that question why certain books at a. certain time greatly dominate our fancy, and others manifestly better have no influence with us. A curious proof of the subtlety of these Paul Ferroll books in the appeal they made to the imagination is the fact that I came to them fresh from 'Romolo,' and full of horror for myself in Tito; yet I sympathized throughout with Paul Ferroll, and was glad when he got away.
On my return to America, my literary life immediately took such form that most of my reading was done for review. I wrote at first a good many of the lighter criticisms in 'The Nation', at New York, and after I went to Boston to become the assistant editor of the 'Atlantic Monthly' I wrote the literary notices in that periodical for four or five years.
It was only when I came into full charge of the magazine that I began to share these labors with others, and I continued them in some measure as long as I had any relation to it. My reading for reading's sake, as I had hitherto done it, was at an end, and I read primarily for the sake of writing about the book in hand, and secondarily for the pleasure it might give me. This was always considerable, and sometimes so great that I forgot the critic in it, and read on and on for pleasure. I was master to review this book or that as I chose, and generally I reviewed only books I liked to read, though sometimes I felt that I ought to do a book, and did it from a sense of duty; these perfunctory criticisms I do not think were very useful, but I tried to make them honest.
In a long sickness, which I had shortly after I went to live in Cambridge, a friend brought me several of the stories of Erckmann- Chatrian, whom people were then reading much more than they are now, I believe; and I had a great joy in them, which I have renewed since as often as I have read one of their books. They have much the same quality of simple and sincerely moralized realism that I found afterwards in the work of the early Swiss realist, Jeremias Gotthelf, and very likely it was this that captivated my judgment. As for my affections, battered and exhausted as they ought to have been in many literary passions, they never went out with fresher enjoyment than they did to the charming story of 'L'Ami Fritz,' which, when I merely name it, breathes the spring sun and air about me, and fills my senses with the beauty and sweetness of cherry blossoms. It is one of the loveliest and kindest books that ever was written, and my heart belongs to it still; to be sure it belongs to several hundreds of other books in equal entirety.
It belongs to all the books of the great Norwegian Bjorstjerne Bjornson, whose 'Arne,' and whose 'Happy Boy,' and whose 'Fisher Maiden' I read in this same fortunate sickness. I have since read every other book of his that I could lay hands on: 'Sinnove Solbakken,' and 'Magnhild,' and 'Captain Manzanca,' and 'Dust,' and 'In God's Ways,' and 'Sigurd,' and plays like "The Glove" and "The Bankrupt." He has never, as some authors have, dwindled in my sense; when I open his page, there I find him as large, and free, and bold as ever. He is a great talent, a clear conscience, a beautiful art. He has my love not only because he is a poet of the most exquisite verity, but because he is a lover of men, with a faith in them such as can move mountains of ignorance, and dulness, and greed. He is next to Tolstoy in his willingness to give himself for his kind; if he would rather give himself in fighting than in suffering wrong, I do not know that his self-sacrifice is less in degree.
I confess, however, that I do not think of him as a patriot and a socialist when I read him; he is then purely a poet, whose gift holds me rapt above the world where I have left my troublesome and wearisome self for the time. I do not know of any novels that a young endeavorer in fiction could more profitably read than his for their large and simple method, their trust of the reader's intelligence, their sympathy with life. With him the problems are all soluble by the enlightened and regenerate will; there is no baffling Fate, but a helping God. In Bjornson there is nothing of Ibsen's scornful despair, nothing of his anarchistic contempt, but his art is full of the warmth and color of a poetic soul, with no touch of the icy cynicism which freezes you in the other. I have felt the cold fascination of Ibsen, too, and I should be far from denying his mighty mastery, but he has never possessed me with the delight that Bjornson has.
In those days I read not only all the new books, but I made many forays into the past, and came back now and then with rich spoil, though I confess that for the most part I had my trouble for my pains; and I wish now that I had given the time I spent on the English classics to contemporary literature, which I have not the least hesitation in saying I like vastly better. In fact, I believe that the preference for the literature of the past, except in the case of the greatest masters, is mainly the affectation of people who cannot otherwise distinguish themselves from the herd, and who wish very much to do so.
There is much to be learned from the minor novelists and poets of the past about people's ways of thinking and feeling, but not much that the masters do not give you in better quality and fuller measure; and I should say, Read the old masters and let their schools go, rather than neglect any possible master of your own time. Above all, I would not have any one read an old author merely that he might not be ignorant of him; that is most beggarly, and no good can come of it. When literature becomes a duty it ceases to be a passion, and all the schoolmastering in the world, solemnly addressed to the conscience, cannot make the fact otherwise. It is well to read for the sake of knowing a certain ground if you are to make use of your knowledge in a certain way, but it would be a mistake to suppose that this is a love of literature.
In those years at Cambridge my most notable literary experience without doubt was the knowledge of Tourguenief's novels, which began to be recognized in all their greatness about the middle seventies. I think they made their way with such of our public as were able to appreciate them before they were accepted in England; but that does not matter. It is enough for the present purpose that 'Smoke,' and 'Lisa,' and 'On the Eve,' and 'Dimitri Roudine,' and 'Spring Floods,' passed one after another through my hands, and that I formed for their author one of the profoundest literary passions of my life.
I now think that there is a finer and truer method than his, but in its way, Tourguenief's method is as far as art can go. That is to say, his fiction is to the last degree dramatic. The persons are sparely described, and briefly accounted for, and then they are left to transact their affair, whatever it is, with the least possible comment or explanation from the author. The effect flows naturally from their characters, and when they have done or said a thing you conjecture why as unerringly as you would if they were people whom you knew outside of a book. I had already conceived of the possibility of this from Bjornson, who practises the same method, but I was still too sunken in the gross darkness of English fiction to rise to a full consciousness of its excellence. When I remembered the deliberate and impertinent moralizing of Thackeray, the clumsy exegesis of George Eliot, the knowing nods and winks of Charles Reade, the stage-carpentering and limelighting of Dickens, even the fine and important analysis of Hawthorne, it was with a joyful astonishment that I realized the great art of Tourguenief.
Here was a master who was apparently not trying to work out a plot, who was not even trying to work out a character, but was standing aside from the whole affair, and letting the characters work the plot out. The method was revealed perfectly in 'Smoke,' but each successive book of his that I read was a fresh proof of its truth, a revelation of its transcendent superiority. I think now that I exaggerated its value somewhat; but this was inevitable in the first surprise. The sane aesthetics of the first Russian author I read, however, have seemed more and more an essential part of the sane ethics of all the Russians I have read. It was not only that Tourguenief had painted life truly, but that he had painted it conscientiously.
Tourguenief was of that great race which has more than any other fully and freely uttered human nature, without either false pride or false shame in its nakedness. His themes were oftenest those of the French novelist, but how far he was from handling them in the French manner and with the French spirit! In his hands sin suffered no dramatic punishment; it did not always show itself as unhappiness, in the personal sense, but it was always unrest, and without the hope of peace. If the end did not appear, the fact that it must be miserable always appeared. Life showed itself to me in different colors after I had once read Tourguenief; it became more serious, more awful, and with mystical responsibilities I had not known before. My gay American horizons were bathed in the vast melancholy of the Slav, patient, agnostic, trustful. At the same time nature revealed herself to me through him with an intimacy she had not hitherto shown me. There are passages in this wonderful writer alive with a truth that seems drawn from the reader's own knowledge; who else but Tourguenief and one's own most secret self ever felt all the rich, sad meaning of the night air drawing in at the open window, of the fires burning in the darkness on the distant fields? I try in vain to give some notion of the subtle sympathy with nature which scarcely put itself into words with him. As for the people of his fiction, though they were of orders and civilizations so remote from my experience, they were of the eternal human types whose origin and potentialities every one may find in his own heart, and I felt their verity in every touch.
I cannot describe the satisfaction his work gave me; I can only impart some sense of it, perhaps, by saying that it was like a happiness I had been waiting for all my life, and now that it had come, I was richly content forever. I do not mean to say that the art of Tourguenief surpasses the art of Bjornson; I think Bjornson is quite as fine and true. But the Norwegian deals with simple and primitive circumstances for the most part, and always with a small world; and the Russian has to do with human nature inside of its conventional shells, and his scene is often as large as Europe. Even when it is as remote as Norway, it is still related to the great capitals by the history if not the actuality of the characters. Most of Tourguenief's books I have read many times over, all of them I have read more than twice. For a number of years I read them again and again without much caring for other fiction. It was only the other day that I read Smoke through once more, with no diminished sense of its truth, but with somewhat less than my first satisfaction in its art. Perhaps this was because I had reached the point through my acquaintance with Tolstoy where I was impatient even of the artifice that hid itself. In 'Smoke' I was now aware of an artifice that kept out of sight, but was still always present somewhere, invisibly operating the story.
I must not fail to own the great pleasure that I have had in some of the stories of Auerbach. It is true that I have never cared greatly for 'On the Heights,' which in its dealing with royalties seems too far aloof from the ordinary human life, and which on the moral side finally fades out into a German mistiness. But I speak of it with the imperfect knowledge of one who was never able to read it quite through, and I have really no right to speak of it. The book of his that pleased me most was 'Edelweiss,' which, though the story was somewhat too catastrophical, seemed to me admirably good and true. I still think it very delicately done, and with a deep insight; but there is something in all Auerbach's work which in the retrospect affects me as if it dealt with pigmies.