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The Life and Genius of Nathaniel Hawthorne

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Yet Hawthorne is essentially a domestic writer,--a poetizer of the
hearth-stone. Social life is always the proper subject for works of
fiction, and political life should never enter into them, except as a
subordinate element; but there is a border-land between the two, in
which politics and society act and react on each other, and it is from
this field that the great subjects for epic and dramatic poetry have
always been reaped. Hawthorne only knew of this by hearsay. Of the
strenuous conflict that continually goes on in political centres like
London and New York, a struggle for wealth, for honor, and precedence;
of plots and counterplots, of foiled ambition and ruined reputations,--
with all this Hawthorne had but slight acquaintance. We miss in him the
masculine vigor of Fielding, the humanity of Dickens, and the trenchant
criticism of Thackeray; but he knew that the true poetry of life (at
the present time) was to be found in quiet nooks and in places far off
from the turbulent maelstrom of humanity, and in his own line he
remains unrivalled.


PORTRAITS OF HAWTHORNE

Hawthorne had no more vanity in his nature than is requisite to
preserve a good appearance in public, but he always sat for his
portrait when asked to do so, and this was undoubtedly the most
sensible way. He was first painted by Charles Osgood in 1840, a
portrait which has at least the merit of a fine poetic expression. He
was afterward painted by Thompson, Healy, and Emanuel Leutze, and drawn
in crayon by Rowse and Eastman Johnson. Frances Osborne also painted a
portrait of him from photographs in 1893, an excellent likeness, and
notable especially for its far-off gaze. Of all these, Rowse's portrait
is the finest work of art, for Rowse was a man of genius, but there is
a slight tendency to exaggeration in it, and it does not afford so
clear an idea of Hawthorne as he was, as the Osborne portrait. Healy
was not very successful with Hawthorne, and Miss Lander's bust has no
merit whatever. The following list contains most of the portraits and
photographs of Hawthorne now known to exist, with their respective
ownerships and locations.

Oil portrait painted by Charles Osgood, in 1840. Owned by Mrs. Richard
C. Manning.

Crayon portrait drawn by Eastman H. Johnson, in 1846. Owned by Miss
Alice M. Longfellow.

Oil portrait painted by George P. A. Healy, in 1850. Now in the
possession of Kirk Pierce, Esq.

Oil portrait by Miss H. Frances Osborne, after a photograph by Silsbee,
Case & Co., Boston.

Crayon portrait drawn by Samuel W. Rowse, in 1866. Owned by Mrs. Annie
Fields.

Engraving after the portrait painted in 1850 by Cephas G. Thompson.
Owned by Hon. Henry C. Leach.

The Grolier Club bronze medallion, made in 1892, by Ringel d'Illzach.
Owned by B. W. Pierson.

Cabinet photograph, bust, by Elliott & Fry, London. Owned by Mrs.
Richard C. Manning.

Card photograph, full length, seated, with book in right hand, by Black
& Case, Boston.

Cabinet photograph, three-quarter length, standing beside a pillar,
copy by Mackintire of the original photograph.

Card photograph, three-quarter length, seated, from Warren's
Photographic Studio, Boston.

Card photograph, bust, by Brady, New York, with autographic signature.
Owned by Hon. Henry C. Leach.

Bust in the Concord (Massachusetts) Public Library, by Miss Louise
Lander.

Card photograph, bust, from Warren's Photographic Studio, Boston. Owned
by Mrs. Richard C. Manning.

Oil portrait by Emanuel Leutze, painted in April, 1852. Owned by Julian
Hawthorne.

Photograph by Mayall, London. The so-called "Motley photograph."

Two photographs by Brady, full length; one seated, the other standing.

Photograph showing Hawthorne, Ticknor and Fields standing together.




Editions of Nathaniel Hawthorne's Books published under his own
Direction

Fanshawe: A Tale, Boston, 1828.
Twice-Told Tales, Boston, 1837.
Another edition, Boston, 1842.
Peter Parley's Universal History, Boston, 1837.
The Gentle Boy: A Thrice-Told Tale, Boston, 1839.
Grandfather's Chair: A History for Youth, Boston, 1841.
Famous Old People: or Grandfather's Chair II, Boston, 1841.
Liberty Tree: The Last Words of Grandfather's Chair, Boston, 1841.
Biographical Stories for Children, Boston, 1842.
Historical Tales for Youth, Boston, 1842.
The Celestial Railroad, Boston, 1843.
Mosses from an Old Manse, New York, 1846, 1851.
The Scarlet Letter, Boston, 1850.
True Stories from History and Biography, Boston, 1851.
The House of the Seven Gables, Boston, 1852.
A Wonder-Book for Girls and Boys, Boston, 1851.
Another edition, Boston, 1857.
The Snow-Image and Other Tales, Boston, 1852.
Another edition, Boston, 1857.
The Blithedale Romance, Boston, 1852.
Life of Franklin Pierce, Boston, 1852.
Tanglewood Tales for Girls and Boys, Boston, 1853.
Transformation, or the Romance of Monte Beni, Smith & Elder, London, 1860.
The Marble Faun, or the Romance of Monte Beni, Boston, 1860.
Our Old Home, Boston, 1863.

_A complete list of Hawthorne's contributions to American magazines
will be found in the appendix to Conway's "Life of Hawthorne." _


Mrs. Emerson and Mrs. Hawthorne [Footnote: Read at the Emerson Club, at
Boston, January 2, 1906]

In 1892, when I was constructing the volume known as "Sketches from
Concord and Appledore," I said in comparing Emerson with Hawthorne that
one was like _day_, and the other like _night_. I was not aware that four years
earlier M. D. Conway had made a similar statement in his Life of Hawthorne,
which was published in London. Miss Rebecca Manning, Hawthorne's own
cousin, still living at the age of eighty and an admirable old lady,
distinctly confirms my statement, that "wherever Hawthorne went he
carried twilight with him." Emerson, on the contrary, was of a sanguine
temperament and an essentially sunny nature. His writings are full of
good cheer, and the opening of his Divinity School Address is as full of
summer sunshine as the finest July day. It was only necessary to see him
look at the sunshine from his own porch to recognize how it penetrated
into the depths of his nature.

It would seem consistent with the rational order of things, that
_day_ should be supplemented by _night_, and _night_ again by _day_;
and here we are almost startled by the completeness of our allegory. We
sometimes come across faces in the streets of a large city, which show
by their expression that they are more accustomed to artificial light
than to the light of the sun. Mrs. Emerson was one of these. She never
seemed to be fully herself, until the lamps were lighted. Her pale face
seemed to give forth moonlight, and its habitual expression was much like
that of a Sister of Charity. It was said of her that she was the last
in the house to retire at night, always reading or busying herself with
household affairs, until twelve or one o'clock; but this mode of life
would appear to have been suited to her organization, for in spite of
her colorless look she lived to be over ninety.

So far I can tread upon firm earth, without drawing upon my
imagination, but in regard to Mrs. Hawthorne I cannot speak with the
same assurance, for I only became acquainted with her after her
husband's health had begun to fail, and the anxiety in her face was
strongly marked; yet I have reason to believe that her temperament was
originally sanguine and optimistic, and that she alternated from
dreamy, pensive moods to bright vivacious ones. She certainly was very
different from her husband. Her sister, Elizabeth Peabody, was the most
sanguine person of her time, and her introduction of the kindergarten
into America was accomplished through her unbounded hopefulness. The
Wayside, where Mrs. Hawthorne lived, has an extended southern exposure.
The house was always full of light, which is not often the case with
New England country houses; and when she lived at Liverpool, where
sunshine is a rare commodity, she became unwell, so that Mr. Hawthorne
was obliged to send her to Madeira in order to avert a dangerous
illness.

These two estimable ladies were alike in the excellence of their
housekeeping, the purity of their manners, their universal kindliness,
and their devotion to the welfare of their husbands and children. It
was a pleasure to pass them on the road-side; the fare at their tables
was always of the nicest, even if it happened to be frugal; and people
of all classes could have testified to their helpful liberality. In
these respects they might almost have served as models, but otherwise
they were as different as possible. Mrs. Emerson was of a tall,
slender, and somewhat angular figure (like her husband), but she
presided at table with a grace and dignity that quite justified his
favorite epithet of "Queenie." There was even more of the Puritan left
in her than there was in him, and although she encouraged the liberal
movements and tendencies of her time, one always felt in her mental
attitude the inflexibility of the moral law. To her mind there was no
shady border-land between right and wrong, but the two were separated
by a sharply defined line, which was never to be crossed, and she lived
up to this herself, and, in theory at least, she had but little mercy
for sinners. On one occasion I was telling Mr. Emerson of a fraudulent
manufacturing company, which had failed, as it deserved to, and which
was found on investigation to have kept two sets of books, one for
themselves, and another for their creditors. Mrs. Emerson listened to
this narrative with evident impatience, and at the close of it she
exclaimed, "This world has become so wicked that if I were the maker of
it, I should blow it up at once." Emerson himself did not like such
stories; and although he once said that "all deaf children ought to be
put in the water with their faces downward," he was not always willing
to accept human nature for what it really is.

Mrs. Emerson did not agree with her husband's religious views; neither
did she adopt the transcendental faith, that the idea of God is innate
in the human mind, so that we cannot be dispossessed of it. She
belonged to the conservative branch of the Unitarian Church, which was
represented by Reverend James Freeman Clarke and Doctor Andrew P.
Peabody. The subject was one which was permitted to remain in abeyance
between them, but Mrs. Emerson was naturally suspicious of those
reverend gentlemen who called upon her husband, and this may have been
the reason why he did not encourage the visits of clergymen like Samuel
Johnson, Samuel Longfellow, and Professor Hedge, whom he greatly
respected, and who should have been by good rights his chosen
companions. I suppose all husbands are obliged to make these domestic
compromises.

Mrs. Emerson had also something of the spirit-militant in her. When
David A. Wasson came to dine at Mr. Emerson's invitation, she said to
him, by way of grace before meat: "I see you have been carrying on a
controversy with Reverend Mr. Sears, of Wayland, and you will excuse me
for expressing my opinion that Mr. Sears had the best of it." But after
sounding this little nourish of trumpets, she was as kindly and
hospitable as any one could desire. She was one of the earliest
recruits to the anti-slavery cause,--not only a volunteer, but a
recruiting officer as well,--and she made this decision entirely of her
own mind, without any special encouragement from her husband or
relatives. At the time of John Brown's execution she wanted to have the
bells tolled in Concord, and urged her husband energetically to see
that it was done. Mrs. Emerson was always thoroughly herself. There
never was the shadow of an affectation upon her; nor more than a shadow
of self-consciousness--very rare among conscientious persons. One of
her fine traits was her fondness for flowers, which she cultivated in
the little garden between her house and the mill-brook, with a loving
assiduity. She is supposed to have inspired Emerson's poem, beginning:

"O fair and stately maid, whose eyes
Were kindled in the upper skies
At the same torch that lighted mine:
For so I must interpret still
Thy sweet dominion o'er my will,
A sympathy divine."

There are other references to her in his published writings, which only
those who were personally acquainted with her would recognize.

* * * * *

Mrs. Hawthorne belonged to the class of womankind which Shakespeare has
typified in Ophelia, a tender-hearted, affectionate nature, too
sensitive for the rough strains of life, and too innocent to recognize
the guile in others. This was at once her strength and her weakness;
but it was united, as often happens, with a fine artistic nature, and
superior intelligence. Her face and manners both gave the impression of
a wide and elevated culture. One could see that although she lived by
the wayside, she had been accustomed to enter palaces. Her long
residence in England, her Italian experience, her visit to the Court of
Portugal, her enjoyment of fine pictures, poetry, and architecture, the
acquaintance of distinguished men and women in different countries, had
all left their impress upon her, combined in a quiet and lady-like
harmony. Her conversation was cosmopolitan, and though she did not
quite possess the narrative gift of her sister Elizabeth, it was often
exceedingly interesting.

Hawthorne has been looked upon as the necrologist of the Puritans, and
yet a certain coloring of Puritanism adhered to him to the last. It was
his wife who had entirely escaped from the old New England conventicle.
Severity was at the opposite pole from her moral nature. Tolerant and
charitable to the faults of others, her only fault was the lack of
severity. She believed in the law of love, and when kind words did not
serve her purpose she let matters take what course they would, trusting
that good might fall, "At last far off at last to all."

I suspect her pathway was by no means a flowery one. Mrs. Emerson's
life had to be as stoical as her husband's, and Mrs. Hawthorne's,
previous to the Liverpool consulate,--the consulship of Hawthorne,--was
even more difficult. No one knew better than she the meaning of that
heroism which each day requires. A writer in the _Atlantic
Monthly_, reviewing Julian Hawthorne's biography of his father,
emphasizes, "the dual selfishness of Mr. and Mrs. Hawthorne." Insensate
words! There was no room for selfishness in the lives they led. In a
certain sense they lived almost wholly for one another and for their
children; but Hawthorne himself lived for all time and for all mankind,
and his wife lived through him to the same purpose. The especial form
of their material life was as essential to its spiritual outgrowth as
the rose-bush is to the rose; and it would be a cankered selfishness to
complain of them for it.




Appendices

APPENDIX A


There is at least one error in the Symmes diary, which is however
explainable, and need not vitiate the whole of it. It has been
ascertained that the drowning of Henry Jackson in Songo River by being
kicked in the mouth by another boy while swimming, took place in 1828,
so that the statement to that effect in the diary, must have been
interpolated. As it happened, however, another Henry Jackson was
drowned in the Songo River, so Mr. Pickard says, more than twenty years
before that, and it is quite possible that young Hawthorne overheard
some talk about that catastrophe, and mistook it for a recent event;
and that Symmes afterwards confounding the two Jacksons and the
difference in time, amended Hawthorne's statement as we now have it.
Mr. Pickard says in a recent letter:

"This item alone led me to doubt. But I cannot doubt, the more I
reflect upon it, that H. himself had a hand in most, if not all, the
other items. Who but his uncle could have written that inscription? The
negro Symmes could not have composed that--only a man of culture."...
"The sketch of the sail on Sebago Lake surely was written by some one
who was in that party. Symmes _might_ have been there, but he was
a genius deserving the fame of a Chatterton if he really did this.
Three of that party I personally knew--one (Sawyer) was a cousin of my
grandfather. His sleight of hand, his skill with rifle, his being a
'votary of chance,' are traditions in my family."

This does not differ essentially from the opinion I have already
expressed in Chapter II. F. B. Sanborn, who is one of the best-informed
of living men in regard to Hawthorne, takes a similar view.




APPENDIX B


In February, 1883, a review of "Nathaniel Hawthorne and his Wife" was
published in the _Atlantic Monthly_, evidently written by a person
with no good-will toward the family. Editors ought to beware of such
reviews, for their character is easily recognized, and the effect they
produce often reacts upon the publication that contains them. In the
present instance, the ill-humor of the writer had evidently been
bottled up for many years.

To place typographical errors to the debit of an author's account--not
very numerous for a work of eight hundred pages--suggests either an
inexperienced or a strongly prejudiced critic. This is what the
_Atlantic_ writer begins with, and he (or she) next proceeds to
complain that the book does not contain a complete bibliography of
Hawthorne's works; although many excellent biographies have been
published without this, and it is quite possible that Hawthorne's son
preferred not to insert it. No notice is taken of the many fine
passages in the book, like the apostrophe upon Hawthorne's marriage,
[Footnote: J. Hawthorne, i. 242,] and that excellent description of the
performances of a trance medium at Florence, but continues in an
ascending climax of fault-finding until he (or she) reaches the passage
from Hawthorne's Roman diary concerning Margaret Fuller. [Footnote: J.
Hawthorne, i. 30-35.]

If public opinion has any value, this passage concerning Margaret
Fuller's marriage ought not to have been published; but what can
Margaret Fuller's friends and admirers expect? Do they think that a
young American woman can go to a foreign country, and live with a
foreign gentleman, in defiance of the customs of modern society,
without subjecting herself to the severest criticism? It is true that
she married Count d'Ossoli before her child was born, and her friends,
who were certainly an enlightened class, always believed that she acted
throughout from the most honorable motives (my own opinion is, that she
acted in imitation of Goethe), but how can they expect the great mass
of mankind to think so? Hawthorne had a right to his opinion, as well
as Emerson and Channing, and although it was certainly not a very
charitable opinion, we cannot doubt that it was an honest one. In
regard to the marriage tie, Hawthorne was always strict and
conservative.

This is the climax of the _Atlantic_ critique, and its anti-climax
is an excoriation of Hawthorne's son for neglecting to do equal and
exact justice to James T. Fields. This truly is a grievous accusation.
Fields was Hawthorne's publisher and would seem to have taken a
personal and friendly interest in him besides, but we cannot look on it
as a wholly unselfish interest. It was not like Hillard's, Pierce's,
and Bridge's interest in Hawthorne. If Fields had not been his
publisher, it is not probable that Hawthorne would have made his
acquaintance; and if his son has not enlarged on Fields's good offices
in bringing "The Scarlet Letter" before the public, there is an
excellent reason for it, in the fact that Fields had already done so
for himself in his "Yesterdays with Authors." That Fields's name should
have been omitted in the index to "Nathaniel Hawthorne and his Wife,"
may have been an oversight; but, at all events, it is too microscopic a
matter to deserve consideration in a first-class review.

Are we become such babies, that it is no longer possible for a writer
to tell the plain, ostensible truth concerning human nature, without
having a storm raised about his head for it? George P. Bradford and
Martin F. Tupper are similar instances, and like Boswell have suffered
the penalty which accrues to men of small stature for associating with
giants.




APPENDIX C


The great poets and other writers of all nations whom I conceive to be
superior to Hawthorne, may be found in the following list: Homer,
Æschylus, Sophocles, Euripides, Pindar, Thucydides, Plato, Aristotle,
Demosthenes, Theocritus, Plutarch; Horace, Virgil, Cicero, Tacitus;
Dante, Tasso, Petrarch; Cervantes, Calderon, Camoens; Molière, Racine,
Descartes, Voltaire; Lessing, Goethe, Schiller, Kant; Swedenborg;
Chaucer, Shakespeare, Bacon, Milton, and perhaps Burns and Byron;
Alexander Hamilton, Napoleon.

These also may be placed more on an equality with Hawthorne, although
there will of course always be wide differences of opinion on that
point: Hesiod, Herodotus, Menander, Aristophases; Livy, Cæsar,
Lucretius, Juvenal; Ariosto, Macchiavelli, Manzoni, Lope de Vega,
Buthas Pato; Corneille, Pascal, Rousseau; Wieland, Klopstock, Heine,
Auerbach; Spenser, Ben Jonson, Fletcher, Fielding, Pope, Scott,
Wordsworth, Shelley, Carlyle, Browning, Tennyson, Froude; Webster,
Emerson, Wasson. Sappho, Bion, Moschus, and Cleanthes were certainly
poets of a high order, but only some fragments of their poetry have
survived. Gottfried of Strassburg, the Minnesinger, might be included,
and some of the finest English poetry was written by unknown geniuses
of the fourteenth and fifteenth centuries. Ballads like "Chevy Chace"
and the "Child of Elle" deserve a high place in the rank of poetry; and
the German "Reineke Fuchs" is in its way without a rival. There may be
other French, German, and Spanish writers of exceptional excellence
with whom I am unacquainted, but I do not feel that any French or
German novelists of the last century ought to be placed on a level with
Hawthorne--only excepting Auerbach. Victor Hugo is grandiloquent, and
the others all have some serious fault or limitation. I suppose that
not one in ten of Emerson's readers has ever heard of Wasson, but he
was the better prose writer of the two, and little inferior as a poet.
More elevated he could not be, but more profound, just, logical and
humane--that is, more like Hawthorne. Emerson could not have filled his
place on the _Atlantic Monthly_ and the _North American Review_.




Index

Index

Adams, John Quincy
After-dinner speeches
Alcott, A. Bronson
"Ambitious Guest, The,"
"Ancestral Footstep, The,"
_Antinous_ of the villa Ludovisi
"Arabella," the ship
Arnold, Matthew
"Artist of the Beautiful, The,"
Athenæan Society
Atlantic Club
Aurelius, Marcus

Bacon's, Miss, volume published
Balzac
Bancroft, George
Beethoven
Bennoch, Francis
"Blithedale Romance"
Blodgett's boarding-house
"Bloody Footstep"
"Birth Mark, The,"
"Bosom Serpent, The,"
Bradford, George P
Brandes, Danish critic
Bridge, Horatio,
Bright, Henry A.
Brook Farm
Brown, John
Browning and Carlyle
Browning, Mrs. Elizabeth Barrett
Browning, Robert
Buchanan, President

Carlyle and Hawthorne
Castor and Pollux, statues of
"Celestial Railroad, The"
Cenci, Beatrice, portrait of
Channing, Ellery
Channing, William H.
Cilley and Graves duel
Cilley, Jonathan
description of
Clarke, Edward H.
Clarke, Rev. Dr. James F.
"Code of Honor," the
College skepticism
Columbia, statue of
Concord River
Conway, Rev. M. D.
Crab spider, the
Crawford, sculptor
"Critique of Pure Reason, The"
Curtis, George William

Dallas, George M.
Dante's _Inferno_
Dickens
"Doctor Grimshawe's Secret"
Dolliver, Dr.
"Dolliver Romance, The"
Donatello's crime
Dwight, John S., musical critic

Elgin marbles
Eliot, George
Emerson
essays
Emerson, Mrs. R. W.
her figure
religious views
English lakes
"English Note-book"
English scenery
Essex County people
Evans, Marian

"Fancy's Show Box"
"Fanshawe"
"Faun of Praxiteles"
"Felton, Septimius,"
Fielding
Fields, James T
Florentine art
Fourier
Fuller, Margaret
as Zenobia
her marriage

Gardner, E. A., Prof
Genius, its growth
"Gentle Boy, The,"
Ghosts
Gibson, sculptor
his tinted Eves and Venuses
Gladstone, William E., on transcendentalism
Godkin, E. L.
Goethe
Golden Age, A
Goodrich, S. G., editor
"Great Carbuncle, The,"
"Great Stone Face, The,"
Guilty glimpses at hired models
Gurney, Prof. E. W.

"Hall of Fantasy, The,"
Harris, Dr. William T.
Harvard Law School
Hathorne, Daniel
Hathorne, John
witches' judge
his last will
his gravestone
Hathorne, Joseph
Hathorne, Nathaniel
Hathorne, William
Letter to British Ministry
Hawthorne, Elizabeth
Hawthorne, Julian
Hawthorne, Louisa
her death
Hawthorne, Mrs. Sophia Peabody
becomes engaged to Hawthorne
writes to her mother
encourages her husband
praises her husband
is out of health
goes to Madeira
is presented at court
the original of Hilda
at Concord
her opinions
character and style
Hawthorne, Nathaniel,
his English ancestors
family name
birthplace
his lameness
early poetry
life at Sebago
his first diary
the budding of his genius
fits for college
"Pin Society"
religious instruction
decides on his vocation
has the measles
his life at Bowdoin
outdoor sports
is fined for gambling
graduates at Bowdoin
decides his profession
publishes "Fanshawe"
changes his name
despondency
goes to Lake Champlain
wins his bet with Cilley
commences his diary
his supposed challenge
thanks Longfellow
goes to Berkshire Hills
character of his diary
his engagement
enters Custom House
goes to Brook Farm
his marriage
his true Arcadia
his skating
opinion of Emerson
birth of a daughter
his indolence
style as an author
returns to Robert Manning's house
is appointed Surveyor of the Port
son Julian is born
occupies house on Mall street
is removed from office
publishes "Scarlet Letter"
method of development
sits for his portrait; goes to Lenox
publishes "House of Seven Gables"
birth of his daughter Rose
leaves Lenox for Newton
returns to Concord
writes the "Life of Pierce"
the Liverpool consulate
sails for England
as an office-holder
his life in England
makes a speech
kindness to Delia Bacon
resigns the Consulate
as a law writer
goes to Paris
arrives at Rome
journeys to Florence
goes to the Vatican
on modern sculpture
returns to Rome
visits Geneva
summer at Redcar
publishes the "Marble Faun
Hawthorne the famous
begins to dislike writing
returns to Concord
method of writing
patriotism
proposes to arm negroes
preparatory sketches
sojourns at Beverly Farms
last entry in his journal
dedicates book to President Pierce
at home
personal appearance
seriously ill
Hawthorne's philosophy
his death
his funeral
religious convictions
his position in literature
Hawthorne, Rose, her birth
her memoirs
Hawthorne's mother
her character
her death
Hawthorne, Una, her birth
severe illness of
Hilda, character of
her tower
Hillard, George S.
Hoar, Miss Elizabeth
Holiday epauletes
Holmes, Oliver Wendell
Hosmer, Harriet
Houghton, Lord
"House of the Seven Gables, The"
Howe, Dr. Samuel G.
Hunt, suicide of Miss

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