Delphi Complete Works of William Dean Howells

by William Dean Howells

  Goldsmith’s History of Rome came to me much later, but quite as immemorably, and after I had formed a preference for the Greek Republics, which I dare say was not mistaken. Of course I liked Athens best, and yet there was something in the fine behavior of the Spartans in battle, which won a heart formed for hero-worship. I mastered the notion of their communism, and approved of their iron money, with the poverty it obliged them to, yet somehow their cruel treatment of the Helots failed to shock me; perhaps I forgave it to their patriotism, as I had to forgive many ugly facts in the history of the Romans to theirs. There was hardly any sort of bloodshed which I would not pardon in those days to the slayers of tyrants; and the swagger form of such as despatched a despot with a fine speech was so much to my liking that I could only grieve that I was born too late to do and to say those things.

  I do not think I yet felt the beauty of the literature which made them all live in my fancy, that I conceived of Goldsmith as an artist using for my rapture the finest of the arts; and yet I had been taught to see the loveliness of poetry, and was already trying to make it on my own poor account. I tried to make verses like those I listened to when my father read Moore and Scott to my mother, but I heard them with no such happiness as I read my beloved histories, though I never thought then of attempting to write like Goldsmith. I accepted his beautiful work as ignorantly as I did my other blessings. I was concerned in getting at the Greeks and Romans, and I did not know through what nimble air and by what lovely ways I was led to them. Some retrospective perception of this came long afterward when I read his essays, and after I knew all of his poetry, and later yet when I read the ‘Vicar of Wakefield’; but for the present my eyes were holden, as the eyes of a boy mostly are in the world of art. What I wanted with my Greeks and Romans after I got at them was to be like them, or at least to turn them to account in verse, and in dramatic verse at that. The Romans were less civilized than the Greeks, and so were more like boys, and more to a boy’s purpose. I did not make literature of the Greeks, but I got a whole tragedy out of the Romans; it was a rhymed tragedy, and in octosyllabic verse, like the “Lady of the Lake.” I meant it to be acted by my schoolmates, but I am not sure that I ever made it known to them. Still, they were not ignorant of my reading, and I remember how proud I was when a certain boy, who had always whipped me when we fought together, and so outranked me in that little boys’ world, once sent to ask me the name of the Roman emperor who lamented at nightfall, when he had done nothing worthy, that he had lost a day. The boy was going to use the story, in a composition, as we called the school themes then, and I told him the emperor’s name; I could not tell him now without turning to the book.

  My reading gave me no standing among the boys, and I did not expect it to rank me with boys who were more valiant in fight or in play; and I have since found that literature gives one no more certain station in the world of men’s activities, either idle or useful. We literary folk try to believe that it does, but that is all nonsense. At every period of life, among boys or men, we are accepted when they are at leisure, and want to be amused, and at best we are tolerated rather than accepted. I must have told the boys stories out of my Goldsmith’s Greece and Rome, or it would not have been known that I had read them, but I have no recollection now of doing so, while I distinctly remember rehearsing the allegories and fables of the ‘Gesta Romanorum’, a book which seems to have been in my hands about the same time or a little later. I had a delight in that stupid collection of monkish legends which I cannot account for now, and which persisted in spite of the nightmare confusion it made of my ancient Greeks and Romans. They were not at all the ancient Greeks and Romans of Goldsmith’s histories.

  I cannot say at what times I read these books, but they must have been odd times, for life was very full of play then, and was already beginning to be troubled with work. As I have said, I was to and fro between the schoolhouse and the printing-office so much that when I tired of the one I must have been very promptly given my choice of the other. The reading, however, somehow went on pretty constantly, and no doubt my love for it won me a chance for it. There were some famous cherry-trees in our yard, which, as I look back at them, seem to have been in flower or fruit the year round; and in one of them there was a level branch where a boy could sit with a book till his dangling legs went to sleep, or till some idler or busier boy came to the gate and called him down to play marbles or go swimming. When this happened the ancient world was rolled up like a scroll, and put away until the next day, with all its orators and conspirators, its nymphs and satyrs, gods and demigods; though sometimes they escaped at night and got into the boy’s dreams.

  I do not think I cared as much as some of the other boys for the ‘Arabian Nights’ or ‘Robinson Crusoe,’ but when it came to the ‘Ingenious Gentleman of La Mancha,’ I was not only first, I was sole.

  Before I speak, however, of the beneficent humorist who next had my boyish heart after Goldsmith, let me acquit myself in full of my debt to that not unequal or unkindred spirit. I have said it was long after I had read those histories, full of his inalienable charm, mere pot-boilers as they were, and far beneath his more willing efforts, that I came to know his poetry. My father must have read the “Deserted Village” to us, and told us something of the author’s pathetic life, for I cannot remember when I first knew of “sweet Auburn,” or had the light of the poet’s own troubled day upon the “loveliest village of the plain.” The ‘Vicar of Wakefield’ must have come into my life after that poem and before ‘The Traveler’. It was when I would have said that I knew all Goldsmith; we often give ourselves credit for knowledge in this way without having any tangible assets; and my reading has always been very desultory. I should like to say here that the reading of any one who reads to much purpose is always very desultory, though perhaps I had better not say so, but merely state the fact in my case, and own that I never read any one author quite through without wandering from him to others. When I first read the ‘Vicar of Wakefield’ (for I have since read it several times, and hope yet to read it many times), I found its persons and incidents familiar, and so I suppose I must have heard it read. It is still for me one of the most modern novels: that is to say, one of the best. It is unmistakably good up to a certain point, and then unmistakably bad, but with always good enough in it to be forever imperishable. Kindness and gentleness are never out of fashion; it is these in Goldsmith which make him our contemporary, and it is worth the while of any young person presently intending deathless renown to take a little thought of them. They are the source of all refinement, and I do not believe that the best art in any kind exists without them. The style is the man, and he cannot hide himself in any garb of words so that we shall not know somehow what manner of man he is within it; his speech betrayeth him, not only as to his country and his race, but more subtly yet as to his heart, and the loves and hates of his heart. As to Goldsmith, I do not think that a man of harsh and arrogant nature, of worldly and selfish soul, could ever have written his style, and I do not think that, in far greater measure than criticism has recognized, his spiritual quality, his essential friendliness, expressed itself in the literary beauty that wins the heart as well as takes the fancy in his work.

  I should have my reservations and my animadversions if it came to close criticism of his work, but I am glad that he was the first author I loved, and that even before I knew I loved him I was his devoted reader. I was not consciously his admirer till I began to read, when I was fourteen, a little volume of his essays, made up, I dare say, from the ‘Citizen of the World’ and other unsuccessful ventures of his. It contained the papers on Beau Tibbs, among others, and I tried to write sketches and studies of life in their manner. But this attempt at Goldsmith’s manner followed a long time after I tried to write in the style of Edgar A. Poe, as I knew it from his ‘Tales of the Grotesque erred Arabesque.’ I suppose the very poorest of these was the “Devil in the Belfry,” but such as it was I followed it as closely as I could in the “Devil in th
e Smoke-Pipes”; I meant tobacco-pipes. The resemblance was noted by those to whom I read my story; I alone could not see it or would not own it, and I really felt it a hardship that I should be found to have produced an imitation.

  It was the first time I had imitated a prose writer, though I had imitated several poets like Moore, Campbell, and Goldsmith himself. I have never greatly loved an author without wishing to write like him. I have now no reluctance to confess that, and I do not see why I should not say that it was a long time before I found it best to be as like myself as I could, even when I did not think so well of myself as of some others. I hope I shall always be able and willing to learn something from the masters of literature and still be myself, but for the young writer this seems impossible. He must form himself from time to time upon the different authors he is in love with, but when he has done this he must wish it not to be known, for that is natural too. The lover always desires to ignore the object of his passion, and the adoration which a young writer has for a great one is truly a passion passing the love of women. I think it hardly less fortunate that Cervantes was one of my early passions, though I sat at his feet with no more sense of his mastery than I had of Goldsmith’s.

  III. CERVANTES

  I recall very fully the moment and the place when I first heard of ‘Don Quixote,’ while as yet I could not connect it very distinctly with anybody’s authorship. I was still too young to conceive of authorship, even in my own case, and wrote my miserable verses without any notion of literature, or of anything but the pleasure of seeing them actually come out rightly rhymed and measured. The moment was at the close of a summer’s day just before supper, which, in our house, we had lawlessly late, and the place was the kitchen where my mother was going about her work, and listening as she could to what my father was telling my brother and me and an apprentice of ours, who was like a brother to us both, of a book that he had once read. We boys were all shelling peas, but the story, as it went on, rapt us from the poor employ, and whatever our fingers were doing, our spirits were away in that strange land of adventures and mishaps, where the fevered life of the knight truly without fear and without reproach burned itself out. I dare say that my father tried to make us understand the satirical purpose of the book. I vaguely remember his speaking of the books of chivalry it was meant to ridicule; but a boy could not care for this, and what I longed to do at once was to get that book and plunge into its story. He told us at random of the attack on the windmills and the flocks of sheep, of the night in the valley of the fulling-mills with their trip-hammers, of the inn and the muleteers, of the tossing of Sancho in the blanket, of the island that was given him to govern, and of all the merry pranks at the duke’s and duchess’s, of the liberation of the galley-slaves, of the capture of Mambrino’s helmet, and of Sancho’s invention of the enchanted Dulcinea, and whatever else there was wonderful and delightful in the most wonderful and delightful book in the world. I do not know when or where my father got it for me, and I am aware of an appreciable time that passed between my hearing of it and my having it. The event must have been most important to me, and it is strange I cannot fix the moment when the precious story came into my hands; though for the matter of that there is nothing more capricious than a child’s memory, what it will hold and what it will lose.

  It is certain my Don Quixote was in two small, stout volumes not much bigger each than my Goldsmith’s ‘Greece’, bound in a sort of law-calf, well fitted to withstand the wear they were destined to undergo. The translation was, of course, the old-fashioned version of Jervas, which, whether it was a closely faithful version or not, was honest eighteenth- century English, and reported faithfully enough the spirit of the original. If it had any literary influence with me the influence must have been good. But I cannot make out that I was sensible of the literature; it was the forever enchanting story that I enjoyed. I exulted in the boundless freedom of the design; the open air of that immense scene, where adventure followed adventure with the natural sequence of life, and the days and the nights were not long enough for the events that thronged them, amidst the fields and woods, the streams and hills, the highways and byways, hostelries and hovels, prisons and palaces, which were the setting of that matchless history. I took it as simply as I took everything else in the world about me. It was full of meaning that I could not grasp, and there were significances of the kind that literature unhappily abounds in, but they were lost upon my innocence. I did not know whether it was well written or not; I never thought about that; it was simply there in its vast entirety, its inexhaustible opulence, and I was rich in it beyond the dreams of avarice.

  My father must have told us that night about Cervantes as well as about his ‘Don Quixote’, for I seem to have known from the beginning that he was once a slave in Algiers, and that he had lost a hand in battle, and I loved him with a sort of personal affection, as if he were still living and he could somehow return my love. His name and nature endeared the Spanish name and nature to me, so that they were always my romance, and to this day I cannot meet a Spanish man without clothing him in something of the honor and worship I lavished upon Cervantes when I was a child. While I was in the full flush of this ardor there came to see our school, one day, a Mexican gentleman who was studying the American system of education; a mild, fat, saffron man, whom I could almost have died to please for Cervantes’ and Don Quixote’s sake, because I knew he spoke their tongue. But he smiled upon us all, and I had no chance to distinguish myself from the rest by any act of devotion before the blessed vision faded, though for long afterwards, in impassioned reveries, I accosted him and claimed him kindred because of my fealty, and because I would have been Spanish if I could.

  I would not have had the boy-world about me know anything of these fond dreams; but it was my tastes alone, my passions, which were alien there; in everything else I was as much a citizen as any boy who had never heard of Don Quixote. But I believe that I carried the book about with me most of the time, so as not to lose any chance moment of reading it. Even in the blank of certain years, when I added little other reading to my store, I must still have been reading it. This was after we had removed from the town where the earlier years of my boyhood were passed, and I had barely adjusted myself to the strange environment when one of my uncles asked me to come with him and learn the drug business, in the place, forty miles away, where he practised medicine. We made the long journey, longer than any I have made since, in the stage-coach of those days, and we arrived at his house about twilight, he glad to get home, and I sick to death with yearning for the home I had left. I do not know how it was that in this state, when all the world was one hopeless blackness around me, I should have got my ‘Don Quixote’ out of my bag; I seem to have had it with me as an essential part of my equipment for my new career. Perhaps I had been asked to show it, with the notion of beguiling me from my misery; perhaps I was myself trying to drown my sorrows in it. But anyhow I have before me now the vision of my sweet young aunt and her young sister looking over her shoulder, as they stood together on the lawn in the summer evening light. My aunt held my Don Quixote open in one hand, while she clasped with the other the child she carried on her arm. She looked at the book, and then from time to time she looked at me, very kindly but very curiously, with a faint smile, so that as I stood there, inwardly writhing in my bashfulness, I had the sense that in her eyes I was a queer boy. She returned the book without comment, after some questions, and I took it off to my room, where the confidential friend of Cervantes cried himself to sleep.

  In the morning I rose up and told them I could not stand it, and I was going home. Nothing they could say availed, and my uncle went down to the stage-office with me and took my passage back.

  The horror of cholera was then in the land; and we heard in the stage- office that a man lay dead of it in the hotel overhead. But my uncle led me to his drugstore, where the stage was to call for me, and made me taste a little camphor; with this prophylactic, Cervantes and I somehow got home togeth
er alive.

  The reading of ‘Don Quixote’ went on throughout my boyhood, so that I cannot recall any distinctive period of it when I was not, more or less, reading that book. In a boy’s way I knew it well when I was ten, and a few years ago, when I was fifty, I took it up in the admirable new version of Ormsby, and found it so full of myself and of my own irrevocable past that I did not find it very gay. But I made a great many discoveries in it; things I had not dreamt of were there, and must always have been there, and other things wore a new face, and made a new effect upon me. I had my doubts, my reserves, where once I had given it my whole heart without question, and yet in what formed the greatness of the book it seemed to me greater than ever. I believe that its free and simple design, where event follows event without the fettering control of intrigue, but where all grows naturally out of character and conditions, is the supreme form of fiction; and I cannot help thinking that if we ever have a great American novel it must be built upon some such large and noble lines. As for the central figure, Don Quixote himself, in his dignity and generosity, his unselfish ideals, and his fearless devotion to them, he is always heroic and beautiful; and I was glad to find in my latest look at his history that I had truly conceived of him at first, and had felt the sublimity of his nature. I did not want to laugh at him so much, and I could not laugh at all any more at some of the things done to him. Once they seemed funny, but now only cruel, and even stupid, so that it was strange to realize his qualities and indignities as both flowing from the same mind. But in my mature experience, which threw a broader light on the fable, I was happy to keep my old love of an author who had been almost personally, dear to me.