The Negro in Literature and Art in the United States Part 8

CHARLES S. GILPIN

As an ill.u.s.tration of the highly romantic temperament that characterizes the Negro race, and also as an instance of an artist who has worked for years to realize his possibilities, we might cite such a shining example as Charles S. Gilpin, the star of "The Emperor Jones" in the New York theatrical season of 1920-21. Here is a man who for years dreamed of attainment in the field of the legitimate drama, but who found no opening; but who with it all did not despair, and now, after years of striving and waiting, stands with his rounded experience and poise as an honor and genuine contributor to the American stage.

Charles S. Gilpin was born in Richmond, Va., the youngest child in a large family. His mother was a nurse in the city hospital; his father a hard-working man in a steel plant. He was educated at St. Frances'

Convent, where he sang well and took some part in amateur theatricals; but he was to work a long while yet before he found a chance to do the kind of work that he wanted to do, and meanwhile he was to earn his living as printer or barber or otherwise, just as occasion served. He himself has recently said, "I've been in stock companies, vaudeville, minstrel shows, and carnivals; but not until 1907 did I have an opportunity to show an audience that the Negro has dramatic talent and likes to play parts other than comedy ones."

It was in the 90's that Mr. Gilpin began his professional work as a variety performer in Richmond, and he soon joined a traveling organization. In 1903 he was one of the Gilmore Canadian Jubilee Singers; in 1905 he was with Williams and Walker; the next season with Gus Hill's "Smart Set"; and then from 1907 to 1909 with the Pekin Stock Company of Chicago. This last company consisted of about forty members, of whom eleven were finally selected for serious drama. Mr. Gilpin was one of these; but the manager died, and once more the aspiring actor was forced back to vaudeville.

Now followed ten long years--ten years of the kind that blast and kill, and with which even the strongest man sometimes goes under. With the New York managers there was no opening. And yet sometimes there was hope--not only hope, but leadership and effort for others, as when Mr.

Gilpin carried a company of his own to the Lafayette Theatre and helped to begin the production of Broadway shows. Life was leading--somewhere; but meanwhile one had to live, and the way was as yet uncertain. At last, in 1919, came a chance to play William Custis, the old Negro in Drinkwater's "Abraham Lincoln."

The part was not a great one. It was still bound by racial limitations and Custis appeared in only one scene. Nevertheless the work was serious; here at least was opportunity.

In the early fall of 1920 Mr. Gilpin was still playing Custis and helping to make the play a success. Meanwhile, however, Eugene O'Neill, one of the most original playwrights in the country, had written "The Emperor Jones"; and Charles S. Gilpin was summoned to the part of the star.

There were many who regretted to see him leave "Abraham Lincoln," and some indeed who wondered if he did the wise thing. To Charles Gilpin, however, came the decision that sooner or later must be faced by every artist, and indeed by every man in any field of endeavor--either to rest on safe and a.s.sumed achievement, or to believe in one's own self, take the great risk, and launch out into the unknown. He choose to believe in himself. His work was one of the features of the New York theatrical season of 1920-21, and at the annual dinner of the Drama League in 1921 he was one of the ten guests who were honored as having contributed most to the American theatre within the year.

The play on which this success has been based is a highly original and dramatic study of panic and fear. The Emperor Jones is a Negro who has broken out of jail in the United States and escaped to what is termed a "West Indian Island not yet self-determined by white marines." Here he is sufficiently bold and ingenious to make himself ruler within two years. He moves unharmed among his sullen subjects by virtue of a legend of his invention that only a silver bullet can harm him, but at length when he has reaped all the riches in sight, he deems it advisable to flee. As the play begins, the measured sound of a beating tom-tom in the hills gives warning that the natives are in conclave, using all kinds of incantations to work themselves up to the point of rebellion. Nightfall finds the Emperor at the edge of a forest where he has food hidden and through whose trackless waste he knows a way to safety and freedom. His revolver carries five bullets for his pursuers and a silver one for himself in case of need. Bold and adventurous, he plunges into the jungle at sunset; but at dawn, half-crazed, naked, and broken, he stumbles back to the starting-place only to find the natives quietly waiting for him there. Now follows a vivid portrayal of strange sounds and shadows, with terrible visions from the past. As the Emperor's fear quickens, the forest seems filled with threatening people who stare at and bid for him. Finally, shrieking at the worst vision of all, he is driven back to the clearing and to his death, the tom-tom beating ever nearer and faster according as his panic grows.

To the work of this remarkable part--which is so dominating in the play that it has been called a dramatic monologue--Mr. Gilpin brings the resources of a matured and thoroughly competent actor. His performance is powerful and richly imaginative, and only other similarly strong plays are now needed for the further enlargement of the art of an actor who has already shown himself capable of the hardest work and the highest things.

For once the critics were agreed. Said Alexander Woolcott in the _New York Times_ with reference to those who produced the play: "They have acquired an actor, one who has it in him to invoke the pity and the terror and the indescribable foreboding which are part of the secret of 'The Emperor Jones.'" Kenneth MacGowan wrote in the _Globe_; "Gilpin's is a sustained and splendid piece of acting. The moment when he raises his naked body against the moonlit sky, beyond the edge of the jungle, and prays, is such a dark lyric of the flesh, such a cry of the primitive being, as I have never seen in the theatre"; and in the _Tribune_ Heywood Broun said of the actor: "He sustains the succession of scenes in monologue not only because his voice is one of a gorgeous natural quality, but because he knows just what to do with it. All the notes are there and he has also an extraordinary facility for being in the right place at the right time." Such comments have been re-echoed by the thousands who have witnessed Mr. Gilpin's thrilling work, and in such a record as this he deserves further credit as one who has finally bridged the chasm between popular comedy and the legitimate drama, and who thus by sheer right of merit steps into his own as the foremost actor that the Negro race has produced within recent years.

APPENDIX

_1. THE NEGRO IN AMERICAN FICTION_

Ever since Sydney Smith sneered at American books a hundred years ago, honest critics have asked themselves if the literature of the United States was not really open to the charge of provincialism. Within the last year or two the argument has been very much revived; and an English critic, Mr. Edward Garnett, writing in _The Atlantic Monthly_, has pointed out that with our predigested ideas and made-to-order fiction we not only discourage individual genius, but make it possible for the mult.i.tude to think only such thoughts as have pa.s.sed through a sieve.

Our most popular novelists, and sometimes our most respectable writers, see only the sensation that is uppermost for the moment in the mind of the crowd--divorce, graft, tainted meat or money--and they proceed to cut the cloth of their fiction accordingly. Mr. Owen Wister, a "regular pract.i.tioner" of the novelist's art, in substance admitting the weight of these charges, lays the blame on our cra.s.s democracy which utterly refuses to do its own thinking and which is satisfied only with the tinsel and gewgaws and hobbyhorses of literature. And no theme has suffered so much from the coa.r.s.eness of the mob-spirit in literature as that of the Negro.

As a matter of fact, the Negro in his problems and strivings offers to American writers the greatest opportunity that could possibly be given to them to-day. It is commonly agreed that only one other large question, that of the relations of capital and labor, is of as much interest to the American public; and even this great issue fails to possess quite the appeal offered by the Negro from the social standpoint. One can only imagine what a Victor Hugo, detached and philosophical, would have done with such a theme in a novel. When we see what actually has been done--how often in the guise of fiction a writer has preached a sermon or shouted a political creed, or vented his spleen--we are not exactly proud of the art of novel-writing as it has been developed in the United States of America. Here was opportunity for tragedy, for comedy, for the subtle portrayal of all the relations of man with his fellow man, for faith and hope and love and sorrow. And yet, with the Civil War fifty years in the distance, not one novel or one short story of the first rank has found its inspiration in this great theme. Instead of such work we have consistently had traditional tales, political tracts, and lurid melodramas.

Let us see who have approached the theme, and just what they have done with it, for the present leaving out of account all efforts put forth by Negro writers themselves.

The names of four exponents of Southern life come at once to mind--George W. Cable, Joel Chandler Harris, Thomas Nelson Page, and Thomas Dixon; and at once, in their outlook and method of work, the first two become separate from the last two. Cable and Harris have looked toward the past, and have embalmed vanished or vanishing types.

Mr. Page and Mr. Dixon, with their thought on the present (though for the most part they portray the recent past), have used the novel as a vehicle for political propaganda.

It was in 1879 that "Old Creole Days" evidenced the advent of a new force in American literature; and on the basis of this work, and of "The Grandissimes" which followed, Mr. Cable at once took his place as the foremost portrayer of life in old New Orleans. By birth, by temperament, and by training he was thoroughly fitted for the task to which he set himself. His mother was from New England, his father of the stock of colonial Virginia; and the stern Puritanism of the North was mellowed by the gentler influences of the South. Moreover, from his long apprenticeship in newspaper work in New Orleans he had received abundantly the knowledge and training necessary for his work. Setting himself to a study of the Negro of the old regime, he made a specialty of the famous--and infamous--quadroon society of Louisiana of the third and fourth decades of the last century. And excellent as was his work, turning his face to the past in manner as well as in matter, from the very first he raised the question propounded by this paper. In his earliest volume there was a story ent.i.tled "'t.i.te Poulette," the heroine of which was a girl amazingly fair, the supposed daughter of one Madame John. A young Dutchman fell in love with 't.i.te Poulette, championed her cause at all times, suffered a beating and stabbing for her, and was by her nursed back to life and love. In the midst of his perplexity about joining himself to a member of another race, came the word from Madame John that the girl was not her daughter, but the child of yellow fever patients whom she had nursed until they died, leaving their infant in her care. Immediately upon the publication of this story, the author received a letter from a young woman who had actually lived in very much the same situation as that portrayed in "'t.i.te Poulette," telling him that his story was not true to life and that he knew it was not, for Madame John really was the mother of the heroine. Accepting the criticism, Mr. Cable set about the composition of "Madame Delphine," in which the situation is somewhat similar, but in which at the end the mother tamely makes a confession to a priest. What is the trouble? The artist is so bound by circ.u.mstances and hemmed in by tradition that he simply has not the courage to launch out into the deep and work out his human problems for himself. Take a representative portrait from "The Grandissimes":

Clemence had come through ages of African savagery, through fires that do not refine, but that blunt and blast and blacken and char; starvation, gluttony, drunkenness, thirst, drowning, nakedness, dirt, fetichism, debauchery, slaughter, pestilence, and the rest--she was their heiress; they left her the cinders of human feelings.... She had had children of a.s.sorted colors--had one with her now, the black boy that brought the basil to Joseph; the others were here and there, some in the Grandissime households or field-gangs, some elsewhere within occasional sight, some dead, some not accounted for.

Husbands--like the Samaritan woman's. We know she was a constant singer and laugher.

Very brilliant of course; and yet Clemence is a relic, not a prophecy.

Still more of a relic is Uncle Remus. For decades now, this charming old Negro has been held up to the children of the South as the perfect expression of the beauty of life in the glorious times "befo' de wah,"

when every Southern gentleman was suckled at the bosom of a "black mammy." Why should we not occasionally attempt to paint the Negro of the new day--intelligent, ambitious, thrifty, manly? Perhaps he is not so poetic; but certainly the human element is greater.

To the school of Cable and Harris belong also of course Miss Grace King and Mrs. Ruth McEnery Stuart, a thoroughly representative piece of work being Mrs. Stuart's "Uncle 'Riah's Christmas Eve." Other more popular writers of the day, Miss Mary Johnston and Miss Ellen Glasgow for instance, attempt no special a.n.a.lysis of the Negro. They simply take him for granted as an inst.i.tution that always has existed and always will exist, as a hewer of wood and drawer of water, from the first flush of creation to the sounding of the trump of doom.

But more serious is the tone when we come to Thomas Nelson Page and Thomas Dixon. We might tarry for a few minutes with Mr. Page to listen to more such tales as those of Uncle Remus; but we must turn to living issues. Times have changed. The grandson of Uncle Remus does not feel that he must stand with his hat in his hand when he is in our presence, and he even presumes to help us in the running of our government. This will never do; so in "Red Rock" and "The Leopard's Spots" it must be shown that he should never have been allowed to vote anyway, and those honorable gentlemen in the Congress of the United States in the year 1865 did not know at all what they were about. Though we are given the characters and setting of a novel, the real business is to show that the Negro has been the "sentimental pet" of the nation all too long. By all means let us have an innocent white girl, a burly Negro, and a burning at the stake, or the story would be incomplete.

We have the same thing in "The Clansman," a "drama of fierce revenge."

But here we are concerned very largely with the blackening of a man's character. Stoneman (Thaddeus Stevens very thinly disguised) is himself the whole Congress of the United States. He is a gambler, and "spends a part of almost every night at Hall & Pemberton's Faro Place on Pennsylvania Avenue." He is hysterical, "drunk with the joy of a triumphant vengeance." "The South is conquered soil," he says to the President (a mere figure-head, by the way), "I mean to blot it from the map." Further: "It is but the justice and wisdom of heaven that the Negro shall rule the land of his bondage. It is the only solution of the race problem. Wait until I put a ballot in the hand of every Negro, and a bayonet at the breast of every white man from the James to the Rio Grande." Stoneman, moreover, has a mistress, a mulatto woman, a "yellow vampire" who dominates him completely. "Senators, representatives, politicians of low and high degree, artists, correspondents, foreign ministers, and cabinet officers hurried to acknowledge their fealty to the uncrowned king, and hail the strange brown woman who held the keys of his house as the first lady of the land." This, let us remember, was for some months the best-selling book in the United States. A slightly altered version of it has very recently commanded such prices as were never before paid for seats at a moving-picture entertainment; and with "The Traitor" and "The Southerner" it represents our most popular treatment of the gravest social question in American life! "The Clansman" is to American literature exactly what a Louisiana mob is to American democracy. Only too frequently, of course, the mob represents us all too well.

Turning from the longer works of fiction to the short story, I have been interested to see how the matter has been dealt with here. For purposes of comparison I have selected from ten representative periodicals as many distinct stories, no one of which was published more than ten years ago; and as these are in almost every case those stories that first strike the eye in a periodical index, we may a.s.sume that they are thoroughly typical. The ten are: "Shadow," by Harry Stillwell Edwards, in the _Century_ (December, 1906); "Callum's Co'tin': A Plantation Idyl," by Frank H. Sweet, in the _Craftsman_ (March, 1907); "His Excellency the Governor," by L. M. Cooke, in _Putnam's_ (February, 1908); "The Black Drop," by Margaret Deland in _Collier's Weekly_ (May 2 and 9, 1908); "Jungle Blood," by Elmore Elliott Peake, in _McClure's_ (September, 1908); "The Race-Rioter," by Harris Merton Lyon, in the _American_ (February, 1910); "Shadow," by Grace MacGowan Cooke and Alice MacGowan, in _Everybody's_ (March, 1910); "Abram's Freedom," by Edna Turpin, in the _Atlantic_ (September, 1912); "A Hypothetical Case," by Norman Duncan, in _Harper's_ (June, 1915); and "The Chalk Game," by L.

B. Yates, in the _Sat.u.r.day Evening Post_ (June 5, 1915). For high standards of fiction I think we may safely say that, all in all, the periodicals here mentioned are representative of the best that America has to offer. In some cases the story cited is the only one on the Negro question that a magazine has published within the decade.

"Shadow" (in the _Century_) is the story of a Negro convict who for a robbery committed at the age of fourteen was sentenced to twenty years of hard labor in the mines of Alabama. An accident disabled him, however, and prevented his doing the regular work for the full period of his imprisonment. At twenty he was a hostler, looking forward in despair to the fourteen years of confinement still waiting for him. But the three little girls of the prison commissioner visit the prison. Shadow performs many little acts of kindness for them, and their hearts go out to him. They storm the governor and the judge for his pardon, and present the Negro with his freedom as a Christmas gift. The story is not long, but it strikes a note of genuine pathos.

"Callum's Co'tin'" is concerned with a hard-working Negro, a blacksmith, nearly forty, who goes courting the girl who called at his shop to get a trinket mended for her mistress. At first he makes himself ridiculous by his finery; later he makes the mistake of coming to a crowd of merrymakers in his working clothes. More and more, however, he storms the heart of the girl, who eventually capitulates. From the standpoint simply of craftsmanship, the story is an excellent piece of work.

"His Excellency the Governor" deals with the custom on Southern plantations of having, in imitation of the white people, a Negro "governor" whose duty it was to settle minor disputes. At the death of old Uncle Caleb, who for years had held this position of responsibility, his son Jubal should have been the next in order. He was likely to be superseded, however, by loud-mouthed Sambo, though urged to a.s.sert himself by Maria, his wife, an old house-servant who had no desire whatever to be defeated for the place of honor among the women by Sue, a former field-hand. At the meeting where all was to be decided, however, Jubal with the aid of his fiddle completely confounded his rival and won. There are some excellent touches in the story; but, on the whole, the composition is hardly more than fair in literary quality.

"The Black Drop," throughout which we see the hand of an experienced writer, a.n.a.lyzes the heart of a white boy who is in love with a girl who is almost white, and who when the test confronts him suffers the tradition that binds him to get the better of his heart. "But you will still believe that I love you?" he asks, ill at ease as they separate.

"No, of course I can not believe that," replies the girl.

"Jungle Blood" is the story of a simple-minded, simple-hearted Negro of gigantic size who in a moment of fury kills his pretty wife and the white man who has seduced her. The tone of the whole may be gleaned from the description of Moss Harper's father: "An old darky sat drowsing on the stoop. There was something ape-like about his long arms, his flat, wide-nostriled nose, and the mat of gray wool which crept down his forehead to within two inches of his eyebrows."

"The Race-Rioter" sets forth the stand of a brave young sheriff to protect his prisoner, a Negro boy, accused of the a.s.sault and murder of a little white girl. Hank Egge tries by every possible subterfuge to defeat the plans of a lynching party, and finally dies riddled with bullets as he is defending his prisoner. The story is especially remarkable for the strong and sympathetic characterization of such contrasting figures as young Egge and old Dikeson, the father of the dead girl.

"Shadow" (in _Everybody's_) is a story that depends for its force very largely upon incident. It studies the friendship of a white boy, Ranny, and a black boy, Shadow, a relationship that is opposed by both the Northern white mother and the ambitious and independent Negro mother. In a fight, Shad breaks a collar-bone for Ranny; later he saves him from drowning. In the face of Ranny's white friends, all the harsher side of the problem is seen; and yet the human element is strong beneath it all. The story, not without considerable merit as it is, would have been infinitely stronger if the friendship of the two boys had been pitched on a higher plane. As it is, Shad is very much like a dog following his master.

"Abram's Freedom" is at the same time one of the most clever and one of the most provoking stories with which we have to deal. It is a perfect example of how one may walk directly up to the light and then deliberately turn his back upon it. The story is set just before the Civil War. It deals with the love of the slave Abram for a free young woman, Emmeline. "All his life he had heard and used the phrase 'free n.i.g.g.e.r' as a term of contempt. What, then, was this vague feeling, not definite enough yet to be a wish or even a longing?" So far, so good.

Emmeline inspires within her lover the highest ideals of manhood, and he becomes a hostler in a livery-stable, paying to his master so much a year for his freedom. Then comes the astounding and forced conclusion.

At the very moment when, after years of effort, Emmeline has helped her husband to gain his freedom (and when all the slaves are free as a matter of fact by virtue of the Emanc.i.p.ation Proclamation), Emmeline, whose husband has special reason to be grateful to his former master, says to the lady of the house: "Me an' Abram ain't got nothin' to do in dis worl' but to wait on you an' master."

In "A Hypothetical Case" we again see the hand of a master-craftsman. Is a white boy justified in shooting a Negro who has offended him? The white father is not quite at ease, quibbles a good deal, but finally says Yes. The story, however, makes it clear that the Negro did not strike the boy. He was a hermit living on the Florida coast and perfectly abased when he met Mercer and his two companions. When the three boys pursued him and finally overtook him, the Negro simply held the hands of Mercer until the boy had recovered his temper. Mercer in his rage really struck himself.

"The Chalk Game" is the story of a little Negro jockey who wins a race in Louisville only to be drugged and robbed by some "flashlight" Negroes who send him to Chicago. There he recovers his fortunes by giving to a group of gamblers the correct "tip" on another race, and he makes his way back to Louisville much richer by his visit. Throughout the story emphasis is placed upon the superst.i.tious element in the Negro race, an element readily considered by men who believe in luck.

Of these ten stories, only five strike out with even the slightest degree of independence. "Shadow" (in the _Century_) is not a powerful piece of work, but it is written in tender and beautiful spirit. "The Black Drop" is a bold handling of a strong situation. "The Race-Rioter"

also rings true, and in spite of the tragedy there is optimism in this story of a man who is not afraid to do his duty. "Shadow" (in _Everybody's_) awakens all sorts of discussion, but at least attempts to deal honestly with a situation that might arise in any neighborhood at any time. "A Hypothetical Case" is the most tense and independent story in the list.

On the other hand, "Callum's Co'tin'" and "His Excellency the Governor," bright comedy though they are, belong, after all, to the school of Uncle Remus. "Jungle Blood" and "The Chalk Game" belong to the cla.s.s that always regards the Negro as an animal, a minor, a plaything--but never as a man. "Abram's Freedom," exceedingly well written for two-thirds of the way, falls down hopelessly at the end.

Many old Negroes after the Civil War preferred to remain with their former masters; but certainly no young woman of the type of Emmeline would sell her birthright for a mess of pottage.

Just there is the point. That the Negro is ever to be taken seriously is incomprehensible to some people. It is the story of "The Man that Laughs" over again. The more Gwynplaine protests, the more outlandish he becomes to the House of Lords.

We are simply asking that those writers of fiction who deal with the Negro shall be thoroughly honest with themselves, and not remain forever content to embalm old types and work over outworn ideas. Rather should they sift the present and forecast the future. But of course the editors must be considered. The editors must give their readers what the readers want; and when we consider the populace, of course we have to reckon with the mob. And the mob does not find anything very attractive about a Negro who is intelligent, cultured, manly, and who does not smile. It will be observed that in no one of the ten stories above mentioned, not even in one of the five remarked most favorably, is there a Negro of this type. Yet he is obliged to come. America has yet to reckon with him. The day of Uncle Remus as well as of Uncle Tom is over.

Even now, however, there are signs of better things. Such an artist as Mr. Howells, for instance, has once or twice dealt with the problem in excellent spirit. Then there is the work of the Negro writers themselves. The numerous attempts in fiction made by them have most frequently been open to the charge of cra.s.sness already considered; but Paul Laurence Dunbar, Charles W. Chesnutt, and W. E. Burghardt DuBois have risen above the crowd. Mr. Dunbar, of course, was better in poetry than in prose. Such a short story as "Jimsella," however, exhibited considerable technique. "The Uncalled" used a living topic treated with only partial success. But for the most part, Mr. Dunbar's work looked toward the past. Somewhat stronger in prose is Mr. Chesnutt. "The Marrow of Tradition" is not much more than a political tract, and "The Colonel's Dream" contains a good deal of preaching; but "The House Behind the Cedars" is a real novel. Among his short stories, "The Bouquet" may be remarked for technical excellence, and "The Wife of His Youth" for a situation of unusual power. Dr. DuBois's "The Quest of the Silver Fleece" contains at least one strong dramatic situation, that in which Bles probes the heart of Zora; but the author is a sociologist and essayist rather than a novelist. The grand epic of the race is yet to be produced.

Some day we shall work out the problems of our great country. Some day we shall not have a state government set at defiance, and the ma.s.sacre of Ludlow. Some day our little children will not slave in mines and mills, but will have some chance at the glory of G.o.d's creation; and some day the Negro will cease to be a problem and become a human being.