Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

  “My heart thirsts and languishes to be there, away from the hot sun, and the coal-dust, and the steaming docks, and the thick-pated, stubborn, contentious men, with whom I brawl from morning till night, and all the weary toil that quite engrosses me, and yet occupies only a small part of my being, which I did not know existed before I became a measurer. I do think I should sink down quite disheartened and inanimate if you were not happy, and gathering from earth and sky enjoyment for both of us; but this makes me feel that my real, innermost soul is apart from all these unlovely circumstances, and that it has not ceased to exist, as I might sometimes suspect, but is nourished and kept alive through you. You know not what comfort I have in thinking of you amid those beautiful scenes and amid those sympathizing hearts. If you are well and happy, if your step is light and joyous there, and your cheek is becoming rosier, and if your heart makes pleasant music, then is it not better for you to stay there a little longer? And if better for you, is it not so for me likewise? Now, I do not press you to stay, but leave it all to your wisdom; and if you feel it is now time to come home, then let it be so.”

  Similarly, in the fall of the same year, from Boston, and again from Salem, he sums in memory what this new life had been to him now for nearly two years: —

  “Sometimes, during my solitary life in our old Salem house, it seemed to me as if I had only life enough to know that I was not alive; for I had no wife then to keep my heart warm. But, at length, you were revealed to me, in the shadow of a seclusion as deep as my own. I drew nearer and nearer to you, and opened my heart to you, and you came to me, and will remain forever, keeping my heart warm and renewing my life with your own. You only have taught me that I have a heart, — you only have thrown a light, deep downward and upward, into my soul. You only have revealed me to myself; for without your aid my best knowledge of myself would have been merely to know my own shadow, — to watch it flickering on the wall, and mistake its fantasies for my own real actions….

  “Whenever I return to Salem, I feel how dark my life would be without the light that you shed upon it, — how cold, without the warmth of your love. Sitting in this chamber, where my youth wasted itself in vain, I can partly estimate the change that has been wrought. It seems as if the better part of me had been born since then. I had walked those many years in darkness, and might so have walked through life, with only a dreamy notion that there was any light in the universe, if you had not kissed my eyelids and given me to see. You, dearest, have always been positively happy. Not so I, — I have only not been miserable.”

  To turn to other matters, the preoccupation of Hawthorne's mind with his business, together with the distraction of his courtship, proved unfavorable to imaginative work. It may be, too, that the impulse to create had been somewhat exhausted by the rapid production of his later tales in the year or two preceding. Only one original story appeared in this period of labor and love, “John Inglefield's Thanksgiving,” which was published in the “Democratic Review” for March, 1840, as by the Rev. A. A. Royce. An interesting edition of “The Gentle Boy,” [Footnote: The Gentle Boy. A Thrice Told Tale. By Nathaniel Hawthorne. With an Original Illustration. Boston: Weeks, Jordan & Co., 121 Washington Street. New York & London: Wiley & Putnam. 1839. 4to. Pp. 20.] under Hawthorne's name, had been issued in 1839 at his own expense; it contained the original sketch of Ibrahim, by Sophia Peabody, engraved by J. Andrews, and was evidently intended only as a kind of lover's gift to her, to whom it was dedicated. He gave his attention now to writing some children's books, partly under the influence of his old “Peter Parley” instruction and experience, and partly, no doubt, under the encouragement and advice of Elizabeth Peabody, who was interested in such literature. The Peabodys, on removing to Boston, had opened a shop, a library and book-store and homoeopathic drug-store, all in one, of which she was the head, and with her name Hawthorne associated his new ventures. He had contemplated writing children's books, as a probable means of profit, before he received his appointment in the Custom House, as he said in his letter to Longfellow; and he merely stuck to the plan under the new conditions. The result was three volumes of historical tales for young people, drawn from New England in the colonial and revolutionary times, under different titles, but making one series: “Grandfather's Chair,” [Footnote: Grandfather's Chair. A History for Youth. By Nathaniel Hawthorne, author of Twice-Told Tales. Boston: E. P. Peabody. New York: Wiley & Putnam. 1841. 32mo. Pp. vii, 140. The preface is dated Boston, November, 1840.] “Famous Old People,” [Footnote: Famous Old People. Being the Second Epoch of Grandfather's Chair. By Nathaniel Hawthorne, author of Twice-Told Tales. Boston: E. P. Peabody, 13 West St. 1841. 32mo. Pp. vii, 158. The preface is dated December 30, 1840.] and “Liberty Tree.” [Footnote: Liberty Tree. With the Last Words of Grandfather's Chair. By Nathaniel Hawthorne, author of Twice-Told Tales. Boston: E. P. Peabody, 13 West St. 1841. 32mo. Pp. vii, 160. The preface is dated Boston, February 27, 1841.] They appeared in rapid succession in 1841, and were successful. But notwithstanding the high character of these little books as entertainment for children, it will hardly be thought that literature had profited much by the devotion of genius to coal and salt and the oversight of day laborers.

  In the spring of 1841, immediately after the change of administration in March, Hawthorne lost his place in the Custom House, and he at once betook himself to Brook Farm, in Roxbury, a suburb of Boston, or, to give its full name, “The Brook Farm Institute of Agriculture and Education.” The place, the celebrities who gathered there in their youth, and their way of life, have all been many times described, so that there is no occasion to renew a detailed account, especially as Hawthorne's interest in the scheme was purely incidental. He must have had his plans already made in preparation for a change in his life. The shop of the Peabodys in Boston was a centre of transcendentalism, “The Dial” being published there; and Hawthorne's attention may have been drawn to the movement for a practical application of the new social ideas by this circumstance, and he may well have made the acquaintance of Ripley, the chief projector, through these family friends. It is to be remembered, too, that he had been interested previously in the community idea, in the case of the Shakers, and had twice written tales on motives suggested by their life. But an experiment in the regeneration of society by a group of radicals would hardly have given him much practical concern, had it not fallen in with some peculiarities of his private position. Something, it is true, is to be allowed for the infection of the time, which would touch a morally speculative mind such as Hawthorne's to some degree; he would have observed these dreamers, breaking out new paths in the hardened old world of custom and inheritance, and would have followed the fortunes of the dream in its effects on individual lives, for it would appeal to the moral imagination and to his general sentiment about human life; but to become one of the promoters would require, in a man so wary, so hard-headed and cool as he naturally was in one half of his brain at least, a certain pressure of fact upon him. No man was less of a reformer than Hawthorne; he was constitutionally phlegmatic about society, a party man in politics, and an ironical critic of all “come-outers,” as these people were then popularly named; and, in this instance, which is the only apparently freakish action of his life, he was certainly swayed by what he supposed to be his own interest. He was merely prospecting for a home in which to settle. He was anxious to be married; he was thirty-seven years old, and Sophia was thirty, and the engagement had already lasted two years and more. In this new community hopes were held out that there would be cottages for families, and the whole business of supporting a family was to be simplified and made easier by the joint arrangements of the community, in an economical sense; moreover, that blessed union of manual toil with intellectual labor was a prime part of the enterprise, and something akin to this Hawthorne still very much desired in his own mind. To have some material work to do, to sustain a practical relation with men and their general life, to have daily contact with matter of fact as a means of escape from the old
life of shadows, were still very definite and prized ends with him. He was fairly possessed with this idea for some years. It may fairly be believed that he had no ulterior purpose or belief in the affair, but merely for his personal convenience desired on the one hand to solve the old problem of living in the world while not of it, and to provide a house for his wife to come to. He was willing to try the new scheme, nothing else seeming so feasible at the time to accomplish his immediate purpose; and he put into it all his savings, one thousand dollars, but with the idea of withdrawing this capital in case he was dissatisfied with the results, and should return to the ordinary ways of the world.

  Hawthorne arrived at the farm among the first of the new settlers, in an April snowstorm, on the twelfth of the month, and began at once to make the acquaintance of the barnyard. He was entirely destitute of agricultural talents, original or acquired, a green hand in every sense of the word, with that muscular willingness to learn which exhibits itself by unusual destructive capacity upon implements of toil and the docility of patient farm animals. He had physical strength, and after attempting to chop, hay, and milk, he was given a dung-fork and set to work at a pile of manure. He writes about these details with a softening of the raw facts by elegancies of language, and much gentle fun, but from the start he shows a playfulness of disposition in regard to the whole affair, like a great boy on a vacation, as if the sense of it all being, so far as he was concerned, a surprising joke on a novel scale were in his mind and attitude all the time; and it is this humor, interlacing on the page like sunshine, that makes the life of his narrative. Occasionally there is the touch of true enjoyment out of doors, as when, under the clear blue sky on the hillside, it seemed as if he “were at work in the sky itself,” and he notices the wild flowers coming into the chill world; but, as before at the wharf, so now at his farming, doubts assail his mind whether this manual labor is a satisfactory solution of his difficulties in adjusting himself to the world and opening communication with his fellow-men. The disillusion, if there really had ever been any true hope on his part, was effected even more quickly than before. Six weeks of manuring had brought him to enthusiastic thankfulness that it was near done: —

  “That abominable gold-mine! Thank God, we anticipate getting rid of its treasures in the course of two or three days! Of all hateful places that is the worst, and I shall never comfort myself for having spent so many days of blessed sunshine there. It is my opinion that a man's soul may be buried and perish under a dung-heap, or in a furrow of the field, just as well as under a pile of money.”

  Ten weeks more finished the matter. “Joyful thought! in a little more than a fortnight I shall be free from my bondage, … free to enjoy Nature, — free to think and feel!… Even my Custom House experience was not such a thraldom and weariness; my mind and heart were free. Oh, labor is the curse of the world, and nobody can meddle with it without becoming proportionably brutified! Is it a praiseworthy matter that I have spent five golden months in providing food for cows and horses? It is not so.”

  Shortly after this outburst he made a visit to his home at Salem, where he had been much missed. The few letters that his sister Louisa wrote to him after he first went to the farm afford the pleasantest, and almost the only glimpse of his place in the family. His experiment was plainly not welcome to them; his mother “groaned over it;” but, apart from that, in which there may have been some family pride, though there was also real personal solicitude, it is noticeable how his sister counts the weeks he has been gone, and expresses their vehement desires for his return, and shows the thoughtfulness of the family for him in many ways. “Mother apostrophizes your picture because you do not come home,” she writes, after “nine weeks” of absence, — ”a great deal too long.” In that secluded home he must indeed have been missed, and doubtless it seemed to them day by day more certain that he had really gone out from them into another world of his own. When he was in Salem in September, however, he no sooner crossed the threshold than he felt the old deserted life fall on him again like an evil spirit. “How immediately and irrecoverably,” he writes to Sophia, “should I relapse into the way of life in which I spent my youth! If it were not for you, this present world would see no more of me forever. The sunshine would never fall on me, no more than on a ghost. Once in a while people might discern my figure gliding stealthily through the dim evening, — that would be all. I should be only a shadow of the night; it is you that give me reality, and make all things real for me. If, in the interval since I quitted this lonely old chamber, I had found no woman (and you were the only possible one) to impart reality and significance to life, I should have come back hither ere now, with a feeling that all was a dream and a mockery.”

  Brook Farm seems to him now only another dream, and he gives his final judgment on that matter: —

  “Really I should judge it to be twenty years since I left Brook Farm; and I take this to be one proof that my life there was an unnatural and unsuitable, and therefore an unreal one. It already looks like a dream behind me. The real Me was never an associate of the community; there has been a spectral Appearance there, sounding the horn at daybreak, and milking the cows, and hoeing potatoes, and raking hay, toiling in the sun, and doing me the honor to assume my name. But this spectre was not myself. Nevertheless, it is somewhat remarkable that my hands have, during the past summer, grown very brown and rough, insomuch that many people persist in believing that I, after all, was the aforesaid spectral horn-sounder, cow-milker, potato-hoer, and hay-raker. But such people do not know a reality from a shadow. Enough of nonsense.”

  Nevertheless he went back for a while, not now as a farmhand, but apparently as a boarder, though he was made a trustee of the association and chairman of the committee on finance. He took, from this time, little part in the working life of the community. He had made up his mind that there was to be no home for him there, though “weary, weary, thrice weary of waiting so many ages.” He turns his mind to other plans of book-making, but does not have the seclusion he had found necessary for composition, and rather mournfully writes that he “must observe, and think, and feel, and content myself with catching glimpses of things which may be wrought out hereafter.” He did observe with his habitual closeness the people who came and went, and the life of the inmates, sitting himself apart a good deal with a book before his face. He made friends with a few, a very few, of whom George Bradford and Frank Farley remained to him in later times; but he was, as always, averse to literary society, and came nearer to men of a different type in his human intercourse. Sophia, who had seen him there amid the fraternity, described his relationship to the others accurately, one of “courtesy and conformableness and geniality;” but, she tells him, the expression of his countenance was “that of a witness and hearer rather than of comradeship.” In the fall weather he spent much of his time rambling about, and the scarlet color of the pastures, the warmth of the autumn woods, and the fading of the blue-fringed gentian, last blossom of the year, made up the texture of his notable life, just as similar things had earlier done by the Salem shore. In the spring he left the community, and made ready to go to Concord, where a place had been found for him to settle.

  In the production of literature, life at Brook Farm had proved as barren as the years on Long Wharf. He had contributed one story, “A Virtuoso's Collection,” to “The Boston Miscellany” for May, 1842, and had added one more to his little books, “Biographical Stories [Footnote: Biographical Stories for Children. Benjamin West, Sir Isaac Newton, Samuel Johnson, Oliver Cromwell, Benjamin Franklin, Queen Christina. By Nathaniel Hawthorne. Author of Historical Tales for Youth, Twice-Told Tales, etc. Boston: Tappan and Dennet, 114 Washington St. 1842. 18mo. Pp. v, 161. “Historical Tales for Youth” was made up by binding the three Grandfather's Chair books in the 18mo second edition, 1842, together with this volume, and issued as four volumes in two, so labeled on the back.] for Children.” The volume was added to the “Grandfather's Chair” series, which was brought out in a new edi
tion in 1842. To the same year belongs the enlarged edition of “Twice-Told Tales,” [Footnote: Twice-Told Tales. By Nathaniel Hawthorne. Boston: James Munroe and Company. 1842. 2 vols. 12mo. Pp. 331, 356. The first volume contained the same tales as the former edition, with The Toll-Gatherer's Day added. The second volume contained the following: Howe's Masquerade, Edward Randolph's Portrait, Lady Eleanore's Mantle, Old Esther Dudley, The Haunted Mind, The Village Uncle, The Ambitious Guest, The Sister Years, Snowflakes, The Seven Vagabonds, The White Old Maid, Peter Goldthwaite's Treasure, Chippings with a Chisel, The Shaker Bridal, Night Sketches, Endicott and the Red Cross, The Lily's Quest, Footprints on the Sea-Shore, Edward Fane's Rosebud, The Threefold Destiny.] in two volumes, in which the number of stories was doubled, but the collection still left out many titles which were afterwards gathered.

  Hawthorne had now been practically idle, so far as his genius was concerned, for three years, and had experimented to his heart's content in other modes of life. He had decided on immediate marriage. Sophia had recovered from her invalidism, and the lifelong headache she had experienced disappeared. It remained only to inform Madam Hawthorne of the engagement which had been so long concealed. He felt some trepidation, since, he says, “almost every agitating circumstance of her life had cost her a fit of illness.” But his fears were groundless; she came out of her chamber to meet him as soon as he arrived, looking better and more cheerful than usual, and full of kindness. “Foolish me,” he writes happily to Sophia, “to doubt that my mother's love could be wise, like all other genuine love!… It seems that our mother had seen how things were a long time ago; at first her heart was troubled, because she knew that much of outward as well as inward fitness was requisite to secure our peace; but gradually and quietly God has taught her that all is good, and so we shall have her fullest blessing and concurrence. My sisters, too, begin to sympathize as they ought, and all is well. God be praised! I thank Him on my knees, and pray Him to make me worthy of the happiness you bring me.” The quiet marriage took place on July 9, 1842, at the home of the Peabodys in Boston, and Hawthorne and his wife went to Concord to reside at the Old Manse.