The Divine Magnet

Herman Melville's Letters to Nathaniel Hawthorne

Herman Melville, Mark Niemeyer

• Editore: Orison Books
• Anno: 2016
• ISBN:
  9780990691761
• Edizione: 1
• Argomento: Literatura
• Categoria: Cartas literarias

If you don't know Melville's letters to Hawthorne, you don't know Melville. These letters are full of passion, humor, doubt, and spiritual yearning, and offer an intimate view of Melville's personality. Lyrical and effusive, they are literary works in themselves. This correspondence has been out of print for decades, and even when it was in print it appeared in scholarly volumes of Melville's complete correspondence, aimed at the academy. The Divine Magnet will provide the general literary public as well as the college classroom with a reliable and beautifully produced volume of Melville's letters to Hawthorne, along with supplemental material, highlighting the relationship between these luminaries of American letters.

Hawthorne and His Mosses26

By a Virginian Spending July in Vermont

A papered chamber in a fine old farm-house—a mile from any other dwelling, and dipped to the eaves in foliage—surrounded by mountains, old woods, and Indian ponds,—this, surely, is the place to write of Hawthorne. Some charm is in this northern air, for love and duty seem both impelling to the task. A man of a deep and noble nature has seized me in this seclusion. His wild, witch voice rings through me; or, in softer cadences, I seem to hear it in the songs of the hill-side birds, that sing in the larch trees at my window.

Would that all excellent books were foundlings, without father or mother, that so it might be, we could glorify them, without including their ostensible authors. Nor would any true man take exception to this;—least of all, he who writes,—“When the Artist rises high enough to achieve the Beautiful, the symbol by which he makes it perceptible to mortal senses becomes of little value in his eyes, while his spirit possesses itself in the enjoyment of the reality.”27

But more than this. I know not what would be the right name to put on the title-page of an excellent book, but this I feel, that the names of all fine authors are fictitious ones, far more than that of Junius,—simply standing, as they do, for the mystical, ever-eluding Spirit of all Beauty, which ubiquitously possesses men of genius. Purely imaginative as this fancy may appear, it nevertheless seems to receive some warranty from the fact, that on a personal interview no great author has ever come up to the idea of his reader. But that dust of which our bodies are composed, how can it fitly express the nobler intelligences among us? With reverence be it spoken, that not even in the case of one deemed more than man, not even in our Saviour, did his visible frame betoken anything of the augustness of the nature within. Else, how could those Jewish eyewitnesses fail to see heaven in his glance.

It is curious, how a man may travel along a country road, and yet miss the grandest, or sweetest of prospects, by reason of an intervening hedge, so like all other hedges, as in no way to hint of the wide landscape beyond. So has it been with me concerning the enchanting landscape in the soul of this Hawthorne, this most excellent Man of Mosses. His “Old Manse” has been written now four years, but I never read it till a day or two since. I had seen it in the book-stores—heard of it often—even had it recommended to me by a tasteful friend, as a rare, quiet book, perhaps too deserving of popularity to be popular. But there are so many books called “excellent”, and so much unpopular merit, that amid the thick stir of other things, the hint of my tasteful friend was disregarded; and for four years the Mosses on the old Manse never refreshed me with their perennial green. It may be, however, that all this while, the book, like wine, was only improving in flavor and body. At any rate, it so chanced that this long procrastination eventuated in a happy result. At breakfast the other day, a mountain girl, a cousin of mine, who for the last two weeks has every morning helped me to strawberries and raspberries,—which, like the roses and pearls in the fairy-tale, seemed to fall into the saucer from those strawberry-beds her cheeks,—this delightful creature, this charming Cherry says to me—“I see you spend your mornings in the hay-mow; and yesterday I found there ‘Dwight’s Travels in New England’. Now I have something far better than that,—something more congenial to our summer on these hills. Take these raspberries, and then I will give you some moss.”—“Moss!” said I.—“Yes, and you must take it to the barn with you, and good-bye to ‘Dwight’”.

With that she left me, and soon returned with a volume, verdantly bound, and garnished with a curious frontispiece in green,—nothing less, than a fragment of real moss cunningly pressed to a fly-leaf.—“Why this,” said I spilling my raspberries, “this is the ‘Mosses from an Old Manse’”. “Yes” said cousin Cherry “yes, it is that flowery Hawthorne.”—“Hawthorne and Mosses” said I “no more: it is morning: it is July in the country: and I am off for the barn”.

Stretched on that new mown clover, the hill-side breeze blowing over me through the wide barn door, and soothed by the hum of the bees in the meadows around, how magically stole over me this Mossy Man! and how amply, how bountifully, did he redeem that delicious promise to his guests in the Old Manse, of whom it is written—“Others could give them pleasure, or amusement, or instruction—these could be picked up anywhere—but it was for me to give them rest. Rest, in a life of trouble! What better could be done for weary and world-worn spirits? what better could be done for anybody, who came within our magic circle, than to throw the spell of a magic spirit over him?”—So all that day, half-buried in the new clover, I watched this Hawthorne’s “Assyrian dawn, and Paphian sunset and moonrise, from the summit of our Eastern Hill.”

The soft ravishments of the man spun me round in a web of dreams, and when the book was closed, when the spell was over, this wizard “dismissed me with but misty reminiscences, as if I had been dreaming of him”.

What a mild moonlight of contemplative humor bathes that Old Manse!—the rich and rare distilment of a spicy and slowly-oozing heart. No rollicking rudeness, no gross fun fed on fat dinners, and bred in the lees of wine,—but a humor so spiritually gentle, so high, so deep, and yet so richly relishable, that it were hardly inappropriate in an angel. It is the very religion of mirth; for nothing so human but it may be advanced to that. The orchard of the Old Manse seems the visible type of the fine mind that has described it. Those twisted, and contorted old trees, “that stretch out their crooked branches, and take such hold of the imagination, that we remember them as humorists, and odd-fellows.” And then, as surrounded by these grotesque forms, and hushed in the noon-day repose of this Hawthorne’s spell, how aptly might the still fall of his ruddy thoughts into your soul be symbolized by “the thump of a great apple, in the stillest afternoon, falling without a breath of wind, from the mere necessity of perfect ripeness”! For no less ripe than ruddy are the apples of the thoughts and fancies in this sweet Man of Mosses.

“Buds and Bird-voices”—What a delicious thing is that!—“Will the world ever be so decayed, that Spring may not renew its greenness?”—And the “Fire-Worship”. Was ever the hearth so glorified into an altar before? The mere title of that piece is better than any common work in fifty folio volumes. How exquisite is this:—“Nor did it lessen the charm of his soft, familiar courtesy and helpfulness, that the mighty spirit, were opportunity offered him, would run riot through the peaceful house, wrap its inmates in his terrible embrace, and leave nothing of them save their whitened bones. This possibility of mad destruction only made his domestic kindness the more beautiful and touching. It was so sweet of him, being endowed with such power, to dwell, day after day, and one long, lonesome night after another, on the dusky hearth, only now and then betraying his wild nature, by thrusting his red tongue out of the chimney-top! True, he had done much mischief in the world, and was pretty certain to do more, but his warm heart atoned for all. He was kindly to the race of man.”

But he has still other apples, not quite so ruddy, though full as ripe;—apples, that have been left to wither on the tree, after the pleasant autumn gathering is past. The sketch of “The Old Apple Dealer” is conceived in the subtlest spirit of sadness; he whose “subdued and nerveless boyhood prefigured his abortive prime, which, likewise, contained within itself the prophecy and image of his lean and torpid age”. Such touches as are in this piece can not proceed from any common heart. They argue such a depth of tenderness, such a boundless sympathy with all forms of being, such an omnipresent love, that we must needs say, that this Hawthorne is here almost alone in his generation,—at least, in the artistic manifestation of these things. Still more. Such touches as these,—and many, very many similar ones, all through his chapters—furnish clews, whereby we enter a little way into the intricate, profound heart where they originated. And we see, that suffering, some time or other and in some shape or other,—this only can enable any man to depict it in others. All over him, Hawthorne’s melancholy rests like an Indian Summer, which though bathing a whole country in one softness, still reveals the distinctive hue of every towering hill, and each far-winding vale.

But it is the least part of genius that attracts admiration. Where Hawthorne is known, he seems to be deemed a pleasant writer, with a pleasant style,—a sequestered, harmless man, from whom any deep and weighty thing would hardly be anticipated:—a man who means no meanings. But there is no man, in whom humor and love, like mountain peaks, soar to such a rapt height, as to receive the irradiations of the upper skies;—there is no man in whom humor and love are developed in that high form called genius; no such man can exist without also possessing, as the indispensable complement of these, a great, deep intellect, which drops down into the universe like a plummet. Or, love and humor are only the eyes, through which such an intellect views this world. The great beauty in such a mind is but the product of its strength. What, to all readers, can be more charming than the piece entitled “Monsieur du Miroir”; and to a reader at all capable of fully fathoming it, what, at the same time, can possess more mystical depth of meaning?—Yes, there he sits, and looks at me,—this “shape of mystery”, this “identical Monsieur du Miroir”.—“Methinks I should tremble now, were his wizard power of gliding through all impediments in search of me, to place him suddenly before my eyes”.

How profound, nay appalling, is the moral evolved by the “Earth’s Holocaust”; where—beginning with the hollow follies and affectations of the world,—all vanities and empty theories and forms, are, one after another, and by an admirably graduated, growing comprehensiveness, thrown into the allegorical fire, till, at length, nothing is left but the all-engendering heart of man; which remaining still unconsumed, the great conflagration is nought.

Of a piece with this, is the “Intelligence Office”, a wondrous symbolizing of the secret workings in men’s souls. There are other sketches, still more charged with ponderous import.

“The Christmas Banquet”, and “The Bosom Serpent” would be fine subjects for a curious and elaborate analysis, touching the conjectural parts of the mind that produced them. For spite of all the Indian-summer sunlight on the hither side of Hawthorne’s soul, the other side—like the dark half of the physical sphere—is shrouded in a blackness, ten times black. But this darkness but gives more effect to the ever-moving dawn, that forever advances through it, and circumnavigates his world. Whether Hawthorne has simply availed himself of this mystical blackness as a means to the wondrous effects he makes it to produce in his lights and shades; or whether there really lurks in him, perhaps unknown to himself, a touch of Puritanic gloom,—this, I cannot altogether tell. Certain it is, however, that this great power of blackness in him derives its force from its appeals to that Calvinistic sense of Innate Depravity and Original Sin, from whose visitations, in some shape or other, no deeply thinking mind is always and wholly free. For, in certain moods, no man can weigh this world, without throwing in something, somehow like Original Sin, to strike the uneven balance. At all events, perhaps no writer has ever wielded this terrific thought with greater terror than this same harmless Hawthorne. Still more: this black conceit pervades him, through and through. You may be witched by his sunlight,—transported by the bright gildings in the skies he builds over you;—but there is the blackness of darkness beyond; and even his bright gildings but fringe, and play upon the edges of thunder-clouds.—In one word, the world is mistaken in this Nathaniel Hawthorne. He himself must often have smiled at its absurd misconception of him. He is immeasurably deeper than the plummet of the mere critic. For it is not the brain that can test such a man; it is only the heart. You cannot come to know greatness by inspecting it; there is no glimpse to be caught of it, except by intuition; you need not ring it, you but touch it, and you find it is gold.

Now it is that blackness in Hawthorne, of which I have spoken, that so fixes and fascinates me. It may be, nevertheless, that it is too largely developed in him. Perhaps he does not give us a ray of his light for every shade of his dark. But however this may be, this blackness it is that furnishes the infinite obscure of his back-ground,—that back-ground, against which Shakespeare plays his grandest conceits, the things that have made for Shakespeare his loftiest, but most circumscribed renown, as the profoundest of thinkers. For by philosophers Shakespeare is not adored as the great man of tragedy and comedy.—“Off with his head! so much for Buckingham!” this sort of rant, interlined by another hand, brings down the house,—those mistaken souls, who dream of Shakespeare as a mere man of Richard-the-Third humps, and Macbeth daggers. But it is those deep far-away things in him; those occasional flashings-forth of the intuitive Truth in him; those short, quick probings at the very axis of reality;—these are the things that make Shakespeare, Shakespeare. Through the mouths of the dark characters of Hamlet, Timon, Lear, and Iago, he craftily says, or sometimes insinuates the things, which we feel to be so terrifically true, that it were all but madness for any good man, in his own proper character, to utter, or even hint of them. Tormented into desperation, Lear the frantic King tears off the mask, and speaks the sane madness of vital truth. But, as I before said, it is the least part of genius that attracts admiration. And so, much of the blind, unbridled admiration that has been heaped upon Shakespeare, has been lavished upon the least part of him. And few of his endless commentators and critics seem to have remembered, or even perceived, that the immediate products of a great mind are not so great, as that undeveloped, (and sometimes undevelopable) yet dimly-discernable greatness, to which these immediate products are but the infallible indices. In Shakespeare’s tomb lies infinitely more than Shakespeare ever wrote. And if I magnify Shakespeare, it is not so much for what he did do, as for what he did not do, or refrained from doing. For in this world of lies, Truth is forced to fly like a scared white doe in the woodlands; and only by cunning glimpses will she reveal herself, as in Shakespeare and other masters of the great Art of Telling the Truth,—even though it be covertly, and by snatches.

But if this view of the all-popular Shakespeare be seldom taken by his readers, and if very few who extol him, have ever read him deeply, or, perhaps, only have seen him on the tricky stage, (which alone made, and is still making him his mere mob renown)—if few men have time, or patience, or palate, for the spiritual truth as it is in that great genius;—it is, then, no matter of surprise that in a contemporaneous age, Nathaniel...