The Complete Works of Henry James

by Henry James

  And for mere beauty of expression I cannot forbear quoting this passage about the days in a fine English summer:—

  “For each day seemed endless, though never wearisome. As far as your actual experience is concerned, the English summer day has positively no beginning and no end. When you awake, at any reasonable hour, the sun is already shining through the curtains; you live through unnumbered hours of Sabbath quietude, with a calm variety of incident softly etched upon their tranquil lapse; and at length you become conscious that it is bedtime again, while there is still enough daylight in the sky to make the pages of your book distinctly legible. Night, if there be any such season, hangs down a transparent veil through which the bygone day beholds its successor; or if not quite true of the latitude of London, it may be soberly affirmed of the more northern parts of the island that To-morrow is born before its Yesterday is dead. They exist together in the golden twilight, where the decrepit old day dimly discerns the face of the ominous infant; and you, though a mere mortal, may simultaneously touch them both, with one finger of recollection and another of prophecy.”

  The Note-Books, as I have said, deal chiefly with, the superficial aspect of English life, and describe the material objects with which the author was surrounded. They often describe them admirably, and the rural beauty of the country has never been more happily expressed. But there are inevitably a great many reflections and incidental judgments, characterisations of people he met, fragments of psychology and social criticism, and it is here that Hawthorne’s mixture of subtlety and simplicity, his interfusion of genius with what I have ventured to call the provincial quality, is most apparent. To an American reader this later quality, which is never grossly manifested, but pervades the Journals like a vague natural perfume, an odour of purity and kindness and integrity, must always, for a reason that I will touch upon, have a considerable charm; and such a reader will accordingly take an even greater satisfaction in the Diaries kept during the two years Hawthorne spent in Italy; for in these volumes the element I speak of is especially striking. He resigned his consulate at Liverpool towards the close of 1857—whether because he was weary of his manner of life there and of the place itself, as may well have been, or because he wished to anticipate supersession by the new government (Mr. Buchanan’s) which was just establishing itself at Washington, is not apparent from the slender sources of information from which these pages have been compiled. In the month of January of the following year he betook himself with his family to the Continent, and, as promptly as possible, made the best of his way to Rome. He spent the remainder of the winter and the spring there, and then went to Florence for the summer and autumn; after which he returned to Rome and passed a second season. His Italian Note-Books are very pleasant reading, but they are of less interest than the others, for his contact with the life of the country, its people and its manners, was simply that of the ordinary tourist—which amounts to saying that it was extremely superficial. He appears to have suffered a great deal of discomfort and depression in Rome, and not to have been on the whole in the best mood for enjoying the place and its resources. That he did, at one time and another, enjoy these things keenly is proved by his beautiful romance, Transformation, which could never have been written by a man who had not had many hours of exquisite appreciation of the lovely land of Italy. But he took It hard, as it were, and suffered himself to be painfully discomposed by the usual accidents of Italian life, as foreigners learn to know it. His future was again uncertain, and during his second winter in Rome he was in danger of losing his elder daughter by a malady which he speaks of as a trouble “that pierced to my very vitals.” I may mention, with regard to this painful episode, that Franklin Pierce, whose presidential days were over, and who, like other ex-presidents, was travelling in Europe, came to Rome at the time, and that the Note-Books contain some singularly beautiful and touching allusions to his old friend’s gratitude for his sympathy, and enjoyment of his society. The sentiment of friendship has on the whole been so much less commemorated in literature than might have been expected from the place it is supposed to hold in life, that there is always something striking in any frank and ardent expression of it. It occupied, in so far as Pierce was the object of it, a large place in Hawthorne’s mind, and it is impossible not to feel the manly tenderness of such lines as these:—

  “I have found him here in Rome, the whole of my early friend, and even better than I used to know him; a heart as true and affectionate, a mind much widened and deepened by the experience of life. We hold just the same relation to one another as of yore, and we have passed all the turning-off places, and may hope to go on together, still the same dear friends, as long as we live. I do not love him one whit the less for having been President, nor for having done me the greatest good in his power; a fact that speaks eloquently in his favour, and perhaps says a little for myself. If he had been merely a benefactor, perhaps I might not have borne it so well; but each did his best for the other, as friend for friend.”

  The Note-Books are chiefly taken up with descriptions of the regular sights and “objects of interest,” which we often feel to be rather perfunctory and a little in the style of the traditional tourist’s diary. They abound in charming touches, and every reader of Transformation will remember the delightful colouring of the numerous pages in that novel, which are devoted to the pictorial aspects of Rome. But we are unable to rid ourselves of the impression that Hawthorne was a good deal bored by the importunity of Italian art, for which his taste, naturally not keen, had never been cultivated. Occasionally, indeed, he breaks out into explicit sighs and groans, and frankly declares that he washes his hands of it. Already, in England, he had made the discovery that he could, easily feel overdosed with such things. “Yesterday,” he wrote in 1856, “I went out at about twelve and visited the British Museum; an exceedingly tiresome affair. It quite crushes a person to see so much at once, and I wandered from hall to hall with a weary and heavy heart, wishing (Heaven forgive me!) that the Elgin marbles and the frieze of the Parthenon were all burnt into lime, and that the granite Egyptian statues were hewn and squared into building stones.”

  The plastic sense was not strong in Hawthorne; there can be no better proof of it than his curious aversion to the representation of the nude in sculpture. This aversion was deep-seated; he constantly returns to it, exclaiming upon the incongruity of modern artists making naked figures. He apparently quite failed to see that nudity is not an incident, or accident, of sculpture, but its very essence and principle; and his jealousy of undressed images strikes the reader as a strange, vague, long-dormant heritage of his straight-laced Puritan ancestry. Whenever he talks of statues he makes a great point of the smoothness and whiteness of the marble—speaks of the surface of the marble as if it were half the beauty of the image; and when he discourses of pictures, one feels that the brightness or dinginess of the frame is an essential part of his impression of the work—as he indeed somewhere distinctly affirms. Like a good American, he took more pleasure in the productions of Mr. Thompson and Mr. Brown, Mr. Powers and Mr. Hart, American artists who were plying their trade in Italy, than in the works which adorned the ancient museums of the country. He suffered greatly from the cold, and found little charm in the climate, and during the weeks of winter that followed his arrival in Rome, he sat shivering by his fire and wondering why he had come to such a land of misery. Before he left Italy he wrote to his publisher—”I bitterly detest Rome, and shall rejoice to bid it farewell for ever; and I fully acquiesce in all the mischief and ruin that has happened to it, from Nero’s conflagration downward. In fact, I wish the very site had been obliterated before I ever saw it.” Hawthorne presents himself to the reader of these pages as the last of the old-fashioned Americans—and this is the interest which I just now said that his compatriots would find in his very limitations. I do not mean by this that there are not still many of his fellow-countrymen (as there are many natives of every land under the sun,) who are more susceptible of being
irritated than of being soothed by the influences of the Eternal City. What I mean is that an American of equal value with Hawthorne, an American of equal genius, imagination, and, as our forefathers said, sensibility, would at present inevitably accommodate himself more easily to the idiosyncrasies of foreign lands. An American as cultivated as Hawthorne, is now almost inevitably more cultivated, and, as a matter of course, more Europeanised in advance, more cosmopolitan. It is very possible that in becoming so, he has lost something of his occidental savour, the quality which excites the goodwill of the American reader of our author’s Journals for the dislocated, depressed, even slightly bewildered diarist. Absolutely the last of the earlier race of Americans Hawthorne was, fortunately, probably far from being. But I think of him as the last specimen of the more primitive type of men of letters; and when it comes to measuring what he succeeded in being, in his unadulterated form, against what he failed of being, the positive side of the image quite extinguishes the negative. I must be on my guard, however, against incurring the charge of cherishing a national consciousness as acute as I have ventured to pronounce his own.

  Out of his mingled sensations, his pleasure and his weariness, his discomforts and his reveries, there sprang another beautiful work. During the summer of 1858, he hired a picturesque old villa on the hill of Bellosguardo, near Florence, a curious structure with a crenelated tower, which, after having in the course of its career suffered many vicissitudes and played many parts, now finds its most vivid identity in being pointed out to strangers as the sometime residence of the celebrated American romancer. Hawthorne took a fancy to the place, as well he might, for it is one of the loveliest spots on earth, and the great view that stretched itself before him contains every element of beauty. Florence lay at his feet with her memories and treasures; the olive-covered hills bloomed around him, studded with villas as picturesque as his own; the Apennines, perfect in form and colour, disposed themselves opposite, and in the distance, along its fertile valley, the Arno wandered to Pisa and the sea. Soon after coming hither he wrote to a friend in a strain of high satisfaction:—

  “It is pleasant to feel at last that I am really away from America—a satisfaction that I never really enjoyed as long as I stayed in Liverpool, where it seemed to be that the quintessence of nasal and hand-shaking Yankeedom was gradually filtered and sublimated through my consulate, on the way outward and homeward. I first got acquainted with my own countrymen there. At Rome too it was not much better. But here in Florence, and in the summer-time, and in this secluded villa, I have escaped out of all my old tracks, and am really remote. I like my present residence immensely. The house stands on a hill, overlooking Florence, and is big enough to quarter a regiment, insomuch that each member of the family, including servants, has a separate suite of apartments, and there are vast wildernesses of upper rooms into which we have never yet sent exploring expeditions. At one end of the house there is a moss-grown tower, haunted by owls and by the ghost of a monk who was confined there in the thirteenth century, previous to being burnt at the stake in the principal square of Florence. I hire this villa, tower and all, at twenty-eight dollars a month; but I mean to take it away bodily and clap it into a romance, which I have in my head, ready to be written out.”

  This romance was Transformation, which he wrote out during the following winter in Rome, and re-wrote during the several months that he spent in England, chiefly at Leamington, before returning to America. The Villa Montauto figures, in fact, in this tale as the castle of Monte-Beni, the patrimonial dwelling of the hero. “I take some credit to myself,” he wrote to the same friend, on returning to Rome, “for having sternly shut myself up for an hour or two every day, and come to close grips with a romance which I have been trying to tear out of my mind.” And later in the same winter he says—”I shall go home, I fear, with a heavy heart, not expecting to be very well contented there…. If I were but a hundred times richer than I am, how very comfortable I could be! I consider it a great piece of good fortune that I have had experience of the discomforts and miseries of Italy, and did not go directly home from England. Anything will seem like a Paradise after a Roman winter.” But he got away at last, late in the spring, carrying his novel with him, and the book was published, after, as I say, he had worked it over, mainly during some weeks that he passed at the little watering-place of Redcar, on the Yorkshire coast, in February of the following year. It was issued primarily in England; the American edition immediately followed. It is an odd fact that in the two countries the book came out under different titles. The title that the author had bestowed upon it did not satisfy the English publishers, who requested him to provide it with another; so that it is only in America that the work bears the name of The Marble Fawn. Hawthorne’s choice of this appellation is, by the way, rather singular, for it completely fails to characterise the story, the subject of which is the living faun, the faun of flesh and blood, the unfortunate Donatello. His marble counterpart is mentioned only in the opening chapter. On the other hand Hawthorne complained that Transformation “gives one the idea of Harlequin in a pantomime.” Under either name, however, the book was a great success, and it has probably become the most popular of Hawthorne’s four novels. It is part of the intellectual equipment of the Anglo-Saxon visitor to Rome, and is read by every English-speaking traveller who arrives there, who has been there, or who expects to go.

  It has a great deal of beauty, of interest and grace; but it has to my sense a slighter value than its companions, and I am far from regarding it as the masterpiece of the author, a position to which we sometimes hear it assigned. The subject is admirable, and so are many of the details; but the whole thing is less simple and complete than either of the three tales of American life, and Hawthorne forfeited a precious advantage in ceasing to tread his native soil. Half the virtue of The Scarlet Letter and The House of the Seven Gables is in their local quality; they are impregnated with the New England air. It is very true that Hawthorne had no pretension to pourtray actualities and to cultivate that literal exactitude which is now the fashion. Had this been the case, he would probably have made a still graver mistake in transporting the scene of his story to a country which he knew only superficially. His tales all go on more or less “in the vague,” as the French say, and of course the vague may as well be placed in Tuscany as in Massachusetts. It may also very well be urged in Hawthorne’s favour here, that in Transformation he has attempted to deal with actualities more than he did in either of his earlier novels. He has described the streets and monuments of Rome with a closeness which forms no part of his reference to those of Boston and Salem. But for all this he incurs that penalty of seeming factitious and unauthoritative, which is always the result of an artist’s attempt to project himself into an atmosphere in which he has not a transmitted and inherited property. An English or a German writer (I put poets aside) may love Italy well enough, and know her well enough, to write delightful fictions about her; the thing has often been done. But the productions in question will, as novels, always have about them something second-rate and imperfect. There is in Transformation enough beautiful perception of the interesting character of Rome, enough rich and eloquent expression of it, to save the book, if the book could be saved; but the style, what the French call the genre, is an inferior one, and the thing remains a charming romance with intrinsic weaknesses.

  Allowing for this, however, some of the finest pages in all Hawthorne are to be found in it. The subject, as I have said, is a particularly happy one, and there is a great deal of interest in the simple combination and opposition of the four actors. It is noticeable that in spite of the considerable length of the story, there are no accessory figures; Donatello and Miriam, Kenyon and Hilda, exclusively occupy the scene. This is the more noticeable as the scene is very large, and the great Roman background is constantly presented to us. The relations of these four people are full of that moral picturesqueness which Hawthorne was always looking for; he found it in perfection in the history of D
onatello. As I have said, the novel is the most popular of his works, and every one will remember the figure of the simple, joyous, sensuous young Italian, who is not so much a man as a child, and not so much a child as a charming, innocent animal, and how he is brought to self-knowledge and to a miserable conscious manhood, by the commission of a crime. Donatello is rather vague and impalpable; he says too little in the book, shows himself too little, and falls short, I think, of being a creation. But he is enough of a creation to make us enter into the situation, and the whole history of his rise, or fall, whichever one chooses to call it—his tasting of the tree of knowledge and finding existence complicated with a regret—is unfolded with a thousand ingenious and exquisite touches. Of course, to make the interest complete, there is a woman in the affair, and Hawthorne has done few things more beautiful than the picture of the unequal complicity of guilt between his immature and dimly-puzzled hero, with his clinging, unquestioning, unexacting devotion, and the dark, powerful, more widely-seeing feminine nature of Miriam. Deeply touching is the representation of the manner in which these two essentially different persons—the woman intelligent, passionate, acquainted with life, and with a tragic element in her own career; the youth ignorant, gentle, unworldly, brightly and harmlessly natural—are equalised and bound together by their common secret, which insulates them, morally, from the rest of mankind. The character of Hilda has always struck me as an admirable invention—one of those things that mark the man of genius. It needed a man of genius and of Hawthorne’s imaginative delicacy, to feel the propriety of such a figure as Hilda’s and to perceive the relief it would both give and borrow. This pure and somewhat rigid New England girl, following the vocation of a copyist of pictures in Rome, unacquainted with evil and untouched by impurity, has been accidentally the witness, unknown and unsuspected, of the dark deed by which her friends, Miriam and Donatello, are knit together. This is her revelation of evil, her loss of perfect innocence. She has done no wrong, and yet wrongdoing has become a part of her experience, and she carries the weight of her detested knowledge upon her heart. She carries it a long time, saddened and oppressed by it, till at last she can bear it no longer. If I have called the whole idea of the presence and effect of Hilda in the story a trait of genius, the purest touch of inspiration is the episode in which the poor girl deposits her burden. She has passed the whole lonely summer in Rome, and one day, at the end of it, finding herself in St. Peter’s, she enters a confessional, strenuous daughter of the Puritans as she is, and pours out her dark knowledge into the bosom of the Church—then comes away with her conscience lightened, not a whit the less a Puritan than before. If the book contained nothing else noteworthy but this admirable scene, and the pages describing the murder committed by Donatello under Miriam’s eyes, and the ecstatic wandering, afterwards, of the guilty couple, through the “blood-stained streets of Rome,” it would still deserve to rank high among the imaginative productions of our day.