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 wall-flowers, need ruin to make them
grow."

Now, what is to be understood from this passage? It assumes, in the first
place, that a work of art, in order to be effective, must contain profound
contrasts of light and shadow; and then it points out that the shadow, at
least, is found ready to the hand in Europe. There is no hint of patriotic
scruples as to availing one's self of such a "picturesque and gloomy"
background; if it is to be had, then let it be taken; the main object to
be considered is the work of art. Europe, in short, afforded an excellent
quarry, from which, in Hawthorne's opinion, the American novelist might
obtain materials which are conspicuously deficient in his own country, and
which that country is all the better for not possessing. In the "Marble
Faun" the author had conceived a certain idea, and he considered that he
had been not unsuccessful in realizing it. The subject was new, and full
of especial attractions to his genius, and it would manifestly have been
impossible to adapt it to an American setting. There was one drawback
connected with it, and this Hawthorne did not fail to recognize. He
remarks in the preface that he had "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." But he was careful not to attempt "a portraiture of Italian
manners and character." He made use of the Italian scenery and atmosphere
just so far as was essential to the development of his idea, and
consistent with the extent of his Italian knowledge; and, for the rest,
fell back upon American characters and principles. The result has been
long enough before the world to have met with a proper appreciation. I