by Henry James
But in helping us to measure what remains, our author’s Diaries, as I have already intimated, would give comfort rather to persons who might have taken the alarm from the brief sketch I have just attempted of what I have called the negative side of the American social situation, than to those reminding themselves of its fine compensations. Hawthorne’s entries are to a great degree accounts of walks in the country, drives in stage-coaches, people he met in taverns. The minuteness of the things that attract his attention and that he deems worthy of being commemorated is frequently extreme, and from this fact we get the impression of a general vacancy in the field of vision. “Sunday evening, going by the jail, the setting sun kindled up the windows most cheerfully; as if there were a bright, comfortable light within its darksome stone wall.” “I went yesterday with Monsieur S–- to pick raspberries. He fell through an old log-bridge, thrown over a hollow; looking back, only his head and shoulders appeared through the rotten logs and among the bushes.—A shower coming on, the rapid running of a little barefooted boy, coming up unheard, and dashing swiftly past us, and showing us the soles of his naked feet as he ran adown the path and up the opposite side.” In another place he devotes a page to a description of a dog whom he saw running round after its tail; in still another he remarks, in a paragraph by itself—”The aromatic odor of peat-smoke, in the sunny autumnal air is very pleasant.” The reader says to himself that when a man turned thirty gives a place in his mind—and his inkstand—to such trifles as these, it is because nothing else of superior importance demands admission. Everything in the Notes indicates a simple, democratic, thinly-composed society; there is no evidence of the writer finding himself in any variety or intimacy of relations with any one or with anything. We find a good deal of warrant for believing that if we add that statement of Mr. Lathrop’s about his meals being left at the door of his room, to rural rambles of which an impression of the temporary phases of the local apple-crop were the usual, and an encounter with an organ-grinder, or an eccentric dog, the rarer, outcome, we construct a rough image of our author’s daily life during the several years that preceded his marriage. He appears to have read a good deal, and that he must have been familiar with the sources of good English we see from his charming, expressive, slightly self-conscious, cultivated, but not too cultivated, style. Yet neither in these early volumes of his Note-Books, nor in the later, is there any mention of his reading. There are no literary judgments or impressions—there is almost no allusion to works or to authors. The allusions to individuals of any kind are indeed much less numerous than one might have expected; there is little psychology, little description of manners. We are told by Mr. Lathrop that there existed at Salem during the early part of Hawthorne’s life “a strong circle of wealthy families,” which “maintained rigorously the distinctions of class,” and whose “entertainments were splendid, their manners magnificent.” This is a rather pictorial way of saying that there were a number of people in the place—the commercial and professional aristocracy, as it were—who lived in high comfort and respectability, and who, in their small provincial way, doubtless had pretensions to be exclusive. Into this delectable company Mr. Lathrop intimates that his hero was free to penetrate. It is easy to believe it, and it would be difficult to perceive why the privilege should have been denied to a young man of genius and culture, who was very good-looking (Hawthorne must have been in these days, judging by his appearance later in life, a strikingly handsome fellow), and whose American pedigree was virtually as long as the longest they could show. But in fact Hawthorne appears to have ignored the good society of his native place almost completely; no echo of its conversation is to be found in his tales or his journals. Such an echo would possibly not have been especially melodious, and if we regret the shyness and stiffness, the reserve, the timidity, the suspicion, or whatever it was, that kept him from knowing what there was to be known, it is not because we have any very definite assurance that his gains would have been great. Still, since a beautiful writer was growing up in Salem, it is a pity that he should not have given himself a chance to commemorate some of the types that flourished in the richest soil of the place. Like almost all people who possess in a strong degree the storytelling faculty, Hawthorne had a democratic strain in his composition and a relish for the commoner stuff of human nature. Thoroughly American in all ways, he was in none more so than in the vagueness of his sense of social distinctions and his readiness to forget them if a moral or intellectual sensation were to be gained by it. He liked to fraternise with plain people, to take them on their own terms, and put himself if possible into their shoes. His Note-Books, and even his tales, are full of evidence of this easy and natural feeling about all his unconventional fellow-mortals—this imaginative interest and contemplative curiosity—and it sometimes takes the most charming and graceful forms. Commingled as it is with his own subtlety and delicacy, his complete exemption from vulgarity, it is one of the points in his character which his reader comes most to appreciate—that reader I mean for whom he is not as for some few, a dusky and malarious genius.
But even if he had had, personally, as many pretensions as he had few, he must in the nature of things have been more or less of a consenting democrat, for democracy was the very key-stone of the simple social structure in which he played his part. The air of his journals and his tales alike are full of the genuine democratic feeling. This feeling has by no means passed out of New England life; it still flourishes in perfection in the great stock of the people, especially in rural communities; but it is probable that at the present hour a writer of Hawthorne’s general fastidiousness would not express it quite so artlessly. “A shrewd gentlewoman, who kept a tavern in the town,” he says, in Chippings with a Chisel, “was anxious to obtain two or three gravestones for the deceased members of her family, and to pay for these solemn commodities by taking the sculptor to board.” This image of a gentlewoman keeping a tavern and looking out for boarders, seems, from the point of view to which I allude, not at all incongruous. It will be observed that the lady in question was shrewd; it was probable that she was substantially educated, and of reputable life, and it is certain that she was energetic. These qualities would make it natural to Hawthorne to speak of her as a gentlewoman; the natural tendency in societies where the sense of equality prevails, being to take for granted the high level rather than the low. Perhaps the most striking example of the democratic sentiment in all our author’s tales, however, is the figure of Uncle Venner, in The House of the Seven Gables. Uncle Venner is a poor old man in a brimless hat and patched trousers, who picks up a precarious subsistence by rendering, for a compensation, in the houses and gardens of the good people of Salem, those services that are know in New England as “chores.” He carries parcels, splits firewood, digs potatoes, collects refuse for the maintenance of his pigs, and looks forward with philosophic equanimity to the time when he shall end his days in the almshouse. But in spite of the very modest place that he occupies in the social scale, he is received on a footing of familiarity in the household of the far-descended Miss Pyncheon; and when this ancient lady and her companions take the air in the garden of a summer evening, he steps into the estimable circle and mingles the smoke of his pipe with their refined conversation. This obviously is rather imaginative—Uncle Venner is a creation with a purpose. He is an original, a natural moralist, a philosopher; and Hawthorne, who knew perfectly what he was about in introducing him—Hawthorne always knew perfectly what he was about—wished to give in his person an example of humorous resignation and of a life reduced to the simplest and homeliest elements, as opposed to the fantastic pretensions of the antiquated heroine of the story. He wished to strike a certain exclusively human and personal note. He knew that for this purpose he was taking a licence; but the point is that he felt he was not indulging in any extravagant violation of reality. Giving in a letter, about 1830, an account of a little journey he was making in Connecticut, he says, of the end of a seventeen miles’ stage, that “in the e
vening, however, I went to a Bible-class with a very polite and agreeable gentleman, whom I afterwards discovered to be a strolling tailor of very questionable habits.”
Hawthorne appears on various occasions to have absented himself from Salem, and to have wandered somewhat through the New England States. But the only one of these episodes of which there is a considerable account in the Note-Books is a visit that he paid in the summer of 1837 to his old college-mate, Horatio Bridge, who was living upon his father’s property in Maine, in company with an eccentric young Frenchman, a teacher of his native tongue, who was looking for pupils among the northern forests. I have said that there was less psychology in Hawthorne’s Journals than might have been looked for; but there is nevertheless a certain amount of it, and nowhere more than in a number of pages relating to this remarkable “Monsieur S.” (Hawthorne, intimate as he apparently became with him, always calls him “Monsieur,” just as throughout all his Diaries he invariably speaks of all his friends, even the most familiar, as “Mr.” He confers the prefix upon the unconventional Thoreau, his fellow-woodsman at Concord, and upon the emancipated brethren at Brook Farm.) These pages are completely occupied with Monsieur S., who was evidently a man of character, with the full complement of his national vivacity. There is an elaborate effort to analyse the poor young Frenchman’s disposition, something conscientious and painstaking, respectful, explicit, almost solemn. These passages are very curious as a reminder of the absence of the off-hand element in the manner in which many Americans, and many New Englanders especially, make up their minds about people whom they meet. This, in turn, is a reminder of something that may be called the importance of the individual in the American world; which is a result of the newness and youthfulness of society and of the absence of keen competition. The individual counts for more, as it were, and, thanks to the absence of a variety of social types and of settled heads under which he may be easily and conveniently pigeon-holed, he is to a certain extent a wonder and a mystery. An Englishman, a Frenchman—a Frenchman above all—judges quickly, easily, from his own social standpoint, and makes an end of it. He has not that rather chilly and isolated sense of moral responsibility which is apt to visit a New Englander in such processes; and he has the advantage that his standards are fixed by the general consent of the society in which he lives. A Frenchman, in this respect, is particularly happy and comfortable, happy and comfortable to a degree which I think is hardly to be over-estimated; his standards being the most definite in the world, the most easily and promptly appealed to, and the most identical with what happens to be the practice of the French genius itself. The Englishman is not-quite so well off, but he is better off than his poor interrogative and tentative cousin beyond the seas. He is blessed with a healthy mistrust of analysis, and hair-splitting is the occupation he most despises. There is always a little of the Dr. Johnson in him, and Dr. Johnson would have had woefully little patience with that tendency to weigh moonbeams which in Hawthorne was almost as much a quality of race as of genius; albeit that Hawthorne has paid to Boswell’s hero (in the chapter on “Lichfield and Uttoxeter,” in his volume on England), a tribute of the finest appreciation. American intellectual standards are vague, and Hawthorne’s countrymen are apt to hold the scales with a rather uncertain hand and a somewhat agitated conscience.
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CHAPTER III.
EARLY WRITINGS.
The second volume of the Twice-Told Tales was published in 1845, in Boston; and at this time a good many of the stories which were afterwards collected into the Mosses from an Old Manse had already appeared, chiefly in The Democratic Review, a sufficiently flourishing periodical of that period. In mentioning these things I anticipate; but I touch upon the year 1845 in order to speak of the two collections of Twice-Told Tales at once. During the same year Hawthorne edited an interesting volume, the Journals of an African Cruiser, by his friend Bridge, who had gone into the Navy and seen something of distant waters. His biographer mentions that even then Hawthorne’s name was thought to bespeak attention for a book, and he insists on this fact in contradiction to the idea that his productions had hitherto been as little noticed as his own declaration that he remained “for a good many years the obscurest man of letters in America,” might lead one, and has led many people, to suppose. “In this dismal chamber FAME was won,” he writes in Salem in 1836. And we find in the Note-Books (1840), this singularly beautiful and touching passage:—
“Here I sit in my old accustomed chamber, where I used to sit in days gone by…. Here I have written many tales—many that have been burned to ashes, many that have doubtless deserved the same fate. This claims to be called a haunted chamber, for thousands upon thousands of visions have appeared to me in it; and some few of them have become visible to the world. If ever I should have a biographer, he ought to make great mention of this chamber in my memoirs, because so much of my lonely youth was wasted here, and here my mind and character were formed; and here I have been glad and hopeful, and here I have been despondent. And here I sat a long, long time, waiting patiently for the world to know me, and sometimes wondering why it did not know me sooner, or whether it would ever know me at all—at least till I were in my grave. And sometimes it seems to me as if I were already in the grave, with only life enough to be chilled and benumbed. But oftener I was happy—at least as happy as I then knew how to be, or was aware of the possibility of being. By and by the world found me out in my lonely chamber and called me forth—not indeed with a loud roar of acclamation, but rather with a still small voice—and forth I went, but found nothing in the world I thought preferable to my solitude till now…. And now I begin to understand why I was imprisoned so many years in this lonely chamber, and why I could never break through the viewless bolts and bars; for if I had sooner made my escape into the world, I should have grown hard and rough, and been covered with earthly dust, and my heart might have become callous by rude encounters with the multitude…. But living in solitude till the fulness of time was come, I still kept the dew of my youth and the freshness of my heart…. I used to think that I could imagine all passions, all feelings, and states of the heart and mind; but how little did I know!… Indeed, we are but shadows; we are not endowed with real life, and all that seems most real about us is but the thinnest substance of a dream—till the heart be touched. That touch creates us—then we begin to be—thereby we are beings of reality and inheritors of eternity.”
There is something exquisite in the soft philosophy of this little retrospect, and it helps us to appreciate it to know that the writer had at this time just become engaged to be married to a charming and accomplished person, with whom his union, which took place two years later, was complete and full of happiness. But I quote it more particularly for the evidence it affords that, already in 1840, Hawthorne could speak of the world finding him out and calling him forth, as of an event tolerably well in the past. He had sent the first of the Twice-Told series to his old college friend, Longfellow, who had already laid, solidly, the foundation of his great poetic reputation, and at the time of his sending it had written him a letter from which it will be to our purpose to quote a few lines:—
“You tell me you have met with troubles and changes. I know not what these may have been; but I can assure you that trouble is the next best thing to enjoyment, and that there is no fate in the world so horrible as to have no share in either its joys or sorrows. For the last ten years I have not lived, but only dreamed of living. It may be true that there may have been some unsubstantial pleasures here in the shade, which I might have missed in the sunshine, but you cannot conceive how utterly devoid of satisfaction all my retrospects are. I have laid up no treasure of pleasant remembrances against old age; but there is some comfort in thinking that future years may be more varied, and therefore more tolerable, than the past. You give me more credit than I deserve in supposing that I have led a studious life. I have indeed turned over a good many books, but in so desultory a way that it cannot be called stud
y, nor has it left me the fruits of study…. I have another great difficulty in the lack of materials; for I have seen so little of the world that I have nothing but thin air to concoct my stories of, and it is not easy to give a life-like semblance to such shadowy stuff. Sometimes, through a peephole, I have caught a glimpse of the real world, and the two or three articles in which I have portrayed these glimpses please me better than the others.”
It is more particularly for the sake of the concluding lines that I have quoted this passage; for evidently no portrait of Hawthorne at this period is at all exact which, fails to insist upon the constant struggle which must have gone on between his shyness and his desire to know something of life; between what may be called his evasive and his inquisitive tendencies. I suppose it is no injustice to Hawthorne to say that on the whole his shyness always prevailed; and yet, obviously, the struggle was constantly there. He says of his Twice-Told Tales, in the preface, “They are not the talk of a secluded man with his own mind and heart (had it been so they could hardly have failed to be more deeply and permanently valuable,) but his attempts, and very imperfectly successful ones, to open an intercourse with the world.” We are speaking here of small things, it must be remembered—of little attempts, little sketches, a little world. But everything is relative, and this smallness of scale must not render less apparent the interesting character of Hawthorne’s efforts. As for the Twice-Told Tales themselves, they are an old story now; every one knows them a little, and those who admire them particularly have read them a great many times. The writer of this sketch belongs to the latter class, and he has been trying to forget his familiarity with them, and ask himself what impression they would have made upon him at the time they appeared, in the first bloom of their freshness, and before the particular Hawthorne-quality, as it may be called, had become an established, a recognised and valued, fact. Certainly, I am inclined to think, if one had encountered these delicate, dusky flowers in the blossomless garden of American journalism, one would have plucked them with a very tender hand; one would have felt that here was something essentially fresh and new; here, in no extraordinary force or abundance, but in a degree distinctly appreciable, was an original element in literature. When I think of it, I almost envy Hawthorne’s earliest readers; the sensation of opening upon The Great Carbuncle, The Seven Vagabonds, or The Threefold Destiny in an American annual of forty years ago, must have been highly agreeable.
