In contemporary society, “corruption” indicates financial bribery, dishonest procedures, or underhanded deals in service or politics. The wrongdoers might squander others’ cash and will allegedly suffer mentally, but Romantic literature explains the more hazardous results of internal corruption. For example, “The Black Cat” by Edgar Allen Poe and “Young Goodman Brown” by Nathaniel Hawthorne each shed light on the paths of corruption undertaken by the primary characters. On the surface area, the Narrator of “The Black Feline” and Goodman Brown lead comfortable lives filled with goodness and love; their wives represent these favorable ways of living. As each plot uncoils, the characters experience corruption through temptation, thus causing them to internally change and see the world with a more sinister state of mind. They both effort to withstand the corruption, however ultimately both submit to the dark force. Although the ethical journeys of the 2 characters appear to mirror each other, in reality, the causes of their corruption and the modifications they experience vary incredibly in between. Their different ordeals ultimately cause each character to shun others’ love for different factors. While each author pens a special story of his character’s death, Hawthorne and Poe both show how a primitive human desire can be the supreme root of temptation and corruption and how its fulfillment may effect adverse consequences.
From the start, the Storyteller and Goodman Brown hold a similar outlook on life. They both hold highly to specific innate attributes: the Narrator a lot enjoys animals and Goodman Brown appreciates pious people. These characteristics go so far as to be held by their own other halves. The Narrator mentions his delight at” [discovering] in my spouse a personality with my own” love for domestic animals of all sorts (Poe). Similarly, Brown’s partner, symbolically named Faith, is a “blessed angel in the world” who Brown will follow to paradise (Hawthorne). Both spouses similarly enjoy their partners as much as the husbands enjoy the things of their own love. In addition, both main characters share a comparable contentment with life: the Narrator announces that “never ever was [he] so delighted as when fondling or caressing” animals (Poe) similar to Brown states that he will “hold on to [Faith’s] skirts” after his evil function tonight (Hawthorne).
However, as the Storyteller and Brown fall into their respective pits of corruption, they both lose their once integral traits. Each goes through an experience which alters his perspective on life. No longer are they the innocent all-loving males, for temptation has corrupted them so regarding trigger each man to suffer traumatically. The Narrator of “The Black Cat” goes through an improvement in which his “general temperament and character … experience [s] a transformation for the even worse” (Poe), and on a comparable level, Brown doubles back on his previous faith in God and renounces his soul to the devil by yelling “come, devil; for to thee is this world given” (Hawthorne). Both of these changes happen within the characters as a result of sending to temptation. Nothing beyond their own moral beliefs has changed. The characters themselves experience a change in how they see the world, which reworks their beliefs and alters their actions. Eventually, they both pertain to a state of self-destruction.
As a final resemblance, neither of the characters calmly acquiesces to corruption. Each character withstands in some method from continuing down the domino effect he has actually started on. When corruption eggs on the Narrator to mistreat those beings around him, he attempts to” [keep] sufficient regard to restrain me from maltreating” his favorite cat, Pluto (Poe). In time, the corruption takes over as the “feeble remnant of the good within [the Narrator] give in [s]” Corruption has actually defeated the Narrator, and at this point he holds no control over his actions; the Narrator works as a meaningless zombie totally at the fingertips of temptation, which in his case flourishes with his usage of alcohol. Goodman Brown installs a lot more successful resistance versus succumbing to evil. He announces that “with heaven above and Faith below, I will yet stand firm versus the devil!” (Hawthorne). Only after Brown understands the ubiquitousness of corruption, does he resign himself to the devil. Many sadly, Brown and the Narrator can not turn back from their resignations. The results of internal corruption continue to have devastating results forever.
Possibly the best distinction between the corruption of the Narrator and of Goodman Brown is its origin. The so-called “Fiend Intemperance” plays to the Narrator’s “primitive [impulse] of the human heart … perverseness” and serves to complimentary him from any preexisting ethical standards restricting spousal or animal abuse (Poe). Through alcohol, the Storyteller submits to the temptation of unrestrained freedom. He acts this out on his better half by freely utilizing “intemperate language … [and even using] her individual violence” (Poe). The Narrator acts the same way with his animals by often ignoring or abusing them. The Narrator has sent completely to the temptation of freedom from morals; thus, he is able to keep total level-headedness and objective views of his surroundings. He notifications that others try to love him, however he allows himself to be sucked into further rage. The Narrator has waded into the great debate of liberty versus stability, and under the impact of alcohol, he picks to cope with total flexibility of action without the ethical limits set by one’s own conscience. Although he had no intent, he hurts those whom he loves most as he mentions that:
< It was this abstruse longing of the sol to vex itself– to provide violence to its own nature– to do incorrect for the wrong's sake just– that prompted me to continue and finally practiced the injury I had caused upon the unoffending brute. (Poe)< By injuring others, the
Narrator ultimately ruins himself exclusively because he can– and since he shouldn’t. In “Young Goodman Brown “, on the other hand, Brown has actually always possessed the desire to be a part of his “present evil purpose “of becoming an accomplice of the devil and partaker in wickedness( Hawthorne ). Numerous times he tries to validate his actions by reminding himself of his excellent other half and the goodness of his childhood, but he advances forward in the pursuit of understanding and fact. Sadly, the understanding that Brown gains weakens his lifelong view of the perfection of Puritan society. He sees the age-old Goody Cloys acknowledge the devil and utters, “‘That old woman taught me my catechism’… and there was a world of significance in this simple remark ‘”( Hawthorne). Brown’s world turns upside-down bit by bit as he lastly comprehends the pervasiveness of evil, and it passes the tipping point when he sees that the “great [shrink] not from the wicked, nor [are] the sinners abashed by the saint”due to the fact that everybody possesses the same sinful inner-spirit( Hawthorne ). This commingling was unprecedented in Puritan times, and its presence opens Brown’s eyes to the hypocrisy of Puritan knowledge. After that, Brown holds a disliking outlook on life, for though he does not act out his change in perspective, he was now”a stern, a sad, a darkly meditative, a distrustful, if not a desperate man” repulsed by the dark reality of Puritan duplicity (Hawthorne). Brown discovers the reality, however the reality is too agonizing to bear.
As the narratives come to a close, both of the primary characters shun others’ love. The Storyteller, for example, dislikes those who like him in part due to the fact that he feels that he is not deserving of such love. While he may or may not be worthy of such love, such display screens continue to vex him deeply. After killing Pluto, the Narrator obtains a brand-new feline that showers him with dedication. Although he believes he will enjoy the brand-new cat forevermore, the Narrator rapidly forges a comparable path starting with love, relocating to dislike, then to inconvenience, to disgust, to avoidance, and lastly to hatred. The Storyteller does not wish to kill the monster, “for although I longed to destroy it with a blow, I was kept from doing so, partially by a memory of my previous crime, however primarily … by absolute dread of the monster” (Poe). This declaration holds fantastic value, for the Narrator does not fear that the cat will turn him in to the authorities for a previous criminal offense of animal ruthlessness; rather the cat holds symbolic power. The cat, and the feline alone, can curtail the Storyteller’s brand-new flexibility. The feline represents a projection of the Storyteller’s conscience into reality– the last portion of himself to put up resistance to free choice. As such, any love derived from the feline functions as a challenge to the Storyteller’s ultimate objective of overall, unrestrained, immoral liberty.
As for Goodman Brown, upon seeing the deception present in the Puritan community, he renounces all types of love. He dislikes all areas of life which he as soon as valued. Brown’s marital life now lacks love, which he shows by “frequently waking all of a sudden at midnight, he [shrinks] from the bosom of Faith” (Hawthorne). Brown’s spiritual life also lacks nourishment, as “when the minster spoke from the pulpit … then [does] Goodman Brown turn pale, fearing lest the roofing system needs to thunder down upon the gray blasphemer.” Brown can not accept any love because he recognizes that he receives tainted love. Brown responds to the trauma he suffers in searching for reality, however in doing so, he exposes the inner vice held by those who ostensibly lead lives of pureness.
To repeat, Poe and Hawthorne penned 2 examples of Romantic literature in which the characters struggle with internal corruption; both authors show the myriad of methods corruption can begin, take over, and impact both a private, and those around him. More notably, Poe and Hawthorne invalidate a popular notion that male can constantly better himself by searching inwardly for a last objective– for instance, liberty, reality, or knowledge. These 2 stories depict how doing so may have dreadful effects.