No More Learning

Mr. Hawthorne's best work suggests more than one element that
distinguishes his father's stories. There is the psychologic accent, the
touch of mystery, the avoidance of the stock properties of romance.
XII-441


## p. 7042 (#434) ###########################################

7042
JULIAN HAWTHORNE
He is an expert literary craftsman. One cannot but feel that with a
firmer grip on his own fancy, and with an early discipline in style
and in methods of treatment, his fictions would be of a finer individ-
uality. But they hold the interest, and they show an aim at reaching
beyond the scope of the ordinary novel of human character. Garth'
and 'Archibald Malmaison have been cited as perhaps his two most
successful novels. Into Garth' is woven the history of a New Eng-
land home and family line, with a kind of curse upon them inherited
from the shadowy past of Indian days; and the career of a curiously
fascinating young hero, a survival or reincarnation of "primeval
man," who declares that he feels "as though the earth were my body
and I saw through it and lived through it, just as I do my human
body; . . . and then I was as strong as the whole world and as
happy as heaven. " In 'Archibald Malmaison' we have a brief, gloomy
drama, turning on a central character whose mental personality every
few years inevitably and shockingly "reverts. " At seven years the
little boy goes back to his boyhood of two or three, forgetting every-
thing that has been in his mind and life since that term; in his early
teens he lapses to nearly his development at mere babyhood, with the
intervening time a blank. At last, a man grown, this weird fatality,
combined with his knowledge of a hidden room (known only to him-
self) in his home, and a mad love affair, bring about a terrible mis-
adventure, closing the story.
THE EAST WING: ARCHIBALD IS A CHANGELING
From Archibald Malmaison. Copyright 1884, by Funk & Wagnalls
THE
HE room itself was long, narrow, and comparatively low; the
latticed windows were sunk several feet into the massive
walls; lengths of brownish-green and yellow tapestry, none
the fresher for its two centuries and more of existence, still pro-
tested against the modern heresy of wall-paper; and in a panel
frame over the fireplace was seen the portrait, by Sir Godfrey
Kneller, of the Jacobite baronet. It was a half-length, in officer's
uniform: one hand holding the hilt of a sword against the breast,
while the forefinger of the other hand pointed diagonally down-
ward, as much as to say, "I vanished in that direction! "
The fireplace, it should be noted, was built on the side of the
room opposite to the windows; that is to say, in one of the partition
walls. And what was on the other side of this partition? Not the
large chamber opening into the corridor- that lay at right angles


## p. 7043 (#435) ###########################################

JULIAN HAWTHORNE
7043
to the east chamber, along the southern front of the wing. Not
the corridor either, though it ran for some distance parallel to
the east chamber, and had a door on the east side. But this
door led into a great dark closet, as big as an ordinary room,
and used as a receptacle for rubbish. Was it the dark closet,
then, that adjoined the east chamber on the other side of the
partition? No, once more. Had a window been opened through
the closet wall, it would have looked, not into Archibald's room,
but into a narrow blind court or well, entirely inclosed between
four stone walls, and of no apparent use save as a somewhat
clumsy architectural expedient. There was no present way of
getting into this well, or even of looking into it, unless one had
been at the pains to mount on the roof of the house and peer
down. As a matter of fact, its existence was only made known by
the reports of an occasional workman engaged in renewing the
tiles, or mending a decayed chimney. An accurate survey of the
building would of course have revealed it at once; but nothing
of the kind had been thought of within the memory of man.
Such a survey would also have revealed what no one in the
least suspected, but which was nevertheless a fact of startling
significance; namely, that the blind court was at least fifteen
feet shorter and twenty-five feet narrower than it ought to have
been!
Archibald was as far from suspecting it as anybody; indeed, he
most likely never troubled his head about builders' plans in his
life. But he thought a great deal of his great-grandfather's por-
trait; and since it was so placed as to be in view of the most
comfortable chair before the fire, he spent many hours of every
week gazing at it. What was Sir Charles pointing at with that
left forefinger? And what meant that peculiarly intent and
slightly frowning glance which the painted eyes forever bent
upon his own? Archibald probably had a few of Mrs. Rad-
cliffe's romances along with the other valuable books on his
shelves, and he may have cherished a notion that a treasure or
an important secret of some sort was concealed in the vicinity.
Following down the direction of the pointing finger, he found
that it intersected the floor at a spot about five feet to the right
of the side of the fireplace. The floor of the chamber was of
solid oak planking, blackened by age; and it appeared to be
no less solid at this point than at any other. Nevertheless, he
thought it would be good fun, and at all events would do no


## p. 7044 (#436) ###########################################

7044
JULIAN HAWTHORNE
harm, to cut a hole there and see what was underneath. Ac-
cordingly he quietly procured a saw and a hammer and chisel,
and one day, when the family were away from home, he locked
himself into his room and went to work. The job was not an
easy one, the tough oak wood being almost enough to turn the
edge of his chisel, and there being no purchase at all for the
saw. After a quarter of an hour's chipping and hammering with
very little result, he paused to rest. The board at which he had
been working, and which met the wall at right angles, was very
short, not more than eighteen inches long, indeed; being inserted
merely to fill up the gap caused by a deficiency in length of the
plank of which it was the continuation. Between the two adjoin-
ing ends was a crack of some width, and into that crack did
Archibald idly stick his chisel. It seemed to him that the crack
widened, so that he was able to press the blade of the chisel
down to its thickest part. He now worked it eagerly backward
and forward, and to his delight, the crack rapidly widened still
further; in fact, the short board was sliding back underneath the
wainscot. A small oblong cavity was thus revealed, into which
the young discoverer glowered with beating heart and vast antici-
pations.
What he found could scarcely be said to do those anticipations
justice; it was neither a casket of precious stones, nor a docu-
ment establishing the family right of ownership of the whole
county of Sussex. It was nothing more than a tarnished rod of
silver, about nine inches in length, and twisted into an irregular
sort of corkscrew shape. One end terminated in a broad flat
button; the other in a blunted point. There was nothing else in
the hole-nothing to show what the rod was meant for, or why
it was so ingeniously hidden there. And yet, reflected Archibald,
could it have been so hidden, and its place of concealment so
mysteriously indicated, without any ulterior purpose whatever?
It was incredible! Why, the whole portrait was evidently painted
with no other object than that of indicating the rod's where-
abouts. Either, then, there was or had been something else in
the cavity in addition to the rod, or the rod was intended to
be used in some way still unexplained. So much was beyond
question.
Thus cogitated Archibald; that is to say, thus he might
have cogitated, for there is no direct evidence of what passed
through his mind. And in the first place, he made an exhaustive


## p. 7045 (#437) ###########################################

JULIAN HAWTHORNE
7045
examination of the cavity, and convinced himself not only that
there was nothing else except dust to be got out of it, but also
that it opened into no other cavity which might prove more fruit-
ful. His next step was to study the silver rod, in the hope that
scrutiny or inspiration might suggest to him what it was good
for. His pains were rewarded by finding on the flat head the
nearly obliterated figures 3 and 5, inscribed one above the other
in the manner of a vulgar fraction,- thus, ; and by the convic-
tion that the spiral conformation of the rod was not the result
of accident, as he had at first supposed, but had been communi-
cated to it intentionally, for some purpose unknown. These con-
clusions naturally stimulated his curiosity more than ever, but
nothing came of it. The boy was a clever boy, but he was not
a detective trained in this species of research, and the problem
was beyond his ingenuity. He made every application of the
figures 3 and 5 that imagination could suggest; he took them in
feet, in inches, in yards; he added them together, and he sub-
tracted one from the other: all in vain. The only thing he did
not do was to take any one else into his confidence; he said not
a word about the affair even to Kate, being resolved that if
there were a mystery it should be revealed, at least in the first
instance, to no one else besides himself. At length, after sev-
eral days spent in fruitless experiments and loss of temper, he
returned the rod to its hiding-place, with the determination to
give himself a rest for a while and see what time and accident
would do for him. This plan, though undoubtedly prudent,
seemed likely to effect no more than the others; and over a year
passed away without the rod's being again disturbed. By degrees
his thoughts ceased to dwell so persistently upon the unsolved
puzzle, and other interests took possession of his mind. The
tragedy of his aunt's death, his love for Kate, his studies, his
prospects a hundred things gave him occupation, until the sil-
ver rod was half forgotten.
In the latter part of 1813, however, he accidentally made a
rather remarkable discovery.
He had for the first time been out hunting with his father
and the neighboring country gentlemen in the autumn of this
year, and it appears that on two occasions he had the brush
awarded to him. At his request the heads of the two foxes were
mounted for him, and he proposed to put them up on either side
his fireplace.


## p. 7046 (#438) ###########################################

7046
JULIAN HAWTHORNE
The wall, above and for a few inches to the right and left
of the mantelpiece, was bare of tapestry; the first-named place
being occupied by the portrait, while the sides were four feet up
the oaken wainscot which surrounded the whole room behind the
tapestry, and from thence to the ceiling, plaster. The mantel-
piece and fireplace were of a dark slaty stone and of brick,
respectively.
Archibald fixed upon what he considered the most effective
positions for his heads—just above the level of the wainscot, and
near enough to the mantelpiece not to be interfered with by the
tapestry. He nailed up one of them on the left-hand side, the
nails penetrating with just sufficient resistance in the firm plaster;
and then, measuring carefully to the corresponding point on the
right-hand side, he proceeded to affix the other head there. But
the nail on this occasion could not be made to go in; and on his
attempting to force it with a heavier stroke of the hammer, it
bent beneath the blow and the hammer came sharply into con-
tact with the white surface of the wall, producing a clinking
sound as from an impact on metal.
A brief investigation now revealed the fact that a circular
disk of iron, about three inches in diameter, and painted white to
match the plaster, was here let into the wall. What could be
the object of it? With a fresh nail the boy began to scratch off
the paint from the surface of the disk, in order to determine
whether it were actually iron, or some other metal; in so doing
a small movable lid like the screen of a keyhole was pushed
aside, disclosing a little round aperture underneath. Archibald
pushed the nail into it, thereby informing himself that the hole
went straight into the wall, for a distance greater than the length
of the nail; but how much greater, and what was at the end of
it, he could only conjecture.
We must imagine him now standing upon a chair with the
nail in his hand, casting about in his mind for some means of
probing this mysterious and unexpected hole to the bottom. At
this juncture he happens to glance upward, and meets the intent
regard of his pictured ancestor, who seems to have been silently
watching him all this time, and only to be prevented by unavoid-
able circumstances from speaking out and telling him what to do
next. And there is that constant forefinger pointing-at what?
At the cavity in the floor, of course, but not at that alone; for if
you observe, this same new-found hole in the wall is a third point


## p. 7047 (#439) ###########################################

JULIAN HAWTHORNE
7047
in the straight line between the end of the forefinger and the
hiding-place of the silver rod; furthermore, the hole is, as nearly
as can be estimated without actual measurement, three feet dis-
tant from the forefinger and five feet from the rod: the problem
of three above and five below has solved itself in the twinkling
of an eye, and it only remains to act accordingly!
Archibald sprang to the floor in no small excitement; but
the first thing that he did was to see that both his doors were
securely fastened. Then he advanced upon the mystery with
heightened color and beating heart, his imagination reveling in
the wildest forecasts of what might be in store; and anon turn-
ing him cold with sickening apprehension lest it should prove to
be nothing after all! But no: something there must be, some
buried secret, now to live once more for him, and for him only;
the secret whereof dim legends had come down through the
obscurity of two hundred years; the secret too of old Sir Charles
in the frame yonder, the man of magic repute. What could it
be? Some talisman, some volume of the Black Art, perhaps,
which would enable him to vanish at will into thin air, and to
travel with the speed of a wish from place to place; to become a
veritable enchanter, endowed with all supernatural powers. With
hands slightly tremulous from eagerness he pushed back the bit
of plank and drew forth the silver rod; then mounted on the
chair and applied it to the hole, which it fitted accurately. Be-
fore pushing it home he paused a moment.
In all the stories he had read, the possessors of magic secrets
had acquired the same only in exchange for something supposed
to be equally valuable; namely, their own souls. It was not to
be expected that Archibald would be able to modify the terms of
the bargain in his own case: was he then prepared to pay the
price? Every human being, probably, is called upon to give a
more or less direct answer to this question at some epoch of their
lives; and were it not for curiosity and skepticism, and an unwill-
ingness to profit by the experience of others, very likely that
answer might be more often favorable to virtue than it actually
is. Archibald did not hesitate long. Whether he decided to dis-
believe in any danger; whether he resolved to brave it whatever
it might be; or whether, having got thus far, he had not suf-
ficient control over his inclinations to resist going further,— at
all events he drew in his breath, set his boyish lips, and drove
the silver rod into the aperture with right good will.


## p. 7048 (#440) ###########################################

7046
JUI
The wall, above and
of the mantelpiece, was
being occupied by the
the oaken wainscot wh
tapestry, and from the
piece and fireplace w
respectively.
Archibald fixed 1
positions for his head
near enough to the
tapestry. He naile
nails penetrating w
and then, measur
right-hand side, 1:
the nail on this
attempting to f
bent beneath t
tact with the
sound as from
A brief i
disk of iron,
match the
the object
the paint
whether i
a small
aside, d
pushed
went s
of the
it, he
TT
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prob
this
rega
wa
ab
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(
(



## p. 7049 (#441) ###########################################

JULIAN HAWTHORNE
7049.
==!
Cl
20
of an
the
secture"
herginter
the W.
ing
be
232
ba
walking ten paces, he came face-up against a wall lying
angles to the direction in which he had been moving.
cautiously round the corner, he saw at the end of a
embrasure a ponderous door of dark wood braced with
anding partly open with a key in the keyhole, as if some
d just come out, and in his haste had forgotten to shut
ck the door behind him. Archibald now slowly opened it
Tull extent; it creaked as it moved, and the draught of air
his candle flicker, and caused strange shadows to dance
moment in the unexplored void beyond. In another breath
bald had crossed the threshold and arrived at the goal of his
image.
t first he could see very little; but there could be no doubt
he was in a room which seemed to be of large extent, and
he existence of which he could by no means account. The
er, who has been better informed, will already have assigned
s true p
inexplained region mentioned some pages
k, betwe
burt and the east chamber. Groping
Archibald presently discerned a bur-
the wall, in which having placed his
ted over the room, so that the objects
Srth. It was a room of fair extent and
he
TA
ong the interior of the wall toward the left, was
et in height by two and a half in width. Archibald
n it quite easily.
The first place he scrutinized the mechanism of the re-
intelpiece. It was an extremely ingenious and yet
ce, and so accurately fitted in all its parts that after
ars, they still worked together almost as smoothly as.
After Archibald had poured a little of his gun-oil into
of the hinges, and along the grooves, he found that
stone structure would open and close as noiselessly and
is own jaws. It could be opened from the inside by
Silver rod in a hole corresponding to that on the out-
having practiced this opening and shutting until he was
hat he was thoroughly master of the process, he put the
pocket, pulled the jamb gently together behind him,
e in hand set forth along the tunnel.
way ca
1
as apparently furnished in a style of
ficence, such as no other apartment in
The arched ceiling was supported by


## p. 7049 (#442) ###########################################

7048
JULIAN HAWTHORNE
It turned slowly as it entered, the curve of its spiral evi-
dently following the corresponding windings of the hole. Inward
it twisted like a snake, until only some two inches still projected.
As the searcher after forbidden mysteries continued to press, some-
thing seemed to give way within; and at the same instant an odd
shuffling sound caused him to glance sharply over his left shoul-
der.
What was the matter with the mantelpiece? The whole of
the right jamb seemed to have started forward nearly a foot,
while the left jamb had retired by a corresponding distance into
the wall; the hearth, with the fire burning upon it, remained
meanwhile undisturbed. At first Archibald imagined that the
mantelpiece was going to fall, perhaps bringing down the whole.
partition with it; but when he had got over the first shock of sur-
prise sufficiently to make an examination, he found that the entire
structure of massive gray stone was swung upon a concealed
pivot, round which it turned independently of the brickwork of
the fireplace. The silver rod had released the spring by which
the mechanism was held in check, and an unsuspected doorway
was thus revealed, opening into the very substance of the appar-
ently solid wall. On getting down from his chair, he had no
difficulty in pulling forward the jamb far enough to satisfy him-
self that there was a cavity of unknown extent behind. And
from out of this cavity breathed a strange dry air, like the sigh
of a mummy.
As for the darkness in there, it was almost sub-
stantial, as of the central chamber in the great Pyramid.
Archibald may well have had some misgivings, for he was
only a boy, and this happened more than sixty years ago, when
ghosts and goblins had not come to be considered such inde-
fensible humbugs as they are now. Nevertheless, he was of a
singularly intrepid temperament, and besides, he had passed the
turning-point in this adventure a few minutes ago. Nothing,
therefore, would have turned him back now. Come what might
of it, he would see this business to an end.
It was however impossible to see anything without a light; it
would be necessary to fetch one of the rush candles from the
table in the corridor. It was a matter of half a minute for
the boy to go and return; then he edged himself through the
opening, and was standing in a kind of vaulted tunnel directly
behind the fireplace, the warmth of which he could feel when he
laid his hand on the bricks on that side.
that side. The tunnel, which


## p. 7049 (#443) ###########################################

JULIAN HAWTHORNE
7049.
extended along the interior of the wall toward the left, was
about six feet in height by two and a half in width.
could walk in it quite easily.
Archibald
But in the first place he scrutinized the mechanism of the re-
volving mantelpiece. It was an extremely ingenious and yet
simple device, and so accurately fitted in all its parts that after
so many years, they still worked together almost as smoothly as
when new. After Archibald had poured a little of his gun-oil into
the joints of the hinges, and along the grooves, he found that
the heavy stone structure would open and close as noiselessly and
easily as his own jaws. It could be opened from the inside by
using the silver rod in a hole corresponding to that on the out-
side: and having practiced this opening and shutting until he was
satisfied that he was thoroughly master of the process, he put the
rod in his pocket, pulled the jamb gently together behind him,
and candle in hand set forth along the tunnel.
After walking ten paces, he came face-up against a wall lying
at right angles to the direction in which he had been moving.
Peering cautiously round the corner, he saw at the end of a
shallow embrasure a ponderous door of dark wood braced with
iron, standing partly open with a key in the keyhole, as if some
one had just come out, and in his haste had forgotten to shut
and lock the door behind him. Archibald now slowly opened it
to its full extent; it creaked as it moved, and the draught of air
made his candle flicker, and caused strange shadows to dance
for a moment in the unexplored void beyond. In another breath.
Archibald had crossed the threshold and arrived at the goal of his
pilgrimage.
At first he could see very little; but there could be no doubt
that he was in a room which seemed to be of large extent, and
for the existence of which he could by no means account. The
reader, who has been better informed, will already have assigned
it its true place in that unexplained region mentioned some pages.
back, between the blind court and the east chamber. Groping
his way cautiously about, Archibald presently discerned a bur-
nished sconce affixed to the wall, in which having placed his
candle, the light was reflected over the room, so that the objects
it contained stood dimly forth. It was a room of fair extent and
considerable height, and was apparently furnished in a style of
quaint and sombre magnificence, such as no other apartment in
Malmaison could show. The arched ceiling was supported by


## p. 7050 (#444) ###########################################

7050
JULIAN HAWTHORNE
vast oaken beams; the floor was inlaid with polished marbles.
The walls, instead of being hung with tapestry, were painted in
distemper with life-size figure subjects, representing, as far as the
boy could make out, some weird incantation scene. At one end
of the room stood a heavy cabinet, the shelves of which were
piled with gold and silver plate, richly chased, and evidently of
great value. Here in fact seemed to have been deposited many
of the precious heirlooms of the family, which had disappeared
during the Jacobite rebellions, and were supposed to have been
lost. The cabinet was made of ebony inlaid with ivory, as was
also a broad round table in the centre of the room. In a niche
opposite the cabinet gleamed a complete suit of sixteenth-century
armor; and so dry was the atmosphere of the apartment that
scarce a spot of rust appeared upon the polished surface, which
however, like every other object in the room, was overlaid with
fine dust. A bed, with embroidered coverlet and heavy silken
curtains, stood in a deep recess to the left of the cabinet. Upon
the table lay a number of papers and parchments, some tied up
in bundles, others lying about in disorder. One was spread open,
with a pen thrown down upon it, and an antique ink-horn stand-
ing near; and upon a stand beside the bed was a gold-enameled
snuff-box, with its lid up, and containing, doubtless, the dusty
remnant of some George II. rappee.
At all these things Archibald gazed in thoughtful silence.
This room had been left, at a moment's warning, generations
ago; since then this strange dry air had been breathed by no
human nostrils, these various objects had remained untouched
and motionless; nothing but time had dwelt in the chamber: and
yet what a change, subtle but mighty, had been wrought! Mere
stillness, mere absence of life, was an appalling thing, the boy
thought. And why had this secret been suffered to pass into
oblivion? and why had fate selected him to discover it? and now,
what use would he make of it? "At all events," said the boy to
himself, "it has become my secret, and shall remain mine; and
no fear but the occasion will come when I shall know what use
to make of it. " He felt that meanwhile it would give him power,
security, wealth also, if he should ever have occasion for it; and
with a curious sentiment of pride he saw himself thus mystically
designated as the true heir of Malmaison,- the only one of his
age and generation who had been permitted to stand on an
equality with those historic and legendary ancestors to whom the


## p. 7051 (#445) ###########################################

JULIAN HAWTHORNE
7051
secret of this chamber had given the name and fame of wizards.
Henceforth Archibald was as much a wizard as they.
Or-might there after all be a power in necromancy that he
yet dreamed not of? Was it possible that even now those old
enchanters held their meetings here, and would question his right
to force his way among them?
As this thought passed through the boy's mind, he was mov-
ing slowly forward, his eyes glancing now here, now there, when
all at once the roots of his hair were stirred with an emotion
which, if not fear, was certainly far removed from tranquillity.
From the darkest corner of the room he had seen a human figure
silently and stealthily creeping toward him. Now, as he fixed his
eyes upon it, it stopped, and seemed to return his stare. His
senses did not deceive him: there it stood, distinctly outlined,
though its features were indistinguishable by reason of the shadow
that fell upon them. But what living thing-living with mortal
life at least could exist in a room that had been closed for
sixty years?
Now certainly this Archibald, who had not yet completed his
fourteenth year, possessed a valiant soul. That all his flesh
yearned for instant flight does not admit of a doubt; and had he
fled, this record would never have been written. Fly however he
would not, but would step forward rather, and be resolved what
manner of goblin confronted him. Forward therefore he stepped;
and behold! the goblin was but the reflection of himself in a tall
mirror, which the obscurity and his own agitation had prevented
him from discerning. The revulsion of feeling thus occasioned
was so strong that for a moment all strength forsook the boy's
knees; he stumbled and fell, and his forehead struck the corner
of the ebony cabinet. He was on his feet again in a moment,
but his forehead was bleeding, and he felt strangely giddy. The
candle too was getting near its end; it was time to bring this
first visit to a close. He took the candle from the sconce, passed
out through the door, traversed the tunnel, and thrust the silver
key into the keyhole. The stone door yielded before him; he
dropped what was left of the candle, and slipped through the
opening into broad daylight.
The first object his dazzled eyes rested upon was the figure
of Miss Kate Battledown. In returning from his visit to the
corridor he must have forgotten to lock the room door after
him. She was standing with her back toward him, looking out


## p. 7052 (#446) ###########################################

7052
JULIAN HAWTHORNE
of the window, and was apparently making signs to some one
outside.
Noiselessly Archibald pushed the mantelpiece back into place;
thanks to the oiling he had given the hinges, no sound betrayed
the movement. The next moment Kate turned round, and see-
ing him, started and cried "Oh! "
"Good-morning, Mistress Kate," said Archibald.
"Archibald! "
« Well ? »
"You were not here a moment ago!
« Well? »
>>
"Then how did you get here? "
Archibald made a gesture toward the door leading to the
covered stairway.
"No-no! " said Kate; "it is locked, and the key is on this.
side. " She had been coming toward him, but now stopped and
regarded him with terror in her looks.
"What is the matter, Kate? "
"You are all over blood, Archibald! What has happened?
Are you
oh, what are you? " She was ready to believe
him a ghost.
"What am I? " repeated the boy sluggishly. That odd giddi-
ness was increasing, and he scarcely knew whether he were
asleep or awake. Who was he, indeed? What had happened?
Who was that young woman in front of him? What
"Archibald! Archie! Speak to me! Why do you look so
strangely? "
"Me not know oo! " said Archie, and began to cry.
·
Mistress Kate turned pale, and began to back toward the door.
"Me want my kittie! " blubbered Archie.
Kate stopped. "You want me? "
"Me want my 'ittle kittie-my 'ittle b'indled kittie! Dey put
my kittie in de hole in de darden! Me want her to p'ay wiz! "
And with this, and with the tears streaming down his cheeks,
poor Archie toddled forward with the uncertain step and out-
stretched arms of a little child. But Kate had already gained
the door, and was running screaming across the next room, and
so down the long corridor.
Poor Archie toddled after, his baby heart filled with mourn-
ing for the brindled cat that had been buried in the back garden
seven years before. - Seven years? or was it only yesterday?


## p. 7052 (#447) ###########################################



## p. 7052 (#448) ###########################################


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## p. 7052 (#449) ###########################################

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## p. 7053 (#451) ###########################################

7053
NATHANIEL HAWTHORNE
(1804-1864)
BY HENRY JAMES
T IS perhaps an advantage in writing of Nathaniel Hawthorne's
work, that his life offers little opportunity to the biographer.
The record of it makes so few exactions that in a critical
account of him- even as brief as this-the work may easily take
most of the place. He was one of those happy men of letters in
whose course the great milestones are simply those of his ideas that
found successful form. Born at Salem, Massachusetts, on July 4th,
1804, of established local Puritan -and in a conspicuous degree,
sturdy seafaring-stock, he was educated at his birthplace and at
Bowdoin College, Maine, where H. W. Longfellow was one of his
fellow-students. Another was Franklin Pierce, who was to be elected
President of the United States in 1852, and with whom Hawthorne
formed relations that became an influence in his life. On leaving
college in 1825 he returned to Salem to live, and in 1828 published
in Boston a short romance called 'Fanshawe,' of which the scene, in
spite of its being a "love story," is laid, but for a change of name,
at Bowdoin, with professors and undergraduates for its male charac-
ters. The experiment was inevitably faint, but the author's beautiful
touch had begun to feel its way. In 1837, after a dozen years spent
in special solitude, as he later testified, at Salem, he collected as the
first series of 'Twice-Told Tales' various more or less unremunerated
contributions to the magazines and annuals of the day. In 1845 ap-
peared the second series, and in 1851 the two volumes were, with a
preface peculiarly graceful and touching, reissued together; he is in
general never more graceful than when prefatory. In 1851 and 1854
respectively came to light The Snow Image' and 'Mosses from an
Old Manse,' which form, with the previous double sheaf, his three
main gatherings-in of the shorter fiction. I neglect, for brevity and
as addressed to children, Grandfather's Chair' and 'The Wonder
Book' (1851), as well as Tanglewood Tales' (1852). Of the other
groups, some preceded, some followed, the appearance in 1850 of his
second novel, The Scarlet Letter. '
These things—the experiments in the shorter fiction — had sounded,
with their rare felicity, from the very first the note that was to be
Hawthorne's distinguished mark,- that feeling for the latent romance


## p. 7054 (#452) ###########################################

NATHANIEL HAWTHORNE
7054
of New England, which in summary form is the most final name to
be given, I think, to his inspiration. This element, which is what at
its best his genius most expresses, was far from obvious, it had to
be looked for; and Hawthorne found it, as he wandered and mused,
in the secret play of the Puritan faith: the secret, I say particularly,
because the direct and ostensible, face to face with common tasks
and small conditions (as I may call them without prejudice to their
general grimness), arrived at forms of which the tender imagination
could make little. It could make a great deal, on the other hand, of
the spiritual contortions, the darkened outlook, of the ingrained sense
of sin, of evil, and of responsibility. There had been other complica-
tions in the history of the community surrounding him,- savages
from behind, soldiers from before, a cruel climate from every quarter
and a pecuniary remittance from none. But the great complication
was the pressing moral anxiety, the restless individual conscience.
These things were developed at the cost of so many others, that
there were almost no others left to help them to make a picture for
the artist. The artist's imagination had to deck out the subject, to
work it up, as we nowadays say; and Hawthorne's was,- —on intensely
chastened lines, indeed,-equal to the task. In that manner it came
into exercise from the first, through the necessity of taking for
granted, on the part of the society about him, a life of the spirit
more complex than anything that met the mere eye of sense. It was
a question of looking behind and beneath for the suggestive idea, the
artistic motive; the effect of all of which was an invaluable training
for the faculty that evokes and enhances. This ingenuity grew alert
and irrepressible as it manoeuvred for the back view and turned up
the under side of common aspects, - the laws secretly broken, the
impulses secretly felt, the hidden passions, the double lives, the dark
corners, the closed rooms, the skeletons in the cupboard and at the
feast. It made, in short, and cherished, for fancy's sake, a mystery
and a glamour where there were otherwise none very ready to its
hand; so that it ended by living in a world of things symbolic and
allegoric, a presentation of objects casting, in every case, far behind
them a shadow more curious and more amusing than the apparent
figure. Any figure therefore easily became with him an emblem,
any story a parable, any appearance a cover: things with which his
concern is gently, indulgently, skillfully, with the lightest hand in
the world-to pivot them round and show the odd little stamp or
sign that gives them their value for the collector.
The specimens he collected, as we may call them, are divisible
into groups, but with the mark in common that they are all early
products of the dry New England air. Some are myths and mys-
teries of old Massachusetts,- charming ghostly passages of colonial
-


## p. 7055 (#453) ###########################################

NATHANIEL HAWTHORNE
7055
history. Such are 'The Grey Champion,' 'The Maypole of Merry
Mount,' the four beautiful Legends of the Province House. ' Others,
like 'Roger Malvin's Burial,' 'Rappaccini's Daughter,' 'Young Good-
man Brown,' are "moralities" without the moral, as it were; small
cold apologues, frosty and exquisite, occasionally gathered from be-
yond the sea. Then there are the chapters of the fanciful all for
fancy's sake, of the pure whimsical, and of observation merely
amused and beguiled; pages, many of them, of friendly humorous
reflections on what, in Salem or in Boston, a dreamer might meet in
his walks. What Hawthorne encountered he instinctively embroi-
dered, working it over with a fine, slow needle, and with flowers
pale, rosy, or dusky, as the case might suggest. We have a handful
of these in The Great Carbuncle' and 'The Great Stone Face,'
'The Seven Vagabonds,' 'The Threefold Destiny,' 'The Village
Uncle,' 'The Toll Gatherer's Day,' 'A Rill from the Town Pump,'
and 'Chippings with a Chisel. ' The inequalities in his work are not,
to my sense, great; and in specifying, we take and leave with hesi-
tation.
'The Scarlet Letter,' in 1850, brought him immediate distinction,
and has probably kept its place not only as the most original of his
novels, but as the most distinguished piece of prose fiction that was
to spring from American soil. He had received in 1839 an appoint-
ment to a small place in the Boston custom-house, where his labors
were sordid and sterile, and he had given it up in permissible weari-
ness. He had spent in 1841 near Roxbury, Massachusetts, a few
months in the co-operative community of Brook Farm, a short-lived
socialistic experiment. He had married in the following year and
gone to live at the old Manse at Concord, where he remained till
1846, when, with a fresh fiscal engagement, he returned to his native
town. It was in the intervals of his occupation at the Salem custom-
house that The Scarlet Letter' was written. The book has achieved
the fortune of the small supreme group of novels: it has hung an
ineffaceable image in the portrait gallery, the reserved inner cabinet,
of literature. Hester Prynne is not one of those characters of fiction
whom we use as a term of comparison for a character of fact: she is
almost more than that,- she decorates the museum in a way that
seems to forbid us such a freedom. Hawthorne availed himself, for
her history, of the most striking anecdote the early Puritan chronicle
could give him,—give him in the manner set forth by the long, lazy
Prologue or Introduction, an exquisite commemoration of the happy
dullness of his term of service at the custom-house, where it is his
fancy to pretend to have discovered in a box of old papers the faded
relic and the musty documents which suggested to him his title and
his theme.


## p. 7056 (#454) ###########################################

7056
NATHANIEL HAWTHORNE
It is the story as old as the custom of marriage, - the story of
the husband, the wife, and the lover; but bathed in a misty, moon-
shiny light, and completely neglecting the usual sources of emotion.
The wife, with the charming child of her guilt, has stood under the
stern inquisitorial law in the public pillory of the adulteress; while
the lover, a saintly young minister, undetected and unbetrayed, has
in an anguish of pusillanimity suffered her to pay the whole fine.
The husband, an ancient scholar, a man of abstruse and profane
learning, finds his revenge years after the wrong, in making himself
insidiously the intimate of the young minister, and feeding secretly on
the remorse, the inward torments, which he does everything to
quicken but pretends to have no ground for suspecting. The march
of the drama lies almost wholly in the malignant pressure exercised
in this manner by Chillingworth upon Dimmesdale; an influence that
at last reaches its climax in the extraordinary penance of the sub-
ject, who in the darkness, in the sleeping town, mounts, himself,
upon the scaffold on which, years before, the partner of his guilt has
undergone irrevocable anguish. In this situation he calls to him
Hester Prynne and her child, who, belated in the course of the merci-
ful ministrations to which Hester has now given herself up, pass,
among the shadows, within sight of him; and they in response to his
appeal ascend for a second time to the place of atonement, and
stand there with him under cover of night. The scene is not com-
plete, of course, till Chillingworth arrives to enjoy the spectacle and
his triumph. It has inevitably gained great praise, and no page of
Hawthorne's shows more intensity of imagination; yet the main
achievement of the book is not what is principally its subject,— the
picture of the relation of the two men. They are too faintly — the
husband in particular - though so fancifully figured. The Scarlet
Letter' lives, in spite of too many cold concetti,- Hawthorne's general
danger,- by something noble and truthful in the image of the
branded mother and the beautiful child. Strangely enough, this pair
are almost wholly outside the action; yet they preserve and vivify
the work. '
'The House of the Seven Gables,' written during a residence of
two years at Lenox, Massachusetts, was published in 1851. If there
are probably no four books of any author among which, for a favor-
ite, readers hesitate longer than between Hawthorne's four longest
stories, there are at any rate many for whom this remains distinctly
his largest and fullest production. Suffused as it is with a pleasant
autumnal haze, it yet brushes more closely than its companions the
surface of American life, comes a trifle nearer to being a novel of
manners. The manners it shows us indeed are all interfused with
the author's special tone, seen in a slanting afternoon light; but


## p. 7057 (#455) ###########################################

NATHANIEL HAWTHORNE
7057
detail and illustration are sufficiently copious; and I am tempted for
my own part to pronounce the book, taking subject and treatment
together, and in spite of the position as a more concentrated classic
enjoyed by The Scarlet Letter,' the closest approach we are likely
to have to the great work of fiction, so often called for, that is to
do us nationally most honor and most good. The subject reduced
to its essence, indeed, accounts not quite altogether for all that there
is in the picture. What there is besides is an extraordinary charm of
expression, of sensibility, of humor, of touch. The question is that
of the mortal shrinkage of a family once uplifted, the last spasm of
their starved gentility and flicker of their slow extinction. In the
haunted world of Hawthorne's imagination the old Pyncheon house,
under its elm in the Salem by-street, is the place where the ghosts
are most at home. Ghostly even are its actual tenants, the ancient
virgin Hepzibah, with her turban, her scowl, her creaking joints, and
her map of the great territory to the eastward belonging to her
family, reduced, in these dignities, to selling profitless pennyworths
over a counter; and the bewildered bachelor Clifford, released, like
some blinking and noble déterré of the old Bastile, from twenty
years of wrongful imprisonment. We meet at every turn, with Haw-
thorne, his favorite fancy of communicated sorrows and inevitable
atonements. Life is an experience in which we expiate the sins of
others in the intervals of expiating our own. The heaviest visitation
of the blighted Pyncheons is the responsibility they have incurred
through the misdeeds of a hard-hearted witch-burning ancestor. This
ancestor has an effective return to life in the person of the one actu-
ally robust and successful representative of the race, - a bland, hard,
showy, shallow "ornament of the bench," a massive hypocrite and
sensualist, who at last, though indeed too late, pays the penalty and
removes the curse. The idea of the story is at once perhaps a trifle
thin and a trifle obvious,—the idea that races and individuals may
die of mere dignity and heredity, and that they need for refreshment
and cleansing to be, from without, breathed upon like dull mirrors.
But the art of the thing is exquisite, its charm irresistible, its dis-
tinction complete. The House of the Seven Gables,' I may add, con-
tains in the rich portrait of Judge Pyncheon a character more solidly
suggested than—with the possible exception of the Zenobia of 'The
Blithedale Romance - any other figure in the author's list.
―
Weary of Lenox, Hawthorne spent several months of 1852 at West
Newton near Boston, where The Blithedale Romance' was brought
forth. He made the most, for the food of fancy, of what came
under his hand, happy in an appetite that could often find a feast
in meagre materials. The third of his novels is an echo, delightfully
poetized, of his residence at Brook Farm. "Transcendentalism" was
XII-442


## p. 7058 (#456) ###########################################

7058
NATHANIEL HAWTHORNE
in those days in New England much in the air; and the most com-
prehensive account of the partakers of this quaint experiment appears
to have been held to be that they were Transcendentalists. More sim-
ply stated, they were young, candid radicals, reformers, philanthro-
pists. The fact that it sprang-all irresponsibly indeed-from the
observation of a known episode, gives 'The Blithedale Romance' also
a certain value as a picture of manners; the place portrayed, how-
ever, opens quickly enough into the pleasantest and idlest dream-
world. Hawthorne, we gather, dreamed there more than he worked;
he has traced his attitude delightfully in that of the fitful and iron-
ical Coverdale, as to whom we wonder why he chose to rub shoul-
ders quite so much. We think of him as drowsing on a hillside with
his hat pulled over his eyes, and the neighboring hum of reform
turning in his ears, to a refrain as vague as an old song. One
thing is certain: that if he failed his companions as a laborer in the
field, it was only that he might associate them with another sort of
success.
We feel, however, that he lets them off easily, when we think of
some of the queer figures and queer nostrums then abroad in the
land, and which his mild satire - incurring none the less some mild
reproach fails to grind in its mill. The idea that he most tangibly
presents is that of the unconscious way in which the search for the
common good may cover a hundred interested impulses and personal
motives; the suggestion that such a company could only be bound
together more by its delusions, its mutual suspicions and frictions,
than by any successful surrender of self. The book contains two
images of large and admirable intention: that of Hollingsworth the
heavy-handed radical, selfish and sincere, with no sense for jokes,
for forms, or for shades; and that of Zenobia the woman of "sym-
pathies," the passionate patroness of "causes," who plays as it were
with revolution, and only encounters embarrassment. Zenobia is the
most graceful of all portraits of the strong-minded of her sex; bor-
rowing something of her grace, moreover, from the fate that was not
to allow her to grow old and shrill, and not least touching from the
air we attribute to her of looking, with her fine imagination, for ad-
ventures that were hardly, under the circumstances, to be met. We
fill out the figure, perhaps, and even lend to the vision something
more than Hawthorne intended. Zenobia was, like Coverdale him-
self, a subject of dreams that were not to find form at Roxbury; but
Coverdale had other resources, while she had none but her final fail-
ure. Hawthorne indicates no more interesting aspect of the matter
than her baffled effort to make a hero of Hollingsworth, who proves,
to her misfortune, so much too inelastic for the part. All this, as
we read it to-day, has a soft, shy glamour, a touch of the poetry of


## p. 7059 (#457) ###########################################

NATHANIEL HAWTHORNE
7059
far-off things. Nothing of the author's is a happier expression of
what I have called his sense of the romance of New England.
In 1853 Franklin Pierce, then President, appointed him consul at
Liverpool, which was the beginning of a residence of some seven
years in England and in Italy, the period to which we owe The
Marble Faun' and 'Our Old Home. ' The material for the latter of
these was the first to be gathered; but the appearance of The Mar-
ble Faun,' begun in Rome in 1858 and finished during a second stay
in England, preceded that of its companion. This is his only long
drama on a foreign stage. Drawn from his own air, however, are
much of its inspiration and its character. Hawthorne took with him
to Italy, as he had done to England, more of the old Puritan con-
sciousness than he left behind. The book has been consecrated as a
kind of manual of Roman sights and impressions, brought together
indeed in the light of a sympathy always detached and often with-
held; and its value is not diminished by its constant reference to an
order of things of which, at present, the yearning pilgrim - before a
board for the most part swept bare- -can only pick up the crumbs.
The mystical, the mythical, are in The Marble Faun' more than
ever at hide-and-seek with the real. The author's fancy for freakish
correspondences has its way, with Donatello's points of resemblance
to the delightful statue in the Capitol. What he offers us is the
history of a character blissfully immature, awakening to manhood
through the accidental, the almost unconscious, commission of a crime.
For the happy youth before his act-the first complete act of his
life- there have been no unanswered questions; but after it he finds
himself confronted with all the weary questions of the world. This
act consists of his ridding of an obscure tormentor-the obscurity is
rather a mistake-a woman whom he loves, and who is older,
cleverer, and more acquainted with life than himself. The humaniz-
ing, the moralizing of the faun is again an ingenious conceit; but it
has had for result to have made the subject of the process - and the
case is unique in Hawthorne's work-one of those creations of the
story-teller who give us a name for a type. There is a kind of young
man whom we have now only to call a Donatello, to feel that we suf-
ficiently classify him. It is a part of the scheme of the story to
extend to still another nature than his the same sad initiation. A
young woman from across the Atlantic, a gentle copyist in Roman
galleries of still gentler Guidos and Guercinos, happens to have caught
a glimpse, at the critical moment, of the dismal secret that unites
Donatello and Miriam. This, for her, is the tree of bitter knowledge,
the taste of which sickens and saddens her. The burden is more
than she can bear, and one of the most charming passages in the
book describes how at last, at a summer's end, in sultry solitude, she


## p. 7060 (#458) ###########################################

7060
NATHANIEL HAWTHORNE
stops at St. Peter's before a confessional, and Protestant and Puritan
as she is, yields to the necessity of kneeling there and ridding herself
of her obsession. Hawthorne's young women are exquisite; Hilda is
a happy sister to the Phoebe of 'The House of the Seven Gables'
and the Priscilla of The Blithedale Romance. '
The drama in The Marble Faun' none the less, I think, is of an
effect less complete than that of the almost larger element that I
can only call the landscape and the spirit. Nothing is more striking
than the awkward grace with which the author utters, without con-
senting to it, for he is full of half-amiable, half-angry protest and
prejudice, the message, the mystery of the medium in which his
actors move. Miriam and her muffled bandit have faded away, and
we have our doubts and even our fears about Kenyon and his Ameri-
can statuary; but the breath of old Rome, the sense of old Italy, still
meet us as we turn the page, and the book will long, on the great
sentimental journey, continue to peep out of most pockets.
He returned to America in 1860, settled once more at Concord,
and died at Plymouth, New Hampshire, in the arms of Franklin
Pierce, in 1864. At home, with the aid of many memories and of
the copious diaries ultimately published by his wife and children, he
brought forth, one by one, the chapters eventually collected under
the title of Our Old Home. ' The American 'Note Books,' the Eng-
lish, and the French and Italian, were given to the world after his
death,— in 1868, 1870, and 1871 respectively; and if I add to these the
small "campaign" (Life of Franklin Pierce' (1852), two posthumous
fragments, 'Septimius Felton' and 'The Dolliver Romance,' and those
scraps and shreds of which his table drawers were still more exhaust-
ively emptied, his literary catalogue - none of the longest - becomes
complete.
The important item in this remainder is the close, ripe cluster,
the series presented by himself, of his impressions of England. These
admirable papers, with much of the same fascination, have something
of the same uncomforted note with which he had surrendered him-
self to the charm of Italy: the mixture of sensibility and reluctance,
of response and dissent, the strife between his sense of beauty and
his sense of banishment. He came to the Old World late in life-
though after dabbling for years, indeed, in the fancied phenomena of
time, and with inevitable reserves, mistrusts, and antagonisms. The
striking thing to my sense, however, is not what he missed but what
he so ingeniously and vividly made out. If he had been, imagina-
tively, rather old in his youth, he was youthful in his age; and when
all is said, we owe him, as a contribution to the immemorial pro-
cess of lively repartee between the mother land and the daughter,
the only pages of the business that can be said to belong to pure


## p. 7061 (#459) ###########################################

NATHANIEL HAWTHORNE
7061
literature. He was capable of writing 'The Marble Faun,' and yet of
declaring, in a letter from Rome, that he bitterly detested the place
and should rejoice to bid it farewell for ever. Just so he was capa-
ble of drawing from English aspects a delight that they had yielded
not even to Washington Irving, and yet of insisting, with a perver-
sity that both smiled and frowned, that they rubbed him mainly all
the wrong way. At home he had fingered the musty, but abroad
he seemed to pine for freshness. In truth, for many persons his
great, his most touching sign will have been his aloofness wherever
he is. He is outside of everything, and an alien everywhere. He is
an æsthetic solitary. His beautiful, light imagination is the wing
that on the autumn evening just brushes the dusky window.
It was
a faculty that gave him much more a terrible sense of human abysses
than a desire rashly to sound them and rise to the surface with
his report. On the surface- the surface of the soul and the edge of
the tragedy he preferred to remain.