H. L. Mencken

H. L. Mencken
Henry Louis Menckenwas a German-American journalist, satirist, cultural critic and scholar of American English. Known as the "Sage of Baltimore", he is regarded as one of the most influential American writers and prose stylists of the first half of the twentieth century. As a scholar Mencken is known for The American Language, a multi-volume study of how the English language is spoken in the United States. His satirical reporting on the Scopes trial, which he dubbed the "Monkey Trial", also...
NationalityAmerican
ProfessionWriter
Date of Birth12 September 1880
CountryUnited States of America
Mankind has failed miserably in its effort to devise a rational system of government. [...] The art of government is the exclusive possession of quacks and frauds. It has been so since the earliest days, and it will probably remain so until the end of time.
Great artists are modest almost as seldom as they are faithful to their wives.
The critic, to interpret his artist, even to understand his artist, must be able to get into the mind of his artist; he must feel and comprehend the vast pressure of the creative passion.
Men are the only animals that devote themselves, day in and day out, to making one another unhappy. It is an art like any other. Its virtuosi are called altruists.
Nine times out of ten, in the arts as in life, there is actually no truth to be discovered; there is only error to be exposed.
I know of no American who starts from a higher level of aspiration than the journalist. . . . He plans to be both an artist and a moralist -- a master of lovely words and merchant of sound ideas. He ends, commonly, as the most depressing jackass of his community -- that is, if his career goes on to what is called a success.
An author, like any other so-called artist, is a man in whom the normal vanity of all men is so vastly exaggerated that he finds it a sheer impossibility to hold it in. His over-powering impulse is to gyrate before his fellow men, flapping his wings and emitting defiant yells. This being forbidden by the police of all civilized nations, he takes it out by putting his yells on paper. Such is the thing called self-expression.
The movies today are too rich to have any room for genuine artists. They produce a few passable craftsmen, but no artists. Can you imagine a Beethoven making $100, 000 a year?
Nothing can come out of an artist that is not in the man.
The Puritan, of course, is not entirely devoid of aesthetic feeling. He has a taste for good form; he responds to style; he is even capable of something approaching a purely aesthetic emotion. But he fears this aesthetic emotion as an insinuating distraction from his chief business in life: the sober consideration of the all-important problem of conduct. Art is a temptation, a seduction, a Lorelei, and the Good Man may safely have traffic with it when it is broken to moral uses--in other words, when its innocence is pumped out of it, and it is purged of gusto.
Such is the art of writing as Dreiser understands it and practices it--an endless piling up of minutiae, an almost ferocious tracking down of ions, electrons and molecules, an unshakable determination to tell it all. One is amazed by the mole-like diligence of the man, and no less by his exasperating disregard for the ease of his readers.
What makes philosophy so tedious is not the profundity of philosophers, but their lack of art; they are like physicians who soughtto cure a slight hyperacidity by prescribing a carload of burned oyster-shells.
Has the art of politics no apparent utility? Does it appear to be unqualifiedly ratty, raffish, sordid, obscene, and low down, andits salient virtuosi a gang of unmitigated scoundrels? Then let us not forget its high capacity to soothe and tickle the midriff, its incomparable services as a maker of entertainment.
It is almost as safe to assume that an artist of any dignity is against his country, i.e., against the environment in which God hath placed him, as it is to assume that his country is against the artist.