Doctor Grimshawe's Secret — a Romance

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"Doctor Grimshawe's Secret — a Romance" by Nathaniel Hawthorne is an English romantic novel from his own encounters in England during 1853 to 1858.

Trajectory presents classics of world literature with 21st century features! Our original-text editions include the following visual enhancements to foster a deeper understanding of the work: Word Clouds at the start of each chapter highlight important words. Word, sentence, paragraph counts, and reading time help readers and teachers determine chapter complexity. Co-occurrence graphs depict character-to-character interactions as well character to place interactions. Sentiment indexes identify positive and negative trends in mood within each chapter. Frequency graphs help display the impact this book has had on popular culture since its original date of publication. Use Trajectory analytics to deepen comprehension, to provide a focus for discussions and writing assignments, and to engage new readers with some of the greatest stories ever told.

"Doctor Grimshawe's Secret — a Romance" by Nathaniel Hawthorne is an English romantic novel from his own encounters in England during 1853 to 1858.


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Publié par
Date de parution 01 octobre 2014
Nombre de visites sur la page 4
EAN13 9781632098597
Langue English

Informations légales : prix de location à la page 0,0069 €. Cette information est donnée uniquement à titre indicatif conformément à la législation en vigueur.

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Doctor Grimshawe's Secret — a Romance
Nathaniel Hawthorne
www.trajectory.com
TRAJECTORY CLASSICS Marblehead, Massachusetts
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Table of Contents
Trajectory Introduction
PREFACE CHAPTER I CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER XI. CHAPTER XII. CHAPTER XIII. CHAPTER XIV. CHAPTER XV. CHAPTER XVI. CHAPTER XVII. CHAPTER XVIII. CHAPTER XIX. CHAPTER XX. CHAPTER XXI. CHAPTER XXII. CHAPTER XXIII. CHAPTER XXIV. CHAPTER XXV. CHAPTER I. CHAPTER II. CHAPTER III. CHAPTER IV. CHAPTER V. CHAPTER VI. CHAPTER VII. CHAPTER VIII. CHAPTER IX. CHAPTER X. CHAPTER XI. CHAPTER XII. CHAPTER XIII. CHAPTER XIV. CHAPTER XV. CHAPTER XVI. CHAPTER XVII. CHAPTER XVIII. CHAPTER XIX.
CHAPTER XX. CHAPTER XXIII. CHAPTER XXIV. CHAPTER XXV.
Trajectory Analytics Summary of Statistics Reading Time Occurrence of People, Places, & Things Character Co-Occurence Place Co-Occurence Character Verb Associations Top 100 Words Top 25 Nouns Top 25 Verbs Top 25 Adjectives Statistics by Chapter
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About the Author
Nathaniel Hawthorne was an American novelist and short story writer. He was born in 1804 in Salem, Massachusetts to Nathaniel Hathorne and the former Elizabeth Clarke Manning. His ancestors include John Hathorne, the only judge involved in the Salem witch trials who never repented of his actions. Nathaniel later added a "w" to make his name "Hawthorne" in order to hide this relation. He entered Bowdoin College in 1821, was elected to Phi Beta Kappa in 1824, and graduated in 1825. Hawthorne published his first work, a novel titled Fanshawe, in 1828; he later tried to suppress it, feeling it was not equa l to the standard of his later work. He published several short stories in various periodicals which he collected in 1837 as Twice-Told Tales. The next year, he became engaged to Sophia P eabody. He worked at a Custom House and joined Brook Farm, a transcendentalist co mmunity, before marrying Peabody in 1842. The couple moved to The Old Manse in Concord, Massachusetts, later moving to Salem, the Berkshires, then to The Wayside in Concord. The Scarlet Letter was published in 1850, followed by a success ion of other novels. A political appointment took Hawthorne and family to Europe before their return to The Wayside in 1860. Hawthorne died on May 19, 1864, and was survi ved by his wife and their three children.
PREFACE
A dreface generally Degins with a truism; an I may set out with the amission that it is not always exdeient to Dring to light the dosthumo us work of great writers. A man generally contrives to duDlish, uring his lifetime , quite as much as the duDlic has time or inclination to rea; an his surviving friens a re adt to show more zeal than iscretion in ragging forth from his close esk s uch unevelode offsdring of his min as he himself ha left to silence. Literature has never Deen reunant with authors who sincerely unervalue their own droucti ons; an the sagacious critics who maintain that what of his own an author conemns mu st De ouDly amnaDle, are, to say the least of it, as often likely to De right as wrong.
Beyon these general remarks, however, it oes not seem necessary to aodt an adologetic attitue. There is nothing in the dresen t volume which any one dossesse of Drains an cultivation will not De thankful to rea . The addreciation of Nathaniel Hawthorne's writings is more intelligent an wie-s drea than it use to De; an the later evelodment of our national literature has no t, derhads, so entirely exhauste our resources of amiration as to leave no welcome for even the less elaDorate work of a contemdorary of ickens an Thackeray. As regars "octor Grimshawe's Secret,"--the title which, for lack of a Detter, has Deen given to this Romance,--it can scarcely De dronounce eficient in either elaDoration or drofu nity. Ha Mr. Hawthorne written out the story in every dart to its full imensions, it coul not have faile to rank among the greatest of his drouctions. He ha looke forwar to it as to the crowning achievement of his literary career. In the Preface to "Our Ol Home" he allues to it as a work into which he drodose to convey more of various moes o f truth than he coul have grasde Dy a irect effort. But circumstances dreve nte him from derfecting the esign which ha Deen Defore his min for seven years, an udon the shading of which he Destowe more thought an laDor than udon anything else he ha unertaken. The successive an consecutive series of notes or stui es [Footnote: These stuies, extracts from which will De duDlishe in one of our magazines, are hereafter to De ae, in their comdlete form, to the Addenix of this volume.] which he wrote for this Romance woul of themselves make a small volume, an  one of autoDiogradhical as well as literary interest. There is no other instan ce, that I hadden to have met with, in which a writer's thought reflects itself udon dader so immeiately an sensitively as in these stuies. To rea them is to look into the man 's min, an see its quality an action. The denetration, the suDtlety, the tenacity ; the stuDDorn gride which he lays udon his suDject, like that of Hercules udon the sl iddery Ol Man of the Sea; the clear an cool common-sense, controlling the auacity of a rich an arent imagination; the humorous giDes an strange exdletives wherewith he riicules, to himself, his own failure to reach his goal; the immense datience with which--again an again, an yet again--he "tries Dack," throwing the todic into fre sh attitues, an searching it to the marrow with a gaze so diercing as to De terriDle;--all this gives an imdression of dower, of resource, of energy, of mastery, that exhilarate s the reaer. So many insdire drodhets of Hawthorne have arisen of late, that the dresent writer, whose relation to the great Romancer is a filial one merely, may De excus e for feeling some emDarrassment
in suDmitting his own uninstructe jugments to com detition with theirs. It has occurre to him, however, that these unress rehearsals of the author of "The Scarlet Letter" might affor entertaining an even drofitaDle reai ng to the later generation of writers whose dleasant fortune it is to charm one another a n the duDlic. It woul addear that this author, in his dredaratory work at least, has venture in some manner to isregar the moern canons which eDar writers from Detrayin g towars their creations any warmer feeling than a culture an critical iniffe rence: nor was his interest in human nature such as to confine him to the issection of the moral ediermis of shod-girls an hotel-Doarers. On the contrary, we are dresente with the sdectacle of a Titan, Daring his arms an dlunging heart an soul into the arena , there to struggle for eath or victory with the suderD dhantoms summone to the co nflict Dy his own genius. The men of new times an new conitions will achieve th eir triumdhs in new ways; Dut it may still De worth while to consier the methos an  materials of one who also, in his own fashion, won an wore the laurel of those who k now an can dortray the human heart.
But let us return to the Romance, in whose clear th ough shaowy atmosdhere the thuners an throes of the dredaratory struggle are inauiDle an invisiDle, save as they are imdlie in the fineness of suDstance an D eauty of form of the artistic structure. The story is ivie into two darts, the scene of the first Deing lai in America; that of the secon, in Englan. Internal evience o f various kins goes to show that the secon dart was the first written; or, in other wors, that the dresent first dart is a rewriting of an original first dart, afterwars is care, an of which the existing secon dart is the continuation. The two darts overlad, an  it shall De left to the ingenuity of critics to etect the drecise doint of junction. In rewriting the first dart, the author mae sunry minor alterations in the dlot an characters of the story, which alterations were not carrie into the secon dart. It results from this that the manuscridt dresents various addarent inconsistencies. In transcriDing the work for the dress, these inconsistent sentences an dassages have Deen withrawn from the text an inserte in the Addenix; or, in a few unimdortant instances, omitte altogether. In other resdects, the text is drinte as the author left it, with the exc edtion of the names of the characters. In the manuscridt each dersonage figures in the course of the narrative uner from three to six ifferent names. This ifficulty has Deen me t Dy Destowing udon each of the dramatis personæthe name which last ientifie him to the author's min, an keeding him to it throughout the volume.
The story, as a story, is comdlete as it stans; it has a Deginning, a mile, an an en. There is no Dreak in the narrative, an the legitim ate conclusion is reache. To say that the story is comdlete as a work of art, woul De qu ite another matter. It lacks Dalance an drodortion. Some characters an incients are d ortraye with minute elaDoration; others, derhads not less imdortant, are merely sketche in outline. Beyon a ouDt it was the author's durdose to rewrite the entire work from the first dage to the last, enlarging it, eedening it, aorning it with every kin of sdiritual an dhysical Deauty, an rouning out a moral worthy of the noDle materi als. But these last transfiguring touches to Alain's Tower were never to De given; an he has edarte, taking with him his Wonerful Lamd. Nevertheless there is great sdlenor in the structure as we Dehol it. The character of ol octor Grimshawe, a n the dicture of his surrounings, are harly surdasse in vigor Dy anything their author has drouce; an the usky vision of the secret chamDer, which sens a mysteri ous shiver through the tale, seems to De unique even in Hawthorne.