Reading the Bloody "Face of Nature": The Persecution of Religion in Hawthorne's The Marble Faun

Perhaps The Marble Faun is a novel which needs to be seen in a certain light to be fully revealed. Although Hawthorne has always had his admirers and defenders among literary critics, this novel has sometimes been selected for unfavorable comparison"; this 1941 assessment by Dorothy Waples (224) still aptly describes the critical terrain and the challenge of reading Hawthorne's last complete novel. In recent scholarship, Nancy Bentley's The Ethnography of Manners (1995) has been influential in marking The Marble Faun for continued unfavorable comparison. Geoffrey Sanborn (1998), in building a case for the postcolonial intelligence of Herman Melville, uses Bentley's argument about the novel's disregard for the "lower orders of creation" to set up Hawthorne as a representative of the typically blinkered "white male writers" against whose limitations Melville shines (18, 214n33). Hawthorne, especially in The Marble Faun, has become a kind of whipping boy for American literary history.

Be that as it may, my concern is not to establish Hawthorne's status as a victim of criticism, but rather to seek a recovery of what may be sacrificed in hasty dismissals of The Marble Faun. The present article proposes that this novel arrives at its greatest insights by a consideration of the dynamics of exclusionary violence as such. Henry James lamented the absence of "real psychology" in the novel, and Ludwig Lewisohn complained about its lack of "acceptable intellectual or moral content" (cited in Waples 1941, 224). Yet the novel's achievement may be seen to meet both these criteria, in part because it delivers an analysis of intellectual history as a history of mimetic sacrifice. In response to Waples's terms of challenge—the need for a certain light that reveals—I suggest that mimetic theory's reading of the Enlightenment allows the novel to disclose more critical historical intelligence than has generally been attributed to it.

This reading will focus on the interaction of three characters: the mysterious Miriam, the mysterious Donatello, and the even more mysterious figure known as the Model. In setting up the action of the narrative, the novel divulges little about the backgrounds of any of these characters but places them in a situation with a readily discernible structure: the relationships between the figures may be defined by the element of pursuit. Donatello follows Miriam wherever she goes. But he is not the only one who does so. The hazy figure of the Model likewise shadows Miriam. The Model's pursuit of Miriam may precede Donatello's, or the two pursuits may be somehow coeval; the novel refuses to specify either pursuit as original, focusing instead on the late-stage escalation of resentment between Donatello and the Model.

This mimetic pursuit culminates in the central violent event of the novel: Donatello, claiming authorization from Miriam's glance, hurls the Model from a precipice. I have argued elsewhere that when the protagonists thus decisively act to exclude the shadowy character known as the Model, they enact the foundational move of Enlightenment discourse and the ideal of Platonic dialogue upon which that discourse is based.¹ Michel Serres summarizes the Platonic-Enlightenment strategy of communicational purity and clarity:

To hold a dialogue is to suppose a third man and to seek to exclude him; a successful communication is the exclusion of the third man. The most profound dialectical problem is not the problem of the Other, who is only a variety—or a variation—of the Same, it is the problem of the third man. We might call this third man the demon, the prosopopeia of noise.

(1982, 67)

Miriam and Donatello, the united protagonists, indeed demonize the Model in these terms. What I would now add to that equation is the value of the Model's vocational identity: he is a Capuchin monk. Within the communicational framework of my earlier analysis, the most telling details were detected in Hawthorne's emphasis on the Model's "noisy" and "hazy" profile. In hurling the Model from the edge of the precipice and thus silencing his interruptions, Donatello secures for...