Edgar Lee Masters

( Originally Published 1921 )

The newest style in American fiction dates from the appearance, in 1915, of Spoon River Anthology, though it required five years for the influence of that book to pass thoroughly over from poetry to prose. For nearly half a century native literature had been faithful to the cult of the village, celebrating its delicate merits with sentimental affection and with unwearied interest digging into odd corners of the country for persons and incidents illustrative of the essential goodness and heroism which, so the doctrine ran, lie beneath unexciting surfaces. Certain critical dispositions, aware of agrarian discontent or given to a preference for cities, might now and then lay disre spectful hands upon the life of the farm; but even these generally hesitated to touch the village, sacred since Goldsmith in spite of Crabbe, sacred since Washington Irving in spite of E. W. Howe.

The village seemed too cosy a microcosm to be disturbed. There it lay in the mind's eye, neat, compact, organized, traditional: the white church with tapering spire, the sober schoolhouse, the smithy of the ringing anvil, the corner grocery, the cluster of friendly houses; the venerable parson, the wise physician, the canny squire, the grasping landlord softened or outwitted in the end; the village belle, gossip, atheist, idiot; jovial fathers, gentle mothers, merry children; cool parlors, shining kitchens, spacious barns, lavish gardens, fragrant summer dawns, and comfortable winter evenings. These were elements not to be discarded lightly, even by those who perceived that time was discarding many of them as the industrial revolution went on planting ugly factories alongside the prettiest brooks, bringing in droves of aliens who used unfamiliar tongues and customs, and fouling the atmosphere with smoke and gasoline. Mr. Howe in The Story of a Country Town had long ago made it cynically clear—to the few who read him—that villages which prided themselves upon their pioneer energy might in fact be stagnant back-waters or dusty centers of futility, where existence went round and round while elsewhere the broad cur-rent moved away from them. Mark Twain in The Man That Corrupted Hadleyburg had more recently put it bitterly on record that villages which prided themselves upon their simple virtues might from lack of temptation have become a hospitable soil for meanness and falsehood, merely waiting for the proper seed. And Clarence Darrow in his elegiac Farmington had insisted that one village at least had been the seat of as much restless longing as of simple bliss. Spoon River Anthology in its different dialect did little more than to confirm these mordant, neglected testimonies.

That Mr. Masters was not neglected must be explained in part, of course, by his different dialect. The Greek anthology had suggested to him something which was, he said, "if less than verse, yet more than prose"; and he went, with the step of genius, beyond any "formal resuscitation of the Greek epigrams, ironical and tender, satirical and sympathetic, as casual experiments in unrelated themes," to an "epic rendition of modern life" which suggests the novel in its largest aspects. An admirable scheme occurred to him: he would imagine a graveyard such as every American village has and would equip it with epitaphs of a ruthless veracity such as no village ever saw put into words. The effect, was as if all the few honest epitaphs in the world had suddenly come together in one place and sent up a shout of revelation.

Conventional readers had the thrill of being shocked and of finding an opportunity to defend the customary reticences ; ironical readers had the delight of coming upon a host of witnesses to the contrast which irony perpetually observes between appearance and reality; readers militant for the "truth" discovered an occasion to demand that pious fictions should be done away with and the naked facts exposed to the sanative glare of noon. And all these readers, most of them unconsciously no doubt, shared the fearful joy of sitting down at an almost incomparably abundant feast of scandal. Where now were the mild decencies of Tiverton, of Old Chester, of Friendship Village? The roofs and walls of Spoon River were gone and the passers-by saw into every bedroom; the closets were open and all the skeletons rattled undenied; brains and breasts had unlocked themselves and set their most private treasures out for the most public gaze.

It was the scandal and not the poetry of Spoon River, criticism may suspect, which particularly spread its fame. Mr. Masters used an especial candor in affairs of sex, an instinct which, secretive everywhere, has rarely ever been so much so as in the American villages of fiction, where love ordinarily exhibited itself in none but the chastest phases, as if it knew no savage vagaries, transgressed no ordinances, shook no souls out of the approved routines. Reaction from too much sweet drove Mr. Masters naturally to too much sour; sex in Spoon River slinks and festers, as if it were an instinct which had not been schooled—however imperfectly—by thousands of years of human society to some modification of its rages and some civil direction of its restless power. But here, as with the other aspects of behavior in his village, he showed himself impatient, indeed violent, toward all subterfuges. There is filth, he said in effect, behind whited sepulchers; drag it into the light and such illusions will no longer trick the uninstructed into paying honor where no honor appertains and will no longer beckon the deluded to an imitation of careers which are actually unworthy.

Spoon River has not even the outward comeliness which the village of tradition should possess: it is slack and shabby. Nor is its decay chronicled in any mood of tender pathos. What strikes its chronicler most is the general demoralization of the town. Except for a few saints and poets, whom he acclaims with a lyric ardor, the population is sunk in greed and hypocrisy and—as if this were actually the worst of all—complacent apathy. Spiritually it dwindles and rots ; externally it clings to a pitiless decorum which veils its faults and almost makes it overlook them, so great has the breach come to be between its practices and its professions. Again and again its poet goes back to the heroic founders of Spoon River, back to the days which nurtured Lincoln, whose shadow lies mighty, beneficent, too often unheeded, over the degenerate sons and daughters of a smaller day; and from an older, robuster integrity Mr. Masters takes a standard by which he morosely measures the purposelessness and furtiveness and supineness and dulness of the village which has forgotten its true ancestors.

Anger like his springs from a poetic elevation of spirit; toward the end Spoon River Anthology rises to a mystical vision of human life by comparison with which the scavenging epitaphs of the first half seem, though witty, yet insolent and trivial. It is perhaps not necessary to point out that the numerous poets and novelists who have learned a lesson from the book have learned it less powerfully from the difficult later pages than from those in which the text is easiest.

Mr. Masters himself has not always remembered the harder and better lesson. During a half dozen years he has published more than a half dozen books which have all inherited the credit of the Anthology but which all betray the turbulent, nervous habit of experimentation which makes up a large share of his literary character. There comes to mind the figure of a blind-folded Apollo, eager and lusty, who continually runs forward on the trail of poetry and truth but who, because of his blindfoldedness, only now and then strikes the central track. Five of Mr. Masters's later books are collections of miscellaneous verse; during the fruitful year 1920 he undertook two longer flights of fiction. In Mitch Miller he attempted in prose to write a new Tom Sawyer for the Spoon River district; in Domesday Book he applied the method of The Ring and the Book to the material of Starved Rock. The impulse of the first must have been much the same as Mark Twain's : a desire to catch in a stouter net than memory itself the recollections of boyhood which haunt disillusioned men. But as Mr. Masters is immensely less boylike than Mark Twain, elegy and argument thrust themselves into the chronicle of Mitch and Skeet, with an occasional tincture of a fierce hatred felt toward the politics and theology of Spoon River. A story of boyhood, that lithe, muscular age, cannot carry such a burden of doctrine. The narrative is tangled in a snarl of moods. Its movement is often thick, its wings often gummed and heavy.

The same qualities may be noted in Domesday Book. Its scheme and machinery are promising: a philosophical coroner, holding his inquest over the body of a girl found mysteriously dead, undertakes to trace the mystery not only to its immediate cause but up to its primary source and out to its remotest consequences. At times the tale means to be an allegory of America during the troubled, roiled, destroying years of the war; at times it means to be a "census spiritual" of American society. Elenor Murray, in her birth and love and sufferings and desperate end, is represented as pure nature, "essential genius," acting out its fated processes in a world of futile or corrupting inhibitions. But Mr. Masters has less skill at portraying the sheer genius of an individual than at arraigning the inhibitions of the individual's society. When he steps down from his watch-tower of irony he can hate as no other American poet does. His hates, however, do not always pass into poetry; they too frequently remain hard, sullen masses of animosity not fused with his narrative but standing out from it and adding an unmistakable personal rhythm to the rough beat of his verse. So, too, do his heaps of turgid learning and his scientific speculations often remain undigested. A good many of his characters are cut to fit the narrative plan, not chosen from reality to make up the narrative. The total effect is often crude and heavy; and yet beneath these uncompleted surfaces are the sinews of enormous power: a greedy gusto for life, a wide imaginative experience, tumultuous uprushes of emotion and expression, an acute if undisciplined intelligence, great masses of the veritable stuff of existence out of which great novels are made.