Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

  In this last observation we may imagine that there was not a little truth. Poet and novelist as Hawthorne was, sceptic and dreamer and little of a man of action, late-coming fruit of a tree which might seem to have lost the power to bloom, he was morally, in an appreciative degree, a chip of the old block. His forefathers had crossed the Atlantic for conscience' sake, and it was the idea of the urgent conscience that haunted the imagination of their so-called degenerate successor. The Puritan strain in his blood ran clear — there are passages in his Diaries, kept during his residence in Europe, which might almost have been written by the grimmest of the old Salem worthies. To him as to them, the consciousness of sin was the most importunate fact of life, and if they had undertaken to write little tales, this baleful substantive, with its attendant adjective, could hardly have been more frequent in their pages than in those of their fanciful descendant. Hawthorne had moreover in his composition contemplator and dreamer as he was, an element of simplicity and rigidity, a something plain and masculine and sensible, which might have kept his black-browed grandsires on better terms with him than he admits to be possible. However little they might have appreciated the artist, they would have approved of the man. The play of Hawthorne's intellect was light and capricious, but the man himself was firm and rational. The imagination was profane, but the temper was not degenerate.

  The “dreary and unprosperous condition” that he speaks of in regard to the fortunes of his family is an allusion to the fact that several generations followed each other on the soil in which they had been planted, that during the eighteenth century a succession of Hathornes trod the simple streets of Salem without ever conferring any especial lustre upon the town or receiving, presumably, any great delight from it. A hundred years of Salem would perhaps be rather a dead-weight for any family to carry, and we venture to imagine that the Hathornes were dull and depressed. They did what they could, however, to improve their situation; they trod the Salem streets as little as possible. They went to sea, and made long voyages; seamanship became the regular profession of the family. Hawthorne has said it in charming language. “From father to son, for above a hundred years, they followed the sea; a grey-headed shipmaster, in each generation, retiring from the quarter-deck to the homestead, while a boy of fourteen took the hereditary place before the mast, confronting the salt spray and the gale which had blustered against his sire and grandsire. The boy also, in due time, passed from the forecastle to the cabin, spent a tempestuous manhood, and returned from his world-wanderings to grow old and die and mingle his dust with the natal earth.” Our author's grandfather, Daniel Hathorne, is mentioned by Mr. Lathrop, his biographer and son-in-law, as a hardy privateer during the war of Independence. His father, from whom he was named, was also a shipmaster, and he died in foreign lands, in the exercise of his profession. He was carried off by a fever, at Surinam, in 1808. He left three children, of whom Nathaniel was the only boy. The boy's mother, who had been a Miss Manning, came of a New England stock almost as long-established as that of her husband; she is described by our author's biographer as a woman of remarkable beauty, and by an authority whom he quotes, as being “a minute observer of religious festivals,” of “feasts, fasts, new-moons, and Sabbaths.” Of feasts the poor lady in her Puritanic home can have had but a very limited number to celebrate; but of new-moons, she may be supposed to have enjoyed the usual, and of Sabbaths even more than the usual, proportion.

  In quiet provincial Salem, Nathaniel Hawthorne passed the greater part of his boyhood, as well as many years of his later life. Mr. Lathrop has much to say about the ancient picturesqueness of the place, and about the mystic influences it would project upon such a mind and character as Hawthorne's. These things are always relative, and in appreciating them everything depends upon the point of view. Mr. Lathrop writes for American readers, who in such a matter as this are very easy to please. Americans have as a general thing a hungry passion for the picturesque, and they are so fond of local colour that they contrive to perceive it in localities in which the amateurs of other countries would detect only the most neutral tints. History, as yet, has left in the United States but so thin and impalpable a deposit that we very soon touch the hard substratum of nature; and nature herself, in the western world, has the peculiarity of seeming rather crude and immature. The very air looks new and young; the light of the sun seems fresh and innocent, as if it knew as yet but few of the secrets of the world and none of the weariness of shining; the vegetation has the appearance of not having reached its majority. A large juvenility is stamped upon the face of things, and in the vividness of the present, the past, which died so young and had time to produce so little, attracts but scanty attention. I doubt whether English observers would discover any very striking trace of it in the ancient town of Salem. Still, with all respect to a York and a Shrewsbury, to a Toledo and a Verona, Salem has a physiognomy in which the past plays a more important part than the present. It is of course a very recent past; but one must remember that the dead of yesterday are not more alive than those of a century ago. I know not of what picturesqueness Hawthorne was conscious in his respectable birthplace; I suspect his perception of it was less keen than his biographer assumes it to have been; but he must have felt at least that of whatever complexity of earlier life there had been in the country, the elm-shadowed streets of Salem were a recognisable memento. He has made considerable mention of the place, here and there, in his tales; but he has nowhere dilated upon it very lovingly, and it is noteworthy that in The House of the Seven Gables, the only one of his novels of which the scene is laid in it, he has by no means availed himself of the opportunity to give a description of it. He had of course a filial fondness for it — a deep-seated sense of connection with it; but he must have spent some very dreary years there, and the two feelings, the mingled tenderness and rancour, are visible in the Introduction to The Scarlet Letter.

  “The old town of Salem,” he writes, — ”my native place, though I have dwelt much away from it, both in boyhood and in maturer years — possesses, or did possess, a hold on my affections, the force of which I have never realized during my seasons of actual residence here. Indeed, so far as the physical aspect is concerned, with its flat, unvaried surface, covered chiefly with wooden houses, few or none of which pretend to architectural beauty; its irregularity, which is neither picturesque nor quaint, but only tame; its long and lazy street, lounging wearisomely through the whole extent of the peninsula, with Gallows Hill and New Guinea at one end, and a view of the almshouse at the other — such being the features of my native town it would be quite as reasonable to form a sentimental attachment to a disarranged chequer-board.”

  But he goes on to say that he has never divested himself of the sense of intensely belonging to it — that the spell of the continuity of his life with that of his predecessors has never been broken. “It is no matter that the place is joyless for him; that he is weary of the old wooden houses, the mud and the dust, the dead level of site and sentiment, the chill east wind, and the chilliest of social atmospheres; — all these and whatever faults besides he may see or imagine, are nothing to the purpose. The spell survives, and just as powerfully as if the natal spot were an earthly paradise.” There is a very American quality in this perpetual consciousness of a spell on Hawthorne's part; it is only in a country where newness and change and brevity of tenure are the common substance of life, that the fact of one's ancestors having lived for a hundred and seventy years in a single spot would become an element of one's morality. It is only an imaginative American that would feel urged to keep reverting to this circumstance, to keep analysing and cunningly considering it.

  The Salem of to-day has, as New England towns go, a physiognomy of its own, and in spite of Hawthorne's analogy of the disarranged draught-board, it is a decidedly agreeable one. The spreading elms in its streets, the proportion of large, square, honourable-looking houses, suggesting an easy, copious material life, the little gardens, the grassy waysides, the open window
s, the air of space and salubrity and decency, and above all the intimation of larger antecedents — these things compose a picture which has little of the element that painters call depth of tone, but which is not without something that they would admit to be style. To English eyes the oldest and most honourable of the smaller American towns must seem in a manner primitive and rustic; the shabby, straggling, village-quality appears marked in them, and their social tone is not unnaturally inferred to bear the village stamp. Village-like they are, and it would be no gross incivility to describe them as large, respectable, prosperous, democratic villages. But even a village, in a great and vigorous democracy, where there are no overshadowing squires, where the “county” has no social existence, where the villagers are conscious of no superincumbent strata of gentility, piled upwards into vague regions of privilege — even a village is not an institution to accept of more or less graceful patronage; it thinks extremely well of itself, and is absolute in its own regard. Salem is a sea-port, but it is a sea-port deserted and decayed. It belongs to that rather melancholy group of old coast-towns, scattered along the great sea-face of New England, and of which the list is completed by the names of Portsmouth, Plymouth, New Bedford, Newburyport, Newport — superannuated centres of the traffic with foreign lands, which have seen their trade carried away from them by the greater cities. As Hawthorne says, their ventures have gone “to swell, needlessly and imperceptibly, the mighty flood of commerce at New York or Boston.” Salem, at the beginning of the present century, played a great part in the Eastern trade; it was the residence of enterprising shipowners who despatched their vessels to Indian and Chinese seas. It was a place of large fortunes, many of which have remained, though the activity that produced them has passed away. These successful traders constituted what Hawthorne calls “the aristocratic class.” He alludes in one of his slighter sketches (The Sister Years) to the sway of this class and the “moral influence of wealth” having been more marked in Salem than in any other New England town. The sway, we may believe, was on the whole gently exercised, and the moral influence of wealth was not exerted in the cause of immorality. Hawthorne was probably but imperfectly conscious of an advantage which familiarity had made stale — the fact that he lived in the most democratic and most virtuous of modern communities. Of the virtue it is but civil to suppose that his own family had a liberal share; but not much of the wealth, apparently, came into their way. Hawthorne was not born to a patrimony, and his income, later in life, never exceeded very modest proportions.

  Of his childish years there appears to be nothing very definite to relate, though his biographer devotes a good many graceful pages to them. There is a considerable sameness in the behaviour of small boys, and it is probable that if we were acquainted with the details of our author's infantine career we should find it to be made up of the same pleasures and pains as that of many ingenuous lads for whom fame has had nothing in keeping.

  The absence of precocious symptoms of genius is on the whole more striking in the lives of men who have distinguished themselves than their juvenile promise; though it must be added that Mr. Lathrop has made out, as he was almost in duty bound to do, a very good case in favour of Hawthorne's having been an interesting child. He was not at any time what would be called a sociable man, and there is therefore nothing unexpected in the fact that he was fond of long walks in which he was not known to have had a companion. “Juvenile literature” was but scantily known at that time, and the enormous and extraordinary contribution made by the United States to this department of human happiness was locked in the bosom of futurity. The young Hawthorne, therefore, like many of his contemporaries, was constrained to amuse himself, for want of anything better, with the Pilgrim's Progress and the Faery Queen. A boy may have worse company than Bunyan and Spenser, and it is very probable that in his childish rambles our author may have had associates of whom there could be no record. When he was nine years old he met with an accident at school which threatened for a while to have serious results. He was struck on the foot by a ball and so severely lamed that he was kept at home for a long time, and had not completely recovered before his twelfth year. His school, it is to be supposed, was the common day-school of New England — the primary factor in that extraordinarily pervasive system of instruction in the plainer branches of learning, which forms one of the principal ornaments of American life. In 1818, when he was fourteen years old, he was taken by his mother to live in the house of an uncle, her brother, who was established in the town of Raymond, near Lake Sebago, in the State of Maine. The immense State of Maine, in the year 1818, must have had an even more magnificently natural character than it possesses at the present day, and the uncle's dwelling, in consequence of being in a little smarter style than the primitive structures that surrounded it, was known by the villagers as Manning's Folly. Mr. Lathrop pronounces this region to be of a “weird and woodsy” character; and Hawthorne, later in life, spoke of it to a friend as the place where “I first got my cursed habits of solitude.” The outlook, indeed, for an embryonic novelist, would not seem to have been cheerful; the social dreariness of a small New England community lost amid the forests of Maine, at the beginning of the present century, must have been consummate. But for a boy with a relish for solitude there were many natural resources, and we can understand that Hawthorne should in after years have spoken very tenderly of this episode. “I lived in Maine like a bird of the air, so perfect was the freedom I enjoyed.” During the long summer days he roamed, gun in hand, through the great woods, and during the moonlight nights of winter, says his biographer, quoting another informant, “he would skate until midnight, all alone, upon Sebago Lake, with the deep shadows of the icy hills on either hand.”

  In 1819 he was sent back to Salem to school, and in the following year he wrote to his mother, who had remained at Raymond (the boy had found a home at Salem with another uncle), “I have left school and have begun to fit for college under Benjm. L. Oliver, Lawyer. So you are in danger of having one learned man in your family.... I get my lessons at home and recite them to him (Mr. Oliver) at seven o'clock in the morning.... Shall you want me to be a Minister, Doctor, or Lawyer? A Minister I will not be.” He adds, at the close of this epistle — ”O how I wish I was again with you, with nothing to do but to go a-gunning! But the happiest days of my life are gone.” In 1821, in his seventeenth year, he entered Bowdoin College, at Brunswick, Maine. This institution was in the year 1821 — a quarter of a century after its foundation — a highly honourable, but not a very elaborately organized, nor a particularly impressive, seat of learning. I say it was not impressive, but I immediately remember that impressions depend upon the minds receiving them; and that to a group of simple New England lads, upwards of sixty years ago, the halls and groves of Bowdoin, neither dense nor lofty though they can have been, may have seemed replete with Academic stateliness. It was a homely, simple, frugal, “country college,” of the old-fashioned American stamp; exerting within its limits a civilizing influence, working, amid the forests and the lakes, the log-houses and the clearings, toward the amenities and humanities and other collegiate graces, and offering a very sufficient education to the future lawyers, merchants, clergymen, politicians, and editors, of the very active and knowledge-loving community that supported it. It did more than this — it numbered poets and statesmen among its undergraduates, and on the roll-call of its sons it has several distinguished names. Among Hawthorne's fellow-students was Henry Wadsworth Longfellow, who divides with our author the honour of being the most distinguished of American men of letters. I know not whether Mr. Longfellow was especially intimate with Hawthorne at this period (they were very good friends later in life), but with two of his companions he formed a friendship which lasted always. One of these was Franklin Pierce, who was destined to fill what Hawthorne calls “the most august position in the world.” Pierce was elected President of the United States in 1852. The other was Horatio Bridge, who afterwards served with distinction in the Navy, and to whom
the charming prefatory letter of the collection of tales published under the name of The Snow Image, is addressed. “If anybody is responsible at this day for my being an author it is yourself. I know not whence your faith came; but while we were lads together at a country college — gathering blueberries in study-hours under those tall Academic pines; or watching the great logs as they tumbled along the current of the Androscoggin; or shooting pigeons and grey squirrels in the woods; or bat-fowling in the summer twilight; or catching trout in that shadowy little stream which, I suppose, is still wandering river-ward through the forest — though you and I will never cast a line in it again — two idle lads, in short (as we need not fear to acknowledge now), doing a hundred things the Faculty never heard of, or else it had been worse for us — still it was your prognostic of your friend's destiny that he was to be a writer of fiction.” That is a very pretty picture, but it is a picture of happy urchins at school, rather than of undergraduates “panting,” as Macaulay says, “for one and twenty.” Poor Hawthorne was indeed thousands of miles away from Oxford and Cambridge; that touch about the blueberries and the logs on the Androscoggin tells the whole story, and strikes the note, as it were, of his circumstances. But if the pleasures at Bowdoin were not expensive, so neither were the penalties. The amount of Hawthorne's collegiate bill for one term was less than 4l., and of this sum more than 9s. was made up of fines. The fines, however, were not heavy. Mr. Lathrop prints a letter addressed by the President to “Mrs. Elizabeth C. Hathorne,” requesting her co-operation with the officers of this college, “in the attempt to induce your son faithfully to observe the laws of this institution.” He has just been fined fifty cents for playing cards for money during the preceding term. “Perhaps he might not have gamed,” the Professor adds, “were it not for the influence of a student whom we have dismissed from college.” The biographer quotes a letter from Hawthorne to one of his sisters, in which the writer says, in allusion to this remark, that it is a great mistake to think that he has been led away by the wicked ones. “I was fully as willing to play as the person he suspects of having enticed me, and would have been influenced by no one. I have a great mind to commence playing again, merely to show him that I scorn to be seduced by another into anything wrong.” There is something in these few words that accords with the impression that the observant reader of Hawthorne gathers of the personal character that underlay his duskily-sportive imagination — an impression of simple manliness and transparent honesty.