nor a preacher, nor an advocate. Not even a professor, strictly speaking. Just a man from America who is trying to make you feel the real spirit of his country, first in her life, then in her literature. I should be glad if in the end you might be able to modify the ancient proverb a little and say, Tout comprendre, c’est un peu aimer.
II
SELF-RELIANCE AND THE REPUBLIC
II
SELF-RELIANCE AND THE REPUBLIC
The other day I came upon a new book with a title which seemed to take a good ideal for granted: The New American Type.
The author began with a description of a recent exhibition of portraits in New York, including pictures of the eighteenth, nineteenth, and twentieth centuries. He was impressed with the idea that “an astonishing change had taken place in men and women between the time of President Washington and President McKinley; bodies, faces, thoughts, had all been transformed. One short stairway from the portraits of Reynolds to those of Sargent ushered in changes as if it had stretched from the first Pharaoh to the last Ptolemy.” From this interesting text the author went on into an acute and sparkling discussion of the different pictures and the personalities whom they presented, and so into an attempt to define the new type of American character which he inferred from the modern portraits.
Now it had been my good fortune, only a little while before, to see another exhibition of pictures which made upon my mind a directly contrary impression. This was not a collection of paintings, but a show of living pictures: a Twelfth Night celebration, in costume, at the Century Club in New York. Four or five hundred of the best-known and most influential men in the metropolis of America had arrayed themselves in the habiliments of various lands and ages for an evening of fun and frolic. There were travellers and explorers who had brought home the robes of the Orient. There were men of exuberant fancy who had made themselves up as Roman senators or Spanish toreadors or Provençal troubadours. But most of the costumes were English or Dutch or French of the seventeenth and eighteenth centuries. The astonishing thing was that the men who wore them might easily have been taken for their own grandfathers or great-grandfathers.
There was a Puritan who might have fled from the oppressions of Archbishop Laud, a Cavalier who might have sought a refuge from the severities of Cromwell’s Parliament, a Huguenot who might have escaped from the pressing attentions of Louis XIV in the Dragonnades, a Dutch burgher who might have sailed from Amsterdam in the Goede Vrouw. There were soldiers of the Colonial army and members of the Continental Congress who might have been painted by Copley or Stuart or Trumbull or Peale.
The types of the faces were not essentially different. There was the same strength of bony structure, the same firmness of outline, the same expression of self-reliance, varying from the tranquillity of the quiet temperament to the turbulence of the stormy temperament. They looked like men who were able to take care of themselves, who knew what they wanted, and who would be likely to get it. They had the veritable air and expression of their ancestors of one or two hundred years ago. And yet, as a matter of fact, they were intensely modern Americans, typical New Yorkers of the twentieth century.
Reflecting upon this interesting and rather pleasant experience, I was convinced that the author of The New American Type had allowed his imagination to run away with his judgment. No such general and fundamental change as he describes has really taken place. There have been modifications and developments and degenerations, of course, under the new conditions and influences of modern life. There have been also great changes of fashion and dress—the wearing of mustaches and beards—the discarding of wigs and ruffles—the sacrifice of a somewhat fantastic elegance to a rather monotonous comfort in the ordinary costume of men. These things have confused and misled my ingenious author.
He has been bewildered also by the alteration in the methods of portraiture. He has mistaken a change in the art of the painters for a change in the character of their subjects. It is a well-known fact that something comes into a portrait from the place and the manner in which it is made. I have a collection of pictures of Charles Dickens, and it is interesting to observe how the Scotch ones make him look a little like a Scotchman, and the London ones make him look intensely English, and the American ones give him a touch of Broadway in 1845, and the photographs made in Paris have an unmistakable suggestion of the Boulevards. There is a great difference between the spirit and method of Reynolds, Hoppner, Latour, Vanloo, and those of Sargent, Holl, Duran, Bonnat, Alexander, and Zorn. It is this difference that helps to conceal the essential likeness of their sitters.
I was intimately acquainted with Benjamin Franklin’s great-grandson, a surgeon in the American navy. Put a fur cap and knee breeches on him, and he might easily have sat for his great-grandfather’s portrait. In character there was a still closer resemblance. You can see the same faces at any banquet in New York to-day that Rembrandt has depicted in his “Night-Watch,” or Franz Hals in his “Banquet of the Civic Guard.”
But there is something which interests me even more than this persistence of visible ancestral features in the Americans of to-day. It is the continuance from generation to generation of the main lines, the essential elements, of that American character which came into being on the Western continent.
It is commonly assumed that this character is composite, that the people who inhabit America are a mosaic, made up of fragments brought from various lands and put together rather at haphazard and in a curious pattern. This assumption misses the inward verity by dwelling too much upon the outward fact.
Undoubtedly there were large and striking differences between the grave and strict Puritans who peopled the shores of Massachusetts Bay, the pleasure-loving Cavaliers who made their tobacco plantations in Virginia, the liberal and comfortable Hollanders who took possession of the lands along the Hudson, the skilful and industrious Frenchmen who came from old Rochelle to New Rochelle, the peaceful and prudent Quakers who followed William Penn, the stolid Germans of the Rhine who made their farms along the Susquehanna, the vigorous and aggressive Scotch-Irish Presbyterians who became the pioneers of western Pennsylvania and North Carolina, the tolerant Catholics who fled from English persecution to Lord Baltimore’s Maryland. But these outward differences of speech, of dress, of habits, of tradition, were, after all, of less practical consequence than the inward resemblances and sympathies of spirit which brought these men of different stocks together as one people.
They were not a composite people, but a blended people. They became in large measure conscious of the same aims, loyal to the same ideals, and capable of fighting and working together as Americans to achieve their destiny.
I suppose that the natural process of intermarriage played an important part in this blending of races. This is an affair to which the conditions of life in a new country, on the frontiers of civilization, are peculiarly favourable. Love flourishes when there are no locksmiths. In a community of exiles the inclinations of the young men towards the young women easily overstep the barriers of language and descent. Quite naturally the English and Scotch were united with the Dutch and French in the holy state of matrimony, and the mothers had as much to do as the fathers with the character-building of the children.
But apart from this natural process of combination there were other influences at work bringing the colonists into unity. There was the pressure of a common necessity—the necessity of taking care of themselves, of making their own living in a hard, new world. There was the pressure of a common danger—the danger from the fierce and treacherous savages who surrounded them and continually threatened them with pillage and slaughter. There was the pressure of a common discipline—the discipline of building up an organized industry, a civilized community
