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So much did Hawthorne study from these types, and so closely, that he might, had his genius directed, have written the most homely and realistic novels of New England life from the material which he picked up quite by the way. But though he did not translate his observations thus, the originality which he was continuously ripening amid such influences was radically affected by them.
When, about noon, he started for Boston, the situation was very grave. The British left the town as they had come in, with the grenadiers on the highway, the light infantry flanking them on the ridge. On this elevation, above the house he later inhabited, Hawthorne laid the scene of the duel between Septimius Felton and the British officer. At Merriam's Corner the ridge ends.
Before the Civil War there was practically no deliberate and systematic study of local and racial idiosyncracies. Hosea Biglow was a mask, not a character, and Parson Wilbur was a literary device. Even Hawthorne thought primarily of the element of imagination in the romances the universal, not the local, element.
Out of these materials, also, Hawthorne, child-endowed with a creative imagination, wove those tragedies of interior life, those novels of our provincial New England, which rank among the great masterpieces of the novelist's art. The master artist can idealize even our crude material, and make it serve.
The article shows conclusively how little Hawthorne had been affected, how completely he stood out of the national spirit, being as mere an observer of what was going on as at any time in his life and expressing his own view from time to time with entire obliviousness, as in the passages on Lincoln and on John Brown, of everything except his own impression.
The beautiful little rose-colored Nymphaea sanguinea, which once adorned the Botanic Garden at Cambridge, was merely an occasional variety of costume. Her humble cousin, the yellow Nuphar, keeps commonly aloof, as becomes a poor relation, though created from the selfsame mud, a fact which Hawthorne has beautifully moralized.
Perhaps the haunting power of the main theme of the book has contributed less to its fame than the felicity of its descriptions of Rome and Italy. For Hawthorne possessed, like Byron, in spite of his defective training in the appreciation of the arts, a gift of romantic discernment which makes "The Marble Faun," like "Childe Harold," a glorified guide-book to the Eternal City.
The time that never had, nor can ever have, its fellow for me, had to come to an end, as all times must, and when I shook hands with Lowell in parting, he overwhelmed me by saying that if I thought of going to Concord he would send me a letter to Hawthorne.
Hawthorne had suggested the Salem postmastership, but when O'Sullivan mentioned this, Bancroft objected on the ground that the present incumbent was too good a man to be displaced, and proposed the consulates of Genoa and Marseilles, two deplorable positions and quite out of the question for Hawthorne, in the condition of his family at that time.
He met Hawthorne at Washington, and describes him as very shy and reserved in manner, but adds, 'I found he was a lover of mine, and we enjoyed our acquaintance very much. One of the minor results of the great Civil War was the extinguishing of Willis's literary reputation; his frothy trifling suddenly became obsolete when men had sterner things to think about than the cut of a coat, or the etiquette of a morning call.
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