All this about the Victorian group is meant to be very familiar to any who are fresh from the reading of literature. They are great names, and they have differences as wide as the poles; but they have this in common, that they have drunk lightly or deeply from the same fountain; they have drawn from it ideas, allusions, literary style. Each of them has weakened as he has gotten farther from it, and loyalty to it has strengthened any one of them.

Turn now to the American group of writers. If we except theological writers with Jonathan Edwards, Horace Bushnell, Henry Ward Beecher, and their like, and political writers with Jefferson, Webster, and their like, the list need not be a long one. Only one writer in our narrower sense of literature must be named in the earlier day--Benjamin Franklin. In the period before the Civil War must be named Edgar Allan Poe (died 1849) and Washington Irving (died 1859). The Civil War group is the large one, and its names are those of the later group as well. Let them be alphabetical, for convenience: William Cullen Bryant, poet and critic; George William Curtis, essayist and editor; Emerson, our n.o.blest name in the sphere of pure essay literature; Hawthorne, the novelist of conscience, as Socrates was its philosopher; Oliver Wendell Holmes, whose "two chief hatreds were orthodoxy in religion and heterodoxy in medicine"; James Russell Lowell, essayist and poet, apt to live by his essays rather than by his poetry; Longfellow, whose "Psalm of Life" and "Hiawatha" have lived through as much parody and ridicule as any two bits of literature extant, and have lived because they are predestined to live; Th.o.r.eau, whose _Walden_ may show, as Lowell said, how much can be done on little capital, but which has the real literary tang to it; and Whittier, whose poetry is sung the world around.

That makes only twelve names from Franklin to Whittier. Others could be included; but they are not so great as these. No one of these could be taken out of our literature without affecting it and, in some degree at least, changing the current of it. This is not to forget Bret Harte nor Samuel L. Clemens. But each is dependent for his survival on a taste for a certain kind of humor, not delicate like Irving's and Holmes's, but strong and sudden and a bit sharp. If we should forget the "Luck of Roaring Camp," "Truthful James," and the "Heathen Chinee," we would also forget Bret Harte. We are not apt to forget _Tom Sawyer_, nor perhaps _The Innocents Abroad_, but we are forgetting much else of Mark Twain. Whitman is not named. His claims are familiar, but in spite of his admirers he seems so charged with a sensuous egotism that he is not apt to be a formative influence in literary history. It is still interesting, however, to remember how frequently he reveals his reading of Scripture.

Fortunately, all these writers are so near, and their work is so familiar, that details regarding them are not needed. Two or three general words can be said. In the first place, observe the high moral tone of all these first-grade writers, and, indeed, of the others who may be spoken of as in second rank. There is not a meretricious or humiliating book in the whole collection. There is not one book which has lived in American literature which has the tone of Fielding's _Tom Jones_. Whether it is that the Puritan strain continues in us or not, it is true that the American literary public has not taken happily to stories that would bring a blush in public reading. Professor Richardson, of Dartmouth, gives some clue to the reason of that. He says that "since 1870 or 1880 in America there has been a marked increase of strength of theistic and spiritual belief and argument among scientific men, students of philosophy, religious 'radicals,' and others." He adds that while much contemporary American literature and thought is outside the accepted orthodox lines, yet "it is not hostile to Christianity; to the principles of its Founder it is for the most part sincerely attached. On the other hand, materialism has scarcely any hold upon it." Then follows a very notable sentence which is sustained by the facts: "Not an American book of the first cla.s.s has ever been written by an atheist or denier of immortality." That sentence need not offend an admirer of Walt Whitman, for he "accepts both theism and the doctrine of the future life." American thought has remained loyal to the great Trinity, G.o.d, Freedom, and Immortality. So it comes about that while there are a number of these writers who could be put under the ban of the strongly orthodox in religion, every one of them shows the effect of early training in religion and in the Scripture.[39]

Another thing to be said is that America has a unique history among great nations in that it has never been affected by any great religious influence except that which has issued from the Scriptures. No religion has ever been influential in America except Christianity. For many years there have been sporadic and spasmodic efforts to extend the influence of Buddhism or other Indian cults. They have never been successful, because the American spirit is practical, and not meditative. We are not an introspective people. We do not look within ourselves for our religion.

Whatever moral and religious influence our literature shows gets back first or last to our Scriptures. The point of view of nature that is taken by our writers like Bryant and Th.o.r.eau is that of the Nineteenth Psalm.

Moreover, we have been strongly under the English influence. Irving insisted that we ought to be, that we were a young nation, that we ought frankly to follow the leadership of more experienced writers. Longfellow thought we had gone too far that way, and that our poets, at least, ought to be more independent, ought to write in the spirit of America and not of traditional poetry. Whether we ought to have yielded to it or not, it is true that English influence has told very strongly upon us, and the writers who have influenced our writers most have been those whom we have named as being themselves under the Bible influence.

We need not go into detail about these writers, though they are most attractive. Bryant did for us what Wordsworth did for England. He made nature seem vocal. "Thanatopsis" is not a Christian poem in the narrow sense of the word, and yet it could hardly have been written except under Christian influence. His own genial, beautiful character was itself a tribute to Christian civilization, and his life, as critic and essayist, has left an impression which we shall not soon lose. Professor Richardson thinks that the three problematical characters in American literature are Emerson, Hawthorne, and Poe. The shrewdest estimate of Poe that has ever been given us is in Lowell's _Fable for Critics_:

"There comes Poe with his raven like Barnaby Rudge, Three-fifths of him genius, and two-fifths sheer fudge, Who has written some things quite the best of their kind, But the heart somehow seems all squeezed out by the mind."

That says it exactly. Poe knew many horrible situations, but he did not know the way out; and of all our American writers laying claim to place in the first cla.s.s Poe shows least influence of the Bible, and apparently needs it most.

Irving was the first American writer who stood high enough to be seen across the water. Thackeray's most beautiful essay is on Irving and Macaulay, who died just one month apart. In it he describes Irving as the best intermediary between the nations, telling us Americans that the English are still human, and a.s.suring the English that Americans are already human. Irving was trained early and thoroughly in the Bible. All his life he was an old-fashioned Episcopalian with no concern for new religious ideas and with no rough edges anywhere. Charles Dudley Warner, speaking of Irving's moral quality, says: "I cannot bring myself to exclude it from a literary estimate, even in the face of the current gospel of art for art's sake."[40] Like Scott, he "recognized the abiding value in literature of integrity, sincerity, purity, charity, faith. These are beneficences, and Irving's literature, walk around it and measure it by whatever critical instruments you will, is a beneficent literature."

Then there is Emerson, a son of the manse and once a minister himself. He was, therefore, perfectly familiar with the English Bible. He did not accept it in all its religious teaching. Indeed, we have never had a more marked individualist in our American public life than Emerson. At every point he was simply himself. There is very little quotation in his writing, very little visible influence of any one else. He was not a follower of Carlyle, though he was his friend. If there is any precedent for the construction of his sentences, and even of his essays, it is to be found in the Hebrew prophets. As some one puts it, "he uttered sayings."

In many of his essays there is no particular reason why the paragraphs should run one, two, three, and not three, two, one, or two, one, three, or in any other order. But Mr. Emerson was just himself. It is yet true that "his value for the world at large lies in the fact that after all he is incurably religious." It is true that he could not see any importance in forms, or in ordinary declarations of faith. "He would fight no battle for prelacy, nor for the Westminster confession, nor for the Trinity, but as against atheism, pessimism, and materialism, he was an ally of Christianity." The influence of the Bible on Emerson is more marked in his spirit than in anything else. Once in a while, as in that familiar address at Concord (1873), you run across Scripture phrases: "Shall not they who receive the largest streams spread abroad the healing waters?" That figure appears in literature only in the Bible, and there are others like it in his writings.

As for Longfellow, he is shot through with Scripture. No man who did not know Scripture in more than a pa.s.sing way could have written such a sentence as this: "There are times when the gra.s.shopper is a burden, and thirsty with the heat of labor the spirit longs for the waters of Shiloah, that go softly." There are two strikingly beautiful expressions from Scripture. Take another familiar saying in the same essay when he says the prospect for poetry is brightening, since but a short time ago not a poet "moved the wing or opened the mouth or peeped." He did not run across that in general current writing. He got that directly from the Bible. In his poems is an amazing amount of reference to the Bible. One would expect much in the "Courtship of Miles Standish," for that is a story of the Puritans, and they spoke, naturally, in terms of the Bible; yet, of course, they could not do it in Longfellow's poem, if Longfellow did not know the language of the Bible very well. One might not expect to find it so much in "Evangeline," but it is there from beginning to end. In "Acadia," the c.o.c.k crowed

"With the self-same Voice that in ages of old had startled the penitent Peter."

And,

"Wild with the winds of September, Wrestled the trees of the forest, as Jacob of old with the angel."

Evangeline saw the moon pa.s.s

"Forth from the folds of the cloud, and one star followed her footsteps, As out of Abraham's tent young Ishmael Wandered with Hagar."

There is a great deal of that sort of thing in his writing. He has done for many what he did for Lowell one day. Discouraged in settling the form of a new edition of his own poems, Lowell took up a volume of Longfellow just to see the type, and presently found that he had been reading two hours. He wrote Longfellow he could understand his popularity, saying: "You sang me out of all my worries." That is a great thing to do, and Longfellow learned from the Scripture how to do that in the "Psalm of Life" and all his other poems.

We need only a word about Lowell himself. He was the son of a minister, and so knew the Bible from his infancy. He belonged to the Brahman caste himself, but a good deal of the ruggedness of the Old Testament got into his writing. It is in "The Vision of Sir Launfal." It is in his plea for international copyright where the familiar lines occur:

"In vain we call old notions fudge, And bend our conscience to our dealing, The Ten Commandments will not budge, And stealing will continue stealing."

There is hint of it in his quizzical lines about himself in the _Fable for Critics_. He says that he is in danger of rattling away

"Until he is as old as Methusalem, At the head of the march to the last New Jerusalem."

Whittier needs no words of ours. His hymns are part of our religious equipment. "Snow-bound" and all the rest of the beautiful, quiet, Quaker-like writing of this beloved poet are among our national a.s.sets. We join in his sorrow as he writes the doom of Webster and his fame, and we do not wonder that he chose for it the Scriptural t.i.tle "Ichabod."

Whatever is to be said about an individual here or there, it is true that great American literature shows the influence of the Bible. Like everything else in America, it has been founded on a religious purpose.

Writers in all lines have been trained in the Bible. If they feel any religious influence at all, it is the Bible influence.

This has been a long journey from Shakespeare to Whittier, and it leaves untouched the great field of present-day writers. Let the unstarred names wait their time. Among them are many who can say in their way what Hall Caine has said of himself: "I think I know my Bible as few literary men know it. There is no book in the world like it, and the finest novels ever written fall far short in interest of any one of the stories it tells.

Whatever strong situations I have in my books are not of my creation, but are taken from the Bible. _The Deemster_ is a story of the Prodigal Son.

_The Bondman_ is the story of Esau and Jacob. _The Scapegoat_ is the story of Eli and his sons, but with Samuel as a little girl; and _The Manxman_ is the story of David and Uriah." Take up any of the novels of the day, even the poorer ones, but notably the better ones, and see how uniformly they show the Scriptural influence in material, in idea, and in spirit.

What the literature of the future will be no one can say. This much is as sure as any fact in literary history, that the English Bible is part of the very fiber of great literature from the day it first appeared in our tongue to this hour.

FOOTNOTES:

[27] _Thoughts that Breathe._

[28] _Atlantic Monthly_, May, 1900, p. 684.

[29] Chapman, _English Literature in Account with Religion_.

[30] _History of English Literature_, chap. iii.

[31] Wordsworth, _Shakespeare's Knowledge and Use of the Bible_, p. 9.

[32] Strong, _The Theology of the Poets_.

[33] _History of England_, vol. III., p. 220.

[34] Taine, _English Literature_, II., 279.

[35] June 14, 1830.

[36] Morley, _Life of Gladstone_, vol. iii, p. 424.

[37] _Early Victorian Literature_, p. 9.

[38] _English Literature in Account with Religion._

[39] This is fully worked out in Professor Richardson's _American Literature_, with ample ill.u.s.tration and argument.

[40] _American Men of Letters Series, Washington Irving_, p. 302.

LECTURE V

THE KING JAMES VERSION--ITS INFLUENCE ON ENGLISH AND AMERICAN HISTORY

The King James version of the Bible is only a book. What can a book do in history? Well, whatever the reason, books have played a large part in the movements of men, specially of modern men.

They have markedly influenced the opinion of men about the past. It is commonly said that Hume's _History of England_, defective as it is, has yet "by its method revolutionized the writing of history," and that is true. Nearer our own time, Carlyle's _Life of Cromwell_ reversed the judgment of history on Cromwell, gave all readers of history a new conception of him and his times and of the movement of which he was the life. After the Restoration none were so poor as to do Cromwell reverence until Carlyle's _book_ gave him anew to the world.

There are instances squarely in our own time by which their mighty influence may be tested. They are of books of almost ephemeral value save for the student of history. As literature they will be quickly forgotten; but as _forces_ they must be reckoned with. There is _Uncle Tom's Cabin_.