Harriet Stowe - Household Papers and Stories

Mrs. Stowe had early and very practical acquaintance with the art of housekeeping. It strikes one at first as a little incongruous that an author who devoted her great powers to stirring the conscience of a nation should from time to time, and at one period especially, give her mind to the ordering of family life, but a moment’s consideration will show that the same woman was earnestly at the bottom of each effort. In a letter to the late Lord Denman, written in 1853, Mrs. Stowe, speaking of Uncle Tom’s Cabin , said: “I wrote what I did because, as a woman, as a mother, I was oppressed and heartbroken with the sorrows and injustice which I saw, and because, as a Christian, I felt the dishonor to Christianity.” Not under the stress of passionate emotion, yet largely from a sense of real responsibility as a woman, a mother, and a Christian, she occupied herself with those concerns of every-day life which so distinctly appeal to a woman’s mind. How to order a household, how to administer that little kingdom over which a woman rules, and, above all, how to make family life stable, pure, and conservative of the highest happiness, these were the questions which she asked herself constantly, and which she tried to solve, not only incidentally in her fiction, but directly in her essays, and in that field of one tenth fiction and nine tenths didacticism, which constitutes most of the present volume.

A Scholar’s Adventures in the Country and Trials of a Housekeeper appeared in the miscellany to which she gave the name of The Mayflower , and reflect humorously the Cincinnati experiences which again are playfully recounted in letters published in her son’s Life . The former, contributed in 1850 to The National Era , was drawn pretty closely from the experiments of Professor Stowe. It is noticeable that in this paper and in Our Second Girl , which was contributed to The Atlantic Monthly for January, 1868, the author poses as the masculine member of the household, as if this assumption gave her some advantage in the point of view. At any rate, she adopted the same rôle when she came more deliberately to survey a wide field in a series of articles.

The House and Home Papers were contributed first to The Atlantic Monthly , and afterward published in book form as the production of one Christopher Crowfield, though there was not the slightest attempt otherwise at disguising the authorship. The immediate occasion of the papers was no doubt the removal of the Stowes from Andover and their establishment in Hartford, an event which took place shortly before the papers began to appear in The Atlantic . The years which followed during the first Hartford residence saw also a marriage in the family and new problems of daily life constantly presenting themselves, so that a similar series appeared in the same magazine, purporting to be from the same householder, entitled The Chimney Corner . This series, indeed, entered rather more seriously into questions of social morality, and deepened in feeling as it proceeded. The eleventh section is a warm appreciation of the woman who figured so largely in Mrs. Stowe’s early life, and the last two papers rose, as the reader will see, to the height of national memories. Mrs. Fields has preserved for us, in her Days with Mrs. Stowe , a striking record of the mingling of the great and the near in this writer’s mind. The period of which she writes is that in which The Chimney Corner series was drawing to a close: —

“In the autumn of 1864 she wrote: ‘I feel I need to write in these days, to keep me from thinking of things that make me dizzy and blind, and fill my eyes with tears, so that I cannot see the paper. I mean such things as are being done where our heroes are dying as Shaw died. It is not wise that all our literature should run in a rut cut through our hearts and red with our blood. I feel the need of a little gentle household merriment and talk of common things, to indulge which I have devised the following.’

“Notwithstanding her view of the need, and her skillfully devised plans to meet it, she soon sent another epistle, showing how impossible it was to stem the current of her thought: —

“‘My dear Friend, —

“‘I have sent my New Year’s article, the result of one of those peculiar experiences which sometimes occur to us writers. I had planned an article, gay, sprightly, wholly domestic; but as I began and sketched the pleasant home and quiet fireside, an irresistible impulse wrote for me what followed, – an offering of sympathy to the suffering and agonized, whose homes have forever been darkened. Many causes united at once to force on me this vision, from which generally I shrink, but which sometimes will not be denied, – will make itself felt.

“‘Just before I went to New York two of my earliest and most intimate friends lost their oldest sons, captains and majors, – splendid fellows physically and morally, beautiful, brave, religious, uniting the courage of soldiers to the faith of martyrs, – and when I went to Brooklyn it seemed as if I were hearing some such thing almost every day; and Henry, in his profession as minister, has so many letters full of imploring anguish, the cry of hearts breaking that ask help of him.’”…

“My dear, it’s so cheap!”

These words were spoken by my wife, as she sat gracefully on a roll of Brussels carpet which was spread out in flowery lengths on the floor of Messrs. Ketchem & Co.

“It’s so cheap!”

Milton says that the love of fame is the last infirmity of noble minds. I think he had not rightly considered the subject. I believe that last infirmity is the love of getting things cheap! Understand me, now. I don’t mean the love of getting cheap things, by which one understands showy, trashy, ill-made, spurious articles, bearing certain apparent resemblances to better things. All really sensible people are quite superior to that sort of cheapness. But those fortunate accidents, which put within the power of a man things really good and valuable for half or a third of their value, what mortal virtue and resolution can withstand? My friend Brown has a genuine Murillo, the joy of his heart and the light of his eyes, but he never fails to tell you, as its crowning merit, how he bought it in South America for just nothing, – how it hung smoky and deserted in the back of a counting-room, and was thrown in as a makeweight to bind a bargain, and, upon being cleaned turned out a genuine Murillo; and then he takes out his cigar, and calls your attention to the points in it; he adjusts the curtain to let the sunlight fall just in the right spot; he takes you to this and the other point of view; and all this time you must confess that, in your mind as well as his, the consideration that he got all this beauty for ten dollars adds lustre to the painting. Brown has paintings there for which he paid his thousands, and, being well advised, they are worth the thousands he paid; but this ewe lamb that he got for nothing always gives him a secret exaltation in his own eyes. He seems to have credited to himself personally merit to the amount of what he should have paid for the picture. Then there is Mrs. Crœsus, at the party yesterday evening, expatiating to my wife on the surprising cheapness of her point-lace set. “Got for just nothing at all, my dear!” and a circle of admiring listeners echoes the sound. “Did you ever hear anything like it? I never heard of such a thing in my life;” and away sails Mrs. Crœsus as if she had a collar composed of all the cardinal virtues. In fact, she is buoyed up with a secret sense of merit, so that her satin slippers scarcely touch the carpet. Even I myself am fond of showing a first edition of “Paradise Lost” for which I gave a shilling in a London bookstall, and stating that I would not take a hundred dollars for it. Even I must confess there are points on which I am mortal.