Nathaniel Hawthorne Research Paper Essay Writing S 2012
The essay is thus a distillation of the practical and the imaginative.It includes scant praise for the unimaginative William Lee, the antediluvian permanent inspector whose commonplace attitude typified for Hawthorne the Customs operation.Almost every character that Hawthorne created experiences some sense of isolation, sometimes from a consciousness of sin, sometimes from innocence itself, or sometimes from a deliberate attempt to remain aloof.According to Hawthorne, this kind of isolation, most intense when it is selfimposed, frequently comes from a consciousness of sin or from what he calls the “violation of the sanctity of the human heart.” For Hawthorne, the “unpardonable sin” is just such a violation, in which one individual becomes subjected to another’s intellectual or scientific (rather than emotional) interest., for example, introduced the pale, idealistic scholarly hero more fully developed in Dimmesdale.Others, personifications of abstract qualities, seem motivated by purely evil ends.
Chillingworth, whose literary ancestry can probably be traced to Miltonic devil-figures, is old and bent but possesses a compelling intellect that belies his lack of physical strength.Such a set of recurring themes is bolstered by a pervasive character typology.Although literary works such as those by Edmund Spenser, John Milton, William Shakespeare, and John Bunyan form the historical context for many of Hawthorne’s characters, many are further developments of his own early character types.Probably begun while Hawthorne was enrolled at Bowdoin, the novel has as its setting Harley College, a picturesque, secluded institution.Formal classroom tutoring is not the novel’s central interest, however, just as it was not in Hawthorne’s own life; nor is the novel completely a roman à clef in which actual people and places are thinly disguised.Chillingworth is a good example; as Hester’s unacknowledged husband, he lives with Dimmesdale, deliberately intensifying the minister’s hidden guilt.In , Coverdale’s voyeurism (and certainly his name) suggests this kind of violation, as does Westervelt’s manipulation of Priscilla and Hollingsworth’s of Zenobia.Finally, the worldly Judge Pyncheon manifests a practical, unimaginative streak that connects him to Peter Hovenden of Hawthorne’s short story “The Artist of the Beautiful.” As for Hawthorne’s heroines, Hilda and Phoebe embody the domesticity that Hawthorne admired in Sophia; Priscilla, like Alice Pyncheon before her, is frail and easily subjugated; and Hester, Zenobia, and Miriam exhibit an oriental beauty and intellectual pride. Although he almost immediately repudiated the work, it remains not only a revealing biographical statement but also a testing ground for themes and characters that he later developed with great success.“No man can be a poet and a bookkeeper at the same time,” Hawthorne complained in a letter he wrote while engaged in his Uncle Robert’s stagecoach business before college.Dimmesdale’s guilt at concealing his adultery with Hester Prynne is, indeed, as destructive as the wound on his breast, and Donatello’s pagan nature is expressed in the shape of his ears. These repetitions show Hawthorne’s emphasis on the effects of events on the human heart rather than on the events themselves. becomes a pure and uncontrollable mischief.” For Hawthorne, then, the past must be reckoned with, and then put aside; the eventual decay of aristocratic families is not only inevitable, but desirable.One common motif is concern for the past, or, as Hawthorne says in the preface to , his “attempt to connect a bygone time with the very present that is flitting away from us.” Hawthorne’s interest in the Puritan past was perhaps sparked by his “discovery,” as a teenager, of his Hathorne connections; it was certainly influenced by his belief that progress was impeded by inheritance, that “the wrong-doing of one generation lives into the successive ones, and . Hawthorne’s understanding of tradition is illustrated in many of his works.