DOCSLIB.ORG

1554705 02.Pdf (13.80Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1554705 02.Pdf (13.80Mb) VEILING AND UNVEILING HAWTHORNE’S FULLER MYSTERY Volume II A Dissertation by THOMAS R. MITCHELL Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY August 1994 Major Subject: English VEILING AND UNVEILING HAWTHORNE’S FULLER MYSTERY Volume II A Dissertation by THOMAS R. MITCHELL Submitted to Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved as to style and content by: (Member) Lawrence Mitchell (Head of Department) August 1994 Major Subject: English Ill TABLE OF CONTENTS Volume I Page ABSTRACT iii ACKNOWLEDGEMENTS v TABLE OF CONTENTS vi CHAPTER I INTRODUCTION: THE "RIDDLE" OF MARGARET FULLER 1 II THE "SCANDAL" OF MARGARET FULLER 16 III "THIS MUTUAL VISIONARY LIFE": THE HAWTHORNE-FULLER FRIENDSHIP 56 IV "RAPPACCINI’S DAUGHTER" AND THE VOICE OF BEATRICE.... 124 V "SPEAK THOU FOR ME!": THE "STRANGE EARNESTNESS" OF THE SCARLET LETTER 169 Volume II TABLE OF CONTENTS iii CHAPTER VI "SILKEN BANDS AND IRON FETTERS": FULLER AT FIRE ISLAND AND HAWTHORNE AT LENOX 221 VII DREAMING "THE SAME DREAM TWICE": THE GHOST STORY OF THE BLITHEDALE ROMANCE 248 VIII CONCLUSION: THE VENUS OF THE TRIBUNE AND THE PEARL DIVER IN THE MARBLE FAUN 315 REFERENCES. 357 VITA 369 221 CHAPTER VI "SILKEN BANDS" AND "IRON FETTERS": FULLER AT FIRE ISLAND, HAWTHORNE AT LENOX "The bands, that were silken once, are apt to become iron fetters, when we desire to shake them off. Our souls, after all, are not our own. We convey a property in them to those with whom we associate, but to what extent can never be known, until we feel the tug, the agony, of our abortive effort to resume an exclusive sway over ourselves. Thus, in all the weeks of my absence, my thoughts continually reverted back, brooding over the by-gone months, and bringing up incidents that seemed hardly to have left a trace of themselves, in the passage. I spent painful hours in recalling these trifles, and rendering them more misty and unsubstantial than at first, by the quality of speculative musing, thus kneaded in with them. Hollingsworth, Zenobia, Priscilla! These three had absorbed my life into themselves." —Coverdale (3:194) Early in The Blithedale Romance, Zenobia confronts Coverdale, asking him to explain the source of his constant, intense gaze. '"’I seem to interest you very much,’" she tells him, "’and yet—or else a woman’s instinct is for once deceived—I cannot reckon you as an admirer. What are you seeking to discover in me?’" Because he is "surprised into the truth by the unexpectedness of her attack," Coverdale confesses, "’The mystery of your life . And you will never tell me’" (3:47). Zenobia indeed does not tell him, but she does allow him, as Beatrice did Giovanni, to "look into her eyes, as if challenging" him "to drop a plummet-line down into the depths of her consciousness." As Giovanni with Beatrice, so Coverdale with Zenobia--he cannot meet her challenge. "’I see nothing now,’" he tells her, "’unless it be the face of a sprite, laughing at me from the bottom of a deep well’" (3:48). The site of Coverdale’s gaze remains fixed at the end where, we discover, it had been from the first. As he concludes his tale, he directs our attention to the place where he started, the place where we have been all along. The "deep well" of Zenobia’s eyes isnow veiled by her deeper grave, but Coverdale has stood by that grave from the beginning, haunted every bit as much as Hollingsworth by Zenobia’s ghost, still trying to fathom her "mystery," still feeling the "tug, the agony" of his "abortive effort to resume an exclusive sway" over himself (3:194). But, as he has come to realize, "our souls, after all, are not our own" (3:194). 222 A part of him lies buried in that grave. In the winter of 1851-1852, through his surrogate, ’’translator," Miles Coverdale, Hawthorne still pondered the "mystery" that Fuller, as Zenobia, remained for him, but the "plummet-line" that Hawthorne would have to drop in order to penetrate that mystery could no longer be in Fuller’s "eyes" but in the "deep well" of her grave at the bottom of the Atlantic Ocean. Five months after the publication of The Scarlet Letter, Fuller, Ossoli, and their baby drowned within a hundred yards of the shores of America in the wreck of the Elizabeth. Fuller never had the chance to read Hawthorne’s "scarlet letter" to her, but in one peculiar passage in The Blithedale Romance, Hawthorne covertly acknowledges Fuller’s association with The Scarlet Letter while seeming only to pay an overt tribute to her memory as "one of the most gifted women of the age." When Priscilla brings Coverdale a night-cap that she has made him, she also brings him "a sealed letter." After she offers it to him and he does not take it, she draws it back and holds "it against her bosom, with both hands clasped over it." At precisely that moment, Coverdale is "forcibly struck" by her resemblance to Margaret Fuller—not to Fuller’s "figure" nor her "features," he is careful to note, but to "her air." "Strangely enough," as Coverdale says, the letter is from Fuller, and when Coverdale tells Priscilla that she had reminded him of Fuller, Priscilla asks,"’How could I possibly make myself resemble this lady, merely by holding her letter in my hand?”’ Coverdale admits that "’it would puzzle me to explain it”' and then tries to deny that there is anything to explain by dismissing the letter’s role in triggering his association of her with Fuller, insisting that "’it was just a coincidence—nothing more”’ (3:51-52). Priscilla hands Coverdale the letter, but Coverdale does not tell us its contents. Hawthorne, however, just has. The letter that Priscilla clasps to her bosom reminds Coverdale of Fuller because Hawthorne, if we follow the logic of his self-directed pun, had had another character resembling Fuller place Fuller’s "letter" on her breast. The Scarlet Letter itself had been written on one level as something of a "letter" to Fuller, but after 19 July 1850 only Hawthorne would be left to break its seal.1 If in "Rappaccini’s Daughter" and The Scarlet Letter Hawthorne had taken great care to conceal both his and Fuller’s presence, he takes little such care in The Blithedale Romance. From the moment of its publication 223 to the present, readers have detected the spirit of Fuller inhabiting Zenobia’s character just as easily as they have identified a significant part of Hawthorne given voice in Miles Cover dale.2 Surely Hawthorne knew that they would. But perhaps he knew that they would hear another Dimmesdale-like confession which they would once again fail to really hear. Or, perhaps, if they indeed heard this time, he no longer really cared as much as he had. An examination of the context surrounding the writing of The Blithedale Romance helps to explain why that last possibility merits serious consideration. Among other things, such an examination will explain why in Coverdale, Hawthorne is not so much writing about what he was in danger of becoming, had he remained a bachelor, but about what he had become. It will also explain why Zenobia’s grave marks the site of Fuller’s presence in Hawthorne’s discontent and guilt. 2 On the day after finishing the "h-11 fired story" of The Scarlet Letter, Hawthorne admitted to his friend Horatio Bridge that he was physically and mentally exhausted. His health, he claimed, had not been what it once was "for many years past," and he did not believe that he could "long stand such a life of bodily inactivity and mental exertion" as he had "led for the last few months" (18:312). He had hidden his concerns from Sophia, he admitted, and he instructed Bridge not to allude to the matter in future letters. The past year had exhausted Hawthorne, and just at the moment that he was to receive the general acclaim that had so long alluded him, at forty-five he was feeling decidedly middle-aged, his "lack of physical vigor and energy," he said, beginning to affect his mind (18:312). Were he "anywhere else" but Salem, he was confident, he should "at once be entirely another man." His problems, however, were deeper than exhaustion and place. Twenty-five years after graduating from college and dedicating himself to literature, he had still not fulfilled his artistic ambitions nor had he consistently been able through his literary work to support himself, much less his growing family. He felt himself a failure. When he received a collection of five hundred dollars from George Hillard and other, unnamed friends through the mail in January of 1850—only days after submitting all but the last three chapters of The Scarlet Letter to Fields—he 224 described in his letter of acknowledgement the tears that had risen to his eyes at the Post Office. In what Edwin Haviland Miller has termed the ’’unusual candor” with which he reveals "the exacting creed by which he lived—and punished himself," Hawthorne then expressed a deeper sense of shame and bitterness over his plight than humility and gratitude would seem to warrant:3 Ill success in life is really and justly a matter of shame. I am ashamed of it, and I ought to be.
Load more

Recommended publications
  • Hawthorne's Concept of the Creative Process Thesis
    48 BSI 78 HAWTHORNE'S CONCEPT OF THE CREATIVE PROCESS THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Retta F. Holland, B. S. Denton, Texas December, 1973 TABLE OF CONTENTS Chapter Page I. HAWTHORNEIS DEVELOPMENT AS A WRITER 1 II. PREPARATION FOR CREATIVITY: PRELIMINARY STEPS AND EXTRINSIC CONDITIONS 21 III. CREATIVITY: CONDITIONS OF THE MIND 40 IV. HAWTHORNE ON THE NATURE OF ART AND ARTISTS 67 V. CONCLUSION 91 BIBLIOGRAPHY 99 iii CHAPTER I HAWTHORNE'S DEVELOPMENT AS A WRITER Early in his life Nathaniel Hawthorne decided that he would become a writer. In a letter to his mother when he was seventeen years old, he weighed the possibilities of entering other professions against his inclinations and concluded by asking her what she thought of his becoming a writer. He demonstrated an awareness of some of the disappointments a writer must face by stating that authors are always "poor devils." This realistic attitude was to help him endure the obscurity and lack of reward during the early years of his career. As in many of his letters, he concluded this letter to his mother with a literary reference to describe how he felt about making a decision that would determine how he was to spend his life.1 It was an important decision for him to make, but consciously or unintentionally, he had been pre- paring for such a decision for several years. The build-up to his writing was reading. Although there were no writers on either side of Hawthorne's family, there was a strong appreciation for literature.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University M crct. rrs it'terrjt onai A Be" 4 Howe1 ir”?r'"a! Cor"ear-, J00 Norte CeeD Road App Artjor mi 4 6 ‘Og ' 346 USA 3 13 761-4’00 600 sC -0600 Order Number 9238197 Selected literary letters of Sophia Peabody Hawthorne, 1842-1853 Hurst, Nancy Luanne Jenkins, Ph.D.
    [Show full text]
  • Copyright (C) 2005 Fruitlands Museum, Harvard, Massachusetts Permission to Publish from This Material Should Be Discussed with the Museum Curator
    Guide to the Transcendentalist Manuscript Collection, Fruitlands Museum, Harvard, Massachusetts www.fruitlands.org REGISTER MS T.1 S. Margaret Fuller Ossoli (1810-1850) Papers, ca 1836-1850 Size: 2 Linear inches Acquisition: Materials were purchased from The Goodspeed Book Shop by Clara Endicott Sears BIOGRAPHICAL SKETCH S. Margaret Fuller Ossoli (May 23, 1810-July 19, 1850) was a well known author, lecturer, and Transcendentalist in the Nineteenth Century. She is often called a "bluestocking", because of her feminist beliefs and unconventional life. She was born Sarah Margaret Fuller, the first of nine children of Timothy and Margaret Fuller of Cambridgeport, Massachusetts. Her father was determined to give her a masculine education according to the classical curriculum of the day. The exacting and regimental education began at a very young age and was to take a great toll on her health. But it also gave her abroad knowledge of literature and languages. Following the completion of her formal studies, Margaret gained entrance into the intellectual circles of Cambridge and Harvard. Here she formed lasting friendships with many New England intellectuals. In 1836, Margaret Fuller was hired to teach languages at Bronson Alcott's Temple School. She stayed only a year, but continued her teaching career in Providence Rhode Island at the Greene Street School. In 1839, she returned to Massachusetts and began conducting "Conversations" for society women and others in Boston. At this time, Margaret Fuller also became an integral part of the Transcendentalist Movement. From 1840 to 1842 she edited and contributed to the Transcendentalist journal, The Dial. In 1845, she published her feminist work, Woman in the Nineteenth Century.
    [Show full text]
  • Lehigh Preserve Institutional Repository
    Lehigh Preserve Institutional Repository Nathaniel Hawthorne : an existential interpretation of the journey motif in selected short fiction Collins, Dennis C. 1974 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. NATHANIEL HAWTHORNE1 AN EXISTENTIAL INTERPRETATION OF THE JOURNEY MOTIF IN SELECTED SHORT FICTION by Dennis C, Collins A Thesis Presented to the Graduate Committee of Lehigh University in Candidacy for the Degree of Master of Arts in English Lehigh University 1974 (9/10/74) This thesis is accepted and approved in partial fulfillment of the requirements for the degree of Masters of Arts. ( at ) ii ACKNOWLEDGEMENTS I submit this thesis in warmest gratitude to the following people• to Professor Carl F, Strauch for the thorough background he presented in his Hawthorne seminar, out of which grew my thesis topic; to Professor Edward G, Gallagher, my thesis advisor, for offering me his valuable time, his patience, and his insightful suggestions; and to Jenny Saloky who unselfishly gave her time and typing skill, iii TABLE OF CONTENTS Title Page i Certificate of Approval ii Acknowledgments iii Table of Contents iv Abstract 1 Chapter Onea "The Hollow of Three Hills" 3 Notes 18 Chapter Two 1 "My Kinsman, Major Molineux" 22 Notes 40 Chapter Three 1 "Young Goodman Brown" 44 Notes 58 Chapter Four 1 "Ethan Brand" 61 Notes 75 Bibliography
    [Show full text]
  • F, Sr.Auifuvi
    NATHANIEL HAWTHORNE' S USE OF WITCH AND DEVIL LORE APPROVED: Major Professor Consulting Professor Iinor Professor f, sr. auifUvi Chairman of" the Department of English Dean of the Graduate School Robb, Kathleen A., Nathaniel Hawthorne;s Fictional Use of Witch and Devil Lore. Master of Arts (English), December, - v 1970, 119 pp., bibliography, 19 titles. Nathaniel Hawthorne's personal family history, his boy- hood in the Salem area of New England, and his reading of works about New England's Puritan era influenced his choice of witch and Devil lore as fictional material. The witch- ci"aft trials in Salem were evidence (in Hawthorne's inter- pretation) of the errors of judgment and popular belief which are ever-present in the human race. He considered the witch and Devil doctrine of the seventeenth century to be indicative of the superstition, fear, and hatred which governs the lives of men even in later centuries. From the excesses of the witch-hunt period of New England history Hawthorne felt moral lessons could be derived. The historical background of witch and Devil lore, while helpful in illustrating moral lessons, is used by Hawthorne to accomplish other purposes. The paraphernalia of witchcraft with its emphasis on terrible and awesome ceremonies or practices such as Black Sabbaths, Devil compacts, image-magic, spells and curses, the Black Man in'the forest, spectral shapes, and familiar spirits is used by Hawthorne to add atmospheric qualities to his fiction. Use of the diabolic creates the effects of horror, suspense, and mystery. Furthermore, such 2 elements of witch and Devil doctrine (when introduced in The Scarlet Letter, short stories, and historical sketches) also provide an aura of historical authenticity, thus adding a v dimension of reality and concreteness to the author's fiction.
    [Show full text]
  • SOPHIA PEABODY HAWTHORNE Lessons from an Old Manse
    SOPHIA PEABODY HAWTHORNE Lessons from an Old Manse Sophia Hawthorne’s window etching in her studio at The Old Manse: “Endymion painted in this room - finished January 20, 1844.” HISTORY On the morning of July 7, 1842, Nathaniel Hawthorne and Sophia Peabody were married in Boston. That afternoon, they rode out to Concord to begin their married life at The Old Manse. The Hawthornes were eager to begin this new chapter of their lives because they shared a vision of what their married life. Nathaniel was a writer, Sophia was an artist, and together they had planned to each develop their respective crafts while inspiring the other. The Old Manse was an ideal home for the Hawthornes with its shared and individual spaces. Sophia promptly transformed the dining room into her painting studio. By 1842, Sophia was a respected painter in the prime of her career. Current research shows her to be the first female American painter who was paid for her work, thus paving the way for others of her gender. In 1844 Sophia marked the completion of Endymion, the painting she considered her masterpiece, by using her diamond ring to etch the note above into her studio window. As her notes in this glass also show, Sophia’s life changed in 1844 when she gave birth to her first child, Una. The transition to motherhood was accompanied by an end to Sophia’s painting career. However, her diaries and letters show that she loved being a mother. And, in the second inscription on the window, Sophia expressed her daughter’s joy in seeing the shimmering icicles on maple trees in the yard after a winter storm: “Una Hawthorne stood on this window sill January 22’d 1845 while the trees were all glass chandeliers – a goodly show which she like much tho only ten months old” FOR CONTEMPLATION OR DISCUSSION Gender Roles - In the three years that the Hawthornes lived at The Old Manse, Sophia’s artistic career peaked and ended while Nathaniel’s grew to great acclaim.
    [Show full text]
  • Hawthorne's Conception of History: a Study of the Author's Response to Alienation from God and Man
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man. Lloyd Moore Daigrepont Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Daigrepont, Lloyd Moore, "Hawthorne's Conception of History: a Study of the Author's Response to Alienation From God and Man." (1979). LSU Historical Dissertations and Theses. 3389. https://digitalcommons.lsu.edu/gradschool_disstheses/3389 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy.
    [Show full text]
  • The Birth-Mark Hawthorne, Nathaniel
    The Birth-Mark Hawthorne, Nathaniel Published: 1843 Type(s): Short Fiction Source: http://gutenberg.org 1 About Hawthorne: Nathaniel Hawthorne was born on July 4, 1804, in Salem, Massachu- setts, where his birthplace is now a museum. William Hathorne, who emigrated from England in 1630, was the first of Hawthorne's ancestors to arrive in the colonies. After arriving, William persecuted Quakers. William's son John Hathorne was one of the judges who oversaw the Salem Witch Trials. (One theory is that having learned about this, the au- thor added the "w" to his surname in his early twenties, shortly after graduating from college.) Hawthorne's father, Nathaniel Hathorne, Sr., was a sea captain who died in 1808 of yellow fever, when Hawthorne was only four years old, in Raymond, Maine. Hawthorne attended Bowdoin College at the expense of an uncle from 1821 to 1824, befriending classmates Henry Wadsworth Longfellow and future president Franklin Pierce. While there he joined the Delta Kappa Epsilon fraternity. Until the publication of his Twice-Told Tales in 1837, Hawthorne wrote in the comparative obscurity of what he called his "owl's nest" in the family home. As he looked back on this period of his life, he wrote: "I have not lived, but only dreamed about living." And yet it was this period of brooding and writing that had formed, as Malcolm Cowley was to describe it, "the central fact in Hawthorne's career," his "term of apprenticeship" that would eventually result in the "richly med- itated fiction." Hawthorne was hired in 1839 as a weigher and gauger at the Boston Custom House.
    [Show full text]
  • Transcendentalist Circle Papers 1849-1856
    The Trustees of Reservations – www.thetrustees.org THE TRUSTEES OF RESERVATIONS ARCHIVES & RESEARCH CENTER Guide to Transcendentalist Circle Papers 1849-1856 FM.MS.11 by Jane E. Ward Date: May 2019 Archives & Research Center 27 Everett Street, Sharon, MA 02067 www.thetrustees.org [email protected] 781-784-8200 The Trustees of Reservations – www.thetrustees.org Folder Item Contents Date Extent: 1 folder (4 items) Copyright © 2019 The Trustees of Reservations ADMINISTRATIVE INFORMATION PROVENANCE Transcendental manuscript materials were first acquired by Clara Endicott Sears beginning in 1914 for her Fruitlands Museum in Harvard, Massachusetts. Sears became interested in the Transcendentalists after acquiring land in Harvard and restoring the Fruitlands Farmhouse. Materials continued to be collected by the museum throughout the 20th century. In 2016, Fruitlands Museum became The Trustees’ 116th reservation, and these manuscript materials were relocated to the Archives & Research Center in Sharon, Massachusetts. In Harvard, the Fruitlands Museum site continues to display the objects that Sears collected. The museum features four separate collections of significant Shaker, Native American, Transcendentalist, and American art and artifacts. The property features a late 18th century farmhouse that was once home to the writer Louisa May Alcott and her family. Today it is a National Historic Landmark. The following is known about this collection’s materials: • The William Ellery Channing Papers were acquired for the Fruitlands Museum by Clara Endicott Sears. • The Elizabeth Barrett Browning Letter was purchased by Fruitlands Museum prior to 1960. • The origin of the Henry Wadsworth Longfellow photograph is unknown. • The origin of the Franklin B. Sanborn photographs is unknown.
    [Show full text]
  • 'Troubled Joy' : the Paradox of the Female Figure in Nathaniel Hawthorne's Fiction
    'TROUBLED JOY' : THE PARADOX OF THE FEMALE FIGURE IN NATHANIEL HAWTHORNE'S FICTION by Sciretk ROSEMARY GABY B.A. Hons. Submitted in fulfilment of the requirements for the degree of Master of Arts UNIVERSITY OF TASMANIA NOVEMBER 1984 TABLE OF CONTENTS Page Prefatory Note i Abstract .. ii Introduction .. 1 Background: The Figure of Woman in Nineteenth Century America 5 II Woman's Fatal Flaw: The Tales 25 III Hester Prynne 57 IV Zenobia and Priscilla 77 V Miriam and Hilda .. 96 Conclusion • • 115 Bibliography . 121 PREFATORY NOTE This thesis contains no material which has been accepted for the award of any other higher degree or graduate diploma in any university. To the best of my knowledge and belief the thesis contains no material previously published or written by another person, except when due reference is made in the text of the thesis. (k9)9Acs-\ The style of presentation is primarily in accordance with the MLA Handbook (New York: Modern Language Association, 1977), but some features of style, notably the use of single quotation marks for quotations of words, phrases or short prose passages, have been determined by the Style Sheet of the Depart- ment of English, University of Tasmania. ABSTRACT The figure of woman is of central importance to the whole pre- sentation of meaning in Nathaniel Hawthorne's fiction. In comparison to other writers of the nineteenth century, and especially his male compatriots, Hawthorne grants the female figure a remarkable degree of prominence and significance in his works. His presentation of woman is noteworthy not only for the depth and subtlety with which his female characters are portrayed but also for the unique way in which he mani- pulates the standard female stereotypes to explore through symbolic suggestion the whole purpose of woman's existence and the foundations of her relations with man.
    [Show full text]
  • The Ulysses Sumner Milburn Hawthorne Collection Mss. Coll. #3
    The Ulysses Sumner Milburn Hawthorne Collection Mss. Coll. #3 Scope & Content The papers in this collection of the American author, Nathaniel Hawthorne, were given to the St. Lawrence University by Dr. and Mrs. Ulysses Milburn (Theological School 1891) in 1949. The literary rights to this collection have not been dedicated to the public. The collection, in its entirety, includes not only first editions of all Hawthorne's work, letters, and manuscripts, but also criticism and interpretations of Hawthorne. Included in the collection are 39 letters written by Hawthorne, dating between 1837 and 1863. In addition there are a number of letters written by members of the Hawthorne family and a few by persons associated with the family. The collection includes manuscripts by Hawthorne, members of his family and historical documents. Most numerous among these are the documents related to Hawthorne's business and financial affairs. Also included are prints, photographs, and pamphlets relating to Hawthorne's literary career. The scrapbook compiled by Dr. Ulysses S. Milburn, includes letters, newspaper clippings, speeches, and articles regarding the history of this collection and its donation to the library. In addition to the scrapbook is the original card catalogue made by Ulysses S. Milburn, which enumerates and describes in loving detail the contents of the entire collection, which contain more than twelve hundred items about the life and work of Nathaniel Hawthorne. Additional items include photographs, Milburn correspondence, clippings and magazine articles about Hawthorne. Biographical Information Nathaniel Hawthorne was born in Salem, Massachusetts on July 4, 1804. He was educated at Bowdoin College in Brunswick, Maine, and it was here that he began his literary career.
    [Show full text]
  • Wayside, Minute Man National Historical Park, Historic Structure Report Part II, Historical Data Section
    National Park Service Cultural Landscapes Inventory 2013 Wayside Minute Man National Historical Park Table of Contents Inventory Unit Summary & Site Plan Concurrence Status Geographic Information and Location Map Management Information National Register Information Chronology & Physical History Analysis & Evaluation of Integrity Condition Treatment Bibliography & Supplemental Information Wayside Minute Man National Historical Park Inventory Unit Summary & Site Plan Inventory Summary The Cultural Landscapes Inventory Overview: CLI General Information: Purpose and Goals of the CLI The Cultural Landscapes Inventory (CLI) is an evaluated inventory of all significant landscapes in units of the national park system in which the National Park Service has, or plans to acquire any enforceable legal interest. Landscapes documented through the CLI are those that individually meet criteria set forth in the National Register of Historic Places such as historic sites, historic designed landscapes, and historic vernacular landscapes or those that are contributing elements of properties that meet the criteria. In addition, landscapes that are managed as cultural resources because of law, policy, or decisions reached through the park planning process even though they do not meet the National Register criteria, are also included in the CLI. The CLI serves three major purposes. First, it provides the means to describe cultural landscapes on an individual or collective basis at the park, regional, or service-wide level. Secondly, it provides a platform to share information about cultural landscapes across programmatic areas and concerns and to integrate related data about these resources into park management. Thirdly, it provides an analytical tool to judge accomplishment and accountability. The legislative, regulatory, and policy direction for conducting the CLI include: National Historic Preservation Act of 1966 (16 USC 470h-2(a)(1)).
    [Show full text]