Customer Reviews

The Marble Faun

5 star:		(6)
4 star:		(4)
3 star:		(3)
2 star:		(3)
1 star:		(1)

 

 

_The Marble Faun_ concerns three young American artists, Miriam, Hilda and Kenyon, and their Italian faun-like friend, Donatello, whose characters are transformed while on their stay in Rome, the Eternal City. _The Marble Faun_ is very reminiscent of Henry James' novella, "Daisy Miller," where a young and innocent American woman falls under the deleterious spell of this European city. In fact, Hilda, while visiting one of its art galleries is warned by an old German artist to go back to America soon "or you will go never more...The air has been breathed too often, in so many thousand years, and is not wholesome for a little foreign flower like you, my child, a delicate wood-anemone from the western forest-land." Hilda witnesses a serious crime being committed by Donatello and Miriam (supposedly, neither of whom would have done so were it not for the evil influence of Rome's atmosphere) and becomes overwhelmed from ensuing feelings of guilt and depression. Despite her Puritan heritage, Hilda is compelled to unburden herself by seeking confession with a Catholic priest, who suggests that she convert to Catholicism. Hilda seriously considers, but decides to resist this transformation.

Hawthorne spends much of the novel in describing in detail Rome's architecture, its art galleries, churches, and its many other landmarks and shrines. When relevant to the story--especially in the author's depiction of the catacombs (from whence Miriam and Donatello commit their unforgivable deed), sunlight streaming through a church's stained glass windows, the extinction of a legendary flame standing before a lofty shrine, and the majestic bronze statue of a pope stretching out his hand in benediction--the effects are quite wonderful. However, a sizable portion of the novel is merely endless travelogue, which seriously detracts from this fairly well-told gothic romance. I did very much like Hawthorne's portrayal of carnival-time in Rome towards the end of the book, and the author's conversation with Kenyon and Hilda at the novel's conclusion is quite charming.

I've always failed to understand why The Marble Faun has been overlooked for so long. Hawthorne did a masterful job of weaving together many different elements -- from mythological references and the retelling of The Fall, to Rome's amazing architecture and the beauty and power of art, and ultimately to some of the fundamental questions faced by humanity. He may have done this with such mastery and subtlety that not everyone picks up on the undercurrents of the text that hold this book together.

Thinking about traveling to Italy? Wait! Do not leave behind your most useful travel companion. Disregard Rick Steve's and Let's Go. The Marble Faun was the premiere 19th Century travel guide to Rome and should be for the 21st century traveler. This book will lead you around the ancient city without skipping any of the awe-inspiring sights. For travelers after The Marble Faun's publication in 1860, the novel was a necessary item for their European escapades. Masterfully constructing his story around four distinct characters, Miriam, Hilda, Kenyon, and Donatello, Hawthorne takes the reader on an adventure which holds as much intrigue as the splendid landmarks these travelers encounter in their own journeys. For one who enjoys art and the discussion of art, this book will provide everlasting enjoyment. Indeed, Hawthorne captures the ex-patriot community of artists who settled in Rome during the 19th century in an attempt to associate themselves and their work with the Old Masters. Through Hawthorne's exceptional narrative, the reader gains further understanding of the mindset of copyists who wish to discover the true essence of such famous works as the faun of Praxiteles. This work experiments in its narrative form and one must be willing to flow with it. The chapters at times jump from different characters and events with out much warning to the reader. In addition, Hawthorne interjects his own point of view from time to time. If the reader is sensitive to this un-structure then they will have little trouble enjoying the mystery as well as the valuable description. Hawthorne changed the standards for American travel writing with this novel. Without it, Henry James, among others, may not have followed his lead. It is time The Marble Faun won the recognition it deserves!

I'm not a big fan of The Scarlet Letter, but The Marble Faun is, in my opinion, the best American novel ever written. Although it can move slowly when Hawthorne describes various architectural sites throughout Rome, the rest of the story is a theodicy of great power and imagination. Hawthorne uses a brilliant combination of mythology, history, and humanity in this piece. A must for anybody who loves Italy. This book has been overlooked for more than three generations now...it's time it was uncovered!

Much faster reading than expected from Hawthorne; this book is very haunting and romantic. Very psychological and tragic--like a mythical phantasmagoria. I was disappointed in the ending (which is why I didn't give it a 10). I really really enjoyed this book--ALSO, for anyone who is familiar with Shelley's La Cenci or the tragedy of Beatrice Cenci, you'll REALLY enjoy this.

This penetrating and provocative novel has the power to create a trance-like state in the reader's mind. Much of the dream quality of the scenes is the result of the setting in historic Rome, the art focused characters, and, especially, the author's poetic genius.

Like "The Scarlet Letter" and other Nathaniel Hawthorne works, this story centers upon morality and the value of experience in a person's growth, and here read "SIN" for experience.

I read the book in four days, and that is a dash for me. Totally immersed in the story, I frequently found myself marveling at the poetic presentation of universal truths about mankind; some of which had me re-examining hard won personal realizations about morality.

It had been years since I read this icon of the American Renaissance; I'll be reading another selection of his soon.

Nathaniel Hawthorne has always been revered as a master of American writing. The theme of young Americans in 19th century Europe has been written many times but the sense of place and time in this novel is unique. It was written when America was still finding out about Europe and travelling was not yet a jaded habit of rich men and women.

Hawthorne was hailed as a genius by his contemporaries during his lifetime and this novel was particularly celebrated when first published. I came across an original review of the Marble Faun at The Atlantic Monthly's website. The reviewer wrote "Hawthorne is psychological and metaphysical. Had he been born without the poetic imagination, he would have written treatises on the Origin of Evil. He does not draw characters, but rather conceives them and then shows them acted upon by crime, passion, or circumstance, as if the element of Fate were as present to his imagination as to that of a Greek dramatist."

...

Nathaniel Hawthorne and his family lived for several years in Italy, and his experiences there inspired him to write The Marble Faun, or the Romance of Monte Beni. Published in 1860, it became his best selling novel, but few readers today have ever heard of it, much less read it. The book opens in 19th century Rome, where a group of friends, three American artistic types and one Italian, are enjoying an idyllic summer in each other's company. Donatello is a young Italian count, who very much resembles Praxiteles' faun statue, and he falls hard for the enigmatic Miriam, who harbors an unhappy secret. The sculptor, Kenyon, loves Hilda, an ethereal copyist who, like a medieval princess, resides in an ancient tower, where she keeps the light burning at the Virgin's shrine, surrounded by doves. One beautiful evening, a very personal murder occurs, and the foursome's idyll is shattered. They separate, each one grappling with the sense of guilt that destroys their happiness and their innocence.

As the title suggests, The Marble Faun is a romance, but, typical of Hawthorne, a dark and brooding one. Being a product of his times and his religious upbringing, Hawthorne could resist inserting a tedious amount of philosophical contemplation, perhaps to highlight the moral symbolism that permeates the story. More pleasing is the time he devoted to describing the landscapes, monuments, art, and street life of Rome and the Tuscan countryside. There are even a few magical elements as well, such as the wine that is made on Donatello's estate that cannot fail to impart happiness to the drinker. While this region has undoubtedly changed since Hawthorne's tour, nearly everything that he referred to remains to be viewed to this day.

The Marble Faun demands patience from its readers, but take it slowly (I needed the entire summer!) and your perseverance is rewarded. But be forewarned: the friends are reunited at book's end, and the final chapter is bittersweet.

I started the Marble Faun twice: The first time was kind of a slog before my trip to Rome. The instant I got back home drom the trip I started all over again and I felt I was reading a completely different book! It was an absolute joy to tour that wonderful ancient/Christian/Renaissance city with Hawthorne as my guide. After all, Rome hasn't changed THAT much since the mid-19th century, and it's been a tourist attraction forever. Be sure to read this book with the Internet close at hand, or sitting in the public library, or at least a decent pictorial tour book of Rome at hand. (If you google the words `rome art lover' you will find a website that answered most of my questions.) You'll want to see exactly what Hawthorne is talking about. The writing just drips with metaphor and symbolism, ie Corrupt, eroding Europe vs. American Purity. Hawthorne references history, specific artworks, architecture, myth, literature to describe (I wouldn't say flesh out) out his 4 characters--three young American expat artists, and their Italian friend--and the intrigue that manages to take them all over the city and on a trip beyond the walls. I loved Hawthorne's broodings all the things I loved about Rome, in particular a visit to Saint Peter's by an innocent Protestant who has witnessed a murder by her friends. Another highlight: the guilty parties' reaction when, creeped out by something they see in the Capuccine Church, they flee down to that amazing crypt...During his characters' walk through the Forum, Hawthorne ruminates on why the ancient past in Rome seems so much more recent than, say, the Middle Ages do in England. I could go on and on. I did not find the solution to the mystery of the plot at all satisfying, but I forgive Hawthorne this once and have even vowed to re-read the Scarlet Letter, which I didn't enjoy in HS.

This is a great book for people who have been to Rome or are going to Rome. However, as with most of Hawthorne's novels, some patience is required. I found that the first half of this book moved along quickly and was, in a word, enchanting. The second half was not quite as engaging and the end seemed somewhat abrupt to me. I almost felt that Hawthorne was in a rush to finish. Not that I didn't enjoy it. I was just left on the last page saying, "What? Where's the rest of the book?" I'll admit it though, I'm a Hawthorne fan and despite it's imperfections this is a worthwhile read and one of my personal favorites.