Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

  Of course, whenever the weather permitted, we were out in the yard, or even promenaded for short distances up and down the street. And once — ”How are you?” inquired a friend of the family, as he drove by in his wagon. “Oh, we've got the scarlet fever!” we proudly replied, stepping out gallantly along the sidewalk. For we were treated by a homoeopathic doctor of the old school, who was a high-dilutionist, and mortal ills could never get a firm grip on us. In winter we rejoiced in the snow; and my father's story of the Snow Image got most of its local color from our gambols in this fascinating substance, which he could observe from the window of his study.

  The study was on the third floor of the house, secluded from the turmoil of earth, so far as anything could be in a city street. No one was supposed to intrude upon him there; but such suppositions are ineffectual against children. From time to time the adamantine gates fell ajar, and in we slipped. It seemed a heavenly place, tenanted by a being possessed of every attribute that our imaginations could ascribe to an angel. The room and its tenant glimmer before me as I write, luminous with the sunshine of more than fifty years ago. Both were equipped for business rather than for beauty; furniture and garments were simple in those Salem days. A homely old paper covered the walls, a brownish old carpet the floor. There was an old rocking-chair, its black paint much worn and defaced; another chair was drawn up to the table, which stood to the left of the eastern window; and on the table was a mahogany desk, concerning which I must enter into some particulars. It was then, and for years afterwards, an object of my most earnest scrutiny. Such desks are not made nowadays.

  When closed, it was an oblong mahogany box, two feet long by half that width, and perhaps nine inches high. It had brass corners, and a brass plate on the top, inscribed with the name, “N. Hawthorne.” At one end was a drawer, with a brass handle playing on a hinge and fitting into a groove or socket when down; there was a corresponding handle at the other end, but that was for symmetry only; the one drawer went clear through the desk. I often mused over the ethics of this deception.

  Being opened, the desk presented a sloping surface two feet square, covered with black velvet, which had been cut here and there and pasted down again, and was stiffened with many ink-spatterings. This writing surface consisted of two lids, hinged at their junction in the centre; lifting them, you discovered two receptacles to hold writing-paper and other desk furniture. They were of about equal capacity; for although the upper half of the desk was the more capacious, you must not forget that two inches of it, at the bottom, was taken up by the long drawer already mentioned.

  But there was, also, a more interesting curtailment of this interior space. Along the very top of the desk, as it lay open, was a narrow channel, perhaps a couple of inches wide and deep, divided into three sections; two square ones, at the opposite ends, held the ink-bottle and the sand-bottle; the long central one was for quill pens. These, in the aggregate, appeared to the superficial eye to account for all that remained of the cubic contents of the structure; but the supreme mystery and charm of the affair was that they did not!

  No; there was an esoteric secret still in reserve; and for years it remained a secret to me. The bottle-sockets and pen-tray did not reach down to the level of the long drawer by nearly an inch. Measurement would prove that; but you would have said that the interval must be solid wood; for nothing but a smooth panel met the eye when you pulled aside the sheets of writing-paper in their receptacle to investigate. But the lesson of this world, and of the desk as a part of it, is that appearances are not to be trusted. The guile of those old desk-makers passes belief.

  I will expose it. In the pen-tray lay a sort of brass nail, as long as your little finger, and blunt at the end. Now take the sand-bottle from its hole. In one corner of the bottom thereof you will see a minute aperture, just big enough to admit the seemingly useless brass nail. Stick it in and press hard. With an abrupt noise that makes you jump, if you are four or five years old, that smooth, unsuspected strip of panel starts violently forward (propelled by a released spring) and reveals — what? Nothing less than the fronts of two minute drawers. They fit in underneath the pen-tray, and might remain undiscovered for a hundred years unless you had the superhuman wit to divine the purpose of the brass nail. The drawers contain diamonds, probably, or some closely folded document making you the heir to a vast estate. As a matter of fact, I don't know what they contained; the surprise of the drawers themselves was enough for me. I need not add that I did not guess the riddle myself; but nothing that I can call to mind impressed me more than when, one day, my father solved it for me with his little brass wand. At intervals, afterwards, I was allowed to work the miracle myself, always with the same thrill of mysterious delight. The desk was human to me; it was alive.

  There were little square covers for the ink and sand-bottles; and on the under sides of these were painted a pair of faces; very ruddy in the cheeks they were, with staring eyes and smiling mouths; and one of them wore a pair of black side-whiskers. They were done by my father, with oil — colors filched from my mother's paint-box. They seemed to me portraits of the people who lived in the desk; evidently they enjoyed their existence hugely. And when I considered that the desk was also somehow instrumental in the production of stories — such as the Snow Image — of a delectable and magical character, the importance to my mind of the whole contrivance may be conceived. When I grew beyond child's estate, I learned that it had also assisted at the composition of The Scarlet Letter. If ever there were a haunted writing-desk, this should have been it; but the ghosts have long since carried it away, whither I know not.

  On the table were two ornaments; one, the finely moulded figure of an Egyptian in bronze, the wide Egyptian head-dress falling on the shoulders, the arms lying rigidly at the sides, with fists clinched. Generations of handling had made it almost black, but the amiable expression of the little countenance — the figure was about seven inches tall — greatly endeared it to me. Its feet were pressed close together on a small round stand; but one day somebody set it down on a hot stove, where it remained without flinching till the feet were melted off. After some years my mother had an ebony stump affixed to it, preserving the proportions of the figure and setting it once more erect. He was of greater endurance and of finer physical if not of moral development than the Tin Soldier of Hans Christian Andersen. The other ornament, less than half the Egyptian's size, and also made of bronze, was a warrior in mediaeval armor, whose head lifted off, showing a sharp-pointed rod the sheath of which was the body. Its use was to pick the wicks of the oil-lamps of that epoch, and its name was Mr. Pickwick. When afterwards I became acquainted with the world's Mr. Pickwick, I supposed his creator had adopted the name from our bronze warrior; but the world's Pickwick was made of stuff more enduring than bronze; he remains, but our little warrior has vanished.

  I come now to the human occupant of this chamber of marvels. I see a tall, strong man, whose wide-domed head was covered with wavy black hair, bushing out at the sides. It thinned somewhat over the lofty crown and brow; the forehead was hollowed at the temple and rounded out above, after the Moorish style of architecture. Under heavy, dark eyebrows were eyes deep-set and full of light, marvellous in range of expression, with black eyelashes. All seemed well with me when I met their look. The straight, rather salient nose had a perceptible cleft at the tip, which, I was told, was a sign of good lineage; muddy-mettled rascals lacked it; so that I was much distressed by the smooth, plebeian bluntness, at that time, of my own little snub. The mouth, then unshaded by a mustache, had a slight upward turn at the corners, indicative of vitality and good-humor; the chin rounded out sharply convex from the lip. The round, strong column of the neck well supported the head; my mother compared it with that of the Apollo Belvedere, a bust of which stood in the corner of our sitting-room. The head was deep — a great distance between the base of the ear and the wing of the nostril — and was well filled out behind. Above the blue of the shaven beard the complexion showed clear
white and red, announcing a strong heart and good digestion. My father shaved himself daily; I was not permitted to see the operation, but I knew he lathered, and wondered why. He was naturally athletic; broad-shouldered and deep in the chest, lean about the loins, weighing never over one hundred and eighty pounds; his height was five feet ten and three-quarter inches; his legs and feet were slender and graceful, his gait long and springy, and he could stand and leap as high as his shoulder. In the house he wore slippers, which seemed always old and down-at-heel.

  In the house, also, he wore a writing-gown, made for him some years before by my mother; it reached nearly to his heels, and had been a gorgeous affair, though now much defaced. The groundwork was purple, covered all over with conventional palm-leaf in old-gold color; the lining was red. This lining, under the left-hand skirt of the gown, was blackened with ink over a space as large as your hand; for the author was in the habit of wiping his pen thereon; but my mother finally parried this attack by sewing in the centre of the place a penwiper in the shape of a butterfly.

  While story-writing, the door of the study was locked against all the world; but after noon he became approachable, except during The Scarlet Letter period, when he wrote till evening. He did not mind my seeing him write letters; he would sit with his right shoulder and head inclined towards the desk; the quill squeaked softly over the smooth paper, with frequent quick dips into the ink-bottle; a few words would be written swiftly; then a pause, with suspended pen, while the next sentence was forming in the writer's mind. When he miswrote, instead of crossing out the word, he would smear it out with his finger, and rewrite over the smear; so that his page had a mottled appearance. The writing was accompanied by intermittent nods of the head, as one would say, “Sic cogito!” So far as he is concerned, the shadows close in on me here.

  But I have said that the house was of three stories, and I have accounted for two of them only. The second was occupied by my grandmother Hawthorne and her two daughters, Aunt Louisa and Aunt Ebe (the latter appellation being an infantile version of her name invented by my father, who was her junior, and used by us to distinguish between her and that other Elizabeth who was Aunt Lizzie Peabody). Of my grandmother Hawthorne I have no personal recollection at all; she was a Manning, a beautiful old lady, whom her son resembled. She had been a recluse from society for forty years; it was held to be good form, in that age and place, to observe such Hindoo rites after the death of a husband; hers had died in his thirty-fourth year in Surinam. But she had also insensibly fallen into the habit of isolating herself in some degree from her own family; they were all of them addicted to solitude of the body, though kindly enough disposed in the abstract. When we went to live in the Mall Street house, the old lady and her daughters uprooted themselves from their home of many years in Herbert Street and dwelt with us; and that quaint crystallization of their habits was in a measure broken up. But the dowager Mrs. Hawthorne, it soon appeared, had come there to die; she was more than seventy years old. My aunt Louisa I seem dimly to recall as a tall, fragile, pale, amiable figure, not very effective. My aunt Ebe I afterwards came to know well, and shall defer mention of her. So I was encompassed by kindly petticoats, and was very happy, but might have been better for a stout playmate of my own sex. I had a hobby-horse, which I rode constantly to fairy-land in quest of treasure to bestow upon my friends. I swung with Una on the gate, and looked out upon the wonder of the passing world. The tragedy of my grandmother's death, which, as I have said, interrupted the birth of The Scarlet Letter, passed me by unknowing, or rather without leaving a trace upon my memory. On the other hand, I can reconstitute vividly two absurd incidents, destitute of historical value. After my grandmother Hawthorne's death I fell ill; but the night before the disease declared itself, I was standing in a chair at the nursery window, looking out at the street-lamp on the corner, and my aunt Lizzie Peabody, who had just come on from Boston, was standing behind me, lest I should fall off. Now, I was normally the most sweet-tempered little urchin imaginable; yet suddenly, without the faintest warning or provocation, I turned round and dealt my loving aunt a fierce kick in the stomach. It deprived her of breath for a space; but her saintly nature is illustrated by the fact that the very first use she made of her recovered faculties was to gasp out, “Sophie, the child must be ill!” Fortunately for my reputation, the illness was not long in arriving. The other episode must have happened at about the same period, and is likewise concerned with Aunt Lizzie. We had a cat, and the cat had had kittens a day or two before. Aunt Lizzie came into the nursery, where Una and I were building houses of blocks, and sat down in the big easy-chair. The cat was in the room, and she immediately came up to my aunt and began to mew and to pluck at her dress with her claws. Such attentions were rare on pussy's part, and my aunt noticed them with pleasure, and caressed the animal, which still continued to devote its entire attention to her. But there was something odd in the sound of her mewing and in the intent regard of her yellow eyes. “Can anything be the matter with pussy?” speculated my aunt. At that moment my father entered the room, and my aunt rose to greet him. Then the massacre was revealed, for she had been sitting upon the kittens. Their poor mother pounced upon them with a yowl, but it was too late. My dear aunt was rather a heavy woman, and she had been sitting there fifteen minutes. We all stood appalled in the presence of the great mystery.

  One day a big man, with a brown beard and shining brown eyes, who bubbled over with enthusiasm and fun, made his appearance and talked volubly about something, and went away again, and my father and mother smiled at each other. The Scarlet Letter had been written, and James T. Fields had read it, and declared it the greatest book of the age. So that was the last of Salem.

  II

  Horatio Bridge's “I-told-you-so” — What a house by the sea might have done — Unknown Lenox — The restlessness of youth — The Unpardonable Sin and the Deathless Man — The little red house — Materials of culture — Our best playmates — The mystery of Mrs. Peter's dough — Our intellectual hen — Fishing for poultry — Yacht-building — Swimming with one foot on the ground — Shipwreck — Our playfellow the brook — Tanglewood — Nuts — Giants and enchanters — Coasting — Wet noses, dark eyes, ambrosial breath — My first horseback ride — Herman Melville's stories — Another kind of James — The thunder-storm — Yearning ladies and melancholy sinners — Hindlegs — Probable murder — ”I abominate the sight of it!” — The peril of Tanglewood — The truth of fiction — An eighteen-months' work — We leave five cats behind.

  Horatio Bridge, my father's college friend, was a purser in the navy and lived in Augusta, Maine, his official residence being at Portsmouth. He had kept in closer touch with the romancer than any of his other friends had since their graduating days, and he had been from the first a believer in his coming literary renown. So, when The Scarlet Letter shone eminent in the firmament of book-land, it was his triumphant “I-told-you-so” that was among the earliest to be heard. And when my father cast about for a more congenial place than Salem to live in, it was to Bridge that he applied for suggestions. He stipulated that the place should be somewhere along the New England sea-coast.

  Had this wish of his been fulfilled it might have made great differences. Hawthorne had always dwelt within sight and sound of the Atlantic, on which his forefathers had sailed so often between the Indies and Salem port, and Atlantic breezes were necessary to his complete well-being. At this juncture physical health had for the first time become an object to him; he was run down by a year of suffering and hard work, and needed nature's kindest offices. A suitable house of his own by the sea-side would probably have brought him up to his best physical condition to begin with, and kept him so; and it would so have endeared itself to him that when, two or three years later, Pierce had offered him a foreign appointment he might have been moved to decline it, and have gone on writing American romances to the end — to the advantage of American letters. Concord had its own attractions; but it never held him as the sea would
have done, nor nourished his health, nor stimulated his genius. A house of his own beside the Atlantic might well have added twenty years to his life.

  But it was not upon the knees of the gods.

  Bridge's zealous efforts failed to find a place available, and after an uneasy interval, during which his friend wandered uncomfortably about Boston and the neighborhood (incidentally noting down some side-scenes afterwards to be incorporated in The Blithedale Romance), a cottage in the Berkshire Hills was spoken of, and upon examination seemed practicable. Lenox, at that time, was as little known as Mount Desert; it was not until long afterwards that fashion found them out and made them uninhabitable to any but fashionable folks. Moreover, my father had seen something of Lenox a dozen years before.

  A dozen years before he was not yet betrothed to Sophia Peabody; he already loved her and she him; but her health seemed an insuperable barrier between them. This and certain other matters were weighing heavily upon his soul, and his future seemed dark and uncertain. He thought of taking a voyage round the world; he thought of getting into politics; he even thought — as young men full of life sometimes will — of death. What he finally did, with native good sense, was to make a two-months' trip in the mountainous region to the westward, to change the scene and his state of mind, and to get what artists call a fresh eye. He chose North Adams as his headquarters, and forayed thence in various directions over a radius of twenty miles. He was then beginning to revolve one of the two great romance themes that preoccupied his whole after-life, neither of which was he destined to write. This was the idea of the Unpardonable Sin; the other was the conception of the Deathless Man. The only essay we have towards the embodiment of the first vision is the short fragment published in Mosses from an Old Manse, called “Ethan Brand.” The other was attempted in various forms, of which Septimius, Dr. Grimshawe's Secret, and The Dolliver Romance, all posthumously published, are the most important.