Major Images in Hawthorne's Young Goodman Brown

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Major Images Found in Young Goodman Brown Salem village: It was “the center of the witchcraft delusion, in the witching times of 1692, and it shows the populace of Salem Village, those chief in authority as well as obscure young citizens like Brown, enticed by fiendish shapes into the frightful solitude of superstitious fear” (Abel 133). the pink ribbons of her cap: 1. “The ribbons are in fact an explicit link between two conceptions of Faith, connecting sweet little Faith of the village with the woman who stands at the Devil’s baptismal font. We can legitimately disagree about the meaning of this duality; the fact remains that in proposing that Faith’s significance is the opposite of what he had led the reader to expect, Hawthorne violates the fixed conceptual meaning associated with his character” (Levy 123). “They are part of her adornment of dress, and they suggest, rather than symbolize something light and playful, consistent with her anxious simplicity at the beginning and the joyful, almost childish eagerness with which she greets Brown at the end” (Levy 124). 2. “These ribbons . . . are an important factor in the plot, and as an emblem of heavenly faith their color gradually deepens into the liquid flame or blood of the baptism into sin” (Fogle 24). 3. “The pink ribbons that adorn the cap which Faith wears . . . are a badge of feminine innocence” (Abel 130). 4. “Neither scarlet nor white, but of a hue somewhere between, the ribbons suggest neither total depravity nor innocence, but a psychological state somewhere between. Tied like a label to the head of Faith, they represent the tainted innocence, the spiritual imperfection of all mankind” (Ferguson). Goodman Brown: 1. According to Levy, he “is Everyman. The bargain he has struck with Satan is the universal one . . . . Initially, he is a naive and immature young man who fails to understand the gravity of the step he has taken . . . [which is] succeeded by a presumably adult determination to resist his own evil impulses” (117). 2. Fogle writes that he is “a naive young man who accepts both society in general and his fellow men as individuals at their own valuation, [who] is in one terrible night confronted with the vision of human evil .

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