Passing a summer several years since at Edgartown, on the island of
Martha’s Vineyard, I became acquainted with a certain carver of
tombstones who had travelled and voyaged thither from the interior of
Massachusetts in search of professional employment. The speculation had
turned out so successful that my friend expected to transmute slate and
marble into silver and gold to the amount of at least a thousand
dollars during the few months of his sojourn at Nantucket and the
Vineyard. The secluded life and the simple and primitive spirit which
still characterizes the inhabitants of those islands, especially of
Martha’s Vineyard, insure their dead friends a longer and dearer
remembrance than the daily novelty and revolving bustle of the world
can elsewhere afford to beings of the past. Yet, while every family is
anxious to erect a memorial to its departed members, the untainted
breath of Ocean bestows such health and length of days upon the people
of the isles as would cause a melancholy dearth of business to a
resident artist in that line. His own monument, recording his decease
by starvation, would probably be an early specimen of his skill.
Gravestones, therefore, have generally been an article of imported
merchandise.
In my walks through the burial-ground of Edgartown—where the dead have
lain so long that the soil, once enriched by their decay, has returned
to its original barrenness—in that ancient burial-ground I noticed much
variety of monumental sculpture. The elder stones, dated a century back
or more, have borders elaborately carved with flowers and are adorned
with a multiplicity of death’s-heads, crossbones, scythes,
hour-glasses, and other lugubrious emblems of mortality, with here and
there a winged cherub to direct the mourner’s spirit upward. These
productions of Gothic taste must have been quite beyond the colonial
skill of the day, and were probably carved in London and brought across
the ocean to commemorate the defunct worthies of this lonely isle. The
more recent monuments are mere slabs of slate in the ordinary style,
without any superfluous flourishes to set off the bald inscriptions.
But others—and those far the most impressive both to my taste and
feelings—were roughly hewn from the gray rocks of the island, evidently
by the unskilled hands of surviving friends and relatives. On some
there were merely the initials of a name; some were inscribed with
misspelt prose or rhyme, in deep letters which the moss and wintry rain
of many years had not been able to obliterate. These, these were graves
where loved ones slept. It is an old theme of satire, the falsehood and
vanity of monumental eulogies; but when affection and sorrow grave the
letters with their own painful labor, then we may be sure that they
copy from the record on their hearts.
My acquaintance the sculptor—he may share that title with Greenough,
since the dauber of signs is a painter as well as Raphael—had found a
ready market for all his blank slabs of marble and full occupation in
lettering and ornamenting them. He was an elderly man, a descendant of
the old Puritan family of Wigglesworth, with a certain simplicity and
singleness both of heart and mind which, methinks, is more rarely found
among us Yankees than in any other community of people. In spite of his
gray head and wrinkled brow, he was quite like a child in all matters
save what had some reference to his own business; he seemed, unless my
fancy misled me, to view mankind in no other relation than as people in
want of tombstones, and his literary attainments evidently comprehended
very little either of prose or poetry which had not at one time or
other been inscribed on slate or marble. His sole task and office among
the immortal pilgrims of the tomb—the duty for which Providence had
sent the old man into the world, as it were with a chisel in his
hand—was to label the dead bodies, lest their names should be forgotten
at the resurrection. Yet he had not failed, within a narrow scope, to
gather a few sprigs of earthly, and more than earthly, wisdom—the
harvest of many a grave. And, lugubrious as his calling might appear,
he was as cheerful an old soul as health and integrity and lack of care
could make him, and used to set to work upon one sorrowful inscription
or another with that sort of spirit which impels a man to sing at his
labor. On the whole, I found Mr. Wigglesworth an entertaining, and
often instructive, if not an interesting, character; and, partly for
the charm of his society, and still more because his work has an
invariable attraction for “man that is born of woman,” I was accustomed
to spend some hours a day at his workshop. The quaintness of his
remarks and their not infrequent truth—a truth condensed and pointed by
the limited sphere of his view—gave a raciness to his talk which mere
worldliness and general cultivation would at once have destroyed.
Sometimes we would discuss the respective merits of the various
qualities of marble, numerous slabs of which were resting against the
walls of the shop, or sometimes an hour or two would pass quietly
without a word on either side while I watched how neatly his chisel
struck out letter after letter of the names of the Nortons, the
Mayhews, the Luces, the Daggets, and other immemorial families of the
Vineyard. Often with an artist’s pride the good old sculptor would
speak of favorite productions of his skill which were scattered
throughout the village graveyards of New England. But my chief and most
instructive amusement was to witness his interviews with his customers,
who held interminable consultations about the form and fashion of the
desired monuments, the buried excellence to be commemorated, the
anguish to be expressed, and finally the lowest price in dollars and
cents for which a marble transcript of their feelings might be
obtained. Really, my mind received many fresh ideas which perhaps may
remain in it even longer than Mr. Wigglesworth’s hardest marble will
retain the deepest strokes of his chisel.
An elderly lady came to bespeak a monument for her first love, who had
been killed by a whale in the Pacific Ocean no less than forty years
before. It was singular that so strong an impression of early feeling
should have survived through the changes of her subsequent life, in the
course of which she had been a wife and a mother, and, so far as I
could judge, a comfortable and happy woman. Reflecting within myself,
it appeared to me that this lifelong sorrow—as, in all good faith, she
deemed it—was one of the most fortunate circumstances of her history.
It had given an ideality to her mind; it had kept her purer and less
earthy than she would otherwise have been by drawing a portion of her
sympathies apart from earth. Amid the throng of enjoyments and the
pressure of worldly care and all the warm materialism of this life she
had communed with a vision, and had been the better for such
intercourse. Faithful to the husband of her maturity, and loving him
with a far more real affection than she ever could have felt for this
dream of her girlhood, there had still been an imaginative faith to the
ocean-buried; so that an ordinary character had thus been elevated and
refined. Her sighs had been the breath of Heaven to her soul. The good
lady earnestly desired that the proposed monument should be ornamented
with a carved border of marine plants interwined with twisted
sea-shells, such as were probably waving over her lover’s skeleton or
strewn around it in the far depths of the Pacific. But, Mr.
Wigglesworth’s chisel being inadequate to the task, she was forced to
content herself with a rose hanging its head from a broken stem.
After her departure I remarked that the symbol was none of the most
apt.
“And yet,” said my friend the sculptor, embodying in this image the
thoughts that had been passing through my own mind, “that broken rose
has shed its sweet smell through forty years of the good woman’s life.”
It was seldom that I could find such pleasant food for contemplation as
in the above instance. None of the applicants, I think, affected me
more disagreeably than an old man who came, with his fourth wife
hanging on his arm, to bespeak gravestones for the three former
occupants of his marriage-bed. I watched with some anxiety to see
whether his remembrance of either were more affectionate than of the
other two, but could discover no symptom of the kind. The three
monuments were all to be of the same material and form, and each
decorated in bas-relief with two weeping willows, one of these
sympathetic trees bending over its fellow, which was to be broken in
the midst and rest upon a sepulchral urn. This, indeed, was Mr.
Wigglesworth’s standing emblem of conjugal bereavement. I shuddered at
the gray polygamist who had so utterly lost the holy sense of
individuality in wedlock that methought he was fain to reckon upon his
fingers how many women who had once slept by his side were now sleeping
in their graves. There was even—if I wrong him, it is no great matter—a
glance sidelong at his living spouse, as if he were inclined to drive a
thriftier bargain by bespeaking four gravestones in a lot.
I was better pleased with a rough old whaling-captain who gave
directions for a broad marble slab divided into two compartments, one
of which was to contain an epitaph on his deceased wife and the other
to be left vacant till death should engrave his own name there. As is
frequently the case among the whalers of Martha’s Vineyard, so much of
this storm-beaten widower’s life had been tossed away on distant seas
that out of twenty years of matrimony he had spent scarce three, and
those at scattered intervals, beneath his own roof. Thus the wife of
his youth, though she died in his and her declining age, retained the
bridal dewdrops fresh around her memory.
My observations gave me the idea, and Mr. Wigglesworth confirmed it,
that husbands were more faithful in setting up memorials to their dead
wives than widows to their dead husbands. I was not ill-natured enough
to fancy that women less than men feel so sure of their own constancy
as to be willing to give a pledge of it in marble. It is more probably
the fact that, while men are able to reflect upon their lost companions
as remembrances apart from themselves, women, on the other hand, are
conscious that a portion of their being has gone with the departed
whithersoever he has gone. Soul clings to soul, the living dust has a
sympathy with the dust of the grave; and by the very strength of that
sympathy the wife of the dead shrinks the more sensitively from
reminding the world of its existence. The link is already strong
enough; it needs no visible symbol. And, though a shadow walks ever by
her side and the touch of a chill hand is on her bosom, yet life, and
perchance its natural yearnings, may still be warm within her and
inspire her with new hopes of happiness. Then would she mark out the
grave the scent of which would be perceptible on the pillow of the
second bridal? No, but rather level its green mound with the
surrounding earth, as if, when she dug up again her buried heart, the
spot had ceased to be a grave.
Yet, in spite of these sentimentalities, I was prodigiously amused by
an incident of which I had not the good-fortune to be a witness, but
which Mr. Wigglesworth related with considerable humor. A gentlewoman
of the town, receiving news of her husband’s loss at sea, had bespoken
a handsome slab of marble, and came daily to watch the progress of my
friend’s chisel. One afternoon, when the good lady and the sculptor
were in the very midst of the epitaph—which the departed spirit might
have been greatly comforted to read—who should walk into the workshop
but the deceased himself, in substance as well as spirit! He had been
picked up at sea, and stood in no present need of tombstone or epitaph.
“And how,” inquired I, “did his wife bear the shock of joyful
surprise?”
“Why,” said the old man, deepening the grin of a death’s-head on which
his chisel was just then employed, “I really felt for the poor woman;
it was one of my best pieces of marble—and to be thrown away on a
living man!”
A comely woman with a pretty rosebud of a daughter came to select a
gravestone for a twin-daughter, who had died a month before. I was
impressed with the different nature of their feelings for the dead. The
mother was calm and woefully resigned, fully conscious of her loss, as
of a treasure which she had not always possessed, and therefore had
been aware that it might be taken from her; but the daughter evidently
had no real knowledge of what Death’s doings were. Her thoughts knew,
but not her heart. It seemed to me that by the print and pressure which
the dead sister had left upon the survivor’s spirit her feelings were
almost the same as if she still stood side by side and arm in arm with
the departed, looking at the slabs of marble, and once or twice she
glanced around with a sunny smile, which, as its sister-smile had faded
for ever, soon grew confusedly overshadowed. Perchance her
consciousness was truer than her reflection; perchance her dead sister
was a closer companion than in life.
The mother and daughter talked a long while with Mr. Wigglesworth about
a suitable epitaph, and finally chose an ordinary verse of ill-matched
rhymes which had already been inscribed upon innumerable tombstones.
But when we ridicule the triteness of monumental verses, we forget that
Sorrow reads far deeper in them than we can, and finds a profound and
individual purport in what seems so vague and inexpressive unless
interpreted by her. She makes the epitaph anew, though the selfsame
words may have served for a thousand graves.
“And yet,” said I afterward to Mr. Wigglesworth, “they might have made
a better choice than this. While you were discussing the subject I was
struck by at least a dozen simple and natural expressions from the lips
of both mother and daughter. One of these would have formed an
inscription equally original and appropriate.”
“No, no!” replied the sculptor, shaking his head; “there is a good deal
of comfort to be gathered from these little old scraps of poetry, and
so I always recommend them in preference to any new-fangled ones. And
somehow they seem to stretch to suit a great grief and shrink to fit a
small one.”
It was not seldom that ludicrous images were excited by what took place
between Mr. Wigglesworth and his customers. A shrewd gentlewoman who
kept a tavern in the town was anxious to obtain two or three
gravestones for the deceased members of her family, and to pay for
these solemn commodities by taking the sculptor to board. Hereupon a
fantasy arose in my mind of good Mr. Wigglesworth sitting down to
dinner at a broad, flat tombstone carving one of his own plump little
marble cherubs, gnawing a pair of crossbones and drinking out of a
hollow death’s-head or perhaps a lachrymatory vase or sepulchral urn,
while his hostess’s dead children waited on him at the ghastly banquet.
On communicating this nonsensical picture to the old man he laughed
heartily and pronounced my humor to be of the right sort.
“I have lived at such a table all my days,” said he, “and eaten no
small quantity of slate and marble.”
“Hard fare,” rejoined I, smiling, “but you seemed to have found it
excellent of digestion, too.”
A man of fifty or thereabouts with a harsh, unpleasant countenance
ordered a stone for the grave of his bitter enemy, with whom he had
waged warfare half a lifetime, to their mutual misery and ruin. The
secret of this phenomenon was that hatred had become the sustenance and
enjoyment of the poor wretch’s soul; it had supplied the place of all
kindly affections; it had been really a bond of sympathy between
himself and the man who shared the passion; and when its object died,
the unappeasable foe was the only mourner for the dead. He expressed a
purpose of being buried side by side with his enemy.
“I doubt whether their dust will mingle,” remarked the old sculptor to
me; for often there was an earthliness in his conceptions.
“Oh yes,” replied I, who had mused long upon the incident; “and when
they rise again, these bitter foes may find themselves dear friends.
Methinks what they mistook for hatred was but love under a mask.”
A gentleman of antiquarian propensities provided a memorial for an
Indian of Chabbiquidick—one of the few of untainted blood remaining in
that region, and said to be a hereditary chieftain descended from the
sachem who welcomed Governor Mayhew to the Vineyard. Mr. Wiggles-worth
exerted his best skill to carve a broken bow and scattered sheaf of
arrows in memory of the hunters and warriors whose race was ended here,
but he likewise sculptured a cherub, to denote that the poor Indian had
shared the Christian’s hope of immortality.
“Why,” observed I, taking a perverse view of the winged boy and the bow
and arrows, “it looks more like Cupid’s tomb than an Indian chief’s.”
“You talk nonsense,” said the sculptor, with the offended pride of art.
He then added with his usual good-nature, “How can Cupid die when there
are such pretty maidens in the Vineyard?”
“Very true,” answered I; and for the rest of the day I thought of other
matters than tombstones.
At our next meeting I found him chiselling an open book upon a marble
headstone, and concluded that it was meant to express the erudition of
some black-letter clergyman of the Cotton Mather school. It turned out,
however, to be emblematical of the scriptural knowledge of an old woman
who had never read anything but her Bible, and the monument was a
tribute to her piety and good works from the orthodox church of which
she had been a member. In strange contrast with this Christian woman’s
memorial was that of an infidel whose gravestone, by his own direction,
bore an avowal of his belief that the spirit within him would be
extinguished like a flame, and that the nothingness whence he sprang
would receive him again.
Mr. Wigglesworth consulted me as to the propriety of enabling a dead
man’s dust to utter this dreadful creed.
“If I thought,” said he, “that a single mortal would read the
inscription without a shudder, my chisel should never cut a letter of
it. But when the grave speaks such falsehoods, the soul of man will
know the truth by its own horror.”
“So it will,” said I, struck by the idea. “The poor infidel may strive
to preach blasphemies from his grave, but it will be only another
method of impressing the soul with a consciousness of immortality.”
There was an old man by the name of Norton, noted throughout the island
for his great wealth, which he had accumulated by the exercise of
strong and shrewd faculties combined with a most penurious disposition.
This wretched miser, conscious that he had not a friend to be mindful
of him in his grave, had himself taken the needful precautions for
posthumous remembrance by bespeaking an immense slab of white marble
with a long epitaph in raised letters, the whole to be as magnificent
as Mr. Wigglesworth’s skill could make it. There was something very
characteristic in this contrivance to have his money’s worth even from
his own tombstone, which, indeed, afforded him more enjoyment in the
few months that he lived thereafter than it probably will in a whole
century, now that it is laid over his bones.
This incident reminds me of a young girl—a pale, slender, feeble
creature most unlike the other rosy and healthful damsels of the
Vineyard, amid whose brightness she was fading away. Day after day did
the poor maiden come to the sculptor’s shop and pass from one piece of
marble to another, till at last she pencilled her name upon a slender
slab which, I think, was of a more spotless white than all the rest. I
saw her no more, but soon afterward found Mr. Wigglesworth cutting her
virgin-name into the stone which she had chosen.
“She is dead, poor girl!” said he, interrupting the tune which he was
whistling, “and she chose a good piece of stuff for her headstone. Now,
which of these slabs would you like best to see your own name upon?”
“Why, to tell you the truth, my good Mr. Wigglesworth,” replied I,
after a moment’s pause, for the abruptness of the question had somewhat
startled me—“to be quite sincere with you, I care little or nothing
about a stone for my own grave, and am somewhat inclined to scepticism
as to the propriety of erecting monuments at all over the dust that
once was human. The weight of these heavy marbles, though unfelt by the
dead corpse or the enfranchised soul, presses drearily upon the spirit
of the survivor and causes him to connect the idea of death with the
dungeon-like imprisonment of the tomb, instead of with the freedom of
the skies. Every gravestone that you ever made is the visible symbol of
a mistaken system. Our thoughts should soar upward with the butterfly,
not linger with the exuviæ that confined him. In truth and reason,
neither those whom we call the living, and still less the departed,
have anything to do with the grave.”
“I never heard anything so heathenish,” said Mr. Wigglesworth,
perplexed and displeased at sentiments which controverted all his
notions and feelings and implied the utter waste, and worse, of his
whole life’s labor. “Would you forget your dead friends the moment they
are under the sod?”
“They are not under the sod,” I rejoined; “then why should I mark the
spot where there is no treasure hidden? Forget them? No; but, to
remember them aright, I would forget what they have cast off. And to
gain the truer conception of death I would forget the grave.”
But still the good old sculptor murmured, and stumbled, as it were,
over the gravestones amid which he had walked through life. Whether he
were right or wrong, I had grown the wiser from our companionship and
from my observations of nature and character as displayed by those who
came, with their old griefs or their new ones, to get them recorded
upon his slabs of marble. And yet with my gain of wisdom I had likewise
gained perplexity; for there was a strange doubt in my mind whether the
dark shadowing of this life, the sorrows and regrets, have not as much
real comfort in them—leaving religious influences out of the
question—as what we term life’s joys.