Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

  June 10th. — . . . . Mr. F — — — is in perfect health, and absolutely in the seventh heaven, and he talks and talks and talks and talks; and I listen and listen and listen with a patience for which, in spite of all my sins, I firmly expect to be admitted to the mansions of the blessed. And there is really a contentment in being able to make this poor, world-worn, hopeless, half-crazy man so entirely comfortable as he seems to be here. He is an admirable cook. We had some roast veal and a baked rice-pudding on Sunday, really a fine dinner, and cooked in better style than Mary can equal; and George Curtis came to dine with us. Like all male cooks, he is rather expensive, and has a tendency to the consumption of eggs in his various concoctions. . . . I have had my dreams of splendor; but never expected to arrive at the dignity of keeping a man-cook. At first we had three meals a day, but now only two. . . .

  * * * * * *

  We dined at Mr. Emerson's the other day, in company with Mr. Hedge. Mr. Bradford has been to see us two or three times. . . . He looks thinner than ever.

  [PASSAGES FROM NOTE-BOOKS.]

  May 5th, 1850. — I left Portsmouth last Wednesday, at the quarter past twelve, by the Concord Railroad, which at New Market unites with the Boston and Maine Railroad about ten miles from Portsmouth. The station at New Market is a small wooden building, with one railroad passing on one side, and another on another, and the two crossing each other at right angles. At a little distance stands a black, large, old, wooden church, with a square tower, and broken windows, and a great rift through the middle of the roof, all in a stage of dismal ruin and decay. A farm-house of the old style, with a long sloping roof, and as black as the church, stands on the opposite side of the road, with its barns; and these are all the buildings in sight of the railroad station. On the Concord rail, in the train of cars, with the locomotive puffing, and blowing off its steam, and making a great bluster in that lonely place, while along the other railroad stretches the desolate track, with the withered weeds growing up betwixt the two lines of iron, all so desolate. And anon you hear a low thunder running along these iron rails; it grows louder; an object is seen afar off; it approaches rapidly, and comes down upon you like fate, swift and inevitable. In a moment, it dashes along in front of the station-house, and comes to a pause, the locomotive hissing and fuming in its eagerness to go on. How much life has come at once into this lonely place! Four or five long cars, each, perhaps, with fifty people in it, reading newspapers, reading pamphlet novels, chattering, sleeping; all this vision of passing life! A moment passes, while the luggage-men are putting on the trunks and packages; then the bell strikes a few times, and away goes the train again, quickly out of sight of those who remain behind, while a solitude of hours again broods over the station-house, which, for an instant, has thus been put in communication with far-off cities, and then remains by itself, with the old, black, ruinous church, and the black old farm-house, both built years and years ago, before railroads were ever dreamed of. Meantime, the passenger, stepping from the solitary station into the train, finds himself in the midst of a new world all in a moment. He rushes out of the solitude into a village; thence, through woods and hills, into a large inland town; beside the Merrimack, which has overflowed its banks, and eddies along, turbid as a vast mud-puddle, sometimes almost laving the doorstep of a house, and with trees standing in the flood half-way up their trunks. Boys, with newspapers to sell, or apples and lozenges; many passengers departing and entering, at each new station; the more permanent passenger, with his check or ticket stuck in his hat-band, where the conductor may see it. A party of girls, playing at ball with a young man. Altogether it is a scene of stirring life, with which a person who had been waiting long for the train to come might find it difficult at once to amalgamate himself.

  It is a sombre, brooding day, and begins to rain as the cars pass onward. In a little more than two hours we find ourselves in Boston surrounded by eager hackmen.

  Yesterday I went to the Athenaeum, and, being received with great courtesy by Mr. Folsom, was shown all over the edifice from the very bottom to the very top, whence I looked out over Boston. It is an admirable point of view; but, it being an overcast and misty day, I did not get the full advantage of it. The library is in a noble hall, and looks splendidly with its vista of alcoves. The most remarkable sight, however, was Mr. Hildreth, writing his history of the United States. He sits at a table, at the entrance of one of the alcoves, with his books and papers before him, as quiet and absorbed as he would be in the loneliest study; now consulting an authority; now penning a sentence or a paragraph, without seeming conscious of anything but his subject. It is very curious thus to have a glimpse of a book in process of creation under one's eye. I know not how many hours he sits there; but while I saw him he was a pattern of diligence and unwandering thought. He had taken himself out of the age, and put himself, I suppose, into that about which he was writing. Being deaf, he finds it much the easier to abstract himself. Nevertheless, it is a miracle. He is a thin, middle-aged man, in black, with an intelligent face, rather sensible than scholarlike.

  Mr. Folsom accompanied me to call upon Mr. Ticknor, the historian of Spanish literature. He has a fine house, at the corner of Park and Beacon Streets, perhaps the very best position in Boston. A marble hall, a wide and easy staircase, a respectable old man-servant evidently long at home in the mansion, to admit us. We entered the library, Mr. Folsom considerably in advance, as being familiar with the house; and I heard Mr. Ticknor greet him in friendly tones, their scholar-like and bibliographical pursuits, I suppose, bringing them into frequent conjunction. Then I was introduced, and received with great distinction, but yet without any ostentatious flourish of courtesy. Mr. Ticknor has a great head, and his hair is gray or grayish. You recognize in him at once the man who knows the world, the scholar, too, which probably is his more distinctive character, though a little more under the surface. He was in his slippers; a volume of his book was open on a table, and apparently he had been engaged in revising or annotating it. His library is a stately and beautiful room for a private dwelling, and itself looks large and rich. The fireplace has a white marble frame about it, sculptured with figures and reliefs. Over it hung a portrait of Sir Walter Scott, a copy, I think, of the one that represents him in Melrose Abbey.

  Mr. Ticknor was most kind in his alacrity to solve the point on which Mr. Folsom, in my behalf, had consulted him (as to whether there had been any English translation of the Tales of Cervantes); and most liberal in his offers of books from his library. Certainly, he is a fine example of a generous-principled scholar, anxious to assist the human intellect in its efforts and researches. Methinks he must have spent a happy life (as happiness goes among mortals), writing his great three-volumed book for twenty years; writing it, not for bread, nor with any uneasy desire of fame, but only with a purpose to achieve something true and enduring. He is, I apprehend, a man of great cultivation and refinement, and with quite substance enough to be polished and refined, without being worn too thin in the process, — a man of society. He related a singular story of an attempt of his to become acquainted with me years ago, when he mistook my kinsman Eben for me.

  At half past four, I went to Mr. Thompson's, the artist who has requested to paint my picture. This was the second sitting. The portrait looked dimly out from the canvas, as from a cloud, with something that I could recognize as my outline, but no strong resemblance as yet. I have had three portraits taken before this, — an oil picture, a miniature, and a crayon sketch, — neither of them satisfactory to those most familiar with my physiognomy. In fact, there is no such thing as a true portrait; they are all delusions, and I never saw any two alike, nor hardly any two that I would recognize, merely by the portraits themselves, as being of the same man. A bust has more reality. This artist is a man of thought, and with no mean idea of his art; a Swedenborgian, or, as he prefers to call it, a member of the New Church; and I have generally found something marked in men who adopt that faith. He had painted a good picture of Bryan
t. He seems to me to possess truth in himself, and to aim at it in his artistic endeavors.

  May 6th. — This morning it is an easterly rain (south-easterly, I should say just now at twelve o'clock), and I went at nine, by appointment, to sit for my picture. The artist painted awhile; but soon found that he had not so much light as was desirable, and complained that his tints were as muddy as the weather. Further sitting was therefore postponed till to-morrow at eleven. It will be a good picture; but I see no assurance, as yet, of the likeness. An artist's apartment is always very interesting to me, with its pictures, finished and unfinished; its little fancies in the pictorial way, — as here two sketches of children among flowers and foliage, representing Spring and Summer, Winter and Autumn being yet to come out of the artist's mild; the portraits of his wife and children; here a clergyman, there a poet; here a woman with the stamp of reality upon her, there a feminine conception which we feel not to have existed. There was an infant Christ, or rather a child Christ, not unbeautiful, but scarcely divine. I love the odor of paint in an artist's room; his palette and all his other tools have a mysterious charm for me. The pursuit has always interested my imagination more than any other, and I remember before having my first portrait taken, there was a great bewitchery in the idea, as if it were a magic process. Even now, it is not without interest to me.

  I left Mr. Thompson before ten, and took my way through the sloppy streets to the Athenaeum, where I looked over the newspapers and periodicals, and found two of my old stories (Peter Goldthwaite and the Shaker Bridal) published as original in the last London Metropolitan! The English are much more unscrupulous and dishonest pirates than ourselves. However, if they are poor enough to perk themselves in such false feathers as these, Heaven help them! I glanced over the stories, and they seemed painfully cold and dull. It is the more singular that these should be so published, inasmuch as the whole book was republished in London, only a few months ago. Mr. Fields tells me that two publishers in London had advertised the Scarlet Letter as in press, each book at a shilling.

  * * * * * *

  Certainly life is made much more tolerable, and man respects himself far more, when he takes his meals with a certain degree of order and state. There should be a sacred law in these matters; and, as consecrating the whole business, the preliminary prayer is a good and real ordinance. The advance of man from a savage and animal state may be as well measured by his mode and morality of dining, as by any other circumstance. At Mr. Fields's, soon after entering the house, I heard the brisk and cheerful notes of a canary-bird, singing with great vivacity, and making its voice echo through the large rooms. It was very pleasant, at the close of the rainy, east-windy day, and seemed to fling sunshine through the dwelling.

  May 7th. — I did not go out yesterday afternoon, but after tea I went to Parker's. The drinking and smoking shop is no bad place to see one kind of life. The front apartment is for drinking. The door opens into Court Square, and is denoted, usually, by some choice specimens of dainties exhibited in the windows, or hanging beside the door-post; as, for instance, a pair of canvas-back ducks, distinguishable by their delicately mottled feathers; an admirable cut of raw beefsteak; a ham, ready boiled, and with curious figures traced in spices on its outward fat; a half, or perchance the whole, of a large salmon, when in season; a bunch of partridges, etc., etc. A screen stands directly before the door, so as to conceal the interior from an outside barbarian. At the counter stand, at almost all hours, — certainly at all hours when I have chanced to observe, — tipplers, either taking a solitary glass, or treating all round, veteran topers, flashy young men, visitors from the country, the various petty officers connected with the law, whom the vicinity of the Court-House brings hither. Chiefly, they drink plain liquors, gin, brandy, or whiskey, sometimes a Tom and Jerry, a gin cocktail (which the bar-tender makes artistically, tossing it in a large parabola from one tumbler to another, until fit for drinking), a brandy-smash, and numerous other concoctions. All this toping goes forward with little or no apparent exhilaration of spirits; nor does this seem to be the object sought, — it being rather, I imagine, to create a titillation of the coats of the stomach and a general sense of invigoration, without affecting the brain. Very seldom does a man grow wild and unruly.

  The inner room is hung round with pictures and engravings of various kinds, — a painting of a premium ox, a lithograph of a Turk and of a Turkish lady, . . . . and various showily engraved tailors' advertisements, and other shop-bills; among them all, a small painting of a drunken toper, sleeping on a bench beside the grog-shop, — a ragged, half-hatless, bloated, red-nosed, jolly, miserable-looking devil, very well done, and strangely suitable to the room in which it hangs. Round the walls are placed some half a dozen marble-topped tables, and a centre-table in the midst; most of them strewn with theatrical and other show-bills; and the large theatre-bills, with their type of gigantic solidity and blackness, hung against the walls.

  Last evening, when I entered, there was one guest somewhat overcome with liquor, and slumbering with his chair tipped against one of the marble tables. In the course of a quarter of an hour, he roused himself (a plain, middle-aged man), and went out with rather an unsteady step, and a hot, red face. One or two others were smoking, and looking over the papers, or glancing at a play-bill. From the centre of the ceiling descended a branch with two gas-burners, which sufficiently illuminated every corner of the room. Nothing is so remarkable in these bar-rooms and drinking-places, as the perfect order that prevails: if a man gets drunk, it is no otherwise perceptible than by his going to sleep, or his inability to walk.

  Pacing the sidewalk in front of this grog-shop of Parker's (or sometimes, on cold and rainy days, taking his station inside), there is generally to be observed an elderly ragamuffin, in a dingy and battered hat, an old surtout, and a more than shabby general aspect; a thin face and red nose, a patch over one eye, and the other half drowned in moisture. He leans in a slightly stooping posture on a stick, forlorn and silent, addressing nobody, but fixing his one moist eye on you with a certain intentness. he is a man who has been in decent circumstances at some former period of his life, but, falling into decay (perhaps by dint of too frequent visits at Parker's bar), he now haunts about the place, as a ghost haunts the spot where he was murdered, “to collect his rents,” as Parker says, — that is, to catch an occasional ninepence from some charitable acquaintances, or a glass of liquor at the bar. The word “ragamuffin,” which I have used above, does not accurately express the man, because there is a sort of shadow or delusion of respectability about him, and a sobriety too, and a kind of decency in his groggy and red-nosed destitution.

  Underground, beneath the drinking and smoking rooms, is Parker's eating-hall, extending all the way to Court Street. All sorts of good eating may be had there, and a gourmand may feast at what expense he will.

  I take an interest in all the nooks and crannies and every development of cities; so here I try to make a description of the view from the back windows of a house in the centre of Boston, at which I now glance in the intervals of writing. The view is bounded, at perhaps thirty yards' distance, by a row of opposite brick dwellings, standing, I think, on Temple Place; houses of the better order, with tokens of genteel families visible in all the rooms betwixt the basements and the attic windows in the roof; plate-glass in the rear drawing-rooms, flower-pots in some of the windows of the upper stories. Occasionally, a lady's figure, either seated or appearing with a flitting grace, or dimly manifest farther within the obscurity of the room. A balcony, with a wrought-iron fence running along under the row of drawing-room windows, above the basement. In the space betwixt the opposite row of dwellings and that in which I am situated are the low out-houses of the above-described houses, with flat roofs; or solid brick walls, with walks on them, and high railings, for the convenience of the washerwomen in hanging out their clothes. In the intervals are grass-plots, already green, because so sheltered; and fruit-trees, now beginning to put forth their leaves
, and one of them, a cherry-tree, almost in full blossom. Birds flutter and sing among these trees. I should judge it a good site for the growth of delicate fruit; for, quite enclosed on all sides by houses, the blighting winds cannot molest the trees. They have sunshine on them a good part of the day, though the shadow must come early, and I suppose there is a rich soil about the roots. I see grapevines clambering against one wall, and also peeping over another, where the main body of the vine is invisible to me. In another place, a frame is erected for a grapevine, and probably it will produce as rich clusters as the vines of Madeira, here in the heart of the city, in this little spot of fructifying earth, while the thunder of wheels rolls about it on every side. The trees are not all fruit-trees. One pretty well-grown buttonwood-tree aspires upward above the roofs of the houses. In the full verdure of summer, there will be quite a mass or curtain of foliage between the hither and the thither row of houses.

  Afternoon. — At eleven, I went to give Mr. Thompson a sitting for my picture. I like the painter. He seems to reverence his art and to aim at truth in it, as I said before; a man of gentle disposition too, and simplicity of life and character. I seated myself in the pictorial chair, with the only light in the room descending upon me from a high opening, almost at the ceiling, the rest of the sole window being shuttered. He began to work, and we talked in an idle and desultory way, — neither of us feeling very conversable, — which he attributed to the atmosphere, it being a bright, west-windy, bracing day. We talked about the pictures of Christ, and how inadequate and untrue they are. He said he thought artists should attempt only to paint child-Christs, human powers being inadequate to the task of painting such purity and holiness in a manly development. Then he said that an idea of a picture had occurred to him that morning, while reading a chapter in the New Testament, — how “they parted his garments among them, and for his vesture did cast lots.” His picture was to represent the soldier to whom the garment without a seam had fallen, after taking it home and examining it, and becoming impressed with a sense of the former wearer's holiness. I do not quite see how he would make such a picture tell its own story; — but I find the idea suggestive to my own mind, and I think I could make something of it. We talked of physiognomy and impressions of character, — first impressions, — and how apt they are to come aright in the face of the closest subsequent observation.