THE COMPLETE SHORT STORIES OF NATHANIEL HAWTHORNE (Illustrated). Nathaniel Hawthorne
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They started in May,—the two old college-mates; the ex-President so lately widowed and still in the shadow of his own bereavement, with the famous romancer so mournfully broken, who was never more to be seen in life by those to whom he was dearest. From the Pemigewasset House at Plymouth, New Hampshire, where they had stopped for the night, General Pierce sent the news on May 19, that Hawthorne was dead. "He retired last night," wrote the General, "soon after nine o'clock, and soon fell into a quiet slumber.... At two o'clock I went to H——'s bedside; he was apparently in a sound sleep; and I did not place my hand upon him. At four o'clock I went into his room again, and, as his position was unchanged, I placed my hand upon him and found that life was extinct.... He must have passed from natural slumber to that from which there is no waking, without the slightest movement."
Hawthorne was buried in Sleepy Hollow Cemetery at Concord, on the 24th of May, 1864. The grave was made beneath the shadowing pines of a hill near one of the borders of the beautiful, wooded burial-ground, whence there is a peaceful view over the valley of the Concord River. It was close to the slope where Thoreau now lies, and not far away is the grassy resting-place of Emerson. The spot was one for which Hawthorne had cherished an especial fondness. Emerson, that day, stood beside the grave, and with him Longfellow and Lowell were present; Agassiz, Holmes, James Freeman Clarke, Edwin Whipple, Pierce, and Hillard, had all assembled to pay their last reverence. A great multitude of people attended the funeral service at the old Unitarian First Church in the village, and Mr. Clarke, who had performed the marriage ceremony for Hawthorne, conducted the rites above him dead. It was a perfect day of spring; the roadside banks were blue with violets, the orchards were in bloom; and lilies of the valley, which were Hawthorne's favorites among flowers, had blossomed early as if for him, and were gathered in masses about him. Like a requiem chant, the clear strains that Longfellow wrote in memory of that hour still echo for us its tender solemnity:—
"How beautiful it was, that one bright day
In the long week of rain!
Though all its splendor could not chase away
The omnipresent pain.
"The lovely town was white with apple-blooms,
And the great elms o'erhead
Dark shadows wove on their aerial looms,
Shot through with golden thread.
"Across the meadows, by the gray old manse,
The historic river flowed;
I was as one who wanders in a trance,
Unconscious of his road.
"The faces of familiar friends seemed strange;
Their voices I could hear,
And yet the words they uttered seemed to change
Their meaning to the ear.
"For the one face I looked for was not there,
The one low voice was mute;
Only an unseen presence filled the air,
And baffled my pursuit.
"Now I look back, and meadow, manse, and stream
Dimly my thought defines;
I only see—a dream within a dream—
The hill-top hearsed with pines.
"I only hear above his place of rest
Their tender undertone,
The infinite longings of a troubled breast,
The voice so like his own.
"There in seclusion and remote from men
The wizard hand lies cold,
Which at its topmost speed let fall the pen,
And left the tale half told.
"Ah, who shall lift that wand of magic power,
And the lost clue regain?
The unfinished window in Aladdin's tower
Unfinished must remain!"
V.
This narrative of his career, in one sense so simple, so uneventful, has brought chiefly to the front, as we have followed it, a phase under which Hawthorne appears the most like other men; with motives easily understood, wishing to take his full share in human existence and its responsibilities; devoted in his domestic relations. Moderately ambitious of worldly welfare, but in poverty uncomplaining, he is so coolly practical in his view that he scarcely alludes to the products of his genius except as they may bear upon his material progress. Even this much of the character is uncommon, because of its sterling tone, the large, sustained manliness, and the success with which in the main it keeps itself firmly balanced; but it is a character not difficult to grasp, and one that appeals to every observer. It leaves out a great deal, however. The artist is absent from it. Neither is that essential mystery of organization included which held these elements together, united them with something of import far different, and converted the whole nature into a most extraordinary one, lifting it to a plane high above that on which it might, at first, seem to rest.
We know, from brief allusions in his "Note-Books," that Hawthorne was perfectly well aware of his high quality as an artist. He speaks of having won fame in his dismal room in Herbert Street; and at Arezzo, in 1858, the well "opposite Petrarch's birth-house" which Boccaccio introduced into one of his stories, recalls to the American writer one of his own performances. "As I lingered round it I thought of my own town-pump in old Salem, and wondered whether my towns-people would ever point it out to strangers, and whether the stranger would gaze at it with any degree of such interest as I felt in Boccaccio's well. Oh, certainly not; but I made that humble town-pump the most celebrated structure in the good town. A thousand and a thousand people had pumped there, merely to water oxen or fill their tea-kettles; but when once I grasped the handle, a rill gushed forth that meandered as far as England, as far as India, besides tasting pleasantly in every town and village of our own country. I like to think of this, so long after I did it, and so far from home, and am not without hopes of some kindly local remembrance on this score."[10] Such indications of the artistic consciousness are the merest ripples on the surface; the deeper substance of it, with Hawthorne, always remained out of sight. Letters, which are assumed to reveal so much of those who indite them, are, when we come to the fact, very insufficient exponents of character; as, for instance, we may observe in the letters of Michael Angelo, whose mood and manner vary according to the person addressed. Correspondence, it is true, is appetizing to readers, and should be prized for the help it gives in defining an individual, but it does not always do full justice to the larger being included in the whole personality. Hawthorne's letters are more representative of those faculties by which he came into association with his fellows, than of those which tended to separate him from them by making him single and phenomenal, in his function as writer of romance. But in his actual presence there was a something which did most noticeably correspond to the hidden sources of his power, and visibly express them. There was the hale and vigorous port of a man well fitted by his physical constitution to meet the rudest emergency; but there was also a temperament of which the reserve, the delicacy, the tremulous sensitiveness were equal to those of the most finely organized woman. "He was tall and strongly built," wrote his friend Hillard, "with broad shoulders, deep chest, a massive head.... He looked like a man who might have held the stroke oar in a University boat.... But, on the other hand, no man had more of the feminine element than he. He was feminine in his quick perceptions, his fine insight, his sensibility to beauty.... No man comprehended woman better than he. And his face was as mobile and rapid in its changes of expression as that of a young girl.... His eyes would darken visibly under the touch of a passing emotion, like the waters of a fountain ruffled by the breeze of summer. So, too, he was the shyest of men."[11]
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