Delphi Complete Works of Nathaniel Hawthorne (Illustrated) (688 page)
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Authors: NATHANIEL HAWTHORNE
E by Henry Jame
s
This celebrated book of literary criticism was first published in 1879. It is an insightful study of Hawthorne, in which James gives extended thought to each Hawthorne’s novels and a selection of short stories. James also reviewed Hawthorne's biography and some of his non-fiction. The book became somewhat controversial for a famous section where James enumerated the items of literary interest he thought were missing from American life.
CHAPTER I.
It will be necessary, for several reasons, to give this short sketch the form rather of a critical essay than of a biography. The data for a life of Nathaniel Hawthorne are the reverse of copious, and even if they were abundant they would serve but in a limited measure the purpose of the biographer. Hawthorne's career was probably as tranquil and uneventful a one as ever fell to the lot of a man of letters; it was almost strikingly deficient in incident, in what may be called the dramatic quality. Few men of equal genius and of equal eminence can have led on the whole a simpler life. His six volumes of Note-Books illustrate this simplicity; they are a sort of monument to an unagitated fortune. Hawthorne's career had few vicissitudes or variations; it was passed for the most part in a small and homogeneous society, in a provincial, rural community; it had few perceptible points of contact with what is called the world, with public events, with the manners of his time, even with the life of his neighbours. Its literary incidents are not numerous. He produced, in quantity, but little. His works consist of four novels and the fragment of another, five volumes of short tales, a collection of sketches, and a couple of story-books for children. And yet some account of the man and the writer is well worth giving. Whatever may have been Hawthorne's private lot, he has the importance of being the most beautiful and most eminent representative of a literature. The importance of the literature may be questioned, but at any rate, in the field of letters, Hawthorne is the most valuable example of the American genius. That genius has not, as a whole, been literary; but Hawthorne was on his limited scale a master of expression. He is the writer to whom his countrymen most confidently point when they wish to make a claim to have enriched the mother-tongue, and, judging from present appearances, he will long occupy this honourable position. If there is something very fortunate for him in the way that he borrows an added relief from the absence of competitors in his own line and from the general flatness of the literary field that surrounds him, there is also, to a spectator, something almost touching in his situation. He was so modest and delicate a genius that we may fancy him appealing from the lonely honour of a representative attitude — perceiving a painful incongruity between his imponderable literary baggage and the large conditions of American life. Hawthorne on the one side is so subtle and slender and unpretending, and the American world on the other is so vast and various and substantial, that it might seem to the author of
The Scarlet Letter
and the
Mosses from an Old Manse
, that we render him a poor service in contrasting his proportions with those of a great civilization. But our author must accept the awkward as well as the graceful side of his fame; for he has the advantage of pointing a valuable moral. This moral is that the flower of art blooms only where the soil is deep, that it takes a great deal of history to produce a little literature, that it needs a complex social machinery to set a writer in motion. American civilization has hitherto had other things to do than to produce flowers, and before giving birth to writers it has wisely occupied itself with providing something for them to write about. Three or four beautiful talents of trans-Atlantic growth are the sum of what the world usually recognises, and in this modest nosegay the genius of Hawthorne is admitted to have the rarest and sweetest fragrance.
His very simplicity has been in his favour; it has helped him to appear complete and homogeneous. To talk of his being national would be to force the note and make a mistake of proportion; but he is, in spite of the absence of the realistic quality, intensely and vividly local. Out of the soil of New England he sprang — in a crevice of that immitigable granite he sprouted and bloomed. Half of the interest that he possesses for an American reader with any turn for analysis must reside in his latent New England savour; and I think it no more than just to say that whatever entertainment he may yield to those who know him at a distance, it is an almost indispensable condition of properly appreciating him to have received a personal impression of the manners, the morals, indeed of the very climate, of the great region of which the remarkable city of Boston is the metropolis. The cold, bright air of New England seems to blow through his pages, and these, in the opinion of many people, are the medium in which it is most agreeable to make the acquaintance of that tonic atmosphere. As to whether it is worth while to seek to know something of New England in order to extract a more intimate quality from
The House of Seven Gables
and
The Blithedale Romance
, I need not pronounce; but it is certain that a considerable observation of the society to which these productions were more directly addressed is a capital preparation for enjoying them. I have alluded to the absence in Hawthorne of that quality of realism which is now so much in fashion, an absence in regard to which there will of course be more to say; and yet I think I am not fanciful in saying that he testifies to the sentiments of the society in which he flourished almost as pertinently (proportions observed) as Balzac and some of his descendants — MM. Flaubert and Zola — testify to the manners and morals of the French people. He was not a man with a literary theory; he was guiltless of a system, and I am not sure that he had ever heard of Realism, this remarkable compound having (although it was invented some time earlier) come into general use only since his death. He had certainly not proposed to himself to give an account of the social idiosyncrasies of his fellow-citizens, for his touch on such points is always light and vague, he has none of the apparatus of an historian, and his shadowy style of portraiture never suggests a rigid standard of accuracy. Nevertheless he virtually offers the most vivid reflection of New England life that has found its way into literature. His value in this respect is not diminished by the fact that he has not attempted to portray the usual Yankee of comedy, and that he has been almost culpably indifferent to his opportunities for commemorating the variations of colloquial English that may be observed in the New World. His characters do not express themselves in the dialect of the
Biglow Papers
— their language indeed is apt to be too elegant, too delicate. They are not portraits of actual types, and in their phraseology there is nothing imitative. But none the less, Hawthorne's work savours thoroughly of the local soil — it is redolent of the social system in which he had his being.
This could hardly fail to be the case, when the man himself was so deeply rooted in the soil. Hawthorne sprang from the primitive New England stock; he had a very definite and conspicuous pedigree. He was born at Salem, Massachusetts, on the 4th of July, 1804, and his birthday was the great American festival, the anniversary of the Declaration of national Independence.
Hawthorne was in his disposition an unqualified and unflinching American; he found occasion to give us the measure of the fact during the seven years that he spent in Europe toward the close of his life; and this was no more than proper on the part of a man who had enjoyed the honour of coming into the world on the day on which of all the days in the year the great Republic enjoys her acutest fit of self-consciousness. Moreover, a person who has been ushered into life by the ringing of bells and the booming of cannon (unless indeed he be frightened straight out of it again by the uproar of his awakening) receives by this very fact an injunction to do something great, something that will justify such striking natal accompaniments. Hawthorne was by race of the clearest Puritan strain. His earliest American ancestors (who wrote the name “Hathorne” — the shape in which it was transmitted to Nathaniel, who inserted the
w
,) was the younger son of a Wiltshire family, whose residence, according to a note of our author's in 1837, was “Wigcastle, Wigton.” Hawthorne, in the note in question, mentions the gentleman who was at that time the head of the family; but it does not appear that he at any period renewed acquaintance with his English kinsfolk. Major William Hathorne came out to Massachusetts in the early years of the Puritan settlement; in 1635 or 1636, according to the note to which I have just alluded; in 1630 according to information presumably more accurate. He was one of the band of companions of the virtuous and exemplary John Winthrop, the almost life-long royal Governor of the young colony, and the brightest and most amiable figure in the early Puritan annals. How amiable William Hathorne may have been I know not, but he was evidently of the stuff of which the citizens of the Commonwealth were best advised to be made. He was a sturdy fighting man, doing solid execution upon both the inward and outward enemies of the State. The latter were the savages, the former the Quakers; the energy expended by the early Puritans in resistance to the tomahawk not weakening their disposition to deal with spiritual dangers. They employed the same — or almost the same — weapons in both directions; the flintlock and the halberd against the Indians, and the cat-o'-nine-tails against the heretics. One of the longest, though by no means one of the most successful, of Hawthorne's shorter tales (
The Gentle Boy
) deals with this pitiful persecution of the least aggressive of all schismatic bodies. William Hathorne, who had been made a magistrate of the town of Salem, where a grant of land had been offered him as an inducement to residence, figures in New England history as having given orders that “Anne Coleman and four of her friends” should be whipped through Salem, Boston, and Dedham. This Anne Coleman, I suppose, is the woman alluded to in that fine passage in the Introduction to
The Scarlet Letter
, in which Hawthorne pays a qualified tribute to the founder of the American branch of his race: —
“The figure of that first ancestor, invested by family tradition with a dim and dusky grandeur, was present to my boyish imagination as far back as I can remember. It still haunts me, and induces a sort of home-feeling with the past, which I scarcely claim in reference to the present, phase of the town. I seem to have a stronger claim to a residence here on account of this grave, bearded, sable-cloaked and steeple-crowned progenitor — who came so early, with his Bible and his sword, and trod the unworn street with such a stately port, and make so large a figure as a man of war and peace — a stronger claim than for myself, whose name is seldom heard and my face hardly known. He was a soldier, legislator, judge; he was a ruler in the church; he had all the Puritanic traits, both good and evil. He was likewise a bitter persecutor, as witness the Quakers, who have remembered him in their histories, and relate an incident of his hard severity towards a woman of their sect which will last longer, it is to be feared, than any of his better deeds, though these were many.”
FOOTNOTE
It is proper that before I go further I should acknowledge my large obligations to the only biography of our author, of any considerable length, that has been written — the little volume entitled
A Study of Hawthorne
, by Mr. George Parsons Lathrop, the son-in-law of the subject of the work. (Boston, 1876.) To this ingenious and sympathetic sketch, in which the author has taken great pains to collect the more interesting facts of Hawthorne's life, I am greatly indebted. Mr. Lathrop's work is not pitched in the key which many another writer would have chosen, and his tone is not to my sense the truly critical one; but without the help afforded by his elaborate essay the present little volume could not have been prepared.
William Hathorne died in 1681; but those hard qualities that his descendant speaks of were reproduced in his son John, who bore the title of Colonel, and who was connected, too intimately for his honour, with that deplorable episode of New England history, the persecution of-the so-called Witches of Salem. John Hathorne is introduced into the little drama entitled
The Salem Farms
in Longfellow's
New England Tragedies
. I know not whether he had the compensating merits of his father, but our author speaks of him, in the continuation of the passage I have just quoted, as having made himself so conspicuous in the martyrdom of the witches, that their blood may be said to have left a stain upon him. “So deep a stain, indeed,” Hawthorne adds, characteristically, “that his old dry bones in the Charter Street burial-ground must still retain it, if they have not crumbled utterly to dust.” Readers of
The House of the Seven Gables
will remember that the story concerns itself with a family which is supposed to be overshadowed by a curse launched against one of its earlier members by a poor man occupying a lowlier place in the world, whom this ill-advised ancestor had been the means of bringing to justice for the crime of witchcraft. Hawthorne apparently found the idea of the history of the Pyncheons in his own family annals. His witch-judging ancestor was reported to have incurred a malediction from one of his victims, in consequence of which the prosperity of the race faded utterly away. “I know not,” the passage I have already quoted goes on, “whether these ancestors of mine bethought themselves to repent and ask pardon of Heaven for their cruelties, or whether they are now groaning under the heavy consequences of them in another state of being. At all events, I, the present writer, hereby take shame upon myself for their sakes, and pray that any curse incurred by them — as I have heard, and as the dreary and unprosperous condition of the race for some time back would argue to exist — may be now and henceforth removed.” The two first American Hathornes had been people of importance and responsibility; but with the third generation the family lapsed into an obscurity from which it emerged in the very person of the writer who begs so gracefully for a turn in its affairs. It is very true, Hawthorne proceeds, in the Introduction to
The Scarlet Letter
, that from the original point of view such lustre as he might have contrived to confer upon the name would have appeared more than questionable.
