Other editions of book Grandfathers Chair

Grandfather’s Chair is a short story collection written by American author Nathaniel Hawthorne (1804–1864). To the literary student "Grandfather's Chair" presents two points deserving notice: one, the fact that the incident of Endicott's cutting the red cross from the banner of England, which furnished the motive for a Twice-Told Tale, is here treated in a manner quite different; the other, that the exile of the Acadians is chosen by Hawthorne as one of the occurrences likely to appeal to his youthful audience. It will be remembered by every one acquainted with recent American literary history, that Hawthorne surrendered to Longfellow the story which formed the groundwork of "Evangeline." This story was told to Hawthorne in October, 1839, just at the period when he was writing "Grandfather's Chair." Perhaps the editor may be pardoned if he here remarks that he has often been skeptical as to the indifference, which it has sometimes been alleged that Hawthorne displayed towards the pathetic tradition which prompted "Evangeline;" and that the romancer should, at the very time of hearing the story, have been engaged in treating the exile of the Acadians with a sympathy so unmistakable, as is shown even in his brief child's story, tends to confirm this skepticism. Longfellow had done Hawthorne a great kindness by noticing favorably in the "North American Review" his friend's "Twice-Told Tales." It seems probable enough that Hawthorne, on seeing how much the Evangeline anecdote struck his friend the poet, resolved to yield it up at once, without betraying any intention he may have had of utilizing it himself.

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Grandfather’s Chair is a short story collection written by American author Nathaniel Hawthorne (1804 – 1864). Hawthorne’s works belong to romanticism or, more specifically, dark romanticism, cautionary tales that suggest that guilt, sin, and evil are the most inherent natural qualities of humanity. Many of his works are inspired by Puritan New England, combining historical romance loaded with symbolism and deep psychological themes, bordering on surrealism. His depictions of the past are a version of historical fiction used only as a vehicle to express common themes of ancestral sin, guilt and retribution. His later writings also reflect his negative view of the Transcendentalism movement. Hawthorne was predominantly a short story writer in his early career. Upon publishing Twice-Told Tales, however, he noted, ”I do not think much of them,” and he expected little response from the public. His four major romances were written between 1850 and 1860: The Scarlet Letter (1850), The House of the Seven Gables (1851), The Blithedale Romance (1852) and The Marble Faun (1860). Another novel-length romance, Fanshawe was published anonymously in 1828. Hawthorne defined a romance as being radically different from a novel by not being concerned with the possible or probable course of ordinary experience. In the preface to The House of the Seven Gables, Hawthorne describes his romance-writing as using ”atmospherical medium as to bring out or mellow the lights and deepen and enrich the shadows of the picture”.

IN writing this ponderous tome, the author's desire has been to describe the eminent characters and remarkable events of our annals in such a form and style that the YOUNG may make acquaintance with them of their own accord. For this purpose, while ostensibly relating the adventures of a chair, he has endeavored to keep a distinct and unbroken thread of authentic history. The chair is made to pass from one to another of those personages of whom he thought it most desirable for the young reader to have vivid and familiar ideas, and whose lives and actions would best enable him to give picturesque sketches of the times. On its sturdy oaken legs it trudges diligently from one scene to another, and seems always to thrust itself in the way, with most benign complacency, whenever an historical personage happens to be looking round for a seat. There is certainly no method by which the shadowy outlines of departed men and women can be made to assume the hues of life more effectually than by connecting their images with the substantial and homely reality of a fireside chair. It causes us to feel at once that these characters of history had a private and familiar existence, and were not wholly contained within that cold array of outward action which we are compelled to receive as the adequate representation of their lives. If this impression can be given, much is accomplished.

IN writing this ponderous tome, the author's desire has been to describe the eminent characters and remarkable events of our annals in such a form and style that the YOUNG may make acquaintance with them of their own accord. For this purpose, while ostensibly relating the adventures of a chair, he has endeavored to keep a distinct and unbroken thread of authentic history. The chair is made to pass from one to another of those personages of whom he thought it most desirable for the young reader to have vivid and familiar ideas, and whose lives and actions would best enable him to give picturesque sketches of the times. On its sturdy oaken legs it trudges diligently from one scene to another, and seems always to thrust itself in the way, with most benign complacency, whenever an historical personage happens to be looking round for a seat.