The Imp in Us All "The Imp is taken to be a self destructive force present in all of us but with important difference in each person according to the power of will and morality". (Edwards 162) Those important differences both connect and individualize the works of Edgar Allan Poe and Nathaniel Hawthorne. The Imp of the Perverse, The Tell Tale Heart, and William Wilson all demonstrate Poe's fascination and exploration with inner conflict and torturer. These short stories deal with the same issue but present it in different ways by making the characters vary when describing their will and their morality. Hawthorne punctuates this fact through his famous character Reverend Dimmesdale from the Scarlet Letter.
With a dozen shades of foggy gray's, the short story is begging for a set of eyes that can see it through. Without proceeding too far into the novella, one can draw out a great deal of analytical suggestions as to what the title itself implies. The word Darkness seems to be a consistent theme throughout the book. So much so, that the amount of weight it carries has given it a special place on the cover. Many critics have found common ground on deciphering the interpretation of the word .The concept of darkness could be respresenting evil.
offering us a unique perspective through the first person point of view. Similarly, the ending of ?Young Goodman Brown? offers a moral, but leaves the main character in a state of discord and callousness towards his wife, and his religion. The story is didactic, because the main character is punished for his transgressions. Symbolism, evident especially in Hawthorne?s allegory, and the repetition of Poe?s suspenseful tale serve to further the goals of each writer.
For example, this technique is prevalent in “The Scarlett Letter” as Hester Prynne, Roger Chillingworth and Arthur Dimmesdale must all face a struggle of their conscious between what is right and what is sinful. During the chapter iro... ... middle of paper ... ...itans was seen as evil or simply black magic. Overall, the use of religious symbols create a more specific setting, a more frightful and adamant mood and scared atmosphere as well as tones of regret, remorse and fright. Nathaniel Hawthorne’s craft of consistent inner struggles, impartial grounds and religious motifs created various moods, tones and contributing factors to his texts “The Scarlett Letter”, “Go to the Grace” and “The Ocean”. The evolution of classical American literature would not have been complete if it were to miss the complex writing style of Hawthorne.
Use of Darkness and Light by Melville, Poe, and Hawthorne Melville, Poe, and Hawthorne all tend to focus on the darker side of humanity in their writings. In order to allow their readers to better understand their opinions, they often resort to using symbolism. Many times, those symbols take the form of darkness and light appearing throughout the story at appropriate times. A reader might wonder how light functions in the stories, and what it urges the reader to consider. If we look carefully at these appearances of light, or more likely the absence of it, we can gain some insight into what these "subversive romantics" consider to be the truth of humanity.
His moral deficiency that defines him as an antihero--and prevents him from being the hero of the story though he is the protagonist--is stressed throughout the novel but is also mainly tempered by his immense ability to love Catherine and the sympathy that his character receives as a result of that love. He is hardened like stone cliffs by his immorality, but he is also softened by his love for Catherine; he is a villain but also a hero. His duality as a character ties into the theme of doubles that connects the two generations of the story while allowing Brontë to point out the imperfections of mankind and our inability to always be a hero.
In Sonnet #73, William Shakespeare uses death to demonstrate that one day whether we like it or not we will grow old and eventually pass. Shakespeare speaks about life and how it all ends; he also speaks of the pressure we have to deal with the fact that no matter what happens we all come to an end. Shakespeare shows how the human body loves to the fullest because you never know what can happen tomorrow. He approaches these feelings by the use of images, in resemblance to death and the time passing. The lines “Upon those boughs which shake against the cold, bare ruined choirs where late the sweet birds sang.
These images are used to foreshadow the mystery of what lies ahead for Marlow on his journey. Marlow uses the first images of light verses the dark or the civilized verses the uncivilized when he imagines what the past must have been like on the Thames Estuary: …Light came out of this river since- you say Knights? Yes; but it was like a running blaze on a plain, like a flash of lightning in the clouds. We live in a flicker-may it last as long as the old earth keeps rolling! But darkness was here yesterday.
Moral Ambiguity in Heart of Darkness In Joseph Conrad's Heart of Darkness we see various attitudes toward morality. It is extremely difficult, maybe impossible, to deduce the exact endorsement of morality that Conrad intended. Conrad provides his readers with several instances where the interpretation of morality is circumstantial, relative, and even "indeterminable." One finds many situations in the novel that lie somewhere between morality, immorality, and amorality. A few examples from the novel that illustrate this idea are: the depiction of Kurtz as revealed through Marlowe, Marlowe's own actions and thoughts, and the Kurtz' death scene.
Trilling on Conrad’s Heart of Darkness In the analyses of both Trilling and Achebe, the merit of Joseph Conrad’s Heart of Darkness is contemplated intricately. Unlike the accusatory criticism of Achebe’s essay which considers the novella an incompetent and offensive gesture that is unfit for canonical recognition, Trilling’s analysis wrests the various themes and implications of the story, greatly rendering the ambivalent dispositions of the characters and emphasizing the historic relevance and transcendence of the content. Subjective and insightful, Trilling’s knowledge of the subject and its legacy further justifies Conrad’s novella’s rightful location in the canon. “A paradigmatic literary expression of the modern concern with authenticity,” Trilling considers the transcendence of Conrad’s novella as setting a barometer for antecedent publications, despite its non-polemic intentions. Referencing The Golden Bough (James George Frazier), a literary study of traditions, rights, and practices of early civilization, with regards to literature and psychology, and significant source for Classic Anthropology; Trilling considers Heart of Darkness to have been its inspiration.