Chapter IV: The New England Group (2)

When we examine his _Essays, First Series_, we find that the volume is composed of short essays on such subjects as _History_, _Self-Reliance_, _Friendship_, _Heroism_, and the _Over-Soul_. If we choose to read _Self-Reliance_, one of his most typical essays, we shall find that the sentences, or the clauses which take the place of sentences, are short, vigorous, and intended to reach the attention through the ear. For instance, he says in this essay:--

"There is a time in every man's education when he arrives at the
conviction that envy is ignorance; that imitation is suicide; that
he must take himself for better, for worse, as his portion."

Before we have finished _Self-Reliance_, he has made us feel that, with the exercise of self-trust, new powers will appear; that a man should not postpone his life, but live now; that a man is weak if he expects aid from others; that discontent is want of self-reliance.

We pick up another volume of essays, _Society and Solitude_, and wonder whether we shall read _Success_, or _Books_, or _Civilization_, or any one of nine others. While we are turning the pages, we see this sentence:--

"Hitch your wagon to a star,"

and we decide to read _Civilization_.

"Now that is the wisdom of a man, in every instance of his labor, to
hitch his wagon to a star, and see his chore done by the gods
themselves. ... We cannot bring the heavenly powers to us, but, if
we will only choose our jobs in directions in which they travel,
they will undertake them with the greatest pleasure.... Let us not
lie and steal. No god will help. We shall find all their teams going
the other way."

The youth is to be pitied if this does not quicken his determination to choose his work in the direction in which the aiding forces of the universe are traveling.

Some of Emerson's best social philosophy may be found in the essay, _Considerations by the Way_, published in the volume called _The Conduct of Life_. His _English Traits_ records in a vigorous, interesting, common-sense way his impressions from his travels in the mother country. The English find in this volume some famous sentences, which they love to quote, such as,--

"That which lures a solitary American in the woods with the wish to
see England, is the moral peculiarity of the Saxon race,--its
commanding sense of right and wrong,--the love and devotion to
that,--this is the imperial trait which arms them with the sceptre
of the globe."

POETRY.--Emerson's verse is noteworthy for its exposition (1) of nature and (2) of his transcendental philosophy. He produced a comparatively small amount of poetry, but much more than he is popularly supposed to have written. Some of his verse is of a high degree of excellence; in fact, his nature poetry deserves to be ranked with the best that America has produced. Like Bryant, Emerson loves the forest. He says:--

"I go to the god of the wood
To fetch his word to men."

In _The Poet_, we see how great he thought the poet's debt to communion with nature:--

"The gods talk in the breath of the woods,
They talk in the shaken pine,
And fill the long reach of the old seashore
With dialogue divine;
And the poet who overhears
Some random word they say
Is the fated man of men
Whom the ages must obey."

Hawthorne saw Emerson one August day, wandering in Sleepy Hollow near Concord, and wrote, "He appeared to have had a pleasant time; for he said there were Muses in the woods to-day and whispers to be heard in the breezes." When Emerson was twenty-four years old, he wrote the following lines, which show the new feeling of mystic companionship with nature:--

"These trees and stones are audible to me,
These idle flowers, that tremble in the wind,
I understand their faery syllables."

His verses make us feel how nature enriches human life, increases its joys, and lessens its sorrows. What modern lover of nature has voiced a more heartfelt, unaffected appreciation of her ministrations than may be found in these lines from Emerson's _Musketaquid_?--

"All my hurts
My garden spade can heal. A woodland walk,
A quest of river grapes, a mocking thrush,
A wild rose or rock-loving columbine,
Salve my worst wounds."

From reading his best nature poem, _Woodnotes_, first published in The Dial, an appreciative person may find it easy to become

"Lover of all things alive,
Wonderer at all he meets,"

to feel that in the presence of nature, every day is the best day of the year, and possibly even to sing with Emerson of any spring or summer day:--

"'Twas one of the charmed days
When the genius of God doth flow;
The wind may alter twenty ways,
A tempest cannot blow;
It may blow north, it still is warm;
Or south, it still is clear;
Or east, it smells like a clover farm;
Or west, no thunder fear."

All who love nature or who wish to become interested in her should read at least his _Woodnotes_, _The Humble Bee_, _The Rhodora_, _Each and All_, _The Snow Storm,_ and _To Ellen at the South_.

Some of his philosophy may be found in poems like _The Problem_ (1839), _The Sphinx_ (1841), and _Brahma_ (1857). The immanence of God in everything, in the sculptor's hand, for instance, is well expressed in _The Problem_:--

"The hand that rounded Peter's dome
And groined the aisles of Christian Rome
Wrought in a sad sincerity;
Himself from God he could not free;
He builded better than he knew;--
The conscious stone to beauty grew."

_The Sphinx_ thus expresses one of Emerson's favorite thoughts:--

"To vision profounder,
Man's spirit must dive,"

and concludes with the Sphinx's thought-provoking statement:-

"Who telleth one of my meanings,
Is master of all I am."

This line in _Brahma_:--

"I am the doubter and the doubt,"

shows his belief in the unity of all things, his conviction that all existence and action result from one underlying force. His own personal philosophy, that which actuated him in dealing with his fellow-men, is expressed in the following lines, which are worthy a place in the active memory of every American:--

"Life is too short to waste
In critic peep or cynic bark,
Quarrel or reprimand:
'Twill soon be dark."

While we are enjoying his poetry, we feel its limitations. Having slight ear for music, he often wrote halting lines. Sometimes his poetic flight is marked by too sudden a descent, but we shall often find in his verse rare jewels, such as:--

"When Duty whispers low, '_Thou must_,'
The youth replies, '_I can._'"

These lines seemed to Oliver Wendell Holmes, the moment he saw them, as if they had been "carved on marble for a thousand years." Emerson's poetry does not pulsate with warm human feeling, but it "follows the shining trail of the ethereal," the ideal, and the eternal. His prose overshadows his poetry, but no one without natural poetical ability of a high order could have written the lines:--

"O tenderly the haughty day
Fills his blue urn with fire,"

or even have seen

"The frolic architecture of the snow."

GENERAL CHARACTERISTICS.--The central aim of Emerson's writing is moral development. He is America's greatest ethical teacher. He thus voices his fixed belief:--

"A breath of will blows eternally through the universe of
souls in the direction of the Right and Necessary."

This belief gives rise to his remarkable optimism for the future, to his conviction that evil is but a stepping stone to good.

In a material age he is the great apostle of the spiritual. "Will you not tolerate," he asks, "one or two solitary voices in the land, speaking for thoughts not marketable or perishable?" To him "mind is the only reality," and his great man is never the one who can merely alter matter, but who can change our state of mind. He believed in reaching truth, guided by intuition. He would not argue to maintain his positions. He said that he did not know what argument signified with reference to a thought. To him a thought was just as natural a product as a rose and did not need argument to prove or justify its existence. Much of his work is tinged with Plato's philosophy.

Of all American writers, he is the most inspiring teacher of the young. One of his chief objects is, in his own phrase, "to help the young soul, add energy, inspire hope, and blow the coals into a useful flame; to redeem defeat by new thought, by firm action." John Tyndall, the eminent English scientist, declared that the reading of two men, Carlyle and Emerson, had made him what he was. He said to his students: "I never should have gone through Analytical Geometry and Calculus, had it not been for these men. I never should have become a physical investigator, and hence without them I should not have been here to-day. They told me what I ought to do in a way that caused me to do it, and all my consequent intellectual action is to be traced to this purely moral force." After hearing one of Emerson's lectures, James Russell Lowell wrote, "Were we enthusiasts? I hope and believe we were, and am thankful to the man who made us worth something for once in our lives."

Few authors, excepting Shakespeare, have more of the quality of universality in their writings. Many things in Emerson will fit certain stages of individual development as well a thousand years hence as to-day and be as applicable to the moral improvement of the Chinese as of Americans. If he is not as much read in the future, it will be largely due to the fact that his most inspiring subject matter has been widely diffused through modern thought.

Emerson's style is condensed. He spoke of his own paragraphs as incompressible, "each sentence an infinitely repellent particle." Because of this condensation, it is best not to read more than one essay at a time. Years ago some joker said that Emerson's _Essays_ could be read as well backward as forward, because there was no connection between the sentences. The same observation could have been made with almost equal truth about _Proverbs_, some of Bacon's _Essays_, Polonius's _Advice to Laertes_, parts of Hamlet's _Soliloquy_, and, in general, about any condensed sentences that endeavor to convey a complete, striking truth. Lowell remarks acutely: "Did they say he was disconnected? So were the stars ... And were _they_ not knit together by a higher logic than our mere sense could master?" We should look for unity and connection in Emerson's chosen subject matter and trend of thought.

We must not forget that Emerson has in his prose as well as in his verse many of the general characteristics of a poet. In his _Essays_, he sometimes avails himself of the poetic license to be obscure and contradictory and to present philosophy that will not walk on all fours. When we examine some of the best passages on nature in his early prose (_e.g._ p. 158), we shall find that they are highly poetical.

Much of his verse is filled with the charm of nature and shows here and there remarkable power of putting great riches in a little room, although there may be intervening waste spaces. Critics may say that his poetry lacks deep feeling, that it is mostly intellectual; if so, it is nobly intellectual. Both his poetry and prose, to use an Emersonian expression, "sail the seas with God."

HENRY DAVID THOREAU, 1817-1862

LIFE.--Henry David Thoreau, America's poet-naturalist, was born in 1817 at Concord, Massachusetts. He was one of the youngest of the famous Concord group of writers and the only one who could claim Concord as his birthplace He was a lifelong student of nature, and he loved the district around Concord. As a boy he knew its woods and streams because he had hunted and fished in them. After his graduation from Harvard in 1837, he substituted for the fishing rod and gun, the spyglass, microscope, measuring tape, and surveying instruments, and continued his out-of-door investigations.

He taught school with his brother and lectured, but in order to add to his slender income also did work unusual for a Harvard graduate, such as odd jobs of carpentering, planting trees, and surveying. He also assisted his father in his business of pencil making, and together they made the best pencils in New England. Whatever he undertook, he did thoroughly. He had no tolerance for the shoddy or for compromises. Exact workmanship was part of his religion. "Drive a nail home," he writes in _Walden_, "and clinch it so faithfully that you can wake up in the night and think of your work with satisfaction."

Like so many of the transcendentalists, Thoreau desired to surround his life with a "wide margin of leisure" in order that he might live in his higher faculties and not be continuously dwarfed with the mere drudgery of earning his sustenance. He determined to divest himself of as many of the burdens of civilization as possible, to lead the simple life, and to waste the least possible time in the making of mere money. The leisure thus secured, he spent in studying birds, plants, trees, fish, and other objects of nature, in jotting down a record of his experiences, and in writing books.

Since he did not marry and incur responsibilities for others, he was free to choose his own manner of life. His regular habit was to reserve half of every day for walking in the woods; but for two years and two months he lived alone in the forest, in a small house that he himself built upon a piece of Emerson's property beside Walden Pond, about a mile south of Concord. Thoreau found that he could earn enough in six weeks to support himself in this simple way for the rest of the year. He thus acquired the leisure to write books that are each year read with increasing interest. The record of his life at Walden forms the basis for his best known work. A few people practice the return to nature for a short time, but Thoreau spent his available life with nature.

He was a pronounced individualist, carrying out Emerson's doctrine by becoming independent of others' opinions. What he thought right, he said or did. He disapproved, for example, of slavery, and consequently refused to pay his poll tax to a government that upheld slavery. When he was imprisoned because of non-payment, Emerson visited him and asked, "Why are you here, Henry?" Thoreau merely replied, "Why are you _not_ here?"

His intense individualism made him angular, and his transcendental love of isolation caused him to declare that he had never found "the companion that was so companionable as solitude"; but he was, nevertheless, spicy, original, loyal to friends, a man of deep family affection, stoical in his ability to stand privations, and Puritanic in his conviction about the moral aim of life. His last illness, induced by exposure to cold, confined him for months away from the out of doors that he loved. In 1862, at the age of forty-five, he said, as he lay on his deathbed, "When I was a very little boy, I learned that I must die, and I set that down, so, of course, I am not disappointed now." He was buried not far from Emerson's lot in the famous Sleepy Hollow cemetery at Concord.

WORKS.--Only two of his books were published during his lifetime. These were _A Week on the Concord and Merrimac Rivers_ (1849) and _Walden_ (1854). The first of these, usually referred to as _The Week_, is the record of a week spent in a rowboat on the rivers mentioned in the title. The clearness and exactness of the descriptions are remarkable. Whenever he investigated nature, he took faithful notes so that when he came to write a more extended description or a book, he might have something more definite than vague memory impressions on which to rely. When he describes in _The Week_ a mere patch of the river bank, this definiteness of observation is manifest:--

"The dead limbs of the willow were rounded and adorned by the
climbing milkania, _Milkania scandens_, which filled every
crevice in the leafy bank, contrasting agreeably with the gray bark
of its supporter and the balls of the button-bush."

This book did not prove popular, and almost three fourths of the edition were left on his hands. This unfortunate venture caused him to say, "I have now a library of nearly nine hundred volumes, over seven hundred of which were written by myself."

_Walden_ is the book by which Thoreau is best known. It is crisper, livelier, more concise and humorous, and less given to introspective philosophizing than _The Week_. _Walden_, New England's _Utopia_, is the record of Thoreau's experiment in endeavoring to live an ideal life in the forest. This book differs from most of its kind in presenting actual life, in not being mainly evolved from the inner consciousness on the basis of a very little experience. He thus states the reason why he withdrew to the forest:--

"I went to the woods because I wished to live deliberately, to front
only the essential facts of life, and see if I could not learn what
it had to teach, and not, when I came to die, discover that I had
not lived. I did not wish to live what was not life, living is so
dear."

His food during his twenty-six months of residence there cost him twenty-seven cents a week. "I learned," he says, "from my two years' experience that it would cost incredibly little trouble to obtain one's necessary food, even in this latitude; that a man may use as simple a diet as the animals, and yet retain health and strength.... I am convinced both by faith and experience that to maintain one's self on this earth is not a hardship, but a pastime." This book has, directly or indirectly, caused more to desire the simple life and a return to nature than any other work in American literature.

In _Walden_ he speaks of himself as a "self-appointed inspector of snowstorms and rainstorms." His companionship with nature became so intimate as to cause him to say, "Every little pine needle expanded and swelled with sympathy and befriended me." When a sparrow alighted upon his shoulder, he exclaimed, "I felt that I was more distinguished by that circumstance than I should have been by any epaulet I could have worn." When nature had some special celebration with the trees, such as decking them with snow or ice or the first buds of spring, he frequently tramped eight or ten miles "to keep an appointment with a beech-tree or a yellow-birch, or an old acquaintance among the pines." It is amusing to read how on such a walk he disturbed the daytime slumbers of a large owl, how the bird opened its eyes wide, "but their lids soon fell again, and he began to nod," and how a sympathetic hypnotization began to take effect on Thoreau. "I too," he says, "felt a slumberous influence after watching him half an hour, as he sat thus with his eyes half open, like a cat, winged brother of the cat."

In spite of some Utopian philosophy and too much insistence on the self-sufficiency of the individual, _Walden_ has proved a regenerative force in the lives of many readers who have not passed the plastic stage. The book develops a love for even commonplace natural objects, and, like poetry, discloses a new world of enjoyment. _Walden_ is Thoreau's most vital combination of his poetic apprehension of wild nature with his philosophy and aggressive individualism.

Almost all of his work is autobiographical, a record of actual experience. _The Maine Woods_ (1864), _Cape Cod_ (1865), and _A Yankee in Canada_ (1866) are records of his tramps in the places named in the titles-, but these works do not possess the interest of _Walden_.

His voluminous manuscript _Journal_ is an almost daily record of his observations of nature, mingled with his thoughts, from the time when he left college until his last sickness. At periods for nearly fifty years after his death, various works have been compiled from this _Journal_. The volumes published under the titles, _Early Spring in Massachusetts_ (1881), _Summer_ (1884), _Winter_ (1887), _Autumn_ (1892), and _Notes on New England Birds_ (1910) were not arranged by him in their present form. Editors searched his _Journal_ for entries dealing with the same season or type of life, and put these in the same volume. Sometimes, as, for instance, in _Winter_, paragraphs separated by an interval of nineteen years in composition become neighbors. In spite of the somewhat fragmentary nature of these works, lovers of Thoreau become intensely interested in them. His _Journal_ in the form in which he left it was finally published in 1906, in fourteen volumes containing 6811 printed pages. He differs from the majority of writers because the interest in his work increases with the passing of the years.

GENERAL CHARACTERISTICS.--Thoreau's object was to discover how to live a rich, full life with a broad margin of leisure. Intimate companionship with nature brought this secret to him, and he has taught others to increase the joys of life from sympathetic observation of everyday occurrences.

A mere unimaginative naturalist may be a bore; but Thoreau regarded nature with the eyes of a poet. His ear was thrilled with the vesper song of the whippoorwill, the lisping of the chickadee among the evergreens, and the slumber call of the toads. For him the bluebird "carries the sky on its back." The linnets come to him "bearing summer in their natures." When he asks, "Who shall stand godfather at the christening of the wild apples?" his reply shows rare poetic appreciation of nature's work:--

"We should have to call in the sunrise and the sunset, the rainbow and
the autumn woods and the wild flowers, and the woodpecker and the purple
finch and the squirrel and the jay and the butterfly, the November
traveler and the truant boy, to our aid."

He is not only a poet-naturalist, but also a philosopher, who shows the influence of the transcendental school, particularly of Emerson. Some of Thoreau's philosophy is impractical and too unsocial, but it aims to discover the underlying basis of enchantment. He thus sums up the philosophy which his life at Walden taught him:--

"I learned this at least by my experiment--that if one advances
confidently in the direction of his dreams, and endeavors to live the
life which he has imagined, he will meet with a success unexpected in
common hours.... If you have built castles in the air, your work need not
be lost; that is where they should be. Now put the foundations under
them."

The reason why he left Walden shows one of his pronounced transcendental characteristics, a dread of repetition. He gives an account of only his first year of life there, and adds, "the second year was similar to it." He says:--

"I left the woods for as good a reason as I went there. Perhaps it seemed
to me that I had several more lives to live, and could not spare any more
time for that one. It is remarkable how easily and insensibly we fall
into a particular route, and make a beaten track for ourselves. I had not
lived there a week before my feet wore a path from my door to the pond
side."

He does not demand that other human beings shall imitate him in devoting their lives to a study of nature. He says, "Follow your genius closely enough, and it will not fail to show you a fresh prospect every hour." He thus expresses his conception of the fundamental basis of happiness in any of the chosen avenues of life:--

"Our whole life is startlingly moral. There is never an instant's truce
between virtue and vice. Goodness is the only investment that never
fails."

His insistence on the necessity of a moral basis for a happy life is a characteristic that he shared in common with the great authors of the New England group, but he had his own individual way of impressing this truth. He thought life too earnest a quest to tolerate the frivolous or the dilettante, and he issued his famous warning that no one can "kill time without injuring eternity." His aim in studying nature was not so much scientific discovery as the revelation of nature's joyous moral message to the spiritual life of man. He may have been unable to distinguish between the song of the wood thrush and the hermit thrush. To him the most important fact was that the thrush is a rare poet, singing of "the immortal wealth and vigor that is in the forest." "The thrush sings," says Thoreau, in his _Journal_, "to make men take higher and truer views of things."

The sterling honesty and directness of Thoreau's character are reflected in his style. He says, "The one great rule of composition--and if I were a professor of rhetoric I should insist on this--is to _speak the truth_." This was his aim in presenting the results of the experience of his soul, as well as of his senses. If he exaggerated the importance of a certain way of regarding things, he did so only because he thought the exaggeration was necessary to secure attention for that particular truth, which would even then not be apprehended at its full value. His style has a peculiar flavor, difficult to describe. Lowell's characterization of Thoreau's style has hardly been surpassed. "His range was narrow, but to be a master is to be a master. There are sentences of his as perfect as anything in the language, and thoughts as clearly crystallized; his metaphors and images are always fresh from the soil."

Thoreau's style shows remarkable power of description. No American has surpassed him in unique description of the most varied incidents in the procession of all the seasons. We shall find frequent illustrations of this power scattered through his _Journal_:--

"_June_ 1, 1857. I hear the note of a bobolink concealed in the top of an
apple tree behind me.... He is just touching the strings of his theorbo,
his glassichord, his water organ, and one or two notes globe themselves
and fall in liquid bubbles from his teeming throat. It is as if he
touched his harp within a vase of liquid melody, and when he lifted it
out, the notes fell like bubbles from the trembling string ... the meadow
is all bespattered with melody. His notes fall with the apple blossoms,
in the orchard."

Even more characteristic is an entry in his _Journal_ for June 11, 1840, where he tries to fathom the consciousness of the solitary bittern:--

"With its patient study by rocks and sandy capes, has it wrested the
whole of her secret from Nature yet? It has looked out from its dull eye
for so long, standing on one leg, on moon and stars sparkling through
silence and dark, and now what a rich experience is its! What says it of
stagnant pools, and reeds, and damp night fogs? It would be worth while
to look in the eye which has been open and seeing in such hours and in
such solitudes. When I behold that dull yellowish green, I wonder if my
own soul is not a bright invisible green. I would fain lay my eye side by
side with its and learn of it."

In this entry, which was probably never revised for publication, we note three of his characteristics: his images "fresh from the soil," adding vigor to his style; his mystic and poetic communion with nature; and the peculiar transcendental desire to pass beyond human experience and to supplement it with new revelations of the gospel of nature.

NATHANIEL HAWTHORNE, 1804-1864

ANCESTRY AND EARLY YEARS.--William Hathorne, the ancestor of America's greatest prose writer, sailed at the age of twenty-three from England on the ship _Arbella_ with John Winthrop (p. 30), and finally settled at Salem, Massachusetts. He brought with him a copy of Sir Philip Sidney's _Arcadia_, a very unusual book for the library of a New England Puritan.

John Hathorne, a son of the first settler, was a judge of the poor creatures who were put to death as witches at Salem in 1692. The great romance writer says that this ancestor "made himself so conspicuous in the martyrdom of the witches, that their blood may fairly be said to have left a stain upon him. ...I, the present writer, as their representative, 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 many a long year back, would argue to exist--may be now and henceforth removed." Tradition says that the husband of one of the tortured victims appealed to God to avenge her sufferings and murder. Probably the ancestral curse hanging over _The House of the Seven Gables_ would not have been so vividly conceived, if such a curse had not been traditional in the Hawthorne family.

Nathaniel Hawthorne, the sixth in descent from the first New England ancestor, and the first of his family to add a "w" to his name, was born in Salem in 1804. His father, a sea captain, died of a fever at a foreign port in 1808. Hawthorne's mother was twenty-seven years old at this time, and for forty years after this sad event, she usually took her meals in her own room away from her three children. Everybody in that household became accustomed to loneliness. At the age of fourteen, the boy went to live for a while on the shore of Sebago Lake, Maine. "I lived in Maine," he said, "like a bird of the air, so perfect was the freedom I enjoyed. But it was there I got my cursed habits of solitude." Shyness and aversion to meeting people became marked characteristics.

His solitariness predisposed him to reading, and we are told that Bunyan's _Pilgrim's Progress_ and Shakespeare's plays were special favorites. Spenser's _Faerie Queene_ was the first book that he bought with his own money. Bunyan and Spenser probably fostered his love of the allegorical method of presenting truth, a method that is in evidence in the bulk of Hawthorne's work. He even called his daughter Una, after one of Spenser's allegorical heroines, and, following the suggestion in the _Faerie Queene_, gave the name of "Lion" to the large cat that came to her as a playmate.

At the age of seventeen, Hawthorne went to Bowdoin College, Maine, where he met such students as Longfellow, Franklin Pierce, and Horatio Bridge, in after years a naval officer, who published in 1893 a delightful volume called _Personal Reminiscences of Nathaniel Hawthorne_. These friends changed the course of Hawthorne's life. In his dedication of _The Snow Image_ to Bridge in 1850, Hawthorne says, "If anybody is responsible for my being at this day an author, it is yourself."

LITERARY APPRENTICESHIP.--After leaving college, Milton spent nearly six years in studious retirement; but Hawthorne after graduating at Bowdoin, in 1825, passed in seclusion at Salem a period twice as long. Here he lived the life of a recluse, frequently postponing his walks until after dark. He was busy serving his apprenticeship as an author. In 1828 he paid one hundred dollars for the publication of _Fanshawe_, an unsuccessful short romance. In mortification he burned the unsold copies, and his rejected short stories often shared the same fate. He was so depressed that in 1836 his friend Bridge went quietly to a publisher and by guaranteeing him against loss induced him to bring out Hawthorne's volume entitled _Twice--Told Tales_.

The Peabodys of Salem then invited the author to their home, where he met the artistic Miss Sophia Peabody, who made an illustration for his fine historical story, _The Gentle Boy_. Of her he wrote, "She is a flower to be worn in no man's bosom, but was lent from Heaven to show the possibilities of the human soul." We find that not long after he wrote in his _American Note-Books_:--

"All that seems most real about us is but the thinnest substance of a
dream,--till the heart be touched. That touch creates us,--then we begin
to be,--thereby we are beings of reality and inheritors of eternity."

He was thinking of Sophia Peabody's creative touch, for he had become engaged to her.

Fired with the ambition of making enough money to enable him to marry, he secured a subordinate position in the Boston customhouse, from which the spoils system was soon responsible for his discharge. He then invested in Brook Farm a thousand dollars which he had saved, thinking that this would prove a home to which he could bring his future wife and combine work and writing in an ideal way. A year's trial of this life convinced him of his mistake. He was then thirty eight, and much poorer for his last experiment; but he withdrew and in a few months married Miss Peabody and took her to live in the famous Old Manse at Concord. The first entry in his _American Note-Books_ after this transforming event is:--

"And what is there to write about? Happiness has no succession of events,
because it is a part of eternity, and we have been living in eternity
ever since we came to this old manse. Like Enoch we seem to have been
translated to the other state of being, without having passed through
death."

The history of American literature can record no happier marriage and no more idyllic life than this couple lived for nearly four years in the Old Manse. While residing here, Hawthorne wrote another volume, known as _Mosses from an Old Manse_ (1846). The only serpent to enter that Eden was poverty. Hawthorne's pen could not support his family. He found himself in debt before he had finished his fourth year in Concord. Moncure D. Conway, writing Hawthorne's _Life_ in 1890, the year before American authors were protected by international copyright, says, "In no case has literature, pure and simple, ever supported an American author, unless, possibly, if he were a bachelor." Hawthorne's college friends, Bridge and Pierce, came to his assistance, and used their influence with President Polk to secure for Hawthorne the position of surveyor of customs at Salem, with a yearly salary of twelve hundred dollars.

HIS PRIME AND LATER YEARS.--He kept his position as head customs officer at Salem for three years. Soon after President Taylor was inaugurated in 1849, the spoils system again secured Hawthorne's removal. When he came home dejected with this news, his wife smiled and said, "Oh, then you can write your book!" _The Scarlet Letter_, published in 1850, was the result. The publisher printed five thousand copies, all that he had ever expected to sell, and then ordered the type to be distributed at once. Finding in ten days, however, that every copy had been sold, he gave the order to have the type reset and permanent plates made. Hawthorne had at last, at the age of forty-six, become one of the greatest writers of English prose romance. From this time he wrote but few short tales.

He left Salem in the year of the publication of _The Scarlet Letter_, never again to return to it as a place of residence, although his pen continued to help immortalize his birthplace.

In 1852 he bought of Bronson Alcott in Concord a house since known as the "Wayside." This was to be Hawthorne's American home during his remaining years. Here he had a tower room so constructed as to be well-nigh inaccessible to visitors, and he also had a romantic study bower built in the pine trees on a hill back of his house.

His college friend, Pierce, was inaugurated President of the United States in 1853, and he appointed Hawthorne consul at Liverpool. This consulship then netted the holder between $5000 and $7000 a year. After nearly four years' service in this position, he resigned and traveled in Europe with his family. They lived in Rome sufficiently long for him to absorb the local color for his romance of _The Marble Faun_. He remained abroad for seven years. The record of his travels and impressions may be found in his _English Note-Books_ and in his _French and Italian Note-Books_. _Our Old Home_, a volume based on his _English Note-Books_, is a more finished account of his thoughts and experiences in England.

In 1860 he returned quietly to his Concord home. His health was failing, but he promised to write for the _Atlantic Monthly_ another romance, called _The Dolliver Romance_. This, however, was never finished, and _The Marble Faun_ remains the last of his great romances. His health continued to fail, and in May, 1864, Pierce, thinking that a trip might prove beneficial, started with him on a journey to the White Mountains. Hawthorne retired for the night at the hotel in Plymouth, New Hampshire, and the next morning Pierce found that Hawthorne's wish of dying unawares in his sleep had been gratified. He had passed away before the completion of his fifty-ninth year. He was buried underneath the pines in the Sleepy Hollow cemetery at Concord. His classmate, Longfellow, wrote:--

"There in seclusion and remote from men,
The wizard hand lies cold."

"TWICE TOLD TALES" AND "MOSSES FROM AN OLD MANSE."--Many do not realize that these two volumes contain eighty-two tales or sketches and that they represent the most of Hawthorne's surviving literary work for the first forty-five years of his life. The title for _Twice-Told Tales_ (1837) was probably suggested by the line from Shakespeare's _King John:_ "Life is as tedious as a twice-told tale." The second volume, _Mosses from an Old Manse_ (1846), took its name from Hawthorne's first Concord home. His last collection is called _The Snow Image and Other Twice-Told Tales_ (1851). Each one of these volumes contains some of his short-story masterpieces, although, taken as a whole, the collection in _Mosses from an Old Manse_ shows the greatest power and artistic finish.

The so-called tales in these volumes are of several different types. (1) There is the story which presents chiefly allegorical or symbolic truth, such as _Rappacini's Daughter, The Great Stone Face, The Birthmark, The Artist of the Beautiful, and The Snow Image._ The last story, one of the greatest of this class, relates how two children make a companion out of a snow image, how Jack Frost and the pure west wind endow this image with life and give them a little "snow sister." She grows more vigorous with every life-giving breath inhaled from the west wind. She extends her hands to the snow-birds, and they joyously flock to her. The father of these children is a deadly literal man. No tale of fairy, no story of dryad, of Aladdin's lamp, or of winged sandal had ever carried magical meaning to his unimaginative literal mind, and he proceeds to disenchant the children. Like Nathan the prophet, Hawthorne wished to say, "Thou art the man," to some tens of thousands of stupid destroyers of those ideals which bring something of Eden back to our everyday lives. This story, like so many of the others, was written with a moral purpose. There are to-day people who measure their acquaintances by their estimates of this allegorical story.

(2) Another type of Hawthorne's stories illustrates the history of New England. Such are _The Gentle Boy_, _The Maypole of Merry Mount_, _Endicotts Red Cross_, and _Lady Eleanore's Mantle_. We may even include in this list _Young Goodman Brown_, in one sense an unreal and fantastic tale, but in another, historically true to the Puritanic idea of the orgies of witches in a forest. If we wish, for instance, to supplement the cold page of history with a tale that breathes the very atmosphere of the Quaker persecution of New England, let us open _The Twice-Told Tales_ and read the story of _The Gentle Boy_, a Quaker child of six, found sobbing on his father's newly-made grave beside the scaffold under the fir tree. Let us enter the solemn meeting house, hear the clergyman inveigh against the Quakers, and sit petrified when, at the end of the sermon, that boy's mother, like a Daniel entering the lion's den, ascends the pulpit, and invokes woe upon the Puritans.

(3) We shall occasionally find in these volumes what eighteenth-century readers of the _Spectator_ would have called a "paper," that is, a delightful bit of mixed description and narration, "a narrative essay" or "a sketch," as some prefer to call it. In this class we may include _The Old Manse_, _The Old Apple-Dealer_, _Sights from a Steeple_, _A Rill from the Town Pump_, and the masterly _Introduction to The Scarlet Letter_.

_The Old Manse_, the first paper in _Mosses from an Old Manse_, is excellent. Hawthorne succeeds in taking his readers with him up the Assabeth River, in a boat made by Thoreau. We agree with Hawthorne that a lovelier river "never flowed on earth,--nowhere indeed except to lave the interior regions of a poet's imagination." When we return with him at the end of that day's excursion, we are almost tempted to say that we can never again be enslaved as before. We feel that we can say with him:--

"We were so free to-day that it was impossible to be slaves again
tomorrow. When we crossed the threshold of the house or trod the thronged
pavements of a city, still the leaves of the trees that overhang the
Assabeth were whispering to us, 'Be free! Be free.'"

These volumes entitle Hawthorne to be ranked among the greatest of short-story writers. Like Irving, Hawthorne did not take the air line directness of narration demanded by the modern short story; but the moral truth and beauty of his tales will long prove their elixir of life, after the passing of many a modern short story which has divested itself of everything except the mere interest in narration.

CHILDREN'S STORIES.--Hawthorne's _Grandfather's Chair_ (1841) is a series of simple stories of New England history, from the coming of the Mayflower to the death of Samuel Adams in 1803. Hawthorne's greatest success in writing for children is to be found in his _A Wonder Book_ (1851) and _Tanglewood Tales_ (1853). In these volumes he has adapted the old classical myths to the tastes of American children. His unusual version of these myths meets two supreme tests. Children like it, and are benefited by it. Many would rejoice to be young enough again to hear for the first time the story of _The Golden Touch_,--how Midas prized gold above all things, how he secured the golden touch, and how the flies that alighted on his nose fell off little nuggets of gold. What a fine thing we thought the golden touch until he touched his beautiful little daughter, Marygold! No sermon could better have taught us that gold is not the thing above all to be desired.

Hawthorne stands in the front rank of a very small number whose writings continue to appeal to the children of succeeding generations. He loved and understood children and shared their experiences. He was one of those whose sixteenth amendment to the Constitution reads, "The rights and caprices of children in the United States shall not be denied or abridged on account of age, sex, or formal condition of tutelage."

GREAT ROMANCES.--Hawthorne wrote four long romances: _The Scarlet Letter_ (1850), the scene of which is laid in Boston in Governor Winthrop's time, _The House of the Seven Gables_ (1851), with the scene laid in Salem, _The Marble Faun_ (1860), in Rome, and _The Blithedale Romance_ (1852), in an ideal community similar to Brook Farm. The first three of these works have a great moral truth to present. Accordingly, the details of scene, plot, description, and conversation are handled so as to emphasize this central truth.

_The Scarlet Letter_ was written to show that the consequences of a sin cannot be escaped and that many different lives are influenced by one wrong deed. The lives of Hester Prynne, Reverend Arthur Dimmesdale, and Roger Chillingworth are wrecked by the crime in _The Scarlet Letter_. Roger Chillingworth is transformed into a demon of revenge. So malevolent does he become that Hester wonders "whether the tender grass of early spring would not be blighted beneath him." She would not be surprised to see him "spread bat's wings and flee away." The penalty paid by Arthur Dimmesdale is to appear to be what he is not, and this is a terrible punishment to his sensitive nature. The slow steps by which his soul is tortured and darkened are followed with wonderful clearness, and the agony of his soul alone with God is presented with an almost Shakespearean pen. The third sufferer is the beautiful Hester Prynne. Her fate is the most terrible because she not only writhes under a severe punishment inflicted by the authorities, but also suffers from daily, even hourly, remorse. To help assuage her grief, and to purify her soul, Hester becomes the self-effacing good Samaritan of the village. Her uncomplaining courage, noble beauty, and self-sacrifice make her the center of this tragic story.

Shakespeare proposed no harder problem than the one in _The Scarlet Letter_,--the problem of the expiation of sin. The completeness with which everything is subordinated to the moral question involved, and the intensity with which this question is treated, show the Puritanic temperament and the imaginative genius of the author. Hawthorne is Puritan in the earnestness of his purpose, but he is wholly the artist in carrying out his design. Such a combination of Puritan and artist has given to American literature in _The Scarlet Letter_ a masterpiece, somber yet beautiful, ethical yet poetic, incorporating both the spirit of a past time and the lessons of an eternal present. This incomparable romance is unified in conception, symmetrical in form, and nobly simple in expression.

Far less somber than _The Scarlet Letter_ is _The House of the Seven Gables_. This has been called a romance of heredity, because the story shows the fulfillment of a curse upon the distant descendants of the wrongdoer, old Judge Pyncheon. The present inhabitants of the Pyncheon mansion, who are among the worst sufferers, are Hepzibah Pyncheon and her brother Clifford. Hawthorne's pages contain nothing more pathetic than the picture of helplessness presented by these two innocent souls, bearing a burden of crime not their own. The brightness of the story comes through the simple, joyous, home-making nature of Phoebe Pyncheon. She it is who can bring a smile to Clifford's face and can attract custom to Hepzibah's cent shop. Hawthorne never loses sight of his purpose. The curse finds its last victim, and the whole story is a slow preparation for this event. The scenes, however, in which Phoebe, that "fair maker of sunshine," reigns as queen, are so peaceful and attractive, the cent shop, which Hepzibah is forced to open for support, offers so many opportunities for comic as well as pathetic incidents, and the outcome of the story is so satisfactory that it is the brightest of all Hawthorne's long romances.

In _The Marble Faun_, Hawthorne's last complete romance, the Puritan problem of sin is transplanted to Italian soil. The scene is laid in Rome, where the art of Michael Angelo and Raphael, the secret orders of the Church, the tragic history of the eternal city, with its catacombs and ruins, furnish a rich and varied background for the story. So faithfully indeed are the galleries, churches, and historic corners of Rome described, that _The Marble Faun_ has served as a guide for the cultured visitor. This expression of opinion by the late A. P. Stanley (1815-1881), a well-known author and dean of Westminster Abbey, is worth remembering: "I have read it seven times. I read it when it appeared, as I read everything from that English master. I read it again when I expected to visit Rome, then when on the way to Rome, again while in Rome, afterwards to revive my impressions of Rome. Recently I read it again because I wanted to." In this historic setting, Hawthorne places four characters: Donatello, the faun, Miriam, the beautiful and talented young artist, Kenyon, the American sculptor, and Hilda, the Puritan maid who tends the lamp of the Virgin in her tower among the doves and makes true copies of the old masters. From the beginning of the story some mysterious evil power is felt, and this power gains fuller and fuller ascendency over the characters. What that is the author does not say. It seems the very spirit of evil itself that twines its shadow about human beings and crushes them if they are not strong enough to resist.

In _The Scarlet Letter_ it was shown that the moral law forces evildoers to pay the last farthing of the debt of sinning. _In The Marble Faun_ the effect of sin in developing character is emphasized, and Donatello, the thoughtless creature of the woods is portrayed in his stages of growth after his moral nature has first been roused by a great crime. The question is raised, Can the soul be developed and strengthened by sin? The problem is handled with Hawthorne's usual moral earnestness of purpose, and is expressed in his easiest and most flexible style. Nevertheless this work has not the suppressed intensity, completeness of outline, and artistic symmetry possessed by _The Scarlet Letter_. The chief defects of _The Marble Faun_ are a vagueness of form, a distracting variety of scene, and a lack of the convincing power of reality. The continued popularity of this romance, however, is justly due to its poetic conception, its atmosphere of ancient mystery, and its historic Roman background.

_The Blithedale Romance_ and the cooperative settlement described in it were suggested to Hawthorne by his Brook Farm experience, although he disclaims any attempt to present an actual picture of that community. The idea of the division of labor, the transcendental conversations, and many of the incidents owe their origin to his sojourn at Brook Farm (p. 166). Although _The Blithedale Romance_ does not equal the three romances already described, it contains one character, Zenobia, who is the most original and dramatic of Hawthorne's men and women, and some scenes which are as powerful as any drawn by him.

GENERAL CHARACTERISTICS.--Hawthorne gave the Puritan to literature. This achievement suggests Irving's canonization of the Knickerbockers and Cooper's of the pioneer and the Indian. Himself a Unitarian and out of sympathy with the Puritans' creed, Hawthorne nevertheless says, "And yet, let them scorn me as they will, strong traits of their nature have intertwined themselves with mine." He and they had the same favorite subject,--the human soul in its relation to the judgment day. He could no more think of sin unrelated to the penalty, than of a serpent without shape or color. Unlike many modern novelists, his work never wanders beyond a world where the Ten Commandments rule. Critics have well said that he never painted a so-called man of the world, because such a man, by Hawthorne's definition, would really be a man out of the great moral world, which to Hawthorne seemed the only real world.

He is preeminently a writer of romance. He was always powerfully influenced by such romantic materials as may be found in the world of witchcraft and the supernatural, or such as are suggested by dim foreshadowings of evil and by the many mysteries for which human philosophy does not account. For this reason, his works are removed from the commonplace and enveloped in an imaginative atmosphere. He subjects his use of these romantic materials--the unusual, the improbable, and the supernatural--to only one touchstone. He is willing to avail himself of these, so long as he does not, in his own phrase, "swerve aside from the truth of the human heart."

His stories are frequently symbolic. He selects some object, token, or utterance, in harmony with his purpose, and uses it as a symbol to prefigure some moral action or result. The symbol may be an embroidered mantle, indicative of pride; a butterfly, typical of emergence from a dead chrysalis to a state of ideal beauty; or the words of a curse, which prophesy a ghastly death. His choice of scene, plot, and character is in harmony with the moral purpose indicated by the symbol. Sometimes this purpose is dimly veiled in allegory, but even when his stories are sermons in allegory, like _The Snow Image_, he so invests them with poetic fancy or spiritual beauty as to make them works of art. His extensive use of symbolism and allegory has been severely criticized. It is unfortunate that he did not learn earlier in life what _The Scarlet Letter_ should have taught him, that he did not need to rely on these supports. He becomes one of the great masters when he paints character from the inside with a touch so vivid and compelling that the symbolism and the allegory vanish like a dissolving picture and reveal human forms. When he has breathed into them the creator's breath of life, he walks with them hand in hand in this lost Eden. He ascends the pillory with Hester Prynne, and writhes with Arthur Dimmesdale's agony. He plays on the seashore with little Pearl. He shares Hepzibah Pyncheon's solitude and waits on the customers in the cent shop with Phoebe. He eats two dromedaries and a gingerbread locomotive with little Ned Higgins.