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Book, page 141 / 197 the thing was evolved into a story. Thus he may have invented such a problem as this: "The effect of a great, sudden sin on a simple and joyous nature," and thence came all the substance of "The Marble Faun" ("Transformation"). The original and germinal idea would naturally divide itself into another, as the protozoa reproduce themselves. Another idea was the effect of nearness to the great crime on a pure and spotless nature: hence the character of Hilda. In the preface to "The Scarlet Letter," Hawthorne shows us how he tried, by reflection and dream, to warm the vague persons of the first mere notion or hint into such life as characters in romance inherit. While he was in the Civil Service of his country, in the Custom House at Salem, he could not do this; he needed freedom. He was dismissed by political opponents from office, and instantly he was himself again, and wrote his most popular and, perhaps, his best book. The evolution of his work was from the prime notion (which he confessed that he loved best when "strange") to the short story, and thence to the full and rounded novel. All his work was leisurely. All his language was picked, though not with affectation. He did not strive to make a style out of the use of odd words, or of familiar words in odd places. Almost always he looked for "a kind of spiritual medium, seen through which" his romances, like the Old Manse in which he dwelt, "had not quite the aspect of belonging to the material world." The spiritual medium which he liked, he was partly born into, and partly he created it. The child of a race which came from England, robust and Puritanic, he had in his veins the blood of judges--of those judges who burned witches and persecuted Quakers. His fancy is as much influenced by the old fanciful traditions of Providence, of Witchcraft, of haunting Indian magic, as Scott's is influenced by legends of foray and feud, by ballad, and song, and old wives' tales, and records of conspiracies, fire-raisings, tragic love- adventures, and border wars. Like Scott, Hawthorne lived in phantasy--in phantasy which returned to the romantic past, wherein his ancestors had been notable men. It is a commonplace, but an inevitable commonplace, to add that he was filled with the idea of Heredity, with the belief that we are all only new combinations of our fathers that were before us. This has been made into a kind of pseudo-scientific doctrine by M. Zola, in the long series of his Rougon-Macquart novels. Hawthorne treated it with a more delicate
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