Delphi complete works of.., p.311
Delphi Complete Works of Nathaniel Hawthorne (Illustrated), page 311
Under cover of a mist that has settled over the scene, a few years flit by, and escape our notice. As the atmosphere becomes transparent, we perceive a decrepit grandsire, hobbling along the street. Do you recognize him? We saw him, first, as the baby in Goodwife Massey's arms, when the primeval trees were flinging their shadow over Roger Conant's cabin; we have seen him, as the boy, the youth, the man, bearing his humble part in all the successive scenes, and forming the index-figure whereby to note the age of his coeval town. And here he is, old Goodman Massey, taking his last walk, — often pausing, — often leaning over his staff, — and calling to mind whose dwelling stood at such and such a spot, and whose field or garden occupied the site of those more recent houses. He can render a reason for all the bends and deviations of the thoroughfare, which, in its flexible and plastic infancy, was made to swerve aside from a straight line, in order to visit every settler's door. The Main Street is still youthful; the coeval man is in his latest age. Soon he will be gone, a patriarch of fourscore, yet shall retain a sort of infantine life in our local history, as the first town-born child.
Behold here a change, wrought in the twinkling of an eye, like an incident in a tale of magic, even while your observation has been fixed upon the scene. The Main Street has vanished out of sight. In its stead appears a wintry waste of snow, with the sun just peeping over it, cold and bright, and tingeing the white expanse with the faintest and most ethereal rose-color. This is the Great Snow of 1717, famous for the mountain-drifts in which it buried the whole country. It would seem as if the street, the growth of which we have noted so attentively, following it from its first phase, as an Indian track, until it reached the dignity of sidewalks, were all at once obliterated, and resolved into a drearier pathlessness than when the forest covered it. The gigantic swells and billows of the snow have swept over each man's metes and bounds, and annihilated all the visible distinctions of human property. So that now the traces of former times and hitherto accomplished deeds being done away, mankind should be at liberty to enter on new paths, and guide themselves by other laws than heretofore; if, indeed, the race be not extinct, and it be worth our while to go on with the march of life, over the cold and desolate expanse that lies before us. It may be, however, that matters are not so desperate as they appear. That vast icicle, glittering so cheerlessly in the sunshine, must be the spire of the meeting-house, incrusted with frozen sleet. Those great heaps, too, which we mistook for drifts, are houses, buried up to their eaves, and with their peaked roofs rounded by the depth of snow upon them. There, now, comes a gush of smoke from what I judge to be the chimney of the Ship Tavern; — and another — another — and another — from the chimneys of other dwellings, where fireside comfort, domestic peace, the sports of children, and the quietude of age are living yet, in spite of the frozen crust above them.
But it is time to change the scene. Its dreary monotony shall not test your fortitude like one of our actual New England winters, which leaves so large a blank — so melancholy a death-spot-in lives so brief that they ought to be all summer-time. Here, at least, I may claim to be ruler of the seasons. One turn of the crank shall melt away the snow from the Main Street, and show the trees in their full foliage, the rose-bushes in bloom, and a border of green grass along the sidewalk. There! But what! How! The scene will not move. A wire is broken. The street continues buried beneath the snow, and the fate of Herculaneum and Pompeii has its parallel in this catastrophe.
Alas! my kind and gentle audience, you know not the extent of your misfortune. The scenes to come were far better than the past. The street itself would have been more worthy of pictorial exhibition; the deeds of its inhabitants not less so. And how would your interest have deepened, as, passing out of the cold shadow of antiquity, in my long and weary course, I should arrive within the limits of man's memory, and, leading you at last into the sunshine of the present, should give a reflex of the very life that is flitting past us! Your own beauty, my fair townswomen, would have beamed upon you, out of my scene. Not a gentleman that walks the street but should have beheld his own face and figure, his gait, the peculiar swing of his arm, and the coat that he put on yesterday. Then, too, — and it is what I chiefly regret, — I had expended a vast deal of light and brilliancy on a representation of the street in its whole length, from Buffum's Corner downward, on the night of the grand illumination for General Taylor's triumph. Lastly, I should have given the crank one other turn, and have brought out the future, showing you who shall walk the Main Street to-morrow, and, perchance, whose funeral shall pass through it!
But these, like most other human purposes, lie unaccomplished; and I have only further to say, that any lady or gentlemen who may feel dissatisfied with the evening's entertainment shall receive back the admission fee at the door.
“Then give me mine,” cries the critic, stretching out his palm. “I said that your exhibition would prove a humbug, and so it has turned out. So, hand over my quarter!”
ETHAN BRAND
A CHAPTER FROM AN ABORTIVE ROMANCE
Bartram the lime-burner, a rough, heavy-looking man, begrimed with charcoal, sat watching his kiln at nightfall, while his little son played at building houses with the scattered fragments of marble, when, on the hill-side below them, they heard a roar of laughter, not mirthful, but slow, and even solemn, like a wind shaking the boughs of the forest.
“Father, what is that?” asked the little boy, leaving his play, and pressing betwixt his father's knees.
“Oh, some drunken man, I suppose,” answered the lime-burner; “some merry fellow from the bar-room in the village, who dared not laugh loud enough within doors lest he should blow the roof of the house off. So here he is, shaking his jolly sides at the foot of Graylock.”
“But, father,” said the child, more sensitive than the obtuse, middle-aged clown, “he does not laugh like a man that is glad. So the noise frightens me!”
“Don't be a fool, child!” cried his father, gruffly. “You will never make a man, I do believe; there is too much of your mother in you. I have known the rustling of a leaf startle you. Hark! Here comes the merry fellow now. You shall see that there is no harm in him.”
Bartram and his little son, while they were talking thus, sat watching the same lime-kiln that had been the scene of Ethan Brand's solitary and meditative life, before he began his search for the Unpardonable Sin. Many years, as we have seen, had now elapsed, since that portentous night when the IDEA was first developed. The kiln, however, on the mountain-side, stood unimpaired, and was in nothing changed since he had thrown his dark thoughts into the intense glow of its furnace, and melted them, as it were, into the one thought that took possession of his life. It was a rude, round, tower-like structure about twenty feet high, heavily built of rough stones, and with a hillock of earth heaped about the larger part of its circumference; so that the blocks and fragments of marble might be drawn by cart-loads, and thrown in at the top. There was an opening at the bottom of the tower, like an over-mouth, but large enough to admit a man in a stooping posture, and provided with a massive iron door. With the smoke and jets of flame issuing from the chinks and crevices of this door, which seemed to give admittance into the hill-side, it resembled nothing so much as the private entrance to the infernal regions, which the shepherds of the Delectable Mountains were accustomed to show to pilgrims.
There are many such lime-kilns in that tract of country, for the purpose of burning the white marble which composes a large part of the substance of the hills. Some of them, built years ago, and long deserted, with weeds growing in the vacant round of the interior, which is open to the sky, and grass and wild-flowers rooting themselves into the chinks of the stones, look already like relics of antiquity, and may yet be overspread with the lichens of centuries to come. Others, where the limeburner still feeds his daily and night-long fire, afford points of interest to the wanderer among the hills, who seats himself on a log of wood or a fragment of marble, to hold a chat with the solitary man. It is a lonesome, and, when the character is inclined to thought, may be an intensely thoughtful occupation; as it proved in the case of Ethan Brand, who had mused to such strange purpose, in days gone by, while the fire in this very kiln was burning.
The man who now watched the fire was of a different order, and troubled himself with no thoughts save the very few that were requisite to his business. At frequent intervals, he flung back the clashing weight of the iron door, and, turning his face from the insufferable glare, thrust in huge logs of oak, or stirred the immense brands with a long pole. Within the furnace were seen the curling and riotous flames, and the burning marble, almost molten with the intensity of heat; while without, the reflection of the fire quivered on the dark intricacy of the surrounding forest, and showed in the foreground a bright and ruddy little picture of the hut, the spring beside its door, the athletic and coal-begrimed figure of the lime-burner, and the half-frightened child, shrinking into the protection of his father's shadow. And when, again, the iron door was closed, then reappeared the tender light of the half-full moon, which vainly strove to trace out the indistinct shapes of the neighboring mountains; and, in the upper sky, there was a flitting congregation of clouds, still faintly tinged with the rosy sunset, though thus far down into the valley the sunshine had vanished long and long ago.
The little boy now crept still closer to his father, as footsteps were heard ascending the hill-side, and a human form thrust aside the bushes that clustered beneath the trees.
“Halloo! who is it?” cried the lime-burner, vexed at his son's timidity, yet half infected by it. “Come forward, and show yourself, like a man, or I'll fling this chunk of marble at your head!”
“You offer me a rough welcome,” said a gloomy voice, as the unknown man drew nigh. “Yet I neither claim nor desire a kinder one, even at my own fireside.”
To obtain a distincter view, Bartram threw open the iron door of the kiln, whence immediately issued a gush of fierce light, that smote full upon the stranger's face and figure. To a careless eye there appeared nothing very remarkable in his aspect, which was that of a man in a coarse brown, country-made suit of clothes, tall and thin, with the staff and heavy shoes of a wayfarer. As he advanced, he fixed his eyes — which were very bright — intently upon the brightness of the furnace, as if he beheld, or expected to behold, some object worthy of note within it.
“Good evening, stranger,” said the lime-burner; “whence come you, so late in the day?”
“I come from my search,” answered the wayfarer; “for, at last, it is finished.”
“Drunk! — or crazy!” muttered Bartram to himself. “I shall have trouble with the fellow. The sooner I drive him away, the better.”
The little boy, all in a tremble, whispered to his father, and begged him to shut the door of the kiln, so that there might not be so much light; for that there was something in the man's face which he was afraid to look at, yet could not look away from. And, indeed, even the lime-burner's dull and torpid sense began to be impressed by an indescribable something in that thin, rugged, thoughtful visage, with the grizzled hair hanging wildly about it, and those deeply sunken eyes, which gleamed like fires within the entrance of a mysterious cavern. But, as he closed the door, the stranger turned towards him, and spoke in a quiet, familiar way, that made Bartram feel as if he were a sane and sensible man, after all.
“Your task draws to an end, I see,” said he. “This marble has already been burning three days. A few hours more will convert the stone to lime.”
“Why, who are you?” exclaimed the lime-burner. “You seem as well acquainted with my business as I am myself.”
“And well I may be,” said the stranger; “for I followed the same craft many a long year, and here, too, on this very spot. But you are a newcomer in these parts. Did you never hear of Ethan Brand?”
“The man that went in search of the Unpardonable Sin?” asked Bartram, with a laugh.
“The same,” answered the stranger. “He has found what he sought, and therefore he comes back again.”
“What! then you are Ethan Brand himself?” cried the lime-burner, in amazement. “I am a new-comer here, as you say, and they call it eighteen years since you left the foot of Graylock. But, I can tell you, the good folks still talk about Ethan Brand, in the village yonder, and what a strange errand took him away from his lime-kiln. Well, and so you have found the Unpardonable Sin?”
“Even so!” said the stranger, calmly.
“If the question is a fair one,” proceeded Bartram, “where might it be?”
Ethan Brand laid his finger on his own heart.
“Here!” replied he.
And then, without mirth in his countenance, but as if moved by an involuntary recognition of the infinite absurdity of seeking throughout the world for what was the closest of all things to himself, and looking into every heart, save his own, for what was hidden in no other breast, he broke into a laugh of scorn. It was the same slow, heavy laugh, that had almost appalled the lime-burner when it heralded the wayfarer's approach.
The solitary mountain-side was made dismal by it. Laughter, when out of place, mistimed, or bursting forth from a disordered state of feeling, may be the most terrible modulation of the human voice. The laughter of one asleep, even if it be a little child, — the madman's laugh, — the wild, screaming laugh of a born idiot, — are sounds that we sometimes tremble to hear, and would always willingly forget. Poets have imagined no utterance of fiends or hobgoblins so fearfully appropriate as a laugh. And even the obtuse lime-burner felt his nerves shaken, as this strange man looked inward at his own heart, and burst into laughter that rolled away into the night, and was indistinctly reverberated among the hills.
“Joe,” said he to his little son, “scamper down to the tavern in the village, and tell the jolly fellows there that Ethan Brand has come back, and that he has found the Unpardonable Sin!”
The boy darted away on his errand, to which Ethan Brand made no objection, nor seemed hardly to notice it. He sat on a log of wood, looking steadfastly at the iron door of the kiln. When the child was out of sight, and his swift and light footsteps ceased to be heard treading first on the fallen leaves and then on the rocky mountain-path, the lime-burner began to regret his departure. He felt that the little fellow's presence had been a barrier between his guest and himself, and that he must now deal, heart to heart, with a man who, on his own confession, had committed the one only crime for which Heaven could afford no mercy. That crime, in its indistinct blackness, seemed to overshadow him, and made his memory riotous with a throng of evil shapes that asserted their kindred with the Master Sin, whatever it might be, which it was within the scope of man's corrupted nature to conceive and cherish. They were all of one family; they went to and fro between his breast and Ethan Brand's, and carried dark greetings from one to the other.
Then Bartram remembered the stories which had grown traditionary in reference to this strange man, who had come upon him like a shadow of the night, and was making himself at home in his old place, after so long absence, that the dead people, dead and buried for years, would have had more right to be at home, in any familiar spot, than he. Ethan Brand, it was said, had conversed with Satan himself in the lurid blaze of this very kiln. The legend had been matter of mirth heretofore, but looked grisly now. According to this tale, before Ethan Brand departed on his search, he had been accustomed to evoke a fiend from the hot furnace of the lime-kiln, night after night, in order to confer with him about the Unpardonable Sin; the man and the fiend each laboring to frame the image of some mode of guilt which could neither be atoned for nor forgiven. And, with the first gleam of light upon the mountain-top, the fiend crept in at the iron door, there to abide the intensest element of fire until again summoned forth to share in the dreadful task of extending man's possible guilt beyond the scope of Heaven's else infinite mercy.
While the lime-burner was struggling with the horror of these thoughts, Ethan Brand rose from the log, and flung open the door of the kiln. The action was in such accordance with the idea in Bartram's mind, that he almost expected to see the Evil One issue forth, red-hot, from the raging furnace.
“Hold! hold!” cried he, with a tremulous attempt to laugh; for he was ashamed of his fears, although they overmastered him. “Don't, for mercy's sake, bring out your Devil now!”
“Man!” sternly replied Ethan Brand, “what need have I of the Devil? I have left him behind me, on my track. It is with such half-way sinners as you that he busies himself. Fear not, because I open the door. I do but act by old custom, and am going to trim your fire, like a lime-burner, as I was once.”
He stirred the vast coals, thrust in more wood, and bent forward to gaze into the hollow prison-house of the fire, regardless of the fierce glow that reddened upon his face. The lime-burner sat watching him, and half suspected this strange guest of a purpose, if not to evoke a fiend, at least to plunge into the flames, and thus vanish from the sight of man. Ethan Brand, however, drew quietly back, and closed the door of the kiln.
