Anna Rastatter

ENG 300M
Paper 2
Nathaniel Hawthorne as the Artist of The Marble Faun
Every type of art utilizes a form of representation unique to its craft. When artists attempt
to conjugate two artistic mediums, innovative and fantastical works are produced. Bridging the
gap between visual and verbal depictions can result in extraordinary artwork. A fascination exists
with uniting the visual and verbal mediums. Authors that attempt to emulate visual art maintain
an outsiders, verbal perspective. By using the devices within their literary medium, authors can
create a unique work that aestheticizes language. As stated by W.J.T. Mitchell, Language can
stand in for depiction and depiction can stand in for language because communicative,
expressive acts, narration, argument, description, exposition, and other so-called speech acts are
not medium specific (7) The independent power of language allows for authors to create
more artistic, aesthetic work.
Before examining the similarities of visual and verbal representations, it is necessary to
verbalize the differences between the mediums. The tension between verbal and visual art is born
from social relations imbedded in different modes of representation, specifically the inevitable
need for otherness (Mitchell, 162). To temporarily promote the otherness of visual and verbal
depictions, the tools used to construct the work are different. An author uses language which can
be interpreted while artists use visual signs to communicate. In an attempt to marry the divergent
relationship between artists and authors, visual art uses signs to construct a depiction, but it is not
experienced and consumed by the viewer outside of language. Picasso, a visual artist, created
illustrations meant to represent Balzacs story, The Unknown Masterpiece. As articulated in the

article Picasso and the Allure of Language, Taken as a whole, Picassos combined illustrations
function as a rhetorical subversion of the aesthetic assumption that undergirds Le chef-doeuvre
inconnu, namely, that mimetic representation is the goal of the painters craft (107). Picassos
appreciation for the verbal work, The Unknown Masterpiece, demonstrates the uniting of
different artistic mediums. This relationship works inversely for authors: the work is constructed
using language, but it is not experienced by the reader without visualization. This negotiation
between mediums is made even more interesting when artists and authors create a work that
recognizes and supports the similarities and differences between visual and verbal representation.
In his final novel, Nathaniel Hawthorne constructed a work that exemplifies the
relationship between art and authorship. Hawthornes story focuses on art in both subject matter
and form. The Marble Faun intertwines artistic creativity and expression from various forms of
art in the mid-nineteenth century. Throughout the novel, there is a prevalent motif of visual and
verbal representation. To construct the story, Hawthorne used literary devices to become the
artist of his final work. Hawthorne employs a number of devices that promote visualization of
verbal representation, introduced as follows: One such device is the description of setting. The
imagery also initiates tone and mood, similar to that of visual art. The ways in which Hawthorne
illustrates his characters are also conducive to visual representation. The allegory present in
Hawthornes final novel also emulates the typical artwork within the same time period.
Additionally, Hawthornes narrative voice mirrors the presence of the artist in visual artwork. In
The Marble Faun, Hawthorne establishes a relationship between authors and artists by
exemplifying art in both content and form. Hawthorne bridges the gap between artistic mediums
using specific language and literary techniques. The Marble Faun exemplifies the ways in which
language and depiction are not exclusive to a specific medium and form of art.

Italy was the epicenter of artistic creativity at the time Hawthorne created The Marble
Faun. Hawthorne lived in and explored Rome for a significant part of his life. As a result, he
developed an appreciation for the vast and historical city because the setting inspired artistic
expression. Using imagery, Hawthorne captures and expresses the importance of the location. In
the rich, extensive descriptions of Rome, Hawthorne paints a picture of the various monuments
throughout the city. Comparable to the importance of a setting in a visual representation,
Hawthorne conveys the significane of setting through his descriptive language. Most of the
chapters within The Marble Faun begin with a detailed description of the characters travels to
main artistic monuments, churches, studios, and galleries. As the characters explore, the imagery
provides exact directions to track their travels. The descriptive language is such that it promotes
visualization. The imagery provides the reader with a clear visualization of the city of Rome and
portrays the city as an artistic hub.
Hawthornes attitude towards the city varies from appreciation to disdain throughout the
story, but parts of each chapter are devoted to descriptive language representative of the mood.
Even when his description assumes a negative outlook on Rome, Hawthornes imagery is
detailed and precise. The events of the story are contingent upon the various locations. For
example, dark events take place as the characters traverse into the ancient Roman catacombs.
Hawthorne uses dark, descriptive language such as gloomy, and dingy to describe the
torturous passages of the catacombs where the characters encounter a labyrinth of darkness
(21-22). After establishing the tone via descriptive language, the action of the story is made to
coincide with the mood. With the description of the catacombs in place, Hawthorne then
describes Miriams disappearance into the great darkness (23). The novel uses description of
setting to portray the mood of the story often before presenting the events of the story. This is

comparable to the use of color as a means of setting the mood of visual art. The immerging
reliance on color, rather than line, in visual representation was becoming more popular during
the mid-nineteenth century. Various artistic mediums convey meaning using the tools available to
their craft. Hawthorne details the setting so readers can understand and imagine the mood and
events of the story. Language is used to establish the necessary mood throughout the work,
similar to how color can express the mood for visual art.
Hawthornes imagery was also meant to tantalize and inspire the audience reading his
romance to visit the artistic Rome. When viewed as a form of travel-literature, Hawthornes
detailed description serves to seduce the audience as it presents Rome as a mysterious, historical
center. In America, Hawthorne had a faithful following of wealthy intellects. One of his main
characters, Hilda, is from New England, just as Hawthorne was. The direct, detailed description
of setting would have inspired his wealthy audience to visit the sites. As Levy describes this
seduction by way of descriptive language, he states: It is true, of course, as the preface [of The
Marble Faun] declares, that Italy is exotic and America is commonplace, devoid of shadow,
antiquity, and mystery, and without the "picturesque and gloomy wrong" that attracts the writer
of romance (139). This description of Hawthornes portrayal of Rome exemplifies the seduction
of the reader into imagining they are presently visiting this foreign, artistic location.
There has been speculation for the reasoning behind Hawthorne depiction of three
American artists in Rome. Miriam, Hilda, and Kenyon as artists create three different types of
visual representation, but each of them is captivated by the artistic movement transpiring in
Rome. Each characters craft is analyzed and critiqued at some point during the novel. Miriams
sketches frighten and intrigue Donatello, Hildas painted copies are both appreciated and
criticized by Miriam, and Kenyons sculptures are scrutinized when Miriam visits his studio. Via

characterization, the articulated comparisons of each artistic medium reflect the relationship
between artist and author. While the characters appreciate the others work, the differences in
representation are also discussed. Hawthorne has a character from one artistic perspective
evaluate a different form of art. This demonstrates the curiosity that inspires crossing artistic
representations.
The characterization throughout the novel furthers Hawthornes role as the artist.
Hawthorne chooses to illustrate the characters in an interesting and unique way. Limited
information is offered for each character. Comparable to figures in a painting, many aspects of
characterization are left up to the readers imagination and interpretation. Minimal backstory is
offered for each character. Miriams past, for example, is shrouded in mystery. As Hawthorne
describes, There were many stories about Miriams origin and previous life, some of which had
very probably air, while others were evidently wild and romantic fables. We cite a few, leaving
the reader to designate them either under the probable of the romantic head (20). In Visual art,
little is known of the illustrated figures represented in a painting beyond what the context of the
depiction. The readers of The Marble Faun are offered a vague understanding of the characters
outside of the immediate interactions of the novel. It is the readers obligation to interpret each
character and the role they play within the story. This type of characterization provides evidence
to Hawthorne as the artist of his final work.
The characters and events within the story establish and develop the allegory.
Hawthornes story outlines temptation, sin, and the fall of man. The moral allegory is propelled
by the limited characterization offered to the reader. Miriam is presented as Eve and Donatello as
Adam. Hawthorne modernizes the fall of man allegory through his characterization. As Gary J.
Scrimgeour stated, "Throughout all [Hawthorne's] romances, one is conscious that the events

Hawthorne describes are always struggling out of the confines of the time in which they are
happening into a plane where they are the reenactment of an eternally recurring event (as cited
in Liebman 77). While morality is just one motif throughout the story, it is represented through
Hawthornes perspective within the period he is writing. Many of the visual arts within the midnineteenth century were creating religiously based works. The art within the period depicted
moral figures, such as the Madonna. In his essay Art Allegory in The Marble Faun, Paul
Brodtkord, Jr states with regards to the novel that: Rome, for the artists who are seen as its
important inhabitants, is both the source of aesthetic inspiration and the moral polluter of its
realization. Hawthorne was located in a morally convoluted, artistic city while constructing this
novel. Rome would have inspired Hawthorne, like many of the visual artists, to create a story
that speaks to religion, temptation, and morality.
The narrative strategies in Hawthornes last romance reflect the presence of the artist
within the painting. For visual representations, there is a clear and present connection between
creator and audience. In an original painting, the viewers can see the artists strokes of the brush.
This relationship between author and reader is less prevalent in the physical sense. Verbal
representation is presented to the public in ways that the author loses an immediate connection
with the work. When reading a printed text, the author is not present unless a revealing narrative
voice is used. Hawthorne does just that by utilizing a narrative voice that is consistently present
throughout the novel. His presence in the story is communicated by the use of specific pronouns
and the disclosure his thoughts and opinions regarding the events of the story. Throughout the
romance, Hawthorne uses first person singular and plural subjective pronouns. I and we are
used periodically in the story to remind the readers of Hawthornes existence. Similar to an
artists immediate, observable connection with an original work, Hawthorne provides readers

with his thoughts and opinions. The linguistic reminders connect Hawthorne and remind the
reader that he is the artist.
The relationship between artist and author is multifaceted and complex. The ability to
cross artistic modes of representation is dependent upon the recognition that language is not
exclusive to verbal representation and depiction is not dependent upon visual representation.
Hawthornes final work, The Marble Faun, exemplifies and authors attempt to intersect artistic
mediums. Hawthorne uses aesthetic language to produce a visually inspired work. He uses
literary devices such as descriptive setting, imagery-driven mood and tone, uniquely suppressed
characterization, artistically relevant allegory, and a present narrative voice to establish a
relationship between art and authorship. In The Marble Faun, Hawthornes thoughtfully
constructed language promotes visualization and, in turn, visual art through verbal
representation.

Bibliography
Balzac, Honor De. The Unknown Masterpiece. Paris: Charles-Bchet. 1845. Print
Brodtkord, Paul Jr. Art Allegory in The Marble Faun. PMLA 77.3 (1962): 254-267. Print
Hawthorne, Nathaniel. The Marble Faun. Boston: Ticknor and Fields. 1860. Print.
Levy, Leo B. The Marble Faun: Hawthornes Landscape of the Fall. American Literature 42.2
(1970): 139-156. Print.
Liebman, Sheldon W. The Design of The Marble Faun. The New England Quarterly 40.1
(1967): 61-78. Print
Mitchell, W.J.T. Picture Theory. Chicago: The University of Chicago Press. 1994. Print.
Picasso, Pablo. Le Chef-duvre inconnu. Drawing. 1931.