May 30th.–. . . On board my salt-vessels and colliers there are many things happening, many pictures which, in future years, when I am again busy at the loom of fiction, I could weave in; but my fancy is rendered so torpid by my ungenial way of life that I cannot sketch off the scenes and portraits that interest me, and I am forced to trust them to my memory, with the hope of recalling them at some more favorable period. For these three or four days I have been observing a little Mediterranean boy from Malaga, not more than ten or eleven years old, but who is already a citizen of the world, and seems to be just as gay and contented on the deck of a Yankee coal-vessel as he could be while playing beside his mother’s door. It is really touching to see how free and happy he is,–how the little fellow takes the whole wide world for his home, and all mankind for his family. He talks Spanish,–at least that is his native tongue; but he is also very intelligible in English, and perhaps he likewise has smatterings of the speech of other countries, whither the winds may have wafted this little sea-bird. He is a Catholic; and yesterday being Friday he caught some fish and fried them for his dinner in sweet-oil, and really they looked so delicate that I almost wished he would invite me to partake. Every once in a while he undresses himself and leaps over-board, plunging down beneath the waves as if the sea were as native to him as the earth. Then he runs up the rigging of the vessel as if he meant to fly away through the air. I must remember this little boy, and perhaps I may make something more beautiful of him than these rough and imperfect touches would promise.
May 16th.–In our walks now, the children and I find blue, white, and golden violets, the former, especially, of great size and richness. Houstonias are abundant, blue-whitening some of the pastures. They are a very sociable little flower, and dwell close together in communities,–sometimes covering a space no larger than the palm of the hand, but keeping one another in cheerful heart and life,–sometimes they occupy a much larger space. Lobelia, a pink flower, growing in the woods. Columbines, of a pale red, because they have lacked sun, growing in rough and rocky places on banks in the copses, precipitating towards the lake. The leaves of the trees are not yet out, but are so apparent that the woods are getting a very decided shadow. Water-weeds on the edge of the lake, of a deep green, with roots that seem to have nothing to do with earth, but with water only.
In the final third of Nathaniel Hawthorne’s 1852 novel The Blithedale Romance, the narrator, having departed the titular would-be utopian farm, enjoys some city time in a hotel. He takes a voyeuristic pleasure in watching people from his window, and elects to deepen the pleasure by ordering a drink: “Just about this time a waiter entered my room. The truth was, I had rung the bell and ordered a sherry-cobbler.” The explanatory end note for my Penguin Classics copy of Blithedale gives the following recipe: “A drink made with sherry, lemon juice, sugar, and cracked ice.” I decided to make a few.
A brief internet search resulted in dozens and dozens of recipes, all more or less the same iteration: long glass, crushed ice, sherry, simple syrup, citrus (oranges cited most frequently), fresh berries if you have ’em, and a straw. The straw is the kicker here. Here is a passage from Charles Dickens’ 1844 novel Life and Adventures of Martin Chuzzlewit that shows the titular hero’s delight with his first sherry cobbler (note Chuzzlewit’s ecstasy when he gets “the reed” to his lips):
‘I wish you would pull off my boots for me,’ said Martin, dropping into one of the chairs ‘I am quite knocked up—dead beat, Mark.’
‘You won’t say that to-morrow morning, sir,’ returned Mr Tapley; ‘nor even to-night, sir, when you’ve made a trial of this.’ With which he produced a very large tumbler, piled up to the brim with little blocks of clear transparent ice, through which one or two thin slices of lemon, and a golden liquid of delicious appearance, appealed from the still depths below, to the loving eye of the spectator.
‘What do you call this?’ said Martin.
But Mr Tapley made no answer; merely plunging a reed into the mixture—which caused a pleasant commotion among the pieces of ice—and signifying by an expressive gesture that it was to be pumped up through that agency by the enraptured drinker.
Martin took the glass with an astonished look; applied his lips to the reed; and cast up his eyes once in ecstasy. He paused no more until the goblet was drained to the last drop.
‘There, sir!’ said Mark, taking it from him with a triumphant face; ‘if ever you should happen to be dead beat again, when I ain’t in the way, all you’ve got to do is to ask the nearest man to go and fetch a cobbler.’
‘To go and fetch a cobbler?’ repeated Martin.
‘This wonderful invention, sir,’ said Mark, tenderly patting the empty glass, ‘is called a cobbler. Sherry cobbler when you name it long; cobbler, when you name it short. Now you’re equal to having your boots took off, and are, in every particular worth mentioning, another man.’
Anyway. Where was I? Oh, yeah—so I looked around for recipes. David Wondrich’s 2007 cocktail history Imbibe! gives a helpful baseline recipe by citing Jerry Thomas’s 1862 classic, How to Mix Drinks. From Thomas’s book:
Thomas doesn’t mention muddling the oranges, although pretty much every online recipe I read called for muddling.
So reader, I muddled.
Here is my variation on the sherry cobbler (or Sherry Cobbler, or sherry-cobbler). In the loose spirit of the cocktail, I made ours entirely of ingredients I already had at the house. These were for each cocktail:
–4 oz of sherry
–1/2 oz of simple syrup
–1/2 oz of maraschino syrup
–1 oz of sparkling water
–1 clementine (muddled)
–sprigs of mint
The maraschino syrup was an afterthought after I’d mixed the cocktail and was about to pour it over ice—I wanted to get a pop of color at the bottom of the glass. The mint and blueberries were from our garden. The pic above is lousy; sorry—not sure why I didn’t move the dishcloth and maybe photograph the cocktails like, uh, not in front of my wife’s kombucha hotels.
So how was it? Pretty refreshing. My wife enjoyed it more than I did, although I’m not a huge cocktail guy. (I think it’s pretty hard, for example, to improve upon neat scotch , although I do like bourbon straight up in the hotter months).
I’ve always been fascinated by literary recipes, so I’m a bit surprised the sherry cobbler has evaded my attention until now, despite its having shown up in various novels I’ve read (including Nicholson Baker’s House of Holes, as Troy Patterson pointed out in a remarkably thorough literary history of the cocktail at Slate years ago). I’m not sure I’d go out of my way to make a sherry cobbler again (not that I went out of my way to make these ones), but the basic cobbler recipe’s spirit is very close to my approach to making cocktails at home anyway—use what you have. In fact, the major difference between the sherry cobblers I made yesterday and the kind of cocktail I’d normally cobble together for my wife on a Saturday afternoon is the sherry—I’d usually use rum or maybe vodka. Anyway, the whole thing was fun, which is like, the point of cocktails.
I am glad I reread Nathaniel Hawthorne’s 1852 novel for many reasons. One of those reasons is because I had completely forgotten to remember a marvelous scene near the end of the novel, in Ch. XXV — “The Masqueraders.” This episode happens near the end of the chapter. Hawthorne’s stand-in Miles Coverdale has decided to return to Blithedale after spending some time out in, like, the world.
Coverdale’s return to the utopian project he half-heartedly abandoned is thoroughly coded in Hawthorne’s signature ambivalence: He notes “a sickness of the spirits kept alternating with my flights of causeless buoyancy” as he walks through the wood. Approaching the Blithedale farm, and feels an “invincible reluctance” in his return, which causes him to linger in the forest. By and by, as the lovely transitional phrase goes, Coverdale winds his way back to his “hermitage, in the heart of the white-pine tree.” (The white-pine reference strikes me as an oblique reference here to Hawthorne himself—or rather, a nod to a distinction between white pine and black hawthorn trees, alter egos).
Here in his hermitage he rests among grapes dangling in “abundant clusters of the deepest purple, deliciously sweet to the taste.” Coverdale’s hermitage is an idealized, natural—transcendental—version of Blithedale, the grapevines (a prefiguration of communication in the American parlance) a kind of perfectly polygamous knot of communal existence.
Taken up in solo-bacchanalia, Coverdale begins devouring the grapes. Always the loner, always the voyeur, he checks out the house from his arboreal perch and notes its emptiness. He decides, drunken on sweet grapes, to skulk through the woods, where he hears “Voices, male and feminine; laughter, not only of fresh young throats, but the bass of grown people.” He continues—
The wood, in this portion of it, seemed as full of jollity as if Comus and his crew were holding their revels in one of its usually lonesome glades. Stealing onward as far as I durst, without hazard of discovery, I saw a concourse of strange figures beneath the overshadowing branches. They appeared, and vanished, and came again, confusedly with the streaks of sunlight glimmering down upon them.
“Comus and his crew” — what a lovely evocation! Comus, cup-bearer and heir of Bacchus, is a figuration of erotic chaos. Hawthorne ushers his hero into a scene of pastoral American anarchy, a strange Arcadia that Walt Whitman would try to replicate in Leaves of Grass a few years later. Note the admixture of cultures here in Hawthorne’s transcendentalist Halloween:
Among them was an Indian chief, with blanket, feathers, and war-paint, and uplifted tomahawk; and near him, looking fit to be his woodland bride, the goddess Diana, with the crescent on her head, and attended by our big lazy dog, in lack of any fleeter hound. Drawing an arrow from her quiver, she let it fly at a venture, and hit the very tree behind which I happened to be lurking. Another group consisted of a Bavarian broom-girl, a negro of the Jim Crow order, one or two foresters of the Middle Ages, a Kentucky woodsman in his trimmed hunting-shirt and deerskin leggings, and a Shaker elder, quaint, demure, broad-brimmed, and square-skirted. Shepherds of Arcadia, and allegoric figures from the “Faerie Queen,” were oddly mixed up with these. Arm in arm, or otherwise huddled together in strange discrepancy, stood grim Puritans, gay Cavaliers, and Revolutionary officers with three-cornered cocked hats, and queues longer than their swords. A bright-complexioned, dark-haired, vivacious little gypsy, with a red shawl over her head, went from one group to another, telling fortunes by palmistry; and Moll Pitcher, the renowned old witch of Lynn, broomstick in hand, showed herself prominently in the midst, as if announcing all these apparitions to be the offspring of her necromantic art.
Again though, in classic Hawthorne fashion, our author hedges all bets, tempering his mythical romantic flight in skepticism, here embodied by Silas Foster, the only real farmer (real earthworker) of Blithedale:
But Silas Foster, who leaned against a tree near by, in his customary blue frock and smoking a short pipe, did more to disenchant the scene, with his look of shrewd, acrid, Yankee observation, than twenty witches and necromancers could have done in the way of rendering it weird and fantastic.
Our narrator Coverdale also spies some men “with portentously red noses…spreading a banquet on the leaf-strewn earth; while a horned and long-tailed gentleman” tuning up a fiddle. The end result:
So they joined hands in a circle, whirling round so swiftly, so madly, and so merrily, in time and tune with the Satanic music, that their separate incongruities were blended all together, and they became a kind of entanglement that went nigh to turn one’s brain with merely looking at it.
The entanglement here—which eventually explodes in riotous communal laughter—recalls the polygamous knot of grapevines that shrouded Coverdale’s hermitage.
The great laughter prompts Coverdale to explode in his own laughter, whereupon the Bacchic party sets out after him with comic-murderous intent:
“Some profane intruder!” said the goddess Diana. “I shall send an arrow through his heart, or change him into a stag, as I did Actaeon, if he peeps from behind the trees!”
He eventually happens upon an old rotting woodpile covered in moss, where he daydreams about “the long-dead woodman, and his long-dead wife and children, coming out of their chill graves, and essaying to make a fire with this heap of mossy fuel!” — this before finally giving himself up to the Blithedale crew.
The episode strikes me very much as a sequel or reboot of Hawthorne’s 1835 story “Young Goodman Brown,” in which a Puritan naif wonders into the woods dark and deep and witnesses all the horrors of his young country made real—he sees the dark heart of his community beating naked and bloody and raw and Satanic—and it changes him forever, essentially dulling his soul unto a living death. The American Arcadia episode of Blithedale though is a bit richer in its mythos, its paganism more complex and inclusive, its perspective character more attuned to the vibrant possibilities of a transcendental community, even as he stands on its outside—and what is an outsider but the most vital secret ingredient of any community?
For years now, I’ve been reading, rereading, and sharing on this website excerpts from Nathaniel Hawthorne’s journals. I like to post selections that share dates. For example, yesterday, April 13th, I posted Hawthorne’s notebook entry from April 13th, 1841. This particular post, which records Hawthorne’s arrival at Brook Farm, was especially felicitous, as I’m currently reading Hawthorne’s novel The Blithedale Romance, which is loosely based on the author’s time at Brook Farm.
In the novel’s second chapter, the Hawthorne-figure (Coverdale) arrives at Blithedale on “an April day, as already hinted, and well towards the middle of the month.” He complains that though the morning could be described as “balmy,” by noon it was snowing. Hawthorne’s corresponding journal entry (composed over a decade before he published Blithedale) perhaps-mockingly refers to Brook Farm as a “polar Paradise”; some of this language finds its way into the protagonist’s description of Blithdale: “Paradise, indeed! Nobody else in the world, I am bold to affirm—nobody, at least, in our bleak little world of New England,—had dreamed of Paradise that day except as the pole suggests the tropic.”
There are twenty-four chapters to Blithedale, and Hawthorne devotes the first five to that first day (presumably April 13th, 1841). The novel’s sixth chapter, “Coverdale’s Sick Chamber,” begins the next morning with our narrator too sick to attend to his first day of farm work. However, Hawthorne’s journal makes clear that the real-life Hawthorne did not fall ill until a few weeks later, around April 28th, and that he recovered around May 4th (“My cold no longer troubles me, and all the morning I have been at work under the clear, blue sky, on a hill-side”).
(I know my audience—you come to this site to read about Nathaniel Hawthorne’s head colds, right?).
Unlike his stand-in Coverdale, Hawthorne went to work at Brook Farm almost immediately. He recounts his first morning’s work in his journal entry for April 14, which I have annotated via footnotes:
April 14th, 10 A.M.–. . . I did not milk the cows last night, 1 because Mr. Ripley 2 was afraid to trust them to my hands, or me to their horns 3, I know not which. But this morning I have done wonders. 4 Before breakfast, I went out to the barn and began to chop hay for the cattle, and with such “righteous vehemence,” as Mr. Ripley says, did I labor, that in the space of ten minutes I broke the machine. 5 Then I brought wood and replenished the fires; and finally went down to breakfast, and ate up a huge mound of buckwheat cakes. 6 After breakfast, Mr. Ripley put a four-pronged instrument into my hands, which he gave me to understand was called a pitchfork 7; and he and Mr. Farley being armed with similar weapons, we all three commenced a gallant attack upon a heap of manure. This office being concluded 8, and I having purified myself, I sit down to finish this letter. . . .
Miss Fuller’s 9 cow hooks the other cows, and has made herself ruler of the herd, and behaves in a very tyrannical manner. . . . I shall make an excellent husbandman,–I feel the original Adam 10 reviving within me.
1 Coverdale’s first night at Blithedale ends with Slias Foster (the only real farmer there) telling everyone to go to sleep early as they have “nine cows to milk, and a dozen other things to do, before breakfast.”
2 George Ripley, a Unitarian minister and charter member of the Transcendentalist Club, founded Brook Farm in 1840. Following Charles Fourier’s brand of communal socialism, Brook Farm was intended to put transcendentalist idealism into concrete action. Ripley has no clear corollary in Blithedale as far as I can tell.
3 Never fear—Hawthorne reports in his journal a few days later (April 16th): “I have milked a cow!!!” What charming enthusiasm! Not two !! but three exclamation marks!!! Hawthorne only deploys a triple exclamation one other time in the journals collected as The American-Notebooks: On May 31st, 1844, he joyously notes, “P.S. 3 o’clock.–The beef is done!!!” Dude got excited for bovines.
4 I genuinely love Hawthorne’s ironic humor, which I think is often overlooked by some readers.
5 Good job breaking the farm equipment there, city boy! The reference to “machine” here is vague; you can read more about 19th-century feed-cutters (and see some images of them) here.
6 A contemporaryish recipe for buckwheat cakes from S. S. Schoff and B. S. Caswell’s 1867 cookbook The People’s Own Book of Recipes and Information for the Million: Containing Directions for the Preservation of Health, for the Treatment of the Sick and the Conduct of the Sick-room : with a Full Discussion of the More Prominent Diseases that Afflict the Human Family, with Full Directions for Their Rational Treatment : Also, 1000 Practical and Useful Recipes, Embracing Every Department of Domestic Economy and Human Industry : with Copious Notes and Emendations, Explanatory and Suggestive:
7 If you haven’t caught on, Hawthorne (and the rest of these fops too) is going to be a terrible farmer.
8 Hawthorne’s phrase “a gallant attack upon a heap of manure” is a wonderfully poetic turn, but his referring to finishing his shit-shoveling as “this office being concluded” straight up kills me.
9 Margaret Fuller was the author of Woman in the Nineteenth Century, one of American feminism’s earliest works. She was also the first editor of The Dial, (first a transcendentalist journal, and later a vehicle for modernist literature). Fuller spent time at Brook Farm, although she was never a full member. Many critics and historians suggest that Fuller is in part the inspiration for Zenobia, the soul of Hawthorne’s Blithedale.
10 The biblical Adam was of course the first gardener. Hawthorne’s romantic turn of phrase points to the idealism of Brook Farm’s utopian experiment—but also underscores the eventual fall.
Brook Farm, Oak Hill, April 13th, 1841.–. . . Here I am in a polar Paradise! I know not how to interpret this aspect of nature,–whether it be of good or evil omen to our enterprise. But I reflect that the Plymouth pilgrims arrived in the midst of storm, and stepped ashore upon mountain snow-drifts; and, nevertheless, they prospered, and became a great people,–and doubtless it will be the same with us. I laud my stars, however, that you will not have your first impressions of (perhaps) our future home from such a day as this, . . . Through faith, I persist in believing that Spring and Summer will come in their due season; but the unregenerated man shivers within me, and suggests a doubt whether I may not have wandered within the precincts of the Arctic Circle, and chosen my heritage among everlasting snows, . . . Provide yourself with a good stock of furs, and, if you can obtain the skin of a polar bear, you will find it a very suitable summer dress for this region. . . .
I have not yet taken my first lesson in agriculture, except that I went to see our cows foddered, yesterday afternoon. We have eight of our own; and the number is now increased by a transcendental heifer belonging to Miss Margaret Fuller. She is very fractious, I believe, and apt to kick over the milk-pail. . . . I intend to convert myself into a milkmaid this evening, but I pray Heaven that Mr. Ripley may be moved to assign me the kindliest cow in the herd, otherwise I shall perform my duty with fear and trembling.
I like my brethren in affliction very well; and, could you see us sitting round our table at meal-times, before the great kitchen fire, you would call it a cheerful sight. Mrs. B—- is a most comfortable woman to behold. She looks as if her ample person were stuffed full of tenderness,–indeed, as if she were all one great, kind heart.
The entry is the first of Hawthorne’s journals to mention Brook Farm, a utopian enterprise that forms the basis of Hawthorne’s 1852 novel The Blithedale Romance (which I am currently re-reading).
This afternoon I got to Ch. XIII of Nathaniel Hawthorne’s novel The Blithedale Romance. Titled “Zenobia’s Legend,” most of the chapter is given over to the titular heroine’s tale “The Silvery Veil,” a wonderfully pre-postmodern moment in Hawthorne’s novel.
Let’s look lookingly at the layers: The Blithdale Romance is Hawthorne’s ironic-but-sincere dark-romantic semi-autobiographical account of his time at Brook Farm, a failed utopian community of Transcendentalists who maybe didn’t quite, uh, transcend. Zenobia is based partially on the great American feminist Margaret Fuller (who also did time on Brook Farm). Taking center stage here in (the aptly-numbered) thirteenth chapter of Blithedale, Zenobia extemporizes a story about The Veiled Lady. This Veiled Lady is a local celebrity, a clairvoyant of some renown who (we learn in the opening chapter of the novel) has recently disappeared. Zenobia’s yarn is a leisure-time amusement, one she contends that she’ll spin to get out of an apparent rut:
“I am getting weary of this,” said she, after a moment’s thought. “Our own features, and our own figures and airs, show a little too intrusively through all the characters we assume. We have so much familiarity with one another’s realities, that we cannot remove ourselves, at pleasure, into an imaginary sphere. Let us have no more pictures to-night; but, to make you what poor amends I can, how would you like to have me trump up a wild, spectral legend, on the spur of the moment?”
Ironically however, Zenobia clearly relies on her “own features” as well as the features of Blithedale’s spectral ingenue Priscilla to inform her performance. Despite her declaration to “remove” herself and her auditors “into an imaginary sphere,” Zenobia essentially recasts poor Priscilla’s waifery into a supernatural ultraromantic mode. The story’s basic conceit is thus: There is a famous veiled lady who may be extraordinarily beautiful or who may be extraordinarily ugly. No one knows what she looks like because like the the veil obviously hides her face, preventing any viewer’s agency to interpret for himself.
Zenobia’s legend is a tale within a tale within a tale—a performance that each member of the small Blithedale community will recode into their own readings. However, Zenobia guides her audience toward a certain conclusion, all but declaring that meek Priscilla is in fact the Veiled Lady—hell, Zenobia even throws a bit of gauze she’d been vamping with over the poor dear’s head at the climax of her tale.
“The Silvery Veil,” in another pre-postmodern layer, is a thin but clear echo of Hawthorne’s famous allegory “The Minister’s Black Veil,” which was published 15 years before The Blithedale Romance, and would clearly have been known to Hawthorne’s intended audience of Transcendentalites. (There’s perhaps a more clear connection between “The Silvery Veil” and “The Minister’s Black Veil” : Hawthorne likely based the titular minister on the real-life preacher Joseph Moody, who wore a handkerchief over his face. Blithedale features a character named “Old Moodie” who we eventually learn is Pricilla’s secret father).
So Hawthorne overloads the allegory with meaning and misdirection—is Zenobia’s legend “The Silvery Veil” the secret key to Priscilla’s identity? A clue to Blithedale’s destiny? A watery paraphrase of Hawthorne’s own stronger story, “The Minister’s Black Veil”? Simply a Saturday night’s entertainment?
The trick of the tale I think rests in the undecidability of what’s under the veil, in the not knowing, which is neatly summed up in a paragraph:
Some upheld that the veil covered the most beautiful countenance in the world; others,—and certainly with more reason, considering the sex of the Veiled Lady,—that the face was the most hideous and horrible, and that this was her sole motive for hiding it. It was the face of a corpse; it was the head of a skeleton; it was a monstrous visage, with snaky locks, like Medusa’s, and one great red eye in the centre of the forehead. Again, it was affirmed that there was no single and unchangeable set of features beneath the veil; but that whosoever should be bold enough to lift it would behold the features of that person, in all the world, who was destined to be his fate; perhaps he would be greeted by the tender smile of the woman whom he loved, or, quite as probably, the deadly scowl of his bitterest enemy would throw a blight over his life.
Hawthorne’s description here immediately reminded me of Joelle van Dyne aka Madame Psychosis aka the P.G.O.A.T., a character in David Foster Wallace’s novel Infinite Jest who wears a veil either because she’s too beautiful to behold and/or because she bears a physical deformity to abject to bear. I can’t actually remember if it’s the “and” or the “or” in that previous sentence that’s correct, even though I’ve read IJ a few times (and even not that long ago). Which is like, maybe the point of this literary veiling—what I mean is that we read faces, we read expressions, and the veil covers over what we would read directly, giving us a blank space to interpret through the lens of our wild (or not so wild) imaginations. Hawthorne’s veils (and maybe Wallace’s veils) require an inward reading, asking us to interpret a signifier that does not bear a clear signified—a most puzzling sign.
I hit Chapter XII of Nathaniel Hawthorne’s novel The Blithedale Romance this afternoon and was delighted by some lines from its first paragraph, wherein Our Narrator Coverdale retreats to a little fort he’s made in the woods:
Long since, in this part of our circumjacent wood, I had found out for myself a little hermitage. It was a kind of leafy cave, high upward into the air, among the midmost branches of a white-pine tree. A wild grapevine, of unusual size and luxuriance, had twined and twisted itself up into the tree, and, after wreathing the entanglement of its tendrils around almost every bough, had caught hold of three or four neighboring trees, and married the whole clump with a perfectly inextricable knot of polygamy.
I was deeply disappointed that the version of myself who had read this same physical copy of The Blithedale Romance almost 15 years earlier had failed to muster a single annotation on the passage (despite having left like 10,000 other scratches and loops on the yellow pages).
Hawthorne’s naturalism is fantastically naturalistically fantastical. The wild grapevine he conjures here that “married the whole clump with a perfectly inextricable knot of polygamy” is simultaneously a physical entity “wreathing” itself around the surrounding trees and at the same time a metonymy for the Bacchic spirit that pulls the souls of Blithedale into a weird marriage, an “inextricable knot of polygamy.” Hawthorne’s image points to exuberant and wild joy on one hand, but also to the thick bonds that tightly tie desire down in any moral system. The grapevine image serves as shorthand for the entire novel, underlining the push-pull tension of the narrator’s (and author’s!) conflict between Puritanism and Transcendentalism. The “inextricable knot of polygamy” is wonderfully pure in its impurity, in its radical transcendence.
I started a reread of Nathaniel Hawthorne’s 1852 novel The Blithedale Romance this afternoon, prompted by Iris Murdoch’s novel The Bell and its utopian commune setting. I don’t think I’ve read Blithedale in a dozen or so years; the copy I’m reading is from grad school. The margins brim with every sort of nonsense, every damn adjective circled, etc.
My son, seven, picked up the novel and remarked that he didn’t know that I read romances. I tried to explain Romance here; failed. Then my daughter read the blurb. I asked her what she thought and she said the she liked the betrayal part but wasn’t sure about the rest. I flipped it over and read the blurb, which I’m not sure I’d read before. The blurb is all about sex, which seems about right.
The Blithedale Romance is Hawthorne’s horniest novel. Here is a passage from just three chapters in, where protagonist Miles Coverdale conjures some delight in imagining his lively host Zenobia au naturale (right after damning domestic work altogether)—
“What a pity,” I remarked, “that the kitchen, and the housework generally, cannot be left out of our system altogether! It is odd enough that the kind of labor which falls to the lot of women is just that which chiefly distinguishes artificial life—the life of degenerated mortals—from the life of Paradise. Eve had no dinner-pot, and no clothes to mend, and no washing-day.”
“I am afraid,” said Zenobia, with mirth gleaming out of her eyes, “we shall find some difficulty in adopting the paradisiacal system for at least a month to come. Look at that snowdrift sweeping past the window! Are there any figs ripe, do you think? Have the pineapples been gathered to-day? Would you like a bread-fruit, or a cocoanut? Shall I run out and pluck you some roses? No, no, Mr. Coverdale; the only flower hereabouts is the one in my hair, which I got out of a greenhouse this morning. As for the garb of Eden,” added she, shivering playfully, “I shall not assume it till after May-day!”
Assuredly Zenobia could not have intended it,—the fault must have been entirely in my imagination. But these last words, together with something in her manner, irresistibly brought up a picture of that fine, perfectly developed figure, in Eve’s earliest garment. I almost fancied myself actually beholding it!
Ah Hawthorne! The “fault must have been entirely in my imagination,” Miles muses. That last line — “I almost fancied myself actually beholding it!” — doesn’t appear in the Gutenberg version of The Blithedale Romance I linked to above (and here too, I guess). The editors of my Penguin Classics edition note that the line was probably deleted from the original manuscript “due to Sophia Hawthorne’s prudishness.” But the line—and really, here, I mean that that adverb almost—tells us so much about our unreliable narrator, Miles Coverdale. To almost fancy beholding an imaginative vision is to have absolutely imaginatively beheld the vision, and then applied a second consciousness to the whole affair—a witness to the sinful vision, a witness who reports to one’s own awkward soul.
Coverdale is the Hawthorne-figure, or rather an ironized version of Hawthorne, who recalls his memories of his time on real-life Brook Farm, an experimental utopian community founded by Unitarian preacher George Ripley and his wife Sophia in the mid-1850s. Hawthorne brings his pessimistic bent to the whole business (failed business), but shows us this perspective though Coverdale’s Romantic, even nostalgic optimism—an optimism clouded by experience:
The better life! Possibly, it would hardly look so now; it is enough if it looked so then. The greatest obstacle to being heroic is the doubt whether one may not be going to prove one’s self a fool; the truest heroism is to resist the doubt; and the profoundest wisdom to know when it ought to be resisted, and when to be obeyed.
Yet, after all, let us acknowledge it wiser, if not more sagacious, to follow out one’s daydream to its natural consummation, although, if the vision have been worth the having, it is certain never to be consummated otherwise than by a failure. And what of that?
So the sex of sexy Blithedale, even in its first chapters, is to be “consummated…by a failure.” But if I recall, there’s a lot of blithely lively fun in getting to that failure, and I’m enjoying Hawthorne’s often-ironic but always deeply-felt sentences, sentences that dwell on the ways in which we imagine and then try to create (and perhaps fail to create) the better life.
We first went into Wolsey’s great Hall, up a most spacious staircase, the walls and ceiling of which were covered with an allegorical fresco by Verrio, wonderfully bright and well preserved; and without caring about the design or execution, I greatly liked the brilliancy of the colors. The great Hall is a most noble and beautiful room, above a hundred feet long and sixty high and broad. Most of the windows are of stained or painted glass, with elaborate designs, whether modern or ancient I know not, but certainly brilliant in effect. The walls, from the floor to perhaps half their height, are covered with antique tapestry, which, though a good deal faded, still retains color enough to be a very effective adornment, and to give an idea of how rich a mode of decking a noble apartment this must have been. The subjects represented were from Scripture, and the figures seemed colossal. On looking closely at this tapestry, you could see that it was thickly interwoven with threads of gold, still glistening. The windows, except one or two that are long, do not descend below the top of this tapestry, and are therefore twenty or thirty feet above the floor; and this manner of lighting a great room seems to add much to the impressiveness of the enclosed space. The roof is very magnificent, of carved oak, intricately and elaborately arched, and still as perfect to all appearance as when it was first made. There are banners, so fresh in their hues, and so untattered, that I think they must be modern, suspended along beneath the cornice of the hall, and exhibiting Wolsey’s arms and badges. On the whole, this is a perfect sight in its way.
Next to the hall there is a withdrawing-room, more than seventy feet long, and twenty-five feet high. The walls of this apartment, too, are covered with ancient tapestry, of allegorical design, but more faded than that of the hall. There is also a stained-glass window; and a marble statue of Venus on a couch, very lean and not very beautiful; and some cartoons of Carlo Cignani, which have left no impression on my memory; likewise, a large model of a splendid palace of some East Indian nabob.
I am not sure, after all, that Verrio’s frescoed grand staircase was not in another part of the palace; for I remember that we went from it through an immensely long suite of apartments, beginning with the Guard-chamber. All these rooms are wainscoted with oak, which looks new, being, I believe, of the date of King William’s reign. Over many of the doorways, or around the panels, there are carvings in wood by Gibbons, representing wreaths of flowers, fruit, and foliage, the most perfectly beautiful that can be conceived; and the wood being of a light hue (lime-wood, I believe), it has a fine effect on the dark oak panelling. The apartments open one beyond another, in long, long, long succession,–rooms of state, and kings’ and queens’ bedchambers, and royal closets bigger than ordinary drawing-rooms, so that the whole suite must be half a mile, or it may be a mile, in extent. From the windows you get views of the palace-grounds, broad and stately walks, and groves of trees, and lawns, and fountains, and the Thames and adjacent country beyond. The walls of all these rooms are absolutely covered with pictures, including works of all the great masters, which would require long study before a new eye could enjoy them; and, seeing so many of them at once, and having such a nothing of time to look at them all, I did not even try to see any merit in them. Vandyke’s picture of Charles I., on a white horse beneath an arched gateway, made more impression on me than any other, and as I recall it now, it seems as if I could see the king’s noble, melancholy face, and armed form, remembered not in picture, but in reality. All Sir Peter Lely’s lewd women, and Kneller’s too, were in these rooms; and the jolly old stupidity of George III. and his family, many times repeated; and pictures by Titian, Rubens, and other famous hands, intermixed with many by West, which provokingly drew the eye away from their betters. It seems to me that a picture, of all other things, should be by itself; whereas people always congregate them in galleries. To endeavor really to see them, so arranged, is like trying to read a hundred poems at once,–a most absurd attempt. Of all these pictures, I hardly recollect any so well as a ridiculous old travesty of the Resurrection and Last Judgment, where the dead people are represented as coming to life at the sound of the trumpet,–the flesh reëstablishing itself on the bones,–one man picking up his skull, and putting it on his shoulders,–and all appearing greatly startled, only half awake, and at a loss what to do next. Some devils are dragging away the damned by the heels and on sledges, and above sits the Redeemer and some angelic and sainted people, looking complacently down upon the scene!
The boldface emphasis on the sentences in the last paragraph is mine.
March 7th.–J—– and I walked to Tranmere, and passed an old house which I suppose to be Tranmere Hall. Our way to it was up a hollow lane, with a bank and hedge on each side, and with a few thatched stone cottages, centuries old, their ridge-poles crooked and the stones time-worn, scattered along. At one point there was a wide, deep well, hewn out of the solid red freestone, and with steps, also hewn in solid rock, leading down to it. These steps were much hollowed by the feet of those who had come to the well; and they reach beneath the water, which is very high. The well probably supplied water to the old cotters and retainers of Tranmere Hall five hundred years ago. The Hall stands on the verge of a long hill which stretches behind Tranmere and as far as Birkenhead.
It is an old gray stone edifice, with a good many gables, and windows with mullions, and some of them extending the whole breadth of the gable. In some parts of the house, the windows seem to have been built up; probably in the days when daylight was taxed. The form of the Hall is multiplex, the roofs sloping down and intersecting one another, so as to make the general result indescribable. There were two sundials on different sides of the house, both the dial-plates of which were of stone; and on one the figures, so far as I could see, were quite worn off, but the gnomon still cast a shadow over it in such a way that I could judge that it was about noon. The other dial had some half-worn hour-marks, but no gnomon. The chinks of the stones of the house were very weedy, and the building looked quaint and venerable; but it is now converted into a farm-house, with the farm-yard and outbuildings closely appended. A village, too, has grown up about it, so that it seems out of place among modern stuccoed dwellings, such as are erected for tradesmen and other moderate people who have their residences in the neighborhood of a great city. Among these there are a few thatched cottages, the homeliest domiciles that ever mortals lived in, belonging to the old estate. Directly across the street is a Wayside Inn, “licensed to sell wine, spirits, ale, and tobacco.” The street itself has been laid out since the land grew valuable by the increase of Liverpool and Birkenhead; for the old Hall would never have been built on the verge of a public way.
February 7th, 1840.–What beautiful weather this is!–beautiful, at least, so far as sun, sky, and atmosphere are concerned, though a poor, wingless biped is sometimes constrained to wish that he could raise himself a little above the earth. How much mud and mire, how many pools of unclean water, how many slippery footsteps, and perchance heavy tumbles, might be avoided, if we could tread but six inches above the crust of this world. Physically we cannot do this; our bodies cannot; but it seems to me that our hearts and minds may keep themselves above moral mud-puddles and other discomforts of the soul’s pathway.
MY UNFORTUNATE FRIEND P. has lost the thread of his life, by the interposition of long intervals of partially disordered reason. The past and present are jumbled together in his mind, in a manner often productive of curious results; and which will be better understood after a perusal of the following letter, than from any description that I could give. The poor fellow, without once stirring from the little white-washed, iron-grated room, to which he alludes in his first paragraph, is nevertheless a great traveller, and meets, in his wanderings, a variety of personages who have long ceased to be visible to any eye save his own. In my opinion, all this is not so much a delusion, as a partly wilful and partly involuntary sport of the imagination, to which his disease has imparted such morbid energy that he beholds these spectral scenes and characters with no less distinctness than a play upon the stage, and with somewhat more of illusive credence. Many of his letters are in my possession, some based upon the same vagary as the present one, and others upon hypotheses not a whit short of it in absurdity. The whole form a series of correspondence, which, should fate seasonably remove my poor friend from what is to him a world of moonshine, I promise myself a pious pleasure in editing for the public eye. P. had always a hankering after literary reputation, and has made more than one unsuccessful effort to achieve it. It would not be a little odd, if, after missing his object while seeking it by the light of reason, he should prove to have stumbled upon it in his misty excursions beyond the limits of sanity.
LONDON, February 29, 1845.
MY DEAR FRIEND:
Old associations cling to the mind with astonishing tenacity. Daily custom grows up about us like a stone-wall, and consolidates itself into almost as material an entity as mankind’s strongest architecture. It is sometimes a serious question with me, whether ideas be not really visible and tangible, and endowed with all the other qualities of matter. Sitting as I do, at this moment, in my hired apartment, writing beside the hearth, over which hangs a print of Queen Victoria–listening to the muffled roar of the world’s metropolis, and with a window at but five paces distant, through which, whenever I please, I can gaze out on actual London–with all this positive certainty, as to my whereabouts, what kind of notion, do you think, is just now perplexing my brain? Why–would you believe it?–that, all this time, I am still an inhabitant of that wearisome little chamber,–that whitewashed little chamber–that little chamber with its one small window, across which, from some inscrutable reason of taste or convenience, my landlord had placed a row of iron bars–that same little chamber, in short, whither your kindness has so often brought you to visit me! Will no length of time, or breadth of space, enfranchise me from that unlovely abode? I travel, but it seems to be like the snail, with my house upon my head. Ah, well! I am verging, I suppose, on that period of life when present scenes and events make but feeble impressions, in comparison with those of yore; so that I must reconcile myself to be more and more the prisoner of Memory, who merely lets me hop about a little, with her chain around my leg.
My letters of introduction have been of the utmost service, enabling me to make the acquaintance of several distinguished characters, who, until now, have seemed as remote from the sphere of my personal intercourse as the wits of Queen Anne’s time, or Ben Jonson’s compotators at the Mermaid. One of the first of which I availed myself, was the letter to Lord Byron. I found his lordship looking much older than I had anticipated; although–considering his former irregularities of life, and the various wear and tear of his constitution–not older than a man on the verge of sixty reasonably may look. But I had invested his earthly frame, in my imagination, with the poet’s spiritual immortality. He wears a brown wig, very luxuriantly curled, and extending down over his forehead. The expression of his eyes is concealed by spectacles. His early tendency to obesity having increased, Lord Byron is now enormously fat; so fat as to give the impression of a person quite overladen with his own flesh, and without sufficient vigor to diffuse his personal life through the great mass of corporeal substance, which weighs upon him so cruelly. You gaze at the mortal heap; and, while it fills your eye with what purports to be Byron, you murmur within yourself–“For Heaven’s sake, where is he?” Were I disposed to be caustic, I might consider this mass of earthly matter as the symbol, in a material shape, of those evil habits and carnal vices which unspiritualize man’s nature, and clog up his avenues of communication with the better life. But this would be too harsh; and besides, Lord Byron’s morals have been improving, while his outward man has swollen to such unconscionable circumference. Would that he were leaner; for, though he did me the honor to present his hand, yet it was so puffed out with alien substance, that I could not feel as if I had touched the hand that wrote Childe Harold.
On my entrance, his lordship apologized for not rising to receive me, on the sufficient plea that the gout, for several years past, had taken up its constant residence in his right foot; which, accordingly, was swathed in many rolls of flannel, and deposited upon a cushion. The other foot was hidden in the drapery of his chair. Do you recollect whether Byron’s right or left foot was the deformed one? Continue reading “Read “P’s Correspondence,” a short story by Nathaniel Hawthorne”
“Graves and Goblins”
Now talk we of graves and goblins! Fit themes,—start not! gentle reader,—fit for a ghost like me. Yes; though an earth-clogged fancy is laboring with these conceptions, and an earthly hand will write them down, for mortal eyes to read, still their essence flows from as airy a ghost as ever basked in the pale starlight, at twelve o’clock. Judge them not by the gross and heavy form in which they now appear. They may be gross, indeed, with the earthly pollution contracted from the brain, through which they pass; and heavy with the burden of mortal language, that crushes all the finer intelligences of the soul. This is no fault of mine. But should aught of ethereal spirit be perceptible, yet scarcely so, glimmering along the dull train of words,—should a faint perfume breathe from the mass of clay,—then, gentle reader, thank the ghost, who thus embodies himself for your sake! Will you believe me, if I say that all true and noble thoughts, and elevated imaginations, are but partly the offspring of the intellect which seems to produce them? Sprites, that were poets once, and are now all poetry, hover round the dreaming bard, and become his inspiration; buried statesmen lend their wisdom, gathered on earth and mellowed in the grave, to the historian; and when the preacher rises nearest to the level of his mighty subject, it is because the prophets of old days have communed with him. Who has not been conscious of mysteries within his mind, mysteries of truth and reality, which will not wear the chains of language? Mortal, then the dead were with you! And thus shall the earth-dulled soul, whom I inspire, be conscious of a misty brightness among his thoughts, and strive to make it gleam upon the page,—but all in vain. Poor author! How will he despise what he can grasp, for the sake of the dim glory that eludes him!
So talk we of graves and goblins. But, what have ghosts to do with graves? Mortal man, wearing the dust which shall require a sepulchre, might deem it more a home and resting-place than a spirit can, whose earthly clod has returned to earth. Thus philosophers have reasoned. Yet wiser they who adhere to the ancient sentiment, that a phantom haunts and hallows the marble tomb or grassy hillock where its material form was laid. Till purified from each stain of clay; till the passions of the living world are all forgotten; till it have less brotherhood with the wayfarers of earth, than with spirits that never wore mortality,—the ghost must linger round the grave. O, it is a long and dreary watch to some of us!
Even in early childhood, I had selected a sweet spot, of shade and glimmering sunshine, for my grave. It was no burial-ground, but a secluded nook of virgin earth, where I used to sit, whole summer afternoons, dreaming about life and death. My fancy ripened prematurely, and taught me secrets which I could not otherwise have known. I pictured the coming years,—they never came to me, indeed; but I pictured them like life, and made this spot the scene of all that should be brightest, in youth, manhood, and old age. There, in a little while, it would be time for me to breathe the bashful and burning vows of first-love; thither, after gathering fame abroad, I would return to enjoy the loud plaudit of the world, a vast but unobtrusive sound, like the booming of a distant sea; and thither, at the far-off close of life, an aged man would come, to dream, as the boy was dreaming, and be as happy in the past as lie was in futurity. Finally, when all should be finished, in that spot so hallowed, in that soil so impregnated with the most precious of my bliss, there was to be my grave. Methought it would be the sweetest grave that ever a mortal frame reposed in, or an ethereal spirit haunted. There, too, in future times, drawn thither by the spell which I had breathed around the place, boyhood would sport and dream, and youth would love, and manhood would enjoy, and age would dream again, and my ghost would watch but never frighten them. Alas, the vanity of mortal projects, even when they centre in the grave! I died in my first youth, before I had been a lover; at a distance, also, from the grave which fancy had dug for me; and they buried me in the thronged cemetery of a town, where my marble slab stands unnoticed amid a hundred others. And there are coffins on each side of mine!
Last night, between eleven and twelve o’clock, when the Old Year was leaving her final footprints on the borders of Time’s empire, she found herself in possession of a few spare moments, and sat down—of all places in the world—on the steps of our new city-hall. The wintry moonlight showed that she looked weary of body and sad of heart, like many another wayfarer of earth. Her garments, having been exposed to much foul weather and rough usage, were in very ill condition, and, as the hurry of her journey had never before allowed her to take an instant’s rest, her shoes were so worn as to be scarcely worth the mending. But after trudging only a little distance farther this poor Old Year was destined to enjoy a long, long sleep. I forgot to mention that when she seated herself on the steps she deposited by her side a very capacious bandbox in which, as is the custom among travellers of her sex, she carried a great deal of valuable property. Besides this luggage, there was a folio book under her arm very much resembling the annual volume of a newspaper. Placing this volume across her knees and resting her elbows upon it, with her forehead in her hands, the weary, bedraggled, world-worn Old Year heaved a heavy sigh and appeared to be taking no very pleasant retrospect of her past existence.
While she thus awaited the midnight knell that was to summon her to the innumerable sisterhood of departed years, there came a young maiden treading lightsomely on tip-toe along the street from the direction of the railroad dépôt. She was evidently a stranger, and perhaps had come to town by the evening train of cars. There was a smiling cheerfulness in this fair maiden’s face which bespoke her fully confident of a kind reception from the multitude of people with whom she was soon to form acquaintance. Her dress was rather too airy for the season, and was bedizened with fluttering ribbons and other vanities which were likely soon to be rent away by the fierce storms or to fade in the hot sunshine amid which she was to pursue her changeful course. But still she was a wonderfully pleasant-looking figure, and had so much promise and such an indescribable hopefulness in her aspect that hardly anybody could meet her without anticipating some very desirable thing—the consummation of some long-sought good—from her kind offices. A few dismal characters there may be here and there about the world who have so often been trifled with by young maidens as promising as she that they have now ceased to pin any faith upon the skirts of the New Year. But, for my own part, I have great faith in her, and, should I live to see fifty more such, still from each of those successive sisters I shall reckon upon receiving something that will be worth living for. Continue reading ““The Sister-Years,” Nathaniel Hawthorne’s allegorical New Year’s tale”
December 1st.–I saw a dandelion in bloom near the lake.
“John Inglefied’s Thanksgiving”
On the evening of Thanksgiving day, John Inglefield, the blacksmith, sat in his elbow-chair, among those who had been keeping festival at his board. Being the central figure of the domestic circle, the fire threw its strongest light on his massive and sturdy frame, reddening his rough visage, so that it looked like the head of an iron statue, all aglow, from his own forge, and with its features rudely fashioned on his own anvil. At John Inglefield’s right hand was an empty chair. The other places round the hearth were filled by the members of the family, who all sat quietly, while, with a semblance of fantastic merriment, their shadows danced on the wall behind then. One of the group was John Inglefield’s son, who had been bred at college, and was now a student of theology at Andover. There was also a daughter of sixteen, whom nobody could look at without thinking of a rosebud almost blossomed. The only other person at the fireside was Robert Moore, formerly an apprentice of the blacksmith, but now his journeyman, and who seemed more like an own son of John Inglefield than did the pale and slender student.
Only these four had kept New England’s festival beneath that roof. The vacant chair at John Inglefield’s right hand was in memory of his wife, whom death had snatched from him since the previous Thanksgiving. With a feeling that few would have looked for in his rough nature, the bereaved husband had himself set the chair in its place next his own; and often did his eye glance thitherward, as if he deemed it possible that the cold grave might send back its tenant to the cheerful fireside, at least for that one evening. Thus did he cherish the grief that was dear to him. But there was another grief which he would fain have torn from his heart; or, since that could never be, have buried it too deep for others to behold, or for his own remembrance. Within the past year another member of his household had gone from him, but not to the grave. Yet they kept no vacant chair for her.
While John Inglefield and his family were sitting round the hearth with the shadows dancing behind them on the wall, the outer door was opened, and a light footstep came along the passage. The latch of the inner door was lifted by some familiar hand, and a young girl came in, wearing a cloak and hood, which she took off, and laid on the table beneath the looking-glass. Then, after gazing a moment at the fireside circle, she approached, and took the seat at John Inglefield’s right hand, as if it had been reserved on purpose for her.
“Here I am, at last, father,” said she. “You ate your Thanksgiving dinner without me, but I have come back to spend the evening with you.”
Yes, it was Prudence Inglefield. She wore the same neat and maidenly attire which she had been accustomed to put on when the household work was over for the day, and her hair was parted from her brow, in the simple and modest fashion that became her best of all. If her cheek might otherwise have been pale, yet the glow of the fire suffused it with a healthful bloom. If she had spent the many months of her absence in guilt and infamy, yet they seemed to have left no traces on her gentle aspect. She could not have looked less altered, had she merely stepped away from her father’s fireside for half an hour, and returned while the blaze was quivering upwards from the same brands that were burning at her departure. And to John Inglefield she was the very image of his buried wife, such as he remembered her on the first Thanksgiving which they had passed under their own roof. Therefore, though naturally a stern and rugged man, he could not speak unkindly to his sinful child, nor yet could he take her to his bosom.
“You are welcome home, Prudence,” said he, glancing sideways at her, and his voice faltered. “Your mother would have rejoiced to see you, but she has been gone from us these four months.”
“I know it, father, I know it,” replied Prudence, quickly. “And yet, when I first came in, my eyes were so dazzled by the firelight, that she seemed to be sitting in this very chair!”
By this time the other members of the family had begun to recover from their surprise, and became sensible that it was no ghost from the grave, nor vision of their vivid recollections, but Prudence, her own self. Her brother was the next that greeted her. He advanced and held out his hand affectionately, as a brother should; yet not entirely like a brother, for, with all his kindness, he was still a clergyman, and speaking to a child of sin.
“Sister Prudence,” said he, earnestly, “I rejoice that a merciful Providence hath turned your steps homeward, in time for me to bid you a last farewell. In a few weeks, sister, I am to sail as a missionary to the far islands of the Pacific. There is not one of these beloved faces that I shall ever hope to behold again on this earth. O, may I see all of them–yours and all–beyond the grave!”
A shadow flitted across the girl’s countenance.
“The grave is very dark, brother,” answered she, withdrawing her hand somewhat hastily from his grasp. “You must look your last at me by the light of this fire.”
While this was passing, the twin-girl-the rosebud that had grown on the same stem with the castaway–stood gazing at her sister, longing to fling herself upon her bosom, so that the tendrils of their hearts might intertwine again. At first she was restrained by mingled grief and shame, and by a dread that Prudence was too much changed to respond to her affection, or that her own purity would be felt as a reproach by the lost one. But, as she listened to the familiar voice, while the face grew more and more familiar, she forgot everything save that Prudence had come back. Springing forward, she would have clasped her in a close embrace. At that very instant, however, Prudence started from her chair, and held out both her hands, with a warning gesture.
“No, Mary,–no, my sister,” cried she, “do not you touch me. Your bosom must not be pressed to mine!”
Mary shuddered and stood still, for she felt that something darker than the grave was between Prudence and herself, though they seemed so near each other in the light of their father’s hearth, where they had grown up together. Meanwhile Prudence threw her eyes around the room, in search of one who had not yet bidden her welcome. He had withdrawn from his seat by the fireside, and was standing near the door, with his face averted, so that his features could be discerned only by the flickering shadow of the profile upon the wall. But Prudence called to him, in a cheerful and kindly tone:–
“Come, Robert,” said she, “won’t you shake hands with your old friend?”
Robert Moore held back for a moment, but affection struggled powerfully, and overcame his pride and resentment; he rushed towards Prudence, seized her hand, and pressed it to his bosom.
“There, there, Robert!” said she, smiling sadly, as she withdrew her hand, “you must not give me too warm a welcome.”
And now, having exchanged greetings with each member of the family, Prudence again seated herself in the chair at John Inglefield’s right hand. She was naturally a girl of quick and tender sensibilities, gladsome in her general mood, but with a bewitching pathos interfused among her merriest words and deeds. It was remarked of her, too, that she had a faculty, even from childhood, of throwing her own feelings, like a spell, over her companions. Such as she had been in her days of innocence, so did she appear this evening. Her friends, in the surprise and bewilderment of her return, almost forgot that she had ever left them, or that she had forfeited any of her claims to their affection. In the morning, perhaps, they might have looked at her with altered eyes, but by the Thanksgiving fireside they felt only that their own Prudence had come back to them, and were thankful. John Inglefleld’s rough visage brightened with the glow of his heart, as it grew warm and merry within him; once or twice, even, he laughed till the room rang again, yet seemed startled by the echo of his own mirth. The grave young minister became as frolicsome as a school-boy. Mary, too, the rosebud, forgot that her twin-blossom had ever been torn from the stem, and trampled in the dust. And as for Robert Moore, he gazed at Prudence with the bashful earnestness of love new-born, while she, with sweet maiden coquetry, half smiled upon and half discouraged him.
In short, it was one of those intervals when sorrow vanishes in its own depth of shadow, and joy starts forth in transitory brightness. When the clock struck eight, Prudence poured out her father’s customary draught of herb-tea, which had been steeping by the fireside ever since twilight.
“God bless you, child!” said John Inglefield, as he took the cup from her hand; “you have made your old father happy again. But we miss your mother sadly, Prudence, sadly. It seems as if she ought to be here now.”
“Now, father, or never,” replied Prudence.
It was now the hour for domestic worship. But while the family were making preparations for this duty, they suddenly perceived that Prudence had put on her cloak and hood, and was lifting the latch of the door.
“Prudence, Prudence! where are you going?” cried they all, with one voice.
As Prudence passed out of the door, she turned towards them, and flung back her hand with a gesture of farewell. But her face was so changed that they hardly recognized it. Sin and evil passions glowed through its comeliness, and wrought a horrible deformity; a smile gleamed in her eyes, as of triumphant mockery, at their surprise and grief.
“Daughter,” cried John Inglefield, between wrath and sorrow, “stay and be your father’s blessing, or take his curse with you!”
For an instant Prudence lingered and looked back into the fire-lighted room, while her countenance wore almost the expression as if she were struggling with a fiend, who had power to seize his victim even within the hallowed precincts of her father’s hearth. The fiend prevailed; and Prudence vanished into the outer darkness. When the family rushed to the door, they could see nothing, but heard the sound of wheels rattling over the frozen ground.
That same night, among the painted beauties at the theatre of a neighboring city, there was one whose dissolute mirth seemed inconsistent with any sympathy for pure affections, and for the joys and griefs which are hallowed by them. Yet this was Prudence Inglefield. Her visit to the Thanksgiving fireside was the realization of one of those waking dreams in which the guilty soul will sometimes stray back to its innocence. But Sin, alas! is careful of her bond-slaves; they hear her voice, perhaps, at the holiest moment, and are constrained to go whither she summons them. The same dark power that drew Prudence Inglefleld from her father’s hearth–the same in its nature, though heightened then to a dread necessity–would snatch a guilty soul from the gate of heaven, and make its sin and its punishment alike eternal.