“How is this? You do not tremble?” observed the tremulous old woman to Gervayse Hastings, who was gazing at the dead man with singular intentness. “Is it not awful to see him so suddenly vanish out of the midst of life—this man of flesh and blood, whose earthly nature was so warm and strong? There is a never-ending tremor in my soul; but it trembles afresh at this! And you are calm!”
“Would that he could teach me somewhat!” said Gervayse Hastings, drawing a long breath. “Men pass before me like shadows on the wall—their actions, passions, feelings, are flickerings of the light—and then they vanish! Neither the corpse, nor yonder skeleton, nor this old woman’s everlasting tremor, can give me what I seek.”
And then the company departed.
We cannot linger to narrate, in such detail, more circumstances of these singular festivals, which, in accordance with the founder’s will, continued to be kept with the regularity of an established institution. In process of time, the stewards adopted the custom of inviting, from far and near, those individuals whose misfortunes were prominent above other men’s, and whose mental and moral development might, therefore, be supposed to possess a corresponding interest. The exiled noble of the French Revolution, and the broken soldier of the Empire, were alike represented at the table. Fallen monarchs, wandering about the earth, have found places at that forlorn and miserable feast. The statesman, when his party flung him off, might, if he chose it, be once more a great man for the space of a single banquet. Aaron Burr’s name appears on the record, at a period when his ruin— the profoundest and most striking, with more of moral circumstance in it than that of almost any other man—was complete, in his lonely age. Stephen Girard, when his wealth weighed upon him like a mountain, once sought admittance of his own accord. It is not probable, however, that these men had any lesson to teach in the lore of discontent and misery, which might not equally well have been studied in the common walks of life. Illustrious unfortunates attract a wider sympathy, not because their griefs are more intense, but because, being set on lofty pedestals, they the better serve mankind as instances and by-words of calamity.
It concerns our present purpose to say that, at each successive festival, Gervayse Hastings showed his face, gradually changing from the smooth beauty of his youth to the thoughtful comeliness of manhood, and thence to the bald, impressive dignity of age. He was the only individual invariably present. Yet, on every occasion, there were murmurs, both from those who knew his character and position, and from them whose hearts shrank back, as denying his companionship in their mystic fraternity.
“Who is this impassive man?” had been asked a hundred times. “Has he suffered? Has he sinned? There are no traces of either. Then wherefore is he here?”
“You must inquire of the stewards, or of himself,” was the constant reply. “We seem to know him well, here in our city, and know nothing of him but what is creditable and fortunate. Yet hither he comes, year after year, to this gloomy banquet, and sits among the guests like a marble statue. Ask yonder skeleton —perhaps that may solve the riddle!”
It was, in truth, a wonder. The life of Gervayse Hastings, was not merely a prosperous, but a brilliant one. Everything had gone well with him. He was wealthy, far beyond the expenditure that was required by habits of magnificence, a taste of rare purity and cultivation, a love of travel, a scholar’s instinct to collect a splendid library, and, moreover, what seemed a munificent liberality to the distressed. He had sought domestic happiness, and not vainly, if a lovely and tender wife, and children of fair promise, could insure it. He had, besides, ascended above the limit which separates the obscure from the distinguished, and had won a stainless reputation in affairs of the widest public importance. Not that he was a popular character, or had within him the mysterious attributes which are essential to that species of success. To the public, he was a cold abstraction, wholly destitute of those rich hues of personality, that living warmth, and the peculiar faculty of stamping his own heart’s impression on a multitude of hearts, by which the people recognize their favorites. And it must be owned that, after his most intimate associates had done their best to know him thoroughly, and love him warmly, they were startled to find how little hold he had upon their affections. They approved—they admired—but still, in those moments when the human spirit most craves reality, they shrank back from Gervayse hastings, as powerless to give them what they sought. It was the feeling of distrustful regret, with which we should draw back the hand, after extending it, in an illusive twilight, to grasp the hand of a shadow upon the wall.
As the superficial fervency of youth decayed, this peculiar effect of Gervayse Hastings’ character grew more perceptible. His children, when he extended his arms, came coldly to his knees, but never climbed them of their own accord. His wife wept secretly, and almost adjudged herself a criminal, because she shivered in the chill of his bosom. He, too, occasionally appeared not unconscious of the chillness of his moral atmosphere, and willing, if it might be so, to warm himself at a kindly fire. But age stole onward, and benumbed him more and more. As the hoar-frost began to gather on him, his wife went to her grave, and was doubtless warmer there; his children either died, or were scattered to different homes of their own; and old Gervayse Hastings, unscathed by grief—alone, but needing no companionship—continued his steady walk through life, and still, on every Christmas-day, attended at the dismal banquet. His privilege as a guest had become prescriptive now. Had he claimed the head of the table, even the skeleton would have been ejected from its seat.
Finally, at the merry Christmas-tide, when he had numbered four-score years complete, this pale, high-browed, marble-featured old man once more entered the long-frequented hall, with the same impassive aspect that had called forth so much dissatisfied remark at his first attendance. Time, except in matters merely external, had done nothing for him, either of good or evil. As he took his place he threw a calm, inquiring glance around the table, as if to ascertain whether any guest had yet appeared, after so many unsuccessful banquets, who might impart to him the mystery—the deep, warm secret—the life within the life—which, whether manifested in joy or sorrow, is what gives substance to a world of shadows.
“My friends,” said Gervayse Hastings, assuming a position which his long conversance with the festival caused to appear natural, “you are welcome! I drink to you all in this cup of sepulchral wine.”
The guests replied courteously, but still in a manner that proved them unable to receive the old man as a member of their sad fraternity. It may be well to give the reader an idea of the present company at the banquet.
One was formerly a clergyman, enthusiastic in his profession, and apparently of the genuine dynasty of those old puritan divines, whose faith in their calling, and stern exercise of it, had placed them among the mighty of the earth. But yielding to the speculative tendency of the age, he had gone astray from the firm foundation of an ancient faith, and wandered into a cloud region, where everything was misty and deceptive, ever mocking him with a semblance of reality, but still dissolving when he flung himself upon it for support and rest. His instinct and early training demanded something steadfast; but, looking forward, he beheld vapors piled on vapors, and behind him, an impassable gulf between the man of yesterday and to-day; on the borders of which he paced to and fro, sometimes wringing his hands in agony, and often making his own woe a theme of scornful merriment. This surely was a miserable man. Next, there was a theorist— one of a numerous tribe, although he deemed himself unique since the creation—a theorist, who had conceived a plan by which all the wretchedness of earth, moral and physical, might be done away, and the bliss of the millenium at once accomplished. But, the incredulity of mankind debarring him from action, he was smitten with as much grief as if the whole mass of woe which he was denied the opportunity to remedy, were crowded into his own bosom. A plain old man in black attracted much of the company’s notice, on the supposition that he was no other than Father Miller, who, it seemed, had given himself
up to despair at the tedious delay of the final conflagration. Then there was a man distinguished for native pride and obstinacy, who, a little while before, had possessed immense wealth, and held the control of a vast moneyed interest, which he had wielded in the same spirit as a despotic monarch would wield the power of his empire, carrying on a tremendous moral warfare, the roar and tremor of which was felt at every fireside in the land. At length came a crushing ruin—a total overthrow of fortune, power, and character— the effect of which on his imperious, and, in many respects, noble and lofty nature, might have entitled him to a place, not merely at our festival, but among the peers of Pandemonium.
There was a modern philanthropist, who had become so deeply sensible of the calamities of thousands and millions of his fellow creatures, and of the impracticableness of any general measures for their relief, that he had no heart to do what little good lay immediately within his power, but contented himself with being miserable for sympathy. Near him sat a gentleman in a predicament hitherto unprecedented, but of which the present epoch, probably, affords numerous examples. Ever since he was of capacity to read a newspaper, this person had prided himself on his consistent adherence to one political party, but, in the confusion of these latter days, had got bewildered, and knew not whereabouts his party was. This wretched condition, so morally desolate and disheartening to a man who has long accustomed himself to merge his individuality in the mass of a great body, can only be conceived by such as have experienced it. His next companion was a popular orator who had lost his voice, and—as it was pretty much all that he had to lose—had fallen into a state of hopeless melancholy. The table was likewise graced by two of the gentler sex—one, a half-starved, consumptive seamstress, the representative of thousands just as wretched; the other, a woman of unemployed energy, who found herself in the world with nothing to achieve, nothing to enjoy, and nothing even to suffer. She had, therefore, driven herself to the verge of madness by dark broodings over the wrongs of her sex, and its exclusion from a proper field of action. The roll of guests being thus complete, a side-table had been set for three or four disappointed office-seekers, with hearts as sick as death, whom the stewards had admitted, partly because their calamities really entitled them to entrance here, and partly that they were in especial need of a good dinner. There was likewise a homeless dog, with his tail between his legs, licking up the crumbs and gnawing the fragments of the feast—such a melancholy cur as one sometimes sees about the streets, without a master, and willing to follow the first that will accept his service.
In their own way, these were as wretched a set of people as ever had assembled at the festival. There they sat, with the veiled skeleton of the founder, holding aloft the cypress wreath, at one end of the table; and at the other, wrapt in furs, the withered figure of Gervayse Hastings, stately, calm and cold, impressing the company with awe, yet so little interesting their sympathy, that he might have vanished into thin air, without their once exclaiming—“Whither is he gone?”
“Sir,” said the philanthropist, addressing the old man, “you have been so long a guest at this annual festival, and have thus been conversant with so many varieties of human affliction, that, not improbably, you have thence derived some great and important lessons. How blessed were your lot, could you reveal a secret by which all this mass of woe might be removed!”
“I know of but one misfortune,” answered Gervayse Hastings, quietly, “and that is my own.”
“Your own!” rejoined the philanthropist. “And, looking back on your serene and prosperous life, how can you claim to be the sole unfortunate of the human race?”
“You will not understand it,” replied Gervayse Hastings feebly, and with a singular inefficiency of pronunciation, and sometimes putting one word for another. “None have understood it—not even those who experience the like. It is a chilliness—a want of earnestness—a feeling as if what should be my heart were a thing of vapor—a haunting perception of unreality! Thus seeming to possess all that other men have—all that men aim at—I have really possessed nothing, neither joy nor griefs. All things —all persons—as was truly said to me at this table long and long ago—have been like shadows flickering on the wall. It was so with my wife and children—with those who seemed my friends: it is so with yourselves, whom I see now before me. Neither have I myself any real existence, but am a shadow like the rest!”
“And how is it with your views of a future life?” inquired the speculative clergyman.
“Worse than with you,” said the old man, in a hollow and feeble tone; “for I cannot conceive it earnestly enough to feel either hope or fear. Mine—mine is the wretchedness! This cold heart—this unreal life! Ah! it grows colder still.”
It so chanced, that at this juncture the decayed ligaments of the skeleton gave way, and the dry bones fell together in a heap, thus causing the dusty wreath of cypress to drop upon the table. The attention of the company being thus diverted, for a single instant, from Gervayse Hastings, they perceived, on turning again towards him, that the old man had undergone a change. His shadow had ceased to flicker on the wall.
“Well, Rosina, what is your criticism?” asked Roderick, as he rolled up the manuscript.
“Frankly, your success is by no means complete,” replied she. “It is true, I have an idea of the character you endeavor to describe; but it is rather by dint of my own thought than your expression.”
“That is unavoidable,” observed the sculptor, “because the characteristics are all negative. If Gervayse Hastings could have imbibed one human grief at the gloomy banquet, the task of describing him would have been infinitely easier. Of such persons—and we do meet with these moral monsters now and then— it is difficult to conceive how they came to exist here, or what there is in them capable of existence hereafter. They seem to be on the outside of everything; and nothing wearies the soul more than an attempt to comprehend them within its grasp.
DROWNE’S WOODEN IMAGE.
One sunshiny morning, in the good old times of the town of Boston, a young carver in wood, well known by the name of Drowne, stood contemplating a large oaken log, which it was his purpose to convert into the figure-head of a vessel. And while he discussed within his own mind what sort of shape or similitude it were well to bestow upon this excellent piece of timber, there came into Drowne’s workshop a certain Captain Hunnewell, owner and commander of the good brig called the Cynosure, which had just returned from her first voyage to Fayal.
“Ah! that will do, Drowne, that will do!” cried the jolly captain, tapping the log with his rattan. “I bespeak this very piece of oak for the figure-head of the Cynosure. She has shown herself the sweetest craft that ever floated, and I mean to decorate her prow with the handsomest image that the skill of man can cut out of timber. And, Drowne, you are the fellow to execute it.”
“You give me more credit than I deserve, Captain Hunnewell,” said the carver, modestly, yet as one conscious of eminence in his art. “But, for the sake of the good brig, I stand ready to do my best. And which of these designs do you prefer? Here”— pointing to a staring, half length figure, in a white wig and scarlet coat—“here is an excellent model, the likeness of our gracious king. Here is the valiant Admiral Vernon. Or, if you prefer a female figure, what say you to Britannia with the trident?”
“All very fine, Drowne; all very fine,” answered the mariner. “But as nothing like the brig ever swam the ocean, so I am determined she shall have such a figure-head as old Neptune never saw in his life. And what is more, as there is a secret in the matter, you must pledge your credit not to betray it.”
“Certainly,” said Drowne, marvelling, however, what possible mystery there could be in reference to an affair so open, of necessity, to the inspection of all the world, as the figure-head of a vessel. “You may depend, captain, on my being as secret as the nature of the case will permit.”
Captain Hunnewell then took Drowne by the button, and communicated his wishes in so low a tone, that it would b
e unmannerly to repeat what was evidently intended for the carver’s private ear. We shall, therefore, take the opportunity to give the reader a few desirable particulars about Drowne himself.
He was the first American who is known to have attempted,— in a very humble line, it is true,—that art in which we can now reckon so many names already distinguished, or rising to distinction. From his earliest boyhood, he had exhibited a knack—for it would be too proud a word to call it genius—a knack, therefore, for the imitation of the human figure, in whatever material came most readily to hand. The snows of a New England winter had often supplied him with a species of marble as dazzlingly white, at least, as the Parian or the Carrara, and if less durable, yet sufficiently so to correspond with any claims to permanent existence possessed by the boy’s frozen statues. Yet they won admiration from maturer judges than his schoolfellows, and were, indeed, remarkably clever, though destitute of the native warmth that might have made the snow melt beneath his hand. As he advanced in life, the young man adopted pine and oak as eligible materials for the display of his skill, which now began to bring him a return of solid silver, as well as the empty praise that had been an apt reward enough for his productions of evanescent snow. He became noted for carving ornamental pumpheads, and wooden urns for gate-posts, and decorations, more grotesque than fanciful, for mantel-pieces. No apothecary would have deemed himself in the way of obtaining custom, without setting up a gilded mortar, if not a head of Galen or Hippocrates, from the skilful hand of Drowne. But the great scope of his business lay in the manufacture of figure-heads for vessels. Whether it were the monarch himself, or some famous British admiral or general, or the governor of the province, or perchance the favorite daughter of the ship-owner, there the image stood above the prow, decked out in gorgeous colors, magnificently gilded, and staring the whole world out of countenance, as if from an innate consciousness of its own superiority. These specimens of native sculpture had crossed the sea in all directions, and been not ignobly noticed among the crowded shipping of the Thames, and wherever else the hardy mariners of New England had pushed their adventures. It must be confessed, that a family likeness pervaded these respectable progeny of Drowne’s skill—that the benign countenance of the king resembled those of his subjects, and that Miss Peggy Hobart, the merchant’s daughter, bore a remarkable similitude to Britannia, Victory, and other ladies of the allegoric sisterhood; and, finally, that they all had a kind of wooden aspect, which proved an intimate relationship with the unshaped blocks of timber in the carver’s workshop. But, at least, there was no inconsiderable skill of hand, nor a deficiency of any attribute to render them really works of art, except that deep quality, be it of soul or intellect, which bestows life upon the lifeless, and warmth upon the cold, and which, had it been present, would have made Drowne’s wooden image instinct with spirit.
Mosses from an Old Manse, Volume 2 Page 6
