Nathaniel Hawthorne

Nathaniel Hawthorne

Summary

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Miriam… (1860)

The world has nothing else like the Pantheon. So grand it is, that the pasteboard statues over the lofty cornice do not disturb the effect, any more than the tin crowns and hearts, the dusty artificial flowers, and all manner of trumpery gew-gaws, hanging at the saintly shrines. The rust and dinginess that have dimmed the precious marble on the walls; the pavement, with its great squares and rounds of porphyry and granite, cracked crosswise and in a hundred directions, showing how roughly the troublesome ages have trampled here
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Miriam… (1860)

Miriam, Hilda, Kenyon, Donatello
The gentle reader, we trust, would not thank us for one of those minute elucidations, which are so tedious, and, after all, so unsatisfactory, in clearing up the romantic mysteries of a story. He is too wise to insist upon looking closely at the wrong side of the tapestry, after the right one has been sufficiently displayed to him, woven with the best of the artist's skill, and cunningly arranged with a view to the harmonious exhibition of its colors.
Source: Wikisource

Portrait of Nathaniel Hawthorne Nathaniel Hawthorne The Marble Faun/Volume 2 — Miriam… (1860)

So Kenyon won the gentle Hilda's shy affection, and her consent to be his bride. Another hand must henceforth trim the lamp before the Virgin's shrine; for Hilda was coming down from her old tower, to be herself enshrined and worshipped as a household saint, in the light of her husband's fireside. And, now that life had so much human promise in it, they resolved to go back to their own land; because the years, after all, have a kind of emptiness, when we spend too many of them on a foreign shore.
Source: Wikisource

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