INTRODUCTORY NOTE.
“Septimius Felton” was the outgrowth of a project, formed by Hawthorne during his residence in England, of writing a romance, the scene of which should be laid in that country; but this project was afterwards abandoned, giving place to a new conception in which the visionary search for means to secure an earthly immortality1 was to form the principal interest. The new conception took shape in the uncompleted “Dolliver Romance.” The two themes, of course, were distinct, but, by a curious process of thought, one grew directly out of the other: the whole history constitutes, in fact, a chapter in what may be called the genealogy2 of a romance. There remained, after “Septimius Felton” had been published, certain manuscripts connected with the scheme of an English story. One of these manuscripts was written in the form of a journalized narrative3; the author merely noting the date of what he wrote, as he went along. The other was a more extended sketch5 of much greater bulk, and without date, but probably produced several years later. It was not originally intended by those who at the time had charge of Hawthorne’s papers that either of these incomplete writings should be laid before the public; because they manifestly had not been left by him in a form which he would have considered as warranting such a course. But since the second and larger manuscript has been published under the title of “Dr. Grimshawe’s Secret,” it has been thought best to issue the present sketch, so that the two documents may be examined together. Their appearance places in the hands of readers the entire process of development leading to the “Septimius” and “The Dolliver Romance.” They speak for themselves much more efficiently6 than any commentator7 can expect to do; and little, therefore, remains8 to be said beyond a few words of explanation in regard to the following pages.
The Note-Books show that the plan of an English romance, turning upon the fact that an emigrant9 to America had carried away a family secret which should give his descendant the power to ruin the family in the mother country, had occurred to Hawthorne as early as April, 1855. In August of the same year he visited Smithell’s Hall, in Bolton le Moors10, concerning which he had already heard its legend of “The Bloody11 Footstep,” and from that time on, the idea of this footprint on the threshold-stone of the ancestral mansion12 seems to have associated itself inextricably with the dreamy substance of his yet unshaped romance. Indeed, it leaves its mark broadly upon Sibyl Dacy’s wild legend in “Septimius Felton,” and reappears in the last paragraph of that story. But, so far as we can know at this day, nothing definite was done until after his departure for Italy. It was then, while staying in Rome, that he began to put upon paper that plot which had first occupied his thoughts three years before, in the scant13 leisure allowed him by his duties at the Liverpool consulate14. Of leisure there was not a great deal at Rome, either; for, as the “French and Italian Note-Books” show, sight-seeing and social intercourse15 took up a good deal of his time, and the daily record in his journal likewise had to be kept up. But he set to work resolutely16 to embody17, so far as he might, his stray imaginings upon the haunting English theme, and to give them connected form. April 1, 1858, he began; and then nearly two weeks passed before he found an opportunity to resume; April 13th being the date of the next passage. By May he gets fully18 into swing, so that day after day, with but slight breaks, he carries on the story, always increasing in interest for as who read as for him who improvised19. Thus it continues until May 19th, by which time he has made a tolerably complete outline, filled in with a good deal of detail here and there. Although the sketch is cast in the form of a regular narrative, one or two gaps occur, indicating that the author had thought out certain points which he then took for granted without making note of them. Brief scenes, passages of conversation and of narration20, follow one another after the manner of a finished story, alternating with synopses21 of the plot, and queries22 concerning particulars that needed further study; confidences of the romancer to himself which form certainly a valuable contribution to literary history. The manuscript closes with a rapid sketch of the conclusion, and the way in which it is to be executed. Succinctly23, what we have is a romance in embryo24; one, moreover, that never attained25 to a viable26 stature27 and constitution. During his lifetime it naturally would not have been put forward as demanding public attention; and, in consideration of that fact, it has since been withheld28 from the press by the decision of his daughter, in whom the title to it vests. Students of literary art, however, and many more general readers will, I think, be likely to discover in it a charm all the greater for its being in parts only indicated; since, as it stands, it presents the precise condition of a work of fiction in its first stage. The unfinished “Grimshawe” was another development of the same theme, and the “Septimius” a later sketch, with a new element introduced. But the present experimental fragment, to which it has been decided29 to give the title of “The Ancestral Footstep,” possesses a freshness and spontaneity recalling the peculiar30 fascination31 of those chalk or pencil outlines with which great masters in the graphic32 art have been wont33 to arrest their fleeting34 glimpses of a composition still unwrought.
It would not be safe to conclude, from the large amount of preliminary writing done with a view to that romance, that Hawthorne always adopted this laborious35 mode of making several drafts of a book. On the contrary, it is understood that his habit was to mature a design so thoroughly36 in his mind before attempting to give it actual existence on paper that but little rewriting was needed. The circumstance that he was obliged to write so much that did not satisfy him in this case may account partly for his relinquishing37 the theme, as one which for him had lost its seductiveness through too much recasting.
It need be added only that the original manuscript, from which the following pages are printed through the medium of an exact copy, is singularly clear and fluent. Not a single correction occurs throughout; but here and there a word is omitted obviously by mere4 accident, and these omissions38 have been supplied. The correction in each case is marked by brackets in this printed reproduction. The sketch begins abruptly39; but there is no reason to suppose that anything preceded it except the unrecorded musings in the author’s mind, and one or two memoranda40 in the “English Note-Books.” We must therefore imagine the central figure, Middleton, who is the American descendant of an old English family, as having been properly introduced, and then pass at once to the opening sentences. The rest will explain itself. G. P. L.
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1
immortality
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n.不死,不朽 | |
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2
genealogy
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n.家系,宗谱 | |
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3
narrative
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n.叙述,故事;adj.叙事的,故事体的 | |
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4
mere
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adj.纯粹的;仅仅,只不过 | |
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5
sketch
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n.草图;梗概;素描;v.素描;概述 | |
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6
efficiently
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adv.高效率地,有能力地 | |
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7
commentator
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n.注释者,解说者;实况广播评论员 | |
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8
remains
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n.剩余物,残留物;遗体,遗迹 | |
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9
emigrant
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adj.移居的,移民的;n.移居外国的人,移民 | |
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10
moors
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v.停泊,系泊(船只)( moor的第三人称单数 ) | |
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11
bloody
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adj.非常的的;流血的;残忍的;adv.很;vt.血染 | |
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12
mansion
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n.大厦,大楼;宅第 | |
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13
scant
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adj.不充分的,不足的;v.减缩,限制,忽略 | |
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14
consulate
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n.领事馆 | |
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15
intercourse
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n.性交;交流,交往,交际 | |
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16
resolutely
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adj.坚决地,果断地 | |
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17
embody
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vt.具体表达,使具体化;包含,收录 | |
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18
fully
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adv.完全地,全部地,彻底地;充分地 | |
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19
improvised
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a.即席而作的,即兴的 | |
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20
narration
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n.讲述,叙述;故事;记叙体 | |
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21
synopses
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摘要,梗概( synopsis的名词复数 ); 大纲 | |
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22
queries
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n.问题( query的名词复数 );疑问;询问;问号v.质疑,对…表示疑问( query的第三人称单数 );询问 | |
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23
succinctly
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adv.简洁地;简洁地,简便地 | |
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24
embryo
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n.胚胎,萌芽的事物 | |
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25
attained
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(通常经过努力)实现( attain的过去式和过去分词 ); 达到; 获得; 达到(某年龄、水平、状况) | |
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26
viable
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adj.可行的,切实可行的,能活下去的 | |
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27
stature
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n.(高度)水平,(高度)境界,身高,身材 | |
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28
withheld
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withhold过去式及过去分词 | |
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29
decided
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adj.决定了的,坚决的;明显的,明确的 | |
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30
peculiar
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adj.古怪的,异常的;特殊的,特有的 | |
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31
fascination
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n.令人着迷的事物,魅力,迷恋 | |
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32
graphic
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adj.生动的,形象的,绘画的,文字的,图表的 | |
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33
wont
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adj.习惯于;v.习惯;n.习惯 | |
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34
fleeting
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adj.短暂的,飞逝的 | |
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35
laborious
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adj.吃力的,努力的,不流畅 | |
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36
thoroughly
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adv.完全地,彻底地,十足地 | |
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37
relinquishing
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交出,让给( relinquish的现在分词 ); 放弃 | |
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38
omissions
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n.省略( omission的名词复数 );删节;遗漏;略去或漏掉的事(或人) | |
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39
abruptly
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adv.突然地,出其不意地 | |
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40
memoranda
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n. 备忘录, 便条 名词memorandum的复数形式 | |
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