Gulistan state university department of the english language and literature course paper

Hawthorne, Melville, and Whitman

History also figured in tales and romances of Nathaniel Hawthorne, the leading New England fictionist of the period. Many tales and longer works—for example, his masterpiece, The Scarlet Letter (1850)—were set against a background of colonial America with emphasis upon its distance in time from 19th-century New England. Others, such as The House of the Seven Gables (1851), dealt with the past as well as the present. Still others, such as The Marble Faun (1860), were set in distant countries. Remote though they were at times from what Hawthorne called “the light of common day,” they showed deep psychological insight and probed into complex ethical problems.
Another great American fiction writer, for a time a neighbour and associate of Hawthorne, was Herman Melville. After relatively little schooling, Melville went to sea; a whaling ship, as he put it, was his “Yale College and his Harvard.” His first books were fiction in the guise of factual writing based upon experiences as a sailor—Typee (1846) and Omoo (1847); so were such later works as Redburn (1849) and White-Jacket (1850). Between 1846 and 1851, however, Melville’s reading in philosophy and literary classics, as well as in Hawthorne’s allegorical and symbolic writings, gave him new interests and aims. The first sign of this interest was Mardi (1849), an uneven and disjointed transitional book that used allegory after the model of Rabelais to comment upon ideas afloat in the period—about nations, politics, institutions, literature, and religion. The new techniques came to fruition in Moby Dick; or, The Whale (1851), a richly symbolic work, complex but brilliantly integrated. Only in short stories, Benito Cereno—a masterpiece of its genre—and others, in the psychological novel Pierre (1852), and in the novelette Billy Budd (written 1890?) was Melville later to show sporadic flashes of the genius that created Moby Dick.

An ardent singer of the praise of Manhattan, Walt Whitman saw less of the dark side of life than Melville did. He was a believer in Jacksonian democracy, in the splendour of the common man. Inspired by the Romantic concept of a poet as prophet and also by the Transcendental philosophy of Emerson, Whitman in 1855 published the first edition of Leaves of Grass. As years passed, nine revised and expanded editions of this work were published. This autobiography in verse was intended to show the ideas, beliefs, emotions, and experiences of the common man in a great period of American individualism. Whitman had a hard time winning a following because he was frank and unconventional in his Transcendental thinking, because he used free verse rather than rhymed or regularly metred verse, and because his poems were not conventionally organized. Nevertheless, he steadily gained the approval of critics and in time came to be recognized as one of the great poets of America.