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The House of the Seven Gables (Enriched Classics)
 
 
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The House of the Seven Gables (Enriched Classics) [Englisch] [Taschenbuch]

Nathaniel Hawthorne
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Produktinformation

  • Taschenbuch: 432 Seiten
  • Verlag: Simon & Schuster (19. Juni 2007)
  • Sprache: Englisch
  • ISBN-10: 1416534776
  • ISBN-13: 978-1416534778
  • Größe und/oder Gewicht: 17,3 x 14 x 3 cm
  • Durchschnittliche Kundenbewertung: 5.0 von 5 Sternen  Alle Rezensionen anzeigen (1 Kundenrezension)
  • Amazon Bestseller-Rang: Nr. 29.861 in Englische Bücher (Siehe Top 100 in Englische Bücher)
  • Komplettes Inhaltsverzeichnis ansehen

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Nathaniel Hawthorne
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Produktbeschreibungen

Kurzbeschreibung

Enduring Literature Illuminated By Practical Scholarship

The story of the Pyncheon family, residents of an evil house cursed by the victim of their ancestor's witch hunt and haunted by the ghosts of many generations.

This Enriched Classic Edition Includes:

  • A concise introduction that gives the reader important background information
  • A chronology of the author's life and work
  • A timeline of significant events that provides the book's historical context
  • An outline of key themes and plot points to guide the reader's own interpretations
  • Detailed explanatory notes
  • Critical analysis, including contemporary and modern perspectives on the work
  • Discussion questions to promote lively classroom and book group interaction
  • A list of recommended related books and films to broaden the reader's experience

Enriched Classics offer readers affordable editions of great works of literature enhanced by helpful notes and insightful commentary. The scholarship provided in Enriched Classics enables readers to appreciate, understand, and enjoy the world's finest books to their full potential.

Leseprobe. Abdruck erfolgt mit freundlicher Genehmigung der Rechteinhaber. Alle Rechte vorbehalten.

Chapter One: The Old Pyncheon Family

Halfway down a bystreet of one of our New England towns stands a rusty wooden house, with seven acutely peaked gables,1 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. On my occasional visits to the town aforesaid, I seldom failed to turn down Pyncheon Street, for the sake of passing through the shadow of these two antiquities -- the great elm tree and the weather-beaten edifice.

The aspect of the venerable mansion has always affected me like a human countenance, bearing the traces not merely of outward storm and sunshine, but expressive, also, of the long lapse of mortal life, and accompanying vicissitudes that have passed within. Were these to be worthily recounted, they would form a narrative of no small interest and instruction, and possessing, moreover, a certain remarkable unity, which might almost seem the result of artistic arrangement. But the story would include a chain of events extending over the better part of two centuries, and, written out with reasonable amplitude, would fill a bigger folio volume, or a longer series of duodecimos, than could prudently be appropriated to the annals of all New England during a similar period. It consequently becomes imperative to make short work with most of the traditionary lore of which the old Pyncheon House, otherwise known as the House of the Seven Gables, has been the theme. With a brief sketch, therefore, of the circumstances amid which the foundation of the house was laid, and a rapid glimpse at its quaint exterior, as it grew black in the prevalent east wind -- pointing, too, here and there, at some spot of more verdant mossiness on its roof and walls -- we shall commence the real action of our tale at an epoch not very remote from the present day. Still, there will be a connection with the long past -- a reference to forgotten events and personages, and to manners, feelings, and opinions, almost or wholly obsolete -- which, if adequately translated to the reader, would serve to illustrate how much of old material goes to make up the freshest novelty of human life. Hence, too, might be drawn a weighty lesson from the little-regarded truth that the act of the passing generation is the germ which may and must produce good or evil fruit in a far-distant time; that together with the seed of the merely temporary crop, which mortals term expediency, they inevitably sow the acorns of a more enduring growth, which may darkly overshadow their posterity.

The House of the Seven Gables, antique as it now looks, was not the first habitation erected by civilized man on precisely the same spot of ground. Pyncheon Street formerly bore the humbler appellation of Maule's Lane, from the name of the original occupant of the soil, before whose cottage door it was a cowpath. A natural spring of soft and pleasant water -- a rare treasure on the sea-girt peninsula, where the Puritan settlement was made -- had early induced Matthew Maule to build a hut, shaggy with thatch, at this point, although somewhat too remote from what was then the center of the village. In the growth of the town, however, after some thirty or forty years, the site covered by this rude hovel had become exceedingly desirable in the eyes of a prominent and powerful personage, who asserted plausible claims to the proprietorship of this, and a large adjacent tract of land, on the strength of a grant from the legislature. Colonel Pyncheon, the claimant, as we gather from whatever traits of him are preserved, was characterized by an iron energy of purpose. Matthew Maule, on the other hand, though an obscure man, was stubborn in the defense of what he considered his right; and, for several years, he succeeded in protecting the acre or two of earth which, with his own toil, he had hewn out of the primeval forest, to be his garden ground and homestead. No written record of this dispute is known to be in existence. Our acquaintance with the whole subject is derived chiefly from tradition. It would be bold, therefore, and possibly unjust, to venture a decisive opinion as to its merits; although it appears to have been at least a matter of doubt whether Colonel Pyncheon's claim were not unduly stretched, in order to make it cover the small metes and bounds of Matthew Maule. What greatly strengthens such a suspicion is the fact that this controversy between two ill-matched antagonists -- at a period, moreover, laud it as we may, when personal influence had far more weight than now -- remained for years undecided, and came to a close only with the death of the party occupying the disputed soil. The mode of his death, too, affects the mind differently, in our day, from what it did a century and a half ago. It was a death that blasted with strange horror the humble name of the dweller in the cottage, and made it seem almost a religious act to drive the plow over the little area of his habitation, and obliterate his place and memory from among men.

Old Matthew Maule, in a word, was executed for the crime of witchcraft. He was one of the martyrs to that terrible delusion,2 which should teach us, among its other morals, that the influential classes, and those who take upon themselves to be leaders of the people, are fully liable to all the passionate error that has ever characterized the maddest mob. Clergymen, judges, statesmen -- the wisest, calmest, holiest persons of their day -- stood in the inner circle round about the gallows, loudest to applaud the work of blood, latest to confess themselves miserably deceived. If any one part of their proceedings can be said to deserve less blame than another, it was the singular indiscrimination with which they persecuted not merely the poor and aged, as in former judicial massacres, but people of all ranks; their own equals, brethren, and wives. Amid the disorder of such various ruin, it is not strange that a man of inconsiderable note, like Maule, should have trodden the martyr's path to the hill of execution almost unremarked in the throng of his fellow sufferers. But, in after days, when the frenzy of that hideous epoch had subsided, it was remembered how loudly Colonel Pyncheon had joined in the general cry, to purge the land from witchcraft; nor did it fail to be whispered that there was an invidious acrimony in the zeal with which he had sought the condemnation of Matthew Maule. It was well known that the victim had recognized the bitterness of personal enmity in his prosecutor's conduct towards him, and that he declared himself hunted to death for his spoil. At the moment of execution -- with the halter about his neck, and while Colonel Pyncheon sat on horseback, grimly gazing at the scene -- Maule had addressed him from the scaffold, and uttered a prophecy, of which history, as well as fireside tradition, has preserved the very words. "God," said the dying man, pointing his finger, with a ghastly look, at the undismayed countenance of his enemy, "God will give him blood to drink!"

After the reputed wizard's death, his humble homestead had fallen an easy spoil into Colonel Pyncheon's grasp. When it was understood, however, that the Colonel intended to erect a family mansion -- spacious, ponderously framed of oaken timber, and calculated to endure for many generations of his posterity -- over the spot first covered by the log-built hut of Matthew Maule, there was much shaking of the head among the village gossips. Without absolutely expressing a doubt whether the stalwart Puritan had acted as a man of conscience and integrity throughout the proceedings which have been sketched, they, nevertheless, hinted that he was about to build his house over an unquiet...


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"The House of the Seven Gables" 15. September 2011
Format:Taschenbuch
"The House of the Seven Gables" war das erste Buch, dass ich von Nathanial Hawthorne gelesen habe. Bereits auf den ersten Seiten war ich von seinen Schreibstil begeistert. Mir gefällt seine Schreibweise vor allem im Bezug auf die Beschreibung des alten Gebäudes, das se wie es beschrieben wird, und die Vorstellung der Charaktäre, da der Erzähler den Leser stets auf emotionale Weise miteinbezieht. Als Hepzibah zum ersten mal vorgestellt wird, versetzt der Erzähler den Leser gnadenlos in die Situation eines Voyers, ohne dass sich dieser dem entziehen kann. Der Leseakt knüpft dadurch, meiner Meinung nach, automatisch eine sehr persönlichen Verbindung zu diesem Charaktär. Gleichzeitig fällt diese Person durch ihre Eigentümlichkeit auf, was auf den ein oder anderen Leser eine ab"schreck"ende Wirkung haben mag. Mir persönlich gefallen die Eigenheiten der literarischen Figuren, da sie symbolisch für die Werte des Neuen und Alten stehen. Der Reiz an der Geschichte - ohne auf Einzelheiten in der Handlung einzugehen - liegt in ebendiesen Konflikt: wie können die Charaktäre, die der Tradition folgen und solche, die nach Fortschritt streben, letztendlich zusammenfinden?
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11 von 11 Kunden fanden die folgende Rezension hilfreich
sentimental favorite 3. Februar 2010
Von Dennis A. Nolette - Veröffentlicht auf Amazon.com
Format:Taschenbuch|Von Amazon bestätigter Kauf
I read the House of the Seven Gables about thirty five years ago. I enjoyed the book then and I enjoyed rereading it. Nathaniel Hawthorne has a way of turning a phrase. There are portions of the book that I have reread several times. I would recommend this book to anyone that loves to read the classics. Hawthorne details scenes and emotion in a brisk, but complex way. I felt, sometimes, I was living in New England. As a classic, House is very readable. I try not to analyze, to deeply, all of the reasons a writer chooses how to handle a subject. Mid-nineteenth century literature can be a joy to read, it rewards one with a tangible sense of history. If you enjoy reading House, try The Scarlet Letter.
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A Mind-numbingly Complicated Novel 14. Oktober 2010
Von Herbert L Calhoun - Veröffentlicht auf Amazon.com
Format:Taschenbuch
The story, Hawthorne's second, is a romantic mystery that takes place in a battered seven gable house in a small New England town. It begins with a complicated and top-heavy backdrop. At its center is the socially prominent Pyncheon family. The Pyncheons are a family that holds many dark, mysterious and often deadly secrets -- not the least of them being that 150 years earlier, the land on which the house of the seven gables was built, was actually swindled away from its rightful owner, Matthew Maude, by the locally prominent Colonel Jaffery Pyncheon. After the "good colonel" had swindled away the land, he then promptly (and conveniently) proceeded to have Maude executed for practicing witchcraft - an easy charge for a prominent citizen to level against someone of lesser status at the time. However, from the scaffold, Maude placed a curse on the entire Pyncheon family, and the plot of the story is launched. The rest of the story is primarily about both the unfolding of the deadly secrets of the Pyncheon family, and the effects of the curse that Maude had placed upon them, get played out.

Colonel Pyncheon was so unfazed by the promised curse that he brazenly hired to build (on the land he had just swindled from his father) Maude's son as his carpenter. Well, he "shouldn't have oughta" done that because true to the curse, at the house warming the "good Colonel" is found dead sitting at his desk. To add more intrigue to an already galloping mystery, the Colonel had also left a will with directions to a deed for a giant tract of land somewhere in Maine.

With this dense backdrop the prologue ends and sets up a complicated pretext for the second act of the story, which begins with Hepzibah, an old maid and one of the few remaining heirs to the now dwindling Pyncheon fortune as she opens up a penny store on the ground floor of the house of the seven gables. Finally waking up to her diminished social condition, becoming a shop operator was her last resort way of trying to "make ends meet."

The rest of the story and its intertwined intrigues, unfold within the store and with the tenants of the house being at its center. The Maude's curse continues to bring bad luck to the Pyncheon household, culminating in Jaffery Pyncheon II's alleged murder by his young nephew, Clifford. After spending 30 years in prison for a murder he did not commit, Clifford, the last of the Pyncheons still possessing first hand knowledge of the complicated set of family secrets, returns to the house, to be cared for by his elder sister.

Everyone thinks Clifford knows where the deed is, including his uncle who stalks the returned prisoner for his hidden secrets. But the deed is never found and the uncle, like his father, is found dead sitting at the same desk as his dead father was found. Hepzibah and Clifford abandon the house for a time but return in time for Phoebe and Hargrove (a photographer and tenant), to wed. This wedding appeared to be the cathartic medicine needed to rid the house of its evil spirits. Yet, Phoebe and her new husband chose to move the family away from the cursed home, and they (apparently) lived happily ever afterwards.

The moral of the story is that the sins of one generation can live on to infect subsequent generations. Or said differently, the sins of the father will always revisit the sons of subsequent generations. This was a much too long and too complicated and illogical novel for my taste. Three stars
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Outdated despite its constant pleads for innovation 3. Oktober 2011
Von Skywalker - Veröffentlicht auf Amazon.com
Format:Taschenbuch
Reading this novel, it is somewhat funny to call to one's mind how the roots of Puritanism turned into the other extreme during the last centuries, how US-American culture became a symbolism for innovation, eternal change, destruction of everything only slightly old or conservative, endlessly impatient, dissatisfied, always convinced that the next step must necessarily be better than the last one. Traditions overturned, buildings torn down one after the other, entire cities redesigned, customs overthrown, technical innovations overlapping one another in an endless chase for perfection, that's what it stands for now - the country where once the Puritans emigrated to searching for a pure spot of untouched nature where their children were supposed to grow up unspoilt.

The house of the seven gables is a mansion built by an archetype of a Puritan and inhabited by his descendants ever since, and nothing but sadness and depression seem to inhabit it and to affect whoever lives there. The daguerreotypist, last descendant of the original owner of the land the house stands on, whose family was forced into poverty after having been tricked away from its ownership, some time in the novel has a long and enthusiastic speech declaring how useless it is to keep a building up for more than twenty years; the son of the house, now in his sixties, is even more enthusiastic about change, calling every kind of building not a home and refuge but a place where life is suffocated, and loving how travelling by railroad - a method of transport which was very modern about the middle of the 19th century, when the novel takes place - makes a human being speed from one place to another, never resting. Likewise, how much does the author enjoy to emphasize again and again the age, ugliness, futility, incapacity of doing anything good in this world, of this man's elderly sister, and repeating again and again the loveliness and freshness of the - of course seventeen-year-old - country niece.

Despise for every kind of tradition, for age and dignity, for experience, for the past, that is what this novel is all about. The small concession at the end, where in a few sentences it is said that perhaps the best solution is to keep a house as it was on the outside, and to refurnish it again with every generation so it will suit to it, is drowned by the countless words which have incessantly crucified throughout the novel anything that has to do with age and tradition. The reader's impression is that not the dishonesty by which the builder of the house got hold on its territory is the reason for the "curse" haunting the family, but the very fact that it is old, decaying, and thus not worth anything in the first place.

It is likewise interesting to see how this selfsame novel, while so intent on saying how desirable solely youth and novelty are, is dull and somewhat dusty to the today's reader. Very little happens, and the descriptions between the few things that happen are, though well-written, extremely long and make it all the clearer that not the plot, but the "moral" of the novel is what the author is after; it is called a "gothic novel" without having any suspense or mystic trait in it despite the ever-reoccurring hints about (perfectly harmless) ghosts hanging around the house and "mysterious things" going about. I can hardly recommend this novel, unless a) You want to learn a little about the style of life of a small US city in the 19th century (very little, since almost everything takes place in and about the house and we learn quite little about the city itself), or b) You are interested in philosophy respectively politics and want to analyze where today's US-American mentality came from, with its constant, almost frantic need for destruction of old things and love for new ones that will, this time, certainly be better; blind in the search for treasures, neither willing nor capable to separate the things that indeed must be changed from the ones that, though old, are good and immortally valuable, convinced that as soon as something is new - that is, newly discovered - it must, invariably, be "it".

Other than a few sarcastic smiles, this novel has wrought nothing from me and I would never recommend it to the average reader who wants not only to be lectured, but also to be, at least a little, entertained and involved into an interesting story with credible, live characters. This book's setting, characters and plot are so grey and vacuous and have so little of a real classic in them, which would be a book that one can read and love years, decades or centuries after it was written, that it has deservedly fallen, for today's reader, almost completely into oblivion.
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