which it had been twisted. This I now opened, and had the satisfaction to find, recorded by the old Surveyor’s pen, a reasonably complete explanation of the whole affair. There were several foolscap sheets, containing many particulars respecting the life and conversation of one Hester Prynne, who appeared to have been rather a noteworthy personage in the view of our ancestors. She had flourished during the period between the early days of Massachusetts and the close of the seventeenth century. Aged persons, alive in the time of Mr Surveyor Pue, and from whose oral testimony he had made up his narrative, remembered her, in their youth, as a very old, but not decrepit woman, of a stately and solemn aspect. It had been her habit, from an almost immemorial date, to go about the country as a kind of voluntary nurse, and doing whatever miscellaneous good she might; taking upon herself, likewise, to give advice in all matters, especially those of the heart, by which means – as a person of such propensities inevitably must – she gained from many people the reverence due to an angel, but, I should imagine, was looked upon by others as an intruder and a nuisance. Prying further into the manuscript, I found the record of other doings and sufferings of this singular woman, for most of which the reader is referred to the story entitled ‘The Scarlet Letter’; and it should be borne carefully in mind that the main facts of that story are authorised and authenticated by the document of Mr Surveyor Pue. The original papers, together with the scarlet letter itself – a most curious relic – are still in my possession, and shall be freely exhibited to whomsoever, induced by the great interest of the narrative, may desire a sight of them. I must not be understood as affirming that, in the dressing up of the tale, and imagining the motives and modes of passion that influenced the characters who figure in it, I have invariably confined myself within the limits of the old Surveyor’s half a dozen sheets of foolscap. On the contrary, I have allowed myself, as to such points, nearly, or altogether, as much licence as if the facts had been entirely of my own invention. What I contend for is the authenticity of the outline.
This incident recalled my mind, in some degree, to its old track. There seemed to be here the groundwork of a tale. It impressed me as if the ancient Surveyor, in his garb of a hundred years gone by, and wearing his immortal wig – which was buried with him, but did not perish in the grave – had met me in the deserted chamber of the Custom-House. In his port was the dignity of one who had borne His Majesty’s commission, and who was therefore illuminated by a ray of the splendour that shone so dazzlingly about the throne. How unlike, alas! the hang-dog look of a republican official who as the servant of the people, feels himself less than the least, and below the lowest of his masters. With his own ghostly hand, the obscurely seen, but majestic, figure had imparted to me the scarlet symbol and the little roll of explanatory manuscript. With his own ghostly voice he had exhorted me, on the sacred consideration of my filial duty and reverence towards him – who might reasonably regard himself as my official ancestor – to bring his mouldy and moth-eaten lucubrations before the public. ‘Do this,’ said the ghost of Mr Surveyor Pue, emphatically nodding the head that looked so imposing within its memorable wig; ‘do this, and the profit shall be all your own! You will shortly need it; for it is not in your days as it was in mine, when a man’s office was a life-lease, and oftentimes an heirloom. But I charge you, in this matter of old Mistress Prynne, give to your predecessor’s memory the credit which will be rightfully due!’ And I said to the ghost of Mr Surveyor Pue, ‘I will!’
On Hester Prynne’s story, therefore, I bestowed much thought. It was the subject of my meditations for many an hour, while pacing to and fro across my room, or traversing, with a hundred-fold repetition, the long extent from the front door of the Custom-House to the side entrance, and back again. Great were the weariness and annoyance of the old Inspector and the Weighers and Gaugers, whose slumbers were disturbed by the unmercifully lengthened tramp of my passing and returning footsteps. Remembering their own former habits, they used to say that the Surveyor was walking the quarter-deck. They probably fancied that my sole object – and, indeed, the sole object for which a sane man could ever put himself into voluntary motion – was to get an appetite for dinner. And, to say the truth, an appetite sharpened by the east wind that generally blew along the passage was the only valuable result of so much indefatigable exercise. So little adapted is the atmosphere of a Custom-House to the delicate harvest of fancy and sensibility, that, had I remained there through ten Presidencies yet to come, I doubt whether the tale of ‘The Scarlet Letter’ would ever have been brought before the public eye. My imagination was a tarnished mirror. It would not reflect, or only with miserable dimness, the figures with which I did my best to people it. The characters of the narrative would not be warmed and rendered malleable by any heat that I could kindle at my intellectual forge. They would take neither the glow of passion nor the tenderness of sentiment, but retained all the rigidity of dead corpses, and stared me in the face with a fixed and ghastly grin of contemptuous defiance. ‘What have you to do with us?’ that expression seemed to say. ‘The little power you might once have possessed over the tribe of unrealities is gone! You have bartered it for a pittance of the public gold. Go, then, and earn your wages!’ In short, the almost torpid creatures of my own fancy twitted me with imbecility, and not without fair occasion.
It was not merely during the three hours and a half which Uncle Sam claimed as his share of my daily life that this wretched numbness held possession of me. It went with me on my sea-shore walks and rambles into the country, whenever – which was seldom and reluctantly – I bestirred myself to seek that invigorating charm of Nature which used to give me such freshness and activity of thought, the moment that I stepped across the threshold of the Old Manse. The same torpor, as regarded the capacity for intellectual effort, accompanied me home, and weighed upon me in the chamber which I most absurdly termed my study. Nor did it quit me when, late at night, I sat in the deserted parlour, lighted only by the glimmering coal-fire and the moon, striving to picture forth imaginary scenes, which, the next day, might flow out on the brightening page in many-hued description.
If the imaginative faculty refused to act at such an hour, it might well be deemed a hopeless case. Moonlight, in a familiar room, falling so white upon the carpet, and showing all its figures so distinctly – making every object so minutely visible, yet so unlike a morning or noontide visibility – is a medium the most suitable for a romance-writer to get acquainted with his illusive guests. There is the little domestic scenery of the well-known apartment; the chairs, with each its separate individuality; the centre-table, sustaining a work-basket, a volume or two, and an extinguished lamp; the sofa; the book-case; the picture on the wall – all these details, so completely seen, are so spiritualised by the unusual light, that they seem to lose their actual substance, and become things of intellect. Nothing is too small or too trifling to undergo this change, and acquire dignity thereby. A child’s shoe; the doll, seated in her little wicker carriage; the hobbyhorse – whatever, in a word, has been used or played with during the day is now invested with a quality of strangeness and remoteness, though still almost as vividly present as by daylight. Thus, therefore, the floor of our familiar room has become a neutral territory, somewhere between the real world and fairyland, where the Actual and the Imaginary may meet, and each imbue itself with the nature of the other. Ghosts might enter here without affrighting us. It would be too much in keeping with the scene to excite surprise, were we to look about us and discover a form, beloved, but gone hence, now sitting quietly in a streak of this magic moonshine, with an aspect that would make us doubt whether it had returned from afar, or had never once stirred from our fireside.
The somewhat dim coal-fire has an essential influence in producing the effect which I would describe. It throws its unobtrusive tinge throughout the room, with a faint ruddiness upon the walls and ceiling, and a reflected gleam from the polish of the furniture. This warmer light mingles itself with the cold spirituality of the moonbeams, and communicates, as it were, a heart and sensibilities of human tenderness to the forms which fancy summons up. It converts them from snow-images into men and women. Glancing at the looking-glass, we behold – deep within its haunted verge – the smouldering glow of the half-extinguished anthracite, the white moonbeams on the floor, and a repetition of all the gleam and shadow of the picture, with one remove further from the actual, and nearer to the imaginative. Then, at such an hour, and with this scene before him, if a man, sitting all alone, cannot dream strange things, and make them look like truth, he need never try to write romances.
