Hugo McPherson in “Hawthorne’s Use of Mythology” explains how the author’s “inner drama” may be expressed in his symbolism:
The imaginative foundation of a writer’s work may well be an inner drama or ‘hidden life’ in which his deepest interests and conflicts are transformed into images or characters; and through the symbolic play of these creations, he comes to ‘know’ the meaning of his experience; the imaginative structure becomes a means of reaching truth. . . . he lives ‘a life of allegory,’ and each of his works expresses one facet or another of the total structure. . . .heart-leading symbol. [The Heart became] Hawthorne’s central preoccupation and his leading symbol (68).
Edmund Fuller and B. Jo Kinnick in “Stories Derived from New England Living” state: “Hawthorne’s unique gift was for the creation of strongly symbolic stories which touch the deepest roots of man’s moral nature” (31). Stanley T. Williams in “Hawthorne’s Puritan Mind” states that the author was forever “perfecting his delicate craft of the symbol, of allegory, of the few themes and oft repeated character-types which were to haunt forever the minds of those who know New England” (42).
Let us begin with the opening lines of the story: “YOUNG GOODMAN BROWN came forth at sunset, into the street of Salem village. . .” What is Goodman Brown symbolic of? 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 resi…
… middle of paper …
…. Jo Kinnick in “Stories Derived from New England Living.” In Readings on Nathaniel Hawthorne, edited by Clarice Swisher. San Diego, CA: Greenhaven Press, 1996.
Hale, John K. “The Serpentine Staff in ‘Young Goodman Brown.’” Nathaniel Hawthorne Review 19 (Fall 1993): 17-18.
James, Henry. Hawthorne. http://eldred.ne.mediaone.net/nh/nhhj1.html
Leavis, Q. D. “Hawthorne as Poet.” In Hawthorne – A Collection of Critical Essays, edited by A.N. Kaul. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
Levy, Leo B. “The Problem of Faith in ‘Young Goodman Brown.’” Modern Critcial Views: Nathaniel Hawthorne. Ed. Harold Bloom. New York: Chelsea House, 1986. 115-126.
McPherson, Hugo. “Hawthorne’s Use of Mythology.” In Readings on Nathaniel Hawthorne, edited by Clarice Swisher. San Diego, CA: Greenhaven Press, 1996.
All Quiet on the Western Front Essays: Can’t Go Home Again
Can’t Go Home Again – All Quiet on the Western Front
During his leave, perhaps Baumer’s most striking realization of the vacuity of words in his former society occurs when he is alone in his old room in his parents’ house. After being unsuccessful in feeling a part of his old society by speaking with his mother and his father and his father’s friends, Baumer attempts to reaffiliate with his past by once again becoming a resident of the place. Here, among his mementos, the pictures and postcards on the wall, the familiar and comfortable brown leather sofa, Baumer waits for something that will allow him to feel a part of his pre-enlistment world. It is his old schoolbooks that symbolize that older, more contemplative, less military world and which Baumer hopes will bring him back to his younger innocent ways.
I want that quiet rapture again. I want to feel the same powerful, nameless urge that I used to feel when I turned to my books. The breath of desire that then arose from the colored backs of the books, shall fill me again, melt the heavy, dead lump of lead that lies somewhere in me and waken again the impatience of the future, the quick joy in the world of thought, it shall bring back again the lost eagerness of my youth. I sit and wait (Remarque, All Quiet VII. 151).
But Baumer continues to wait and the sign does not come; the quiet rapture does not occur. The room itself, and the pre-enlistment world it represents, become alien to him. “A sudden feeling of foreignness suddenly rises in me. I cannot find my way back” (Remarque, All Quiet VII. 152). Baumer understands that he is irredeemably lost to the primitive, military, non-academic world of the war. Ultimately, the books are worthless because the words in them are meaningless. “Words, Words, Words—they do not reach me. Slowly I place the books back in the shelves. Nevermore” (Remarque, All Quiet VII. 153). In his experiences with traditional society, Baumer perverts language, that which separates the human from the beast, to the point where it has no meaning. Baumer shows his rejection of that traditional society by refusing to, or being unable to, use the standards of its language.
Contrasted with Baumer’s experiences during his visit home are his dealings with his fellow trench soldiers.