The Project Gutenberg EBook of Entire PG Edition of William Dean Howells, by William Dean Howells
This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org/license
Title: Entire PG Edition of William Dean Howells
Author: William Dean Howells
Posting Date: June 30, 2014 [EBook #3400] [The actual date this file first posted = 04/17/01] Release Date: August, 2002
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK ENTIRE PG EDITION OF WILLIAM DEAN HOWELLS ***
Produced by David Widger <[email protected]>
[NOTE: There are short lists of bookmarks, or pointers, at the end of many of the major sections of this work for those who may wish to sample the author's ideas before making an entire meal of them. D.W.]
[NOTE: This work is a compilation of the writings of William Dean Howells prepared by several contributors to Project Gutenberg and is presented in three categories: Studies, Novels, and Plays. As more of his works are produced and posted as etexts they will be inserted into this file. D.W.]
CONTENTS
STUDIES:
Henry James, Jr.
The Man of Letters as a Man of Business
A Psychological Counter-current in Recent Fiction.
Emile Zola
Literary Friends and Acquaintances
Biographical
My First Visit to New England
First Impressions of Literary New York
Roundabout to Boston
Literary Boston As I Knew It
Oliver Wendell Holmes
The White Mr. Longfellow
Studies of Lowell
Cambridge Neighbors
A Belated Guest
My Mark Twain
Literature and Life
Man of Letters in Business
Confessions of a Summer Colonist
The Young Contributor
Last Days in a Dutch Hotel
Anomalies of the Short Story
Spanish Prisoners of War
American Literary Centers
Standard Household Effect Co.
Notes of a Vanished Summer
Worries of a Winter Walk
Summer Isles of Eden
Wild Flowers of the Asphalt
A Circus in the Suburbs
A She Hamlet
The Midnight Platoon
The Beach at Rockaway
Sawdust in the Arena
At a Dime Museum
American Literature in Exile
The Horse Show
The Problem of the Summer
Aesthetic New York Fifty-odd Years Ago
From New York into New England
The Art of the Adsmith
The Psychology of Plagiarism
Puritanism in American Fiction
The What and How in Art
Politics in American Authors
Storage
"Floating down the River on the O-hi-o"
My Literary Passions
The Bookcase at Home
Goldsmith
Cervantes
Irving
First Fiction and Drama
Longfellow's "Spanish Student"
Scott
Lighter Fancies
Pope
Various Preferences
Uncle Tom's Cabin
Ossian
Shakespeare
Ik Marvel
Dickens
Wordsworth, Lowell, Chaucer
Macaulay.
Critics and Reviews.
A Non-literary Episode
Thackeray
"Lazarillo De Tormes"
Curtis, Longfellow, Schlegel
Tennyson
Heine
De Quincey, Goethe, Longfellow.
George Eliot, Hawthorne, Goethe, Heine
Charles Reade
Dante
Goldoni, Manzoni, D'azeglio
"Pastor Fido," "Aminta," "Romola," "Yeast," "Paul Ferroll"
Erckmann-chatrian, Bjorstjerne Bjornson
Tourguenief, Auerbach
Certain Preferences and Experiences
Valdes, Galdos, Verga, Zola, Trollope, Hardy
Tolstoy
Criticism and Fiction
NOVELS:
The Rise of Silas Lapham
An Open-eyed Conspiracy—an Idyl of Saratoga
The Landlord at Lions Head, v1
The Landlord at Lions Head, v2
Their Wedding Journey
The Outset
A Midsummer-day's Dream
The Night Boat
A Day's Railroading
The Enchanted City, and Beyond
Niagara
Down the St. Lawrence
The Sentiment of Montreal
Homeward and Home
Niagara Revisited Twelve Years after Their Wedding
A Hazard of New Fortunes
Part 1
Part 2
Part 3
Part 4
Part 5
Their Silver Wedding Journey
Volume 1
Volume 2
Volume 3
Dr. Breen's Practice
Fennel and Rue,
The Kentons
Ragged Lady, v1
Ragged Lady, v2
April Hopes
PLAYS:
The Sleeping-Car
The Garotters
The Elevator
The Parlor-Car
The Register
STUDIES
HENRY JAMES, JR.
by William Dean Howells
This etext was created by Anthony J. Adam of Houston, Texas.
The events of Mr. James's life—as we agree to understand events—may be told in a very few words. His race is Irish on his father's side and Scotch on his mother's, to which mingled strains the generalizer may attribute, if he likes, that union of vivid expression and dispassionate analysis which has characterized his work from the first. There are none of those early struggles with poverty, which render the lives of so many distinguished Americans monotonous reading, to record in his case: the cabin hearth-fire did not light him to the youthful pursuit of literature; he had from the start all those advantages which, when they go too far,
He was born in New York city in the year 1843, and his first lessons in life and letters were the best which the metropolis—so small in the perspective diminishing to that date—could afford. In his twelfth year his family went abroad, and after some stay in England made a long sojourn in France and Switzerland. They returned to America in 1860, placing themselves at Newport, and for a year or two Mr. James was at the Harvard Law School, where, perhaps, he did not study a great deal of law. His father removed from Newport to Cambridge in 1866, and there Mr. James remained till he went abroad, three years later, for the residence in England and Italy which, with infrequent visits home, has continued ever since.
It was during these three years of his Cambridge life that I became acquainted with his work. He had already printed a tale—"The Story of a Year"—in the "Atlantic Monthly," when I was asked to be Mr. Fields's assistant in the management, and it was my fortune to read Mr. James's second contribution in manuscript. "Would you take it?" asked my chief. "Yes, and all the stories you can get from the writer." One is much securer of one's judgment at twenty-nine than, say, at forty-five; but if this was a mistake of mine I am not yet old enough to regret it. The story was called "Poor Richard," and it dealt with the conscience of a man very much in love with a woman who loved his rival. He told this rival a lie, which sent him away to his death on the field,—in that day nearly every fictitious personage had something to do with the war,—but Poor Richard's lie did not win him his love. It still seems to me that the situation was strongly and finely felt. One's pity went, as it should, with the liar; but the whole story had a pathos which lingers in my mind equally with a sense of the new literary qualities which gave me such delight in it. I admired, as we must in all that Mr. James has written, the finished workmanship in which there is no loss of vigor; the luminous and uncommon use of words, the originality of phrase, the whole clear and beautiful style, which I confess I weakly liked the better for the occasional gallicisms remaining from an inveterate habit of French. Those who know the writings of Mr. Henry James will recognize the inherited felicity of diction which is so striking in the writings of Mr. Henry James, Jr. The son's diction is not so racy as the father's; it lacks its daring, but it is as fortunate and graphic; and I cannot give it greater praise than this, though it has, when he will, a splendor and state which is wholly its own.
Mr. James is now so universally recognized that I shall seem to be making an unwarrantable claim when I express my belief that the popularity of his stories was once largely confined to Mr. Field's assistant. They had characteristics which forbade any editor to refuse them; and there are no anecdotes of thrice-rejected manuscripts finally printed to tell of him; his work was at once successful with all the magazines. But with the readers of "The Atlantic," of "Harper's," of "Lippincott's," of "The Galaxy," of "The Century," it was another affair. The flavor was so strange, that, with rare exceptions, they had to "learn to like" it. Probably few writers have in the same degree compelled the liking of their readers. He was reluctantly accepted, partly through a mistake as to his attitude—through the confusion of his point of view with his private opinion—in the reader's mind. This confusion caused the tears of rage which bedewed our continent in behalf of the "average American girl" supposed to be satirized in Daisy Miller, and prevented the perception of the fact that, so far as the average American girl was studied at all in Daisy Miller, her indestructible innocence, her invulnerable new-worldliness, had never been so delicately appreciated. It was so plain that Mr. James disliked her vulgar conditions, that the very people to whom he revealed her essential sweetness and light were furious that he should have seemed not to see what existed through him. In other words, they would have liked him better if he had been a worse artist—if he had been a little more confidential.
But that artistic impartiality which puzzled so many in the treatment of Daisy Miller is one of the qualities most valuable in the eyes of those who care how things are done, and I am not sure that it is not Mr. James's most characteristic quality. As "frost performs the effect of fire," this impartiality comes at last to the same result as sympathy. We may be quite sure that Mr. James does not like the peculiar phase of our civilization typified in Henrietta Stackpole; but he treats her with such exquisite justice that he lets US like her. It is an extreme case, but I confidently allege it in proof.
His impartiality is part of the reserve with which he works in most respects, and which at first glance makes us say that he is wanting in humor. But I feel pretty certain that Mr. James has not been able to disinherit himself to this degree. We Americans are terribly in earnest about making ourselves, individually and collectively; but I fancy that our prevailing mood in the face of all problems is that of an abiding faith which can afford to be funny. He has himself indicated that we have, as a nation, as a people, our joke, and every one of us is in the joke more or less. We may, some of us, dislike it extremely, disapprove it wholly, and even abhor it, but we are in the joke all the same, and no one of us is safe from becoming the great American humorist at any given moment. The danger is not apparent in Mr. James's case, and I confess that I read him with a relief in the comparative immunity that he affords from the national facetiousness. Many of his people are humorously imagined, or rather humorously SEEN, like Daisy Miller's mother, but these do not give a dominant color; the business in hand is commonly serious, and the droll people are subordinated. They abound, nevertheless, and many of them are perfectly new finds, like Mr. Tristram in "The American," the bill-paying father in the "Pension Beaurepas," the anxiously Europeanizing mother in the same story, the amusing little Madame de Belgarde, Henrietta Stackpole, and even Newman himself. But though Mr. James portrays the humorous in character, he is decidedly not on humorous terms with his reader; he ignores rather than recognizes the fact that they are both in the joke.
If we take him at all we must take him on his own ground, for clearly he will not come to ours. We must make concessions to him, not in this respect only, but in several others, chief among which is the motive for reading fiction. By example, at least, he teaches that it is the pursuit and not the end which should give us pleasure; for he often prefers to leave us to our own conjectures in regard to the fate of the people in whom he has interested us. There is no question, of course, but he could tell the story of Isabel in "The Portrait of a Lady" to the end, yet he does not tell it. We must agree, then, to take what seems a fragment instead of a whole, and to find, when we can, a name for this new kind in fiction. Evidently it is the character, not the fate, of his people which occupies him; when he has fully developed their character he leaves them to what destiny the reader pleases.
The analytic tendency seems to have increased with him as his work has gone on. Some of the earlier tales were very dramatic: "A Passionate Pilgrim," which I should rank above all his other short stories, and for certain rich poetical qualities, above everything else that he has done, is eminently dramatic. But I do not find much that I should call dramatic in "The Portrait of a Lady," while I do find in it an amount of analysis which I should call superabundance if it were not all such good literature. The novelist's main business is to possess his reader with a due conception of his
What is called the international novel is popularly dated from the publication of "Daisy Miller," though "Roderick Hudson" and "The American" had gone before; but it really began in the beautiful story which I have just named. Mr. James, who invented this species in fiction, first contrasted in the "Passionate Pilgrim" the New World and Old World moods, ideals, and prejudices, and he did it there with a richness of poetic effect which he has since never equalled. I own that I regret the loss of the poetry, but you cannot ask a man to keep on being a poet for you; it is hardly for him to choose; yet I compare rather discontentedly in my own mind such impassioned creations as Searle and the painter in "The Madonna of the Future" with "Daisy Miller," of whose slight, thin personality I also feel the indefinable charm, and of the tragedy of whose innocence I recognize the delicate pathos. Looking back to those early stories, where Mr. James stood at the dividing ways of the novel and the romance, I am sometimes sorry that he declared even superficially for the former. His best efforts seem to me those of romance; his best types have an ideal development, like Isabel and Claire Belgarde and Bessy Alden and poor Daisy and even Newman. But, doubtless, he has chosen wisely; perhaps the romance is an outworn form, and would not lend itself to the reproduction of even the ideality of modern life. I myself waver somewhat in my preference—if it is a preference—when I think of such people as Lord Warburton and the Touchetts, whom I take to be all decidedly of this world. The first of these especially interested me as a probable type of the English nobleman, who amiably accepts the existing situation with all its possibilities of political and social change, and insists not at all upon the surviving feudalities, but means to be a manly and simple gentleman in any event. An American is not able to pronounce as to the verity of the type; I only know that it seems probable and that it is charming. It makes one wish that it were in Mr. James's way to paint in some story the present phase of change in England. A titled personage is still mainly an inconceivable being to us; he is like a goblin or a fairy in a storybook. How does he comport himself in the face of all the changes and modifications that have taken place and that still impend? We can hardly imagine a lord taking his nobility seriously; it is some hint of the conditional frame of Lord Warburton's mind that makes him imaginable and delightful to us.
It is not my purpose here to review any of Mr. James's books; I like better to speak of his people than of the conduct of his novels, and I wish to recognize the fineness with which he has touched-in the pretty primness of Osmond's daughter and the mild devotedness of Mr. Rosier. A masterly hand is as often manifest in the treatment of such subordinate figures as in that of the principal persons, and Mr. James does them unerringly. This is felt in the more important character of Valentin Belgarde, a fascinating character in spite of its defects,—perhaps on account of them—and a sort of French Lord Warburton, but wittier, and not so good. "These are my ideas," says his sister-in-law, at the end of a number of inanities. "Ah, you call them ideas!" he returns, which is delicious and makes you love him. He, too, has his moments of misgiving, apparently in regard to his nobility, and his acceptance of Newman on the basis of something like "manhood suffrage" is very charming. It is of course difficult for a remote plebeian to verify the pictures of legitimist society in "The American," but there is the probable suggestion in them of conditions and principles, and want of principles, of which we get glimpses in our travels abroad; at any rate, they reveal another and not impossible world, and it is fine to have Newman discover that the opinions and criticisms of our world are so absolutely valueless in that sphere that his knowledge of the infamous crime of the mother and brother of his betrothed will have no effect whatever upon them in their own circle if he explodes it there. This seems like aristocracy indeed! and one admires, almost respects, its survival in our day. But I always regretted that Newman's discovery seemed the precursor of his magnanimous resolution not to avenge himself; it weakened the effect of this, with which it had really nothing to do. Upon the whole, however, Newman is an adequate and satisfying representative of Americanism, with his generous matrimonial ambition, his vast good-nature, and his thorough good sense and right feeling. We must be very hard to please if we are not pleased with him. He is not the "cultivated American" who redeems us from time to time in the eyes of Europe; but he is unquestionably more national, and it is observable that his unaffected fellow-countrymen and women fare very well at Mr. James's hand always; it is the Europeanizing sort like the critical little Bostonian in the "Bundle of Letters," the ladies shocked at Daisy Miller, the mother in the "Pension Beaurepas" who goes about trying to be of the "native" world everywhere, Madame Merle and Gilbert Osmond, Miss Light and her mother, who have reason to complain, if any one has. Doubtless Mr. James does not mean to satirize such Americans, but it is interesting to note how they strike such a keen observer. We are certainly not allowed to like them, and the other sort find somehow a place in our affections along with his good Europeans. It is a little odd, by the way, that in all the printed talk about Mr. James—and there has been no end of it—his power of engaging your preference for certain of his people has been so little commented on. Perhaps it is because he makes no obvious appeal for them; but one likes such men as Lord Warburton, Newman, Valentin, the artistic brother in "The Europeans," and Ralph Touchett, and such women as Isabel, Claire Belgarde,
The art of fiction has, in fact, become a finer art in our day than it was with Dickens and Thackeray. We could not suffer the confidential attitude of the latter now, nor the mannerism of the former, any more than we could endure the prolixity of Richardson or the coarseness of Fielding. These great men are of the past—they and their methods and interests; even Trollope and Reade are not of the present. The new school derives from Hawthorne and George Eliot rather than any others; but it studies human nature much more in its wonted aspects, and finds its ethical and dramatic examples in the operation of lighter but not really less vital motives. The moving accident is certainly not its trade; and it prefers to avoid all manner of dire catastrophes; it is largely influenced by French fiction in form; but it is the realism of Daudet rather than the realism of Zola that prevails with it, and it has a soul of its own which is above the business of recording the rather brutish pursuit of a woman by a man, which seems to be the chief end of the French novelist. This school, which is so largely of the future as well as the present, finds its chief exemplar in Mr. James; it is he who is shaping and directing American fiction, at least. It is the ambition of the younger contributors to write like him; he has his following more distinctly recognizable than that of any other English-writing novelist. Whether he will so far control this following as to decide the nature of the novel with us remains to be seen. Will the reader be content to accept a novel which is an analytic study rather than a story, which is apt to leave him arbiter of the destiny of the author's creations? Will he find his account in the unflagging interest of their development? Mr. James's growing popularity seems to suggest that this may be the case; but the work of Mr. James's imitators will have much to do with the final result.
In the meantime it is not surprising that he has his imitators. Whatever exceptions we take to his methods or his results, we cannot deny him a very great literary genius. To me there is a perpetual delight in his way of saying things, and I cannot wonder that younger men try to catch the trick of it. The disappointing thing for them is that it is not a trick, but an inherent virtue. His style is, upon the whole, better than that of any other novelist I know; it is always easy, without being trivial, and it is often stately, without being stiff; it gives a charm to everything he writes; and he has written so much and in such various directions, that we should be judging him very incompletely if we considered him only as a novelist. His book of European sketches must rank him with the most enlightened and agreeable travelers; and it might be fitly supplemented from his uncollected papers with a volume of American sketches. In his essays on modern French writers he indicates his critical range and grasp; but he scarcely does more, as his criticisms in "The Atlantic" and "The Nation" and elsewhere could abundantly testify.
There are indeed those who insist that criticism is his true vocation, and are impatient of his devotion to fiction; but I suspect that these admirers are mistaken. A novelists he is not, after the old fashion, or after any fashion but his own; yet since he has finally made his public in his own way of story-telling—or call it character-painting if you prefer,—it must be conceded that he has chosen best for himself and his readers in choosing the form of fiction for what he has to say. It is, after all, what a writer has to say rather than what he has to tell that we care for nowadays. In one manner or other the stories were all told long ago; and now we want merely to know what the novelist thinks about persons and situations. Mr. James gratifies this philosophic desire. If he sometimes forbears to tell us what he thinks of the last state of his people, it is perhaps because that does not interest him, and a large-minded criticism might well insist that it was childish to demand that it must interest him.
I am not sure that any criticism is sufficiently large-minded for this. I own that I like a finished story; but then also I like those which Mr. James seems not to finish. This is probably the position of most of his readers, who cannot very logically account for either preference. We can only make sure that we have here an annalist, or analyst, as we choose, who fascinates us from his first page to his last, whose narrative or whose comment may enter into any minuteness of detail without fatiguing us, and can only truly grieve us when it ceases.
The Project Gutenberg Etext of Henry James, Jr., by Howells
THE MAN OF LETTERS AS A MAN OF BUSINESS
by William Dean Howells
This etext was created by Anthony J. Adam of Houston, Texas.
[NOTE: This study is duplicated later in the collection as part of the series Literature and Life where bookmarks are appended. D.W.]
I think that every man ought to work for his living, without exception, and that when he has once avouched his willingness to work, society should provide him with work and warrant him a living. I do not think any man ought to live by an art. A man's art should be his privilege, when he has proven his fitness to exercise it, and has otherwise earned his daily bread; and its results should be free to all. There is an instinctive sense of this, even in the midst of the grotesque confusion of our economic being; people feel that there is something profane, something impious, in taking money for a picture, or a poem, or a statue. Most of all, the artist himself feels this. He puts on a bold front with the world, to be sure, and brazens it out as Business; but he knows very well that there is something false and vulgar in it; and that the work which cannot be truly priced in money cannot be truly paid in money. He can, of course, say that the priest takes money for reading the marriage service, for christening the new-born babe, and for saying the last office for the dead; that the physician sells healing; that justice itself is paid for; and that he is merely a party to the thing that is and must be. He can say that, as the thing is, unless he sells his art he cannot live, that society will leave him to starve if he does not hit its fancy in a picture, or a poem, or a statue; and all this is bitterly true. He is, and he must be, only too glad if there is a market for his wares. Without a market for his wares he must perish, or turn to making something that will sell better than pictures, or poems, or statues. All the same, the sin and the shame remain, and the averted eye sees them still, with its inward vision. Many will make believe otherwise, but I would rather not make believe otherwise; and in trying to write of Literature as Business I am tempted to begin by saying that Business is the opprobrium of Literature.
II.
Literature is at once the most intimate and the most articulate of the arts. It cannot impart its effect through the senses or the nerves as the other arts can; it is beautiful only through the intelligence; it is the mind speaking to the mind; until it has been put into absolute terms, of an invariable significance, it does not exist at all. It cannot awaken this emotion in one, and that in another; if it fails to express precisely the meaning of the author, if it does not say HIM, it says nothing, and is nothing. So that when a poet has put his heart, much or little, into a poem, and sold it to
The instinctive sense of the dishonor which money-purchase does to art is so strong that sometimes a man of letters who can pay his way otherwise refuses pay for his work, as Lord Byron did, for a while, from a noble pride, and as Count Tolstoy has tried to do, from a noble conscience. But Byron's publisher profited by a generosity which did not reach his readers; and the Countess Tolstoy collects the copyright which her husband foregoes; so that these two eminent instances of protest against business in literature may be said not to have shaken its money basis. I know of no others; but there may be many that I am culpably ignorant of. Still, I doubt if there are enough to affect the fact that Literature is Business as well as Art, and almost as soon. At present business is the only human solidarity; we are all bound together with that chain, whatever interests and tastes and principles separate us, and I feel quite sure that in writing of the Man of Letters as a Man of Business, I shall attract far more readers than I should in writing of him as an Artist. Besides, as an artist he has been done a great deal already; and a commercial state like ours has really more concern in him as a business man. Perhaps it may sometimes be different; I do not believe it will till the conditions are different, and that is a long way off.
III.
In the meantime I confidently appeal to the reader's imagination with the fact that there are several men of letters among us who are such good men of business that they can command a hundred dollars a thousand words for all they write; and at least one woman of letters who gets a hundred and fifty dollars a thousand words. It is easy to write a thousand words a day, and supposing one of these authors to work steadily, it can be seen that his net earnings during the year would come to some such sum as the President of the United States gets for doing far less work of a much more perishable sort. If the man of letters were wholly a business man this is what would happen; he would make his forty or fifty thousand dollars a year, and be able to consort with bank presidents, and railroad officials, and rich tradesmen, and other flowers of our plutocracy on equal terms. But, unfortunately, from a business point of view, he is also an artist, and the very qualities that enable him to delight the public disable him from delighting it uninterruptedly. "No rose blooms right along," as the English boys at Oxford made an American collegian say in a theme which they imagined for him in his national parlance; and the man of letters, as an artist, is apt to have times and seasons when he cannot blossom. Very often it shall happen that his mind will lie fallow between novels or stories for weeks and months at a stretch; when the suggestions of the friendly editor shall fail to fruit in the essays or articles desired; when the muse shall altogether withhold herself, or shall respond only in a feeble dribble of verse which he might sell indeed, but which it would not be good business for him to put on the market. But supposing him to be a very diligent and continuous worker, and so happy as to have fallen on a theme that delights him and bears him along, he may please himself so ill with the result of his labors that he can do nothing less in artistic conscience than destroy a day's work, a week's work, a month's work. I know one man of letters who wrote to-day, and tore up to-morrow for nearly a whole summer. But even if part of the mistaken work may be saved, because it is good work out of place, and not intrinsically bad, the task of reconstruction wants almost as much time as the production; and then, when all seems done, comes the anxious and endless process of revision. These drawbacks reduce the earning capacity of what I may call the high-cost man of letters in such measure that an author whose name is known everywhere, and whose reputation is commensurate with the boundaries of his country, if it does not transcend them, shall have the income, say, of a rising young physician, known to a few people in a subordinate city.
In view of this fact, so humiliating to an author in the presence of a nation of business men like ours, I do not know that I can establish the man of letters in the popular esteem as very much of a business man after all. He must still have a low rank among practical people; and he will be regarded by the great mass of Americans as perhaps a little off, a little funny, a little soft!
Perhaps not; and yet I would rather not have a consensus of public opinion on the question; I think I am more comfortable without it.
IV.
There is this to be said in defence of men of letters on the business side, that literature is still an infant industry with us, and so far from having been protected by our laws it was exposed for ninety years after the foundation of the republic to the vicious competition of stolen goods. It is true that we now have the international copyright law at last, and we can at least begin to forget our shame; but literary property has only forty-two years of life under our unjust statutes, and if it is attacked by robbers the law does not seek out the aggressors and punish them, as it would seek out and punish the trespassers upon any other kind of property; but it leaves the aggrieved owner to bring suit against them, and recover damages, if he can. This may be right enough in itself; but I think, then, that all property should be defended by civil suit, and should become public after forty-two years of private tenure. The Constitution guarantees us all equality before the law, but the law-makers seem to have forgotten this in the case of our infant literary industry. So long as this remains the case, we cannot expect the best business talent to go into literature, and the man of letters must keep his present low grade among business men.
As I have hinted, it is but a little while that he has had any standing at all. I may say that it is only since the was that literature has become a business with us. Before that time we had authors, and very good ones; it is astonishing how good they were; but I do not remember any of
V.
I doubt, indeed, whether the earnings of literary men are absolutely as great as they were earlier in the century, in any of the English-speaking countries; relatively they are nothing like as great. Scott had forty thousand dollars for "Woodstock," which was not a very large novel, and was by no means one of his best; and forty thousand dollars had at least the purchasing powers of sixty thousand then. Moore had three thousand guineas for "Lalla Rookh," but what publisher would be rash enough to pay twenty-five thousand dollars for the masterpiece of a minor poet now? The book, except in very rare instances, makes nothing like the return to the author that the magazine makes, and there are but two or three authors who find their account in that form of publication. Those who do, those who sell the most widely in book form, are often not at all desired by editors; with difficulty they get a serial accepted by any principal magazine. On the other hand, there are authors whose books, compared with those of the popular favorites, do not sell, and yet they are eagerly sought for by editors; they are paid the highest prices, and nothing that they offer is refused. These are literary artists; and it ought to be plain from what I am saying that in belles-lettres, at least, most of the best literature now first sees the light in the magazines, and most of the second best appears first in book form. The old-fashioned people who flatter themselves upon their distinction in not reading magazine fiction, or magazine poetry, make a great mistake, and simply class themselves with the public whose taste is so crude that they cannot enjoy the best. Of course this is true mainly, if not merely, of belles-lettres; history, science, politics, metaphysics, in spite of the many excellent articles and papers in these sorts upon what used to be called various emergent occasions, are still to be found at their best in books. The most monumental example of literature, at once light and good, which has first reached the public in book form is in the different publications of Mark Twain; but Mr. Clemens has of late turned to the magazines too, and now takes their mint mark before he passes into general circulation. All this may change again, but at present the magazines—we have no longer any reviews—form the most direct approach to that part of our reading public which likes the highest things in literary art. Their readers, if we may judge from the quality of the literature they get, are more refined than the book readers in our community; and their taste has no doubt been cultivated by that of the disciplined and experienced editors. So far as I have known these they are men of aesthetic conscience, and of generous sympathy. They have their preferences in the different kinds, and they have their theory of what kind will be most acceptable to their readers; but they exercise their selective function with the wish to give them the best things they can. I do not know one of them—and it has been my good fortune to know them nearly all—who would print a wholly inferior thing for the sake of an inferior class of readers, though they may sometimes decline a good thing because for one reason or another they believe it would not be liked. Still, even this does not often happen; they would rather chance the good thing they doubted of than underrate their readers' judgment.
New writers often suppose themselves rejected because they are unknown; but the unknown man of force and quality is of all others the man whom the editor welcomes to his page. He knows that there is always a danger that the reigning favorite may fail to please; that at any rate, in the order of things, he is passing away, and that if the magazine is not to pass away with the men who have made it, there must be a constant infusion of fresh life. Few editors are such fools and knaves as to let their personal feeling disable their judgment; and the young writer who gets his manuscript back may be sure that it is not because the editor dislikes him, for some reason or no reason. Above all, he can trust me that his contribution has not been passed unread, or has failed of the examination it merits. Editors are not men of infallible judgment, but they do use their judgment, and it is usually good.
The young author who wins recognition in a first-class magazine has achieved a double success, first, with the editor, and then with the best reading public. Many factitious and fallacious literary reputations have been made through books, but very few have been made through the magazines, which are not only the best means of living, but of outliving, with the author; they are both bread and fame to him. If I insist a little upon the high office which this modern form of publication fulfils in the literary world, it is because I am impatient of the antiquated and ignorant prejudice which classes the magazines as ephemeral. They are ephemeral in form, but in substance they are not ephemeral, and what is best in them awaits its resurrection in the book, which, as the first form, is so often a lasting death. An interesting proof of the value of the magazine to literature is the fact that a good novel will have wider acceptance as a book from having been a magazine serial.
I am not sure that the decay of the book is not owing somewhat to the decay of reviewing. This does not now seem to me so thorough, or even so general as it was some years ago, and I think the book oftener comes to the buyer without the warrant of a critical estimate than it once did. That is never the case with material printed in
VI.
Under the regime of the great literary periodicals the prosperity of literary men would be much greater than it actually is, if the magazines were altogether literary. But they are not, and this is one reason why literature is still the hungriest of the professions. Two-thirds of the magazines are made up of material which, however excellent, is without literary quality. Very probably this is because even the highest class of readers, who are the magazine readers, have small love of pure literature, which seems to have been growing less and less in all classes. I say seems, because there are really no means of ascertaining the fact, and it may be that the editors are mistaken in making their periodicals two-thirds popular science, politics, economics, and the timely topics which I will call contemporanies; I have sometimes thought they were. But however that may be, their efforts in this direction have narrowed the field of literary industry, and darkened the hope of literary prosperity kindled by the unexampled prosperity of their periodicals. They pay very well indeed for literature; they pay from five or six dollars a thousand words for the work of the unknown writer, to a hundred and fifty dollars a thousand words for that of the most famous, or the most popular, if there is a difference between fame and popularity; but they do not, altogether, want enough literature to justify the best business talent in devoting itself to belles- lettres, to fiction, or poetry, or humorous sketches of travel, or light essays; business talent can do far better in drygoods, groceries, drugs, stocks, real estate, railroads, and the like. I do not think there is any danger of a ruinous competition from it in the field which, though narrow, seems so rich to us poor fellows, whose business talent is small, at the best.
The most of the material contributed to the magazines is the subject of agreement between the editor and the author; it is either suggested by the author, or is the fruit of some suggestion from the editor; in any case the price is stipulated beforehand, and it is no longer the custom for a well-known contributor to leave the payment to the justice or the generosity of the publisher; that was never a fair thing to either, nor ever a wise thing. Usually, the price is so much a thousand words, a truly odious method of computing literary value, and one well calculated to make the author feel keenly the hatefulness of selling his art at all. It is as if a painter sold his picture at so much a square inch, or a sculptor bargained away a group of statuary by the pound. But it is a custom that you cannot always successfully quarrel with, and most writers gladly consent to it, if only the price a thousand words is large enough. The sale to the editor means the sale of the serial rights only, but if the publisher of the magazine is also a publisher of books, the republication of the material is supposed to be his right, unless there is an understanding to the contrary; the terms for this are another affair. Formerly something more could be got for the author by the simultaneous appearance of his work in an English magazine, but now the great American magazines, which pay far higher prices than any others in the world, have a circulation in England so much exceeding that of any English periodical, that the simultaneous publication can no longer be arranged for from this side, though I believe it is still done here from the other side.
VII.
I think this is the case of authorship as it now stands with regard to the magazines. I am not sure that the case is in every way improved for young authors. The magazines all maintain a staff for the careful examination of manuscripts, but as most of the material they print has been engaged, the number of volunteer contributions that they can use is very small; one of the greatest of them, I know, does not use fifty in the course of a year. The new writer, then, must be very good to be accepted, and when accepted he may wait long before he is printed. The pressure is so great in these avenues to the public favor that one, two, three years, are no uncommon periods of delay. If the writer has not the patience for this, or has a soul above cooling his heels in the courts of fame, or must do his best to earn something at once, the book is his immediate hope. How slight a hope the book is I have tried to hint already, but if a book is vulgar enough in sentiment, and crude enough in taste, and flashy enough in incident, or, better or worse still, if it is a bit hot in the mouth, and promises impropriety if not indecency, there is a very fair chance of its success; I do not mean success with a self-respecting publisher, but with the public, which does not personally put its name to it, and is not openly smirched by it. I will not talk of that kind of book, however, but of the book which the young author has written out of an unspoiled heart and an untainted mind, such as most young men and women write; and I will suppose that it has found a publisher. It is human nature, as competition has deformed human nature, for the publisher to wish the author to take all the risks, and he possibly proposes that the author shall publish it at his own expense, and let him have a percentage of the retail price for managing it. If not that, he proposes that the author shall pay for the stereotype plates, and take fifteen per cent. of the price of the book; or if this will not go, if the author cannot, rather than will not do it (he is commonly only too glad to do anything he can), then the publisher offers him ten per cent. of the retail price after the first thousand copies have been sold. But if he fully believes in the book, he will give ten per cent. from the first copy sold, and pay all the costs of publication himself. The book is to be retailed for a dollar and a half, and the publisher is very well pleased with a new book that sells fifteen hundred copies. Whether the author has as much reason to be so is a question, but if the book does not sell more he has only himself to blame, and had better pocket in silence the two hundred and twenty-five dollars he gets for it, and bless his publisher, and try to find work somewhere at five dollars a week. The publisher has not made any more, if quite as much as the author, and until a book has sold two thousand copies the division is fair enough. After that, the heavier expenses of manufacturing have been defrayed, and the book goes on advertising itself; there is merely the cost of paper, printing, binding, and marketing to be met, and the arrangement becomes fairer and fairer for the publisher. The author has no right to complain of this, in the case of his first book, which he is only too grateful to get accepted at all. If it succeeds, he has himself to blame for making the same arrangement for his second or third; it is his fault, or else it is his necessity, which is practically the same thing. It will be business for the publisher to take advantage of his necessity quite the same as if it were his fault; but I do not say that he will always do so; I believe he will very often not do so.
At one time there seemed a probability of the enlargement of the author's gains by subscription publication, and one very well-known American author prospered fabulously in that way. The percentage offered by the subscription houses was only about half as much as that paid by the trade, but the sales were so much greater that the author could very well afford to take it. Where the book-dealer sold ten, the book-agent sold a hundred; or at least he did so in the case of Mark Twain's books; and we all thought it reasonable he could do so with ours. Such of us as made
It is not common, I think, in this country, to publish on the half-profits system, but it is very common in England, where, owing probably to the moisture in the air, which lends a fairy outline to every prospect, it seems to be peculiarly alluring. One of my own early books was published there on these terms, which I accepted with the insensate joy of the young author in getting any terms from a publisher. The book sold, sold every copy of the small first edition, and in due time the publisher's statement came. I did not think my half of the profits was very great, but it seemed a fair division after every imaginable cost had been charged up against my poor book, and that frail venture had been made to pay the expenses of composition, corrections, paper, printing, binding, advertising, and editorial copies. The wonder ought to have been that there was anything at all coming to me, but I was young and greedy then, and I really thought there ought to have been more. I was disappointed, but I made the best of it, of course, and took the account to the junior partner of the house which employed me, and said that I should like to draw on him for the sum due me from the London publishers. He said, Certainly; but after a glance at the account he smiled and said he supposed I knew how much the sum was? I answered, Yes; it was eleven pounds nine shillings, was not it? But I owned at the same time that I never was good at figures, and that I found English money peculiarly baffling. He laughed now, and said, It was eleven shillings and nine pence. In fact, after all those charges for composition, corrections, paper, printing, binding, advertising, and editorial copies, there was a most ingenious and wholly surprising charge of ten per cent. commission on sales, which reduced my half from pounds to shillings, and handsomely increased the publisher's half in proportion. I do not now dispute the justice of the charge. It was not the fault of the half-profits system, it was the fault of the glad young author who did not distinctly inform himself of its mysterious nature in agreeing to it, and had only to reproach himself if he was finally disappointed.
But there is always something disappointing in the accounts of publishers, which I fancy is because authors are strangely constituted, rather than because publishers are so. I will confess that I have such inordinate expectations of the sale of my books which I hope I think modestly of, that the sales reported to me never seem great enough. The copyright due me, no matter how handsome it is, appears deplorably mean, and I feel impoverished for several days after I get it. But then, I ought to add that my balance in the bank is always much less than I have supposed it to be, and my own checks, when they come back to me, have the air of having been in a conspiracy to betray me.
No, we literary men must learn, no matter how we boast ourselves in business, that the distress we feel from our publisher's accounts is simply idiopathic; and I for one wish to bear my witness to the constant good faith and uprightness of publishers.
It is supposed that because they have the affair altogether in their hands they are apt to take advantage in it; but this does not follow, and as a matter of fact they have the affair no more in their own hands than any other business man you have an open account with. There is nothing to prevent you from looking at their books, except your own innermost belief and fear that their books are correct, and that your literature has brought you so little because it has sold so little.
The author is not to blame for his superficial delusion to the contrary, especially if he has written a book that has set everyone talking, because it is of a vital interest. It may be of a vital interest, without being at all the kind of book people want to buy; it may be the kind of book that they are content to know at second hand; there are such fatal books; but hearing so much, and reading so much about it, the author cannot help hoping that it has sold much more than the publisher says. The publisher is undoubtedly honest, however, and the author had better put away the comforting question of his integrity.
The English writers seem largely to suspect their publishers (I cannot say with how much reason, for my English publisher is Scotch, and I should be glad to be so true a man as I think him); but I believe that American authors, when not flown with flattering reviews, as largely trust theirs. Of course there are rogues in every walk of life. I will not say that I ever personally met them in the flowery paths of literature, but I have heard of other people meeting them there, just as I have heard of people seeing ghosts, and I have to believe in both the rogues and the ghosts, without the witness of my own senses. I suppose, upon such grounds mainly, that there are wicked publishers, but in the case of our books that do not sell, I am afraid that it is the graceless and inappreciative public which is far more to blame than the wickedest of the publishers. It is true that publishers will drive a hard bargain when they can, or when they must; but there is nothing to hinder an author from driving a hard bargain, too, when he can, or when he must; and it is to be said of the publisher that he is always more willing to abide by the bargain when it is made than the author is; perhaps because he has the best of it. But he has not always the best of it; I have known publishers too generous to take advantage of the innocence of authors; and I fancy that if publishers had to do with any race less diffident than authors, they would have won a repute for unselfishness that they do not now enjoy. It is certain that in the long period when we flew the black flag of piracy there were many among our corsairs on the high seas of literature who paid a fair price for the stranger craft they seized; still oftener they removed the cargo, and released their capture with several weeks' provision; and although there was undoubtedly a good deal of actual throat-cutting and scuttling, still I feel sure that there was less of it than there would have been in any other line of business released to the unrestricted plunder of the neighbor. There was for a long time even a comity among these amiable buccaneers, who agreed not to interfere with each other, and so were enabled to pay over to their victims some portion of the profit from their stolen goods. Of all business men publishers are probably the most faithful and honorable, and are only surpassed in virtue when men of letters turn business men.
Publishers have their little theories, their little superstitions, and their blind faith in the great god Chance, which we all worship. These things lead them into temptation and adversity, but they seem to do fairly well as business men, even in their own behalf. They do not make above the usual ninety-five per cent. of failures, and more publishers than authors get rich. I have known several publishers who kept their carriages, but I have never known even one author to keep his carriage on the profits of his literature, unless it was in some
VIII.
Some theories or superstitions publishers and authors share together. One of these is that it is best to keep your books all in the hands of one publisher if you can, because then he can give them more attention ad sell more of them. But my own experience is that when my books were in the hands of three publishers they sold quite as well as when one had them; and a fellow author whom I approached in question of this venerable belief, laughed at it. This bold heretic held that it was best to give each new book to a new publisher, for then the fresh man put all his energies into pushing it; but if you had them all together, the publisher rested in a vain security that one book would sell another, and that the fresh venture would revive the public interest in the stale ones. I never knew this to happen, and I must class it with the superstitions of the trade. It may be so in other and more constant countries, but in our fickle republic, each last book has to fight its own way to public favor, much as if it had no sort of literary lineage. Of course this is stating it rather largely, and the truth will be found inside rather than outside of my statement; but there is at least truth enough in it to give the young author pause. While one is preparing to sell his basket of glass, he may as well ask himself whether it is better to part with all to one dealer or not; and if he kicks it over, in spurning the imaginary customer who asks the favor of taking entire stock, that will be his fault, and not the fault of the question.
However, the most important question of all with the man of letters as a man of business, is what kind of book will sell the best of itself, because, at the end of the ends, a book sells itself or does not sell at all; kissing, after long ages of reasoning and a great deal of culture, still goes by favor, and though innumerable generations of horses have been led to water, not one horse has yet been made to drink. With the best, or the worst, will in the world, no publisher can force a book into acceptance. Advertising will not avail, and reviewing is notoriously futile. If the book does not strike the popular fancy, or deal with some universal interest, which need by no means be a profound or important one, the drums and the cymbals shall be beaten in vain. The book may be one of the best and wisest books in the world, but if it has not this sort of appeal in it, the readers of it, and worse yet, the purchasers, will remain few, though fit. The secret of this, like most other secrets of a rather ridiculous world, is in the awful keeping of fate, and we can only hope to surprise it by some lucky chance. To plan a surprise of it, to aim a book at the public favor, is the most hopeless of all endeavors, as it is one of the unworthiest; and I can, neither as a man of letters nor as a man of business, counsel the young author to do it. The best that you can do is to write the book that it gives you the most pleasure to write, to put as much heart and soul as you have about you into it, and then hope as hard as you can to reach the heart and soul of the great multitude of your fellow-men. That, and that alone, is good business for a man of letters.
The failures in literature are no less mystifying than the successes, though they are upon the whole not so mortifying. I have seen a good many of these failures, and I know of one case so signal that I must speak of it, even to the discredit of the public. It is the case of a novelist whose work seems to me of the best that we have done in that sort, whose books represent our life with singular force and singular insight, and whose equipment for his art, through study, travel, and the world, is of the rarest. He has a strong, robust, manly style; his stories are well knit, and his characters are of the flesh and blood complexion which we know in our daily experience; and yet he has failed to achieve one of the first places in our literature; if I named his name here, I am afraid that it would be quite unknown to the greatest part of my readers. I have never been able to account for his want of success, except through the fact that his stories did not please women, though why they did not, I cannot guess. They did not like them for the same reason that they did not like Dr. Fell; and that reason was quite enough for them. It must be enough for him, I am afraid; but I believe that if this author had been writing in a country where men decided the fate of books, the fate of his books would have been different.
The man of letters must make up his mind that in the United States the fate of a book is in the hands of the women. It is the women with us who have the most leisure, and they read the most books. They are far better educated, for the most part, than our men, and their tastes, if not their minds, are more cultivated. Our men read the newspapers, but our women read the books; the more refined among them read the magazines. If they do not always know what is good, they do know what pleases them, and it is useless to quarrel with their decisions, for there is no appeal from them. To go from them to the men would be going from a higher to a lower court, which would be honestly surprised and bewildered, if the thing were possible. As I say, the author of light literature, and often the author of solid literature, must resign himself to obscurity unless the ladies choose to recognize him. Yet it would be impossible to forecast their favor for this kind or that. Who could prophesy it for another, who guess it for himself? We must strive blindly for it, and hope somehow that our best will also be our prettiest; but we must remember at the same time that it is not the ladies' man who is the favorite of the ladies.
There are of course a few, a very few, of our greatest authors, who have striven forward to the first place in our Valhalla without the help of the largest reading-class among us; but I should say that these were chiefly the humorists, for whom women are said nowhere to have any warm liking, and who have generally with us come up through the newspapers, and have never lost the favor of the newspaper readers. They have become literary men, as it were, without the newspapers' readers knowing it; but those who have approached literature from another direction, have won fame in it chiefly by grace of the women, who first read them, and then made their husbands and fathers read them. Perhaps, then, and as a matter of business, it would be well for a serious author, when he finds that he is not pleasing the women, and probably never will please them, to turn humorous author, and aim at the countenance of the men. Except as a humorist he certainly never will get it, for your American, when he is not making money, or trying to do it, is making a joke, or trying to do it.
IX.
I hope that I have not been hinting that the author who approaches literature through journalism is not as fine and high a literary man as the author who comes directly to it, or through some other avenue; I have not the least notion of condemning myself by any such judgment. But I think it is pretty certain that fewer and fewer authors are turning from journalism to literature, though the entente cordiale between the two professions seems as great as ever. I fancy, though I may be as mistaken in this as I am in a good many other things, that most journalists would have been literary men if they could, at the beginning, and that the kindness they almost always show to young authors is an effect of the self-pity they feel for their own thwarted wish to