Mosses from an Old Manse, and Other Stories by Nathaniel Hawthorne (e reader for manga TXT) 📗

the first settlers. This insinuating personage once crept into the vitals of my great grandfather and dwelt there many years, tormenting the old gentleman beyond mortal endurance. In short it is a family peculiarity. But, to tell you the truth, I have no faith in this idea of the snake's being an heirloom. He is my own snake, and no man's else."

"But what was his origin?" demanded Herkimer.

"Oh, there is poisonous stuff in any man's heart sufficient to generate a brood of serpents," said Elliston with a hollow laugh. "You should have heard my homilies to the good town's-people. Positively, I deem myself fortunate in having bred but a single serpent. You, however, have none in your bosom, and therefore cannot sympathize with the rest of the world. It gnaws me! It gnaws me!"

With this exclamation Roderick lost his self-control and threw himself upon the grass, testifying his agony by intricate writhings, in which Herkimer could not but fancy a resemblance to the motions of a snake. Then, likewise, was heard that frightful hiss, which often ran through the sufferer's speech, and crept between the words and syllables without interrupting their succession.

"This is awful indeed!" exclaimed the sculptor—"an awful infliction, whether it be actual or imaginary. Tell me, Roderick Elliston, is there any remedy for this loathsome evil?"

"Yes, but an impossible one," muttered Roderick, as he lay wallowing with his face in the grass. "Could I for one moment forget myself, the serpent might not abide within me. It is my diseased self-contemplation that has engendered and nourished him."

"Then forget yourself, my husband," said a gentle voice above him; "forget yourself in the idea of another!"

Rosina had emerged from the arbor, and was bending over him with the shadow of his anguish reflected in her countenance, yet so mingled with hope and unselfish love that all anguish seemed but an earthly shadow and a dream. She touched Roderick with her hand. A tremor shivered through his frame. At that moment, if report be trustworthy, the sculptor beheld a waving motion through the grass, and heard a tinkling sound, as if something had plunged into the fountain. Be the truth as it might, it is certain that Roderick Elliston sat up like a man renewed, restored to his right mind, and rescued from the fiend which had so miserably overcome him in the battle-field of his own breast.

"Rosina!" cried he, in broken and passionate tones, but with nothing of the wild wail that had haunted his voice so long, "forgive! forgive!"

Her happy tears bedewed his face.

"The punishment has been severe," observed the sculptor. "Even Justice might now forgive; how much more a woman's tenderness! Roderick Elliston, whether the serpent was a physical reptile, or whether the morbidness of your nature suggested that symbol to your fancy, the moral of the story is not the less true and strong. A tremendous Egotism, manifesting itself in your case in the form of jealousy, is as fearful a fiend as ever stole into the human heart. Can a breast, where it has dwelt so long, be purified?"

"Oh yes," said Rosina with a heavenly smile. "The serpent was but a dark fantasy, and what it typified was as shadowy as itself. The past, dismal as it seems, shall fling no gloom upon the future. To give it its due importance we must think of it but as an anecdote in our Eternity."

DROWNE'S WOODEN IMAGE

One sunshiny morning, in the good old times of the town of Boston, a young carver in wood, well known by the name of Drowne, stood contemplating a large oaken log, which it was his purpose to convert into the figure-head of a vessel. And while he discussed within his own mind what sort of shape or similitude it were well to bestow upon this excellent piece of timber, there came into Drowne's workshop a certain Captain Hunnewell, owner and commander of the good brig called the Cynosure, which had just returned from her first voyage to Fayal.

"Ah! that will do, Drowne, that will do!" cried the jolly captain, tapping the log with his rattan. "I bespeak this very piece of oak for the figure-head of the Cynosure. She has shown herself the sweetest craft that ever floated, and I mean to decorate her prow with the handsomest image that the skill of man can cut out of timber. And, Drowne, you are the fellow to execute it."

"You give me more credit than I deserve, Captain Hunnewell," said the carver, modestly, yet as one conscious of eminence in his art. "But, for the sake of the good brig, I stand ready to do my best. And which of these designs do you prefer? Here,"—pointing to a staring, half-length figure, in a white wig and scarlet coat,—"here is an excellent model, the likeness of our gracious king. Here is the valiant Admiral Vernon. Or, if you prefer a female figure, what say you to Britannia with the trident?"

"All very fine, Drowne; all very fine," answered the mariner. "But as nothing like the brig ever swam the ocean, so I am determined she shall have such a figure-head as old Neptune never saw in his life. And what is more, as there is a secret in the matter, you must pledge your credit not to betray it."

"Certainly," said Drowne, marvelling, however, what possible mystery there could be in reference to an affair so open, of necessity, to the inspection of all the world as the figure-head of a vessel. "You may depend, captain, on my being as secret as the nature of the case will permit."

Captain Hunnewell then took Drowne by the button, and communicated his wishes in so low a tone that it would be unmannerly to repeat what was evidently intended for the carver's private ear. We shall, therefore, take the opportunity to give the reader a few desirable particulars about Drowne himself.

He was the first American who is known to have attempted—in a very humble line, it is true—that art in which we can now reckon so many names already distinguished, or rising to distinction. From his earliest boyhood he had exhibited a knack—for it would be too proud a word to call it genius—a knack, therefore, for the imitation of the human figure in whatever material came most readily to hand. The snows of a New England winter had often supplied him with a species of marble as dazzingly white, at least, as the Parian or the Carrara, and if less durable, yet sufficiently so to correspond with any claims to permanent existence possessed by the boy's frozen statues. Yet they won admiration from maturer judges than his school-fellows, and were indeed, remarkably clever, though destitute of the native warmth that might have made the snow melt beneath his hand. As he advanced in life, the young man adopted pine and oak as eligible materials for the display of his skill, which now began to bring him a return of solid silver as well as the empty praise that had been an apt reward enough for his productions of evanescent snow. He became noted for carving ornamental pump heads, and wooden urns for gate posts, and decorations, more grotesque than fanciful, for mantelpieces. No apothecary would have deemed himself in the way of obtaining custom without setting up a gilded mortar, if not a head of Galen or Hippocrates, from the skilful hand of Drowne.

But the great scope of his business lay in the manufacture of figure-heads for vessels. Whether it were the monarch himself, or some famous British admiral or general, or the governor of the province, or perchance the favorite daughter of the ship-owner, there the image stood above the prow, decked out in gorgeous colors, magnificently gilded, and staring the whole world out of countenance, as if from an innate consciousness of its own superiority. These specimens of native sculpture had crossed the sea in all directions, and been not ignobly noticed among the crowded shipping of the Thames and wherever else the hardy mariners of New England had pushed their adventures. It must be confessed that a family likeness pervaded these respectable progeny of Drowne's skill; that the benign countenance of the king resembled those of his subjects, and that Miss Peggy Hobart, the merchant's daughter, bore a remarkable similitude to Britannia, Victory, and other ladies of the allegoric sisterhood; and, finally, that they all had a kind of wooden aspect which proved an intimate relationship with the unshaped blocks of timber in the carver's workshop. But at least there was no inconsiderable skill of hand, nor a deficiency of any attribute to render them really works of art, except that deep quality, be it of soul or intellect, which bestows life upon the lifeless and warmth upon the cold, and which, had it been present, would have made Drowne's wooden image instinct with spirit.

The captain of the Cynosure had now finished his instructions.

"And Drowne," said he, impressively, "you must lay aside all other business and set about this forthwith. And as to the price, only do the job in first-rate style, and you shall settle that point yourself."

"Very well, captain," answered the carver, who looked grave and somewhat perplexed, yet had a sort of smile upon his visage; "depend upon it, I'll do my utmost to satisfy you."

From that moment the men of taste about Long Wharf and the Town Dock who were wont to show their love for the arts by frequent visits to Drowne's workshop, and admiration of his wooden images, began to be sensible of a mystery in the carver's conduct. Often he was absent in the daytime. Sometimes, as might be judged by gleams of light from the shop windows, he was at work until a late hour of the evening; although neither knock nor voice, on such occasions, could gain admittance for a visitor, or elicit any word of response. Nothing remarkable, however, was observed in the shop at those late hours when it was thrown open. A fine piece of timber, indeed, which Drowne was known to have reserved for some work of especial dignity, was seen to be gradually assuming shape. What shape it was destined ultimately to take was a problem to his friends and a point on which the carver himself preserved a rigid silence. But day after day, though Drowne was seldom noticed in the act of working upon it, this rude form began to be developed until it became evident to all observers that a female figure was growing into mimic life. At each new visit they beheld a larger pile of wooden chips and a nearer approximation to something beautiful. It seemed as if the hamadryad of the oak had sheltered herself from the unimaginative world within the heart of her native tree, and that it was only necessary to remove the strange shapelessness that had incrusted her, and reveal the grace and loveliness of a divinity. Imperfect as the design, the attitude, the costume, and especially the face of the image still remained, there was already an effect that drew the eye from the wooden cleverness of Drowne's earlier productions and fixed it upon the tantalizing mystery of this new project.

Copley, the celebrated painter, then a young man and a resident of Boston, came one day to visit Drowne; for he had recognized so much of moderate ability in the carver as to induce him, in the dearth of professional sympathy, to cultivate his acquaintance. On entering the shop, the artist glanced at the inflexible image of king, commander, dame, and allegory, that stood around, on the best of which might have been bestowed the questionable praise that it looked as if a living man had here been changed to wood, and that not only the physical, but the intellectual and spiritual part, partook of the stolid transformation. But in not a single instance did it seem as if the wood were imbibing the ethereal essence of humanity. What a wide distinction is here! and how far the slightest portion of the latter merit have outvalued the utmost degree of the former!

"My friend Drowne;" said Copley, smiling to himself, but alluding to the mechanical and wooden cleverness that so invariably distinguished the images, "you are really a remarkable person! I have seldom met with a man in your line of business that could do so much; for one other touch might make this figure of General Wolfe, for instance, a breathing and intelligent human creature."

"You would have me think that you are praising me highly, Mr. Copley," answered Drowne, turning his back upon Wolfe's image in apparent disgust. "But there has come a light into my mind. I know what you know as well, that the one touch which you speak of as deficient is the only one that would be truly valuable, and that without it these works of mine are no better than worthless abortions. There is the same difference between them and the works