Hell loose and get your own back, and paddle your own canoe on a new sea, while clever America lies on her muck-heaps of gold, strangled in her own barbed wire of shalt-not ideals and shalt-not moralisms. While she goes out to work like millions of squirrels in millions of cages. Production!
Let Hell loose, and get your own back, Europe!
Chapter 3 Hector St. John de Crevecoeur
CREVECOEUR was born in France, at Caen, in the year 1735. As a boy he was sent over to England and received part of his education there. He went to Canada as a young man, served for a time with Montcalm in the war against the English, and later passed over into the United States, to become an exuberant American. He married a New England girl, and settled on the frontier. During the period of his 'cultivating the earth' he wrote the Letters from an American Farmer, which enjoyed great vogue in their day, in England especially, among the new reformers like Godwin and Tom Paine.
But Crevecoeur was not a mere cultivator of the earth. That was his best stunt, shall we say. He himself was more concerned with a perfect society and his own manipulation thereof, than with growing carrots. Behold him, then, trotting off importantly and idealistically to France, leaving his farm in the wilds to be burnt by the Indians, and his wife to shift as best she might. This was during the American War of Independence, when the Noble Red Man took to behaving like his own old self. On his return to America, the American Farmer entered into public affairs and into commerce. Again tripping to France, he enjoyed himself as a litt‚rateur Child-of-Nature-sweet-and-pure, was a friend of old Benjamin Franklin in Paris, and quite a favourite with Jean Jacques Rousseau's Madame d'Houdetot, that literary soul.
Hazlitt, Godwin, Shelley, Coleridge, the English romanticists, were, of course, thrilled by the Letters from an American Farmer. A new world, a world of the Noble Savage and Pristine Nature and Paradisal Simplicity and all that gorgeousness that flows out of the unsullied fount of the ink-bottle. Lucky Coleridge, who got no farther than Bristol. Some of us have gone all the way.
I think this wild and noble America is the thing that I have pined for most ever since I read Fenimore Cooper, as a boy. Now I've got it.
Franklin is the real prartical prototype of the American. Crevecoeur is the emotional. To the European, the American is first and foremost a dollar-fiend. We tend to forget the emotional heritage of Hector St. John de Crevecoeur. We tend to disbelieve, for example, in Woodrow Wilson's wrung heart and wet hanky. Yet surely these are real enough. Aren't they?
It wasn't to be expected that the dry little snuff-coloured Doctor should have it all his own way. The new Americans might use venery for health or offspring, and their time for cultivating potatoes and Chicagoes, but they had got some sap in their veins after all. They had got to get a bit of luscious emotion somewhere.
NATURE.
I wish I could write it larger than that.
NATURE.
Benjamin overlooked NATURE. But the French Crevecoeur spotted it long before Thoreau and Emerson worked it up. Absolutely the safest thing to get your emotional reactions over is NATURE.
Crevecoeur's Letters are written in a spirit of touching simplicity, almost better than Chateaubriand. You'd think neither of them would ever know how many beans make five. This American Farmer tells of the joys of creating a home in the wilderness, and of cultivating the virgin soil. Poor virgin, prostituted from the very start.
The Farmer had an Amiable Spouse and an Infant Son, his progeny. He took the Infant Son - who enjoys no other name than this -
What is thy name?
I have no name.
I am the Infant Son -
to the fields with him, and seated the same I. S. on the shafts of the plough whilst he, the American Farmer, ploughed the potato patch. He also, the A. F., helped his Neighbours, whom no doubt he loved as himself, to build a barn, and they laboured together in the Innocent Simplicity of one of Nature's Communities. Meanwhile the Amiable Spouse, who likewise in Blakean simplicity has No Name, cooked the dough-nuts or the pie, though these are not mentioned. No doubt she was a deep-breasted daughter of America, though she may equally well have been a flat-bosomed Methodist. She would have been an Amiable Spouse in either case, and the American Farmer asked no more. I don't know whether her name was Lizzie or Ahoolibah, and probably Crevecoeur didn't. Spouse was enough for him. 'Spouse, hand me the carving knife.'
The Infant Son developed into Healthy Offspring as more appeared: no doubt Crevecoeur had used venery as directed. And so these Children of Nature toiled in the Wilds at Simple Toil with a little Honest Sweat now and then. You have the complete picture, dear reader. The American Farmer made his own Family Picture, and it is still on view. Of course the Amiable Spouse put on her best apron to be Im Bild, for all the world to see and admire.
I used to admire my head off: before I tiptoed into the Wilds and saw the shacks of the Homesteaders. Particularly the Amiable Spouse, poor thing. No wonder she never sang the song of Simple Toil in the Innocent Wilds. Poor haggard drudge, like a ghost wailing in the wilderness, nine times out of ten.
Hector St. John, you have lied to me. You lied even more scurrilously to yourself. Hector St. John, you are an emotional liar.
Jean Jacques, Bernardin de St. Pierre, Chateaubriand, exquisite Francois Le Vaillant, you lying little lot, with your Nature-Sweet-and-Pure! Marie Antoinette got her head off for playing dairy-maid, and nobody even dusted the seats of your pants, till now, for all the lies you put over us.
But Crevecoeur was an artist as well as a liar, otherwise we would not have bothered with him. He wanted to put NATURE in his pocket, as Benjamin put the Human Being. Between them, they wanted the whole scheme of things in their pockets, and the things themselves as well. Once you've got the scheme of things in your pocket, you can do as you like with it, even make money out of it, if you can't find in your heart to destroy it, as was your first intention. So H. St. J. de C. tried to put Nature-Sweet-and-Pure in his pocket. But nature wasn't having any, she poked her head out and baa-ed.
This Nature-sweet-and-pure business is only another effort at intellectualizing. Just an attempt to make all nature succumb to a few laws of the human mind. The sweet-and-pure sort of laws. Nature seemed to be behaving quite nicely, for a while. She has left off.
That's why you get the purest intellectuals in a Garden Suburb or a Brook Farm experiment. You bet, Robinson Crusoe was a high-brow of high-brows.
You can idealize or intellectualize. Or, on the contrary, you can let the dark soul in you see for itself. An artist usually intellectualizes on top, and his dark under-consciousness goes on contradicting him beneath. This is almost laughably the case with most American artists. Crevecoeur is the first example. He is something of an artist, Franklin isn't anything.
Crevecoeur the idealist puts over us a lot of stuff about nature and the noble savage and the innocence of toil, etc., etc. Blarney! But Crevecoeur the artist gives us glimpses of actual nature, not writ large.
Curious that his vision sees only the lowest forms of natural life. Insects, snakes and birds he glimpses in their own mystery, their own pristine being. And straightway gives the lie to Innocent Nature.
'I am astonished to see,' he writes quite early in the Letters, 'that nothing exists but what has its enemy, one species pursue and live upon the other: unfortunately our king-birds are the destroyers of those industrious insects [the bees]; but on the other hand, these birds preserve our fields from the depredation of crows, which they pursue on the wing with great vigilance and astonishing dexterity.'
This is a sad blow to the sweet-and-pureness of Nature. But it is the voice of the artist in contrast to the voice of the ideal turtle. It is the rudimentary American vision. The glimpsing of the king-birds in winged hostility and pride is no doubt the aboriginal Indian vision carrying over. The Eagle symbol in human consciousness. Dark, swinging wings of hawk-beaked destiny,