Man did not need to rely on society, or entangle himself in the patterns of the world; man’s intuition would be enough for his success. Conversely, Hawthorne did not trust man at all. He was a Transcendental Pessimist. He believed man was corrupt, and following his intuition would fail him in life. One of Hawthorne’s short stories, “Young Goodman Brown”, portrays the tale of a young Christian man who wanders into the forest and witnesses a witch-meeting that involves some of the people Goodman Brown thought to be some of the holiest people he knew: the church Deacon, the pastor, and even Brown’s own wife, Faith.
He holds on to the thoughts that as long as Faith remains holy, he shall find it in himself to resist the temptations of evil, but when he sees the pink ribbons from Faith’s cap his Christian faith is weakened. Hawthorne is using Goodman Brown’s wife, Faith, as a symbol of his own when he yells out “my faith is gone!” (Hawthorne
For Hamlet, this would mean that, because the ghost resembled him, Hamlet trusts him. He even acknowledges that “one may smile...and be a villain” but he does not even begin to consider that the statement could apply to the ghost before him (1.5, 109). In fact, he simply uses what the ghost has told him in order to strengthen his belief in the villainy of his uncle. It doesn’t occur to Hamlet, despite his friends’ various warnings, that the ghost could potentially not be his father. It doesn’t matter to him that, once alone with it, the ghost could “assume some other horrible form,/which might deprive [his] sovereignty of reason” (1.4, 72-3).
But, Luke is asked if he loves his daughter more than himself, because it would be a ‘love in weakness’, however God is reminded that it is similar to his love of humankind. As said in a review of the overall story, “the conversations seem a natural outgrowth of Luke’s faith, that faith based in rituals outlined in intimate detail in the first half of the story [...] and when Luke’s faith is tested by Jennifer’s car accident, he will fall back on his spiritual life and act, not think”
This shows that John is a merciful being and desires forgiveness from his wife and God, therefore demonstrating traits of a good man. Furthermore, John has a heated argument with his wife, due to his encounter with Abigail, alone. Although, he thinks his wife will doubt him, she states on the contrary, “I do not judge you. The magistrate sits in your heart that judges you. I never thought you but a good man, John - only somewhat bewildered” (55).
Through the development of his journey, he loses his faith and welcomes sin. This encounter reestablishes the moral with the assistance of the climax. Young Goodman Brown, without his Faith, comments that the world is the devil’s. With the loss of Goodman Brown’s faith, the lesson that all men are sinners at heart is applied to
In the story“Araby” although, just after speaking with Mangan’s sister, the narrator finds himself entirely uninterested and bored by the demands of the classroom by stating, “I watched my master’s face pass from amiability to sternness; he hoped I was not beginning to idle. I could not call my wandering thoughts together. I had hardly any patience with the serious work of life which, now that it stood between me and my desire, seemed to me child’s play, ugly monotonous child’s play.”(Joyce 4). This evidence forewarns the boy’s future annoyance with the colourless details that foil his wants, and it also illustrates the struggle to define himself as an adult. In similar comparison to the story “The
He does not return to her doorstep and present it like a holy grail, his proclamation of love sending her into a delicate swoon. As much as the boy and the reader might hope for such a romantic outcome, the reality is far more pedestrian. The boy arrives at Araby as it is already beginning to close, and is so overwhelmed and intimidated by its silent, unfriendly atmosphere that he leaves empty-handed, shop lights flickering out around him (Joyce, p. 383). The final line is sobering: “Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger (Joyce, p. 383).” In his lofty imaginings the boy has imagined himself not as who he is, but as who he wishes to be - a figure out of a fairy tale, “[bearing his] chalice safely through a throng of foes (Joyce, p. 380).” In these last few lines, the protagonist discovers something uglier, but far more grounded in reality. He sees his quest borne from infatuation as nothing but a childish vanity.
1. In the short narrative “The Haunted Boy” by Carson McCullers, Hugh Brown overcomes the terrors of his haunting past by succumbing to the fears brought on by a horrifying experience that leaves him broken with feelings of abandonment: “…knew something was finished… never cry again… no longer a haunted boy, now that he was glad somehow, and not afraid” (682). The thought of being alone terrifies Hugh and reveals the scars he has from his mother’s attempt to kill herself. Since he finds her on the bathroom floor one day after school alone he insists John Laney stay. He lies, begs, and manipulates Laney but is unsuccessful in his attempts.
This symbolism seems to express the author's dismay at how maturity means accepting surrender to the whims of one's family and one's culture. These lines describes Gregor’s last condition: "He had pains, of course, throughout his body, but it seemed to him that he was getting gradually fainter and fainter and would finally go away altogether. The rotten apple in his back and the inflamed area around it, which was completely covered with fluffy dust, already hardly bothered him. He thought back on his family with deep emotion and love. His conviction that he would have to disappear was, if possible, even firmer than his sister's.