HW for September 5 (already!)
Please answer either of the questions or both in the comments box, by Sep 3
1. The short story in E. A. Poe's time was such a nascent genre that it as still called a tale! However, a research through the forms and modes of the short story today will show you that it is a widespread, overflowing, concept. Do a quick search on your library's catalogue by typing words related with short story collections / anthologies, and see what comes up. Do all the groupings of short stories relate to Poe's tentative definition of the genre in "Review of Twice-Told Tales"? Or George Saunder's, "Rise, Baby, Rise", for that matter?
2. Hawthorne's "The Minister's Black Veil" - Refer to Poe's appraisal of the tale in "Review of Twice-Told Tales" and comment on what you think of Poe's insight in this case, adding evidence from the text to substantiate your opinion.
2. After reading “The Minister’s Black Veil” and Poe’s appraisal of Hawthorne’s work in “Review of Twice-Told Tales,” it is clear as to what makes a well written short story. While of course a short story does not need to follow the exact outline and pointers that are given by Poe in order to be a successful story, it certainly wouldn’t be a bad thing to take tips from one of the best writers of his time and all time. In his story, Hawthorne employs many of the things that Poe writes about in his review. For example, Poe spends a large amount of time in his review writing about the length of short stories, saying “unity cannot be thoroughly preserved in productions whose perusal cannot be completed at one sitting” (Poe 1842). In “The Minister’s Black Veil,” the length as well as the pacing allow the reader to think about the meaning behind the work, while enjoying it at the same time. There are several “gas stations” as George Saunders called them in “Rise, Baby, Rise!” that allow that give the story a push, making the reader want to continue. For example, during the wedding of two members of the Milford village, there is a moment in which Mr. Hooper sees his own reflection in a glass of wine and “the black veil involved his own spirit in the horror with which it overwhelmed all others. His frame shuddered, his lips grew white, he spilt the untasted wine upon the carpet, and rushed forth into the darkness. For the Earth, too, had on her Black Veil” (Hawthorne 4). Here, the reader is caught off guard along with Mr. Hooper. For a moment, it seems like Mr. Hooper is about to rip off the veil, keeping the reader on edge and wanting to continue.
ResponderExcluirOne may argue that “The Minister’s Black Veil” could have been a poem. It had a central theme throughout, and a satisfying ending, all easily condensable into a poem that gets straight to the point. As Poe says, however, in a short story compared to a poem, a short stories “products are never so rich, but infinitely more numerous, and more appreciable by the mass of mankind” (Poe 1842). In turn, Hawthorne’s slow burn message and theme is therefore much more satisfying when blatantly revealed at the end of the story. However, in Poe’s review, he says something pertaining to the “dark dye” and possible adultery that I did not think of when first reading the story, and rethink the obvious message behind “The Minister’s Black Veil.” This is the Truth that Poe speaks about when describing short stories, saying that it “is often, and in very great degree, the aim of the tale” (Poe 1842). Yes, while the overarching moral of Mr. Hooper appears to be the presence of darkness and the suppression of it in everyone, Hawthorne is able to encompass it with a much more pertinent element of the story.
Overall, Poe’s “Review of Twice-Told Tales” seems to encapsulate the main elements that make “The Minister’s Black Veil” such a exceptional and lasting piece of work. Hawthorne knows how to not only create story with a message, but also one that is able to keep the reader engaged. In the future as we work with more short stories, I will keep an eye out for the things that Poe describes and see if they are as effective as Hawthorne was.
Response from Zachary Fagan
ExcluirIn regards to question two, I found some of Poe’s insights into Hawthorne’s “The Minister’s Black Veil” to be very accurate. In his discussion of the “repose” of Hawthorne’s style, Poe argues that “We are soothed as we read; and withal is a calm astonishment that ideas so apparently obvious have never occurred or been presented to us before” (579). He compares this characteristic of Hawthorne’s style with other authors who undoubtedly possess originality in thought, but without the same quiet tranquility as Hawthorne. For example, on page 38 of “The Minister’s Black Veil,” Hawthorne writes “But that piece of crape, to their imagination, seemed to hang down before his heart, the symbol of a fearful secret between him and them. Were the veil but cast aside, they might speak freely of it, but not till then.” Here, Hawthorne uses simple language to express the all-encompassing mystery of the black veil; not only does it hide the minister's face, but also a much deeper secret he wishes to hide from his parishioners. And in his second line, he adeptly highlights the catch-22 of the entire situation. The parishioners wish to speak to the minister about his veil, but will only do so if he first removes it. This portion of the text exemplifies the way in which Hawthorne uses unembellished language to communicate “apparently obvious" facts in an “unambitious, unadulterated Saxon” (Poe, 580).
ResponderExcluirAnother one of Poe’s discussions stuck out to me, as this is one of the only short stories I’ve ever read. Poe compares short stories (and particularly those authored by Hawthorne) to a full length novel, which “…cannot be read at one sitting; it deprives itself, of course, of the immense force derivable from totality” (580). The beauty of the short story, as Poe sees it, is the ability to read the entirety of a story without being interrupted. I found this insight to be true while reading “The Minister’s Black Veil.” Because I was able to finish the story in one sitting, I felt that I was able to appreciate the story as a whole more than if the story was written as a full length novel. In contrast to reading a novel, Hawthorne’s suspense was able to build without interruption, and subsequently allowed for a much more exciting reading experience.
Towards the end of his discussion, Poe argues that “…Truth is often, and in very great degree, the aim of the tale” (581). I found the so-called “moral” of “The Minister’s Black Veil” to be very enlightening. Hawthorne eloquently represents the hypocrisy of the minister’s parishioners (and of most humans, in general), who demand to see what is under their minister’s veil, but refuse to recognize that they too have secrets that they wish not to share with their friends and family. As discussed earlier, the way in which Hawthorne reveals the moral of the story makes the reader feel that they should have predicted the “apparently obvious” nature of the story’s ending much earlier in his/her reading. However, the way in which Hawthorne reveals the “Truth” gives the reader the sense that they are coming upon a very new, unique thought.
Poe's "Review of Twice-Told Tales" was less a review of Hawthorne's stories so much as it was a manual that used the latter writer's works to demonstrate how to write a tale proper. Throughout his review, Poe seemed to believe that Hawthorne's tales should be viewed as examples of the highest form of writing as they "belong to the highest region of art" (Poe 581). Even more importantly, Poe seems to base his definition of a tale on Hawthorne's stories, in particular the "The Minister's Black Veil." By using Hawthorne's stories as examples for others, Poe demonstrates the depth of his admiration for the other author more than even his own words can.
ResponderExcluirOne of Poe's main points is that the author of a tale should chose one resounding effect and then shape the entire tale around it. It is a point that he seems to have picked up from Hawthorne, who does this very technique in spades throughout the Black Veil. After choosing his effect to be the message that we all have hidden secrets that put us behind black veils, Hawthorne uses every scenario in the story to allude to it. When Father Hooper gives the sermon that causes everyone, "the most innocent girl" to "the man of hardened breast," (Hawthorne, 34) to remember "those sad mysteries we hide from our nearest and dearest" (Hawthorne, 33)it is Hawthorne alluding to his final universal message. He brings up the matter again when the deputies visit Father Hooper to ask him about the veil and they feel it is blocking them from "speak[ing] freely" (Hawthorne 38). It is another subtle reminder that the veil symbolizes a barrier between humans and their secrets. Hawthorne is the master of building up and reinforcing his point and Poe has recognized him as just that by deciding that all tale writers should follow that technique.
While Poe's admiration is most obviously demonstrated by the reverence he holds for Hawthorne's stories, it can also be seen by the deep thought he has put into analyzing the other author's stories. In particular the "Black Veil"Poe seems to believe that the reason for the black veil is very simple: it is in response to the "young lady's" death in the beginning of the story. I disagree deeply with this point as the Minister's desperation for Elizabeth's love would indicate that she would be the only woman he would truly mourn for the rest of his life (Hawthorne, 39). However, it cannot be overlooked that the deep looking Poe has put into Hawthorne's story demonstrates his admiration.
Poe's Review serves best as a commentary on how the structure of a tale should be, but it can also be read a deep compliment to Nathaniel Hawthorne and his works.
Question Two: Response for Kevin Hautigan
ResponderExcluirIn Edgar Allen Poe’s review of Hawthorne’s “The Minister’s Black Veil,” he posits that the literary work is a “masterly composition” (582). The first statement Poe makes on the tale is that the one issue he has with the story is that, “to the rabble its exquisite skill will be caviare” (582). While this argument sounds incredibly elitist on face, there is merit to the claim that one must closely analyze Hawthorne’s story before picking up on some of the rather subtle elements. The prime example of this is noted by Poe who says that many will not pick up on the true message of the story which is that, “a crime of dark dye...has been committed” (582). On the same day that Hooper began wearing his mysterious veil on his face, there was a, “funeral of a young lady” (Hawthorne 35). As Hooper stood over the body, Hawthorne questioned whether Hooper was fearful of the dead woman’s “glance” (35). This could imply that Hooper wronged the woman in some way or that he committed wrongdoing related to her. Poe picks up on this despite it being mentioned only briefly in the story.
Much of the tale centers around the reasoning behind the minister’s wearing of the veil. The minister proclaims as he is dying that their is a black veil “on every visage” (Hawthorne 45). This proclamation serves to highlight that the veil is meant to symbolize a sort of wrongdoing that can only be cleansed in death, “when all of us shall cast aside our veils” (Hawthorne 39). Poe proclaims that the story’s, “obvious meaning will be found to smother its insinuated one” (582). This is true to an extent, but this does not necessarily mean it is a reason to view the story negatively. The representation of human sin as an inescapable black veil is what composes the very theme of the short story. Additionally, the pieces of the narrative that Poe worries will be missed by most readers are also critical to fully comprehending Hawthorne’s tale. Both are equally important to fully grasping this work by Hawthorne. Therefore, Poe is right that certain elements of the story may be missed by many readers, but that should be acceptable because the obvious meaning of the story is important as well.
Speaking more holistically about Hawthorne’s stories, Poe argues that the most memorable aspects of Hawthorne’s writing come from his, “invention, creation, imagination, and originality” (582). This is as present as can be in “The Minister’s Black Veil.” Hawthorne’s story builds upon a simple town where an average reverend suddenly covers his face with a black veil, only revealing his noteworthy “sad smile” (40). The reader is carefully walked through the entirety of the reverend’s life as he never removes his terrifying veil, not even in death. This creepy tale uses an unusual action by a character to demonstrate the message that no person is free from sin. Poe is certainly correct in praising the creativity that Hawthorne brings to the table in his stories.
In his review of “Twice Told Tales,” Poe correctly identifies the strengths of Hawthorne’s “The Minister’s Black Veil.” While he wrongly harps on the complexity of the story as something that could detract from its legacy, he is certainly correct in his identification of the beauty, creativity, and intricacies of the tale.
Poe’s commendation of “The Minister’s Black Veil” is notable for its emphasis on the unity and effect of the work as a whole, specifically in reference to Hawthorne’s usage of the short story format. In his review of the piece, Poe asserts that “the author who aims solely at the purely beautiful in a prose tale is laboring at a great disadvantage” (581). Thus, it is entirely appropriate that Hawthorne had written the tale in the style of a short story rather than that of a traditional long poem. With poetry there comes a partial loss of a work’s “Truth,” as the rhythms around which a poem are built ultimately distract a reader from its deeper meaning. Subtracting the element of rhythm thereby allows the author to write a story that, while still succinct, is more gratifying in its conclusion; this is due to its reliance on content and not cadence in order to convey the story’s central message.
ResponderExcluirThe stirring effect of “The Minister’s Black Veil” can be attributed considerably to its structure and length. The ability to begin and complete a work within one sitting is one that Poe takes great care to elaborate upon in his review, stating that interruptions “counteract, in a greater or less degree, the impressions of the book” (580). Hawthorne’s tale illustrates one way in which it is possible to write a story that is both short and whole. The reader follows Mr. Hooper from the time he first dons the veil, and Hawthorne concludes the story with Hooper’s death, the veil having never been lifted from the preacher’s face. The question of whether or not Hooper will ever remove the crape in his lifetime is one that exists as a mystery to both the townspeople and the reader. It is hinted that he wears the veil to conceal a serious sin, as an attempt to atone. The people's obsession with the veil causes Hooper to become an outcast; they treat him as something to be feared despite the essential role he holds in the town and in their lives. Within a single sitting, the reader witnesses the grand downfall of a pastor once loved by his people, experiencing the entirety of Hooper’s tragedy all at once.
Question 2: Response for Rebecca Hollister
ResponderExcluirMy mother is an English teacher, and she always told me that Hawthorne is the grandfather of the short story, with Poe being the proverbial father. This certainly seems to be supported by “Review of Twice-Told Tales,” in which Poe commends Hawthorne for his original and beautiful works, and offers additional insight regarding the purpose of a short story and what should be included in one for the effect to be most impactful. Poe begins by comparing other attempts at writing a short story with Hawthorne's, emphasizing the importance of originality: “The Essays of Hawthorne has much of the character of Irving, with more of originality..compared with the Spectator, they have a vast superiority at all points.” Poe also praises the moderate length of Hawthorne’s work while emphatically expressing the idea that totality is essential in literary work, and is a reason why “the ordinary novel is objectionable.” “The Minister’s Black Veil” can very easily be read in one sitting, and I agree with Poe that reading a work in one sitting creates a very strong effect--everything leading up to the final climax and message is fresh in the reader’s mind, making the impact quite large.
Poe also discusses the difference between Truth and Beauty in literature. He writes that Beauty is more suited for the poem, while “Truth is often, and in a very great degree, the aim of the tale.” “The Minister’s Black Veil” certainly emphasizes this idea, as the writing is for the most part plain and simply read, but the truth reflected through symbolism is quite large and is the main aim of the story. Poe continues to praise Hawthorne's writing, describing him as having traits of “invention, creation imagination, originality.” His one complaint regarding “The Minister’s Black Veil” has to do with accessibility. He doesn’t believe that the masses will understand the true purpose of the short story, rather will cover this up with a simple moral. He describes the story as being “caviare,” meaning only available to elevated society. He, however, describes this as being the sole flaw of Hawthorne’s story, and otherwise labels “The Minister’s Black Veil” as a “masterly composition.”
“Review of Twice-Told Tales” does praise Hawthorne and the precedents set by him in regards to writing the short story, but Poe does not end without forming opinions of his own. Emphasizing originality, Truth rather than beauty, and the idea that a short story should be brief enough to read in one sitting, Poe uses a literary criticism of Hawthorne’s “The Minister’s Black Veil” to set more precedence for how exactly an effective short story should be formed and executed.
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ResponderExcluirMy comment got deleted by accident....
ResponderExcluirThe main point behind Poe’s appraisal of Hawthorne’s short stories is their emphasis on unity and containment. Poe believes strongly that the ideal tale is “not to exceed in length what might be perused in an hour” (Poe 580). This is due to Poe’s obsession with the unity of a piece. The idea that a tale should have a strong and singular effect on its reader forces stories to be consumed in a single sitting. If you are to stop reading due to length, your focus and attention is broken from the tale and therefore the feelings and thoughts, the author wants you to experience are broken as well. Poe feels his theory on the length of tales translates very well to poems. Poems can be consumed in an hour and do a perfect job of pulling emotion and thought from the reader in one unified time block. As Poe states poems must fall into a sort of sweet spot for length of tales: “extreme brevity will degenerate into epigrammatism; but the sin of extreme length is even more unpardonable” (Poe 580).
On the note of short stories, and specifically the short stories of Hawthorne, Poe has similar feelings. In fact Poe sees short stories as the next best fitting kind of tale to his theory on length. Like poems, short stories can be consumed in one sitting, but they can also bring about deep thought and emotion. Poe admits to not being as much of a fan of novels. He believes novels, as they are interrupted and not read straight through take too much effort for the reader to keep interest and focus on the emotions and ideas in the story.
Poe makes sure to address that brevity can be just as detrimental to a story’s focus. Poe states anything “too brief may produce a vivid, but never an intense or enduring impression” (Poe 580), but that ultimately brevity should always be favored over length.