Research of Nathaniel Hawthorne and Edgar Allan Poe
For most poems, if not all there’s a hidden message as well as in short stories that is to be recognized when done reading. Alright ones you knew all along, even better ones is when you realized the message towards the end, but the most swaying stories can have you reconsider your perception. People such as Edgar Allan Poe and Nathaniel Hawthorne wrote at such extent, in the form of fashion known as “Dark Romantic”. Their style of writing connects to people through emotion and drama that gives off a montage of ways to look at the big picture. Poe stories imaged gothic settings of fantasy, theme mostly involving death, lost love or sometimes both. Hawthorne wrote in his own type literary style which was sense as a gloomy and extremely long mixture. Later developing a romantic fiction fetish shown as his own beliefs. Although both growing in the same era Nathaniel Hawthorne and Edgar Allan Poe never met before or never been in the same presence as each other, they each have quoted on each other’s work and their connection linked through their style types. Is it weird that two random people wrote in such comparison? Where their views a different style of Fantasy? What is the symbolism in their short stories? Read in “Research of Nathaniel Hawthorne and Edgar Allan Poe”.
Research of Nathaniel Hawthorne and Edgar Allan Poe
Nathaniel Hawthorne, American writer and short story novelist. Hawthorne was born in 1804 in Salem, Massachusetts. He was raised a bastard and attended a college called Bowdoin. Nathaniel is well known for “Scarlet Letter” a romance novel consider being a master’s work. Edgar Allan Poe is known for his short stories, poetry, a novel, a textbook, a scientific theory book, and essays and book reviews. Poe was born January 19, 1809. His parent both died when he was three, he was born to traveling actors and was the second of three siblings. By the age thirteen Edgar had written so much poetry he could have published a book.
Though many of the stories of Edgar Allen Poe and Nathaniel Hawthorne show strong descriptions of complete destruction of the world connotations, two individual stories “Rappaccini’s Daughter”, and “The Masque of the Red Death”, both stories pops out more than their others. Nathaniel’s narrative, Rappaccini’s Daughter, tells the relation of an Italian young scholar who becomes enchanted by the shadowy daughter of the shameful botanist known as Rappaccini. In Edgar’s story, The Masque of the Red Death, a horrifically lethal disease known as the Red Death waves the planet. Though these two narratives appear to be entirely different from one another, they still express apocalyptic melodies. Nathaniel Hawthorne and Edgar Allen Poe both discourse nature as the indication of the apocalypse, use symbolism to convey holy allusions, and discuss peoples part in the apocalypse destruction.
In both “Rappaccini’s Daughter”, and “The Masque of the Red Death”, natural surroundings can be described as the proclaimer of Judgment Day. In “The Masque of the Red Death”, this is displayed through the deadly Red Death that infects humankind and in “Rappaccini’s Daughter”, it is brought out through Rappaccini’s Garden. Poe defines the Red death as a disease that is so terrible that “No pestilence had ever been so fatal, or so hideous.” The infection begins with “sharp pains and sudden dizziness, and then profuse bleeding at the pores.” Edgar purposely uses such intense and gruesome diction in order to deliver the ruthless and facetious outlook of nature. As different to Poe, Hawthorne uses nature of as poison, not as a form of disease. Through continuous exposure to her father’s toxic herbs and plants, Rappaccini’s daughter becomes altered into a living toxin, now being capable of imposing others with her own toxic poison.
Alongside manipulating nature, both Hawthorne and Poe use symbolism as a means of referring to religion. Take “The Masque of the Red Death” for example. In the story, Edgar Allan Poe tells the legend of a profligate prince who transforms a church into an impassable fortress in which he locks up all the nobles and himself so that none of the lower-class residents can infect his guests with the Red Death. Inside of the fortress, the prince and his associates take part in extravagant and immoderate activities, such as stylish feasts, music, and loose acts, totally unaware and unconcerned towards the suffering of those outside the churches doors. The church is divided up into seven distinct compartments. One possible understanding is that this references to the seven deadly sins that the prince and his company participate in as they lie in their wealth frivolousnessly. As for Hawthorne, the Rappaccini’s Garden could compare the Garden of Eden in the Book of Genesis, only whereas the Garden of Eden meant the beginning of man, Rappaccini’s Garden would bring about the end.
Both Nathaniel Hawthorne and Edgar Allan Poe use humankind as an element of the end of the world, but they do so in a totally different style. In “The Masque of the Red Death” people plays a passive role. Humanity has no control over the Red Death, attempt as they might; they are incapable to tame the plague, even the wealthy and powerful fall quarry at the end. Hawthorne, on the other hand, utilizes humankind in a more active tactic. Rappaccini creates the apocalypse through science and experimentation. In the end, humanity reasons for its own downfall.