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Apropos of my reflections from Module 9's lecture: Hawthorne's work compels us to answer the controversial question.. is the nature of Young Goodman Brown's (YGB's) evil "banal" according to our treatment of banal evil in the last modules?Or in other words: Are the visible evil influences being carried out in Goodman Brown's character being carried out (A) naively and/or in ways that are invisible to his thinking-identity, invisible to his consciousness as a character -- or (B) does Hawthorne represent these evil influences, by contrast, as a kind of "eternal conflict of good and evil" that YGB understands as visible to his consciousness, as a conflict that YGB would wish to finally root out of his consciousness, and which would make the evil in YGB not-banal? The above is an "arguable" question, which means that you are being asked to offer your best guess to the above question, not an answer to the above question that can be answered definitively. Part 1 -Find, cite and explain an example from Hawthorne's work to answer the above question. (200-250 words) Part 2 -Find, cite and explain another example from Hawthorne's work to answer the above question. (200-250 words)Our title from this module - "Young Goodman Brown" -- hints at the presence of a "good man" who is at once "brown" --in other words, darkened. Whether explicitly or implicitly, our author -- Nathaniel Hawthorne -- invites us to intellectually negotiate with the question of "goodness" in association with the identity of a certain type of darkening "man." In other words, Hawthorne compels our attention towards -- The Symbolic Significance of NamesHidden (latently, unconsciously) behind the representation of "good" in Hawthorne's work, "good" in connection with good "types" -- e.g., "Goody Cloyse," the minister, "Goodman Brown," and Deacon Goo-kin" (all from Hawthorne's novella) -- is a shadowy and ambiguous form of evil. What might be the source of a kind of latent evil that keeps surfacing itself in certain of Hawthorne's so-called and apparently "good" characters? Hawthorne offers a clue, a clues that point to both something theologically and intellectually germane to the patently Calvinist foundations of the Puritan religion represented in the novel; and a fatal misdeed that happened in the Calvinist past and which keeps vaguely surfacing itself in the consciousnesses of certain so-called "good" characters, according to Hawthorne's presentation of them. Vacillating in Goodman Brown's character, vaguely, are the polarities of innocence (goodness), on the one hand, and corruptibility (a vague form of evil, which Hawthorne significantly depicts as "brown"), on the other hand. How? Why?One critic / commentator, Joseph Schwartz, in his chapter on Hawthorne in American Classics Reconsidered: A Christian Appraisal, argues that while Hawthorne was a "God-concerned" writer, he was painstakingly critical and even suspicious of the influences and the underlying intentions of "one particular denomination" of God-concerned people -- namely the Puritan peoples and the Calvinistic roots of their faith commitments. Schwartz writes: More than any other writer of his time, Hawthorne was a God-concerned writer. He was innately religious, as his profound reverence for the mysteries of Christianity demonstrates. Many of his stories deal with religious subjects, with prayer, and with man's relation to God. His personal notebooks are filled with many habitual references to God. That he often wrote about religious subjects is not strange. [But] his many caustic barbs [against people of religion] were directed at the elements which surrounded one particular denomination; [yet] about the subject of religion in general he was deeply respectful. (126-127) What we're called to pause to highlight about Schwartz' observation about Hawthorne the man is something we are called to highlight about Hawthorne's novella, "Young Goodman Brown," namely that in the novella there at once exists the presence of a contradiction: the presence of the "apparent" goodness of religion "in general" ....side by side with the "invisible" presence of something suspicious (something vaguely un-good, a corruptible goodness) about "one particular denomination" among the religions of the world. Another of Hawthorne's commentators -- the Rev. Leonard Fick in The Light Beyond: A Study of Hawthorne's Theology - goes so far as to suggest that while "it is clear that Hawthorne has aligned himself with" religion and God in general," the author was "opposed to the traditional New England Calvinists" (22) and their links to the Puritans. One of the characters in Hawthorne's story says that he was present when Goodman Brown’s father and grandfather whipped Quakers and set fire to Indian villages, making it clear that the story of the founding of New England has a dark side that religion fails to explain. Hawthorne gives this hidden "dark side" expression in Goodman Brown's character...while at once balancing this "dark side" with an apparent "good side," and the total aesthetic effect is something in the vicinity of "the eternal conflict of good and evil" that we addressed in our earlier modules...Only, in Hawthorne's presentation, this "eternal conflict between good and evil" takes place in a man as the effect of the "dark side" of the dark past of the religion which Goodman Brown stands for. As something of an everyman of Salem, Brown symbolizes the communal loss of faith, or, perhaps more broadly, the communal neglect of God's commandments. Thus, before the second page of the tale begins, Hawthorne has begun to signal that his concern is with the chosen people denying or losing sight of their God and the "true" faith they seem to be representing. Brown, in other words, does not really believe, at the outset, that he is abandoning his Faith (in both senses) or that he is somehow beginning down a path of no return.Brown, in one instance, is concerned about being in the woods at night, and laments, "My father never went into the woods on such an errand, nor his father before him. We have been a race of honest men and good Christians since the days of the martyrs." This suggests Goodman Brown's goodness. However, the devil in the story casually reveals to Goodman Brown something that opposes his goodness, something "dark" having to do with the "dark" past, the dark history of his religious community. I have been well acquainted with your family as with ever a one among the Puritans; and that's no trifle to say. I helped your grandfather, the constable, when he lashed the Quaker woman so smartly through the streets of Salem; and it was I that brought your father a pitch-pine knot, kindled at my own hearth, to set fire to an Indian village, in King Philip's war. They were my good friends, both; and many a pleasant walk have we had along this path [of evil], and returned merrily after midnight. I would fain befriends with you, for their sake.Clearly Goodman Brown's conflict is one of experiencing the weight of the dark past of his very own religious community in his identity. While it is well documented that such deeds were enacted by Hawthorne's own ancestors, the point made in the story is clear. Salem, the place of peace and home of righteousness, has bred war, and strife, and the persecution of fellow Christians Even so informed, Brown hesitates to believe, and insists that "we are a people of prayer, and good works to boot, and abide no such wickedness."Hawthorn's story -- and likewise Trotta's film, and so too Scorsese's film from our last modules -- gives expression to one of the central thematics of this course: the struggle to be good in a world that seems to be shot through with evil -- shot through with both systemic evil (atmospheric evil); and individual evil which typically tends to be the byproduct of systemic evil: it's is when the "absence of good" (Aristotle's definition of evil) is felt by the individuals of X-community to be such a ubiquitous and omni-present human condition that being good comes to be more of a rarified human condition than being evil. Hawthorne's work, in other words, compels us to answer the controversial question.. is the nature of Goodman Brown evil "banal" according to our treatment of banal evil in the last modules?Are the visible evil influences being carried out in Goodman Brown's character being carried out (A) naively and/or in ways that are invisible to his thinking identity, invisible to his consciousness as a character -- or does Hawthorne represent these evil influences, by contrast, as (2) a kind of "eternal conflict of good and evil" that GB understands as visible to his consciousness, as a conflict that GB would wish to finally root out of his consciousness?