The Marble Faun
by Nathaniel Hawthorne
Chapter IV: “The Spectre of the Catacomb”
- 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: 2,804
- Genre: Gothic
- Keywords: 19th century literature, american literature, nathaniel hawthorne, the marble faun
- ✎ Cite This
Hawthorne, N. (1860). Chapter IV: “The Spectre of the Catacomb”. The Marble Faun (Lit2Go Edition). Retrieved April 01, 2023, from https://etc.usf.edu/lit2go/39/the-marble-faun/525/chapter-iv-the-spectre-of-the-catacomb/
Hawthorne, Nathaniel. "Chapter IV: “The Spectre of the Catacomb”." The Marble Faun. Lit2Go Edition. 1860. Web. <https://etc.usf.edu/lit2go/39/the-marble-faun/525/chapter-iv-the-spectre-of-the-catacomb/>. April 01, 2023.
Nathaniel Hawthorne, "Chapter IV: “The Spectre of the Catacomb”," The Marble Faun, Lit2Go Edition, (1860), accessed April 01, 2023, https://etc.usf.edu/lit2go/39/the-marble-faun/525/chapter-iv-the-spectre-of-the-catacomb/.
“Surely, she cannot be lost!” exclaimed Kenyon. “It is but a moment since she was speaking.”
“No, no!” said Hilda, in great alarm. “She was behind us all; and it is a long while since we have heard her voice!”
“Torches! torches!” cried Donatello desperately. “I will seek her, be the darkness ever so dismal!”
But the guide held him back, and assured them all that there was no possibility of assisting their lost companion, unless by shouting at the very top of their voices. As the sound would go very far along these close and narrow passages, there was a fair probability that Miriam might hear the call, and be able to retrace her steps.
Accordingly, they all—Kenyon with his bass voice; Donatello with his tenor; the guide with that high and hard Italian cry, which makes the streets of Rome so resonant; and Hilda with her slender scream, piercing farther than the united uproar of the rest—began to shriek, halloo, and bellow, with the utmost force of their lungs. And, not to prolong the reader’s suspense (for we do not particularly seek to interest him in this scene, telling it only on account of the trouble and strange entanglement which followed), they soon heard a responsive call, in a female voice.
“It was the signorina!” cried Donatello joyfully.
“Yes; it was certainly dear Miriam’s voice,” said Hilda. “And here she comes! Thank Heaven! Thank Heaven!”
The figure of their friend was now discernible by her own torchlight, approaching out of one of the cavernous passages. Miriam came forward, but not with the eagerness and tremulous joy of a fearful girl, just rescued from a labyrinth of gloomy mystery. She made no immediate response to their inquiries and tumultuous congratulations; and, as they afterwards remembered, there was something absorbed, thoughtful, and self-concentrated in her deportment. She looked pale, as well she might, and held her torch with a nervous grasp, the tremor of which was seen in the irregular twinkling of the flame. This last was the chief perceptible sign of any recent agitation or alarm.
“Dearest, dearest Miriam,” exclaimed Hilda, throwing her arms about her friend, “where have you been straying from us? Blessed be Providence, which has rescued you out of that miserable darkness!”
“Hush, dear Hilda!” whispered Miriam, with a strange little laugh. “Are you quite sure that it was Heaven’s guidance which brought me back? If so, it was by an odd messenger, as you will confess. See; there he stands.”
Startled at Miriam’s words and manner, Hilda gazed into the duskiness whither she pointed, and there beheld a figure standing just on the doubtful limit of obscurity, at the threshold of the small, illuminated chapel. Kenyon discerned him at the same instant, and drew nearer with his torch; although the guide attempted to dissuade him, averring that, once beyond the consecrated precincts of the chapel, the apparition would have power to tear him limb from limb. It struck the sculptor, however, when he afterwards recurred to these circumstances, that the guide manifested no such apprehension on his own account as he professed on behalf of others; for he kept pace with Kenyon as the latter approached the figure, though still endeavoring to restrain ’him.
In fine, they both drew near enough to get as good a view of the spectre as the smoky light of their torches, struggling with the massive gloom, could supply.
The stranger was of exceedingly picturesque, and even melodramatic aspect. He was clad in a voluminous cloak, that seemed to be made of a buffalo’s hide, and a pair of those goat-skin breeches, with the hair outward, which are still commonly worn by the peasants of the Roman Campagna. In this garb, they look like antique Satyrs; and, in truth, the Spectre of the Catacomb might have represented the last survivor of that vanished race, hiding himself in sepulchral gloom, and mourning over his lost life of woods and streams.
Furthermore, he had on a broad-brimmed, conical hat, beneath the shadow of which a wild visage was indistinctly seen, floating away, as it were, into a dusky wilderness of mustache and beard. His eyes winked, and turned uneasily from the torches, like a creature to whom midnight would be more congenial than noonday.
On the whole, the spectre might have made a considerable impression on the sculptor’s nerves, only that he was in the habit of observing similar figures, almost every day, reclining on the Spanish steps, and waiting for some artist to invite them within the magic realm of picture. Nor, even thus familiarized with the stranger’s peculiarities of appearance, could Kenyon help wondering to see such a personage, shaping himself so suddenly out of the void darkness of the catacomb.
“What are you?” said the sculptor, advancing his torch nearer. “And how long have you been wandering here?”
“A thousand and five hundred years!” muttered the guide, loud enough to be heard by all the party. “It is the old pagan phantom that I told you of, who sought to betray the blessed saints!”
“Yes; it is a phantom!” cried Donatello, with a shudder. “Ah, dearest signorina, what a fearful thing has beset you in those dark corridors!”
“Nonsense, Donatello,” said the sculptor. “The man is no more a phantom than yourself. The only marvel is, how he comes to be hiding himself in the catacomb. Possibly our guide might solve the riddle.”
The spectre himself here settled the point of his tangibility, at all events, and physical substance, by approaching a step nearer, and laying his hand on Kenyon’s arm.
“Inquire not what I am, nor wherefore I abide in the darkness,” said he, in a hoarse, harsh voice, as if a great deal of damp were clustering in his throat. “Henceforth, I am nothing but a shadow behind her footsteps. She came to me when I sought her not. She has called me forth, and must abide the consequences of my reappearance in the world.”
“Holy Virgin! I wish the signorina joy of her prize,” said the guide, half to himself. “And in any case, the catacomb is well rid of him.”
We need follow the scene no further. So much is essential to the subsequent narrative, that, during the short period while astray in those tortuous passages, Miriam had encountered an unknown man, and led him forth with her, or was guided back by him, first into the torchlight, thence into the sunshine.
It was the further singularity of this affair, that the connection, thus briefly and casually formed, did not terminate with the incident that gave it birth. As if her service to him, or his service to her, whichever it might be, had given him an indefeasible claim on Miriam’s regard and protection, the Spectre of the Catacomb never long allowed her to lose sight of him, from that day forward. He haunted her footsteps with more than the customary persistency of Italian mendicants, when once they have recognized a benefactor. For days together, it is true, he occasionally vanished, but always reappeared, gliding after her through the narrow streets, or climbing the hundred steps of her staircase and sitting at her threshold.
Being often admitted to her studio, he left his features, or some shadow or reminiscence of them, in many of her sketches and pictures. The moral atmosphere of these productions was thereby so influenced, that rival painters pronounced it a case of hopeless mannerism, which would destroy all Miriam’s prospects of true excellence in art.
The story of this adventure spread abroad, and made its way beyond the usual gossip of the Forestieri, even into Italian circles, where, enhanced by a still potent spirit of superstition, it grew far more wonderful than as above recounted. Thence, it came back among the Anglo-Saxons, and was communicated to the German artists, who so richly supplied it with romantic ornaments and excrescences, after their fashion, that it became a fantasy worthy of Tieck or Hoffmann. For nobody has any conscience about adding to the improbabilities of a marvellous tale.
The most reasonable version of the incident, that could anywise be rendered acceptable to the auditors, was substantially the one suggested by the guide of the catacomb, in his allusion to the legend of Memmius. This man, or demon, or man-demon, was a spy during the persecutions of the early Christians, probably under the Emperor Diocletian, and penetrated into the catacomb of St. Calixtus, with the malignant purpose of tracing out the hiding-places of the refugees. But, while he stole craftily through those dark corridors, he chanced to come upon a little chapel, where tapers were burning before an altar and a crucifix, and a priest was in the performance of his sacred office. By divine indulgence, there was a single moment’s grace allowed to Memmius, during which, had he been capable of Christian faith and love, he might have knelt before the cross, and received the holy light into his soul, and so have been blest forever. But he resisted the sacred impulse. As soon, therefore, as that one moment had glided by, the light of the consecrated tapers, which represent all truth, bewildered the wretched man with everlasting error, and the blessed cross itself was stamped as a seal upon his heart, so that it should never open to receive conviction.
Thenceforth, this heathen Memmius has haunted the wide and dreary precincts of the catacomb, seeking, as some say, to beguile new victims into his own misery; but, according to other statements, endeavoring to prevail on any unwary visitor to take him by the hand, and guide him out into the daylight. Should his wiles and entreaties take effect, however, the man-demon would remain only a little while above ground. He would gratify his fiendish malignity by perpetrating signal mischief on his benefactor, and perhaps bringing some old pestilence or other forgotten and long-buried evil on society; or, possibly, teaching the modern world some decayed and dusty kind of crime, which the antique Romans knew,—and then would hasten back to the catacomb, which, after so long haunting it, has grown his most congenial home.
Miriam herself, with her chosen friends, the sculptor and the gentle Hilda, often laughed at the monstrous fictions that had gone abroad in reference to her adventure. Her two confidants (for such they were, on all ordinary subjects) had not failed to ask an explanation of the mystery, since undeniably a mystery there was, and one sufficiently perplexing in itself, without any help from the imaginative faculty. And, sometimes responding to their inquiries with a melancholy sort of playfulness, Miriam let her fancy run off into wilder fables than any which German ingenuity or Italian superstition had contrived.
For example, with a strange air of seriousness over all her face, only belied by a laughing gleam in her dark eyes, she would aver that the spectre (who had been an artist in his mortal lifetime) had promised to teach her a long-lost, but invaluable secret of old Roman fresco painting. The knowledge of this process would place Miriam at the head of modern art; the sole condition being agreed upon, that she should return with him into his sightless gloom, after enriching a certain extent of stuccoed wall with the most brilliant and lovely designs. And what true votary of art would not purchase unrivalled excellence, even at so vast a sacrifice!
Or, if her friends still solicited a soberer account, Miriam replied, that, meeting the old infidel in one of the dismal passages of the catacomb, she had entered into controversy with him, hoping to achieve the glory and satisfaction of converting him to the Christian faith. For the sake of so excellent a result; she had even staked her own salvation against his, binding herself to accompany him back into his penal gloom, if, within a twelvemonth’s space, she should not have convinced him of the errors through which he had so long groped and stumbled. But, alas! up to the present time, the controversy had gone direfully in favor of the man-demon; and Miriam (as she whispered in Hilda’s ear) had awful forebodings, that, in a few more months, she must take an eternal farewell of the sun!
It was somewhat remarkable that all her romantic fantasies arrived at this self-same dreary termination,—it appeared impossible for her even to imagine any other than a disastrous result from her connection with her ill-omened attendant.
This singularity might have meant nothing, however, had it not suggested a despondent state of mind, which was likewise indicated by many other tokens. Miriam’s friends had no difficulty in perceiving that, in one way or another, her happiness was very seriously compromised. Her spirits were often depressed into deep melancholy. If ever she was gay, it was seldom with a healthy cheerfulness. She grew moody, moreover, and subject to fits of passionate ill temper; which usually wreaked itself on the heads of those who loved her best. Not that Miriam’s indifferent acquaintances were safe from similar outbreaks of her displeasure, especially if they ventured upon any allusion to the model. In such cases, they were left with little disposition to renew the subject, but inclined, on the other hand, to interpret the whole matter as much to her discredit as the least favorable coloring of the facts would allow.
It may occur to the reader, that there was really no demand for so much rumor and speculation in regard to an incident, Which might well enough have been explained without going many steps beyond the limits of probability. The spectre might have been merely a Roman beggar, whose fraternity often harbor in stranger shelters than the catacombs; or one of those pilgrims, who still journey from remote countries to kneel and worship at the holy sites, among which these haunts of the early Christians are esteemed especially sacred. Or, as was perhaps a more plausible theory, he might be a thief of the city, a robber of the Campagna, a political offender, or an assassin, with blood upon his hand; whom the negligence or connivance of the police allowed to take refuge in those subterranean fastnesses, where such outlaws have been accustomed to hide themselves from a far antiquity downward. Or he might have been a lunatic, fleeing instinctively from man, and making it his dark pleasure to dwell among the tombs, like him whose awful cry echoes afar to us from Scripture times.
And, as for the stranger’s attaching himself so devotedly to Miriam, her personal magnetism might be allowed a certain weight in the explanation. For what remains, his pertinacity need not seem so very singular to those who consider how slight a link serves to connect these vagabonds of idle Italy with any person that may have the ill-hap to bestow charity, or be otherwise serviceable to them, or betray the slightest interest in their fortunes.
Thus little would remain to be accounted for, except the deportment of Miriam herself; her reserve, her brooding melancholy, her petulance, and moody passion. If generously interpreted, even these morbid symptoms might have sufficient cause in the stimulating and exhaustive influences of imaginative art, exercised by a delicate young woman, in the nervous and unwholesome atmosphere of Rome. Such, at least, was the view of the case which Hilda and Kenyon endeavored to impress on their own minds, and impart to those whom their opinions might influence.
One of Miriam’s friends took the matter sadly to heart. This was the young Italian. Donatello, as we have seen, had been an eyewitness of the stranger’s first appearance, and had ever since nourished a singular prejudice against the mysterious, dusky, death-scented apparition. It resembled not so much a human dislike or hatred, as one of those instinctive, unreasoning antipathies which the lower animals sometimes display, and which generally prove more trustworthy than the acutest insight into character. The shadow of the model, always flung into the light which Miriam diffused around her, caused no slight trouble to Donatello. Yet he was of a nature so remarkably genial and joyous, so simply happy, that he might well afford to have something subtracted from his comfort, and make tolerable shift to live upon what remained.