The Wayside, however, was not white, it was painted a dingy buff color. The larches and Norway pines, several hundred of which had been sent out from England, were planted along the paths, and were for the most part doing well. The well-remembered hillside, with its rude terraces, shadowed by apple-trees, and its summit green with pines, rose behind the house; and in front, on the other side of the highway, extended a broad meadow of seven acres, bounded by a brook, above which hung drooping willows. It was, upon the whole, as pleasant a place as any in the village, and much might be done to enhance its beauty. It had been occupied, during our absence, by a brother of Mrs. Hawthorne; and the house itself was in excellent order, and looked just the same as in our last memory of it. A good many alterations have been made since then; another story was added to the western wing, the tower was built up behind, and two other rooms were put on in the rear. These changes, together with some modifications about the place, such as opening up of paths, the cutting down of some trees, and the planting of others, were among the last things that engaged Hawthorne’s attention in this life.
FIRST MONTHS IN ENGLAND.[¹]
FROM “NATHANIEL HAWTHORNE AND HIS WIFE.”
[¹] Copyright, Ticknor & Co.
E are told, truly enough, that goodness does not always command good fortune in this world, that just hopes are often deferred until it is too late to enjoy their realization, that fame and honor only discover a man after he has ceased to value them; and a large and respectable portion of modern fiction is occupied in impressing these sober lessons upon us. It is pleasant, nevertheless, to believe that sometimes fate condescends not to be so unmitigable, and that a cloudy and gusty morning does occasionally brighten into a sunny and genial afternoon. Too long a course of apparently perverse and unreasonable accidents bewilders the mind, and the few and fleeting gleams of compensation seem a mockery. One source of the perennial charm of Goldsmith’s “Vicar of Wakefield” is, I think, that in it the dividing line between the good and the bad fortune is so distinctly drawn. Just when a man has done his utmost, and all seems lost, Providence steps in, brings aid from the most unexpected quarter, and kindles everything into brighter and ever brighter prosperity. The action and reaction are positive and complete, and we arise refreshed and comforted from the experience.
It was somewhat thus with Hawthorne, though the picture of his career is to be painted in a lower and more delicate tone than that of Goldsmith’s brilliant little canvas. Up to the time of publication of “The Scarlet Letter,” his external circumstances had certainly been growing more and more unpromising; though, on the other hand, his inner domestic life had been full of the most vital and tender satisfactions. But the date of his first popular success in literature also marks the commencement of a worldly prosperity which, though never by any means splendid (as we shall presently see), at any rate sufficed to allay the immediate anxiety about to-morrow’s bread-and-butter, from which he had not hitherto been free. The three American novels were written and published in rapid succession, and were reprinted in England, the first two being pirated; but for the last, “The Blithedale Romance,” two hundred pounds were obtained from Messrs. Chapman and Hall for advance sheets. There is every reason to believe that during the ensuing years other romances would have been written; and perhaps they would have been as good as, or better than, those that went before. But it is vain to speculate as to what might have been. What actually happened was that Hawthorne was appointed United States Consul to Liverpool, and for six years to come his literary exercises were confined to his consular despatches and to six or eight volumes of his English, French and Italian Journals. It was a long abstinence; possibly it was a beneficent one. The production of such books as “The Scarlet Letter” and “The House of Seven Gables” cannot go on indefinitely; though they seem to be easily written when they are written, they represent a great deal of the writer’s spiritual existence. At all events, it is better to write too little than too much.
THE HORRORS OF THE PLAGUE IN INDIA.