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By Root 16532 0

the prose tale, in short, may bring to his theme a vast variety of modes or inflections of thought and expression — (the ratiocinative, for example, the sarcastic or the humorous) which are not only antagonistical to the nature of the poem, but absolutely forbidden by one of its most peculiar and indispensable adjuncts; we allude, of course, to rhythm. It may be added, here, par parenthése, that the author who aims at the purely beautiful in a prose tale is laboring at great disadvantage. For Beauty can be better treated in the poem. Not so with terror, or passion, or horror, or a multitude of such other points. And here it will be seen how full of prejudice are the usual animadversions against those tales of effect, many fine examples of which were found in the earlier numbers of Blackwood. The impressions produced were wrought in a legitimate sphere of action, and constituted a legitimate although sometimes an exaggerated interest. They were relished ­by every man of genius: although there were found many men of genius who condemned them without just ground. The true critic will but demand that the design intended be accomplished, to the fullest extent, by the means most advantageously applicable.

We have very few American tales of real merit — we may say, indeed, none, with the exception of “The Tales of a Traveller” of Washington Irving, and these “Twice-Told Tales” of Mr. Hawthorne. Some of the pieces of Mr. John Neal abound in vigor and originality; but in general, his compositions of this class are excessively diffuse, extravagant, and indicative of an imperfect sentiment of Art. Articles at random are, now and then, met with in our periodicals which might be advantageously compared with the best effusions of the British Magazines; but, upon the whole, we are far behind our progenitors in this department of literature.

Of Mr. Hawthorne’s Tales we would say, emphatically, that they belong to the highest region of Art — an Art subservient to genius of a very lofty order. We had supposed, with good reason for so supposing, that he had been thrust into his present position by one of the impudent cliques which beset our literature, and whose pretensions it is our full purpose to expose at the earliest opportunity; but we have been most agreeably mistaken. We know of few compositions which the critic can more honestly commend then these “Twice-Told Tales.” As Americans, we feel proud of the book.

Mr. Hawthorne’s distinctive trait is invention, creation, imagination, originality — a trait which, in the literature of fiction, is positively worth all the rest. But the nature of originality, so far as regards its manifestation in letters, is but imperfectly understood. The inventive or original mind as frequently displays itself in novelty of tone as in novelty of matter. Mr. Hawthorne is original at all points.

It would be a matter of some difficulty to designate the best of these tales; we repeat that, without exception, they are beautiful. “Wakefield” is remarkable for the skill with which an old idea — a well-known incident — is worked up or discussed. A man of whims conceives the purpose of quitting his wife and residing ­incognito, for twenty years in her immediate neighborhood. Something of this kind actually happened in London. The force of Mr. Hawthorne’s tale lies in the analysis of the motives which must or might have impelled the husband to such folly, in the first instance, with the possible causes of his perseverance. Upon this thesis a sketch of singular power has been constructed. “The Wedding Knell” is full of the boldest imagintion — an imagination fully controlled by taste. The most captious critic could find no flaw in this production. “The Minister’s Black Veil” is a masterly composition of which the sole defect is that to the rabble its exquisite skill will be caviare. The obvious meaning of this article will be found to smother its insinuated one. The moral put into the mouth of the dying minister will be supposed to convey the true import of the narrative; and that a crime of dark dye, (having reference