diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:32:52 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 05:32:52 -0700 |
| commit | 63d89615d1738307f1f39396deaad2376a4b196d (patch) | |
| tree | be19cf363a4fc6fb1dbe60553425b487b84db120 /9204-h | |
Diffstat (limited to '9204-h')
| -rw-r--r-- | 9204-h/9204-h.htm | 1073 |
1 files changed, 1073 insertions, 0 deletions
diff --git a/9204-h/9204-h.htm b/9204-h/9204-h.htm new file mode 100644 index 0000000..25f6bb2 --- /dev/null +++ b/9204-h/9204-h.htm @@ -0,0 +1,1073 @@ +<?xml version="1.0" encoding="utf-8"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <title> + The Project Gutenberg E-text of The Prophetic Pictures, by Nathaniel + Hawthorne + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of The Prophetic Pictures (From "Twice Told +Tales"), by Nathaniel Hawthorne + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Prophetic Pictures (From "Twice Told Tales") + +Author: Nathaniel Hawthorne + +Release Date: November, 2005 [EBook #9204] +First Posted: August 23, 2003 +Last Updated: December 14, 2016 + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE PROPHETIC PICTURES *** + + + + +Produced by David Widger + + + + + +</pre> + <p> + <br /><br /> + </p> + <h3> + TWICE TOLD TALES<br /> + </h3> + <h2> + THE PROPHETIC PICTURES<br /> + </h2> + <h3> + By Nathaniel Hawthorne<br /> + </h3> + <p> + <br /><br /> + </p> + <p class="noindent"> + [This story was suggested by an anecdote of Stuart, related in Dunlap’s + History of the Arts of Design,—a most entertaining book to the + general reader, and a deeply interesting one, we should think, to the + artist.] + </p> + <p> + <br /> + </p> + <p> + “But this painter!” cried Walter Ludlow, with animation. “He not only + excels in his peculiar art, but possesses vast acquirements in all other + learning and science. He talks Hebrew with Dr. Mather, and gives lectures + in anatomy to Dr. Boylston. In a word, he will meet the best instructed + man among us, on his own ground. Moreover, he is a polished gentleman,—a + citizen of the world,—yes, a true cosmopolite; for he will speak + like a native of each clime and country on the globe, except our own + forests, whither he is now going. Nor is all this what I most admire in + him.” + </p> + <p> + “Indeed!” said Elinor, who had listened with a woman’s interest to the + description of such a man. “Yet this is admirable enough.” + </p> + <p> + “Surely it is,” replied her lover, “but far less so than his natural gift + of adapting himself to every variety of character, insomuch that all men—and + all women too, Elinor—shall find a mirror of themselves in this + wonderful painter. But the greatest wonder is yet to be told.” + </p> + <p> + “Nay, if he have more wonderful attributes than these,” said Elinor, + laughing, “Boston is a perilous abode for the poor gentleman. Are you + telling one of a painter, or a wizard?” + </p> + <p> + “In truth,” answered he, “that question might be asked much more seriously + than you suppose. They say that he paints not merely a man’s features, but + his mind and heart. He catches the secret sentiments and passions, and + throws them upon the canvas, like sunshine,—or perhaps, in the + portraits of dark-souled men, like a gleans of infernal fire. It is an + awful gift,” added Walter, lowering his voice from its tone of enthusiasm. + “I shall be almost afraid to sit to him.” + </p> + <p> + “Walter, are you in earnest?” exclaimed Elinor. + </p> + <p> + “For Heaven’s sake, dearest Elinor, do not let him paint the look which + you now wear,” said her lover, smiling, though rather perplexed. “There: + it is passing away now, but when you spoke, you seemed frightened to + death, and very sad besides. What were you thinking of?” + </p> + <p> + “Nothing, nothing,” answered Elinor, hastily. “You paint my face with your + own fantasies. Well, come for me to-morrow, and we will visit this + wonderful artist.” + </p> + <p> + But when the young man had departed, it cannot be denied that a remarkable + expression was again visible on the fair and youthful face of his + mistress. It was a sad and anxious look, little in accordance with what + should have been the feelings of a maiden on the eve of wedlock. Yet + Walter Ludlow was the chosen of her heart. + </p> + <p> + “A look!” said Elinor to herself. “No wonder that it startled him, if it + expressed what I sometimes feel. I know, by my own experience, how + frightful a look may be. But it was all fancy. I thought nothing of it at + the time,—I have seen nothing of it since,—I did but dream + it.” + </p> + <p> + And she busied herself about the embroidery of a ruff, in which she meant + that her portrait should be taken. + </p> + <p> + The painter, of whom they had been speaking, was not one of those native + artists, who, at a later period than this, borrowed their colors from the + Indians, and manufactured their pencils of the furs of wild beasts. + Perhaps, if he could have revoked his life and prearranged his destiny, he + might have chosen to belong to that school without a master, in the hope + of being at least original, since there were no works of art to imitate, + nor rules to follow. But he had been born and educated in Europe. People + said, that he had studied the grandeur or beauty of conception, and every + touch of the master hand, in all the most famous pictures, in cabinets and + galleries, and on the walls of churches, till there was nothing more for + his powerful mind to learn. + </p> + <p> + Art could add nothing to its lessons, but Nature might. He had therefore + visited a world, whither none of his professional brethren had preceded + him, to feast his eyes on visible images, that were noble and picturesque, + yet had never been transferred to canvas. America was too poor to afford + other temptations to an artist of eminence, though many of the colonial + gentry, on the painter’s arrival, had expressed a wish to transmit their + lineaments to posterity, by means of his skill. Whenever such proposals + were made, he fixed his piercing eyes on the applicant, and seemed to look + him through and through. If he beheld only a sleek and comfortable visage, + though there were a gold-laced coat to adorn the picture, and golden + guineas to pay for it, he civilly rejected the task and the reward. But if + the face were the index of anything uncommon, in thought, sentiment, or + experience; or if he met a beggar in the street, with a white beard and a + furrowed brow; or if sometimes a child happened to look up and smile; he + would exhaust all the art on them, that he denied to wealth. + </p> + <p> + Pictorial skill being so rare in the colonies, the painter became an + object of general curiosity. If few or none could appreciate the technical + merit of his productions, yet there were points in regard to which the + opinion of the crowd was as valuable as the refined judgment of the + amateur. He watched the effect that each picture produced on such + untutored beholders, and derived profit from their remarks, while they + would as soon have thought of instructing Nature herself, as him who + seemed to rival her. Their admiration, it must be owned, was tinctured + with the prejudices of the age and country. Some deemed it an offence + against the Mosaic law, and even a presumptuous mockery of the Creator, to + bring into existence such lively images of his creatures. Others, + frightened at the art which could raise phantoms at will, and keep the + form of the dead among the living, were inclined to consider the painter + as a magician, or perhaps the famous Black Man, of old witch times, + plotting mischief in a new guise. These foolish fancies were more than + half believed among the mob. Even in superior circles, his character was + invested with a vague awe, partly rising like smoke-wreaths from the + popular superstitious, but chiefly caused by the varied knowledge and + talents which he made subservient to his profession. + </p> + <p> + Being on the eve of marriage, Walter Ludlow and Elinor were eager to + obtain their portraits, as the first of what, they doubtless hoped, would + be a long series of family pictures. The day after the conversation above + recorded, they visited the painter’s rooms. A servant ushered them into an + apartment, where, though the artist himself was not visible, there were + personages whom they could hardly forbear greeting with reverence. They + knew, indeed, that the whole assembly were but pictures, yet felt it + impossible to separate the idea of life and intellect from such striking + counterfeits. Several of the portraits were known to them, either as + distinguished characters of the day, or their private acquaintances. There + was Governor Burnett, looking as if he had just received an undutiful + communication from the House of Representatives, and were inditing a most + sharp response. Mr. Cooke hung beside the ruler whom he opposed, sturdy, + and somewhat puritanical, as befitted a popular leader. The ancient lady + of Sir William Phipps eyed them from the wall, in ruff and farthingale, an + imperious old dame, not unsuspected of witchcraft. John Winslow, then a + very young man, wore the expression of warlike enterprise, which long + afterwards made him a distinguished general. Their personal friends were + recognized at a glance. In most of the pictures, the whole mind and + character were brought out on the countenance, and concentrated into a + single look, so that, to speak paradoxically, the originals hardly + resembled themselves so strikingly as the portraits did. + </p> + <p> + Among these modern worthies, there were two old bearded saints, who had + almost vanished into the darkening canvas. There was also a pale, but + unfaded Madonna, who had perhaps been worshipped in Rome, and now regarded + the lovers with such a mild and holy look, that they longed to worship + too. + </p> + <p> + “How singular a thought,” observed Walter Ludlow, “that this beautiful + face has been beautiful for above two hundred years! O, if all beauty + would endure so well! Do you not envy her, Elinor?” + </p> + <p> + “If earth were heaven, I might,” she replied. “But where all things fade, + how miserable to be the one that could not fade!” + </p> + <p> + “This dark old St. Peter has a fierce and ugly scowl, saint though he be,” + continued Walter. “He troubles me. But the Virgin looks kindly at us.” + </p> + <p> + “Yes; but very sorrowfully, methinks,” said Elinor. + </p> + <p> + The easel stood beneath these three old pictures, sustaining one that had + been recently commenced. After a little inspection, they began to + recognize the features of their own minister, the Rev. Dr. Colman, growing + into shape and life, as it were, out of a cloud. + </p> + <p> + “Kind old man!” exclaimed Elinor. “He gazes at me, as if he were about to + utter a word of paternal advice.” + </p> + <p> + “And at me,” said Walter, “as if he were about to shake his head and + rebuke me for some suspected iniquity. But so does the original. I shall + never feel quite comfortable under his eye, till we stand before him to be + married.” + </p> + <p> + They now heard a footstep on the floor, and turning, beheld the painter, + who had been some moments in the room, and had listened to a few of their + remarks. He was a middle-aged man, with a countenance well worthy of his + own pencil. Indeed, by the picturesque, though careless arrangement of his + rich dress, and, perhaps, because his soul dwelt always among painted + shapes, he looked somewhat like a portrait himself. His visitors were + sensible of a kindred between the artist and his works, and felt as if one + of the pictures had stepped from the canvas to salute them. + </p> + <p> + Walter Ludlow, who was slightly known to the painter, explained the object + of their visit. While he spoke, a sunbeam was falling athwart his figure + and Elinor’s, with so happy an effect, that they also seemed living + pictures of youth and beauty, gladdened by bright fortune. The artist was + evidently struck. + </p> + <p> + “My easel is occupied for several ensuing days, and my stay in Boston must + be brief,” said he, thoughtfully; then, after an observant glance, he + added, “but your wishes shall be gratified, though I disappoint the Chief + Justice and Madam Oliver. I must not lose this opportunity, for the sake + of painting a few ells of broadcloth and brocade.” + </p> + <p> + The painter expressed a desire to introduce both their portraits into one + picture, and represent them engaged in some appropriate action. This plan + would have delighted the lovers, but was necessarily rejected, because so + large a space of canvas would have been unfit for the room which it was + intended to decorate. Two half-length portraits were therefore fixed upon. + After they had taken leave, Walter Ludlow asked Elinor, with a smile, + whether she knew what an influence over their fates the painter was about + to acquire. + </p> + <p> + “The old women of Boston affirm,” continued he, “that after he has once + got possession of a person’s face and figure, he may paint him in any act + or situation whatever,—and the picture will be prophetic. Do you + believe it?” + </p> + <p> + “Not quite,” said Elinor, smiling. “Yet if he has such magic, there is + something so gentle in his manner, that I am sure he will use it well.” + </p> + <p> + It was the painter’s choice to proceed with both the portraits at the same + time, assigning as a reason, in the mystical language which he sometimes + used, that the faces threw light upon each other. Accordingly, he gave now + a touch to Walter, and now to Elinor, and the features of one and the + other began to start forth so vividly, that it appeared as if his + triumphant art would actually disengage them from the canvas. Amid the + rich light and deep shade, they beheld their phantom selves. But, though + the likeness promised to be perfect, they were not quite satisfied with + the expression; it seemed more vague than in most of the painter’s works. + He, however, was satisfied with the prospect of success, and being much + interested in the lovers, employed his leisure moments, unknown to them, + in making a crayon sketch of their two figures. During their sittings, he + engaged them in conversation, and kindled up their faces with + characteristic traits, which, though continually varying, it was his + purpose to combine and fix. At length he announced, that at their next + visit both the portraits would be ready for delivery. + </p> + <p> + “If my pencil will but be true to my conception, in the few last touches + which I meditate,” observed he, “these two pictures will be my very best + performances. Seldom, indeed, has an artist such subjects.” + </p> + <p> + While speaking, he still bent his penetrative eye upon them, nor withdrew + it till they had reached the bottom of the stairs. + </p> + <p> + Nothing, in the whole circle of human vanities, takes stronger hold of the + imagination, than this affair of having a portrait painted. Yet why should + it be so? The looking-glass, the polished globes of the andirons, the + mirror-like water, and all other reflecting surfaces, continually present + us with portraits, or rather ghosts, of ourselves, which we glance at, and + straightway forget them. But we forget them, only because they vanish. It + is the idea of duration—of earthly immortality—that gives such + a mysterious interest to our own portraits. Walter and Elinor were not + insensible to this feeling, and hastened to the painter’s room, punctually + at the appointed hour, to meet those pictured shapes, which were to be + their representatives with posterity. The sunshine flashed after them into + the apartment, but left it somewhat gloomy, as they closed the door. + </p> + <p> + Their eyes were immediately attracted to their portraits, which rested + against the farthest wall of the room. At the first glance, through the + dim light and the distance, seeing themselves in precisely their natural + attitudes, and with all the air that they recognized so well, they uttered + a simultaneous exclamation of delight. + </p> + <p> + “There we stand,” cried Walter, “enthusiastically, fixed in sunshine + forever! No dark passions can gather on our faces!” + </p> + <p> + “No,” said Elinor, more calmly; “no dreary change can sadden us.” + </p> + <p> + This was said while they were approaching, and had yet gained only an + imperfect view of the pictures. The painter, after saluting them, busied + himself at a table in completing a crayon sketch, leaving his visitors to + form their own judgment as to his perfected labors. At intervals, he sent + a glance from beneath his deep eyebrows, watching their countenances in + profile, with his pencil suspended over the sketch. They had now stood + some moments, each in front of the other’s picture, contemplating it with + entranced attention, but without uttering a word. At length, Walter + stepped forward,—then back,—viewing Elinor’s portrait in + various lights, and finally spoke. + </p> + <p> + “Is there not a change?” said he, in a doubtful and meditative tone. “Yes; + the perception of it grows more vivid, the longer I look. It is certainly + the same picture that I saw yesterday; the dress,—the features,—all + are the same; and yet something is altered.” + </p> + <p> + “Is then the picture less like than it was yesterday?” inquired the + painter, now drawing near, with irrepressible interest. + </p> + <p> + “The features are perfect, Elinor,” answered Walter, “and, at the first + glance, the expression seemed also hers. But, I could fancy that the + portrait has changed countenance, while I have been looking at it. The + eyes are fixed on mine with a strangely sad and anxious expression. Nay, + it is grief and terror! Is this like Elinor?” + </p> + <p> + “Compare the living face with the pictured one,” said the painter. + </p> + <p> + Walter glanced sidelong at his mistress, and started. Motionless and + absorbed—fascinated as it were—in contemplation of Walter’s + portrait, Elinor’s face had assumed precisely the expression of which he + had just been complaining. Had she practised for whole hours before a + mirror, she could not have caught the look so successfully. Had the + picture itself been a mirror, it could not have thrown back her present + aspect, with stronger and more melancholy truth. She appeared quite + unconscious of the dialogue between the artist and her lover. + </p> + <p> + “Elinor,” exclaimed Walter, in amazement, “what change has come over you?” + </p> + <p> + She did not hear him, nor desist from her fixed gaze, till he seized her + hand, and thus attracted her notice; then, with a sudden tremor, she + looked from the picture to the face of the original. + </p> + <p> + “Do you see no change in your portrait?” asked she. + </p> + <p> + “In mine?—None!” replied Walter, examining it. “But let me see! Yes; + there is a slight change,—an improvement, I think, in the picture, + though none in the likeness. It has a livelier expression than yesterday, + as if some bright thought were flashing from the eyes, and about to be + uttered from the lips. Now that I have caught the look, it becomes very + decided.” + </p> + <p> + While he was intent on these observations, Elinor turned to the painter. + She regarded him with grief and awe, and felt that he repaid her with + sympathy and commiseration, though wherefore she could but vaguely guess. + </p> + <p> + “That look!” whispered she, and shuddered. “How came it there?” + </p> + <p> + “Madam,” said the painter, sadly, taking her hand, and leading her apart, + “in both these pictures, I have painted what I saw. The artist—the + true artist—must look beneath the exterior. It is his gift—his + proudest but often a melancholy one—to see the inmost soul, and by a + power indefinable even to himself to make it glow or darken upon the + canvas, in glances that express the thought and sentiment of years. Would + that I might convince myself of error in the present instance!” + </p> + <p> + They had now approached the table, on which were heads in chalk, hands + almost as expressive as ordinary faces, ivied church-towers, thatched + cottages, old thunder-stricken trees, Oriental and antique costume, and + all such picturesque vagaries of an artist’s idle moments. Turning them + over, with seeming carelessness, a crayon sketch of two figures was + disclosed. + </p> + <p> + “If I have failed,” continued he, “if your heart does not see itself + reflected in your own portrait, if you have no secret cause to trust my + delineation of the other, it is not yet too late to alter them. I might + change the action of these figures too. But would it influence the event?” + </p> + <p> + He directed her notice to the sketch. A thrill ran through Elinor’s frame; + a shriek was upon her lips; but she stifled it, with the self-command that + becomes habitual to all, who hide thoughts of fear and anguish within + their bosoms. Turning from the table, she perceived that Walter had + advanced near enough to have seen the sketch, though she could not + determine whether it had caught his eye. + </p> + <p> + “We will not have the pictures altered,” said she, hastily. “If mine is + sad, I shall but look the gayer for the contrast.” + </p> + <p> + “Be it so,” answered the painter, bowing. “May your griefs be such + fanciful ones, that only your picture may mourn for them! For your joys,—may + they be true and deep, and paint themselves upon this lovely face till it + quite belie my art!” + </p> + <p> + After the marriage of Walter and Elinor, the pictures formed the two most + splendid ornaments of their abode. They hung side by side, separated by a + narrow panel, appearing to eye each other constantly, yet always returning + the gaze of the spectator. Travelled gentlemen, who professed a knowledge + of such subjects, reckoned these among the most admirable specimens of + modern portraiture; while common observers compared them with the + originals, feature by feature, and were rapturous in praise of the + likeness. But it was on a third class—neither travelled connoisseurs + nor common observers, but people of natural sensibility—that the + pictures wrought their strongest effect. Such persons might gaze + carelessly at first, but, becoming interested, would return day after day, + and study these painted faces like the pages of a mystic volume. Walter + Ludlow’s portrait attracted their earliest notice. In the absence of + himself and his bride, they sometimes disputed as to the expression which + the painter had intended to throw upon the features; all agreeing that + there was a look of earnest import, though no two explained it alike. + There was less diversity of opinion in regard to Elinor’s picture. They + differed, indeed, in their attempts to estimate the nature and depth of + the gloom that dwelt upon her face, but agreed that it was gloom, and + alien from the natural temperament of their youthful friend. A certain + fanciful person announced, as the result of much scrutiny, that both these + pictures were parts of one design, and that the melancholy strength of + feeling, in Elinor’s countenance, bore reference to the more vivid + emotion, or, as he termed it, the wild passion, in that of Walter. Though + unskilled in the art, he even began a sketch, in which the action of the + two figures was to correspond with their mutual expression. + </p> + <p> + It was whispered among friends, that, day by day, Elinor’s face was + assuming a deeper shade of pensiveness, which threatened soon to render + her too true a counterpart of her melancholy picture. Walter, on the other + hand, instead of acquiring the vivid look which the painter had given him + on the canvas, became reserved and downcast, with no outward flashes of + emotion, however it might be smouldering within. In course of time, Elinor + hung a gorgeous curtain of purple silk, wrought with flowers, and fringed + with heavy golden tassels, before the pictures, under pretence that the + dust would tarnish their lines, or the light din them. It was enough. Her + visitors felt, that the massive folds of the silk must never be withdrawn, + nor the portraits mentioned in her presence. + </p> + <p> + Time wore on; and the painter came again. He had been far enough to the + north to see the silver cascade of the Crystal Hills, and to look over the + vast round of cloud and forest, from the summit of New England’s loftiest + mountain. But he did not profane that scene by the mockery of his art. He + had also lain in a canoe on the bosom of Lake George, making his soul the + mirror of its loveliness and grandeur, till not a picture in the Vatican + was more vivid than his recollection. He had gone with the Indian hunters + to Niagara, and there, again, had flung his hopeless pencil down the + precipice, feeling that he could as soon paint the roar, as aught else + that goes to make up the wondrous cataract. In truth, it was seldom his + impulse to copy natural scenery, except as a framework for the + delineations of the human form and face, instinct with thought, passion, + or suffering. With store of such, his adventurous ramble had enriched him; + the stern dignity of Indian chiefs; the dusky loveliness of Indian girls; + the domestic life of wigwams; the stealthy march; the battle beneath + gloomy pine-trees; the frontier fortress with its garrison; the anomaly of + the old French partisan, bred in courts, but grown gray in shaggy deserts;—such + were the scenes and portraits that he had sketched. The glow of perilous + moments; flashes of wild feeling; struggles of fierce power; love, hate, + grief, frenzy; in a word, all the worn-out heart of the old earth had been + revealed to him under a new form. His portfolio was filled with graphic + illustrations of the volume of his memory, which genius would transmute + into its own substance, and imbue with immortality. He felt that the deep + wisdom in his art, which he had sought so far, was found. + </p> + <p> + But, amid stern or lovely nature, in the perils of the forest, or its + overwhelming peacefulness, still there had been two phantoms, the + companions of his way. Like all other men around whom an engrossing + purpose wreathes itself, he was insulated from the mass of human kind. He + had no aim,—no pleasure,—no sympathies,—but what were + ultimately connected with his art. + </p> + <p> + Though gentle in manner, and upright in intent and fiction, he did not + possess kindly feelings; his heart was cold; no living creature could be + brought near enough to keep him warm. For these two beings, however, he + had felt, in its greatest intensity, the sort of interest which always + allied him to the subjects of his pencil. He had pried into their souls + with his keenest insight, and pictured the result upon their features, + with his utmost skill, so as barely to fall short of that standard which + no genius ever reached, his own severe conception. He had caught from the + duskiness of the future—at least, so he fancied—a fearful + secret, and had obscurely revealed it on the portraits. So much of himself—of + his imagination and all other powers—had been lavished on the study + of Walter and Elinor, that he almost regarded them as creations of his + own, like the thousands with which he had peopled the realms of Picture. + Therefore did they flit through the twilight of the woods, hover on the + mist of waterfalls, look forth from the mirror of the lake, nor melt away + in the noontide sun. They haunted his pictorial fancy, not as mockeries of + life, nor pale goblins of the dead, but in the guise of portraits, each + with the unalterable expression which his magic had evoked from the + caverns of the soul. He could not recross the Atlantic, till he had again + beheld the originals of those airy pictures. + </p> + <p> + “O glorious Art!” thus mused the enthusiastic painter, as he trod the + street. “Thou art the image of the Creator’s own. The innumerable forms, + that wander in nothingness, start into being at thy beck. The dead live + again. Thou recallest them to their old scenes, and givest their gray + shadows the lustre of a better life, at once earthly and immortal. Thou + snatchest back the fleeting moments of History. With thee, there is no + Past; for, at thy touch, all that is great becomes forever present; and + illustrious men live through long ages, in the visible performance of the + very deeds which made thorn what they are. O potent Art! as thou bringest + the faintly revealed Past to stand in that narrow strip of sunlight, which + we call Now, canst thou summon the shrouded Future to meet her there? Have + I not achieved it? Am I not thy Prophet?” + </p> + <p> + Thus, with a proud, yet melancholy fervor, did he almost cry aloud, as he + passed through the toilsome street, among people that knew not of his + reveries, nor could understand nor care for them. It is not good for man + to cherish a solitary ambition. Unless there be those around him, by whose + example be may regulate himself, his thoughts, desires, and hopes will + become extravagant, and he the semblance, perhaps the reality, of a + madman. Reading other bosoms, with an acuteness almost preternatural, the + painter failed to see the disorder of his own. + </p> + <p> + “And this should be the house,” said he, looking up and down the front, + before he knocked. “Heaven help my brains! That picture! Methinks it will + never vanish. Whether I look at the windows or the door, there it is + framed within them, painted strongly, and glowing in the richest tints—the + faces of the portraits—the figures and action of the sketch!” + </p> + <p> + He knocked. + </p> + <p> + “The Portraits! Are they within?” inquired he, of the domestic; then + recollecting himself,—“your master and mistress! Are they at home?” + </p> + <p> + “They are, sir,” said the servant, adding, as he noticed that picturesque + aspect of which the painter could never divest himself, “and the Portraits + too!” + </p> + <p> + The guest was admitted into a parlor, communicating by a central door with + an interior room of the same size. As the first apartment was empty, he + passed to the entrance of the second, within which his eyes were greeted + by those living personages, as well as their pictured representatives, who + had long been the objects of so singular an interest. He involuntarily + paused on the threshold. + </p> + <p> + They had not perceived his approach. Walter and Elinor were standing + before the portraits, whence the former had just flung back the rich and + voluminous folds of the silken curtain, holding its golden tassel with one + hand, while the other grasped that of his bride. The pictures, concealed + for months, gleamed forth again in undiminished splendor, appearing to + throw a sombre light across the room, rather than to be disclosed by a + borrowed radiance. That of Elinor had been almost prophetic. A + pensiveness, and next a gentle sorrow, had successively dwelt upon her + countenance, deepening, with the lapse of time, into a quiet anguish. A + mixture of affright would now have made it the very expression of the + portrait. Walter’s face was moody and dull, or animated only by fitful + flashes, which left a heavier darkness for their momentary illumination. + He looked from Elinor to her portrait, and thence to his own, in the + contemplation of which he finally stood absorbed. + </p> + <p> + The painter seemed to hear the step of Destiny approaching behind him, on + its progress towards its victims. A strange thought darted into his mind. + Was not his own the form in which that destiny had embodied itself, and he + a chief agent of the coming evil which he had foreshadowed? + </p> + <p> + Still, Walter remained silent before the picture, communing with it, as + with his own heart, and abandoning himself to the spell of evil influence, + that the painter had cast upon the features. Gradually his eyes kindled; + while as Elinor watched the increasing wildness of his face, her own + assumed a look of terror; and when at last he turned upon her, the + resemblance of both to their portraits was complete. + </p> + <p> + “Our fate is upon us!” howled Walter.—“Die!” + </p> + <p> + Drawing a knife, he sustained her, as she was sinking to the ground, and + aimed it at her bosom. In the action and in the look and attitude of each, + the painter beheld the figures of his sketch. The picture, with all its + tremendous coloring, was finished. + </p> + <p> + “Hold, madman!” cried he, sternly. + </p> + <p> + He had advanced from the door, and interposed himself between the wretched + beings, with the same sense of power to regulate their destiny, as to + alter a scene upon the canvas. He stood like a magician, controlling the + phantoms which he had evoked. + </p> + <p> + “What!” muttered Walter Ludlow, as he relapsed from fierce excitement into + silent gloom. “Does Fate impede its own decree?” + </p> + <p> + “Wretched lady!” said the painter. “Did I not warn you?” + </p> + <p> + “You did,” replied Elinor, calmly, as her terror gave place to the quiet + grief which it had disturbed. “But—I loved him!” + </p> + <p> + Is there not a deep moral in the tale? Could the result of one, or all our + deeds, be shadowed forth and set before us, some would call it Fate, and + hurry onward, others be swept along by their passionate desires, and none + be turned aside by the PROPHETIC PICTURES. + </p> + <p> + <br /><br /><br /><br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of The Prophetic Pictures (From “Twice +Told Tales”), by Nathaniel Hawthorne + +*** END OF THIS PROJECT GUTENBERG EBOOK THE PROPHETIC PICTURES *** + +***** This file should be named 9204-h.htm or 9204-h.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/9/2/0/9204/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase “Project +Gutenberg”), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +https://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. “Project Gutenberg” is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” + or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase “Project Gutenberg” appears, or with which the phrase “Project +Gutenberg” is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase “Project Gutenberg” associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +“Plain Vanilla ASCII” or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original “Plain Vanilla ASCII” or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, “Information about donations to + the Project Gutenberg Literary Archive Foundation.” + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +“Defects,” such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right +of Replacement or Refund” described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you ‘AS-IS’ WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need are critical to reaching Project Gutenberg-tm’s +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at https://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation’s EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +https://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state’s laws. + +The Foundation’s principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation’s web site and official +page at https://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit https://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including including checks, online payments and credit card +donations. To donate, please visit: https://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart was the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + https://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> |