The era of Romanticism during the 18th century was enriched with flourishing qualities of art, historiography, education and natural sciences that are exalted in history to this day. The Romantic era was more than what meets the surface, the literary creations of this time was not superficial love stories as the name may inaccurately suggest. This was a period of love for creation and nature, the exaltation of the common people, the desire for perfection in their community and an overall quest for something greater. The writers’ of this era emphasize on imagination and emotion and was influenced from the changes that were occurring in front of their very own eyes. A prime example of this is the literary works of Nathaniel Hawthorne and the common theme of science and the author’s fear and distaste it has on humanity that has been introduced. In the story of Rappaccini’s Daughter, Giovanni Guasconti’s room overlooks a beautiful garden that belongs to Giacomo Rappaccini. This garden is beautiful as it contains many species of plants with various enticing smells, though the purple plant is supposedly dangerous and is approached with caution by Rappaccini. In this part of the story, it feels very much like Hawthorne is expressing the way he feels about science. The garden stands for science in general, while Rappaccini is symbolic for the scientific community as a whole. The beauty of the garden and the deadly purple plant that resides within the garden can be expressed by the author by telling us; “even though science in itself is an extraordinary and beautiful phenomenon, it can be dangerous and should be approached with caution”. There is a section of the story where Rappaccini puts on a mask, but when he still believes tending ... ... middle of paper ... ...horne's "Rappaccini's Daughter" and Bernard Malamud's "The Lady of the Lake.".Studies In Short Fiction, 37(1), 27-42. Nathaniel Hawthorne and the Spirit of Science. (2009). New Atlantis: A Journal of Technology & Society, 261-4. Haack, A. (2012). Trapped by Typology in Nathaniel Hawthorne's THE HOUSE OF THE SEVEN GABLES. Explicator, 70(4), 318-321. doi:10.1080/00144940.2012.727898 Idol, J. L. (1989). HOLDING THE MIRROR UP TO HAWTHORNE: THREE RECENT CRITICAL REFLECTIONS. Studies In The Novel, 21(3), 332. Trepanier, L. (2003). The Need for Renewal: Nathaniel Hawthorne's Conservatism. Modern Age, 45(4), 315-323. Stich, K. P. (1991). Hawthorne's intimations of alchemy. Atq, 5(1), 15. Bowers, E. (1994). Hawthorne and the extremes of character. Sewanee Review,102(4), 570. Jones, M. (1978). VARIATIONS ON A HAWTHORNE THEME. Studies In Short Fiction, 15(3), 277
"Women Beware Science: 'The Birthmark.'." Short Story Criticism, edited by Rachelle Mucha and Thomas J. Schoenberg, vol. 89, Gale, 2006. Literature Resource Center, link.galegroup.com/apps/doc/H1420071520/LitRC?u=troy25957&sid=LitRC&xid=268bd900. Accessed 8 Dec. 2017. Originally published in Critical Essays on Hawthorne's Short Stories, edited by Albert J. von Frank, G. K. Hall & Co., 1991, pp. 164-172.
In “Rappaccini's Daughter,” Dr.Rappaccini is visibly the most insane character. He is described as, “But as for Rappaccini, it is said of him-and I know the man well, can answer for its truth that he cares infinitely more for science than mankind” (Hawthorne, “Rappaccini’s Daughter” 4). Dr. Rappaccini cares
In Nathanial Hawthorne’s “The Birth-Mark,” Aylmer, a crazed, “mad-scientist,” seeks to remove the scarlet handprint birthmark from his wife, Georgiana’s cheek. From the opening of the work, the third person narrator describes Aylmer’s obsession with science and the adverse effects it has had on his social life. Aylmer is tied up in this battle within himself and with his assigned association between the natural and the spiritual world. He wishes to have as much control over these colliding worlds as possible, granting himself god-like power and control in the process. In the art of manipulating nature through science, Aylmer believes he is able to alter the spiritual aspects of the natural as well. Aylmer’s focus on spirituality is Hawthorne’s way of commenting on mankind’s fixation on sin and redemption.
Lang, H.J.. “How Ambiguous Is Hawthorne.” In Hawthorne – A Collection of Critical Essays, edited by A.N. Kaul. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
Lewis, R. W. B. “The Return into Time: Hawthorne.” In Hawthorne – A Collection of Critical Essays, edited by A.N. Kaul. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
Waggoner, Hyatt H., "HAWTHORNE: A Critical Study." Cambridge: The Belknap Press of Harvard University Press.
The House of the Seven Gables written by Nathaniel Hawthorne is a novel that engages the reader in an intricate love story that blends history and a fanciful ancestry. Hawthorne stays true to the Romantic era’s convections through his detailed development of the plot. Through his writing, the reader can capture the emotions, morality and motives of each character. Although Hawthorne writes in the romantic style, he does not fail to go against the social norms with the plot. He defines the normal roles of women and he emphasizes the role of wealth in society. Furthermore he asserts his opinions on issues that were prevent in that time, such as, racism, slave emancipation and Jim Crow. The story was not created to just provide a creative love
Lang, H.J. “How Ambiguous is Hawthorne?” In Hawthorne – A Collection of Critical Essays, edited by A.N. Kaul. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
In Rappaccini 's Daughter, it is full of symbols and symbolic allusions. Its setting is a fantastic garden filled with vegetation and poisonous flowers and in the center is a broken fountain. Hawthorne's focus is on Beatrice as she is seen by Giovanni. Hawthorne presents a trapped and poisonous Beatrice who needs a special kind of redemption. She is a prisoner in the garden and her body is full of poison.
McPherson, Hugo. “Hawthorne’s Use of Mythology.” In Readings on Nathaniel Hawthorne, edited by Clarice Swisher. San Diego, CA: Greenhaven Press, 1996.
The townspeople of Boston stopped communicating with him because of the simple black veil that shielded his face. '"I don't like it,'' muttered an old woman,' as she hobbled into the meeting-house. ’He has changed himself into something awful, only by hiding his face.' The evidence of a veil concealing his face frightened the people of this small Puritan town. Elizabeth, his fiancée demanded, "Lift the veil but once, and look me in the face." She established the fact that she and the other people are definitely afraid of the unknown.
The lure of the exotic, an aspect of Romanticism, is present in Giovanni’s character. The author describes the flowers oddly by saying they were not indigenous to Italy, comparing them to other things such as snakes, and stating that they looked colorful and beautiful (Hawthorne). The flowers, based on this description, clearly attract attention because they are different. Next, Hawthorne writes, “He paused--hesitated--turned half about--but again went on.” During this part of the story, someone tells Giovanni about a secret entrance to Rappaccini’s abundant garden. Giovanni, wanting to run in...
In the Nathaniel Hawthorne tale, “Rappaccini’s Daughter,” we see and feel the solitude/isolation of the scientific-minded surgeon, Dr. Rappaccini, likewise that of his daughter, Beatrice, and finally that of the main character, Giovanni. Is this solitude not a reflection of the very life of the author?
Hawthorne’s juxtaposition of opposites, of “marble and mud” within “The Birthmark” is a contributing factor to the ambiguity within the story. How could someone like Aminadab possibly be working side by side with the intellectual scientist, Aylmer? How can Georgiana proceed with the experimental cure after reading Aylmer’s scientific journal and after witnessing firsthand the failure of the flower and photograph experiments? Peter Conn in “Finding a Voice in an New Nation” makes a statement regarding Hawthorne’s ambiguity: “Almost all of Hawthorne’s finest stories are remote in time or place. The glare of contemporary reality immobilized his imagination. He required shadows and half-light, and he sought a nervous equilibrium in ambiguity” (82).
Kaul, A.N. “Introduction.” In Hawthorne – A Collection of Critical Essays, edited by A.N. Kaul. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.