This is the annotated edition including a rare and extensive biographical essay on the author, as well as an introductory to the book written by George Parsons Lathrop.
“The Marble Faun “ was sketched in Italy and prepared for publication mainly in Redcar, England, in 1859–60. The Castle of Monte Beni, the ancestral home of Donatello, the human faun, stands for Villa Montanto, where the author made his home for a time in the summer of 1858 ; and the original of Hilda's tower is described in the “French and Italian Note-Books,”, May 15, 1858.
This romance, which is generally held to be somewhat inferior to the novels of American life, though in an entirely different setting, does not differ greatly from them, or from some of the best short stories, in the nature of its topic and the handling of its characters. Like them it has for its theme a subject of conscience, — the influence of the consciousness of sin and its penalty, in elevating the life of a soul. Donatello's resemblance to the sculptured faun is typical of his spirit, unawakened, and looking neither before nor after, until his crime puts an end-forever to his joyous holiday existence, and remorse for it develops his intellect and his soul. Kenyon is a good type of a cultivated American, quietly enthusiastic, tolerant and not cynical, loving art and not despising America. Hilda is remarkable for the great moral strength united with her delicacy and sensibility. Her suffering on account of the crime of which she has been merely a witness is strongly contrasted with the attitude of Miriam, whose conscience needs to be brought to a full awakening even after participation in it; her free and strong nature having been bewildered in a maze of wrong, the one escape from which has offered itself in sudden temptation.
