Of Nathaniel Hawthorne
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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. -
Hawthorne's Use of Mirror Symbolism in His Writings
The Woman's College of The University of North Carolina LIBRARY CQ COLLEGE COLLECTION Gift of Jane './nicker lie lie tt KSLLSTT, JANS WHICKER. Hawthorne's Use of Mirror Symbolism in His Writings. (1968) Directed by Dr. Robert 0. Steohens. pp. 60 Ihroughout the course of Nathaniel Hawthorne's writin* one notes an extensive use of mirrors and other reflecting objects—brooks, lakes, fountains, pools, suits of armor, soao bubbles, the Duoils of oeople's eyes, and others. Surprisingly enough, few scholars and critics have had much to say about this slgnigiCRnt mirror symbolism; perhaps Hawthorne succeeded so well In concealing; these images that they exoress meaning without directing attention to their Dresence. Nevertheless, they are very much in evidence and for a very definite purpose. Hawthorne, whose works cover the problem of moral growth in man, was attempting to show mankind that only through an intense self-lntrosoectlon and self-examination of the interior of his Innermost bein°:—his heart—would he be able to live in an external world which often apoeared unintelligible to him; and through the utiliza- tion of mirror images., Hawthorne could often reveal truths hidden from the outer eyes of man. Hawthorne's Interest in mirrors is manifest from his earliest attempts in writing; indeed, he spoke of his imaerination as a mirror—it could reflect the fantasies from his haunted mind or the creations from his own heart. More Importantly, the mirror came to be for Hawthorne a kind of "magic" looking glass in which he could deoict settings, portray character, emphasize iraoortant moments, lend an air of the mysterious and the suoernatural, and disclose the meaning beneath the surface. -
Nathaniel Hawthorne's “Young Goodman Brown”: a Psychoanalytic
Nathaniel Hawthorne’s “Young Goodman Brown”: A Psychoanalytic Reading Nathaniel Hawthorne’s story “Young Goodman Brown” describes the maturation of its protagonist, Goodman Brown. Through a dream vision, Brown confronts his forefathers, his wife, and authoritative members of his town, and by the end of the story he has established his place in the community as an adult. The events of the dream vision are Brown’s “errand” to a witches’ Sabbath in “the heart of the dark wilderness” and his refusal to take communion from the devil. The psychological significance of the dream vision is less obvious: Through his journey, Brown becomes an adult in his community; though uninitiated at the Sabbath, he is fully initiated socially. This initiation results in a frozen emotional state as the “young” Goodman Brown becomes, overnight, an old and gloomy Goodman Brown, without hope through the end of his days. Ultimately “Young Goodman Brown” can be seen as Hawthorne reaching his own critical understanding of his Puritan ancestors. The conflict that Brown suffers during his journey in the woods is shown to be internal through the number of details that are projections of his unconscious. The devil’s arguments “seemed rather to spring from up in the bosom of his auditor”—that is, Brown himself. When “the echoes of the forest mocked him,” Brown is projecting his emotional state onto the forest. The further Brown sinks into despair, the clearer it becomes that what he sees and hears is to a large extent the product of his fancy. “Once [Brown] fancied that he could distinguish the accents of townspeople of his own,” but “the next moment, so indistinct were the sounds, he doubted whether he had heard aught” until “then came a stronger swell of those familiar tones.” Ultimately Brown himself is the “chief horror of the scene” created by his own mind in conflict. -
The Scarlet Letter
THE SCARLET LETTER Nathaniel Hawthorne WHO WAS NATHANIEL HAWTHORNE? 1804-1864 Born in Salem, Massachusetts only child father died in 1804, while at sea he and his mother moved in with wealthy uncles leg injury kept Nathaniel down for several months, during this time he read as much as possible and decided to become a writer 1821-1825 – attended Bowdoin College met Henry Wadsworth Longfellow Franklin Pierce (14th President) not a great student WHO WAS NATHANIEL HAWTHORNE? Early ancestor, William Hathorne, first came to America in 1630, settled in Salem, Massachusetts, was a judge known for harsh judgements William’s son John, Hathorne was one of the three judges during the Salem Witch Trials in the 1690s Nathaniel added a “w” to his last name to distance himself from that side of the family WHO WAS NATHANIEL HAWTHORNE? Met Sophia Peabody a painter illustrator transcendentalist Spent time at Brook Farm community met Ralph Waldo Emerson and Henry David Thoreau Married Sophia on July 9, 1842 Settled in Concord, Massachusetts 3 Children SETTING Books are like boats on a river… We must look at two parts of the river when learning about the setting of the book. Where the author lives or lived on the river. Where the book takes place along the river. SETTING Transcendentalism was a philosophical movement that was developing by the late 1820s and '30s in the Eastern region of the United States as a protest against the general state of intellectualism and spirituality. The doctrine of the Unitarian church as taught at Harvard Divinity School was of particular concern. -
The Scarlet Letter Summer Reading Questions
THE SCARLET LETTER SUMMER READING QUESTIONS Complete the following questions in order as you read. Questions should not be rewritten. Answers do not have to be in complete sentences. Answers will be due on the first day of class. The purpose of these questions is to help keep you focused on your reading and to prepare you for the test over this text. Answers will be graded. The Scarlet Letter “The Custom-House” This introductory section describes the conditions that led the narrator to write The Scarlet Letter. The narrator, a young man, works in the Boston custom-house, a building that housed government officials in charge of documenting the import and export of goods into and out of the country and taxing those goods. The narrator’s co-workers are mostly old men with whom he has very little in common. One day, the narrator finds a red letter “A” and a manuscript by Jonathan Pue, a former employee of the custom- house, in a stack of old papers. The manuscript is the history of Hester Prynne, and the narrator believes that Pue’s ghost is speaking to him through the ages, exhorting him to write Hester’s story. While working at the custom-house, the narrator finds it difficult to write. However, after losing his job when a new president is elected, the narrator is able to settle down and write his tale. Chapters 1 & 2: “The Prison-Door” and “The Market-Place” 1. What are two of the first things that are built in a new colony? 2. -
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. -
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. -
E.-Michael-Jones-Hawthorne-The-Angel-And-The-Machine.Pdf
FAITH & REASON THE JOURNAL OF CHRISTENDOM COLLEGE Fall 1982 | Vol. VIII, No. 3 Hawthorne: The Angel and the Machine E. Michael Jones Nathaniel Hawthorne (1804-1864) is justly famous as one of America’s premier novelists and short story writers. Over a writing career stretching from 1829 until his death, Hawthorne consistently probed the moral and spiritual conficts which he observed in his own life and, mainly, in the lives of the Puritan and Transcendentalist New Englanders with whom he spent most of his life. Both Puritanism and Transcendentalism, of course, deal with the material world and the human body in ways which tend to make them either confict with or irrelevant to the human spirit. Therefore, Hawthorne was never far in his works from a struggle with the fundamental identity of man as a unity of body and soul. As Michael Jones points out below The Blithedale Romance is a novel uniquely situated in Haw- thorne’s life and experience to lend itself to an illuminating examination of the confict within the author about human na- ture. This examination in turn sheds light on a whole chapter of American history as well as some of the recurring spiritual tensions of our own time. “He is a man, after all!” thought I--his Maker’s own truest image, a philanthropic man!-not that steel engine of the Devil’s contrivance, a philanthropist!”-But, in my wood-walks, and in my silent chamber, the dark face frowned at me again. “We must trust for intelligent sympathy to our guardian angels, if any there be,” said Zenobia. -
Rose Hawthorne Lathrop —>
MOTHER MARY ALPHONSA —> ROSE HAWTHORNE LATHROP —> MRS. GEORGE PARSONS LATHROP —> ROSE HAWTHORNE “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY “Stack of the Artist of Kouroo” Project Rose Hawthorne HDT WHAT? INDEX ROSE HAWTHORNE MOTHER MARY ALPHONSA 1851 May 20, Tuesday: At the “little Red House” in Lenox, Massachusetts, Rose Hawthorne was born to Nathaniel Hawthorne and Sophia Peabody Hawthorne. At least subsequent to this period, it seems likely that Nathaniel and Sophia no longer had sexual intercourse, as Nathaniel has been characterized by one of his contemporaries as deficient “in the power or the will to show his love. He is the most undemonstrative person I ever knew, without any exception. It is quite impossible for me to imagine his bestowing the slightest caress upon Mrs. Hawthorne.” Sophia once commented about her husband that he “hates to be touched more than anyone I ever knew.” Presumably the Hawthornes gave up sexual intercourse for purposes of contraception, or perhaps because they found solitary or mutual masturbation to be more congenial, or perhaps, in Nathaniel’s case, because he preferred to have sex with prostitutes, a social practice of the times which Hawthorne referred to as “his illegitimate embraces,” rather than go to the trouble of arranging “blissful interviews” with his wife.1 Hawthorne was bothered by the presence of children, and after the birth of Rose would speak bitterly of the parent’s “duty to sacrifice all the green margin of our lives to these children” towards which he never felt the slightest “natural partiality”: [T]hey have to prove their claim to all the affection they get; and I believe I could love other people’s children better than mine, if I felt they deserved it more. -
Chelliah.Pdf
Merit Research Journal of Agricultural Science and Soil Sciences (ISSN: 2350 -2274) Vol. 5(11) pp. 116 -121, November, 2017 Available online http://meritresearchjournals.org/asss/index.htm Copyright © 2017 Merit Research Journals Review The Fictional Forte and L iterary Achievement of Nathaniel Hawthorne with a Focus on Spiritual Development through Sin and Suffering as Pictured in His Marble Faun: A Brief Analysis Dr. S. Chelliah, M. A., Ph.D Abstract Professor, Head and Chairperson, This paper is an attempt to examine the fictional art and forte of Natheniel School of English and Foreign Hawthorne with a special focus on his literary achievement and also languages and School of Indian spiritu al development attained through experience of sin, guilt and Languages, Department of English sufferings, by projecting him not only as an American novelist and short – and Comparative Literature, Madurai story writer but also a new England Puritan disapproving severe and harsh Kamaraj University MADURAI-21(TN)- India codes of the Puritan morality and a psychologi st delving deep into the study of human nature. It studies and reveals how Hawthorne used fiction as a E-mail: [email protected] me dium for pursuing poetic truth; that is the truth of human heart and used Mob: 9442621106/ 7339129324 his novel especially as a tale of human frailty and sorrow by pouring all the passion of his sensitive and lonely heart into his fictional composition. It finally attests to the fact that the outraged suffering humanity must learn to live with the blackness that lies everywhere beneath us. Key words: Fictional forte, curious coinci dence, spiritual development, sin, guilt, human suffering, Puritan morality, poetic truth, sensitive heart. -
'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. -
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)).