Натаниэль Готорн цитаты

Натаниэль Готорн фото
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Натаниэль Готорн

Дата рождения: 4. Июль 1804
Дата смерти: 19. Май 1864

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Натаниэль Го́торн — один из первых и наиболее общепризнанных мастеров американской литературы. Он внёс большой вклад в становление жанра рассказа и обогатил литературу романтизма введением элементов аллегории и символизма. Отец Джулиана Готорна.

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Цитаты Натаниэль Готорн

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„I have not lived, but only dreamed about living.“

—  Nathaniel Hawthorne
Letter to Henry Wadsworth Longfellow (4 June 1837)

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„Easy reading is damn hard writing.“

—  Nathaniel Hawthorne
Also attributed to Ernest Hemingway and others; the earliest definite occurrence of this yet found in research for Wikiquote is by Maya Angelou, who stated it in Conversations With Maya Angelou (1989) edited by Jeffrey M. Elliot:

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„Many writers lay very great stress upon some definite moral purpose, at which they profess to aim their works.“

—  Nathaniel Hawthorne
Context: Many writers lay very great stress upon some definite moral purpose, at which they profess to aim their works. Not to be deficient in this particular, the author has provided himself with a moral, — the truth, namely, that the wrong-doing of one generation lives into the successive ones, and, divesting itself of every temporary advantage, becomes a pure and uncontrollable mischief; and he would feel it a singular gratification if this romance might effectually convince mankind — or, indeed, any one man — of the folly of tumbling down an avalanche of ill-gotten gold, or real estate, on the heads of an unfortunate posterity, thereby to maim and crush them, until the accumulated mass shall be scattered abroad in its original atoms. In good faith, however, he is not sufficiently imaginative to flatter himself with the slightest hope of this kind. When romances do really teach anything, or produce any effective operation, it is usually through a far more subtile process than the ostensible one. The author has considered it hardly worth his while, therefore, relentlessly to impale the story with its moral as with an iron rod, — or, rather, as by sticking a pin through a butterfly, — thus at once depriving it of life, and causing it to stiffen in an ungainly and unnatural attitude. A high truth, indeed, fairly, finely, and skilfully wrought out, brightening at every step, and crowning the final development of a work of fiction, may add an artistic glory, but is never any truer, and seldom any more evident, at the last page than at the first. Preface

„Let us forget the other names of American statesmen, that have been stamped upon these hills, but still call the loftiest — WASHINGTON.“

—  Nathaniel Hawthorne
Context: Let us forget the other names of American statesmen, that have been stamped upon these hills, but still call the loftiest — WASHINGTON. Mountains are Earth's undecaying monuments. They must stand while she endures, and never should be consecrated to the mere great men of their own age and country, but to the mighty ones alone, whose glory is universal, and whom all time will render illustrious. "Sketches from Memory": The Notch of the White Mountains (1835)

„Halfway down a by-street of one of our New England towns stands a rusty wooden house, with seven acutely peaked gables, facing towards various points of the compass, and a huge, clustered chimney in the midst.“

—  Nathaniel Hawthorne
Context: Halfway down a by-street of one of our New England towns stands a rusty wooden house, with seven acutely peaked gables, facing towards various points of the compass, and a huge, clustered chimney in the midst. The street is Pyncheon Street; the house is the old Pyncheon House; and an elm-tree, of wide circumference, rooted before the door, is familiar to every town-born child by the title of the Pyncheon Elm. Ch. I : The Old Pyncheon Family

„A high truth, indeed, fairly, finely, and skilfully wrought out, brightening at every step, and crowning the final development of a work of fiction, may add an artistic glory, but is never any truer, and seldom any more evident, at the last page than at the first.“

—  Nathaniel Hawthorne
Context: Many writers lay very great stress upon some definite moral purpose, at which they profess to aim their works. Not to be deficient in this particular, the author has provided himself with a moral, — the truth, namely, that the wrong-doing of one generation lives into the successive ones, and, divesting itself of every temporary advantage, becomes a pure and uncontrollable mischief; and he would feel it a singular gratification if this romance might effectually convince mankind — or, indeed, any one man — of the folly of tumbling down an avalanche of ill-gotten gold, or real estate, on the heads of an unfortunate posterity, thereby to maim and crush them, until the accumulated mass shall be scattered abroad in its original atoms. In good faith, however, he is not sufficiently imaginative to flatter himself with the slightest hope of this kind. When romances do really teach anything, or produce any effective operation, it is usually through a far more subtile process than the ostensible one. The author has considered it hardly worth his while, therefore, relentlessly to impale the story with its moral as with an iron rod, — or, rather, as by sticking a pin through a butterfly, — thus at once depriving it of life, and causing it to stiffen in an ungainly and unnatural attitude. A high truth, indeed, fairly, finely, and skilfully wrought out, brightening at every step, and crowning the final development of a work of fiction, may add an artistic glory, but is never any truer, and seldom any more evident, at the last page than at the first. Preface

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