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Hawthorne's very definition of his genre8 insists upon 32 American Declarations of Love the mixture of these lights; so too does his definition of human life and love. Unlike Kenyon, Hawthorne had little difficulty accepting the mixed nature of his own love for his 'dove', Sophia: True it is, that I never look heavenward without thinking of you, and I doubt whether it would much surprise me to catch a glimpse of you among those upper regions. Then would all that is spiritual within me so yearn towards you, that I should leave my earthly incumbrances behind, and float upward and embrace you in the heavenly sunshine.
11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 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.
To the sculptor's celestially clear vision, the wedding/sacrifice is complete. The entire cast has been fitted into a script of purity. Hawthorne addresses the error of constructing such a text in a lengthy authorial intrusion in which he reminds us that our knowledge of evil in the world often 'takes substance and reality from the sin of some guide, whom we have deeply trusted and revered, or some friend whom we have dearly loved'. This knowledge and the confusion it brings occur because we have invested this person with an unduly elevated status, 'that one friend being to us the symbol and representative of whatever is good and true'.