<영어로 읽는 고전 _ 나다니엘 호손의 대리석 목양신, 몬테베니의 로맨스 1>
"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
Four individuals, in whose fortunes we should be glad to interest the reader, happened to be standing in one of the saloons of the sculpture-gallery in the Capitol at Rome. It was that room (the first, after ascending the staircase) in the centre of which reclines the noble and most pathetic figure of the Dying Gladiator, just sinking into his death-swoon. Around the walls stand the Antinous, the Amazon, the Lycian Apollo, the Juno; all famous productions of antique sculpture, and still shining in the undiminished majesty and beauty of their ideal life, although the marble that embodies them is yellow with time, and perhaps corroded by the damp earth in which they lay buried for centuries. Here, likewise, is seen a symbol (as apt at this moment as it was two thousand years ago) of the Human Soul, with its choice of Innocence or Evil close at hand, in the pretty figure of a child, clasping a dove to her bosom, but assaulted by a snake.

Contents
CHAPTER I. MIRIAM, HILDA, KENYON, DONATELLO
CHAPTER II. THE FAUN
CHAPTER III. SUBTERRANEAN REMINISCENCES
CHAPTER IV. THE SPECTRE OF THE CATACOMB
CHAPTER V. MIRIAM’S STUDIO
CHAPTER VI. THE VIRGIN’S SHRINE
CHAPTER VII. BEATRICE
CHAPTER VIII. THE SUBURBAN VILLA
CHAPTER IX. THE FAUN AND NYMPH
CHAPTER X. THE SYLVAN DANCE
CHAPTER XI. FRAGMENTARY SENTENCES
CHAPTER XII. A STROLL ON THE PINCIAN
CHAPTER XIII. A SCULPTOR’S STUDIO
CHAPTER XIV. CLEOPATRA
CHAPTER XV. AN AESTHETIC COMPANY
CHAPTER XVI. A MOONLIGHT RAMBLE
CHAPTER XVII. MIRIAM’S TROUBLE
CHAPTER XVIII. ON THE EDGE OF A PRECIPICE
CHAPTER XIX. THE FAUN’S TRANSFORMATION
CHAPTER XX. THE BURIAL CHANT
CHAPTER XXI. THE DEAD CAPUCHIN
CHAPTER XXII. THE MEDICI GARDENS
CHAPTER XXIII. MIRIAM AND HILDA