symbolism象征主义课件

symbolism1symbolism1TheintroductionSymbolismistheuseofsymbolstorepresentthingssuchasideasandemotions.Symbolismissometimesusedtoreferspecificallytototemicsymbolsthatstandontheirown,asopposedtolinguisticsymbols.Inpsychoanalysis,SigmundFreudandCarlJungenvisionedsymbolsasbeingnotofthemind,butratherthemind'scapacitytoholdinformation.Themindusessymbolstoformfreeassociation,organization,andconnectionsbetweensymbols.JungandFreuddivergedontheissueofcommoncognitivesymbolsystemsandwhethertheyexistwithintheindividualmindoramongotherminds,whethercognitivesymbolismwasinnateordefinedbytheenvironment.Symbolismisimportanttoreligion.Somereligiousoraclesdivinebyinterpretingsymbols.MaxWeberdescribedreligionasasystemofsacredreligioussymbolism.2TheintroductionSymbolismistThehistoricalmeaningThishistoryofasymbolisoneofmanyfactorsindeterminingaparticularsymbol'sapparentmeaning.Oldsymbolsbecomereinterpreted,dueperhapstoenvironmentalchanges.Consequently,symbolswithemotivepowercarryproblemsanalogoustofalseetymologies.Forexample,theIrishandScottishAmericanelementsofdesignintheRebelFlagoftheAmericanSouthpredatetheAmericanCivilWar.AnearlyvariantofthecrossedbarscanbeseenontheScottishFlag.FollowingtheAmericanCivilWar,theKKK,foundedinpartbyConfederategeneralNathanBedfordForrest,becamenotoriousintheAmericanSouthforconductingracially-motivatedattacks.Itsmembers,themselvesConfederateveterans,associatedthemselveswiththeConfederateflag.Thisledtoasubsequentdisputeoverwhetherornottheflaghasracistconnotations.AnotherexampleisthesuperficialresemblancebetweentheChristiancross,anexecutiondevice,andtheAncientEgyptianAnkh,signifyinglife.ThecrossderivesfromtheRomanEmpire'suseoflargewoodencrossestocrucifyallegedcriminals.3ThehistoricalmeaningThishis44symbolisminliterature

Justascharacterizationanddialogueandplotworkonthesurfacetomovethestoryalong,symbolismworksunderthesurfacetotiethestory'sexternalactiontothetheme.Earlyinthedevelopmentofthefictionalnarrative,symbolismwasoftenproducedthroughallegory,givingtheliteraleventanditsallegoricalcounterpartaone-to-onecorrespondence.

InJohnBunyan'sPilgrim'sProgress,forexample,everythingandeveryonestandsforsomethingelse.TheprotagonistChristian,tonoone'ssurprise,standsforeveryChristianreader;hisgoal,theCelestialCity,standsforHeaven;theplacesthroughwhichhepassesonhisway--LucreHill,VanityFair,andthelike--standforthetemptationsBunyanfeltthatChristianreaderswerelikelytoencounterontheirjourneytosalvation.EventhenamesofChristian'sfellowtravelers--Mr.Feeble-mind,Great-heart,andthelike--representnotindividualcharactersbutstatesofbeing.

Allegoryisundoubtedlythesimplestwayoffleshingoutatheme,butitisalsotheleastemotionallysatisfyingbecauseitmakesthingsalittletooeasyonthereader.Wefeelthatwearebeinglecturedto;it'salmostasiftheauthorisstoppingeverysentenceortwotosay,"Nowpayspecialattentiontothis,becauseifyoudon'trememberit,youwon'tgetthepoint."Essentially,allegoryinsultsourintelligence.

5symbolisminliterature

JusAllegoryalso,however,limitsourperceptions.Thebestworksofliteraturearethoseinwhichanelementofmysteryremains--thosewhichlendthemselvestoavarietyofinterpretations.Strictallegoryseldomdoesthis,whichiswhyreligiousallegoryisgenerallylesssatisfyingthanthescripturalstoryonwhichitwasbased.

Totakeallegorytothenexthigherlevel,wearriveatsomethingthatforwantofabettertermcanbecalledsymbolism.Atthislevel,thereisstillaformofcorrespondence,andyetitisnotsoone-to-one,andcertainlynotsoblatant.Whereasallegoryoperatesveryconsciously,symbolismoperatesontheleveloftheunconscious.Thisdoesnotmeanthattheauthorhimselfisunconsciousoftheprocessofcreatingsymbolism--merelythatwe,asreaders,acceptitsinputwithoutreallyunderstandinghowitworks.

InShakespeare'sHamlet,forexample,wediscoverthatHamletisfascinatedwithactorsandacting.Uponreflection,anastutereaderrealizesthatthisisbecauseHamlet'swholelifehasbecomeunreal;heisbeinghauntedbytheghostofhisfather,hisfatherturnsouttohavebeenmurderedbyhisuncle,hismotherhasmarriedhisfather'smurderer.ThemotifoftheactorsisasymbolfortheunrealityofHamlet'slife.

6Allegoryalso,however,limitsSimilarly,nearthebeginningofF.ScottFitzgerald'snovelTheGreatGatsby,thereisthefamoussceneoftheValleyofAsheswhereTomBuchanan'smistressMyrtlelives.AlthoughFitzgeraldneversaysso,itisclearthattheValleyofAshesrepresentstherealstateofTom'ssoul;althoughtotheoutsideworldhisresidenceisinamansiononthebeautifulbayatEastEgg,whereeverythingisopulentandexpensiveandtasteful,theinwardlyrotten,spirituallydesiccatedTomreally"lives"wherehis"heart"does,inagrimashenvalleypresidedoverbyabillboarddecoratedwithahugepairofbespectacledeyes.TheeyesrepresentGod,whoseesTom'sactionsandknowstheinteriorofhisheart,butominouslyseemspowerlesstointervene.

OtherfamoussymbolsareMelville'sgreatwhitewhaleinMobyDick;Dante'sjourneyintotheunderworldinTheInferno;andColeridge'salbatrossin"TheRimeoftheAncientMariner."Alltheseconcreteobjectsorplacescarrywithinthemawiderangeofassociationsthatstandforsomethingsoineffableitwouldspoilthemagictoexplainit.Symbolism,therefore,isanintegralcomponentoffiction,becauseitenrichesthenarrativebypullingitsmessagedowntothelevelofourunconsciousandanchoringitthere.7Similarly,nearthebeginningSymbolisminliteraturewasappearedinmid19thcenturyinFrance.Symbolsarethingsthathaveamuchdeepermeaningthanwhatitappearstobe.Symbolismistheuseofanitemthatcausesthereadertothinkaboutwhatitstandsfor.Themeaningitholdsdependsontheindividual,itcouldmeandifferentthingstodifferentpeople.Thepurposeofsymbolistsistoexpressthehighlycomplexfeelingsthatgrewoutduringthecontactwiththeworld.Therearetwotypesofsymbols.Ageneralsymbolisuniversalinitsmeaning.Forinstance,a‘rose’oftenisnotonlyaflower,butalsoageneralsymbolforlove.Aspecificsymbolacquiresaspecificmeaningonhowitrelatestothecontent.Sometitlesofnovelsarealwaysspecificsymbols.

Symbolismhastwocharacteristics.Oneissuggestion,itmeansthewordhasadeepmeaninganditstandsforsomethingorakindofpeople.Theotherisambiguity.Ambiguitymeansthatthemeaningofthewordisuncertainandithasdifferentmeaningifyoulookthemindifferentlevel.

8SymbolisminliteraturewasapWeallknowthat“Thetell-taleheart”hasadeepmeaninginsteadofonlyahorrorstory.ThewriterAllanPoeisaprecursorofsymbolists.Symbolismisanimportantaspectofthestory.Themajorsymbolistheheartbeat.Thenarratorbelievedthatthesoundwasthebeatingoftheoldman'sheart,butitwasactuallyhisownheartbeat.Itshowshisfearofbeingcaught,andhisguiltyconscienceafflictshimforkillingtheoldman.Theeyeclearlyrepresentsevilandtheevilisthenarratorhimself.KarenBernardosaidearlyinthedevelopmentofthefictionalnarrative,symbolismwasoftenproducedthroughallegory.However,wemightgetboredifwereadtoomanyallegories.What’smore,allegoryalsolimitsourperceptions.Therefore,totakeallegorytothenexthigherlevel,itarrivedthelevelofsymbolism.Whereasallegoryoperatesveryconsciously,symbolismoperatesunconsciously.Thisdoesnotmeanthatthewriterisunconsciousofcreatingsymbolism.Itmeansthatwe,asreaders,acceptitwithoutreallyunderstandinghowitworks.Inconclusion,symbolismisamajorpartinliterature.Itstillusefultodayanditshapedthecontemporaryconsciousness.9Weallknowthat“Thetell-talThescarletletterHawthorne'sTheScarletLetterisconsideredthefirstsymbolicnovelinAmericanLiterature.Hisuseofsymbolisminthenovelpresentsacomplexviewofsinanditseffects.Utilizingcharacters,colors,settings,andobjectsHawthorne'sextendedmetaphorsshapeanddevelopthroughouttheplot.ThreemainsymbolsusedinexpressingHawthorne'smessagearetheforest,theuseofsunlightandshadows,andtheuseofcolors.TheuseofcolorsinTheScarletLetterisoneofthemoreobvioussymbolsintheplot.Hawthorneopenlystatesthemeaningsinsomeinstances.Thecolorblackisthecolorofsinandthedevil.Blackisthecolorcastinshadows,thecolorthatChillingworth,amanofpureevil,isreferredtoby,andthecolorwornbyDimmesdale.Dimmesdalewearsblackbecauseheisagreatersinnerfornotopenlyacceptinghisoriginalsin.Chillingworthisknownasthe"blackman,"asstatedbyPearl,becausehepossessesthegreatestsinpossible.Thetitleofthe"blackman"isalsoreferstothedevilhimself.HesterstatesthistoPearlinregardtohersin.DarknessiscommonlyknownasanegativeconnotationandHawthorneusesitextensively.Thecolorredisthesymbolofhonestyandtruth.Pearli

10ThescarletletterHawthorne'sHawthornesymbolizessunshinebestinthechapterappropriatelytitled,"AFloodofSunshine.Pearlknowsthatthereisacauseforthiscontrastinlightbutshedoesnotknowthemeaningofit.Inthissymbolismheconveyshismessagetobetruthfulinallcircumstances.Sheisconstantlyhonestandtruthful.Theuglysinnerwillbebroadcastedwithhissurroundingdarkness.Hawthorneusescolortoexpressthathidingtruthmakesoneuglierandwillcausemorepainwithtime.IndoingsohepresentsacomplexfewofsinanditseffectsonhischaractersinapieceofworkcalledTheScarletLetter.Pearlisconstantlyinthesunlight.Thesescenesarealsodescribedasdarkones.TheactofHesterspeakingtoDimmesdaleopenlyintheirsocietyisunheardof."Withthereleaseofsinthewholeforestiswashedinthesun'srays.AnexampleiswhenHesterandPearlarewalkingthroughtheforestwhenadarkcloudcameovertheskyandPearlsaid,"Mother.DimmesdaleisshockedandtriestohushHesterbutrealizesthatheisinthesafetyoftheforestandnooneelsemayhearthem.TheforestisasymboloffreedomfromsocietyandPuritanbeliefs.ThissceneisaverydarkonebecauseChillingworthisintheactofrevenge.11Hawthornesymbolizessunshine1212

SinTheexperienceofHesterandDimmesdalerecallsthestoryofAdamandEvebecause,inbothcases,sinresultsinexpulsionandsuffering.Butitalsoresultsinknowledge—specifically,inknowledgeofwhatitmeanstobehuman.ForHester,thescarletletterfunctionsas"herpassportintoregionswhereotherwomendarednottread",leadingherto"speculate"abouthersocietyandherselfmore"boldly"thananyoneelseinNewEngland.AsforDimmesdale,the"cheatingminister"ofhissingiveshim"sympathiessointimatewiththesinfulbrotherhoodofmankind,sothathischestvibrate[s]inunisonwiththeirs."Hiseloquentandpowerfulsermonsderivefromthissenseofempathy.ThenarrativeoftheReverendArthurDimmesdaleisquiteinkeepingwiththeoldestandmostfullyauthorizedprinciplesinChristianthought.His"Fall"isadescentfromapparentgracetohisowndamnation;heappearstobegininpurity.Heendsincorruption.Thesubtletyisthattheministerishisowndeceiver,convincinghimselfateverystageofhisspiritualpilgrimagethatheissaved.Therosebush,itsbeautyastrikingcontrasttoallthatsurroundsit—aslaterthebeautifullyembroideredscarletAwillbe–isheldoutinpartasaninvitationtofind"somesweetmoralblossom"intheensuing,tragictaleandinpartasanimagethat"thedeepheartofnature"(perhapsGod)maylookmorekindlyontheerrantHesterandherchild(therosesamongtheweeds)thanherPuritanneighborsdo.Throughoutthework,thenatureimagescontrastwiththestarkdarknessofthePuritansandtheirsystems.13Sin13Chillingworth'smisshapenbodyreflects(orsymbolizes)theevilinhissoul,whichbuildsasthenovelprogresses,similartothewayDimmesdale'sillnessrevealshisinnerturmoil.Theoutwardmanreflectstheconditionoftheheart.AlthoughPearlisacomplexcharacter,herprimaryfunctionwithinthenovelisasasymbol.Pearlherselfistheembodimentofthescarletletter,andHesterrightlyclothesherinabeautifuldressofscarlet,embroideredwithgoldthread,justlikethescarletletteruponHester'sbosom.ParallelscanbedrawnbetweenPearlandthecharacterBeatriceinRappaccini'sDaughter.Botharestudiesinthesamedirection,thoughfromdifferentstandpoints.Beatriceisnourisheduponpoisonousplants,untilsheherselfbecomespoisonous.Pearl,inthemysteriousprenatalworld,imbibesthepoisonofherparents'guilt.14Chillingworth'smisshapenbodyPastandpresentTheclashingofpastandpresentisexploredinvariousways.Forexample,thecharacteroftheoldGeneral,whoseheroicqualitiesincludeadistinguishedname,perseverance,integrity,compassion,andmoralinnerstrength,issaidtobe"thesoulandspiritofNewEnglandhardihood".Nowputouttopasture,hesometimespresidesovertheCustomHouserunbycorruptpublicservants,whoskipworktosleep,alloworoverlooksmuggling,andaresupervisedbyaninspectorwith"nopowerofthought,nordepthoffeeling,notroublesomesensibilities",whoishonestenoughbutwithoutaspiritualcompass.Hawthornehimselfhadambivalentfeelingsabouttheroleofhisancestorsinhislife.Inhisautobiographicalsketch,Hawthornedescribedhisancestorsas"dimanddusky","grave,bearded,sable-cloaked,andsteelcrowned","bitterpersecutors"whose"betterdeeds"wouldbediminishedbytheirbadones.TherecanbelittledoubtofHawthorne'sdisdainforthesternmoralityandrigidityofthePuritans,andheimaginedhispredecessors'disdainfulviewofhim:unsuccessfulintheireyes,worthlessanddisgraceful."Awriterofstorybooks!"Butevenashedisagreeswithhisancestors'viewpoint,healsofeelsaninstinctualconnectiontothemand,moreimportantly,a"senseofplace"inSalem.Theirbloodremainsinhisveins,buttheirintoleranceandlackofhumanitybecomesthesubjectofhisnovel.15Pastandpresent15写在最后成功的基础在于好的学习习惯Thefoundationofsuccessliesingoodhabits16写在最后成功的基础在于好的学习习惯16谢谢大家荣幸这一路，与你同行It'SAnHonorToWalkWithYouAllTheWay讲师：XXXXXXXX年XX月XX日

17谢谢大家讲师：XXXXXX17symbolism18symbolism1TheintroductionSymbolismistheuseofsymbolstorepresentthingssuchasideasandemotions.Symbolismissometimesusedtoreferspecificallytototemicsymbolsthatstandontheirown,asopposedtolinguisticsymbols.Inpsychoanalysis,SigmundFreudandCarlJungenvisionedsymbolsasbeingnotofthemind,butratherthemind'scapacitytoholdinformation.Themindusessymbolstoformfreeassociation,organization,andconnectionsbetweensymbols.JungandFreuddivergedontheissueofcommoncognitivesymbolsystemsandwhethertheyexistwithintheindividualmindoramongotherminds,whethercognitivesymbolismwasinnateordefinedbytheenvironment.Symbolismisimportanttoreligion.Somereligiousoraclesdivinebyinterpretingsymbols.MaxWeberdescribedreligionasasystemofsacredreligioussymbolism.19TheintroductionSymbolismistThehistoricalmeaningThishistoryofasymbolisoneofmanyfactorsindeterminingaparticularsymbol'sapparentmeaning.Oldsymbolsbecomereinterpreted,dueperhapstoenvironmentalchanges.Consequently,symbolswithemotivepowercarryproblemsanalogoustofalseetymologies.Forexample,theIrishandScottishAmericanelementsofdesignintheRebelFlagoftheAmericanSouthpredatetheAmericanCivilWar.AnearlyvariantofthecrossedbarscanbeseenontheScottishFlag.FollowingtheAmericanCivilWar,theKKK,foundedinpartbyConfederategeneralNathanBedfordForrest,becamenotoriousintheAmericanSouthforconductingracially-motivatedattacks.Itsmembers,themselvesConfederateveterans,associatedthemselveswiththeConfederateflag.Thisledtoasubsequentdisputeoverwhetherornottheflaghasracistconnotations.AnotherexampleisthesuperficialresemblancebetweentheChristiancross,anexecutiondevice,andtheAncientEgyptianAnkh,signifyinglife.ThecrossderivesfromtheRomanEmpire'suseoflargewoodencrossestocrucifyallegedcriminals.20ThehistoricalmeaningThishis214symbolisminliterature

Justascharacterizationanddialogueandplotworkonthesurfacetomovethestoryalong,symbolismworksunderthesurfacetotiethestory'sexternalactiontothetheme.Earlyinthedevelopmentofthefictionalnarrative,symbolismwasoftenproducedthroughallegory,givingtheliteraleventanditsallegoricalcounterpartaone-to-onecorrespondence.

InJohnBunyan'sPilgrim'sProgress,forexample,everythingandeveryonestandsforsomethingelse.TheprotagonistChristian,tonoone'ssurprise,standsforeveryChristianreader;hisgoal,theCelestialCity,standsforHeaven;theplacesthroughwhichhepassesonhisway--LucreHill,VanityFair,andthelike--standforthetemptationsBunyanfeltthatChristianreaderswerelikelytoencounterontheirjourneytosalvation.EventhenamesofChristian'sfellowtravelers--Mr.Feeble-mind,Great-heart,andthelike--representnotindividualcharactersbutstatesofbeing.

Allegoryisundoubtedlythesimplestwayoffleshingoutatheme,butitisalsotheleastemotionallysatisfyingbecauseitmakesthingsalittletooeasyonthereader.Wefeelthatwearebeinglecturedto;it'salmostasiftheauthorisstoppingeverysentenceortwotosay,"Nowpayspecialattentiontothis,becauseifyoudon'trememberit,youwon'tgetthepoint."Essentially,allegoryinsultsourintelligence.

22symbolisminliterature

JusAllegoryalso,however,limitsourperceptions.Thebestworksofliteraturearethoseinwhichanelementofmysteryremains--thosewhichlendthemselvestoavarietyofinterpretations.Strictallegoryseldomdoesthis,whichiswhyreligiousallegoryisgenerallylesssatisfyingthanthescripturalstoryonwhichitwasbased.

Totakeallegorytothenexthigherlevel,wearriveatsomethingthatforwantofabettertermcanbecalledsymbolism.Atthislevel,thereisstillaformofcorrespondence,andyetitisnotsoone-to-one,andcertainlynotsoblatant.Whereasallegoryoperatesveryconsciously,symbolismoperatesontheleveloftheunconscious.Thisdoesnotmeanthattheauthorhimselfisunconsciousoftheprocessofcreatingsymbolism--merelythatwe,asreaders,acceptitsinputwithoutreallyunderstandinghowitworks.

InShakespeare'sHamlet,forexample,wediscoverthatHamletisfascinatedwithactorsandacting.Uponreflection,anastutereaderrealizesthatthisisbecauseHamlet'swholelifehasbecomeunreal;heisbeinghauntedbytheghostofhisfather,hisfatherturnsouttohavebeenmurderedbyhisuncle,hismotherhasmarriedhisfather'smurderer.ThemotifoftheactorsisasymbolfortheunrealityofHamlet'slife.

23Allegoryalso,however,limitsSimilarly,nearthebeginningofF.ScottFitzgerald'snovelTheGreatGatsby,thereisthefamoussceneoftheValleyofAsheswhereTomBuchanan'smistressMyrtlelives.AlthoughFitzgeraldneversaysso,itisclearthattheValleyofAshesrepresentstherealstateofTom'ssoul;althoughtotheoutsideworldhisresidenceisinamansiononthebeautifulbayatEastEgg,whereeverythingisopulentandexpensiveandtasteful,theinwardlyrotten,spirituallydesiccatedTomreally"lives"wherehis"heart"does,inagrimashenvalleypresidedoverbyabillboarddecoratedwithahugepairofbespectacledeyes.TheeyesrepresentGod,whoseesTom'sactionsandknowstheinteriorofhisheart,butominouslyseemspowerlesstointervene.

OtherfamoussymbolsareMelville'sgreatwhitewhaleinMobyDick;Dante'sjourneyintotheunderworldinTheInferno;andColeridge'salbatrossin"TheRimeoftheAncientMariner."Alltheseconcreteobjectsorplacescarrywithinthemawiderangeofassociationsthatstandforsomethingsoineffableitwouldspoilthemagictoexplainit.Symbolism,therefore,isanintegralcomponentoffiction,becauseitenrichesthenarrativebypullingitsmessagedowntothelevelofourunconsciousandanchoringitthere.24Similarly,nearthebeginningSymbolisminliteraturewasappearedinmid19thcenturyinFrance.Symbolsarethingsthathaveamuchdeepermeaningthanwhatitappearstobe.Symbolismistheuseofanitemthatcausesthereadertothinkaboutwhatitstandsfor.Themeaningitholdsdependsontheindividual,itcouldmeandifferentthingstodifferentpeople.Thepurposeofsymbolistsistoexpressthehighlycomplexfeelingsthatgrewoutduringthecontactwiththeworld.Therearetwotypesofsymbols.Ageneralsymbolisuniversalinitsmeaning.Forinstance,a‘rose’oftenisnotonlyaflower,butalsoageneralsymbolforlove.Aspecificsymbolacquiresaspecificmeaningonhowitrelatestothecontent.Sometitlesofnovelsarealwaysspecificsymbols.

Symbolismhastwocharacteristics.Oneissuggestion,itmeansthewordhasadeepmeaninganditstandsforsomethingorakindofpeople.Theotherisambiguity.Ambiguitymeansthatthemeaningofthewordisuncertainandithasdifferentmeaningifyoulookthemindifferentlevel.

25SymbolisminliteraturewasapWeallknowthat“Thetell-taleheart”hasadeepmeaninginsteadofonlyahorrorstory.ThewriterAllanPoeisaprecursorofsymbolists.Symbolismisanimportantaspectofthestory.Themajorsymbolistheheartbeat.Thenarratorbelievedthatthesoundwasthebeatingoftheoldman'sheart,butitwasactuallyhisownheartbeat.Itshowshisfearofbeingcaught,andhisguiltyconscienceafflictshimforkillingtheoldman.Theeyeclearlyrepresentsevilandtheevilisthenarratorhimself.KarenBernardosaidearlyinthedevelopmentofthefictionalnarrative,symbolismwasoftenproducedthroughallegory.However,wemightgetboredifwereadtoomanyallegories.What’smore,allegoryalsolimitsourperceptions.Therefore,totakeallegorytothenexthigherlevel,itarrivedthelevelofsymbolism.Whereasallegoryoperatesveryconsciously,symbolismoperatesunconsciously.Thisdoesnotmeanthatthewriterisunconsciousofcreatingsymbolism.Itmeansthatwe,asreaders,acceptitwithoutreallyunderstandinghowitworks.Inconclusion,symbolismisamajorpartinliterature.Itstillusefultodayanditshapedthecontemporaryconsciousness.26Weallknowthat“Thetell-talThescarletletterHawthorne'sTheScarletLetterisconsideredthefirstsymbolicnovelinAmericanLiterature.Hisuseofsymbolisminthenovelpresentsacomplexviewofsinanditseffects.Utilizingcharacters,colors,settings,andobjectsHawthorne'sextendedmetaphorsshapeanddevelopthroughouttheplot.ThreemainsymbolsusedinexpressingHawthorne'smessagearetheforest,theuseofsunlightandshadows,andtheuseofcolors.TheuseofcolorsinTheScarletLetterisoneofthemoreobvioussymbolsintheplot.Hawthorneopenlystatesthemeaningsinsomeinstances.Thecolorblackisthecolorofsinandthedevil.Blackisthecolorcastinshadows,thecolorthatChillingworth,amanofpureevil,isreferredtoby,andthecolorwornbyDimmesdale.Dimmesdalewearsblackbecauseheisagreatersinnerfornotopenlyacceptinghisoriginalsin.Chillingworthisknownasthe"blackman,"asstatedbyPearl,becausehepossessesthegreatestsinpossible.Thetitleofthe"blackman"isalsoreferstothedevilhimself.HesterstatesthistoPearlinregardtohersin.DarknessiscommonlyknownasanegativeconnotationandHawthorneusesitextensively.Thecolorredisthesymbolofhonestyandtruth.Pearli

27ThescarletletterHawthorne'sHawthornesymbolizessunshinebestinthechapterappropriatelytitled,"AFloodofSunshine.Pearlknowsthatthereisacauseforthiscontrastinlightbutshedoesnotknowthemeaningofit.Inthissymbolismheconveyshismessagetobetruthfulinallcircumstances.Sheisconstantlyhonestandtruthful.Theuglysinnerwillbebroadcastedwithhissurroundingdarkness.Hawthorneusescolortoexpressthathidingtruthmakesoneuglierandwillcausemorepainwithtime.IndoingsohepresentsacomplexfewofsinanditseffectsonhischaractersinapieceofworkcalledTheScarletLetter.Pearlisconstantlyinthesunlight.Thesescenesarealsodescribedasdarkones.TheactofHesterspeakingtoDimmesdaleopenlyintheirsocietyisunheardof."Withthereleaseofsinthewholeforestiswashedinthesun'srays.AnexampleiswhenHesterandPearlarewalkingthroughtheforestwhenadarkcloudcameovertheskyandPearlsaid,"Mother.DimmesdaleisshockedandtriestohushHesterbutrealizesthatheisinthesafetyoftheforestandnooneelsemayhearthem.TheforestisasymboloffreedomfromsocietyandPuritanbeliefs.ThissceneisaverydarkonebecauseChillingworthisintheactofrevenge.28Hawthornesymbolizessunshine2912

SinTheexperienceofHesterandDimmesdalerecallsthestoryofAdamandEvebecause,inbothcases,sinresultsinexpulsionandsuffering.Butitalsoresultsinknowledge—specifically,inknowledgeofwhatitmeanstobehuman.ForHester,thescarletletterfunctionsas"herpassportintoregionswhereotherwomendarednottread",leadingherto"speculate"abouthersocietyandherselfmore"boldly"thananyoneelseinNewEngland.AsforDimmesdale,the"cheatingminister"ofhissingiveshim"sympathiessointimatewiththesinfulbrotherhoodofmankind,sothathischestvibrate[s]inunisonwiththeirs."Hiseloquentandpowerfulsermonsderivefromthissenseofempathy.ThenarrativeoftheReverendArthurDimmesdaleisquiteinkeepingwiththeoldestandmostfullyauthorizedprinciplesin