The House of the Seven Gables (Illustrated). Nathaniel Hawthorne

references to literature escape him, which did not ordinarily find their way into his letters to other people. From England, in 1854, he wrote to that gentleman: "I thank you for the books you sent me, and more especially for Mrs. Mowatt's 'Autobiography,' which seems to me an admirable book. Of all things I delight in autobiographies; and I hardly ever read one that interested me so much." He did not read for erudition or for criticism, but he certainly read much, and books were companions to him. I have seen several catalogues of libraries which Hawthorne had marked carefully, proving that, although he made no annotations, he had studied the titles with a natural reader's loving fondness. His stay at Leamington was but a brief one, and for that reason he may well have been without books in his study at the moment; he never crowded them about himself, in the rooms where he worked, but his tower-study at The Wayside always contained a few volumes, and a few small pictures and ornaments—enough to relieve his eye or suggest a refreshment to his mind, without distracting him from composition or weakening the absorbed intensity of his thought.

      The only approach to literary exertion made at Liverpool seems to have been the revision of the "Mosses from an Old Manse," for a reissue at the hands of Ticknor & Fields; employment which led to some reflections upon his own earlier works.

      "I am very glad that the 'Mosses' have come into the hands of our firm; and I return the copy sent me, after a careful revision. When I wrote those dreamy sketches, I little thought I should ever preface an edition for the press amid the bustling life of a Liverpool consulate. Upon my honor, I am not quite sure that I entirely comprehend my own meaning, in some of those blasted allegories; but I remember that I always had a meaning, or at least thought I had. I am a good deal changed since those times; and, to tell you the truth, my past self is not very much to my taste, as I see myself in this book. Yet certainly there is more in it than the public generally gave me credit for at the time it was written.

      "But I don't think myself worthy of very much more credit than I got. It has been a very disagreeable task to read the book."

      He was inveigled, however, into giving encouragement to that unfortunate woman, Miss Delia Bacon, who was engaged in the task of proving that Lord Bacon wrote Shakespeare's plays. He corresponded with her on the subject, and finally agreed, although not assenting to her theory, to write a preface for her book, which he did. She was dissatisfied because he did not accept her views entirely, grew very angry, and even broke off all relations with him, notwithstanding that he had paid the expenses of publication for her.

      Arriving at Rome in February, 1858, Hawthorne lingered there until late in May, when he retired to Florence, and hired there the Villa Montauto, in the suburb of Bellosguardo. October found him again in Rome, where he spent the winter; leaving the Continent, finally, in June, 1859, for England and Redcar.

      "I am afraid I have stayed away too long," he wrote from Bellosguardo, to Mr. Fields, in September, 1858, "and am forgotten by everybody. You have piled up the dusty remnants of my editions, I suppose, in that chamber over the shop, where you once took me to smoke a cigar, and have crossed my name out of your list of authors, without so much as asking whether I am dead or alive. But I like it well enough, nevertheless. It is pleasant to feel that at last I am away from America,—a satisfaction that I never enjoyed as long as I stayed in Liverpool, where it seemed to me that the quintessence of nasal and hand-shaking Yankeedom was continually filtered and sublimated through my consulate, on the way outward and homeward. I first got acquainted with my own countrymen there. At Rome, too, it was not much better. But here in Florence, and in the summer-time, and in this secluded villa, I have escaped from all my old tracks and am really remote.

      "I like my present residence immensely. The house stands on a hill, overlooking Florence, and is big enough to quarter a regiment; insomuch that each member of the family, including servants, has a separate suite of apartments, and there are vast wildernesses of upper rooms, into which we have never yet sent exploring expeditions.

      "At one end of the house there is a moss-grown tower haunted by the ghost of a monk, who was confined there in the thirteenth century, previous to being burned at the stake in the principal square of Florence. I hire this villa, tower and all, at twenty-eight dollars a month; but I mean to take it away bodily and clap it into a romance which I have in my head ready to be written out." Turning to the topic of home, he went on: "After so long an absence (more than five years already, which will be six before you see me at the Old Corner), it is not altogether delightful to think of returning. Everybody will be changed, and I, myself, no doubt, as much as anybody.... It won't do. I shall be forced to come back again and take refuge in a London lodging. London is like the grave in one respect,—any man can make himself at home there; and whenever a man finds himself homeless elsewhere, he had better either die or go to London.

      "Speaking of the grave reminds me of old age and other disagreeable matters, and I would remark that one grows old in Italy twice or three times as fast as in other countries. I have three gray hairs now for one that I brought from England, and I shall look venerable indeed by the time I return next summer."

      The "French and Italian Note-Books" are more prolific in literary hints than the English. At Rome and Florence the practical self, which was necessarily brought forward in the daily round at the consulate and left its impress on the letters to Lieutenant Bridge, retired into the background under the influence of scenes more purely picturesque and poetic than those of England; and the idealizing, imaginative faculty of Hawthorne, being freed from the restraint which had so long cramped it, gained in elasticity from day to day. Four years of confinement to business, broken only at intervals by short episodes of travel, had done no more than impede the current of fancy; had not dried it, nor choked the source. Mr. Fields assures us that, in England, Hawthorne told him he had no less than five romances in his mind, so well planned that he could write any one of them at short notice. But it is significant that, however favorable Italy might be for drawing out and giving free course to this current, he could do little there in the way of embodying his conceptions. He wrote out an extensive first draft of "The Marble Faun" while moving from place to place on the actual ground where the story is laid; but the work itself was written at Redcar, and in the communication last quoted from he had said: "I find this Italian atmosphere not favorable to the close toil of composition, although it is a very good air to dream in. I must breathe the fogs of old England, or the east-winds of Massachusetts, in order to put me into working-trim." Conditions other than physical were most probably responsible, in part, for this state of things. Strong as Hawthorne's nature was on the side of the real, the ideal force within him was so much more puissant, that when circumstances were all propitious—as they were in Italy—it obtained too commanding a sway over him. His dreams, in such case, would be apt to overcome him, to exist simply for their own sake instead of being subordinated to his will; and, in fine, to expend their witchery upon the air, instead of being imprisoned in the enduring form of a book. Being compounded in such singular wise of opposing qualities: the customary, prudential, common sensible ones, and the wise and visionary ones—the outward reticence, and (if we may say so) the inward eloquence—of which we now have a clearer view; being so compounded, he positively needed something stern and adverse in his surroundings, it should seem, both as a satisfaction to the sturdier part of him, and as a healthful check which, by exciting reaction, would stimulate his imaginative mood. He must have precisely the right proportion between these counter influences, or else creation could not proceed. In the Salem Custom House and at the Liverpool consulate there had been too much of the hard commonplace: instead of serving as a convenient foil to the more expansive and lightsome tendencies of his genius, it had weighed them down. But in Italy there was too much freedom, not enough framework of the severe, the roughly real and unpicturesque. Hawthorne's intellectual and poetic nature presents a spectacle somewhat like that of a granite rock upon which delicate vines flourish at their best; but he was himself both rock and vine. The delicate, aspiring tendrils and the rich leafage of the plant, however, required a particular combination of soil and climate, in order to grow well. When he was not hemmed in by the round of official details, England afforded him that combination in bounteous measure.

      On the publication of "The Marble Faun," the author's friend, John Lothrop Motley, with whom he had talked, of the contemplated romance, in Rome, wrote to him from Walton-on-Thames (March 29, 1860):—

      "Everything that you have ever written, I believe,