- Shopping Bag ( 0 items )
A cartoon version of the misfortunes that plague a prominent New England family because of greed and a two-hundred-year-old curse.
A cartoon version of the misfortunes that plague a prominent New England family because of greed and a two-hundred-year-old curse.
The Old Pyncheon Family
HALFWAY DOWN a bystreet of one of our New England towns stands a rusty wooden house, with seven acutely peaked gables, facing towards various points of the compass, and a huge, clustered chimney in the midst. The street is Pyncheon Street; the house is the old Pyncheon House; and an elm tree, of wide circumference, rooted before the door, is familiar to every townborn child by the title of the Pyncheon Elm. On my occasional visits to the town aforesaid, I seldom failed to turn down Pyncheon Street, for the sake of passing through the shadow of these two antiquities–the great elm tree and the weather-beaten edifice.
The aspect of the venerable mansion has always affected me like a human countenance, bearing the traces not merely of outward storm and sunshine, but expressive, also, of the long lapse of mortal life, and accompanying vicissitudes that have passed within. Were these to be worthily recounted, they would form a narrative of no small interest and instruction, and possessing, moreover, a certain remarkable unity, which might almost seem the result of artistic arrangement. But the story would include a chain of events extending over the better part of two centuries, and, written out with reasonable amplitude, would fill a bigger folio volume, or a longer series of duodecimos, than could prudently be appropriated to the annals of all New England during a similar period. It consequently becomes imperative to make short work with most of the traditionary lore of which the old Pyncheon House, otherwise known as the House of the Seven Gables, has been the theme. With a brief sketch, therefore, of thecircumstances amid which the foundation of the house was laid, and a rapid glimpse at its quaint exterior, as it grew black in the prevalent east wind–pointing, too, here and there, at some spot of more verdant mossiness on its roof and walls–we shall commence the real action of our tale at an epoch not very remote from the present day. Still, there will be a connection with the long past–a reference to forgotten events and personages, and to manners, feelings, and opinions, almost or wholly obsolete–which, if adequately translated to the reader, would serve to illustrate how much of old material goes to make up the freshest novelty of human life. Hence, too, might be drawn a weighty lesson from the little-regarded truth that the act of the passing generation is the germ which may and must produce good or evil fruit in a far-distant time; that together with the seed of the merely temporary crop, which mortals term expediency, they inevitably sow the acorns of a more enduring growth, which may darkly overshadow their posterity.
The House of the Seven Gables, antique as it now looks, was not the first habitation erected by civilized man on precisely the same spot of ground. Pyncheon Street formerly bore the humbler appellation of Maule's Lane, from the name of the original occupant of the soil, before whose cottage door it was a cowpath. A natural spring of soft and pleasant water–a rare treasure on the sea-girt peninsula, where the Puritan settlement was made–had early induced Matthew Maule to build a hut, shaggy with thatch, at this point, although somewhat too remote from what was then the center of the village. In the growth of the town, however, after some thirty or forty years, the site covered by this rude hovel had become exceedingly desirable in the eyes of a prominent and powerful personage, who asserted plausible claims to the proprietorship of this, and a large adjacent tract of land, on the strength of a grant from the legislature. Colonel Pyncheon, the claimant, as we gather from whatever traits of him are preserved, was characterized by an iron energy of purpose. Matthew Maule, on the other hand, though an obscure man, was stubborn in the defense of what he considered his right; and, for several years, he succeeded in protecting the acre or two of earth which, with his own toil, he had hewn out of the primeval forest, to be his garden ground and homestead. No written record of this dispute is known to be in existence. Our acquaintance with the whole subject is derived chiefly from tradition. It would be bold, therefore, and possibly unjust, to venture a decisive opinion as to its merits; although it appears to have been at least a matter of doubt whether Colonel Pyncheon's claim were not unduly stretched, in order to make it cover the small metes and bounds of Matthew Maule. What greatly strengthens such a suspicion is the fact that this controversy between two ill-matched antagonists–at a period, moreover, laud it as we may, when personal influence had far more weight than now–remained for years undecided, and came to a close only with the death of the party occupying the disputed soil. The mode of his death, too, affects the mind differently, in our day, from what it did a century and a half ago. It was a death that blasted with strange horror the humble name of the dweller in the cottage, and made it seem almost a religious act to drive the plow over the little area of his habitation, and obliterate his place and memory from among men.
Old Matthew Maule, in a word, was executed for the crime of witchcraft. He was one of the martyrs to that terrible delusion, which should teach us, among its other morals, that the influential classes, and those who take upon themselves to be leaders of the people, are fully liable to all the passionate error that has ever characterized the maddest mob. Clergymen, judges, statesmen–the wisest, calmest, holiest persons of their day–stood in the inner circle round about the gallows, loudest to applaud the work of blood, latest to confess themselves miserably deceived. If any one part of their proceedings can be said to deserve less blame than another, it was the singular indiscrimination with which they persecuted not merely the poor and aged, as in former judicial massacres, but people of all ranks; their own equals, brethren, and wives. Amid the disorder of such various ruin, it is not strange that a man of inconsiderable note, like Maule, should have trodden the martyr's path to the hill of execution almost unremarked in the throng of his fellow sufferers. But, in after days, when the frenzy of that hideous epoch had subsided, it was remembered how loudly Colonel Pyncheon had joined in the general cry, to purge the land from witchcraft; nor did it fail to be whispered that there was an invidious acrimony in the zeal with which he had sought the condemnation of Matthew Maule. It was well known that the victim had recognized the bitterness of personal enmity in his prosecutor's conduct towards him, and that he declared himself hunted to death for his spoil. At the moment of execution–with the halter about his neck, and while Colonel Pyncheon sat on horseback, grimly gazing at the scene–Maule had addressed him from the scaffold, and uttered a prophecy, of which history, as well as fireside tradition, has preserved the very words. "God," said the dying man, pointing his finger, with a ghastly look, at the undismayed countenance of his enemy, "God will give him blood to drink!"
After the reputed wizard's death, his humble homestead had fallen an easy spoil into Colonel Pyncheon's grasp. When it was understood, however, that the Colonel intended to erect a family mansion–spacious, ponderously framed of oaken timber, and calculated to endure for many generations of his posterity–over the spot first covered by the log-built hut of Matthew Maule, there was much shaking of the head among the village gossips. Without absolutely expressing a doubt whether the stalwart Puritan had acted as a man of conscience and integrity throughout the proceedings which have been sketched, they, nevertheless, hinted that he was about to build his house over an unquiet grave. His home would include the home of the dead and buried wizard, and would thus afford the ghost of the latter a kind of privilege to haunt its new apartments, and the chambers into which future bridegrooms were to lead their brides, and where children of the Pyncheon blood were to be born. The terror and ugliness of Maule's crime, and the wretchedness of his punishment, would darken the freshly plastered walls, and infect them early with the scent of an old and melancholy house. Why, then–while so much of the soil around him was bestrewn with the virgin forest leaves–why should Colonel Pyncheon prefer a site that had already been accursed?
But the Puritan soldier and magistrate was not a man to be turned aside from his well-considered scheme, either by dread of the wizard's ghost or by flimsy sentimentalities of any kind, however specious. Had he been told of a bad air, it might have moved him somewhat; but he was ready to encounter an evil spirit on his own ground. Endowed with common sense, as massive and hard as blocks of granite, fastened together by stern rigidity of purpose, as with iron clamps, he followed out his original design, probably without so much as imagining an objection to it. On the score of delicacy, or any scrupulousness which a finer sensibility might have taught him, the Colonel, like most of his breed and generation, was impenetrable. He, therefore, dug his cellar, and laid the deep foundations of his mansion, on the square of earth whence Matthew Maule, forty years before, had first swept away the fallen leaves. It was a curious and, as some people thought, an ominous fact that, very soon after the workmen began their operations, the spring of water, above mentioned, entirely lost the deliciousness of its pristine quality. Whether its sources were disturbed by the depth of the new cellar, or whatever subtler cause might lurk at the bottom, it is certain that the water of Maule's Well, as it continued to be called, grew hard and brackish. Even such we find it now; and any old woman of the neighborhood will certify that it is productive of intestinal mischief to those who quench their thirst there.
The reader may deem it singular that the head carpenter of the new edifice was no other than the son of the very man from whose dead gripe the property of the soil had been wrested. Not improbably he was the best workman of his time; or, perhaps, the Colonel thought it expedient, or was impelled by some better feeling, thus openly to cast aside all animosity against the race of his fallen antagonist. Nor was it out of keeping with the general coarseness and matter-of-fact character of the age that the son should be willing to earn an honest penny, or, rather, a weighty amount of sterling pounds, from the purse of his father's deadly enemy. At all events, Thomas Maule became the architect of the House of the Seven Gables, and performed his duty so faithfully that the timber framework fastened by his hands still holds together.
Thus the great house was built. Familiar as it stands in the writer's recollection–for it has been an object of curiosity with him from boyhood, both as a specimen of the best and stateliest architecture of a long-past epoch, and as the scene of events more full of human interest, perhaps, than those of a gray feudal castle–familiar as it stands, in its rusty old age, it is therefore only the more difficult to imagine the bright novelty with which it first caught the sunshine. The impression of its actual state, at this distance of a hundred and sixty years, darkens inevitably through the picture which we would fain give of its appearance on the morning when the Puritan magnate bade all the town to be his guests. A ceremony of consecration, festive as well as religious, was now to be performed. A prayer and discourse from the Rev. Mr. Higginson, and the outpouring of a psalm from the general throat of the community, was to be made acceptable to the grosser sense by ale, cider, wine, and brandy, in copious effusion, and, as some authorities aver, by an ox, roasted whole, or, at least, by the weight and substance of an ox, in more manageable joints and sirloins. The carcass of a deer, shot within twenty miles, had supplied material for the vast circumference of a pasty. A codfish of sixty pounds, caught in the bay, had been dissolved into the rich liquid of a chowder. The chimney of the new house, in short, belching forth its kitchen smoke, impregnated the whole air with the scent of meats, fowls, and fishes, spicily concocted with odoriferous herbs, and onions in abundance. The mere smell of such festivity, making its way to everybody's nostrils, was at once an invitation and an appetite.
Maule's Lane, or Pyncheon Street, as it were now more decorous to call it, was thronged, at the appointed hour, as with a congregation on its way to church. All, as they approached, looked upward at the imposing edifice, which was henceforth to assume its rank among the habitations of mankind. There it rose, a little withdrawn from the line of the street, but in pride, not modesty. Its whole visible exterior was ornamented with quaint figures, conceived in the grotesqueness of a Gothic fancy, and drawn or stamped in the glittering plaster, composed of lime, pebbles, and bits of glass, with which the woodwork of the walls was overspread. On every side the seven gables pointed sharply towards the sky, and presented the aspect of a whole sisterhood of edifices, breathing through the spiracles of one great chimney. The many lattices, with their small, diamond-shaped panes, admitted the sunlight into hall and chamber, while, nevertheless, the second story, projecting far over the base, and itself retiring beneath the third, threw a shadowy and thoughtful gloom into the lower rooms. Carved gloves of wood were affixed under the jutting stories. Little spiral rods of iron beautified each of the seven peaks. On the triangular portion of the gable that fronted next the street was a dial, put up that very morning, and on which the sun was still marking the passage of the first bright hour in a history that was not destined to be all so bright. All around were scattered shavings, chips, shingles, and broken halves of bricks; these, together with the lately turned earth, on which the grass had not begun to grow, contributed to the impression of strangeness and novelty proper to a house that had yet its place to make among men's daily interests.
The principal entrance, which had almost the breadth of a church door, was in the angle between the two front gables, and was covered by an open porch, with benches beneath its shelter. Under this arched doorway, scraping their feet on the unworn threshold, now trod the clergymen, the elders, the magistrates, the deacons, and whatever of aristocracy there was in town or county. Thither, too, thronged the plebeian classes as freely as their betters, and in larger number. Just within the entrance, however, stood two servingmen, pointing some of the guests to the neighborhood of the kitchen, and ushering others into the statelier rooms–hospitable alike to all, but still with a scrutinizing regard to the high or low degree of each. Velvet garments, somber but rich, stiffly plaited ruffs and bands, embroidered gloves, venerable beards, the mien and countenance of authority, made it easy to distinguish the gentleman of worship, at that period, from the tradesman, with his plodding air, or the laborer, in his leathern jerkin, stealing awe-stricken into the house which he had perhaps helped to build.
|Suggestions for Further Reading||xxxv|
|A Note on the Text||xxxix|
|The House of the Seven Gables||1|
1. Hawthorne considered this novel to be a romance, which in literary terms refers to a narrative, allegorical treatment of heroic, fantastic, or supernatural events. Do you think this term accurately describes the book? Why or why not?
2. What do you make of the relationship between interior consciousness and external appearance in the novel? How does this conflict, as experienced by each of the central characters, inform the novel? And how does the house serve as a metaphor for this struggle?
3. Discuss the theme of class and social structure in the novel. What do you think Hawthorne intends in his depiction of Hepzibah's and Clifford's slow decline, and the curse on the Pyncheons' house? Are these related in any way? What about the role of the Maules?
4. Is the house a kingdom or a prison? Neither, or both? What is the curse that afflicts the Pyncheons? Discuss.
5. Discuss the role played by Holgrave in the novel. How does his nomadic, rootless existence stand in contrast to the Pyncheons? How does his marriage to Phoebe complicate this?
6. Discuss the scene in which Clifford attempts to join the procession. How does this illuminate the fundamental struggle of the Pyncheon family?
Posted December 12, 2010
read this book years a go great book, you do no understand the book until you travel there and see the house in real life .. the house is something to see,to see how he lived hundred years ago is some to see. loved the hiding stair case .. they dont build houses and counting house like that any more.. any one who doesnt like the book needs to go see the house ..
5 out of 7 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted February 28, 2001
'The House of the Seven Gables' is a more difficult but potentially more rewarding book than the more popular 'Scarlet Letter.' In 'The House of the Seven Gables' Hawthorne is, in effect, arguing with himself about man's nature--are we all subject to original sin? He sets the novel inside a mansion that has been cursed from its very beginning because its owner stole part of the house's land from someone who didn't have as much legal influence. Thus cursed, the house became a gloomy haven for a decayed and decadent aristocracy for the following 180 years, roughly 1665-1845. Like the house, are we cursed by original sin, condemned to repeat the patterns of our ancestors? (There are other interpretations of this book; I'm just leading with the most common one.) Hawthorne would best be described as a romantic realist. His narrative style is free of the supernatural but it is rife with symbolism--and often he will interpret the symbolism for you! There is not much 'action' in the conventional sense; a person could describe the goings-on in the book in ten minutes, including flashbacks. The novel's resolution will surprise you--but there still are some fundamental questions that haven't been answered! Hawthorne depends on descriptions for much of his work--e.g., how a particular rose looks on a particular morning, and that ties in with all the symbolism. As was common in Victorian times, sentence length was 2-3 times longer than today, with compound/ complex sentences the norm. If you can read Dickens without difficulty, though, you can read this book too. I'd recommend 'The House of the Seven Gables' for anyone interested in quality American literature, especially the early realist period, for people interested in how the Puritan strain haunted (haunts?) Americans, or indeed just for an interesting tale that is told with very little action, mostly mood and symbolism.
2 out of 2 people found this review helpful.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted June 12, 2012
Posted January 16, 2012
Posted January 1, 2012
Posted November 20, 2013
Posted October 8, 2013
Posted October 8, 2013
Posted August 26, 2013
Posted January 2, 2013
Posted November 14, 2012
Posted June 24, 2012
Posted June 20, 2012
Posted June 13, 2012
Posted June 10, 2012
Posted June 4, 2012
Posted December 14, 2010
Posted April 17, 2010
Posted January 1, 2010
One of those books I never got around to, so it is a must read. Yes there is buried philosophy that is worthwhile, but tedious to the modern reader. Nevertheless, it is one of those books one should plow through. At least it was a free book.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.
Posted November 24, 2007
This was the worst book that I've ever attempted to read. It is so boring that reading a text book is more intresting. Hawthorne is way to wordy, I just couldn't get into this book.Was this review helpful? Yes NoThank you for your feedback. Report this reviewThank you, this review has been flagged.