The existence of this story, posthumously1 published, was not known to any one but Hawthorne himself, until some time after his death, when the manuscript was found among his papers. The preparation and copying of his Note-Books for the press occupied the most of Mrs. Hawthorne's available time during the interval2 from 1864 to 1870; but in the latter year, having decided3 to publish the unfinished romance, she began the task of putting together its loose sheets and deciphering the handwriting, which, towards the close of Hawthorne's life, had grown somewhat obscure and uncertain. Her death occurred while she was thus engaged, and the transcription was completed by her daughters. The book was then issued simultaneously4 in America and England, in 1871.
Although "Septimius Felton" appeared so much later than "The Marble Faun," it was conceived and, in another form, begun before the Italian romance had presented itself to the author's mind. The legend of a bloody5 foot leaving its imprint6 where it passed, which figures so prominently in the following fiction, was brought to Hawthorne's notice on a visit to Smithell's Hall, Lancashire, England. [Footnote: See English Note-Books, April 7, and August 25, 1855.] Only five days after hearing of it, he made a note in his journal, referring to "my Romance," which had to do with a plot involving the affairs of a family established both in England and New England; and it seems likely that he had already begun to associate the bloody footstep with this project. What is extraordinary, and must be regarded as an unaccountable coincidence–one of the strange premonitions of genius–is that in 1850, before he had ever been to England and before he knew of the existence of Smithell's Hall, he had jotted8 down in his Note-Book, written in America, this suggestion: "The print in blood of a naked foot to be traced through the street of a town." The idea of treating in fiction the attempt to renew youth or to attain9 an earthly immortality10 had engaged his fancy quite early in his career, as we discover from "Doctor Heidegger's Experiment," in the "Twice-Told Tales." In 1840, also, we find in the journal: "If a man were sure of living forever, he would not care about his offspring." The "Mosses11 from an Old Manse" supply another link in this train of reflection; for "The Virtuoso's Collection" includes some of the elixir12 vitae "in an antique sepulchral13 urn7." The narrator there represents himself as refusing to quaff14 it. "'No; I desire not an earthly immortality,' said I. 'Were man to live longer on earth, the spiritual would die out of him.... There is a celestial15 something within us that requires, after a certain time, the atmosphere of heaven to preserve it from ruin.'" On the other hand, just before hearing, for the first time, the legend of Smithell's Hall, he wrote in his English journal:–
"God himself cannot compensate16 us for being born for any period short of eternity17. All the misery18 endured here constitutes a claim for another life, and still more all the happiness; because all true happiness involves something more than the earth owns, and needs something more than a mortal capacity for the enjoyment19 of it." It is sufficiently20 clear that he had meditated21 on the main theme of "Septimius Felton," at intervals22, for many years.
When, in August, 1855, Hawthorne went by invitation to Smithell's Hall, the lady of the manor23, on his taking leave, asked him "to write a ghost-story for her house;" and he observes in his notes, "the legend is a good one." Three years afterwards, in 1858, on the eve of departure for France and Italy, he began to sketch24 the outline of a romance laid in England, and having for its hero an American who goes thither25 to assert his inherited rights in an old manor-house possessing the peculiarity26 of a supposed bloody foot-print on the threshold-stone. This sketch, which appears in the present edition as "The Ancestral Footstep," was in journal form, the story continuing from day to day, with the dates attached. There remains27 also the manuscript without elate, recently edited under the title "Dr. Grimshawe's Secret," which bears a resemblance to some particulars in "Septimius Felton."
Nothing further seems to have been done in this direction by the author until he had been to Italy, had written "The Marble Faun," and again returned to The Wayside, his home at Concord28. It was then, in 1861, that he took up once more the "Romance of Immortality," as the sub-title of the English edition calls it. "I have not found it possible," he wrote to Mr. Bridge, who remained his confidant, "to occupy my mind with its usual trash and nonsense during these anxious times; but as the autumn advances, I myself sitting down at my desk and blotting30 successive sheets of paper as of yore." Concerning this place, The Wayside, he had said in a letter to George William Curtis, in 1852: "I know nothing of the history of the house, except Thoreau's telling me that it was inhabited a generation or two ago by a man who believed he should never die." It was this legendary31 personage whom he now proceeded to revive and embody32 as Septimius; and the scene of the story was placed at The Wayside itself and the neighboring house, belonging to Mr. Bronson Alcott, both of which stand at the base of a low ridge29 running beside the Lexington road, in the village of Concord. Rose Garfield is mentioned as living "in a small house, the site of which is still indicated by the cavity of a cellar, in which I this very summer planted some sunflowers." The cellar-site remains at this day distinctly visible near the boundary of the land formerly34 owned by Hawthorne.
Attention may here perhaps appropriately be called to the fact that some of the ancestors of President Garfield settled at Weston, not many miles from Concord, and that the name is still borne by dwellers35 in the vicinity. One of the last letters written by the President was an acceptance of an invitation to visit Concord; and it was his intention to journey thither by carriage, incognito36, from Boston, passing through the scenes where those ancestors had lived, and entering the village by the old Lexington road, on which The Wayside faces. It is an interesting coincidence that Hawthorne should have chosen for his first heroine's name, either intentionally37 or through unconscious association, this one which belonged to the region.
The house upon which the story was thus centred, and where it was written, had been a farm-house, bought and for a time occupied by Hawthorne previous to his departure for Europe. On coming back to it, he made some additions to the old wooden structure, and caused to be built a low tower, which rose above the irregular roofs of the older and newer portions, thus supplying him with a study lifted out of reach of noise or interruption, and in a slight degree recalling the tower in which he had taken so much pleasure at the Villa33 Montauto. The study was extremely simple in its appointments, being finished chiefly in stained wood, with a vaulted38 plaster ceiling, and containing, besides a few pictures and some plain furniture, a writing-table, and a shelf at which Hawthorne sometimes wrote standing39. A story has gone abroad and is widely believed, that, on mounting the steep stairs leading to this study, he passed through a trap-door and afterwards placed upon it the chair in which he sat, so that intrusion or interruption became physically40 impossible. It is wholly unfounded. There never was any trap-door, and no precaution of the kind described was ever taken. Immediately behind the house the hill rises in artificial terraces, which, during the romancer's residence, were grassy41 and planted with fruit-trees. He afterwards had evergreens42 set out there, and directed the planting of other trees, which still attest43 his preference for thick verdure. The twelve acres running back over the hill were closely covered with light woods, and across the road lay a level tract44 of eight acres more, which included a garden and orchard45. From his study Hawthorne could overlook a good part of his modest domain46; the view embraced a stretch of road lined with trees, wide meadows, and the hills across the shallow valley. The branches of trees rose on all sides as if to embower the house, and birds and bees flew about his casement47, through which came the fresh perfumes of the woods, in summer.
In this spot "Septimius Felton" was written; but the manuscript, thrown aside, was mentioned in the Dedicatory Preface to "Our Old Home" as an "abortive48 project." As will be found explained in the Introductory Notes to "The Dolliver Romance" and "The Ancestral Footstep," that phase of the same general design which was developed in the "Dolliver" was intended to take the place of this unfinished sketch, since resuscitated49.
G.P.L.
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1 posthumously | |
adv.于死后,于身后;于著作者死后出版地 | |
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2 interval | |
n.间隔,间距;幕间休息,中场休息 | |
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3 decided | |
adj.决定了的,坚决的;明显的,明确的 | |
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4 simultaneously | |
adv.同时发生地,同时进行地 | |
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5 bloody | |
adj.非常的的;流血的;残忍的;adv.很;vt.血染 | |
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6 imprint | |
n.印痕,痕迹;深刻的印象;vt.压印,牢记 | |
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7 urn | |
n.(有座脚的)瓮;坟墓;骨灰瓮 | |
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8 jotted | |
v.匆忙记下( jot的过去式和过去分词 );草草记下,匆匆记下 | |
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9 attain | |
vt.达到,获得,完成 | |
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10 immortality | |
n.不死,不朽 | |
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11 mosses | |
n. 藓类, 苔藓植物 名词moss的复数形式 | |
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12 elixir | |
n.长生不老药,万能药 | |
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13 sepulchral | |
adj.坟墓的,阴深的 | |
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14 quaff | |
v.一饮而尽;痛饮 | |
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15 celestial | |
adj.天体的;天上的 | |
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16 compensate | |
vt.补偿,赔偿;酬报 vi.弥补;补偿;抵消 | |
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17 eternity | |
n.不朽,来世;永恒,无穷 | |
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18 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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19 enjoyment | |
n.乐趣;享有;享用 | |
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20 sufficiently | |
adv.足够地,充分地 | |
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21 meditated | |
深思,沉思,冥想( meditate的过去式和过去分词 ); 内心策划,考虑 | |
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22 intervals | |
n.[军事]间隔( interval的名词复数 );间隔时间;[数学]区间;(戏剧、电影或音乐会的)幕间休息 | |
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23 manor | |
n.庄园,领地 | |
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24 sketch | |
n.草图;梗概;素描;v.素描;概述 | |
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25 thither | |
adv.向那里;adj.在那边的,对岸的 | |
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26 peculiarity | |
n.独特性,特色;特殊的东西;怪癖 | |
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27 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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28 concord | |
n.和谐;协调 | |
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29 ridge | |
n.山脊;鼻梁;分水岭 | |
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30 blotting | |
吸墨水纸 | |
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31 legendary | |
adj.传奇(中)的,闻名遐迩的;n.传奇(文学) | |
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32 embody | |
vt.具体表达,使具体化;包含,收录 | |
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33 villa | |
n.别墅,城郊小屋 | |
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34 formerly | |
adv.从前,以前 | |
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35 dwellers | |
n.居民,居住者( dweller的名词复数 ) | |
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36 incognito | |
adv.匿名地;n.隐姓埋名;adj.化装的,用假名的,隐匿姓名身份的 | |
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37 intentionally | |
ad.故意地,有意地 | |
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38 vaulted | |
adj.拱状的 | |
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39 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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40 physically | |
adj.物质上,体格上,身体上,按自然规律 | |
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41 grassy | |
adj.盖满草的;长满草的 | |
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42 evergreens | |
n.常青树,常绿植物,万年青( evergreen的名词复数 ) | |
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43 attest | |
vt.证明,证实;表明 | |
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44 tract | |
n.传单,小册子,大片(土地或森林) | |
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45 orchard | |
n.果园,果园里的全部果树,(美俚)棒球场 | |
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46 domain | |
n.(活动等)领域,范围;领地,势力范围 | |
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47 casement | |
n.竖铰链窗;窗扉 | |
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48 abortive | |
adj.不成功的,发育不全的 | |
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49 resuscitated | |
v.使(某人或某物)恢复知觉,苏醒( resuscitate的过去式和过去分词 ) | |
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