Socially as well as commercially New Orleans is in a transitive state. The change from river to railway transportation has made her levees vacant; the shipment of cotton by rail and its direct transfer to ocean carriage have nearly destroyed a large middle-men industry; a large part of the agricultural tribute of the South-west has been diverted; plantations have either not recovered from the effects of the war or have not adjusted themselves to new productions, and the city waits the rather blind developments of the new era. The falling off of law business, which I should like to attribute to the growth of common-sense and good-will is, I fear, rather due to business lassitude, for it is observed that men quarrel most when they are most actively engaged in acquiring each other’s property. The business habits of the Creoles were conservative and slow; they do not readily accept new ways, and in this transition time the American element is taking the lead in all enterprises. The American element itself is toned down by the climate and the contagion of the leisurely habits of the Creoles, and loses something of the sharpness and excitability exhibited by business men in all Northern cities, but it is certainly changing the social as well as the business aspect of the city. Whether these social changes will make New Orleans a more agreeable place of residence remains to be seen.
For the old civilization had many admirable qualities. With all its love of money and luxury and an easy life, it was comparatively simple. It cared less for display than the society that is supplanting it. Its rule was domesticity. I should say that it bad the virtues as well as the prejudices and the narrowness of intense family feeling, and its exclusiveness. But when it trusted, it had few reserves, and its cordiality was equal to its naivete. The Creole civilization differed totally from that in any Northern city; it looked at life, literature, wit, manners, from altogether another plane; in order to understand the society of New Orleans one needs to imagine what French society would be in a genial climate and in the freedom of a new country. Undeniably, until recently, the Creoles gave the tone to New Orleans. And it was the French culture, the French view of life, that was diffused. The young ladies mainly were educated in convents and French schools. This education had womanly agreeability and matrimony in view, and the graces of social life. It differed not much from the education of young ladies of the period elsewhere, except that it was from the French rather than the English side, but this made a world of difference. French was a study and a possession, not a fashionable accomplishment. The Creole had gayety, sentiment, spice with a certain climatic languor, sweetness of disposition, and charm of manner, and not seldom winning beauty; she was passionately fond of dancing and of music, and occasionally an adept in the latter; and she had candor, and either simplicity or the art of it. But with her tendency to domesticity and her capacity for friendship, and notwithstanding her gay temperament, she was less worldly than some of her sisters who were more gravely educated after the English manner. There was therefore in the old New Orleans life something nobler than the spirit of plutocracy. The Creole middle-class population had, and has yet, captivating naivete, friendliness, cordiality.
But the Creole influence in New Orleans is wider and deeper than this. It has affected literary sympathies and what may be called literary morals. In business the Creole is accused of being slow, conservative, in regard to improvements obstinate and reactionary, preferring to nurse a prejudice rather than run the risk of removing it by improving himself, and of having a conceit that his way of looking at life is better than the Boston way. His literary culture is derived from France, and not from England or the North. And his ideas a good deal affect the attitude of New Orleans towards English and contemporary literature. The American element of the town was for the most part commercial, and little given to literary tastes. That also is changing, but I fancy it is still true that the most solid culture is with the Creoles, and it has not been appreciated because it is French, and because its point of view for literary criticism is quite different from that prevailing elsewhere in America. It brings our American and English contemporary authors, for instance, to comparison, not with each other, but with French and other Continental writers. And this point of view considerably affects the New Orleans opinion of Northern literature. In this view it wants color, passion; it is too self-conscious and prudish, not to say Puritanically mock-modest. I do not mean to say that the Creoles as a class are a reading people, but the literary standards of their scholars and of those among them who do cultivate literature deeply are different from those at the North. We may call it provincial, or we may call it cosmopolitan, but we shall not understand New Orleans until we get its point of view of both life and letters.
In making these observations it will occur to the reader that they are of necessity superficial, and not entitled to be regarded as criticism or judgment. But I am impressed with the foreignness of New Orleans civilization, and whether its point of view is right or wrong, I am very far from wishing it to change. It contains a valuable element of variety for the republic. We tend everywhere to sameness and monotony. New Orleans is entering upon a new era of development, especially in educational life. The Tonlane University is beginning to make itself felt as a force both in polite letters and in industrial education. And I sincerely hope that the literary development of the city and of the South-west will be in the line of its own traditions, and that it will not be a copy of New England or of Dutch Manhattan. It can, if it is faithful to its own sympathies and temperament, make an original and valuable contribution to our literary life.
There is a great temptation to regard New Orleans through the romance of its past; and the most interesting occupation of the idler is to stroll about in the French part of the town, search the shelves of French and Spanish literature in the second-hand book-shops, try to identify the historic sites and the houses that are the seats of local romances, and observe the life in the narrow streets and alleys that, except for the presence of the colored folk, recall the quaint picturesqueness of many a French provincial town. One never tires of wandering in the neighborhood of the old cathedral, facing the smart Jackson Square, which is flanked by the respectable Pontalba buildings, and supported on either side by the ancient Spanish courthouse, the most interesting specimens of Spanish architecture this side of Mexico. When the court is in session, iron cables are stretched across the street to prevent the passage of wagons, and justice is administered in silence only broken by the trill of birds in the Place d’.rmee and in the old flower-garden in the rear of the cathedral, and by the muffled sound of footsteps in the flagged passages. The region is saturated with romance, and so full of present sentiment and picturesqueness that I can fancy no ground more congenial to the artist and the story-teller. To enter into any details of it would be to commit one’s self to a task quite foreign to the purpose of this paper, and I leave it to the writers who have done and are doing so much to make old New Orleans classic.
Possibly no other city of the United States so abounds in stories pathetic and tragic, many of which cannot yet be published, growing out of the mingling of races, the conflicts of French and Spanish, the presence of adventurers from the Old World and the Spanish Main, and especially out of the relations between the whites and the fair women who had in their thin veins drops of African blood. The quadroon and the octoroon are the staple of hundreds of thrilling tales. Duels were common incidents of the Creole dancing assemblies, and of the cordon bleu balls—the deities of which were the quadroon women, “the handsomest race of women in the world,” says the description, and the most splendid dancers and the most exquisitely dressed—the affairs of honor being settled by a midnight thrust in a vacant square behind the cathedral, or adjourned to a more French daylight encounter at “The Oaks,” or “Les Trois Capalins.” But this life has all gone. In a stately building in this quarter, said by tradition to have been the quadroon ball-room, but I believe it was a white assembly-room connected with the opera, is now a well-ordered school for colored orphans, presided over by colored Sisters of Charity.
It is quite evident that the peculiar prestige of the quadroon and the octoroon is a thing of the past. Indeed, the result of the war has greatly