Redemption and condemnation:
Hawthorne's The scarlet Letter and
Crane's The Red Badge of Courage
An Honor's Thesis (ID499)
by
Karen L. Cornelius
Thesis Director
_____ ~~_~J~ ________ _
Dr. Donald Gilman
Professcr of Foreign Language and Coordinator of French
Ball state University
Muncie, In
May, 1989
Table of contents
I.
Introduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ..
2
II.
chapter One:
The Scarlet Letter........................
5
Narrative...........................................
Psychological Examination of Hester........ . ........
6
8
Imagery ~ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ....
12
A.
B.
C~
.
D.
Philosophy.......................................... 19
III. chapter Two:
A.
B.
C.
D.
IV.
The Red Badge of Courage .................. 24
Narrative...........................................
Psychological Examination of Henry ..................
Imagery.............................................
Philosophy..........................................
24
27
31
35
Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ::8
Works Cited . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
1
I.
Introduction
Both Nathaniel Hawthorne's The Scarlet Letter and stephen
Crane's The Red Badge of Courage have as their setting scenes
appropriate to the American nineteenth century.
For this reason,
and because of the American origin of each of the 3uthors, these
two works contain many similarities in theme and style.
They
both discuss the nature and capabilities of man, using imagery
and irony to strengthen their characterizations.
The view of man
that each presents, however, is quite different, resulting in a
great contrast in the philosophical perspectives of the novels.
Stephen Crane wrote The Red Badge of Courage forty-five
years after The Scarlet Letter was published, and it seems,
therefore, probable that Crane had read Hawthorne's novel and
patterned some of his style after Hawthorne.
In spite of this
speculation, it is a fact that many stylistic parallels exist
between the two novels.
The most dominant parallel is that of
the blatant use of imagery in both novels.
Both the scarlet
letter anj the red badge are symbols of identity for the
protagonists, and both represent a fall from the ideal.
Both
authors also employ images of nature and symbols of good and evil
in order to illuminate the protagonists' courses of action.
The
style of :haracterization that both author's use is also quite
2
similar.
The authors trace their protagonists through not only
their action and conversations, but also through the character's
unvoiced cognitive thought8.
Both novels are also rooted in a specific and identifiable
historical setting.
The scarlet Letter is set in a Puritan
colony in New England and follows the historical perceptions of
the rigid Puritan codes.
Hawthorne even purports his novel to be
partially historical fact in "The custom House" when he finds the
scarlet letter, a supposedly authentic relic.
Similarly, The Red
Badge of Courage is set during the American civil War and is
supposed to present a realistic picture war, as well a8 present
the story of Henry Fleming.
The thematic structure of the two novels also reveals
interesting and important similarity.
Both novels deal with a
fall from the ideal and the course of action taken in response to
this fall.
They examine human nature--both its strengths and
weaknesses, and reveal tc the reader various flaws in both human
morality and human societies.
From this, both novels prop08e
that several truths exist in society which man must confront.
Through this confrontation, as revealed in the characterizations
of the protagonists, the reader is able to gain a deeper
understanding of the qualities of human nature.
Thro~gh
this reflection on the nature of human capabilities,
Crane and Hawthorne present a similar situation but interpret
this conflict in divergent manners.
Both authors present
differing views of the capabilities of mankind.
3
According to
Hawthorne, man is able to transcend and actualize a higher order
through fall and redemption.
Crane, on the other hand, views man
as an imperfect being incapable of transcending limitations.
The
differences of perspective of the two novels corresponds to ideas
associated with Romanticism and Realism, and through the
characterization of the
~rotagonists
and the imagery associated
with it, each author presents his own perspective on the
situation of mankind.
In an attempt to come to a better understanding cf this
difference of perspective, I will analyze four specific qualities
of each novel:
each navel;
(1) narrative, a brief account of the story of
(2) psychological examination of the protagonists, an
analysis of their fall and their response to this fall;
(3)
imagery, the images used to shed light on the protagonists'
journeys; and (4) philosophy, the relation of the protagonists'
outcomes to an overall view of mankind, focusing mainly on their
parallels with Romanticism and Realism.
4
I. Chapter One:
The Scarlet Letter
Hawthorne's imaginative romance is one of inner conflict and
human transcendence.
A human, but very tragic sin, changes the
entire life of a woman in both the eyes of society and the eyes
of hersel f.
The stage fnr the novel is set in the introduction,
"The custom House," where Hav"thorne discusses the union of the
real and the imaginary as the transcendence into a higher
existence.
He talks of the floor of his study where he created
this novel as being "a neutral territory, somewhere between the
real world and fairy-land, where the Actual and the Imaginary
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Psychological Examinat i on _ 0.f.J:Ienr~
battle.
c :_
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becomes the leader of the
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bulle!2 and faint for tiood, had fretted ~occer~inz
::"ll13.;J iil':? d ,AJ) '.::-d i r: 311 0 -: 11 -::T ; he l'ltt:' L 3d 2 ,) ,11", S ,<. ,; :
133t of strength and intellect for th~ tall soldier;
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his
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th~
fir::t
r~j
tadg~
of ccur3ge,
2.ll '-1:::. ien t:
t-1-, w
i:. me :'.n:: n11.:o1: T)l-e.
in tte
di3mi3E hiE
s~ame
rather :t}D confront it.
£3:e3 hlS shanE. but knows
4=1 " r'h
tIli s .............
..........
':.;
,
fire~
~ta:
he will be
a~d
o~
He:l.
Gaini~g
vie~ed
the
~adge
22 a :oward by
calm to Henry:
"
• "1: ' I.• 1 . .~ ,..., ,
.... ".
h·;
- • .1
-,,. -- • , :.J
thei!:
3.r!T!~·
211. t :~'
littlE·
T 'I' ~ ...... ; .-.., ....
"....";.:, ...Lt ......
a:ld fcrb3.do::- him tc pass.
11
(47)
T-
ILstead, lee see::; Natu.re
3.::
either
S l:lful .
the
:arr~er
(f the flag,
he becomes a p3r! of both
t1:e T..!nl)n Army.
-... +-.... -;" 1...C-
-
1" .~.:
~
"-
by
3.
parti:ular a.::pe:t of
"
-
1
1
'/ .!
·-1·',
,--ig1:1: .
tho
_ 11 _
the
sa~e
t::. .:
t"l"l:)t:gh;
fear that Henry
t 11-?
i~
feeli~g.
fi~Jht
"
iC.eal
"
!
C,f") \
. ,
,.,., :t .
~
1~.:--; ~.r~
...
- ~.... .....l~ -.::
.- {-.
....
,0_"
-', +=
il11 "'-;---
r.. . .
,~1.
1
~
J.,- ..4.- -
A
....
~
1L
__
,.~!
-:_____
+-1-
,=,f beth Henry's
~
an(~
but s'.,dde:l::'y r
..-,
-'
D.
11'0:
..... , ' -, ,:..~ ~ ~ ~
PhilosophX
R~ma~~i~:sm
a~d
Real:sm,
P '" .=>
lif~
r3the~
:.
i :=: ,1'
than tinge
...
" --+
C' ':: r:. t
a
r as t
~3,rt
~
:': ..""".l
It,
His
idea~
,~
1, -, .• __:l."
ideal.
."~ ':":1.:!: 1 i
hi:::
• .1.\,
1... ,':.J''''
"- "'
~"
- '
because
n~
t~~
...... :::.
::' till
.1.. ~l
~hame
-:' ~
lies
"':1 ':,
.
tl-
-', 'k
f
t~
be
~
T."J. 'JS
rea~ity
?"T"I1-,
f~~ever.
..;
....... ....L:'
TJ'::1ng
I!l
-
-',
::;tates
" (~:
+- ,-.
'
:eel
,.
great
".!
37
i +-1
~
tl: i"
'-
IV.
Conclusion
:O:'lra ;r~.
::L('J,t they br:th evolve around ::he
~iety'~
ridicule
f (', 1-
:.
;~)
a~
~:O!lflict
well.
t,
Afte~-
FCT
Daki~]
thi:::
the =onflictE
~eem
mere
life-li~E
32
C/):"'.t~'tr1~lct.3
lS
q:.:it~
c=-ffel~el-~t
,v.
i '
tc sttain
C()ll::'
.j....
tan t
-"'-" . +-
,-,
real: ty :Je1L.lie'
:1:'
-,
~_..--1
'-,
j.
~
':.-'.1.:. _ _ ... ..L
....
,-'.
1-'
_
l ' ,"'",.:. ,
" ' :' ',·.Jl
rr'1"
~-r··' l ' (1"'-
..........
•
... ,-,
":J
\!
...... __ ::1 G
.... 1
'J
l~
3~
QP~)sit~
manner.
":1
'.
:
,_
.':~.l
;
3.::: e
l-~(}
t
,-,
;,'L i c:;
T,-.
h-·
j-"
'~
. ,-1
, .• \....!.
+- ", ,-'
L 3. 1:: '.l r
J,1.
<-'
'-L
_3.:- !oJ "' ~-
:j
1::
j
-F
1::
_.:~
J
I
~,-,-.
... 1. .
t- .-.
(.~ , ,
-.i
" ,- +-
.-_ ."'l
41
.~.
"
~
~-'
+.
Work8 cited
Ir: te :.'"
t~<~}·'l i
c 1~ a 91:
(~~·e ':' 1- g
·?c1i -:iOl"l.
e-
N~~!.'
--.
it-
=-:.
TJ..:'~ ~ .~"".. .:~ 1 r-:: g:/
.~ ~ an.l'':le r ~~.::-: a::
+- ~ <~
Y~F~--T12.(~1~ i ~ 1 a:l p~.~bl i s.l:. in-;
'-
-'
•
I