Like all of Hawthorne's things, it contains a great many light threads of symbolism, which shimmer in the texture of the tale, but which are apt to break and remain in our fingers if we attempt to handle them. These things are part of Hawthorne's very manner — almost, as one might say, of his vocabulary; they belong much more to the surface of his work than to its stronger interest. The fault of Transformation is that the element of the unreal is pushed too far, and that the book is neither positively of one category nor of another. His “moonshiny romance,” he calls it in a letter; and, in truth, the lunar element is a little too pervasive. The action wavers between the streets of Rome, whose literal features the author perpetually sketches, and a vague realm of fancy, in which quite a different verisimilitude prevails. This is the trouble with Donatello himself. His companions are intended to be real — if they fail to be so, it is not for want of intention; whereas he is intended to be real or not, as you please. He is of a different substance from them; it is as if a painter, in composing a picture, should try to give you an impression of one of his figures by a strain of music. The idea of the modern faun was a charming one; but I think it a pity that the author should not have made him more definitely modern, without reverting so much to his mythological properties and antecedents, which are very gracefully touched upon, but which belong to the region of picturesque conceits, much more than to that of real psychology. Among the young Italians of to-day there are still plenty of models for such an image as Hawthorne appears to have wished to present in the easy and natural Donatello. And since I am speaking critically, I may go on to say that the art of narration, in Transformation, seems to me more at fault than in the author's other novels. The story straggles and wanders, is dropped and taken up again, and towards the close lapses into an almost fatal vagueness.
CHAPTER VII.
LAST YEARS.
Of the four last years of Hawthorne's life there is not much to tell that I have not already told. He returned to America in the summer of 1860, and took up his abode in the house he had bought at Concord before going to Europe, and of which his occupancy had as yet been brief. He was to occupy it only four years. I have insisted upon the fact of his being an intense American, and of his looking at all things, during his residence in Europe, from the standpoint of that little clod of western earth which he carried about with him as the good Mohammedan carries the strip of carpet on which he kneels down to face towards Mecca. But it does not appear, nevertheless, that he found himself treading with any great exhilaration the larger section of his native soil upon which, on his return, he disembarked. Indeed, the closing part of his life was a period of dejection, the more acute that it followed directly upon seven years of the happiest opportunities he was to have known. And his European residence had been brightest at the last; he had broken almost completely with those habits of extreme seclusion into which he was to relapse on his return to Concord. “You would be stricken dumb,” he wrote from London, shortly before leaving it for the last time, “to see how quietly I accept a whole string of invitations, and, what is more, perform my engagements without a murmur.... The stir of this London life, somehow or other,” he adds in the same letter, “has done me a wonderful deal of good, and I feel better than for months past. This is strange, for if I had my choice I should leave undone almost all the things I do.” “When he found himself once more on the old ground,” writes Mr. Lathrop, “with the old struggle for subsistence staring him in the face again, it is not difficult to conceive how a certain degree of depression would follow.” There is indeed not a little sadness in the thought of Hawthorne's literary gift, light, delicate, exquisite, capricious, never too abundant, being charged with the heavy burden of the maintenance of a family. We feel that it was not intended for such grossness, and that in a world ideally constituted he would have enjoyed a liberal pension, an assured subsistence, and have been able to produce his charming prose only when the fancy took him.
The brightness of the outlook at home was not made greater by the explosion of the Civil War in the spring of 1861. These months, and the three years that followed them, were not a cheerful time for any persons but army-contractors; but over Hawthorne the war-cloud appears to have dropped a permanent shadow. The whole affair was a bitter disappointment to him, and a fatal blow to that happy faith in the uninterruptedness of American prosperity which I have spoken of as the religion of the old-fashioned American in general, and the old-fashioned Democrat in particular. It was not a propitious time for cultivating the Muse; when history herself is so hard at work, fiction has little left to say. To fiction, directly, Hawthorne did not address himself; he composed first, chiefly during the year 1862, the chapters of which our Our Old Home was afterwards made up. I have said that, though this work has less value than his purely imaginative things, the writing is singularly good, and it is well to remember, to its greater honour, that it was produced at a time when it was painfully hard for a man of Hawthorne's cast of mind to fix his attention. The air was full of battle-smoke, and the poet's vision was not easily clear. Hawthorne was irritated, too, by the sense of being to a certain extent, politically considered, in a false position. A large section of the Democratic party was not in good odour at the North; its loyalty was not perceived to be of that clear strain which public opinion required. To this wing of the party Franklin Pierce had, with reason or without, the credit of belonging; and our author was conscious of some sharpness of responsibility in defending the illustrious friend of whom he had already made himself the advocate. He defended him manfully, without a grain of concession, and described the ex-President to the public (and to himself), if not as he was, then as he ought to be. Our Old Home is dedicated to him, and about this dedication there was some little difficulty. It was represented to Hawthorne that as General Pierce was rather out of fashion, it might injure the success, and, in plain terms, the sale of his book. His answer (to his publisher), was much to the point.
“I find that it would be a piece of poltroonery in me to withdraw either the dedication or the dedicatory letter. My long and intimate personal relations with Pierce render the dedication altogether proper, especially as regards this book, which would have had no existence without his kindness; and if he is so exceedingly unpopular that his name ought to sink the volume, there is so much the more need that an old friend should stand by him. I cannot, merely on account of pecuniary profit or literary reputation, go back from what I have deliberately felt and thought it right to do; and if I were to tear out the dedication I should never look at the volume again without remorse and shame. As for the literary public, it must accept my book precisely as I think fit to give it, or let it alone. Nevertheless I have no fancy for making myself a martyr when it is honourably and conscientiously possible to avoid it; and I always measure out heroism very accurately according to the exigencies of the occasion, and should be the last man in the world to throw away a bit of it needlessly. So I have looked over the concluding paragraph and have amended it in such a way that, while doing what I know to be justice to my friend, it contains not a word that ought to be objectionable to any set of readers. If the public of the North see fit to ostracise me for this, I can only say that I would gladly sacrifice a thousand or two dollars, rather than retain the goodwill of such a herd of dolts and mean-spirited scoundrels.”
The dedication was published, the book was eminently successful, and Hawthorne was not ostracised. The paragraph under discussion stands as follows: — ”Only this let me say, that, with the record of your life in my memory, and with a sense of your character in my deeper consciousness, as among the few things that time has left as it found them, I need no assurance that you continue faithful for ever to that grand idea of an irrevocable Union which, as you once told me, was the earliest that your brave father taught you. For other men there may be a choice of paths — for you but one; and it rests among my certainties that no man's loyalty is more steadfast, no man's hopes or apprehensions on behalf of our national existence
more deeply heartfelt, or more closely intertwined with his possibilities of personal happiness, than those of Franklin Pierce.” I know not how well the ex-President liked these lines, but the public thought them admirable, for they served as a kind of formal profession of faith, on the question of the hour, by a loved and honoured writer. That some of his friends thought such a profession needed is apparent from the numerous editorial ejaculations and protests appended to an article describing a visit he had just paid to Washington, which Hawthorne contributed to the Atlantic Monthly for July, 1862, and which, singularly enough, has not been reprinted. The article has all the usual merit of such sketches on Hawthorne's part — the merit of delicate, sportive feeling, expressed with consummate grace — but the editor of the periodical appears to have thought that he must give the antidote with the poison, and the paper is accompanied with several little notes disclaiming all sympathy with the writer's political heresies. The heresies strike the reader of to-day as extremely mild, and what excites his emotion, rather, is the questionable taste of the editorial commentary, with which it is strange that Hawthorne should have allowed his article to be encumbered. He had not been an Abolitionist before the War, and that he should not pretend to be one at the eleventh hour, was, for instance, surely a piece of consistency that might have been allowed to pass. “I shall not pretend to be an admirer of old John Brown,” he says, in a page worth quoting, “any further than sympathy with Whittier's excellent ballad about him may go; nor did I expect ever to shrink so unutterably from any apophthegm of a sage whose happy lips have uttered a hundred golden sentences” — the allusion here, I suppose, is to Mr. Emerson — ”as from that saying (perhaps falsely attributed to so honoured a name), that the death of this blood-stained fanatic has 'made the Gallows as venerable as the Cross!' Nobody was ever more justly hanged. He won his martyrdom fairly, and took it fairly. He himself, I am persuaded (such was his natural integrity), would have acknowledged that Virginia had a right to take the life which he had staked and lost; although it would have been better for her, in the hour that is fast coming, if she could generously have forgotten the criminality of his attempt in its enormous folly. On the other hand, any common-sensible man, looking at the matter unsentimentally, must have felt a certain intellectual satisfaction in seeing him hanged, if it were only in requital of his preposterous miscalculation of possibilities.” Now that the heat of that great conflict has passed away, this is a capital expression of the saner estimate, in the United States, of the dauntless and deluded old man who proposed to solve a complex political problem by stirring up a servile insurrection. There is much of the same sound sense, interfused with light, just appreciable irony, in such a passage as the following: —
“I tried to imagine how very disagreeable the presence of a Southern army would be in a sober town of Massachusetts; and the thought considerably lessened my wonder at the cold and shy regards that are cast upon our troops, the gloom, the sullen demeanour, the declared, or scarcely hidden, sympathy with rebellion, which are so frequent here. It is a strange thing in human life that the greatest errors both of men and women often spring from their sweetest and most generous qualities; and so, undoubtedly, thousands of warmhearted, generous, and impulsive persons have joined the Rebels, not from any real zeal for the cause, but because, between two conflicting loyalties, they chose that which necessarily lay nearest the heart. There never existed any other Government against which treason was so easy, and could defend itself by such plausible arguments, as against that of the United States. The anomaly of two allegiances, (of which that of the State comes nearest home to a man's feelings, and includes the altar and the hearth, while the General Government claims his devotion only to an airy mode of law, and has no symbol but a flag,) is exceedingly mischievous in this point of view; for it has converted crowds of honest people into traitors, who seem to themselves not merely innocent but patriotic, and who die for a bad cause with a quiet conscience as if it were the best. In the vast extent of our country — too vast by far to be taken into one small human heart — we inevitably limit to our own State, or at farthest, to our own little section, that sentiment of physical love for the soil which renders an Englishman, for example, so intensely sensitive to the dignity and well-being of his little island, that one hostile foot, treading anywhere upon it, would make a bruise on each individual breast. If a man loves his own State, therefore, and is content to be ruined with her, let us shoot him, if we can, but allow him an honourable burial in the soil he fights for.”
To this paragraph a line of deprecation from the editor is attached; and indeed from the point of view of a vigorous prosecution of the war it was doubtless not particularly pertinent. But it is interesting as an example of the way an imaginative man judges current events — trying to see the other side as well as his own, to feel what his adversary feels, and present his view of the case.
But he had other occupations for his imagination than putting himself into the shoes of unappreciative Southerners. He began at this time two novels, neither of which he lived to finish, but both of which were published, as fragments, after his death. The shorter of these fragments, to which he had given the name of The Dolliver Romance, is so very brief that little can be said of it. The author strikes, with all his usual sweetness, the opening notes of a story of New England life, and the few pages which have been given to the world contain a charming picture of an old man and a child.
The other rough sketch — it is hardly more — is in a manner complete; it was unfortunately deemed complete enough to be brought out in a magazine as a serial novel. This was to do it a great wrong, and I do not go too far in saying that poor Hawthorne would probably not have enjoyed the very bright light that has been projected upon this essentially crude piece of work. I am at a loss to know how to speak of Septimius Felton, or the Elixir of Life; I have purposely reserved but a small space for doing so, for the part of discretion seems to be to pass it by lightly. I differ therefore widely from the author's biographer and son-in-law in thinking it a work of the greatest weight and value, offering striking analogies with Goethe's Faust; and still more widely from a critic whom Mr. Lathrop quotes, who regards a certain portion of it as “one of the very greatest triumphs in all literature.” It seems to me almost cruel to pitch in this exalted key one's estimate of the rough first draught of a tale in regard to which the author's premature death operates, virtually, as a complete renunciation of pretensions. It is plain to any reader that Septimius Felton, as it stands, with its roughness, its gaps, its mere allusiveness and slightness of treatment, gives us but a very partial measure of Hawthorne's full intention; and it is equally easy to believe that this intention was much finer than anything we find in the book. Even if we possessed the novel in its complete form, however, I incline to think that we should regard it as very much the weakest of Hawthorne's productions. The idea itself seems a failure, and the best that might have come of it would have been very much below The Scarlet Letter or The House of the Seven Gables. The appeal to our interest is not felicitously made, and the fancy of a potion, to assure eternity of existence, being made from the flowers which spring from the grave of a man whom the distiller of the potion has deprived of life, though it might figure with advantage in a short story of the pattern of the Twice-Told Tales, appears too slender to carry the weight of a novel. Indeed, this whole matter of elixirs and potions belongs to the fairy-tale period of taste, and the idea of a young man enabling himself to live forever by concocting and imbibing a magic draught, has the misfortune of not appealing to our sense of reality or even to our sympathy. The weakness of Septimius Felton is that the reader cannot take the hero seriously — a fact of which there can be no better proof than the element of the ridiculous which inevitably mingles itself in the scene in which he entertains his lady-love with a prophetic sketch of his occupations during the successive centuries of his earthly immortality. I suppose the answer to my criticism is that this is allegorical, symbolic, ideal; but we fe
el that it symbolises nothing substantial, and that the truth — whatever it may be — that it illustrates, is as moonshiny, to use Hawthorne's own expression, as the allegory itself. Another fault of the story is that a great historical event — the war of the Revolution — is introduced in the first few pages, in order to supply the hero with a pretext for killing the young man from whose grave the flower of immortality is to sprout, and then drops out of the narrative altogether, not even forming a background to the sequel. It seems to me that Hawthorne should either have invented some other occasion for the death of his young officer, or else, having struck the note of the great public agitation which overhung his little group of characters, have been careful to sound it through the rest of his tale. I do wrong, however, to insist upon these things, for I fall thereby into the error of treating the work as if it had been cast into its ultimate form and acknowledged by the author. To avoid this error I shall make no other criticism of details, but content myself with saying that the idea and intention of the book appear, relatively speaking, feeble, and that even had it been finished it would have occupied a very different place in the public esteem from the writer's masterpieces.
Delphi Complete Works of Nathaniel Hawthorne (Illustrated) Page 591
