The Search For A Usable Past


What this meant was that the sentiment of American nationalism was, to an extraordinary degree, a literary creation, and that the national memory was a literary and, in a sense, a contrived memory. The contrast here with the Old World is sharp. There the image of the past was conjured up and sustained by a thousand testimonials: folklore and folk song, the vernacular and the patois, church music and architecture, monuments, paintings and murals, the pageantry of the court and of popular feasts and holidays. To be sure, literature—poetry and drama and formal histories—came to play a role, but only when it was quarried from cultural foundations that went deep. In America the image of the past was largely the creation of the poets and the storytellers, and chiefly of the New England-New York group who flourished between the War of 1812 and the War for the Union, that group familiar to an earlier generation through the amiable game of Authors: Irving, Cooper, and Bryant; Longfellow, Hawthorne, and Whittier; Emerson, Lowell, and Holmes. These were the Founding Fathers of American literary nationalism, and their achievement was scarcely less remarkable than that of the Founding Fathers of political nationalism.

We live in an extraordinary age. … It is impossible to look around us without alternate emotions of exultation and astonishment. What shall we say of one revolution, which created a nation out of thirteen feeble colonies, and founded the empire of liberty upon the basis of the perfect equality in rights and representation of all its citizens? which commenced in a struggle by enlightened men for principles, and not for places, and in its progress and conclusion exhibited examples of heroism, patriotic sacrifices, and disinterested virtue, which have never been surpassed in the most favored regions? What shall we say of this nation, which has in fifty years quadrupled its population, and spread itself from the Atlantic to the Rocky Mountains, not by the desolations of successful war, but by the triumphant march of industry and enterprise? —Justice Joseph Story

In a single generation these men of letters gave Americans the dramas, the characters, the settings, which were to instruct and delight succeeding generations: Uncas and Deerslayer and Long Tom Coffin; Rip Van Winkle and the Headless Horseman; Miles Standish, Paul Revere, Evangeline, and Hiawatha; Goodman Brown, the Grey Champion, and Hester Prynne, as well as the Salem Customs House, the House of Seven Gables, the Old Manse, and the Great Stone Face; Skipper Ireson and Concord Bridge and Old Ironsides and the One-Hoss Shay and Hosea Biglow with all his Yankee company.

Note that this image of the past which the literary Founding Fathers created and imposed upon Americans was very largely a New England image, and much that was most distinctive about American nationalism was to be conditioned by this circumstance. It meant that Americans on Iowa prairies or the plains of Texas would sing “I love thy rocks and rills, thy woods and templed hills” with no sense of incongruity; that Plymouth would supplant Jamestown as the birthplace of America; that Thanksgiving Day would be a New England holiday; that Paul Revere would be the winged horseman of American history and Concord Bridge the American equivalent of the Rubicon; that Boston’s Statehouse would vindicate its claim—or Holmes’—to be the “hub of the solar system.” If all this was hard on the South, southerners had only themselves to blame for their indifference to their own men of letters. The most familiar of southern symbols came from the North: Harriet Beecher Stowe of New England gave us Uncle Tom and Little Eva and Topsy and Eliza, while it was Stephen Foster of Pittsburgh who sentimentalized the Old South, and even “Dixie” had northern origins.

The literary task of creating a usable past was largely performed by 1865; after that date perhaps only Mark Twain, Bret Harte, and Louisa May Alcott added anything substantial to the treasure house of historical memories. This was, in perspective, the most significant achievement of American literature and one almost without parallel in the literature of any other country in a comparable period. How interesting that a people supposed to be indifferent to literaturesupposed by some to have no literature—should depend so largely upon literature for the nourishment of its historical self-consciousness. Certainly the speed and effectiveness with which Americans rallied their resources to supply themselves with a historical past cannot but excite astonishment. And what a past it was—splendid, varied, romantic, and all but blameless, in which there were heroes but no villains, victories but no defeats—a past that was all prologue to the Rising Glory of America.