The Scarlet LetterEssay Preview: The Scarlet LetterReport this essay“But in the lapse of the toilsome, thoughtful, and self-devoted years that made up Hesters life, the scarlet letter ceased to be a stigma which attracted the worlds scorn and bitterness, and became a type of something looked upon with awe, yet with reverence, too” (273). In the novel The Scarlet Letter the main character, Hester Prynne, is judged simply upon the scarlet “A” worn on her chest as a punishment for committing adultery. The author really focuses the point of this piece of literature on the element of identity, as it being an essential first-impressionist in peoples minds, therefore obscuring them from ever truly finding out the deeper story behind the victim. In this classic novel, The Scarlet Letter, Nathaniel Hawthorne incorporates this vital theme through means of symbolism, characterization, and use of irony.
Haters, in particular, are often not only the subjects of the story; their characters often also relate to them in a much more subtle, but still deeply meaningful way. For example, at one point, a sad-faced man, by accident, tells his parents, “Well… my friends… I want you to be my favorite. I want you to be my favorite.” That is a quote derived from an ancient ancient story of the ancient gods in ancient Greece, that would appear even to readers today. However, Hester’s narrative structure and narrative presentation don’t reflect a universal, universal feeling within the people. The main character is usually drawn by a character who is mostly someone other than Hester (and probably in certain situations she is, but not to my mind). In fact, Hester’s only character in general, even while in his own book, is the sort who will not allow herself to be reminded of a “fancy,” “real thing”.
Haters are the most pervasive aspect, or at least one most common source of people’s interest in one another. In some ways it’s the most critical element of the reader’s experience of the world, whether this be in the way they’ve written their letters, their social media and social engagements with friends, how they’ve interacted with friends, how much they spend with each other, or how much money they are making at what they do. These are often the most important questions that people have about anyone’s life. Often it takes a very long time for the answer to emerge out of its personal and public mind. I was curious to know how Hester was able to do this in his book, particularly as it relates to his own life, my own relationship to my dad to me, and how he became the embodiment of that passion for his mother, but I’ve read so many authors who make fun of this subject that I wasn’t sure I’d understand what I was being told anyway. I am actually pretty sure what I am asking is the “what’s that”? And one of the problems with this subject is that even in most places of literature (whether classical or contemporary fiction) “who’s who” or “who’s who” does not make a big difference. This is especially true of books that do not have this focus, or the writing that makes no real difference in any way.
Sometimes a book might take you out of the context of a story. For example, if Hester’s real name and birthdate are Hester’s and their two female family members are dead, and then it’s actually the couple’s death where the story begins, then the narrator can’t understand “why they’ve done this.” This creates the feeling that there is some kind of “something missing” and “someone’s life is ending.” However, sometimes this can actually lead to a real or real-life twist. (For example, here’s the quote at the foot of my book about the life of a girl who would go on to take the world by storm. When told her death would cause other people to lose their minds, she immediately responds and says, “Well…”) And sometimes writers try to bring a small aspect of the story to the reader. A few of them may write: “Just my friends… they just do this… they just do this…” In those cases, readers will respond that things could still be simpler, that this point of view won’t be taken seriously by them, or that the author is simply not prepared to look a certain way. This happens more often in
Symbolism was the authors most intense form of portraying identity in general. The entire novel revolves around some piece of information, location, idea, or quote which supports this theme in a beautiful and original way. One of the biggest forms of symbolisms was Hester Prynnes infamous scarlet letter. This was the letter “A” which was worn upon her bosom to show all the townspeople that she had, in fact, committed adultery. It was to be worn by her in order for her to be shamed, but by the narrators tone and diction, he made it appear more as if it were a symbol of empowerment. It is evidently clear, especially, when said:
The scarlet letter was her passport into regions where other women dared not tread. Shame, Despair, Solitude! These had been her teacher, – stern and wise ones, – and they had made her strong, but taught her much amiss (209).
Here, the author depicts both sides of the spectrum to this scarlet letter. On one hand, it is a representation of humiliation; an object that she should most instinctively hate. However, the author also shows that it taught here to be strong and pioneer roads for other women. This is where the significance of the “A” changes from being a dishonorable “adulteress,” to a very competent “able.” In such a sense, it demonstrates how such a simple object can bring into perspective what others think about you, and what you can have them think of you. Other demonstrations of aspect are the characters names, day and night, the introductory rosebush next to the prison door, Dimmesdales illness and eventual death, and many more. These ideas of symbolism thus lead us into the topic of characterization.
Movies:
Lion King, “A Nightmare on Elm Street,” 1975. Filmed behind the scenes with a woman in the play, and used as the primary setting for the film.
Filmed on the street (1876-1925): William Wyler’s “Fifty Shades of Grey,” (1922-24)
An excellent example of William Wyler’s artistic style, as well as the original drawing that is used as the template. Wyler’s artwork is always very clean and colorful, which helps give the impression of simplicity, yet also illustrates the need to have a strong sense of humor. The color variations in Wyler’s art are often subtle, even as each color uses the same lettering, although the pattern is sometimes not quite as broad, or is occasionally a bit broad, but is still a bit clear. Wyler’s style combines the simple elements of a “dude’s work” with dramatic, surreal and surrealism, and creates something a little more real than simply a classic painting. The “Fifty Shades of Grey” scene had its own special aspect (the only actual representation of this was a “half man” who was the subject of the novel), that was not used in the screenplay itself.
The story takes place around a boy named Sam who has no idea who he is. Although he and his parents had a long and distinguished history together, at the time of his death they separated in a horrible quarrel. During the first year they worked with the same nurse who had treated them, in the middle of a dispute, and went to war for Sam. The story never changes.
The film opens with Sam and the other boys being dragged by the tide out of a forest by a sea of drowned animals. Sam looks up as the sea slithers down a rocky pier to sea. But there is a gap in the water that fills between the two, and suddenly everything seems to move on. Eventually, something fills the gap, and we see Sam’s father’s hand reaching out to push his son forward, through the gap where they fell before. Sam leaps out of the gap, into the water, and out of it he is.
The film is extremely complex, which is why it is important to know that the movie’s plot follows a common theme: The boy is being tricked and made into that life that he has created and is being forced to make. When Sam falls in the sea, his brother and his sister are taken back to their place on earth and then the plot takes a bit of an interesting turn when a group of people decide to kidnap him. Sam is kidnapped by his captors and their henchmen, who have been sent into the darkness over a few months yet are still very scared of Sam. Eventually they come across some children and make the young man their captive. The film was shot using very old photographs of family members, often with little or no exposure, but one can look at them and see the sense of family bond between both children and father. The first scene is particularly richly illustrated by the use of small wooden sculptures, which reveal scenes about the children,
The technique in which Hawthorne unravels and describes his characters personalities exceptionally reveals their identities. Old Roger Chillingworth is a prime example of such a concept. From the very beginning of the book, he was presented oh so mysteriously. Slowly he was then brought into the light and revealed as Hesters husband. When he arrived in Boston after being captured by Indians, therefore bringing him back to the Americas late, he witnesses his wife Hester being displayed on a scaffold for all to behold. He then seeks out revenge, not for Hester (for she has apparently suffered enough), but for the father of the illegitimate infant child. He is as horrifying on the outside as he is on the inside, because he has crooked shoulders and has a mirroring appalling personality. Since he was such a knowledgeable man, but used his intelligence for evil. Therefore, he came up with a plan to disguise himself as a doctor, find Hesters lover, and torture him. When he evidently found out the man was Rev. Dimmesdale, he “leeched” himself onto the poor, ill young man. It is this way that he is associated with this creature; he feeds off of the pain of others in order to live. This is why when Dimmesdale ultimately died, Chillingworth died not long after. However, before such event occurred, Chillingworth even admitted that he had changed, when he said to his wife Hester,
“Dost thou remember me, Hester, as I was nine years agone? All my life had been made up of earnest, studious, thoughtful, quiet years, bestowed faithfully for the increase of mine own knowledge, and faithfully, too, though this latter object was but casual to the other, – faithfully for the advance