- Year Published: 1860
- Language: English
- Country of Origin: United States of America
- Source: Hawthorne, N. (1860). The Marble Faun. Boston: Ticknor and Fields.
- Flesch–Kincaid Level: 11.5
- Word Count: 1,207
Hawthorne, N. (1860). Author’s Preface. The Marble Faun (Lit2Go Edition). Retrieved August 23, 2017, from
Hawthorne, Nathaniel. "Author’s Preface." The Marble Faun. Lit2Go Edition. 1860. Web. <>. August 23, 2017.
Nathaniel Hawthorne, "Author’s Preface," The Marble Faun, Lit2Go Edition, (1860), accessed August 23, 2017,.
It is now seven or eight years (so many, at all events, that I cannot precisely remember the epoch) since the author of this romance last appeared before the Public. It had grown to be a custom with him to introduce each of his humble publications with a familiar kind of preface, addressed nominally to the Public at large, but really to a character with whom he felt entitled to use far greater freedom. He meant it for that one congenial friend—more comprehensive of his purposes, more appreciative of his success, more indulgent of his shortcomings, and, in all respects, closer and kinder than a brother—that all-sympathizing critic, in short, whom an author never actually meets, but to whom he implicitly makes his appeal whenever he is conscious of having done his best.
The antique fashion of prefaces recognized this genial personage as the “Kind Reader,” the “Gentle Reader,” the “Beloved,” the “Indulgent,” or, at coldest, the “Honored Reader,” to whom the prim old author was wont to make his preliminary explanations and apologies, with the certainty that they would be favorably received. I never personally encountered nor corresponded through the post with this representative essence of all delightful and desirable qualities which a reader can possess. But, fortunately for myself, I never therefore concluded him to be merely a mythic character. I had always a sturdy faith in his actual existence, and wrote for him year after year, during which the great eye of the Public (as well it might) almost utterly overlooked my small productions.
Unquestionably, this gentle, kind, benevolent, indulgent, and most beloved and honored Reader did once exist for me, and (in spite of the infinite chances against a letter’s reaching its destination without a definite address) duly received the scrolls which I flung upon whatever wind was blowing, in the faith that they would find him out. But, is he extant now? In these many years, since he last heard from me, may he not have deemed his earthly task accomplished, and have withdrawn to the paradise of gentle readers, wherever it may be, to the enjoyments of which his kindly charity on my behalf must surely have entitled him? I have a sad foreboding that this may be the truth. The “Gentle Reader,” in the case of any individual author, is apt to be extremely short-lived; he seldom outlasts a literary fashion, and, except in very rare instances, closes his weary eyes before the writer has half done with him. If I find him at all, it will probably be under some mossy gravestone, inscribed with a half-obliterated name which I shall never recognize.
Therefore, I have little heart or confidence (especially, writing as I do, in a foreign land, and after a long, long absence from my own) to presume upon the existence of that friend of friends, that unseen brother of the soul, whose apprehensive sympathy has so often encouraged me to be egotistical in my prefaces, careless though unkindly eyes should skim over what was never meant for them. I stand upon ceremony now; and, after stating a few particulars about the work which is here offered to the Public, must make my most reverential bow, and retire behind the curtain. This romance was sketched out during a residence of considerable length in Italy, and has been rewritten and prepared for the press in England. The author proposed to himself merely to write a fanciful story, evolving a thoughtful moral, and did not propose attempting a portraiture of Italian manners and character. He has lived too long abroad not to be aware that a foreigner seldom acquires that knowledge of a country at once flexible and profound, which may justify him in endeavoring to idealize its traits.
Italy, as the site of his romance, was chiefly valuable to him as affording a sort of poetic or fairy precinct, where actualities would not be so terribly insisted upon as they are, and must needs be, in America. No author, without a trial, can conceive of the difficulty of writing a romance about a country where there is no shadow, no antiquity, no mystery, no picturesque and gloomy wrong, nor anything but a commonplace prosperity, in broad and simple daylight, as is happily the case with my dear native land. It will be very long, I trust, before romance writers may find congenial and easily handled themes, either in the annals of our stalwart republic, or in any characteristic and probable events of our individual lives. Romance and poetry, ivy, lichens, and wallflowers, need ruin to make them grow.
In rewriting these volumes, the author was somewhat surprised to see the extent to which he had introduced descriptions of various Italian objects, antique, pictorial, and statuesque. Yet these things fill the mind everywhere in Italy, and especially in Rome, and cannot easily be kept from flowing out upon the page when one writes freely, and with self-enjoyment. And, again, while reproducing the book, on the broad and dreary sands of Redcar, with the gray German Ocean tumbling in upon me, and the northern blast always howling in my ears, the complete change of scene made these Italian reminiscences shine out so vividly that I could not find it in my heart to cancel them.
An act of justice remains to be performed towards two men of genius with whose productions the author has allowed himself to use a quite unwarrantable freedom. Having imagined a sculptor in this romance, it was necessary to provide him with such works in marble as should be in keeping with the artistic ability which he was supposed to possess. With this view, the author laid felonious hands upon a certain bust of Milton and a statue of a pearl diver, which he found in the studio of Mr. PAUL AKERS, and secretly conveyed them to the premises of his imaginary friend, in the Via Frezza. Not content even with these spoils, he committed a further robbery upon a magnificent statue of Cleopatra, the production of Mr. WILLIAM W. STORY, an artist whom his country and the world will not long fail to appreciate. He had thoughts of appropriating, likewise, a certain door of bronze by Mr. RANDOLPH ROGERS, representing the history of Columbus in a series of admirable bas-reliefs, but was deterred by an unwillingness to meddle with public property. Were he capable of stealing from a lady, he would certainly have made free with Miss HOSMER’S admirable statue of Zenobia.
He now wishes to restore the above-mentioned beautiful pieces of sculpture to their proper owners, with many thanks, and the avowal of his sincere admiration. What he has said of them in the romance does not partake of the fiction in which they are imbedded, but expresses his genuine opinion, which, he has little doubt, will be found in accordance with that of the Public. It is, perhaps, unnecessary to say, that, while stealing their designs, the author has not taken a similar liberty with the personal characters of either of these gifted sculptors; his own man of marble being entirely imaginary.
LEAMINGTON, December 15, 1859.