No More Learning

On the one hand, I was in danger of being carried beyond the limit of my
own opinions, or at least of that temper with which every man should
speak his mind in print, and on the other I feared the risk of seeming
to vulgarize a deep and sacred conviction. I needed on occasion to rise
above the level of mere _patois_, and for this purpose conceived the
Rev. Mr. Wilbur, who should express the more cautious element of the New
England character and its pedantry, as Mr. Biglow should serve for its
homely common-sense vivified and heated by conscience. The parson was to
be the complement rather than the antithesis of his parishioner, and I
felt or fancied a certain humorous element in the real identity of the
two under a seeming incongruity. Mr. Wilbur's fondness for scraps of
Latin, though drawn from the life, I adopted deliberately to heighten
the contrast. Finding soon after that I needed some one as a mouth-piece
of the mere drollery, for I conceive that true humor is never divorced
from moral conviction, I invented Mr. Sawin for the clown of my little
puppet-show. I meant to embody in him that half-conscious _un_morality
which I had noticed as the recoil in gross natures from a puritanism
that still strove to keep in its creed the intense savor which had long
gone out of its faith and life. In the three I thought I should find
room enough to express, as it was my plan to do, the popular feeling and
opinion of the time. For the names of two of my characters, since I have
received some remonstrances from very worthy persons who happen to bear
them, I would say that they were purely fortuitous, probably mere
unconscious memories of sign-boards or directories. Mr. Sawin's sprang
from the accident of a rhyme at the end of his first epistle, and I
purposely christened him by the impossible surname of Birdofredum not
more to stigmatize him as the incarnation of 'Manifest Destiny,' in
other words, of national recklessness as to right and wrong, than to
avoid the chance of wounding any private sensitiveness.
The success of my experiment soon began not only to astonish me, but to
make me feel the responsibility of knowing that I held in my hand a
weapon instead of the mere fencing-stick I had supposed. Very far from
being a popular author under my own name, so far, indeed, as to be
almost unread, I found the verses of my pseudonym copied everywhere; saw
them pinned up in workshops; I heard them quoted and their authorship
debated; I once even, when rumor had at length caught up my name in one
of its eddies, had the satisfaction of overhearing it demonstrated, in
the pauses of a concert, that _I_ was utterly incompetent to have
written anything of the kind. I had read too much not to know the utter
worthlessness of contemporary reputation, especially as regards satire,
but I knew also that by giving a certain amount of influence it also had
its worth, if that influence were used on the right side. I had learned,
too, that the first requisite of good writing is to have an earnest and
definite purpose, whether aesthetic or moral, and that even good
writing, to please long, must have more than an average amount either of
imagination or common-sense. The first of these falls to the lot of
scarcely one in several generations; the last is within the reach of
many in every one that passes; and of this an author may fairly hope to
become in part the mouthpiece. If I put on the cap and bells and made
myself one of the court-fools of King Demos, it was less to make his
majesty laugh than to win a passage to his royal ears for certain
serious things which I had deeply at heart. I say this because there is
no imputation that could be more galling to any man's self-respect than
that of being a mere jester. I endeavored, by generalising my satire, to
give it what value _I_ could beyond the passing moment and the immediate
application. How far I have succeeded I cannot tell, but I have had
better luck than I ever looked for in seeing my verses survive to pass
beyond their nonage.

In choosing the Yankee dialect, I did not act without forethought. It
had long seemed to me that the great vice of American writing and
speaking was a studied want of simplicity, that we were in danger of
coming to look on our mother-tongue as a dead language, to be sought in
the grammar and dictionary rather than in the heart, and that our only
chance of escape was by seeking it at its living sources among those who
were, as Scottowe says of Major-General Gibbons, 'divinely illiterate. '
President Lincoln, the only really great public man whom these latter
days have seen, was great also in this, that he was master--witness his
speech at Gettysburg--of a truly masculine English, classic, because it
was of no special period, and level at once to the highest and lowest of
his countrymen. I learn from the highest authority that his favorite
reading was in Shakespeare and Milton, to which, of course, the Bible
should be added. But whoever should read the debates in Congress might
fancy himself present at a meeting of the city council of some city of
Southern Gaul in the decline of the Empire, where barbarians with a
Latin varnish emulated each other in being more than Ciceronian. Whether
it be want of culture, for the highest outcome of that is simplicity, or
for whatever reason, it is certain that very few American writers or
speakers wield their native language with the directness, precision, and
force that are common as the day in the mother country. We use it like
Scotsmen, not as if it belonged to us, but as if we wished to prove that
we belonged to it, by showing our intimacy with its written rather than
with its spoken dialect.