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Santa Claus is right on my door step. © McKinley McKinney, Daniel F. Runaway heart. © There's a Where is romance tonight. Dear God, look down tonight upon the battlefield. Deep in the Forbidden. Take me where the sun shines.
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It is far the hottest day we have had this summer. I could not in conscience send the children to the Post Office this morning though I was very impatient to hear, because I began to have insane hopes of a letter from my husband. When I roused up, it was because I wanted to make a cushion for my husband's rocking chair. I do not think I could have done anything else or for any person else this hottest day and ill as I was. The next day she continues making the cushion, after a misfortune reduces Julian to tears: "He mourned sadly for some time; but finally cleared up suddenly upon my assuring him that he was destroying me.
Sophia's emotional conflicts found expression in a lifelong physical disability, of which such headaches were a primary feature. Her chronic exhaustion and periods of virtual prostration were taken as evidences of an exceptionally "delicate" constitution and were accepted as a matter of routine in the household. The older children had been trained to obey the demands imposed by Sophia's torment, but this could hardly be expected of the fifteen-month-old Rose. The baby's mind-shattering bouts of weeping were provoked, Sophia records, by her father's absence:.
She had cried so much my head was broken all to pieces.
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They feel a responsibility about me which is beautiful to see. Within Sophia's anguish there were passions that made her ashamed. Sustaining her selfless spirituality required constant vigilance against impulses she hardly knew how to gauge, and external circumstances sometimes caught her off guard:.
I sent Julian to the Post Office. I was too happy to open it for some time—I had it—that was enough for the present. It seemed somewhat like the effect of his smile, his tone, his touch—awakening, resting, soothing, thrilling. I retreated to the study. I wish I were.
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But I will not write any more of this here. Sophia senses that she has not reached the true ground of her feelings, which included the sexual desire that produces her fantasy of Nathaniel's "awakening, resting, soothing, thrilling" touch.
The Hawthornes had discontinued sexual intercourse after the birth of Rose, and she later ascribed this to his consideration for the "delicacy" of her constitution, three children being as much as she should be expected to bear. She was proud to be able to say, late in her life, that "Mr. Hawthorne's passions were under his feet" Pearson, Nathaniel made a comment in his journal, some months later, that reflects on the dilemma they faced. If they are wholly restrained, love will die at the roots" CE Sophia found a displaced sexual fulfillment, first in touching the letter and then in a climactic inward rush—an orgasm—of the turbulent conflicted passion that defined her relation to her husband.
Like Zenobia's tears of grief and desire before Hollingsworth, Sophia's weeping expresses her upwelling spontaneous response to the presence of a man capable of stirring her in the deepest sources of her womanhood, except that here the man's presence is invoked altogether spiritually, through the metaphorical penis with which he writes to her. It is noteworthy that Sophia wants to relish her tears in private, as when a comparable spasm was touched off by reading one of Nathaniel's tales to Julian.
Oh my husband! Thy pen surely is inspired with the divinest fire" 12 September. Her relationship to her husband and children is not a compensatory fulfillment, to be balanced against the miseries of her moral plight; it is central to those miseries and to the divine spirituality that forms the ideal by which she knows herself. Her love for her husband is the agony of a psychic conflict in which self-assertion and self-denial are so radically at odds that they unite in the rapture of being "destroyed.
Sophia attributed such awesome experiences to a pervasive universal energy, termed the "Od" by Charles von Reichenbach, that was active in mesmerism and spiritualist seances. She reports having been "beside myself for a letter" several days, and then giving up in despair. Far from wishing to rid herself of this delicious agony, Sophia clung to it like a talisman.
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Sophia's groveling protestations of absolute devotion to her husband conceal an unvanquished will to power. The chronicle of the agonies she has suffered willingly for Nathaniel during his "charming" vacation asserts Sophia's claim to the entitlements of a martyr, which are as limitless as the martyr's self-abnegation and innocent pain.
Yet this transaction cannot occur unless her husband feels answerable for her miseries, just as Priscilla's power depends upon Hollingsworth's being haunted by Zenobia's accusing ghost. Sophia's journal, taken as a whole, lays a prodigious claim on her husband's conscience, corresponding to the claim that prompted her children to feel a "responsibility about me which is beautiful to see" 31 August. Although there is no reason to doubt that Hawthorne gave every appearance of meeting Sophia's expectations, he met her dissociated fury not only. The concluding vision of Hollingsworth and Priscilla, living in a seclusion required by Hollingsworth's morbid preoccupations, bears evident resemblance to the life of retirement Nathaniel preferred to lead with Sophia.
But this vision also suggests that a man's "self-distrustful weakness"—the need for moral reassurance that makes him emotionally dependent on his wife—might be terminated if he could silence the angry ghost that haunts his conscience. Hollingsworth's chastened consciousness represents only a fraction of Hawthorne's; a larger fraction is embodied in Coverdale, who hungers like Priscilla for vicarious experience, with the difference that he is aware that this impulse serves a desire for psychic domination.
He speaks of his impulse "to live in other lives, and to endeavor. The intimate communion of the Hawthornes' marriage engaged this shared subtlety of consciousness, which generated a wealth of psychic intercourse. Whatever subsequent readers have felt about Blithedale, Sophia can hardly have been startled, or felt tricked, when Coverdale reveals at the end of the work that he has been in love throughout with Priscilla. Priscilla is strangely exempted from the unsparing moral criticism Hawthorne brings to bear on Hollingsworth, Zenobia, and even Coverdale. For a work so obsessed with the egotism hidden behind postures of selflessness, Blithedale is remarkable for never insinuating the slightest taint in Priscilla's altruism, even though she ends up inheriting a substantial fortune and marrying the man she wants, whom she dominates through submission.
Nathaniel could not expunge the self-assertion from Sophia's adulation, nor could he fail to recognize that her selflessness was managed so as to place pressure on his conscience. She treated him like a god, as believers generally do, with a prostration that embodied her hatred of the all-too-godlike power he exercised over her, and also expressed her determination to extract as many compensatory benefits as possible. But he was her match in the "delicacy" of his perceptions and her spiritual kinsman in the simultaneous assertion and effacement of his rage, now expressed as the impulse to obliterate her worship altogether.
What a trustful guardian of secret matters fire is! What should we do without Fire and Death?
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Hawthorne had every right, after all, to secure his privacy against intrusion, especially now that he was a famous writer and a public official. Better to destroy personal papers than to risk the embarrassment that might result if they fell into the wrong hands. Yet Hawthorne's meditation does not mention these practical concerns, which would not have been difficult to resolve had he preferred saving her letters to burning them.
Hawthorne dwells instead on how unique the letters were, how many there were, how absolute a destruction he has visited upon them, and how comforting it is to have consigned them to the "trustful" guardianship of death by fire—not such a death as befell Zenobia, after which her spirit lived on, but an annihilation in which "secret matters" are obliterated.
The impulse to destroy and to cherish appear together in this peculiarly elegiacal bit of gloating, much as they appear together in Coverdale's remark on the retribution he imagines for Zenobia and Hollingsworth. After the dreadful punishment was completed, says Coverdale, "I would come, as if to gather up the white ashes of those who had perished at the stake, and to tell the world.
At least four maiden letters did escape destruction, providing an early glimpse of the worshipful adulation we find in Sophia's journal entries. He occupies the role he gives to Coverdale, that of sole witness—uniquely entitled to describe, celebrate, and pronounce judgment on an uncontrollable mystery of love and loathing. Yet Hawthorne, like Coverdale, remains a witness whose testimony is riddled with self-doubt.
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The ideological preoccupation that gripped Hawthorne in the writing of Blithedale was a version—so I have proposed—of the impulse that overtook Dante in the darksome wood, the desire to anchor his life in a vision of universal order as he passes from youthful striving, triumphantly concluded, into the shadow of death. Only twelve years of life now remained to Hawthorne; before he took his final departure from the Wayside in , the seismic tensions within the family became uncontainable, erupting in a crisis at Rome that devastated his spirit and crystallized the alienation already visible between him and Sophia.
The Hawthornes' marriage had seen happier days, and it was troubled now by dilemmas that were slow in emerging. Nathaniel and Sophia had arrived at their tenth year of wedlock by way of personal histories shaped by the social and psychological conditions of their earliest lives. To appreciate the broader meaning of their story, we must trace it from the beginnings. Social hierarchy was being redefined in America when Nathaniel and Sophia were growing up: middle-class hegemony displaced the seaboard landholding gentry that had provided leadership in the Revolution and in the writing of the Constitution, and this shift brought about a transformation in the status system of American society.
A new elite emerged as the old elite declined; what changed, however, was not merely the membership of a fixed upper class but the terms on which elite status could be claimed. Individual achievement supplanted family heritage as the keynote of social worth. In "The American Scholar" Ralph Waldo Emerson noted "the new importance given to the single person" Whicher, 79 as a pre-eminent sign of the times and sought to provide a spiritual underpinning for the emerging ideal of individual autonomy.
The story of self-reliant struggle from humble origins to high position became the ruling narrative of manly worth, supplanting that of the well-born lad demonstrating his superior breeding in the exercise of responsibilities that were his birthright. The ideal of the youthful aristocrat enacted by Alexander Hamilton and Thomas Jefferson gave way to that of the self-made man. This new model of manly worth was a creation of a bourgeois culture that sought to reconcile the egalitarianism of Revolutionary ideology with continuing social stratification, holding that men are equal at birth and that just inequalities develop as differences of talent and virtue reveal themselves in democratic competition.
Families, especially prominent, powerful families, have been considered sacred from the origins of Western civilization. In early nineteenth-century America, however, the family became a focal point of religious reality in a new way. Social faith in the differential sacredness of bloodlines gave way to a numinous authority newly invested in the domestic circle, with the nurturing presence of the middle-class wife and mother at the center of the sacred tableau.
Lineage through the male line certainly did not cease to count as a marker of identity and an indicator of status in nineteenth-century America, and marriages continued to be made so as to strengthen and perpetuate family wealth and position. Yet it became proverbial by mid-century that a young man could be crippled by distinguished origins, what Nathaniel Hawthorne called inheriting "a great misfortune" CE With all fortunes now apparently at risk, the men who emerged winners in the competitive new society gave credit to.
The self-made man had his cultural counterpart in the domestic angel, the woman with whom he had formed a marriage based not on inherited property but on mutual affection and moral fitness. These social issues are easily recognizable in the broad thematic structure of The House of the Seven Gables: the family as lineage is desacralized in the fall of the Pyncheons, and the emerging ideal of domesticity is celebrated in the relation of Holgrave and Phoebe.
But the imaginative design of Hawthorne's novel is composed of elements through which Nathaniel and Sophia sought to make sense of themselves. If they had never met one another, they would nonetheless have formed narratives of their personal experience that deployed the emerging conceptions of family and gender and would have spelled out in their lives the warfare of meanings that characterized the social transformation then taking place.
The middle-class home did not smoothly replace the dynastic household as a cultural ideal.
As typical figures of the "new" arrangement, Nathaniel and Sophia were caught in the struggle to distinguish it from an "old" pattern that still entered strongly into their self-understanding.