Smile as he may at the too emphatic patriotism of this or that of her sons, he himself nevertheless expands under a similar stimulus.  The impulse of Harkless to clasp all Carlow County to his broad breast obviously sprang from a mood which Mr. Tarkington himself had felt.  And that impulse of that first novel has been repeated again and again in the later characters. In the Arena, fruit of Mr. Tarkington’s term in the Indiana legislature, is a study in complacency.  Setting out to take the world of politics as he finds it, he comes perilously near to ending on the note of approval for it as it stands—­as good, on the whole, as any possible world.  His satire, at least, is on the side of the established order.  A certain soundness and rightness of feeling, a natural hearty democratic instinct, which appears in the novels, must not be allowed to mislead the analyst of his art.  More than once, to his credit, he satirically recurs to the spectacle of those young Indianians who come back from their travels with a secret condescension, as did George Amberson Minafer:  “His politeness was of a kind which democratic people found hard to bear.  In a word, M. le Duc had returned from the gay life of the capital to show himself for a week among the loyal peasants belonging to the old chateau, and their quaint habits and costumes afforded him a mild amusement.”  Such passages, however, may be matched with irritating dozens in which Mr. Tarkington swallows Indiana whole.

That may have been an easier task than to perform a similar feat with the state to the east of Indiana, which has always been a sort of halfway house between East and West; or with that to the north, with its many alien mixtures; or with that to the south, the picturesque, diversified colony of Virginia; or with that to the west, which, thanks in large part to Chicago, is packed with savagery and genius.  Indiana, at any rate till very recently, has had an indigenous population, not too daring or nomadic; it has been both prosperous and folksy, the apt home of pastorals, the agreeable habitat of a sentimental folk-poet like Riley, the natural begetter of a canny fabulist like George Ade.  It has a tradition of realism in fiction, but that tradition descends from The Hoosier School-Master and it includes a full confidence in the folk and in the rural virtues—­very different from that of E.W.  Howe or Hamlin Garland or Edgar Lee Masters in states a little further outside the warm, cozy circle of the Hoosiers.  Indiana has a tradition of romance, too.  Did not Indianapolis publish When Knighthood Was in Flower and Alice of Old Vincennes?  They are of the same vintage as Monsieur Beaucaire.  And both romance and realism in Indiana have traditionally worn the same smooth surfaces, the same simple—­not to say silly—­faith in things-at-large:  God’s in His Indiana; all’s right with the world.  George Ade, being a satirist of genius, has stood out of all this; Theodore Dreiser, Indianian by birth but hopelessly a rebel, has stood out against it; but Booth Tarkington, trying to be Hoosier of Hoosiers, has given himself up to the romantic and sentimental elements of the Indiana literary tradition.