Nathaniel Hawthorne’s popular narrative “Young Goodman Brown” prompts secret and intrigue in its readers for a number of reasons. “Young Goodman Brown” produces a wide range of concerns and analyses as to the exact events of the lead character’s nocturnal journey. Who does Goodman Brown actually satisfy in the forest? Was his experience in the forest a dream, or truth? This obscurity is central to the form of the story as a whole. Hawthorne intentionally creates obscurity in “Young Goodman Brown” with the forest setting, which contributes to visual fallacies, his use of dubious descriptive language, and the narrator’s doubt regarding the reality of occasions to check out the implications of viewed reality.
Among the most obvious aspects in “Young Goodman Brown” is the eerie setting, which plays an essential function in the obscurity of the story. The deep, dark forest that Goodman Brown enters upon his nighttime journey sets the phase for the doubt that consumes his mind for the rest of his life. The darkness of the thick forest functions as a veil so that the reader does not truly understand the truth of who or what Goodman Brown encounters on his trip. As the narrator states, “The traveler understands not who may be hidden by the many trunks and the thick boughs overhead; so with lonely steps he might yet be passing through an unseen plethora” (610 ). From the moment Brown enters the forest, Hawthorne notifies the reader to the reality that the concept of doubt plays a main role in the story. The storyteller likewise describes that the “uncertain light” may allow for “ocular deceptiveness” (614 ). This declaration serves as a foundation from which the reader can build a case for disbelief in the truth of the night’s events. Another circumstances of deliberate ambiguity through a possible impression occurs when Brown’s senses spot figures and occasions throughout the story. “He might have sworn … he recognized the voices of the minister and Deacon Gookin” (614 ). Still, even in this example, when Brown appears sure of their presence, he never ever plainly sees the figures. His line of sight is obscured by the blackness of the night and the forest growth, and thus his recognition of his fellow townspeople relies only on his sense of hearing. Hawthorne intentionally sets the tale in the depths of the forest, an environment that promotes a sense of illusion and doubt in both Brown and the reader.
Similarly, Hawthorne develops ambiguity through dubious descriptions of the characters Brown encounters on his journey. Even when Brown does see figures in the forest; the storyteller describes them as just that, “figures” – an ambiguous term in and of itself. The term “figure” indicates a representation of a thing or person, and does not explain the actual thing or individual itself. When describing the characters Brown satisfies along the method, Hawthorne also utilizes the term “visage”, which likewise suggests the appearance or representation of a person, and not always the real person (617 ).
Hawthorne intentionally explains the occasions and characters of the story in such a way regarding evoke questions from the reader. A prime example of another questionable description is when Brown initially fulfills his taking a trip buddy. Upon going into the forest, after Brown asks, “What if the devil himself must be at my extremely elbow,” a figure appears (611 ). Since Brown’s question precedes the look of his traveling companion, it leads the reader to wonder whether the traveling buddy is indeed the devil – a reality never ever confirmed by the storyteller. In addition, the narrator keeps in mind that Brown and this male figure “might have been considered father and kid” (611 ). This statement is supported when Goody Cloyse asserts that the traveling buddy is the devil appearing as Brown’s daddy, Goodman Brown (613 ). Is the devil simply taking the kind of Brown’s father, or is Hawthorne suggesting a deeper connection between the devil and Goodman Brown? The reader can not be specific. The consistent usage of language such as “might”, “may yet be”, and “as if” further blurs the line between reality and dream and plays an integral function in Hawthorne’s formula for uncertainty. The reader can discover this deliberate use of qualified and conditional language throughout the story. The doubt of both the storyteller and Brown lead the reader to question the events of the story.
Simply as the descriptions provided for the occasions in the forest stimulate uncertainty in the reader, so too do the direct declarations of the narrator’s doubt regarding the occasions of the story. Throughout the text, the storyteller continually raises explicit concerns worrying Goodman Brown’s experiences, therefore deliberately confusing the reader. When Brown hears the voices of the minister and Deacon Gookin, the narrator questions, “Whither, then, could these holy guys be travelling so deep into the heathen wilderness?” (614 ). When Brown spots the figure of a woman alerting him back during the black mass, the storyteller asks, “Was it his mother?” (617 ). And lastly, after Goodman Brown reenters the village a changed guy, the storyteller difficulties, “Had Goodman Brown gone to sleep in the forest and only dreamed of a witch-meeting?” (618 ). This series of concerns, in addition to others discovered throughout the text, leads the reader to question every element of the tale, including the location of the events, who was present at the black mass, and the validity of the tale as a whole. Hawthorne intentionally sprays these questions throughout the story to toss the reader into a state of query and shock.
Though Brown, the narrator, and the reader all question the truth of the night’s events at numerous points throughout the story, it is clear at the conclusion of the tale that Brown’s experience has very genuine ramifications on his life, regardless of whether the occasions are genuine or envisioned. After the storyteller concerns whether the events were a dream or truth, he states: “Be it so if you will. But alas! It was a dream of evil prophecy for young goodman Brown. A stern, a sad, a darkly meditative … man did he end up being, from the night of that afraid dream” (618 ). The storyteller explains that the genuine effects of the night consist of a distant relationship with his other half, kids, and neighborhood and asserts that: “his dying hour was gloom” (619 ). The perceived truth has long lasting effects on Brown although the reader picks up on Hawthorne’s deliberate obscurity and is hence moved to question the validity of the tale.
Hawthorne checks out the nature of imagination and reality in this strange and grim tale by enabling the reader to actively question the tale in spite of the reality that the lead character appears to think totally in the truth of the night’s events. He combines a plethora of aspects in “Young Goodman Brown” to produce a sense of mystery. The dark setting of the forest, which provides camouflage for the figures, the use of language which alludes to possible double meanings, and a storyteller who appears to be unsure of the events of the story himself, are all examples of how Hawthorne makes use of uncertainty as a key element in the development of this short story. Nevertheless, in spite of the obscurity, the reader witnesses the real ramifications that the occasions have on Brown’s life, which in turn leads them to question the extremely principles of imagination and truth.