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قراءة كتاب The American Spirit in Literature: A Chronicle of Great Interpreters

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The American Spirit in Literature: A Chronicle of Great Interpreters

The American Spirit in Literature: A Chronicle of Great Interpreters

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دار النشر: Project Gutenberg
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preacher in reply: "Sodom and Gomorrah they burnt in brimstone and they shall burn in hell." One of Hooker's successors has called him "a son of thunder and a son of consolation by turns." The same may be said of Thomas Shepard, another graduate of Emmanuel College in the old Cambridge, who became the "soul-melting preacher" of the newer Cambridge by the Charles. Pure, ravishing notes of spiritual devotion still sing themselves in his pages. He is wholly Calvinist. He thinks "the truth is a poor mean thing in itself" and that the human reason cannot be "the last resolution of all doubts," which must be sought only in the written Word of God. He holds it "a tough work, a wonderful hard matter to be saved." "Jesus Christ is not got with a wet finger." Yet, like so many mystics, he yearns to be "covered with God, as with a cloud," to be "drowned, plunged, and swallowed up with God." One hundred years later we shall find this same rhapsodic ecstasy in the meditations of Jonathan Edwards.

John Cotton, the third of the mighty men in the early Colonial pulpit, owes his fame more to his social and political influence than to his literary power. Yet even that was thought commanding. Trained, like Hooker and Shepard, at Emmanuel College, and fresh from the rectorship of St. Botolph's in the Lincolnshire Boston, John Cotton dominated that new Boston which was named in his honor. He became the Pope of the theocracy; a clever Pope and not an unkindly one. He seems to have shared some of the opinions of Anne Hutchinson, though he "pronounced the sentence of admonition" against her, says Winthrop, with much zeal and detestation of her errors. Hawthorne, in one of his ironic moods, might have done justice to this scene. Cotton was at heart too liberal for his role of Primate, and fate led him to persecute a man whose very name has become a symbol of victorious tolerance, Roger Williams.

Williams, known today as a friend of Cromwell, Milton, and Sir Harry Vane, had been exiled from Massachusetts for maintaining that the civil power had no jurisdiction over conscience. This doctrine was fatal to the existence of a theocratic state dominated by the church. John Cotton was perfectly logical in "enlarging" Roger Williams into the wilderness, but he showed less than his usual discretion in attacking the quick-tempered Welshman in pamphlets. It was like asking Hotspur if he would kindly consent to fight. Back and forth the books fly, for Williams loves this game. His "Bloody Tenet of Persecution for Cause of Conscience" calls forth Mr. Cotton's "Bloody Tenet washed and made white in the Blood of the Lamb;" and this in turn provokes the torrential flood of Williams's masterpiece, "The Bloody Tenet yet more Bloody, by Mr. Cotton's endeavor to wash it white in the Blood of the Lamb." There is glorious writing here, and its effect cannot be suggested by quoting sentences. But there is one sentence in a letter written by Williams in his old age to his fellow-townsmen of Providence which points the whole moral of the terrible mistake made by the men who sought spiritual liberty in America for themselves, only to deny that same liberty to others. "I have only one motion and petition," begs this veteran pioneer who had forded many a swollen stream and built many a rude bridge in the Plantations: "it is this, that after you have got over the black brook of some soul bondage yourselves, you tear not down the bridge after you."

It is for such wise and humane counsels as this that Roger Williams is remembered. His opponents had mightier intellects than his, but the world has long since decided against them. Colonial sermon literature is read today chiefly by antiquarians who have no sympathy for the creed which once gave it vitality. Its theology, like the theology of "Paradise Lost or the Divine Comedy," has sunk to the bottom of the black brook. But we cannot judge fairly the contemporary effect of this pulpit literature without remembering the passionate faith that made pulpit and pews copartners in a supreme spiritual struggle. Historians properly insist upon the aesthetic poverty of the New England Puritans; that their rule of life cut them off from an enjoyment of the dramatic literature of their race, then just closing its most splendid epoch; that they had little poetry or music and no architecture and plastic art. But we must never forget that to men of their creed the Sunday sermons and the week-day "lectures" served as oratory, poetry, and drama. These outpourings of the mind and heart of their spiritual leaders were the very stuff of human passion in its intensest forms. Puritan churchgoers, passing hours upon hours every week in rapt absorption with the noblest of all poetry and prose in the pages of their chief book, the Bible, were at least as sensitive to the beauty of words and the sweep of emotions as our contemporaries upon whose book-shelves Spenser and Milton stand unread.

It is only by entering into the psychology of the period that we can estimate its attitude towards the poetry written by the pioneers themselves. The "Bay Psalm Book" (1640), the first book printed in the colonies, is a wretched doggerel arrangement of the magnificent King James Version of the Psalms, designed to be sung in churches. Few of the New England churches could sing more than half-a-dozen tunes, and a pitch-pipe was for a long time the only musical instrument allowed. Judged as hymnology or poetry, the Bay "Psalm Book" provokes a smile. But the men and women who used it as a handbook of devotion sang it with their hearts aflame. In judging such a popular seventeenth-century poem as Wigglesworth's "Day of Doom" one must strip oneself quite free from the twentieth century, and pretend to be sitting in the chimney-corner of a Puritan kitchen, reading aloud by that firelight which, as Lowell once humorously suggested, may have added a "livelier relish" to the poet's "premonitions of eternal combustion." Lowell could afford to laugh about it, having crossed that particular black brook. But for several generations the boys and girls of New England had read the "Day of Doom" as if Mr. Wigglesworth, the gentle and somewhat sickly minister of Malden, had veritably peeped into Hell. It is the present fashion to underestimate the power of Wigglesworth's verse. At its best it has a trampling, clattering shock like a charge of cavalry and a sound like clanging steel. Mr. Kipling and other cunning ballad-makers have imitated the peculiar rhyme structure chosen by the nervous little parson. But no living poet can move his readers to the fascinated horror once felt by the Puritans as they followed Wigglesworth's relentless gaze into the future of the soul's destiny.

Historical curiosity may still linger, of course, over other verse-writers of the period. Anne Bradstreet's poems, for instance, are not without grace and womanly sweetness, in spite of their didactic themes and portentous length. But this lady, born in England, the daughter of Governor Dudley and later the wife of Governor Bradstreet, chose to imitate the more fantastic of the moralizing poets of England and France. There is little in her hundreds of pages which seems today the inevitable outcome of her own experience in the New World. For readers who like roughly mischievous satire, of a type initiated in England by Bishop Hall and Donne, there is "The Simple Cobbler of Agawam" written by the roving clergyman Nathaniel Ward. But he lived only a dozen years in Massachusetts, and his satirical pictures are scarcely more "American" than the satire upon German professors in "Sartor Resartus" is "German." Like Charles Dickens's "American Notes," Ward's give the reaction of a born Englishman in the presence of the sights and the talk and the personages of the transatlantic world.

Of all the colonial writings of the seventeenth century, those that have lost least of their interest through the lapse of years are narratives of struggles with the Indians. The image of the "bloody savage" has always hovered in the background of the American imagination. Our boys and girls have "played Indian"

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