It has to be very grim, all that, to be truly effective; and here, already, we have a touch in the Americanized Christmas story of the moralistic quality of the American Thanksgiving story.  This was seldom written, at first, for the mere entertainment of the reader; it was meant to entertain him, of course; but it was meant to edify him, too, and to improve him; and some such intention is still present in it.  I rather think that it deals more probably with character to this end than its English cousin, the Christmas story, does.  It is not so improbable that a man should leave off being a drunkard on Thanksgiving, as that he should leave off being a curmudgeon on Christmas; that he should conquer his appetite as that he should instantly change his nature, by good resolutions.  He would be very likely, indeed, to break his resolutions in either case, but not so likely in the one as in the other.

Generically, the Thanksgiving story is cheerfuller in its drama and simpler in its persons than the Christmas story.  Rarely has it dealt with the supernatural, either the apparition of ghosts or the intervention of angels.  The weather being so much milder at the close of November than it is a month later, very little can be done with the elements; though on the coast a northeasterly storm has been, and can be, very usefully employed.  The Thanksgiving story is more restricted in its range; the scene is still mostly in New England, and the characters are of New England extraction, who come home from the West usually, or New York, for the event of the little drama, whatever it may be.  It may be the reconciliation of kinsfolk who have quarrelled; or the union of lovers long estranged; or husbands and wives who have had hard words and parted; or mothers who had thought their sons dead in California and find themselves agreeably disappointed in their return; or fathers who for old time’s sake receive back their erring and conveniently dying daughters.  The notes are not many which this simple music sounds, but they have a Sabbath tone, mostly, and win the listener to kindlier thoughts and 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.