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5. all that he could. And this compulsion of success increased headily toward the end of the 19th century until no success was real unless it was material. Other nations were interested in success but class distinctions gave their peoples either a comprehension, a solace, or an impetus & there were routes laid out. Here one could be anything. America has with her daily evidences of success been even less tolerant than her cultural neighbors of those who had ideas of an unmaterial success. This compulsion has driven many to be successor drudges when they might have been more fulfilled in less demanding circumstances. It has twisted the understanding of many who had sympathies. But there have been those who have withdrawn from the compulsion, denied the stronger ethics about them & achieved the sort of success they wanted. Some have not had this satisfaction. Out of these phases has grown the essential american loneliness. The average american of sense is continually aware of this compulsion & he tries to find deserts, caves or seas where he wont feel it & can find out what he is & what he really wants. This average does not reach such consciousness to the point of action but he does reach it to the point of appreciating representations of loneliness. The american has no enforced philosophy yet in which to gain detachment. He yearns instead. Ryder in his dead canary, his elemental seas & his poignant Flight shows this loneliness with a strangeness & intensity that is more than most people can allow. Attractive nostalgia however sells handsomely. There are very few names in this paper partly because there have been few painters of that depth which can send significances up through their work. There are more than will be mentioned but these are the most clear. Here the attempt is made to show what is essentially american. How simple