She put Baglioni’s antidote to her lips; and, at the same moment, the figure of Rappaccini emerged from the portal, and came slowly towards the marble fountain. As he drew near, the pale man of science seemed to gaze with a triumphant expression at the beautiful youth and maiden, as might an artist who should spend his life in achieving a picture or a group of statuary, and finally be satisfied with his success. He paused—his bent form grew erect with conscious power, he spread out his hands over them, in the attitude of a father imploring a blessing upon his children. But those were the same hands that had thrown poison into the stream of their lives! Giovanni trembled. Beatrice shuddered nervously, and pressed her hand upon her heart.
“My daughter,” said Rappaccini, “thou art no longer lonely in the world! Pluck one of those precious gems from thy sister shrub, and bid thy bridegroom wear it in his bosom. It will not harm him now! My science, and the sympathy between thee and him, have so wrought within his system, that he now stands apart from common men, as thou dost, daughter of my pride and triumph, from ordinary women. Pass on, then, through the world, most dear to one another, and dreadful to all besides!”
“My father,” said Beatrice, feebly—and still, as she spoke, she kept her hand upon her heart—“wherefore didst thou inflict this miserable doom upon thy child?”
“Miserable!” exclaimed Rappaccini. “What mean you, foolish girl? Dost thou deem it misery to be endowed with marvellous gifts, against which no power nor strength could avail an enemy? Misery, to be able to quell the mightiest with a breath? Misery, to be as terrible as thou art beautiful? Wouldst thou, then, have preferred the condition of a weak woman, exposed to all evil, and capable of none?”
“I would fain have been loved, not feared,” murmured Beatrice, sinking down upon the ground.—“But now it matters not; I am going, father, where the evil, which thou hast striven to mingle with my being, will pass away like a dream—like the fragrance of these poisonous flowers, which will no longer taint my breath among the flowers of Eden. Farewell, Giovanni! Thy words of hatred are like lead within my heart—but they, too, will fall away as I ascend. Oh, was there not, from the first, more poison in thy nature than in mine?”
To Beatrice—so radically had her earthly part been wrought upon by Rappaccini’s skill—as poison had been life, so the powerful antidote was death. And thus the poor victim of man’s ingenuity and of thwarted nature, and of the fatality that attends all such efforts of perverted wisdom, perished there, at the feet of her father and Giovanni. Just at that moment, Professor Pietro Baglioni looked forth from the window, and called loudly, in a tone of triumph mixed with horror, to the thunder-stricken man of science:
“Rappaccini! Rappaccini! And is this the upshot of your experiment?”
PREFACES
FROM “THE old MANSE” 1846
And now, I begin to feel—and perhaps should have sooner felt—that we have talked enough of the old Manse. Mine honored reader, it may be, will vilify the poor author as an egotist, for babbling through so many pages about a moss-grown country parsonage, and his life within its walls, and on the river, and in the woods,—and the influences that wrought upon him, from all these sources. My conscience, however, does not reproach me with betraying anything too sacredly individual to be revealed by a human spirit, to its brother or sister spirit. How narrow—how shallow and scanty too—is the stream of thought that has been flowing from my pen, compared with the broad tide of dim emotions, ideas, and associations, which swell around me from that portion of my existence! How little have I told!—and, of that little, how almost nothing is even tinctured with any quality that makes it exclusively my own! Has the reader gone wandering, hand in hand with me, through the inner passages of my being, and have we groped together into all its chambers, and examined their treasures or their rubbish? Not so. We have been standing on the green sward, but just within the cavern’s mouth, where the common sunshine is free to penetrate, and where every footstep is therefore free to come. I have appealed to no sentiment or sensibilities, save such as are diffused among us all. So far as I am a man of really individual attributes, I veil my face; nor am I, nor have ever been, one of those supremely hospitable people, who serve up their own hearts delicately fried, with brain-sauce, as a tidbit for their beloved public.
Glancing back over what I have written, it seems but the scattered reminiscences of a single summer. In fairy-land, there is no measurement of time; and, in a spot so sheltered from the turmoil of life’s ocean, three years hastened away with a noiseless flight, as the breezy sunshine chases the cloud-shadows across the depths of a still valley. Now came hints, growing more and more distinct, that the owner of the old house was pining for his native air. Carpenters next appeared, making a tremendous racket among the out-buildings, strewing the green grass with pine-shavings and chips of chestnut joists, and vexing the whole antiquity of the place with their discordant renovations. Soon, moreover, they divested our abode of the veil of woodbine, which had crept over a large portion of its southern face. All the aged mosses were cleaned unsparingly away; and there were horrible whispers about brushing up the external walls with a coat of paint—a purpose as little to my taste, as might be that of rouging the venerable cheeks of one’s grandmother. But the hand that renovates is always more sacrilegious than that which destroys. In fine, we gathered up our household goods, drank a farewell cup of tea in our pleasant little breakfast-room—delicately fragrant tea, an unpurchaseable luxury, one of the many angel-gifts that had fallen like dew upon us—and passed forth between the tall stone gate-posts, as uncertain as the wandering Arabs where our tent might next be pitched. Providence took me by the hand, and—an oddity of dispensation which, I trust, there is no irreverence in smiling at—has led me, as the newspapers announce while I am writing, from the Old Manse into a Custom-House! As a storyteller, I have often contrived strange vicissitudes for my imaginary personages, but none like this.
The treasure of intellectual gold, which I hoped to find in our secluded dwelling, had never come to light. No profound treatise of ethics—no philosophic history—no novel, even, that could stand, unsupported, on its edges. All that I had to show, as a man of letters, were these few tales and essays, which had blossomed out like flowers in the calm summer of my heart and mind. Save editing (an easy task) the journal of my friend of many years, the African Cruiser, I had done nothing else. With these idle weeds and withering blossoms, I have intermixed some that were produced long ago—old, faded things, reminding me of flowers pressed between the leaves of a book—and now offer the bouquet, such as it is, to any whom it may please. These fitful sketches, with so little of external life about them, yet claiming no profundity of purpose,—so reserved, even while they sometimes seem so frank,—often but half in earnest, and never, even when most so, expressing satisfactorily the thoughts which they profess to image—such trifles, I truly feel, afford no solid basis for a literary reputation. Nevertheless, the public—if my limited number of readers, whom I venture to regard rather as a circle of friends, may be termed a public—will receive them the more kindly, as the last offering, the last collection of this nature, which it is my purpose ever to put forth. Unless I could do better, I have done enough in this kind. For myself, the book will always retain one charm, as reminding me of the river, with its delightful solitudes, and of the avenue, the garden, and the orchard, and especially the dear old Manse, with the little study on its western side, and the sunshine glimmering through the willow-branches while I wrote.
Let the reader, if he will do me so much honor, imagine himself my guest, and that, having seen whatever may be worthy of notice, within and about the Old Manse, he has finally been ushered into my study. There, after seating him in an antique elbow-chair, an heirloom of the house, I take forth a roll of manuscript, and intreat his attention to the following tales:—an act of personal inhospitality, however, which I never was guilty of, nor ever will be, even to my worst enemy.
TO TWICE-TOLD TALES
1851
The Author of TWICE-TOLD TALES has a claim to one distinction, which, as none of his literary brethren will care about disputing it with him, he need not be afraid to mention. He was, for a good many years, the obscurest man of letters in America.
These stories were published in Magazines and Annuals, extending over a period of ten or twelve years, and comprising the whole of the writer’s young manhood, without making (so far as he has ever been aware) the slightest impression on the Public. One or two among them—THE Rill FROM THE TOWN-PUMP in perhaps a greater degree than any other—had a pretty wide newspaper-circulation; as for the rest, he has no grounds for supposing, that, on their first appearance, they met with the good or evil fortune to be read by anybody. Throughout the time above-specified, he had no incitement to literary effort in a reasonable prospect of reputation or profit; nothing but the pleasure itself of composition—an enjoyment not at all amiss in its way, and perhaps essential to the merit of the work in hand, but which, in the long run, will hardly keep the chill out of a writer’s heart, or the numbness out of his fingers. To this total lack of sympathy, at the age when his mind would naturally have been most effervescent, the Public owe it, (and it is certainly an effect not to be regretted, on either part,) that the Author can show nothing for the thought and industry of that portion of his life, save the forty sketches, or thereabouts, included in these volumes.
Much more, indeed, he wrote; and some very small part of it might yet be rummaged out (but it would not be worth the trouble) among the dingy pages of fifteen-or-twenty-year-old periodicals, or within the shabby morocco-covers of faded Souvenirs. The remainder of the works, alluded to, had a very brief existence, but, on the score of brilliancy, enjoyed a fate vastly superior to that of their brotherhood, which succeeded in getting through the press. In a word, the Author burned them without mercy or remorse, (and, moreover, without any subsequent regret,) and had more than one occasion to marvel that such very dull stuff, as he knew his condemned manuscripts to be, should yet have possessed inflammability enough to set the chimney on fire!
After a long while, the first collected volume of the Tales was published. By this time, if the Author had ever been greatly tormented by literary ambition, (which he does not remember or believe to have been the case,) it must have perished, beyond resuscitation, in the dearth of nutriment. This was fortunate; for the success of the volume was not such as would have gratified a craving desire for notoriety. A moderate edition was “got rid of” (to use the Publisher’s very significant phrase) within a reasonable time, but apparently without rendering the writer or his productions much more generally known than before. The great bulk of the reading Public probably ignored the book altogether. A few persons read it, and liked it better than it deserved. At an interval of three or four years, the second volume was published, and encountered much the same sort of kindly, but calm, and very limited reception. The circulation of the two volumes was chiefly confined to New England; nor was it until long after this period, if it even yet be the case, that the Author could regard himself as addressing the American Public, or, indeed, any Public at all. He was merely writing to his known or unknown friends.
As he glances over these long-forgotten pages, and considers his way of life, while composing them, the Author can very clearly discern why all this was so. After so many sober years, he would have reason to be ashamed if he could not criticise his own work as fairly as another man’s; and—though it is little his business, and perhaps still less his interest—he can hardly resist a temptation to achieve something of the sort. If writers were allowed to do so, and would perform the task with perfect sincerity and unreserve, their opinions of their own productions would often be more valuable and instructive than the works themselves.
At all events, there can be no harm in the Author’s remarking, that he rather wonders how the TWICE-TOLD TALES should have gained what vogue they did, than that it was so little and so gradual. They have the pale tint of flowers that blossomed in too retired a shade—the coolness of a meditative habit, which diffuses itself through the feeling and observation of every sketch. Instead of passion, there is sentiment; and, even in what purport to be pictures of actual life, we have allegory, not always so warmly dressed in its habiliments of flesh and blood, as to be taken into the reader’s mind without a shiver. Whether from lack of power, or an unconquerable reserve, the Author’s touches have often an effect of tameness; the merriest man can hardly contrive to laugh at his broadest humor; the tenderest woman, one would suppose, will hardly shed warm tears at his deepest pathos. The book, if you would see anything in it, requires to be read in the clear, brown, twilight atmosphere in which it was written; if opened in the sunshine, it is apt to look exceedingly like a volume of blank pages.
With the foregoing characteristics, proper to the productions of a person in retirement, (which happened to be the Author’s category, at the time,) the book is devoid of others that we should quite as naturally look for. The sketches are not, it is hardly necessary to say, profound; but it is rather more remarkable that they so seldom, if ever, show any design on the writer’s part to make them so. They have none of the abstruseness of idea, or obscurity of expression, which mark the written communications of a solitary mind with itself. They never need translation. It is, in fact, the style of a man of society. Every sentence, so far as it embodies thought or sensibility, may be understood and felt by anybody, who will give himself the trouble to read it, and will take up the book in a proper mood.
This statement of apparently opposite peculiarities leads us to a perception of what the sketches truly are. They are not the talk of a secluded man with his own mind and heart, (had it been so, they could hardly have failed to be more deeply and permanently valuable,) but his attempts, and very imperfectly successful ones, to open an intercourse with the world.
The Author would regret to be understood as speaking sourly or querulously of the slight mark, made by his earlier literary efforts, on the Public at large. It is so far the contrary, that he has been moved to write this preface, chiefly as affording him an opportunity to express how much enjoyment he has owed to these volumes, both before and since their publication. They are the memorials of very tranquil and not unhappy years. They failed, it is true—nor could it have been otherwise—in winning an extensive popularity. Occasionally, however, when he deemed them entirely forgotten, a paragraph or an article, from a native or foreign critic, would gratify his instincts of authorship with unexpected praise;—too generous praise, indeed, and too little alloyed with censure, which, therefore, he learned the better to inflict upon himself. And, by-the-by, it is a very suspicious symptom of a deficiency of the popular element in a book, when it calls forth no harsh criticism. This has been particularly the fortune of the TWICE-TOLD TALES. They made no enemies, and were so little known and talked about, that those who read, and chanced to like them, were apt to conceive the sort of kindness for the book, which a person naturally feels for a discovery of his own.
This kindly feeling, (in some cases, at least,) extended to the Author, who, on the internal evidence of his sketches, came to be regarded as a mild, shy, gentle, melancholic, exceedingly sensitive, and not very forcible man, hiding his blushes under an assumed name, the quaintness of which was supposed, somehow or other, to symbolize his personal and literary traits. He is by no means certain, that some of his subsequent productions have not been influenced and modified by a natural desire to fill up so amiable an outline, and to act in consonance with the character assigned to him; nor, even now, could he forfeit it without a few tears of tender sensibility. To conclude, however;—these volumes have opened the way to most agreeable associations, and to the formation of imperishable friendships; and there are many golden threads, interwoven with his present happiness, which he can follow up more or less directly, until he finds their commencement here; so that his pleasant pathway among realities seems to proceed out of the Dream-Land of his youth, and to be bordered wit
h just enough of its shadowy foliage to shelter him from the heat of the day. He is therefore satisfied with what the TWICE-TOLD TALES have done for him, and feels it to be far better than fame.
LENOX, JANUARY 11, 1851.
TO THE SNOW-IMAGE 1852
To Horatio Bridge, Esq., U.S.N.
My Dear Bridge:
Some of the more crabbed of my critics, I understand, have pronounced your friend egotistical, indiscreet, and even impertinent, on account of the Prefaces and Introductions with which, on several occasions, he has seen fit to pave the reader’s way into the interior edifice of a book. In the justice of this censure I do not exactly concur, for the reasons, on the one hand, that the public generally has negatived the idea of undue freedom on the author’s part, by evincing, it seems to me, rather more interest in these aforesaid Introductions than in the stories which followed,—and that, on the other hand, with whatever appearance of confidential intimacy, I have been especially careful to make no disclosures respecting myself which the most indifferent observer might not have been acquainted with, and which I was not perfectly willing that my worst enemy should know. I might further justify myself, on the plea that, ever since my youth, I have been addressing a very limited circle of friendly readers, without much danger of being overheard by the public at large; and that the habits thus acquired might pardonably continue, although strangers may have begun to mingle with my audience.
But the charge, I am bold to say, is not a reasonable one, in any view which we can fairly take of it. There is no harm, but, on the contrary, good, in arraying some of the ordinary facts of life in a slightly idealized and artistic guise. I have taken facts which relate to myself, because they chance to be nearest at hand, and likewise are my own property. And, as for egotism, a person, who has been burrowing, to his utmost ability, into the depths of our common nature, for the purposes of psychological romance,—and who pursues his researches in that dusky region, as he needs must, as well by the tact of sympathy as by the light of observation,—will smile at incurring such an imputation in virtue of a little preliminary talk about his external habits, his abode, his casual associates, and other matters entirely upon the surface. These things hide the man, instead of displaying him. You must make quite another kind of inquest, and look through the whole range of his fictitious characters, good and evil, in order to detect any of his essential traits.
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