Affecting to believe that Clifford knows where the lost document is hidden, the Judge tries to force himself on his victim, who, made almost an imbecile by long imprisonment, is now, after his release, harbored in the House of the Seven Gables and cared for by his aged sister Hepzibah and his fair young cousin Phoebe. And while the Judge is waiting, watch in hand, for the terrorstricken Clifford to come to him, Death comes instead. Maule's curse is fulfilled in yet another generation. The suspicion that would have fallen anew on Clifford is averted by Holgrave. But Holgrave, as he chooses to call himself, is the last living representative of the family of Maule the wizard. And it was for one of the persecuted race to save the unhappiest member of the family by which his own had suffered. Holgrave marries Phoebe Pyncheon and the blood of the two families is united.

Holgrave's sole inheritance from his wizard ancestor, as he laughingly explained, was a knowledge of the hiding-place of the now worthless Indian deed. For this secret a Pyncheon had bartered his daughter's life and happiness in former

years.

The Judge Pyncheon of the story has been pronounced somewhat of a stage villain, a puppet.' This may possibly be due less to Hawthorne's handling of the character than to the inherent weakness of the hypocrite as presented in fiction

BLITHEDALE ROMANCE

or drama. The patrician old woman turned shopkeeper is so perfect a study that praise of the delineation is almost an impertinence. And there is the great silent but living and breathing House of the Seven Gables, in the creation of which Hawthorne expended the wealth of his powers. It will always be a question whether in the spiritual significance he attaches to or draws from some physical fact this great literary artist does not show his highest power. And many a time one finishes the reading of this particular book with the feeling that the House of the Seven Gables is the real protagonist of the drama.

In respect that it is a beautiful example of Hawthorne's art The Blithedale Romance is deserving of all the praise lavished upon it; in respect that it is a picture of Brook Farm it is naught. The author himself freely admitted that he chose the socialist community merely as a theatre where the creatures of his brain might play their phantas'magorical antics' without their being exposed to the rigid test of' too close a comparison with the С actual events of real lives.'

The antics played are such as we witness daily when human puppets are swayed by various passions of love, jealousy, self-will, pride, humility, the instinct for art, or the instinct for reform. The bearded Hollingsworth, whose 'dark shaggy 'face looked really beautiful with its expression of 'thoughtful benevolence,' was, without being con

scious of it, a brutal egoist, capable of bending all people and all things to the accomplishment of his idea. He illustrates the weakness of strength, as Priscilla, so frail, nervous, and impressionable, illustrates the strength of weakness.

That Hawthorne intended to show in Coverdale the insufficiency of the profession of minor poet to make anything of a man, we shall not pretend; but his distrust of the worth of literature is well known. Coverdale's failure was no greater than Hollingsworth's, and he at least never played with hearts.

Zenobia is at once the most human, the most attractive, and the most pathetic figure in the drama. But yet a woman,' and too much woman, so that her imperial beauty and grace, her wealth, her skill to command, her magnetic charm, and her intellectual gifts were insufficient to save her. No less regal in endowment than was Hester Prynne, she sank under a burden infinitely lighter than Hester's. Her nature was strong but impulsive, and impulsiveness was Zenobia's ruin.

Rome is the scene of The Marble Faun, the longest of Hawthorne's romances, and in his opinion the best. The author professed to have seen, in the studio of an American sculptor, Kenyon, an unfinished portrait bust, certain traits of which led him to ask the history of the original. This face, of a beautiful youth, might have been mistaken for a not fortunate attempt to reproduce the

THE MARBLE FAUN

roguish countenance of the Faun of Praxiteles. The resemblance was external merely; the beholder presently detected something inscrutable in the eyes, in the whole expression, as if powers of the soul hitherto dormant were awaking, and with the awakening had come anxiety, longing, grief, remorse, in short a knowledge of good through a sudden apprehension of evil.

It was the portrait of a young Count of Monte Beni (known as Donatello), whose family, an ancient one, was believed to have sprung from the union of one of those fabled woodland creatures, half animal, half god, and an earthly maiden. At long intervals the traits defining the origin of the race were accentuated in a member of the family. He was said to be true Monte Beni.' He lived on the border line between two worlds, fearless and happy, but also unthinking, a creature incapable of doing wrong because his life was free, natural, instinctive. Such was Donatello.

The idea of a creature who should unite the characteristics of the wild and the human fascinated Hawthorne. The charm is elusive, and must be elusive or it is no longer charming. Hawthorne warns us against letting the idea harden in our grasp or grow coarse from handling. For this reason (and not for the sake of petty mystification) Hawthorne will not disclose the one physical trait which would have completed Donatello's resemblance to the Faun, the pointed, furry ears. The

youth himself will jest with his friends on the subject, but no more; the thick brown curls are never brushed aside.

So in Donatello's attachment to Miriam, the mysterious beauty of the story, there is something animal-like, at once pathetic and fierce. Love does not awaken the intellect, however; the youth remains a child until the wrathful moment when he holds the mad Capuchin, Miriam's persecutor, over the edge of the precipice, and reads in the girl's consenting eyes approval of the deed he is about to commit. At this point Donatello's real life begins.

The crime is far-reaching in its consequences, blighting for weary months the happiness of the gentle Hilda, a terrified eye-witness; but is most sinister in its effect on Donatello, whose dumb agony and remorse Hawthorne has painted with a strong but subdued touch. Perhaps the most striking of the incidents at Monte Beni is that where the wretched Donatello tries to call the wild creatures of the wood to him as he had been used to do in the days of his innocence, and finds his power gone, only some loathsome reptile coming at his bidding.

Hilda is one of the triumphs of Hawthorne's art. By what necromancy did he contrive to invest a character so ethereal with life and interest? For the type is by no means one that invariably attracts, and the mere symbolism of the shrine,