Hawthorne's Short Stories

by Nathaniel Hawthorne

  “My old friend Owen!” cried Robert Danforth, starting up, and compressing the artist’s delicate fingers within a hand that was accustomed to grip bars of iron. “This is kind and neighborly to come to us at last. I was afraid your perpetual motion had bewitched you out of the remembrance of old times.”

  “We are glad to see you,” said Annie, while a blush reddened her matronly cheek. “It was not like a friend to stay from us so long.”

  “Well, Owen,” inquired the old watchmaker, as his first greeting, “how comes on the beautiful? Have you created it at last?”

  The artist did not immediately reply, being startled by the apparition of a young child of strength that was tumbling about on the carpet,—a little personage who had come mysteriously out of the infinite but with something so sturdy and real in his composition that he seemed moulded out of the densest substance which earth could supply. This hopeful infant crawled towards the newcomer, and setting himself on end, as Robert Danforth expressed the posture, stared at Owen with a look of such sagacious observation that the mother could not help exchanging a proud glance with her husband. But the artist was disturbed by the child’s look, as imagining a resemblance between it and Peter Hovenden’s habitual expression. He could have fancied that the old watchmaker was compressed into this baby shape, and looking out of those baby eyes, and repeating, as he now did, the malicious question:—

  “The beautiful, Owen! How comes on the beautiful? Have you succeeded in creating the beautiful?”

  “I have succeeded,” replied the artist, with a momentary light of triumph in his eyes and a smile of sunshine, yet steeped in such depth of thought that it was almost sadness. “Yes, my friends, it is the truth. I have succeeded.”

  “Indeed!” cried Annie, a look of maiden mirthfulness peeping out of her face again. “And is it lawful, now, to inquire what the secret is?”

  “Surely; it is to disclose it that I have come,” answered Owen Warland. “You shall know, and see, and touch, and possess the secret! For, Annie,—if by that name I may still address the friend of my boyish years,—Annie, it is for your bridal gift that I have wrought this spiritualized mechanism, this harmony of motion, this mystery of beauty. It comes late, indeed; but it is as we go onward in life, when objects begin to lose their freshness of hue and our souls their delicacy of perception, that the spirit of beauty is most needed. If,—forgive me, Annie,—if you know how to value this gift, it can never come too late.”

  He produced, as he spoke, what seemed a jewel box. It was carved richly out of ebony by his own hand, and inlaid with a fanciful tracery of pearl, representing a boy in pursuit of a butterfly, which, elsewhere, had become a winged spirit, and was flying heavenward; while the boy, or youth, had found such efficacy in his strong desire that he ascended from earth to cloud, and from cloud to celestial atmosphere, to win the beautiful. This case of ebony the artist opened, and bade Annie place her finger on its edge. She did so, but almost screamed as a butterfly fluttered forth, and, alighting on her finger’s tip, sat waving the ample magnificence of its purple and gold-speckled wings, as if in prelude to a flight. It is impossible to express by words the glory, the splendor, the delicate gorgeousness which were softened into the beauty of this object. Nature’s ideal butterfly was here realized in all its perfection; not in the pattern of such faded insects as flit among earthly flowers, but of those which hover across the meads of paradise for child-angels and the spirits of departed infants to disport themselves with. The rich down was visible upon its wings; the lustre of its eyes seemed instinct with spirit. The firelight glimmered around this wonder—the candles gleamed upon it; but it glistened apparently by its own radiance, and illuminated the finger and outstretched hand on which it rested with a white gleam like that of precious stones. In its perfect beauty, the consideration of size was entirely lost. Had its wings overreached the firmament, the mind could not have been more filled or satisfied.

  “Beautiful! beautiful!” exclaimed Annie. “Is it alive? Is it alive?”

  “Alive? To be sure it is,” answered her husband. “Do you suppose any mortal has skill enough to make a butterfly, or would put himself to the trouble of making one, when any child may catch a score of them in a summer’s afternoon? Alive? Certainly! But this pretty box is undoubtedly of our friend Owen’s manufacture; and really it does him credit.”

  At this moment the butterfly waved its wings anew, with a motion so absolutely lifelike that Annie was startled, and even awestricken; for, in spite of her husband’s opinion, she could not satisfy herself whether it was indeed a living creature or a piece of wondrous mechanism.

  “Is it alive?” she repeated, more earnestly than before.

  “Judge for yourself,” said Owen Warland, who stood gazing in her face with fixed attention.

  The butterfly now flung itself upon the air, fluttered round Annie’s head, and soared into a distant region of the parlor, still making itself perceptible to sight by the starry gleam in which the motion of its wings enveloped it. The infant on the floor followed its course with his sagacious little eyes. After flying about the room, it returned in a spiral curve and settled again on Annie’s finger.

  “But is it alive?” exclaimed she again; and the finger on which the gorgeous mystery had alighted was so tremulous that the butterfly was forced to balance himself with his wings. “Tell me if it be alive, or whether you created it.”

  “Wherefore ask who created it, so it be beautiful?” replied Owen Warland. “Alive? Yes, Annie; it may well be said to possess life, for it has absorbed my own being into itself; and in the secret of that butterfly, and in its beauty,—which is not merely outward, but deep as its whole system,—is represented the intellect, the imagination, the sensibility, the soul of an Artist of the Beautiful! Yes; I created it. But”—and here his countenance somewhat changed—“this butterfly is not now to me what it was when I beheld it afar off in the daydreams of my youth.”

  “Be it what it may, it is a pretty plaything,” said the blacksmith, grinning with childlike delight. “I wonder whether it would condescend to alight on such a great clumsy finger as mine? Hold it hither, Annie.”

  By the artist’s direction, Annie touched her finger’s tip to that of her husband; and, after a momentary delay, the butterfly fluttered from one to the other. It preluded a second flight by a similar, yet not precisely the same, waving of wings as in the first experiment; then, ascending from the blacksmith’s stalwart finger, it rose in a gradually enlarging curve to the ceiling, made one wide sweep around the room, and returned with an undulating movement to the point whence it had started.

  “Well, that does beat all nature!” cried Robert Danforth, bestowing the heartiest praise that he could find expression for; and, indeed, had he paused there, a man of finer words and nicer perception could not easily have said more. “That goes beyond me, I confess. But what then? There is more real use in one downright blow of my sledge hammer than in the whole five years’ labor that our friend Owen has wasted on this butterfly.”

  Here the child clapped his hands and made a great babble of indistinct utterance, apparently demanding that the butterfly should be given him for a plaything.

  Owen Warland, meanwhile, glanced sidelong at Annie, to discover whether she sympathized in her husband’s estimate of the comparative value of the beautiful and the practical. There was, amid all her kindness towards himself, amid all the wonder and admiration with which she contemplated the marvellous work of his hands and incarnation of his idea, a secret scorn—too secret, perhaps, for her own consciousness, and perceptible only to such intuitive discernment as that of the artist. But Owen, in the latter stages of his pursuit, had risen out of the region in which such a discovery might have been torture. He knew that the world, and Annie as the representative of the world, whatever praise might be bestowed, could never say the fitting word nor feel the fitting sentiment which should be the perfect recompense of an artist who, symbolizing a lofty moral by a material trifle,
—converting what was earthly to spiritual gold,—had won the beautiful into his handiwork. Not at this latest moment was he to learn that the reward of all high performance must be sought within itself, or sought in vain. There was, however, a view of the matter which Annie and her husband, and even Peter Hovenden, might fully have understood, and which would have satisfied them that the toil of years had here been worthily bestowed. Owen Warland might have told them that this butterfly, this plaything, this bridal gift of a poor watchmaker to a blacksmith’s wife, was, in truth, a gem of art that a monarch would have purchased with honors and abundant wealth, and have treasured it among the jewels of his kingdom as the most unique and wondrous of them all. But the artist smiled and kept the secret to himself.

  “Father,” said Annie, thinking that a word of praise from the old watchmaker might gratify his former apprentice, “do come and admire this pretty butterfly.”

  “Let us see,” said Peter Hovenden, rising from his chair, with a sneer upon his face that always made people doubt, as he himself did, in everything but a material existence. “Here is my finger for it to alight upon. I shall understand it better when once I have touched it.”

  But, to the increased astonishment of Annie, when the tip of her father’s finger was pressed against that of her husband, on which the butterfly still rested, the insect drooped its wings and seemed on the point of falling to the floor. Even the bright spots of gold upon its wings and body, unless her eyes deceived her, grew dim, and the glowing purple took a dusky hue, and the starry lustre that gleamed around the blacksmith’s hand became faint and vanished.

  “It is dying! it is dying!” cried Annie, in alarm.

  “It has been delicately wrought,” said the artist, calmly. “As I told you, it has imbibed a spiritual essence—call it magnetism, or what you will. In an atmosphere of doubt and mockery its exquisite susceptibility suffers torture, as does the soul of him who instilled his own life into it. It has already lost its beauty; in a few moments more its mechanism would be irreparably injured.”

  “Take away your hand, father!” entreated Annie, turning pale. “Here is my child; let it rest on his innocent hand. There, perhaps, its life will revive and its colors grow brighter than ever.”

  Her father, with an acrid smile, withdrew his finger. The butterfly then appeared to recover the power of voluntary motion, while its hues assumed much of their original lustre, and the gleam of starlight, which was its most ethereal attribute, again formed a halo round about it. At first, when transferred from Robert Danforth’s hand to the small finger of the child, this radiance grew so powerful that it positively threw the little fellow’s shadow back against the wall. He, meanwhile, extended his plump hand as he had seen his father and mother do, and watched the waving of the insect’s wings with infantine delight. Nevertheless, there was a certain odd expression of sagacity that made Owen Warland feel as if here were old Peter Hovenden, partially, and but partially, redeemed from his hard scepticism into childish faith.

  “How wise the little monkey looks!” whispered Robert Danforth to his wife.

  “I never saw such a look on a child’s face,” answered Annie, admiring her own infant, and with good reason, far more than the artistic butterfly. “The darling knows more of the mystery than we do.”

  As if the butterfly, like the artist, were conscious of something not entirely congenial in the child’s nature, it alternately sparkled and grew dim. At length it arose from the small hand of the infant with an airy motion that seemed to bear it upward without an effort, as if the ethereal instincts with which its master’s spirit had endowed it impelled this fair vision involuntarily to a higher sphere. Had there been no obstruction, it might have soared into the sky and grown immortal. But its lustre gleamed upon the ceiling; the exquisite texture of its wings brushed against that earthly medium; and a sparkle or two, as of stardust, floated downward and lay glimmering on the carpet. Then the butterfly came fluttering down, and, instead of returning to the infant, was apparently attracted towards the artist’s hand.

  “Not so! not so!” murmured Owen Warland, as if his handiwork could have understood him. “Thou has gone forth out of thy master’s heart. There is no return for thee.”

  With a wavering movement, and emitting a tremulous radiance, the butterfly struggled, as it were, towards the infant, and was about to alight upon his finger; but while it still hovered in the air, the little child of strength, with his grandsire’s sharp and shrewd expression in his face, made a snatch at the marvellous insect and compressed it in his hand. Annie screamed. Old Peter Hovenden burst into a cold and scornful laugh. The blacksmith, by main force, unclosed the infant’s hand, and found within the palm a small heap of glittering fragments, whence the mystery of beauty had fled forever. And as for Owen Warland, he looked placidly at what seemed the ruin of his life’s labor, and which was yet no ruin. He had caught a far other butterfly than this. When the artist rose high enough to achieve the beautiful, the symbol by which he made it perceptible to mortal senses became of little value in his eyes while his spirit possessed itself in the enjoyment of the reality.

  The Snow Image

  THE GREAT STONE FACE

  ONE afternoon, when the sun was going down, a mother and her little boy sat at the door of their cottage, talking about the Great Stone Face. They had but to lift their eyes, and there it was plainly to be seen, though miles away, with the sunshine brightening all its features.

  And what was the Great Stone Face?

  Embosomed amongst a family of lofty mountains, there was a valley so spacious that it contained many thousand inhabitants. Some of these good people dwelt in log-huts, with the black forest all around them, on the steep and difficult hill-sides. Others had their homes in comfortable farm-houses, and cultivated the rich soil on the gentle slopes or level surfaces of the valley. Others, again, were congregated into populous villages, where some wild, highland rivulet, tumbling down from its birthplace in the upper mountain region, had been caught and tamed by human cunning, and compelled to turn the machinery of cotton-factories. The inhabitants of this valley, in short, were numerous, and of many modes of life. But all of them, grown people and children, had a kind of familiarity with the Great Stone Face, although some possessed the gift of distinguishing this grand natural phenomenon more perfectly than many of their neighbors.

  The Great Stone Face, then, was a work of Nature in her mood of majestic playfulness, formed on the perpendicular side of a mountain by some immense rocks, which had been thrown together in such a position as, when viewed at a proper distance, precisely to resemble the features of the human countenance. It seemed as if an enormous giant, or a Titan, had sculptured his own likeness on the precipice. There was the broad arch of the forehead, a hundred feet in height; the nose, with its long bridge; and the vast lips, which, if they could have spoken, would have rolled their thunder accents from one end of the valley to the other. True it is, that if the spectator approached too near, he lost the outline of the gigantic visage, and could discern only a heap of ponderous and gigantic rocks, piled in chaotic ruin one upon another. Retracing his steps, however, the wondrous features would again be seen; and the farther he withdrew from them, the more like a human face, with all its original divinity intact, did they appear; until, as it grew dim in the distance, with the clouds and glorified vapor of the mountains clustering about it, the Great Stone Face seemed positively to be alive.

  It was a happy lot for children to grow up to manhood or womanhood with the Great Stone Face before their eyes, for all the features were noble, and the expression was at once grand and sweet, as if it were the glow of a vast, warm heart, that embraced all mankind in its affections, and had room for more. It was an education only to look at it. According to the belief of many people, the valley owed much of its fertility to this benign aspect that was continually beaming over it, illuminating the clouds, and infusing its tenderness into the sunshine.

  As we began with saying, a mother and he
r little boy sat at their cottage-door, gazing at the Great Stone Face, and talking about it. The child’s name was Ernest.

  “Mother,” said he, while the Titanic visage smiled on him, “I wish that it could speak, for it looks so very kindly that its voice must needs be pleasant. If I were to see a man with such a face, I should love him dearly.”

  “If an old prophecy should come to pass,” answered his mother, “we may see a man, some time or other, with exactly such a face as that.”

  “What prophecy do you mean, dear mother?” eagerly inquired Ernest. “Pray tell me all about it!”

  So his mother told him a story that her own mother had told to her, when she herself was younger than little Ernest; a story, not of things that were past, but of what was yet to come; a story, nevertheless, so very old, that even the Indians, who formerly inhabited this valley, had heard it from their forefathers, to whom, as they affirmed, it had been murmured by the mountain streams, and whispered by the wind among the tree-tops. The purport was, that, at some future day, a child should be born hereabouts, who was destined to become the greatest and noblest personage of his time, and whose countenance, in manhood, should bear an exact resemblance to the Great Stone Face. Not a few old-fashioned people, and young ones likewise, in the ardor of their hopes, still cherished an enduring faith in this old prophecy. But others, who had seen more of the world, had watched and waited till they were weary, and had beheld no man with such a face, nor any man that proved to be much greater or nobler than his neighbors, concluded it to be nothing but an idle tale. At all events, the great man of the prophecy had not yet appeared.