Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

  “After leaving the book at Mr. Emerson's, I returned through the woods, and, entering Sleepy Hollow, I perceived a lady reclining near the path which bends along its verge. It was Margaret herself. She had been there the whole afternoon, meditating or reading, for she had a book in her hand with some strange title which I did not understand and have forgotten. She said that nobody had broken her solitude, and was just giving utterance to a theory that no inhabitant of Concord ever visited Sleepy Hollow, when we saw a group of people entering the sacred precincts. Most of them followed a path which led them away from us; but an old man passed near us, and smiled to see Margaret reclining on the ground and me standing by her side. He made some remark upon the beauty of the afternoon, and withdrew himself into the shadow of the wood. Then we talked about autumn, and about the pleasures of being lost in the woods, and about the crows, whose voices Margaret had heard; and about the experiences of early childhood, whose influence remains upon the character after the recollection of them has passed away; and about the sight of mountains from a distance, and the view from their summits; and about other matters of high and low philosophy.”

  It is safe to assume that Hawthorne could not on the whole have had a high relish for the very positive personality of this accomplished and argumentative woman, in whose intellect high noon seemed ever to reign, as twilight did in his own. He must have been struck with the glare of her understanding, and, mentally speaking, have scowled and blinked a good deal in conversation with her. But it is tolerably manifest, nevertheless, that she was, in his imagination, the starting-point of the figure of Zenobia; and Zenobia is, to my sense, his only very definite attempt at the representation of a character. The portrait is full of alteration and embellishment; but it has a greater reality, a greater abundance of detail, than any of his other figures, and the reality was a memory of the lady whom he had encountered in the Roxbury pastoral or among the wood-walks of Concord, with strange books in her hand and eloquent discourse on her lips. The Blithedale Romance was written just after her unhappy death, when the reverberation of her talk would lose much of its harshness. In fact, however, very much the same qualities that made Hawthorne a Democrat in polities — his contemplative turn and absence of a keen perception of abuses, his taste for old ideals, and loitering paces, and muffled tones — would operate to keep him out of active sympathy with a woman of the so-called progressive type. We may be sure that in women his taste was conservative.

  It seems odd, as his biographer says, “that the least gregarious of men should have been drawn into a socialistic community;” but although it is apparent that Hawthorne went to Brook Farm without any great Transcendental fervour, yet he had various good reasons for casting his lot in this would-be happy family. He was as yet unable to marry, but he naturally wished to do so as speedily as possible, and there was a prospect that Brook Farm would prove an economical residence. And then it is only fair to believe that Hawthorne was interested in the experiment, and that though he was not a Transcendentalist, an Abolitionist, or a Fourierite, as his companions were in some degree or other likely to be, he was willing, as a generous and unoccupied young man, to lend a hand in any reasonable scheme for helping people to live together on better terms than the common. The Brook Farm scheme was, as such things go, a reasonable one; it was devised and carried out by shrewd and sober-minded New Englanders, who were careful to place economy first and idealism afterwards, and who were not afflicted with a Gallic passion for completeness of theory. There were no formulas, doctrines, dogmas; there was no interference whatever with private life or individual habits, and not the faintest adumbration of a rearrangement of that difficult business known as the relations of the sexes. The relations of the sexes were neither more nor less than what they usually are in American life, excellent; and in such particulars the scheme was thoroughly conservative and irreproachable. Its main characteristic was that each individual concerned in it should do a part of the work necessary for keeping the whole machine going. He could choose his work and he could live as he liked; it was hoped, but it was by no means demanded, that he would make himself agreeable, like a gentleman invited to a dinner-party. Allowing, however, for everything that was a concession to worldly traditions and to the laxity of man's nature, there must have been in the enterprise a good deal of a certain freshness and purity of spirit, of a certain noble credulity and faith in the perfectibility of man, which it would have been easier to find in Boston in the year 1840, than in London five-and-thirty years later. If that was the era of Transcendentalism, Transcendentalism could only have sprouted in the soil peculiar to the general locality of which I speak — the soil of the old New England morality, gently raked and refreshed by an imported culture. The Transcendentalists read a great deal of French and German, made themselves intimate with George Sand and Goethe, and many other writers; but the strong and deep New England conscience accompanied them on all their intellectual excursions, and there never was a so-called “movement” that embodied itself, on the whole, in fewer eccentricities of conduct, or that borrowed a smaller licence in private deportment. Henry Thoreau, a delightful writer, went to live in the woods; but Henry Thoreau was essentially a sylvan personage and would not have been, however the fashion of his time might have turned, a man about town. The brothers and sisters at Brook Farm ploughed the fields and milked the cows; but I think that an observer from another clime and society would have been much more struck with their spirit of conformity than with their déréglements. Their ardour was a moral ardour, and the lightest breath of scandal never rested upon them, or upon any phase of Transcendentalism.

  A biographer of Hawthorne might well regret that his hero had not been more mixed up with the reforming and free-thinking class, so that he might find a pretext for writing a chapter upon the state of Boston society forty years ago. A needful warrant for such regret should be, properly, that the biographer's own personal reminiscences should stretch back to that period and to the persons who animated it. This would be a guarantee of fulness of knowledge and, presumably, of kindness of tone. It is difficult to see, indeed, how the generation of which Hawthorne has given us, in Blithedale, a few portraits, should not at this time of day be spoken of very tenderly and sympathetically. If irony enter into the allusion, it should be of the lightest and gentlest. Certainly, for a brief and imperfect chronicler of these things, a writer just touching them as he passes, and who has not the advantage of having been a contemporary, there is only one possible tone. The compiler of these pages, though his recollections date only from a later period, has a memory of a certain number of persons who had been intimately connected, as Hawthorne was not, with the agitations of that interesting time. Something of its interest adhered to them still — something of its aroma clung to their garments; there was something about them which seemed to say that when they were young and enthusiastic, they had been initiated into moral mysteries, they had played at a wonderful game. Their usual mark (it is true I can think of exceptions) was that they seemed excellently good. They appeared unstained by the world, unfamiliar with worldly desires and standards, and with those various forms of human depravity which flourish in some high phases of civilisation; inclined to simple and democratic ways, destitute of pretensions and affectations, of jealousies, of cynicism, of snobbishness. This little epoch of fermentation has three or four drawbacks for the critic — drawbacks, however, that may be overlooked by a person for whom it has an interest of association. It bore, intellectually, the stamp of provincialism; it was a beginning without a fruition, a dawn without a noon; and it produced, with a single exception, no great talents. It produced a great deal of writing, but (always putting Hawthorne aside, as a contemporary but not a sharer) only one writer in whom the world at large has interested itself. The situation was summed up and transfigured in the admirable and exquisite Emerson. He expressed all that it contained, and a good deal more, doubtless, besides; he was the man of genius of the moment; he was the Transcendentalist par exce
llence. Emerson expressed, before all things, as was extremely natural at the hour and in the place, the value and importance of the individual, the duty of making the most of one's self, of living by one's own personal light and carrying out one's own disposition. He reflected with beautiful irony upon the exquisite impudence of those institutions which claim to have appropriated the truth and to dole it out, in proportionate morsels, in exchange for a subscription. He talked about the beauty and dignity of life, and about every one who is born into the world being born to the whole, having an interest and a stake in the whole. He said “all that is clearly due to-day is not to lie,” and a great many other things which it would be still easier to present in a ridiculous light. He insisted upon sincerity and independence and spontaneity, upon acting in harmony with one's nature, and not conforming and compromising for the sake of being more comfortable. He urged that a man should await his call, his finding the thing to do which he should really believe in doing, and not be urged by the world's opinion to do simply the world's work. “If no call should come for years, for centuries, then I know that the want of the Universe is the attestation of faith by my abstinence.... If I cannot work, at least I need not lie.” The doctrine of the supremacy of the individual to himself, of his originality and, as regards his own character, unique quality, must have had a great charm for people living in a society in which introspection, thanks to the want of other entertainment, played almost the part of a social resource.

  In the United States, in those days, there were no great things to look out at (save forests and rivers); life was not in the least spectacular; society was not brilliant; the country was given up to a great material prosperity, a homely bourgeois activity, a diffusion of primary education and the common luxuries. There was therefore, among the cultivated classes, much relish for the utterances of a writer who would help one to take a picturesque view of one's internal possibilities, and to find in the landscape of the soul all sorts of fine sunrise and moonlight effects. “Meantime, while the doors of the temple stand open, night and day, before every man, and the oracles of this truth cease never, it is guarded by one stern condition; this, namely — it is an intuition. It cannot be received at second hand. Truly speaking, it is not instruction but provocation that I can receive from another soul.” To make one's self so much more interesting would help to make life interesting, and life was probably, to many of this aspiring congregation, a dream of freedom and fortitude. There were faulty parts in the Emersonian philosophy; but the general tone was magnificent; and I can easily believe that, coming when it did and where it did, it should have been drunk in by a great many fine moral appetites with a sense of intoxication. One envies, even, I will not say the illusions, of that keenly sentient period, but the convictions and interests — the moral passion. One certainly envies the privilege of having heard the finest of Emerson's orations poured forth in their early newness. They were the most poetical, the most beautiful productions of the American mind, and they were thoroughly local and national. They had a music and a magic, and when one remembers the remarkable charm of the speaker, the beautiful modulation of his utterance, one regrets in especial that one might not have been present on a certain occasion which made a sensation, an era — the delivery of an address to the Divinity School of Harvard University, on a summer evening in 1838. In the light, fresh American air, unthickened and undarkened by customs and institutions established, these things, as the phrase is, told.

  Hawthorne appears, like his own Miles Coverdale, to have arrived at Brook Farm in the midst of one of those April snow-storms which, during the New England spring, occasionally diversify the inaction of the vernal process. Miles Coverdale, in The Blithedale Romance, is evidently as much Hawthorne as he is any one else in particular. He is indeed not very markedly any one, unless it be the spectator, the observer; his chief identity lies in his success in looking at things objectively and spinning uncommunicated fancies about them. This indeed was the part that Hawthorne played socially in the little community at West Roxbury. His biographer describes him as sitting “silently, hour after hour, in the broad old-fashioned hall of the house, where he could listen almost unseen to the chat and merriment of the young people, himself almost always holding a book before him, but seldom turning the leaves.” He put his hand to the plough and supported himself and the community, as they were all supposed to do, by his labour; but he contributed little to the hum of voices. Some of his companions, either then or afterwards, took, I believe, rather a gruesome view of his want of articulate enthusiasm, and accused him of coming to the place as a sort of intellectual vampire, for purely psychological purposes. He sat in a corner, they declared, and watched the inmates when they were off their guard, analysing their characters, and dissecting the amiable ardour, the magnanimous illusions, which he was too cold-blooded to share. In so far as this account of Hawthorne's attitude was a complaint, it was a singularly childish one. If he was at Brook Farm without being of it, this is a very fortunate circumstance from the point of view of posterity, who would have preserved but a slender memory of the affair if our author's fine novel had not kept the topic open. The complaint is indeed almost so ungrateful a one as to make us regret that the author's fellow-communists came off so easily. They certainly would not have done so if the author of Blithedale had been more of a satirist. Certainly, if Hawthorne was an observer, he was a very harmless one; and when one thinks of the queer specimens of the reforming genus with which he must have been surrounded, one almost wishes that, for our entertainment, he had given his old companions something to complain of in earnest. There is no satire whatever in the Romance; the quality is almost conspicuous by its absence. Of portraits there are only two; there is no sketching of odd figures — no reproduction of strange types of radicalism; the human background is left vague. Hawthorne was not a satirist, and if at Brook Farm he was, according to his habit, a good deal of a mild sceptic, his scepticism was exercised much more in the interest of fancy than in that of reality.

  There must have been something pleasantly bucolic and pastoral in the habits of the place during the fine New England summer; but we have no retrospective envy of the denizens of Brook Farm in that other season which, as Hawthorne somewhere says, leaves in those regions, “so large a blank — so melancholy a deathspot — in lives so brief that they ought to be all summer-time.” “Of a summer night, when the moon was full,” says Mr. Lathrop, “they lit no lamps, but sat grouped in the light and shadow, while sundry of the younger men sang old ballads, or joined Tom Moore's songs to operatic airs. On other nights there would be an original essay or poem read aloud, or else a play of Shakspeare, with the parts distributed to different members; and these amusements failing, some interesting discussion was likely to take their place. Occasionally, in the dramatic season, large delegations from the farm would drive into Boston, in carriages and waggons, to the opera or the play. Sometimes, too, the young women sang as they washed the dishes in the Hive; and the youthful yeomen of the society came in and helped them with their work. The men wore blouses of a checked or plaided stuff, belted at the waist, with a broad collar folding down about the throat, and rough straw hats; the women, usually, simple calico gowns and hats.” All this sounds delightfully Arcadian and innocent, and it is certain that there was something peculiar to the clime and race in some of the features of such a life; in the free, frank, and stainless companionship of young men and maidens, in the mixture of manual labour and intellectual flights — dish-washing and æsthetics, wood-chopping and philosophy. Wordsworth's “plain living and high thinking” were made actual. Some passages in Margaret Fuller's journals throw plenty of light on this. (It must be premised that she was at Brook Farm as an occasional visitor; not as a labourer in the Hive.)