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      COLONIZING AMERICA

       Table of Contents

      MISINFORMING A NATION

       Table of Contents

      I

      COLONIZING AMERICA

      The intellectual colonization of America by England has been going on for generations. Taking advantage of her position of authority—a position built on centuries of aesthetic tradition—England has let pass few opportunities to ridicule and disparage our activities in all lines of creative effort, and to impress upon us her own assumed cultural superiority. Americans, lacking that sense of security which long-established institutions would give them, have been influenced by the insular judgments of England, and, in an effort to pose as au courant of the achievements of the older world, have adopted in large degree the viewpoint of Great Britain. The result has been that for decades the superstition of England's preëminence in the world of art and letters has spread and gained power in this country. Our native snobbery, both social and intellectual, has kept the fires of this superstition well supplied with fuel; and in our slavish imitation of England—the only country in Europe of which we have any intimate knowledge—we have de-Americanized ourselves to such an extent that there has grown up in us a typical British contempt for our own native achievements.

      One of the cardinal factors in this Briticization of our intellectual outlook is the common language of England and America. Of all the civilized nations of the world, we are most deficient as linguists. Because of our inability to speak fluently any language save our own, a great barrier exists between us and the Continental countries. But no such barrier exists between America and England; and consequently there is a constant exchange of ideas, beliefs, and opinions. English literature is at our command; English criticism is familiar to us; and English standards are disseminated among us without the impediment of translation. Add to this lingual rapprochement the traditional authority of Great Britain, together with the social aspirations of moneyed Americans, and you will have both the material and the psychological foundation on which the great edifice of English culture has been reared in this country.

      The English themselves have made constant and liberal use of these conditions. An old and disquieting jealousy, which is tinctured not a little by resentment, has resulted in an open contempt for all things American. And it is not unnatural that this attitude should manifest itself in a condescending patronage which is far from being good-natured. Our literature is derided; our artists are ridiculed; and in nearly every field of our intellectual endeavor England has found grounds for disparagement. It is necessary only to look through British newspapers and critical journals to discover the contemptuous and not infrequently venomous tone which characterizes the discussion of American culture.

      At the same time, England grasps every opportunity for foisting her own artists and artisans on this country. She it is who sets the standard which at once demolishes our individual expression and glorifies the efforts of Englishmen. Our publishers, falling in line with this campaign, import all manner of English authors, eulogize them with the aid of biased English critics, and neglect better writers of America simply because they have displeased those gentlemen in London who sit in judgment upon our creative accomplishments. Our magazines, edited for the most part by timid nobodies whose one claim to intellectual distinction is that they assiduously play the parrot to British opinion, fill their publications with the work of English mediocrities and ignore the more deserving contributions of their fellow-countrymen.

      Even our educational institutions disseminate the English superstition and neglect the great men of America; for nowhere in the United States will you find the spirit of narrow snobbery so highly developed as in our colleges and universities. Recently an inferior British poet came here, and, for no other reason apparently save that he was English, he was made a professor in one of our large universities! Certainly his talents did not warrant this appointment, for there are at least a score of American poets who are undeniably superior to this young Englishman. Nor has he shown any evidences of scholarship which would justify the honor paid him. But an Englishman, if he seek favors, needs little more than proof of his nationality, whereas an American must give evidence of his worth.

      England has shown the same ruthlessness and unscrupulousness in her intellectual colonization of America as in her territorial colonizations; and she has also exhibited the same persistent shrewdness. What is more, this cultural extension policy has paid her lavishly. English authors, to take but one example, regard the United States as their chief source of income. If it were the highest English culture—that is, the genuinely significant scholarship of the few great modern British creators—which was forced upon America, there would be no cause for complaint. But the governing influences in English criticism are aggressively middle-class and chauvinistic, with the result that it is the British bourgeois who has stifled our individual expression, and misinformed us on the subject of European culture.

      No better instance of this fact can be pointed to than the utterly false impression which America has of French attainments. French genius has always been depreciated and traduced by the British; and no more subtle and disgraceful campaign of derogation has been launched in modern times than the consistent method pursued by the English in misinterpreting French ideals and accomplishments to Americans. To England is due largely, if not entirely, the uncomplimentary opinion that Americans have of France—an opinion at once distorted and indecent. To the average American a French novel is regarded merely as a salacious record of adulteries. French periodicals are looked upon as collections of prurient anecdotes and licentious pictures. And the average French painting is conceived as a realistic presentation of feminine nakedness. So deeply rooted are these conceptions that

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