Harvey Mackay once said “Life is too short to wake up in the morning with regrets, so love the people who treat you right, forget about the ones who don't, and believe that everything happens for a reason. If you get a chance, take it. If it changes your life, let it. Nobody said life would be easy, they just promised it would be worth it.” If you are given an opportunity or a second chance you should take it and not worry about what the future will hold even if it changes your life, you should let it happen as Wes Moore and Dimmesdale did.
Georgiana took note of Aylmer’s displeasure of the birthmark from the dream and through his stealthy stare, causing Georgina displeasure (Nathaniel Hawthorne 114). Aylmer’s further loathing of the birthmark, causes Georgiana to give up for the sake of his happiness. She tells, Aylmer after bringing up the conversation of the birthmark, “Either remove this dreadful hand, or take my wretched life!” (Nathaniel Hawthorne 114). Aylmer could have avoided tragedy, however he failed to listen to his assistant Aminadab, who stated he would “never part with that birthmark” (Nathaniel Hawthorne 114).
Intro: Nathaniel Hawthorne’s fictional short story “The Birthmark” and The Twilight Zone’s darkly romantic episode “Eye of the Beholder” both use gothic elements and delve into the realm of science to explore concepts of beauty and perfection. Through their contrasting characterizations of the scientist and employments of irony and allusions, each work comes to its own conclusions about how to define and treat beauty. Body #1: The Birthmark From the very first paragraph, Hawthorne’s story revolves around Aylmer, a scientist who supposedly gives up his career to marry the beautiful woman of his dreams, Georgiana.
The phrase “No, dearest Georgiana, you came so nearly perfect from the hand of Nature, that this slightest possible defect, which we hesitate whether to term a defect or a beauty, shocks me, as being the visible mark of earthly imperfection”(212) was used to illustrate a point of Aylmer's obsession with the mark and how he is not satisfied with his wife's current aesthetics. Aylmer loves Georgiana
His obsession over the birthmark became overwhelming for his loving wife, to the point where she feels as if “a red-hot iron had touched her cheek” whenever the birthmark is mentioned. While she once referred to her mark as a “charm” she changes her tone to describe it negatively after she now associates it as the object of Aylmer’s “horror and disgust.” To intensify Aylmer’s obsession leading to Georgiana’s insecurity, it is mentioned that he did not think about the birthmark until after they had married, after Georgiana had grown to love Aylmer and his view of her
But all of Georgiana’s family says that she’s beautiful but Aylmer said that she’s almost perfect and her only flaw was her birthmark. Later on, Georgiana gave in to Aylmer and let him attempt to remove her birthmark. The climax is where Aylmer became obsessed with his job as a scientist. And Georgiana noticed how he became
As Georgiana reveals her true sentiments about her stigma, she states with a sense of pride, “To tell you the truth, it has been so often called a charm, that I was simple enough to imagine it might be so” (Hawthorne 378). In expressing this sense of pride, Georgiana exudes her initial happiness with her birthmark, as she rebuttals with Aylmer. Even in this moment, Hawthorne extracts the mission of Aylmer, as he says, “Until now he had not been aware of the tyrannizing influence acquired by one idea over his mind, and the lengths which he might find in his heart to go, for the sake of giving himself peace” (Hawthorne 380). This selfish statement, causes for readers to recognize that Aylmer was aware that it would be no simple task to convince his muse that it is necessary to change her indifference.
When Aylmer demanded assistance from his servant, Aminadab, with Georgiana who was in a “lifeless form,” he muttered to himself: “If she were my wife, I’d never part with the birthmark” (Hawthorne 343). The ironic aspect of this part of the story is the servant, the scientist's personal laboratory rat, knew that the removal of such a tiny “defect” would end in a great loss. The “man of science,” the “philosopher,” the faith in man’s “ultimate control over nature,” all meant nothing. He could not see past his wife’s imperfection and look at what was truly important, her inner beauty. Destruction of beauty in this story, “The Birthmark,” is developed through the use of symbolism, conflict, and irony.
Hawthorne uses imagery sense of smell to get readers to imagine the scene, “When Georgiana recovered consciousness she found herself breathing an atmosphere of penetrating fragrance, the gentle potency of which had recalled her from her deathlike faintness” (Hawthorne). “The Birthmark” also creates irony with “Aminadab, the less inferior man to Aylmer is the one who speaks sensible to Aylmer by disclaiming that if Georgiana was his wife, he would not try to remove the birthmark” (“The Birthmark”). The figurative language helps enhance the story. Nathaniel Hawthorne’s meaning for the story was a man’s strive to perfection only caused the death of his wife. Aylmer was too focused on what perfect could be, and Georgiana blindly agrees with him and decides to remove the birthmark, despite never having a problem with it.
Aylmer believes that he can correct “what Nature left imperfect in her fairest work!” (4). Aylmer, who stands as a symbol for science, obsessively seeks to remove Georgiana’s birthmark and make her ideal. When mankind attempts to change nature in the pursuit of perfection, it never ends well as seen in Aylmer’s attempts at
The first and most important use of symbolism we receive is that of the birthmark. We learn that, “in the centre of Georgians's left cheek, there was a singular mark, deeply interwoven, as it were, with the texture and substance of her face” (205). Upon further reading Hawthorne tells us that, “Its shape bore not a little similarity to the human hand” (205). Georgiana had a birthmark right in the middle of her left cheek that resembled a tiny hand in which Aylmer thought was very imperfect. The birthmark symbolizes mortality or an imperfection of
Equally Aylmer and Dr. Rappiccini, both characters in Hawthorne’s works causes destruction of human life with selfish aims to perfect the woman of their choice. In the case of Aylmer’s love interest in science, just as with the case of Beatrice’s father, blinds him to the true beauty and humanity of the woman before him. Aylmer views Georgiana’s birthmark as a symbol of imperfection and tries to remove it. At the end of the story, Georgiana say, "My poor Aylmer," she repeated, with a more than human tenderness, "you have aimed loftily; you have done nobly. Do not repent that with so high and pure a feeling, you have rejected the best the earth could offer.
When Aylmer and Georgiana got married, Georgiana was taken from her mothers home, making her complete dependent on Aylmer and his opinions. In addition to this, Aylmer’s belief hat he is better than God, and has the ability to remove Georgiana’s birthmark, creates inequality in their relationship. Finally, due to Georgiana’s obsession with what Aylmer thinks of her, paired with Aylmer's rude looks and comments, leads her to do something
The author does this to give us the impression that the birthmark is no ordinary birthmark, but that it has some sort of mystical tie to Georgiana. Another example is how the story talks of how Georgiana was like a celestial being after Aylmer had relieved her of her only flaw but he regretted removing it for it also ridded
Aylmer is consumed with a pursuit of perfection in his scientific studies and also in nature. The leads to Aylmer being appalled at the blemish on his wife Georgiana’s cheek. He tells Georgiana “you came so nearly perfect from the hand of Nature, that this slightest possible defect..shocks me, as being the visible mark of earthly imperfection” (216). This is the catalyst for Aylmer's seeking for perfection in his wife who is a natural being. Aylmer recognizes that there is a “fatal flaw of humanity, which Nature...stamps ineffaceable on all her productions” (216).
