...Good Men “My love and my faith”, replied young Goodman Brown, “of all nights in the year, this one night must I tarry away from thee” (Hawthorne 158). Hawthorne gives a very small and at first unnoticed hint in one of the very first sentences. Although undersized, the hint is showing a bigger picture, and underlines how the rest of his story will unfold. Since the story is filled with so much controversy surrounding Faith, and the loss of the one thing a man needs most, it’s a very effectively utilized allegory. Deception, corruption, and sheer hate cause complete and utter destruction, which is what Young Goodman Brown found himself bound by. Nathaniel Hawthorne’s story is not just another problematic tale that gets your mind ruminating. With all of the detailed symbols and metaphors used by Hawthorne, it takes time to see that his story has significant ties to several Biblical narratives. It embodies the chronicles of mans fall, and his separation from God and faith. This story bleeds symbolism, even the most clear cut things like Young Goodman Brown’s name has a meaning behind it. Hawthorne didn’t just use any old name, he put meaning behind it. Young Goodman Brown symbolizes youth and good nature. Brown is a young man throughout the story, and his youth suggests that he has yet to be corrupted by the world and is still innocent. Browns wife Faith undoubtedly symbolizes actual faith in God; just as God is with us, during Browns journey in the forest she was with him. She...
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...Essay #2 Interpretations of Young Goodman Brown Nathaniel Hawthorne’s story of Young Goodman Brown is a story of an impressionable and curious young man who ventured into the forest in Salem, Massachusetts to witness the witches Sabbath. Brown leaves his young bride Faith against her wishes to go on this journey, feeling some guilt as he walked away from her, “Poor little Faith!” thought he, for his heart smote him. “What a wretch am I, to leave her on such an errand!” (Hawthorne 606). Once in the forest Brown meets the Devil. As Brown and the Devil continue their walk through the woods the Devil tells him stories of his own Father and Grandfather walking this same dark path that Young Goodman Brown has taken. “Good goodman Brown! I have been as well acquainted with your family as with ever a one among the Puritans; that’s no trifle to say” (Hawthorne 607). Goodman Brown enters the woods and has many ghostly and confusing experiences that changed his life forever. Brown wasn’t sure when he awoke in the woods if his experience was a dream or if it really happened however; the events that he witnessed changed his life forever. “Be it so if you will. But alas! It was a dream of evil omen for the young goodman Brown. A stern, a sad, a darkly meditative, a distrustful, if not a desperate man, did he become, from the night of that fearful dream”. (Hawthorne 614). Michael Tritt wrote his interpretation of the Hawthorne’s story, “Young Goodman Brown” and The Psychology of Projection...
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...Consider the significance of the names of the title character and his wife. How are the names symbolic? Young Goodman Brown and his wife Faith, have both symbolic names. Brown's name symbolizes youth and the good nature of humankind. Brown character is a "young man" in the story, and his youth suggests that he is still naive and innocent and he can easily be corrupted by the evil in the world. Faith's name, as Hawthorne wrote, "Faith, as the wife was aptly named", commend that Brown's wife symbolizes the hope and the innocence found in a young wife. Brown's faith in the goodness in life is symbolized through his marriage to Faith. Faith symbolize, hope and the absolute confidence in the goodness in the world, the honest and truthful belief in something. 2. List what you think each of these symbols stands for: the woods (setting), the time of day, Faith's pink ribbons, the Traveler's staff. The woods can be Brown's own mind, a place created by his subconscious, dark as the forest, where he questions his truths, his love for faith, and his beliefs on human kind. It is simply fascinating, how the forest closes behind him, taking from him the option of going back to his beliefs, once he had become unsure about them. The forest can also be the place, not where he questions but face the truth. We all tend to try to embellish the world around us, so that it meets our needs. Brown may find himself in a conflict between the idealized world he once idealized, and the world obscure...
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...Another work that is also well-known throughout American literature is Hawthorne’s, Young Goodman Brown. Here, the reader is exposed to Hawthorne’s use of symbolism and ambiguity. Like The Scarlet Letter, the setting also took place in Salem. As Goodman Brown says his farewells to his wife, Faith, she is worried about being left alone while her husband embarks on a journey into the woods. Brown encourages his wife to say her prayers, as it will prevent her from any harm or evil. Throughout the story, one can notice the various symbols being portrayed with Brown and how he connects with God. Faith’s pink ribbons are one particular symbol that seemed to alter Brown’s own beliefs. Before the reader is introduced to Faith and Brown’s situation, we can see the images that are being illustrated at the beginning of the story....
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...evil in his uncharacteristically dark short story, Young Goodman Brown. Hawthorne does this mainly through symbolism. There is an abundance of symbols throughout the tale. These range from hair ribbons to colors and names. Regardless of specifics, these symbols allow a plentiful amount of space for personal interpretation, but one conclusion that no reader can miss is the fact that Goodman Brown is fighting desperately between two opposing forces. Through the use of symbols throughout the short story, Hawthorne allows for the assumption that there is a constant battle between good and evil that is on occasions incomprehensible to distinguish between. Some readers might find it plausible that the use of names and colors have no influence on the story and are completely by coincidence. However, to say that it was random assignment of the chosen names and colors – Goodman Brown, Faith, black and pink – is to not give full credit to Hawthorne’s talent and intentions. These devices have a tremendous impact on the story as a whole. If the names were not what they were, then the story could be taken in a whole opposite direction. It would all be based on personal interpretation. Because Hawthorne chose the names and colors that he did, readers are able to distinguish the theme that he is trying to convey, that is of, as previously stated, the battle between good and evil. Readers may not comprehend at first the evil within Goodman Brown’s companion in the forest until the staff is...
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...Critical Reading 1. Preview. Look “around” the text before you start reading. ... 2. Annotate. Annotating puts you actively and immediately in a "dialogue” with an author and the issues and ideas you encounter in a written text. ... 3. Outline, Summarize, and Analyze. ... 4. Look for repetitions and patterns. ... 5. Contextualize. ... 6. Compare and Contrast. When you write about literature . . . Some Tips for Academic Writers Sentence Style 1. Use simple sentences as rubrics (pointers). 2. Use compound sentences to suggest balance and to present pairs of ideas of equal value. 3. Use complex sentence to emphasize the most important ideas and to subordinate less important ideas. 4. Avoid "empty" sentence frames that say little or restate the obvious. 5. Use present tense when referencing details in a literary work except for passages written in the past tense. 6. Incorporate short, key quoted phrases into analytical sentences. 7. Avoid the use of such words and phrases as "you" and "the reader" that often lead to wordiness. 8. Avoid the phrase, "In conclusion," when opening the concluding paragraph. 9. Avoid gratuitous complements and superlatives. Paragraph Development 1. Use Pattern 1 paragraph frames for most paragraphs in the body of academic essays. 2. Begin body paragraphs with claims as topic sentences that repeat key concepts from the thesis sentence. 3. Always introduce the speaker, context, and/or significance of block quotations. 4. Always...
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...Elizabeth Cady Stanton Biography: Where did Elizabeth Cady Stanton grow up? Elizabeth Cady was born in Johnstown, New York on November 12, 1815. She had 10 brothers and sisters, however, many of them died during childhood. Only Elizabeth and four of her sisters lived well into adulthood. Her last brother, Eleazar, died when he was 20 years old leaving her mother depressed and her father wishing that Elizabeth was a boy. Elizabeth (sitting) with Susan B. Anthony Not Fair for Women Growing up Elizabeth was exposed to the law through her father Daniel. He was a lawyer who also served as a judge and a U.S. Congressman. She learned that the law was not the same for men and women. She learned that only men could vote and that women had few rights under the law. She didn't think this was fair. She thought she was as good as any boy and should be given the same opportunities. Going to School When Elizabeth reached school age she wanted to go to school to learn. Not many women went to school in those days, but her father agreed to send her to school. At school Elizabeth was an excellent student. She won awards and proved that she could do as well or better than most of the boys. After high school, Elizabeth wanted to go to college. She quickly learned that girls were not allowed into the major universities. She ended up going to a college for girls where she was able to continue her studies. Abolitionist and Human Rights Elizabeth began to believe...
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...NORTH AMERICAN FICTION BRIEF INTRODUCTION: Before starting our study of American Fiction we must understand what American Literature is in itself and which pieces of writing we can include within this label. It is believed that when a piece is written in North America, more precisely in the USA, it would automatically be given this epithet. But it should be taken into account that this idea is quite broad and doesn’t reflect the real essence of the term. However, there is also another definition that gathers this essence: American Literature is the one that represents the Americanism, the singularity of the USA philosophy and culture. This way, instead of focusing on who the author is, it is focused on the content of the writing. In that which concerns Fiction, the following documents are the ones considered as narrative: Speeches Letters Short Stories Essays Political Documents Sermons Novels Diaries 1 FIRST LITERARY EXPRESSIONS The first documents in which the idea of Americanism is very present are the Sermons. They respond to the strict Protestantism settled in the New Continent after the arrival of the Pilgrim Fathers and Puritans in the Mayflower (1620) and the Arabella (1630). They established a theocratic community whose main and only point of reference was the Bible. That is why the idea of the ‘city upon a hill’ is still very present in American mentality. As we all know...
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...Between Hawthorne's earlier and his later productions there is no solution of literary continuity, but only increased growth and grasp. Rappaccini's Daughter, Young Goodman Brown, Peter Goldthwaite's Treasure, and The Artist of the Beautiful, on the one side, are the promise which is fulfilled in The Scarlet Letter and the House of The Seven Gables, on the other; though we should hardly have understood the promise had not the fulfillment explained it. The shorter pieces have a lyrical quality, but the longer romances express more than a mere combination of lyrics; they have a rich, multifarious life of their own. The material is so wrought as to become incidental to something loftier and greater, for which our previous analysis of the contents of the egg had not prepared us. The Scarlet Letter was the first, and the tendency of criticism is to pronounce it the most impressive, also, of these ampler productions. It has the charm of unconsciousness; the author did not realize while he worked, that this "most prolix among tales" was alive with the miraculous vitality of genius. It combines the strength and substance of an oak with the subtle organization of a rose, and is great, not of malice aforethought, but inevitably. It goes to the root of the matter, and reaches some unconventional conclusions, which, however, would scarce be apprehended by one reader in twenty. For the external or literal significance of the story, though in strict correspondence with the spirit, conceals...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...BRITISH SHORT FICTION IN THE EARLY NINETEENTH CENTURY This page intentionally left blank British Short Fiction in the Early Nineteenth Century The Rise of the Tale TIM KILLICK Cardiff University, UK © Tim Killick 2008 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Tim Killick has asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. Published by Ashgate Publishing Limited Gower House Croft Road Aldershot Hampshire GU11 3HR England Ashgate Publishing Company Suite 420 101 Cherry Street Burlington, VT 05401-4405 USA www.ashgate.com British Library Cataloguing in Publication Data Killick, Tim British short fiction in the early nineteenth century : the rise of the tale 1. Short stories, English – History and criticism 2. English fiction – 19th century – History and criticism 3. Short story 4. Literary form – History – 19th century I. Title 823’.0109 Library of Congress Cataloging-in-Publication Data Killick, Tim. British short fiction in the early nineteenth century : the rise of the tale / by Tim Killick. p. cm. Includes bibliographical references and index. ISBN 978-0-7546-6413-0 (alk. paper) 1. Short stories, English—History and criticism. 2. English fiction—19th...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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