By Ann Massa (eds.)
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Hawthorne repeatedly characterises Donatello as a dog, but the absurdity lessens as we discover that Donatello hounds Miriam as surely as her model does. She tells Hilda that she wishes he 'would not haunt my footsteps so continually' (18). Despite her numerous warnings that he should leave her alone, Donatello persists, declares his love and refuses to be driven off. As Donatello insists on the part of 'a faithful hound', compelled to follow - and to obey - his beloved mistress, Miriam is cast into the role of responsible keeper.
27. 28. 45 age/The heyday of the blood is tame, it's humble,/ And waits upon the judgement .. ' The journals and Miscellaneous Notebooks of Ralph Waldo Emerson, eds. William H. Gilman, George P. Clark, Alfred R. Ferguson, and Merrell R. : Belknap Press of Harvard University Press, 196~1978), 1, p. 22. Henceforth cited as journals. Evelyn Barish Greenberger, 'The Phoenix on the Wall: Consciousness in Emerson's Early and Late Journals', in Ralph Waldo Emerson, New Appraisals, A Symposium, ed. Leonard Nick Neufeldt (Hartford: Transcendental Books, 1973) pp.
American Declarations of Love Mrs. Sarah Josepha Hale, Flora's Interpreter (Boston: Marsh, Capen & Lyon, 1838) p. 205; Hale, p. 134 and Leach, p. 788. In 'The Custom House' Hawthorne defines the medium for romance writing as one which combines the warm light of a fire with the 'cold spirituality of the moonbeams', creating a place 'where the Actual and the Imaginary may meet, and each imbue itself with the nature of the other'. The Scarlet Letter, The Centenary Edition of the works of Nathaniel Hawthorne (Columbus: Ohio State University Press, 1962), I, pp.
American Declarations of Love by Ann Massa (eds.)