<영어로 읽는 고전 _ 나다니엘 호손의 대리석 목양신, 몬테베니의 로맨스 2>
"The Marble Faun, or The Romance of Monte Beni"는 Nathaniel Hawthorne이 쓴 소설로 1860년에 처음 출판되었다.
소설은 미리암(Miriam), 힐다(Hilda), 케년(Kenyon), 도나텔로(Donatello)를 포함하여 로마에 거주하는 미국 국외 거주자 그룹의 삶을 다루고 있다. 중심 인물인 도나텔로는 이야기의 핵심 미스터리와 비극의 초점이 되는 젊은 이탈리아 귀족이다.
이야기가 전개되면서 등장인물들은 정체성, 도덕성, 죄의 본질에 대한 질문을 하게 된다. 도나텔로가 목양신상과 닮았다는 사실은 그의 진정한 본성과 그의 과거에 어두운 비밀이 있을 가능성에 대한 추측으로 이어진다. 소설은 죄책감, 구원, 삶의 의미 탐색이라는 주제를 탐구하고 있다.
"The Marble Faun"은 이탈리아의 풍경과 기념물을 연상시키는 묘사뿐 아니라 유럽의 구세계와 미국의 신세계 사이의 대조를 탐구하는 것으로 유명하다. 소설은 또한 예술과 창의성이라는 주제를 탐구하며, 예술가이자 작가인 캐릭터가 영감과 예술적 표현에 대한 질문을 놓고 씨름하고 있다.
호손의 "대리석 목양신(The Marble Faun)" 산문은 풍부한 상징성, 심리적 깊이, 도덕적 복잡성이 특징이다. 이 소설은 독자들에게 인간 상태와 선과 악 사이의 영원한 투쟁에 대한 설득력 있고 생각을 자극하는 탐구를 제공해 준다.


"The Marble Faun, or The Romance of Monte Beni" is a novel written by Nathaniel Hawthorne and first published in 1860.
The novel covers the lives of a group of American expats living in Rome, including Miriam, Hilda, Kenyon, and Donatello. The central character, Donatello, is a young Italian nobleman who is the focus of the story's central mystery and tragedy.
As the story unfolds, the characters ask questions about identity, morality, and the nature of sin. Donatello's resemblance to the shepherd statue leads to speculation about his true nature and the possibility of dark secrets in his past. The novel explores themes of guilt, redemption, and the search for meaning in life.
"The Marble Faun" is notable for its evocative depictions of Italian landscapes and monuments, as well as its exploration of the contrast between the Old World in Europe and the New World in America. The novel also explores themes of art and creativity, with the character, an artist and writer, wrestling with questions of inspiration and artistic expression.
Hawthorne's "The Marble Faun" prose is characterized by rich symbolism, psychological depth, and moral complexity. The novel provides readers with a compelling and thought-provoking exploration of the human condition and the eternal struggle between good and evil.



Summary
It was in June that the sculptor, Kenyon, arrived on horseback at the gate of an ancient country house (which, from some of its features, might almost be called a castle) situated in a part of Tuscany somewhat remote from the ordinary track of tourists. Thither we must now accompany him, and endeavor to make our story flow onward, like a streamlet, past a gray tower that rises on the hillside, overlooking a spacious valley, which is set in the grand framework of the Apennines.

Contents
CHAPTER XXIV. THE TOWER AMONG THE APENNINES
CHAPTER XXV. SUNSHINE
CHAPTER XXVI. THE PEDIGREE OF MONTE BENI
CHAPTER XXVII. MYTHS
CHAPTER XXVIII. THE OWL TOWER
CHAPTER XXIX. ON THE BATTLEMENTS
CHAPTER XXX. DONATELLO’S BUST
CHAPTER XXXI. THE MARBLE SALOON
CHAPTER XXXII. SCENES BY THE WAY
CHAPTER XXXIII. PICTURED WINDOWS
CHAPTER XXXIV. MARKET-DAY IN PERUGIA
CHAPTER XXXV. THE BRONZE PONTIFF’S BENEDICTION
CHAPTER XXXVI. HILDA’S TOWER
CHAPTER XXXVII. THE EMPTINESS OF PICTURE GALLERIES
CHAPTER XXXVIII. ALTARS AND INCENSE
CHAPTER XXXIX. THE WORLD’S CATHEDRAL
CHAPTER XL. HILDA AND A FRIEND
CHAPTER XLI. SNOWDROPS AND MAIDENLY DELIGHTS
CHAPTER XLII. REMINISCENCES OF MIRIAM
CHAPTER XLIII. THE EXTINCTION OF A LAMP
CHAPTER XLIV. THE DESERTED SHRINE
CHAPTER XLV. THE FLIGHT OF HILDA’S DOVES
CHAPTER XLVI. A WALK ON THE CAMPAGNA
CHAPTER XLVII. THE PEASANT AND CONTADINA
CHAPTER XLVIII. A SCENE IN THE CORSO
CHAPTER XLIX. A FROLIC OF THE CARNIVAL
CHAPTER L. MIRIAM, HILDA, KENYON, DONATELLO