What is guilt? A stain upon the soul. And it is a point of vast interest whether the soul may contract such stains in all their depth and flagrancy from deeds which may have been plotted and resolved upon, but which physically have never had existence. Must the fleshly hand and visible frame of man set its seal to the evil designs of the soul, in order to give them their entire validity against the sinner? Or, while none but crimes perpetrated are cognizable before an earthly tribunal, will guilty thoughts, of which guilty deeds are no more than shadows, will these draw down the full weight of a condemning sentence in the supreme court of eternity? In the solitude of a midnight chamber or in a desert afar from men or in a church while the body is kneeling the soul may pollute itself even with those crimes which we are accustomed to deem altogether carnal. If this be true, it is a fearful truth.
Let us illustrate the subject by an imaginary example. A venerable gentleman, one Mr. Smith, who had long been regarded as a pattern of moral excellence was warming his aged blood with a glass or two of generous wine. His children being gone forth about their worldly business and his grandchildren at school, he sat alone in a deep luxurious arm-chair with his feet beneath a richly-carved mahogany table. Some old people have a dread of solitude, and when better company may not be had rejoice even to hear the quiet breathing of a babe asleep upon the carpet. But Mr. Smith, whose silver hair was the bright symbol of a life unstained except by such spots as are inseparable from human nature he had no need of a babe to protect him by its purity, nor of a grown person to stand between him and his own soul. Nevertheless, either manhood must converse with age, or womanhood must soothe him with gentle cares, or infancy must sport around his chair, or his thoughts will stray into the misty region of the past and the old man be chill and sad. Wine will not always cheer him.
Such might have been the case with Mr. Smith, when, through the brilliant medium of his glass of old Madeira, he beheld three figures entering the room. These were Fancy, who had assumed the garb and aspect of an itinerant showman, with a box of pictures on her back; and Memory, in the likeness of a clerk, with a pen behind her ear, an inkhorn at her buttonhole and a huge manuscript volume beneath her arm; and lastly, behind the other two, a person shrouded in a dusky mantle which concealed both face and form. But Mr. Smith had a shrewd idea that it was Conscience. How kind of Fancy, Memory and Conscience to visit the old gentleman just as he was beginning to imagine that the wine had neither so bright a sparkle nor so excellent a flavor as when himself and the liquor were less aged! Through the dim length of the apartment, where crimson curtains muffled the glare of sunshine and created a rich obscurity, the three guests drew near the silver-haired old man. Memory, with a finger between the leaves of her huge volume, placed herself at his right hand; Conscience, with her face still hidden in the dusky mantle, took her station on the left, so as to be next his heart; while Fancy set down her picture - box upon the table with the magnifying glass convenient to his eye.
We can sketch merely the outlines of two or three out of the many pictures which at the pulling of a string successively peopled the box with the semblances of living scenes. One was a moonlight picture, in the background a lowly dwelling, and in front, partly shadowed by a tree, yet besprinkled with flakes of radiance, two youthful figures, male and female. The young man stood with folded arms, a haughty smile upon his lip and a gleam of triumph in his eye as he glanced downward at the kneeling girl. She was almost prostrate at his feet, evidently sinking under a weight of shame and anguish which hardly allowed her to lift her clasped hands in supplication. Her eyes she could not lift. But neither her agony, nor the lovely features on which it was depicted, nor the slender grace of the form which it convulsed, appeared to soften the obduracy of the young man. He was the personification of triumphant scorn.
Now, strange to say, as old Mr. Smith peeped through the magnifying-glass, which made the objects start out from the canvas with magical deception, he began to recognize the farmhouse, the tree and both the figures of the picture. The young man in times long past had often met his gaze within the looking-glass; the girl was the very image of his first love, his cottage-love, his Martha Burroughs. Mr. Smith was scandalized. "Oh, vile and slanderous picture !" he exclaims. "When have I triumphed over ruined innocence ? Was not Martha wedded in her teens to David Tomkins, who won her girlish love and long enjoyed her affection as a wife? And ever since his death she has lived a reputable widow!"
Meantime, Memory was turning over the leaves of her volume, rustling them to and fro with uncertain fingers, until among the earlier pages she found one which had reference to this picture. She reads it close to the old gentleman's ear: it is a record merely of sinful thought which never was embodied in an act, but, while Memory is reading, Conscience unveils her face and strikes a dagger to the heart of Mr. Smith. Though not a death-blow, the torture was extreme.
The exhibition proceeded. One after another Fancy displayed her pictures, all of which appeared to have been painted by some malicious artist on purpose to vex Mr. Smith. Not a shadow of proof could have been adduced in any earthly court that he was guilty of the slightest of those sins which were thus made to stare him in the face. In one scene there was a table set out, with several bottles and glasses half filled with wine, which threw back the dull ray of an expiring lamp. There had been mirth and revelry until the hand of the clock stood just at midnight, when Murder stepped between the boon companions. A young man had fallen on the floor, and lay stone dead with a ghastly wound crushed into his temple, while over him, with a delirium of mingled rage and horror in his countenance, stood the youthful likeness of Mr. Smith. The murdered youth wore the features of Edward Spencer. "What does this rascal of a painter mean?" cries Mr. Smith, provoked beyond all patience. "Edward Spencer was my earliest and dearest friend, true to me as I to him through more than half a century. Neither I nor any other ever murdered him. Was he not alive within five years, and did he not, in token of our long friendship, bequeath me his gold headed cane and a mourning ring ?"
Again had Memory been turning over her volume, and fixed at length upon so confused a page that she surely must have scribbled it when she was tipsy. The purport was, however, that while Mr. Smith and Edward Spencer were heating their young blood with wine a quarrel had flashed up between them, and Mr. Smith, in deadly wrath, had flung a bottle at Spencer's head. True, it missed its aim and merely smashed a looking-glass; and the next morning, when the incident was imperfectly remembered, they had shaken hands with a hearty laugh. Yet, again, while Memory was reading, Conscience unveiled her face, struck a dagger to the heart of Mr. Smith and quelled his remonstrance with her iron frown. The pain was quite excruciating.
Some of the pictures had been painted with so doubtful a touch, and in colors so faint and pale, that the subjects could barely be conjectured. A dull, semi-transparent mist had been thrown over the surface of the canvas, into which the figures seemed to vanish while the eye sought most earnestly to fix them. But in every scene, however dubiously portrayed, Mr. Smith was invariably haunted by his own lineaments at various ages as in a dusty mirror. After poring several minutes over one of these blurred and almost indistinguishable pictures, he began to see that the painter had intended to represent him, now in the decline of life, as stripping the clothes from the backs of three half-starved children. "Really, this puzzles me !" quoth Mr. Smith, with the irony of conscious rectitude. "Asking pardon of the painter, I pronounce him a fool as well as a scandalous knave. A man of my standing in the world to be robbing little children of their clothes ! Ridiculous !"
But while he spoke Memory had searched her fatal volume and found a page which with her sad calm voice she poured into his ear. It was not altogether inapplicable to the misty scene. It told how Mr. Smith had been grievously tempted by many devilish sophistries, on the ground of a legal quibble, to commence a lawsuit against three orphan-children, joint-heirs to a considerable estate. Fortunately, before he was quite decided, his claims had turned out nearly as devoid of law as justice. As Memory ceased to read Conscience again thrust aside her mantle, and would have struck her victim with the envenomed dagger only that he struggled and clasped his hands before his heart. Even then, however, he sustained an ugly gash.
Why should we follow Fancy through the whole series of those awful pictures ? Painted by an artist of wondrous power and terrible acquaintance with the secret soul, they embodied the ghosts of all the never-perpetrated sins that had glided through the lifetime of Mr. Smith. And could such beings of cloudy fantasy, so near akin to nothingness, give valid evidence against him at the day of judgment? Be that the case or not, there is reason to believe that one truly penitential tear would have washed away each hateful picture and left the canvas white as snow. But Mr. Smith, at a prick of Conscience too keen to be endured, bellowed aloud with impatient agony, and suddenly discovered that his three guests were gone. There he sat alone, a silver haired and highly - venerated old man, in the rich gloom of the crimsoned curtained room, with no box of pictures on the table, but only a decanter of most excellent Madeira. Yet his heart still seemed to fester with the venom of the dagger.
Nevertheless, the unfortunate old gentleman might have argued the matter with Conscience and alleged many reasons wherefore she should not smite him so pitilessly. Were we to take up his cause, it should be somewhat in the following fashion. A scheme of guilt, till it be put in execution, greatly resembles a train of incidents in a projected tale. The latter, in order to produce a sense of reality in the reader's mind, must be conceived with such proportionate strength by the author as to seem in the glow of fancy more like truth, past, present or to come, than purely fiction. The prospective sinner, on the other hand, weaves his plot of crime, but seldom or never feels a perfect certainty that it will be executed. There is a dreaminess diffused about his thoughts; in a dream, as it were, he strikes the death-blow into his victim's heart and starts to find an indelible blood stain on his hand. Thus a novel-writer or a dramatist, in creating a villain of romance and fitting him with evil deeds, and the villain of actual life in projecting crimes that will be perpetrated, may almost meet each other halfway between reality and fancy. It is not until the crime is accomplished that Guilt clenches its gripe upon the guilty heart and claims it for his own. Then, and not before, sin is actually felt and acknowledged, and, if unaccompanied by repentance, grows a thousandfold more virulent by its self consciousness. Be it considered, also, that men often overestimate their capacity for evil. At a distance, while its attendant circumstances do not press upon their notice and its results are dimly seen, they can bear to contemplate it. They may take the steps which lead to crime, impelled by the same sort of mental action as in working out a mathematical problem, yet be powerless with compunction at the final moment. They knew not what deed it was that they deemed themselves resolved to do. In truth, there is no such thing in man's nature as a settled and full resolve, either for good or evil, except at the very moment of execution. Let us hope, therefore, that all the dreadful consequences of sin will not be incurred unless the act have set its seal upon the thought.
Yet, with the slight fancy work which we have framed, some sad and awful truths are interwoven. Man must not disclaim his brotherhood even with the guiltiest, since, though his hand be clean, his heart has surely been polluted by the flitting phantoms of iniquity. He must feel that when he shall knock at the gate of heaven no semblance of an unspotted life can entitle him to entrance there. Penitence must kneel and Mercy come from the footstool of the throne, or that golden gate will never open.
Nathaniel Hawthorne (July 4, 1804 – May 19, 1864) was an American novelist, dark romantic, and short story writer. His works often focus on history, morality, and religion.
He was born in 1804 in Salem, Massachusetts, to Nathaniel Hathorne and the former Elizabeth Clarke Manning. His ancestors include John Hathorne, the only judge from the Salem witch trials who never repented his involvement. He entered Bowdoin College in 1821, was elected to Phi Beta Kappa in 1824, and graduated in 1825. He published his first work in 1828, the novel Fanshawe; he later tried to suppress it, feeling that it was not equal to the standard of his later work. He published several short stories in periodicals, which he collected in 1837 as Twice-Told Tales. The next year, he became engaged to Sophia Peabody. He worked at the Boston Custom House and joined Brook Farm, a transcendentalist community, before marrying Peabody in 1842. The couple moved to The Old Manse in Concord, Massachusetts, later moving to Salem, the Berkshires, then to The Wayside in Concord. The Scarlet Letter was published in 1850, followed by a succession of other novels. A political appointment as consul took Hawthorne and family to Europe before their return to Concord in 1860. Hawthorne died on May 19, 1864, and was survived by his wife and their three children.
Much of Hawthorne's writing centers on New England, many works featuring moral metaphors with an anti-Puritan inspiration. His fiction works are considered part of the Romantic movement and, more specifically, dark romanticism. His themes often center on the inherent evil and sin of humanity, and his works often have moral messages and deep psychological complexity. His published works include novels, short stories, and a biography of his college friend Franklin Pierce, the 14th President of the United States.
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