better moods. The art is at its highest in some strong sketch of Rose
Terry Cooke's, or some perfectly satisfying study of Miss Jewett's, or
some graphic situation of Miss Wilkins's; and then it is a very fine art.
But mostly it is poor and rude enough, and makes openly, shamelessly, for
the reader's emotions, as well as his morals. It is inclined to be
rather descriptive. The turkey, the pumpkin, the corn-field, figure
throughout; and the leafless woods are blue and cold against the evening
sky behind the low hip-roofed, old-fashioned homestead. The parlance is
usually the Yankee dialect and its Western modifications.

The Thanksgiving story is mostly confined in scene to the country; it
does not seem possible to do much with it in town; and it is a serious
question whether with its geographical and topical limitations it can
hold its own against the Christmas story; and whether it would not be
well for authors to consider a combination with its elder rival.

The two feasts are so near together in point of time that they could be
easily covered by the sentiment of even a brief narrative. Under the
agglutinated style of 'A Thanksgiving-Christmas Story,' fiction
appropriate to both could be produced, and both could be employed
naturally and probably in the transaction of its affairs and the
development of its characters. The plot for such a story could easily be
made to include a total-abstinence pledge and family reunion at
Thanksgiving, and an apparition and spiritual regeneration over a bowl of
punch at Christmas.




XXVI.