the legend of Smithell's Hall, he wrote in his English journal:--

"God himself cannot compensate us for being born for any period short of
eternity. All the misery endured here constitutes a claim for another
life, and still more _all the happiness;_ because all true happiness
involves something more than the earth owns, and needs something more than
a mortal capacity for the enjoyment of it." It is sufficiently clear that
he had meditated on the main theme of "Septimius Felton," at intervals,
for many years.

When, in August, 1855, Hawthorne went by invitation to Smithell's Hall, the
lady of the manor, on his taking leave, asked him "to write a ghost-story
for her house;" and he observes in his notes, "the legend is a good one."
Three years afterwards, in 1858, on the eve of departure for France and
Italy, he began to sketch the outline of a romance laid in England, and
having for its hero an American who goes thither to assert his inherited
rights in an old manor-house possessing the peculiarity of a supposed
bloody foot-print on the threshold-stone. This sketch, which appears in
the present edition as "The Ancestral Footstep," was in journal form, the
story continuing from day to day, with the dates attached. There remains
also the manuscript without elate, recently edited under the title "Dr.
Grimshawe's Secret," which bears a resemblance to some particulars in
"Septimius Felton."

Nothing further seems to have been done in this direction by the author
until he had been to Italy, had written "The Marble Faun," and again
returned to The Wayside, his home at Concord. It was then, in 1861, that
he took up once more the "Romance of Immortality," as the sub-title of the
English edition calls it. "I have not found it possible," he wrote to Mr.
Bridge, who remained his confidant, "to occupy my mind with its usual