Prejudices, third seriesMencken, H. L. (Henry Louis)
History
Prejudices, third series
Mencken, H. L. (Henry Louis)
American essays -- 20th century; American literature -- History and criticism; Literature -- History and criticism
More than once, indeed, the book sinks to downright equivocation—for
example, in the Roosevelt episodes. Certainly no one who knew
Huneker in life will ever argue seriously that he was deceived by the
Roosevelt buncombe, or that his view of life was at all comparable to
that of the great demagogue. He stood, in fact, at the opposite pole.
He saw the world, not as a moral show, but as a sort of glorified
Follies. He was absolutely devoid of that obsession with the problem
of conduct which was Roosevelt’s main virtue in the eyes of a stupid
and superstitious people. More, he was wholly against Roosevelt on
many concrete issues—the race suicide banality, the Panama swindle,
the war. He was far too much the realist to believe in the American
case, either before or after 1917, and the manner in which it was
urged, by Roosevelt and others, violated his notions of truth, honor
and decency. I assume nothing here; I simply record what he told me
himself. Nevertheless, the sheer notoriety of the Rough Rider—his
picturesque personality and talent as a mountebank—had its effect on
Huneker, and so he was a bit flattered when he was summoned to Oyster
Bay, and there accepted gravely the nonsense that was poured into his
ear, and even repeated some of it without a cackle in his book. To say
that he actually believed in it would be to libel him. It was precisely
such hollow tosh that he stood against in his rôle of critic of art and
life; it was by exposing its hollowness that he lifted himself above
the general. The same weakness induced him to accept membership in the
National Institute of Arts and Letters. The offer of it to a man of his
age and attainments, after he had been passed over year after year in
favor of all sorts of cheapjack novelists and tenth-rate compilers of
college textbooks, was intrinsically insulting; it was almost as if the
Musical Union had offered to admit a Brahms. But with the insult went
a certain gage of respectability, a certain formal forgiveness for old
frivolities, a certain abatement of old doubts and self-questionings
and so Huneker accepted. Later on, reviewing the episode in his
own mind, he found it the spring of doubts that were even more
uncomfortable. His last letter to me was devoted to the matter. He was
by then eager to maintain that he had got in by a process only partly
under his control, and that, being in, he could discover no decorous
way of getting out.
Public-domain text, read in full here on John Shaqi.
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