Old Ticonderoga, a Picture of the Past (From: "The Snow Image and Other Twice-Told Tales") — Reading Companion
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The catalog record for Old Ticonderoga, a Picture of the Past (From: "The Snow Image and Other Twice-Told Tales") — Reading Companion provides practical reading context through 5,017 words, 22 min estimated reading time, and 2 detected text sections.
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A Picture of The Past
by Nathaniel Hawthorne
The greatest attraction, in this vicinity, is the famous old fortress of Ticonderoga, the remains of which are visible from the piazza of the tavern, on a swell of land that shuts in the prospect of the lake. Those celebrated heights, Mount Defiance and Mount Independence, familiar to all Americans in history, stand too prominent not to be recognized, though neither of them precisely corresponds to the images excited by their names. In truth, the whole scene, except the interior of the fortress, disappointed me. Mount Defiance, which one pictures as a steep, lofty, and rugged hill, of most formidable aspect, frowning down with the grim visage of a precipice on old Ticonderoga, is merely a long and wooded ridge; and bore, at some former period, the gentle name of Sugar Hill. The brow is certainly difficult to climb, and high enough to look into every corner of the fortress. St. Clair’s most probable reason, however, for neglecting to occupy it, was the deficiency of troops to man the works already constructed, rather than the supposed inaccessibility of Mount Defiance. It is singular that the French never fortified this height, standing, as it does, in the quarter whence they must have looked for the advance of a British army.
In my first view of the ruins, I was favored with the scientific guidance of a young lieutenant of engineers, recently from West Point, where he had gained credit for great military genius. I saw nothing but confusion in what chiefly interested him; straight lines and zigzags, defence within defence, wall opposed to wall, and ditch intersecting ditch; oblong squares of masonry below the surface of the earth, and huge mounds, or turf-covered hills of stone, above it. On one of these artificial hillocks, a pine-tree has rooted itself, and grown tall and strong, since the banner-staff was levelled. But where my unmilitary glance could trace no regularity, the young lieutenant was perfectly at home. He fathomed the meaning of every ditch, and formed an entire plan of the fortress from its half-obliterated lines. His description of Ticonderoga would be as accurate as a geometrical theorem, and as barren of the poetry that has clustered round its decay. I viewed Ticonderoga as a place of ancient strength, in ruins for half a century: where the flags of three nations had successively waved, and none waved now; where armies had struggled, so long ago that the bones of the slain were mouldered; where Peace had found a heritage in the forsaken haunts of War. Now the young West-Pointer, with his lectures on ravelins, counterscarps, angles, and covered ways, made it an affair of brick and mortar and hewn stone, arranged on certain regular principles, having a good deal to do with mathematics, but nothing at all with poetry.
I should have been glad of a hoary veteran to totter by my side, and tell me, perhaps, of the French garrisons and their Indian allies,—of Abercrombie, Lord Howe, and Amherst,—of Ethan Allen’s triumph and St. Clair’s surrender. The old soldier and the old fortress would be emblems of each other. His reminiscences, though vivid as the image of Ticonderoga in the lake, would harmonize with the gray influence of the scene. A survivor of the long-disbanded garrisons, though but a private soldier, might have mustered his dead chiefs and comrades,—some from Westminster Abbey, and English churchyards, and battle-fields in Europe,—others from their graves here in America,—others, not a few, who lie sleeping round the fortress; he might have mustered them all, and bid them march through the ruined gateway, turning their old historic faces on me, as they passed. Next to such a companion, the best is one’s own fancy.
Hawthorne opens his sketch by immediately deflating expectation: the famous heights of Mount Defiance and Mount Independence, he writes, 'stand too prominent not to be recognized, though neither of them precisely corresponds to the images excited by their names.' This early note of disappointment sets the tone for a narrative that constantly measures the real against the imagined. The author confesses that 'the whole scene, except the interior of the fortress, disappointed me,' establishing a voice that is both candid and reflective. Rather than a straightforward travelogue, the piece becomes an inquiry into how we see historical places—and how easily the romance of the past can be undone by the actual view.
Two Ways of Seeing
The core tension in the sketch is between Hawthorne’s own romantic sensibility and the technical precision of a young lieutenant of engineers, fresh from West Point. Hawthorne describes the lieutenant’s account of the fortress as 'as accurate as a geometrical theorem, and as barren of the poetry that has clustered round its decay.' The contrast is sharp: where Hawthorne sees 'a place of ancient strength, in ruins for half a century,' the lieutenant sees 'ravelins, counterscarps, angles, and covered ways.' The narrator explicitly wishes for 'a hoary veteran to totter by my side' who might tell stories of the French and Indian allies, rather than a lecture on military mathematics. This juxtaposition of perspectives—the poetic versus the technical—drives the narrative forward, forcing the reader to consider which view is more truthful to the site’s history.
The Language of Disappointment and Discovery
Hawthorne’s prose is marked by a careful modulation between disillusionment and wonder. He notes that Mount Defiance 'is merely a long and wooded ridge' that once bore 'the gentle name of Sugar Hill,' undercutting its martial reputation. Yet he also finds moments of genuine awe: a pine-tree that 'has rooted itself, and grown tall and strong, since the banner-staff was levelled' on an artificial hillock. The language here is precise and evocative—'turf-covered hills of stone'—and the image of nature reclaiming military works recurs throughout. The narrator’s voice shifts from the disappointed tourist to the reflective observer, and this change in pace mirrors the way the ruins themselves alternate between confusion and clarity. The reader is invited to share in the process of looking, of trying to see past the surface.
Structure as a Mirror of Memory
The sketch’s structure mirrors its subject: it begins with a broad view, narrows to the fortress’s details, and then pulls back again. Hawthorne describes seeing 'nothing but confusion' in the ruins until the lieutenant imposes order, but that order feels alien. The narrative itself resists neat organization, moving from the disappointment of the landscape to the technical description of the fortifications, then to the wish for a veteran’s stories. This ebb and flow—between the general and the specific, the poetic and the prosaic—creates a rhythm that echoes the way memory works. The past is not a single story but a series of competing images, and Hawthorne’s sketch captures that fragmentation without resolving it. The reader is left with the sense that Ticonderoga is less a place than an idea, one that shifts with each observer.
Readers approaching this sketch should attend to the way Hawthorne uses the lieutenant as a foil, not a villain. The engineer’s perspective is not dismissed but set alongside the narrator’s own, and the tension between them is left unresolved. Notice also how the author’s voice changes when he moves from describing the landscape to imagining the past—the sentences lengthen, the diction becomes more lyrical. This is a piece about the act of seeing, and the best way to read it is to watch how Hawthorne himself sees, and how he lets us see through his eyes.
That gray afternoon, Hawthorne’s careful geometry of Ticonderoga’s ruins made me feel the weight of what decay can’t erase. Later, I found myself lost in another voice entirely—one that treated ruins as something other than architecture. Macaria — A Closer Reading lingered in the same quiet ache, though its shadows felt more personal than military. I simply turned pages until the rain stopped.
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