The Complete Works of Henry James, page 480
The House of the Seven Gables comes nearer being a picture of contemporary American life than either of its companions; but on this ground it would be a mistake to make a large claim for it. It cannot be too often repeated that Hawthorne was not a realist. He had a high sense of reality—his Note-Books super-abundantly testify to it; and fond as he was of jotting down the items that make it up, he never attempted to render exactly or closely the actual facts of the society that surrounded him. I have said—I began by saying—that his pages were full of its spirit, and of a certain reflected light that springs from it; but I was careful to add that the reader must look for his local and national quality between the lines of his writing and in the indirect testimony of his tone, his accent, his temper, of his very omissions and suppressions. The House of the Seven Gables has, however, more literal actuality than the others, and if it were not too fanciful an account of it, I should say that it renders, to an initiated reader, the impression of a summer afternoon in an elm-shadowed New England town. It leaves upon the mind a vague correspondence to some such reminiscence, and in stirring up the association it renders it delightful. The comparison is to the honour of the New England town, which gains in it more than it bestows. The shadows of the elms, in The House of the Seven Gables, are exceptionally dense and cool; the summer afternoon is peculiarly still and beautiful; the atmosphere has a delicious warmth, and the long daylight seems to pause and rest. But the mild provincial quality is there, the mixture of shabbiness and freshness, the paucity of ingredients. The end of an old race—this is the situation that Hawthorne has depicted, and he has been admirably inspired in the choice of the figures in whom he seeks to interest us. They are all figures rather than characters—they are all pictures rather than persons. But if their reality is light and vague, it is sufficient, and it is in harmony with the low relief and dimness of outline of the objects that surround them. They are all types, to the author’s mind, of something general, of something that is bound up with the history, at large, of families and individuals, and each of them is the centre of a cluster of those ingenious and meditative musings, rather melancholy, as a general thing, than joyous, which melt into the current and texture of the story and give it a kind of moral richness. A grotesque old spinster, simple, childish, penniless, very humble at heart, but rigidly conscious of her pedigree; an amiable bachelor, of an epicurean temperament and an enfeebled intellect, who has passed twenty years of his life in penal confinement for a crime of which he was unjustly pronounced guilty; a sweet-natured and bright-faced young girl from the country, a poor relation of these two ancient decrepitudes, with whose moral mustiness her modern freshness and soundness are contrasted; a young man still more modern, holding the latest opinions, who has sought his fortune up and down the world, and, though he has not found it, takes a genial and enthusiastic view of the future: these, with two or three remarkable accessory figures, are the persons concerned in the little drama. The drama is a small one, but as Hawthorne does not put it before us for its own superficial sake, for the dry facts of the case, but for something in it which he holds to be symbolic and of large application, something that points a moral and that it behoves us to remember, the scenes in the rusty wooden house whose gables give its name to the story, have something of the dignity both of history and of tragedy. Miss Hephzibah Pyncheon, dragging out a disappointed life in her paternal dwelling, finds herself obliged in her old age to open a little shop for the sale of penny toys and gingerbread. This is the central incident of the tale, and, as Hawthorne relates it, it is an incident of the most impressive magnitude and most touching interest. Her dishonoured and vague-minded brother is released from prison at the same moment, and returns to the ancestral roof to deepen her perplexities. But, on the other hand, to alleviate them, and to introduce a breath of the air of the outer world into this long unventilated interior, the little country cousin also arrives, and proves the good angel of the feebly distracted household. All this episode is exquisite—admirably conceived, and executed with a kind of humorous tenderness, an equal sense of everything in it that is picturesque, touching, ridiculous, worthy of the highest praise. Hephzibah Pyncheon, with her near-sighted scowl, her rusty joints, her antique turban, her map of a great territory to the eastward which ought to have belonged to her family, her vain terrors and scruples and resentments, the inaptitude and repugnance of an ancient gentlewoman to the vulgar little commerce which a cruel fate has compelled her to engage in—Hephzibah Pyncheon is a masterly picture. I repeat that she is a picture, as her companions are pictures; she is a charming piece of descriptive writing, rather than a dramatic exhibition. But she is described, like her companions too, so subtly and lovingly that we enter into her virginal old heart and stand with her behind her abominable little counter. Clifford Pyncheon is a still more remarkable conception, though he is perhaps not so vividly depicted. It was a figure needing a much more subtle touch, however, and it was of the essence of his character to be vague and unemphasised. Nothing can be more charming than the manner in which the soft, bright, active presence of Phoebe Pyncheon is indicated, or than the account of her relations with the poor dimly sentient kinsman for whom her light-handed sisterly offices, in the evening of a melancholy life, are a revelation of lost possibilities of happiness. “In her aspect,” Hawthorne says of the young girl, “there was a familiar gladness, and a holiness that you could play with, and yet reverence it as much as ever. She was like a prayer offered up in the homeliest beauty of one’s mother-tongue. Fresh was Phoebe, moreover, and airy, and sweet in her apparel; as if nothing that she wore—neither her gown, nor her small straw bonnet, nor her little kerchief, any more than her snowy stockings—had ever been put on before; or if worn, were all the fresher for it, and with a fragrance as if they had lain among the rose-buds.” Of the influence of her maidenly salubrity upon poor Clifford, Hawthorne gives the prettiest description, and then, breaking off suddenly, renounces the attempt in language which, while pleading its inadequacy, conveys an exquisite satisfaction to the reader. I quote the passage for the sake of its extreme felicity, and of the charming image with which it concludes.
“But we strive in vain to put the idea into words. No adequate expression of the beauty and profound pathos with which it impresses us is attainable. This being, made only for happiness, and heretofore so miserably failing to be happy—his tendencies so hideously thwarted that some unknown time ago, the delicate springs of his character, never morally or intellectually strong, had given way, and he was now imbecile—this poor forlorn voyager from the Islands of the Blest, in a frail bark, on a tempestuous sea, had been flung by the last mountain-wave of his shipwreck, into a quiet harbour. There, as he lay more than half lifeless on the strand, the fragrance of an earthly rose-bud had come to his nostrils, and, as odours will, had summoned up reminiscences or visions of all the living and breathing beauty amid which he should have had his home. With his native susceptibility of happy influences, he inhales the slight ethereal rapture into his soul, and expires!”
I have not mentioned the personage in The House of the Seven Gables upon whom Hawthorne evidently bestowed most pains, and whose portrait is the most elaborate in the book; partly because he is, in spite of the space he occupies, an accessory figure, and partly because, even more than the others, he is what I have called a picture rather than a character. Judge Pyncheon is an ironical portrait, very richly and broadly executed, very sagaciously composed and rendered—the portrait of a superb, full blown hypocrite, a large-based, full-nurtured Pharisee, bland, urbane, impressive, diffusing about him a “sultry” warmth of benevolence, as the author calls it again and again, and basking in the noontide of prosperity and the consideration of society; but in reality hard, gross, and ignoble. Judge Pyncheon is an elaborate piece of description, made up of a hundred admirable touches, in which satire is always winged with fancy, and fancy is linked with a deep sense of reality. It is difficult to say whether Hawthorne followed a model in describing Judge Pyncheon; but it is tolerably obvious that the picture is an impression—a copious impression—of an individual. It has evidently a definite starting-point in fact, and the author is able to draw, freely and confidently, after the image established in his mind. Holgrave, the modern young man, who has been a Jack-of-all-trades and is at the period of the story a daguerreotypist, is an attempt to render a kind of national type—that of the young citizen of the United States whose fortune is simply in his lively intelligence, and who stands naked, as it were, unbiased and unencumbered alike, in the centre of the far-stretching level of American life. Holgrave is intended as a contrast; his lack of traditions, his democratic stamp, his condensed experience, are opposed to the desiccated prejudices and exhausted vitality of the race of which poor feebly-scowling, rusty-jointed Hephzibah is the most heroic representative. It is perhaps a pity that Hawthorne should not have proposed to himself to give the old Pyncheon-qualities some embodiment which would help them to balance more fairly with the elastic properties of the young daguerreotypist—should not have painted a lusty conservative to match his strenuous radical. As it is, the mustiness and mouldiness of the tenants of the House of the Seven Gables crumble away rather too easily. Evidently, however, what Hawthorne designed to represent was not the struggle between an old society and a new, for in this case he would have given the old one a better chance; but simply, as I have said, the shrinkage and extinction of a family. This appealed to his imagination; and the idea of long perpetuation and survival always appears to have filled him with a kind of horror and disapproval. Conservative, in a certain degree, as he was himself, and fond of retrospect and quietude and the mellowing influences of time, it is singular how often one encounters in his writings some expression of mistrust of old houses, old institutions, long lines of descent. He was disposed apparently to allow a very moderate measure in these respects, and he condemns the dwelling of the Pyncheons to disappear from the face of the earth because it has been standing a couple of hundred years. In this he was an American of Americans; or rather he was more American than many of his countrymen, who, though they are accustomed to work for the short run rather than the long, have often a lurking esteem for things that show the marks of having lasted. I will add that Holgrave is one of the few figures, among those which Hawthorne created, with regard to which the absence of the realistic mode of treatment is felt as a loss. Holgrave is not sharply enough characterised; he lacks features; he is not an individual, but a type. But my last word about this admirable novel must not be a restrictive one. It is a large and generous production, pervaded with that vague hum, that indefinable echo, of the whole multitudinous life of man, which is the real sign of a great work of fiction.
After the publication of The House of the Seven Gables, which brought him great honour, and, I believe, a tolerable share of a more ponderable substance, he composed a couple of little volumes, for children—The Wonder-Book, and a small collection of stories entitled Tanglewood Tales. They are not among his most serious literary titles, but if I may trust my own early impression of them, they are among the most charming literary services that have been rendered to children in an age (and especially in a country) in which the exactions of the infant mind have exerted much too palpable an influence upon literature. Hawthorne’s stories are the old Greek myths, made more vivid to the childish imagination by an infusion of details which both deepen and explain their marvels. I have been careful not to read them over, for I should be very sorry to risk disturbing in any degree a recollection of them that has been at rest since the appreciative period of life to which they are addressed. They seem at that period enchanting, and the ideal of happiness of many American children is to lie upon the carpet and lose themselves in The Wonder-Book. It is in its pages that they first make the acquaintance of the heroes and heroines of the antique mythology, and something of the nursery fairy-tale quality of interest which Hawthorne imparts to them always remains.
I have said that Lenox was a very pretty place, and that he was able to work there Hawthorne proved by composing The House of the Seven Gables with a good deal of rapidity. But at the close of the year in which this novel was published he wrote to a friend (Mr. Fields, his publisher,) that “to tell you a secret I am sick to death of Berkshire, and hate to think of spending another winter here…. The air and climate do not agree with my health at all, and for the first time since I was a boy I have felt languid and dispirited…. O that Providence would build me the merest little shanty, and mark me out a rood or two of garden ground, near the sea-coast!” He was at this time for a while out of health; and it is proper to remember that though the Massachusetts Berkshire, with its mountains and lakes, was charming during the ardent American summer, there was a reverse to the medal, consisting of December snows prolonged into April and May. Providence failed to provide him with a cottage by the sea; but he betook himself for the winter of 1852 to the little town of West Newton, near Boston, where he brought into the world The Blithedale Romance.
This work, as I have said, would not have been written if Hawthorne had not spent a year at Brook Farm, and though it is in no sense of the word an account of the manners or the inmates of that establishment, it will preserve the memory of the ingenious community at West Roxbury for a generation unconscious of other reminders. I hardly know what to say about it save that it is very charming; this vague, unanalytic epithet is the first that comes to one’s pen in treating of Hawthorne’s novels, for their extreme amenity of form invariably suggests it; but if on the one hand it claims to be uttered, on the other it frankly confesses its inconclusiveness. Perhaps, however, in this case, it fills out the measure of appreciation more completely than in others, for The Blithedale Romance is the lightest, the brightest, the liveliest, of this company of unhumorous fictions.
The story is told from a more joyous point of view—from a point of view comparatively humorous—and a number of objects and incidents touched with the light of the profane world—the vulgar, many-coloured world of actuality, as distinguished from the crepuscular realm of the writer’s own reveries—are mingled with its course. The book indeed is a mixture of elements, and it leaves in the memory an impression analogous to that of an April day—an alternation of brightness and shadow, of broken sun-patches and sprinkling clouds. Its dénoûment is tragical—there is indeed nothing so tragical in all Hawthorne, unless it be the murder-of Miriam’s persecutor by Donatello, in Transformation, as the suicide of Zenobia; and yet on the whole the effect of the novel is to make one think more agreeably of life. The standpoint of the narrator has the advantage of being a concrete one; he is no longer, as in the preceding tales, a disembodied spirit, imprisoned in the haunted chamber of his own contemplations, but a particular man, with a certain human grossness.
Of Miles Coverdale I have already spoken, and of its being natural to assume that in so far as we may measure this lightly indicated identity of his, it has a great deal in common with that of his creator. Coverdale is a picture of the contemplative, observant, analytic nature, nursing its fancies, and yet, thanks to an element of strong good sense, not bringing them up to be spoiled children; having little at stake in life, at any given moment, and yet indulging, in imagination, in a good many adventures; a portrait of a man, in a word, whose passions are slender, whose imagination is active, and whose happiness lies, not in doing, but in perceiving—half a poet, half a critic, and all a spectator. He is contrasted, excellently, with the figure of Hollingsworth, the heavily treading Reformer, whose attitude with regard to the world is that of the hammer to the anvil, and who has no patience with his friend’s indifferences and neutralities. Coverdale is a gentle sceptic, a mild cynic; he would agree that life is a little worth living—or worth living a little; but would remark that, unfortunately, to live little enough, we have to live a great deal. He confesses to a want of earnestness, but in reality he is evidently an excellent fellow, to whom one might look, not for any personal performance on a great scale, but for a good deal of generosity of detail. “As Hollingsworth once told me, I lack a purpose,” he writes, at the close of his story. “How strange! He was ruined, morally, by an over plus of the same ingredient the want of which, I occasionally suspect, has rendered my own life all an emptiness. I by no means wish to die. Yet were there any cause in this whole chaos of human struggle, worth a sane man’s dying for, and which my death would benefit, then—provided, however, the effort did not involve an unreasonable amount of trouble—methinks I might be bold to offer up my life. If Kossuth, for example, would pitch the battle-field of Hungarian rights within an easy ride of my abode, and choose a mild sunny morning, after breakfast, for the conflict, Miles Coverdale would gladly be his man, for one brave rush upon the levelled bayonets. Further than that I should be loth to pledge myself.”
