Delphi Complete Works of Nathaniel Hawthorne (Illustrated) (862 page)

Believe me, my dear sir,

Yours very sincerely,

O. W. Holmes.

Hawthorne's interest in Dr. Holmes's works was also very great, and one of the last books which he read at all was “Elsie Venner,” which he had taken up for a second time shortly before his death.

Amid all the variety of thoughtful and thoughtless praise, or of other comment on the new romance, he began to feel that necessity for abstracting his attention entirely from what was said of his work in current publications, which forces itself upon every creative mind attempting to secure some centre of repose in a chattering and unprivate age like the present. This feeling he imparted to Bridge, and it also appears in one or two published letters. At the same time, it must be remembered how careful a consideration he gave to criticism; and he wrote of Edwin Whipple's reviewing of the “Seven Gables”: —

“Whipple's notices have done more than pleased me, for they have helped me to see my book. Much of the censure I recognize as just; I wish I could feel the praise to be so fully deserved. Being better (which I insist it is) than 'The Scarlet Letter,' I have never expected it to be so popular.”

In this same letter occurs the following: —

“ —
 
—
 
—
 
— , Esq., of Boston, has written to me, complaining that I have made his grandfather infamous! It seems there was actually a Pyncheon (or Pynchon, as he spells it) family resident in Salem, and that their representative, at the period of the Revolution, was a certain Judge Pynchon, a Tory and a refugee. This was Mr. —
 
— 's grandfather, and (at least, so he dutifully describes him) the most exemplary old gentleman in the world. There are several touches in my account of the Pyncheons which, he says, make it probable that I had this actual family in my eye, and he considers himself infinitely wronged and aggrieved, and thinks it monstrous that the 'virtuous dead' cannot be suffered to rest quietly in their graves.”

The matter here alluded to threatened to give Hawthorne almost as much inconvenience as the tribulation which followed the appearance of “The Custom-House.” One of the complainants in this case, though objecting to the use of the name Pyncheon, “respectfully suggests,” with an ill-timed passion for accuracy, that it should in future editions be printed with the
e
left out, because this was the proper mode in use by the family.

There has been some slight controversy as to the original of the visionary mansion described in this romance. Mr. Hawthorne himself said distinctly that he had no particular house in mind, and it is also a fact that none is recalled which fulfils all the conditions of that of the “Seven Gables.” Nevertheless, one party has maintained that the old Philip English house, pulled down many years since, was the veritable model; and others support the Ingersoll house, which still stands. The Curwin, called the “Witch House,” appears, by an antique painting from which photographs have been made, to have had the requisite number of peaks at a remote date; but one side of the structure being perforce left out of the picture, there is room for a doubt. [Footnote: It is from one of these photographs that the cut in the new edition of Hawthorne's Works has been developed.]

In “The House of the Seven Gables” Hawthorne attained a connection of parts and a masterly gradation of tones which did not belong, in the same fulness, to “The Scarlet Letter.” There is, besides, a larger range of character, in this second work, and a much more nicely detailed and reticulated portrayal of the individuals. Hepzibah is a painting on ivory, yet with all the warmth of a real being. Very noticeable is the delicate veneration and tenderness for her with which the author seems to inspire us, notwithstanding the fact that he has almost nothing definite to say of her except what tends to throw a light ridicule. She is continually contrasted with the exquisite freshness, ready grace, and beauty of Phoebe, and subjected to unfavorable comparisons in the mind of Clifford, whose half-obliterated but still exact aesthetic perception casts silent reproach upon her. Yet, in spite of this, she becomes in a measure endeared to us. In the grace, and agreeableness too, with which Hawthorne manages to surround this ungifted spinster, we find a unit of measure for the beauty with which he has invested the more frightful and tragic elements of the story. It is this triumph of beauty without destroying the unbeautiful, that gives the romance its peculiar artistic virtue. Judge Pyncheon is an almost unqualified discomfort to the reader, yet he is entirely held within bounds by the prevailing charm of the author's style, and by the ingenious manner in which the pleasanter elements of the other characters are applied. At times the strong emphasis given to his evil nature makes one suspect that the villain is too deeply dyed; but the question of equity here involved is one of the most intricate with which novelists have to deal at all. The well-defined opposition between good and bad forces has always been a necessity to man, in myths, religions, and drama. Heal life furnishes the most absolute extremes of possession by the angel or the fiend; and Shakespere has not scrupled to use one of these ultimate possibilities in the person of Iago. Yet Hawthorne was too acutely conscious of the downward bent in every heart, to let the Judge's pronounced iniquity stand without giving a glimpse of incipient evil in another quarter. This occurs in the temptation which besets Holgrave, when he finds that he possesses the same mesmeric sway over Phoebe, the latest Pyncheon offshoot, as that which his ancestor Matthew Maule exercised over Alice Pyncheon. The momentary mood which brings before him the absolute power which might be his over this fair girl, opens a whole new vista of wrong, in which the retribution would have been transferred from the shoulders of the Pyncheons to those of the Maules. Had Holgrave yielded then, he might have damned his own posterity, as Colonel Pyncheon had
his
. Thus, even in the hero of the piece, we are made aware of possibilities as malicious and destructive as those hereditary faults grown to such rank maturity in the Judge; and this may be said to offer a middle ground between the side of justice and attractiveness, and the side of injustice and repulsiveness, on which the personages are respectively ranged.

The conception of a misdeed operating through several generations, and righted at last solely by the over-toppling of unrestrained malevolence on the one hand, and on the other by the force of upright character in the wronged family, was a novel one at the time; this graphic depicture of the past at work upon the present has anticipated a great deal of the history and criticism of the following twenty-five years, in its close conjunction of antecedent influences and cumulative effects.

As a discovery of native sources of picturesque fiction, this second romance was not less remarkable than the one which preceded it. The theme furnished by the imaginary Pyncheon family ranges from the tragic in the Judge, through the picturesquely pathetic in Clifford, to a grotesque cast of pathos and humor in Hepzibah. Thence we are led to another vein of simple, fun-breeding characterization in Uncle Venner and Ned Higgins. The exquisite perception which draws old Uncle Venner in such wholesome colors, tones him up to just one degree of sunniness above the dubious light in which Hepzibah stands, so that he may soften the contrast of broad humor presented by little Ned Higgins, the “First Customer.” I cannot but regret that Hawthorne did not give freer scope to his delicious faculty for the humorous, exemplified in the “Seven Gables.” If he had let his genius career as forcibly in this direction as it does in another, when burdened with the black weight of the dead Judge Pyncheon, he might have secured as wide an acceptance for the book as Dickens, with so much more melodrama and so much less art, could gain for less perfect works. Hawthorne's concentration upon the tragic element, and comparative neglect of the other, was in one sense an advantage; but if in the case under discussion he had given more bulk and saliency to the humorous quality, he might also have been more likely to avoid a fault which creeps in, immediately after that marvellous chapter chanted like an unholy requiem over the lifeless Judge. This is the sudden culmination of the passion of Holgrave for Phoebe, just at the moment when he has admitted her to the house where Death and himself were keeping vigil. The revulsion, here, is too violent, and seems to throw a dank and deathly exhalation into the midst of the sweetness which the mutual disclosure of love should have spread around itself. There is need of an enharmonic change, at this point; and it might have been effected, perhaps, by a slower passage from gloom to gladness just here, and a more frequent play of the brighter mood throughout the book. But the tragic predilection seems ultimately to gain the day over the comic, in every great creative mind, and it was so strong with Hawthorne, that instead of giving greater play to humor in later fictions, it curtailed it more and more, from the production of the “Seven Gables” onward.

Mr. Curtis has shown me a letter written soon after the publication of the new book, which, as it gives another instance of the writer's keen enjoyment of other men's work, and ends with a glimpse of the life at Lenox, I will copy at length: —

LENOX, April 29,1851.

MY DEAR HOWADJI: — I ought to be ashamed (and so I really am) of not having sooner responded to your note of more than a month ago, accompanied as it was by the admirable “Nile Notes.” The fact is, I have been waiting to find myself in an eminently epistolary mood, so that I might pay my thanks and compliments in a style not unworthy of the occasion. But the moment has not yet come, and doubtless never will; and now I have delayed so long, that America and England seem to have anticipated me in their congratulations.

I read the book aloud to my wife, and both she and I have felt that we never knew anything of the Nile before. There is something beyond descriptive power in it. You make me feel almost as if we had been there ourselves. And then you are such a luxurious traveller…. The fragrance of your chibonque was a marvellous blessing to me. It cannot be concealed that I felt a little alarm, as I penetrated the depths of those chapters about the dancing-girls, lest they might result in something not altogether accordant with our New England morality; and even now I hardly know whether we escaped the peril, or were utterly overwhelmed by it. But at any rate, those passages are gorgeous in the utmost degree. However, I suppose you are weary of praise; and as I have nothing else to inflict, I may as well stop here.

S —
 
— and the children and I are plodding onward in good health, and in a fair medium state of prosperity; and on the whole, we are quite the happiest family to be found anywhere. We live in the ugliest little old red farm-house you ever saw….

What shall you write next? For of course you are an author forever. I am glad, for the sake of the public, but not particularly so for your own.

Very soon after the issue of the “Seven Gables,” another lighter literary project was put into execution.

“I mean [he had announced on the 23d of May] to write within six weeks or two months next ensuing, a book of stories made up of classical myths. The subjects are: The Story of Midas, with his Golden Touch; Pandora's Box; The Adventure of Hercules in Quest of the Golden Apples; Bellerophon and the Chimera; Baucis and Philemon; Perseus and Medusa.”

The “Wonder-Book” was begun on the first of June, and finished by the middle of July; so that the intention of writing it within six weeks was strictly carried out: certainly a rapid achievement, considering the excellent proportion and finish bestowed upon the book. It is a minor work, but a remarkable one; not its least important trait being the perfect simplicity of its style and scope, which, nevertheless, omits nothing essential, and preserves a thorough elegance. Its peculiar excellences come out still more distinctly when contrasted with Charles Kingsley's “The Heroes; or, Greek Fairy Tales,” published in England five years after the appearance of the “Wonder-Book” here. The fresher play of Hawthorne's mind with those old subjects is seen in nothing more agreeably than in the graceful Introduction and interludes which he has thrown around the mythological tales, like the tendrils of a vine curling over a sculptured capital. This midsummer task — it was very uncommon for him to write in the hot season — perhaps had something to do with further unsettling Hawthorne's health, which at this time was not good. The somewhat sluggish atmosphere of the far inland valley did not suit his sea-braced temperament; and so, instead of renting Mrs. Kemble's country place, as he had thought of doing, he decided to leave Berkshire with the birds; but not to go southward. Moving to West Newton, near Boston, he remained there for the winter, writing “Blithedale,” which was put forth in 1852.

The special characteristic of “The Blithedale Romance” seems to me to be its appearance of unlabored ease, and a consequent breeziness of effect distinguishing its atmosphere from that of any of the other romances. The style is admirably finished, and yet there is no part of the book that gives the same impression of almost unnecessary polish which occasionally intervenes between one's admiration and the “Seven Gables.” On this score, “Blithedale” is certainly the most consummate of the four completed romances. And as Hawthorne has nowhere given us more robust and splendid characterization than that of Zenobia and Hollingsworth, the work also takes high rank on this ground. The shadows, which seemed partly dispersed in the “Seven Gables,” gather again in this succeeding story; but, on the other hand, it is not so jarringly terrible as “The Scarlet Letter.” From this it is saved partly by the sylvan surrounding and the pleasant changes of scene. In comparing it with the other works, I find that it lets itself be best defined as a mean between extremes; so that it ought to have the credit of being the most evenly attempered of all. The theme is certainly as deep as that of the earlier ones, and more tangible to the general reader than that of “The Marble Faun”; it is also more novel than that of “The Scarlet Letter” or even the “Seven Gables,” and has an attractive air of growing simply and naturally out of a phenomenon extremely common in New England, namely, the man who is dominated and blinded by a theory. And the way in which Hollingsworth, through this very prepossession and absorption, is brought to the ruin of his own scheme, and has to concentrate his charity for criminals upon himself as the first criminal needing reformation, is very masterly. Yet, in discussing the relative positions of these four works. I am not sure that we can reach any decision more stable than that of mere preference.