Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

PREFACE

  CHAPTER I

  CHAPTER II.

  CHAPTER III.

  CHAPTER IV.

  CHAPTER V.

  CHAPTER VI.

  CHAPTER VII.

  CHAPTER VIII.

  CHAPTER IX.

  CHAPTER X.

  CHAPTER XI.

  CHAPTER XII.

  CHAPTER XIII.

  CHAPTER XIV.

  CHAPTER XV.

  CHAPTER XVI.

  CHAPTER XVII.

  CHAPTER XVIII.

  CHAPTER XIX.

  CHAPTER XX.

  CHAPTER XXI.

  CHAPTER XXII.

  CHAPTER XXIII.

  CHAPTER XXIV.

  CHAPTER XXV.

  APPENDIX

  CHAPTER I.

  CHAPTER II.

  CHAPTER III.

  CHAPTER IV.

  CHAPTER V.

  CHAPTER VI.

  CHAPTER VII.

  CHAPTER VIII.

  CHAPTER IX.

  CHAPTER X.

  CHAPTER XI.

  CHAPTER XII.

  CHAPTER XIII.

  CHAPTER XIV.

  CHAPTER XV.

  CHAPTER XVI.

  CHAPTER XVII.

  CHAPTER XVIII.

  CHAPTER XIX.

  CHAPTER XX.

  CHAPTER XXIII.

  CHAPTER XXIV.

  CHAPTER XXV.

  Julian Hawthorne, who published this novel

  TO

  MR. AND MRS. GEORGE PARSONS LATHROP,

  The Son-in-Law and Daughter

  OF

  NATHANIEL HAWTHORNE,

  THIS ROMANCE IS DEDICATED

  BY

  THE EDITOR.

  PREFACE

  A preface generally begins with a truism; and I may set out with the admission that it is not always expedient to bring to light the posthumous work of great writers. A man generally contrives to publish, during his lifetime, quite as much as the public has time or inclination to read; and his surviving friends are apt to show more zeal than discretion in dragging forth from his closed desk such undeveloped offspring of his mind as he himself had left to silence. Literature has never been redundant with authors who sincerely undervalue their own productions; and the sagacious critics who maintain that what of his own an author condemns must be doubly damnable, are, to say the least of it, as often likely to be right as wrong.

  Beyond these general remarks, however, it does not seem necessary to adopt an apologetic attitude. There is nothing in the present volume which any one possessed of brains and cultivation will not be thankful to read. The appreciation of Nathaniel Hawthorne's writings is more intelligent and wide-spread than it used to be; and the later development of our national literature has not, perhaps, so entirely exhausted our resources of admiration as to leave no welcome for even the less elaborate work of a contemporary of Dickens and Thackeray. As regards “Doctor Grimshawe's Secret,” — the title which, for lack of a better, has been given to this Romance, — it can scarcely be pronounced deficient in either elaboration or profundity. Had Mr. Hawthorne written out the story in every part to its full dimensions, it could not have failed to rank among the greatest of his productions. He had looked forward to it as to the crowning achievement of his literary career. In the Preface to “Our Old Home” he alludes to it as a work into which he proposed to convey more of various modes of truth than he could have grasped by a direct effort. But circumstances prevented him from perfecting the design which had been before his mind for seven years, and upon the shaping of which he bestowed more thought and labor than upon anything else he had undertaken. The successive and consecutive series of notes or studies [Footnote: These studies, extracts from which will be published in one of our magazines, are hereafter to be added, in their complete form, to the Appendix of this volume.] which he wrote for this Romance would of themselves make a small volume, and one of autobiographical as well as literary interest. There is no other instance, that I happen to have met with, in which a writer's thought reflects itself upon paper so immediately and sensitively as in these studies. To read them is to look into the man's mind, and see its quality and action. The penetration, the subtlety, the tenacity; the stubborn gripe which he lays upon his subject, like that of Hercules upon the slippery Old Man of the Sea; the clear and cool common-sense, controlling the audacity of a rich and ardent imagination; the humorous gibes and strange expletives wherewith he ridicules, to himself, his own failure to reach his goal; the immense patience with which — again and again, and yet again — he “tries back,” throwing the topic into fresh attitudes, and searching it to the marrow with a gaze so piercing as to be terrible; — all this gives an impression of power, of resource, of energy, of mastery, that exhilarates the reader. So many inspired prophets of Hawthorne have arisen of late, that the present writer, whose relation to the great Romancer is a filial one merely, may be excused for feeling some embarrassment in submitting his own uninstructed judgments to competition with theirs. It has occurred to him, however, that these undress rehearsals of the author of “The Scarlet Letter” might afford entertaining and even profitable reading to the later generation of writers whose pleasant fortune it is to charm one another and the public. It would appear that this author, in his preparatory work at least, has ventured in some manner to disregard the modern canons which debar writers from betraying towards their creations any warmer feeling than a cultured and critical indifference: nor was his interest in human nature such as to confine him to the dissection of the moral epidermis of shop-girls and hotel-boarders. On the contrary, we are presented with the spectacle of a Titan, baring his arms and plunging heart and soul into the arena, there to struggle for death or victory with the superb phantoms summoned to the conflict by his own genius. The men of new times and new conditions will achieve their triumphs in new ways; but it may still be worth while to consider the methods and materials of one who also, in his own fashion, won and wore the laurel of those who know and can portray the human heart.

  But let us return to the Romance, in whose clear though shadowy atmosphere the thunders and throes of the preparatory struggle are inaudible and invisible, save as they are implied in the fineness of substance and beauty of form of the artistic structure. The story is divided into two parts, the scene of the first being laid in America; that of the second, in England. Internal evidence of various kinds goes to show that the second part was the first written; or, in other words, that the present first part is a rewriting of an original first part, afterwards discarded, and of which the existing second part is the continuation. The two parts overlap, and it shall be left to the ingenuity of critics to detect the precise point of junction. In rewriting the first part, the author made sundry minor alterations in the plot and characters of the story, which alterations were not carried into the second part. It results from this that the manuscript presents various apparent inconsistencies. In transcribing the work for the press, these inconsistent sentences and passages have been withdrawn from the text and inserted in the Appendix; or, in a few unimportant instances, omitted altogether. In other respects, the text is printed as the author left it, with the exception of the names of the characters. In the manuscript each personage figures in the course of the narrative under from three to six different names. This difficulty has been met by bestowing upon each of the dramatis personæ the name which last identified him to the author's mind, and keeping him to it throughout the volume.

  The story, as a story, is complete as it stands; it has a beginning, a middle, and an end. There is no break in the narrative, and the legitimate conclusion is reached. To say that the story is complete as a work of art, would be quite another matter. It lacks balance and proportion. Some characters and incidents are portrayed with minute elaboration; others, perhaps not less important, are merely sketched in outline. Beyond a doubt it was the author's purpose to rewrite the entire work from the first page to the last, enlarging it, deepening it, adorning it with every kind of spiritu
al and physical beauty, and rounding out a moral worthy of the noble materials. But these last transfiguring touches to Aladdin's Tower were never to be given; and he has departed, taking with him his Wonderful Lamp. Nevertheless there is great splendor in the structure as we behold it. The character of old Doctor Grimshawe, and the picture of his surroundings, are hardly surpassed in vigor by anything their author has produced; and the dusky vision of the secret chamber, which sends a mysterious shiver through the tale, seems to be unique even in Hawthorne.

  There have been included in this volume photographic reproductions of certain pages of the original manuscript of Doctor Grimshawe, selected at random, upon which those ingenious persons whose convictions are in advance of their instruction are cordially invited to try their teeth; for it has been maintained that Mr. Hawthorne's handwriting was singularly legible. The present writer possesses specimens of Mr. Hawthorne's chirography at various ages, from boyhood until a day or two before his death. Like the handwriting of most men, it was at its best between the twenty-fifth and the fortieth years of life; and in some instances it is a remarkably beautiful type of penmanship. But as time went on it deteriorated, and, while of course retaining its elementary characteristics, it became less and less easy to read, especially in those writings which were intended solely for his own perusal. As with other men of sensitive organization, the mood of the hour, a good or a bad pen, a ready or an obstructed flow of thought, would all be reflected in the formation of the written letters and words. In the manuscript of the fragmentary sketch which has just been published in a magazine, which is written in an ordinary commonplace- book, with ruled pages, and in which the author had not yet become possessed with the spirit of the story and characters, the handwriting is deliberate and clear. In the manuscript of “Doctor Grimshawe's Secret,” on the other hand, which was written almost immediately after the other, but on unruled paper, and when the writer's imagination was warm and eager, the chirography is for the most part a compact mass of minute cramped hieroglyphics, hardly to be deciphered save by flashes of inspiration. The matter is not, in itself, of importance, and is alluded to here only as having been brought forward in connection with other insinuations, with the notice of which it seems unnecessary to soil these pages. Indeed, were I otherwise disposed, Doctor Grimshawe himself would take the words out of my mouth; his speech is far more poignant and eloquent than mine. In dismissing this episode, I will take the liberty to observe that it appears to indicate a spirit in our age less sceptical than is commonly supposed, — belief in miracles being still possible, provided only the miracle be a scandalous one.

  It remains to tell how this Romance came to be published. It came into my possession (in the ordinary course of events) about eight years ago. I had at that time no intention of publishing it; and when, soon after, I left England to travel on the Continent, the manuscript, together with the bulk of my library, was packed and stored at a London repository, and was not again seen by me until last summer, when I unpacked it in this city. I then finished the perusal of it, and, finding it to be practically complete, I re-resolved to print it in connection with a biography of Mr. Hawthorne which I had in preparation. But upon further consideration it was decided to publish the Romance separately; and I herewith present it to the public, with my best wishes for their edification.

  JULIAN HAWTHORNE.

  NEW YORK, November 21, 1882.

  DOCTOR GRIMSHAWE'S SECRET

  CHAPTER I

  A long time ago, [Endnote: 1] in a town with which I used to be familiarly acquainted, there dwelt an elderly person of grim aspect, known by the name and title of Doctor Grimshawe,[Endnote: 2] whose household consisted of a remarkably pretty and vivacious boy, and a perfect rosebud of a girl, two or three years younger than he, and an old maid-of-all-work, of strangely mixed breed, crusty in temper and wonderfully sluttish in attire. [Endnote: 3] It might be partly owing to this handmaiden's characteristic lack of neatness (though primarily, no doubt, to the grim Doctor's antipathy to broom, brush, and dusting- cloths) that the house — at least in such portions of it as any casual visitor caught a glimpse of — was so overlaid with dust, that, in lack of a visiting card, you might write your name with your forefinger upon the tables; and so hung with cobwebs that they assumed the appearance of dusky upholstery.

  It grieves me to add an additional touch or two to the reader's disagreeable impression of Doctor Grimshawe's residence, by confessing that it stood in a shabby by-street, and cornered on a graveyard, with which the house communicated by a back door; so that with a hop, skip, and jump from the threshold, across a flat tombstone, the two children [Endnote: 4] were in the daily habit of using the dismal cemetery as their playground. In their graver moods they spelled out the names and learned by heart doleful verses on the headstones; and in their merrier ones (which were much the more frequent) they chased butterflies and gathered dandelions, played hide-and-seek among the slate and marble, and tumbled laughing over the grassy mounds which were too eminent for the short legs to bestride. On the whole, they were the better for the graveyard, and its legitimate inmates slept none the worse for the two children's gambols and shrill merriment overhead. Here were old brick tombs with curious sculptures on them, and quaint gravestones, some of which bore puffy little cherubs, and one or two others the effigies of eminent Puritans, wrought out to a button, a fold of the ruff, and a wrinkle of the skull-cap; and these frowned upon the two children as if death had not made them a whit more genial than they were in life. But the children were of a temper to be more encouraged by the good-natured smiles of the puffy cherubs, than frightened or disturbed by the sour Puritans.

  This graveyard (about which we shall say not a word more than may sooner or later be needful) was the most ancient in the town. The clay of the original settlers had been incorporated with the soil; those stalwart Englishmen of the Puritan epoch, whose immediate ancestors had been planted forth with succulent grass and daisies for the sustenance of the parson's cow, round the low-battlemented Norman church towers in the villages of the fatherland, had here contributed their rich Saxon mould to tame and Christianize the wild forest earth of the new world. In this point of view — as holding the bones and dust of the primeval ancestor — the cemetery was more English than anything else in the neighborhood, and might probably have nourished English oaks and English elms, and whatever else is of English growth, without that tendency to spindle upwards and lose their sturdy breadth, which is said to be the ordinary characteristic both of human and vegetable productions when transplanted hither. Here, at all events, used to be some specimens of common English garden flowers, which could not be accounted for, — unless, perhaps, they had sprung from some English maiden's heart, where the intense love of those homely things, and regret of them in the foreign land, had conspired together to keep their vivifying principle, and cause its growth after the poor girl was buried. Be that as it might, in this grave had been hidden from sight many a broad, bluff visage of husbandman, who had been taught to plough among the hereditary furrows that had been ameliorated by the crumble of ages: much had these sturdy laborers grumbled at the great roots that obstructed their toil in these fresh acres. Here, too, the sods had covered the faces of men known to history, and reverenced when not a piece of distinguishable dust remained of them; personages whom tradition told about; and here, mixed up with successive crops of native-born Americans, had been ministers, captains, matrons, virgins good and evil, tough and tender, turned up and battened down by the sexton's spade, over and over again; until every blade of grass had its relations with the human brotherhood of the old town. A hundred and fifty years was sufficient to do this; and so much time, at least, had elapsed since the first hole was dug among the difficult roots of the forest trees, and the first little hillock of all these green beds was piled up.

  Thus rippled and surged, with its hundreds of little billows, the old graveyard about the house which cornered upon it; it made the street gloomy, so that people did not a
ltogether like to pass along the high wooden fence that shut it in; and the old house itself, covering ground which else had been sown thickly with buried bodies, partook of its dreariness, because it seemed hardly possible that the dead people should not get up out of their graves and steal in to warm themselves at this convenient fireside. But I never heard that any of them did so; nor were the children ever startled by spectacles of dim horror in the night-time, but were as cheerful and fearless as if no grave had ever been dug. They were of that class of children whose material seems fresh, not taken at second hand, full of disease, conceits, whims, and weaknesses, that have already served many people's turns, and been moulded up, with some little change of combination, to serve the turn of some poor spirit that could not get a better case.

  So far as ever came to the present writer's knowledge, there was no whisper of Doctor Grimshawe's house being haunted; a fact on which both writer and reader may congratulate themselves, the ghostly chord having been played upon in these days until it has become wearisome and nauseous as the familiar tune of a barrel-organ. The house itself, moreover, except for the convenience of its position close to the seldom-disturbed cemetery, was hardly worthy to be haunted. As I remember it, (and for aught I know it still exists in the same guise,) it did not appear to be an ancient structure, nor one that would ever have been the abode of a very wealthy or prominent family; — a three- story wooden house, perhaps a century old, low-studded, with a square front, standing right upon the street, and a small enclosed porch, containing the main entrance, affording a glimpse up and down the street through an oval window on each side, its characteristic was decent respectability, not sinking below the boundary of the genteel. It has often perplexed my mind to conjecture what sort of man he could have been who, having the means to build a pretty, spacious, and comfortable residence, should have chosen to lay its foundation on the brink of so many graves; each tenant of these narrow houses crying out, as it were, against the absurdity of bestowing much time or pains in preparing any earthly tabernacle save such as theirs. But deceased people see matters from an erroneous — at least too exclusive — point of view; a comfortable grave is an excellent possession for those who need it, but a comfortable house has likewise its merits and temporary advantages. [Endnote: 5.]