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Reguirc1n0n·Cs Fo1· Tl1o De9rce L)·F ~1Aster of Fl·R~S 1N

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Reguirc1n0n·Cs Fo1· Tl1o De9rce L)·F ~1Aster of Fl·R~S 1N 1\ [:0. _::.: 0••• 1 0 ('J.1', ·:-" J,l - .. .- -·.1__ ~·,_ '··'· ',.l ',·l,''•'., ·.·l·. •.·. '··. ,.J.l .;,!" - ~· .d._..,~ ~~ ~~J.. ..._l. .',-~- c1.., .l- .;:•,., .;1.,., --..1.- •.•I .') f ·:J.·· ·•...··• t .;.L \..·''I r•'~ ()'.. ~~.·i ·;-, -~~ c:._·,• reGuirc1n0n·cs fo1· tl1o de9rce l)·f ~1aster of fl·r~s 1n "E~ngJ.i:;h_ TABI.B OF CONTENTS J.v ABSTRACT ········~·d~·····6···-· ., 1. INTRODUCTION L HAWTHORNE'S NATURAL PR?OCCUPATION WITH FIR£~: AU'i'OBIOGP..APHICAL MUSXNGS _,' 2. HEARTH-fiRE IN THE SXETCHES AND TAUS COMPLEX IMAGES OF HEARTH-FIRE CONCWSJON 3. 11\'f.AGFS o.r.; !·H?L;. -FTRJ:. MYTHlC HELL- FI\~E THE 30NI'IRJ: AS A HELL-FIRE CON'CLU.SlDN 4. BI3LICA'~ I-JE.LL-Fl'W Al:D TEE IMAGL Cit' SATAN 4(i BE:~L··i--:Il:.:F i\.{f·r: SA'fAN AS i\N.Ai~OGI~~S OF EYJt · A STUlf( Cil-' T11/0 \.'iOF..KS . !>''·'-. t:k~Af]Vb ~X1·~~jLJ~S OF lHE HELl,-FI~I ~ '\, .• J..• SAT/\>;; i"\ S'i'UDI C:F THREE ·r.~\L.. [S ABSTRACT NATHANIEL HAWTHORNE'S JivL~GES OF FIRE: f,N ARCHETYPAL ANAL ..,{SIS OF SELECTET.l S!.CETC:Hl~S A.ND TALES by Doroth·! Sargent Ra11k:ir1 MasteY of A1·ts in Engli.sh May, 10?5 ti.0u t<.' :-!a,.vthOTT!\:;'s uniqt~e utJ.liz.:;.·~:.:tJn cf a-r·chctyp;~::-;~ espe·· J. v Irli.tlally, it seemed appropriate to recall, th·rot1gl1 fiaw·thorne 1 s autobiographical musings, hi.s personal fascina- tion with the phe11omenon of fire itself and to reveal 1~is awarer1ess of it as a source for crea·tivity. To do thj.s inc-reases the subsequent ple.D.:3ure cf seeing·' in his sketches and tales, the ·LransforiD£ttion of fi.re images int.o universal archetypes withj.n the tr:tdi·ti01l of literatttr~. In some of his sketches and tales HaFthorne has used the hearth-fire as an archetypal image of man's paten- tial goodness. Dcspit~ his persortal ~reference for th1.s .~ kind 0 .L fire, l1is creativity has not seemed as brilliant when he has utilized the wholesome image of the hearth-fire as when he i1as ascrj.bed n~gat·~ve coDnotations to images of :f1.re. These negative in~ages: ·cu be: called hell-,fJre, occur i.n man.:~.r of the works~ The;,. occur :J.s creativ~~ simile3 of mythic fire, of bonfires, artd of the Chris·tian t!ell··fiJ·e~ the latter accompanied ~y orte o1· more s~tan figures. As dramati.cally co~plex o1·chetypes, these images do, indeed, ,, INTRODUCTION A literary archetype is a symbol "which recurs often e.-i.ough in literature. t(J lH~ -~eccgnizab:le as an elemr::rtt 1 of onels .!.itc~·a:ry expe1:·ience.u it may be 3pat.ial or ternpo:r6.l or a. corn·~,inat.ior;: of both. lt may occur as an obviotts simile of rn~rth &nd ritual, .and it 111ay be an exten- sion within the literary tr.?\dition of uthc:cs' usc o:C myth and ritual. A poet's ~tilj_zatiort of the archetjpaJ. image iJ.luminates the J.J.terar11re j_tself as well as relates it (the litexatuTe) tc reveal his con~;isten·c :..1se of .the aTc.l;e·'.:ypc as a cTeative h1.:.man !:.~:_t:{tation.. The p~in~ary purpo~e of +hi.s study, then 1 l p!e;...,~-~-1-J ~ o·-, {;; r'- r,, u_ .... ''I ... :lr-:y ,, .f~ ('-·.- ·i 1·: r i ('F' ' F .... lll~ F c:: s 'l \J•"! ( P-.r ince to~ ~ .. '"}: -:- j :;_c :~~ -:·:. ~) ~-~ ~ u;:l .. ~~~·-f.-~·-.:-_-ry--~~-_p:f.·~~~;~-; --~:rf\··:~;'7;--~-~~-:-·--3·f~·~-~:-~L::. Sl'.i)C,:-.,()'lf!'l"!'"'- "V',r.,ff-:.-;~c;·;"\_.-,'2. '·r· 1·(1';S \l[o-~--k- i-rl -'•(-')~t '- .l. -·'-'··,.'J, ...-,,~.L .L•-•---·· .,...,_, ..- . I '-' ~"• • ', .,_.-i"1l>V ... -••. ']..)/':".cited ~ • - -~ -t·}-:n~ ,.,. L..-.-.... as }\C, follo\ ....-ed ty t.l:·-~"'- ou~·.-::. .L.imi tat ions bcc.orr.c apparent ·;Jccau~;e the nu.mb~r of images is endless, 1'hcxofore, ·t]tose -sketcl1es 2nd tales wtich contaj_n significan·t fire imag0ry will become the J.imit ing factor. Fire does~ iL fact, occur frequently in Ha·t..,rthorne's 1·:ritings. Over two dozen references appe~r in th· ._e en t r:.tes. are c.a·ccl . d 1n. tl· 1e sum.mer montns.. :5 Also many of the sketches generally considered to be autobiographical contain 1nore than casual attention to fire imagery. And, of thr:: :mo1:e than seventy i!fi·cti.onal 11 sketches and tales, over forty contain notable fire imagery. Seventeen of tlt,~se sketc1le3 and tales have been selected for a·ttention, tL~~ze v:ork:; to be discussed g0ne:ralJ.y· as t'.re11 as with regard to itna.ges of fires. A li.miting factor also becomes apparent w.i·tll ~egard to the unalysis, Ha1vthorne' s· 1·VTi tings in:~.i~·.:atc two d:irec ·· tiu!lS f0r archetypal nnalysls. One d:irecti0tl is prescrip- tive~ ~~ili.zing the critical a];paT~tttls of Northrop Frye and examining some of Hawthorr1e=s works as thsy fit i.IltO thj.s Tl~.(.: othe·.r: r:_i.i'.l .. eci:.i.on Js d;~·:scriptive, ut:ilizing rccur·ring images becomes it~clf i:he cOJltent of ·the analysls. Ce-rt,.:t.i.n vf Hawt.})_oroe:::~ wr:Ltj_ng ....... i!lV"ite t~be direct <J.pplica- tio:l of J·.:~r I!t~)tl1od, while others invi.te a projection of ·.~Onl.'l T!l.e !\nH·;1·ican Notebooks ·tv·i11. be c:ited. Tt .·:· <· ·.·:!! :-: c... -::·t (; : t.h ~~:...... T.:i~.~:F·;·,-·.-f()·-·<:;TTf;··-:r·J:Cl1·;; .. ~·:!\ o i~ c b c1 c1 k:5 d.:::~ t c c1 ~.~ ..!: t c t '.. ,;.·' 3 her method. Still others invite aspects of both Frye's and Bodkin 1 3 critical approaches, Attention to Hawthorne's preoccupation wjth fire generally and to its spedf.ic use in selected sketches and tales reveals a dichotomy. The fires are not neutral. Either they appear as the warm, positive hearth~·fire, or they take on hot~ negative characteristics, these to be termed hell-fire. Despite his personal preference for the hea1·th··fire llS an archetypal imi.tge of sublimity and virtue, .he is not as complex g~enerally· in utilizing j_t as when he COJ1.cent1·ates on the negativ0 connotations o:F a 0 hotter" HAWTHORNE'S l'iXfUPAT. PI:!iOCCUPATION WITH FIRE:: AUT013 IOGRl\PHTCAL i•iU'~~iJ:~GS That Hawthorne h::ic.1 a ·natul'al cn:ciosity fnT fire wa.s . I) wh en there was :l f 1 rt:. '' And Malcolm Cowl8y JJOtes: o:t- h~ lS• £.avcrJ.t:e • a.nr.usem.c~nts In• ;:::ar•. lnY..... n 7o'''.~~-~· ·:" t\...·-'~ngJ·"\.:: --r .._,~,t.·~ .1.J.~..e.~,.C · ·~· · •.: liS :;)~-1c:J.c.o:lr;: Co~·,; ley, hJ t:: H::n-..rthc r·.1c C;cw ~(-:.::-:-k: groat blazing oue"·-J.t was pJ.e~1sat1t to have thls Jay of bleak Nove1n."beT we&.ther, and checrfvl fireside. taJ.kJ artd. wet gar .. :ments sn·oki'n.g in the fi1·cside he2.t ~ still in the sv.mme:r.., ' . ,,6 TJme~· 'This jour.aey, one of many surmHC1' t1~1ps~ also included a visit to a local lime kiln 11f1ose ·burning fire~ do nut 01~dinariJ.y connote cheer. Yet HawttLOI'nc :r.used:o A hard~·rood fire >,Vas burning merrilY beneath the superincumbent marble--·the kiln being heaped fu·!.l . He [tJ1e watclter] talked veiy sociably with US- wbe.ing clou'btless glad to have tV.-"0 ViS:i.tOTS to vary his soli.·tary nigl1t watch. Here a poe·t might make verses, '~i~h . a gl.ean1 (J:f fi.erce fire1ig1tt :f:'lickeTing t}rroug:h them (C.t VIII, p. 145)-~ There is little hint of the llemonisni o·f 11 Ethan BTancil( here, certainly a St(lry germ for that deinonlc tnl.e. Bu~h these Notcbcck 2il·tr~cs ilJ.~sLTate a peacl.! fLl.~ lnto focus t~y a hearth-like fir~. Afte:t tf1.i3 su.mme1· jour:n.ey Ha~vt.h.c·L'ne returne-d t.o SalcN and fell in love wt·t11 Sophia Peabody. Thf; Havit:h.orne family k.n.c~-.,· of the Peabody:::;) lJ~.tt it N:i.~·; not until the fail 6 Na-ch8.n·i.e1 H:;t"vthoTne, The i\mcr.Lra.r~ Notebooks~ ed. C1 au ch.: M. S .lHt p s o !:t ~ () l, i o S t c1 t i~ tlli"i :,: c ~~ s~·.:;:-:c\r··-·-c·~~·rl·T ~-~·-~··i·f)7- -E-d i t i c n of the Work:·; of N;:ltllc:.niv1 F·[Ci\,ltiirr(~1t: ~ Vol. --~~--· .. ·rc-Ll'TUTit'Fit_S ...~-·- .. ·-----·-·· ?5Eio ..:··--··¥(5h--t 0 ---s· (.'~:i_·-Ec:··· .. ·cfn:T~;{:)·y~3l... :F}'- T) r t~- s:~--~... .1 9 3? -~ 9 6 1912) , 7 o , ? , 11S. ~:;~_t.f-.::s·~~'"~.-~.lCl'tt -refc-.r8nc~~- in th(; t\~s.t to Ha\-!tho·I.·n:;:; · ~:; ·w'ork.s, "i.-.;_h,,.. :l~t c~LtnJ oHly by vv_:_ttl!1{·: ~l~-t(l p;;:.,~~c .. 'l-1t:i.:tl ~-m~.ly the: t:~ ~~ :,~- ~~: -~~; .. ~~_;:: ~~ ~ n. ~~ ~; \~\ ~· /;;i: ~;·~: \!, .~; d i:~ ~~ :~: ~ ~ t~ 3 r~·.!cz--e+~i:~~:;~~-:: -~: .. :f: -':~ ---~~Z-.i ~·~~~-·--~c·/h;~~~E4F~-~-~.)_:·~~ an i·: ·yt) ..,·.i,· i ..',.1!·r· .. E·r·on \·l'J J.,.?fJ1,) ~--1~.·{· ('n l :;:Q) ... t gq·l). ·vo·tu·t:-t,> o.nc: ''r;;i_::.~-rc!~<.~e, 'r:;··t·h.; (~:.~~-;.i:;,;;;(-t .. ·-i~;~l:;:~-.x(~n · ~·:LJ 1 be iJ-.r·.:~ccd(~~i ..
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