Read Delphi Complete Works of Nathaniel Hawthorne (Illustrated) Online
Authors: NATHANIEL HAWTHORNE
“What's here?” exclaimed Tabitha, adjusting her spectacles and holding the lamp over the open chest. “Old Peter Goldthwaite's hoard of old rags!”
“Pretty much so, Tabby,” said Mr. Brown, lifting a handful of the treasure.
Oh what a ghost of dead and buried wealth had Peter Goldthwaite raised to scare himself out of his scanty wits withal! Here was the semblance of an incalculable sum, enough to purchase the whole town and build every street anew, but which, vast as it was, no sane man would have given a solid sixpence for. What, then, in sober earnest, were the delusive treasures of the chest? Why, here were old provincial bills of credit and treasury notes and bills of land-banks, and all other bubbles of the sort, from the first issue — above a century and a half ago — down nearly to the Revolution. Bills of a thousand pounds were intermixed with parchment pennies, and worth no more than they.
“And this, then, is old Peter Goldthwaite's treasure!” said John Brown. “Your namesake, Peter, was something like yourself; and when the provincial currency had depreciated fifty or seventy-five per cent, he bought it up in expectation of a rise. I have heard my grandfather say that old Peter gave his father a mortgage of this very house and land to raise cash for his silly project. But the currency kept sinking till nobody would take it as a gift, and there was old Peter Goldthwaite, like Peter the second, with thousands in his strong-box and hardly a coat to his back. He went mad upon the strength of it. But never mind, Peter; it is just the sort of capital for building castles in the air.”
“The house will be down about our ears,” cried Tabitha as the wind shook it with increasing violence.
“Let it fall,” said Peter, folding his arms, as he seated himself upon the chest.
“No, no, my old friend Peter!” said John Brown. “I have house-room for you and Tabby, and a safe vault for the chest of treasure. To-morrow we will try to come to an agreement about the sale of this old house; real estate is well up, and I could afford you a pretty handsome price.”
“And I,” observed Peter Goldthwaite, with reviving spirits, “have a plan for laying out the cash to great advantage.”
“Why, as to that,” muttered John Brown to himself, “we must apply to the next court for a guardian to take care of the solid cash; and if Peter insists upon speculating, he may do it to his heart's content with old Peter Goldthwaite's treasure.”
Passing a summer several years since at Edgartown, on the island of Martha's Vineyard, I became acquainted with a certain carver of tombstones who had travelled and voyaged thither from the interior of Massachusetts in search of professional employment. The speculation had turned out so successful that my friend expected to transmute slate and marble into silver and gold to the amount of at least a thousand dollars during the few months of his sojourn at Nantucket and the Vineyard. The secluded life and the simple and primitive spirit which still characterizes the inhabitants of those islands, especially of Martha's Vineyard, insure their dead friends a longer and dearer remembrance than the daily novelty and revolving bustle of the world can elsewhere afford to beings of the past. Yet, while every family is anxious to erect a memorial to its departed members, the untainted breath of Ocean bestows such health and length of days upon the people of the isles as would cause a melancholy dearth of business to a resident artist in that line. His own monument, recording his decease by starvation, would probably be an early specimen of his skill. Gravestones, therefore, have generally been an article of imported merchandise.
In my walks through the burial-ground of Edgartown — where the dead have lain so long that the soil, once enriched by their decay, has returned to its original barrenness — in that ancient burial-ground I noticed much variety of monumental sculpture. The elder stones, dated a century back or more, have borders elaborately carved with flowers and are adorned with a multiplicity of death's-heads, crossbones, scythes, hour-glasses, and other lugubrious emblems of mortality, with here and there a winged cherub to direct the mourner's spirit upward. These productions of Gothic taste must have been quite beyond the colonial skill of the day, and were probably carved in London and brought across the ocean to commemorate the defunct worthies of this lonely isle. The more recent monuments are mere slabs of slate in the ordinary style, without any superfluous flourishes to set off the bald inscriptions. But others — and those far the most impressive both to my taste and feelings — were roughly hewn from the gray rocks of the island, evidently by the unskilled hands of surviving friends and relatives. On some there were merely the initials of a name; some were inscribed with misspelt prose or rhyme, in deep letters which the moss and wintry rain of many years had not been able to obliterate. These, these were graves where loved ones slept. It is an old theme of satire, the falsehood and vanity of monumental eulogies; but when affection and sorrow grave the letters with their own painful labor, then we may be sure that they copy from the record on their hearts.
My acquaintance the sculptor — he may share that title with Greenough, since the dauber of signs is a painter as well as Raphael — had found a ready market for all his blank slabs of marble and full occupation in lettering and ornamenting them. He was an elderly man, a descendant of the old Puritan family of Wigglesworth, with a certain simplicity and singleness both of heart and mind which, methinks, is more rarely found among us Yankees than in any other community of people. In spite of his gray head and wrinkled brow, he was quite like a child in all matters save what had some reference to his own business; he seemed, unless my fancy misled me, to view mankind in no other relation than as people in want of tombstones, and his literary attainments evidently comprehended very little either of prose of poetry which had not at one time or other been inscribed on slate or marble. His sole task and office among the immortal pilgrims of the tomb — the duty for which Providence had sent the old man into the world, as it were with a chisel in his hand — was to label the dead bodies, lest their names should be forgotten at the resurrection. Yet he had not failed, within a narrow scope, to gather a few sprigs of earthly, and more than earthly, wisdom — the harvest of many a grave. And, lugubrious as his calling might appear, he was as cheerful an old soul as health and integrity and lack of care could make him, and used to set to work upon one sorrowful inscription or another with that sort of spirit which impels a man to sing at his labor. On the whole, I found Mr. Wigglesworth an entertaining, and often instructive, if not an interesting, character; and, partly for the charm of his society, and still more because his work has an invariable attraction for “man that is born of woman,” I was accustomed to spend some hours a day at his workshop. The quaintness of his remarks and their not infrequent truth — a truth condensed and pointed by the limited sphere of his view — gave a raciness to his talk which mere worldliness and general cultivation would at once have destroyed.
Sometimes we would discuss the respective merits of the various qualities of marble, numerous slabs of which were resting against the walls of the shop, or sometimes an hour or two would pass quietly without a word on either side while I watched how neatly his chisel struck out letter after letter of the names of the Nortons, the Mayhews, the Luces, the Daggets, and other immemorial families of the Vineyard. Often with an artist's pride the good old sculptor would speak of favorite productions of his skill which were scattered throughout the village graveyards of New England. But my chief and most instructive amusement was to witness his interviews with his customers, who held interminable consultations about the form and fashion of the desired monuments, the buried excellence to be commemorated, the anguish to be expressed, and finally the lowest price in dollars and cents for which a marble transcript of their feelings might be obtained. Really, my mind received many fresh ideas which perhaps may remain in it even longer than Mr. Wigglesworth's hardest marble will retain the deepest strokes of his chisel.
An elderly lady came to bespeak a monument for her first love, who had been killed by a whale in the Pacific Ocean no less than forty years before. It was singular that so strong an impression of early feeling should have survived through the changes of her subsequent life, in the course of which she had been a wife and a mother, and, so far as I could judge, a comfortable and happy woman. Reflecting within myself, it appeared to me that this lifelong sorrow — as, in all good faith, she deemed it — was one of the most fortunate circumstances of her history. It had given an ideality to her mind; it had kept her purer and less earthy than she would otherwise have been by drawing a portion of her sympathies apart from earth. Amid the throng of enjoyments and the pressure of worldly care and all the warm materialism of this life she had communed with a vision, and had been the better for such intercourse. Faithful to the husband of her maturity, and loving him with a far more real affection than she ever could have felt for this dream of her girlhood, there had still been an imaginative faith to the ocean-buried; so that an ordinary character had thus been elevated and refined. Her sighs had been the breath of Heaven to her soul. The good lady earnestly desired that the proposed monument should be ornamented with a carved border of marine plants interwined with twisted sea-shells, such as were probably waving over her lover's skeleton or strewn around it in the far depths of the Pacific. But, Mr. Wigglesworth's chisel being inadequate to the task, she was forced to content herself with a rose hanging its head from a broken stem.
After her departure I remarked that the symbol was none of the most apt.
“And yet,” said my friend the sculptor, embodying in this image the thoughts that had been passing through my own mind, “that broken rose has shed its sweet smell through forty years of the good woman's life.”
It was seldom that I could find such pleasant food for contemplation as in the above instance. None of the applicants, I think, affected me more disagreeably than an old man who came, with his fourth wife hanging on his arm, to bespeak gravestones for the three former occupants of his marriage-bed. I watched with some anxiety to see whether his remembrance of either were more affectionate than of the other two, but could discover no symptom of the kind. The three monuments were all to be of the same material and form, and each decorated in bas-relief with two weeping willows, one of these sympathetic trees bending over its fellow, which was to be broken in the midst and rest upon a sepulchral urn. This, indeed, was Mr. Wigglesworth's standing emblem of conjugal bereavement. I shuddered at the gray polygamist who had so utterly lost the holy sense of individuality in wedlock that methought he was fain to reckon upon his fingers how many women who had once slept by his side were now sleeping in their graves. There was even — if I wrong him, it is no great matter — a glance sidelong at his living spouse, as if he were inclined to drive a thriftier bargain by bespeaking four gravestones in a lot.
I was better pleased with a rough old whaling-captain who gave directions for a broad marble slab divided into two compartments, one of which was to contain an epitaph on his deceased wife and the other to be left vacant till death should engrave his own name there. As is frequently the case among the whalers of Martha's Vineyard, so much of this storm-beaten widower's life had been tossed away on distant seas that out of twenty years of matrimony he had spent scarce three, and those at scattered intervals, beneath his own roof. Thus the wife of his youth, though she died in his and her declining age, retained the bridal dewdrops fresh around her memory.
My observations gave me the idea, and Mr. Wigglesworth confirmed it, that husbands were more faithful in setting up memorials to their dead wives than widows to their dead husbands. I was not ill-natured enough to fancy that women less than men feel so sure of their own constancy as to be willing to give a pledge of it in marble. It is more probably the fact that, while men are able to reflect upon their lost companions as remembrances apart from themselves, women, on the other hand, are conscious that a portion of their being has gone with the departed whithersoever he has gone. Soul clings to soul, the living dust has a sympathy with the dust of the grave; and by the very strength of that sympathy the wife of the dead shrinks the more sensitively from reminding the world of its existence. The link is already strong enough; it needs no visible symbol. And, though a shadow walks ever by her side and the touch of a chill hand is on her bosom, yet life, and perchance its natural yearnings, may still be warm within her and inspire her with new hopes of happiness. Then would she mark out the grave the scent of which would be perceptible on the pillow of the second bridal? No, but rather level its green mound with the surrounding earth, as if, when she dug up again her buried heart, the spot had ceased to be a grave.
Yet, in spite of these sentimentalities, I was prodigiously amused by an incident of which I had not the good-fortune to be a witness, but which Mr. Wigglesworth related with considerable humor. A gentlewoman of the town, receiving news of her husband's loss at sea, had bespoken a handsome slab of marble, and came daily to watch the progress of my friend's chisel. One afternoon, when the good lady and the sculptor were in the very midst of the epitaph — which the departed spirit might have been greatly comforted to read — who should walk into the workshop but the deceased himself, in substance as well as spirit! He had been picked up at sea, and stood in no present need of tombstone or epitaph.
“And how,” inquired I, “did his wife bear the shock of joyful surprise?”
“Why,” said the old man, deepening the grin of a death's-head on which his chisel was just then employed, “I really felt for the poor woman; it was one of my best pieces of marble — and to be thrown away on a living man!”
A comely woman with a pretty rosebud of a daughter came to select a gravestone for a twin-daughter, who had died a month before. I was impressed with the different nature of their feelings for the dead. The mother was calm and woefully resigned, fully conscious of her loss, as of a treasure which she had not always possessed, and therefore had been aware that it might be taken from her; but the daughter evidently had no real knowledge of what Death's doings were. Her thoughts knew, but not her heart. It seemed to me that by the print and pressure which the dead sister had left upon the survivor's spirit her feelings were almost the same as if she still stood side by side and arm in arm with the departed, looking at the slabs of marble, and once or twice she glanced around with a sunny smile, which, as its sister-smile had faded for ever, soon grew confusedly overshadowed. Perchance her consciousness was truer than her reflection; perchance her dead sister was a closer companion than in life.
The mother and daughter talked a long while with Mr. Wigglesworth about a suitable epitaph, and finally chose an ordinary verse of ill-matched rhymes which had already been inscribed upon innumerable tombstones. But when we ridicule the triteness of monumental verses, we forget that Sorrow reads far deeper in them than we can, and finds a profound and individual purport in what seems so vague and inexpressive unless interpreted by her. She makes the epitaph anew, though the selfsame words may have served for a thousand graves.
“And yet,” said I afterward to Mr. Wigglesworth, “they might have made a better choice than this. While you were discussing the subject I was struck by at least a dozen simple and natural expressions from the lips of both mother and daughter. One of these would have formed an inscription equally original and appropriate.”
“No, no!” replied the sculptor, shaking his head; “there is a good deal of comfort to be gathered from these little old scraps of poetry, and so I always recommend them in preference to any new-fangled ones. And somehow they seem to stretch to suit a great grief and shrink to fit a small one.”