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Characterization in Nathaniel Hawthorne's Young Goodman Brown
Nathaniel hawthornes"young goodman brown" the theme and styles
Nathaniel hawthorne young goodman brown setting
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The Deeper Meanings of Young Goodman Brown
"Young Goodman Brown," a story written by Nathaniel Hawthorne, should be interpreted on a psychoanalytical level rather than a religious one. It is my observation that "Young Goodman Brown" may very well be the first published work alluding to divisions of the mind and personality theory. Although religion is a direct theme throughout the story, "Young Goodman Brown" appears to be an allegory with deeper meanings.
To explore properly my position concerning the dynamics of "Young Goodman Brown," it is necessary to understand Freud's structural model. The development of Freud's structural model presents an understanding of the struggles between the conscious and unconscious forces of the mind. The structural model indicates three powerful forces that dictate conscious behavior, or binders of reality. These three forces consist of the id, superego, and ego.
When Young Goodman Brown begins his journey down the path of the haunted forest, he quickly meets a fellow-traveler that I interpret as the irrational guide lurking inside himself. The guide repeatedly urges Goodman Brown to continue the errand despite Brown's overwhelming reluctance; he assures him that "[W]e are but a little way in the forest yet" (Hawthorne 274). The traveler demonstrates a subconscious part of the psyche called the id. The id is that part of the psyche that is driven by pleasure and irrational wishing. The guide's insistence never seems to be in Brown's best interest.
The traveler's motive was to do what feels good at the time, not putting into account any potential ramification that could result, which in this story turns out to be the loss of Goodman Brown's wife, Faith. His reckless behavior is ap...
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...ind may be found within Hawthorne's story. If the reader will only look past its literal interpretation and explore the rich symbols and hidden meanings laden throughout the text, she or he will be rewarded with a work of fiction that was way before its time.
Works Cited
Carpenter, Richard. "Hawthorne's Polar Explorations: Young Goodman Brown and My Kinsman, Major Molineux." Nineteenth Century Fiction 24 (1969): 45-56.
Gay, Peter. Freud: A Life for Our Time. New York: Doubleday, 1989.
Hawthorne, Nathaniel. "Young Goodman Brown." Literature Reading Fiction, Poetry, Drama, and the Essay. Ed. Robert DiYanni. 4th ed. Boston: McGraw & Hill, 1998. 272-280.
Hurley, Paul. "Young Goodman Brown's 'Heart of Darkness.'" American Literature 37 (1966): 410-419.
Paulits, Walter. "Ambivalence in 'Young Goodman Brown.'" American Literature 41 (1970): 577-584.
...iana, almost perfect, is still mortal, and carries the burden of original sin. This is the puritan idea that every human is sinful.
Although Verhulst had his personal beliefs about guns and he had a reason for purchasing the gun, his original viewpoints of guns contradict one another, making it hard to believe that he disapproved of guns in their entirety. He talked about how he opposed guns so much and how he believed the result of shooting a gun would "only make entities less functional." Verhulst even gives examp...
Hawthorne, Nathaniel. "Young Goodman Brown." Norton Anthology of American Literature. Vol1. Ed. Nina Baym, et al. New York: Norton, 1994. 1198-1207.
In 1835, Nathaniel Hawthorne published the tale of “Young Goodman Brown,” a tale that illustrates many configurations of symbolism used to leave the reader planting the pieces together through his characteristics of detail and imagery. Hawthorne’s prime analogy expressed throughout this tale is the loss of vulnerability and pureness when reaching maturity.
Nathaniel Hawthorne’s short story “Young Goodman Brown” manifests a duality of conflict – both an external conflict and an internal conflict. It is the purpose of this essay to explore both types of conflict as manifested in the story.
Rich begins her poem by describing the tigers of Aunt Jennifer's tapestry. They are vibrant and powerful with no fear of men. One begins to feel that Aunt Jennifer, as the artist, must be a free spirit because she can dream of those tigers. They are above the men who want to hunt them and therefore out of reach. This confirms the feminist idea that women's minds are just as complex as men's and so their works of art should be appreciated beside that produced by men, not as inferior products: "both sexes are to be valued as creative, rational people who can all contribute to their societies and their world." (Bressler 153)
Upon close examination of the story “Young Goodman Brown” one might notice that Goodman Brown had stored his faith in three places; in his neighbors, in his wife, and in his personal experiences. The placement of Goodman Brown’s faith with his neighbors is the first...
Hawthorne, Nathaniel. "Young Goodman Brown." An Introduction to Literature. Ed. Sylvan Barnet, Morton Berman, Willam Burto. 10th ed. New York: Harper Collins, 1993. 74-85.
Levy, Leo B. “The Problem of Faith in ‘Young Goodman Brown.’” Modern Critcial Views: Nathaniel Hawthorne. Ed. Harold Bloom. New York: Chelsea House, 1986. 115-126.
Sandra Cisneros’ novel, The House on Mango Street, examines various key issues within established social systems. As a bildungsroman story, not only is there much growth and development experienced by the character, but from the reader as well. This is because the novel challenges false preset notions that one may have of the main character’s culture. In tearing down custom barriers and voicing out painful truths, there is a deeper understanding of Latina culture in the United States of America. Sandra Cisneros empowers the women who are living in a patriarchal society and her main character, reinforced by her name, Esperanza, gives women just that, hope.
Esperanza, a strong- willed girl who dreams big despite her surroundings and restrictions, is the main character in The House on Mango Street by Sandra Cisneros. Esperanza represents the females of her poor and impoverished neighborhood who wish to change and better themselves. She desires both sexuality and autonomy of marriage, hoping to break the typical life cycle of woman in her family and neighborhood. Throughout the novel, she goes through many different changes in search of identity and maturity, seeking self-reliance and interdependence, through insecure ideas such as owning her own house, instead of seeking comfort and in one’s self. Esperanza matures as she begins to see the difference. She evolves from an insecure girl to a mature young lady through her difficult life experiences and the people she comes across. It is through personal encounters and experiences that Esperanza begins to become sexually aware and acceptance her place and self-definition in her community.
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.
Harold Bloom, a well-known American critic explores Mary Shelley's Frankenstein to find true meaning. Throughout his essay, he gives answers to the lingering question of who the real monster is. He also paints a clear picture of a major theme in the novel, the Romantic mythology of the self. Through reading his essay, it opens up new light to Mary Shelley's novel. It gives new meaning to the monster and his creator.
The classic gothic novel Frankenstein by Mary Shelley details the relationship between two significant figures, Victor Frankenstein, and his unnamed monster. The critical relationship between such characters causes many literary critics to compose the idea that they are bound by nature – inadvertently becoming a single central figure (Spark). The notion that the monster is an alter ego to Victor is an ideal suggestion, as their roles in the story consistently change; from predator to prey, depression to anger, pity to cruelty, these are all characteristics shared between both characters at different times of the novel. Numerous themes show these characters as both complementary and contrasted beings (Spark).