The Scarlet Letter by Nathaniel Hawthorne

The Scarlet Letter by Nathaniel Hawthorne The scarlet letter A has a close interrelation to the novels thematic structure which is centered on the three scaffold scenes in chapter 2, chapter 12, and chapter 23. At the first scaffold scene, the author introduces the theme of sin, judgement and the religion. Dimmesdales moral conflict is shown on the second scaffold scene which symbolizes the center of conscience. At the last scaffold scene, Dimmesdale can escape from his guilt and reconciles with Hester. When when Dimmesdale dies, Chillingworth doesnt need for his revenge. And Pearl can have a life that is filled with love and happiness. Thus, the scarlet letter A affects the lives of the main characters, and it makes them be related with the symbol A: Hester Prynnes free will and adulterous relationship with Arthur Dimmesdale provoke the anger of Roger Chillingworth, Dimmesdales passion leads him to his ruin, and Chillingworths search for the seducer of his wife implies the evil of the nature of man. Hypocritical effort to conceal their secret sins have Arthur Dimmesdale, Hester Prynne, and Roger Chillingworth collapse. This kind of hypocrisy and the harsh and inhumane system make Hawthorn be disappointed with the Puritan society. Hawthorn criticizes this inhumane hypocrisy with the technique of tragic irony in the novel. For example, the irony of Dimmesdales situation is that he becomes imperfect by trying be perfect. The more his followers regard him as a saint, the more he should dismiss himself as the vilest of all sinners. Thus, the story is full of tragic irony, and the authors purposes are well represented by it. Paraphrase At the outset, Hester with black eyes and dark hair stands on the scaffold, holding her baby of three months old. With the scarlet letter A on her bosom, she stands for three hours on the scaffold. Though she is stigmatized by the scarlet letter on her breast, she has to withstand the public glances. Meanwhile, The Reverend Mr. Wilson delivers his speech about sin and emphasizes the symbolism of the letter A. He persuades Hester to uncover the father of her child, but she does not speak at all. She suddenly sees s Chillingworth, her husband, standing in the crowd. He makes a gesture with his fingers in order not to disclose his identity. Back in her prison, she is in a state of nervous frenzy. That evening, Chillingworth visits her in prison. She has an interview with him when he enters the dark prison as a physician who takes care of the distraught state of her after the public ordeal. She confesses to her husband that she does not feel any love for him. She admits that she has greatly wronged him with the letter of her shame, but she does not want to tell him who the childs father is. Asking her to promise never to reveal his true identity as her husband, Chillingworth decides to discover the father of Pearl. Three years after her releases from imprisonment, Hester does not leave Boston instead of moving into a small seaside shanty on the outskirts of Boston. She makes her living by doing stitchwork for local dignitaries, and spends her time helping the poor and the sick. She slowly gains respect from the people of Boston. Her skill at needlework, her acts of kindness, and her self-reliance make her scarlet letter stand for something other than adultery. Meanwhile, the Puritan authorities force Hester to give up her child, because an immoral woman like her is unfit to bring up a child. The governor Bellingham persuades Hester to raise Pearl in a Christian way and tries to take her away from Hester, but she does not give her up. As the years pass, Pearl grows up and becomes Hesters happiness and torture. Roger Chillingworth gets a good reputation as a physician, and becomes the medical adviser of Dimmesdale, giving him medical consultations. Because their intimate friendship develops, Dimmesdale even speaks of his personal matters to Chillingworth, and it makes them live in the same house together. Chillingworth finds that Dimmesdale is deeply concerned with Hester. Chillingworth eventually recognizes that Dimmesdale is the father of Pearl, and he decides to revenge. In order to get a confession from Dimmsdale, Chillingworth cautiously drives him to feel sinful. Dimmesdale stands on the scaffold one night. While he is standing there, Hester and Pearl come. Dimmesdale calls them to the scaffold, and they mount. The three of them stand hand-in-hand there. At the same instant, Chillingworth is again present. He cruelly watches them standing on the scaffold. Meanwhile, Dimmesdale tells Hester that he is afraid of Chillingworth. Hester realizes that Dimmsdale is slowly being killed by Chillingworth, so she decides to help him. Four years have gone by. Hesters position in the community has risen because of her charity. Her scarlet letter A now stands for Able. Meanwhile, Dimmesdales suffering makes his sermon become more humane. One day Hester sees Chillingworth picking herbs in the seashore, and she asks him to stop torturing Dimmesdale, and she tells him that she will disclose the fact that he is her husband to Dimmesdale. While Hester and Pearl are taking a walk in the forest, they meet Dimmesdale. He looks despaired as if he doesnt have any desire to live. He confesses his misery and unhappiness. Hester realizes that she still loves Dimmesdale, so she reveals the identity of Chillingworth as her husband. She asks him to forgive her deception. When Dimmesdale hears from Hester that Chillingworth is her husband, he is furious at first, but finally forgives her. They agree to leave this Puritan community and go to Europe together with Pearl. Dimmesdale believes that Europe offers more civilization and refi nement, so going to Europe is the better choice. Returning from the forest, Dimmesdale decides to expose himself for the peace of his own soul by confessing his sin in front of the whole congregation. He writes the Election Sermon with tremendous inspiration. The sermon is successful. Meanwhile, on the day when Hester finds a ship that will carry all three of them to Europe, Chillingworth asks the ships captain to take him on board. After Dimmsdale finishes his sermon, he beckons to Hester and Pearl to come. They go to the scaffold and stand there together in his penitence. Chillingworth tries to stop them, Dimmesdale uncovers the secret of his sin to the crowd. After telling the people that he is a sinner like Hester. He dies on the scaffold. After Dimmesdales death, Hester goes to Europe with her daughter. Pearl happily marries there, but Hester returns to Boston alone. She never removes her scarlet letter. When she dies, she is buried next to Dimmesdale. Her tombstone shares a scarlet letter A. with Dimmsdales. Connotation 1. Simile .I happened to place it on my breastIt seemed to me then, that I experienced a sensation not altogether physical, yet almost so, as of a burning heat; and as if the letter were not of red cloth, but red-hot iron. I shuddered, and involuntarily let it fall upon the floor. (P 30) The letter A is compared to burning heat or red hot iron: It shows the connections between spiritual perception of sin and the physical manifestation.(Simile) 2. Simile It might be, too, that a witch, like old Mistress Hibbins, the bitter tempered widow of the magistrate, was to die upon the gallows.(P 63) a witch, like old Mistress Hibbins: A witch is compared to old Mistress Hibbins.(Simile) 3. Onomatopoeia, Metaphor Ah, but, interposed, more softly, a young wife, holding a child by the hand, let her cover the mark as she will, the pang of it will be always in her heart.(P 66) pang.(Onomatopoeia) Pang in her heart is compared to sin as pain.(Metaphor) 4. Assonance, Alliteration On the breast of her gown, in fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold-thread, appeared the letter A. It was so artistically done, and with so much fertility and gorgeous luxuriance of fancy, that it had all the effect of a last and fitting decoration to the apparel which she wore; and which was of a splendor in accordance with the taste of the age, but greatly beyond what was allowed by the sumptuary regulations of the colony. (P 68) elaborate embroidery.(Assonance) fantastic flourishes.(Alliteration) 5. Imagery Never! Replied Hester Prynne, looking, not at Mr. Wilson, but into the deep and troubled eyes of the younger clergyman Dimmesdale. It is too deeply branded. Ye cannot take it off. And would that I might endure his agony, as well as mine! (P 91) deeply branded: Her sin is burned into her like branded cattle.(Imagery) 6. Simile Thy acts are like mercy, said Hester, bewildered and appalled. But thy words interpret thee as a terror! (P 101) Thy acts are like mercy: Chillingworths act is compared to the mercy on Hester.(Simile) thy words interpret thee as a terror: Chillingworths words are compared to a terror.(Simile) 7. Alliteration, Assonance, Imagery But there is a fatality, a feeling so irresistible and inevitable that it has the force of doom, which almost invariably compels human beings to linger around and haunt, ghostlike, the spot where some great and marked event has given the color to their lifetime; and still the more irresistibly, the darker the tinge that saddens it. (P 105) a fatality, a feeling.(Alliteration) irresistible and inevitable.(Assonance) Linger, haunt, ghostlike is image of Hesters mind.(Imagery) 8. Alliteration, Imagery But it is not recorded that, in a single instance, her skill was called in aid to embroider the white veil which was to cover the pure blushes of a bride. (P 110) blushes of a bride.(Alliteration) White veil is the images of purity and absence of sin.(Imagery) 9. Alliteration, Simile She stood apart from moral interests, yet close beside them, like a ghost that revisits the familiar fireside and can no longer make itself seen or felt, no more smile with the household joy, nor mourn with the kindred sorrow; or, should it succeed in manifesting its forbidden sympathy, awakening only terror and horrible repugnance. (P 112) familiar fireside (Alliteration) like a ghost: Hester is compared to a ghost.(Simile) 10. Symbol, Imagery Throughout all, however, there was a trait of passion, a certain depth of hue.The child could not be made amenable to rules.The mothers impassioned state had been the medium through which were transmitted to the unborn infant the rays of its moral life; and, however white and clear originally, they had taken the deep stains of crimson and gold, the fiery lustre, the black shadow, and the untempered light of the intervening substance. Above all, the warfare of Hesters spirit, at that epoch, was perpetuated in Pearl. (P 121) Pearl is a symbol of Hesters sin (symbol) White and clear, crimson and gold, the fiery lustre, and the black shadow are the dual image about morality.(Imagery) 11. Symbol, Imagery I am my mothers child, answered the scarlet vision, and my name is Pearl! (P 154) Pearl is a symbol of her mother sin. In a way, Hester traded in everything she had; her marriage, her standing in a community.(Symbol) Christian image, Pearl of great price from Matthew 13:45-46.(Imagery) 12. Metaphor After putting her finger in her mouth, with many ungracious refusals to answer good Mr. Wilsons questions, the child finally announced that she had not been made at all, but had been plucked by her mother off the bush of wild roses that grew by the prison-door.(p 157) Pearl is being a wild roses.(Metaphor) 13. Simile, Imagery Roger Chillingworth the man of skill, the kind and friendly physician- strove to go deep into his patients bosom, delving among his principles, prying into his recollections, and probing everything with a cautious touch, like a treasure-seeker in a dark cavern. Few secrets can escape an investigator, who has opportunity and license to undertake such a quest, and skill to follow it up. A man burdened with a secret should especially avoid the intimacy of his physician. (P 177) Treasure is compared to the seeker in a dark cavern (Simile) Being able to go through someones brain and see their thoughts (Imagery) 14. Imagery When, an uninstructed multitude attempts to see with its eyes, it is exceedingly apt to be deceived. When, however, it forms its judgment, as it usually does, on the intuitions of its great and warm heart, the conclusions thus attained are often so profound and so unerring, as to possess the character of truths supernaturally revealed. (P 182) Image of group or crowd, as if these people were a single person.(Imagery) 15. Allusion Come away, mother! Come away, or yonder old Black Man will catch you! He hath got hold of the minister already. Come away, mother, or he will catch you! But he cannot catch little Pearl! (P 193) Black man is an allusion to Satan, and occasionally a reference to Chillingworth.(Allusion) 16. Implication Then I need ask no further, said the clergyman, somewhat hastily rising from his chair. You deal not, I take it, in medicine for the soul! (P 196) Medicine for the soul is implication of spiritual healing. It is the one thing Dimmesdale needs. It is as if he recognize on some level that Chillingworth cannot help him.(Implication) 17. Metaphor, Implication But, if it be the souls disease, then do I commit myself to the one Physician of the soul!But who are thou, that meddlest in this matter? that dares thrust himself between the sufferer and his God? (P 197) Physician of soul is compared to God (Metaphor) Souls disease implies that the soul can be sick in much the same way the body can be sick.(Implication) 18. Metaphor, Allusion But with what a wild look of wonder, job, and horror! With what a ghastly rapture.making itself even riotously manifest by the extravagant gesture with which he threw up his arms towards the ceiling, and stamped his foot upon the floor! Had a man seen old Roger Chillingworth, at that moment of his ecstasy, he would have had no need to ask how Satan comports himself when a precious human soul is lost to heaven, and won into his kingdom. (P 199) Chiilingworths ecstasy is compared to Satans ecstasy.(Metaphor) His kingdom is Hell: Chillingworths joy over the suffering of another person is compared to Satans happiness when a sinner sins and gets another step closer to hell.(Allusion) 19. Metaphor, Oxymoron a quiet depth of malice, hitherto latent, but active nowwhich led him to imagine a more intimate revenge than any mortal had ever wreaked upon an enemy. (P 201) Malice is metaphor for evil growing like a disease (Metaphor) Intimate revenge (Oxymoron) 20. Duality To the untrue man, the whole universe is false,- it is impalpable,- it shrinks to nothing within his grasp.The only truth that continued to give Mr. Dimmesdale a real existence on this earth was the anguish in his inmost soul (P 212) Existence or non-existence, true or false: Truth is equated to existence, and falseness is equated to non-existence. (Duality) 21. Irony Satan dropped it there, I take it, intending a scurrilous jest against your reverence. But, indeed, he was blind and foolish, as he ever and always is. A pure hand needs no glove to cover it! (P 232) Dimmesdales hand is not pure. He does need a glove to cover it in accordance with the Sextons comment. (Irony) 22. Metaphor The scarlet letter had the effect of the cross on a nuns bosom. It imparted to the wearer a kind of sacredness which enabled her to walk securely amid all peril. (P 241) The scarlet letter is a protective talisman much like an nuns cross. (Metaphor) 23. Paradox It is remarkable that persons who speculate the most boldly often conform with the most perfect quietude to the external regulations of society. (P 245) Those who behave the best secretly imagine what the sin will be like. (Paradox) 24. Imagery It lies not in the pleasure of the magistrates to take off this badge.Were I worthy to be quit of it, it would fall away of its own nature, or be transformed into something that should speak a different purport. (P 253) Fall away of its own nature is subtle image of nature.(Imagery) 25. Metaphor What choice had you? asked Roger Chillingworth. My finger, pointed at this man, would have hurled him from his pulpit into a dungeon, thence, peradventure, to the gallows!(P 256) My finger is compared to Chillingworths accusation.(Metaphor) 26. Imagery, Oxymoron, Alliteration, Metaphor Let men tremble to win the hand of woman, unless they win along with it the utmost passion of her heart! Else it may be their miserable fortune, as it was Roger Chillingworths, when some mightier touch than their own may have awakened all her sensibilities, to be reproached even for the calm content, the marble image of happiness, which they will have imposed upon her as the warm reality. (P 265) Tremble is image of fear.(Imagery) Miserable fortune.(Oxymoron) Calm content (Alliteration) Marble image of happiness is metaphor for marriage without passion. (Metaphor) 27. Symbol, Alliteration Truly do I! Answered Pearl, looking brightly into her mothers face. It is for the same reason that the minister keeps his hand over his heart! (P 269) Dimmesdales hand over his heart is symbol of his sin.(Symbol) Hand over his heart.(Alliteration) 28. Metaphor But mother, tell me now! Is there such a Black Man? And didst thou ever meet him? And is this his mark?.Once in my life I met the Black Man! said her mother. This scarlet letter is his mark! (P 279) Scarlet letter is metaphor for sin and the mark of Satan.(Metaphor) 29. Contrast Thou shalt forgive me! cried Hester, flinging herself on the fallen leaves beside him. Let God punish! Thou shalt forgive!(P 294) Contrasting who doing action: human forgives, God punishes.(Contraction) 30. Metaphor à ¢Ã¢â€š ¬Ã‚ ¦Ãƒ ¢Ã¢â€š ¬Ã‚ ¦That old mans revenge has been blacker than my sin. He has violated, in cold blood, the sanctity of a human heart. Thou and I, Hester, never did so!(P 294) Blacker: Degree of black is connected to the gravity of sin. Blacker means worse. Colour as degree of sin.(Metaphor) 31. Metaphor, Imagery, Onomatopoeia There played around her mouth, and beamed out of her eyes, a radiant and tender smile, that seemed gushing from the very heart of womanhood. A crimson flush was glowing on her cheek, that had been long so pale. (P 307) gushing.(Onomatopoeia) Beam, radiant, and glowing is image of light.(Imagery) Smile is compared to blood.(Metaphor) 32. Implication, Dual meanings At least, they shall say of me, thought this exemplary man, that I leave no public duty unperformed, nor ill performed! (PP 325-326) Private duties are left unperformed.(Implication) Dimmesdale is a good man, and Dimmesdale as a bad man.(Dual meanings) 33. Alliteration, Imagery Ha, tempter! Methinks thou art too late! answered the minister, encountering his eye, fearfully, but firmly. Thy power is not what it was! With Gods help, I shall escape thee now! (P 384) fearfully, but firmly.(Alliteration) Tempter is a image of Satan.(Imagery) 34. Metaphor Thou hast escaped me! he repeated more than once. May God forgive thee! said the minister. Thou, too, hast deeply sinned! (P 389) Chillingworth is compared to Satan.(Metaphor) 35. Alliteration, Onomatopoeia Hush, Hester, hush!The law was broke! the sin here so awfully revealed! let these alone be in thy thoughts! I fear! I fear! It may be that, when we forgot our God, when we violated our reverence each for the others soul, it was thenceforth vain to hope that we could meet hereafter, in an everlasting and pure reunion. (P 390) Hush, Hester, hush.(Alliteration) Hush.(Onomatopoeia) 36. Imagery that the awful symbol was the effect of the ever-active tooth of remorse, gnawing from the inmost heart outwardly, and at last manifesting Heavens dreadful judgment by the visible presence of the letter. (P 393) Tooth of remorse is painful Image. Remorse as an emotion that eats away at a person.(Imagery) 37. Oxymoron Without disputing a truth so momentous, we must be allowed to consider this version of Mr. Dimmesdales story as only an instance of that stubborn fidelity with which a mans friends-and especially a clergymans-will sometimes uphold his character, when proofs, clear as the midday sunshine on the scarlet letter, establish him a false and sin-stained creature of the dust. (P 394) stubborn fidelity: Fidelity means truth and faithfulness, but the stubborn means not changing ones judgment in light of evidence.(Oxymoron) 38. Imagery, Alliteration Hester comforted and counseled them as best she might. She assured them, too, of her firm belief, that, at some brighter period, when the world should have grown ripe for it, in Heavens own time, a new truth would be revealed, in order to establish the whole relation between man and woman on a surer ground of mutual happiness.(P 400) comforted and counsel.(Alliteration) Passage of time is the image of Heavens own time, brighter period, grown ripe.(Imagery) 39. Insinuation, Assonance, Alliteration, Imagery The angel and apostle of the coming revelation must be a woman, indeed, but lofty, pure, and beautiful; and wise, moreover, not through dusky grief, but the ethereal medium of joy; and showing how sacred love should make us happy, by the truest test of a life successful to such an end! (PP 400-401) angel and apostle (assonance) truest test (alliteration) Insinuating that women are usually pure by nature: The angel and apostle of the coming revelation must be a woman, indeed, but lofty, pure Dusky grief is the image of sinner 40. Metaphor a new grave was delved, near an old and sunken one, in that burial-ground beside which Kings Chapel has since been built. It was near that old and sunken grave, yet with a space between, as if the dust of the two sleepers had no right to mingle. Yet one tombstone served for both.(P 401) Dust is compared to the ashes of two dead people; Dimmesdale and Hester.(Metaphor) Sleepers is compared to dead people.(Metaphor) Attitude Nathaniel Hawthorne is a remarkable ironist who makes good use of the dramatic irony. He regards human beings as originally imperfect creatures. The dehumanization in a Puritan society in The Scarlet Letter is criticized with the method of tragic irony which is closely related to a dualistic view of life. Most of the characters are Puritans. They are innocent and try to build an ideal society in their own way. Such a perfect Puritan community hold its own secrets and sin within each member. This creates irony or hypocrisy and has each person feel guilty. In the novel, Hester, Dimmesdale, and Chilligworth are isolated from a normal society and they suffer from the various aspects of sin. Hypocritical action to conceal their secret sins make them collapse. Although Hester feels humility and embarrassment because of her sin, she is the only one who is spiritually free. When Dimmesdale finally uncovers his sin to the people around the scaffold, they refuse to believe that he is sinner li ke Hester. The fact that is the vulnerable minister and a secret sinner results in an endless maze of irony. Dimmesdales dual identity is shown in Hester with the shameful scarlet letter on her breast and in Chillingworth with his secret revenge for Dimmsdale. The irony of Dimmesdales situation is that he becomes imperfect by pretending to be perfect. Dimmesdale tries to appear to be a perfect man, for he thinks there is absolute good and evil in the world. By using tragic irony, Hawthorne builds up the plot which gives us constant interest in his novel. Thus, The Scarlet Letter is chiefly composed of tragic irony, and the authors purposes are well represented by it. Shift In chapter 16, Dimmesdale appears to be in despair, as if he has no purpose or desire to live whereas in chapter 18, he takes courage and decides to leave the Puritan society with Hester and his daughter, Pearl. He is reborn with great energy, He thinks everything positively. But in chapter 23, he suddenly gives up everything. He cannot act against his conscience. In this chapter, Chillingworth loses his purpose of revenge completely when Dimmesdale dies. He no longer has Dimmesdale to confess his sin. Hester also lose her love. She doesnt need feel the loneliness she has already has when Dimmesdale dies. Pearl can have a life which is full of love and happiness. In chapter 13, Hesters position in the community gradually changes because of her charity and kindness. She helps the poor and the sick. She slowly gains good reputation from the people of Boston. Her skill at needlework and the charity for the needy make her scarlet letter symbolize something other than shameful adultery. Hesters scarlet A now stands not for shame but for Able. It is no longer a token of her shameful adultery. The readers can see the shift of Dimmesdales conscience by comparing the three scaffold scenes in chapter 2, chapter 12, and chapter 23. In the first scene, he does not want to reveal his secret sin In the second scaffold scene, he confesses his sin in private at night, so it does not seem to be a public confession. In the final scaffold scene, he confesses his sin in public. At this time, his conscience finally clears. Themes This section will discuss the following four themes: sin, conscience, Puritanism, and forgiveness. Sin By choosing a Puritan society and adultery as the setting for this novel, Hawthorne is free to explore the psychological impact of sin on everyone involved. In Puritan society adultery is both a crime and a sin. As a woman whose husband is absent, Hesters pregnancy is evidence of her immoral relationship with a man, not her husband. Puritans usually impose the death penalty on adulterers, however, since Hesters husband might be dead they refrain from administering it in this case. They cannot let her sin go unpunished, so they sentence her to three years in prison, and she must wear the A on her chest for adulteress for the rest of her life. In addition, she is cast out of the community. To the Puritans, sin is like infectious disease. Hester is quarantined in the hope that her sin will not pollute the community. Puritanism is a strict version of Christianity. In other sects after Christians confess their sins and perform penance, their sins are forgiven and they receive reconciliation with God and their community. Hester for her part acknowledges her wrongdoing and endures her punishment with grace. Upon her release from prison, she mak es a living for herself and her daughter by sewing and embroidery. Her industriousness and thrift allow her to carry out many works of charity for the poor. Although her life is not a very happy one, her sin and subsequent penance create an opportunity for her spiritual development and personal growth. Dimmesdale carries the weight of sin in private. He does not make spiritual progress instead he becomes a hypocrite. Puritans expect their ministers to have high moral standards. He feels guilty that he is not living up to them. He tries to perform penance in private, but his efforts do not offer him any spiritual relief. His spiritual agony starts to affect his physical health negatively, to the point where his congregation begins to worry about him. Chillingworth has a readers sympathy in the beginning because he is a man who has been wronged by his wife. Marrying a much younger woman does not qualify as a sin. But as time passes he gives himself over to sin by seeking revenge on the man who slept with his wife. The sin of revenge physically transforms him in the following ways: accelerated aging, deformation of facial features, and the stoop in his back. He can be said to personify the phrase ugly as sin. Conscience For Hawthorne, individual conscience plays a valuable role. When a person relies on his intuition and sympathy for others, he/she is able to make good moral decisions. The Puritans, in contrast, have little use for individual conscience. In order to do what is right, a Puritan only has to follow the religious rules of community. As such individual conscience is subordinate to the religious commandments of the Bible, Hester uses her own intuition to make moral decisions, a characteristic which sets her apart from her fellow Puritans. Dimmesdales conscience torments him. The readers can see the developments of his conscience by comparing the three scaffold scenes in chapter 2, chapter 12, and chapter 23. In the first scene, he exhorts Hester to name the father, but it is clear from his double speak that he does not want his sin to be revealed. In the second scaffold scene, he is moved to confess his sin out loud, but he is alone at night, so it does not count as a public confession. In the final scaffold scene, after his election day sermon, he confesses he is Hesters partner in sin in front of the whole congregation. His conscience finally clears, but he has lived with the guilt for so long that he has no strength to live after his confession. Chillingworth starts out with a conscience as evidenced by his conversation with Hester in which he admits marrying her against her wishes is a mistake that leaves her vulnerable sin of adultery. When he suspects that the other party to adultery is still in town, he loses his conscience in direct proportion to his effort to exact revenge on Dimmesdale. With revenge as his whole motive for living, he cannot survive after Dimmesdales confession, which renders revenge useless. Puritanism Puritanism has an strong effect on The Scarlet Letter. In the novel, Hawthorne wants to describe how Puritanism in the 17th century apparently ignores the sanity of human minds in every aspect of punishment and salvation. He gives us the essence of the Puritan thoughts of Boston, including the Puritans view on mans sinful situation, and the intolerant Puritan attitude towards sinner. The Puritan leaders at that time condemn every person who fails morally and force them to face a public penitence. The Puritan laws is far from Gods divine love which embraces all sinners having imperfect nature and human weakness. Hawthorne is disappointed with the intolera

Drama Films

Drama Films are serious presentations or stories with settings or life situations that portray realistic characters in conflict with either themselves, others, or forces of nature. A dramatic film shows us human beings at their best, their worst, and everything in-between. Each of the types of subject-matter themes have various kinds of dramatic plots. Dramatic films are probably the largest film genre because they include a broad spectrum of films. See also crime films, melodramas, epics (historical dramas), biopics (biographical), or romantic genres – just some of the other genres that have developed from the dramatic genre. Dramatic themes often include current issues, societal ills, and problems, concerns or injustices, such as racial prejudice, religious intolerance (such as anti-Semitism), drug addiction, poverty, political unrest, the corruption of power, alcoholism, class divisions, sexual inequality, mental illness, corrupt societal institutions, violence toward women or other explosive issues of the times. These films have successfully drawn attention to the issues by taking advantage of the topical interest of the subject. Although dramatic films have often dealt frankly and realistically with social problems, the tendency has been for Hollywood, especially during earlier times of censorship, to exonerate society and institutions and to blame problems on an individual, who more often than not, would be punished for his/her transgressions. Social Problem Dramas: Social dramas or â€Å"message films† expressed powerful lessons, such as the harsh conditions of Southern prison systems in Hell's Highway (1932) and I Am a Fugitive From a Chain Gang (1932), the plight of wandering groups of young boys on freight cars during the Depression in William Wellman's Wild Boys of the Road (1933), or the lawlessness of mob rule in Fritz Lang's Fury (1936), or the resourcefulness of lifer prisoner and bird expert Robert Stroud (Burt Lancaster) in John Frankenheimer's Birdman of Alcatraz (1961), or the tale of a framed, unjustly imprisoned journalist (James Cagney) in Each Dawn I Die (1939). In Yield to the Night (1956), Diana Dors relived her life and crime as she awaited her execution. A tough, uncompromising look at New York waterfront corruption was found in the classic American film, director Elia Kazan's On the Waterfront (1954) with Marlon Brando as a longshoreman who testified to the Waterfront Crimes Commission. The film rew criticism with the accusation that it appeared to justify Kazan's informant role before the HUAC. Problems of the poor and dispossessed have often been the themes of the great films, including The Good Earth (1937) with Chinese peasants facing famine, storms, and locusts, and John Ford's The Grapes of Wrath (1940) about an indomitable, Depression-Era Okie family – the Joads – who survived a tragic journey from Oklahoma to California. Martin Scorsese's disturbing and violent Taxi Driver (1976) told of the despairing life of a lone New York taxi cab driver amidst nighttime urban sprawl. Issues and conflicts within a suburban family were showcased in director Sam Mendes' Best Picture-winning American Beauty (1999), as were problems with addiction in Steven Soderbergh's Traffic (2000). Films About Mental Illness: Two films from different eras that dealt with the problems of the mentally ill and conditions in mental institutions were Anatole Litvak's The Snake Pit (1948) with tormented Olivia de Havilland's assistance from a psychiatrist, and Milos Forman's adaptation of Ken Kesey's One Flew Over the Cuckoo's Nest (1975) with Jack Nicholson as a rebellious institutional patient who feigned insanity but ultimately was squashed by Nurse Ratched and the repressive system. Bette Davis played a neurotic and domineering woman in John Huston's In This Our Life (1942). Sam Wood's Kings Row (1942) examined the various fears and phobias in a small-town. Repressed and prohibited from consummating her love with Warren Beatty, Natalie Wood exhibited signs of insanity in Elia Kazan's Splendor in the Grass (1961). Another teenager (Kathleen Quinlan) felt suicidal tendencies due to schizophrenia in I Never Promised You a Rose Garden (1977). And 1930s-40s actress Frances Farmer (Jessica Lange) tragically declined due to a mental breakdown and subsequent lobotomy in Frances (1982). The repressed emotions and tragic crises in a seemingly perfect family were documented in Robert Redford's directorial debut Best Picture and Best Director-winning Ordinary People (1980). Films About Alcoholism: A hard look was taken at alcoholism with Ray Milland as a depressed writer in Billy Wilder's The Lost Weekend (1945) and Jack Lemmon (and Lee Remick) in Blake Edwards' Days of Wine and Roses (1962). An aging alcoholic singer (Bing Crosby) desperate for a comeback was the theme of The Country Girl (1954) – the film that provided Grace Kelly with a Best Actress Oscar. Susan Hayward acted the decline into alcoholism of 1930s star Lillian Roth in Daniel Mann's biopic I'll Cry Tomorrow (1955). More recently, Mickey Rourke and Faye Dunaway played the parts of two fellow alcoholics in Barbet Schroeder's Barfly (1987). Films about Disaffected Youth and Generational Conflict: Juvenile delinquency, young punks and gangs, and youth rebellion were the subject matter of Dead End (1937), Laslo Benedek's The Wild One (1953) with biker Marlon Brando disrupting a small town, Richard Brooks' The Blackboard Jungle (1955) with Glenn Ford as an idealistic teacher in a slum area school, and Nicholas Ray's Rebel Without a Cause (1955) with James Dean as an iconic disaffected youth. Race Relations and Civil Rights Dramas: Films that were concerned with race relations included Hollywood's first major indictment of racism in producer Stanley Kramer's and director Mark Robson's Home of the Brave (1949), the story of a black WWII soldier facing bigoted insults from his squad. Then, there was John Sturges' Bad Day At Black Rock (1955) about small-town Japanese-American prejudice uncovered by a one-armed Spencer Tracy, Stanley Kramer's The Defiant Ones (1958) with Tony Curtis and Sidney Poitier as bound-together escaping convicts – and Guess Who's Coming to Dinner (1967) about an inter-racial couple (Sidney Poitier as WHO doctor John Prentiss and Katharine Houghton as SF socialite Joanna Drayton) planning on marrying who needed parental approval from Katharine Hepburn and Spencer Tracy (in their ninth and last film together). Also, In the Heat of the Night (1967) featured a bigoted sheriff and a black homicide detective working together to solve a murder, and Spike Lee's Do the Right Thing (1989) – about racial tensions and eventual violence during a hot Brooklyn summer. Strong indictments toward anti-Semitism were made in Elia Kazan's Gentleman's Agreement (1947) with writer Gregory Peck posing as a Jew, and Crossfire (1947) about the mysterious murder of a Jew. The Japanese film classic from Akira Kurosawa titled Rashomon (1951) examined a violent ambush, murder and rape in 12th century Japan from four different perspectives. Courtroom Dramas: See also AFI's 10 Top 10 – The Top 10 Courtroom Drama Films Courtroom legal dramas, which include dramatic tension in the courtroom setting, maneuverings between trial opponents (lawyers, prosecutors, and clients), surprise witnesses, and the psychological breakdown of key participants, were exemplified in films such as the following: * William Dieterle's film noir The Accused (1948), with Robert Cummings defending college professor Loretta Young's self-defense murder * 12 Angry Men (1957) with Henry Fonda and eleven other jurists in a tense deliberation room * Billy Wilder's intriguing and plot-twisting Witness for the Prosecution (1957) based on an Agatha Christie play * Otto Preminger's Anatomy of a Murder (1959) with James Stewart as a defense lawyer for accused murderer Ben Gazzara * Compulsion (1959) the Navy court-martial trial based on the Herman Wouk play of the same name in The Caine Mutiny (1954) – a film with a memorable performance of Humphrey Bogart as Captain Queeg * the historic Scopes Trial battle in Inherit the Wind (1960) pitting Spencer Tracy against Fredric March in a case brought against a schoolteacher for teaching Darwinism * the social drama regarding the Nazi war crimes trials in Judgment at Nuremberg (1961) with Burt Lancaster as a Nazi judge defended by Nazi defense attorney Maximilian Schell in a 1948 court ruled by Chief Allied Judge Spencer Tracy * the defense case of a black accused of rape in To Kill a Mockingbird (1962), adapted from the Pulitzer-Prize winning novel by Harper Lee about civil rights In addition, director Robert Benton's Best Picture-winning Kramer vs. Kramer (1979) focused on the subject of a nurturing father (Dustin Hoffman) trying to win a child custody case with divorced Meryl Streep. An Australian film, Breaker Morant (1980) was another tense courtroom drama – the true story of soldiers in the Boer War who were used as scapegoats by the British Army. The award-winning drama, Sidney Lumet's The Verdict (1982) featured Paul Newman as an alcoholic, has-been Boston lawyer fighting a case of medical malpractice against James Mason. Glenn Close defended lover/client Jeff Bridges in Richard Marquand's who-dun-it Jagged Edge (1985). Assistant DA Kelly McGillis defended the bar-room gang-raped Jodie Foster (an Oscar-winning role) in The Accused (1988). A Soldier's Story (1984) examined racial hatred in a 1940s Southern military post in a dramatic courtroom murder/mystery. And A Few Good Men (1992) portrayed the courtroom conflict (known for its catchphrase: â€Å"You can't handle the truth! â€Å") between established Marine Colonel Jessup (Jack Nicholson) and two young Naval attorneys (Tom Cruise and Demi Moore) regarding the circumstances surrounding the hazing (â€Å"Code Red†) death (by asphyxiation due to acute lactic acidosis) of Private Santiago – a Marine stationed at Guantanamo Naval Air Station in Cuba. Jonathan Demme's AIDS drama, Philadelphia (1993) examined discrimination against AIDS and the legal defense of an AIDS sufferer (Tom Hanks) who was fired. Political Dramas: Political dramas include Frank Capra's two political tales – State of the Union (1948) with Tracy/Hepburn, and his classic story of a naive Senator's fight against political corruption in Mr. Smith Goes to Washington (1939). Conversely, the award-winning, potent story of a corrupt politician was dramatized in Robert Rossen's All the King's Men (1949) with Broderick Crawford as the rising politician. Alexander Knox starred as President Woodrow Wilson in Henry King's epic, big budget bio Wilson (1944). In Otto Preminger's Advise and Consent (1962), stars Charles Laughton (in his last film), Franchot Tone, and Lew Ayres portrayed scheming Senators during Henry Fonda's crisis-threatened Presidency. The controversial The Manchurian Candidate (1962) questioned the Cold War brainwashing of a Korean War hero. Michael Ritchie's The Candidate (1972) examined the harsh reality of the campaign trail with political hopeful Robert Redford starring as an attorney running for the Senate. Oliver Stone's conspiracy-centered drama, JFK (1991), attempted to disprove the theory that President Kennedy's killer acted alone. Journalism, the Press and Media-Related Dramas: Dramatic films often center around the theme of journalism, the world of reporters and news. Often regarded as the best film ever made, Orson Welles' Citizen Kane (1941) was an insightful character study of a newspaper magnate. Alan J. Pakula's All the President's Men (1976) was a docu-drama of real-life journalists Bernstein and Woodward investigating the Watergate scandal. Sidney Lumet's Network (1976) with Peter Finch as a despairing newsman was a critical look at TV news, while Sydney Pollack's Absence of Malice (1981) told about an over-earnest journalist (Sally Field) and a wrongly-implicated defendant (Paul Newman). James L. Brooks' Broadcast News (1987) focused on the world of network news shows, editors, and reporters. Elia Kazan's A Face in the Crowd (1957) showed how a down-home country boy (Andy Griffith in his film debut as Larry â€Å"Lonesome† Rhodes) could be transformed into a pop television show icon and political megalomaniac. Through the eyes of a cameraman, Haskell Wexler's docu-drama Medium Cool (1969) covered the corruption and events surrounding Chicago's 1968 Democratic Convention. In Peter Weir's The Year of Living Dangerously (1962), Mel Gibson played the role of an Australian journalist working during the time of President Sukarno's coup in mid-60s Indonesia. And in Oliver Stone's Salvador (1982), James Woods played the role of a photographer in war-torn El Salvador. WWII Homefront Dramas: Dramatic films which have portrayed the â€Å"homefront† during times of war, and the subsequent problems of peacetime adjustment include William Wyler's Mrs. Miniver (1942) about a separated middle-class family couple (Greer Garson and Walter Pidgeon) during the Blitz, Clarence Brown's The Human Comedy (1943) with telegram delivery boy Mickey Rooney bringing news from the front to small-town GI families back home, John Cromwell's Since You Went Away (1944) with head of family Claudette Colbert during her husband's absence, and another William Wyler poignant classic The Best Years of Our Lives (1946) with couples awkwardly brought back together forever changed after the war: Dana Andrews and Virginia Mayo, Fredric March and Myrna Loy, and Harold Russell and Cathy O'Donnell. History-Related Dramas: Films that have dramatized portions of the American past include W. S.  Van Dyke's San Francisco (1936) on the eve of the 1906 quake, John Ford's Drums Along the Mohawk (1939) with Claudette Colbert and Henry Fonda facing marauding Indian attacks at the time of American independence, Howard Hawks' Sergeant York (1941) with Gary Cooper as the gentle hick-hero of the WWI trenches, the gothic drama of a turn of the century family in Orson Welles' The Magnificent Ambersons (1942), and of course Gone With The Wind (1939) during the Civil War and Reconstruction Eras. Exquisite, nostalgic family dramas include John Ford's How Green Was My Valley (1941) – a flashback of Roddy McDowall's childhood in a Welsh mining village, and George Stevens' tribute to a Norwegian immigrant mother (Irene Dunne) raising her family in San Francisco in I Remember Mama (1948). Sp orts Dramas: Dramatic sports films or biographies have created memorable portraits of all-American sports heroes, individual athletes, or teams who are faced with tough odds in a championship match, race or large-scale sporting event, soul-searching or physical/psychological injuries, or romantic sub-plot distractions. Fictional sports films normally present a single sport (the most common being baseball, football, basketball, and boxing), and include the training and rise (and/or fall) of the underdog or champion in the world of sports. Typical sports films (with biographical elements) include the sentimental biography of the Notre Dame football coach, Lloyd Bacon's Knute Rockne: All-American (1940). One of the best films ever made about pro-football was Ted Kotcheff's North Dallas Forty (1979) which examined the brutal fact of labor abuses and drug use in professional football – loosely basing its story on the championship Dallas Cowboys team. The tearjerking made-for-TV sports film Brian's Song (1970) used professional football as the backdrop for its sad tale of the death of a Chicago Bears running back (James Caan). Burt Reynolds starred in The Longest Yard (1974) as scandalized ex-professional football quarterback Paul Crewe in prison who must organize a team of convicts to challenge a prison-guard team (and then face the additional challenge of throwing the game). Recently, Cameron Crowe's sports romance-drama Jerry Maguire (1996), famous for the phrase â€Å"Show me the money! † starred Tom Cruise as a hard-driven major sports agent, and Academy Award-winning Cuba Gooding, Jr. as a football player. One of the best sports biopics was Sam Wood's The Pride of the Yankees (1942) with Gary Cooper in a fine performance as New York Yankees great Lou Gehrig. In The Jackie Robinson Story (1950), the famed black player who crossed the major-league ‘color-line' and joined the Brooklyn Dodgers portrayed himself. Director Barry Levinson's mythical and romanticized film about baseball titled The Natural (1984) featured Robert Redford as Roy Hobbes – a gifted baseball player who led his New York team to the World Series. Ron Shelton, who was an actual ex-minor leaguer, wrote and directed the intelligent comedy/drama Bull Durham (1988) which used as its backdrop minor league baseball to tell the story of a baseball groupie (Susan Sarandon), a veteran catcher (Kevin Costner) and a dim-witted pitcher named Nuke LaLoosh (Tim Robbins). The immensely popular fantasy/drama Field of Dreams (1989) concerned the creation of a ball diamond in the middle of an Iowa cornfield by a farmer (Kevin Costner). Writer/director John Sayles' Eight Men Out (1988) dramatized the infamous episode in professional baseball of the scandalous 1919 World Series that was fixed – with its final sepia-toned shots of banned ball-player â€Å"Shoeless† Joe Jackson (D. B. Sweeney) in the minors. And Tommy Lee Jones starred as the legendary baseball great Ty Cobb in Shelton's Cobb (1994). Basketball-related sports dramas are rare: three notable ones were Spike Lee's He Got Game (1998) with Denzel Washington as the convict father of a promising basketball athlete, David Anspaugh's Hoosiers (1986) about an underdog 50s basketball team (coached by Gene Hackman) that won the state championship, and Ron Shelton's play-filled, trash-talking court action film White Men Can't Jump (1992) with its two basketball hustlers/con-artists (Woody Harrelson and Wesley Snipes) and their scenes of two-on-two tournaments. Kevin Costner portrayed a talented pro golfer in Ron Shelton's romantic sports film Tin Cup (1996). And Paul Newman portrayed swaggering, upstart poolshark gambler Fast Eddie Felson in The Hustler (1961) in the world of professional pool, shooting against the great champ Minnesota Fats (Jackie Gleason). Downhill Racer (1969) starred Robert Redford as an American downhill skier training to become an Olympic superstar. The Best Picture winner Chariots of Fire (1981) told the parallel stories of two English runners (one a devout Protestant, the other Jewish) competing in the 1924 Paris Olympics. Autoracing in the Daytona 500 was featured in the action/drama Days of Thunder (1990). And one of the most memorable ice hockey films was Slap Shot (1977), with Paul Newman as inspiring player-coach Reg Dunlop of a minor-league team. Although a comedy, Caddyshack (1980) was about an elitist country club for golf, a mischievous green-destroying gopher, and a crazed groundskeeper (Bill Murray). Films about boxing are perhaps the most numerous sub-genre. One of the best boxing films ever made, along with Robert Wise's classic film noirish The Set-Up (1949) starring Robert Ryan as aging boxer Stoker Thompson, was the realistically stark Body and Soul (1947). It starred John Garfield as boxer Charlie Davis who ‘sold his soul' to unethical promoters but then had a change of heart in the last three rounds of a championship fight during which he was supposed to take a dive. Others included King Vidor's classic The Champ (1931), an award-winning story of a prizefighter and his young son, Champion (1949) with Kirk Douglas as the young fighter, the brutal boxing drama The Harder They Fall (1956) (Humphrey Bogart's underrated last film in which he portrayed Eddie Willis – an aging, crooked sportswriter), Ralph Nelson's Requiem for a Heavyweight (1962) with Anthony Quinn as punch-drunk, washed-up professional boxer Louis ‘Mountain' Rivera, Martin Ritt's The Great White Hope (1970) with James Earl Jones as black boxer Jack Jefferson, and Karyn Kusama's independent feminist film Girlfight (2000) with a great performance by Michelle Rodriguez as a struggling Brooklynite and teenage Latino boxer. One of the best films of the 80s decade, Raging Bull (1980) was Martin Scorsese's tough, visceral and uncompromising biopic film of the rise and fall of prizefighter Jake La Motta with a remarkable performance by actor Robert DeNiro. The stylized scenes in the ring included flying blood and sweat, exaggerated flashbulb camera flashes, slow-motion and violent punching sounds.

Ariannadenyse A. Gagonia

Arianna Denyse A. Gasgonia III-Hosea Reaction Paper in Filipino (Noli Me Tangere) When we watched the stage play of Noli Me Tangere, I was excited but not until we knew that we were headed to the Star Theater, and not at the CCP Theater as we expected. When we got out of the bus, we brought or jackets with us because we expect it to be cold as the AFP Theater. But once we were inside, it was hot and eventually, we had to fan ourselves with the hand-outs that we bought. When the play started, I was a bit disappointed because some parts of the scene were just played with a projector.We thought it was very boring and uninteresting because of the lack of props. The last 2 years, we watched Ibong Adarna and Florante at Laura at the AFP Theater and they gave us their full performance which is interesting enough. While at the Star Theater, I really thought that it sucks compared to the AFP Theater. They lack in props (as I had already said) and even the ones that they have are old and looks battered. Their costumes look cheap and I don’t find it entertaining. They have a projector background and we thought it was so uncool.At the AFP Theater, they have backgrounds and props colorful and pretty enough to be entertaining for us. At the Star Theater, they even lack characters. In some scenes, I find it odd because it was different from what I’ve read and I was looking for my favorite chapters and lines and I found out it was the ones that they’ve cut. I really thought that it was poorly directed, though the characters portray their roles well and I found no fault in them. They are good at acting but sometimes their mic would just turn on and off at their slightest movements. Overall, I think it was a tiny bit unpleasant (no offense! and I would prefer watching at the AFP Theater if given the chance. For me, everything was almost always out-of-placed, except for the characters. Well, at least they’re worth watching. They are the only ones that I liked at the play and I particularly enjoyed the last scenes where there we loud booms enough to prattle our bored minds. At least it was exciting even though it’s the only one I found interesting. It was the least of what we expected and I know its an awful lot of expecting. One thing I know is, though, is I would never ever prefer Star Theater from the AFP Theater. Ever.

Relationship with Writing. Essay - 1029 Words

My Relationship With Writing Like most people, writing has made an impact on my life. I didn’t notice it right away, but once I did it changed my life forever. I consider myself to be a fairly decent writer and I would say it was the only thing that kept me going. I love writing that involves thinking and real emotion. Writing journals and letters have helped me get through a lot in my life and that is really something I will never forget. For the most part, I like to write. I surprise myself sometimes when I read what I have written. Essays don’t seem to be that hard for me and most of the time comes naturally to write. Ever since I was younger, reading and writing were always my strong points in school. Math and science didn’t stand†¦show more content†¦Some times it would be a free write where we could write anything on our mind. Most of the time I just wrote on what I had done and how I was feeling that day. Other times, he would write down a quote on the board and we would interpret what we thought it meant. This is where I realized that writing can really have an impact on peoples lives. Things can be interpreted in so many ways and by sharing our thoughts on the quotes, I noticed that not everyone was the same. With my experience in a sophomore English class, this really helped me realize that this is a passion for me. In the beginning of the year, I really dreaded it because I thought I couldn’t write a full page in 10 minutes. By the end of the year, I couldn’t wait to get to English class to write down how I was feeling or interpret a quote that was chosen. I guess you could say that my favorite type of writing would have to be in journal format. I have enjoyed essay writing and letters just as much though. Since the day one of my best friends left for basic training for the military, I have written him a whole bunch of letters. 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