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Fanshawe
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123 pages, Kindle Edition
First published January 1, 1828
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About the author
Nathaniel Hawthorne
5,345 books3,512 followersNathaniel Hawthorne was a 19th century American novelist and short story writer. He is seen as a key figure in the development of American literature for his tales of the nation's colonial history.
Shortly after graduating from Bowdoin College, Hathorne changed his name to Hawthorne. Hawthorne anonymously published his first work, a novel titled Fanshawe, in 1828. In 1837, he published Twice-Told Tales and became engaged to painter and illustrator Sophia Peabody the next year. He worked at a Custom House and joined a Transcendentalist Utopian community, before marrying Peabody in 1842. The couple moved to The Old Manse in Concord, Massachusetts, later moving to Salem, the Berkshires, then to The Wayside in Concord. The Scarlet Letter was published in 1850, followed by a succession of other novels. A political appointment took Hawthorne and family to Europe before returning to The Wayside in 1860. Hawthorne died on May 19, 1864, leaving behind his wife and their three children.
Much of Hawthorne's writing centers around New England and many feature moral allegories with a Puritan inspiration. His work is considered part of the Romantic movement and includes novels, short stories, and a biography of his friend, the United States President Franklin Pierce.
Shortly after graduating from Bowdoin College, Hathorne changed his name to Hawthorne. Hawthorne anonymously published his first work, a novel titled Fanshawe, in 1828. In 1837, he published Twice-Told Tales and became engaged to painter and illustrator Sophia Peabody the next year. He worked at a Custom House and joined a Transcendentalist Utopian community, before marrying Peabody in 1842. The couple moved to The Old Manse in Concord, Massachusetts, later moving to Salem, the Berkshires, then to The Wayside in Concord. The Scarlet Letter was published in 1850, followed by a succession of other novels. A political appointment took Hawthorne and family to Europe before returning to The Wayside in 1860. Hawthorne died on May 19, 1864, leaving behind his wife and their three children.
Much of Hawthorne's writing centers around New England and many feature moral allegories with a Puritan inspiration. His work is considered part of the Romantic movement and includes novels, short stories, and a biography of his friend, the United States President Franklin Pierce.
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January 5, 2022
Il romanzo fantasma
Primo libro che leggo di Nathaniel Hawthorne, autore conosciuto soprattutto per La lettera scarlatta.
Inizio proprio dal suo esordio:
un romanzo fantasma come spiega l’illuminante postfazione di Tommaso Giartosio.
Pubblicato in forma anonima nel 1828, quando l’autore aveva soli 24 anni, sparì ben presto dalla circolazione.
Hawthorne, infatti, si pentì di questo scritto e chiese la restituzione di tutte le copie regalate mentre un incendio al magazzino dove erano conservati gli invenduti fece il resto.
Così “Fanshawe” (titolo originale de “Lo studente”) divenne un romanzo fantasma che oggi possiamo leggere grazie ad una copia occultata dalla sorella dello scrittore.
La storia ruota attorno all’ «Harley College» senza, per altro, mai entrare nelle aule o nei corridoi.
Tutto accade quando un amico d’infanzia dello stimato professor Melmoth, preside del collegio, chiede di accogliere la propria figlia in attesa del suo ritorno in patria.
La bella e giovane Ellen Langton viene quindi a scombussolare la pacifica vita degli studenti.
In particolare, sono in due a riuscire ad avvicinarsi:
Edward Walcott e Fanshawe il cui nome titola l’opera.
In apparenza, una storia banale di corteggiamenti e paturnie adolescenziali che diventa, però, avventurosa ed avvolta dal mistero.
L’arrivo di un personaggio sconosciuto di cui si avverte la minaccia porterà uno scompiglio inaspettato verso un finale che crea maggiore spessore a tutto il romanzo ribaltandone i termini iniziali.
Il giovane Hawthorne, di fatti, ricrea nel personaggio di Fanshawe tutti i dubbi ed i tormenti di un giovane scrittore.
Lettura piacevole ed inaspettata.
Primo libro che leggo di Nathaniel Hawthorne, autore conosciuto soprattutto per La lettera scarlatta.
Inizio proprio dal suo esordio:
un romanzo fantasma come spiega l’illuminante postfazione di Tommaso Giartosio.
Pubblicato in forma anonima nel 1828, quando l’autore aveva soli 24 anni, sparì ben presto dalla circolazione.
Hawthorne, infatti, si pentì di questo scritto e chiese la restituzione di tutte le copie regalate mentre un incendio al magazzino dove erano conservati gli invenduti fece il resto.
Così “Fanshawe” (titolo originale de “Lo studente”) divenne un romanzo fantasma che oggi possiamo leggere grazie ad una copia occultata dalla sorella dello scrittore.
La storia ruota attorno all’ «Harley College» senza, per altro, mai entrare nelle aule o nei corridoi.
Tutto accade quando un amico d’infanzia dello stimato professor Melmoth, preside del collegio, chiede di accogliere la propria figlia in attesa del suo ritorno in patria.
La bella e giovane Ellen Langton viene quindi a scombussolare la pacifica vita degli studenti.
In particolare, sono in due a riuscire ad avvicinarsi:
Edward Walcott e Fanshawe il cui nome titola l’opera.
In apparenza, una storia banale di corteggiamenti e paturnie adolescenziali che diventa, però, avventurosa ed avvolta dal mistero.
L’arrivo di un personaggio sconosciuto di cui si avverte la minaccia porterà uno scompiglio inaspettato verso un finale che crea maggiore spessore a tutto il romanzo ribaltandone i termini iniziali.
Il giovane Hawthorne, di fatti, ricrea nel personaggio di Fanshawe tutti i dubbi ed i tormenti di un giovane scrittore.
Lettura piacevole ed inaspettata.
January 26, 2022
Fanshawe, titolo originale di questo libro, è stato il primo in assoluto scritto da Hawthorne.
Qui ritroviamo tutte le atmosfere gotiche tipiche dell’autore, che mi avevano conquistata in La lettera scarlatta.
Nonostante questo sia il primo e quindi anticipi il successo della Lettera, e nonostante sia stato prima messo in commercio e poi tutte le copie o quasi, diversamente da quella in possesso della sorella che è riuscita ad arrivare fino ai giorni nostri, siano state distrutte per volere dell’autore, per me è quasi migliore del successivo.
La trama apparentemente semplice: due ragazzi, Fanshawe e Edward Alcott, due giovani molto diversi, arrivati entrambi all’ Harley College, si innamorano della stessa ragazza, Ellen Langdon, che si trova per qualche anno dal preside, il dottor Melmoth, per una promessa fatta al padre.
Ma improvvisamente arriva un uomo misterioso, dall’aura negativa, apparentemente pescatore, che fa alla ragazza delle strane proposte.
Tutti i personaggi appaiono nella loro vividezza, pur se con pochissime descrizioni; quello che dicono, che fanno, li fa balzare fuori dalle pagine.
E così riusciamo a immaginare questo protagonista solitario, studioso, riflessivo, molto malinconico, pallido, che ama trascorrere il tempo tra le pagine dei suoi libri, figura emblematica come simbolo dello scrittore stesso, che lo richiama anche nell’anelito a un sentimento che gli faccia palpitare il cuore e fremere le membra, che però poi rifugge non sentendosene in grado.
E nonostante si sia detto che quella sua fosse la desolazione romantica di chi, tormentato, si ritiri nella rinuncia con gran sofferenza, io credo che invece per Hawthorne volesse essere la scelta, quella consapevole, di chi si senta scrittore nell’anima e scelga di preferire la fama alla famiglia, come è rimarcato nella conclusione, nel paragone con la coppia che però non lascia nessun segno.
La coppia manco a dirlo è quella designata, quasi predestinata, come se fosse una vocazione, come se ci fosse chi nasca per fare grandi cose e chi, invece, per pensare alle cose terrene come l’amore e a metter su famiglia.
E Edward sicuramente è di questo secondo tipo, l’opposto del primo, frivolo, dissoluto, capriccioso, ricercato tra le ragazze del collage, dalla fama di farfallone e dai modi affettati, incline all’ accendersi facilmente, a lasciarsi prendere dalle passioni, a lasciarsene guidare, così come quando Ellen è finalmente a casa sana e salva, lui si nasconde ferito nel suo orgoglio, nonostante la signora Langdon lo cerchi preparando un tè con rinfresco apposta per lui.
E così come tra i due protagonisti, risalta anche il paragone fortemente sottolineato nel capitolo in cui si ritrovano, tra “il malvagio Butler” e il redento Briant.
Qui traspare l’aspetto della religiosità e del moralismo che poi si ripresenterà nella Lettera scarlatta, probabilmente derivante dal rapporto dell’autore con la religione.
La contrapposizione forte è tra chi sbaglia ma si redime e torna uomo nuovo, e chi invece, traviato dalle esperienze della vita, davanti alla possibilità di redimersi, sceglie di continuare per la sua strada.
Neanche l’assistere alla morte della madre riesce a salvarlo. E la punizione arriva proprio come calata dall’alto, senza scontri, messaggeri o intermediari di alcun tipo, ma come tragica fatalità che fa cascare come Lucifero, cadendo morto, e scioglie così tutto il male e gli intrighi che aveva intessuti.
Questo sembra essere il fine di questa storia, tanto che non ci viene descritta in alcun modo la scena del ritrovarsi tra Ellen e il dottore o tra Ellen e il padre, nè ci si sofferma in alcun modo sulla spiegazione dell’intento dell’uomo se non con un accenno al fatto che volesse condurre la ragazza dal padre da un lato e, dall’altro, sposarla. Ma come questo intendesse realizzarlo non ci è dato saperlo, nonostante venga automatico più volte nella narrazione, chiederselo, e stoni questa assenza.
Non è presente perché non è importante.
Importante è che, al momento della morte, si dedichi una pagina alla storia passata di quella persona, per dargli sfumature, per far guardare a lui non con condanna e giudizio, ma con pena, perché è la sofferenza a condurre a perdere la retta via.
Le scene naturali sono tutte tra il pastorale da un lato, e la natura selvaggia e incontaminata dall’altro, rendendo sempre evidente come sia la seconda a prevalere e dominare, dipinta come invadente, predominante, irta di pericoli, ma solo per chi è malvagio, mentre si apre accogliente a chi sia di animo puro, come nel caso dello studente che riesce a scendere magicamente il dirupo senza neanche un graffio.
L’impeto romantico e decadente permea le scelte del giovane protagonista, fino alla fine che arriva attesa, inevitabile, ma non lascia angosce perché anche se appena ventenne, ha lasciato un segno indelebile, cosa che invece non è riuscita all’antagonista.
Qui ritroviamo tutte le atmosfere gotiche tipiche dell’autore, che mi avevano conquistata in La lettera scarlatta.
Nonostante questo sia il primo e quindi anticipi il successo della Lettera, e nonostante sia stato prima messo in commercio e poi tutte le copie o quasi, diversamente da quella in possesso della sorella che è riuscita ad arrivare fino ai giorni nostri, siano state distrutte per volere dell’autore, per me è quasi migliore del successivo.
La trama apparentemente semplice: due ragazzi, Fanshawe e Edward Alcott, due giovani molto diversi, arrivati entrambi all’ Harley College, si innamorano della stessa ragazza, Ellen Langdon, che si trova per qualche anno dal preside, il dottor Melmoth, per una promessa fatta al padre.
Ma improvvisamente arriva un uomo misterioso, dall’aura negativa, apparentemente pescatore, che fa alla ragazza delle strane proposte.
Tutti i personaggi appaiono nella loro vividezza, pur se con pochissime descrizioni; quello che dicono, che fanno, li fa balzare fuori dalle pagine.
E così riusciamo a immaginare questo protagonista solitario, studioso, riflessivo, molto malinconico, pallido, che ama trascorrere il tempo tra le pagine dei suoi libri, figura emblematica come simbolo dello scrittore stesso, che lo richiama anche nell’anelito a un sentimento che gli faccia palpitare il cuore e fremere le membra, che però poi rifugge non sentendosene in grado.
E nonostante si sia detto che quella sua fosse la desolazione romantica di chi, tormentato, si ritiri nella rinuncia con gran sofferenza, io credo che invece per Hawthorne volesse essere la scelta, quella consapevole, di chi si senta scrittore nell’anima e scelga di preferire la fama alla famiglia, come è rimarcato nella conclusione, nel paragone con la coppia che però non lascia nessun segno.
La coppia manco a dirlo è quella designata, quasi predestinata, come se fosse una vocazione, come se ci fosse chi nasca per fare grandi cose e chi, invece, per pensare alle cose terrene come l’amore e a metter su famiglia.
E Edward sicuramente è di questo secondo tipo, l’opposto del primo, frivolo, dissoluto, capriccioso, ricercato tra le ragazze del collage, dalla fama di farfallone e dai modi affettati, incline all’ accendersi facilmente, a lasciarsi prendere dalle passioni, a lasciarsene guidare, così come quando Ellen è finalmente a casa sana e salva, lui si nasconde ferito nel suo orgoglio, nonostante la signora Langdon lo cerchi preparando un tè con rinfresco apposta per lui.
E così come tra i due protagonisti, risalta anche il paragone fortemente sottolineato nel capitolo in cui si ritrovano, tra “il malvagio Butler” e il redento Briant.
Qui traspare l’aspetto della religiosità e del moralismo che poi si ripresenterà nella Lettera scarlatta, probabilmente derivante dal rapporto dell’autore con la religione.
La contrapposizione forte è tra chi sbaglia ma si redime e torna uomo nuovo, e chi invece, traviato dalle esperienze della vita, davanti alla possibilità di redimersi, sceglie di continuare per la sua strada.
Neanche l’assistere alla morte della madre riesce a salvarlo. E la punizione arriva proprio come calata dall’alto, senza scontri, messaggeri o intermediari di alcun tipo, ma come tragica fatalità che fa cascare come Lucifero, cadendo morto, e scioglie così tutto il male e gli intrighi che aveva intessuti.
Questo sembra essere il fine di questa storia, tanto che non ci viene descritta in alcun modo la scena del ritrovarsi tra Ellen e il dottore o tra Ellen e il padre, nè ci si sofferma in alcun modo sulla spiegazione dell’intento dell’uomo se non con un accenno al fatto che volesse condurre la ragazza dal padre da un lato e, dall’altro, sposarla. Ma come questo intendesse realizzarlo non ci è dato saperlo, nonostante venga automatico più volte nella narrazione, chiederselo, e stoni questa assenza.
Non è presente perché non è importante.
Importante è che, al momento della morte, si dedichi una pagina alla storia passata di quella persona, per dargli sfumature, per far guardare a lui non con condanna e giudizio, ma con pena, perché è la sofferenza a condurre a perdere la retta via.
Le scene naturali sono tutte tra il pastorale da un lato, e la natura selvaggia e incontaminata dall’altro, rendendo sempre evidente come sia la seconda a prevalere e dominare, dipinta come invadente, predominante, irta di pericoli, ma solo per chi è malvagio, mentre si apre accogliente a chi sia di animo puro, come nel caso dello studente che riesce a scendere magicamente il dirupo senza neanche un graffio.
L’impeto romantico e decadente permea le scelte del giovane protagonista, fino alla fine che arriva attesa, inevitabile, ma non lascia angosce perché anche se appena ventenne, ha lasciato un segno indelebile, cosa che invece non è riuscita all’antagonista.
This entire review has been hidden because of spoilers.
July 18, 2012
I don’t know why I’m keeping on with this attempt to read all of an author’s books in a row (in the order they were written) since I’ve failed with everyone except the first (sorry Austen, Forster) and now I can add Hawthorne to the list. I seem to bomb out after reading the first two books of any author, but then again I’ve chosen some heavy hitters...
Anyway, Fanshawe was kind of a surprise. I know that Hawthorne tried desperately to disown the book and have all copies in existence destroyed, but it survived to be read by people like me, foolhardy enough to read it because, well, just because!
I havn’t read any Hawthorne for years (except for a couple of short stories) and The Scarlet Letter was even farther back in time (when I was in high school). I didn’t like anything I read in high school (anything that was assigned, anyway) so I tried to approach this with an open mind.
The reason Fanshawe surprised me was because it is, essentially, a kidnapping story, something straight out of a TV show. There’s some place setting at the beginning, setting up the story and characters, painting a nice picture of the idyllic location for this little school and its headmaster and students.
But it really gets interesting when the stranger in a black cape appears, menacing the pure young girl just with his look alone. You're not even sure if he's real or not because he pops up out of nowhere and disappears just as quickly, but you eventually learn who he is and what his intentions are. Fanshawe is the sickly student who loves the girl and does what he can with his friend (who also loves her) to save the girl.
Throw in a chase and a rather harrowing (but maybe too easy) resolution and you have a kind of swashbuckling adventure that entertains fairly well. The only potential drawback is the writing: Hawthorne’s prose is very dense. I wouldn’t say he uses more words than necessary but what he does use manages to pack in a lot. I am a picky reader when it comes to writers who use twenty words when five would suffice, but I never found any passage to be overly wordy. Not to say there weren’t some slow spots but I had fun with this shorter novel (I think the shortest of all Hawthorne’s novels).
Anyway, Fanshawe was kind of a surprise. I know that Hawthorne tried desperately to disown the book and have all copies in existence destroyed, but it survived to be read by people like me, foolhardy enough to read it because, well, just because!
I havn’t read any Hawthorne for years (except for a couple of short stories) and The Scarlet Letter was even farther back in time (when I was in high school). I didn’t like anything I read in high school (anything that was assigned, anyway) so I tried to approach this with an open mind.
The reason Fanshawe surprised me was because it is, essentially, a kidnapping story, something straight out of a TV show. There’s some place setting at the beginning, setting up the story and characters, painting a nice picture of the idyllic location for this little school and its headmaster and students.
But it really gets interesting when the stranger in a black cape appears, menacing the pure young girl just with his look alone. You're not even sure if he's real or not because he pops up out of nowhere and disappears just as quickly, but you eventually learn who he is and what his intentions are. Fanshawe is the sickly student who loves the girl and does what he can with his friend (who also loves her) to save the girl.
Throw in a chase and a rather harrowing (but maybe too easy) resolution and you have a kind of swashbuckling adventure that entertains fairly well. The only potential drawback is the writing: Hawthorne’s prose is very dense. I wouldn’t say he uses more words than necessary but what he does use manages to pack in a lot. I am a picky reader when it comes to writers who use twenty words when five would suffice, but I never found any passage to be overly wordy. Not to say there weren’t some slow spots but I had fun with this shorter novel (I think the shortest of all Hawthorne’s novels).
July 22, 2022
Había una vez una pequeña universidad ubicada en un remoto valle en lo profundo de los Estados Unidos de América (que en aquel entonces era todavía parte del imperio británico) regida por un rector erudito pero despistado. Un día llegó al centro una rica y preciosa heredera, cuyo padre se encontraba de viaje. Este y el buen doctor, eran amigos desde la juventud, de ahí que la chica quedase a su cuidado. Ni que decir tiene que la joven no tardo en hacer estragos en los corazones de muchos de los estudiantes de la universidad, especialmente en dos de ellos. Un día, la paz del lugar se hizo añicos con la llegada de un misterioso personaje bajo los harapos de un pescador, un individuo con un pasado lleno de secretos que estaba tramando algo, una conspiración que tenía a nuestra heredera como centro principal…
Segunda novela que leo de Nathaniel Hawthorne. Hace más de diez años que me inicie con él con su celebre “La Letra Escarlata”, un libro de frio recuerdo para mi. De ahí que esté en uno de los primeros puestos en mi lista de futuras relecturas. Entre medias de ese libro tan famoso y el que nos ocupa ahora he tenido la oportunidad de conocer a Hawthorne por medio de gran cantidad de cuentos cortos y artículos periodísticos. De ahí que sea un autor de sobra conocido para una servidora y que yo sea consciente de sus grandes capacidades como narrador.
“Fanshawe” fue la primera obra que publico en su juventud. Se trata de una novela de aventuras y misterios con raíces en la literatura gótica y que bebe de los escritos de Sir Walter Scott. Una historia sobre secretos del pasado, ambiciones, amor y las relaciones entre padres e hijos que se lee muy bien y que logra captar la atención del lector. La novela es muy corta, apenas supera las cien páginas. De ahí que todo este de manera oraginca muy concentrado en ellas, no hay tiempo para el aburrimiento porque no paran de pasar cosas en todo momento. Los personajes están caracterizados de una forma muy sencilla y sobria, pero a la vez bastante efectiva. Hay dos aspectos de esta lectura que considero que son sus puntos fuertes:
1. La idea que subyace debajo de la trama, donde se puede apreciar una fuerte crítica hacia el puritanismo Imperante en la América del siglo XIX. También se tratan temas muy interesantes como la culpabilidad de los pecadores como medio para aniquilar todo lo positivo que hay en ellos, la relaciones entre padres e hijos y como estas pueden influir en lo que van a ser los segundos, la redención y el sacrificio.
2. La ambientación y las nítidas descripciones del paisaje americano, que se convierten en un personaje más a la par que en un perfecto escenario de los acontecimientos, ya que por medio de sus descripciones se representa el estado mental de los personajes.
Y pese a todo esto, con harto dolor de mi
Corazón, no puedo ponerle más de dos estrellas ¿por qué le he puesto una nota tan baja? Pues porque realmente ha sido una lectura que ni me ha emocionado ni me ha aportado nada de nada. No sé hasta qué punto esto se deberá a que vengo de una tanda de lecturas muy buenas y que se han llevado la mayor puntuación. Pero más que eso me temo que todo se debe a que no hay mucho que rascar, por norma general, de “Fanshawe”. Ni su argumento ni lo que hay de fondo son realmente rompedores o interesantes, la trama, realmente, es increíblemente convencional. Y la forma en que todo es manejado no ayuda a combatir esto. Muchas veces (y creo que en eso para la novela va en su contra su escasa duración) las cosas se suceden de una forma muy precipitada, he notado que en ciertos momentos hubiera sido necesario que Hawthorne hubiera incidido más en los aspectos que estaba trabajando en ese momento.
A lo largo y ancho de su trama nos encontramos con personajes cuyas acciones no están sólidamente explicadas, suceden de forma muy abrupta y sin sentido, lo que da la sensación de que más de encontrarnos ante personajes bien construidos, son caracteres que siempre se limitan a cumplir un rol para que la historia funcione y avance, sin que se ahonde más en ellos y en su forma de ser. De hecho, los personajes, aunque he dicho que está muy bien tratados, tampoco tienen nada de interesante, tanto en personalidad como en sus acciones. Eso es algo que echado muy en falta: la gran capacidad para descripciones psicológicas dejo tan patente en historias y novelas posteriores, de profundidad psicológica y de matices en la mayoría de todos estos personajes. La excepción la encontramos, en cierto forma paliada, en los antagonistas que aparecen a lo largo del relato: el tabernero y poeta Hugh Combe y Butler. Ambos tiene caracteres muy bien trazados, que se salen de la norma que podemos ver en esta novela, con unos pasados que les dan ciertos matices y aportan profundidad a los personajes al explicar su comportamiento y su forma de ser. Aparte de ellos dos, el resto de personajes pasan por estas páginas sin plena ni gloria. Por más que todos ellos sean presentados bajo una luz muy favorable por el autor, son los dos antagonistas en los que recae toda la complejidad que podamos encontrar en la obra.
Todo esto hace más que olvidable al triángulo amoroso principal y al matrimonio formado por el rector Melmoth y su mujer. Esta pareja era la única que tenía alguna oportunidad para sobresalir entre todo esto, pero la poca originalidad de sus personalidades y de la relación que tienen entre ellos, que cae en más de uno y más de dos tópicos muy conocidos en la literatura anglosajona de la época, hacen que no logren despegar realmente. Ni siquiera el Fanshawe qué da título a la novela (un joven absorbido totalmente por sus estudios que conoce el amor, y que se convierte, de varias formas, en el héroe de toda la trama) y que, tal y como nos señala el autor, no está exento de prendas personales y físicas, logra destacar mucho más a lo largo del libro. La excepción es ese último encuentro con Ellen, que se convierte en el clima emocional de todo lo leído hasta ahora, y que demuestra, aunque sea brevemente, la profundidad y brillante que el carácter realmente alberca, pero que no ha podido demostrar en todo lo que hemos leído previamente hasta ese momento.
Tercera vez en este año tengo la oportunidad de leer un volumen editado por la editorial Cátedra. Y tercera vez en que únicamente solo puedo alabar su concienzuda y maravillosa labor literaria. Una vez más tenemos entre manos una edición muy cuidada, con una traducción estupenda. El texto está plagado de notas a pie de página llenas de detalles y curiosidades sobre la historia, su contexto histórico y la vida del autor que son muy interesantes y aportan mucho a la lectura. Y su prologo es una maravilla, ya no solo por el estudio de la obra, sino por todos los datos que da sobre la biografía de Hawthorne y que permite entender mejor su obra y descubrir más cosas sobre él.
Se nota mucho que “Fanshawe” fue una de las primeras obras que escribió uno de los autores más destacables de la literatura americana de todo los tiempos, un libro que se nota más comercial, según los estándares de la época, que otros del mismo autor . Hay muchas cosas que pulir, si, pero todo lo destacable que vamos a poder encontrar en sus trabajos posteriores ya estaba ahí. Aunque no tenga una nota muy alta, es una lectura muy amena y llena de buenos momentos, que no resulta difícil o pesada para nada y que cumple en lo esencial, entretener. Aunque haya muchas cosas que no hayan acabado de convencerme en ella, tampoco me parece que sea horrible. Simplemente le ha faltado estar pulida en ciertos aspectos. Pero insisto, ya me gustaría mi publicar una primera obra de esta calidad.
Segunda novela que leo de Nathaniel Hawthorne. Hace más de diez años que me inicie con él con su celebre “La Letra Escarlata”, un libro de frio recuerdo para mi. De ahí que esté en uno de los primeros puestos en mi lista de futuras relecturas. Entre medias de ese libro tan famoso y el que nos ocupa ahora he tenido la oportunidad de conocer a Hawthorne por medio de gran cantidad de cuentos cortos y artículos periodísticos. De ahí que sea un autor de sobra conocido para una servidora y que yo sea consciente de sus grandes capacidades como narrador.
“Fanshawe” fue la primera obra que publico en su juventud. Se trata de una novela de aventuras y misterios con raíces en la literatura gótica y que bebe de los escritos de Sir Walter Scott. Una historia sobre secretos del pasado, ambiciones, amor y las relaciones entre padres e hijos que se lee muy bien y que logra captar la atención del lector. La novela es muy corta, apenas supera las cien páginas. De ahí que todo este de manera oraginca muy concentrado en ellas, no hay tiempo para el aburrimiento porque no paran de pasar cosas en todo momento. Los personajes están caracterizados de una forma muy sencilla y sobria, pero a la vez bastante efectiva. Hay dos aspectos de esta lectura que considero que son sus puntos fuertes:
1. La idea que subyace debajo de la trama, donde se puede apreciar una fuerte crítica hacia el puritanismo Imperante en la América del siglo XIX. También se tratan temas muy interesantes como la culpabilidad de los pecadores como medio para aniquilar todo lo positivo que hay en ellos, la relaciones entre padres e hijos y como estas pueden influir en lo que van a ser los segundos, la redención y el sacrificio.
2. La ambientación y las nítidas descripciones del paisaje americano, que se convierten en un personaje más a la par que en un perfecto escenario de los acontecimientos, ya que por medio de sus descripciones se representa el estado mental de los personajes.
Y pese a todo esto, con harto dolor de mi
Corazón, no puedo ponerle más de dos estrellas ¿por qué le he puesto una nota tan baja? Pues porque realmente ha sido una lectura que ni me ha emocionado ni me ha aportado nada de nada. No sé hasta qué punto esto se deberá a que vengo de una tanda de lecturas muy buenas y que se han llevado la mayor puntuación. Pero más que eso me temo que todo se debe a que no hay mucho que rascar, por norma general, de “Fanshawe”. Ni su argumento ni lo que hay de fondo son realmente rompedores o interesantes, la trama, realmente, es increíblemente convencional. Y la forma en que todo es manejado no ayuda a combatir esto. Muchas veces (y creo que en eso para la novela va en su contra su escasa duración) las cosas se suceden de una forma muy precipitada, he notado que en ciertos momentos hubiera sido necesario que Hawthorne hubiera incidido más en los aspectos que estaba trabajando en ese momento.
A lo largo y ancho de su trama nos encontramos con personajes cuyas acciones no están sólidamente explicadas, suceden de forma muy abrupta y sin sentido, lo que da la sensación de que más de encontrarnos ante personajes bien construidos, son caracteres que siempre se limitan a cumplir un rol para que la historia funcione y avance, sin que se ahonde más en ellos y en su forma de ser. De hecho, los personajes, aunque he dicho que está muy bien tratados, tampoco tienen nada de interesante, tanto en personalidad como en sus acciones. Eso es algo que echado muy en falta: la gran capacidad para descripciones psicológicas dejo tan patente en historias y novelas posteriores, de profundidad psicológica y de matices en la mayoría de todos estos personajes. La excepción la encontramos, en cierto forma paliada, en los antagonistas que aparecen a lo largo del relato: el tabernero y poeta Hugh Combe y Butler. Ambos tiene caracteres muy bien trazados, que se salen de la norma que podemos ver en esta novela, con unos pasados que les dan ciertos matices y aportan profundidad a los personajes al explicar su comportamiento y su forma de ser. Aparte de ellos dos, el resto de personajes pasan por estas páginas sin plena ni gloria. Por más que todos ellos sean presentados bajo una luz muy favorable por el autor, son los dos antagonistas en los que recae toda la complejidad que podamos encontrar en la obra.
Todo esto hace más que olvidable al triángulo amoroso principal y al matrimonio formado por el rector Melmoth y su mujer. Esta pareja era la única que tenía alguna oportunidad para sobresalir entre todo esto, pero la poca originalidad de sus personalidades y de la relación que tienen entre ellos, que cae en más de uno y más de dos tópicos muy conocidos en la literatura anglosajona de la época, hacen que no logren despegar realmente. Ni siquiera el Fanshawe qué da título a la novela (un joven absorbido totalmente por sus estudios que conoce el amor, y que se convierte, de varias formas, en el héroe de toda la trama) y que, tal y como nos señala el autor, no está exento de prendas personales y físicas, logra destacar mucho más a lo largo del libro. La excepción es ese último encuentro con Ellen, que se convierte en el clima emocional de todo lo leído hasta ahora, y que demuestra, aunque sea brevemente, la profundidad y brillante que el carácter realmente alberca, pero que no ha podido demostrar en todo lo que hemos leído previamente hasta ese momento.
Tercera vez en este año tengo la oportunidad de leer un volumen editado por la editorial Cátedra. Y tercera vez en que únicamente solo puedo alabar su concienzuda y maravillosa labor literaria. Una vez más tenemos entre manos una edición muy cuidada, con una traducción estupenda. El texto está plagado de notas a pie de página llenas de detalles y curiosidades sobre la historia, su contexto histórico y la vida del autor que son muy interesantes y aportan mucho a la lectura. Y su prologo es una maravilla, ya no solo por el estudio de la obra, sino por todos los datos que da sobre la biografía de Hawthorne y que permite entender mejor su obra y descubrir más cosas sobre él.
Se nota mucho que “Fanshawe” fue una de las primeras obras que escribió uno de los autores más destacables de la literatura americana de todo los tiempos, un libro que se nota más comercial, según los estándares de la época, que otros del mismo autor . Hay muchas cosas que pulir, si, pero todo lo destacable que vamos a poder encontrar en sus trabajos posteriores ya estaba ahí. Aunque no tenga una nota muy alta, es una lectura muy amena y llena de buenos momentos, que no resulta difícil o pesada para nada y que cumple en lo esencial, entretener. Aunque haya muchas cosas que no hayan acabado de convencerme en ella, tampoco me parece que sea horrible. Simplemente le ha faltado estar pulida en ciertos aspectos. Pero insisto, ya me gustaría mi publicar una primera obra de esta calidad.
May 27, 2025
“He asked himself, to what purpose was all this destructive labor, and where was the happiness of superior knowledge? He had climbed but a few steps of the ladder that reached to infinity—he had thrown away his life in discovering that, after a thousand such lives, he should still know comparatively nothing.”
Fanshawe, Hawthorne’s first novel, was something of a surprise for me. Going into it, all I knew was that Hawthorne tried to suppress it later in life, so I was expecting something awful, or, at the very least, scandalous. What I got instead was a charming, fairly light story—a simple romance, with a kidnapping thrown in there to shake things up a bit. It’s nothing spectacular, but nothing to be ashamed of, either. I would recommend that any fans of Hawthorne’s later fiction check this early effort out, as his style is still recognizable, even if it is still in development: his prose is as rich as ever, and his strange, offbeat sense of humor shines throughout the story. I was gifted a collection of his novels at the start of the summer, and this was a fun start. I greatly look forward to reading the rest of his works as the summer progresses.
Fanshawe, Hawthorne’s first novel, was something of a surprise for me. Going into it, all I knew was that Hawthorne tried to suppress it later in life, so I was expecting something awful, or, at the very least, scandalous. What I got instead was a charming, fairly light story—a simple romance, with a kidnapping thrown in there to shake things up a bit. It’s nothing spectacular, but nothing to be ashamed of, either. I would recommend that any fans of Hawthorne’s later fiction check this early effort out, as his style is still recognizable, even if it is still in development: his prose is as rich as ever, and his strange, offbeat sense of humor shines throughout the story. I was gifted a collection of his novels at the start of the summer, and this was a fun start. I greatly look forward to reading the rest of his works as the summer progresses.
November 15, 2013
I read this as part of a Library of America collection, Hawthorne: Collected Novels. In the chronology provided at the end, this is how Hawthorne's debut novel is described:
Kind of says it all.
However, as a completist, who finds the process equally of fascinating as the product, I think this offers something worthwhile.
Though he didn't quite pull this off, there are glimpses of the Hawthorne that was to come.
1828 - Fanshawe published in Boston at his own expense ($100 according to his sister Elizabeth, but in view of the contemporary publishing costs more likely $200. Ashamed of this first effort (which does not bear his name on its title page), he forbids his friends to mention his authorship and refuses to discuss the book in later years. His wife does not learn of its existence until after his death. It is not republished until 1876.
Kind of says it all.
However, as a completist, who finds the process equally of fascinating as the product, I think this offers something worthwhile.
Though he didn't quite pull this off, there are glimpses of the Hawthorne that was to come.
January 1, 2021
Hawthorne is one of the greatest treasures of American literature. This book, his first novel, which he tried to suppress, may not be The Scarlet Letter or The House of Seven Gables, but it is still a fine piece of writing. He was wrong to want to bury it. Its only weakness is that Hawthorne has some trouble with the ending. He is trying to accomplish a particular result with the character of Fanshawe, and I could see his intent with the choices he made at the end, but it was not entirely successful. I think that if he had tried to rewrite the ending as a more mature writer, he would have found the solution and then this book could have stood on equal ground with his masterpieces.
The best thing about Fanshawe, which to me is also the best thing about all of Hawthorne, is the writing style. Hawthorne's prose has a beauty and clarity of expression that few other English language writers have equaled. His large expressive vocabulary never gets in the way of his easily flowing style. It's amazing that he already had this talent as a very young man when he wrote this book.
The character of Fanshawe is unique and interesting. At first he appears to just be a typical industrious poor student, pleasant but quiet and inarticulate. As the story progresses, we see his inner strength and his deep sense of honor which borders on fanaticism. He remains an attractive character to the end, but I couldn't help thinking, as I believe that Hawthorne himself hints, that Fanshawe's sense of honor is misplaced and causes him lose a chance to live a better life that would have also enriched the lives of those around him.
The best thing about Fanshawe, which to me is also the best thing about all of Hawthorne, is the writing style. Hawthorne's prose has a beauty and clarity of expression that few other English language writers have equaled. His large expressive vocabulary never gets in the way of his easily flowing style. It's amazing that he already had this talent as a very young man when he wrote this book.
The character of Fanshawe is unique and interesting. At first he appears to just be a typical industrious poor student, pleasant but quiet and inarticulate. As the story progresses, we see his inner strength and his deep sense of honor which borders on fanaticism. He remains an attractive character to the end, but I couldn't help thinking, as I believe that Hawthorne himself hints, that Fanshawe's sense of honor is misplaced and causes him lose a chance to live a better life that would have also enriched the lives of those around him.
May 7, 2024
It is quite hard to approach this book, and its length would really make it more of a novella, outside of the influence of Hawthorne’s later works and fame.
It is also hard, to read the book objectively, because almost anyone who reads it will likely know how vehemently Hawthorne disliked it, and how strongly he attempted to erase it from existence.
Maybe I am too kind to it, because as a modern reader there are charming bits in this little book that show what the author would later become. FANSHAWE is not without its faults - its characterization is at some points shallow, and its pacing is arguably the books worst attribute, especially as the plot reaches an almost rushed conclusion.
But the book is also delightfully confined, in a way which I think Hawthorne likely intended (his biggest gripe with the book was its lack of commercial success - Fanshawe actually received relatively good reviews). It is short yet also sweeping, in a way which allows the rural nature of new england to insulate the reader, making the small setting of Harley College take on the paramount importance it would have had for the students in this tale. I think Fanshawe is best categorized as a novella, or perhaps a long short story, in the same vein as Washington Irving’s works, which no doubt Hawthorne would likely have known of. It does not try to exceed its grasp, but instead tells a small tale in a small town.
And that is precisely what it is: A delightful little tale, that does not presume to be more than what it is. (Although there are hints throughout the book of the intellectualism Hawthorne aspired to).
All in all this book is a solid 4/5. It is not on par with The House of The Seven Gables, but when it does penetrate deep into the human condition, there are pleasant insights for such a young author.
It is also hard, to read the book objectively, because almost anyone who reads it will likely know how vehemently Hawthorne disliked it, and how strongly he attempted to erase it from existence.
Maybe I am too kind to it, because as a modern reader there are charming bits in this little book that show what the author would later become. FANSHAWE is not without its faults - its characterization is at some points shallow, and its pacing is arguably the books worst attribute, especially as the plot reaches an almost rushed conclusion.
But the book is also delightfully confined, in a way which I think Hawthorne likely intended (his biggest gripe with the book was its lack of commercial success - Fanshawe actually received relatively good reviews). It is short yet also sweeping, in a way which allows the rural nature of new england to insulate the reader, making the small setting of Harley College take on the paramount importance it would have had for the students in this tale. I think Fanshawe is best categorized as a novella, or perhaps a long short story, in the same vein as Washington Irving’s works, which no doubt Hawthorne would likely have known of. It does not try to exceed its grasp, but instead tells a small tale in a small town.
And that is precisely what it is: A delightful little tale, that does not presume to be more than what it is. (Although there are hints throughout the book of the intellectualism Hawthorne aspired to).
All in all this book is a solid 4/5. It is not on par with The House of The Seven Gables, but when it does penetrate deep into the human condition, there are pleasant insights for such a young author.
February 11, 2019
Surprisingly assured for a debut novel, though definitely a much lighter read than Hawthorne's later works. Which isn't necessarily a bad thing, considering how plodding and self-indulgent THE MARBLE FAUN and THE HOUSE OF SEVEN GABLES were.
FANSHAWE is a hard book to categorize, in that it's a novel in search of a genre. There's a bit of adventure, a dash of romance, a pinch of drama, a few comedic flourishes, but no single element shines through very strongly. Like falafel, it satisfies without conveying an identifiable flavor. Obviously, the key ingredient is Hawthorne's writing, which was already masterful even at this initial stage of his career. And though not nearly on the level of THE SCARLET LETTER or some of his better short stories, FANSHAWE certainly isn't to be avoided. Yes, the flaws are very noticeable for an author of Hawthorne's pedigree, but I found it a very enjoyable read, even if it isn't worthy of being included in the literary canon.
FANSHAWE is a hard book to categorize, in that it's a novel in search of a genre. There's a bit of adventure, a dash of romance, a pinch of drama, a few comedic flourishes, but no single element shines through very strongly. Like falafel, it satisfies without conveying an identifiable flavor. Obviously, the key ingredient is Hawthorne's writing, which was already masterful even at this initial stage of his career. And though not nearly on the level of THE SCARLET LETTER or some of his better short stories, FANSHAWE certainly isn't to be avoided. Yes, the flaws are very noticeable for an author of Hawthorne's pedigree, but I found it a very enjoyable read, even if it isn't worthy of being included in the literary canon.
August 12, 2012
I know a lot of people didn't like this book, and I will admit it is not nearly as good as his later novels, but I enjoyed this. The writing style drew me in. The characters kept me in. And the plot was, well workable, but interesting enough. What I really enjoyed was his incredible ability to use description. I was there in the cabin, the woods. I went along on the horse ride. While the end seemed quick, all in all I think this was a good first work, even if he didn't.
October 31, 2008
This was Hawthorne's first novel, published I think when he was in college. He published it anonymously, and later in life tried to suppress it. I just wish that my first novel could be this good! I noticed that his character development isn't as intense as in his other novels I've read, but I feel like the plot/story line was more climatic...even if it did conclude in a sudden rush. I liked it.
December 27, 2014
Wooden language. This must have been the start of Hollywood. Still, it was an interesting reading experience.
March 24, 2017
Had I been able to, I would have given this 3.5 stars. I'm not sure that I understand why Hawthorne was so ashamed of this work as I quite enjoyed it. It was simple in its plot and deliverance and yet it was an easy enough read with enough detail as made it likeable. The ending was shorter than one might like, and as one of the characters died it's a bit sad, but in the end, it all becomes happy so that it can be thought of as a bittersweet ending rather than a saddened one.
May 30, 2025
“The dew hangs dark and heavy on these branches” oh I bet it does
January 23, 2022
Not worth reading unless you have made a pledge to yourself to read everything in print by Nathaniel Hawthorne.
April 13, 2020
Although this shortish novel is not bad, I can understand why Hawthorne wished to suppress it as unworthy juvenilia. It's much more laboured in construction, and much more reliant on stereotypes for characters, than his mature work. The nominal hero, Fanshawe, an over-studious type destined for an early grave, gets little or no attention for much of the book, and then roars into action (as it were) in the last two chapters, and the resultant love triangle - with a healthier but somewhat more dissipated suitor - is unusual in that our poor heroine is faced with not one but two lovers who nobly recuse themselves from the contest, albeit temporarily.
That said, Hawthorne's ability to tell a good story is already evident. His descriptions of the natural New England forest and the habitations therein in the late 18th century are already well-developed. It's already apparent, I note with amusement, that he is downright reluctant to write an outright villain; even in this early work, everybody has a backstory that gives some reason for their falling away from righteousness.
Nature and the landscape inform and drive parts of this story: the climax takes place at a secluded cave at the foot of a precipice, over which flows a waterfall. Hawthorne paints this scene very clearly for us, so that we understand the mechanics of the conclusion of his plot. I did not, however, detect very much of the other half of the beauty-and-terror Gothic equation, namely the terrifying, though there's a thunderstorm for Ellen's ill-advised departure with a strange man. Ellen herself is completely without character, other than conventional virtues and a certain lack of trust in her guardians.
Although the novel is described as being based upon Hawthorne's time as a student at Bowdoin College, there's little of that evident except in the opening scene-setting (quite comic in its description of the different kinds of students), and possibly in the description of the studious and henpecked president of that college (Ellen's guardian) who may have some attributes of a real person. I should add that Hawthorne's habit of writing in bits of local colour "as they are now" - i.e., in his time, not in his historical setting - is a bit obtrusive in this novel, particularly at the end of the penultimate chapter, where we are yanked out of the flow of the narrative to visit the grave of the villain, all illegible and overgrown.
Still, it would have been a shame if Hawthorne had in fact succeeded in completely destroying all copies of this early effort. Almost two centuries later (it was published in 1828), it passed a tedious day in a happy fashion for this reader.
That said, Hawthorne's ability to tell a good story is already evident. His descriptions of the natural New England forest and the habitations therein in the late 18th century are already well-developed. It's already apparent, I note with amusement, that he is downright reluctant to write an outright villain; even in this early work, everybody has a backstory that gives some reason for their falling away from righteousness.
Nature and the landscape inform and drive parts of this story: the climax takes place at a secluded cave at the foot of a precipice, over which flows a waterfall. Hawthorne paints this scene very clearly for us, so that we understand the mechanics of the conclusion of his plot. I did not, however, detect very much of the other half of the beauty-and-terror Gothic equation, namely the terrifying, though there's a thunderstorm for Ellen's ill-advised departure with a strange man. Ellen herself is completely without character, other than conventional virtues and a certain lack of trust in her guardians.
Although the novel is described as being based upon Hawthorne's time as a student at Bowdoin College, there's little of that evident except in the opening scene-setting (quite comic in its description of the different kinds of students), and possibly in the description of the studious and henpecked president of that college (Ellen's guardian) who may have some attributes of a real person. I should add that Hawthorne's habit of writing in bits of local colour "as they are now" - i.e., in his time, not in his historical setting - is a bit obtrusive in this novel, particularly at the end of the penultimate chapter, where we are yanked out of the flow of the narrative to visit the grave of the villain, all illegible and overgrown.
Still, it would have been a shame if Hawthorne had in fact succeeded in completely destroying all copies of this early effort. Almost two centuries later (it was published in 1828), it passed a tedious day in a happy fashion for this reader.
September 1, 2013
I can't imagine anyone today reading this were it not this was by Nathaniel Hawthorne, who'd later write such classics as The Scarlet Letter and The House of Seven Gables. Note, that came later. When he wrote this he was barely out of college, he published it anonymously, then later would try to destroy every copy in existence. I'm not sorry he didn't succeed. I can imagine this, his first novel, is a goldmine for scholars of American literature.
And it's not really burn-worthy. I can see glimmers of the genius he'd later display in his novels and short stories. I first saw that in the confrontation between "the Angler" and Hugh Crombie: "Your good resolutions were always like cobwebs, and your evil habits like five-inch cables." Great line--and I can see some of the classic Hawthorne themes here concerning good and evil and redemption. But oh, the melodrama! And Ellen Langton is no Hester Prynne, but a rather dull, insipid, damsel-in-distress. There's also far too much tell, not show here--Hawthorne would get much, much better. I find I do enjoy even Jane Austen's Juvenalia--I think because she's my crack--there's something about her wit, her humor, that just tickles me. I think you need to feel about Hawthorne the way I do about Austen to really, really relish this novel and rate it highly. If for some weird reason this is your introduction to Hawthorne--please don't judge him by it. He would be appalled if you did. He's one of the true greats of American literature--but you wouldn't guess that on this basis. It took decades more of maturity to create The Scarlet Letter.
And it's not really burn-worthy. I can see glimmers of the genius he'd later display in his novels and short stories. I first saw that in the confrontation between "the Angler" and Hugh Crombie: "Your good resolutions were always like cobwebs, and your evil habits like five-inch cables." Great line--and I can see some of the classic Hawthorne themes here concerning good and evil and redemption. But oh, the melodrama! And Ellen Langton is no Hester Prynne, but a rather dull, insipid, damsel-in-distress. There's also far too much tell, not show here--Hawthorne would get much, much better. I find I do enjoy even Jane Austen's Juvenalia--I think because she's my crack--there's something about her wit, her humor, that just tickles me. I think you need to feel about Hawthorne the way I do about Austen to really, really relish this novel and rate it highly. If for some weird reason this is your introduction to Hawthorne--please don't judge him by it. He would be appalled if you did. He's one of the true greats of American literature--but you wouldn't guess that on this basis. It took decades more of maturity to create The Scarlet Letter.
April 17, 2021
Hawthorne allegedly tried to destroy all copies of Fanshawe once his career progressed and while he obviously failed to do so, the book is far from the polish and skill present in his later works. The story is a low key love triangle between the university president’s ward, Ellen, the overly academic Fanshawe, and the seemingly more masculine Edward. There is, of course, a plot, a villain, and such, but Hawthorne seems to be establishing his own role as a learned author, beginning each chapter by quoting luminaries like Shakespeare, Mary Tighe, etc.
So, why would one even read this work? Simple, it is the first American college novel, being a novel that portends to take place and be about, at least in part, the American college experience. Published in 1828 anonymously, it is a look at the early days on an American college and its students. The fictional Harley College stands in for Bowdoin College, Hawthorne’s alma mater, and he includes in the closing an allusion to the tombstone of one of Harvard’s president’s children.
If one is an academic with an interest in literature, history, or academe in general, there is sufficient elements here for a passing read and consideration, but it does not stand out as Hawthorne’s best or most engaging work.
So, why would one even read this work? Simple, it is the first American college novel, being a novel that portends to take place and be about, at least in part, the American college experience. Published in 1828 anonymously, it is a look at the early days on an American college and its students. The fictional Harley College stands in for Bowdoin College, Hawthorne’s alma mater, and he includes in the closing an allusion to the tombstone of one of Harvard’s president’s children.
If one is an academic with an interest in literature, history, or academe in general, there is sufficient elements here for a passing read and consideration, but it does not stand out as Hawthorne’s best or most engaging work.
April 24, 2015
This novel started out strong so I was pumped. Hawthorne's use of language is great and the premise was interesting. We are introduced to a love triangle between the heiress Ellen, the immature student Edward and the sickly scholar Fanshawe and things start to go south after the villain steps in. The pacing of this novel is beyond weird and not in a good way. After the first half of the novel, all suspense is gone, even thought the quest to recover the kidnapped maiden has just started.
All in all, it was okay, but an experienced editor would have made this better. Unfortunately they were scarce in Hawthorne's day and he self-published. Upon comparing this to The Scarlet Letter, I think fans will appreciate how much more the author improved.
All in all, it was okay, but an experienced editor would have made this better. Unfortunately they were scarce in Hawthorne's day and he self-published. Upon comparing this to The Scarlet Letter, I think fans will appreciate how much more the author improved.
December 28, 2017
Halfway decent for a first book. The language can easily be seen as beyond pretentious by modern standards, but don't let that stop you from catching some decent sarcasm. Story-wise it's a very lightweight "pretty girl gets kidnapped by a greedy sleazebag and may or may not require being rescued by a nice young man" bit of romantic pulp. No two characters are alike, but most of them are stock. I get why Hawthorne tried to bury it as it wasn't up to his later standards, but it honestly wasn't bad.
February 19, 2013
I liked this story despite the fact that it is not a maturely written piece and has poor organization. Hawthorne has a lovely way with words and detail. I thought the ending was rather abrupt and the story missed some helpful details, but overall, it was an intriguing plot. Had this story been written later in Hawthorne's career I think it would have been much better.
March 17, 2010
Boilerplate melodrama. One should bear in mind that Hawthorne wasn't the only great writer to publish something regrettable on the first try.
December 26, 2013
This is a completely forgettable romp, but it’s much better than other early novels of classic authors—and it’s much more readable and enjoyable than Hawthorne’s House of the Seven Gables.
November 25, 2020
so loved this story. Amazed to hear he thought it was useless and he destroyed most copies. It was delightful.
December 15, 2020
Great, quick read from Hawthorne’s earliest days. It’s amazing how modern this feels compared to other works of the period and how deft Hawthorne was at crafting a story right from the start.
November 30, 2024
Incredibly engaging, a thoroughly page-turning narrative with the proto-characters that you come to love in Hawthorne’s great novels.
December 19, 2021
Fanshawe is Hawthorne's first novel, and it shows. He wrote this during college, or maybe directly after. Despite receiving good initial reviews, Hawthorne became so embarrassed by the novel that he tried to buy up and burn all the remaining copies. Kind of relatable. What I find interesting about it is that it set the scene for what Hawthorne would do in his following novels, although he would not attempt to write another book for twenty years.
Dr. Melmoth is the President of Harley college and caretaker of Ellen Langton, a young woman whose father is away at sea. Ellen is practically a prototype for characters Hawthorne will write after her: Phoebe, Priscilla, and Hilda. She is innocent, beautiful, and relies on the protection of the male characters in the book. Edward Walcott and Fanshawe, both students of Harley college, are in love with Ellen. The three spend much of their time together, quietly competing for her attention. On one of their outings, they run into "the angler," who whispers something to Ellen that clearly upsets her.
We learn that the angler is a friend of Hugh Crombie, the well-loved and rowdy inn owner who gets quite a lot of narrative space himself. He has told Ellen he has information about her father's whereabouts, but his real plan is to force her to marry him in order to get ahold of her inheritance. The book becomes a sort of race to see which man will be able to save Ellen from this fate first.
Fanshawe, despite his slow horse and Victorian weakness, find Ellen first after being tipped off by a woman we discover to be the angler's aunt. He finds Ellen in a cliffside cave, where she is being held captive. In an almost comical moment, the angler begins to climb up the cliffside to fight Fanshawe, but grabs a twig unable to support his weight and falls to his death. Of course, Ellen then faints. While Fanshawe has effectively done nothing but stand there, he is considered her hero, and they ride back to town together. However, he refuses to marry her despite loving her, because he knows he will die young (very Victorian) since he never leaves his house. Being true to his word, Fanshawe dies at twenty, and Ellen and Edward get married four years later.
There are a few things that make this book enjoyable to read, although the plot is all a little obvious. Hawthorne is beginning to explore symbolism, something he will get right with The Scarlet Letter. He has created several types of characters that he will revisit throughout his writing career. It is also the beginning of a trend where Hawthorne's characters age alongside him. It honestly reads sort of like a camp fire story, with its obvious plot and easy ending. I definitely don't think it was bad enough to try to burn lol.
Dr. Melmoth is the President of Harley college and caretaker of Ellen Langton, a young woman whose father is away at sea. Ellen is practically a prototype for characters Hawthorne will write after her: Phoebe, Priscilla, and Hilda. She is innocent, beautiful, and relies on the protection of the male characters in the book. Edward Walcott and Fanshawe, both students of Harley college, are in love with Ellen. The three spend much of their time together, quietly competing for her attention. On one of their outings, they run into "the angler," who whispers something to Ellen that clearly upsets her.
We learn that the angler is a friend of Hugh Crombie, the well-loved and rowdy inn owner who gets quite a lot of narrative space himself. He has told Ellen he has information about her father's whereabouts, but his real plan is to force her to marry him in order to get ahold of her inheritance. The book becomes a sort of race to see which man will be able to save Ellen from this fate first.
Fanshawe, despite his slow horse and Victorian weakness, find Ellen first after being tipped off by a woman we discover to be the angler's aunt. He finds Ellen in a cliffside cave, where she is being held captive. In an almost comical moment, the angler begins to climb up the cliffside to fight Fanshawe, but grabs a twig unable to support his weight and falls to his death. Of course, Ellen then faints. While Fanshawe has effectively done nothing but stand there, he is considered her hero, and they ride back to town together. However, he refuses to marry her despite loving her, because he knows he will die young (very Victorian) since he never leaves his house. Being true to his word, Fanshawe dies at twenty, and Ellen and Edward get married four years later.
There are a few things that make this book enjoyable to read, although the plot is all a little obvious. Hawthorne is beginning to explore symbolism, something he will get right with The Scarlet Letter. He has created several types of characters that he will revisit throughout his writing career. It is also the beginning of a trend where Hawthorne's characters age alongside him. It honestly reads sort of like a camp fire story, with its obvious plot and easy ending. I definitely don't think it was bad enough to try to burn lol.
April 18, 2025
Written when he was 24 years old. Hawthorne sets about madly exploiting the thesaurus, believing that big words make the writer.
You have a love triangle between two college students and a high school girl: the hikikomori Fanshawe, the chav Edward, and the teenager Ellen. All three of them are equally dramatic it's hard to tell them apart.
Here's why it should've been called "Fanshawe: A Comedy" instead.
A shady moustache-twirling gentleman, an old acquaintance of her father's, kidnaps Ellen with the goal of getting married by force so he can inherit her family's fortune. I don't remember if there's a moustache, but he sure sounds like he has one. Take a look at this exchange where she's held captive somewhere in the mountains:
Great, now the villain is a Redditor on top of being a pedophile.
It gets weirder. Later on, Fanshawe arrives just in time to save the day. He spots them down below from a distance and throws a stone to get their attention. Her cold and calculating kidnapper loses it for no reason at all; decides the best course of action is to leave Ellen and climbs the cliff so he can give our protagonist a good thrashing. While climbing, a tree branch snaps and he slips—hitting his ahead against a rock—then rolls down the ravine to his death. This epic climax lasts 7 paragraphs....
The trauma leaves Ellen bedridden for a few days. Fanshawe thinks now's a good time to guilt-trip her: "M'lady, I have a crush on you but I'm about to die! Just forget about me!" Keep in mind she hasn't shown any real interest in him thus far.
We soon discover how the nerdy college student Fanshawe, though we don't know exactly what he's majoring in, is about to die due to overwork. No hereditary or contracted disease, no infection, no disability, not even a cold? All right, Hawthorne. Ellen isn't into him but she plays along anyway: "Pray tell, what's the matter? Oh no, don't say that. It might work between us—have faith, sir!" Fanshawe holds back his tears during the whole exchange and awkwardly leaves. What do you think he does immediately after she travels back home with her father?
That's right. He commits suicide by studying VERY hard. Credit where credit is due, I don't think anyone thought this up before.
At the end, the narrator states:
He left a world for which he was unfit; and we trust, that, among the innumerable stars of heaven, there is one where he has found happiness.
Notice how the story wouldn't exist if you changed it to:
He left university for which he was unfit; and we trust, that, among the innumerable streets of his city, there is one where he has found happiness.
Ellen and Edward get wed 4 years later, having both moved on with their lives.
It turns out Fanshawe isn't the tragic character or story Hawthorne expected it to be. Apparently, he disliked his debut novel so much that he destroyed all the extra copies (it was self-published) and never told his wife he'd ever written it. Quite dramatic.
You have a love triangle between two college students and a high school girl: the hikikomori Fanshawe, the chav Edward, and the teenager Ellen. All three of them are equally dramatic it's hard to tell them apart.
Here's why it should've been called "Fanshawe: A Comedy" instead.
A shady moustache-twirling gentleman, an old acquaintance of her father's, kidnaps Ellen with the goal of getting married by force so he can inherit her family's fortune. I don't remember if there's a moustache, but he sure sounds like he has one. Take a look at this exchange where she's held captive somewhere in the mountains:
"Are you so soon weary of this quiet retreat?" demanded her guide, continuing to wear the same sneering smile. "Or has your anxiety for your father induced you to set forth alone in quest of the afflicted old man?"
"Oh, if I were but with him!" exclaimed Ellen. "But this place is lonely and fearful; and I cannot endure to remain here."
"Lonely, is it, sweet Ellen?" he rejoined; "am I not with you? Yes, it is lonely,—lonely as guilt could wish. Cry aloud, Ellen, and spare not. Shriek, and see if there be any among these rocks and woods to hearken to you!"
"There is, there is One," exclaimed Ellen, shuddering, and affrighted at the fearful meaning of his countenance. "He is here! He is there!" And she pointed to heaven.
"It may be so, dearest," he replied. "But if there be an Ear that hears, and an Eye that sees all the evil of the earth, yet the Arm is slow to avenge. Else why do I stand before you a living man?"
Great, now the villain is a Redditor on top of being a pedophile.
It gets weirder. Later on, Fanshawe arrives just in time to save the day. He spots them down below from a distance and throws a stone to get their attention. Her cold and calculating kidnapper loses it for no reason at all; decides the best course of action is to leave Ellen and climbs the cliff so he can give our protagonist a good thrashing. While climbing, a tree branch snaps and he slips—hitting his ahead against a rock—then rolls down the ravine to his death. This epic climax lasts 7 paragraphs....
The trauma leaves Ellen bedridden for a few days. Fanshawe thinks now's a good time to guilt-trip her: "M'lady, I have a crush on you but I'm about to die! Just forget about me!" Keep in mind she hasn't shown any real interest in him thus far.
We soon discover how the nerdy college student Fanshawe, though we don't know exactly what he's majoring in, is about to die due to overwork. No hereditary or contracted disease, no infection, no disability, not even a cold? All right, Hawthorne. Ellen isn't into him but she plays along anyway: "Pray tell, what's the matter? Oh no, don't say that. It might work between us—have faith, sir!" Fanshawe holds back his tears during the whole exchange and awkwardly leaves. What do you think he does immediately after she travels back home with her father?
After Ellen's departure, Fanshawe returned to his studies with the same absorbing ardor that had formerly characterized him. His face was as seldom seen among the young and gay; the pure breeze and the blessed sunshine as seldom refreshed his pale and weary brow; and his lamp burned as constantly from the first shade of evening till the gray morning light began to dim its beams.
That's right. He commits suicide by studying VERY hard. Credit where credit is due, I don't think anyone thought this up before.
At the end, the narrator states:
He left a world for which he was unfit; and we trust, that, among the innumerable stars of heaven, there is one where he has found happiness.
Notice how the story wouldn't exist if you changed it to:
He left university for which he was unfit; and we trust, that, among the innumerable streets of his city, there is one where he has found happiness.
Ellen and Edward get wed 4 years later, having both moved on with their lives.
It turns out Fanshawe isn't the tragic character or story Hawthorne expected it to be. Apparently, he disliked his debut novel so much that he destroyed all the extra copies (it was self-published) and never told his wife he'd ever written it. Quite dramatic.
March 23, 2021
(Read in the Project Gutenberg transcription--I think.) Oh, Natty, Natty, Natty: so many words to tell such a miniscule story of so little interest. Hawthorne's usual Gothic-infused version of New England, complete with mystery and kidnaping and a landscape full of cliffs and jagged rocks. And--wow!--so many sentences long enough to choke an anaconda.
It's clear that here Hawthorne hasn't yet got a handle on his material. Why does the reader need to know the complete backstory of every single character, when that backstory doesn't actually affect the plot? Why take three pages to describe sending the Doctor off on his journey to pick up his new ward, and have his two-week journey end a brief paragraph later? And the usual dialog no human being would ever speak. Even with the dreadful dialog, at a shorter length, this would have made a good story for, say, The Token.
Read because I've transcribed Hawthorne's early work for The Token and was curious about just how awful this book is; and because, iirc, Sarah Josepha Hale actually praises the book in a contemporary notice of it. Oh, Sarah, our tastes do not coincide, but then I have a couple hundred more years' worth of books to choose from than you did, and I don't live in early-19th-century America, so our tastes wouldn't have coincided, anyway. And, Natty, I sympathize with your cringe at having written this, but you could have reworked it into something grander. At least now I done read it and can get on with my life.
It's clear that here Hawthorne hasn't yet got a handle on his material. Why does the reader need to know the complete backstory of every single character, when that backstory doesn't actually affect the plot? Why take three pages to describe sending the Doctor off on his journey to pick up his new ward, and have his two-week journey end a brief paragraph later? And the usual dialog no human being would ever speak. Even with the dreadful dialog, at a shorter length, this would have made a good story for, say, The Token.
Read because I've transcribed Hawthorne's early work for The Token and was curious about just how awful this book is; and because, iirc, Sarah Josepha Hale actually praises the book in a contemporary notice of it. Oh, Sarah, our tastes do not coincide, but then I have a couple hundred more years' worth of books to choose from than you did, and I don't live in early-19th-century America, so our tastes wouldn't have coincided, anyway. And, Natty, I sympathize with your cringe at having written this, but you could have reworked it into something grander. At least now I done read it and can get on with my life.
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