Bücher von Nathaniel Hawthorne

Mosses from an Old Manse, collection of short stories by Nathaniel Hawthorne, published in two volumes in 1846. The 25 tales and sketches of this volume-written while Hawthorne lived at the Old Manse in Concord, Mass., the home of Ralph Waldo Emerson's ancestors-include some of the author's finest short works. Many of the Romantic themes found in Hawthorne's longer fiction are addressed in the stories-for example, the conflict between reason and emotion in the Gothic tales "Rappaccini's Daughter" and "The Birthmark" and between Puritan religion and the supernatural in "Young Goodman Brown." Also noteworthy are the title essay describing the parsonage and "Roger Malvin's Burial," a historical tale. The element of simple genius, the quality of imagination. That is the real charm of Hawthorne's writing-this purity and spontaneity and naturalness of fancy.

Love Letters of Nathaniel Hawthorne,( Volume 1) by Nathaniel Hawthorne has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

Love Letters of Nathaniel Hawthorne,( Volume 2) by Nathaniel Hawthorne has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

Passages from a Relinquished Work (From "Mosses from an Old Manse") by Nathaniel Hawthorne has been regarded as significant work throughout human history, and in order to ensure that this work is never lost, we have taken steps to ensure its preservation by republishing this book in a contemporary format for both current and future generations. This entire book has been retyped, redesigned, and reformatted. Since these books are not made from scanned copies, the text is readable and clear.

Una multitud de hombres barbudos, vestidos de colores sombríos y llevando sombreros grises puntiagudos como agujas de campanario, junto a algunas mujeres con capuchas sobre la cabeza y otras sin sombrero, estaba congregada frente a un edificio de madera cuya puerta era de grueso roble tachonado con clavos de hierro. Los fundadores de una nueva colonia, cualquiera que sea la utopía de felicidad y virtud humana que proyecten originariamente, se dan cuenta siempre de que una de sus primeras necesidades prácticas es la de demarcar dos lotes del suelo virgen, uno para el cementerio y otro para la cárcel. De acuerdo con esta regla, puede suponerse sin temor a equivocarse que los primitivos pobladores de Boston construyeron la primera cárcel en algún lugar cerca de Cornhill, casi al mismo tiempo que trazaron el primer cementerio en las tierras de Isaac Johnson, donde se encontraba su tumba, la que más tarde vino a ser el centro de todos los sepulcros congregados en el viejo cementerio de King¿s Chapel. Lo cierto es que, unos quince o veinte años después de la fundación de la colonia, el edificio de madera de la prisión ostentaba ya las huellas del tiempo y la intemperie, lo que daba un aspecto aún más sombrío a su ceñuda y tétrica fachada. El orín, en el metal de la imponente herradura de su puerta de roble, hacía que aparentase ser más antigua que cualquier otra cosa en el Nuevo Mundo. Como todo lo que tiene que ver con el delito, daba la impresión de no haber sido nueva jamás. Ante este deslucido edificio y entre él y las feas huellas de carreta de la calle, había un trozo de prado cubierto de bardana, cizaña y manzana de Perú, y de todo tipo de malezas que, evidentemente, encontraron buena tierra en aquel terreno que desde el principio sirvió para acoger a las negras flores de una sociedad civilizada: la prisión. Pero a un lado del portal, con las raíces hundidas casi en el mismo dintel, crecía un rosal silvestre cubierto, durante este mes de junio, de delicadas joyas que podría imaginarse ofrecían su fragancia y frágil belleza al prisionero que allí entraba, lo mismo que al criminal condenado por la justicia que de allí salía a cumplir con su sentencia, como un símbolo de que el insondable corazón de la naturaleza podía compadecerlo y ser bondadoso con él.

En mitad de una callejuela de una ciudad de Nueva Inglaterra, se alza una casa de madera, mohosa y carcomida, con siete puntiagudos, tejados, de cara a los diversos puntos de la rosa de los vientos, y, en el centro, una enorme chimenea. Un olmo de gigantesco tronco, conocido por toda la chiquillería por el nombre del «olmo de los Pyncheon», se yergue frente a la puerta. En mis visitas a dicha ciudad, rara vez dejo de recorrer la calle Pyncheon, para pasar junto a la sombra de estos dos restos antiguos: el olmo gigantesco y el edificio vetusto y maltratado por las inclemencias del tiempo. El aspecto de la venerable mansión siempre me ha afectado como si fuera un rostro humano: ostenta huellas, no sólo de las tempestades, del clima y del sol, sino también, y muy expresivas, del transcurso de la vida mortal y de las consiguientes vicisitudes ocurridas en su interior. Un relato de tales vicisitudes no carecería de interés ni sería poco instructivo; poseería, además, cierta unidad notable, que hasta pudiera parecer resultado de un «arreglo» artístico. Pero semejante historia habría de incluir una serie de acontecimientos desarrollados a lo largo de los siglos; y escrita con razonable amplitud, formaría un infolio mayor, o una serie de volúmenes en dozavo, más largos de lo que sería prudente añadir a los anales de Nueva Inglaterra.

The Paradise of Children, has been considered important throughout human history. In an effort to ensure that this work is never lost, we have taken steps to secure its preservation by republishing this book in a modern format for both current and future generations. This complete book has been retyped, redesigned, and reformatted. Since these books are not scans of the authors' original publications, the text is readable and clear.

"There could not be a more perfect work of the American imagination."-D. H. LawrenceIn colonial New England, beautiful, young Hester Pryne bears a child although her husband is presumed lost at sea. She refuses to name the father and is condemned to wear a scarlet "A" and live as an outcast. As she transforms the badge of shame into a symbol of freedom, Hawthorne's dramatic masterpiece envisions an authentic relation between the sexes-and a different way of imagining love, sin, and redemption-that can form the basis for America's radical project of a true democracy.

Bajo el pórtico de la quinta llamada Tanglewood, una hermosa mañana de otoño estaba reunido un alegre grupo de chiquillos, y en medio de ellos estaba en pie un joven alto. Habían proyectado una excursión para ir a coger nueces, y estaban esperando con impaciencia a que las nieblas se desvaneciesen en las vertientes de la montaña, y el sol derramase el calor del veranillo de San Martín sobre los campos y las praderas y en los escondrijos de los bosques. El día prometía ser de los más agradables que han regocijado nunca este hermoso y alegre mundo; pero la niebla de la mañana llenaba aún todo el valle, sobre el cual, en una altura de suave pendiente, se levantaba la quinta. La masa de vapor blanco se extendía hasta unas cien varas de la casa. Escondía por completo todo lo que hubiera más lejos, excepto unas cuantas copas de árboles, rojizas o amarillas, que surgían aquí y allí, y estaban glorificadas por el sol madrugador, ue también hacía brillar la ancha superficie de la niebla. Cuatro o cinco millas hacia el Sur se levantaba la cima de una montaña elevadísima. Quince millas más lejos, en la misma dirección, se alzaba otra mucho más alta, tan azul y etérea, que apenas parecía más sólida que el vaporoso mar de niebla que se extendía sobre ella. Las colinas más próximas, que bordeaban el valle, estaban medio sumergidas y manchadas con pequeñas guirnaldas de nubes, hasta en las mismas cimas. En resumen: había tanta nube y tan poca tierra sólida, que todo ello hacía el efecto de una visión.

American author Nathaniel Hawthorne wrote The House of the Seven Gables: A Romance, a Gothic romance, starting in the middle of 1850. Ticknor and Fields of Boston released it in April 1851. A New England family and their ancestral home are the subjects of the book. Hawthorne tackles themes of guilt, retaliation, and atonement throughout the book and imbues the narrative with allusions to the paranormal and witchcraft. The Turner-Ingersoll Mansion, a gabled home in Salem, Massachusetts, owned by Hawthorne's cousin Susanna Ingersoll, as well as Hawthorne's relatives who had participated in the Salem Witch Trials of 1692, served as inspiration for the setting of the book. The book was warmly appreciated when it was first published and afterward had a significant impact on H. P. Lovecraft's writing. The House of the Seven Gables has had numerous film and television adaptations. Although the narrative is set in the mid-19th century, there are flashbacks that take place in earlier decades that tell the story of the house's construction in the late 17th century. Free from the weight of the past, the protagonists leave the old house and begin a new life in the country.

À Boston, dans la NouvelleAngleterre puritaine du XVIIe siècle, Hester Prynne, jeune épouse d'un vieux savant anglais dont on est maintenant sans nouvelles, a commis le péché d'adultère et refuse de révéler le nom du père de son enfant. Elle est condamné à affronter la vindicte populaire sur le pilori, avec sa fille Pearl de trois mois, puis à porter, brodée sur sa poitrine, la lettre écarlate «A». Elle est bannie et condamnée à l'isolement. Le jour de son exhibition publique, son mari, un temps captif parmi les Indiens, la reconnait sur la place du Marché, s'introduit auprès d'elle en prison grâce à ses talents de médecin et lui fait promettre de ne pas révéler son retour. Il se jure de découvrir qui est le père afin de perdre l'âme de cet homme... Écrit en 1850, est considéré comme le premier chefd'oeuvre de la littérature américaine. Avec ce roman historique, Nathaniel Hawthorne a écrit un pamphlet contre le puritanisme, base de la société américaine de l'époque, à laquelle appartenaient ses ancêtres qui avaient participé à la chasse aux sorcières de 1692. Honteux de ce passé, Nathaniel Hathorne ira jusqu'à transformer l'orthographe de son nom en Hawthorne...

The Great Stone Face - and other tales of the White Mountains is an unchanged, high-quality reprint of the original edition of 1889.Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to the preservation of literature which has become rare and historical knowledge for the future.

An Old Woman's Tale and Other Writings has stories as mentioned below;An Old Woman's Tale;A Rill From The Town-Pump;Benjamin Franklin;Chippings With A Chisel;Circe's Palace;David Swan;Dr. Heidegger's Experiment & Drowne's Wooden Image.

The fourth and last of Nathaniel Hawthorne's four main romances is The Marble Faun: Or, The Romance of Monte Beni, also known in Britain as Transformation. Four primary characters-Miriam, Hilda, Kenyon, and Donatello-are the focus of this relationship.Miriam is a stunning painter who has no idea about her history. She is likened to several other women throughout the book, including Eve, Beatrice Cenci, Judith, and Cleopatra. A strange, menacing figure who is Miriam's "evil genius" throughout life is after her. Hilda is a good-hearted copycat. Both the Virgin Mary and the white dove are used to compare her. Despite having a soft heart, she may become stern due to her straightforward, unbending moral ideals. Hilda and Miriam are frequently compared.Kenyon is a sculptor who embodies humanist rationalism. He treasures his romantic attachment to Hilda. The Count of Monte Beni, Donatello, is in love with Miriam and is frequently likened to Adam. The marble Faun of Praxiteles by Donatello remarkably resembles it, and the story plays on the protagonists' suspicion that the Count could be a relative of the old Faun. However, even in the novel's final chapters and postscript, Hawthorne refrains from making a firm declaration.

The Scarlet Letter was one of the first mass-produced books in the United States. It was popular when first published and is considered a classic work of American literature. The novel has inspired numerous film, television, and stage adaptations. Critics have described The Scarlet Letter as a masterwork, and novelist D. H. Lawrence called it a "perfect work of the American imagination". The major theme of The Scarlet Letter is shaming and social stigma, as seen both in Prynne's public humiliation and in Dimmesdale's private shame and fear of exposure. Notably, their liaison is never spoken of, so the circumstances that led to Prynne's pregnancy never become part of the plot. Elmer Kennedy-Andrews remarks that Hawthorne in "The Custom-house" sets the context for his story and "tells us about 'romance', which is his preferred generic term to describe The Scarlet Letter, as his subtitle for the book - 'A Romance' - would indicate." In this introduction, Hawthorne describes a space between materialism and "dreaminess" that he calls "a neutral territory, somewhere between the real world and fairy-land, where the Actual and the Imaginary may meet, and each imbues itself with nature of the other". This combination of "dreaminess" and realism gave the author space to explore major themes.

The House of the Seven Gables: A Romance is a Gothic novel written beginning in mid-1850 by American author Nathaniel Hawthorne and published in April 1851 by Ticknor and Fields of Boston. The novel follows a New England family and their ancestral home. In the book, Hawthorne explores themes of guilt, retribution, and atonement, and colors the tale with suggestions of the supernatural and witchcraft. The setting for the book was inspired by the Turner-Ingersoll Mansion, a gabled house in Salem, Massachusetts, belonging to Hawthorne's cousin Susanna Ingersoll, as well as ancestors of Hawthorne who had played a part in the Salem Witch Trials of 1692. The book was well received upon publication and later had a strong influence on the work of H. P. Lovecraft. The House of the Seven Gables has been adapted several times to film and television.

Nathaniel Hawthorne, a writer from the United States, published The Blithedale Romance in 1852. It is the third significant "romance," as he described the genre. The setting is a utopian farming commune modeled after Brook Farm, where Hawthorne lived in 1841 and was a founder member. The clash between the principles of the commune and the members' personal desires and sexual rivalries is dramatized in the book. She promises Coverdale that she will finally get over it but that she has to leave Blithedale right away when she is feeling well. She wants Coverdale to tell Hollingsworth that he has "murdered" her and declares that she will become a nun. Coverdale dozes off under the rock when she departs. He goes to Hollingsworth's cottage when he wakes up at midnight and asks for help; when Silas Foster awakens, he is also asked to assist. Coverdale conveys his suspicion that Zenobia had committed herself by drowning after leading them to a familiar location by the river and considering her comments. Silas Foster notices that Hollingsworth physically injured her close to her heart when he hooked her body with a rod.

VINTAGE CLASSICS' AMERICAN GOTHIC SERIESSpine-tingling, mind-altering and deliciously atmospheric, journey into the dark side of America with nine of its most uncanny classics.Hester Prynne is a beautiful young woman. She is also an outcast. In the eyes of her neighbours she has committed an unforgivable sin. Everyone knows that her little daughter, Pearl, is the product of an illicit affair but no one knows the identity of Pearl's father. Hester's refusal to name him brings more condemnation upon her. But she stands strong in the face of public scorn, even when she is forced to wear the sign of her shame sewn onto her clothes: the scarlet letter 'A' for 'Adulteress'