Part 2

The picturesque old mansion stands amid greensward and foliage, its ample grounds divided from the highway by a low wall. The gate-way is flanked by tall posts of rough-hewn stone, whence a grass-grown avenue, bordered by a colonnade of overarching trees, leads to the house. Within the scattered sunshine and shade of the avenue, a row of stone slabs sunken in the turf like gravestones paves the path paced by Ripley, Emerson, and Hawthorne as they pondered and planned their compositions. Of the trees aligned upon either side, some, gray-lichened and broken, are survivors of Hawthorne's time; others are set to replace fallen patriarchs and keep the stately lines complete. At the right of the broad _allée_ and extending away to the battle-ground is the field, waving now with lush grass, where Hawthorne and Thoreau found the flint arrow-heads and other relics of an aboriginal village. Upon the space which skirts the other side of the avenue, Hawthorne had the garden which engaged so much of his time and thought, and where he produced for us abundant crops of something better than his vegetables. Here his Brook-Farm experience was useful. Passing neighbors would often see the darkly-clad figure of the recluse hoeing in this "patch," or, as often, standing motionless, gazing upon the ground so fixedly and so long--sometimes for hours together--that they thought him daft. Of the delights of summer mornings spent here with his peas, potatoes, and squashes, he gives us many glimpses in his record of that happy time; but the "Note-Books" show us, alas! that this simple pleasure was not without alloy, for, although his "garden flourished like Eden," there are hints of "weeds," next "more weeds," then a "ferocious banditti of weeds" with which "the other Adam" could never have contended. But a greater woe came with the foes who menaced his artistic squashes,--"the unconscionable squash-bugs," "those infernal squash-bugs," against which he must "carry on continual war." For the moments that we contemplate the scene of his entomic warfare, the greater battle-field, a few rods away, seems hardly more impressive. Few of the trees which in Hawthorne's time stood nearest the house remain; the producers of the peaches and "thumping pears" have gone the way of all trees. So has Dr. Ripley's famous willow--celebrated in Emerson's and Channing's exquisite verse and in Hawthorne's matchless prose--which veiled the western face of the mansion and through which Hawthorne's study-windows peeped out upon orchard, river, and mead. In the orchard that has borne such luscious fruit of fancy, some of the contorted and moss-grown trees, whose branches--"like withered hands and arms"--hold out the sweet blossoms on this June day, are the same that Hawthorne pictures among his "Mosses," and beneath which he lay in summer reverie. Few vines now clamber upon the house-walls, lilacs still grow beneath the old study-window, and a tall mass of their foliage screens a corner of the venerable edifice, which time has toned into perfect harmony with its picturesque environment. It is a great, square, wooden structure of two stories, with added attic rooms beneath an overwhelming gambrel roof, which is the conspicuous feature of the edifice and contributes to its antique form. The heavy roof settles down close upon the small, multipaned windows. From above the door little convex glasses, like a row of eyes, look out upon the visitor as he applies for admission.

A spacious central hall, rich in antique panelling and sombre with grave tints, extends through the house. From its dusk and coolness we look out upon the bright summer day through its open doors; through one we see the "hill of the Emersons" beyond the highway, the other frames a pleasing picture of orchard and sward with glimpses of the river shining through its bordering shrubbery. The quaint apartments are darkly wainscoted and low-ceiled, with massive beams crossing overhead. Some of these rooms Hawthorne has shown us. The one at the left, which the novelist believed to have been the sleeping-room of Dr. Ripley, was the parlor of the Hawthornes, and--decked with a gladsome carpet, pictures, and flowers daily gathered from the river-bank--Hawthorne averred it was "one of the prettiest and pleasantest rooms in the whole world." To this room then came the sage Emerson "with a sunbeam in his face;" the "cast-iron man" Thoreau, "long-nosed, queer-mouthed, ugly as sin," but with whom to talk "is like hearing the wind among the boughs of a forest tree;" Ellery Channing, with his wife and her illustrious sister, Margaret Fuller; the gifted George William Curtis, then tilling a farm not far from the Manse, long before he lounged in an "Easy Chair;" genial Bradford, relative of Ripley, and associate and firm friend of Hawthorne; Horatio Bridge, of the "African Cruiser" and of the recent Hawthorne "Recollections;" the critic George Hillard, at whose house Hawthorne was married; "Prince" Lowell, the large-hearted; Franklin Pierce, Hawthorne's life-long friend. Concerning the discussion of things physical and metaphysical, to which these old walls then listened, the host gives us little hint. Sometimes the guests were "feasted on nectar and ambrosia" by the new Adam and Eve; sometimes they "listened to the music of the spheres which, for private convenience, is packed into a music-box,"--left here by Thoreau when he went to teach in the family of Emerson's brother; once here before this wide fireplace they sat late and told ghost stories,--doubtless suggested by the clerical phantom whose sighs they used to hear in yonder dusky corner, and whose rustling gown sometimes almost touched the company as he moved about among them. In this room Dr. Ripley penned, besides his "History of the Concord Fight" and "Treatise on Education," three thousand of his protracted homilies,--a fact upon which Hawthorne found it "awful to reflect,"--and here in our day the gifted George B. Bartlett wrote some part of his Concord sketches, etc. Here, too, and in the larger room opposite, the erudite and versatile Mrs. Samuel Ripley held her social court and received the exalted Concord conclave, with other earnest leaders of thought.

In the front chamber at the right Hawthorne's first child, the hapless Una,--named from Spenser's "Faerie Queene,"--was born. Behind this is the "ten-foot-square" apartment which was Hawthorne's study and workshop. Two windows of small, prismatic-hued panes look into the orchard, and upon one of these Hawthorne has inscribed,--

"Nath^{l}. Hawthorne. This is his study, 1843."

Below this another hand has graven,--

"Inscribed by my husband at Sunset Apr 3^{d} 1843 In the gold light S. A. H.

Man's accidents are God's purposes. SOPHIA A. HAWTHORNE 1843."

From its north window, said to have been cracked by the explosions of musketry in the conflict, we see the battle-field and a reach of the placid river. This room had been the study of Emerson's grandfather; from its window his wife watched the fight between his undrilled parishioners and the British veterans. His daughter Mary--aunt of our American Plato and herself a gifted writer--used to boast "she was in arms at the battle," having been held up at this window to see the soldiery in the highway. Years later Emerson himself came into possession of this room, and here wrote his "Nature," antagonizing many of the orthodox tenets. Perhaps it was well for the moral serenity of his ancestor--to whom the transcendental movement would have seemed arrant March-madness--that he could not foresee the composition of such a volume here within the sanctity of his old study. The book was published anonymously, and Sanborn says that when inquiry was made, "Who is the author of 'Nature?'" a Concord wit replied, "God and Waldo Emerson."

Next, the dreamy Hawthorne succeeded to the little study, and here, with the sunlight glimmering through the willow boughs, he worked in solitude upon his charming productions for three or four hours of each day. Here, besides the copious entries in his journals, he prepared most of the papers of his "Mosses," wrote many articles for the "Democratic Review" and other magazines, edited "Old Dartmoor Prisoner" and Horatio Bridge's "African Cruiser." It is note-worthy that the "Celestial Railroad," in which Hawthorne records his condemnation of the spiritual renaissance by substituting the "terrible giant Transcendentalist" (who feeds upon pilgrims bound for the Celestial City) in place of the Pope and Pagan of Bunyan's allegory, was written in the same room with Emerson's volume, which inaugurated the great transcendental movement in the Western World.

Among the recesses of the great attic of the Manse we may still see the "Saints' Chamber," with its fireplace and single window; but it is tenanted by sprouting clergymen no longer. The atmosphere of theological twilight and mustiness--acquired from generations of clerical inhabitants--which pervaded the place in Hawthorne's time has been dissipated by the larger and happier home-life of Mrs. Samuel Ripley and the blithe and brilliant company that gathered about her here. Dismayed by these beneficent influences, the ghosts have indignantly deserted the mansion: even the persistive clerical, who sighed in Hawthorne's parlor and noisily turned his sermon-leaves in the upper hall, has not disturbed the later occupants of the Manse.

One might muse and linger long about the old place which, as his "Mosses" and journals show, Hawthorne made a part of his very life. Its air of antiquity, its traditional associations, its seclusion, and all its peaceful environment were pleasing to the shy and susceptible nature of the subtle romancer, and accorded well with his introspective habit. Besides, it was "the first home he ever had," and it was shared with his "new Eve." No wonder is it that he could here declare, "I had rather be on earth than in the seventh heaven, just now."

It is saddening to remember that, from this paradise, poverty drove him forth.

III

A STORIED RIVER AND BATTLE-FIELD

_Where Zenobia Drowned--Where Embattled Farmers Fought--Thoreau's Hemlocks--Haunts of Hawthorne--Channing--Thoreau--Emerson, etc._

Behind Hawthorne's "Old Manse"--its course so tortuous that Thoreau suggested for Concord's escutcheon "a field verdant with the river circling nine times round," so noiseless that he likened it to the "moccasined tread" of an Indian, so sluggish that Hawthorne had dwelt some weeks beside it before he determined which way its current lies--flows the Concord, "river of peace." This placid stream is the aboriginal "Musketaquid" of Emerson's poem,--sung of Thoreau, Channing, and many another bard, beloved of Hawthorne and pictured in rapturous phrase in his "Note-Books" and "Mosses from an Old Manse." It was the delightful haunt of Hawthorne's leisure, the scene of the occurrence which inspired the most thrilling and high-wrought chapter of his romance.

A grassy path, shaded by orchard trees, leads from the west door of the Manse to the river's margin at the place where Hawthorne kept his boat under the willows. The boat had before been the property of Thoreau, built by his hands and used by him on the famous voyage described in his "Week on the Concord and Merrimac Rivers." Hawthorne named the craft "Pond-Lily," because it brought so many cargoes of that beautiful flower to decorate his home. In it, alone or accompanied by Thoreau or Ellery Channing, he made the many delightful excursions he has described. Embarking on the slumberous stream, we follow the course of Hawthorne's boat to many a scene made familiar by that dreamful romancer and by the poets and philosophers of Concord. First to the place, below the bridge of the battle, where one dark night Hawthorne and Channing assisted in recovering from the water the ghastly body of the girl-suicide, an incident which made a profoundly horrible impression upon the sensitive novelist, and which he employed as the thrilling termination of the tale of Zenobia in "The Blithedale Romance,"--portraying it with a tragic power which has never been surpassed. Thence we paddle up the placid stream, as it slumbers along its winding course between the meadows, kisses the tangled grasses and wild flowers that fringe its margins, bathes the roots and boughs of the elders and dwarf willows which overhang its surface as if to gaze upon the reflections of their own loveliness mirrored there. The reach of river--"from Nashawtuc to the Cliff"--above the confluence of the two branches was most beloved and frequented of Thoreau; here he sometimes brought Emerson, as on that summer evening when the sage's diary records, "the river-god took the form of my valiant Henry Thoreau and introduced me to the riches of his shadowy, starlit, moonlit stream," etc.

The deeper portion of the river near the Manse was Hawthorne's habitual resort for bathing and fishing, but his longer solitary voyages and his "wild, free days" with Ellery Channing were upon the beautiful and sheltered North Branch,--the Assabeth of the "Mosses,"--which flows into the Concord a half-mile above the Manse. Into this branch we turn our boat, and through sunshine and shade we follow the winsome course of the lingering stream, finding new and delightful seclusion at every turn. A railway now lies along one lofty bank, but its unsightliness is concealed by long lines of willows planted by the loving hands of poet and artist,--Bartlett and French,--and the infrequent trains little disturb the seclusion of the place. Giant trees, standing with "their feet fixed in the flood," bend their bright foliage above the softly-flowing stream and fleck its surface with shadows; pond-lilies are still up-borne by its dreaming waters, and cardinal flowers bedeck its banks; its barer reaches are ribbons of reflected sky. The spot on the margin locally known as "The Hemlocks," and noted by Hawthorne as being only less sacred in his memory than the household hearth, remains itself undisturbed. Here a clump of great evergreens projects from the base of the lofty bank above and across the stream, and forms on the shore a shaded bower, carpeted by the brown needles which have fallen through many a year. This was a favorite haunt of Hawthorne and Channing in blissful days; here they prepared their sylvan noontide feasts; here they lounged and dreamed; here their "talk gushed up like the babble of a fountain." As we recline in their accustomed resting-place beside the sighing stream, and look up at the azure heaven through the boughs where erstwhile often curled the smoke of their fire, we vainly try to imagine something of what would be the converse, merry or profound, of such starry spirits amid such an inspiring scene, and we more than ever regret that neither the gentle poet nor the subtle romancer has chosen to share that converse with his readers.

Long and lovingly we loiter in this consecrated spot, and then slowly float back to Hawthorne's landing-place by his orchard wall.

A few rods distant, at the corner of his field, is the site of the "rude bridge that arched the flood," and the first battle-ground of the American Revolution. On the farther side a colossal minute-man in bronze, modelled by the Concord sculptor French, surmounts a granite pedestal inscribed with Emerson's immortal epic, and marks the spot where stood the irregular array of the "embattled farmers" when they here "fired the shot heard round the world." The statue replaces a bush which sprang from the soil fertilized by the blood of Davis, and which Emerson imaged as the "burning bush where God spake for his people."

The position of the British regulars on the hither shore is indicated by the "votive stone" of Emerson's poem,--a slender obelisk of granite,--and near it, close under the wall of the Manse enclosure, is the rude memorial that marks the grave of the British soldiers who were slain on this spot. The current tradition that a lad who, after the battle, came, axe in hand, from the Manse wood-pile, found one of the soldiers yet alive and dispatched him with the axe, was first related to Hawthorne by James Russell Lowell, as they stood together above this grave. The effect of this story upon the feelings of the susceptible Hawthorne is told on a page of "The Old Manse," and--a score of years later and in different shape--is related in the romance of "Septimius Felton."

IV

THE HOME OF EMERSON

_An Intellectual Capitol and Pharos--Its Grounds, Library, and Literary Workshop--Famous Rooms and Visitants--Relics and Reminiscences of the Concord Sage._

Following the direction of the British retreat from the historic Common, we come, beyond the village, to the modest mansion which was for half a century the abode of the princely man who was not only "the Sage of Concord," but, in the esteem of some contemporaries, "was Concord itself."

Emerson declares, "great men never live in a crowd,"--"a scholar must embrace solitude as a bride, must have his glees and glooms alone." Of himself he says, "I am a poet and must therefore live in the country; a sunset, a forest, a river view are more to me than many friends, and must divide my day with my books;" and this was the consideration which finally determined his withdrawal from the storm and fret of the city to his chosen home here by Walden woods and among the scenes of his childhood. It was his retirement to this semi-seclusion which called forth his much-quoted poem, "Good-by, proud world! I'm going home." To him here came the afflatus he had before lacked, here his faculties were inspirited, and here his literary productiveness commenced.

Behind a row of dense-leaved horse-chestnuts ranged along the highway, the quondam home of Emerson nestles among clustering evergreens which were planted by Bronson Alcott and Henry D. Thoreau for their friend. A copse of pines sighs in the summer wind close by; an orchard planted and pruned by Emerson's hands, and a garden tended by Thoreau, extend from the house to a brook flowing through the grounds and later joining the Concord by the famous old Manse; beyond the brook lies the way to Walden. At the left of the house is a narrow open reach of greensward on the farther verge of which erst stood the unique rustic bower--with a wind-harp of untrimmed branches above it--which was fashioned by the loving hands of Alcott. The mansion is a substantial, square, clapboarded structure of two stories, with hip-roofs; a square window projects at one side; a wing is joined at the back; covered porches protect the entrances; light paint covers the plain walls which gleam through the bowering foliage, and the whole aspect of the place is delightfully attractive and home-like. Its pleasant and unpretentious apartments more than realize the comfortable suggestion of the exterior. Adjoining the hall on the right is the plain, rectangular room which was the philosopher's library and workshop. The cheerful fireplace and the simple furnishings of the room are little changed since he here laid down his pen for the last time; the heavy table held his manuscript, his books are ranged upon the shelves, the busts and portraits he cherished adorn the walls, his accustomed chair is upon the spot where he sat to write.

Emerson's afternoons were usually spent abroad, but his mornings were habitually passed among his books in this small corner-room--"the study under the pines"--recording, in "a pellucid style which his genius made classic," the truths which had come to him as he mused by shadowy lake or songful stream, in deep wood glade or wayside path. Most of all his pen produced, of divinest poetry, of gravest philosophy, of grandest thought, was minted into words and inscribed in this simple apartment.

The adjoining parlor--a spacious, pleasant, home-like room, furnished forth with many mementos of illustrious friends and guests--is scarcely less interesting than the library. This house was the intellectual capitol of the village; to it freely came the Concord circle of shining ones,--Thoreau, Channing, Sanborn, the Alcotts, the Hoars,--less frequently, Hawthorne. For a long time Mrs. Samuel Ripley habitually passed her Sabbath evenings here. The Delphic Margaret Fuller, who was as truly the "blood of transcendentalism" as Emerson "was its brain," was here for months an honored guest. For long periods Thoreau, whose fame owes much to Emerson's generosity, was here an inmate and intimate. In Emerson's parlor were held the more formal _séances_ of the Concord galaxy; here met the short-lived "Monday Evening Club," which George William Curtis whimsically describes as a "congress of oracles," who ate russet-apples and discoursed celestially while Hawthorne looked on from his corner,--"a statue of night and silence;" here were held many of Bronson Alcott's famous "conversations," as well as those of that disciple of Platonism, Dr. Jones.

Emerson belonged not to Concord only, but to the whole world,--"his thought was the thought of Christendom." To these plain rooms as to an intellectual court came, from his own and other lands, hundreds famed in art, literature, and politics. Here came Curtis and Bartol to sit at the feet of the sage; Charles Sumner and Moncure Conway to bear hence--as one of them has said--"memories like those Bunyan's pilgrim must have cherished of the Interpreter." Here "came Theodore Parker from the fight for free thought," and Wendell Phillips and John Brown from the conflict for free men; here came Howells, bearing the line from Hawthorne, "I find this young man worthy;" here came Whittier, Agassiz, Hedge, Longfellow, Bradford, Lowell, Colonel Higginson, Elizabeth Peabody, Julia Ward Howe, as to a fount of wisdom and purity. In this unpretentious parlor have gathered such guests as Stanley, Walt Whitman, Bret Harte, Henry James, Louis Kossuth, Arthur Clough, Lord Amberley, Jones Very, Fredrika Bremer, Harriet Martineau, and many others who, like these, would have felt repaid for their journey over leagues of land and sea by a hand-clasp and an hour's communion with the intellect that has been the beacon of thousands in mental darkness and storm. With these came another class of pilgrims, the great army of impracticables, "men with long hair, long beards, long collars,--many with long ears, each in full chase after the millennium," and each intent upon securing the endorsement of Emerson for his own pet scheme. The wonder is that the little library saw any work accomplished, so many came to it and claimed the time of the master; for to every one--scholar, tradesman, and "crank"--were accorded his never-failing courtesy and kindly interest. Any one might be the bearer of a divine message, so he listened to all,--the most uncouth and _outré_ visitant might be the coming man for whom his faith waited, therefore all were admitted.

Here all were "assayed, not analyzed." Emerson's habitual quest for only the divinest traits and his quickened perception of the best in men enabled him to recognize excellencies which were yet unseen by others. While Hawthorne, the shy hermit at the Manse, was unheeded by the world and thought crazed by his neighbors, Emerson knew and proclaimed his transcendent genius. He first recognized the inspiration of Ellery Channing, and made for his exquisite verse exalted claims which have been fully justified, and which the world may yet allow. While to others Henry Thoreau was yet only an eccentric egotist, Emerson knew him as a poet and philosopher, and made him the "forest seer, the heart of all the scene," in his lyrical masterpiece "Wood-Notes." He promptly hailed Walt Whitman as a true poet while many of us were yet wondering if it were not charitable to think him insane.