The Atlantic Monthly, Volume 05, No. 31, May, 1860

CHAPTER IX
THE DOCTOR ORDERS THE BEST SULKY

(With a Digression on "Hired Help")

"Abel! Slip Cassia into the new sulky, and fetch her round."

Abel was Dr. Kittredge's hired man. He was born in New Hampshire, a queer sort of a State, with fat streaks of soil and population where they breed giants in mind and body, and lean streaks which export imperfectly nourished young men with promising but neglected appetites, who may be found in great numbers in all the large towns, or could be until of late years, when they have been half driven out of their favorite basement-stories by foreigners, and half coaxed away from them by California. New Hampshire is in more than one sense the Switzerland of New England. The "Granite State" being naturally enough deficient in pudding-stone, its children are apt to wander southward in search of that deposit,—in the unpetrified condition.

Abel Stebbins was a good specimen of that extraordinary hybrid or mule between democracy and chrysocracy, a native-born New-England serving-man. The Old World has nothing at all like him. He is at once an emperor and a subordinate. In one hand he holds one five-millionth part (be the same more or less) of the power that sways the destinies of the Great Republic. His other hand is in your boot, which he is about to polish. It is impossible to turn a fellow-citizen whose vote may make his master—say, rather, employer—Governor or President, or who may be one or both himself, into a flunky. That article must be imported ready-made from other centres of civilization. When a New-Englander has lost his self-respect as a citizen and as a man, he is demoralized, and cannot be trusted with the money to pay for a dinner.

It may be supposed, therefore, that this fractional emperor, this continent-shaper, finds his position awkward when he goes into service, and that his employer is apt to find it still more embarrassing. It is always under protest that the hired man does his duty. Every act of service is subject to the drawback, "I am as good as you are." This is so common, at least, as almost to be the rule, and partly accounts for the rapid disappearance of the indigenous "domestic" from the basements above mentioned. Paleontologists will by-and-by be examining the floors of our kitchens for tracks of the extinct native species of serving-man. The female of the same race is fast dying out; indeed, the time is not far distant when all the varieties of young woman will have vanished from New England, as the dodo has perished in the Mauritius. The young lady is all that we shall have left, and the mop and duster of the last Almira or Loïzy will be stared at by generations of Bridgets and Noras as that famous head and foot of the lost bird are stared at in the Ashmolean Museum.

Abel Stebbins, the Doctor's man, took the true American view of his difficult position. He sold his time to the Doctor, and, having sold it, he took care to fulfil his half of the bargain. The Doctor, on his part, treated him, not like a gentleman, because one does not order a gentleman to bring up his horse or run his errands, but he treated him like a man. Every order was given in courteous terms. His reasonable privileges were respected as much as if they had been guarantied under hand and seal. The Doctor lent him books from his own library, and gave him all friendly counsel, as if he were a son or a younger brother.

Abel had Revolutionary blood in his veins, and though he saw fit to "hire out," he could never stand the word "servant," or consider himself the inferior one of the two high contracting parties. When he came to live with the Doctor, he made up his mind he would dismiss the old gentleman, if he did not behave according to his notions of propriety. But he soon found that the Doctor was one of the right sort, and so determined to keep him. The Doctor soon found, on his side, that he had a trustworthy, intelligent fellow, who would be invaluable to him, if he only let him have his own way of doing what was to be done.

The Doctor's hired man had not the manners of a French valet. He was grave and taciturn for the most part, he never bowed and rarely smiled, but was always at work in the daytime and always reading in the evening. He was hostler, and did all the housework that a man could properly do, would go to the door or "tend table," bought the provisions for the family,—in short, did almost everything for them but get their clothing. There was no office in a perfectly appointed household, from that of steward down to that of stable-boy, which he did not cheerfully assume. His round of work not consuming all his energies, he must needs cultivate the Doctor's garden, which he kept in one perpetual bloom, from the blowing of the first crocus to the fading of the last dahlia.

This garden was Abel's poem. Its half-dozen beds were so many cantos. Nature crowded them for him with imagery such as no Laureate could copy in the cold mosaic of language. The rhythm of alternating dawn and sunset, the strophe and antistrophe still perceptible through all the sudden shifts of our dithyrambic seasons and echoed in corresponding floral harmonies, made melody in the soul of Abel, the plain serving- man. It softened his whole otherwise rigid aspect. He worshipped God according to the strict way of his fathers; but a florist's Puritanism is always colored by the petals of his flowers,—and Nature never shows him a black corolla.

Perhaps he may have little or nothing to do in this narrative; but as there must be some who confound the New-England hired man, native-born, with the servant of foreign birth, and as there is the difference of two continents and two civilizations between them, it did not seem fair to let Abel bring round the Doctor's mare and sulky without touching his features in half-shadow into our background.

The Doctor's mare, Cassia, was so called by her master from her cinnamon color, cassia being one of the professional names for that spice or drug. She was of the shade we call sorrel, or, as an Englishman would perhaps say, chestnut,—a genuine "Morgan" mare, with a low forehand, as is common in this breed, but with strong quarters and flat hocks, well ribbed up, with a good eye and a pair of lively ears,—a first-rate doctor's beast,—would stand until her harness dropped off her back at the door of a tedious case, and trot over hill and dale thirty miles in three hours, if there was a child in the next county with a bean in its windpipe and the Doctor gave her a hint of the fact. Cassia was not large, but she had a good deal of action, and was the Doctor's show-horse. There were two other animals in his stable: Quassia or Quashy, the black horse, and Caustic, the old bay, with whom he jogged round the village.

"A long ride to-day?" said Abel, as he brought up the equipage.

"Just out of the village,—that's all.—There's a kink in her mane,—pull it out, will you?"

"Goin' to visit some of the great folks," Abel said to himself. "Wonder who it is."—Then to the Doctor,—"Anybody get sick at Sprowles's? They say Deacon Soper had a fit, after eatin' some o' their frozen victuals."

The Doctor smiled. He guessed the Deacon would do well enough. He was only going to ride over to the Dudley mansion-house.

CHAPTER X
THE DOCTOR CALLS ON ELSIE VENNER

If that primitive physician, CHIRON, M.D., appears as a Centaur, as we look at him through the lapse of thirty centuries, the modern country-doctor, if he could be seen about thirty miles off, could not be distinguished from a wheel-animalcule. He inhabits a wheel-carriage. He thinks of stationary dwellings as Long Tom Coffin did of land in general; a house may be well enough for incidental purposes, but for a "stiddy" residence give him a "kerridge." If he is classified in the Linnaean scale, he must be set down thus: Genus Homo; Species Rotifer infusorius,—the wheel-animal of infusions.

The Dudley mansion was not a mile from the Doctor's; but it never occurred to him to think of walking to see any of his patients' families, if he had any professional object in his visit. Whenever the narrow sulky turned in at a gate, the rustic who was digging potatoes, or hoeing corn, or swishing through the grass with his scythe in wave-like crescents, or stepping short behind a loaded wheel-barrow, or trudging lazily by the side of the swinging, loose-throated, short-legged oxen, rocking along the road as if they had just been landed after a three-months' voyage,—the toiling native, whatever he was doing, stopped and looked up at the house the doctor was visiting.

"Somebody sick over there t' Haynes's. Guess th' old man's ailin' ag'in. Winder's haäf-way open in the chamber,—shouldn't wonder 'f he was dead and laid aout. Docterin' a'n't no use, when y' see the winders open like that. Wahl, money a'n't much to speak of to th' old man naow! He don't want but tew cents,—and old Widah Peake, she knows what he wants them for!"

Or again,—

"Measles raound pootty thick. Briggs's folks's' buried two children with 'em laäst week. Th' old Doctor, he'd h' ker'd 'em threugh. Struck in 'n' p'dooeed mot'f cation,—so they say."

This is only meant as a sample of the kind of way they used to think or talk, when the narrow sulky turned in at the gate of some house where there was a visit to be made.

Oh, that narrow sulky! What hopes, what fears, what comfort, what anguish, what despair, in the roll of its coming or its parting wheels! In the spring, when the old people get the coughs which give them a few shakes and their lives drop in pieces like the ashes of a burned thread which have kept the threadlike shape until they were stirred,—in the hot summer noons, when the strong man comes in from the fields, like the son of the Shunamite, crying, "My head, my head,"—in the dying autumn days, when youth and maiden lie fever-stricken in many a household, still-faced, dull-eyed, dark-flushed, dry-lipped, low-muttering in their daylight dreams, their fingers moving singly like those of slumbering harpers,—in the dead winter, when the white plague of the North has caged its wasted victims, shuddering as they think of the frozen soil which must be quarried like rock to receive them, if their perpetual convalescence should happen to be interfered with by any untoward accident,—at every season, the narrow sulky rolled round freighted with unmeasured burdens of joy and woe.

The Doctor drove along the southern foot of The Mountain. The "Dudley mansion" was near the eastern edge of this declivity, where it rose steepest, with baldest cliffs and densest patches of over-hanging wood. It seemed almost too steep to climb, but a practised eye could see from a distance the zigzag lines of the sheep-paths which scaled it like miniature Alpine roads. A few hundred feet up The Mountain's side was a dark, deep dell, unwooded, save for a few spindling, crazy—looking hackmatacks or native larches, with pallid green tufts sticking out fantastically all over them. It shelved so deeply, that, while the hemlock-tassels were swinging on the trees around its border, all would be still at its springy bottom, save that perhaps a single fern would wave slowly backward and forward like a sabre, with a twist as of a feathered oar,—and this, when not a breath could be felt, and every other stem and blade were motionless. There was an old story of one having perished here in the winter of '86, and his body having been found in the spring,—whence its common name of "Dead-Man's Hollow." Higher up there were huge cliffs with chasms, and, it was thought, concealed caves, where in old times they said that Tories lay hid,—some hinted not without occasional aid and comfort from the Dudleys then living in the mansion-house. Still higher and farther west lay the accursed ledge,—shunned by all, unless it were now and then a daring youth, or a wandering naturalist who ventured to its edge in the hope of securing some infantile Crotalus durissus, who had not yet cut his poison-teeth.

Long, long ago, in old Colonial times, the Honorable Thomas Dudley, Esquire, a man of note and name and great resources, allied by descent to the family of "Tom Dudley," as the early Governor is sometimes irreverently called by our most venerable, but still youthful antiquary,—and to the other public Dudleys, of course,—of all of whom he made small account, as being himself an English gentleman, with little taste for the splendors of provincial office,—early in the last century, Thomas Dudley had built this mansion. For several generations it had been dwelt in by descendants of the same name, but soon after the Revolution it passed by marriage into the hands of the Venners, by whom it had ever since been held and tenanted.

As the Doctor turned an angle in the road, all at once the stately old house rose before him. It was a skilfully managed effect, as it well might be, for it was no vulgar English architect who had planned the mansion and arranged its position and approach. The old house rose before the Doctor crowning a terraced garden, flanked at the left by a double avenue of tall elms. The flower-beds were edged with box, which diffused around it that dreamy balsamic odor, full of ante-natal reminiscences of a lost Paradise, dimly fragrant as might be the bdellium of ancient Havilah, the land compassed by the river Pison that went out of Eden. The garden was somewhat neglected, but not in disgrace,—and in the time of tulips and hyacinths, of roses, of "snowballs," of honeysuckles, of lilacs, of syringas, it was rich with blossoms.

From the front-windows of the mansion the eye reached a far blue mountain-summit,—no rounded heap, such as often shuts in a village-landscape, but a sharp peak, clean-angled as Ascutney from the Dartmouth green. A wide gap through miles of woods had opened this distant view, and showed more, perhaps, than all the labors of the architect and the landscape-gardener the large style of the early Dudleys.

The great stone chimney of the mansion-house was the centre from which all the artificial features of the scene appeared to flow. The roofs, the gables, the dormer-windows, the porches, the clustered offices in the rear, all seemed to crowd about the great chimney. To this central pillar the paths all converged. The single poplar behind the house,—Nature is jealous of proud chimneys, and always loves to put a poplar near one, so that it may fling a leaf or two down its black throat every autumn,—the one tall poplar behind the house seemed to nod and whisper to the grave square column, the elms to sway their branches towards it. And when the blue smoke rose from its summit, it seemed to be wafted away to join the azure haze which hung around the peak in the far distance, so that both should bathe in a common atmosphere.

Behind the house were clumps of lilacs with a century's growth upon them, and looking more like trees than like shrubs. Shaded by a group of these was the ancient well, of huge circuit, and with a low arch opening out of its wall about ten feet below the surface,—whether the door of a crypt for the concealment of treasure, or of a subterranean passage, or merely of a vault for keeping provisions cool in hot weather, opinions differed.

On looking at the house, it was plain that it was built with Old-World notions of strength and durability, and, so far as might be, with Old-World materials. The hinges of the doors stretched out like arms, instead of like hands, as we make them. The bolts were massive enough for a donjon-keep. The small window-panes were actually inclosed in the wood of the sashes, instead of being stuck to them with putty, as in our modern windows. The broad staircase was of easy ascent, and was guarded by quaintly turned and twisted balusters. The ceilings of the two rooms of state were moulded with medallion-portraits and rustic figures, such as may have been seen by many readers in the famous old Philipse house,—Washington's headquarters,—in the town of Yonkers. The fireplaces, worthy of the wide-throated central chimney, were bordered by pictured tiles, some of them with Scripture stories, some with Watteau-like figures,—tall damsels in slim waists and with spread enough of skirt for a modern ballroom, with bowing, reclining, or musical swains of what everybody calls the "conventional" sort,—that is, the swain adapted to genteel society rather than to a literal sheep-compelling existence.

The house was furnished, soon after it was completed, with many heavy articles made in London from a rare wood just then come into fashion, not so rare now, and commonly known as mahogany. Time had turned it very dark, and the stately bedsteads and tall cabinets and claw-footed chairs and tables were in keeping with the sober dignity of the ancient mansion. The old "hangings" were yet preserved in the chambers, faded, but still showing their rich patterns,—properly entitled to their name, for they were literally hung upon flat wooden frames like trellis-work, which again were secured to the naked partitions. There were portraits of different date on the walls of the various apartments, old painted coats-of-arms, bevel-edged mirrors, and in one sleeping-room a glass case of wax-work flowers and spangly symbols, with a legend signifying that E.M. (supposed to be Elizabeth Mascarene) wished not to be "forgot"

 
"When I am dead and lay'd in dust
And all my bones are"–
 

Poor E.M.! Poor everybody that sighs for earthly remembrance in a planet with a core of fire and a crust of fossils!

Such was the Dudley mansion-house,—for it kept its ancient name in spite of the change in the line of descent. Its spacious apartments looked dreary and desolate; for here Dudley Venner and his daughter dwelt by themselves, with such servants only as their quiet mode of life required. He almost lived in his library, the western room on the ground-floor. Its window looked upon a small plat of green, in the midst of which was a single grave marked by a plain marble slab. Except this room, and the chamber where he slept, and the servants' wing, the rest of the house was all Elsie's. She was always a restless, wandering child from her early years, and would have her little bed moved from one chamber to another,—flitting round as the fancy took her. Sometimes she would drag a mat and a pillow into one of the great empty rooms, and, wrapping herself in a shawl, coil up and go to sleep in a corner. Nothing frightened her; the "haunted" chamber, with the torn hangings that flapped like wings when there was air stirring, was one of her favorite retreats.

She had been a very hard creature to manage. Her father could influence, but not govern her. Old Sophy, born of a slave mother in the house, could do more with her than anybody, knowing her by long instinctive study. The other servants were afraid of her. Her father had sent for governesses, but none of them ever stayed long. She made them nervous; one of them had a strange fit of sickness; not one of them ever came back to the house to see her. A young Spanish woman who taught her dancing succeeded best with her, for she had a passion for that exercise, and had mastered some of the most difficult dances.

Long before this period, she had manifested some most extraordinary singularities of taste or instinct. The extreme sensitiveness of her father on this point prevented any allusion to them; but there were stories floating round, some of them even getting into the papers,—without her name, of course,—which were of a kind to excite intense curiosity, if not more anxious feelings. This thing was certain, that at the age of twelve she was missed one night, and was found sleeping in the open air under a tree, like a wild creature. Very often she would wander off by day, always without a companion, bringing home with her a nest, a flower, or even a more questionable trophy of her ramble, such as showed that there was no place where she was afraid to venture. Once in a while she had stayed out over night, in which case the alarm was spread, and men went in search of her, but never successfully,—so that some said she hid herself in trees, and others that she had found one of the old Tory caves.

Some, of course, said she was a crazy girl, and ought to be sent to an Asylum. But old Dr. Kittredge had shaken his head, and told them to bear with her, and let her have her way as much as they could, but watch her, as far as possible, without making her suspicious of them. He visited her now and then, under the pretext of seeing her father on business, or of only making a friendly call.

* * * * *

The Doctor fastened his horse outside the gate, and walked up the garden-alley. He stopped suddenly with a start. A strange sound had jarred upon his ear. It was a sharp prolonged rattle, continuous, but rising and falling as if in rhythmical cadence. He moved softly towards the open window from which the sound seemed to proceed.

Elsie was alone in the room, dancing one of those wild Moorish fandangos, such as a matador hot from the Plaza de Toros of Seville or Madrid might love to lie and gaze at. She was a figure to look upon in silence. The dancing frenzy must have seized upon her while she was dressing; for she was in her bodice, bare-armed, her hair floating unbound far below the waist of her barred or banded skirt. She had caught up her castanets, and rattled them as she danced with a kind of passionate fierceness, her lithe body undulating with flexuous grace, her diamond eyes glittering, her round arms wreathing and unwinding, alive and vibrant to the tips of the slender fingers. Some passion seemed to exhaust itself in this dancing paroxysm; for all at once she reeled from the middle of the floor, and flung herself, as it were in a careless coil, upon a great tiger's-skin which was spread out in one corner of the apartment.

The old Doctor stood motionless, looking at her as she lay panting on the tawny, black-lined robe of the dead monster, which stretched out beneath her, its rude flattened outline recalling the Terror of the Jungle as he crouched for his fatal spring. In a few moments her head drooped upon her arm, and her glittering eyes closed,—she was sleeping. He stood looking at her still, steadily, thoughtfully, tenderly. Presently he lifted his hand to his forehead, as if recalling some fading remembrance of other years.

"Poor Catalina!"

This was all he said. He shook his head,—implying that his visit would be in vain to-day,—returned to his sulky, and rode away, as if in a dream.

* * * * *

NATHANIEL HAWTHORNE.

The romance of "The Marble Faun" will be widely welcomed, not only for its intrinsic merits, but because it is a sign that its writer, after a silence of seven or eight years, has determined to resume his place in the ranks of authorship. In his preface he tells us, that in each of his previous publications he had unconsciously one person in his eye, whom he styles his "gentle reader." He meant it "for that one congenial friend, more comprehensive of his purposes, more appreciative of his. success, more indulgent of his short-comings, and, in all respects, closer and kinder than a brother,—that all-sympathizing critic, in short, whom an author never actually meets, but to whom he implicitly makes his appeal, whenever he is conscious of having done his best." He believes that this reader did once exist for him, and duly received the scrolls he flung "upon whatever wind was blowing, in the faith that they would find him out." "But," he questions, "is he extant now? In these many years since he last heard from me, may he not have deemed his earthly task accomplished, and have withdrawn to the paradise of gentle readers, wherever it may be, to the enjoyments of which his kindly charity on my behalf must surely have entitled him?" As we feel assured that Hawthorne's reputation has been steadily growing with the lapse of time, he has no cause to fear that the longevity of his gentle reader will not equal his own. As long as he writes, there will be readers enough to admire and appreciate.

The publication of this new romance seems to offer us a fitting occasion to attempt some description of the peculiarities of the genius of which it is the latest offspring, and to hazard some judgments on its predecessors. It is more than twenty-five years since Hawthorne began that remarkable series of stories and essays which are now collected in the volumes of "Twice-Told Tales," "The Snow Image and other Tales," and "Mosses from an Old Manse." From the first he was recognized by such readers as he chanced to find as a man of genius, yet for a long time he enjoyed, in his own words, the distinction of being "the obscurest man of letters in America." His readers were "gentle" rather than enthusiastic; their fine delight in his creations was a private perception of subtile excellences of thought and style, too refined and self-satisfying to be contagious; and the public was untouched, whilst the "gentle" reader was full of placid enjoyment. Indeed, we fear that this kind of reader is something of an Epicurean,—receives a new genius as a private blessing, sent by a benign Providence to quicken a new life in his somewhat jaded sense of intellectual pleasure; and after having received a fresh sensation, he is apt to be serenely indifferent whether the creator of it starve bodily or pine mentally from the lack of a cordial human shout of recognition.

There would appear, on a slight view of the matter, no reason for the little notice which Hawthorne's early productions received. The subjects were mostly drawn from the traditions and written records of New England, and gave the "beautiful strangeness" of imagination to objects, incidents, and characters which were familiar facts in the popular mind. The style, while it had a purity, sweetness, and grace which satisfied the most fastidious and exacting taste, had, at the same time, more than the simplicity and clearness of an ordinary school-book. But though the subjects and the style were thus popular, there was something in the shaping and informing spirit which failed to awaken interest, or awakened interest without exciting delight. Misanthropy, when it has its source in passion,—when it is fierce, bitter, fiery, and scornful,—when it vigorously echoes the aggressive discontent of the world, and furiously tramples on the institutions and the men luckily rather than rightfully in the ascendant,—this is always popular; but a misanthropy which springs from insight,—a misanthropy which is lounging, languid, sad, and depressing,—a misanthropy which remorselessly looks through cursing misanthropes and chirping men of the world with the same sure, detecting glance of reason,—a misanthropy which has no fanaticism, and which casts the same ominous doubt on subjectively morbid as on subjectively moral action,—a misanthropy which has no respect for impulses, but has a terrible perception of spiritual laws,—this is a misanthropy which can expect no wide recognition; and it would be vain to deny that traces of this kind of misanthropy are to be found in Hawthorne's earlier, and are not altogether absent from his later works. He had spiritual insight, but it did not penetrate to the sources of spiritual joy; and his deepest glimpses of truth were calculated rather to sadden than to inspire. A blandly cynical distrust of human nature was the result of his most piercing glances into the human soul. He had humor, and sometimes humor of a delicious kind; but this sunshine of the soul was but sunshine breaking through or lighting up a sombre and ominous cloud. There was also observable in his earlier stories a lack of vigor, as if the power of his nature had been impaired by the very process—which gave depth and excursiveness to his mental vision. Throughout, the impression is conveyed of a shy recluse, alternately bashful in disposition and bold in thought, gifted with original and various capacities, but capacities which seemed to have developed themselves in the shade, without sufficient energy of will or desire to force them, except fitfully, into the sunlight. Shakspeare calls moonlight the sunlight sick; and it is in some such moonlight of the mind that the genius of Hawthorne found its first expression. A mild melancholy, sometimes deepening into gloom, sometimes brightened into a "humorous sadness," characterized his early creations. Like his own Hepzibah Pyncheon, he appeared "to be walking in a dream"; or rather, the life and reality assumed by his emotions "made all outward occurrences unsubstantial, like the teasing phantasms of an unconscious slumber." Though dealing largely in description, and with the most accurate perceptions of outward objects, he still, to use again his own words, gives the impression of a man "chiefly accustomed to look inward, and to whom external matters are of little value or import, unless they bear relation to something within his own mind." But that "something within his own mind" was often an unpleasant something, perhaps a ghastly occult perception of deformity and sin in what appeared outwardly fair and good; so that the reader felt a secret dissatisfaction with the disposition which directed the genius, even in the homage he awarded to the genius itself. As psychological portraits of morbid natures, his delineations of character might have given a purely intellectual satisfaction; but there was audible, to the delicate ear, a faint and muffled growl of personal discontent, which showed they were not mere exercises of penetrating imaginative analysis, but had in them the morbid vitality of a despondent mood.

Yet, after admitting these peculiarities, nobody who is now drawn to the "Twice-Told Tales," from his interest in the later romances of Hawthorne, can fail to wonder a little at the limited number of readers they attracted on their original publication. For many of these stories are at once a representation of early New-England life and a criticism on it. They have much of the deepest truth of history in them. "The Legends of the Province House," "The Gray Champion," "The Gentle Boy," "The Minister's Black Veil," "Endicott and the Red Cross," not to mention others, contain important matter which cannot be found in Bancroft or Grahame. They exhibit the inward struggles of New-England men and women with some of the darkest problems of existence, and have more vital import to thoughtful minds than the records of Indian or Revolutionary warfare. In the "Prophetic Pictures," "Fancy's Show-Box," "The Great Carbuncle," "The Haunted Mind," and "Edward Fane's Rose-Bud," there are flashes of moral insight, which light up, for the moment, the darkest recesses of the individual mind; and few sermons reach to the depth of thought and sentiment from which these seemingly airy sketches draw their sombre life. It is common, for instance, for religious moralists to insist on the great spiritual truth, that wicked thoughts and impulses, which circumstances prevent from passing into wicked acts, are still deeds in the sight of God; but the living truth subsides into a dead truism, as enforced by commonplace preachers. In "Fancy's Show-Box," Hawthorne seizes the prolific idea; and the respectable merchant and respected church-member, in the still hour of his own meditation, convicts himself of being a liar, cheat, thief, seducer, and murderer, as he casts his glance over the mental events which form his spiritual biography. Interspersed with serious histories and moralities like these, are others which embody the sweet and playful, though still thoughtful and slightly saturnine action of Hawthorne's mind,—like "The Seven Vagabonds," "Snow-Flakes," "The Lily's Quest," "Mr. Higgenbotham's Catastrophe," "Little Annie's Ramble," "Sights from a Steeple," "Sunday at Home," and "A Rill from the Town-Pump."