The Whole History Of Grandfather's Chair - Nathaniel Hawthorne - ebook

The Whole History Of Grandfather's Chair ebook

Nathaniel Hawthorne

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This is the annotated edition including both volumes of the book, a rare and extensive biographical essay on the author, a special introductory to the book, as well as an essay by Edgar Allan Poe on Hawthorne's tale-writing. About 1840 the first part of "Grandfather's Chair" was written, and published in Boston and New York; the second part not being brought out till 1842. This is a series of stories for children, in which some of the striking and picturesque events in early American history are connected by association with an old chair, originally given by the Earl of Lincoln to his daughter, Lady Arabella Johnson, from whom it passed in succession to a long series of colonial worthies down to the time of the Revolution, -- Roger Williams, Anne Hutchinson, Sir Henry Vane, President Dunster of Harvard, several governors of Massachusetts, Eliot, the Indian apostle, Cotton Mather, and others. "The Pine-Tree Shillings," which has been so widely copied in books for children, is one of the stories of "Grandfather's Chair." '

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The Whole History OfGrandfather's Chair

OrTrue Stories From New England History, 1620-1808

Nathaniel Hawthorne

Contents:

Nathaniel Hawthorne – A Biographical Primer

Hawthorne's Tale-Writing

Introductory Note To Grandfather's Chair

Author's Preface

Grandfather's Chair.

Part I. 1620-1692.

Chapter I. Grandfather And The Children And The Chair.

Chapter Ii. The Puritans And The Lady Arbella.

Chapter Iii. A Rainy Day.

Chapter Iv. Troublous Times.

Chapter V. The Government Of New England.

Chapter Vi. The Pine-Tree Shillings.

Chapter Vii. The Quakers And The Indians.

Chapter Viii. The Indian Bible.

Chapter Ix. England And New England.

Chapter X. The Sunken Treasure.

Chapter Xi. What The Chair Had Known.

Appendix To Part I. Extracts From The Life Of John Eliot

Part Ii. 1692-1763.

Chapter I. The Chair In The Firelight.

Chapter Ii. The Salem Witches.

Chapter Iii. The Old-Fashioned School.

Chapter Iv. Cotton Mather

Chapter V. The Rejected Blessing.

Chapter Vi. Pomps And Vanities.

Chapter Vii. The Provincial Muster.

Chapter Viii. The Old French War And The Acadian Exiles

Chapter Ix. The End Of The War.

Chapter X. Thomas Hutchinson.

Appendix To Part Ii. Account Of The Deportation Of The Acadians.

Part Iii. 1763-1803.

Chapter I. A New-Year's Day.

Chapter Ii. The Stamp Act.

Chapter Iii. The Hutchinson Mob.

Chapter Iv. The British Troops In Boston.

Chapter V. The Boston Massacre.

Chapter Vi. A Collection Of Portraits.

Chapter Vii. The Tea Party And Lexington.

Chapter Viii. The Siege Of Boston.

Chapter Ix. The Tory's Farewell.

Chapter X. The War For Independence.

Chapter Xi. Grandfather's Dream.

Appendix To Part Iii. A Letter From Governor Hutchinson Narrating The Doings Of The Mob.

The Whole History Of Grandfather's Chair, N. Hawthorne

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ISBN: 9783849640934

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Nathaniel Hawthorne – A Biographical Primer

By Edward Everett Hale

American novelist: b. Salem, Mass., 4 July 1804; d. Plymouth, N. H., 19 May 1864. The founder of the family in America was William Hathorne (as the name was then spelled), a typical Puritan and a public man of importance. John, his son, was a judge, one of those presiding over the witchcraft trials. Of Joseph in the next generation little is said, but Daniel, next in decent, followed the sea and commanded a privateer in the Revolution, while his son Nathaniel, father of the romancer, was also a sea Captain. This pure New England descent gave a personal character to Hawthorne's presentations of New England life; when he writes of the strictness of the early Puritans, of the forests haunted by Indians, of the magnificence of the provincial days, of men high in the opinion of their towns-people, of the reaching out to far lands and exotic splendors, he is expressing the stored-up experience of his race. His father died when Nathaniel was but four and the little family lived a secluded life with his mother. He was a handsome boy and quite devoted to reading, by an early accident which for a time prevented outdoor games. His first school was with Dr. Worcester, the lexicographer. In 1818 his mother moved to Raymond, Me., where her brother had bought land, and Hawthorne went to Bowdoin College. He entered college at the age of 17 in the same class with Longfellow. In the class above him was Franklin Pierce, afterward 12th President of the United States. On being graduated in 1825 Hawthorne determined upon literature as a profession, but his first efforts were without success. ‘Fanshawe’ was published anonymously in 1828, and shorter tales and sketches were without importance. Little need be said of these earlier years save to note that they were full of reading and observation. In 1836 he edited in Boston the AmericanMagazine for Useful and Entertaining Knowledge, but gained little from it save an introduction to ‘The Token,’ in which his tales first came to be known. Returning to Salem he lived a very secluded life, seeing almost no one (rather a family trait), and devoted to his thoughts and imaginations. He was a strong and powerful man, of excellent health and, though silent, cheerful, and a delightful companion when be chose. But intellectually he was of a separated and individual type, having his own extravagances and powers and submitting to no companionship in influence. In 1837 appeared ‘Twice Told Tales’ in book form: in a preface written afterward Hawthorne says that he was at this time “the obscurest man of letters in America.” Gradually he began to be more widely received. In 1839 he became engaged to Miss Sophia Peabody, but was not married for some years. In 1838 he was appointed to a place in the Boston custom house, but found that he could not easily save time enough for literature and was not very sorry when the change of administration put him out of office. In 1841 was founded the socialistic community at Brook Farm: it seemed to Hawthorne that here was a chance for a union of intellectual and physical work, whereby he might make a suitable home for his future wife. It failed to fulfil his expectations and Hawthorne withdrew from the experiment. In 1842 he was married and moved with his wife to the Old Manse at Concord just above the historic bridge. Here chiefly he wrote the ‘Mosses of an Old Manse’ (1846). In 1845 he published a second series of ‘Twice Told Tales’; in this year also the family moved to Salem, where he had received the appointment of surveyor at the custom house. As before, official work was a hindrance to literature; not till 1849 when he lost his position could he work seriously. He used his new-found leisure in carrying out a theme that had been long in his mind and produced ‘The Scarlet Letter’ in 1850. This, the first of his longer novels, was received with enthusiasm and at once gave him a distinct place in literature. He now moved to Lenox, Mass., where he began on ‘The House of Seven Gables,’ which was published in 1851. He also wrote ‘A Wonder-Book’ here, which in its way has become as famous as his more important work. In December 1851 he moved to West Newton, and shortly to Concord again, this time to the Wayside. At Newton he wrote ‘The Blithedale Romance.’ Having settled himself at Concord in the summer of 1852, his first literary work was to write the life of his college friend, Franklin Pierce, just nominated for the Presidency. This done he turned to ‘Tanglewood Tales,’ a volume not unlike the ‘Wonder-Book.’ In 1853 he was named consul to Liverpool: at first he declined the position, but finally resolved to take this opportunity to see something of Europe. He spent four years in England, and then a year in Italy. As before, he could write nothing while an official, and resigned in 1857 to go to Rome, where he passed the winter, and to Florence, where he received suggestions and ideas which gave him stimulus for literary work. The summer of 1858 he passed at Redcar, in Yorkshire, where he wrote ‘The Marble Faun.’ In June 1860 he sailed for America, where he returned to the Wayside. For a time he did little literary work; in 1863 he published ‘Our Old Home,’ a series of sketches of English life, and planned a new novel, ‘The Dolliver Romance,’ also called ‘Pansie.’ But though he suffered from no disease his vitality seemed relaxed; some unfortunate accidents had a depressing effect, and in the midst of a carriage trip into the White Mountains with his old friend, Franklin Pierce, he died suddenly at Plymouth, N. H., early in the morning, 19 May 1864.

The works of Hawthorne consist of novels, short stories, tales for children, sketches of life and travel and some miscellaneous pieces of a biographical or descriptive character. Besides these there were published after his death extracts from his notebooks. Of his novels ‘The Scarlet Letter’ is a story of old New England; it has a powerful moral idea at bottom, but it is equally strong in its presentation of life and character in the early days of Massachusetts. ‘House of the Seven Gables’ presents New England life of a later date; there is more of careful analysis and presentation of character and more description of life and manners, but less moral intensity. ‘The Blithedale Romance’ is less strong; Hawthorne seems hardly to grasp his subject. It makes the third in what may be called a series of romances presenting the molding currents of New England life: the first showing the factors of religion and sin, the second the forces of hereditary good and evil, and the third giving a picture of intellectual and emotional ferment in a society which had come from very different beginnings. ‘Septimius Felton,’ finished in the main but not published by Hawthorne, is a fantastic story dealing with the idea of immortality. It was put aside by Hawthorne when he began to write ‘The Dolliver Romance,’ of which he completed only the first chapters. ‘Dr. Grimshaw's Secret’ (published in 1882) is also not entirely finished. These three books represent a purpose that Hawthorne never carried out. He had presented New England life, with which the life of himself and his ancestry was so indissolubly connected, in three characteristic phases. He had traced New England history to its source. He now looked back across the ocean to the England he had learned to know, and thought of a tale that should bridge the gulf between the Old World and the New. But the stories are all incomplete and should be read only by the student. The same thing may be said of ‘Fanshawe,’ which was published anonymously early in Hawthorne's life and later withdrawn from circulation. ‘The Marble Faun’ presents to us a conception of the Old World at its oldest point. It is Hawthorne's most elaborate work, and if every one were familiar with the scenes so discursively described, would probably be more generally considered his best. Like the other novels its motive is based on the problem of evil, but we have not precisely atonement nor retribution, as in his first two novels. The story is one of development, a transformation of the soul through the overcoming of evil. The four novels constitute the foundation of Hawthorne's literary fame and character, but the collections of short stories do much to develop and complete the structure. They are of various kinds, as follows: (1) Sketches of current life or of history, as ‘Rills from the Town Pump,’ ‘The Village Uncle,’ ‘Main Street,’ ‘Old News.’ These are chiefly descriptive and have little story; there are about 20 of them. (2) Stories of old New England, as ‘The Gray Champion,’ ‘The Gentle Boy,’ ‘Tales of the Province House.’ These stories are often illustrative of some idea and so might find place in the next set. (3) Stories based upon some idea, as ‘Ethan Brand,’ which presents the idea of the unpardonable sin; ‘The Minister's Black Veil,’ the idea of the separation of each soul from its fellows; ‘Young Goodman Brown,’ the power of doubt in good and evil. These are the most characteristic of Hawthorne's short stories; there are about a dozen of them. (4) Somewhat different are the allegories, as ‘The Great Stone Face,’ ‘Rappacini's Daughter,’ ‘The Great Carbuncle.’ Here the figures are not examples or types, but symbols, although in no story is the allegory consistent. (5) There are also purely fantastic developments of some idea, as ‘The New Adam and Eve,’ ‘The Christmas Banquet,’ ‘The Celestial Railroad.’ These differ from the others in that there is an almost logical development of some fancy, as in case of the first the idea of a perfectly natural pair being suddenly introduced to all the conventionalities of our civilization. There are perhaps 20 of these fantasies. Hawthorne's stories from classical mythology, the ‘Wonder-Book’ and ‘Tanglewood Tales,’ belong to a special class of books, those in which men of genius have retold stories of the past in forms suited to the present. The stories themselves are set in a piece of narrative and description which gives the atmosphere of the time of the writer, and the old legends are turned from stately myths not merely to children's stories, but to romantic fancies. Mr. Pringle in ‘Tanglewood Fireside’ comments on the idea: “Eustace,” he says to the young college student who had been telling the stories to the children, “pray let me advise you never more to meddle with a classical myth. Your imagination is altogether Gothic and will inevitably Gothicize everything that you touch. The effect is like bedaubing a marble statue with paint. This giant, now! How can you have ventured to thrust his huge disproportioned mass among the seemly outlines of Grecian fable?” “I described the giant as he appeared to me,” replied the student, “And, sir, if you would only bring your mind into such a relation to these fables as is necessary in order to remodel them, you would see at once that an old Greek has no more exclusive right to them than a modern Yankee has. They are the common property of the world and of all time” (“Wonder-Book,” p. 135). ‘Grandfather's Chair’ was also written primarily for children and gives narratives of New England history, joined together by a running comment and narrative from Grandfather, whose old chair had come to New England, not in the Mayflower, but with John Winthrop and the first settlers of Boston. ‘Biographical Stories,’ in a somewhat similar framework, tells of the lives of Franklin, Benjamin West and others. It should be noted of these books that Hawthorne's writings for children were always written with as much care and thought as his more serious work. ‘Our Old Home’ was the outcome of that less remembered side of Hawthorne's genius which was a master of the details of circumstance and surroundings. The notebooks give us this also, but the American notebook has also rather a peculiar interest in giving us many of Hawthorne's first ideas which were afterward worked out into stories and sketches.

One element in Hawthorne's intellectual make-up was his interest in the observation of life and his power of description of scenes, manners and character. This is to be seen especially, as has been said, in his notebooks and in ‘Our Old Home,’ and in slightly modified form in the sketches noted above. These studies make up a considerable part of ‘Twice Told Tales’ and ‘Mosses from an Old Manse,’ and represent a side of Hawthorne's genius not always borne in mind. Had this interest been predominant in him we might have had in Hawthorne as great a novelist of our everyday life as James or Howells. In the ‘House of Seven Gables’ the power comes into full play; 100 pages hardly complete the descriptions of the simple occupations of a single uneventful day. In Hawthorne, however, this interest in the life around him was mingled with a great interest in history, as we may see, not only in the stories of old New England noted above, but in the descriptive passages of ‘The Scarlet Letter.’ Still we have not, even here, the special quality for which we know Hawthorne. Many great realists have written historical novels, for the same curiosity that absorbs one in the affairs of everyday may readily absorb one in the recreation of the past. In Hawthorne, however, was another element very different. His imagination often furnished him with conceptions having little connection with the actual circumstances of life. The fanciful developments of an idea noted above (5) have almost no relation to fact: they are “made up out of his own head.” They are fantastic enough, but generally they are developments of some moral idea and a still more ideal development of such conceptions was not uncommon in Hawthorne. ‘Rappacini's Daughter’ is an allegory in which the idea is given a wholly imaginary setting, not resembling anything that Hawthorne had ever known from observation. These two elements sometimes appear in Hawthorne's work separate and distinct just as they did in his life: sometimes he secluded himself in his room, going out only after nightfall; sometimes he wandered through the country observing life and meeting with everybody. But neither of these elements alone produced anything great, probably because for anything great we need the whole man. The true Hawthorne was a combination of these two elements, with various others of personal character, and artistic ability that cannot be specified here. The most obvious combination between these two elements, so far as literature is concerned, between the fact of external life and the idea of inward imagination, is by a symbol. The symbolist sees in everyday facts a presentation of ideas. Hawthorne wrote a number of tales that are practically allegories: ‘The Great Stone Face’ uses facts with which Hawthorne was familiar, persons and scenes that he knew, for the presentation of a conception of the ideal. His novels, too, are full of symbolism. ‘The Scarlet Letter’ itself is a symbol and the rich clothing of Little Pearl, Alice's posies among the Seven Gables, the old musty house itself, are symbols, Zenobia's flower, Hilda's doves. But this is not the highest synthesis of power, as Hawthorne sometimes felt himself, as when he said of ‘The Great Stone Face,’ that the moral was too plain and manifest for a work of art. However much we may delight in symbolism it must be admitted that a symbol that represents an idea only by a fanciful connection will not bear the seriousness of analysis of which a moral idea must be capable. A scarlet letter A has no real connection with adultery, which begins with A and is a scarlet sin only to such as know certain languages and certain metaphors. So Hawthorne aimed at a higher combination of the powers of which he was quite aware, and found it in figures and situations in which great ideas are implicit. In his finest work we have, not the circumstance before the conception or the conception before the circumstance, as in allegory. We have the idea in the fact, as it is in life, the two inseparable. Hester Prynne's life does not merely present to us the idea that the breaking of a social law makes one a stranger to society with its advantages and disadvantages. Hester is the result of her breaking that law. The story of Donatello is not merely a way of conveying the idea that the soul which conquers evil thereby grows strong in being and life. Donatello himself is such a soul growing and developing. We cannot get the idea without the fact, nor the fact without the idea. This is the especial power of Hawthorne, the power of presenting truth implicit in life. Add to this his profound preoccupation with the problem of evil in this world, with its appearance, its disappearance, its metamorphoses, and we have a due to Hawthorne's greatest works. In ‘The Scarlet Letter,’ ‘The House of Seven Gables,’ ‘The Marble Faun,’ ‘Ethan Brand,’ ‘The Gray Champion,’ the ideas cannot be separated from the personalities which express them. It is this which constitutes Hawthorne's lasting power in literature. His observation is interesting to those that care for the things that he describes, his fancy amuses, or charms or often stimulates our ideas. His short stories are interesting to a student of literature because they did much to give a definite character to a literary form which has since become of great importance. His novels are exquisite specimens of what he himself called the romance, in which the figures and scenes are laid in a world a little more poetic than that which makes up our daily surrounding. But Hawthorne's really great power lay in his ability to depict life so that we are made keenly aware of the dominating influence of moral motive and moral law

Hawthorne's Tale-Writing

A Reviewby Edgar Allan Poe

In the preface to my sketches of New York Literati, while speaking of the broad distinction between the seeming public and real private opinion respecting our authors, I thus alluded to Nathaniel Hawthorne:--

"For example, Mr. Hawthorne, the author of 'Twice-Told Tales,' is scarcely recognized by the press or by the public, and when noticed at all, is noticed merely to be damned by faint praise. Now, my own opinion of him is, that although his walk is limited and he is fairly to be charged with mannerism, treating all subjects in a similar tone of dreamy innuendo, yet in this walk he evinces extraordinary genius, having no rival either in America or elsewhere; and this opinion I have never heard gainsaid by any one literary person in the country. That this opinion, however, is a spoken and not a written one, is referable to the facts, first, that Mr. Hawthorne is a poor man, and, secondly, that he is not an ubiquitous quack."

The reputation of the author of "Twice-Told Tales" has been confined, indeed, until very lately, to literary society; and I have not been wrong, perhaps, in citing him as the example, par excellence, in this country, of the privately-admired and publicly-unappreciated man of genius. Within the last year or two, it is true, an occasional critic has been urged, by honest indignation, into very warm approval. Mr. Webber, for instance, (than whom no one has a keener relish for that kind of writing which Mr. Hawthorne has best illustrated,) gave us, in a late number of "The American Review," a cordial and certainly a full tribute to his talents; and since the issue of the "Mosses from an Old Manse," criticisms of similar tone have been by no means infrequent in our more authoritative journals. I can call to mind few reviews of Hawthorne published before the "Mosses." One I remember in "Arcturus" (edited by Matthews and Duyckinck) for May, 1841; another in the "American Monthly" (edited by Hoffman and Herbert) for March, 1838; a third in the ninety-sixth number of the "North American Review." These criticisms, however, seemed to have little effect on the popular taste--at least, if we are to form any idea of the popular taste by reference to its expression in the newspapers, or by the sale of the author's book. It was never the fashion (until lately) to speak of him in any summary of our best authors. The daily critics would say, on such occasions, "Is there not Irving and Cooper, and Bryant and Paulding, and—Smith?" or, "Have we not Halleck and Dana, and Longfellow and—Thompson?" or, "Can we not point triumphantly to our own Sprague, Willis, Channing, Bancroft, Prescott and—Jenkins?" but these unanswerable queries were never wound up by the name of Hawthorne.

Beyond doubt, this inappreciation of him on the part of the public arose chiefly from the two causes to which I have referred--from the facts that he is neither a man of wealth nor a quack,--but these are insufficient to account for the whole effect. No small portion of it is attributable to the very marked idiosyncrasy of Mr. Hawthorne himself. In one sense, and in great measure, to be peculiar is to be original, and than the true originality there is no higher literary virtue. This true or commendable originality, however, implies not the uniform, but the continuous peculiarity--a peculiarity springing from ever-active vigor of fancy--better still if from ever-present force of imagination, giving its own hue, its own character to everything it touches, and, especially self impelled to touch everything.

It is often said, inconsiderately, that very original writers always fail in popularity--that such and such persons are too original to be comprehended by the mass. "Too peculiar," should be the phrase, "too idiosyncratic." It is, in fact, the excitable, undisciplined and child-like popular mind which most keenly feels the original. The criticism of the conservatives, of the hackneys, of the cultivated old clergymen of the "North American Review," is precisely the criticism which condemns and alone condemns it. "It becometh not a divine," saith Lord Coke, "to be of a fiery and salamandrine spirit." Their conscience allowing them to move nothing themselves, these dignitaries have a holy horror of being moved. "Give us quietude," they say. Opening their mouths with proper caution, they sigh forth the word "Repose." And this is, indeed, the one thing they should be permitted to enjoy, if only upon the Christian principle of give and take.

The fact is, that if Mr. Hawthorne were really original, he could not fail of making himself felt by the public. But the fact is, he is not original in any sense. Those who speak of him as original, mean nothing more than that he differs in his manner or tone, and in his choice of subjects, from any author of their acquaintance--their acquaintance not extending to the German Tieck, whose manner, in some of his works, is absolutely identical with that habitual to Hawthorne. But it is clear that the element of the literary originality is novelty. The element of its appreciation by the reader is the reader's sense of the new. Whatever gives him a new and insomuch a pleasurable emotion, he considers original, and whoever frequently gives him such emotion, he considers an original writer. In a word, it is by the sum total of these emotions that he decides upon the writer's claim to originality. I may observe here, however, that there is clearly a point at which even novelty itself would cease to produce the Iegitimate originality, if we judge this originality, as we should, by the effect designed: this point is that at which novelty becomes nothing novel; and here the artist, to preserve his originality, will subside into the common-place. No one, I think, has noticed that, merely through inattention to this matter, Moore has comparatively failed in his "Lalla Rookh." Few readers, and indeed few critics, have commended this poem for originality--and, in fact, the effect, originality, is not produced by it--yet no work of equal size so abounds in the happiest originalities, individually considered. They are so excessive as, in the end, to deaden in the reader all capacity for their appreciation.

These points properly understood, it will be seen that the critic (unacquainted with Tieck) who reads a single tale or essay by Hawthorne, may be justified in thinking him original; but the tone, or manner, or choice of subject, which induces in this critic the sense of the new, will--if not in a second tale, at least in a third and all subsequent ones--not only fail of inducing it, but bring about an exactly antagonistic impression. In concluding a volume and more especially in concluding all the volumes of the author, the critic will abandon his first design of calling him "original," and content himself with styling him "peculiar."

With the vague opinion that to be original is to be unpopular, I could, indeed, agree, were I to adopt an understanding of originality which, to my surprise, I have known adopted by many who have a right to be called critical. They have limited, in a love for mere words, the literary to the metaphysical originality. They regard as original in Ietters, only such combinations of thought, of incident, and so forth, as are, in fact, absolutely novel. It is clear, however, not only that it is the novelty of effect alone which is worth consideration, but that this effect is best wrought, for the end of all fictitious composition, pleasure, by shunning rather than by seeking the absolute novelty of combination. Originality, thus understood, tasks and startles the intellect, and so brings into undue action the faculties to which, in the lighter literature, we least appeal. And thus understood, it cannot fail to prove unpopular with the masses, who, seeking in this literature amusement, are positively offended by instruction. But the true originality--true in respect of its purpose--is that which, in bringing out the half-formed, the reluctant, or the unexpressed fancies of mankind, or in exciting the more delicate pulses of the heart's passion, or in giving birth to some universal sentiment or instinct in embryo, thus combines with the pleasurable effect of apparent novelty, a real egotistic delight. The reader, in the case first supposed, (that of the absolute novelty,) is excited, but embarrassed, disturbed, in some degree even pained at his own want of perception, at his own folly in not having himself hit upon the idea. In the second case, his pleasure is doubled. He is filled with an intrinsic and extrinsic delight. He feels and intensely enjoys the seeming novelty of the thought, enjoys it as really novel, as absolutely original with the writer--and himself. They two he fancies, have, alone of all men, thought thus. They two have, together, created this thing. Henceforward there is a bond of sympathy between them, a sympathy which irradiates every subsequent page of the book.

There is a species of writing which, with some difficulty, may be admitted as a lower degree of what I have called the true original. In its perusal, we say to ourselves, not "how original this is!" nor "here is an idea which I and the author have alone entertained," but "here is a charmingly obvious fancy," or sometimes even, "here is a thought which I am not sure has ever occurred to myself, but which, of course, has occurred to all the rest of the world." This kind of composition (which still appertains to a high order) is usually designated as "the natural." It has little external resemblance, but strong internal affinity to the true original, if, indeed, as I have suggested, it is not of this latter an inferior degree. It is best exemplified, among English writers, in Addison, Irving and Hawthorne. The "ease" which is so often spoken of as its distinguishing feature, it has been the fashion to regard as ease in appearance alone, as a point of really difficult attainment. This idea, however, must be received with some reservation. The natural style is difficult only to those who should never intermeddle with it--to the unnatural. It is but the result of writing with the understanding, or with the instinct, that the tone, in composition, should be that which, at any given point or upon any given topic, would be the tone of the great mass of humanity. The author who, after the manner of the North Americans, is merely at all times quiet, is, of course, upon most occasions, merely silly or stupid, and has no more right to be thought "easy" or "natural" than has a cockney exquisite or the sleeping beauty in the wax-works.

The "peculiarity" or sameness, or monotone of Hawthorne, would, in its mere character of "peculiarity," and without reference to what is the peculiarity, suffice to deprive him of all chance of popular appreciation. But at his failure to be appreciated, we can, of course, no longer wonder, when we find him monotonous at decidedly the worst of all possible points--at that point which, having the least concern with Nature, is the farthest removed from the popular intellect, from the popular sentiment and from the popular taste. I allude to the strain of allegory which completely overwhelms the greater number of his subjects, and which in some measure interferes with the direct conduct of absolutely all.

In defence of allegory, (however, or for whatever object, employed,) there is scarcely one respectable word to be said. Its best appeals are made to the fancy—-that is to say, to our sense of adaptation, not of matters proper, but of matters improper for the purpose, of the real with the unreal, having never more of intelligible connection than has something with nothing, never half so much of effective affinity as has the substance for the shadow. The deepest emotion aroused within us by the happiest allegory, as allegory, is a very, very imperfectly satisfied sense of the writer's ingenuity in overcoming a difficulty we should have preferred his not having attempted to overcome. The fallacy of the idea that allegory, in any of its moods, can be made to enforce a truth--that metaphor, for example, may illustrate as well as embellish an argument--could be promptly demonstrated: the converse of the supposed fact might be shown, indeed, with very little trouble--but these are topics foreign to my present purpose. One thing is clear, that if allegory ever establishes a fact, it is by dint of overturning a fiction. Where the suggested meaning runs through the obvious one in a very profound under-current, so as never to interfere with the upper one without our own volition, so as never to show itself unless called to the surface, there only, for the proper uses of fictitious narrative, is it available at all. Under the best circumstances, it must always interfere with that unity of effect which, to the artist, is worth all the allegory in the world. Its vital injury, however, it rendered to the most vitally important point in fiction--that of earnestness or verisimilitude. That "The Pilgrim's Progress" is a ludicrously over-rated book, owing its seeming popularity to one or two of those accidents in critical literature which by the critical are sufficiently well understood, is a matter upon which no two thinking people disagree; but the pleasure derivable from it, in any sense, will be found in the direct ratio of the reader's capacity to smother its true purpose, in the direct ratio of his ability to keep the allegory out of sight, or of his inability to comprehend it. Of allegory properly handled, judiciously subdued, seen only as a shadow or by suggestive glimpses, and making its nearest approach to truth in a not obtrusive and therefore not unpleasant appositeness, the "Undine" of De La Motte Fouqué is the best, and undoubtedly a very remarkable specimen.

The obvious causes, however, which have prevented Mr. Hawthorne's popularity, do not suffice to condemn him in the eyes of the few who belong properly to books, and to whom books, perhaps, do not quite so properly belong. These few estimate an author, not as do the public, altogether by what he does, but in great measure--indeed, even in the greatest measure--by what he evinces a capability of doing. In this view, Hawthorne stands among literary people in America in much the same light as Coleridge in England. The few, also, through a certain warping of the taste, which long pondering upon books as books never fails to induce, are not in condition to view the errors of a scholar as errors altogether. At any time these gentlemen are prone to think the public not right rather than an educated author wrong. But the simple truth is, that the writer who aims at impressing the people, is always wrong when he fails in forcing that people to receive the impression. How far Mr. Hawthorne has addressed the people at all, is, of course, not a question for me to decide. His books afford strong internal evidence of having been written to himself and his particular friends alone.

There has long existed in literature a fatal and unfounded prejudice, which it will be the office of this age to overthrow--the idea that the mere bulk of a work must enter largely into our estimate of its merit. I do not suppose even the weakest of the Quarterly reviewers weak enough to maintain that in a book's size or mass, abstractly considered, there is anything which especially calls for our admiration. A mountain, simply through the sensation of physical magnitude which it conveys, does, indeed, affect us with a sense of the sublime, but we cannot admit any such influence in the contemplation even of "The Columbiad." The Quarterlies themselves will not admit it. And yet, what else are we to understand by their continual prating about "sustained effort?" Granted that this sustained effort has accomplished an epic--let us then admire the effort, (if this be a thing admirable,) but certainly not the epic on the effort's account. Common sense, in the time to come, may possibly insist upon measuring a work of art rather by the object it fulfils, by the impression it makes, than by the time it took to fulfil the object, or by the extent of "sustained effort" which became necessary to produce the impression. The fact is, that perseverance is one thing and genius quite another; nor can all the transcendentalists in Heathendom confound them.

Full of its bulky ideas, the last number of the "North American Review," in what it imagines a criticism on Simms, "honestly avows that it has little opinion of the mere tale;" and the honesty of the avowal is in no slight degree guarantied by the fact that this Review has never yet been known to put forth an opinion which was not a very little one indeed.

The tale proper affords the fairest field which can be afforded by the wide domains of mere prose, for the exercise of the highest genius. Were I bidden to say how this genius could be most advantageously employed for the best display of its powers, I should answer, without hesitation, "in the composition of a rhymed poem not to exceed in length what might be perused in an hour." Within this limit alone can the noblest order of poetry exist. I have discussed this topic elsewhere, and need here repeat only that the phrase "a long poem" embodies a paradox. A poem must intensely excite. Excitement is its province, its essentiality. Its value is in the ratio of its (elevating) excitement. But all excitement is, from a psychal necessity, transient. It cannot be sustained through a poem of great length. In the course of an hour's reading, at most, it flags, fails; and then the poem is, in effect, no longer such. Men admire, but are wearied with the "Paradise Lost;" for platitude follows platitude, inevitably, at regular interspaces, (the depressions between the waves of excitement,) until the poem, (which, properly considered, is but a succession of brief poems,) having been brought to an end, we discover that the sums of our pleasure and of displeasure have been very nearly equal. The absolute, ultimate or aggregate effect of any epic under the sun is, for these reasons, a nullity. "The Iliad," in its form of epic, has but an imaginary existence; granting it real, however, I can only say of it that it is based on a primitive sense of Art. Of the modern epic nothing can be so well said as that it is a blindfold imitation of a "come-by-chance." By and by these propositions will be understood as self-evident, and in the meantime will not be essentially damaged as truths by being generally condemned as falsities.

A poemtoo brief, on the other hand, may produce a sharp or vivid, but never a profound or enduring impression. Without a certain continuity, without a certain duration or repetition of the cause, the soul is seldom moved to the effect. There must be the dropping of the water on the rock. There must be the pressing steadily down of the stamp upon the wax. De Béranger has wrought brilliant things, pungent and spirit-stirring, but most of them are too immassive to have momentum, and, as so many feathers of fancy, have been blown aloft only to be whistled down the wind. Brevity, indeed, may degenerate into epigrammatism, but this danger does not prevent extreme length from being the one unpardonable sin.

Were I called upon, however, to designate that class of composition which, next to such a poem as I have suggested, should best fulfil the demands and serve the purposes of ambitious genius, should offer it the most advantageous field of exertion, and afford it the fairest opportunity of display, I should speak at once of the brief prose tale. History, philosophy, and other matters of that kind, we leave out of the question, of course. Of course,