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An assignment on the character of young goodman brown
An assignment on the character of young goodman brown
The moral of the young goodman brown
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Pride in Young Goodman Brown and The Minister's Black Veil
Many of Hawthorne's characters wrap themselves in a pride of intellect.
The characters become victims of their pride and consequently suffer. Goodman
Brown, from "Young Goodman Brown" and Hooper, from "The Minister's Black Veil"
are two characters that suffer from a pride of intellect. Their pride causes
them similar problems and they end up living similar lives, although they came
from different backgrounds.
Hooper and Goodman Brown both become isolated from society. Hooper had a
revelation, and he feels that he truly understands human nature and sin.
However, he believes that he is above everybody else because he has this
understanding. This is what causes the major separation between Hooper and
society. After Hooper dawns the veil he can no longer function or act as a
normal person, because of this feeling of superiority. His perception of an
ultimate human isolation leaves him the man most isolated in what Hawthorne
describes as that saddest of all prisons, his own heart . . . "(The Minister's
Black Veil,228). The veil affects all parts of his life, his fiance leaves him
and he can no longer relate to his congregation the same way. "As a result of
wearing the veil, Hooper becomes a man apart, isolated from love and sympathy,
suspected and even feared by his congregation"(Minister's Black Veil, 228).
Goodman Brown suffers the same fate because he also has a feeling of superiority
over the rest of the village. He attains this feeling after he sees all the
people that he though were good and pure participating in satanic rituals in the
fore...
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Works Cited and Consulted
Benoit, Raymond. "'Young Goodman Brown': The Second Time Around." The Nathaniel Hawthorne Review 19 (Spring 1993): 18-21.
Hawthorne, Nathaniel. The Complete Short Stories of Nathaniel Hawthorne. New York: Doubleday and Co., Inc.,1959.
James, Henry. Hawthorne. Ithaca, NY: Cornell University Press, 1997.
Kaul, A. N., Ed.. "HAWTHORNE: A Collection of Critical Essays." Englewood Cliffs: Prentice-Hall, Inc. 1966.
Martin, Terence. Nathaniel Hawthorne. New York: Twayne Publishers Inc., 1965.
Morris, Lloyd., "THE REBELLIOUS PURITAN: Portrait of Mr. Hawthorne." Port Washington: Kennikat Press.
Van Doren, Mark., Ed. "The Best of Hawthorne." New York: The Ronald Press Company. 1951.
Wagenknecht, Edward. Nathaniel Hawthorne - The Man, His Tales and Romances. New York: Continuum Publishing Co., 1989.
The story “The Minister’s Black Veil” is symbolic of the hidden sins that we hide and separate ourselves from the ones we love most. In wearing the veil Hooper presents the isolation that everybody experiences when they are chained down by their own sins. He has realized that everybody symbolically can be found in the shadow of their own veil. By Hooper wearing this shroud across his face is only showing the dark side of people and the truth of human existence and nature.
Hawthorne, Nathaniel. Young Goodman Brown. Charlottesville, Va: University of Virginia Library, 1996. eBook Collection (EBSCOhost). Web. 2 Mar. 2014.
Hawthorne, Nathaniel. "Young Goodman Brown." Literature: Reading, Reacting, Writing. Ed. Laurie G. Kirszner and Stephen R. Mandell. Fort Worth: Harcourt, 1997. 298-308.
Nathaniel Hawthorne’s “Young Goodman Brown” is an allegory. Hawthorne’s moral story is told through the perversion of a religious leader, Goodman Brown. Goodman is a Puritan minister who lets his excessive pride interfere with his relations with the community after he meets with the devil. The result is that Goodman lives the rest of his life in exile within his own community.
“Nathaniel Hawthorne – Biography.” The European Graduate School. The European Graduate School, n.d. Web. 17 Feb. 2014
Hawthorne, Nathaniel. "Young Goodman Brown." Norton Anthology of American Literature. Vol1. Ed. Nina Baym, et al. New York: Norton, 1994. 1198-1207.
From the beginning of the story, Mr. Hooper comes out wearing a black veil, which represents sins that he cannot tell to anyone. Swathed about his forehead, and hanging down over his face, Mr. Hooper has on a black veil. Elizabeth urged, “Beloved and respected as you are, there may be whispers that you hid your face under the consciousness of secret sin” (Hawthorne 269). His fiancé says that in the black veil there may be has a consciousness of secret sin. Also, he is a parson in Milford meeting-house and a gentlemanly person, so without the veil, Hooper would be a just typical minister, “guilty of the typical sins of every human, but holier than most” (Boone par.7). He would be a typical minister who is guilty of the typical sins of every human without the black veil. Also, Boone said, “If he confesses his sin, the community can occur” (Boone par.16). If he confesses his sin about the black veil, all of the neighbors will hate him. Last, he said, “so, the veil is a saying: it is constantly signifying, constantly speaking to the people of the possibility of Hooper’s sin” (Boone par.11). Mr. Hooper’s veil says that he is trying to not tell the sins about the black veil. In conclusion, every people have sins that cannot tell to anyone like Mr. Hooper.
Deceiving and irrational, love can be a challenging emotion to endure. It can be difficult to find happiness in love, and on the journey to find that happiness, love can influence one’s thought process. Shakespeare uses specific wording in his play, A Midsummer Night’s Dream, to poke fun while exploring the individual’s quest for love. The desire to find love and a happy ending with a lover is so strong in the foundation of mankind, that people will not accept a life without it. In fact, they would rather give up their attribute of rationality than their opportunity to find a significant other. The heart’s control of the mind can make a foolish man.
Wagenknecht, Edward. Nathaniel Hawthorne – The Man, His Tales and Romances. New York: Continuum Publishing Co., 1989.
In writing about an important person in my life, there are a number of people that I could discuss. But, I feel that the person who is very special to me and one who has been the most influential, is my dad.
Hawthorne, Nathaniel. “Young Goodman Brown.” Literature: An Introduction to Reading and Writing. Ed. Edgar V. Roberts and Robert Zweig. 5th Compact ed. New York: Pearson Longman, 2012. 329-37. Print.
Martin, Terence. Nathaniel Hawthorne. Revised Edition. Twayne’s United States Authors Series. G.K. Hall & Company. Massachusetts. 1983.
Love plays a very significant role in this Shakespearian comedy, as it is the driving force of the play: Hermia and Lysander’s forbidden love and their choice to flee Athens is what sets the plot into motion. Love is also what drives many of the characters, and through readers’ perspectives, their actions may seem strange, even comical to us: from Helena pursuing Demetrius and risking her reputation, to fairy queen Titania falling in love with Bottom. However, all these things are done out of love. In conclusion, A Midsummer Night’s Dream displays the blindness of love and how it greatly contradicts with reason.
Hawthorne, Nathaniel. “Young Goodman Brown.” The Heath Anthology of American Literature. Ed. Paul Lauter. Boston: Houghton Mifflin, 2002. 2186-95.
Hawthorne, Nathaniel. Prentice Hall Literature, The American Experience. New Jersey: Oscar F. Bluemner, 1915. 266-67.