Books with title The Marble Faun

"The Marble Faun", the last of the four major romances that Hawthorne wrote. It is the story of four main characters: Miriam, a beautiful painter; Hilda, an innocent copyist; Kenyon, a sculptor; and Donatello, the Count of Monti Beni. Central to the novel is a theme common to Hawthorne's work, guilt and the Fall of Man. Published in 1860, "The Marble Faun" is an unusual romance and one of the great writer's classic works.

"The Marble Faun", the last of the four major romances that Hawthorne wrote. It is the story of four main characters: Miriam, a beautiful painter; Hilda, an innocent copyist; Kenyon, a sculptor; and Donatello, the Count of Monti Beni. Central to the novel is a theme common to Hawthorne's work, guilt and the Fall of Man. Published in 1860, "The Marble Faun" is an unusual romance and one of the great writer's classic works.

"The Marble Faun", the last of the four major romances that Hawthorne wrote. It is the story of four main characters: Miriam, a beautiful painter; Hilda, an innocent copyist; Kenyon, a sculptor; and Donatello, the Count of Monti Beni. Central to the novel is a theme common to Hawthorne's work, guilt and the Fall of Man. Published in 1860, "The Marble Faun" is an unusual romance and one of the great writer's classic works.

"The Marble Faun", the last of the four major romances that Hawthorne wrote. It is the story of four main characters: Miriam, a beautiful painter; Hilda, an innocent copyist; Kenyon, a sculptor; and Donatello, the Count of Monti Beni. Central to the novel is a theme common to Hawthorne's work, guilt and the Fall of Man. Published in 1860, "The Marble Faun" is an unusual romance and one of the great writer's classic works.

"The Marble Faun", the last of the four major romances that Hawthorne wrote. It is the story of four main characters: Miriam, a beautiful painter; Hilda, an innocent copyist; Kenyon, a sculptor; and Donatello, the Count of Monti Beni. Central to the novel is a theme common to Hawthorne's work, guilt and the Fall of Man. Published in 1860, "The Marble Faun" is an unusual romance and one of the great writer's classic works.

"The Marble Faun", the last of the four major romances that Hawthorne wrote. It is the story of four main characters: Miriam, a beautiful painter; Hilda, an innocent copyist; Kenyon, a sculptor; and Donatello, the Count of Monti Beni. Central to the novel is a theme common to Hawthorne's work, guilt and the Fall of Man. Published in 1860, "The Marble Faun" is an unusual romance and one of the great writer's classic works.

"The Marble Faun", the last of the four major romances that Hawthorne wrote. It is the story of four main characters: Miriam, a beautiful painter; Hilda, an innocent copyist; Kenyon, a sculptor; and Donatello, the Count of Monti Beni. Central to the novel is a theme common to Hawthorne's work, guilt and the Fall of Man. Published in 1860, "The Marble Faun" is an unusual romance and one of the great writer's classic works.

"The Marble Faun", the last of the four major romances that Hawthorne wrote. It is the story of four main characters: Miriam, a beautiful painter; Hilda, an innocent copyist; Kenyon, a sculptor; and Donatello, the Count of Monti Beni. Central to the novel is a theme common to Hawthorne's work, guilt and the Fall of Man. Published in 1860, "The Marble Faun" is an unusual romance and one of the great writer's classic works.

Four individuals, in whose fortunes we should be glad to interest the reader, happened to be standing in one of the saloons of the sculpture-gallery in the Capitol at Rome. It was that room (the first, after ascending the staircase) in the centre of which reclines the noble and most pathetic figure of the Dying Gladiator, just sinking into his death-swoon. Around the walls stand the Antinous, the Amazon, the Lycian Apollo, the Juno; all famous productions of antique sculpture, and still shining in the undiminished majesty and beauty of their ideal life, although the marble that embodies them is yellow with time, and perhaps corroded by the damp earth in which they lay buried for centuries. Here, likewise, is seen a symbol (as apt at this moment as it was two thousand years ago) of the Human Soul, with its choice of Innocence or Evil close at hand, in the pretty figure of a child, clasping a dove to her bosom, but assaulted by a snake.From one of the windows of this saloon, we may see a flight of broad stone steps, descending alongside the antique and massive foundation of the Capitol, towards the battered triumphal arch of Septimius Severus, right below. Farther on, the eye skirts along the edge of the desolate Forum (where Roman washerwomen hang out their linen to the sun), passing over a shapeless confusion of modern edifices, piled rudely up with ancient brick and stone, and over the domes of Christian churches, built on the old pavements of heathen temples, and supported by the very pillars that once upheld them. At a distance beyond—yet but a little way, considering how much history is heaped into the intervening space—rises the great sweep of the Coliseum, with the blue sky brightening through its upper tier of arches. Far off, the view is shut in by the Alban Mountains, looking just the same, amid all this decay and change, as when Romulus gazed thitherward over his half finished wall.- Taken from "The Marble Faun" written by Nathaniel Hawthorne

This is the annotated edition including a rare and extensive biographical essay on the author, as well as an introductory to the book written by George Parsons Lathrop."The Marble Faun " was sketched in Italy and prepared for publication mainly in Redcar, England, in 1859-60. The Castle of Monte Beni, the ancestral home of Donatello, the human faun, stands for Villa Montanto, where the author made his home for a time in the summer of 1858 ; and the original of Hilda's tower is described in the "French and Italian Note-Books,", May 15, 1858.This romance, which is generally held to be somewhat inferior to the novels of American life, though in an entirely different setting, does not differ greatly from them, or from some of the best short stories, in the nature of its topic and the handling of its characters. Like them it has for its theme a subject of conscience, — the influence of the consciousness of sin and its penalty, in elevating the life of a soul. Donatello's resemblance to the sculptured faun is typical of his spirit, unawakened, and looking neither before nor after, until his crime puts an end-forever to his joyous holiday existence, and remorse for it develops his intellect and his soul. Kenyon is a good type of a cultivated American, quietly enthusiastic, tolerant and not cynical, loving art and not despising America. Hilda is remarkable for the great moral strength united with her delicacy and sensibility. Her suffering on account of the crime of which she has been merely a witness is strongly contrasted with the attitude of Miriam, whose conscience needs to be brought to a full awakening even after participation in it; her free and strong nature having been bewildered in a maze of wrong, the one escape from which has offered itself in sudden temptation.