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Αποσπάσματα από το «Βρύα από το παλιό αρχοντικό»

Σελίδες από το «Βρύα από το παλιό αρχοντικό» που στέκονται μόνες τους, διαλεγμένες για το πώς διαβάζονται σήμερα. Το κείμενο ανήκει στο κοινό κτήμα.

Όταν το δάσος γίνεται τόπος λατρείας, τι σημαίνει αυτό για την πίστη;

In the interval of silence he stole forward until the light glared full upon his eyes. At one extremity of an open space, hemmed in by the dark wall of the forest, arose a rock, bearing some rude, natural resemblance either to an altar or a pulpit, and surrounded by four blazing pines, their tops aflame, their stems untouched, like candles at an evening meeting. The mass of foliage that had overgrown the summit of the rock was all on fire, blazing high into the night and fitfully illuminating the whole field. Each pendent twig and leafy festoon was in a blaze. As the red light arose and fell, a numerous congregation alternately shone forth, then disappeared in shadow, and again grew, as it were, out of the darkness, peopling the heart of the solitary woods at once.
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

Χρειάζεται η ιδιοφυΐα την ηθική σήψη ή τρέφεται η μεγάλη τέχνη από την εσωτερική σύγκρουση;

The tree lay along the ground, and was wholly converted into a mass of diseased splendor, which threw a ghastliness around. Being full of conceits that night, I called it a frigid fire, a funeral light, illumining decay and death, an emblem of fame that gleams around the dead man without warming him, or of genius when it owes its brilliancy to moral rottenness, and was thinking that such ghostlike torches were just fit to light up this dead forest or to blaze coldly in tombs, when, starting from my abstraction, I looked up the canal. I recollected myself, and discovered the lanterns glimmering far away.
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

Η ομορφιά της ακμής, με τη γνώση πως δεν θα κρατήσει.

Did I say that there was no feeling like it? Ah, but there is a half-acknowledged melancholy like to this when we stand in the perfected vigor of our life and feel that Time has now given us all his flowers, and that the next work of his never-idle fingers must be to steal them one by one away.
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

Πώς μια ξαφνική ακουστική ψευδαίσθηση φανερώνει τα μυστικά του γνώριμου τοπίου;

While he still gazed upward into the deep arch of the firmament and had lifted his hands to pray, a cloud, though no wind was stirring, hurried across the zenith and hid the brightening stars. The blue sky was still visible, except directly overhead, where this black mass of cloud was sweeping swiftly northward. Aloft in the air, as if from the depths of the cloud, came a confused and doubtful sound of voices. Once the listener fancied that he could distinguish the accents of towns-people of his own, men and women, both pious and ungodly, many of whom he had met at the communion table, and had seen others rioting at the tavern. The next moment, so indistinct were the sounds, he doubted whether he had heard aught but the murmur of the old forest, whispering without a wind.
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

Ο μοναχικός αγώνας του οραματιστή να μείνει πιστός στις ιδέες του, όταν ο κόσμος απαιτεί συμβιβασμό.

Thus it is that ideas, which grow up within the imagination and appear so lovely to it and of a value beyond whatever men call valuable, are exposed to be shattered and annihilated by contact with the practical. It is requisite for the ideal artist to possess a force of character that seems hardly compatible with its delicacy; he must keep his faith in himself while the incredulous world assails him with its utter disbelief; he must stand up against mankind and be his own sole disciple, both as respects his genius and the objects to which it is directed.
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

Κι αν ένα δωμάτιο φύλαγε όλη την ομορφιά που σκορπά η φύση στον κόσμο;

To divert the minds of his guests, who were considerably abashed by this little incident, the Man of Fancy led them through several apartments of the castle, receiving their compliments upon the taste and varied magnificence that were displayed in each. One of these rooms was filled with moonlight, which did not enter through the window, but was the aggregate of all the moonshine that is scattered around the earth on a summer night while no eyes are awake to enjoy its beauty. Airy spirits had gathered it up, wherever they found it gleaming on the broad bosom of a lake, or silvering the meanders of a stream, or glimmering among the wind-stirred boughs of a wood, and had garnered it in this one spacious hall.
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

Όταν η ομορφιά σε μεθά και η έλξη σε παρασύρει, γεννιέται βεβαιότητα από τον πόθο;

A fervor glowed in her whole aspect and beamed upon Giovanni’s consciousness like the light of truth itself; but while she spoke there was a fragrance in the atmosphere around her, rich and delightful, though evanescent, yet which the young man, from an indefinable reluctance, scarcely dared to draw into his lungs. It might be the odor of the flowers. Could it be Beatrice’s breath which thus embalmed her words with a strange richness, as if by steeping them in her heart? A faintness passed like a shadow over Giovanni and flitted away; he seemed to gaze through the beautiful girl’s eyes into her transparent soul, and felt no more doubt or fear.
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

Η ανεπαίσθητη, όμορφη αγωνία καθώς βλέπεις τον χρόνο να γέρνει προς τη φθορά.

If ever my readers should decide to give up civilized life, cities, houses, and whatever moral or material enormities in addition to these the perverted ingenuity of our race has contrived, let it be in the early autumn. Then Nature will love him better than at any other season, and will take him to her bosom with a more motherly tenderness. I could scarcely endure the roof of the old house above me in those first autumnal days. How early in the summer, too, the prophecy of autumn comes! Earlier in some years than in others; sometimes even in the first weeks of July. There is no other feeling like what is caused by this faint, doubtful, yet real perception—if it be not rather a foreboding—of the year’s decay, so blessedly sweet and sad in the same breath.
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

Μια ήσυχη διαμαρτυρία για έναν αποστειρωμένο κόσμο που θυσιάζει την ομορφιά για την ευκολία.

These barren and tedious eccentricities are all that the air-tight stove can bestow in exchange for the invaluable moral influences which we have lost by our desertion of the open fireplace. Alas! is this world so very bright that we can afford to choke up such a domestic fountain of gladsomeness, and sit down by its darkened source without being conscious of a gloom?
— Βρύα από το παλιό αρχοντικό, Nathaniel Hawthorne (1840)

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