This may appear matter of small concernment; but any one that has travelled in foreign countries must be conscious of the embarrassment and circumlocution sometimes occasioned by the want of a perfectly distinct and explicit national appellation. In France, when I have announced myself as an American, I have been supposed to belong to one of the French colonies; in Spain, to be from Mexico, or Peru, or some other Spanish-American country. Repeatedly have I found myself involved in a long geographical and political definition of my national identity.
Now, Sir, meaning no disrespect to any of our co-heirs of this great quarter of the world, I am for none of this coparceny in a name that is to mingle us up with the riff-raff colonies and offsets of every nation of Europe. The title of American may serve to tell the quarter of the world to which I belong, the same as a Frenchman or an Englishman may call himself a European; but I want my own peculiar national name to rally under. I want an appellation that shall tell at once, and in a way not to be mistaken, that I belong to this very portion of America, geographical and political, to which it is my pride and happiness to belong; that I am of the Anglo-Saxon race which founded this Anglo-Saxon empire in the wilderness; and that I have no part or parcel with any other race or empire, Spanish, French, or Portuguese, in either of the Americas. Such an appellation, Sir, would have magic in it. It would bind every part of the confederacy together as with a keystone; it would be a passport to the citizen of our republic throughout the world.
We have it in our power to furnish ourselves with such a national appellation, from one of the grand and eternal features of our country; from that noble chain of mountains which formed its backbone, and ran through the “old confederacy,” when it first declared our national independence. I allude to the Appalachian or Alleghany mountains. We might do this without any very inconvenient change in our present titles. We might still use the phrase, “The United States,” substituting Appalachia, or Alleghania, (I should prefer the latter,) in place of America. The title of Appalachian, or Alleghanian, would still announce us as Americans, but would specify us as citizens of the Great Republic. Even our old national cypher of U. S. A. might remain unaltered, designating the United States of Alleghania.
These are crude ideas, Mr. Editor, hastily thrown out to elicit the ideas of others, and to call attention to a subject of more national importance than may at first be supposed.
Very respectfully yours,
Geoffrey Crayon.
*
DESULTORY THOUGHTS ON CRITICISM.
“Let a man write never so well, there are now-a-days a sort of persons they call critics, that, egad, have no more wit in them than so many hobby-horses: but they’ll laugh at you, Sir, and find fault, and censure things, that, egad, I’m sure they are not able to do themselves; a sort of envious persons, that emulate the glories of persons of parts, and think to build their fame by calumniation of persons that, egad, to my knowledge, of all persons in the world, are in nature the persons that do as much despise all that, as — a — In fine, I’ll say no more of ‘em!” -REHEARSAL.
All the world knows the story of the tempest-tossed voyager, who, coming upon a strange coast, and seeing a man hanging in chains, hailed it with joy, as the sign of a civilized country. In like manner we may hail, as a proof of the rapid advancement of civilization and refinement in this country, the increasing number of delinquent authors daily gibbeted for the edification of the public.
In this respect, as in every other, we are “going ahead” with accelerated velocity, and promising to outstrip the superannuated countries of Europe. It is really astonishing to see the number of tribunals incessantly springing up for the trial of literary offences. Independent of the high courts of Oyer and Terminer, the great quarterly reviews, we have innumerable minor tribunals, monthly and weekly, down to the Pie-poudre courts in the daily papers; insomuch that no culprit stands so little chance of escaping castigation, as an unlucky author, guilty of an unsuccessful attempt to please the public.
Seriously speaking, however, it is questionable whether our national literature is sufficiently advanced, to bear this excess of criticism; and whether it would not thrive better, if allowed to spring up, for some time longer, in the freshness and vigor of native vegetation. When the worthy Judge Coulter, of Virginia, opened court for the first time in one of the upper counties, he was for enforcing all the rules and regulations that had grown into use in the old, long-settled counties. “This is all very well,” said a shrewd old farmer; “but let me tell you, Judge Coulter, you set your coulter too deep for a new soil.”
For my part, I doubt whether either writer or reader is benefited by what is commonly called criticism. The former is rendered cautious and distrustful; he fears to give way to those kindling emotions, and brave sallies of thought, which bear him up to excellence; the latter is made fastidious and cynical; or rather, he surrenders his own independent taste and judgment, and learns to like and dislike at second hand.
Let us, for a moment, consider the nature of this thing called criticism, which exerts such a sway over the literary world. The pronoun we, used by critics, has a most imposing and delusive sound. The reader pictures to himself a conclave of learned men, deliberating gravely and scrupulously on the merits of the book in question; examining it page by page, comparing and balancing their opinions, and when they have united in a conscientious verdict, publishing it for the benefit of the world: whereas the criticism is generally the crude and hasty production of an individual, scribbling to while away an idle hour, to oblige a bookseller, or to defray current expenses. How often is it the passing notion of the hour, affected by accidental circumstances; by indisposition, by peevishness, by vapors or indigestion; by personal prejudice, or party feeling. Sometimes a work is sacrificed, because the reviewer wishes a satirical article; sometimes because he wants a humorous one; and sometimes because the author reviewed has become offensively celebrated, and offers high game to the literary marksman.
How often would the critic himself, if a conscientious man, reverse his opinion, had he time to revise it in a more sunny moment; but the press is waiting, the printer’s devil is at his elbow; the article is wanted to make the requisite variety for the number of the review, or the author has pressing occasion for the sum he is to receive for the article, so it is sent off, all blotted and blurred; with a shrug of the shoulders, and the consolatory ejaculation: “Pshaw! curse it! it’s nothing but a review!”
The critic, too, who dictates thus oracularly to the world, is perhaps some dingy, ill-favored, ill-mannered varlet, who, were he to speak by word of mouth, would be disregarded, if not scoffed at; but such is the magic of types; such the mystic operation of anonymous writing; such the potential effect of the pronoun we, that his crude decisions, fulminated through the press, become circulated far and wide, control the opinions of the world, and give or destroy reputation.
Many readers have grown timorous in their judgments since the all-pervading currency of criticism. They fear to express a revised, frank opinion about any new work, and to relish it honestly and heartily, lest it should be condemned in the next review, and they stand convicted of bad taste. Hence they hedge their opinions, like a gambler his bets, and leave an opening to retract, and retreat, and qualify, and neutralise every unguarded expression of delight, until their very praise declines into a faintness that is damning.
Were every one, on the contrary, to judge for himself, and speak his mind frankly and fearlessly, we should have more true criticism in the world than at present. Whenever a person is pleased with a work, he may be assured that it has good qualities. An author who pleases a variety of readers, must possess substantial powers of pleasing; or, in other words, intrinsic merits; for otherwise we acknowledge an effect, and deny the cause. The reader, therefore, should not suffer himself to be readily shaken from the conviction of his own feelings, by the sweeping censures of pseudo critics. The author he has admired, may be chargeable with a thousand faults; but it is neverthele
ss beauties and excellencies that have excited his admiration; and he should recollect that taste and judgment are as much evinced in the perception of beauties among defects, as in a detection of defects among beauties. For my part, I honor the blessed and blessing spirit that is quick to discover and extol all that is pleasing and meritorious. Give me the honest bee, that extracts honey from the humblest weed, but save me from the ingenuity of the spider, which traces its venom, even in the midst of a flower-garden.
If the mere fact of being chargeable with faults and imperfections is to condemn an author, who is to escape? The greatest writers of antiquity have, in this way, been obnoxious to criticism. Aristotle himself has been accused of ignorance; Aristophanes of impiety and buffoonery; Virgil of plagiarism, and a want of invention; Horace of obscurity; Cicero has been, said to want vigor and connexion, and Demosthenes to be deficient in nature, and in purity of language. Yet these have all survived the censures of the critic, and flourished on to a glorious immortality. Every now and then the world is startled by some new doctrines in matters of taste, some levelling attacks on established creeds; some sweeping denunciations of whole generations, or schools of writers, as they are called, who had seemed to be embalmed and canonized in public opinion. Such has been the case, for instance, with Pope, and Dryden, and Addison, who for a time have almost been shaken from their pedestals, and treated as false idols.
It is singular, also, to see the fickleness of the world with respect to its favorites. Enthusiasm exhausts itself, and prepares the way for dislike. The public is always for positive sentiments, and new sensations. When wearied of admiring, it delights to censure; thus coining a double set of enjoyments out of the same subject. Scott and Byron are scarce cold in their graves, and already we find criticism beginning to call in question those powers which held the world in magic thraldom. Even in our own country, one of its greatest geniuses has had some rough passages with the censors of the press; and instantly criticism begins to unsay all that it has repeatedly said in his praise; and the public are almost led to believe that the pen which has so often delighted them, is absolutely destitute of the power to delight!
If, then, such reverses in opinion as to matters of taste can be so readily brought about, when may an author feel himself secure? Where is the anchoring-ground of popularity, when he may thus be driven from his moorings, and foundered even in harbor? The reader, too, when he is to consider himself safe in admiring, when he sees long-established altars overthrown, and his household deities dashed to the ground!
There is one consolatory reflection. Every abuse carries with it its own remedy or palliation. Thus the excess of crude and hasty criticism, which has of late prevailed throughout the literary world, and threatened to overrun our country, begins to produce its own antidote. Where there is a multiplicity of contradictory paths, a man must make his choice; in so doing, he has to exercise his judgment, and that is one great step to mental independence. He begins to doubt all, where all differ, and but one can be in the right. He is driven to trust to his own discernment, and his natural feelings; and here he is most likely to be safe. The author, too, finding that what is condemned at one tribunal, is applauded at another, though perplexed for a time, gives way at length to the spontaneous impulse of his genius, and the dictates of his taste, and writes in the way most natural to himself. It is thus that criticism, which by its severity may have held the little world of writers in check, may, by its very excess, disarm itself of its terrors, and the hardihood of talent become restored.
G.C.
*
SPANISH ROMANCE.
TO THE EDITOR OF THE KNICKERBOCKER.
Sir: I have already given you a legend or two drawn from ancient Spanish sources, and may occasionally give you a few more. I love these old Spanish themes, especially when they have a dash of the Morisco in them, and treat of the times when the Moslems maintained a foothold in the peninsula. They have a high, spicy, oriental flavor, not to be found in any other themes that are merely European. In fact, Spain is a country that stands alone in the midst of Europe; severed in habits, manners, and modes of thinking, from all its continental neighbors. It is a romantic country; but its romance has none of the sentimentality of modern European romance: it is chiefly derived from the brilliant regions of the East, and from the high-minded school of Saracenic chivalry.
The Arab invasion and conquest brought a higher civilization and a nobler style of thinking into Gothic Spain. The Arabs were a quick-witted, sagacious, proud-spirited, and poetical people, and were imbued with oriental science and literature. Wherever they established a seat of power, it became a rallying place for the learned and ingenious; and they softened and refined the people whom they conquered. By degrees, occupancy seemed to give them a hereditary right to their foothold in the land; they ceased to be looked upon as invaders, and were regarded as rival neighbors. The peninsula, broken up into a variety of states, both Christian and Moslem, became for centuries a great campaigning ground, where the art of war seemed to be the principal business of man, and was carried to the highest pitch of romantic chivalry. The original ground of hostility, a difference of faith, gradually lost its rancor. Neighboring states, of opposite creeds, were occasionally linked together in alliances, offensive and defensive; so that the cross and crescent were to be seen side by side fighting against some common enemy. In times of peace, too, the noble youth of either faith resorted to the same cities, Christian or Moslem, to school themselves in military science. Even in the temporary truces of sanguinary wars, the warriors who had recently striven together in the deadly conflicts of the field, laid aside their animosity, met at tournaments, jousts, and other military festivities, and exchanged the courtesies of gentle and generous spirits. Thus the opposite races became frequently mingled together in peaceful intercourse, or if any rivalry took place, it was in those high courtesies and nobler acts which bespeak the accomplished cavalier. Warriors of opposite creeds became ambitious of transcending each other in magnanimity as well as valor. Indeed, the chivalric virtues were refined upon to a degree sometimes fastidious and constrained; but at other times, inexpressibly noble and affecting. The annals of the times teem with illustrious instances of high-wrought courtesy, romantic generosity, lofty disinterestedness, and punctilious honor, that warm the very soul to read them. These have furnished themes for national plays and poems, or have been celebrated in those all-pervading ballads which are as the life-breath of the people, and thus have continued to exercise an influence on the national character which centuries of vicissitude and decline have not been able to destroy; so that, with all their faults, and they are many, the Spaniards, even at the present day, are on many points the most high-minded and proud-spirited people of Europe. It is true, the romance of feeling derived from the sources I have mentioned, has, like all other romance, its affectations and extremes. It renders the Spaniard at times pompous and grandiloquent; prone to carry the “pundonor,” or point of honor, beyond the bounds of sober sense and sound morality; disposed, in the midst of poverty, to affect the “grande caballero,” and to look down with sovereign disdain upon “arts mechanical,” and all the gainful pursuits of plebeian life; but this very inflation of spirit, while it fills his brain with vapors, lifts him above a thousand meannesses; and though it often keeps him in indigence, ever protects him from vulgarity.
In the present day, when popular literature is running into the low levels of life and luxuriating on the vices and follies of mankind, and when the universal pursuit of gain is trampling down the early growth of poetic feeling and wearing out the verdure of the soul, I question whether it would not be of service for the reader occasionally to turn to these records of prouder times and loftier modes of thinking, and to steep himself to the very lips in old Spanish romance.
For my own part, I have a shelf or two of venerable, parchment-bound tomes, picked up here and there about the peninsula, and filled with chronicles, plays, and ballads, about Moors and Christians, which I kee
p by me as mental tonics, in the same way that a provident housewife has her cupboard of cordials. Whenever I find my mind brought below par by the commonplace of everyday life, or jarred by the sordid collisions of the world, or put out of tune by the shrewd selfishness of modern utilitarianism, I resort to these venerable tomes, as did the worthy hero of La Mancha to his books of chivalry, and refresh and tone up my spirit by a deep draught of their contents. They have some such effect upon me as Falstaff ascribes to a good Sherris sack, “warming the blood and filling the brain with fiery and delectable shapes.”
I here subjoin, Mr. Editor, a small specimen of the cordials I have mentioned, just drawn from my Spanish cupboard, which I recommend to your palate. If you find it to your taste, you may pass it on to your readers.
Your correspondent and well-wisher,
GEOFFREY CRAYON.
*
LEGEND OF DON MUNIO SANCHO DE HINOJOSA.
BY THE AUTHOR OF THE SKETCHBOOK.
In the cloisters of the ancient Benedictine convent of San Domingo, at Silos, in Castile, are the mouldering yet magnificent monuments of the once powerful and chivalrous family of Hinojosa. Among these, reclines the marble figure of a knight, in complete armor, with the hands pressed together, as if in prayer. On one side of his tomb is sculptured in relief a band of Christian cavaliers, capturing a cavalcade of male and female Moors; on the other side, the same cavaliers are represented kneeling before an altar. The tomb, like most of the neighboring monuments, is almost in ruins, and the sculpture is nearly unintelligible, excepting to the keen eye of the antiquary. The story connected with the sepulchre, however, is still preserved in the old Spanish chronicles, and is to the following purport.
Complete Fictional Works of Washington Irving (Illustrated) Page 172