work of the New England school, and in all the work of the formal schools that derive from it. One observes in such a fellow as Dr. Henry Van Dyke an excellent specimen of the whole clan. He is, in his way, a genuine artist. He has a hand for pretty verses. He wields a facile rhetoric. He shows, in indiscreet moments, a touch of imagination. But all the while he remains a sound Presbyterian, with one eye on the devil. He is a Presbyterian first and an artist second, which is just as comfortable as trying to be a Presbyterian first and a chorus girl second. To such a man it must inevitably appear that a Molière, a Wagner, a Goethe or a Shakespeare was more than a little bawdy.
The criticism that supports this decaying caste of literary Brahmins is grounded almost entirely upon ethical criteria. You will spend a long while going through the works of such typical professors as More, Phelps, Boynton, Burton, Perry, Brownell and Babbitt before ever you encounter a purely æsthetic judgment upon an æsthetic question. It is almost as if a man estimating daffodils should do it in terms of artichokes. Phelps' whole body of "we church-goers" criticism—the most catholic and tolerant, it may be said in passing, that the faculty can show—consists chiefly of a plea for correctness, and particularly for moral correctness; he never gets very far from "the axiom of the moral law." Brownell argues eloquently for standards that would bind an imaginative author as tightly as a Sunday-school super-intendent is bound by the Ten Commandments and the Mann Act. Sherman tries to save Shakespeare for the right-thinking by proving that he was an Iowa Methodist—a member of his local Chamber of Commerce, a contemner of Reds, an advocate of democracy and the League of Nations, a patriotic dollar-a-year-man during the Armada scare. Elmer More devotes himself, year in and year out, to denouncing the Romantic movement, i.e., the effort to emancipate the artist from formulæ and categories, and so make him free to dance with arms and legs. And Babbitt, to make an end, gives over his days and his nights to deploring Rousseau's anarchistic abrogation of "the veto power" over the imagination, leading to such "wrongness" in both art and life that it threatens "to wreck civilization." In brief, the alarms of schoolmasters. Not many of them deal specifically with the literature that is in being. It is too near to be quite nice. To More or Babbitt only death can atone for the primary offense of the artist. But what they preach nevertheless has its echoes contemporaneously, and those echoes, in the main, are woefully falsetto. I often wonder what sort of picture of These States is conjured up by foreigners who read, say, Crothers, Van Dyke, Babbitt, the later Winston Churchill, and the old maids of the Freudian suppression school. How can such a foreigner, moving in those damp, asthmatic mists, imagine such phenomena as Roosevelt, Billy Sunday, Bryan, the Becker case, the I. W. W., Newport, Palm Beach, the University of Chicago, Chicago itself—the whole, gross, glittering, excessively dynamic, infinitely grotesque, incredibly stupendous drama of American life?
As I have said, it is not often that the ordentlichen Professoren deign to notice contemporary writers, even of their own austere kidney. In all the Shelburne Essays there is none on Howells, or on Churchill, or on Mrs. Wharton; More seems to think of American literature as expiring with Longfellow and Donald G. Mitchell. He has himself hinted that in the department of criticism of criticism there enters into the matter something beyond mere aloof ignorance. "I soon learned (as editor of the pre-Bolshevik Nation)," he says, "that it was virtually impossible to get fair consideration for a book written by a scholar not connected with a university from a reviewer so connected." This class consciousness, however, should not apply to artists, who are admittedly inferior to professors, and it surely does not show itself in such men as Phelps and Spingarn, who seem to be very eager to prove that they are not professorial. Yet Phelps, in the course of a long work on the novel, pointedly omits all mention of such men as Dreiser, and Spingarn, as the aforesaid Brooks has said, "appears to be less inclined even than the critics with whom he is theoretically at war to play an active, public part in the secular conflict of darkness and light." When one comes to the Privat-Dozenten there is less remoteness, but what takes the place of it is almost as saddening. To Sherman and Percy Boynton the one aim of criticism seems to be the enforcement of correctness—in Emerson's phrase, the upholding of "some great decorum, some fetish of a government, some ephemeral trade, or war, or man"—e.g., Puritanism, democracy, monogamy, the League of Nations, the Wilsonian piffle. Even among the critics who escape the worst of this schoolmastering frenzy there is some touch of the heavy "culture" of the provincial schoolma'm. For example, consider Clayton Hamilton, M.A., vice-president of the National Institute of Arts and Letters. Here are the tests he proposes for dramatic critics, i.e., for gentlemen chiefly employed in reviewing such characteristic American compositions as the Ziegfeld Follies, "Up in Mabel's Room," "Ben-Hur" and "The Witching Hour":
1. Have you ever stood bareheaded in the nave of Amiens?
2. Have you ever climbed to the Acropolis by moonlight?
3. Have you ever walked with whispers into the hushed presence of the Frari Madonna of Bellini?
What could more brilliantly evoke an image of the eternal Miss Birch, blue veil flying and Baedeker in hand, plodding along faithfully through the interminable corridors and catacombs of the Louvre, the while bands are playing across the river, and young bucks in three-gallon hats are sparking the gals, and the Jews and harlots uphold the traditions of French hig leef at Longchamps, and American deacons are frisked and debauched up on martyrs' hill? The banality of it is really too exquisite to be borne; the lack of humor is almost that of a Fifth avenue divine. One seldom finds in the pronunciamentoes of these dogged professors, indeed, any trace of either Attic or Gallic salt. When they essay to be jocose, the result is usually simply an elephantine whimsicality, by the chautauqua out of the Atlantic Monthly. Their satire is mere ill-nature. One finds it difficult to believe that they have ever read Lewes, or Hazlitt, or, above all, Saintsbury. I often wonder, in fact, how Saintsbury would fare, an unknown man, at the hands of, say, Brownell or More. What of his iconoclastic gayety, his boyish weakness for tweaking noses and pulling whiskers, his obscene delight in slang? …
4
The Ferment Underground
So much for the top layer. The bottom layer is given over to the literature of Greenwich Village, and by Greenwich Village, of course, I mean the whole of the advanced wing in letters, whatever the scene of its solemn declarations of independence and forlorn hopes. Miss Amy Lowell is herself a fully-equipped and automobile Greenwich Village, domiciled in Boston amid the crumbling gravestones of the New England intelligentsia, but often in waspish joy-ride through the hinterland. Vachel Lindsay, with his pilgrim's staff, is another. There is a third in Chicago, with Poetry: A Magazine of Verse as its Exhibit A; it is, in fact, the senior of the Village fornenst Washington Square. Others you will find in far-flung factory towns, wherever there is a Little Theater, and a couple of local Synges and Chekovs to supply its stage. St. Louis, before Zoë Akins took flight, had the busiest of all these Greenwiches, and the most interesting. What lies under the whole movement is the natural revolt of youth against the pedagogical Prussianism of the professors. The oppression is extreme, and so the rebellion is extreme. Imagine a sentimental young man of the provinces, awaking one morning to the somewhat startling discovery that he is full of the divine afflatus, and nominated by the hierarchy of hell to enrich the literature of his fatherland. He seeks counsel and aid. He finds, on consulting the official treatises on that literature, that its greatest poet was Longfellow. He is warned, reading More and Babbitt, that the literatus who lets feeling get into his compositions is a psychic fornicator, and under German influences. He has formal notice from Sherman that Puritanism is the lawful philosophy of the country, and that any dissent from it is treason. He gets the news, plowing through the New York Times Book Review, the Nation (so far to the left in its politics, but hugging the right so desperately in letters!) the Bookman, the Atlantic and the rest, that the salient artists of the living generation are such masters as Robert Underwood Johnson, Owen Wister, James Lane Allen, George E. Woodberry, Hamlin Garland, William Roscoe Thayer and Augustus Thomas, with polite bows to Margaret Deland, Mary Johnston and Ellen Glasgow. It slowly dawns upon him that Robert W. Chambers is an academician and Theodore Dreiser isn't, that Brian Hooker is and George Sterling isn't,
