manner throws his workmanship, in contrast to theirs, into a kind
of bas-relief. Like Poe he quite naturally and unconsciously
reaches out over his subject to his reader. His mesmerism seeks
to mesmerize us--beyond Zenobia's sister. But he s too great an
artist to show his hand "in getting his audience," as Poe and
Tschaikowsky occasionally do. His intellectual muscles are too
strong to let him become over-influenced, as Ravel and Stravinsky
seem to be by the morbidly fascinating--a kind of false beauty
obtained by artistic monotony. However, we cannot but feel that
he would weave his spell over us--as would the Grimms and Aesop.
We feel as much under magic as the "Enchanted Frog." This is part
of the artist's business. The effect is a part of his art-effort
in its inception. Emerson's substance and even his manner has
little to do with a designed effect--his thunderbolts or delicate
fragments are flashed out regardless--they may knock us down or
just spatter us--it matters little to him--but Hawthorne is more
considerate; that is, he is more artistic, as men say.

Hawthorne may be more noticeably indigenous or may have more
local color, perhaps more national color than his Concord
contemporaries. But the work of anyone who is somewhat more
interested in psychology than in transcendental philosophy, will
weave itself around individuals and their personalities. If the
same anyone happens to live in Salem, his work is likely to be
colored by the Salem wharves and Salem witches. If the same
anyone happens to live in the "Old Manse" near the Concord Battle
Bridge, he is likely "of a rainy day to betake himself to the
huge garret," the secrets of which he wonders at, "but is too
reverent of their dust and cobwebs to disturb." He is likely to
"bow below the shriveled canvas of an old (Puritan) clergyman in