Heat And Mechanical Work In Engine. . . Victor.F. Mavika.

Heat and Mechanical work in Engine Victor.F. Mavika Dr. Elena Gregg Thermodynamics EGR 231 Introduction The first law of thermodynamics is a state for principle of conservation of energy. In most cases, any process that does not obey it never happens. However, there different processes that do not violet it but never occur in nature. First law of thermodynamics fails to answer some important questions. i. It is known that first law cannot indicate direction of heat transfer. Heat flows from hot body to a cold body and never the reverse. If the reverse process occurs energy would still be conserved, yet first law does not explain this phenomenon. ii. First law does not tell why heat energy cannot be converted†¦show more content†¦A simple engine consists of a cylinder containing gas which is fitted with frictionless movable piston. Since heat engine operates in cycle (Returns to original state after series of processes) there is always work done which also implies continuous conversion of heat into work. To understand the way heat engine works one need to understand the whole idea of Carnot cycle. Carnot Cycle. The cycle was first discussed by French scientist in 1824. His work explains that work could only be done when heat flowed from higher temperature to a lower one. He proposed ideal engine that operates cyclically and reversibly. This is the practical arrangement to convert heat into mechanical work. Sade Carnot designed this ideal engine free from imperfectness of the actual heat engines. Carnot engine consists of the cylinder, sink, working substance and insulating pad. Cylinder is the main part of the Carnot engine with insulating walls and the conducting base; it is fitted with frictionless piston which increases the efficiency of the engine. Source is the hot body maintained at a very high temperature with infinite thermal capacity meaning any amount of heat can be taken out without changing temperature of the source. Sink is the opposite of the source. It is he body at a very low temperature which also has infinite thermal capacity. Working substance in the cylinder is normally ideal gas that absorbs heat from the source, as heat is absorbed

Psycho by Alfred Hitchcock Free Essays

Hitchcock and Dualism in Psycho The characters in Alfred Hitchcock’s Psycho (1960) each have a dual nature that is masterfully portrayed through character development and use of mirrors throughout the film. The very first shot in Psycho is zooming in from an open view of the city where it is a bright and sunny day. As the shot zooms in further and further it comes into a dark and shaded room that shows Marion Crane (Janet Leigh) and Sam Loomis (John Gavin) having an affair in a undisclosed hotel. We will write a custom essay sample on Psycho by Alfred Hitchcock or any similar topic only for you Order Now This is dualistic image is just one example of many that Hitchcock has placed in this film. Marion Crane is the first main character that is focused upon for the first half of Psycho. â€Å"All that Marion Wants, after all, are the humble treasures of love, marriage, home, and family. † (Brill 227) [up and down] This is the reason why Marion steals the money in the first place. The money is her first real chance at escaping the life of meeting at cheap hotels in secret. The opening scene shows the lack of money and personal isolation that Marion has while making love in secrecy in a hotel that â€Å"aren’t interested in you when you come in, but when your time is up. Marion is desperate for any type of companionship with Sam even claiming she would happily live in the spare room at his work. The progress of Marion in Psycho is followed very closely by her appearance and her apparel. â€Å"†¦the bag is a transgressive agent associated with stealing, escape, and independence. † (Gottlieb, Brookhouse 151) [Sarah Street 151] Before any crime was ever committed, Marion wore a white bag that matched her underwear and her clothing. After the money was taken, she made a choice to place the envelope of money in her black bag, rather than her suitcase which would completely hide the money. Along with the change in bags, Marion also changes her underwear to black, and her outer clothes to dark colors as well. Marion’s death is very symbolic and dualistic in a multitude of ways. â€Å"The fact that Marion is nonetheless murdered after her self-realization suggests that neither she nor the society that produced her is recuperable† (Gottlieb, Brookhouse 362) [Christopher Sharrett 362] Once Marion had made that fatal mistake to become a criminal, she was destined to die as a criminal, with no chance of salvation. This is very dualistic of the ending of the frontier, which was right around the time Psycho was produced. the movement of the film is steadily downward and inward, away from the feeling of daylight, abundance, and expanse to a nightmarish claustrophobia that exteriorizes the unconscious mind. † (Gottlieb, Brookhouse 362) [Christopher Sharrett 362] The image of the West being a gigantic open expanse was coming to an end and Hitchcock showed that the frontier was finished and there was no chance of it coming back. Hitchcock places a large amount of dualism between the characters of Marion, Sam, Norman Bates (Anthony Perkins), and Lila Crane (Vera Miles). The first couple, Sam and Marion, engenders the second, Norman and Marion: Norman has thus taken the place of Sam. Yet he has actually, diegetically speaking, taken the place of Marion, given the mirror dialectic between the sexes and their psychic structurations. † (Deutalbaum, Poague 357) [Bellour 357] The couple of Marion and Sam never got a chance to be married, but as the film goes through the second half, it is Sam and Lila that are â€Å"married† as they go to the motel. Lila doubles as her lost sister as the heroine of the film, following nearly the same actions as Marion. The look on Lila’s face as she finds the mummy is identical to that of Marion’s in the shower Hitchcock uses mirrors quite a bit in Psycho to really help express dualism in this film. â€Å"†¦ depthless images in mirrors that are used systematically throughout Psycho to prefigure the shattering of its characters’ personal coherence. † (Brill 227) [up and down] Brill states how Hitchcock uses mirrors to match up the different characters and to show that there is a lot more depth than what the viewer my first think. Through use of mirrors, Hitchcock brings a much deeper meaning to certain scenes with different characters than would otherwise be without mirrors. One of the most crucial uses of mirrors in Psycho is when Marion is at the car dealership. â€Å"When she takes the damning step of spending some of the money, she is radically bisected by a down word looking shot and a mirror in the washroom where she takes the cash from her purse. † (Brill 227) The image in this scene is extremely important to the dual nature of Marion. At this point, she passes the point of no return and is cut in half by the mirror. The half image of Marion shows that she has split herself in two, good and evil, and the evil side is the one that has taken over. The second half of Psycho, in which Marion is dead, shows the dualism between Marion and the other characters. When Detective Milton Arbogast (Martin Balsam) first interrogates Norman, his back is to the mirror in the parlor, almost identical to that of Marion when she first entered the motel. Sam appears more than once in the same mirrors while uestioning Norman. When Lila is searching the house for Ms. Bates she comes upon the double mirrors in her bedroom. â€Å"This moment constitutes Hitchcock’s most explicit suggestion that his characters are experiencing-and we are watching- not something weirdly outside ordinary experience, but the expression of a potential for personal distortion and violence that is the other side, the mirror image, of human normality† (Brill 227) This moment is key for Hitchcock because he shows the viewers that something like this could actually happen. There are people in the world that are not mentally stable and that do the type of things that Norman Bates does. Hitchcock also shows a large amount of dualism between the characters in Psycho and birds. â€Å"†¦a complex analogy between bird and human that exists in Psycho and is announced in the opening sequence of the film. Over the bird’s-eye view of a city [†¦] evoke the point of view of a bird who glides down, alights on the window ledge, and slips into the room. (Gottlieb, Brookhouse 295) [Richard Allen] Another sense of duality is present in the last names of Marion Crane and Sam Loomis, both different types of birds and both can be seen as a pair of love-birds. The duality in with birds in Psycho becomes extremely apparent with Norman Bates. When Norman is talking to Marion, he tells her: â€Å"My hobby is stuffing things. You know, taxidermy. I guess I’d just rather stuff birds because I hate the look of beasts when they’re stuffed. You kno w, foxes and chimps. Some people even stuff dogs and cats but, oh, I can’t do that. I think only birds look well stuffed, well, because they’re kind of passive to begin with. Norman’s claim that birds are passive to begin with, is a reference to the habits of birds and is implied to being a habit of women as well. His obsession with stuffing birds culminated in the creation of his prized â€Å"stuffed bird†, the mummy of his mother. â€Å"This ‘stuffed bird’ was created by the act of ‘stuffing a bird’ in the sense that combines both a sexual act- the implied incest between Norman and his mother- and the act of killing. The monstrous figure of Norman’s mummy is condemned endlessly to repeat this act. † (Gottlieb, Brookhouse 296) [Richard Allen] Marion is the first victim of this sexual and murderous bird that swoops down from the house and attacks her. The knife can be seen as a form of â€Å"pecking† that is used to kill her. After being â€Å"pecked† Marion Crane eventually ends up slumped over, very dualistic to that of a bird with a broken neck staring blankly upward. The stare of death that remains on Marion’s face is a mirror image of the birds that hang in the parlor of the motel, permanently stuck staring out from death. The angles of the shots when Marion and Arbogast are being murdered are from a very high up view to symbolize even further to create a duality between Norman’s mother and a bird. â€Å"Hitchcock’s camera, initially indentified with the love-bird, now comes to occupy the gaze of the death-bird in a series of high-angled shots that accompany the murder of Marion [†¦] swoops down to murder Arbogast on the landing of the gothic staircase. † (Gottlieb, Brookhouse 296) [Richard Allen] Both murders relate to a frenzied bird swooping down from high above and attacking its prey with its vicious beak. How to cite Psycho by Alfred Hitchcock, Essay examples

Breaking Through The Foul And Ugly Mists Chiasmus In I Henry Iv Essay Example For Students

Breaking Through The Foul And Ugly Mists: Chiasmus In I Henry Iv Essay Breaking through the foul and ugly mists:Chiasmus in I Henry IVIn Shakespeares historic play King Henry the Fourth, Part One, the ingenious playwright uses an interesting and powerful method of presenting the honorable by introducing that character at the rock bottom of his potential and, as Hal puts it, breaking through the foul and ugly mists/ Of vapors that did seem to strangle him (I.ii, 155-6). Chiasmus, in Shakespeares plays, is the inversion of two characters reputation and personality traits. In I Henry IV this technique can be seen in the shifting of the readers perception of Harry Percy, more vividly known as Hotspur, and Hal, the Prince of Wales. Hotspur and Hal start out on two utterly opposite ends of the spectrum of honor and nobility. As the play progresses, we can witness Hals transcendence, turning point, and rise to the peak of his potential. We also are shown Hotspurs gradual dive to shame (and ultimately death) as he loses his temperance and patience, and is consu med by confidence and greed. The literary effect of chiasmus terminates with, once again, the characters on opposite ends of the spectrum, but somewhere along the shift, they cross paths and the original hierarchy is inverted. At the beginning of the play, Prince Hal starts out on the lower half of the hierarchy. He spends the majority of his time in the tavern, drinking away the money that he earns by robbing travelers during the night. He is introduced to the readers as immature, irresponsible, and ignorant to his destiny and potential. But Shakespeare doesnt let his readers see Hal this way for long: in I.ii, Hals intention of transcendence to princedom is evident in his revealing soliloquy:Yet herein will I imitate the sun,Who doth permit the base contagious cloudsTo smother up his beauty from the world,That when he please again to be himself,Being wanted he may be more wondered atBy breaking through the foul and ugly mistsOf vapors that did seem to strangle him. (150-6)Though Hal seems ignorant of his destiny and importance in the court, Shakespeare allows us to see that he intends to rise to his full potential. From this point on, Hal begins ridiculing his friends, and realizes that they are contagio us clouds who smother up his beauty. Harry Percy, a.k.a. Hotspur (Shakespeare never ceases to amuse me with his witty nicknames and this one is certainly derived from the Prince of Darkness himself), is introduced to us as the courtier of Golden Mean. He is nearly everything a prince should be: he valiantly captures the prisoners King Henry desires (even though he will not give them over to the king), he is courageous, quick with words, and has a goal of honor. In I.iii, 201-8, he expresses how much importance he places on honor and how simple he thinks it is to obtain it:By heavens, methinks it were an easy leapTo pluck bright honor from the pale-faced moon,Or dive into the bottom of the deep,Where fathom line could never touch the ground,And pluck up drowned honor by the locks,So he that doth redeem her thence might wearWithout corrival all her dignities;But out upon this half-faced fellowship!But even within this speech one of his faults is uncovered. Towards the end of this tang ent he is shaming the practice of sharing glory and honor with others. This reflects his egotistical intentions and his preoccupation with the obtaining the title of honor. In this scene we also learn of Hotspurs other downfalls: his exponential anger, his lack of temperance, stubbornness, and ignorance. He doesnt know his own history, he disregards letters warning him, and he is totally consumed with the idea of victory and honor; he even battles in his sleep. .ubf13ae39ed0bb3ac537063ae59ae4b63 , .ubf13ae39ed0bb3ac537063ae59ae4b63 .postImageUrl , .ubf13ae39ed0bb3ac537063ae59ae4b63 .centered-text-area { min-height: 80px; position: relative; } .ubf13ae39ed0bb3ac537063ae59ae4b63 , .ubf13ae39ed0bb3ac537063ae59ae4b63:hover , .ubf13ae39ed0bb3ac537063ae59ae4b63:visited , .ubf13ae39ed0bb3ac537063ae59ae4b63:active { border:0!important; } .ubf13ae39ed0bb3ac537063ae59ae4b63 .clearfix:after { content: ""; display: table; clear: both; } .ubf13ae39ed0bb3ac537063ae59ae4b63 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ubf13ae39ed0bb3ac537063ae59ae4b63:active , .ubf13ae39ed0bb3ac537063ae59ae4b63:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ubf13ae39ed0bb3ac537063ae59ae4b63 .centered-text-area { width: 100%; position: relative ; } .ubf13ae39ed0bb3ac537063ae59ae4b63 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ubf13ae39ed0bb3ac537063ae59ae4b63 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ubf13ae39ed0bb3ac537063ae59ae4b63 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ubf13ae39ed0bb3ac537063ae59ae4b63:hover .ctaButton { background-color: #34495E!important; } .ubf13ae39ed0bb3ac537063ae59ae4b63 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ubf13ae39ed0bb3ac537063ae59ae4b63 .ubf13ae39ed0bb3ac537063ae59ae4b63-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ubf13ae39ed0bb3ac537063ae59ae4b63:after { content: ""; display: block; clear: both; } READ: Lessons of Life EssayScene II, act iv reflects Hals midway point. He has not yet risen to his full potential, but we know he intends to show his father that he is worthy of his title of the Prince of Wales. Hal and Falstaff put on a little play-within-a-play, in which Hal plays the part of his father, King Henry, and Falstaff acts as Prince Hal. King Henry (Hal) reprimands Prince Hal (Falstaff) for passing time in the tavern with Falstaff, that old white-bearded Satan (368-9). Prince Hal (Falstaff) pleads with the King not to banish Falstaff and Hals reply shows that he has the makings of nobility, whereas before they were absent. Falstaff: banish not thy Harrys company banish plump Jack, and banish all the world. Prince: I do, I will. (381-3)This passage is extremely compelling because it is so ambiguous. The line of Prince Hal (acting as King) is full of meaning, yet the meaning can be interpreted in a couple different ways, simply because of the roles that Falstaff and Hal are playing. We sense that Prince Hal means what he says in terms of his own banishment of Falstaff and the entire tavern realm because we already know of his intentions, but there is uncertainty due to the vagueness of his reply, and also the fact that he is not playing himself, he is acting as the king. Hal moves up another rung on the ladder to nobility when, in III.i, he persuades his father to trust him that he has changed. He states that he will kill Hotspur, much to King Henrys great pleasure, and he stuns his father with his economic, mercantilistic language, which Henry doesnt fully understand. This in the name of God I promise here,The which if He be pleased I shall perform,I do beseech Your Majesty may salveThe long-grown wounds of my intemperance. If not, the end of life cancels all bonds,And I will die a hundred thousand deathsEre break the smallest parcel of this vow. (153-9)After this statement of his intention and promise, it is clearly shown that the hierarchy in which Hal and Hotspur are arranged has flipped, and Prince Hal is the more honorable of the two. Throughout the play, we are shown increasingly more of Hotspurs negative traits, until it comes to the point that Shakespeares readers see him as more selfish and greedy than valiant and brave. In III.i, we are shown a Hotspur that behaves very selfishly when Mortimer deals out the land that Mortimer, Glendower, and Hotspur are to cover in their rebellion. And we also begin to see that all he can do is fight: in response to Glendowers claim of great academic and poetic accomplishments, Hotspur states that he would rather hear a dry wheel grate on the axletree (128) than mincing poetry. ?Tis like the forced gait of a shuffling nag (130-1). Hotspurs selfishness is displayed in its near entirety at the end of act V, scene iii, in his pre-battle speech, if we can give it so great a name. Previous to this speech, he has been very impatient and overconfident, anxious to get the battle rolling. This short statement before the battle sums up how low Hotspur has sunken on the hierarchy. Let each man do his best. And here draw IA sword, whose temper I intend to stainWith the best blood that I can meet withalIn the adventure of this perilous day. Now, Esperance! Percy! And set on. (92-6)He is fully engulfed in the thoughts of battle, but from what weve seen, he usually is. We have learned that the Harry Percy we met at the very beginning of the play is in no way who he proves to be. The real Harry Percy is selfish, overconfident, greedy, and seriously lacks control of his temper. We, as readers know that this hot-blooded character is going to be killed by Prince Hal himself. Now whos the valiant and courageous one? By the end of the play, the way Shakespeares readers see Prince Hal and Harry Percy have been completely switched. Hal, the former tavern dweller and robber has turned into the noble Prince of Wales, and deserves the title. He even respects the honor in his opponents (V.v, 30-31). Hal, Prince of Wales has earned the trust of his father by fulfilling his promise. In response and gratitude to Hals materialized promise, King Henry refers to his power as our power (V.v, 34). And where is the courtier of the Golden Mean ? Dead. And it certainly was not a noble death. Theres no better way to shame a person than to totally uproot their confidence. By the end of the play, Hotspur is not honorable, even in his own terms. Shakespeares use of chiasmus in I Henry IV lends a very interesting twist to the plot. And whats even more compelling is that within the play itself, Hal is using chiasmus as well when he intends to rise from his drunken, thieving status to the justified Prince of Wales. Shakespeares use of chiasmus works marvelously in persuading the reader to view Hal as honorable in the end. This should remind us all that we can always move up from where we currently are, and become all the more virtuous by doing so. .uf0ee551cafa5c787a766f10332a81084 , .uf0ee551cafa5c787a766f10332a81084 .postImageUrl , .uf0ee551cafa5c787a766f10332a81084 .centered-text-area { min-height: 80px; position: relative; } .uf0ee551cafa5c787a766f10332a81084 , .uf0ee551cafa5c787a766f10332a81084:hover , .uf0ee551cafa5c787a766f10332a81084:visited , .uf0ee551cafa5c787a766f10332a81084:active { border:0!important; } .uf0ee551cafa5c787a766f10332a81084 .clearfix:after { content: ""; display: table; clear: both; } .uf0ee551cafa5c787a766f10332a81084 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uf0ee551cafa5c787a766f10332a81084:active , .uf0ee551cafa5c787a766f10332a81084:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uf0ee551cafa5c787a766f10332a81084 .centered-text-area { width: 100%; position: relative ; } .uf0ee551cafa5c787a766f10332a81084 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uf0ee551cafa5c787a766f10332a81084 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uf0ee551cafa5c787a766f10332a81084 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uf0ee551cafa5c787a766f10332a81084:hover .ctaButton { background-color: #34495E!important; } .uf0ee551cafa5c787a766f10332a81084 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uf0ee551cafa5c787a766f10332a81084 .uf0ee551cafa5c787a766f10332a81084-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uf0ee551cafa5c787a766f10332a81084:after { content: ""; display: block; clear: both; } READ: Mother Teresa Essay PaperShakespeare Essays

The Scarlet Letter- An Analysis Of Symbolism free essay sample

Essay, Research Paper March 18,1994 The Scarlet Letter: An Analysis of Symbolism The Scarlet Letter by Nathaniel Hawthorne is by and large considered to be the first American symbolic novel. A symbol is something which is used to stand for something broader in significance. The most obvious symbol in the novel is the existent vermilion # 8220 ; A # 8221 ; which both the unfavorable judgment and I agree upon. This # 8220 ; A # 8221 ; is the actual symbol of the wickedness of criminal conversation. The missive A so appears in many different signifiers throughout the novel. The gold-embroidered A on Hester Prynne # 8217 ; s fascinates Pearl Prynne. It is magnified in the armour chest home base at Governor Bellingham # 8217 ; s sign of the zodiac which is so utmost that it seems to conceal and cover Hester. On the dark of Arthur Dimmesdale vigil, he sees a ruddy Angstrom in the sky. And eventually, the missive is revealed on Dimmsdale # 8217 ; s thorax in forepart of the whole small town. We will write a custom essay sample on The Scarlet Letter- An Analysis Of Symbolism or any similar topic specifically for you Do Not WasteYour Time HIRE WRITER Only 13.90 / page The A besides takes on many significances. It has the original significance every bit good as different significances to assorted characters. To Hester, the A means humiliation. The A to Dimmesdale is a reminder of his ain attrition. To Pearl, the A is distinctive feature and Roger Chillingworth sees the A as a journey for revenge. Other so adultery, the A can besides stand for # 8220 ; Angel # 8221 ; and # 8220 ; Able # 8221 ; . Angel, for it appears in the sky after Governor Winthrop # 8217 ; s decease. Able, for Hester has won the regard of the Puritans even if she has sinned awfully. Hawthorne uses the prison edifice to depict offense and penalty in contrast with the gravestone at the terminal of the novel. This statement suggests the offense and penalty will finally take to the decease of the criminal. One positive symbol is the rosebush outside the prison. I feel it represents a sweet individual hidden in the incasements of a dark prison, a true diamond in the rough. The symbol for Puritanism, harmonizing to one critic, is when Hawthorne uses the beadle. I can see how the Puritans are compared to minor parish functionaries in the Church of England by the manner the society follows their lead. The Puritan kids are taught to contemn Hester for her criminal conversation. In the Puritan regulation this is an severe wickedness, so they dominate the judicial side of her penalty. The Puritan universe and the natural universe are besides contrasted continuously throughout the novel. The remainder of the symbolism is showed through the scene and the characters. The scene influences the overall temper of the book, while the characters write the novel and do it what it is. The full ambiance is grey. The skies and vesture of the people of the town are ever dark. This darkness symbolizes con cealment and secrets. Darkness normally ever represents a universe of immorality. The brightness of the twenty-four hours, nevertheless, is the symbol of exposure, where everything is seen. As colour is brought in, felicity is added. The Sun is bright with joy and has a life free of guilt. Pearl, as she runs in the wood, obtains and absorbs this sunlight. The Sun is incapable of touching Hester because of her indiscretion on her chest. The scaffold is mentioned numerously throughout the novel for a significant ground. The scaffold is non merely a symbol of Puritan codification but becomes a symbol for a documentation of personal wickedness. It is the topographic point where Dimmesdale knows he must travel for retribution, the lone topographic point he can get away from Chillingworth # 8217 ; s bantam tether. The wood is a really symbolic topographic point. It can be interpreted in three different ways. The first manner is as an evil topographic point where psyche are signed off to the Satan. In add-on, the wood is a topographic point where darkness and somberness conquers. Finding a way to steer you through this wood is what Hester has been seeking to happen over her old ages. The wood besides is symbolic for it is a topographic point where Pearl can run and play and Hester can allow her hair down without society glowering upon them. The creek is a symbol in several ways. It is an unknown beginning and travels through obscureness. The creek babbles to Pearl giving a history of wretchedness. The creek so becomes a boundary of two universes when Pearl will non traverse it. The natural universe which is the side Pearl is on while the other side is the Puritan eyeball. Character symbolism is a typical manifestation of Hawthorne # 8217 ; s symbolism. The Church, State, and Witchcraft of the Puritan universe are represented by Reverend Mr. Wilson, Governor Billingham, and Mistress Hibbins which were, later, all associated with the scaffold, a Puritan wickedness base. Pearl # 8217 ; s call itself is symbolic because it is the allusion of great monetary value. In this instance, that monetary value is Hester # 8217 ; s repute and her standing in the community. Pearl is besides a self-contained symbol. The consequence of her parent # 8217 ; s wickedness is shown in her frequently imprudent remarks and unchecked behaviour. Each character in the fresh suffers from a wickedness which they try to oppress and deplore with goodness from their ain bosom. The Scarlet Letter is a book filled with symbolism. I feel the symbolism helps to associate a state of affairs to a place the reader knows about. The critic which I based this on feels that there is voluminous histories of symbolism, even excessively much. I must differ with this. Hawthorne # 8217 ; s The Scarlet Letter is an surprisingly written book for its clip with merely the right sum of powerful symbolism.