LITR
4232 American Renaissance
Sample Student Research Project 2012
Essay
Tracie Estrada
The Gothic World of Nathaniel Hawthorne
Nathaniel Hawthorne spins an excellent web of symbols and allegory in all
of his works. His writings are woven with deep significant elements that leave
the reader convicted as well having many unanswered questions. Three short
stories of Hawthorne’s writings stand
the test out, “Young Goodman Brown,” “The Minister’s Black Veil,” and “The
Birth-mark.” The gothic is fantastically represented in all three stories;
however, the approach Hawthorne
uses to arrive at these issues contrasts amongst them. In addition, Hawthorne uses black and
shades of red, pride and the Byronic hero, doppelganger and setting, grotesque
and sound as his weapons of choice as he delivers the gothic while teaching a
lesson that convicts the reader to higher lever of thinking.
Black and shades of red are represented as a veil, a birth-mark, and a
ribbon. As per Dr. White’s course site page, color can be used by an author to
invoke gothic imagery. As in the case with “Young Goodman Brown,”
Faith’s ribbon is pink. When Goodman Brown is in the woods with the
multitude of devilish followers, he sees Faith’s ribbon in the tree then he
exclaims “My Faith is gone.” The imagery
of a pink ribbon dangling in the dark tree with the wind blowing it is stirring.
It is as if Goodman Brown is seeing his spiritual faith dangling there being
challenged with the possibility of it slipping away.
In the same way as “Young Goodman Brown,”
Hawthorne uses color for
gothic and spiritual imagery in “The Minister’s Black Veil.” Reverend Hooper’s
self-imposed veil is both frightening and significant.
The thick fabric that covers the face of this man of God casts a
“darkened aspect to all living and inanimate things” so not only is there gloom
over his face but the world around him. While the veil is a symbol of the
minister’s inner turmoil and secret sin, Hooper deflects that gloomy façade on
others as if they too have secret sin that they are harboring.
Hawthorne
similarly uses the color in both “Young Goodman Brown” and “The Minister’s Black
Veil” to symbolize issues with spirituality; however, he uses it differently in
“The Birth-mark.” The shade of red is
used to illuminate the gothic while describing Georgiana’s birthmark as “a ruby
on the whitest marble.” This birthmark is labeled “the Crimson Hand” which is a
gothic sentiment but it is a tiny imperfection not a curse or blight on
Georgiana’s character. Aylmer’s
attempt to remove it is his prideful determination for perfection. It is this
pride that he, Reverend Hooper, and Goodman Brown have in common.
Furthermore, Pride plays such a large role in all three of these texts
that in turns into isolation; additionally, Hooper, Brown, and Aylmer push aside love and companionship to
peruse torment, superiority, and perfection. Isolation produces an untouchable
persona within the characters creating another gothic element, the Byronic hero.
All three men have the characteristics of the Byronic hero which is defined on
Dr. White’s course site as, “brilliant but cynical
and self-destructive, haunted by some secret sin.” Young Goodman Brown is the
least of these to create the Byronic hero as he is isolated from shunning the
rest of society because of their association with darkness; however, darkness is
a part of human nature as it is inside Brown as well. It is Reverend Hooper and
Aylmer who share this kinship more abundantly.
While Reverend Hooper is not the traditional Byronic hero, he does
exhibit some of the characteristics. His
face is shrouded in the veil hiding his features; it is that mystique that
creates the Byronic bad boy. His shroud makes him appear dangerous along with
the mystery causing a stir with the townspeople and the reader because all want
to know more despite their fear. In fact it is made obvious by the veil that he
is hiding secret sin, haunted and shamed from his past. His appearance is a
contradiction to the traditional handsome Byronic hero. In contrast to the other
pieces, it is Hooper himself who is the gothic element.
He is a frightening, macabre figure;
additionally, there is correspondence there as Hooper’s outside appearance
mirrors the condition of his inside. Still,
Hooper is a Byronic hero just not as traditionally as
Aylmer.
For example, the main contrast between Hooper and Aylmer is appearance because Aylmer fits the gothic Byronic hero in his
physical appearance which is described as a “slender figure, and pale, with an
intellectual face” (770). Aylmer
is so cynical in his journey to wipe the imperfection from his wife’s face. He
is brilliant with all the experiments that he creates, but is he using it for
good? The character of Aylmer
has similarity with Victor Frankenstein; consequently, Victor is a candidate for
the Byronic hero as well. Both are scientists who create magnificent
experiments, and are too caught up in their own brilliance to ponder if they
should continue with those experiments. Both men succeed where others have
failed but it costs them dearly, the women they love. The course site by Dr.
White, lists that both Victor and the creature are the doppelgangers of one
another; furthermore, this element is yet another component of the gothic that
“The Birth-mark” possesses that the other stories do not.
One of the most striking contrasts of “The Birth-mark” in comparison with
“Young Goodman Brown” and “The Minister’s Black Veil” is the doppelganger.
Aylmer’s doppelganger is his lab assistant, Aminadab. His
appearance, voice, and moral code differ greatly from
Aylmer. In the article titled “Aminadab in Nathaniel
Hawthorne’s The Birth-mark” by Conor Walsh, this difference between
Aylmer
and his assistant are discussed. Walsh points out how Aminadab is described by Aylmer as “a man of clay”
and an “earthly mass” (258). Hawthorne
goes further describing Aminadab as “a man of low stature, but bulky frame, with
shaggy hair about his visage” (770). This is a sharp contrast with Aylmer’s appearance as
being elegant and refined. Traditional gothic stories would have the reader
believe that the character that was of the light is on the side of good but Hawthorne bends those
lines. Aylmer being the refined educated one is
mistaken; furthermore, it is Aminadab who remarks on
Georgina
birth-mark as beautiful, a reminder that our imperfections are what makes us
human. Aminadab remarks that “If she were my wife, I’d never part with that
birth-mark” and as Walsh suggests that even though Aylmer is the one with
intellect it is Aminadab who possess the wisdom; consequently, Aylmer is so
adamant in his quest to remove the birth-mark it costs the life of Georgina
(260). It is not Aminadab, the dark one,
who is evil but Aylmer;
accordingly, it is his lab assistant who accepts the faults and earthliness of
humans (Walsh 260). Next, the doppelganger gothic issue is not the only
difference this story has with the others, it also seen in the setting.
There are certain settings that make them gothic. For example,
wilderness, mazes, haunted places, and secret passages are perfect conditions
for a gothic story (White). In “The Birth-mark” it contrasts the others because
it is not set in Puritan America but presumably Hawthorne’s time.
When Aylmer
takes Georgiana into his laboratory it is his secret world.
He takes her inside the sanctum where he
performs his experiments; however, where she is taken is not in the laboratory
but a “fantastic and elegant boudoir” within the sanctum (771). Georgina emerges
from her refuge to investigate Aylmer’s covert
laboratory but when she is discovered Aylmer
calls her a “prying woman”; consequently, Georgina,
an innocent girl, is taken into the sanctuary of a mad-scientist but only
superficially. Still this setting
contrasts with the wilderness of “Young Goodman Brown.”
In spite of “The Birth-mark,” “Young Goodman Brown” has the setting that
one has come accustomed to while reading Nathaniel Hawthorne. In the story,
Goodman Brown is walking in the woods and according to Dr. White’s course page
this gothic component is called wilderness gothic; furthermore, this particular
gothic is found in American literature because the writers use landscapes verses
their British counterparts who use ancient mansions (White). Additionally, when
the wilderness gothic is used there is the threat of seeing devils or the woods
being the domain of Native Americans; both are seen in “Young Goodman Brown.”
When Goodman Brown starts on his journey the path that he uses is described as
“dreary, darken by gloomy trees.” The path itself is a maze of trees which sets
Brown on edge, he then exclaims “there may be a devilish Indian behind every
tree”; additionally, he also remarks that the devil himself may be right beside
him which is ironic since it is that same figure he meets up with in the woods.
Perhaps the wilderness gothic plays to a certain psychological fear of being
lost, when in the woods the view is obstructed and the path is not clearly laid
ahead. Brown finds himself in the interior of the forest, far away from prying
or helpful eyes. Deep in the heart of the forest is comparative to the sanctuary
of Georgiana.
On the other hand, the choice of setting is the major difference “The
Minister’s Black Veil” has with the other works mentioned; however, it is set in
the traditional Puritan period as with “Young Goodman Brown.” As before mention,
Hooper himself is the gothic element. The sight of him causes fear in others;
hence, he is the grotesque figure. The horror that others feel when Hooper is in
their presence, along with the horror he feels when viewing his own reflection
is a reminder to him as well as other that there is true darkens in our lives.
Everyone has thoughts or issues in their past that maybe shameful if learned by
others. This compares to Goodman Brown encountering all the townspeople in the
woods, none are exempt. Hooper is described as wearing a melancholy smile at
times; however, the very thought of is interesting because smiling and
melancholia are contradictory terms. Hawthorne
uses Reverend Hooper as the gothic personified.
In addition to grotesque figures, sound is another aspect of the gothic.
Sound is used in all three of Hawthorne’s pieces but it alters in the way it
is used. For example, “Young Goodman Brown” sets an excellent example of gothic
sound. While in the forest the sounds around Goodman Brown are chilling, the
“screams, murmur of voices, and far-off laughter” creates the gothic tone. There
is a psychological effect to laughter in a moment that is void of humor;
additionally, it is particularly frightening but used often. For instance, in
“The Birth-mark,” Georgiana has just died but what is heard is a ”hoarse
chucking laugh.” Why is laughter so chilling in this context? Tears and laughter
can coexist without a menacing meaning but laughter in a time of terror is
unacceptable. Perhaps it is the thought
that someone is finding pleasure in another’s fear or pain. Consequently it is
two elements that do not live harmoniously like Christianity and Satanism.
The line of Christianity and Satanism is blurred in “Young Goodman Brown”
and Selina Jamil addresses this issue in the article “Carnivalesque Freedom in
Hawthorne’s Young Goodman Brown.”
Jamil points out that the “laughing wind
tolls like a church bell” and that the rituals of the satanic parishioners
mirror that found on any given Sunday in a house of God (Jamil 143).
Hawthorne
has a habit of mixing gothic and evil with matters of faith. What message is he
sending to the reader? Is it a simple cautionary tale or much more? With his use
of the gothic and spiritualism he is able to turn it back on the reader. Truly,
the common characteristic all three main characters harbor is pride. Hawthorne attends to both
the religious and intellectual audiences using the gothic while cautioning them
about the sin that was the fall of man.
Furthermore, Hawthorne
uses the gothic to enlighten his reader perhaps even to convict them to reflect
their lives. Unlike Poe, who uses the gothic for mostly entertainment purposes,
Hawthorne takes
use of this literary device to ask the reader what is the condition of their
heart? Can the reader identify with
Aylmer
who has chosen the scientific path in lieu of a spiritual one but lost touch
with his own morality and mortality? Perhaps identification can be found with
Young Goodman Brown, obtaining tested or untested faith and scoring those around
them while on their spiritual high horse; consequently, unwilling to accept that
we live world with people who have made mistakes and none are better than any
other. Lastly, the reader may find association with Reverend Hooper. They, like
him, hold on to whatever discrepancy they have be it within them or with others
and are more resolved to hold onto it and suffer than to forgive or be forgiven.
Finally, Hawthorne
uses the gothic with such style. Its use is so diverse throughout the works but
they also share a communion. The use of the Byronic hero, color contrasts,
setting, sounds and doppelganger create vivid gothic stories. If the reader
allows Hawthorne
inside, he is sure to keep that reader pondering on the meaning of these and
mining for new enlightened epiphanies every time the pieces are read.
Works Cited
Jamil, Selina. “Carnvalesque Freedom in
Hawthorne’s Young Goodman Brown”
The Explicator 65.3 (2007): (143-5).
Academic Search Complete. Web. 13
Apr. 2012.
Hawthorne, Nathaniel. Tales and Sketches.
New York: Viking Press, 1972. Print
Walsh, Conor. “Aminadab in Nathaniel Hawthorne’s The Birth-Mark”
The Explicator (2009): (258-60).
Academic Search Complete. Web. 13
Apr. 2012.
White, C. (2012). American Renaissance & American Romanticism: The Gothic. Web
http://coursesite.uhcl.edu/hsh/Whitec/LITR/4232/research/termsthemes/gothic.htm
