for the similar effect of the descriptions of English life in “Our Old Home” upon the English people in general. As Professor Woodberry remarks, too, he had “the critical spirit which is a New England trait, and with this went its natural attendant, the habit of speaking his mind.” He had, moreover, deeply rooted prejudices and a natural hatred of shams. He disliked literary friendships. While in England, for example, he remained a stranger to the brilliant literary set in London where he might have been warmly welcomed. He saw Tennyson once in Manchester, but made no effort to meet the poet. Another of his aversions concerned the manifestations of spiritualism--rappings, tipping of tables, spirit writing, and the like; he was a good hater of shams in general. To his family, Hawthorne was always deeply devoted. When his mother died, although there had always been “a sort of coldness of intercourse” between them, he spoke of the time as the darkest hour he had ever lived through. His wife worshipped him, and the attitude of his children is sufficiently indicated by the words of his son Julian: “In my thought of him he has a quality not to be described; that is associated with the early impressions which make the name of home beautiful; with a child’s delight in the glory of nature; with a boy’s aspirations towards a pure and generous career; with intimate conceptions of truth, bravery, and simplicity.” So much for the man; what now, shall be said of the artist? In the first place, as he was the peculiar product of New England Puritanism, so his genius was in a sense confined to setting forth New England and the problems of New England Calvinism. Even when he lays the scene of his tale in Rome, there is the same interest in the working out of the consequences of sin, and part of the characters are Americans living in the Eternal City. Hawthorne still stands alone in having given supreme literary expression to that earnest and virile if narrow and at times misguided life of early New England; its pathos, its tragedy, its legacy to modern times. Then it must be observed that in doing this he places himself in the ranks of the great masters in deducing from the individual the general experience; from the particular the universal moral life. In his earlier years he delighted in allegory, of which the “Tales” and the “Mosses” are full; and he was always fond of symbolism. Lady Eleanore’s mantle, for example, is a symbol of pride; the scarlet letter is a symbol of sin; no less is Donatello a symbol, a type of universal innocence tasting of the knowledge of good and evil--the missing link, as it were, in the evolution of moral instincts. Hawthorne constantly describes the unseen in terms of the seen, the spiritual world by means of the every day, material world.