Delphi Complete Works of Nathaniel Hawthorne (Illustrated)

by Hawthorne, Nathaniel

  The year 1864 brought with it for Hawthorne a sense of weakness and depression from which he had little relief during the four or five months that were left him of life. He had his engagement to produce The Dolliver Romance, which had been promised to the subscribers of the Atlantic Monthly (it was the first time he had undertaken to publish a work of fiction in monthly parts), but he was unable to write, and his consciousness of an unperformed task weighed upon him, and did little to dissipate his physical inertness. “I have not yet had courage to read the Dolliver proof-sheet,” he wrote to his publisher in December, 1863; “but will set about it soon, though with terrible reluctance, such as I never felt before. I am most grateful to you,” he went on, “for protecting me from that visitation of the elephant and his cub. If you happen to see Mr. — — , of L — — , a young man who was here last summer, pray tell him anything that your conscience will let you, to induce him to spare me another visit, which I know he intended. I really am not well, and cannot be disturbed by strangers, without more suffering than it is worth while to endure.” A month later he was obliged to ask for a further postponement. “I am not quite up to writing yet, but shall make an effort as soon as I see any hope of success. You ought to be thankful that (like most other broken-down authors) I do not pester you with decrepit pages, and insist upon your accepting them as full of the old spirit and vigour. That trouble perhaps still awaits you, after I shall have reached a further stage of decay. Seriously, my mind has, for the time, lost its temper and its fine edge, and I have an instinct that I had better keep quiet. Perhaps I shall have a new spirit of vigour if I wait quietly for it; perhaps not.” The winter passed away, but the “new spirit of vigour” remained absent, and at the end of February he wrote to Mr. Fields that his novel had simply broken down, and that he should never finish it. “I hardly know what to say to the public about this abortive romance, though I know pretty well what the case will be. I shall never finish it. Yet it is not quite pleasant for an author to announce himself, or to be announced, as finally broken down as to his literary faculty.... I cannot finish it unless a great change comes over me; and if I make too great an effort to do so, it will be my death; not that I should care much for that, if I could fight the battle through and win it, thus ending a life of much smoulder and a scanty fire, in a blaze of glory. But I should smother myself in mud of my own making.... I am not low-spirited, nor fanciful, nor freakish, but look what seem to me realities in the face, and am ready to take whatever may come. If I could but go to England now, I think that the sea-voyage and the 'old Home' might set me all right.”

  But he was not to go to England; he started three months later upon a briefer journey, from which he never returned. His health was seriously disordered, and in April, according to a letter from Mrs. Hawthorne, printed by Mr. Fields, he had been “miserably ill.” His feebleness was complete; he appears to have had no definite malady, but he was, according to the common phrase, failing. General Pierce proposed to him that they should make a little tour together among the mountains of New Hampshire, and Hawthorne consented, in the hope of getting some profit from the change of air. The northern New England spring is not the most genial season in the world, and this was an indifferent substitute for the resource for which his wife had, on his behalf, expressed a wish — a visit to “some island in the Gulf Stream.” He was not to go far; he only reached a little place called Plymouth, one of the stations of approach to the beautiful mountain scenery of New Hampshire, when, on the 18th of May, 1864, death overtook him. His companion, General Pierce, going into his room in the early morning, found that he had breathed his last during the night — had passed away, tranquilly, comfortably, without a sign or a sound, in his sleep. This happened at the hotel of the place — a vast white edifice, adjacent to the railway station, and entitled the Pemigiwasset House. He was buried at Concord, and many of the most distinguished men in the country stood by his grave.

  He was a beautiful, natural, original genius, and his life had been singularly exempt from worldly preoccupations and vulgar efforts. It had been as pure, as simple, as unsophisticated, as his work. He had lived primarily in his domestic affections, which were of the tenderest kind; and then — without eagerness, without pretension, but with a great deal of quiet devotion — in his charming art. His work will remain; it is too original and exquisite to pass away; among the men of imagination he will always have his niche. No one has had just that vision of life, and no one has had a literary form that more successfully expressed his vision. He was not a moralist, and he was not simply a poet. The moralists are weightier, denser, richer, in a sense; the poets are more purely inconclusive and irresponsible. He combined in a singular degree the spontaneity of the imagination with a haunting care for moral problems. Man's conscience was his theme, but he saw it in the light of a creative fancy which added, out of its own substance, an interest, and, I may almost say, an importance.

  THE END.

  Extract from ‘MY LITERARY PASSIONS’ by William Dean Howells

  William Dean Howells (1837–1920) was an American realist author and literary critic, particularly known for his tenure as editor of the Atlantic Monthly as well as his novel The Rise of Silas Lapham. In 1895 he published this comprehensive study of his favourite writers, in which the twenty-sixth chapter concentrates on the work of Hawthorne.

  William Dean Howells – a great admirer of Hawthorne’s work

  XXVI. GEORGE ELIOT, HAWTHORNE, GOETHE, HEINE

  I got back health enough to be of use in the printing office that autumn, and I was quietly at work there with no visible break in my surroundings when suddenly the whole world opened to me through what had seemed an impenetrable wall. The Republican newspaper at the capital had been bought by a new management, and the editorial force reorganized upon a footing of what we then thought metropolitan enterprise; and to my great joy and astonishment I was asked to come and take a place in it. The place offered me was not one of lordly distinction; in fact, it was partly of the character of that I had already rejected in Cincinnati, but I hoped that in the smaller city its duties would not be so odious; and by the time I came to fill it, a change had taken place in the arrangements so that I was given charge of the news department. This included the literary notices and the book reviews, and I am afraid that I at once gave my prime attention to these.

  It was an evening paper, and I had nearly as much time for reading and study as I had at home. But now society began to claim a share of this leisure, which I by no means begrudged it. Society was very charming in Columbus then, with a pretty constant round of dances and suppers, and an easy cordiality, which I dare say young people still find in it everywhere. I met a great many cultivated people, chiefly young ladies, and there were several houses where we young fellows went and came almost as freely as if they were our own. There we had music and cards, and talk about books, and life appeared to me richly worth living; if any one had said this was not the best planet in the universe I should have called him a pessimist, or at least thought him so, for we had not the word in those days. A world in which all those pretty and gracious women dwelt, among the figures of the waltz and the lancers, with chat between about the last instalment of 'The Newcomes,' was good enough world for me; I was only afraid it was too good. There were, of course, some girls who did not read, but few openly professed indifference to literature, and there was much lending of books back and forth, and much debate of them. That was the day when 'Adam Bede' was a new book, and in this I had my first knowledge of that great intellect for which I had no passion, indeed, but always the deepest respect, the highest honor; and which has from time to time profoundly influenced me by its ethics.

  I state these things simply and somewhat baldly; I might easily refine upon them, and study that subtle effect for good and for evil which young people are always receiving from the fiction they read; but this its not the time or place for the inquiry, and I only wish to own that so far as I understand it, the chief part of my ethi
cal experience has been from novels. The life and character I have found portrayed there have appealed always to the consciousness of right and wrong implanted in me; and from no one has this appeal been stronger than from George Eliot. Her influence continued through many years, and I can question it now only in the undue burden she seems to throw upon the individual, and her failure to account largely enough for motive from the social environment. There her work seems to me unphilosophical.

  It shares whatever error there is in its perspective with that of Hawthorne, whose 'Marble Faun' was a new book at the same time that 'Adam Bede' was new, and whose books now came into my life and gave it their tinge. He was always dealing with the problem of evil, too, and I found a more potent charm in his more artistic handling of it than I found in George Eliot. Of course, I then preferred the region of pure romance where he liked to place his action; but I did not find his instances the less veritable because they shone out in

  “The light that never was on sea or land.”

  I read the 'Marble Faun' first, and then the 'Scarlet Letter,' and then the 'House of Seven Gables,' and then the 'Blithedale Romance;' but I always liked best the last, which is more nearly a novel, and more realistic than the others. They all moved me with a sort of effect such as I had not felt before. They veers so far from time and place that, although most of them related to our country and epoch, I could not imagine anything approximate from them; and Hawthorne himself seemed a remote and impalpable agency, rather than a person whom one might actually meet, as not long afterward happened with me. I did not hold the sort of fancied converse with him that I held with ether authors, and I cannot pretend that I had the affection for him that attracted me to them. But he held me by his potent spell, and for a time he dominated me as completely as any author I have read. More truly than any other American author he has been a passion with me, and lately I heard with a kind of pang a young man saying that he did not believe I should find the 'Scarlet Letter' bear reading now. I did not assent to the possibility, but the notion gave me a shiver of dismay. I thought how much that book had been to me, how much all of Hawthorne's books had been, and to have parted with my faith in their perfection would have been something I would not willingly have risked doing.

  Of course there is always something fatally weak in the scheme of the pure romance, which, after the color of the contemporary mood dies out of it, leaves it in danger of tumbling into the dust of allegory; and perhaps this inherent weakness was what that bold critic felt in the 'Scarlet Letter.' But none of Hawthorne's fables are without a profound and distant reach into the recesses of nature and of being. He came back from his researches with no solution of the question, with no message, indeed, but the awful warning, “Be true, be true,” which is the burden of the Scarlet Letter; yet in all his books there is the hue of thoughts that we think only in the presence of the mysteries of life and death. It is not his fault that this is not intelligence, that it knots the brow in sorer doubt rather than shapes the lips to utterance of the things that can never be said. Some of his shorter stories I have found thin and cold to my later reading, and I have never cared much for the 'House of Seven Gables,' but the other day I was reading the 'Blithedale Romance' again, and I found it as potent, as significant, as sadly and strangely true as when it first enthralled my soul.

  In those days when I tried to kindle my heart at the cold altar of Goethe, I did read a great deal of his prose and somewhat of his poetry, but it was to be ten years yet before I should go faithfully through with his Faust and come to know its power. For the present, I read 'Wilhelm Meister' and the 'Wahlverwandschaften,' and worshipped him much at second-hand through Heine. In the mean time I invested such Germans as I met with the halo of their national poetry, and there was one lady of whom I heard with awe that she had once known my Heine. When I came to meet her, over a glass of the mild egg-nog which she served at her house on Sunday nights, and she told me about Heine, and how he looked, and some few things he said, I suffered an indescribable disappointment; and if I could have been frank with myself I should have owned to a fear that it might have been something like that, if I had myself met the poet in the flesh, and tried to hold the intimate converse with him that I held in the spirit. But I shut my heart to all such misgivings and went on reading him much more than I read any other German author. I went on writing him too, just as I went on reading and writing Tennyson. Heine was always a personal interest with me, and every word of his made me long to have had him say it to me, and tell me why he said it. In a poet of alien race and language and religion I found a greater sympathy than I have experienced with any other. Perhaps the Jews are still the chosen people, but now they bear the message of humanity, while once they bore the message of divinity. I knew the ugliness of Heine's nature: his revengefulness, and malice, and cruelty, and treachery, and uncleanness; and yet he was supremely charming among the poets I have read. The tenderness I still feel for him is not a reasoned love, I must own; but, as I am always asking, when was love ever reasoned?

  I had a room-mate that winter in Columbus who was already a contributor to the Atlantic Monthly, and who read Browning as devotedly as I read Heine. I will not say that he wrote him as constantly, but if that had been so, I should not have cared. What I could not endure without pangs of secret jealousy was that he should like Heine, too, and should read him, though it was but an arm's-length in an English version. He had found the origins of those tricks and turns of Heine's in 'Tristram Shandy' and the 'Sentimental Journey;' and this galled me, as if he had shown that some mistress of my soul had studied her graces from another girl, and that it was not all her own hair that she wore. I hid my rancor as well as I could, and took what revenge lay in my power by insinuating that he might have a very different view if he read Heine in the original. I also made haste to try my own fate with the Atlantic, and I sent off to Mr. Lowell that poem which he kept so long in order to make sure that Heine had not written it, as well as authorized it.

  Extract from ‘ESSAYS BEFORE A SONATA’ by Charles Ives

  III — Hawthorne

  The substance of Hawthorne is so dripping wet with the supernatural, the phantasmal, the mystical — so surcharged with adventures, from the deeper picturesque to the illusive fantastic, one unconsciously finds oneself thinking of him as a poet of greater imaginative impulse than Emerson or Thoreau. He was not a greater poet possibly than they — but a greater artist. Not only the character of his substance, but the care in his manner throws his workmanship, in contrast to theirs, into a kind of bas-relief. Like Poe he quite naturally and unconsciously reaches out over his subject to his reader. His mesmerism seeks to mesmerize us — beyond Zenobia's sister. But he is too great an artist to show his hand “in getting his audience,” as Poe and Tschaikowsky occasionally do. His intellectual muscles are too strong to let him become over-influenced, as Ravel and Stravinsky seem to be by the morbidly fascinating — a kind of false beauty obtained by artistic monotony. However, we cannot but feel that he would weave his spell over us — as would the Grimms and Aesop. We feel as much under magic as the “Enchanted Frog.” This is part of the artist's business. The effect is a part of his art-effort in its inception. Emerson's substance and even his manner has little to do with a designed effect — his thunderbolts or delicate fragments are flashed out regardless — they may knock us down or just spatter us — it matters little to him — but Hawthorne is more considerate; that is, he is more artistic, as men say.

  Hawthorne may be more noticeably indigenous or may have more local color, perhaps more national color than his Concord contemporaries. But the work of anyone who is somewhat more interested in psychology than in transcendental philosophy, will weave itself around individuals and their personalities. If the same anyone happens to live in Salem, his work is likely to be colored by the Salem wharves and Salem witches. If the same anyone happens to live in the “Old Manse” near the Concord Battle Bridge, he is likely “of a rainy day to betake himself to the huge garre
t,” the secrets of which he wonders at, “but is too reverent of their dust and cobwebs to disturb.” He is likely to “bow below the shriveled canvas of an old (Puritan) clergyman in wig and gown — the parish priest of a century ago — a friend of Whitefield.” He is likely to come under the spell of this reverend Ghost who haunts the “Manse” and as it rains and darkens and the sky glooms through the dusty attic windows, he is likely “to muse deeply and wonderingly upon the humiliating fact that the works of man's intellect decay like those of his hands” ... “that thought grows moldy,” and as the garret is in Massachusetts, the “thought” and the “mold” are likely to be quite native. When the same anyone puts his poetry into novels rather than essays, he is likely to have more to say about the life around him — about the inherited mystery of the town — than a poet of philosophy is.

  In Hawthorne's usual vicinity, the atmosphere was charged with the somber errors and romance of eighteenth century New England, — ascetic or noble New England as you like. A novel, of necessity, nails an art-effort down to some definite part or parts of the earth's surface — the novelist's wagon can't always be hitched to a star. To say that Hawthorne was more deeply interested than some of the other Concord writers — Emerson, for example — in the idealism peculiar to his native land (in so far as such idealism of a country can be conceived of as separate from the political) would be as unreasoning as to hold that he was more interested in social progress than Thoreau, because he was in the consular service and Thoreau was in no one's service — or that the War Governor of Massachusetts was a greater patriot than Wendell Phillips, who was ashamed of all political parties. Hawthorne's art was true and typically American — as is the art of all men living in America who believe in freedom of thought and who live wholesome lives to prove it, whatever their means of expression.