In the concluding paragraph of "Young Goodman Brown," Hawthorne uses the forest experience to its fullest effect, moving Brown through another series of separations to the ultimate separation, from life itself. To some critics, in fact, the concluding paragraph itself has seemed a separation, breaking the neat circularity of Hawthorne's plot, moving in linear fashion through time from Brown's figurative death at the threshold of his house to his literal death at the threshold of the grave. Yet I agree wholeheartedly with Richard Abcarian, though for different reasons, that the paragraph is not anticlimactic, a digression, an example solely of Hawthorne's penchant for heavy moralizing, or a violation of the neatly unified circular form [Abacarian, "The Ending of 'Young Goodman Brown'," Studies in Short Fiction III, No. 3, Spring 1966].
First, the paragraph is replete with echoes, especially verbal echoes, which tie it to incidents in the forest experience while the effect of that experience reaches its highest peak. That Goodman Brown has become permanently stern and sad as a result of his one night in the forest is linked to his stern and sad look into Faith's eyes on his return, and is further linked, ironically, to the soft and sad plea she whispered into his ear on his departure. That Brown has become "darkly meditative" contrasts his "pleasant and praiseworthy meditations" after the meeting with Goody Cloyse. The "anthem of sin" that he henceforth hears at Sabbath service in the meeting house corresponds to the "dreadful anthem" swelling out of the forest at the beginning of the Black Mass. The blessed strain of the holy psalms is "drown...
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...es the terrible beauty of Brown's position between two worlds. The evil process in the forest has disqualified Brown from relation with the "goodly procession" which follows him. He must live in the village with the sight of the forest, till death calls him. In the symbolic terms of the story, Brown literally has no place else to go, and even death provides no escape. Hawthorne treats Brown's death neither as the time of triumph for the godly, nor as the time of the solace of annihilation for the tortured; and his sonorous but studiedly objective language here simply does not encourage emotional commitment. So, gloom inevitably has the last word.
Works Cited
Edward J. Gallagher, "The Concluding Paragraph of 'Young Goodman Brown'," in Studies in Short Fiction, Vol. XII, No. 1, Winter, 1975, pp. 29-30. Reprinted in Short Story Criticism, Vol. 29.
The overall tone for the passage is more skeptical in the beginning as Brown tries to figure out his stand on the subject of his Puritan faith, however, it shifts towards a traffic tenor at the end as he lives with the consequences of his choices from the night in the woods when he decided to walk along side with the weary old traveler. The symbolism of this passage is so robust, with such great significance behind it. Young Brown proclaims during his journey, “‘Faith! Faith!’ as if bewildered wretches were seeking her, all through the wilderness… ‘My Faith is gone!’ cried he, after one stupefied moment. ‘There is no good on earth; and sin is but a name’” (Hawthorne 251). The symbolism of this passage is so strong, with such great significance behind it. As he shouts from the rooftops that he has lost his wife Faith, which can be inferred to be his own personal faith. Sheer panic filled the air once he realizes that he had turned away from his heritage, involuntary choosing to eliminate his faith from his life. How did he lose his faith within that night? He chose to follow the traveler with the serpent staff, casted as the devil, as the walk along in the woods, representing hell. Just like the devil tempted Jesus, he did so with Brown,
Hawthorne skillfully uses Goodman Brown’s wife’s name, Faith, as a symbol of Goodman Brown’s strong faith when Brown’s reassuring response to Faith imply that his faith cannot be weakened: “Amen!’ cried Goodman Brown, “Say thy prayers, dear Faith, and go to bed at dusk, and no harm will come to thee” (Hawthorne 22). Brown leaves Faith; whom he describes as a “blessed angel on earth,” and journeys to the forest (Hawthorne 22). Taking the dark, dreary road into the forest symbolizes his act of jumping into the path leading to despair. The forest represents sin, and the evil grows stronger and stronger as Goodman walks further into the
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.
As stated earlier, Hawthorne’s goal is to show the discovery of evil can lead one to utter desperation and cynicism. Brown is the medium through which he is able to achieve this goal. He is successful in teaching his audience a moral lesson; which is that in denying the idea that good exists and is capable of overpowering evil, Brown has committed the worst sin of all. Bereft of spiritual faith, “his dying hour was gloom” (2216).
Young Goodman Brown goes into the forest at first with only a small expectation of what he is going to experience. Of his fellow Puritan society he sees the bad seeds as well as supposed men and women of the utmost regard. He sees virgin girls filled with reverence and innocence, and even members of the church present at the devil’s ceremony. This causes Young Goodman Brown to question his entire upbringing and trust in his society. It creates...
Nathaniel Hawthorne’s “Young Goodman Brown” captivates the reader through a glimpse of the Puritan church. The story also shows the struggle of good versus evil in the main character Goodman Brown. The role of the Puritan church is crucial in shaping Goodman Brown’s personality and helping the reader understand why he was reluctant to continue his journey.
The use of dark imagery throughout the story gives you a sense of fear of the unknown that lies ahead of Goodman Brown on his journey. The beginning sentence of the story illustrates an image of a sunset and the approaching of night as Goodman Brown sets off on his mission. ?Young Goodman Brown came forth, at sunset, into the street of Salem village, but put his head back, after crossing the threshold.? (196) Here, the light of the sun represents the knowledge that Goodman Brown already has. The imagery of darkness setting in is the unknown knowledge Goodman Brown is out to discover. Goodman Brown must first travel through the darkness of the unknown before he reaches the light of enlightenment and truth that is why he is embarking on his journey throughout the night hours. ?My journey, as thou callest it, forth and back again, must needs be done ?twist now and sunrise.? (197)
It is surprising, in a way, to discover how few of the many critics who have discussed "Young Goodman Brown'' agree on any aspect of the work except that it is an excellent short story. D. M. McKeithan says that its theme is "sin and its blighting effects." Richard H. Fogle observes, "Hawthorne the artist refuses to limit himself to a single and doctrinaire conclusion, proceeding instead by indirection,'' implying, presumably, that it is inartistic to say something which can be clearly understood by the readers. Gordon and Tate assert, "Hawthorne is dealing with his favorite theme: the unhappiness which the human heart suffers as a result of its innate depravity." Austin Warren says, ''His point is the devastating effect of moral scepticism." Almost all critics agree, however, that Young Goodman Brown lost his faith. Their conclusions are based, perhaps, upon the statement, "My Faith is gone!" made by Brown when he recognizes his wife's voice and ribbon. I should like to examine the story once more to show that Young Goodman Brown did not lose his faith at all. In fact, not only did he retain his faith, but during his horrible experience he actually discovered the full and frightening significance of his faith.
When he goes into the forest, he believes he is talking to the devil and looks much like his grandfather. The devil is feeding him bad thoughts about everyone he knows, even his own father and his wife, Faith. Next, I believe that Goodman Brown has had a rough past and in order for him to overcome this within himself, he must search for attention. This attention may not be needed from his wife or community members, I believe it is needed from him. He is feeling overwhelmed with obligations from his wife and peers, and he has no time to decide whether this type of life is right for him.
...ther serves to excite and stimulate our senses as we travel into the deranged mind of a killer ? 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. Ultimately, Hawthorne?s Goodman Brown becomes isolated from humanity, an issue of the head and the heart, and Poe?s narrator withdraws inside himself, an issue purely of the mind. Recognizing this discord from the self and humanity is essential to understanding the behavior of these troublesome characters.
The first reason for the Spanish American War was public opinion. In 1895, American citizens took notice of a Cuban revolt against their corrupt Spanish oppressor. The Cuban insurgents reasoned that if they did enough damage , the US might move in and help the Cubans win their independence. Not only did Americans sympathize with the Cubans upon seeing tragic reports in the newspaper, but they also empathized in that the US once fought for their own independence from Britain. If France didn’t intervene, the Americans probably would not have won their freedom. As if this did not rally enough hate for the Spanish among the American Public, fuel was added to the flame by the Spanish General (“Butcher”) Weyler. He attempted to crush the rebellion by herding Cubans into barbed-wire concentration camps. In turn, the American public was outraged.
Unikoski, Ari. “The War in the Air - Summary of the Air War”. First World War.com. 2009. http://www.firstworldwar.com/airwar/summary.htm
Booth, Bramwell. 1925. Orders and regulations for officers of the Salvation Army. London: International Headquarters.
Hewitt, Bill, and Anne Driscoll. “The Dangers of ‘Sexting.’” People 30 Mar. 2009: 111-112. Web. 21 Apr. 2010.
Taking a look at the history of virtual reality it actually began in the late 1950’s with the first supercomputers (Mitchell). The whole concept of virtual reality began with the realization that computer screen could be used instead of paper to view output (An explanation). At first, however, many people thought the computers as nothing more than adding machines. As virtual reality began to develop many individuals played a role in it. Three important men were Douglas Engelbart, Ivan Sutherland, and Myron Krueger. The contributions of these men were critical to the development of early virtual reality.