If Hawthorne made any effort to break a way for himself in reaching the public, it has not been traced, except that one letter exists, January 27, 1832, in which he offers his pen to the “Atlantic Souvenir” of Philadelphia; but that annual was bought out by Goodrich the same year and merged with “The Token,” so that Hawthorne's venture only brought him back to the old stand. In 1833 his connection with Goodrich appears to have been temporarily broken, as “The Token” for 1834, which appeared that fall, contains nothing by him. For 1835 he contributed to it “The Haunted Mind” and “The Mermaid, A Revery,” now known as “The Village Uncle,” anonymously, and “Alice Doane's Appeal” as by the author of “The Gentle Boy.” In “Youth's Keepsake” for the same year appeared “Little Annie's Ramble.” These stories were published in the fall of 1834, before the venture of “The Story-Teller.” Early in 1835 he furnished for the next year's “Token,” 1836, “The Wedding Knell” and “The Minister's Black Veil” as by the author of “Sights from a Steeple,” and “The May-pole of Merry Mount” as by the author of “The Gentle Boy.” What there was left in his hands must have gone almost as a block to “The New England Magazine,” and perhaps his stock of unused papers was thus exhausted. To complete the record, he published in this magazine “The Gray Champion” as by the author of “The Gentle Boy,” in January; “Old News” anonymously, in February, March, and May; “My Visit to Niagara,” in February; “Young Goodman Brown,” in April; “Wakefield,” in May; “The Ambitious Guest,” in June, and in the same month, anonymously in both instances, “Graves and Goblins” and “A Bill from the Town Pump;” “The Old Maid in the Winding Sheet,” now known as “The White Old Maid,” in July; “The Vision of the Fountain,” in August; “The Devil in Manuscript” as by “Ashley A. Royce,” in November; “Sketches from Memory” as by “A Pedestrian,” in November and December. All these pieces, except as stated above, are given as by the author of “The Gray Champion.” It may fairly be thought that he had emptied his desk of its accumulations, though a few tales may have been reserved for Goodrich.
Hawthorne had now been before the public with increasing frequency for five years, but he had made little impression, and his success as an author must have remained as doubtful to him as at the start. Goodrich, in the passage already quoted from his “Recollections,” went on to describe him during this early time of their acquaintance, and shows how slight was his progress in winning attention: —
“At this period he was unsettled as to his views; he had tried his hand in literature, and considered himself to have met with a fatal rebuff from the reading world. His mind vacillated between various projects, verging, I think, toward a mercantile profession. I combated his despondence, and assured him of triumph if he would persevere in a literary career. He wrote numerous articles which appeared in 'The Token;' occasionally an astute critic seemed to see through them, and to discover the soul that was in them; but in general they passed without notice. Such articles as 'Sights from a Steeple,' 'Sketches beneath an Umbrella,' 'The Wives of the Dead,' 'The Prophetic Pictures,' now universally acknowledged to be productions of extraordinary depth, meaning, and power, extorted hardly a word of either praise or blame, while columns were given to pieces since totally forgotten. I felt annoyed, almost angry, indeed, at this. I wrote several articles in the papers, directing attention to these productions, and finding no echo to my views, I recollect to have asked John Pickering to read some of them, and give me his opinion of them. He did as I requested; his answer was that they displayed a wonderful beauty of style, with a kind of double vision, a sort of second sight, which revealed, beyond the outward forms of life and being, a sort of Spirit World.”
Park Benjamin, in a notice of “The Token” for 1836 published in “The New England Magazine,” October, 1835, gave a single line to the author, speaking of him as “the most pleasing writer of fanciful prose, except Irving, in the country;” and in November of the same year, in a review of the same work, Chorley, the critic of the London “Athenaeum,” commended his tales and gave extracts from them. This was the first substantial praise of a nature to encourage the author.
In Hawthorne's own eyes the stories and sketches had become a source of depression, and the difficulties he had met with in getting out a book had especially irritated him. It might be thought, perhaps, that he had destroyed a good deal of his work, to judge by his own words, but this seems unlikely, although he may have rewritten some of the earlier pieces. The tale of “The Devil in Manuscript” is taken to be the autobiographical parable, at least, commemorating the burning of the “Seven Tales of my Native Land;” but it was written some years later, and reflects his general experience as a discouraged storyteller, and it contains touches of bitterness more marked than occur elsewhere. Its personal character is emphasized by the hero's name, “Oberon,” a familiar signature Hawthorne used in his letters to his old college friend, Bridge. The following passages are distinctly autobiographical, and afford the most vivid view of the young author's inner life: —
“You cannot conceive what an effect the composition of these tales has had on me. I have become ambitious of a bubble, and careless of solid reputation. I am surrounding myself with shadows, which bewilder me, by aping the realities of life. They have drawn me aside from the beaten path of the world, and led me into a strange sort of solitude, — a solitude in the midst of men, — where nobody wishes for what I do, nor thinks nor feels as I do. The tales have done all this. When they are ashes, perhaps I shall be as I was before they had existence. Moreover, the sacrifice is less than you may suppose, since nobody will publish them….
“But the devil of the business is this. These people have put me so out of conceit with the tales, that I loathe the very thought of them, and actually experience a physical sickness of the stomach, whenever I glance at them on the table. I tell you there is a demon in them! I anticipate a wild enjoyment in seeing them in the blaze; such as I should feel in taking vengeance on an enemy, or destroying something noxious….
“But how many recollections throng upon me, as I turn over these leaves! This scene came into my fancy as I walked along a hilly road, on a starlight October evening; in the pure and bracing air, I became all soul, and felt as if I could climb the sky, and run a race along the Milky Way. Here is another tale, in which I wrapt myself during a dark and dreary night-ride in the month of March, till the rattling of the wheels and the voices of my companions seemed like faint sounds of a dream, and my visions a bright reality. That scribbled page describes shadows which I summoned to my bedside at midnight: they would not depart when I bade them; the gray dawn came, and found me wide awake and feverish, the victim of my own enchantments!…
“Sometimes my ideas were like precious stones under the earth, requiring toil to dig them up, and care to polish and brighten them; but often a delicious stream of thought would gush out upon the page at once, like water sparkling up suddenly in the desert; and when it had passed, I gnawed my pen hopelessly, or blundered on with cold and miserable toil, as if there were a wall of ice between me and my subject.”
“Do you now perceive a corresponding difference,” inquired I, “between the passages which you wrote so coldly, and those fervid flashes of the mind?”
“No,” said Oberon, tossing the manuscripts on the table. “I find no traces of the golden pen with which I wrote in characters of fire. My treasure of fairy coin is changed to worthless dross. My picture, painted in what seemed the loveliest hues, presents nothing but a faded and indistinguishable surface. I have been eloquent and poetical and humorous in a dream, — and behold! it is all nonsense, now that I am awake….
“I will burn them! Not a scorched syllable shall escape! Would you have me a damned author — To undergo sneers, taunts, abuse, and cold neglect, and faint praise, bestowed, for pity's sake, against the giver's conscience! A hissing and a laughing-stock to my own traitorous thoughts! An outlaw from the protection of the grave, — one whose ashes every careless foot might
spurn, unhonored in life, and remembered scornfully in death! Am I to bear all this, when yonder fire will insure me from the whole? No! There go the tales! May my hand wither when it would write another!”
These extracts set forth the mixed emotions of young authorship in a life-like manner. They have the stamp of personal experience. A supplement to them is found in one of his more obscure pieces, “The Journal of a Solitary Man,” in which Hawthorne bids farewell to that eidolon of himself which he had embodied as “Oberon.” He describes the character as an imaginary friend, from whose journals he gives extracts; but the veil thrown over his own personality is transparent.
“Merely skimming the surface of life, I know nothing, by my own experience, of its deep and warm realities. I have achieved none of those objects which the instinct of mankind especially prompts them to pursue, and the accomplishment of which must therefore beget a native satisfaction. The truly wise, after all their speculations, will be led into the common path, and, in homage to the human nature that pervades them, will gather gold, and till the earth, and set out trees, and build a house. But I have scorned such wisdom. I have rejected, also, the settled, sober, careful gladness of a man by his own fireside, with those around him whose welfare is committed to his trust, and all their guidance to his fond authority. Without influence among serious affairs, my footsteps were not imprinted on the earth, but lost in air; and I shall leave no son to inherit my share of life, with a better sense of its privileges and duties, when his father should vanish like a bubble; so that few mortals, even the humblest and the weakest, have been such ineffectual shadows in the world, or die so utterly as I must. Even a young man's bliss has not been mine. With a thousand vagrant fantasies, I have never truly loved, and perhaps shall be doomed to loneliness throughout the eternal future, because, here on earth, my soul has never married itself to the soul of woman.
“Such are the repinings of one who feels, too late, that the sympathies of his nature have avenged themselves upon him. They have prostrated, with a joyless life and the prospect of a reluctant death, my selfish purpose to keep aloof from mortal disquietudes, and be a pleasant idler among care-stricken and laborious men. I have other regrets, too, savoring more of my old spirit. The time has been when I meant to visit every region of the earth, except the poles and Central Africa. I had a strange longing to see the Pyramids. To Persia and Arabia, and all the gorgeous East, I owed a pilgrimage for the sake of their magic tales. And England, the land of my ancestors! Once I had fancied that my sleep would not be quiet in the grave unless I should return, as it were, to my home of past ages, and see the very cities, and castles, and battle-fields of history, and stand within the holy gloom of its cathedrals, and kneel at the shrines of its immortal poets, there asserting myself their hereditary countryman. This feeling lay among the deepest in my heart. Yet, with this homesickness for the fatherland, and all these plans of remote travel, — which I yet believe that my peculiar instinct impelled me to form, and upbraided me for not accomplishing, — the utmost limit of my wanderings has been little more than six hundred miles from my native village. Thus, in whatever way I consider my life, or what must be termed such, I cannot feel as if I had lived at all.
“I am possessed, also, with the thought that I have never yet discovered the real secret of my powers; that there has been a mighty treasure within my reach, a mine of gold beneath my feet, worthless because I have never known how to seek for it; and for want of perhaps one fortunate idea, I am to die
'Unwept, unhonored, and unsung.'“
“Oberon” is represented as in the position of the “Story-Teller,” and leaves home because of some fancied oppression; he visits Niagara, of which he gives some scenes as well as other anecdotes of his pedestrian journey, but he falls ill and determines to return home to die. As he approaches his birthplace he pleases himself with the fancy that there is some youth there whom he can teach by the lesson of his life, and he moralizes in a vein in which self-criticism may be read between the lines: —
“He shall be taught by my life, and by my death, that the world is a sad one for him who shrinks from its sober duties. My experience shall warn him to adopt some great and serious aim, such as manhood will cling to, that he may not feel himself, too late, a cumberer of this overladen earth, but a man among men. I will beseech him not to follow an eccentric path, nor, by stepping aside from the highway of human affairs, to relinquish his claim upon human sympathy. And often, as a text of deep and varied meaning, I will remind him that he is an American.”
Finally he describes the power he has obtained by the use of his imagination, in the view of life: —
“I have already a spiritual sense of human nature, and see deeply into the hearts of mankind, discovering what is hidden from the wisest. The loves of young men and virgins are known to me, before the first kiss, before the whispered word, with the birth of the first sigh. My glance comprehends the crowd, and penetrates the breast of the solitary man. I think better of the world than formerly, more generously of its virtues, more mercifully of its faults, with a higher estimate of its present happiness, and brighter hopes of its destiny.”
These passages from “The Devil in Manuscript” and “The Journal of a Solitary Man” may fairly be taken as a contemporary general account of Hawthorne's secret life in the years before his own “Note-Books” begin. The latter afford rather a view of his existence, from day to day. The earliest of them which has survived opens in the summer of 1835, and while containing scraps of information that he had jotted down as in a commonplace book, and also brief memoranda of ideas for tales and sketches, it also keeps record of his observations in his walks and drives, and thus pictures his outward life. He lived at Salem still, in the habits of seclusion that had always obtained in the house, and saw little of mankind. Society, if he sought it at all, was found for him among common people at the tavern or by the wayside, and was of the sort that he enjoyed on his summer journeys. But solitude was his normal state. This was indulged in his own room; or else he took a morning or afternoon to wander out to the near Salem beaches and points, or to the pleasant lanes of Danvers or across the river to the upland or seashore of Beverly. He occasionally drove a dozen miles or more to Ipswich, Nahant, or Andover. What he saw, however, was only rustic life of the countryside, or the natural views of wood and sky and sea, with the nearer objects to attract particular attention, of which he has left so many minute descriptions. His observation at such times, though without the naturalist's preoccupation, — rather with the poet's or novelist's, — was as keen and detailed as Thoreau's. These Note-Books, however, do not open his familiar life except as a record of changing seasons and of detached thoughts to be worked up in fiction. Many of his later tales are found here in the germ, in 1835 and for the year or two after; but the diary is not so much a confidant as it afterward became.
The time had now come when he must make some further step in establishing himself in some means of livelihood. He never showed much power of initiative, and at every stage was materially aided by his friends in obtaining employment and position. In this instance it was Goodrich again who gave him opportunity. It was not a great chance, but it was doubtless all Goodrich had to offer. He procured for him the editorship of a small publication which undertook to disseminate popular information, called “The American Magazine of Useful and Entertaining Knowledge,” and published by the Bewick Company, at Boston, with which Goodrich had some connection through his interests in engraving. His salary was to be five hundred dollars, and he entered on his duties about the beginning of 1836. The change was welcomed by his friends, or such of them as were still near enough to him to know of his affairs; and from this time his college mates, Pierce, Cilley, and especially Bridge, interested themselves in his fortunes. Bridge, writing from Havana, February 20, 1836, congratulated him, as did also Pierce from Washington, on the intelligence concerning his “late engagement in active and responsible business,” and particularly on his having got “out of
Salem,” which he credits with “a peculiar dulness;” and in later letters he continues to hearten him, subscribes for his magazine, reads and praises it, in the most cordial and cheering way. But the event did not justify these hopes and prognostications of a better fortune. The magazine was, after all, the merest hack-work. Hawthorne, with the aid of his sister Elizabeth, wrote most of it, compiling the matter from books or utilizing his own notes of travel. In it appeared, of such pieces as have found a place in his works, “An Ontario Steamboat,” “The Duston Family,” “Nature of Sleep,” “Bells,” besides much that has been suffered to repose in its scarce pages. The material, though conscientiously dealt with according to the measure of time at his disposal, is the slightest in interest, and the least re-worked from the raw state, of any of his writings. He had, however, little temptation to do more for the magazine than its limited scope required. He found great difficulty in collecting his salary, and for this he blames Goodrich, who had made promises of pay which he kept very imperfectly. Hawthorne states that of forty-five dollars he was to receive on coming to Boston he got only a small part, and on June 3, 1836, he received a notice, in answer to a dunning letter, that the Bewick Company had made an assignment, and he would have to wait until the settlement. Shortly after this he gave up the editorship, and returned to Salem. The incident was unfortunate, as in the course of it he developed a great deal of irritation toward Goodrich, who was his best friend in practical ways, and broke off communication with him. This, however, did not last long; and Goodrich offered him the job of compiling a “Peter Parley” book, for one hundred dollars. He wrote this, also with the aid of his sister Elizabeth, and gave her the money. The volume was “Peter Parley's Universal History on the basis of Geography,” [Footnote: Peter Parley's Universal History on the basis of Geography. For the Use of Families. Illustrated by Maps and Engravings. Boston: American Stationers' Company. John B. Russell, 1837. 12mo, cloth. 2 vols., pp. 380, 374.] and was published in 1837, and had a very large sale, amounting finally, it is said, to more than a million copies.
Delphi Complete Works of Nathaniel Hawthorne (Illustrated) Page 698
