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Marble Faun, The
VOLUME II   VOLUME II - CHAPTER XLV - THE FLIGHT OF HILDA'S DOVES
Nathaniel Hawthorne
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       _ Along with the lamp on Hilda's tower, the sculptor now felt that a
       light had gone out, or, at least, was ominously obscured, to which he
       owed whatever cheerfulness had heretofore illuminated his cold,
       artistic life. The idea of this girl had been like a taper of virgin
       wax, burning with a pure and steady flame, and chasing away the evil
       spirits out of the magic circle of its beams. It had darted its rays
       afar, and modified the whole sphere in which Kenyon had his being.
       Beholding it no more, he at once found himself in darkness and astray.
       This was the time, perhaps, when Kenyon first became sensible what a
       dreary city is Rome, and what a terrible weight is there imposed on
       human life, when any gloom within the heart corresponds to the spell
       of ruin that has been thrown over the site of ancient empire. He
       wandered, as it were, and stumbled over the fallen columns, and among
       the tombs, and groped his way into the sepulchral darkness of the
       catacombs, and found no path emerging from them. The happy may well
       enough continue to be such, beneath the brilliant sky of Rome. But,
       if you go thither in melancholy mood, if you go with a ruin in your
       heart, or with a vacant site there, where once stood the airy fabric
       of happiness, now vanished,--all the ponderous gloom of the Roman Past
       will pile itself upon that spot, and crush you down as with the
       heaped-up marble and granite, the earth-mounds, and multitudinous
       bricks of its material decay.
       It might be supposed that a melancholy man would here make
       acquaintance with a grim philosophy. He should learn to bear
       patiently his individual griefs, that endure only for one little
       lifetime, when here are the tokens of such infinite misfortune on an
       imperial scale, and when so many far landmarks of time, all around him,
       are bringing the remoteness of a thousand years ago into the sphere
       of yesterday. But it is in vain that you seek this shrub of bitter
       sweetness among the plants that root themselves on the roughness of
       massive walls, or trail downward from the capitals of pillars, or
       spring out of the green turf in the palace of the Caesars. It does
       not grow in Rome; not even among the five hundred various weeds which
       deck the grassy arches of the Coliseum. You look through a vista of
       century beyond century,--through much shadow, and a little sunshine,
       --through barbarism and civilization, alternating with one another
       like actors that have prearranged their parts: through a broad pathway
       of progressive generations bordered by palaces and temples, and
       bestridden by old, triumphal arches, until, in the distance, you
       behold the obelisks, with their unintelligible inscriptions, hinting
       at a past infinitely more remote than history can define. Your own
       life is as nothing, when compared with that immeasurable distance; but
       still you demand, none the less earnestly, a gleam of sunshine,
       instead of a speck of shadow, on the step or two that will bring you
       to your quiet rest.
       How exceedingly absurd! All men, from the date of the earliest
       obelisk,--and of the whole world, moreover, since that far epoch, and
       before,--have made a similar demand, and seldom had their wish. If
       they had it, what are they the better now? But, even while you taunt
       yourself with this sad lesson, your heart cries out obstreperously for
       its small share of earthly happiness, and will not be appeased by the
       myriads of dead hopes that lie crushed into the soil of Rome. How
       wonderful that this our narrow foothold of the Present should hold its
       own so constantly, and, while every moment changing, should still be
       like a rock betwixt the encountering tides of the long Past and the
       infinite To-come!
       Man of marble though he was, the sculptor grieved for the Irrevocable.
       Looking back upon Hilda's way of life, he marvelled at his own blind
       stupidity, which had kept him from remonstrating as a friend, if with
       no stronger right against the risks that she continually encountered.
       Being so innocent, she had no means of estimating those risks, nor
       even a possibility of suspecting their existence. But he--who had
       spent years in Rome, with a man's far wider scope of observation and
       experience--knew things that made him shudder. It seemed to Kenyon,
       looking through the darkly colored medium of his fears, that all modes
       of crime were crowded into the close intricacy of Roman streets, and
       that there was no redeeming element, such as exists in other dissolute
       and wicked cities.
       For here was a priesthood, pampered, sensual, with red and bloated
       cheeks, and carnal eyes. With apparently a grosser development of
       animal life than most men, they were placed in an unnatural relation
       with woman, and thereby lost the healthy, human conscience that
       pertains to other human beings, who own the sweet household ties
       connecting them with wife and daughter. And here was an indolent
       nobility, with no high aims or opportunities, but cultivating a
       vicious way of life, as if it were an art, and the only one which they
       cared to learn. Here was a population, high and low, that had no
       genuine belief in virtue; and if they recognized any act as criminal,
       they might throw off all care, remorse, and memory of it, by kneeling
       a little while at the confessional, and rising unburdened, active,
       elastic, and incited by fresh appetite for the next ensuing sin. Here
       was a soldiery who felt Rome to be their conquered city, and doubtless
       considered themselves the legal inheritors of the foul license which
       Gaul, Goth, and Vandal have here exercised in days gone by.
       And what localities for new crime existed in those guilty sites, where
       the crime of departed ages used to be at home, and had its long,
       hereditary haunt! What street in Rome, what ancient ruin, what one
       place where man had standing-room, what fallen stone was there,
       unstained with one or another kind of guilt! In some of the
       vicissitudes of the city's pride or its calamity, the dark tide of
       human evil had swelled over it, far higher than the Tiber ever rose
       against the acclivities of the seven hills. To Kenyon's morbid view,
       there appeared to be a contagious element, rising fog-like from the
       ancient depravity of Rome, and brooding over the dead and half-rotten
       city, as nowhere else on earth. It prolonged the tendency to crime,
       and developed an instantaneous growth of it, whenever an opportunity
       was found; And where could it be found so readily as here! In those
       vast palaces, there were a hundred remote nooks where Innocence might
       shriek in vain. Beneath meaner houses there were unsuspected dungeons
       that had once been princely chambers, and open to the daylight; but,
       on account of some wickedness there perpetrated, each passing age had
       thrown its handful of dust upon the spot, and buried it from sight.
       Only ruffians knew of its existence, and kept it for murder, and worse
       crime.
       Such was the city through which Hilda, for three years past, had been
       wandering without a protector or a guide. She had trodden lightly
       over the crumble of old crimes; she had taken her way amid the grime
       and corruption which Paganism had left there, and a perverted
       Christianity had made more noisome; walking saint-like through it all,
       with white, innocent feet; until, in some dark pitfall that lay right
       across her path, she had vanished out of sight. It was terrible to
       imagine what hideous outrage might have thrust her into that abyss!
       Then the lover tried to comfort himself with the idea that Hilda's
       sanctity was a sufficient safeguard. Ah, yes; she was so pure! The
       angels, that were of the same sisterhood, would never let Hilda come
       to harm. A miracle would be wrought on her behalf, as naturally as a
       father would stretch out his hand to save a best-beloved child.
       Providence would keep a little area and atmosphere about her as safe
       and wholesome as heaven itself, although the flood of perilous
       iniquity might hem her round, and its black waves hang curling above
       her head! But these reflections were of slight avail. No doubt they
       were the religious truth. Yet the ways of Providence are utterly
       inscrutable; and many a murder has been done, and many an innocent
       virgin has lifted her white arms, beseeching its aid in her extremity,
       and all in vain; so that, though Providence is infinitely good and
       wise, and perhaps for that very reason, it may be half an eternity
       before the great circle of its scheme shall bring us the superabundant
       recompense for all these sorrows! But what the lover asked was such
       prompt consolation as might consist with the brief span of mortal life;
       the assurance of Hilda's present safety, and her restoration within
       that very hour.
       An imaginative man, he suffered the penalty of his endowment in the
       hundred-fold variety of gloomily tinted scenes that it presented to
       him, in which Hilda was always a central figure. The sculptor forgot
       his marble. Rome ceased to be anything, for him, but a labyrinth of
       dismal streets, in one or another of which the lost girl had
       disappeared. He was haunted with the idea that some circumstance,
       most important to be known, and perhaps easily discoverable, had
       hitherto been overlooked, and that, if he could lay hold of this one
       clew, it would guide him directly in the track of Hilda's footsteps.
       With this purpose in view, he went, every morning, to the Via
       Portoghese, and made it the starting-point of fresh investigations.
       After nightfall, too, he invariably returned thither, with a faint
       hope fluttering at his heart that the lamp might again be shining on
       the summit of the tower, and would dispel this ugly mystery out of the
       circle consecrated by its rays. There being no point of which he
       could take firm hold, his mind was filled with unsubstantial hopes and
       fears. Once Kenyon had seemed to cut his life in marble; now he
       vaguely clutched at it, and found it vapor.
       In his unstrung and despondent mood, one trifling circumstance
       affected him with an idle pang. The doves had at first been faithful
       to their lost mistress. They failed not to sit in a row upon her
       window-sill, or to alight on the shrine, or the church-angels, and on
       the roofs and portals of the neighboring houses, in evident
       expectation of her reappearance. After the second week, however, they
       began to take flight, and dropping off by pairs, betook themselves to
       other dove-cotes. Only a single dove remained, and brooded drearily
       beneath the shrine. The flock that had departed were like the many
       hopes that had vanished from Kenyon's heart; the one that still
       lingered, and looked so wretched,--was it a Hope, or already a
       Despair?
       In the street, one day, the sculptor met a priest of mild and
       venerable aspect; and as his mind dwelt continually upon Hilda, and
       was especially active in bringing up all incidents that had ever been
       connected with her, it immediately struck him that this was the very
       father with whom he had seen her at the confessional. Such trust did
       Hilda inspire in him, that Kenyon had never asked what was the subject
       of the communication between herself and this old priest. He had no
       reason for imagining that it could have any relation with her
       disappearance, so long subsequently; but, being thus brought face to
       face with a personage, mysteriously associated, as he now remembered,
       with her whom he had lost, an impulse ran before his thoughts and led
       the sculptor to address him.
       It might be that the reverend kindliness of the old man's expression
       took Kenyon's heart by surprise; at all events, he spoke as if there
       were a recognized acquaintanceship, and an object of mutual interest
       between them.
       "She has gone from me, father," said he.
       "Of whom do you speak, my son?" inquired the priest.
       "Of that sweet girl," answered Kenyon, "who knelt to you at the
       confessional. Surely you remember her, among all the mortals to whose
       confessions you have listened! For she alone could have had no sins
       to reveal."
       "Yes; I remember," said the priest, with a gleam of recollection in
       his eyes. "She was made to bear a miraculous testimony to the
       efficacy of the divine ordinances of the Church, by seizing forcibly
       upon one of them, and finding immediate relief from it, heretic though
       she was. It is my purpose to publish a brief narrative of this
       miracle, for the edification of mankind, in Latin, Italian, and
       English, from the printing press of the Propaganda. Poor child!
       Setting apart her heresy, she was spotless, as you say. And is she
       dead?"
       "Heaven forbid, father!" exclaimed Kenyon, shrinking back. "But she
       has gone from me, I know not whither. It may be--yes, the idea seizes
       upon my mind--that what she revealed to you will suggest some clew to
       the mystery of her disappearance.'"
       "None, my son, none," answered the priest, shaking his head;
       "nevertheless, I bid you be of good cheer. That young maiden is not
       doomed to die a heretic. Who knows what the Blessed Virgin may at
       this moment be doing for her soul! Perhaps, when you next behold her,
       she will be clad in the shining white robe of the true faith."
       This latter suggestion did not convey all the comfort which the old
       priest possibly intended by it; but he imparted it to the sculptor,
       along with his blessing, as the two best things that he could bestow,
       and said nothing further, except to bid him farewell.
       When they had parted, however, the idea of Hilda's conversion to
       Catholicism recurred to her lover's mind, bringing with it certain
       reflections, that gave a new turn to his surmises about the mystery
       into which she had vanished. Not that he seriously
       apprehended--although the superabundance of her religious sentiment
       might mislead her for a moment--that the New England girl would
       permanently succumb to the scarlet superstitions which surrounded her
       in Italy. But the incident of the confessional if known, as probably
       it was, to the eager propagandists who prowl about for souls, as cats
       to catch a mouse--would surely inspire the most confident expectations
       of bringing her over to the faith. With so pious an end in view,
       would Jesuitical morality be shocked at the thought of kidnapping the
       mortal body, for the sake of the immortal spirit that might otherwise
       be lost forever? Would not the kind old priest, himself, deem this to
       be infinitely the kindest service that he could perform for the stray
       lamb, who had so strangely sought his aid?
       If these suppositions were well founded, Hilda was most likely a
       prisoner in one of the religious establishments that are so numerous
       in Rome. The idea, according to the aspect in which it was viewed,
       brought now a degree of comfort, and now an additional perplexity. On
       the one hand, Hilda was safe from any but spiritual assaults; on the
       other, where was the possibility of breaking through all those barred
       portals, and searching a thousand convent cells, to set her free?
       Kenyon, however, as it happened, was prevented from endeavoring to
       follow out this surmise, which only the state of hopeless uncertainty,
       that almost bewildered his reason, could have led him for a moment to
       entertain. A communication reached him by an unknown hand, in
       consequence of which, and within an hour after receiving it, he took
       his way through one of the gates of Rome. _
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VOLUME I
   VOLUME I - CHAPTER I - MIRIAM, HILDA, KENYON, DONATELLO
   VOLUME I - CHAPTER II - THE FAUN
   VOLUME I - CHAPTER III - SUBTERRANEAN REMINISCENCES
   VOLUME I - CHAPTER IV - THE SPECTRE OF THE CATACOMB
   VOLUME I - CHAPTER V - MIRIAM'S STUDIO
   VOLUME I - CHAPTER VI - THE VIRGIN'S SHRINE
   VOLUME I - CHAPTER VII - BEATRICE
   VOLUME I - CHAPTER VIII - THE SUBURBAN VILLA
   VOLUME I - CHAPTER IX - THE FAUN AND NYMPH
   VOLUME I - CHAPTER X - THE SYLVAN DANCE
   VOLUME I - CHAPTER XI - FRAGMENTARY SENTENCES
   VOLUME I - CHAPTER XII - A STROLL ON THE PINCIAN
   VOLUME I - CHAPTER XIII - A SCULPTOR'S STUDIO
   VOLUME I - CHAPTER XIV - CLEOPATRA
   VOLUME I - CHAPTER XV - AN AESTHETIC COMPANY
   VOLUME I - CHAPTER XVI - A MOONLIGHT RAMBLE
   VOLUME I - CHAPTER XVII - MIRIAM'S TROUBLE
   VOLUME I - CHAPTER XVIII - ON THE EDGE OF A PRECIPICE
   VOLUME I - CHAPTER XIX - THE FAUN'S TRANSFORMATION
   VOLUME I - CHAPTER XX - THE BURIAL CHANT
   VOLUME I - CHAPTER XXI - THE DEAD CAPUCHIN
   VOLUME I - CHAPTER XXII -THE MEDICI GARDENS
   VOLUME I - CHAPTER XXIII - MIRIAM AND HILDA
VOLUME II
   VOLUME II - CHAPTER XXIV - THE TOWER AMONG THE APENNINES
   VOLUME II - CHAPTER XXV - SUNSHINE
   VOLUME II - CHAPTER XXVI - THE PEDIGREE OF MONTE BENI
   VOLUME II - CHAPTER XXVII - MYTHS
   VOLUME II - CHAPTER XXVIII - THE OWL TOWER
   VOLUME II - CHAPTER XXIX - ON THE BATTLEMENTS
   VOLUME II - CHAPTER XXX - DONATELLO'S BUST
   VOLUME II - CHAPTER XXXI - THE MARBLE SALOON
   VOLUME II - CHAPTER XXXII - SCENES BY THE WAY
   VOLUME II - CHAPTER XXXIII - PICTURED WINDOWS
   VOLUME II - CHAPTER XXXIV - MARKET-DAY IN PERUGIA
   VOLUME II - CHAPTER XXXV - THE BRONZE PONTIFF'S BENEDICTION
   VOLUME II - CHAPTER XXXVI - HILDA'S TOWER
   VOLUME II - CHAPTER XXXVII - THE EMPTINESS OF PICTURE GALLERIES
   VOLUME II - CHAPTER XXXVIII - ALTARS AND INCENSE
   VOLUME II - CHAPTER XXXIX - THE WORLD'S CATHEDRAL
   VOLUME II - CHAPTER XL - HILDA AND A FRIEND
   VOLUME II - CHAPTER XLI - SNOWDROPS AND MAIDENLY DELIGHTS
   VOLUME II - CHAPTER XLII - REMINISCENCES OF MIRIAM
   VOLUME II - CHAPTER XLIII - THE EXTINCTION OF A LAMP
   VOLUME II - CHAPTER XLIV - THE DESERTED SHRINE
   VOLUME II - CHAPTER XLV - THE FLIGHT OF HILDA'S DOVES
   VOLUME II - CHAPTER XLVI - A WALK ON THE CAMPAGNA
   VOLUME II - CHAPTER XLVII - THE PEASANT AND CONTADINA
   VOLUME II - CHAPTER XLVIII - A SCENE IN THE CORSO
   VOLUME II - CHAPTER XLIX - A FROLIC OF THE CARNIVAL
   VOLUME II - CHAPTER L - MIRIAM, HILDA, KENYON, DONATELLO
   CONCLUSION