Critics From The United States

"Moonlight is sculpture; sunlight is painting."

"What would a man do, if he were compelled to live always in the sultry heat of society, and could never bathe himself in cool solitude?"

"We sometimes congratulate ourselves at the moment of waking from a troubled dream: it may be so the moment after death."

"Every individual has a place to fill in the world, and is important, in some respect, whether he chooses to be so or not."

"The marble was all burnt into perfect, snow-white lime. But on its surface, in the midst of the circle,—snow-white too, and thoroughly converted into lime,—lay a human skeleton, in the attitude of a person who, after long toil, lies down to long repose. Within the ribs—strange to say—was the shape of a human heart. "Was the fellow's heart made of marble?" cried Bertram... "At any rate, it is burnt into what looks like a special good lime... my kiln is half a bushel the richer for him." ... [T]he rude lime-burner lifted his pole, and, letting it fall upon the skeleton, the relics of Ethan Brand were crumbled into fragments."

"If his inmost heart could have been laid open, there would have been discovered that dream of undying fame, which, dream as it is, is more powerful than a thousand realities."

"Scattered... over the breasts of the surrounding mountains there were heaps of hoary mist, in fantastic shapes... or cloud, hovering in the gold radiance of the upper atmosphere. ...[I]t seemed almost as if mortal man might thus ascend into the heavenly regions. Earth was so mingled with sky... The great hills played a concert among themselves, each constituting a strain of airy sweetness."

"[H]e was now a cold observer, looking on mankind as the subject of his experiment, and, at length, converting man and woman to be his puppets, and pulling the wires that moved them to such degrees of crime as were demanded by his study. Thus Ethan Brand became a fiend. He began to be so from the moment that his moral nature had ceased to keep the pace of improvement with his intellect."

"He remembered how the night dew had fallen upon him,—how the dark forest had whispered to him,—how the stars had gleamed upon him,—a simple and loving man, watching his fire in the years gone by, and ever musing as it burned. He remembered with what tenderness, with what love and sympathy for mankind, and what pity for human guilt and woe, he had first begun to contemplate those ideas which afterwards became the inspiration of his life; with what reverence he had then looked into the heart of man, viewing it as a temple originally divine, and, however desecrated, still to be held as sacred to a brother; with what awful fear he had deprecated the success of his pursuit, and prayed that the Unpardonable Sin might never be revealed to him. Then ensued the base intellectual development which, in its progress, disturbed the counterpoise between his mind and heart."

"The white-haired father now approached Ethan Brand, and gazed steadily into his face. "They tell me you have been all over the earth," said he, wringing his hands with earnestness. "You must have seen my daughter, for she makes a grand figure in the world, and everybody goes to see her. Did she send any word to her old father, or say when she was coming back?" Ethan Brand's eye quailed beneath the old man's. That daughter, from whom he so earnestly desired a word of greeting, was the Esther of our tale, the very girl whom, with such cold and remorseless purpose, Ethan Brand had made the subject of a psychological experiment, and wasted, absorbed, and perhaps annihilated her soul, in the process."

""What is the Unpardonable Sin?" asked the lime-burner; and then he shrank farther from his companion, trembling lest his question should be answered. "It is a sin that grew within my own breast," replied Ethan Brand, standing erect with a pride that distinguishes all enthusiasts of his stamp. "A sin that grew nowhere else! The sin of an intellect that triumphed over the sense of brotherhood with man and reverence for God, and sacrificed everything to its own mighty claims!"

"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 Bertram'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 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. "I have looked," said he, "into many a human heart that was seven times hotter with sinful passions than yonder furnace is with fire. But I found not there what I sought. No, not the Unpardonable Sin!""

"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."

"The blacksmith, by main force, unclosed the infant's hand, and found within the palm a small heap of glittering fragments, whence the mystery of beauty had fled forever. ...Owen Warland ...looked placidly at what seemed the ruin of his life's labor, and which was yet no ruin. He had caught a far other butterfly than this. When the artist rose high enough to achieve the beautiful, the symbol by which he made it perceptible to mortal senses became of little value in his eyes while his spirit possessed itself in the enjoyment of the reality."

"As if the butterfly, like the artist, were conscious of something not entirely congenial in the child's nature, it alternately sparkled and grew dim. At length it arose from the small hand of the infant with an airy motion that seemed to bear it upward without an effort, as if the ethereal instincts with which its master's spirit had endowed it impelled this fair vision involuntarily to a higher sphere. Had there been no obstruction, it might have soared into the sky and grown immortal. But its lustre gleamed upon the ceiling; the exquisite texture of its wings brushed against that earthly medium; and a sparkle or two, as of stardust, floated downward and lay glimmering on the carpet."

"He knew that the world, and Annie as the representative of the world, whatever praise might be bestowed, could never say the fitting word nor feel the fitting sentiment which should be the perfect recompense of an artist who, symbolizing a lofty moral by a material trifle,—converting what was earthly to spiritual gold,—had won the beautiful into his handiwork. Not at this latest moment was he to learn that the reward of all high performance must be sought within itself, or sought in vain."

"But is it alive?" exclaimed she again; and the finger on which the gorgeous mystery had alighted was so tremulous that the butterfly was forced to balance himself with his wings. "Tell me if it be alive, or whether you created it. But"—and here his countenance somewhat changed—"this butterfly is not now to me what it was when I beheld it afar off in a daydream of my youth."

"In heaven, all ordinary thought is higher and more melodious than Milton's song. Then, would he add another verse to any strain that he had left unfinished here?"

"Can the philosopher, big with the inspiration of an idea that is to reform mankind, believe that he is to be beckoned from this sensible existence at the very instant when he is mustering his breath to speak the word of light? Should he perish so, the weary ages must pass away—the world's, whose life sand may fall, drop by drop—before another intellect is prepared to develop the truth that might have been uttered then. But history affords many an example where the most precious spirit... has gone hence... The prophet dies, and the man of torpid heart and sluggish brain lives on. The poet leaves his song half sung, or finishes it, beyond the scope of mortal ears... The painter—as Allston did—leaves half his conception on the canvas to sadden us with its imperfect beauty, and goes to picture forth the whole... in the hues of heaven. But rather such incomplete designs of life will be perfected nowhere. This so frequent abortion of man's dearest projects must be taken as proof that the deeds of earth, however etherealized by piety or genius, are without value, except as exercises and manifestations of the spirit."

"So long as we love life for itself, we seldom dread the losing it. When we desire life for the attainment of an object, we recognize the frailty of its texture. But, side by side with this sense of insecurity, there is a vital faith in our invulnerability to the shaft of death while engaged in any task that seems assigned by Providence as our proper thing to do, and which the world would have cause to mourn for should we leave it unaccomplished."

"Somewhat of a babbler, indeed, did people begin to think him; for he was apt to discourse at wearisome length of marvels of mechanism that he had read about... Among them he enumerated the Man of Brass, constructed by Albertus Magnus, and the Brazen Head of Friar Bacon... the automata of a little coach and horses, which it was pretended had been manufactured for the Dauphin of France; together with an insect that buzzed about the ear like a living fly... a duck that waddled, and quacked, and ate... In his idle and dreamy days he had considered it possible... to spiritualize machinery... a beauty that should attain to the ideal which Nature proposed to herself in all her creatures..."

"To persons whose pursuits are insulated from the common business of life—who are either in advance of mankind or apart from it—there often comes a sensation of moral cold that makes the spirit shiver as if it had reached the frozen solitudes around the pole. What the prophet, the poet, the reformer, the criminal, or any other man with human yearnings, but separated from the multitude by a peculiar lot, might feel, poor Owen felt."

"Alas that the artist... may not content himself with the inward enjoyment of the beautiful, but must chase the fitting mystery beyond the verge of his ethereal domain, and crush its frail being in seizing it with a material grasp. Owen Warland felt the impulse to give external reality to his ideas as irresistibly as any of the poets or painters who have arrayed the world in a dimmer and fainter beauty, imperfectly copied from the richness of their visions."

"You are my evil spirit... you and the hard course world!"

"There was nothing so antipodal to his nature as this man's cold, unimaginative sagacity, by contact with which everything was converted into a dream except the densest matter of the physical world."

"Only get rid altogether of your nonsensical trash about the beautiful, which I nor anybody else, nor yourself to boot, could ever understand,—only free yourself of that, and your success in life is as sure as daylight."

"In a word, the heavy weight upon his spirits kept everything in order, not merely within his own system, but wheresoever the iron accents of the church clock were audible."

"Thus it is that ideas, which grow up within the imagination and appear so lovely to it and of a value beyond whatever men call valuable, are exposed to be shattered and annihilated by contact with the practical. It is requisite for the ideal artist to possess a force of character that seems hardly compatible with its delicacy; he must keep his faith in himself while the incredulous world assails him with its utter disbelief; he must stand up against mankind and be his own sole disciple, both as respects his genius and the objects to which it is directed."

""Heaven! What have I done?" exclaimed he. "The vapor, the influence of that brute force,—it has bewildered me and obscured my perception. I have made the very stroke—the fatal stroke—that I have dreaded from the first. It is all over—the toil of months, the object of my life. I am ruined!" And there he sat, in strange despair, until his lamp flickered in the socket and left the Artist of the Beautiful in darkness."

"America is now wholly given over to a d—d mob of scribbling women, and I should have no chance of success while the public taste is occupied with their trash — and should be ashamed of myself if I did succeed. What is the mystery of these innumerable editions of the Lamplighter, and other books neither better nor worse? — worse they could not be, and better they need not be, when they sell by 100,000."

"In youth men are apt to write more wisely than they really know or feel; and the remainder of life may be not idly spent in realizing and convincing themselves of the wisdom which they uttered long ago."

"When the Artist rises high enough to achieve the Beautiful, the symbol by which he makes it perceptible to mortal senses becomes of little value in his eyes, while his spirit possesses itself in the enjoyment of the reality."

"How slowly I have made my way in life! How much is still to be done! How little worth — outwardly speaking — is all that I have achieved! The bubble reputation is as much a bubble in literature as in war, and I should not be one whit the happier if mine were world-wide and time-long than I was when nobody but yourself had faith in me. The only sensible ends of literature are, first, the pleasurable toil of writing; second, the gratification of one's family and friends; and, lastly, the solid cash."

"The book, if you would see anything in it, requires to be read in the clear, brown, twilight atmosphere in which it was written; if opened in the sunshine, it is apt to look exceedingly like a volume of blank pages."

"Our Creator would never have made such lovely days, and have given us the deep hearts to enjoy them, above and beyond all thought, unless we were meant to be immortal."

"She poured out the liquid music of her voice to quench the thirst of his spirit."

"As far as my experience goes, men of genius are fairly gifted with the social qualities; and in this age, there appears to be a fellow-feeling among them, which had not heretofore been developed. As men, they ask nothing better than to be on equal terms with their fellow-men; and as authors, they have thrown aside their proverbial jealousy, and acknowledge a generous brotherhood."

"I have not lived, but only dreamed about living."

"The young have less charity for aged follies than the old for those of youth."

"As the moral gloom of the world overpowers all systematic gaiety, even so was their home of wild mirth made desolate amid the sad forest."

"Lo, there ye stand, my children," said the figure, in a deep and solemn tone, almost sad with its despairing awfulness, as if his once angelic nature could yet mourn for our miserable race. "Depending upon one another's hearts, ye had still hoped that virtue were not all a dream. Now are ye undeceived. Evil is the nature of mankind. Evil must be your only happiness. Welcome again, my children, to the communion of your race."

"By the sympathy of your human hearts for sin ye shall scent out all the places — whether in church, bedchamber, street, field, or forest — where crime has been committed, and shall exult to behold the whole earth one stain of guilt, one mighty blood spot."

"Long, long may it be, ere he comes again! His hour is one of darkness, and adversity, and peril. But should domestic tyranny oppress us, or the invader's step pollute our soil, still may the Gray Champion come, for he is the type of New England's hereditary spirit; and his shadowy march, on the eve of danger, must ever be the pledge, that New England's sons will vindicate their ancestry."

"Amid the seeming confusion of our mysterious world, individuals are so nicely adjusted to a system, and systems to one another and to a whole, that, by stepping aside for a moment, a man exposes himself to a fearful risk of losing his place forever."

"Would Time but await the close of our favorite follies, we should all be young men, all of us, and until Doom's Day."

"It is perilous to make a chasm in human affections; not that they gape so long and wide—but so quickly close again!"

"In old times, the settlers used to be astounded by the inroads of the northern Indians, coming down upon them from this mountain rampart, through some defile known only to themselves. It is indeed a wondrous path. A demon, it might be fancied, or one of the Titans, was travelling up the valley, elbowing the heights carelessly aside as he passed, till at length a great mountain took its stand directly across his intended road. He tarries not for such an obstacle, but rending it asunder, a thousand feet from peak to base, discloses its treasures of hidden minerals, its sunless waters, all the secrets of the mountain's inmost heart, with a mighty fracture of rugged precipices on each side. This is the Notch of the White Hills. Shame on me, that I have attempted to describe it by so mean an image — feeling, as I do, that it is one of those symbolic scenes, which lead the mind to the sentiment, though not to the conception, of Omnipotence."

"Let us forget the other names of American statesmen, that have been stamped upon these hills, but still call the loftiest — WASHINGTON. Mountains are Earth's undecaying monuments. They must stand while she endures, and never should be consecrated to the mere great men of their own age and country, but to the mighty ones alone, whose glory is universal, and whom all time will render illustrious."

"Suppose Jonathan Edwards had been born a woman; suppose William James, for that matter, had been born a woman? (The invalid seclusion of his sister Alice is suggestive.) Even from men, New England took its psychic toll; many of its geniuses seemed peculiar in one way or another, particularly along the lines of social intercourse. Hawthorne, until he married, took his meals in his bedroom, apart from the family...Emily Dickinson-viewed by her bemused contemporary Thomas Higginson as "partially cracked," by the twentieth century as fey or pathological-has increasingly struck me as a practical woman, exercising her gift as she had to, making choices."

"I became interested in the representation of the other. I started the novel mainly because of two germs. One was Hawthorne's The Scarlet Letter, a novel that I had to read for my Ph.D. and also for my teaching classes and that has always been a favorite book of mine. I was always more interested in Pearl, the "legacy of passion," than in Hester but then I also felt that the end of the book had also been subject to a Eurocentered decision on the part of some critics who simply assume that Pearl Prynne has married an European count and has gone to Europe after the events told in the story. They have assumed this because at the end of the book Pearl is sending to her Puritan mother in colonial Massachusetts all these very exotic presents with heraldic crests that could not be decoded.' Now, I thought that these heraldic crests should have been decoded if they were European, and then the more documents I read, the more I realized how much trading there was for the importation of objects, ideas, even people-freaks especially from the Coromandel Coast in India. So Pearl Prynne was one of the inspirations for my book."