Guilt in Charles Brockden Browns’ Wieland
There are many ways to decide what makes a man guilty. In an ethical sense, there is more to guilt than just committing the crime. In Charles Brockden Browns’ Wieland, the reader is presented with a moral dilemma: is Theodore Wieland guilty of murdering his wife and children, even though he claims that the command came from God, or is Carwin guilty because of his history of using persuasive voices, even though his role in the Wieland family’s murder is questionable? To answer these questions, one must consider what determines guilt, such as responsibility, motives, consequences, and the act itself. No matter which view is taken on what determines a man’s guilt, it can be concluded that Wieland bears the fault in the murder of Catharine Wieland and her children.
To any religious person, hearing a command from the voice of their god is reason enough to carry out the proposed action, but in the case of Wieland, a third party must take a deeper look at such a command from a God whose known character does not line up with the order He supposedly gives. This makes Wieland’s motivation questionable, especially to those who believe that a man’s motive determines a man’s guilt. In his testimony to the court, Wieland, a pious man, reveals his motive in the murders as he recounts God as saying, “‘Thy prayers are heard. In proof of thy faith, render me thy wife. This is the victim I chuse. Call her hither and here let her fall’” (190). Being a devout Christian, it is very likely that Wieland would be familiar with the Ten Commandments listed in Deuteronomy 5, and specifically, verse 17 which states, “You shall not murder”. Though in Isaiah 55:8 the Lord tells Christians to ...
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...God’s voice. As Wieland retells his approaching his sister’s house before he hears the voices, he says, “‘On my way my mind was full of these ideas which related to my intellectual condition. In the torrent of fervid conceptions, I lost sight of my purpose. Some times I stood still; some times I wandered from my path, and experienced some difficulty, on recovering from my fit of musing, to regain it’” (188). Despite all of the other reasons behind Wieland’s guilt, this quote shows that he was not in his right mind on the night he murdered his wife and children. Many different views can be taken on determining guilt, but Wieland’s illogical motive behind killing his family, the disturbing consequences of his actions, his responsibility of his own deeds, and his questionable mental health all point to his guilt in the murder of Catharine Wieland and her children.
Walking next to his father through the woods on a cool winter day, young Mason hears the sound of a bullet entering his father’s body. As he looks ahead, he sees his mother, Xwelas, lower a shotgun. In the essay The Life and Murder Trial of Xwelas, a S’Klallam Woman, Coll-Peter Thrush and Robert H. Keller, Jr. recall the events before, during, and after the murder of George Phillips, a Welsh immigrant killed by his native wife. Xwelas’ the life before the murder, the actions which provoked Phillips’ death, and how the trial was influenced all help to describe the unusual history that took place in the seventeenth century.
Psychology attempts to provide insight on our lack of self-belief; however, the studies are mostly to no prevail. Subjectively, I believe our subconscious represents a more complex function than what is often portrayed. After all, it acts as a defense mechanism that has been pre-built into our neural network. As such, the capabilities of such a feature are near endless, though difficult to comprehend. To better understand our subconscious, we often simplify it through symbols - most commonly, heaven and hell. Studied throughout the text, symbolism of such representation is easy to interpret as it is presented through distinct quotes from the primary speaker - such as: “I heard sounds from Heaven and I heard sounds from Hell.” Incidentally, the quote also marks a set crossroads on the protagonist's journey of choice as he chooses which side to listen too - guilty or innocent. As expected, his later continuation in the text to commit heinous acts such as assault and murder, solidify his standings with the rebellious side of his conscious - as well as supporting the continuation of heightening the challenge presented by lack of self-trust. In support of this, renowned academic leader Douglas Horton is quoted speaking: “Conscience is the window to our spirit, evil is the curtain”. However, in select cases, the
Guilt is the inevitable consequence that comes along after committing a crime and is a feeling that can paralyze and tear one’s soul away. However, it is evident that an individual’s feelings of guilt are linked to what they believe is right or wrong. In Robertson Davies Fifth Business, guilt is a principal theme in the novel and its effects have a major toll on the lives and mental state of many characters. Throughout the novel, it is apparent that the values and morals instilled within childhood shape an individual’s personality, as exhibited by the different ways the characters within the novel respond when faced with feelings of guilt. The literary elements Davies utilizes in the passage, from pages fifteen to sixteen, introduce the theme of guilt and display the contrast in how
In this paper I will explain and discuss the historical events that took place in a small rural town in early Massachusetts. The setting for which is Irene Quenzler Brown's and Richard D. Brown's, The Hanging of Ephraim Wheeler. I will explain the actions and motives of Hannah and Betsy Wheeler in seeking legal retribution of husband and father Ephraim Wheeler. I will also discuss the large scope of patriarchal power allowed by the law and that given to husbands and masters of households. Of course, this will also lead to discussions of what was considered abuse of these powers by society and the motivation for upholding the Supreme Court's decision to hang Ephraim Wheeler.
Charles Brockden Brown suggests “most readers will probably recollect an authentic case, remarkably similar to that of Wieland” in the Advertisement at the beginning of the novel Wieland (Brown 3). The “authentic case” he is referring to is the report of the murders committed by James Yates which took place in Tomhannock, NY. An Account was serialized into two parts and originally published in The New York Weekly Magazine in 1796 entitled An Account of a Murder Committed by Mr. J--Y--, Upon His Family, in December A.D. 1781. Two years later Wieland was published. There are two major themes and four specific acts that Brown appears to have lifted from An Account. The two themes Brown uses are common in eighteenth century American writing: the
James Hogg's classic novel, The Private Memoirs and Confessions of a Justified Sinner, portrays the fictional story of Robert Wringhim, a strong Calvinist who justifies murder by quickening the inevitable. Robert commits infamous acts of evil, believing that these murderous actions glorify God by annihilating sinners not chosen to be saved. I believe that a combination of factors involving both nurture and nature shape Wringhim into the suffering creature that he becomes. The greatest of these factors include Paranoia Schizophrenia, Multiple Personality Disorder, and the rejection of society.
The stories, Of Mice and Men by John Steinbeck and The Cask of Amontillado by Edgar Allen Poe, both have a character that breaks a social convention. In this case, both characters, George and Montresor, were murderers. It’s clear that these characters have broken a major law, but how and why they did it will determine whether or not their justification is enough.
In this male dominated investigation, it is empathy that truly is the mark that allows the investigation to be solved from an unsuspected place. Void of empathy, nothing can genuinely be understood. Empathy is the foundation with which we can see the world and understand the reason behind everything whether for the good or bad. Condoning the action of an individual is not taking into account their situation or what other options were available to them considering any existed. Labeling a criminal is putting an individual into a category of black and white without considering the complexity of the matter or the many shades of gray the world presents. In the eyes of the law, Mrs. Wright was a murderer. To those who could empathize with her struggles she was a survivor—despite her wrongdoing. Justice is found in this play, or rather the term may be favored as mercy, that Mrs. Wright was a victim who believed in her heart she chose the only path that lead to
He had explained to police that women were the natural choice because he had the need to feel dominant. He had stated that he found crime easy to commit because it was what he had done before and Catherine was a crime of opportunity, she had no one to protect her, she was alone and he wanted to commit a crime. He stated that Catherine’s murder and assault was “just an idea that came into my mind, I couldn’t put it aside, it was the perfect opportunity.’ He had weighed his benefits and left with a purpose to kill someone and that night he had wanted it to be a woman, he had told police that “I knew as soon as I saw people turn away from her, I could commit a crime and chances were, I could get away with it” (Schmalleger, 2014, pg.
In The Murder of Helen Jewett, Patricia Cohen uses one of the most trivial murders during the 1800’s to illustrate the sexiest society accommodations to the privileged, hypocritical tunneled views toward sexual behavior, and the exploitation of legal codes, use of tabloid journalism, and politics. Taking the fact that woman was made from taking a rib from man was more than biblical knowledge, but incorporated into the male belief that a woman’s place is determined by the man. Helen had the proper rearing a maid servant, but how did she fall so far from grace. Judge Weston properly takes credit for rearing her with the proper strictness and education. Was Helen seduced at an early age and introduced to sexual perversions that were more persuasive that the bible belt life that the Weston’s tried to live? Was Helen simply a woman who knew how to use what she had to get what she wanted? Through personal correspondence, legal documentation, census reports, paintings, and newspapers we are able to make our own determinations. Cohen provides more than enough background and history to allow any one to make their own opinion how the murder of a woman could be turned into a side show at a circus.
When this plea is made, it appears to be quite ironic. The man who participated in the sin is trying to convince his accomplice to do him in. However, this ...
Sayres, William G. “Compounding the Crime: Ingratitude and the Murder Conviction of Justine Moritz in Frankenstein.” Sayres, "Compounding the Crime", knarf.english.upenn.edu/Articles/sayres.html.
Human nature is a conglomerate perception which is the dominant liable expressed in the short story of “A Tell-Tale Heart”. Directly related, Edgar Allan Poe displays the ramifications of guilt and how it can consume oneself, as well as disclosing the nature of human defense mechanisms, all the while continuing on with displaying the labyrinth of passion and fears of humans which make a blind appearance throughout the story. A guilty conscience of one’s self is a pertinent facet of human nature that Edgar Allan Poe continually stresses throughout the story. The emotion that causes a person to choose right from wrong, good over bad is guilt, which consequently is one of the most ethically moral and methodically powerful emotion known to human nature. Throughout the story, Edgar Allan Poe displays the narrator to be rather complacent and pompous, however, the narrator establishes what one could define as apprehension and remorse after committing murder of an innocent man. It is to believe that the narrator will never confess but as his heightened senses blur the lines between real and ...
Ian McEwan illustrates a profound theme that builds details throughout the novel Atonement, the use of guilt and the quest for atonement are used with in the novel to convey the central dynamic aspect in the novel. McEwan constructs the emotion of guilt that is explored through the main character, Briony Tallis. The transition of child and entering the adult world, focus on the behavior and motivation of the young narrator Briony. Briony writes passages that entail her attempt to wash away her guilt as well find forgiveness for her sins. In which Briony ruined the lives and the happiness of her sister, Cecilia, and her lover Robbie. The reality of the events, attempts to achieve forgiveness for her actions. She is unable to understand the consequences of the actions as a child but grows to develop the understanding of the consequence with age. McEwan exemplifies an emotional novel that alters reality as he amplifies the creative acts of literature. In this essay I will be arguing that, the power of guilt prevents people from moving on from obstacles that hold them in the past.
If we are to be truly innocent and humble beings, we must recognize our own innate guilt as human and accept it. If we do not, we will constantly be obsessed by our “state of apparent acquittals”. Kafka, Franz. A. The Trial. Trans.