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Hawthorne's Short Stories [Anglais] [Broché]

Nathaniel Hawthorne

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Description de l'ouvrage

11 janvier 2011 0307741214 978-0307741219 Reprint

Twenty-four of the best short stories by one of the early masters of the form, in the definitive collection edited by acclaimed scholar Newton Arvin.

Nathaniel Hawthorne was one of the greatest American writers of the nineteenth century, and some of his most powerful work was in the form of fable-like tales that make rich use of allegory and symbolism. The dark beauty and moral force of his imagination are evident in such enduring masterpieces as "Young Goodman Brown," in which a young man who believes he has witnessed a satanic initiation can never see his pious neighbors the same way again; “Rappaccini's Daughter," about a lovely young girl who has been raised in isolation among dangerous poisons; and "The Birthmark," in which a scientist obsessed with perfection destroys the flaw that makes his otherwise flawless wife both beautiful and human.


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The Birthmark

In the latter part of the last century there lived a man of science, an eminent proficient in every branch of natural philosophy, who not long before our story opens had made experience of a spiritual affinity more attractive than any chemical one. He had left his laboratory to the care of an assistant, cleared his fine countenance from the furnace smoke, washed the stain of acids from his fingers, and persuaded a beautiful woman to become his wife. In those days when the comparatively recent discovery of electricity and other kindred mysteries of Nature seemed to open paths into the region of miracle, it was not unusual for the love of science to rival the love of woman in its depth and absorbing energy. The higher intellect, the imagination, the spirit, and even the heart might all find their congenial aliment in pursuits which, as some of their ardent votaries believed, would ascend from one step of powerful intelligence to another, until the philosopher should lay his hand on the secret of creative force and perhaps make new worlds for himself. We know not whether Aylmer possessed this degree of faith in man's ultimate control over Nature. He had devoted himself, however, too unreservedly to scientific studies ever to be weaned from them by any second passion. His love for his young wife might prove the stronger of the two; but it could only be by intertwining itself with his love of science, and uniting the strength of the latter to his own.

Such a union accordingly took place, and was attended with truly remarkable consequences and a deeply impressive moral. One day, very soon after their marriage, Aylmer sat gazing at his wife with a trouble in his countenance that grew stronger until he spoke.

"Georgiana," said he, "has it never occurred to you that the mark upon your cheek might be removed?"

"No, indeed," said she, smiling; but perceiving the seriousness of his manner, she blushed deeply. "To tell you the truth it has been so often called a charm that I was simple enough to imagine it might be so."

"Ah, upon another face it might," replied her husband; "but never on yours. No, dearest Georgiana, you came so nearly perfect from the hand of Nature that this slightest possible defect, which we hesitate whether to term a defect or a beauty, shocks me, as being the visible mark of earthly imperfection."

"Shocks you, my husband!" cried Georgiana, deeply hurt; at first reddening with momentary anger, but then bursting into tears. "Then why did you take me from my mother's side? You cannot love what shocks you!"

To explain this conversation it must be mentioned that in the centre of Georgiana's left cheek there was a singular mark, deeply interwoven, as it were, with the texture and substance of her face.  In the usual state of her complexion — a healthy though delicate bloom — the mark wore a tint of deeper crimson, which imperfectly defined its shape amid the surrounding rosiness. When she blushed it gradually became more indistinct, and finally vanished amid the triumphant rush of blood that bathed the whole cheek with its brilliant glow. But if any shifting motion caused her to turn pale there was the mark again, a crimson stain upon the snow, in what Aylmer sometimes deemed an almost fearful distinctness. Its shape bore not a little similarity to the human hand, though of the smallest pygmy size. Georgiana's lovers were wont to say that some fairy at her birth hour had laid her tiny hand upon the infant's cheek, and left this impress there in token of of the magic endowments that were to give her such sway over all hearts. Many a desperate swain would have risked life for the privilege of pressing his lips to the mysterious hand. It must not be concealed, however, that the impression wrought by this fairy sign manual varied exceedingly, according to the difference of temperament of the beholders. Some fastidious persons — but they were exclusively of her own sex — affirmed that the bloody hand, as they chose to call it, quite destroyed the effect of Georgiana's beauty, and rendered her countenance even hideous. But it would be as reasonable to say that one of those small blue stains which sometimes occurred in the purest statuary marble would convert the Eve of Powers to a monster. Masculine observers, if the birthmark did not heighten their admiration, contented themselves with wishing it away, that the world might possess one living specimen of ideal loveliness without the semblance of a flaw. After his marriage, —for he thought little or nothing of the matter before,— Aylmer discovered that this was the case with himself.

Had she been less beautiful,—if Envy's self could have found aught else to sneer at,— he might have felt his affection heightened by the prettiness of this mimic hand, now vaguely portrayed, now lost, now stealing forth again and glimmering to and fro with every pulse of emotion that throbbed within her heart; but seeing her otherwise so perfect, he found this one defect grow more and more intolerable with every moment of their united lives. It was the fatal flaw of humanity which Nature, in one shape or another, stamps ineffaceably on all her productions, either to imply that they are temporary and finite, or that their perfection must be wrought by toil and pain. The crimson hand expressed the ineludible gripe in which mortality clutches the highest and purest of earthly mould, degrading them into kindred with the lowest, and even with the very brutes, like whom their visible frames return to dust. In this manner, selecting it as the symbol of his wife's liability to sin, sorrow, decay, and death, Aylmer's sombre imagination was not long in rendering the birthmark a frightful object, causing him more trouble and horror than ever Georgiana's beauty, whether of soul or sense, had given him delight.

Biographie de l'auteur

Nathaniel Hawthorne (1805-64) was an American novelist and short-story writer. He was born in Salem, Massachusetts, and graduated from Bowdoin College. His first novel, Fanshawe, was published anonymously in 1828, followed by several collections of short stories, including Twice-Told Tales and Mosses from an Old Manse. His later novels include The Scarlet Letter, The House of Seven Gables, The Blithedale Romance, and The Marble Faun.

Newton Arvin (1900-63) was a literary critic and professor at Smith College known for his influential writings about nineteenth-century American literature. He is the author of biographies of Nathaniel Hawthorne and Walt Whitman, and his biography of Herman Melville won the National Book Award in 1951.

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Amazon.com: 3.4 étoiles sur 5  7 commentaires
14 internautes sur 15 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Heart Versus Intellect 9 juin 2001
Par Eric Wilson - Publié sur Amazon.com
Format:Broché
In your face, obvious, and heavy-handedly allegorical, still Hawthorne manages to pique my interest and hammer home his point. Switching from historically based stories ("The Gray Champion" and "Endicott and the Red Cross") to spiritual allegories ("The Bosom Serpent" and "The Celestial Railroad"), Hawthorne continually chips away at the danger of isolation. Although he clearly believed in the fallibility and evil of the human heart--particularly pointing out the religious hypocrites--he also believed that one must continue to risk and be a part of the community. In stories such as "Young Goodman Brown" and "Wakefield", we see the gloom that comes over certain men who pull away.
Hawthorne, like Poe, uses graphic and surreal imagery, sometimes repetitively, to set a mood and draw a picture. His characters and scenes are alive and psychological consistent with his tales, and he manages to wring a moral out of nearly every page.
Heavy-handed? Yes, but he aims to state a message, and he states it clearly: The moral nature must never be sacrificed for intellectual pursuits (Ethan Brand). In a world of cheap commercialism and mindless brain fodder, at least Hawthorne has something to say.
5 internautes sur 7 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Hawthorne must be read in his historical context 26 avril 2000
Par Un client - Publié sur Amazon.com
Format:Broché
It's easy for our contemporaries to accuse Hawthorne of being formulaic or using timeworn themes. It must be remembered that in Hawthorne's own day, the many of the "timeworn" ideas represented a truly novel vision, and it was appropriate to use many different stories to convey its fullness. Just remember, if you think it's a "cliche," it's probably because you've read a lot of post-Hawthorne "wannabes"!
7 internautes sur 10 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Fine edition 17 mars 1999
Par Un client - Publié sur Amazon.com
Format:Broché
Like most of us, Hawthorne was hot and cold. He is responsible for a few of the best American short stories, and a few of the very worst. But the bad ones - read "The Bosom Serpent" carefully, for example - are hilariously bad!
6 internautes sur 12 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Part of Americana 22 juin 2000
Par Steven Fantina - Publié sur Amazon.com
Format:Broché
I read these short stories in a haphazard fashion rather than sequentially and unknowingly saved the worst two for last. A few days ago I was ready to give the collection five stars but the egregiously macabre "Ethan Brand" and "The Old White Maid" caused it a few points. These two tales are out of place among Hawthorne's other gems; they seem more suitable to Edgar Allen Poe on a night when he was feeling exceedingly gruesome.
Among the highlights is "Feathertop" an eccentric piece about a witch whose magic pipe gives life to her scarecrow. "The Prophetic Pictures," allegedly based on a true incident, is an intriguing yarn of a painter whose portrait accurately predicted his subject's forthcoming madness. "The Gray Champion," a patriotic tale, must have been a hit with Hawthorne's good friends President and Mrs. Franklin Pierce. A recurring theme through Hawthorne's works is the individual's perpetual battle with character flaws-a motif that makes them suitable to our modern age and indeed timeless. Many of the allegorical elements including the notorious "A," Hawthorne immortalized in "The Scarlet Letter" are scattered throughout these works.
The proem by Newton Arvin offers an interesting biographical summary of the author's life. Much has been written about Nathaniel Hawthorne-unquestionably one of America's finest and most beloved authors, and there is little I can add to voluminous evaluations. However, to anyone interested in building his or her vocabulary, Hawthorne's writing offers a cyclopean lagniappe to dulcify sesquipedalian pursuits. For me that aspect was as beneficial as the enjoyable vignettes.
0 internautes sur 2 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 Difficult to read 17 septembre 2007
Par Croy - Publié sur Amazon.com
Format:Broché|Achat vérifié
I read this author a bit at a time. You need to have a very good knowledge of everyday life in Hawthornes' time to fully understand what he describes.
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