1
The House of the Seven Gables
ELECBOOK CLASSICS
The House of
the Seven Gables
Nathaniel Hawthorne
Nathaniel Hawthorne
Elecbook Classics
2
Mosses from an Old Manse
ELECBOOK CLASSICS
ebc0150, 7gabl10.pdf. Nathaniel Hawthorne: The House of the Seven Gables
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Elecbook Classics
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The House of the Seven Gables
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Elecbook Classics
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The House of the Seven Gables
The House of the
Seven Gables
Nathaniel Hawthorne
Nathaniel Hawthorne
Elecbook Classics
The House of the Seven Gables
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Contents
Click on number to go to page
Project Gutenberg Etexts.................................................................................5
INTRODUCTORY NOTE............................................................................13
PREFACE. ....................................................................................................18
I. The Old Pyncheon Family .........................................................................21
II. The Little Shop-Window ..........................................................................45
III. The First Customer..................................................................................57
IV. A Day Behind the Counter......................................................................71
V. May and November ..................................................................................85
VI. Maule’s Well.........................................................................................100
VII. The Guest.............................................................................................111
VIII. The Pyncheon of To-day ....................................................................127
IX. Clifford and Phoebe ..............................................................................144
X. The Pyncheon Garden ............................................................................156
XI. The Arched Window.............................................................................169
XII. The Daguerreotypist ............................................................................183
XIII. Alice Pyncheon ..................................................................................197
XIV. Phoebe’s Good-By .............................................................................220
XV. The Scowl and Smile...........................................................................231
XVI. Clifford’s Chamber ............................................................................247
XVII. The Flight of Two Owls....................................................................260
Nathaniel Hawthorne
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XVIII. Governor Pyncheon.........................................................................274
XIX. Alice’s Posies.....................................................................................290
XX. The Flower of Eden.............................................................................306
XXI. The Departure ....................................................................................315
Nathaniel Hawthorne
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The House of the Seven Gables
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INTRODUCTORY NOTE.
N September of the year during the February of which Hawthorne had
completed “The Scarlet 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 standing 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 foliage here about memultiplying and brightening its hues.” 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 magistrate at
Salem in the latter part of the seventeenth century, and officiated at the
famous trials for witchcraft held there. It is of record that he used peculiar
severity towards a certain woman who was among the accused; and the
husband of this woman prophesied 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 persecuted 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,
I
Nathaniel Hawthorne
Elecbook Classics
The House of the Seven Gables
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which continued in force in the time of The romancer; a conviction perhaps
derived from the recorded prophecy of The injured woman’s husband, just
mentioned; and, here again, we have a correspondence with Maule’s
malediction in The story. Furthermore, there occurs in The “American NoteBooks” (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 magisterial
harshness, and he maintained in consequence a lasting feud 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 hereditary foes, 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 posterity.
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. Allusion 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 virtue of which the owner had hoped to
Nathaniel Hawthorne
Elecbook Classics
The House of the Seven Gables
15
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 celebrated cases of
the day, Daniel Webster taking part prominently in the trial. But it should be
observed here that such resemblances as these between sundry 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 mansion conform so nearly to several old dwellings formerly
or still extant in Salem, that strenuous efforts have been made to fix upon
some one of them as the veritable edifice of the romance. A paragraph in
The opening chapter has perhaps assisted this delusion 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 specimen of the best
and stateliest architecture of a long-past epoch, and as the scene of events
more full of interest perhaps than those of a gray feudal castle—familiar as it
stands, in its rusty old age, it is therefore only the more difficult to imagine
the bright novelty with which it first caught the sunshine.”
Hundreds of pilgrims annually visit a house in Salem, belonging to one
branch of the Ingersoll family of that place, which is stoutly maintained to
have been The model for Hawthorne’s visionary dwelling. Others have
supposed that the now vanished house of The identical Philip English, whose
blood, as we have already noticed, became mingled with that of the
Nathaniel Hawthorne
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The House of the Seven Gables
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Hawthornes, supplied the pattern; and still a third building, known as the
Curwen mansion, has been declared the only genuine establishment.
Notwithstanding persistent popular belief, The authenticity of all these must
positively be denied; although it is possible that isolated 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, alluding to himself in the third person,
that he trusts not to be condemned for “laying out a street that infringes 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 radically 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 intercourse 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, idyllic life, despite the restrictions of a scanty 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
Nathaniel Hawthorne
Elecbook Classics
The House of the Seven Gables
17
place here. She says: “I delight to think that you also can look forth, 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 piazza. But you have not
this lovely lake, nor, I suppose, the delicate purple mist which folds these
slumbering 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 mighty Pan, by covering his chin
and breast with long grass-blades, that looked like a verdant 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 mellow
serenity 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 appreciation, nor if the romance of the
book should be somewhat at odds with the humble 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.
Nathaniel Hawthorne
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The House of the Seven Gables
18
PREFACE.
HEN a writer calls his work a Romance, it need hardly be
observed that he wishes to claim a certain latitude, both as to its
fashion and material, which he would not have felt himself
entitled to assume had he professed to be writing a Novel. The latter form of
composition is presumed to aim at a very minute fidelity, not merely to the
possible, but to the probable and ordinary course of man’s experience. The
former—while, as a work of art, it must rigidly subject itself to laws, and
while it sins unpardonably so far as it may swerve aside from the truth of the
human heart—has fairly a right to present that truth under circumstances, to
a great extent, of the writer’s own choosing or creation. If he think fit, also,
he may so manage his atmospherical medium as to bring out or mellow the
lights and deepen and enrich the shadows of the picture. He will be wise, no
doubt, to make a very moderate use of the privileges here stated, and,
especially, to mingle the Marvelous rather as a slight, delicate, and
evanescent flavor, than as any portion of the actual substance of the dish
offered to the public. He can hardly be said, however, to commit a literary
crime even if he disregard this caution.
In the present work, the author has proposed to himself—but with what
success, fortunately, it is not for him to judge—to keep undeviatingly within
his immunities. The point of view in which this tale comes under the
Romantic definition lies in the attempt to connect a bygone time with the
very present that is flitting away from us. It is a legend prolonging itself,
from an epoch now gray in the distance, down into our own broad daylight,
and bringing along with it some of its legendary mist, which the reader,
according to his pleasure, may either disregard, or allow it to float almost
imperceptibly about the characters and events for the sake of a picturesque
W
Nathaniel Hawthorne
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effect. The narrative, it may be, is woven of so humble a texture as to require
this advantage, and, at the same time, to render it the more difficult of
attainment.
Many writers lay very great stress upon some definite moral purpose, at
which they profess to aim their works. Not to be deficient in this particular,
the author has provided himself with a moral,—the truth, namely, that the
wrong-doing of one generation lives into the successive ones, and, divesting
itself of every temporary advantage, becomes a pure and uncontrollable
mischief; and he would feel it a singular gratification if this romance might
effectually convince mankind—or, indeed, any one man—of the folly of
tumbling down an avalanche of ill-gotten gold, or real estate, on the heads of
an unfortunate posterity, thereby to maim and crush them, until the
accumulated mass shall be scattered abroad in its original atoms. In good
faith, however, he is not sufficiently imaginative to flatter himself with the
slightest hope of this kind. When romances do really teach anything, or
produce any effective operation, it is usually through a far more subtile
process than the ostensible one. The author has considered it hardly worth
his while, therefore, relentlessly to impale the story with its moral as with an
iron rod,—or, rather, as by sticking a pin through a butterfly,—thus at once
depriving it of life, and causing it to stiffen in an ungainly and unnatural
attitude. A high truth, indeed, fairly, finely, and skilfully wrought out,
brightening at every step, and crowning the final development of a work of
fiction, may add an artistic glory, but is never any truer, and seldom any
more evident, at the last page than at the first.
The reader may perhaps choose to assign an actual locality to the
imaginary events of this narrative. If permitted by the historical
connection,—which, though slight, was essential to his plan,—the author
would very willingly have avoided anything of this nature. Not to speak of
other objections, it exposes the romance to an inflexible and exceedingly
Nathaniel Hawthorne
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