Both Elisa Allen and Goodman Brown suggest that sexual tension might be at the root of their conflict. Allen arguably deals with her pain more constructively than Brown does. Brown becomes bitter as a result of the conflict he perceives in his heart. Moreover, Brown fails to ground himself in reality. Questioning whether or not the forest vision was real, Brown neglects to contemplate its value even as a dream.

The various places he stops represent certain alternative futures, and the brothel promises one of pleasure. His ability to resist it -- whether through morality or lack of money -- and continue on his journey is indicative of the revolutionary spirit. The fact that he keeps moving, and keeps searching in new places, matched the movement of the revolution and indeed of the country since then as it goes

1) The fact that the girls are in bathing suits in a supermarket highlights their sexuality. Perhaps the most compelling definition of setting is provided, not by any literary theorist who might opine on the subject, but by Updike through the mouth of Sammy, "it's one thing to have a girl in a bathing suit down on the beach, where what with the glare nobody can look at each other

Chrysanthemums and Young Goodman Brown Nathaniel Hawthorne's 1835 short story "Young Goodman Brown" and John Steinbeck's 1938 short story "The Chrysantemums" both deal with female purity and with how it can be easily tainted by temptation. Faith, the protagonist's wife in "Young Goodman Brown" is initially shown advising the main character against performing immoralities. Similarly, Elisa, the central character in "The Chrysantemums," is presented in the first part of the story

American Lit Definition of Modernism and Three Examples Indeed, creating a true and solid definition of modernism is exceptionally difficult, and even most of the more scholarly critical accounts of the so-called modernist movement tend to divide the category into more or less two different movements, being what is known as "high modernism," which reflected the erudition and scholarly experimentalism of Eliot, Joyce, and Pound, and the so-called "low modernism" of later

Cask of Amontillado, Edgar Allan Poe uses vivid dialogue to give his characters life. He begins his tale by speaking directly to the reader. He pulls the reader in by saying that "You, who so well know the nature of my soul, will not suppose, however, that I gave utterance to a threat" (Poe, 191). The reader knows that the main character is speaking to him. And the reader understands