Delphi Complete Works of Nathaniel Hawthorne (Illustrated) (697 page)

The battle was a small one, and the farmers were not destined individually to emerge from obscurity; but the memory of these things has kept the reputation of Concord green, and it has been watered, moreover, so to speak, by the life-long presence there of one of the most honoured of American men of letters — the poet from whom I just quoted two lines. Concord is indeed in itself decidedly verdant, and is an excellent specimen of a New England village of the riper sort. At the time of Hawthorne's first going there it must have been an even better specimen than to-day — more homogeneous, more indigenous, more absolutely democratic. Forty years ago the tide of foreign immigration had scarcely begun to break upon the rural strongholds of the New England race; it had at most begun to splash them with the salt Hibernian spray. It is very possible, however, that at this period there was not an Irishman in Concord; the place would have been a village community operating in excellent conditions. Such a village community was not the least honourable item in the sum of New England civilisation. Its spreading elms and plain white houses, its generous summers and ponderous winters, its immediate background of promiscuous field and forest, would have been part of the composition. For the rest, there were the selectmen and the town-meetings, the town-schools and the self-governing spirit, the rigid morality, the friendly and familiar manners, the perfect competence of the little society to manage its affairs itself. In the delightful introduction to the
Mosses
, Hawthorne has given an account of his dwelling, of his simple occupations and recreations, and of some of the characteristics of the place. The Manse is a large, square wooden house, to the surface of which — even in the dry New England air, so unfriendly to mosses and lichens and weather-stains, and the other elements of a picturesque complexion — a hundred and fifty years of exposure have imparted a kind of tone, standing just above the slow-flowing Concord river, and approached by a short avenue of over-arching trees. It had been the dwelling-place of generations of Presbyterian ministers, ancestors of the celebrated Emerson, who had himself spent his early manhood and written some of his most beautiful essays there. “He used,” as Hawthorne says, “to watch the Assyrian dawn, and Paphian sunset and moonrise, from the summit of our eastern hill.” From its clerical occupants the place had inherited a mild mustiness of theological association — a vague reverberation of old Calvinistic sermons, which served to deepen its extra-mundane and somnolent quality. The three years that Hawthorne passed here were, I should suppose, among the happiest of his life. The future was indeed not in any special manner assured; but the present was sufficiently genial. In the American Note-Books there is a charming passage (too long to quote) descriptive of the entertainment the new couple found in renovating and re-furnishing the old parsonage, which, at the time of their going into it, was given up to ghosts and cobwebs. Of the little drawing-room, which had been most completely reclaimed, he writes that “the shade of our departed host will never haunt it; for its aspect has been as completely changed as the scenery of a theatre. Probably the ghost gave one peep into it, uttered a groan, and vanished for ever.” This departed host was a certain Doctor Ripley, a venerable scholar, who left behind him a reputation of learning and sanctity which was reproduced in one of the ladies of his family, long the most distinguished woman in the little Concord circle. Doctor Ripley's predecessor had been, I believe, the last of the line of the Emerson ministers — an old gentleman who, in the earlier years of his pastorate, stood at the window of his study (the same in which Hawthorne handled a more irresponsible quill) watching, with his hands under his long coat-tails, the progress of Concord fight. It is not by any means related, however, I should add, that he waited for the conclusion to make up his mind which was the righteous cause.

Hawthorne had a little society (as much, we may infer, as he desired), and it was excellent in quality. But the pages in the Note-Books which relate to his life at the Manse, and the introduction to the
Mosses
, make more of his relations with vegetable nature, and of his customary contemplation of the incidents of wood-path and way-side, than of the human elements of the scene; though these also are gracefully touched upon. These pages treat largely of the pleasures of a kitchen-garden, of the beauty of summer-squashes, and of the mysteries of apple-raising. With the wholesome aroma of apples (as is indeed almost necessarily the case in any realistic record of New England rural life) they are especially pervaded; and with many other homely and domestic emanations; all of which derive a sweetness from the medium of our author's colloquial style. Hawthorne was silent with his lips; but he talked with his pen. The tone of his writing is often that of charming talk — ingenious, fanciful, slow-flowing, with all the lightness of gossip, and none of its vulgarity. In the preface to the tales written at the Manse he talks of many things and just touches upon some of the members of his circle — especially upon that odd genius, his fellow-villager, Henry Thoreau. I said a little way back that the New England Transcendental movement had suffered in the estimation of the world at large from not having (putting Emerson aside) produced any superior talents. But any reference to it would be ungenerous which should omit to pay a tribute in passing to the author of
Walden
. Whatever question there may be of his talent, there can be none, I think, of his genius. It was a slim and crooked one; but it was eminently personal. He was imperfect, unfinished, inartistic; he was worse than provincial — he was parochial; it is only at his best that he is readable. But at his best he has an extreme natural charm, and he must always be mentioned after those Americans — Emerson, Hawthorne, Longfellow, Lowell, Motley — who have written originally. He was Emerson's independent moral man made flesh — living for the ages, and not for Saturday and Sunday; for the Universe, and not for Concord. In fact, however, Thoreau lived for Concord very effectually, and by his remarkable genius for the observation of the phenomena of woods and streams, of plants and trees, and beasts and fishes, and for flinging a kind of spiritual interest over these things, he did more than he perhaps intended toward consolidating the fame of his accidental human sojourn. He was as shy and ungregarious as Hawthorne; but he and the latter appear to have been sociably disposed towards each other, and there are some charming touches in the preface to the
Mosses
in regard to the hours they spent in boating together on the large, quiet Concord river. Thoreau was a great voyager, in a canoe which he had constructed himself, and which he eventually made over to Hawthorne, and as expert in the use of the paddle as the Red men who had once haunted the same silent stream. The most frequent of Hawthorne's companions on these excursions appears, however, to have been a local celebrity — as well as Thoreau a high Transcendentalist — Mr. Ellery Channing, whom I may mention, since he is mentioned very explicitly in the preface to the
Mosses
, and also because no account of the little Concord world would be complete which should omit him. He was the son of the distinguished Unitarian moralist, and, I believe, the intimate friend of Thoreau, whom he resembled in having produced literary compositions more esteemed by the few than by the many. He and Hawthorne were both fishermen, and the two used to set themselves afloat in the summer afternoons. “Strange and happy times were those,” exclaims the more distinguished of the two writers, “when we cast aside all irksome forms and strait-laced habitudes, and delivered ourselves up to the free air, to live like the Indians or any less conventional race, during one bright semicircle of the sun. Rowing our boat against the current, between wide meadows, we turned aside into the Assabeth. A more lovely stream than this, for a mile above its junction with the Concord, has never flowed on earth — nowhere indeed except to lave the interior regions of a poet's imagination.... It comes flowing softly through the midmost privacy and deepest heart of a wood which whispers it to be quiet; while the stream whispers back again from its sedgy borders, as if river and wood were hushing one another to sleep. Yes; the river sleeps along its course and dreams of the sky and the clustering foliage....” While Hawthorne was looking at these beautiful things, or, for that matter, was writing them, he was well out of the way of a certain class of visitants whom he alludes to in one of the closing passages of this long Introduction. “Never was a poor little country village infested with such a variety of queer, strangely-dressed, oddly-behaved mortals, most of whom took upon themselves to be important agents of the world's destiny, yet were simply bores of a very intense character.” “These hobgoblins of flesh and blood,” he says in a preceding paragraph, “were attracted thither by the wide-spreading influence of a great original thinker who had his earthly abode at the opposite extremity of our village.... People that had lighted on a new thought or a thought they fancied new, came to Emerson, as the finder of a glittering gem hastens to a lapidary, to ascertain its quality and value.” And Hawthorne enumerates some of the categories of pilgrims to the shrine of the mystic counsellor, who as a general thing was probably far from abounding in their own sense (when this sense was perverted), but gave them a due measure of plain practical advice. The whole passage is interesting, and it suggests that little Concord had not been ill-treated by the fates — with “a great original thinker” at one end of the village, an exquisite teller of tales at the other, and the rows of New England elms between. It contains moreover an admirable sentence about Hawthorne's pilgrim-haunted neighbour, with whom, “being happy,” as he says, and feeling therefore “as if there were no question to be put,” he was not in metaphysical communion. “It was good nevertheless to meet him in the wood-paths, or sometimes in our avenue, with that pure intellectual gleam diffused about his presence, like the garment of a shining one; and he so quiet, so simple, so without pretension, encountering each man alive as if expecting to receive more than he could impart!” One may without indiscretion risk the surmise that Hawthorne's perception, of the “shining” element in his distinguished friend was more intense than his friend's appreciation of whatever luminous property might reside within the somewhat dusky envelope of our hero's identity as a collector of “mosses.” Emerson, as a sort of spiritual sun-worshipper, could have attached but a moderate value to Hawthorne's cat-like faculty of seeing in the dark.

“As to the daily coarse of our life,” the latter writes in the spring of 1843, “I have written with pretty commendable diligence, averaging from two to four hours a day; and the result is seen in various magazines. I might have written more if it had seemed worth while, but I was content to earn only so much gold as might suffice for our immediate wants, having prospect of official station and emolument which would do away with the necessity of writing for bread. These prospects have not yet had their fulfilment; and we are well content to wait, for an office would inevitably remove us from our present happy home — at least from an outward home; for there is an inner one that will accompany us wherever we go. Meantime, the magazine people do not pay their debts; so that we taste some of the inconveniences of poverty. It is an annoyance, not a trouble.” And he goes on to give some account of his usual habits. (The passage is from his Journal, and the account is given to himself, as it were, with that odd, unfamiliar explicitness which marks the tone of this record throughout.) “Every day I trudge through snow and slosh to the village, look into the post-office, and spend an hour at the reading-room; and then return home, generally without having spoken a word to any human being.... In the way of exercise I saw and split wood, and physically I was never in a better condition than now.” He adds a mention of an absence he had lately made. “I went alone to Salem, where I resumed all my bachelor habits for nearly a fortnight, leading the same life in which ten years of my youth flitted away like a dream. But how much changed was I! At last I had got hold of a reality which never could be taken from me. It was good thus to get apart from my happiness for the sake of contemplating it.”

These compositions, which were so unpunctually paid for, appeared in the
Democratic Review
, a periodical published at Washington, and having, as our author's biographer says, “considerable pretensions to a national character.” It is to be regretted that the practice of keeping its creditors waiting should, on the part of the magazine in question, have been thought compatible with these pretensions. The foregoing lines are a description of a very monotonous but a very contented life, and Mr. Lathrop justly remarks upon the dissonance of tone of the tales Hawthorne produced under these happy circumstances. It is indeed not a little of an anomaly. The episode of the Manse was one of the most agreeable he had known, and yet the best of the
Mosses
(though not the greater number of them) are singularly dismal compositions. They are redolent of M. Montégut's pessimism. “The reality of sin, the pervasiveness of evil,” says Mr. Lathrop, “had been but slightly insisted upon in the earlier tales: in this series the idea bursts up like a long-buried fire, with earth-shaking strength, and the pits of hell seem yawning beneath us.” This is very true (allowing for Mr. Lathrop's rather too emphatic way of putting it); but the anomaly is, I think, on the whole, only superficial. Our writer's imagination, as has been abundantly conceded, was a gloomy one; the old Puritan sense of sin, of penalties to be paid, of the darkness and wickedness of life, had, as I have already suggested, passed into it. It had not passed into the parts of Hawthorne's nature corresponding to those occupied by the same horrible vision of things in his ancestors; but it had still been determined to claim this later comer as its own, and since his heart and his happiness were to escape, it insisted on setting its mark upon his genius — upon his most beautiful organ, his admirable fancy. It may be said that when his fancy was strongest and keenest, when it was most itself, then the dark Puritan tinge showed in it most richly; and there cannot be a better proof that he was not the man of a sombre
parti-pris
whom M. Montégut describes, than the fact that these duskiest flowers of his invention sprang straight from the soil of his happiest days. This surely indicates that there was but little direct connection between the products of his fancy and the state of his affections. When he was lightest at heart, he was most creative, and when he was most creative, the moral picturesqueness of the old secret of mankind in general and of the Puritans in particular, most appealed to him — the secret that we are really not by any means so good as a well-regulated society requires us to appear. It is not too much to say, even, that the very condition of production of some of these unamiable tales would be that they should be superficial, and, as it were, insincere. The magnificent little romance of
Young Goodman Brown
, for instance, evidently means nothing as regards Hawthorne's own state of mind, his conviction of human depravity and his consequent melancholy; for the simple reason that if it meant anything, it would mean too much. Mr. Lathrop speaks of it as a “terrible and lurid parable;” but this, it seems to me, is just what it is not. It is not a parable, but a picture, which is a very different thing. What does M. Montégut make, one would ask, from the point of view of Hawthorne's pessimism, of the singularly objective and unpreoccupied tone of the Introduction to the
Old Manse
, in which the author speaks from himself, and in which the cry of metaphysical despair is not even faintly sounded?