Hawthorne's Short Stories

by Nathaniel Hawthorne

  “Is that,” inquired I, “the very door in the hill-side which the shepherds assured Christian was a by-way to hell?”

  “That was a joke on the part of the shepherds,” said Mr. Smooth-it-away, with a smile. “It is neither more nor less than the door of a cavern which they use as a smoke-house for the preparation of mutton hams.”

  My recollections of the journey are now, for a little space, dim and confused, inasmuch as a singular drowsiness here overcame me, owing to the fact that we were passing over the enchanted ground, the air of which encourages a disposition to sleep. I awoke, however, as soon as we crossed the borders of the pleasant land of Beulah. All the passengers were rubbing their eyes, comparing watches, and congratulating one another on the prospect of arriving so seasonably at the journey’s end. The sweet breezes of this happy clime came refreshingly to our nostrils; we beheld the glimmering gush of silver fountains, overhung by trees of beautiful foliage and delicious fruit, which were propagated by grafts from the celestial gardens. Once, as we dashed onward like a hurricane, there was a flutter of wings and the bright appearance of an angel in the air, speeding forth on some heavenly mission. The engine now announced the close vicinity of the final station-house by one last and horrible scream, in which there seemed to be distinguishable every kind of wailing and woe, and bitter fierceness of wrath, all mixed up with the wild laughter of a devil or a madman. Throughout our journey, at every stopping-place, Apollyon had exercised his ingenuity in screwing the most abominable sounds out of the whistle of the steam-engine; but in this closing effort he outdid himself and created an infernal uproar, which, besides disturbing the peaceful inhabitants of Beulah, must have sent its discord even through the celestial gates.

  While the horrid clamor was still ringing in our ears we heard an exulting strain, as if a thousand instruments of music, with height and depth and sweetness in their tones, at once tender and triumphant, were struck in unison, to greet the approach of some illustrious hero, who had fought the good fight and won a glorious victory, and was come to lay aside his battered arms forever. Looking to ascertain what might be the occasion of this glad harmony, I perceived, on alighting from the cars, that a multitude of shining ones had assembled on the other side of the river, to welcome two poor pilgrims, who were just emerging from its depths. They were the same whom Apollyon and ourselves had persecuted with taunts, and gibes, and scalding steam, at the commencement of our journey—the same whose unworldly aspect and impressive words had stirred my conscience amid the wild revellers of Vanity Fair.

  “How amazingly well those men have got on,” cried I to Mr. Smooth-it-away. “I wish we were secure of as good a reception.”

  “Never fear, never fear!” answered my friend. “Come, make haste; the ferry boat will be off directly, and in three minutes you will be on the other side of the river. No doubt you will find coaches to carry you up to the city gates.”

  A steam ferry boat, the last improvement on this important route, lay at the river side, puffing, snorting, and emitting all those other disagreeable utterances which betoken the departure to be immediate. I hurried on board with the rest of the passengers, most of whom were in great perturbation: some bawling out for their baggage; some tearing their hair and exclaiming that the boat would explode or sink; some already pale with the heaving of the stream; some gazing affrighted at the ugly aspect of the steersman; and some still dizzy with the slumberous influences of the Enchanted Ground. Looking back to the shore, I was amazed to discern Mr. Smooth-it-away waving his hand in token of farewell.

  “Don’t you go over to the Celestial City?” exclaimed I.

  “Oh, no!” answered he with a queer smile, and that same disagreeable contortion of visage which I had remarked in the inhabitants of the Dark Valley. “Oh, no! I have come thus far only for the sake of your pleasant company. Good-by! We shall meet again.”

  And then did my excellent friend Mr. Smooth-it-away laugh outright, in the midst of which cachinnation a smoke-wreath issued from his mouth and nostrils, while a twinkle of lurid flame darted out of either eye, proving indubitably that his heart was all of a red blaze. The impudent fiend! To deny the existence of Tophet, when he felt its fiery tortures raging within his breast. I rushed to the side of the boat, intending to fling myself on shore; but the wheels, as they began their revolutions, threw a dash of spray over me so cold—so deadly cold, with the chill that will never leave those waters until Death be drowned in his own river—that with a shiver and a heartquake I awoke. Thank Heaven it was a Dream!

  FEATHERTOP: A MORALIZED LEGEND

  “DICKON,” cried Mother Rigby, “a coal for my pipe!”

  The pipe was in the old dame’s mouth when she said these words. She had thrust it there after filling it with tobacco, but without stooping to light it at the hearth, where indeed there was no appearance of a fire having been kindled that morning. Forthwith, however, as soon as the order was given, there was an intense red glow out of the bowl of the pipe, and a whiff of smoke from Mother Rigby’s lips. Whence the coal came, and how brought thither by an invisible hand, I have never been able to discover.

  “Good!” quoth Mother Rigby, with a nod of her head. “Thank ye, Dickon! And now for making this scarecrow. Be within call, Dickon, in case I need you again.”

  The good woman had risen thus early (for as yet it was scarcely sunrise) in order to set about making a scarecrow, which she intended to put in the middle of her corn-patch. It was now the latter week of May, and the crows and blackbirds had already discovered the little, green, rolled-up leaf of the Indian corn just peeping out of the soil. She was determined, therefore, to contrive as lifelike a scarecrow as ever was seen, and to finish it immediately, from top to toe, so that it should begin its sentinel’s duty that very morning. Now Mother Rigby (as everybody must have heard) was one of the most cunning and potent witches in New England, and might, with very little trouble, have made a scarecrow ugly enough to frighten the minister himself. But on this occasion, as she had awakened in an uncommonly pleasant humor, and was further dulcified by her pipe of tobacco, she resolved to produce something fine, beautiful, and splendid, rather than hideous and horrible.

  “I don’t want to set up a hobgoblin in my own corn-patch, and almost at my own doorstep,” said Mother Rigby to herself, puffing out a whiff of smoke; “I could do it if I pleased, but I’m tired of doing marvellous things, and so I’ll keep within the bounds of every-day business just for variety’s sake. Besides, there is no use in scaring the little children for a mile roundabout, though ’t is true I’m a witch.”

  It was settled, therefore, in her own mind, that the scarecrow should represent a fine gentleman of the period, so far as the materials at hand would allow. Perhaps it may be as well to enumerate the chief of the articles that went to the composition of this figure.

  The most important item of all, probably, although it made so little show, was a certain broomstick, on which Mother Rigby had taken many an airy gallop at midnight, and which now served the scarecrow by way of a spinal column, or, as the unlearned phrase it, a backbone. One of its arms was a disabled flail which used to be wielded by Goodman Rigby, before his spouse worried him out of this troublesome world; the other, if I mistake not, was composed of the pudding stick and a broken rung of a chair, tied loosely together at the elbow. As for its legs, the right was a hoe handle, and the left an undistinguished and miscellaneous stick from the woodpile. Its lungs, stomach, and other affairs of that kind were nothing better than a meal bag stuffed with straw. Thus we have made out the skeleton and entire corporosity of the scarecrow, with the exception of its head; and this was admirably supplied by a somewhat withered and shrivelled pumpkin, in which Mother Rigby cut two holes for the eyes, and a slit for the mouth, leaving a bluish-colored knob in the middle to pass for a nose. It was really quite a respectable face.

  “I’ve seen worse ones on human shoulders, at any rate,” said Mother Rigby. “And many a fine gentleman has a pumpkin head, as we
ll as my scarecrow.”

  But the clothes, in this case, were to be the making of the man. So the good old woman took down from a peg an ancient plum-colored coat of London make, and with relics of embroidery on its seams, cuffs, pocket-flaps, and button-holes, but lamentably worn and faded, patched at the elbows, tattered at the skirts, and threadbare all over. On the left breast was a round hole, whence either a star of nobility had been rent away, or else the hot heart of some former wearer had scorched it through and through. The neighbors said that this rich garment belonged to the Black Man’s wardrobe, and that he kept it at Mother Rigby’s cottage for the convenience of slipping it on whenever he wished to make a grand appearance at the governor’s table. To match the coat there was a velvet waistcoat of very ample size, and formerly embroidered with foliage that had been as brightly golden as the maple leaves in October, but which had now quite vanished out of the substance of the velvet. Next came a pair of scarlet breeches, once worn by the French governor of Louisbourg, and the knees of which had touched the lower step of the throne of Louis le Grand. The Frenchman had given these smallclothes to an Indian powwow, who parted with them to the old witch for a gill of strong waters, at one of their dances in the forest. Furthermore, Mother Rigby produced a pair of silk stockings and put them on the figure’s legs, where they showed as unsubstantial as a dream, with the wooden reality of the two sticks making itself miserably apparent through the holes. Lastly, she put her dead husband’s wig on the bare scalp of the pumpkin, and surmounted the whole with a dusty three-cornered hat, in which was stuck the longest tail feather of a rooster.

  Then the old dame stood the figure up in a corner of her cottage and chuckled to behold its yellow semblance of a visage, with its nobby little nose thrust into the air. It had a strangely self-satisfied aspect, and seemed to say, “Come look at me!”

  “And you are well worth looking at, that’s a fact!” quoth Mother Rigby, in admiration at her own handiwork. “I’ve made many a puppet since I’ve been a witch, but methinks this is the finest of them all. ’T is almost too good for a scarecrow. And, by the by, I’ll just fill a fresh pipe of tobacco and then take him out to the corn-patch.”

  While filling her pipe the old woman continued to gaze with almost motherly affection at the figure in the corner. To say the truth, whether it were chance, or skill, or downright witchcraft, there was something wonderfully human in this ridiculous shape, bedizened with its tattered finery; and as for the countenance, it appeared to shrivel its yellow surface into a grin—a funny kind of expression betwixt scorn and merriment, as if it understood itself to be a jest at mankind. The more Mother Rigby looked the better she was pleased.

  “Dickon,” cried she sharply, “another coal for my pipe!”

  Hardly had she spoken, than, just as before, there was a red-glowing coal on the top of the tobacco. She drew in a long whiff and puffed it forth again into the bar of morning sunshine which struggled through the one dusty pane of her cottage window. Mother Rigby always liked to flavor her pipe with a coal of fire from the particular chimney corner whence this had been brought. But where that chimney corner might be, or who brought the coal from it,—further than that the invisible messenger seemed to respond to the name of Dickson,—I cannot tell.

  “That puppet yonder,” thought Mother Rigby, still with her eyes fixed on the scarecrow, “is too good a piece of work to stand all summer in a corn-patch, frightening away the crows and blackbirds. He’s capable of better things. Why, I’ve danced with a worse one, when partners happened to be scarce, at our witch meetings in the forest! What if I should let him take his chance among the other men of straw and empty fellows who go bustling about the world?”

  The old witch took three or four more whiffs of her pipe and smiled.

  “He’ll meet plenty of his brethren at every street corner!” continued she. “Well; I didn’t mean to dabble in witchcraft to-day, further than the lighting of my pipe, but a witch I am, and a witch I’m likely to be, and there’s no use trying to shirk it. I’ll make a man of my scarecrow, were it only for the joke’s sake!”

  While muttering these words, Mother Rigby took the pipe from her own mouth and thrust it into the crevice which represented the same feature in the pumpkin visage of the scarecrow.

  “Puff, darling, puff!” said she. “Puff away, my fine fellow! your life depends on it!”

  This was a strange exhortation, undoubtedly, to be addressed to a mere thing of sticks, straw, and old clothes, with nothing better than a shrivelled pumpkin for a head,—as we know to have been the scarecrow’s case. Nevertheless, as we must carefully hold in remembrance, Mother Rigby was a witch of singular power and dexterity; and, keeping this fact duly before our minds, we shall see nothing beyond credibility in the remarkable incidents of our story. Indeed, the great difficulty will be at once got over, if we can only bring ourselves to believe that, as soon as the old dame bade him puff, there came a whiff of smoke from the scarecrow’s mouth. It was the very feeblest of whiffs, to be sure; but it was followed by another and another, each more decided than the preceding one.

  “Puff away, my pet! puff away, my pretty one!” Mother Rigby kept repeating, with her pleasantest smile. “It is the breath of life to ye; and that you may take my word for.”

  Beyond all question the pipe was bewitched. There must have been a spell either in the tobacco or in the fiercely-glowing coal that so mysteriously burned on top of it, or in the pungently-aromatic smoke which exhaled from the kindled weed. The figure, after a few doubtful attempts, at length blew forth a volley of smoke extending all the way from the obscure corner into the bar of sunshine. There it eddied and melted away among the motes of dust. It seemed a convulsive effort; for the two or three next whiffs were fainter, although the coal still glowed and threw a gleam over the scarecrow’s visage. The old witch clapped her skinny hands together, and smiled encouragingly upon her handiwork. She saw that the charm worked well. The shrivelled, yellow face, which heretofore had been no face at all, had already a thin, fantastic haze, as it were of human likeness, shifting to and fro across it; sometimes vanishing entirely, but growing more perceptible than ever with the next whiff from the pipe. The whole figure, in like manner, assumed a show of life, such as we impart to ill-defined shapes among the clouds, and half deceive ourselves with the pastime of our own fancy.

  If we must needs pry closely into the matter, it may be doubted whether there was any real change, after all, in the sordid, worn-out, worthless, and ill-jointed substance of the scarecrow; but merely a spectral illusion, and a cunning effect of light and shade so colored and contrived as to delude the eyes of most men. The miracles of witchcraft seem always to have had a very shallow subtlety; and, at least, if the above explanation do not hit the truth of the process, I can suggest no better.

  “Well puffed, my pretty lad!” still cried old Mother Rigby. “Come, another good stout whiff, and let it be with might and main. Puff for thy life, I tell thee! Puff out of the very bottom of thy heart, if any heart thou hast, or any bottom to it! Well done, again! Thou didst suck in that mouthful as if for the pure love of it.”

  And then the witch beckoned to the scarecrow, throwing so much magnetic potency into her gesture that it seemed as if it must inevitably be obeyed, like the mystic call of the loadstone when it summons the iron.

  “Why lurkest thou in the corner, lazy one?” said she. “Step forth! Thou hast the world before thee!”

  Upon my word, if the legend were not one which I heard on my grandmother’s knee, and which had established its place among things credible before my childish judgment could analyze its probability, I question whether I should have the face to tell it now.

  In obedience to Mother Rigby’s word, and extending its arm as if to reach her outstretched hand, the figure made a step forward—a kind of hitch and jerk, however, rather than a step—then tottered and almost lost its balance. What could the witch expect? It was nothing, after all, but a scarecrow stuck upon two sticks.
But the strong-willed old beldam scowled, and beckoned, and flung the energy of her purpose so forcibly at this poor combination of rotten wood, and musty straw, and ragged garments, that it was compelled to show itself a man, in spite of the reality of things. So it stepped into the bar of sunshine. There it stood—poor devil of a contrivance that it was!—with only the thinnest vesture of human similitude about it, through which was evident the stiff, rickety, incongruous, faded, tattered, good-for-nothing patchwork of its substance, ready to sink in a heap upon the floor, as conscious of its own unworthiness to be erect. Shall I confess the truth? At its present point of vivification, the scarecrow reminds me of some of the lukewarm and abortive characters, composed of heterogeneous materials, used for the thousandth time, and never worth using, with which romance writers (and myself, no doubt, among the rest) have so over-peopled the world of fiction.

  But the fierce old hag began to get angry and show a glimpse of her diabolic nature (like a snake’s head, peeping with a hiss out of her bosom), at this pusillanimous behavior of the thing which she had taken the trouble to put together.

  “Puff away, wretch!” cried she, wrathfully. “Puff, puff, puff, thou thing of straw and emptiness! thou rag or two! thou meal bag! thou pumpkin head! thou nothing! Where shall I find a name vile enough to call thee by? Puff, I say, and suck in thy fantastic life along with the smoke! else I snatch the pipe from thy mouth and hurl thee where that red coal came from.”

  Thus threatened, the unhappy scarecrow had nothing for it but to puff away for dear life. As need was, therefore, it applied itself lustily to the pipe, and sent forth such abundant volleys of tobacco smoke that the small cottage kitchen became all vaporous. The one sunbeam struggled mistily through, and could but imperfectly define the image of the cracked and dusty window pane on the opposite wall. Mother Rigby, meanwhile, with one brown arm akimbo and the other stretched towards the figure, loomed grimly amid the obscurity with such port and expression as when she was wont to heave a ponderous nightmare on her victims and stand at the bedside to enjoy their agony. In fear and trembling did this poor scarecrow puff. But its efforts, it must be acknowledged, served an excellent purpose; for, with each successive whiff, the figure lost more and more of its dizzy and perplexing tenuity and seemed to take denser substance. Its very garments, moreover, partook of the magical change, and shone with the gloss of novelty and glistened with the skilfully embroidered gold that had long ago been rent away. And, half revealed among the smoke, a yellow visage bent its lustreless eyes on Mother Rigby.