We like to think of the old-fashioned American classics as children’s books. Just childishness, on our part. The old American art-speech contains an alien quality, which belongs to the American continent and to nowhere else. But, of course, so long as we insist on reading the books as children’s tales, we miss all that.

One wonders what the proper high-brow Romans of the third and fourth or later centuries read into the strange utterances of Lucretius or Apuleius or Tertullian, Augustine or Athanasius. The uncanny voice of Iberian Spain, the weirdness of old Carthage, the passion of Libya and North Africa; you may bet the proper old Romans never heard these at all. They read old Latin inference over the top of it, as we read old European inference over the top of Poe or Hawthorne.

It is hard to hear a new voice, as hard as it is to listen to an unknown language. We just don’t listen. There is a new voice in the old American classics. The world has declined to heat it, and has babbled about children’s stories.

Why· —Out of fear. The world fears a new experience more than it fears anything. Because a new experience displaces so many old experiences. And it is like trying to use muscles that have perhaps never been used, or that have been going stiff for ages. It hurts horribly.

The world doesn’t fear a new idea. It can pigeon-hole any idea. But it can’t pigeon-hole a real new experience. It can only dodge. The world is a great dodger, and the Americans the greatest. Because they dodge their own very selves.

There is a new feeling in the old American books, far more than there is in the modern American books, which are pretty empty of any feeling, and proud of it. There is a “different” feeling in the old American classics. It is the shifting over from the old psyche to something new, a displacement. And displacements hurt. This hurts. So we try to tie it up, like a cut finger. Put a rag round it.

It is a cut too. Cutting away the old emotions and consciousness. Don’t ask what is left.

Art-speech is the only truth. An artist is usually a damned liar, but his art, if it be art, will tell you the truth of his day. And that is all that matters. Away with eternal truth. Truth lives from day to day, and the marvellous Plato of yesterday is chiefly bosh today.

The old American artists were hopeless liars. But they were artists, in spite of themselves. Which is more than you can say of most living practitioners.

And you can please yourself, when you read The Scarlet Letter, whether you accept what that sugary, blue-eyed little darling of a Hawthorne has to say for himself, false as all darlings are, or whether you read the impeccable truth of his art-speech.