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CHAPTER XII The Daguerreotypist
IT must not be supposed that the life of a personage naturally so active as Phoebe
could be wholly confined within the precincts of the old Pyncheon House.
Clifford's demands upon her time were usually satisfied, in those long days,
considerably earlier than sunset.
Quiet as his daily existence seemed, it nevertheless drained all the resources by
which he lived.
It was not physical exercise that overwearied him,--for except that he
sometimes wrought a little with a hoe, or paced the garden-walk, or, in rainy
weather, traversed a large unoccupied
room,--it was his tendency to remain only too quiescent, as regarded any toil of the
limbs and muscles.
But, either there was a smouldering fire within him that consumed his vital energy,
or the monotony that would have dragged itself with benumbing effect over a mind
differently situated was no monotony to Clifford.
Possibly, he was in a state of second growth and recovery, and was constantly
assimilating nutriment for his spirit and intellect from sights, sounds, and events
which passed as a perfect void to persons more practised with the world.
As all is activity and vicissitude to the new mind of a child, so might it be,
likewise, to a mind that had undergone a kind of new creation, after its long-
suspended life.
Be the cause what it might, Clifford commonly retired to rest, thoroughly
exhausted, while the sunbeams were still melting through his window-curtains, or
were thrown with late lustre on the chamber wall.
And while he thus slept early, as other children do, and dreamed of childhood,
Phoebe was free to follow her own tastes for the remainder of the day and evening.
This was a freedom essential to the health even of a character so little susceptible
of morbid influences as that of Phoebe.
The old house, as we have already said, had both the dry-rot and the damp-rot in its
walls; it was not good to breathe no other atmosphere than that.
Hepzibah, though she had her valuable and redeeming traits, had grown to be a kind of
lunatic by imprisoning herself so long in one place, with no other company than a
single series of ideas, and but one affection, and one bitter sense of wrong.
Clifford, the reader may perhaps imagine, was too inert to operate morally on his
fellow-creatures, however intimate and exclusive their relations with him.
But the sympathy or magnetism among human beings is more subtile and universal than
we think; it exists, indeed, among different classes of organized life, and
vibrates from one to another.
A flower, for instance, as Phoebe herself observed, always began to droop sooner in
Clifford's hand, or Hepzibah's, than in her own; and by the same law, converting her
whole daily life into a flower fragrance
for these two sickly spirits, the blooming girl must inevitably droop and fade much
sooner than if worn on a younger and happier breast.
Unless she had now and then indulged her brisk impulses, and breathed rural air in a
suburban walk, or ocean breezes along the shore,--had occasionally obeyed the impulse
of Nature, in New England girls, by
attending a metaphysical or philosophical lecture, or viewing a seven-mile panorama,
or listening to a concert,--had gone shopping about the city, ransacking entire
depots of splendid merchandise, and
bringing home a ribbon,--had employed, likewise, a little time to read the Bible
in her chamber, and had stolen a little more to think of her mother and her native
place--unless for such moral medicines as
the above, we should soon have beheld our poor Phoebe grow thin and put on a
bleached, unwholesome aspect, and assume strange, shy ways, prophetic of old-
maidenhood and a cheerless future.
Even as it was, a change grew visible; a change partly to be regretted, although
whatever charm it infringed upon was repaired by another, perhaps more precious.
She was not so constantly gay, but had her moods of thought, which Clifford, on the
whole, liked better than her former phase of unmingled cheerfulness; because now she
understood him better and more delicately,
and sometimes even interpreted him to himself.
Her eyes looked larger, and darker, and deeper; so deep, at some silent moments,
that they seemed like Artesian wells, down, down, into the infinite.
She was less girlish than when we first beheld her alighting from the omnibus; less
girlish, but more a woman.
The only youthful mind with which Phoebe had an opportunity of frequent intercourse
was that of the daguerreotypist.
Inevitably, by the pressure of the seclusion about them, they had been brought
into habits of some familiarity.
Had they met under different circumstances, neither of these young persons would have
been likely to bestow much thought upon the other, unless, indeed, their extreme
dissimilarity should have proved a principle of mutual attraction.
Both, it is true, were characters proper to New England life, and possessing a common
ground, therefore, in their more external developments; but as unlike, in their
respective interiors, as if their native climes had been at world-wide distance.
During the early part of their acquaintance, Phoebe had held back rather
more than was customary with her frank and simple manners from Holgrave's not very
marked advances.
Nor was she yet satisfied that she knew him well, although they almost daily met and
talked together, in a kind, friendly, and what seemed to be a familiar way.
The artist, in a desultory manner, had imparted to Phoebe something of his
history.
Young as he was, and had his career terminated at the point already attained,
there had been enough of incident to fill, very creditably, an autobiographic volume.
A romance on the plan of Gil Blas, adapted to American society and manners, would
cease to be a romance.
The experience of many individuals among us, who think it hardly worth the telling,
would equal the vicissitudes of the Spaniard's earlier life; while their
ultimate success, or the point whither they
tend, may be incomparably higher than any that a novelist would imagine for his hero.
Holgrave, as he told Phoebe somewhat proudly, could not boast of his origin,
unless as being exceedingly humble, nor of his education, except that it had been the
scantiest possible, and obtained by a few
winter-months' attendance at a district school.
Left early to his own guidance, he had begun to be self-dependent while yet a boy;
and it was a condition aptly suited to his natural force of will.
Though now but twenty-two years old (lacking some months, which are years in
such a life), he had already been, first, a country schoolmaster; next, a salesman in a
country store; and, either at the same time
or afterwards, the political editor of a country newspaper.
He had subsequently travelled New England and the Middle States, as a peddler, in the
employment of a Connecticut manufactory of cologne-water and other essences.
In an episodical way he had studied and practised dentistry, and with very
flattering success, especially in many of the factory-towns along our inland streams.
As a supernumerary official, of some kind or other, aboard a packet-ship, he had
visited Europe, and found means, before his return, to see Italy, and part of France
and Germany.
At a later period he had spent some months in a community of Fourierists.
Still more recently he had been a public lecturer on Mesmerism, for which science
(as he assured Phoebe, and, indeed, satisfactorily proved, by putting
Chanticleer, who happened to be scratching
near by, to sleep) he had very remarkable endowments.
His present phase, as a daguerreotypist, was of no more importance in his own view,
nor likely to be more permanent, than any of the preceding ones.
It had been taken up with the careless alacrity of an adventurer, who had his
bread to earn.
It would be thrown aside as carelessly, whenever he should choose to earn his bread
by some other equally digressive means.
But what was most remarkable, and, perhaps, showed a more than common poise in the
young man, was the fact that, amid all these personal vicissitudes, he had never
lost his identity.
Homeless as he had been,--continually changing his whereabout, and, therefore,
responsible neither to public opinion nor to individuals,--putting off one exterior,
and snatching up another, to be soon
shifted for a third,--he had never violated the innermost man, but had carried his
conscience along with him. It was impossible to know Holgrave without
recognizing this to be the fact.
Hepzibah had seen it. Phoebe soon saw it likewise, and gave him
the sort of confidence which such a certainty inspires.
She was startled, however, and sometimes repelled,--not by any doubt of his
integrity to whatever law he acknowledged, but by a sense that his law differed from
her own.
He made her uneasy, and seemed to unsettle everything around her, by his lack of
reverence for what was fixed, unless, at a moment's warning, it could establish its
right to hold its ground.
Then, moreover, she scarcely thought him affectionate in his nature.
He was too calm and cool an observer. Phoebe felt his eye, often; his heart,
seldom or never.
He took a certain kind of interest in Hepzibah and her brother, and Phoebe
herself.
He studied them attentively, and allowed no slightest circumstance of their
individualities to escape him.
He was ready to do them whatever good he might; but, after all, he never exactly
made common cause with them, nor gave any reliable evidence that he loved them better
in proportion as he knew them more.
In his relations with them, he seemed to be in quest of mental food, not heart-
sustenance.
Phoebe could not conceive what interested him so much in her friends and herself,
intellectually, since he cared nothing for them, or, comparatively, so little, as
objects of human affection.
Always, in his interviews with Phoebe, the artist made especial inquiry as to the
welfare of Clifford, whom, except at the Sunday festival, he seldom saw.
"Does he still seem happy?" he asked one day.
"As happy as a child," answered Phoebe; "but--like a child, too--very easily
disturbed."
"How disturbed?" inquired Holgrave. "By things without, or by thoughts within?"
"I cannot see his thoughts! How should I?" replied Phoebe with simple
piquancy.
"Very often his humor changes without any reason that can be guessed at, just as a
cloud comes over the sun.
Latterly, since I have begun to know him better, I feel it to be not quite right to
look closely into his moods. He has had such a great sorrow, that his
heart is made all solemn and sacred by it.
When he is cheerful,--when the sun shines into his mind,--then I venture to peep in,
just as far as the light reaches, but no further.
It is holy ground where the shadow falls!"
"How prettily you express this sentiment!" said the artist.
"I can understand the feeling, without possessing it.
Had I your opportunities, no scruples would prevent me from fathoming Clifford to the
full depth of my plummet-line!" "How strange that you should wish it!"
remarked Phoebe involuntarily.
"What is Cousin Clifford to you?" "Oh, nothing,--of course, nothing!"
answered Holgrave with a smile. "Only this is such an odd and
incomprehensible world!
The more I look at it, the more it puzzles me, and I begin to suspect that a man's
bewilderment is the measure of his wisdom.
Men and women, and children, too, are such strange creatures, that one never can be
certain that he really knows them; nor ever guess what they have been from what he sees
them to be now.
Judge Pyncheon! Clifford!
What a complex riddle--a complexity of complexities--do they present!
It requires intuitive sympathy, like a young girl's, to solve it.
A mere observer, like myself (who never have any intuitions, and am, at best, only
subtile and acute), is pretty certain to go astray."
The artist now turned the conversation to themes less dark than that which they had
touched upon.
Phoebe and he were young together; nor had Holgrave, in his premature experience of
life, wasted entirely that beautiful spirit of youth, which, gushing forth from one
small heart and fancy, may diffuse itself
over the universe, making it all as bright as on the first day of creation.
Man's own youth is the world's youth; at least, he feels as if it were, and imagines
that the earth's granite substance is something not yet hardened, and which he
can mould into whatever shape he likes.
So it was with Holgrave.
He could talk sagely about the world's old age, but never actually believed what he
said; he was a young man still, and therefore looked upon the world--that gray-
bearded and wrinkled profligate, decrepit,
without being venerable--as a tender stripling, capable of being improved into
all that it ought to be, but scarcely yet had shown the remotest promise of becoming.
He had that sense, or inward prophecy,-- which a young man had better never have
been born than not to have, and a mature man had better die at once than utterly to
relinquish,--that we are not doomed to
creep on forever in the old bad way, but that, this very now, there are the
harbingers abroad of a golden era, to be accomplished in his own lifetime.
It seemed to Holgrave,--as doubtless it has seemed to the hopeful of every century
since the epoch of Adam's grandchildren,-- that in this age, more than ever before,
the moss-grown and rotten Past is to be
torn down, and lifeless institutions to be thrust out of the way, and their dead
corpses buried, and everything to begin anew.
As to the main point,--may we never live to doubt it!--as to the better centuries that
are coming, the artist was surely right.
His error lay in supposing that this age, more than any past or future one, is
destined to see the tattered garments of Antiquity exchanged for a new suit, instead
of gradually renewing themselves by
patchwork; in applying his own little life- span as the measure of an interminable
achievement; and, more than all, in fancying that it mattered anything to the
great end in view whether he himself should contend for it or against it.
Yet it was well for him to think so.
This enthusiasm, infusing itself through the calmness of his character, and thus
taking an aspect of settled thought and wisdom, would serve to keep his youth pure,
and make his aspirations high.
And when, with the years settling down more weightily upon him, his early faith should
be modified by inevitable experience, it would be with no harsh and sudden
revolution of his sentiments.
He would still have faith in man's brightening destiny, and perhaps love him
all the better, as he should recognize his helplessness in his own behalf; and the
haughty faith, with which he began life,
would be well bartered for a far humbler one at its close, in discerning that man's
best directed effort accomplishes a kind of dream, while God is the sole worker of
realities.
Holgrave had read very little, and that little in passing through the thoroughfare
of life, where the mystic language of his books was necessarily mixed up with the
babble of the multitude, so that both one
and the other were apt to lose any sense that might have been properly their own.
He considered himself a thinker, and was certainly of a thoughtful turn, but, with
his own path to discover, had perhaps hardly yet reached the point where an
educated man begins to think.
The true value of his character lay in that deep consciousness of inward strength,
which made all his past vicissitudes seem merely like a change of garments; in that
enthusiasm, so quiet that he scarcely knew
of its existence, but which gave a warmth to everything that he laid his hand on; in
that personal ambition, hidden--from his own as well as other eyes--among his more
generous impulses, but in which lurked a
certain efficacy, that might solidify him from a theorist into the champion of some
practicable cause.
Altogether in his culture and want of culture,--in his crude, wild, and misty
philosophy, and the practical experience that counteracted some of its tendencies;
in his magnanimous zeal for man's welfare,
and his recklessness of whatever the ages had established in man's behalf; in his
faith, and in his infidelity; in what he had, and in what he lacked,--the artist
might fitly enough stand forth as the
representative of many compeers in his native land.
His career it would be difficult to prefigure.
There appeared to be qualities in Holgrave, such as, in a country where everything is
free to the hand that can grasp it, could hardly fail to put some of the world's
prizes within his reach.
But these matters are delightfully uncertain.
At almost every step in life, we meet with young men of just about Holgrave's age, for
whom we anticipate wonderful things, but of whom, even after much and careful inquiry,
we never happen to hear another word.
The effervescence of youth and passion, and the fresh gloss of the intellect and
imagination, endow them with a false brilliancy, which makes fools of themselves
and other people.
Like certain chintzes, calicoes, and ginghams, they show finely in their first
newness, but cannot stand the sun and rain, and assume a very sober aspect after
washing-day.
But our business is with Holgrave as we find him on this particular afternoon, and
in the arbor of the Pyncheon garden.
In that point of view, it was a pleasant sight to behold this young man, with so
much faith in himself, and so fair an appearance of admirable powers,--so little
harmed, too, by the many tests that had
tried his metal,--it was pleasant to see him in his kindly intercourse with Phoebe.
Her thought had scarcely done him justice when it pronounced him cold; or, if so, he
had grown warmer now.
Without such purpose on her part, and unconsciously on his, she made the House of
the Seven Gables like a home to him, and the garden a familiar precinct.
With the insight on which he prided himself, he fancied that he could look
through Phoebe, and all around her, and could read her off like a page of a child's
story-book.
But these transparent natures are often deceptive in their depth; those pebbles at
the bottom of the fountain are farther from us than we think.
Thus the artist, whatever he might judge of Phoebe's capacity, was beguiled, by some
silent charm of hers, to talk freely of what he dreamed of doing in the world.
He poured himself out as to another self.
Very possibly, he forgot Phoebe while he talked to her, and was moved only by the
inevitable tendency of thought, when rendered sympathetic by enthusiasm and
emotion, to flow into the first safe reservoir which it finds.
But, had you peeped at them through the chinks of the garden-fence, the young man's
earnestness and heightened color might have led you to suppose that he was making love
to the young girl!
At length, something was said by Holgrave that made it apposite for Phoebe to inquire
what had first brought him acquainted with her cousin Hepzibah, and why he now chose
to lodge in the desolate old Pyncheon House.
Without directly answering her, he turned from the Future, which had heretofore been
the theme of his discourse, and began to speak of the influences of the Past.
One subject, indeed, is but the reverberation of the other.
"Shall we never, never get rid of this Past?" cried he, keeping up the earnest
tone of his preceding conversation.
"It lies upon the Present like a giant's dead body In fact, the case is just as if a
young giant were compelled to waste all his strength in carrying about the corpse of
the old giant, his grandfather, who died a
long while ago, and only needs to be decently buried.
Just think a moment, and it will startle you to see what slaves we are to bygone
times,--to Death, if we give the matter the right word!"
"But I do not see it," observed Phoebe.
"For example, then," continued Holgrave: "a dead man, if he happens to have made a
will, disposes of wealth no longer his own; or, if he die intestate, it is distributed
in accordance with the notions of men much longer dead than he.
A dead man sits on all our judgment-seats; and living judges do but search out and
repeat his decisions.
We read in dead men's books! We laugh at dead men's jokes, and cry at
dead men's pathos!
We are sick of dead men's diseases, physical and moral, and die of the same
remedies with which dead doctors killed their patients!
We worship the living Deity according to dead men's forms and creeds.
Whatever we seek to do, of our own free motion, a dead man's icy hand obstructs us!
Turn our eyes to what point we may, a dead man's white, immitigable face encounters
them, and freezes our very heart!
And we must be dead ourselves before we can begin to have our proper influence on our
own world, which will then be no longer our world, but the world of another generation,
with which we shall have no shadow of a right to interfere.
I ought to have said, too, that we live in dead men's houses; as, for instance, in
this of the Seven Gables!"
"And why not," said Phoebe, "so long as we can be comfortable in them?"
"But we shall live to see the day, I trust," went on the artist, "when no man
shall build his house for posterity.
Why should he?
He might just as reasonably order a durable suit of clothes,--leather, or guttapercha,
or whatever else lasts longest,--so that his great-grandchildren should have the
benefit of them, and cut precisely the same figure in the world that he himself does.
If each generation were allowed and expected to build its own houses, that
single change, comparatively unimportant in itself, would imply almost every reform
which society is now suffering for.
I doubt whether even our public edifices-- our capitols, state-houses, court-houses,
city-hall, and churches,--ought to be built of such permanent materials as stone or
brick.
It were better that they should crumble to ruin once in twenty years, or thereabouts,
as a hint to the people to examine into and reform the institutions which they
symbolize."
"How you hate everything old!" said Phoebe in dismay.
"It makes me dizzy to think of such a shifting world!"
"I certainly love nothing mouldy," answered Holgrave.
"Now, this old Pyncheon House!
Is it a wholesome place to live in, with its black shingles, and the green moss that
shows how damp they are?--its dark, low- studded rooms--its grime and sordidness,
which are the crystallization on its walls
of the human breath, that has been drawn and exhaled here in discontent and anguish?
The house ought to be purified with fire,-- purified till only its ashes remain!"
"Then why do you live in it?" asked Phoebe, a little piqued.
"Oh, I am pursuing my studies here; not in books, however," replied Holgrave.
"The house, in my view, is expressive of that odious and abominable Past, with all
its bad influences, against which I have just been declaiming.
I dwell in it for a while, that I may know the better how to hate it.
By the bye, did you ever hear the story of Maule, the wizard, and what happened
between him and your immeasurably great- grandfather?"
"Yes, indeed!" said Phoebe; "I heard it long ago, from my father, and two or three
times from my cousin Hepzibah, in the month that I have been here.
She seems to think that all the calamities of the Pyncheons began from that quarrel
with the wizard, as you call him. And you, Mr. Holgrave look as if you
thought so too!
How singular that you should believe what is so very absurd, when you reject many
things that are a great deal worthier of credit!"
"I do believe it," said the artist seriously; "not as a superstition, however,
but as proved by unquestionable facts, and as exemplifying a theory.
Now, see: under those seven gables, at which we now look up,--and which old
Colonel Pyncheon meant to be the house of his descendants, in prosperity and
happiness, down to an epoch far beyond the
present,--under that roof, through a portion of three centuries, there has been
perpetual remorse of conscience, a constantly defeated hope, strife amongst
kindred, various misery, a strange form of
death, dark suspicion, unspeakable disgrace,--all, or most of which calamity I
have the means of tracing to the old Puritan's inordinate desire to plant and
endow a family.
To plant a family! This idea is at the bottom of most of the
wrong and mischief which men do.
The truth is, that, once in every half- century, at longest, a family should be
merged into the great, obscure mass of humanity, and forget all about its
ancestors.
Human blood, in order to keep its freshness, should run in hidden streams, as
the water of an aqueduct is conveyed in subterranean pipes.
In the family existence of these Pyncheons, for instance,--forgive me Phoebe, but I
cannot think of you as one of them,--in their brief New England pedigree, there has
been time enough to infect them all with one kind of lunacy or another."
"You speak very unceremoniously of my kindred," said Phoebe, debating with
herself whether she ought to take offence.
"I speak true thoughts to a true mind!" answered Holgrave, with a vehemence which
Phoebe had not before witnessed in him. "The truth is as I say!
Furthermore, the original perpetrator and father of this mischief appears to have
perpetuated himself, and still walks the street,--at least, his very image, in mind
and body,--with the fairest prospect of
transmitting to posterity as rich and as wretched an inheritance as he has received!
Do you remember the daguerreotype, and its resemblance to the old portrait?"
"How strangely in earnest you are!" exclaimed Phoebe, looking at him with
surprise and perplexity; half alarmed and partly inclined to laugh.
"You talk of the lunacy of the Pyncheons; is it contagious?"
"I understand you!" said the artist, coloring and laughing.
"I believe I am a little mad.
This subject has taken hold of my mind with the strangest tenacity of clutch since I
have lodged in yonder old gable.
As one method of throwing it off, I have put an incident of the Pyncheon family
history, with which I happen to be acquainted, into the form of a legend, and
mean to publish it in a magazine."
"Do you write for the magazines?" inquired Phoebe.
"Is it possible you did not know it?" cried Holgrave.
"Well, such is literary fame!
Yes. Miss Phoebe Pyncheon, among the multitude of my marvellous gifts I have
that of writing stories; and my name has figured, I can assure you, on the covers of
Graham and Godey, making as respectable an
appearance, for aught I could see, as any of the canonized bead-roll with which it
was associated.
In the humorous line, I am thought to have a very pretty way with me; and as for
pathos, I am as provocative of tears as an onion.
But shall I read you my story?"
"Yes, if it is not very long," said Phoebe,--and added laughingly,--"nor very
dull."
As this latter point was one which the daguerreotypist could not decide for
himself, he forthwith produced his roll of manuscript, and, while the late sunbeams
gilded the seven gables, began to read.