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Nathaniel Hawthorne themes in his writing
Nathaniel hawthorne literary devices in his writings
Essay on nathaniel hawthorne's themes
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In reading Nathaniel Hawthorne's Young Goodman Brown, many issues come up that arouse interest in topics of knowledge, evil, reality, amongst other things. During my experience reading this text, how Goodman Brown's outlook changed based on information revealed to him that may not even be the "reality" of the people he knows was fascinating. That knowledge gained outside traditional and physical realms can affect the mind and the perception of the world is a fascinating subject. I also found this interesting in conjunction with some of the concepts of literary critics we reviewed this week, as the question of what literature is and what it should do becomes important in the discussion of what happens to Goodman Brown, but subsequently what happens to the reader of his story.
To begin, the introduction to Goodman Brown begins with introducing characters that seem to exemplify youthfulness, earnestness, and innocence. Interactions between Goodman and Faith, such as the "parting kiss" (Hawthorne 239), and even the description of Faith, whose cap contains pink ribbons that the wind plays with contains a sense of whimsy and playfulness that sets the reader up thinking of the young couple in positive terms. However, Goodman changes this quickly with his discussion of leaving, as well as his parting. At this point, we see the conflict within the characterization of Goodman Brown emerge, referring to himself as "a wretch...to leave her on such an errand" (239), a contrast to the initial idea presented of him. This is the beginning of what interested me so much, as the appearance of Goodman Brown was presented ambiguously and painted to be "good" by his interactions with Faith, who was described in a bit more detail.
The same can be sa...
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...or they were representations within an offshoot of "reality" within his own mind based on his experiences in the world. Furthering this, the reader has the same experience with the fictitious world of Goodman Brown, as even though it is a work of fiction, it is grounded in reality based on its ideas alone.
All in all, I found the exploration of reality in Young Goodman Brown to be pivotal in its own right, as the function of "reality" and what defines it in literature and its effect not only depends on the author and the content of the work itself. Instead, the transactional nature of art requires a meshing of ideals and experiences to come together to create meaning independent of a single idea or concept.
Works Cited
Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. 5th ed. New York: Longman, 2011. Print.
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For Young Goodman Brown, the tangible object that represents his innocence is his wife Faith. Faith, his wife, with her pink ribbons embodies his purity and innocence, “And Faith, as the wife was aptly named, thrust her own pretty head into the street, letting the wind play with the pink ribbons of her cap while she called to Goodman Brown” (Hawthorne 1). Here Faith seems young, free and innocent as she lets the wind play with her pink ribbons. Faith does not want Young Goodman Brown to leave her alone for the night, yet he does anyway. If he had simply just stayed home as his Faith wanted, he never would have walked with the Devil or almost given up his innocence. An online source entitled “Color Psychology” calls pink a representation of “[...]the sweetness ...
The biggest symbol in Young Goodman Brown is the idea of faith. Before he goes on his “errand,” he is talking to his wife, promising he will come back, but in actuality he is talking to his faith, as in religion. He subconsciously knows he is going against his faith on this errand, but will return. “My love and my Faith,” replied young Goodman Brown, “of all nights in the year, this one night must I tarry away from thee. My journey, as thou callest it, forth and back again…” When Brown says later in the story “I am losing my Faith”, he is not only about his wife, (which is shown through her pink ribbon in the tree), but more about his religion, which is flashing before his eyes. This errand was a test of Goodman Brown’s faith. When Brown hears people singing hymns in swears, it is a symbol of the corruption of the church. The name Goodman Brown I think is very ironic. Is he a good man after this errand?
What is reality? This is the question Philip K. Dick poses in his book, Time Out of Joint. Dick strategically uses literary devices such as narrative structure and symbolism in order to comment on one’s perception of what is real, and what is fiction. By making “time out of joint” and allowing a shift in moral power within his novel, Dick exposes the feelings of paranoia and insecurity that were experienced during the fifties, when Dick wrote this novel, but implies that there is hope that peace can still be attained.
Heberle, Mark. "Contemporary Literary Criticism." O'Brien, Tim. The Things They Carried. Vol. 74. New York, 2001. 312.
Hawthorne skillfully uses Goodman Brown’s wife’s name, Faith, as a symbol of Goodman Brown’s strong faith when Brown’s reassuring response to Faith imply that his faith cannot be weakened: “Amen!’ cried Goodman Brown, “Say thy prayers, dear Faith, and go to bed at dusk, and no harm will come to thee” (Hawthorne 22). Brown leaves Faith; whom he describes as a “blessed angel on earth,” and journeys to the forest (Hawthorne 22). Taking the dark, dreary road into the forest symbolizes his act of jumping into the path leading to despair. The forest represents sin, and the evil grows stronger and stronger as Goodman walks further into the
Hawthorne, Nathaniel. "Young Goodman Brown." Norton Anthology of American Literature. Vol1. Ed. Nina Baym, et al. New York: Norton, 1994. 1198-1207.
According to A Handbook of Critical Approaches, the Formalistic Approach is one “with a methodology.” The Formalistic Approach requires a critic to examine the structure, or form, of a literary work. For example, studying the imagery of a literary
Bressler, Charles E. Literary Criticism. (3rd ed.) Upper Saddle River New Jersey: Pearson Education, Inc. 2003
It is surprising, in a way, to discover how few of the many critics who have discussed "Young Goodman Brown'' agree on any aspect of the work except that it is an excellent short story. D. M. McKeithan says that its theme is "sin and its blighting effects." Richard H. Fogle observes, "Hawthorne the artist refuses to limit himself to a single and doctrinaire conclusion, proceeding instead by indirection,'' implying, presumably, that it is inartistic to say something which can be clearly understood by the readers. Gordon and Tate assert, "Hawthorne is dealing with his favorite theme: the unhappiness which the human heart suffers as a result of its innate depravity." Austin Warren says, ''His point is the devastating effect of moral scepticism." Almost all critics agree, however, that Young Goodman Brown lost his faith. Their conclusions are based, perhaps, upon the statement, "My Faith is gone!" made by Brown when he recognizes his wife's voice and ribbon. I should like to examine the story once more to show that Young Goodman Brown did not lose his faith at all. In fact, not only did he retain his faith, but during his horrible experience he actually discovered the full and frightening significance of his faith.
Hawthorn, Nathaniel. "Young Goodman Brown" The Norton Anthology of American Literature. Vol. I. Shorter Seventh Edition. Ed. Nina Baym. New York: W.W. Norton and Co., 2008. 620-629. Print.
Nathaniel Hawthorne’s allegorical story “Young Goodman Brown” is set in Salem, Massachusetts during the late sixteen hundreds in a time of religious hysteria and only a few generations after the infamous witch trials. Although "Young Goodman Brown" is a fictional tale, it is based on the cynical environment of Salem during this time period. The short story is filled with many literary elements, leading you to question what did exactly happen to the main character at the conclusion. When analyzing a story like "Young Goodman Brown", one must recognize that the story is at whole symbolic. In the text, symbols are used to uncover the truth of the characters. The role of Faith as both a character and a spiritual element are crucial to both the story and the character of Young Goodman Brown.
Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. 5th ed. New York: Longman, 2011. Print.
In the story “Young Goodman Brown” by Nathaniel Hawthorne, there is evidence in the text that gives us reason to believe that Young Goodman Brown could be dreaming. Mr. Brown is a puritan, and this religious belief was practiced during the late fifteen-hundreds and early sixteen-hundreds. Back then, there were no doctors to study the phases of sleep, so puritans very well could have mistaken many of their REM phases of sleep for reality. In the story, Mr. Brown’s perception of reality is equivalent to that of a dream because he hears voices, sees unordinary things, and, in theory, loses his mind.
Goodman Brown, a young man who was only married for three months, left his home and his wife, Faith, to go into the forest and spend the night on some mission that he will not explain. Even though Faith has strong feelings about his journey and begs him not to leave, Brown has made his decision and leaves everything behind. Faith is appropriately named, because she represents Browns faith and what he believes in. The name is genuine, religious and hopeful. It represents the good side of Brown and his hope for life. He feels bad for leaving her because he knows what he is about to do is evil and goes against his faith. Brown swears that after this night he will be good and not do anything evil again and vow his life to Faith. Brown is upset about leaving her because he knows that what he is about to do in the forest is evil and goes against his Faith. Hawthorne describes Browns journey as "crossing the threshold", meaning that he is going from one part of his life to another, he is leaving the genuine good side to go to the bad evil side.
Bressler, Charles E. Literary Criticism: An Introduction to Theory and Practice. Upper Saddle River, NJ: Prentice, 2003.