The times. [volume] (Richmond, Va.) 1890-1903, 1891-03-22
OUR LITERARY BUDGET.
contributions From THE FIELD
or LITERATURE.


Our Native Authors-wbat is Wanted in
the Works OF American Writers.
The novelists Of the Old and the New Worlds
nave done a much as steam and telegraphy 20
foster kindly feelings between kindred peO-
pies. They have proved more efficient guar
dams Of the peace than a score Of presidents
OF prcmiers. This fact alone justifcs a study
Of American fiction. But when, in addition 20
this II is remembered that American novels
circulate as widely in this country as the pro-
auctions of native authors. no apology is
needed for an attempt 20 sketch the growth Of
fictitious literature in the New World its
present conditions, and apparent tendencies.
American fiction is not vet a century old. Its
sudden growth in n new but highly civilized
country naturally presents features different
from those which mark its gradual rise IN an
old country IL is often said that American
n0velists are necessarily realistic. analytical
nnd anatomical. because they have lit
tie historical background no silent class
distinctions and civilization which
IS essentially unitarian in lts nature
The fact that American novellsts mainly de-
vote themselves 90 the portraiture # every
day characters, or 10 photographs of contem-
pOrary life is tine. Their works are deficient
H. creative power. and triviality is their curse
but the explanation seems 10 us inadequate.
America Las q history Of q stirring kind
neither too remote for interest nor too recent
for romance. She still possesses provincial
isms which no plane OF society has levelled 10
uniformity From the days of Poor Richard"
"A mastcTful practically has reigned supreme
in the New World Labor-saving automatic
have supplanted the finer things Of life the
prevalent mania Is the pursuit of mammon
success Is measured by money. But,
If the body has outgrown the soul.
America only exaggerates the conditions
and the standards Of the Old World. Some
other reason must be found for the want of
creative power depth. passion and richness
which characterlzes American fiction. The
explanation partly lies. as we believe, IN the
mental and physical deficiencies Of the Amer
lean nation. The nervous effects OF the rapid
ity with which men and women live IN the
New World are acCentuated by influences Of
climate. A certain delcacy Of feature, grace
Of movement, neatness of pose, distinguish
both the mental and the physical products Of
the country. Its literature, like its beauty
belongs TO nervous, highly strung
keeuly susceptible organizations. Aner-
can artists are deXtrOus IN man
sgement of lights and shades; they dispose
sketches upon the canvas with the cleverness
Of French masters. American poets call up
graceful images in graceful words, and invest
common.ife with M air of refinement. Ameri-
can thought Is apt 70 be superficial. Their
thinkers rarely think a thing out, they are
suggestive rather than fOrcible; they play
with their difficulties as cats play with mice
tcy rarely grappie with problems and
squeeze from them their life Their theO-
l0gaus cNpatlate on creeds which are net
works Of d0gmatc mysticism, or compounds
Of Puritanism with transcendental sentiment.
Americans have produced no plays which
deserve the name and in power of dramatic
invention they are deficient. Few writers
devote themselves 10 letters as their sole
vocation with the self-devOtiOn by which
alone the highest literary work IS pro-
duced. These national characteristics mark
che products II American novehsts. In Eng
land, the same currents are flowing with
alarming rapidty. Inthe stress and strain Of
9fe. Enghshmcn also are losing their sOhdlty,
their repOse. their reserved strength, both Of
mind and body. England is growing Ameri-
canned, and the similarly between the two
nations Is, IN our opinion, becoming daily
more marked. Grace. freshness, quickness of
perception. are the gifts of the best American
novelties. But, rs a rule, these gifts are coun-
terbalanced by m'tauOns which are rs much
physical IS intellectual; strength, depth, rich
ness, pathOs are wanting. In rs eXtravagnt,
OF initiative stages American fiction retained
the verdaucy If youth At the close OF the
civil war u passed with "a bound into
literature of old age The times have been
against America SO far as the highest work #
matured intellectual power is concerned
New England, at least. has entered too soon
upon an Alexandrian era Of keen criticism and
feeble production. IL IS to these conditions
that attribute the special characteristics OF
American fiction. American nOyelists excel
In short stories. Theirs is the gift of repre-
senbng episodes, incidents, phases. not the
power of constructing well-compactng plots
or creating composite characters Their
strength lies IN aleTtness of observation and
acuteness of analytical perception. In simple
outline sketches. the Quickness with which
salient peculianties are seized, gives the
figures vitality. In more finished pictures,
especially IN the higher scales of human
ity, creative sympathy Is more valuable
than subtlcty Of analysis or rapidlty Of
perception. Elaborate portraits. painted by
American nOvclsts. may arrest attention by
scientific drawing If muscles. yet they are
little more than hfelcss mechanisms The
artist must give something of his own, OF the
features necessarily remain wooden. Except
keen observation, felicity Of expression, and
technical skill, American nOvehsts con-
tribute little or nothing 10 their lay-fgures.
Too artistic 10 attempt anything beyond their
powers, they rarely approach great subjects
OF great characters. II they make the effort,
the passion Is usually melodramatic- other
words, unreal. the pathos Is forced, because il
Is artificial. the sentiment il pitched beyond
heir strength, and therefore exaggerated !
Consequently they restrict themselves TO |
ranges Of feeling which lie uniformly low, and |
graphic.-Ednburgh Review for January.
The Responsibility of Authors.
It is difficult enough to keep the world |
straight without the interposition of fiction. |
But the conduct Of the novelists and the |
painters make tho task Of the conseryators Of |
society doubly perplexing. Neither hewriters |
noT the artists have a due sense Of the re-
probabilities Of their creations. The trouble
appears 10 arise from the imitGtiveness of the
race. Nature herself seems readily 10 fall |
into imitation. IL was noticed by the friends
Of nature that when the peculiar cOal-tar
oolors were discovered the same faded. Gs-
ihetlc, and sometimes sickly colors began to
appear IN the ornamental flower beds and
masses Of foliage plants. IL was hardly fancy
hat the flowers took the colors of the ribbons
md stuhs Of the looms. and that at the same
Instant nature and art were sickled DER
with the same pale hues Of fashion. If
his relation Of nature and art Is too
subtle for comprehension, there i nothing
auciful in the influence of the char
ietcrs IN fiction upon social manners and
morals. To convince ourselves Of this. we do
lot need 10 recall the effect Of "Werther," Of
Childe Harold" and of Don Juan, ." and
he imitation Of their sentimentality, misan-
hropy. and adventure, down 10 the copying
. Tho - "a paaa of tho 1o,eolv LpntfaI r.cL |