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Nathaniel Hawthorne
by George E. Woodberry
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NATHANIEL HAWTHORNE

BY

GEORGE E. WOODBERRY



PREFACE

The narrative of Hawthorne's life has been partly told in the autobiographical passages of his writings which he himself addressed to his readers from time to time, and in the series of "Note Books," not meant for publication but included in his posthumous works; the remainder is chiefly contained in the family biography, "Nathaniel Hawthorne and his Wife" by his son Julian Hawthorne, "Memories of Hawthorne" by his daughter, Mrs. Rose Hawthorne Lathrop, and "A Study of Hawthorne," by his son-in-law, George Parsons Lathrop. Collateral material is also to be found abundantly in books of reminiscences by his contemporaries. These are the printed sources of the present biography.

The author takes pleasure in expressing his thanks to his publishers for the ample material they have placed at his disposal; and also to Messrs. Harper and Brothers for their permission to make extracts from Horatio Bridge's "Personal Recollections of Nathaniel Hawthorne," and to Samuel T. Pickard, Esq., author of "Hawthorne's First Diary," and to Dr. Moncure D. Conway, author of "Nathaniel Hawthorne" (Appleton's), for a like courtesy.

COLUMBIA COLLEGE, April 1, 1902.



CONTENTS

CHAP.

I. FIRST YEARS

II. THE CHAMBER UNDER THE EAVES

III. WEIGHER, GAUGER, AND FARMER

IV. THE OLD MANSE

V. THE SCARLET LETTER

VI. LITERARY LABORS

VII. LIFE ABROAD

VIII. LAST YEARS



NATHANIEL HAWTHORNE

* * * * *



I.

FIRST YEARS.

The Hathorne family stock, to name it with the ancient spelling, was English, and its old home is said to have been at Wigeastle, Wilton, in Wiltshire. The emigrant planter, William Hathorne, twenty-three years old, came over in the Arbella with Winthrop in 1630. He settled at Dorchster, but in 1637 removed to Salem, where he received grants of land; and there the line continued generation after generation with varying fortune, at one time coming into public service and local distinction, and at another lapsing again into the common lot, as was the case of the long settled families generally. The planter, William Hathorne, shared to the full in the vigor and enterprise of the first generation in New England. He was a leader in war and peace, trade and politics, with the versatility then required for leadership, being legislator, magistrate, Indian fighter, explorer, and promoter, as well as occasionally a preacher; and besides this practical force he had a temper to sway and incite, which made him reputed the most eloquent man in the public assembly. He possessed—and this may indicate another side to his character—a copy of Sir Philip Sidney's "Arcadia," certainly a rare book in the wilderness. He was best remembered, both in local annals and family tradition, as a patriot and a persecutor, for he refused to obey the king's summons to England, and he ordered Quaker women to be whipped through the country-side.

The next generation, born in the colony, were generally of a narrower type than their fathers, though in their turn they took up the work of the new and making world with force and conscience; and the second Hathorne, John, of fanatical memory, was as characteristically a latter-day Puritan as his father had been a pioneer. He served in the council and the field, but he left a name chiefly as a magistrate. His duty as judge fell in the witchcraft years, and under that adversity of fortune he showed those qualities of the Puritan temperament which are most darkly recalled; he examined and sentenced to death several of the accused persons, and bore himself so inhumanely in court that the husband of one of the sufferers cursed him,—it must have been dramatically done to have left so vivid a mark in men's minds,—him and his children's children. This was the curse that lingered in the family memory like a black blot in the blood, and was ever after used to explain any ill luck that befell the house. The third heir of the name, Joseph, was a plain farmer, in whose person the family probably ceased from the ranks of the gentry, as the word was then used. The fourth, Daniel, "bold Hathorne" of the Revolutionary ballad, was a privateersman, robust, ruddy of face, blue-eyed, quick to wrath,—a strong-featured type of the old Salem shipmaster. His son, Nathaniel, the fifth descendant, was also bred to the sea, a young man of slight, firm figure, and in face and build so closely resembling his famous son—for he was the father of Hawthorne—that a passing sailor once recognized the latter by the likeness. What else he transmitted to his son, in addition to physique, by way of temperament and inbred capacity and inclination, was to suffer more than a sea-change; but he is recalled as a stern man on deck, of few words, showing doubtless the early aging of those days under the influence of active responsibility, danger, and the habit of command, and, like all these shipmasters—for they were men of some education—he took books to sea with him. He died at Surinam in 1808, when thirty-two years old. He had married Elizabeth Clarke Manning, herself a descendant in the fifth generation of Richard Manning, of St. Petrox Parish, Dartmouth, whose widow emigrated to New England with her children in 1679. Other old colonial families that had blended with the Hathornes and Mannings in these American years were the Gardner, Bowditch, and Phelps stocks, on the one side, and the Giddings, Potter, and Lord, on the other. Of such descent, Nathaniel Hawthorne, the second child and only son of this marriage, was born at Salem, July 4, 1804, in his grandfather Daniel's house, on Union Street, near the wharves.

The pleasant, handsome, bright-haired boy was four years old when his mother called him into her room and told him that his father was dead. She soon removed with him and his sisters, of whom Elizabeth was four years older and Louisa two years younger than himself, to her father's house in the adjoining yard, which faced on Herbert Street; and there the young mother, who was still but twenty-seven, following a custom which made much of widows' mourning in those times, withdrew to a life of seclusion in her own room, which, there or elsewhere, she maintained till her death, through a period of forty years; and, as a perpetual outward sign of her solitude, she took her meals apart, never eating at the common table. There is a touch of mercy in life which allows childhood to reconcile itself with all conditions; else one might regret that the lad was to grow up from his earliest memory in the visible presence of this grief separating him in some measure from his mother's life; it was as if there were a ghost in the house; and though early anecdotes of him are few and of little significance, yet in his childish threat to go away to sea and never come back again, repeated through years, one can but trace the deep print of that sorrow of the un-returning ones which was the tragedy of women's lives all along this coast. His mother cared for him none the less, though she was less his companion, and there seems to have been no diminution of affection and kindness between them, though an outward habit of coldness sprang up as time went on. He had his sisters for playmates at first, and as he grew up, he was much looked after by his uncles. His first master was Dr. Worcester, the lexicographer, then just graduated from Yale, who set up a school in Salem; and, the lad being lamed in ball-playing, the young teacher came to the house to carry on the lessons. The accident happened when Hawthorne was nine years old, and the injury, which reduced him to crutches, continued to trouble him till he was twelve, at least, after which, to judge by the fact that he attended dancing-school, he seems to have entirely recovered from it. The habit of reading came to him earlier, perhaps because of his confinement and disability for sports in these three or four years; he was naturally thrown back upon himself. He is seen lying upon the floor habitually, and when not playing with cats—the only boyish fondness told of him—reading Shakspere, Milton, Thomson, the books of the household, not uncommon in New England homes, where good books were as plenty then as all books are now; and on Sundays, at his grandmother Hathorne's, across the yard, he would crouch hour after hour over Bunyan's "Pilgrim's Progress," that refuge of boyhood on the oldtime Sabbaths. It is recollected that, by the time he was fourteen, he had read Clarendon, Froissart, and Rousseau, besides "The Newgate Calendar," a week-day favorite; and he may be said to have begun youth already well versed in good English books, and with the habit and taste of literary pleasure established as a natural part of life. "The Faerie Queene" was the first book he bought with his own money. He was vigorous enough now; but the two outward circumstances that most affected his boyhood, the monotone of his mother's sorrow and his own protracted physical disability, must have given him touches of gravity and delicacy beyond his years. It is noticeable that nothing is heard of any boy friends; nor did he contract such friendships, apparently, before college days.

In the fall of 1818, when Hawthorne was fourteen years old, the family removed to Raymond, in Maine, where the Mannings possessed large tracts of land. The site of this township was originally a grant to the surviving members and the heirs of Captain Raymond's militia company of Beverly, the next town to Salem, for service in the French and Indian war; and Hawthorne's grandfather, Richard Manning, being the secretary of the proprietors, who managed the property and held their meetings in Beverly, had toward the close of the century bought out many of their rights. After his death the estate thus acquired was kept undivided, and was managed for his children by his sons Richard and Robert, and finally at any rate, more particularly by the latter, who stood in the closest relation to Hawthorne of all his uncles, having undertaken to provide for his education. He had built a large, square, hip-roofed house at Raymond, after the model common in his native county of Essex, as a comfortable dwelling, but so seemingly grand amid the humble surroundings of the Maine clearing as to earn the name of "Manning's folly;" and, about 1814, he built a similar house for his sister, near his own, but she had not occupied it until now, when she came to live there, at first boarding with a tenant. It was pleasantly situated, with a garden and apple orchard, and with rows of butternut-trees planted beside it; and perhaps she had sought this retirement with the hope of its being consonant with her own solitude. The country round about was wilderness, most of it primeval woods. The little settlement, only a mill and a country store and a few scattered houses, lay on a broad headland making out into Sebago Lake, better known as the Great Pond, a sheet of water eight miles across and fourteen miles long, and connected with other lakes in a chain of navigable water; to the northwest the distant horizon was filled with the White Mountains, and northward and eastward rose the unfrequented hill and lake country, remarkable only, then as now, for its pure air and waters, and presenting a vast solitude. This was the Maine home of Hawthorne, of which he cherished the memory as the brightest part of his boyhood. The spots that can be named which may have excited his curiosity or interested his imagination are few, and similar places would not be far off anywhere on the coast. There was near his home a Pulpit Rock, such as tradition often preserves, and by the Pond there was a cliff with the usual legend of a romantic leap, and under it were the Indian rock-paintings called the Images; but the essential charm of the place was that in all directions the country lay open for adventure by boat or by trail. Hawthorne had visited the scene before, in summer times, and he revisited it afterward in vacations, but his long stay here was in his fifteenth year, the greater part of which he passed in its neighborhood.

The contemporary record of these days is contained in a diary [Footnote: Hawthorne's First Diary, with an account of its discovery and loss. By Samuel T. Pickard. Boston: Houghton, Mifflin & Co. 1897. The volume has been withdrawn by its editor in consequence of his later doubts of its authenticity.] which has been regarded as Hawthorne's earliest writing. The original has never been produced, and the copy was communicated for publication under circumstances of mystery that easily allow doubts of its authenticity to arise. The diary is said to have been given to him by his uncle Richard "with the advice that he write out his thoughts, some every day, in as good words as he can, upon any and all subjects, as it is one of the best means of his securing for mature years command of thought and language,"—these words being written on the first leaf with the date, "Raymond, June 1, 1816." Whether this inscription and the entries which follow it are genuine must be left undetermined; there is nothing strange in Hawthorne's keeping a boy's diary, and being urged to do so, in view of his tastes and circumstances, and it would be interesting to trace to so early a beginning that habit of the note-book that was such a resource to him in mature years; but the evidence is inconclusive. Whether by his hand or not, the diary embodies the life he led in this region on his visits and during his longer stay; the names and places, the incidents, the people, the quality of the days are the same that the boy knew, wrote of in letters of the time, and remembered as a man; and though the story may be the fabrication of his mulatto boy comrade of those days, it is woven of shreds and patches of reality. After all, the little book is but a lad's log of small doings,—swapping knives, swimming and fishing, of birds and snakes and bears, incidents of the road and excursions into the woods and on the lake, and notices of the tragic accidents of the neighborhood. It has some importance as illustrating the external circumstances of the place, a very rural place indeed, and suggesting that among these country people Hawthorne found the secret of that fellowship—all he ever had—with the rough and unlearned, on a footing of democratic equality, with the ease and naturalness of a man. Here at Raymond in his youth, where his personal superiority was too much a matter of course to be noticed, he must have learned this freemasonry with young and old at the same time that he held apart from all in his own life. For the rest, he has told himself in his undoubted words how he swam and hunted, shot hen-hawks and partridges, caught trout, and tracked bear in the snow, and ran wild, yet not wholly free of the call-whistle of his master-passion: "I ran quite wild," he wrote a quarter-century later, "and would, I doubt not, have willingly run wild till this time, fishing all day long, or shooting with an old fowling-piece; but reading a good deal, too, on rainy days, especially in Shakespeare and 'The Pilgrim's Progress,' and any poetry or light books within my reach. These were delightful days.... I would skate all alone on Sebago Lake, with the deep shadows of the icy hills on either hand. When I found myself far from home, and weary with the exhaustion of skating, I would sometimes take refuge in a log cabin where half a tree would be burning on the broad hearth. I would sit in the ample chimney, and look at the stars through the great aperture through which the flames went roaring up. Ah, how well I recall the summer days, also, when with my gun I roamed at will through the woods of Maine!" In these memories, it is evident, many years, younger and older, are diffused in one recollection. For him, here rather than by his native sea were those open places of freedom that boyhood loves, and with them he associated the beginnings of his spirit,—the dark as well as the bright; near his end he told Fields, as his mind wandered back to these days, "I lived in Maine like a bird of the air, so perfect was the freedom I enjoyed. But it was there I first got my cursed habits of solitude." The tone of these reminiscences is verified by his letters, when he went back to Salem; in the first months he writes of "very hard fits of homesickness;" a year later he breaks out,—"Oh, that I had the wings of a dove, that I might fly hence and be at rest! How often do I long for my gun, and wish that I could again savageize with you! But I shall never again run wild in Raymond, and I shall never be so happy as when I did;" and, after another year's interval, "I have preferred and still prefer Raymond to Salem, through every change of fortune." There can be no doubt where his heart placed the home of his boyhood; nor is it, perhaps, fanciful to observe that in his books the love of nature he displays is rather for the woods than the sea, though he was never content to live long away from the salt air.

It was plainly the need of schooling that took him from his mother's home at Raymond and brought him back to Salem by the summer of 1819, when he was just fifteen years old. Even in the winter interval he seems to have gone for a few weeks to the house of the Rev. Caleb Bradley, Stroudwater, Westbrook, in the same county as Raymond, to be tutored. He remained in Salem with his uncles for the next two years, and was prepared for college, partly, at least, by Benjamin Oliver, a lawyer, at the expense of his uncle Robert, and during a portion of this time he earned some money by writing in the office of his uncle William; but he was occupied chiefly with his studies, reading, and early compositions. At the beginning of this period, in his first autumn letters, he mentions having lately read "Waverley," "The Mysteries of Udolpho," "The Adventures of Ferdinand Count Fathom," "Roderick Random," and a volume of "The Arabian Nights;" and he has learned the easy rhyming of first verses, and stuffs his letters with specimens of his skill, clever stanzas, well written, modulated in the cadences of the time, with melancholy seriousness and such play of sad fancy as youthful poets use. He laid little store by his faculty for verse, and yet he had practiced it from an early childish age and had a fair mastery of its simple forms; and once or twice in mature life he indulged himself in writing and even in publishing serious poems. In these years, however, verses were only a part of the ferment of his literary talent, nor have any of them individuality. He practiced prose, too, and in the next summer, 1820, issued four numbers of a boy's paper, "The Spectator," bearing weekly date from August 21 to September 18, and apparently he had made an earlier experiment, without date, in such adolescent journalism; it was printed with a pen on small note-paper, and contained such serious matter as belongs to themes at school on "Solitude" and "Industry," with the usual addresses to subscribers and the liveliness natural to family news-columns. The composition is smooth and the manner entertaining, and there is abundance of good spirits and fun of a boyish sort. The paper shows the literary spirit and taste in its very earliest bud; but no precocity of talent distinguished it, though doubtless the thought of authorship fed on its tender leaves. Such experiments belong to the life of growing boys where education is common and literary facility is thought to be a distinction and sign of promise in the young; and Hawthorne did not in these ways differ from the normal boy who was destined for college. Nothing more than these trifles is to be gleaned of his intellectual life at that time, but two or three letters pleasantly illustrate his brotherly feeling, his spirits, and his uncertainties in regard to the future, at the same time that they display his absorption in the author's craft; and they conclude the narrative of these early days before college. The first was written in October, 1820, just after the last issue of "The Spectator," to his younger sister Louisa, and shows incidentally that these literary pleasures were a family diversion:—

Dear Sister,—I am very angry with you for not sending me some of your poetry, which I consider a great piece of ingratitude. You will not see one line of mine until you return the confidence which I have placed in you. I have bought the "Lord of the Isles," and intend either to send or to bring it to you. I like it as well as any of Scott's other poems. I have read Hogg's "Tales," "Caleb Williams," "St. Leon," and "Mandeville." I admire Godwin's novels, and intend to read them all. I shall read the "Abbot," by the author of "Waverley," as soon as I can hire it. I have read all Scott's novels except that. I wish I had not, that I might have the pleasure of reading them again. Next to these I like "Caleb Williams." I have almost given up writing poetry. No man can be a Poet and a bookkeeper at the same time. I do find this place most "dismal," and have taken to chewing tobacco with all my might, which, I think, raises my spirits. Say nothing of it in your letters, nor of the "Lord of the Isles." ... I do not think I shall ever go to college. I can scarcely bear the thought of living upon Uncle Robert for four years longer. How happy I should be to be able to say, "I am Lord of myself!" You may cut off this part of my letter, and show the other to Uncle Richard. Do write me some letters in skimmed milk. I must conclude, as I am in a "monstrous hurry"!

Your affectionate brother,

NATH. HATHORNE.

P. S. The most beautiful poetry I think I ever saw begins:—

"She 'a gone to dwell in Heaven, my lassie, She's gone to dwell in Heaven: Ye're ow're pure quo' a voice aboon For dwalling out of Heaven."

It is not the words, but the thoughts. I hope you have read it, as I know you would admire it.

A passage from a second letter, six months later, March 13, 1821, to his mother, reveals the character of his relationship with her:—

I don't read so much now as I did, because I am more taken up in studying. I am quite reconciled to going to college, since I am to spend the vacations with you. Yet four years of the best part of my life is a great deal to throw away. I have not yet concluded what profession I shall have. The being a minister is of course out of the question. I should not think that even you could desire me to choose so dull a way of life. Oh, no, mother, I was not born to vegetate forever in one place, and to live and die as calm and tranquil as—a puddle of water. As to lawyers, there are so many of them already that one half of them (upon a moderate calculation) are in a state of actual starvation. A physician, then, seems to be "Hobson's choice;" but yet I should not like to live by the diseases and infirmities of my fellow-creatures. And it would weigh very heavily on my conscience, in the course of my practice, if I should chance to send any unlucky patient "ad inferum," which being interpreted is, "to the realms below." Oh that I was rich enough to live without a profession! What do you think of my becoming an author, and relying for support upon my pen? Indeed, I think the illegibility of my handwriting is very author-like. How proud you would feel to see my works praised by the reviewers, as equal to the proudest productions of the scribbling sons of John Bull! But authors are always poor devils, and therefore Satan may take them. I am in the same predicament as the honest gentleman in "Espriella's Letters:"—

"I am an Englishman, and naked I stand here, A-musing in my mind what garment I shall wear."

But as the mail closes soon, I must stop the career of my pen. I will only inform you that I now write no poetry, or anything else. I hope that either Elizabeth or you will write to me next week. I remain

Your affectionate son,

NATHL. HATHORNE.

Do not show this letter.

A third letter, June 19, 1821, also to his mother, on the eve of his departure for college, is interesting for the solicitude it exhibits for her happiness in the solitary life she had come to live.

"I hope, dear mother, that you will not be tempted by my entreaties to return to Salem to live. You can never have so much comfort here as you now enjoy. You are now undisputed mistress of your own house.... If you remove to Salem, I shall have no mother to return to during the college vacations, and the expense will be too great for me to come to Salem. If you remain at Raymond, think how delightfully the time will pass, with all your children round you, shut out from the world, and nothing to disturb us. It will be a second Garden of Eden.

'Lo, what an entertaining sight Are kindred who agree!'

"Elizabeth is as anxious for you to stay as myself. She says she is contented to remain here for a short time, but greatly prefers Raymond as a permanent place of residence. The reason for my saying so much on this subject is that Mrs. Dike and Miss Manning are very earnest for you to return to Salem, and I am afraid they will commission uncle Robert to persuade you to it. But, mother, if you wish to live in peace, I conjure you not to consent to it. Grandmother, I think, is rather in favor of your staying."

A few weeks later, in the summer of 1821, being then seventeen years old, Hawthorne left Salem for Bowdoin College, in Brunswick, Maine, by the mail stage from Boston eastward, and before reaching his destination picked up by the way a Sophomore, Franklin Pierce, afterwards President of the United States, and two classmates of his own, Jonathan Cilley, who went to Congress and was the victim of the well-remembered political duel with Graves, and Alfred Mason; he made friends with these new companions, and Mason became his room-mate for two years. Bowdoin was a small college, graduating at that time about thirty students at its annual Commencement; its professors were kindly and cultivated men, and its curriculum the simple academic course of those days. Hawthorne's class, immortalized fifty years later by Longfellow's grave and tender anniversary lines, "Morituri Salutamus," was destined to unusual distinction in after life. Longfellow, its scholastic star, was a boy of fourteen, favored by the regard of the professors, and belonging to the more studious and steady set of fellows, who gathered in the Peucinian Society. Hawthorne joined the rival organisation, the Athenaeum, a more free and boisterous group of lower standing in their studies, described as the more democratic in their feelings. He is remembered as "a slender lad, having a massive head, with dark, brilliant, and most expressive eyes, heavy eyebrows, and a profusion of dark hair." He carried his head on one side, which gave a singularity to his figure, and he had generally a countrified appearance; but he took his place among his mates without much observation. He was reticent in speech and reserved in manner, and he was averse to intimacy; he had, nevertheless, a full share in collegiate life and showed no signs of withdrawal from the common arena. He did not indulge in sports, saving some rough-and-tumble play, nor did he ride horseback or drive, nor apparently did he care for that side of youthful life at all, though he was willing to fight on occasion, and joined the military company of which Pierce was captain. His athleticism seems to have been confined to his form. He played cards for small stakes, being a member of the Androscoggin Loo Club, and he took his part in the convivial drinking of the set where he made one, winning the repute of possessing a strong head. These indulgences were almost too trifling to deserve mention, for the scale of life at Bowdoin was of the most inexpensive order, and though there was light gambling and occasional jollification, bad habits were practically impossible in these directions. He was certainly not ashamed of his doings, for on being detected in one of these scrapes, at the end of his Freshman year, anticipating a letter of the President, he wrote to his mother, May 30, 1822, an account of the affair:—

MY DEAR MOTHER,—I hope you have safely arrived in Salem. I have nothing particular to inform you of, except that all the card-players in college have been found out, and my unfortunate self among the number. One has been dismissed from college, two suspended, and the rest, with myself, have been fined fifty cents each. I believe the President intends to write to the friends of all the delinquents. Should that be the case, you must show the letter to nobody. If I am again detected, I shall have the honor of being suspended; when the President asked what we played for, I thought it proper to inform him it was fifty cents, although it happened to be a quart of wine; but if I had told him of that, he would probably have fined me for having a blow. There was no untruth in the case, as the wine cost fifty cents. I have not played at all this term. I have not drank any kind of spirits or wine this term, and shall not till the last week.

* * * * *

He takes up the subject again in a letter to one of his sisters, August 5, 1822:—

"To quiet your suspicions, I can assure you that I am neither 'dead, absconded, or anything worse.' I have involved myself in no 'foolish scrape,' as you say all my friends suppose; but ever since my misfortune I have been as steady as a sign-post, and as sober as a deacon, have been in no 'blows' this term, nor drank any kind of 'wine or strong drink.' So that your comparison of me to the 'prodigious son' will hold good in nothing, except that I shall probably return penniless, for I have had no money this six weeks.... The President's message is not so severe as I expected. I perceive that he thinks I have been led away by the wicked ones, in which, however, he is greatly mistaken. I was full as willing to play as the person he suspects of having enticed me, and would have been influenced by no one. I have a great mind to commence playing again, merely to show him that I scorn to be seduced by another into anything wrong."

The last week of the term and the close of the Senior year appear to have been the seasons of conviviality, and Hawthorne's life of this sort ended with his being an officer of the Navy Club, an impromptu association of those of his classmates, fourteen out of thirty-eight, who for one reason or another were not to have a Commencement part on graduation. The Club met at the college tavern, Miss Ward's, near the campus, for weekly suppers and every night during Commencement week; this entertainment was for these youths the happy climax of their academic life together.

In his studies Hawthorne must have followed his own will very freely. He refused to declaim, and no power could make him do so, and for this reason he was denied the honor of a Commencement part, which he had won, being number eighteen by rank in his class; he was nervously shy about declaiming, owing, it is said, to his having been laughed at on his first attempt as a school-boy at Salem; but he either delivered or read a Latin theme at a Junior exhibition. He also paid scant attention to mathematics and metaphysics, and had no pride as to failing in recitation in those branches; but he distinguished himself as a Latin scholar and in English. His most fruitful hours, as so often happens, were those spent in the little library of the Athenaeum Society, a collection, as he writes home, of eight hundred books, among which he especially mentions Rees's Cyclopaedia—such was the wealth of a boy of genius in those days—but among the eight hundred books it is certain that the bulk of English literature was contained. He practiced writing somewhat, though he had given up poetry; and he played a prank by sending to a Boston paper a fabricated account of one of those destroying insects which visit that region from time to time, with notes on ways of exterminating it,—all for the benefit of his uncle, who took the paper; but no other trace of his composition remains except a memory of his elder sister's that he wrote to her of "progress on my novel." His way of life intellectually had not changed since his schoolboy days, for it is noticeable that then he never mentioned his studies, but only the books he read; so now he read the books for pleasure, and let his studies subsist as best they could in the realm of duty. He was poor, and even in the modest simplicity of this country college, where his expenses could hardly have been three hundred dollars a year, was evidently embarrassed with homely difficulties; the state of his clothes seems to have been on his mind a good deal. But he was self-respecting, patient, and grateful; he formed the good habit of hating debt; and he went on his way little burdened except by doubtful hopes.

Though he was familiar with his classmates and contemporaries at college, and firm and fast friends with a few, like Pierce and Cilley, forming with them the ties that last through all things, he had but one confidant, Horatio Bridge, afterwards of the United States Navy. Hawthorne roomed at first with Alfred Mason, in Maine Hall, and being burned out in their Freshman year, they found temporary quarters elsewhere, but when the Hall was rebuilt returned to it and occupied room number nineteen for the Sophomore year. The two chums, however, did not become intimate, beyond pleasant companionship, and they belonged to different societies; and the last two years Hawthorne roomed alone in a private house, Mrs. Cunning's, where both he and Bridge also boarded. It is from the latter, who remained through life one of Hawthorne's most serviceable friends, that the account of his college days mainly comes. He especially remembered, besides such matters of fact as have been recounted, their walks and rambles together in the pine woods that stretched about the college unbroken for miles, and by the river with its rafts of spring logs, and over to the little bay sent up by a far-reaching arm of the sea; and he recalled the confidences of Hawthorne in speaking of his hopes of being a writer, in repeating to him verses as they leaned in the moonlight over the railing of the bridge below the falls, listening to the moving waters, and in allowing him some inward glimpses of his solitary life in the brooding time of youth. Bridge was a fellow of infinite cheer, and praised him, and clapped him, and urged him on, and gave him the best companionship in the world for that time of life, if not for all times,—the companionship of being believed in by a friend. Hawthorne did not forget it, and in due time paid the tribute of grateful remembrance in the preface to the volume he dedicated to Bridge, where he recalled his college days and his friend's part in them.

"If anybody is responsible for my being at this day an author, it is yourself. I know not whence your faith came, but while we were lads together at a country college, gathering blueberries in study hours under those tall, academic pines, or watching the great logs as they tumbled along the current of the Androscoggin, or shooting pigeons or gray squirrels in the woods, or bat-fowling in the summer twilight, or catching trout in that shadowy little stream which, I suppose, is still wandering riverward through the forest, though you and I will never cast a line in it again; two idle lads, in short (as we need not fear to acknowledge now), doing a hundred things that the Faculty never heard of, or else it would have been the worse for us—still, it was your prognostic of your friend's destiny that he was to be a writer of fiction."

The picture is a vignette of the time, and being in the open, too, pleasantly ends the tale of college. On separating, it is pleasant to notice, the friends exchanged keepsakes.

The four years had lapsed quietly and quickly by, and Hawthorne, who now adopted the fanciful spelling of the name after his personal whim, was man grown. There had been trying circumstances in these early days, but he had met them hardily and lightly, as a matter of course; he had practically educated himself by the help of books, and had also discharged his duties as they seemed to the eyes of others; he could go home feeling that he had satisfied his friends. He seems to have feared that he might have satisfied them too well; and, some commendation having preceded him, he endeavored to put them right by a letter to his sister, July 14, 1825:—

"The family had before conceived much too high an opinion of my talents, and had probably formed expectations which I shall never realize. I have thought much upon the subject, and have finally come to the conclusion that I shall never make a distinguished figure in the world, and all I hope or wish is to plod along with the multitude. I do not say this for the purpose of drawing any flattery from you, but merely to set mother and the rest of you right upon a point where your partiality has led you astray. I did hope that uncle Robert's opinion of me was nearer to the truth, as his deportment toward me never expressed a very high estimation of my abilities."

This has the ring of sincerity, like all his home letters, and it is true that so far there had been nothing precocious, brilliant, or extraordinary in him to testify of genius,—he was only one of hundreds of New England boys bred on literature under the shelter of academic culture; and yet there may have been in his heart something left unspoken, another mood equally sincere in its turn, for the heart is a fickle prophet. As Mr. Lathrop suggests in that study of his father-in-law which is so subtly appreciative of those vital suggestions apt to escape record and analysis, another part of the truth may lie in the words of "Fanshawe" where Hawthorne expresses the feelings of his hero in a like situation with himself at the end of college days:—

"He called up the years that, even at his early age, he had spent in solitary study,—in conversation with the dead,—while he had scorned to mingle with the living world, or to be actuated by any of its motives. Fanshawe had hitherto deemed himself unconnected with the world, unconcerned in its feelings, and uninfluenced by it in any of his pursuits. In this respect he probably deceived himself. If his inmost heart could have been laid open, there would have been discovered that dream of undying fame, which, dream as it is, is more powerful than a thousand realities."



II.

THE CHAMBER UNDER THE EAVES.

In the summer of 1825 Hawthorne returned to Salem, going back to the old house on Herbert Street,—the home of his childhood, where his mother, disregarding his boyish dissuasions, had again taken up her abode three years before. He occupied a room on the second floor in the southwest sunshine under the eaves, looking out on the business of the wharf-streets; and in it he spent the next twelve years, a period which remained in his memory as an unbroken tract of time preserving a peculiar character. The way of his life knew little variation from the beginning to the end. He lived in an intellectual solitude deepened by the fact that it was only an inner cell of an outward seclusion almost as complete, for the house had the habits of a hermitage. His mother, after nearly a score of years of widowhood, still maintained her separation even from her home world; she is said to have seen none of her husband's relatives and few of her own, and a visitor must have been a venturesome person. The custom of living apart spread through the household. The elder sister, Elizabeth, who was of a strong and active mind capable of understanding and sympathizing with her brother, and the younger sister, Louisa, who was more like other people, stayed in their rooms. The meals of the family, even, which usually go on when everything else fails in the common life of house-mates, had an uncertain and variable element in their conduct, as was not unnatural where the mother never came to the table. The recluse habits of all doubtless increased with indulgence, and after a while Hawthorne himself, who was plainly the centre of interest there, fell into the common ways of isolation. "He had little communication," writes Mr. Lathrop, "with even the members of his family. Frequently his meals were brought and left at his locked door, and it was not often that the four inmates of the old Herbert Street mansion met in family circle. He never read his stories aloud to his mother and sisters, as might be imagined from the picture which Mr. Fields draws of the young author reciting his new productions to his listening family; though, when they met, he sometimes read older literature to them. It was the custom in this household for the several members to remain very much by themselves; the three ladies were perhaps nearly as rigorous recluses as himself; and, speaking of the isolation which reigned among them, Hawthorne once said, 'We do not even live at our house!'" He seldom went out by day, unless for long excursions in the country; an early sea bath on summer mornings and a dark walk after supper, longer in the warm weather, shorter in the winter season, were habitual, and a bowl of thick chocolate with bread crumbed into it, or a plate of fruit, on his return prepared him for the night's work. Study in the morning, composition in the afternoon, and reading in the evening, are described as his routine, but it is unlikely that any such regularity ruled where times and seasons were so much at his own command. He had no visitors and made no friends; hardly twenty persons in the town, he thought, were aware of his existence; but he brought home hundreds of volumes from the Salem Athenaeum, and knew the paths of the woods and pastures and the way along the beaches and rocky points, and he had the stuff of his fantasy with which to occupy himself when nature and books failed to satisfy him. At first there must have been great pleasure in being at home, for he had not really lived a home life since he was fifteen years old, and he was fond of home; and, too, in the young ambition to become a writer and his efforts to achieve success, if not fame, in fiction, and in the first motions of his creative genius, there was enough to fill his mind, to provide him with active interest and occupation, and to abate the sense of loneliness in his daily circumstances: but as youth passed and manhood came, and yet fortune lagged with her gifts, this existence became insufficient for him,—it grew burdensome as it showed barren, and depression set in upon him like a chill and obscure fog over the marshes where he walked. This, however, year dragging after year, was a slow process; and the kind of life he led, its gray and deadening monotone, sympathetic though it was with his temperament, was seen by him better in retrospect than in its own time.

It is singular that Hawthorne should have undertaken to live by his pen, or been allowed to do so by his friends, as a practical way of life, but he was indulged at home, the young lord of the family. "We were in those days," says Elizabeth, "almost absolutely obedient to him." Occasionally he thought of going into his uncle's counting-room and so obtaining a business and place in the world, but he never took this step. He probably drifted, more or less, into authorship, partly through a dilatory reluctance to do anything else, and partly led on by the hope of a success with some one of his tales which would justify him.

The first attempts he made in the craft are involved in some obscurity. He may have merely carried over from college days what he then had in hand. At all events his sister Elizabeth, from whom the information comes in respect to these details, remembered a little collection which he had prepared for publication with the title "Seven Tales of my Native Land," and she says that she read it in the summer of 1825; in that case these stories must have been written at college, but her memory may have erred. She gives the names of two of them as "Alice Doane" and "Susan Grey," and adds that he told her, while the volume was still in the stage of being offered to publishers, that he would first "write a story which would make a smaller book, and get it published immediately if possible, before the arrangements for bringing out the 'Tales' were completed." This was presumably "Fanshawe," which may also have been the novel she recollected his writing to her about while at college.

"Fanshawe" [Footnote: Fanshawe. A Tale. Boston: Marsh & Capen, 362 Washington St. Press of Putnam and Hunt, 1828. 12mo. Pp. 141.] was published in 1828 by Marsh and Capen, at Boston, without the author's name but at his expense, one hundred dollars being the sum paid; it failed, and Hawthorne looked on it with so much subsequent displeasure that he called in all the copies he could find and destroyed them, and thus nearly succeeded in sinking the book in oblivion, but the few copies which survived secured its republication after his death. The novel is brief, with a melodramatic plot, well-marked scenes, and strongly contrasted character; the style flows on pleasantly; but the book is without distinction. Like many a just graduated collegian, Hawthorne had recourse to his academic experience in lieu of anything else, and in the setting of the story and some of its delineation of character Longfellow recognized the strong suggestion of Bowdoin days; in the same way the hero, Fanshawe, borrowed something from Hawthorne's own temperament. The figure of the villain, too, adumbrates, though faintly, the type which engaged Hawthorne's mind in later years. "Fanshawe" as a whole in all its scenes, whether in the house of the old President, the tavern, the hut, or the outdoor encounters of the lovers and rivals, is strongly reminiscent of Scott, the management being entirely in his manner; its low-life tragedy, its romantic scenery, and its bookish humor, as well as the characterization in general, are also from Scott; in fact, notwithstanding what Hawthorne had taken from his own observation and feelings, this provincial sketch, for it is no more, is a Scott story, done with a young man's clever mastery of the manner, but weak internally in plot, character, and dramatic reality. It is as destitute of any brilliant markings of his genius as his undergraduate life itself had been, and is important only as showing the serious care with which he undertook the task of authorship. It is the only relic, except the shadowy "Seven Tales," of his literary work in the first three years after leaving college. The "Tales" he is said to have burned; no better publisher appearing, a young Salem printer, Ferdinand Andrews, undertook to bring them out, but as he delayed the matter through lack of capital, Hawthorne, growing impatient and exasperated, recalled the manuscript and destroyed it.

The example of Scott was, perhaps, the potent influence in fixing Hawthorne's attention on a definite object, and incited him to seek in the history of his own country, and especially in the colonial tradition of New England, which was so near at hand, the field of fiction. He stored his mind, certainly, with the story of his own people during the two centuries since the settlement, and prepared himself to describe its stirring events and striking characters under the veil of imaginative history. The nature of his reading shows that this was a conscious aim; and, besides, it was an opinion, loudly proclaimed and widely shared in that decade, that American writers should look to their own country for their themes; Cooper was doing so in fiction, and Longfellow felt this predilection in his choice of subject for verse. Salem was a true centre of the old times; and a young imagination in that town and neighborhood, already disposed to writing prose romance, would feel the charm of historical association and naturally catch impulse from the past, especially if, as in the case of Hawthorne, the history of his ancestors was inwoven with its good and evil. It is not surprising therefore that, as Hawthorne had begun, though unsuccessfully, with tales of his native land, he should continue to work the vein; and, to adopt what seems to be a reasonable inference, he now gathered from his materials a new series which he knew as "Provincial Tales," in which it remains doubtful how much of the old survived, for the burnt manuscripts of youth have something of the phoenix in their ashes.

The first trace of these is "The Young Provincial," an anonymous piece, [Footnote: It is unquestionable that Hawthorne contributed to annuals and periodicals anonymous tales and sketches that he never claimed, as he states in the preface to Twice-Told Tales and in a letter to Fields in which he beseeches him not to revive them. The identification of such work, however, is beset with much temptation to find a tale genuine, if it can be plausibly so represented, and in few cases can the proof be conclusive. Mr. F. B. Sanborn presents the fullest list, all from The Token, which he accepts as genuine, as follows: The Adventures of a Raindrop, 1828, The Young Provincial, 1830, The Haunted Quack and The New England Village, 1831, My Wife's Novel, 1832, The Bald Eagle, 1833, The Modern Job, or The Philosopher's Stone, 1834. The correspondence with Goodrich does not indicate that Hawthorne contributed to The Token before the issue for 1831. The Young Provincial seems to be the same sort of a tale as The Downer's Banner, as has been intimated above: yet it would, perhaps, be more readily accepted, together with The Haunted Quack and The Modern Job. The latest edition of Hawthorne includes all of these tales, given above, except the first and last, but its editor does not vouch for their authenticity.] ascribed to him on internal evidence and contributed to "The Token," an annual published at Boston, for its issue of 1830. The story relates the adventures of a youthful Revolutionary soldier who had handed down to his descendants a "grandfather's gun;" it tells of Bunker Hill, of imprisonment at Halifax and of escape, and it may be from Hawthorne's pen. It must have been written early in 1829, if not before, and it is noticed in the review of "The Token" in Willis's Boston periodical, "The American Monthly Magazine" for September, 1829, where it is described as a "pleasing story, told quite inartificially," and is illustrated by a brief extract. It may not be irrelevant to observe that a similar "provincial tale" appeared in this number of the magazine, "The Downer's Banner," and if it was not by the same youthful author, it shows that the same kind of subject had singularly interested two writers in that neighborhood. It is, however, only in "The Token" that Hawthorne can be further traced.

The editor of this annual, which was intended as a literary gift-book for Christmas, was S. G. Goodrich, famous as "Peter Parley" in after days, and to him belongs the honor of being Hawthorne's first literary friend, and he always remained a faithful one. He was a promoter of publishers' enterprises, in that part of the field of literature which is distinctly pervaded with business; and in it he was successful, as the millions of the Peter Parley books abundantly attest. At this time he was sincerely interested, it must be believed, in furthering the interests of American writers and artists, according to his lights and means, and Griswold, who was a good judge, said of him, "It is questionable whether any other person has done as much to improve the style of the book manufacture or to promote the arts of engraving." With such ambitions he had begun, in 1828, the issue of the annual, which is now best remembered, and which in its own day longest survived the changes of public taste. The nature of these volumes, of which there were many in different publishing centres, is well described by a writer in Willis's "Magazine" for 1829: "A few years ago, an elegant taste, joined, perhaps, to a love of 'filthy lucre,' induced some English publishers to give to the world the first specimens of those souvenirs and 'Forget Me Nots' which are now so common through our country. How beautiful they were at their first appearance, the eagerness with which they were read will testify. How rapid was their increase, may be seen by referring to the counters of every book-store. America, ready and willing as she ever is to acknowledge the excellence, and imitate the example of the parent country in every good thing, has imitated and improved upon the plan. We can now boast of a species of literature, which is conducted almost wholly by young men, and which has merited the affection, because it has developed the power of our native genius. Those who have made their first essays in literature, through the medium of the pages of a Souvenir, will gain confidence in proportion as they have tested their own strength. The American annuals do not profess to be the works of the most finished or most accomplished writers of this country. They should not be taken as specimens of what our literature is, but as indications of what it may one day be. They are not the matured fruits, but the bright promise and blossoming of genius; and thus far they have been an honor to the taste and talent of American writers, and monuments of the swift progress of our artists towards excellence in their profession."

Such was the contemporary view of the annuals, and it is justified, perhaps, by the fact that Longfellow, for example, was then contributing to the "Atlantic Souvenir" of Philadelphia, the first of the brood, and that Hawthorne found in "The Token" the principal opportunity to obtain a hearing for himself in his first productive years.

Mr. Goodrich, in his "Recollections," states that he sought out Hawthorne. "I had seen," he says, "some anonymous publications which seemed to me to indicate extraordinary powers. I inquired of the publishers as to the writer, and through them a correspondence ensued between me and 'N. Hawthorne.' This name I considered a disguise, and it was not till after many letters had passed, that I met the author, and found it to be a true title, representing a very substantial personage." This correspondence began, as nearly as can be judged, in 1829, and in the course of it Hawthorne had already sent to Goodrich "The Young Provincial," if that is to be accepted as by him, and also "Roger Malvin's Burial," and, apparently later than this last, at least three other tales, "The Gentle Boy," "My Uncle Molineaux," and "Alice Doane." He had presented these as specimens of the "Provincial Tales," for which he desired a publisher. Goodrich acknowledges these, January 19, 1830, from Hartford, Connecticut, where he lived, and promises in the note to endeavor to find a publisher for the book when he returns to Boston in April. He adds, "Had 'Fanshawe' been in the hands of more extensive dealers, I do believe it would have paid you a profit;" from which it may be inferred that "Fanshawe" was the anonymous work which had attracted Goodrich's attention. He praises the tales, and offers thirty-five dollars for "The Gentle Boy" to be used in "The Token." The first letter from Hawthorne, in respect to the matter, which has come to light, is on May 6, 1830, and is given in Derby's "Fifty Years."

"I send you the two pieces for 'The Token.' They were ready some days ago, but I kept them in expectation of hearing from you. I have complied with your wishes in regard to brevity. You can insert them (if you think them worthy a place in your publication) as by the author of 'Provincial Tales,'—such being the title I propose giving my volume. I can conceive no objection to your designating them in this manner, even if my tales should not be published as soon as 'The Token,' or, indeed, if they never see the light at all. An unpublished book is not more obscure than many that creep into the world, and your readers will suppose that the 'Provincial Tales' are among the latter." The "two pieces" to which he refers were clearly not members of the series he proposed to publish in the book, and perhaps they should be identified as "Sights from a Steeple," certainly, and for the other either "The New England Village" or "The Haunted Quack," both which, besides the first, were published in "The Token" for 1831, and have been ascribed to Hawthorne on internal evidence of the same sort as that on which "The Young Provincial" has been accepted.

Goodrich did not find a publisher for the "Provincial Tales," and Hawthorne allowed him to use such as he desired for "The Token" for 1832. The publication of this annual, it should be observed, was prepared for early in the preceding year, and the tales which it contained must be regarded as at least a year old when issued. Thus, in respect to the issue for 1832, just mentioned, Goodrich writes May 31, 1831: "I have made a very liberal use of the privilege you gave me as to the insertion of your pieces in 'The Token.' I have already inserted four of them; namely, 'The Wives of the Dead,' 'Roger Malvin's Burial,' 'Major Molineaux,' and 'The Gentle Boy;'" and he adds that they are as good if not better than anything else he gets; and in a later note, written on the publication of the volume, in October, he says, "I am gratified to find that all whose opinion I have heard agree with me as to the merit of the various pieces from your pen." In this issue, besides the four mentioned, the story "My Wife's Novel" has also been attributed to Hawthorne.

The project of the "Provincial Tales" had by this time been abandoned, temporarily at least, and the author's mind turned to other kinds of writing. He had already opened new veins in attempting to sketch contemporary scenes, either after the fashion of the pleasant meditative essay, such as "Sights from a Steeple," or else in the way of humorous description. The scenes he looked down on, in fancy, in this first paper, were the roof-tops and streets and horizon of Salem; but he had wandered in other parts of his native land also, though not widely, and he used these journeys in his compositions. It is noticeable that Hawthorne always used all his material, consumed it, and made stories, essays, and novels of it, except the slag. It was his characteristic from youth. There is the same dubiousness about these journeys, his earliest ventures in the world, as about his first attempts in the field of authorship. He himself says, in the autobiographical notes he furnished to Stoddard, that he left Salem "once a year or thereabouts," for a few weeks; and in his sketches there are traces of these excursions, as at Martha's Vineyard, for example; but their times and localities are verifiable only to a slight degree. It is stated that the fact that his uncles, the Mannings, were interested in stage-lines gave him some privileges as a traveller, or perhaps this only gave occasion for a journey now and then, in which he joined his uncles on some convenient business; thus, it was in company with his uncle Samuel, that he was in New Hampshire in 1831, and visited the Shaker community at Canterbury. Another known journey was in 1830, and took him through Connecticut; and it is said, probably on conjecture, that it was at this time that he went on, by the canal, to Niagara, and visited Ticonderoga on his return. If his writings, in which he described these places, are to be taken literally, he even embarked for Detroit; but information in respect to the whole Niagara excursion is of the scantiest. All that is known is that in some way, during his long stay at Salem in these years, he made himself acquainted with portions of Connecticut, Vermont, New York, and New Hampshire, to add to his knowledge of Massachusetts and Maine; within this rather limited circle his wanderings were confined; and the period when he went about with most freedom and vivacity of impression was the summer of 1830 and, perhaps, the next year or two.

These experiences gave him the suggestion and in part the scene of his next compositions, "The Canterbury Pilgrims" and "The Seven Vagabonds," the one a New Hampshire, the other a Connecticut tale, and in Connecticut, too, is laid "The Bald Eagle," a humorous sketch of a reception of Lafayette which failed to come off, attributed to Hawthorne on the same grounds as the other doubtful pieces of these years; these three appeared in "The Token" for 1833, "The Seven Vagabonds" as by the author of "The Gentle Boy," the others anonymously, and, in addition, that issue also contained the historical sketch, "Sir William Pepperell," described as by the author of "Sights from a Steeple." If "The Haunted Quack," which had already appeared in 1831, be regarded as Hawthorne's, the journey by the canal which it records must have taken place as early as 1829, in order for the manuscript to have been ready in time for publication. The particular times and stories, however, are of less importance; nor are these provincial travels noteworthy except for the fact that Hawthorne found in them, whenever or wherever they occurred, suggestions for his pen.

The idea which was the germ of his next conception for a book arose out of this country rambling before the days of railroads. At the end of "The Seven Vagabonds," he represented himself as taking up the character of an itinerant story-teller on the impulse of the moment. To this he now returned, and proposed to write a series of tales on the thread of the adventures of this vagrant, and call it "The Story-Teller." The work, such as he here conceived it, exists only as a fragment, "Passages from a Relinquished Work," though he doubtless used elsewhere the stories he intended to incorporate into it. In the young man as he is sketched in the opening passage there is, notwithstanding the affectation of levity, a touch of Hawthorne's own position:—

"I was a youth of gay and happy temperament, with an incorrigible levity of spirit, of no vicious propensities, sensible enough, but wayward and fanciful. What a character was this, to be brought in contact with the stern old Pilgrim spirit of my guardian! We were at variance on a thousand points; but our chief and final dispute arose from the pertinacity with which he insisted on my adopting a particular profession; while I, being heir to a moderate competence, had avowed my purpose of keeping aloof from the regular business of life. This would have been a dangerous resolution, anywhere in the world; it was fatal, in New England. There is a grossness in the conceptions of my countrymen; they will not be convinced that any good thing may consist with what they call idleness; they can anticipate nothing but evil of a young man who neither studies physic, law, nor gospel, nor opens a store, nor takes to farming, but manifests an incomprehensible disposition to be satisfied with what his father left him. The principle is excellent, in its general influence, but most miserable in its effect on the few that violate it. I had a quick sensitiveness to public opinion, and felt as if it ranked me with the tavern-haunters and town-paupers,—with the drunken poet, who hawked his own Fourth of July odes, and the broken soldier who had been good for nothing since the last war. The consequence of all this was a piece of light-hearted desperation."

The youth then takes up the character of the writer of "The Seven Vagabonds," saying, "The idea of becoming a wandering story-teller had been suggested, a year or two before, by an encounter with several merry vagabonds in a showman's wagon, where they and I had sheltered ourselves, during a summer shower;" and he announces that he determined to follow that life, the account of which he proceeds to give with this preliminary word of explanation:—

"The following pages will contain a picture of my vagrant life, intermixed with specimens, generally brief and slight, of that great mass of fiction to which I gave existence, and which has vanished like cloud-shapes. Besides the occasions when I sought a pecuniary reward, I was accustomed to exercise my narrative faculty, wherever chance had collected a little audience, idle enough to listen. These rehearsals were useful in testing the strong points of my stories; and, indeed, the flow of fancy soon came upon me so abundantly, that its indulgence was its own reward; though the hope of praise, also, became a powerful incitement. Since I shall never feel the warm gush of new thought, as I did then, let me beseech the reader to believe, that my tales were not always so cold as he may find them now. With each specimen will be given a sketch of the circumstances in which the story was told. Thus my air-drawn pictures will be set in frames, perhaps more valuable than the pictures themselves, since they will be embossed with groups of characteristic figures, amid the lake and mountain scenery, the villages and fertile fields, of our native land. But I write the book for the sake of its moral, which many a dreaming youth may profit by, though it is the experience of a wandering story-teller."

He makes the acquaintance of another itinerant, a preacher, Eliakim Abbott, drawn after the fashion of that crude grotesque which is found in Hawthorne's early work, and is not without a reminiscence of Scott in the literary handling; and the two become fellows of the road, the one with a sermon, the other with a story, and their fortune with their audiences is related. The only adventure of note, however, is the appearance of the Story-Teller as an attraction of a traveling theatrical company, by special engagement, announced by posters, which also bear on a pasted slip of paper a notice of Eliakim Abbott's religious meeting. On this occasion he recited with great applause the tale of "Mr. Higginbotham's Catastrophe." With this the fragment ends.

It is plain that Hawthorne intended by this scheme to unite with his stories sketches of country life and scenes as he had noticed their features in his wayside travels, and use the latter as the background for his imaginative and fanciful work. These were the two sides of his literary faculty, so far as he had tried his hand, and he would have the benefit of both in one work, which would thereby gain variety and unity. The success of the experiment cannot be thought striking, and it is doubtful how far he carried the actual composition of the intervening scenes. He confided the plan to Goodrich, who did not encourage it, so far as can be judged, but took the opening chapters to the editors of "The New England Magazine" on Hawthorne's behalf. This periodical, which had three years before absorbed Willis's "Magazine," had been conducted on somewhat grave and serious lines, as a kind of Boston cousin, as it were, of the "North American," and was now in a state of change. Mr. Buckingham relinquished the editorship, and the magazine went into the hands of Dr. Samuel G. Howe and John O. Sargent. It was at this favorable moment that Goodrich appeared with Hawthorne's manuscript; the piece was accepted; and it was published, half in the first and half in the second number issued by the new editors, in November and December, 1834. The connection proved a fortunate one for Hawthorne, and "The New England Magazine" [Footnote: In the Riverside edition of Hawthorne's works a paper, Hints to Young Ambition, which appeared in The New England Magazine, 1832, signed "H.," is included. The piece is one of several, with the same signature, and there can he little hesitation in rejecting it, as Goodrich would hardly have needed to introduce Hawthorne to a magazine to which he already contributed. The other pieces are not in his vein, and "H." is a common signature in the periodicals of the time. At all events, Hawthorne would have gone further afield for a pseudonym than the initial of his own name, which he is not known ever to have used.] now became equally with "The Token" a constant medium for the publication of his writings of all sorts. Park Benjamin, who was soon associated with Howe and Sargent in the editorship, took sole charge in March, 1835, and was from the first, and always remained, a firm admirer of the new author's genius. To him, next to Goodrich, Hawthorne owed his introduction to such readers as he then had.

If Hawthorne made any effort to break a way for himself in reaching the public, it has not been traced, except that one letter exists, January 27, 1832, in which he offers his pen to the "Atlantic Souvenir" of Philadelphia; but that annual was bought out by Goodrich the same year and merged with "The Token," so that Hawthorne's venture only brought him back to the old stand. In 1833 his connection with Goodrich appears to have been temporarily broken, as "The Token" for 1834, which appeared that fall, contains nothing by him. For 1835 he contributed to it "The Haunted Mind" and "The Mermaid, A Revery," now known as "The Village Uncle," anonymously, and "Alice Doane's Appeal" as by the author of "The Gentle Boy." In "Youth's Keepsake" for the same year appeared "Little Annie's Ramble." These stories were published in the fall of 1834, before the venture of "The Story-Teller." Early in 1835 he furnished for the next year's "Token," 1836, "The Wedding Knell" and "The Minister's Black Veil" as by the author of "Sights from a Steeple," and "The May-pole of Merry Mount" as by the author of "The Gentle Boy." What there was left in his hands must have gone almost as a block to "The New England Magazine," and perhaps his stock of unused papers was thus exhausted. To complete the record, he published in this magazine "The Gray Champion" as by the author of "The Gentle Boy," in January; "Old News" anonymously, in February, March, and May; "My Visit to Niagara," in February; "Young Goodman Brown," in April; "Wakefield," in May; "The Ambitious Guest," in June, and in the same month, anonymously in both instances, "Graves and Goblins" and "A Bill from the Town Pump;" "The Old Maid in the Winding Sheet," now known as "The White Old Maid," in July; "The Vision of the Fountain," in August; "The Devil in Manuscript" as by "Ashley A. Royce," in November; "Sketches from Memory" as by "A Pedestrian," in November and December. All these pieces, except as stated above, are given as by the author of "The Gray Champion." It may fairly be thought that he had emptied his desk of its accumulations, though a few tales may have been reserved for Goodrich.

Hawthorne had now been before the public with increasing frequency for five years, but he had made little impression, and his success as an author must have remained as doubtful to him as at the start. Goodrich, in the passage already quoted from his "Recollections," went on to describe him during this early time of their acquaintance, and shows how slight was his progress in winning attention:—

"At this period he was unsettled as to his views; he had tried his hand in literature, and considered himself to have met with a fatal rebuff from the reading world. His mind vacillated between various projects, verging, I think, toward a mercantile profession. I combated his despondence, and assured him of triumph if he would persevere in a literary career. He wrote numerous articles which appeared in 'The Token;' occasionally an astute critic seemed to see through them, and to discover the soul that was in them; but in general they passed without notice. Such articles as 'Sights from a Steeple,' 'Sketches beneath an Umbrella,' 'The Wives of the Dead,' 'The Prophetic Pictures,' now universally acknowledged to be productions of extraordinary depth, meaning, and power, extorted hardly a word of either praise or blame, while columns were given to pieces since totally forgotten. I felt annoyed, almost angry, indeed, at this. I wrote several articles in the papers, directing attention to these productions, and finding no echo to my views, I recollect to have asked John Pickering to read some of them, and give me his opinion of them. He did as I requested; his answer was that they displayed a wonderful beauty of style, with a kind of double vision, a sort of second sight, which revealed, beyond the outward forms of life and being, a sort of Spirit World."

Park Benjamin, in a notice of "The Token" for 1836 published in "The New England Magazine," October, 1835, gave a single line to the author, speaking of him as "the most pleasing writer of fanciful prose, except Irving, in the country;" and in November of the same year, in a review of the same work, Chorley, the critic of the London "Athenaeum," commended his tales and gave extracts from them. This was the first substantial praise of a nature to encourage the author.

In Hawthorne's own eyes the stories and sketches had become a source of depression, and the difficulties he had met with in getting out a book had especially irritated him. It might be thought, perhaps, that he had destroyed a good deal of his work, to judge by his own words, but this seems unlikely, although he may have rewritten some of the earlier pieces. The tale of "The Devil in Manuscript" is taken to be the autobiographical parable, at least, commemorating the burning of the "Seven Tales of my Native Land;" but it was written some years later, and reflects his general experience as a discouraged storyteller, and it contains touches of bitterness more marked than occur elsewhere. Its personal character is emphasized by the hero's name, "Oberon," a familiar signature Hawthorne used in his letters to his old college friend, Bridge. The following passages are distinctly autobiographical, and afford the most vivid view of the young author's inner life:—

"You cannot conceive what an effect the composition of these tales has had on me. I have become ambitious of a bubble, and careless of solid reputation. I am surrounding myself with shadows, which bewilder me, by aping the realities of life. They have drawn me aside from the beaten path of the world, and led me into a strange sort of solitude,—a solitude in the midst of men,—where nobody wishes for what I do, nor thinks nor feels as I do. The tales have done all this. When they are ashes, perhaps I shall be as I was before they had existence. Moreover, the sacrifice is less than you may suppose, since nobody will publish them....

"But the devil of the business is this. These people have put me so out of conceit with the tales, that I loathe the very thought of them, and actually experience a physical sickness of the stomach, whenever I glance at them on the table. I tell you there is a demon in them! I anticipate a wild enjoyment in seeing them in the blaze; such as I should feel in taking vengeance on an enemy, or destroying something noxious....

"But how many recollections throng upon me, as I turn over these leaves! This scene came into my fancy as I walked along a hilly road, on a starlight October evening; in the pure and bracing air, I became all soul, and felt as if I could climb the sky, and run a race along the Milky Way. Here is another tale, in which I wrapt myself during a dark and dreary night-ride in the month of March, till the rattling of the wheels and the voices of my companions seemed like faint sounds of a dream, and my visions a bright reality. That scribbled page describes shadows which I summoned to my bedside at midnight: they would not depart when I bade them; the gray dawn came, and found me wide awake and feverish, the victim of my own enchantments!...

"Sometimes my ideas were like precious stones under the earth, requiring toil to dig them up, and care to polish and brighten them; but often a delicious stream of thought would gush out upon the page at once, like water sparkling up suddenly in the desert; and when it had passed, I gnawed my pen hopelessly, or blundered on with cold and miserable toil, as if there were a wall of ice between me and my subject."

"Do you now perceive a corresponding difference," inquired I, "between the passages which you wrote so coldly, and those fervid flashes of the mind?"

"No," said Oberon, tossing the manuscripts on the table. "I find no traces of the golden pen with which I wrote in characters of fire. My treasure of fairy coin is changed to worthless dross. My picture, painted in what seemed the loveliest hues, presents nothing but a faded and indistinguishable surface. I have been eloquent and poetical and humorous in a dream,—and behold! it is all nonsense, now that I am awake....

"I will burn them! Not a scorched syllable shall escape! Would you have me a damned author—To undergo sneers, taunts, abuse, and cold neglect, and faint praise, bestowed, for pity's sake, against the giver's conscience! A hissing and a laughing-stock to my own traitorous thoughts! An outlaw from the protection of the grave,—one whose ashes every careless foot might spurn, unhonored in life, and remembered scornfully in death! Am I to bear all this, when yonder fire will insure me from the whole? No! There go the tales! May my hand wither when it would write another!"

These extracts set forth the mixed emotions of young authorship in a life-like manner. They have the stamp of personal experience. A supplement to them is found in one of his more obscure pieces, "The Journal of a Solitary Man," in which Hawthorne bids farewell to that eidolon of himself which he had embodied as "Oberon." He describes the character as an imaginary friend, from whose journals he gives extracts; but the veil thrown over his own personality is transparent.

"Merely skimming the surface of life, I know nothing, by my own experience, of its deep and warm realities. I have achieved none of those objects which the instinct of mankind especially prompts them to pursue, and the accomplishment of which must therefore beget a native satisfaction. The truly wise, after all their speculations, will be led into the common path, and, in homage to the human nature that pervades them, will gather gold, and till the earth, and set out trees, and build a house. But I have scorned such wisdom. I have rejected, also, the settled, sober, careful gladness of a man by his own fireside, with those around him whose welfare is committed to his trust, and all their guidance to his fond authority. Without influence among serious affairs, my footsteps were not imprinted on the earth, but lost in air; and I shall leave no son to inherit my share of life, with a better sense of its privileges and duties, when his father should vanish like a bubble; so that few mortals, even the humblest and the weakest, have been such ineffectual shadows in the world, or die so utterly as I must. Even a young man's bliss has not been mine. With a thousand vagrant fantasies, I have never truly loved, and perhaps shall be doomed to loneliness throughout the eternal future, because, here on earth, my soul has never married itself to the soul of woman.

"Such are the repinings of one who feels, too late, that the sympathies of his nature have avenged themselves upon him. They have prostrated, with a joyless life and the prospect of a reluctant death, my selfish purpose to keep aloof from mortal disquietudes, and be a pleasant idler among care-stricken and laborious men. I have other regrets, too, savoring more of my old spirit. The time has been when I meant to visit every region of the earth, except the poles and Central Africa. I had a strange longing to see the Pyramids. To Persia and Arabia, and all the gorgeous East, I owed a pilgrimage for the sake of their magic tales. And England, the land of my ancestors! Once I had fancied that my sleep would not be quiet in the grave unless I should return, as it were, to my home of past ages, and see the very cities, and castles, and battle-fields of history, and stand within the holy gloom of its cathedrals, and kneel at the shrines of its immortal poets, there asserting myself their hereditary countryman. This feeling lay among the deepest in my heart. Yet, with this homesickness for the fatherland, and all these plans of remote travel,—which I yet believe that my peculiar instinct impelled me to form, and upbraided me for not accomplishing,— the utmost limit of my wanderings has been little more than six hundred miles from my native village. Thus, in whatever way I consider my life, or what must be termed such, I cannot feel as if I had lived at all.

"I am possessed, also, with the thought that I have never yet discovered the real secret of my powers; that there has been a mighty treasure within my reach, a mine of gold beneath my feet, worthless because I have never known how to seek for it; and for want of perhaps one fortunate idea, I am to die

'Unwept, unhonored, and unsung.'"

"Oberon" is represented as in the position of the "Story-Teller," and leaves home because of some fancied oppression; he visits Niagara, of which he gives some scenes as well as other anecdotes of his pedestrian journey, but he falls ill and determines to return home to die. As he approaches his birthplace he pleases himself with the fancy that there is some youth there whom he can teach by the lesson of his life, and he moralizes in a vein in which self-criticism may be read between the lines:—

"He shall be taught by my life, and by my death, that the world is a sad one for him who shrinks from its sober duties. My experience shall warn him to adopt some great and serious aim, such as manhood will cling to, that he may not feel himself, too late, a cumberer of this overladen earth, but a man among men. I will beseech him not to follow an eccentric path, nor, by stepping aside from the highway of human affairs, to relinquish his claim upon human sympathy. And often, as a text of deep and varied meaning, I will remind him that he is an American."

Finally he describes the power he has obtained by the use of his imagination, in the view of life:—

"I have already a spiritual sense of human nature, and see deeply into the hearts of mankind, discovering what is hidden from the wisest. The loves of young men and virgins are known to me, before the first kiss, before the whispered word, with the birth of the first sigh. My glance comprehends the crowd, and penetrates the breast of the solitary man. I think better of the world than formerly, more generously of its virtues, more mercifully of its faults, with a higher estimate of its present happiness, and brighter hopes of its destiny."

These passages from "The Devil in Manuscript" and "The Journal of a Solitary Man" may fairly be taken as a contemporary general account of Hawthorne's secret life in the years before his own "Note-Books" begin. The latter afford rather a view of his existence, from day to day. The earliest of them which has survived opens in the summer of 1835, and while containing scraps of information that he had jotted down as in a commonplace book, and also brief memoranda of ideas for tales and sketches, it also keeps record of his observations in his walks and drives, and thus pictures his outward life. He lived at Salem still, in the habits of seclusion that had always obtained in the house, and saw little of mankind. Society, if he sought it at all, was found for him among common people at the tavern or by the wayside, and was of the sort that he enjoyed on his summer journeys. But solitude was his normal state. This was indulged in his own room; or else he took a morning or afternoon to wander out to the near Salem beaches and points, or to the pleasant lanes of Danvers or across the river to the upland or seashore of Beverly. He occasionally drove a dozen miles or more to Ipswich, Nahant, or Andover. What he saw, however, was only rustic life of the countryside, or the natural views of wood and sky and sea, with the nearer objects to attract particular attention, of which he has left so many minute descriptions. His observation at such times, though without the naturalist's preoccupation,—rather with the poet's or novelist's,—was as keen and detailed as Thoreau's. These Note-Books, however, do not open his familiar life except as a record of changing seasons and of detached thoughts to be worked up in fiction. Many of his later tales are found here in the germ, in 1835 and for the year or two after; but the diary is not so much a confidant as it afterward became.

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