Anthology of Ideas

Through the short stories “The Man of Adamant”, “The Birthmark” and “The Minister’s Black Veil”, Hawthorne’s presents three ways that people control the external forces — society, nature, and the public self — that affect the internal self and illustrates the totality of an individual’s attempt to place themselves above or beyond the reach of others, but in doing so, it warns that the individual also separates themselves from the intrinsic parts of being human. Each of these three stories illustrates the destructive effects of a particular form of separation: “The Man of Adamant” focuses on the separation of the self from society, “The Birthmark” focuses the separation of science and nature, and “The Minister’s Black Veil” separates the inner and external self.

The flaws portrayed by Aylmer in “The Birthmark” and Digby in “The Man of Adamant” are fairly straightforward, but Hooper, in “The Minister’s Black Veil”, portrays one central theme with an infinite number of explanations which, by comparison, makes Aylmer and Digby seem rather simplistic and one dimensional in their behavior.

In Emma ((Page Numbers are for the Riverside Edition edited by Lionel Trilling)), Jane Austen presents characters who are uniquely human: each has their own rich personality and storied background. Through these characters, Austen is able to intimately explore the human condition, as she saw it, and highlight some of the issues of society and class in her world. To achieve this, Austen creates a world into which a reader can insert themselves through the gossip and unique perspective that the narrator and Emma provides; the reader’s perspective is not that of an all-seeing observer, but almost a character in its own right who may judge the characters as an equal participant and member of the community. From this perspective the reader is able to see characters as rich and complex individuals with whom the reader can acquaint themselves. In doing so, one can pass judgment on the characters not from the outside, but from the inside.

The characters of Mrs.

In Silas Marner George Eliot doesn’t specifically state that religion is bad or dangerous nor does she say that one shouldn’t be religious. Instead, she presents certain aspects of religion that she believes are prone to creating uncertainty and confusion. She then allows readers to make up their own mind. One of her major concerns is the way people believe in God; she doesn’t deny the existence of God, but she says that even if he does exist, he does not interfere, so focusing on signs and symbols from God is dangerous because it detracts from the human aspects of life. Silas Marner states that how one treats others is more important than the religion one follows or if one believes in God.

Eliot directly questions the purpose of organized religion, but is less emphatic in questioning God, and tends to not refer directly to God (both literally and figuratively as the word “God” appears twenty-four times throughout the entire book, and most of these are general expressions.) Thus, the book is an impartial observer of the way religion is practiced and the way God is evidenced in the popular beliefs rather than a direct attack on the validity of religion and the concept of God.

There are three major interpretations of the slave in literature: the good human being who is forced to live their live as a slave, the slave who’s mind, body and soul are broken because of slavery, and the slave who’s mind is twisted and becomes a monster because of the institution of slavery. These views of slavery are prevalent in abolitionist literature because they focus on the evils of slavery rather than the evils of the men who support slavery. In Fredrick Douglas’s “The Heroic Slave”, Douglas presents the reader with Madison Washington: a good man and a loving father and husband. In Herman Melville’s Benito Cereno one is presented with the figure of Babo: a demented and twisted individual who is willing to do anything to regain his freedom. These two images of slavery are used because a writer can show both that slaves are human and legitimize their “evil” deeds as being forced by the institutions of slavery.

For Walt Whitman and other “Bright Romantics,” death does not represent an end but new beginnings, renewal and life. Whitman sees death from the perspective of a phoenix — each death brings new life, so death is “low and delicious” and the word “stronger and more delicious than any” because if one focuses solely on life, they will always be disappointed because of the finite nature of life, but if one focuses on death, life will always be sweet because it will bring death which brings more life. In the poem “This Compost”, Whitman recognizes this fact, and he is able to embrace death and reconcile the poisonous and decaying nature of death with the knowledge that it will create life. The poem “Out of the Cradle Endlessly Rocking” moves beyond this temporal interpretation of death, and Whitman recognizes that death creates emotions and desires that drive a poet and are responsible for many of the most beautiful songs – both man’s and beasts.

In the few lines that make up a single scene of Wordsworth’s “Prelude”, the personified Nature encourages the young Wordsworth to steal a boat and admonishes him for failing to resist the urge. Although the young Wordsworth only focused on the method Nature used to correct him, the adult Wordsworth recognized the contradiction and believed that Nature used this event to guide him and help him understand and control his human desires, and, in the process, demonstrate that the relationship between an individual and nature is the same as that of parent and child. Overall, this scene emphasizes the the contrast between the nature of an individual and Nature, the experience and the perception, and the child and the adult. Through these contrasts Wordsworth demonstrates that his perception of his surroundings were influenced by his own emotions and feelings as a child and by what he, as an adult, perceives the emotions he felt or should have felt as a boy.