locked door. He wrote largely, but destroyed many of his manuscripts, his taste was so difficult to please. He thought well enough, however, of one of his compositions to print it anonymously in 1828. A crude melodramatic story, entitled Fanshawe, it was unworthy even of his immature powers, and should never have been rescued from the oblivion which speedily overtook it. The name of Nathaniel Hawthorne finally became known to his countrymen as a writer in The Token, a holiday annual which was commenced in 1828 by Mr S. G. Goodrich (better known as “Peter Parley”), by whom it was conducted for fourteen years. This forgotten publication numbered among its contributors most of the prominent American writers of the time, none of whom appear to have added to their reputation in its pages, except the least popular of all—Hawthorne, who was for years the obscurest man of letters in America, though he gradually made admirers in a quiet way. His first public recognition came from England, where his genius was discovered in 1835 by Henry F. Chorley, one of the editors of the Athenaeum, in which he copied three of Hawthorne’s most characteristic papers from The Token. He had but little encouragement to continue in literature, for Mr Goodrich was so much more a publisher than an author that he paid him wretchedly for his contributions, and still more wretchedly for his work upon an American Magazine of Useful and Entertaining Knowledge, which he persuaded him to edit. This author-publisher consented, however, at a later period (1837) to bring out a collection of Hawthorne’s writings under the title of Twice-told Tales. A moderate edition was got rid of, but the great body of the reading public ignored the book altogether. It was generously reviewed in the North American Review by his college friend Longfellow, who said it came from the hand of a man of genius, and praised it for the exceeding beauty of its style, which was as clear as running waters.
The want of pecuniary success which had so far attended his authorship led Hawthorne to accept a situation which was tendered him by George Bancroft, the historian, collector of the port of Boston under the Democratic rule of President Van Buren. He was appointed a weigher in the custom-house at a salary of about $1200 a year, and entered upon the duties of his office, which consisted for the most part in measuring coal, salt and other bulky commodities on foreign vessels. It was irksome employment, but faithfully performed for two years, when he was superseded through a change in the national administration. Master of himself once more, he returned to Salem, where he remained until the spring of 1841, when he wrote a collection of children’s stories entitled Grandfather’s Chair, and joined an industrial association at West Roxbury, Mass. Brook Farm, as it was called, was a social Utopia, composed of a number of advanced thinkers, whose object was so to distribute manual labour as to give its members time for intellectual culture. The scheme worked admirably—on paper; but it was suited neither to the temperament nor the taste of Hawthorne, and after trying it patiently for nearly a year he returned to the everyday life of mankind.
One of Hawthorne’s earliest admirers was Miss Sophia Peabody, a lady of Salem, whom he married in the summer of 1842. He made himself a new home in an old manse, at Concord, Mass., situated on historic ground, in sight of an old revolutionary battlefield, and devoted himself diligently to literature. He was known to the few by his Twice-told Tales, and to the many by his papers in the Democratic Review. He published in 1842 a further portion of Grandfather’s Chair, and also a second volume of Twice-told Tales. He also edited, during 1845, the African Journals of Horatio Bridge, an officer of the navy, who had been at college with him; and in the following year he published in two volumes a collection of his later writings, under the title of Mosses from an Old Manse.
After a residence of nearly four years at Concord, Hawthorne returned to Salem, having been appointed surveyor of the custom-house of that port by a new Democratic administration. He filled the duties of this position until the incoming of the Whig administration again led to his retirement. He seems to have written little during his official term, but, as he had leisure enough and to spare, he read much, and pondered over subjects for future stories. His next work, The Scarlet Letter, which was begun after his removal from the custom-house, was published in 1850. If there had been any doubt of his genius before, it was settled for ever by this powerful romance.
Shortly after the publication of The Scarlet Letter Hawthorne removed from Salem to Lenox, Berkshire, Mass., where he wrote The House of the Seven Gables (1851) and The Wonder-Book (1851). From Lenox he removed to West Newton, near Boston, Mass., where he wrote The Blithedale Romance (1852) and The Snow Image and other Twice-told Tales (1852). In the spring of 1852 he removed back to Concord, where he purchased an old house which he called The Wayside, and where he wrote a Life of Franklin Pierce (1852) and Tanglewood Tales (1853). Mr Pierce was the Democratic candidate for the presidency, and it was only at his urgent solicitation that Hawthorne consented to become his biographer. He declared that he would accept no office in case he were elected, lest it might compromise him; but his friends gave him such weighty reasons for reconsidering his decision that he accepted the consulate at Liverpool, which was understood to be one of the best gifts at the disposal of the president.
Hawthorne departed for Europe in the summer of 1853, and returned to the United States in the summer of 1860. Of the seven years which he passed in Europe five were spent in attending to the duties of his consulate at Liverpool, and in little journeys to Scotland, the Lakes and elsewhere, and the remaining two in France and Italy. They were quiet and uneventful, coloured by observation and reflection, as his note-books show, but productive of only one elaborate work, Transformation, or The Marble Faun, which he sketched out during his residence in Italy, and prepared for the press at Leamington, England, whence it was despatched to America and published in 1860.
Hawthorne took up his abode at The Wayside, not much richer than when he left it, and sat down at his desk once more with a heavy heart. He was surrounded by the throes of a great civil war, and the political party with which he had always acted was under a cloud. His friend ex-President Pierce was stigmatized as a traitor, and when Hawthorne dedicated his next book to him—a volume of English impressions entitled Our Old Home (1863)—it was at the risk of his own popularity. His pen was soon to be laid aside for ever; for, with the exception of the unfinished story of Septimius Felton, which was published after his death by his daughter Una (1872), and the fragment of The Dolliver Romance, the beginning of which was published in the Atlantic Monthly in July 1864, he wrote no more. His health gradually declined, his hair grew white as snow, and the once stalwart figure that in early manhood flashed along the airy cliffs and glittering sands sauntered idly on the little hill behind his house. In the beginning of April 1864 he made a short southern tour with his publisher Mr William D. Ticknor, and was benefited by the change of scene until he reached Philadelphia, where he was shocked by the sudden death of Mr Ticknor. He returned to The Wayside, and after a short season of rest joined his friend ex-President Pierce. He died at Plymouth, New Hampshire, on the 19th of May 1864, and five days later was buried at Sleepy Hollow, a beautiful cemetery at Concord, where he used to walk under the pines when he was living at the Old Manse, and where his ashes moulder under a simple stone, inscribed with the single word “Hawthorne.”
The writings of Hawthorne are marked by subtle imagination, curious power of analysis and exquisite purity of diction. He studied exceptional developments of character, and was fond of exploring secret crypts of emotion. His shorter stories are remarkable for originality and suggestiveness, and his larger ones are as absolute creations as Hamlet or Undine. Lacking the accomplishment of verse, he was in the highest sense a poet. His work is pervaded by a manly personality, and by an almost feminine delicacy and gentleness. He inherited the gravity of his Puritan ancestors without their superstition, and learned in his solitary meditations a knowledge of the night-side of life
