The Marble Faun: or, The Romance of Monte BeniPenguin, 1990. nov. 1. - 528 oldal Hawthorne's novel of Americans abroad, the first novel to explore the influence of European cultural ideas on American morality. Although it is set in Rome, the fictive world of The Marble Faun depends not on Italy's social or historical significance, but rather on its aesthetic importance as a definer of 'civilization'. As in The Scarlet Letter, Hawthorne is concerned here with the nature of transgression and guilt. A murder, motivated by love, affects not only Donatello, the murderer, but his beloved Miriam and their friends Hilda and Kenyon. As he explores the reactions of each to the crime, Hawthorne dramatizes both the freedoms a new cultural model inspires and the self-censoring conformities it requires. His examination of the influence of European culture on American travellers lay the groundwork for such later works of American fiction as Mark Twain's The Innocents Abroad and Henry James' The Portrait of a Lady. |
Tartalomjegyzék
INTRODUCTION | ix |
SUGGESTIONS FOR FURTHER READING | xxxi |
A NOTE ON THE TEXT | xxxiii |
THE MARBLE FAUN | xxxv |
PREFACE | 1 |
MIRIAM HILDA KENYON DONATELLO | 5 |
THE FAUN | 12 |
SUBTERRANEAN REMINISCENCES | 20 |
SUNSHINE | 221 |
THE PEDIGREE OF MONTE BENI | 231 |
MYTHS | 242 |
THE OWLTOWER | 252 |
ON THE BATTLEMENTS | 260 |
DONATELLOS BUST | 270 |
THE MARBLE SALOON | 277 |
SCENES BY THE WAY | 288 |
THE SPECTRE OF THE CATACOMB | 28 |
MIRIAMS STUDIO | 37 |
THE VIRGINS SHRINE | 51 |
BEATRICE | 62 |
THE SUBURBAN VILLA | 70 |
THE FAUN AND NYMPH | 77 |
THE SYLVAN DANCE | 85 |
FRAGMENTARY SENTENCES | 92 |
A STROLL ON THE PINCIAN | 99 |
A SCULPTORS STUDIO | 113 |
CLEOPATRA | 123 |
AN ÆSTHETIC COMPANY | 131 |
A MOONLIGHT RAMBLE | 142 |
MIRIAMS TROUBLE | 153 |
ON THE EDGE OF A PRECIPICE | 161 |
THE FAUNS TRANSFORMATION | 172 |
THE BURIAL CHAUNT | 178 |
THE DEAD CAPUCHIN | 187 |
THE MEDICI GARDENS | 196 |
MIRIAM AND HILDA | 202 |
THE TOWER AMONG THE APENNINES | 213 |
PICTURED WINDOWS | 300 |
MARKETDAY IN PERUGIA | 309 |
THE BRONZE PONTIFFS BENEDICTION | 316 |
HILDAS TOWER | 325 |
THE EMPTINESS OF PICTUREGALLERIES | 333 |
ALTARS AND INCENSE | 344 |
THE WORLDS CATHEDRAL | 354 |
HILDA AND A FRIEND | 363 |
SNOWDROPS AND MAIDENLY DELIGHTS | 373 |
REMINISCENCES OF MIRIAM | 382 |
THE EXTINCTION OF A LAMP | 390 |
THE DESERTED SHRINE | 399 |
THE FLIGHT OF HILDAS DOVES | 409 |
A WALK ON THE CAMPAGNA | 418 |
THE PEASANT AND CONTADINA | 426 |
A SCENE IN THE CORSO | 436 |
A FROLIC OF THE CARNIVAL | 444 |
MIRIAM HILDA KENYON DONATELLO | 455 |
POSTCRIPT | 463 |
NOTES | 469 |
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American answered Miriam antique Apennines arches artist asked Beatrice Cenci beautiful beheld beneath blessed breath bust Capitoline Hill Catacomb church creature cried crime dark dear delicate delightful Donatello dream earth earthly evil exclaimed eyes face fancied feel figure fling forever fountain gazing girl glance guilt hand happy haunts Hawthorne Hawthorne's head heart Hilda horrour human idea imagination innocent Italian Italy Kenyon light look maiden Marble Faun mind Miriam mirth Monte Monte Beni moral mystery Nathaniel Hawthorne natural never Ohio State University once painter palace passion perhaps Perugia Perugino piazza picture poor Praxiteles Roman Rome Saint Scarlet Letter scene sculptor seemed shadow shrine Signor Signorina smile sorrow soul spirit statue stone stood story strange studio sunshine sweet sympathy tell tender things thought Tomaso tower truth Virgin voice walls wild William Wetmore Story wine woman wonder young