Hawthorne’s method of developing his stories resembled closely that of the historical painter; and it was only in this way that he could produce such vivid effects. He selected models for his principal characters and studied them as his work progressed. The original of Reverend Mr. Dimmesdale was quickly recognized in Salem as an amiable inoffensive person, of whom no one suspected any evil,--and that was, no doubt, the reason why Hawthorne selected him for his purpose. It was no discredit to the man himself, although tongues were not wanting to blame Hawthorne for it. Who Hester may have been still remains a mystery; but it was evidently some one with whom the author was well acquainted,--perhaps his younger sister. So Rubens painted his own wife at one time an angel, and at another in the likeness of Herodias. It is still more probable that Pearl is a picture of Hawthorne’s own daughter, who was of the right age for such a study, and whose sprightly, fitful, and impulsive actions correspond to those of Hester’s child. This would also explain why her father gave Una so much space in his Note-book. He may have noticed the antagonism between her and the Whig children of the neighborhood and have applied it to Pearl’s case. It was also his custom, as appears from his last unfinished work, to leave blank spaces in his manuscript while in the heat of composition, which, like a painter’s background, were afterwards filled in with descriptions of scenery or some subsidiary narrative. The models of the novelist cannot be hired for the purpose, like those used by the painter or sculptor, but have to be studied when and where they can be found, for the least self-consciousness spoils the effect. Hawthorne in this only followed the example of the best authors and dramatists; and those who think that good fiction or dramatic poetry can be written wholly out of a man’s or a woman’s imagination, would do well to make the experiment themselves. CHAPTER XI PEGASUS IS FREE: 1850-1852 Frederick W. Loring, that bright young poet who was so soon lost to us, once remarked: “Appreciation is to the artist what sunshine is to flowers. He cannot expand without it.” The success of “The Scarlet Letter” proved that all Hawthorne’s genius required was a little moderate encouragement,--not industry but opportunity. His pen, no longer slow and hesitating, moved freer and easier; the long pent-up flood of thoughts, emotions, and experiences had at length found an outlet; and the next three years were the most productive of his life.