Literary Boston As I Knew It | Page 5

more constant contributors to the Atlantic whom I have
mentioned, it is of course known that Longfellow and Lowell lived in
Cambridge, Emerson at Concord, and Whittier at Amesbury. Colonel
Higginson was still and for many years afterwards at Newport; Mrs.

Stowe was then at Andover; Miss Prescott of Newburyport had become
Mrs. Spofford, and was presently in Boston, where her husband was a
member of the General Court; Mrs. Phelps Ward, as Miss Elizabeth
Stuart Phelps, dwelt in her father's house at Andover. The chief of the
Bostonians were Mrs. Julia Ward Howe, Doctor Holmes, and Doctor
Hale. Yet Boston stood for the whole Massachusetts group, and
Massachusetts, in the literary impulse, meant New England. I suppose
we must all allow, whether we like to do so or not, that the impulse
seems now to have pretty well spent itself. Certainly the city of Boston
has distinctly waned in literature, though it has waxed in wealth and
population. I do not think there are in Boston to-day even so many
talents with a literary coloring in law, science, theology, and journalism
as there were formerly; though I have no belief that the Boston talents
are fewer or feebler than before. I arrived in Boston, however, when all
talents had more or less a literary coloring, and when the greatest
talents were literary. These expressed with ripened fulness a
civilization conceived in faith and brought forth in good works; but that
moment of maturity was the beginning of a decadence which could
only show itself much later. New England has ceased to be a nation in
itself, and it will perhaps never again have anything like a national
literature; but that was something like a national literature; and it will
probably be centuries yet before the life of the whole country, the
American life as distinguished from the New England life, shall have
anything so like a national literature. It will be long before our larger
life interprets itself in such imagination as Hawthorne's, such wisdom
as Emerson's, such poetry as Longfellow's, such prophecy as Whittier's,
such wit and grace as Holmes's, such humor and humanity as Lowell's.
The literature of those great men was, if I may suffer myself the figure,
the Socinian graft of a Calvinist stock. Their faith, in its varied shades,
was Unitarian, but their art was Puritan. So far as it was imperfect--and
great and beautiful as it was, I think it had its imperfections--it was
marred by the intense ethicism that pervaded the New England mind
for two hundred years, and that still characterizes it. They or their
fathers had broken away from orthodoxy in the great schism at the
beginning of the century, but, as if their heterodoxy were
conscience-stricken, they still helplessly pointed the moral in all they
did; some pointed it more directly, some less directly; but they all

pointed it. I should be far from blaming them for their ethical intention,
though I think they felt their vocation as prophets too much for their
good as poets. Sometimes they sacrificed the song to the sermon,
though not always, nor nearly always. It was in poetry and in romance
that they excelled; in the novel, so far as they attempted it, they failed. I
say this with the names of all the Bostonian group, and those they
influenced, in mind, and with a full sense of their greatness. It may be
ungracious to say that they have left no heirs to their peculiar greatness;
but it would be foolish to say that they left an estate where they had
none to bequeath. One cannot take account of such a fantasy as Judd's
Margaret. The only New-Englander who has attempted the novel on a
scale proportioned to the work of the New-Englanders in philosophy, in
poetry, in romance, is Mr. De Forest, who is of New Haven, and not of
Boston. I do not forget the fictions of Doctor Holmes, or the vivid
inventions of Doctor Hale, but I do not call them novels; and I do not
forget the exquisitely realistic art of Miss Jewett or Miss Wilkins,
which is free from the ethicism of the great New England group, but
which has hardly the novelists's scope. New England, in Hawthorne's
work, achieved supremacy in romance; but the romance is always an
allegory, and the novel is a picture in which the truth to life is suffered
to do its unsermonized office for conduct; and New England yet lacks
her novelist, because it was her instinct and her conscience in fiction to
be true to an ideal of life rather than to life itself.
Even when we come to the exception that proves the rule, even to such
a signal exception as 'Uncle Tom's Cabin', I think that what I say holds
true.