Contrasting Poe with Hawthorne in Gothic American Literature

Gothic Literature: Hawthorne and Poe

1. In Nathaniel Hawthorne's "The Minister's Black Veil," a key Gothic element employed is the motif of mystery and secrecy, represented by the black veil that Reverend Hooper wears over his face. This veil acts as a physical barrier between Hooper and his congregation, creating an air of mystery and isolation that is quintessential to Gothic literature. It also acts as a symbol of the hidden sins and guilt that all humans carry, suggesting that everyone wears a metaphorical veil that covers or hides the inner state of the soul from public view. For example, Hawthorne writes, "The subject had reference to secret sin, and those sad mysteries which we hide from our nearest and dearest and would fain conceal from our own consciousness, even forgetting that the Omniscient can detect them." This quote gets to the heart of the significance of the veil as a representation of the universal human condition of hidden sinfulness and the isolation it causes. It suggests that we are all Hooper if we dare to look honestly at ourselves in the mirror. Another quote from the text that illustrates the significance of the veil and the theme of hidden sin is: "There is an hour to come," said he, "when all of us shall cast aside our veils. Take it not amiss, beloved friend, if I wear this piece of crape till then." This quote further emphasizes Reverend Hooper's commitment to wearing the veil as a symbol of the hidden sins and sorrows that all people carry. It suggests that the veil covers us almost mercifully until the day of the final judgment.

2. Through "The Minister's Black Veil," Hawthorne reveals much about 19th-century society. The revelation is particularly in its attitudes regarding sin, morality, and the public versus private self. The characters' reactions to Reverend Hooper's veil reflect the community's fear and suspicion towards what is unknown or different. The veil becomes a focal point for the townspeople's projections of their own guilt and secrets. Hawthorne illustrates this social dynamic when he describes the congregation's reaction: "Each member of the congregation, the most innocent girl, and the man of hardened breast, felt as if the preacher had crept upon them, behind his awful veil, and discovered their hoarded iniquity of deed or thought." The veil thus can be said to represent Hooper’s ability to see into the hearts of others. The passage also reveals Hawthorne's critique of the tendency to judge people for their imperfections. In other words, he is somewhat exposing the hypocrisy and superficial morality that pervaded 19th-century society. At the same time, another relevant quote is: "Mr. Hooper had the reputation of a good preacher, but not an energetic one: he strove to win his people heavenward by mild persuasive influences rather than to drive them thither by the thunders of the Word.” This quote shows the goodness of Hooper, in spite of the strangeness of the veil, and it suggests that there was some goodness in the society he was also criticizing.

3. In Edgar Allan Poe's "The Fall of the House of Usher," Madeline Usher plays a crucial role as both a literal and symbolic figure. Described as the twin sister of Roderick Usher, her presence and mysterious illness contribute significantly to the story's eerie atmosphere. Madeline's character is central to the Gothic theme of the duality between life and death, as she is presumed dead and entombed, only to return in the story's climax. The illness she suffers from is never explicitly named, adding to the story's mysterious quality. Poe writes, "The disease of the lady Madeline had long baffled the skill of her physicians." This vagueness surrounding her condition enhances the Gothic atmosphere. Her dramatic return from the grave, where she falls upon her brother leading to their simultaneous deaths, reflects themes of decay, madness, and the inescapable grip of familial fate. To point: When a door, at length, closed upon her, my glance sought instinctively and eagerly the countenance of the brother—but he had buried his face in his hands; and I could only perceive that a far more than ordinary wanness had overspread the emaciated fingers through which trickled many passionate tears." The description of Roderick Usher's reaction to his sister's condition—his overwhelming grief and despair—reveals the deep, mysterious bond between the siblings and foreshadows the story's tragic climax.

4. "Annabel Lee" by Edgar Allan Poe contains several elements of elegy, particularly in its lament for the loss of the beloved Annabel Lee, the praise of her beauty and love, and the narrator's deep sorrow and longing. Poe's poem is a poignant expression of eternal love and grief, as seen in the lines, "But we loved with a love that was more than love— / I and my Annabel Lee—." This quote exemplifies the praise and idealization of the deceased, a common element in elegy. Additionally, the poem's focus on Annabel Lee's last days and the narrator's complaint against the envious angels who coveted their love reflects other elegiac elements. The poem concludes with a form of consolation, as the narrator finds solace in his belief in their undying love, stating, "And so, all the night-tide, I lie down by the side / Of my darling—my darling—my life and my bride, / In her sepulchre there by the sea—." Through these elements, Poe crafts a timeless elegy that mourns the loss of Annabel Lee while celebrating their transcendent love.