IN September of the year during the February of which Hawthorne had completed “The Scarlet1 Letter,” he began “The House of the Seven Gables.” Meanwhile, he had removed from Salem to Lenox, in Berkshire County, Massachusetts, where he occupied with his family a small red wooden house, still standing2 at the date of this edition, near the Stockbridge Bowl.
“I sha’n’t have the new story ready by November,” he explained to his publisher, on the 1st of October, “for I am never good for anything in the literary way till after the first autumnal frost, which has somewhat such an effect on my imagination that it does on the foliage3 here about me-multiplying and brightening its hues4.” But by vigorous application he was able to complete the new work about the middle of the January following.
Since research has disclosed the manner in which the romance is interwoven with incidents from the history of the Hawthorne family, “The House of the Seven Gables” has acquired an interest apart from that by which it first appealed to the public. John Hathorne (as the name was then spelled), the great-grandfather of Nathaniel Hawthorne, was a magistrate5 at Salem in the latter part of the seventeenth century, and officiated at the famous trials for witchcraft6 held there. It is of record that he used peculiar7 severity towards a certain woman who was among the accused; and the husband of this woman prophesied8 that God would take revenge upon his wife’s persecutors. This circumstance doubtless furnished a hint for that piece of tradition in the book which represents a Pyncheon of a former generation as having persecuted9 one Maule, who declared that God would give his enemy “blood to drink.” It became a conviction with the Hawthorne family that a curse had been pronounced upon its members, which continued in force in the time of the romancer; a conviction perhaps derived10 from the recorded prophecy of the injured woman’s husband, just mentioned; and, here again, we have a correspondence with Maule’s malediction11 in The story. Furthermore, there occurs in the “American Note–Books” (August 27, 1837), a reminiscence of the author’s family, to the following effect. Philip English, a character well-known in early Salem annals, was among those who suffered from John Hathorne’s magisterial12 harshness, and he maintained in consequence a lasting13 feud14 with the old Puritan official. But at his death English left daughters, one of whom is said to have married the son of Justice John Hathorne, whom English had declared he would never forgive. It is scarcely necessary to point out how clearly this foreshadows the final union of those hereditary15 foes16, the Pyncheons and Maules, through the marriage of Phoebe and Holgrave. The romance, however, describes the Maules as possessing some of the traits known to have been characteristic of the Hawthornes: for example, “so long as any of the race were to be found, they had been marked out from other men — not strikingly, nor as with a sharp line, but with an effect that was felt rather than spoken of — by an hereditary characteristic of reserve.” Thus, while the general suggestion of the Hawthorne line and its fortunes was followed in the romance, the Pyncheons taking the place of the author’s family, certain distinguishing marks of the Hawthornes were assigned to the imaginary Maule posterity17.
There are one or two other points which indicate Hawthorne’s method of basing his compositions, the result in the main of pure invention, on the solid ground of particular facts. Allusion18 is made, in the first chapter of the “Seven Gables,” to a grant of lands in Waldo County, Maine, owned by the Pyncheon family. In the “American Note–Books” there is an entry, dated August 12, 1837, which speaks of the Revolutionary general, Knox, and his land-grant in Waldo County, by virtue19 of which the owner had hoped to establish an estate on the English plan, with a tenantry to make it profitable for him. An incident of much greater importance in the story is the supposed murder of one of the Pyncheons by his nephew, to whom we are introduced as Clifford Pyncheon. In all probability Hawthorne connected with this, in his mind, the murder of Mr. White, a wealthy gentleman of Salem, killed by a man whom his nephew had hired. This took place a few years after Hawthorne’s gradation from college, and was one of the celebrated20 cases of the day, Daniel Webster taking part prominently in the trial. But it should be observed here that such resemblances as these between sundry21 elements in the work of Hawthorne’s fancy and details of reality are only fragmentary, and are rearranged to suit the author’s purposes.
In the same way he has made his description of Hepzibah Pyncheon’s seven-gabled mansion22 conform so nearly to several old dwellings23 formerly25 or still extant in Salem, that strenuous26 efforts have been made to fix upon some one of them as the veritable edifice27 of the romance. A paragraph in the opening chapter has perhaps assisted this delusion28 that there must have been a single original House of the Seven Gables, framed by flesh-and-blood carpenters; for it runs thus:—
“Familiar as it stands in the writer’s recollection — for it has been an object of curiosity with him from boyhood, both as a specimen29 of the best and stateliest architecture of a long-past epoch30, and as the scene of events more full of interest perhaps than those of a gray feudal31 castle — familiar as it stands, in its rusty32 old age, it is therefore only the more difficult to imagine the bright novelty with which it first caught the sunshine.”
Hundreds of pilgrims annually33 visit a house in Salem, belonging to one branch of the Ingersoll family of that place, which is stoutly34 maintained to have been the model for Hawthorne’s visionary dwelling24. Others have supposed that the now vanished house of the identical Philip English, whose blood, as we have already noticed, became mingled35 with that of the Hawthornes, supplied the pattern; and still a third building, known as the Curwen mansion, has been declared the only genuine establishment. Notwithstanding persistent36 popular belief, the authenticity37 of all these must positively38 be denied; although it is possible that isolated39 reminiscences of all three may have blended with the ideal image in the mind of Hawthorne. He, it will be seen, remarks in the Preface, alluding40 to himself in the third person, that he trusts not to be condemned41 for “laying out a street that infringes42 upon nobody’s private rights . . . and building a house of materials long in use for constructing castles in the air.” More than this, he stated to persons still living that the house of the romance was not copied from any actual edifice, but was simply a general reproduction of a style of architecture belonging to colonial days, examples of which survived into the period of his youth, but have since been radically43 modified or destroyed. Here, as elsewhere, he exercised the liberty of a creative mind to heighten the probability of his pictures without confining himself to a literal description of something he had seen.
While Hawthorne remained at Lenox, and during the composition of this romance, various other literary personages settled or stayed for a time in the vicinity; among them, Herman Melville, whose intercourse44 Hawthorne greatly enjoyed, Henry James, Sr., Doctor Holmes, J. T. Headley, James Russell Lowell, Edwin P. Whipple, Frederika Bremer, and J. T. Fields; so that there was no lack of intellectual society in the midst of the beautiful and inspiring mountain scenery of the place. “In the afternoons, nowadays,” he records, shortly before beginning the work, “this valley in which I dwell seems like a vast basin filled with golden Sunshine as with wine;” and, happy in the companionship of his wife and their three children, he led a simple, refined, idyllic45 life, despite the restrictions46 of a scanty47 and uncertain income. A letter written by Mrs. Hawthorne, at this time, to a member of her family, gives incidentally a glimpse of the scene, which may properly find a place here. She says: “I delight to think that you also can look forth48, as I do now, upon a broad valley and a fine amphitheater of hills, and are about to watch the stately ceremony of the sunset from your piazza49. But you have not this lovely lake, nor, I suppose, the delicate purple mist which folds these slumbering50 mountains in airy veils. Mr. Hawthorne has been lying down in the sun shine, slightly fleckered with the shadows of a tree, and Una and Julian have been making him look like the mighty51 Pan, by covering his chin and breast with long grass-blades, that looked like a verdant52 and venerable beard.” The pleasantness and peace of his surroundings and of his modest home, in Lenox, may be taken into account as harmonizing with the mellow53 serenity54 of the romance then produced. Of the work, when it appeared in the early spring of 1851, he wrote to Horatio Bridge these words, now published for the first time:—
“‘The House of the Seven Gables’ in my opinion, is better than ‘The Scarlet Letter:’ but I should not wonder if I had refined upon the principal character a little too much for popular appreciation55, nor if the romance of the book should be somewhat at odds56 with the humble57 and familiar scenery in which I invest it. But I feel that portions of it are as good as anything I can hope to write, and the publisher speaks encouragingly of its success.”
From England, especially, came many warm expressions of praise, — a fact which Mrs. Hawthorne, in a private letter, commented on as the fulfillment of a possibility which Hawthorne, writing in boyhood to his mother, had looked forward to. He had asked her if she would not like him to become an author and have his books read in England.
G. P. L.
1 scarlet | |
n.深红色,绯红色,红衣;adj.绯红色的 | |
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2 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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3 foliage | |
n.叶子,树叶,簇叶 | |
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4 hues | |
色彩( hue的名词复数 ); 色调; 信仰; 观点 | |
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5 magistrate | |
n.地方行政官,地方法官,治安官 | |
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6 witchcraft | |
n.魔法,巫术 | |
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7 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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8 prophesied | |
v.预告,预言( prophesy的过去式和过去分词 ) | |
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9 persecuted | |
(尤指宗教或政治信仰的)迫害(~sb. for sth.)( persecute的过去式和过去分词 ); 烦扰,困扰或骚扰某人 | |
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10 derived | |
vi.起源;由来;衍生;导出v.得到( derive的过去式和过去分词 );(从…中)得到获得;源于;(从…中)提取 | |
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11 malediction | |
n.诅咒 | |
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12 magisterial | |
adj.威风的,有权威的;adv.威严地 | |
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13 lasting | |
adj.永久的,永恒的;vbl.持续,维持 | |
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14 feud | |
n.长期不和;世仇;v.长期争斗;世代结仇 | |
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15 hereditary | |
adj.遗传的,遗传性的,可继承的,世袭的 | |
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16 foes | |
敌人,仇敌( foe的名词复数 ) | |
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17 posterity | |
n.后裔,子孙,后代 | |
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18 allusion | |
n.暗示,间接提示 | |
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19 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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20 celebrated | |
adj.有名的,声誉卓著的 | |
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21 sundry | |
adj.各式各样的,种种的 | |
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22 mansion | |
n.大厦,大楼;宅第 | |
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23 dwellings | |
n.住处,处所( dwelling的名词复数 ) | |
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24 dwelling | |
n.住宅,住所,寓所 | |
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25 formerly | |
adv.从前,以前 | |
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26 strenuous | |
adj.奋发的,使劲的;紧张的;热烈的,狂热的 | |
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27 edifice | |
n.宏伟的建筑物(如宫殿,教室) | |
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28 delusion | |
n.谬见,欺骗,幻觉,迷惑 | |
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29 specimen | |
n.样本,标本 | |
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30 epoch | |
n.(新)时代;历元 | |
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31 feudal | |
adj.封建的,封地的,领地的 | |
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32 rusty | |
adj.生锈的;锈色的;荒废了的 | |
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33 annually | |
adv.一年一次,每年 | |
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34 stoutly | |
adv.牢固地,粗壮的 | |
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35 mingled | |
混合,混入( mingle的过去式和过去分词 ); 混进,与…交往[联系] | |
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36 persistent | |
adj.坚持不懈的,执意的;持续的 | |
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37 authenticity | |
n.真实性 | |
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38 positively | |
adv.明确地,断然,坚决地;实在,确实 | |
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39 isolated | |
adj.与世隔绝的 | |
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40 alluding | |
提及,暗指( allude的现在分词 ) | |
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41 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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42 infringes | |
v.违反(规章等)( infringe的第三人称单数 );侵犯(某人的权利);侵害(某人的自由、权益等) | |
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43 radically | |
ad.根本地,本质地 | |
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44 intercourse | |
n.性交;交流,交往,交际 | |
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45 idyllic | |
adj.质朴宜人的,田园风光的 | |
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46 restrictions | |
约束( restriction的名词复数 ); 管制; 制约因素; 带限制性的条件(或规则) | |
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47 scanty | |
adj.缺乏的,仅有的,节省的,狭小的,不够的 | |
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48 forth | |
adv.向前;向外,往外 | |
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49 piazza | |
n.广场;走廊 | |
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50 slumbering | |
微睡,睡眠(slumber的现在分词形式) | |
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51 mighty | |
adj.强有力的;巨大的 | |
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52 verdant | |
adj.翠绿的,青翠的,生疏的,不老练的 | |
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53 mellow | |
adj.柔和的;熟透的;v.变柔和;(使)成熟 | |
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54 serenity | |
n.宁静,沉着,晴朗 | |
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55 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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56 odds | |
n.让步,机率,可能性,比率;胜败优劣之别 | |
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57 humble | |
adj.谦卑的,恭顺的;地位低下的;v.降低,贬低 | |
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