Summary

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

The happy may well enough continue to be such, beneath the brilliant sky of Rome. But, if you go thither in melancholy mood, if you go with a ruin in your heart, or with a vacant site there, where once stood the airy fabric of happiness, now vanished,—all the ponderous gloom of the Roman Past will pile itself upon that spot, and crush you down as with the heaped-up marble and granite, the earth-mounds, and multitudinous bricks of its material decay.
Source: Wikisource

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

How wonderful that this our narrow foothold of the Present should hold its own so constantly, and, while every moment changing, should still be like a rock betwixt the encountering tides of the long Past and the infinite To-come!
Man of marble though he was, the sculptor grieved for the Irrevocable. Looking back upon Hilda's way of life, he marvelled at his own blind stupidity, which had kept him from remonstrating as a friend, if with no stronger right against the risks that she continually encountered.
Source: Wikisource

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

He should learn to bear patiently his individual griefs, that endure only for one little lifetime, when here are the tokens of such infinite misfortune on an imperial scale, and when so many far landmarks of time, all around him, are bringing the remoteness of a thousand years ago into the sphere of yesterday. But it is in vain that you seek this shrub of bitter sweetness among the plants that root themselves on the roughness of massive walls, or trail downward from the capitals of pillars, or spring out of the green turf in the palace of the Caesars. It does not grow in Rome
Source: Wikisource

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