Summary

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Hilda's Tower (1860)

It leads its own life with a freer spirit, now that the artists and foreign visitors are scattered abroad. No bloom, perhaps, would be visible in a cheek that should be unvisited, throughout the summer, by more invigorating winds than any within fifty miles of the city; no bloom, but yet, if the mind kept its healthy energy, a subdued and colorless well-being. There was consequently little risk in Hilda's purpose to pass the summer days in the galleries of Roman palaces, and her nights in that aerial chamber, whither the heavy breath of the city and its suburbs could not aspire.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Hilda's Tower (1860)

What the flaming sword was to the first Eden, such is the malaria to these sweet gardens and grove. We may wander through them, of an afternoon, it is true, but they cannot be made a home and a reality, and to sleep among them is death. They are but illusions, therefore, like the show of gleaming waters and shadowy foliage in a desert.
But Rome, within the walls, at this dreaded season, enjoys its festal days, and makes itself merry with characteristic and hereditary pas-times, for which its broad piazzas afford abundant room.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Hilda's Tower (1860)

The picture being now my property, I shall call it 'The Signorina's Vengeance.' She has stabbed her lover overnight, and is repenting it betimes the next morning. So interpreted, the picture becomes an intelligible and very natural representation of a not uncommon fact."
Thus coarsely does the world translate all finer griefs that meet its eye. It is more a coarse world than an unkind one.
But Hilda sought nothing either from the world's delicacy or its pity, and never dreamed of its misinterpretations.
Source: Wikisource

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