NATHANIEL HAWTHORNE

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THE ANCESTRAL FOOTSTEP:

OUTLINES OF AN ENGLISH ROMANCE.

INTRODUCTORY NOTE.

"Septimius Felton"was the outgrowth of a project, formed by Hawthorne during his residence in England, of writing a romance, the scene of which should be laid in that country; but this project was afterwards abandoned, giving place to a new conception in which the visionary search for means to secure an earthly immortality was to form the principal interest. The new conception took shape in the uncompleted"Dolliver Romance."The two themes, of course, were distinct, but, by a curious process of thought, one grew directly out of the other: the whole history constitutes, in fact, a chapter in what may be called the genealogy of a romance. The re remained, after"Septimius Felton"had been published, certain manuscripts connected with the scheme of an English story. One of these manuscripts was written in the form of a journalized narrative; the author merely noting the date of what he wrote, as he went along. The other was a more extended sketch, of much greater bulk, and without date, but probably produced several years later. It was not originally intended by those who at the time had charge of Hawthorne's papers that either of these incomplete writings should be laid before the public; because they manifestly had not been left by him in a form which he would have considered as warranting such a course. But since the second and larger manuscript has been published under the title of"Dr. Grimshawe's Secret,"it has been thought best to issue the present sketch, so that the two documents may be examined together. The ir appearance places in the hands of readers the entire process of development leading to the"Septimius"and"The Dolliver Romance."They speak for themselves much more efficiently than any commentator can expect to do; and little, therefore, remains to be said beyond a few words of explanation in regard to the following pages.

The Note-Books show that the plan of an English romance, turning upon the fact that an emigrant to America had carried away a family secret which should give his descendant the power to ruin the family in the mother country, had occurred to Hawthorne as early as April, 1855. In August of the same year he visited Smithell's Hall, in Bolton le Moors, concerning which he had already heard its legend of"The Bloody Footstep,"and from that time on, the idea of this footprint on the threshold-stone of the ancestral mansion seems to have associated itself inextricably with the dreamy substance of his yet unshaped romance. Indeed, it leaves its mark broadly upon Sibyl Dacy's wild legend in"Septimius Felton,"and reappears in the last paragraph of that story. But, so far as we can know at this day, nothing definite was done until after his departure for It aly. It was then, while staying in Rome, that he began to put upon paper that plot which had first occupied his thoughts three years before, in the scant leisure allowed him by his duties at the Liverpool consulate. Of leisure there was not a great deal at Rome, either; for, as the"French and It alian Note-Books"show, sight-seeing and social intercourse took up a good deal of his time, and the daily record in his journal likewise had to be kept up. But he set to work resolutely to embody, so far as he might, his stray imaginings upon the haunting English theme, and to give them connected form. April 1, 1858, he began; and then nearly two weeks passed before he found an opportunity to resume; April 13th being the date of the next passage. By May he gets fully into swing, so that day after day, with but slight breaks, he carries on the story, always increasing in interest for us who read as for him who improvised. Thus it continues until May 19th, by which time he has made a tolerably complete outline, filled in with a good deal of detail here and there. Although the sketch is cast in the form of a regular narrative, one or two gaps occur, indicating that the author had thought out certain points which he then took for granted without making note of them. Brief scenes, passages of conversation and of narration, follow one another after the manner of a finished story, alternating with synopses of the plot, and queries concerning particulars that needed further study; confidences of the romancer to himself which form certainly a valuable contribution to literary history. The manuscript closes with a rapid sketch of the conclusion, and the way in which it is to be executed. Succinctly, what we have here is a romance in embryo; one, moreover, that never attained to a viable stature and constitution. During his lifetime it naturally would not have been put forward as demanding public attention; and, in consideration of that fact, it has since been withheld from the press by the decision of his daughter, in whom the title to it vests. Students of literary art, however, and many more general readers will, I think, be likely to discover in it a charm all the greater for its being in parts only indicated; since, as it stands, it presents the precise condition of a work of fiction in its first stage. The unfinished"Grimshawe"was another development of the same theme, and the"Septimius"a later sketch, with a new element introduced. But the present experimental fragment, to which it has been decided to give the title of"The Ancestral Footstep,"possesses a freshness and spontaneity recalling the peculiar fascination of those chalk or pencil outlines with which great masters in the graphic art have been wont to arrest their fleeting glimpses of a composition still unwrought.

It would not be safe to conclude, from the large amount of preliminary writing done with a view to that romance, that Hawthorne always adopted this laborious mode of making several drafts of a book. On the contrary, it is understood that his habit was to mature a design so thoroughly in his mind before attempting to give it actual existence on paper that but little rewriting was needed. The circumstance that he was obliged to write so much that did not satisfy him in this case may account partly for his relinquishing the theme, as one which for him had lost its seductiveness through too much recasting.

It need be added only that the original manuscript, from which the following pages are printed through the medium of an exact copy, is singularly clear and fluent. Not a single correction occurs throughout; but here and there a word is omitted, obviously by mere accident, and these omissions have been supplied. The correction in each case is marked by brackets, in this printed reproduction. The sketch begins abruptly; but there is no reason to suppose that anything preceded it except the unrecorded musings in the author's mind, and one or two memoranda in the"English Note-Books."We must therefore imagine the central figure, Middleton, who is the American descendant of an old English family, as having been properly introduced, and then pass at once to the opening sentences. The rest will explain itself.

G. P. L.

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THE ANCESTRAL FOOTSTEP.

OUTLINES OF AN ENGLISH ROMANCE.

I.

April 1, 1858. Thursday.—He had now been travelling long in those rich portions of England where he would most have wished to find the object of his pursuit; and many had been the scenes which he would willingly have identified with that mentioned in the ancient, time-yellowed record which he bore about with him. It is to be observed that, undertaken at first half as the amusement, the unreal object, of a grown man's play-day, it had become more and more real to him with every step of the way that he followed it up; along those green English lanes it seemed as if everything would bring him close to the mansion that he sought; every morning he went on with renewed hopes, nor did the evening, though it brought with it no success, bring with it the gloom and heaviness of a real disappointment. In all his life, including its earliest and happiest days, he had never known such a spring and zest as now filled his veins, and gave lightsomeness to his limbs; this spirit gave to the beautiful country which he trod a still richer beauty than it had ever borne, and he sought his ancient home as if he had found his way into Paradise and were there endeavoring to trace out the sight [site] of Eve's bridal bower, the birthplace of the human race and its glorious possibilities of happiness and high performance.

In these sweet and delightful moods of mind, varying from one dream to another, he loved indeed the solitude of his way; but likewise he loved the facility which his pursuit afforded him, of coming in contact with many varieties of men, and he took advantage of this facility to an extent which it was not usually his impulse to do. But now he came forth from all reserves, and offered himself to whomever the chances of the way offered to him, with a ready sensibility that made its way through every barrier that even English exclusiveness, in whatever rank of life, could set up. The plastic character of Middleton was perhaps a variety of American nature only presenting itself under an individual form; he could throw off the man of our day, and put on a ruder nature, but then it was with a certain fineness, that made this only [a] distinction between it and the central truth. He found less variety of form in the English character than he had been accustomed to see at home; but perhaps this was in consequence of the external nature of his acquaintance with it; for the view of one well accustomed to a people, and of a stranger to them, differs in this—that the latter sees the homogeneity, the one universal character, the groundwork of the whole, while the former sees a thousand little differences, which distinguish the individual men apart, to such a degree that they seem hardly to have any resemblance among themselves.

But just at the period of his journey when we take him up, Middleton had been for two or three days the companion of an old man who interested him more than most of his wayside companions; the more especially as he seemed to be wandering without an object, or with such a dreamy object as that which led Middleton's own steps onward. He was a plain old man enough, but with a pale, strong-featured face and white hair, a certain picturesqueness and venerableness, which Middleton fancied might have befitted a richer garb than he now wore. In much of their conversation, too, he was sensible that, though the stranger betrayed no acquaintance with literature, nor seemed to have conversed with cultivated minds, yet the results of such acquaintance and converse were here. Middleton was inclined to think him, however, an old man, one of those itinerants, such as Wordsworth represented in the"Excursion,"who smooth themselves by the attrition of the world and gain a knowledge equivalent to or better than that of books from the actual intellect of man awake and active around them.

Often, during the short period since their companionship originated, Middleton had felt impelled to disclose to the old man the object of his journey, and the wild tale by which, after two hundred years, he had been blown as it were across the ocean, and drawn onward to commence this search. The old man's ordinary conversation was of a nature to draw forth such a confidence as this; frequently turning on the traditions of the wayside; the reminiscences that lingered on the battle-fields of the Roses, or of the Parliament, like flowers nurtured by the blood of the slain, and prolonging their race through the centuries for the wayfarer to pluck them; or the family histories of the castles, manor-houses, and seats which, of various epochs, had their park-gates along the roadside and would be seen with dark gray towers or ancient gables, or more modern forms of architecture, rising up among clouds of ancient oaks. Middleton watched earnestly to see if, in any of these tales, there were circumstances resembling those striking and singular ones which he had borne so long in his memory, and on which he was now acting in so strange a manner; but [though] there was a good deal of variety of incident in them, there never was any combination of incidents having the peculiarity of this.

"I suppose,"said he to the old man,"the settlers in my country may have carried away with them traditions long since forgotten in this country, but which might have an interest and connection, and might even piece out the broken relics of family history, which have remained perhaps a mystery for hundreds of years. I can conceive, even, that this might be of importance in settling the heirships of estates; but which now, only the two insulated parts of the story being known, remain a riddle, although the solution of it is actually in the world, if only these two parts could be united across the sea, like the wires of an electric telegraph."

"It is an impressive idea,"said the old man."Do you know any such tradition as you have hinted at?"

April 13th.—Middleton could not but wonder at the singular chance that had established him in such a place, and in such society, so strangely adapted to the purposes with which he had been wandering through England. He had come hither, hoping as it were to find the past still alive and in action; and here it was so in this one only spot, and these few persons into the midst of whom he had suddenly been cast. With these reflections he looked forth from his window into the old-fashioned garden, and at the stone sundial, which had numbered all the hours—all the daylight and serene ones, at least—since his mysterious ancestor left the country. And [is] this, then, he thought to himself, the establishment of which some rumor had been preserved? Was it here that the secret had its hiding-place in the old coffer, in the cupboard, in the secret chamber, or whatever was indicated by the apparently idle words of the document which he had preserved? He still smiled at the idea, but it was with a pleasant, mysterious sense that his life had at last got out of the dusty real, and that strangeness had mixed itself up with his daily experience.

With such feelings he prepared himself to go down to dinner with his host. He found him alone at table, which was placed in a dark old room modernized with every English comfort and the pleasant spectacle of a table set with the whitest of napery and the brightest of glass and china. The friendly old gentleman, as he had found him from the first, became doubly and trebly so in that position which brings out whatever warmth of heart an Englishman has, and gives it to him if he has none. The impressionable and sympathetic character of Middleton answered to the kindness of his host; and by the time the meal was concluded, the two were conversing with almost as much zest and friendship as if they were similar in age, even fellow-countrymen, and had known one another all their life-time. Middleton's secret, it may be supposed, came often to the tip of his tongue; but still he kept it within, from a natural repugnance to bring out the one romance of his life. The talk, however, necessarily ran much upon topics among which this one would have come in without any extra attempt to introduce it.

"This decay of old families,"said the Master,"is much greater than would appear on the surface of things. We have such a reluctance to part with them, that we are content to see them continued by any fiction, through any indirections, rather than to dispense with old names. In your country, I suppose, there is no such reluctance; you are willing that one generation should blot out all that preceded it, and be itself the newest and only age of the world."