By Harold Bloom
A nocturnal trip with the satan and an odd imaginative and prescient within the wooded area lead Goodman Brown to treat his fellow townspeople as satan worshipers.
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Extra resources for Nathaniel Hawthorne's Young Goodman Brown (Bloom's Modern Critical Interpretations)
Sample text
The Centenary Edition of the Works of Nathaniel Hawthorne, ed. William Charvat et al. (Columbus: Ohio State Univ. Press, 1962–80), X, 75. All further references to this story are from this volume and appear in the text. 7. Representative of such scholars are Richard H. Fogle, Hawthorne’s Fiction: The Light and the Dark (Norman: Univ. of Oklahoma Press, 1952), pp. 11–27; Leon Howard, “Hawthorne’s Fiction,” Nineteenth-Century Fiction, 7 (1953), 237–50; and Sheldon W. Liebman, “The Reader in ‘Young Goodman Brown,’” Nathaniel Hawthorne Journal, 6 (1975), 156–69.
11 As Jac Tharpe concludes, Brown’s “former innocence derived from ignorance,”12 an ignorance he realizes in the forest but which he cannot accept once he returns to town. Brown’s (and the Puritan’s) outlook is built upon black-white distinctions, but his night in the forest has blurred such distinctions for him, leaving him faithless, unknowing in a gray world, “A stern, a sad, a darkly meditative, a distrustful, if not a desperate man” (89). Not even partially is Brown able to accept the limitations in his own knowledge.
Johnson,” ‘Young Goodman Brown’ and Puritan Justification,” Studies in Short Fiction, 11 (1974), 200–203; Leo B. Levy, “The Problem of Faith in ‘Young Goodman Brown,’ ” Journal of English and Germanic Philology, 74 (1975), 375–87; Barton Levi St. Armand, ‘“Young Goodman Brown’ as Historical Allegory,” The Nathaniel Hawthorne Journal (1973), pp. 183–97; Joseph Schwartz, “Three Aspects of Hawthorne’s Puritanism,” New England Quarterly, 36, (1963), 192–208; John Caldwell Stubbs, The Pursuit of Form: A Study of Hawthorne and the Romance (Urbana: University of Illinois Press, 1970); and Hyatt H.