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WITHIN recent years two critics, publishing articles analyzing portions of Hawthorne's work, have placed the New England novelist in the main current of the romantic tradition. Roy R. Male writes, "Hawthorne did ... fully accept the basic assumption of Romanticism-a deeply grounded belief in organicism, with its resultant emphasis upon symbolism, psycho-physical parallels, and the Unconscious."' and R. H. Fogle says, "It ["The Artist of the Beautiful"] is a Romantic apologia for the artist...."2 Further he states, "in 'The Artist of the Beautiful' Hawthorne expounds the fundamental ethic, metaphysic, psychology, and aesthetic of English Romanticism. The antithesis ideal-material, time-eternity, understandingimagination, and mechanical-organic are pervasively present in all the great Romantic poets."3 In a later article Fogle writes: "It is appropriate to point out the importance in The Marble Faun of an 'organic' theory of art, which extends in its application into all other problems. In every discussion of painting and sculpture the individual work is judged according to the degree in which it possesses a unifying life and light. The meritless work, or the falsely fine ... is empty technique, mere copy, dead mass."4 Both writers are careful to point out that their work on Hawthorne's art and the concept of sympathy is intended to be suggestive rather than definitive,5 and Fogle emphasizes that in order to clarify Hawthorne's kinship with English Romanti |
