Idolatry: A Romance — Key Ideas to Explore

(0 User reviews)   55
Hawthorne, Julian, 1846-1934 Project Gutenberg 2005 Not confirmed
Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 82,799
Reading time 360 min
Text sections 8

This digital edition of Idolatry: A Romance — Key Ideas to Explore is described by source-level measurements including 82,799 words, 6 hr estimated reading time, and 8 detected text sections.

The text analysis averages about 17.1 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Fiction,” connecting these edition facts with the source record’s subject description.

Julian Hawthorne's 1874 romance follows Balder and the secluded Gnulemah, whose mirror-gazing and communion with nature raise questions about reality and self-knowledge. The catalog subject 'Fiction' undersells the novel's psychological complexity and its ornate, philosophical prose.
Share
Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

Senate were known to have been his intimates at college, and he still met and conversed with them on terms of equality.

Between law, literature, and statesmanship, in all of which pursuits he had acquired respect and goodwill, without actually accomplishing anything, Mr. MacGentle fell, no one knew exactly how, into the presidential chair of the Beacon Hill Bank. As soon as he was there, everybody saw that there he belonged. His social position, his culture, his honorable, albeit intangible record, suited the old bank well. He had an air of subdued wisdom, and people were fond of appealing to his judgment and asking his advice,--- perhaps because he never seemed to expect them to follow it when given (as, indeed, they never did). The Board of Directors looked up to him, deferred to him,--nay, believed him to be as necessary to the bank's existence as the entire aggregate of its supporters; but neither the Board nor the President himself ever dreamed of adopting Mr. MacGentle's financial theories in the conduct of the banking business.

Let no one hastily infer that the accomplished gentleman of whom we speak was in any sense a sham. No one could be more true to himself and his professions. But--if we may hazard a conjecture--he never breathed the air that other men breathe; another sun than ours shone for him; the world that met his senses was not our world. His life, in short, was not human life, yet so closely like it that the two might be said to correspond, as a face to its reflection in the mirror; actual contact being in both cases impossible. No doubt the world and he knew of the barrier between them, though neither said so. The former, with its usual happy temperament, was little affected by the separation, smiled good-naturedly upon the latter, and never troubled itself about the difficulties in the way of shaking hands. But Mr. MacGentle, being only a single man, perhaps felt lonely and sad. Either he was a ghost, or the world was. In youth, he may have believed himself to be the only real flesh and blood; but in later years, the terrible weight of the world's majority forced him to the opposite conclusion. And here, at last, he and the world were at one!

Suppose, instead of listening to a personal description of this good old gentleman, we take a look at him with our own eyes. There is no danger of disturbing him, no matter how busy he may be. The inner retreat is very small, and as neat as though an old maid lived in it. The furniture looks as good as new, but is subdued to a tone of sober maturity, and chimes in so well with the general effect that one scarcely notices it. The polished table is mounted in dark morocco; behind the horsehair-covered arm-chair is a gray marble mantel-piece, overshadowing an open grate with polished bars and fire-utensils in the English style. During the winter months a lump of cannel-coal is always burning there; but the flame, even on the coldest days, is too much on its good behavior to give out very decided heat. Over the mantel-piece hangs a crayon copy of Correggio's Reading Magdalen,--the only touch of sentiment in the whole room, and that, perhaps, accidental.

The concrete nature of the President's surroundings is at first perplexing, in view of our theory about his character. But it is evident that the world could never provide him with furniture corresponding to the texture of his mind; and hence he would instinctively lay hold of that which was most commonplace and non-committal. If he could realize nothing outside himself, he might at least remove whatever would distract him from inward contemplation. There is, however, one article in this little room which we must not omit to notice. It is a looking-glass; and it hangs, of all places in the world, right over Mr. MacGentle's standing-desk, in the embrasure of the window. As often as he looks up he beholds the reflection of his cultured and sad-lined physiognomy, with a glimpse of dusky wall beyond. Is he a vain man? His worst enemy, had he one, would not call him that. Nevertheless, Mr. MacGentle finds a pathetic comfort in this small mirror. No one, not even he, could tell wherefore; but we fancy it to be like that an exile feels, seeing a picture of his birthplace, or hearing a strain of his native music. The mirror shows him something more real, to his sense, than is anything outside of it!

Julian Hawthorne's Idolatry: A Romance (1874) opens with a dedication that defends the use of 'varnish' on sober facts, comparing the novelist to a photographic artist who must beguile the reader. This self-conscious framing sets the tone for a work that, despite its catalog classification as mere 'Fiction,' is densely philosophical and psychologically intricate. The excerpts reveal a narrative preoccupied with perception, solitude, and the boundaries between self and other—themes that emerge not through action but through extended dialogues and interior reflections.

The Mirror as a Character

One of the most striking elements in the excerpts is Gnulemah's relationship with her mirror. She describes the reflection as 'a beautiful maiden' whose face and motion mirror her own, yet whose voice never reaches her. This is not a simple vanity trope; Gnulemah uses the mirror to explore identity, telling Balder that she sees changes in the reflection that correspond to feelings in her own heart. The mirror becomes a silent interlocutor, revealing 'secrets which no one else can know.' Hawthorne invests this object with psychological weight, making it a tool for self-examination rather than mere ornament. The passage suggests that Gnulemah's isolation has sharpened her introspective powers, but also that her understanding of self is mediated by an image she can never fully possess.

Nature as Confidant and Language

Gnulemah's communion with nature is presented as an alternative to human companionship. She converses with her hoopoe, plants, and flowers 'in their own language,' and Balder perceives this not through words but through 'subtile expressiveness of eye and gesture.' Hawthorne emphasizes that Gnulemah can give 'voiceless utterances in a manner pregnant and felicitous almost beyond belief.' This ability positions her as a figure outside conventional society, yet the narrative does not romanticize her solitude uncritically. When she asks whether she might 'pass over' the wall that confines her, Balder suggests that the world beyond may not be fairer. The exchange hints at a tension between the appeal of innocent isolation and the limitations it imposes on understanding.

Balder's Uncertain Wisdom

Balder, the male interlocutor, is repeatedly placed in the position of a would-be teacher who finds his wisdom inadequate. When Gnulemah muses on the shrinking house and the unchanging stars, Balder responds with a platitude—'That is a consolation, is it not?'—that the narrative undercuts with a dry observation: 'Gnulemah was not the first to charge upon the world the alterations in the individual.' Later, when he tries to explain the mirror's illusion, he is 'at some loss how to bring his wisdom to bear.' Hawthorne uses Balder's discomfort to expose the limits of rational explanation in the face of Gnulemah's lived experience. The novel seems less interested in resolving these philosophical puzzles than in dramatizing the gap between abstract knowledge and personal truth.

Structure and Chapter Titles as Clues

The table of contents offers a series of evocative chapter headings—'The Enchanted Ring,' 'A Brahman,' 'The Voice of Darkness,' 'The Hoopoe and the Crocodile'—that suggest a blend of romance, exoticism, and moral allegory. Yet the excerpts themselves are largely interior and conversational, with little of the adventure the titles might promise. This discrepancy between the catalog's generic 'Fiction' label and the actual texture of the prose is instructive: Hawthorne's novel is less a straightforward romance than a philosophical dialogue dressed in Orientalist trappings. Readers expecting plot-driven narrative may find the pace slow, but those attentive to the subtleties of character and idea will discover a work that rewards close reading.

Readers approaching Idolatry should set aside expectations of swift action or conventional romance. The novel's interest lies in its patient exploration of how individuals construct meaning in isolation, and in the quiet tension between Gnulemah's intuitive wisdom and Balder's analytical reason. Pay attention to the recurring motifs—mirrors, walls, birds, and the language of nature—as they accumulate significance across scenes. The catalog may list only 'Fiction,' but Hawthorne's prose demands the kind of attention usually reserved for poetry or philosophical essays.

I’ve often thought that the mirror in Idolatry holds a quiet kinship with the strange, handmade machinery of Injuneered — Background and Themes. Both whisper that what we construct to see ourselves clearly — a looking-glass, a device — inevitably shows us something other than the truth, and that such distortion, far from tragic, becomes its own intimate comfort. A gentle, shared fiction, that.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
  • ...
    Melissa Yolanda Ward - 1 month ago
    This romance novel is a beautifully crafted tale of love and obsession, with rich character development and a plot that keeps you hooked until the very end. The author's descriptive prose brings the settings to life, making you feel every emotion and conflict. A truly captivating read for anyone who loves deep, meaningful love stories.

  • ...
    Frederick Holmes - 3 weeks ago
    The premise is intriguing and the writing is generally smooth, but the pacing can be a bit slow in the middle sections. The romantic tension is well-built, though some might find the resolution a bit predictable. Overall, a decent romance that delivers on its promise, but not without minor flaws.

  • ...
    Sandra Washington - 3 weeks ago
    While the book has an interesting concept, the execution falls short. The characters are often one-dimensional and make clichéd decisions, and the plot drags in places. The dialogue feels forced at times. It might appeal to hardcore romance fans, but it didn't live up to the potential of its title.


Reader reflection

Before you leave, reflect on the book

Use these questions to collect your thoughts before moving on.

Your progress 0 / 10
1

Have you finished this book?

2

Was reading this book enjoyable?

3

How likely are you to recommend this book?

4

How much effort did this book require?

Related eBooks