Nathaniel Hawthorne | Dr Heideggers Experiment

Nathaniel Hawthorne | Dr Heideggers Experiment Dr. Heideggers Experiment is a short story written by Nathaniel Hawthorne in the 19th century. Dr. Heideggers Experiment is about a doctor who claims to have water from the fountain of youth. He then he invites his friends over and conducts an experiment on them. He uses the water from the fountain of youth and makes them young again, but they break the vase holding the water and it wears off. Nathaniel Hawthorne is an American novelist and writer. He is known for his allegorical tales and excellent usage of literary devices. In Dr. Heideggers Experiment, Hawthorne uses symbolism, allegory and characterization to describe how people dont learn from their mistakes. Hawthorne uses the characterization of Dr. Heidegger to describe how people dont learn from their mistakes. Right before Dr. Heidegger lets his friends drink the water from the fountain of youth he says, Before you drink, my respectable old friends, said he, it would be well that, with the experience of a lifetime to direct you, you should draw up a few general rules for your guidance, in passing a second time through the perils of youth. Think what a sin and shame it would be, if, with your peculiar advantages, you should not become patterns of virtue and wisdom to all the young people of the age!' (Holt 231). Dr. Heidegger is characterized as uninterested in the how growing young again happens, or how the water from the fountain works. It is also revealed that Dr. Heidegger is wise, and is seeking answers about peoples behaviour and the folly of man. Dr. Heidegger has the intention of testing whether if given the opportunity, will people change their ways and learn from their mista kes. After the vase holding the water from the fountain breaks, Dr. Heidegger says, Yes, friends, ye are old again, said Dr. Heidegger, and lo! the Water of Youth is all lavished on the ground. WellI bemoan it not; for if the fountain gushed at my very doorstep, I would not stoop to bathe my lips in itno, though its delirium were for years instead of moments. Such is the lesson ye have taught me!' (235). It is revealed that Dr. Heidegger is curious about whether one will learn from his/her mistakes of the past. Dr. Heideggers experiments hypothesis that people dont learn from their mistakes was proven to be accurate. For my own part, having had much trouble in growing old, Im in no hurry to grow young again (231). Dr. Heidegger is characterized as one who values age and experience which he understands gives him wisdom. He remembers the mistakes he made in the past and learns from it. Hawthorne wrote Dr. Heideggers Experiment as allegory, where the four friends taking part in the experiment stand for mistakes and flaws which they dont change, to describe how people dont learn from their mistakes. As Hawthorne introduces the characters at the beginning of the short story he writes, Mr. Medbourne, in the vigor of his age, had been a prosperous merchant, but had lost his all by a frantic speculation, and was now little better than a mendicant (228). Mr. Medbourne stands for greed. He lost money making bad business decisions in the past. After the four friends transformed into their younger selves, Hawthorne writes, Mr. Medbourne was involved in a calculation of dollars and cents, with which was strangely intermingled a project for supplying the East Indies with ice, by harnessing a team of whales to the polar icebergs (233). Mr. Medbourne made the same foolish greedy business ventures again when he transformed. He has not learned from his mistakes. As Hawthorne intro duces the characters at the beginning of the short story he writes, Colonel Killigrew had wasted his best years, and his health and substance, in the pursuit of sinful pleasures, which had given birth to a brood of pains, such as the gout, and divers other torments of soul and body (228). He also describes Colonel Killgrew later in the story, Colonel Killigrews compliments were not always measured by sober truth (232). Colonel Killigrew stands for dishonesty and sin. He was a liar and pursued sinful pleasures, such as drinking and lusting. After the four friends transformed into their younger selves, Hawthorne writes, Colonel Killigrew all this time had been trolling forth a jolly bottle song, and ringing his glass in symphony with the chorus, while his eyes wandered toward the buxom figure of the Widow Wycherly (233). Colonel Killigrew is once again lusting and drinking excessively when he transformed. He is repeating the mistakes he made in the past. As Hawthorne introduces the ch aracters at the beginning of the short story he writes, Mr. Gascoigne was a ruined politician, a man of evil fame, or at least had been so till time had buried him from the knowledge of the present generation, and made him obscure instead of infamous (228). Mr. Gascoigne stands for stagnation. He failed as politician due to the lack of new ideas. After the four friends transformed into their younger selves, Hawthorne writes, Mr. Gascoignes mind seemed to run on political topics, but whether relating to the past, present, or future, could not easily be determined, since the same ideas and phrases have been in vogue these fifty years (233). His mind ran on the same ideas and topics just as he did in the past. He didnt learn from his mistakes and change. As Hawthorne introduces the characters at the beginning of the short story he writes, As for the Widow Wycherly, tradition tells us that she was a great beauty in her day; but, for a long while past, she had lived in deep seclusion, on account of certain scandalous stories which had prejudiced the gentry of the town against her (228). Widow Wycherly stands for vanity and promiscuity. She was very beautiful and did many scandalous things which forced her to go into hiding. After the four friends transformed into their younger selves, Hawthorne writes, As for the Widow Wycherly, she stood before the mirror courtesying and simpering to her own image, and greeting it as the friend whom she loved better than all the world beside. She thrust her face close to the glass, to see whether some long-remembered wrinkle or crows foot had indeed vanished. She examined whether the snow had so entirely melted from her hair that the venerable cap could be safely thrown aside (233). Hawthorne also writes, Doctor, you dear old soul, cried she, gets up and dance with me!' (234). Widow Wycherly is repeating her obsession with looks and vanity. She is also not changing her old promiscuous ways. She doesnt learn from her mistakes. When introducing the characters, Hawthorne also writes, It is a circumstance worth mentioning that each of these three old gentlemen, Mr. Medbourne, Colonel Killigrew, and Mr. Gascoigne, were early lovers of the Widow Wycherly, and had once been on the point of cutting each others throats for her sake (228). The three men used to fight over Wycherly. This conflict between the characters stands for hate. After the transformation, Hawthorne also writes, Dance with me, Clara! cried Colonel Killigrew. No, no, I will be her partner! shouted Mr. Gascoigne. She promised me her hand, fifty years ago! exclaimed Mr. Medbourne. They all gathered round her. One caught both her hands in his passionate grasp another threw his arm about her waistthe third buried his hand among the glossy curls that clustered beneath the widows cap. Blushing, panting, struggling, chiding, laughing, her warm breath fanning each of their faces by turns, she strove to disengage herself, yet still remained in their triple embrace (234). The four of them repeated what happened in the past and the men started fighting over Wycherly again. They all again didnt learn from their mistakes. Hawthorne uses symbolism of items belonging to Dr. Heidegger to describe how people dont learn from their mistakes. When describing Dr. Heideggers study, it says, Between two of the bookcases hung a looking-glass, presenting its high and dusty plate within a tarnished gilt frame. Among many wonderful stories related of this mirror, it was fabled that the spirits of all the doctors deceased patients dwelt within its verge, and would stare him in the face whenever he looked thitherward (229). The mirror symbolizes Dr. Heideggers failures as a doctor. The mirror reminds him of those failures and he learns from them. After the transformation and when they are fighting over Wycherly, it says, Never was there a lovelier picture of youthful rivalship, with bewitching beauty as the prize. Yet by some strange deception, owning to the duskiness of the chamber, and the antique dresses which they still wore, the tall mirror is said to have reflected the figures of three, old, gray, withered gran d-sires, ridiculously contending for the skinny ugliness of a shrivelled grand-dam (234). The mirror reveals that they are making the same mistakes as they did in the past and how foolish they are. The mirror symbolizes their repetition of those mistakes. When first introducing the experiment Dr Hiedegger says, This rose, said Dr. Heidegger, with a sigh, this same withered and crumbling flower, blossomed five and fifty years ago. It was given me by Sylvia Ward, whose portrait hangs yonder; and I meant to wear it in my bosom at our wedding. Five and fifty years it has been treasured between the leaves of this old volume. Now, would you deem it possible that this rose of half a century could ever bloom again?' (230). Dr. Heidegger kept this rose as a reminder of his mistakes in his relationship with his dead wife. It symbolizes Dr. Heideggers learned lessons of the past. Also in the description of Dr. Heideggers study, it says, In the obscurest corner of the room stood a tall and narr ow oaken closet, with its door ajar, within which doubtfully appeared a skeleton (229).The skeleton symbolizes peoples refusal to learn from their mistakes and as a result being internally dead. The skeleton being kept in the closet reveals that Dr. Heidegger has past horrible mistakes that he now learns from. The usage of the literary devices characterization, allegory and symbolism by Hawthorne excellently reveals the theme of the story, which is that people dont learn from their mistakes. Hawthorne characterizes Dr. Heidegger as wise and seeking answers about peoples behavior. Dr. Heideggers real intention of the experiment was to find out whether his friends will learn from their mistakes. Dr. Heideggers Experiment is written as an allegory. The four friends taking part in the experiment stand for the mistakes of the past which stay unchanged. Mr. Medbourne represents greed, Colonel Killigrew represents dishonesty and sin, Mr. Gascoigne represents stagnation, and Widow Wycherly represents vanity and promiscuity. The three mens conflict over Widow Wycherly represents hate. Items owned by Dr. Heidegger symbolize different aspects of learning from mistakes. The mirror represents Dr. Heideggers mistakes as a doctor and the repetition of mistake. The rose symbolizes Dr. Heideggers learned l essons of the past. The skeleton symbolizes Dr. Heideggers mistakes and also people not learning from their mistakes. Siddhartha: Book Analysis Siddhartha: Book Analysis One utilizes a potters wheel to mold and shape a piece of clay. As the wheel continues to spin, the clay transforms into a beautiful shape of art. This tool, however exists as more than just a mechanism for sculpting clay. The potters wheel stands as a profound metaphor for the circle of life. Herman Hesses prolific novel, Siddhartha, illustrates this metaphor through the examination of its protagonists life. In Siddharthas spiritual journey, his potters wheel initially spins, then slows down almost to the point of a standstill, and, with the help of that delay, sets into motion again. Just as the wheel physically sculpts clay into beautiful art, it metaphorically sculpts Siddharthas life into enlightenment. Siddharthas potters wheel spins from the very beginning of the story. Even his name exemplifies this metaphor, for it translates into the journey of life. (Lachotta) As the son of a Brahmin, Siddhartha feels unsatisfied with his transitory existence. (Hesse) He constantly thirsts for spiritual knowledge. In an effort to obtain this knowledge, he pumps the pedal of his potters wheel, and leaves his family behind to live a life of asceticism. On his spiritual journey, he encounters the samanas and Gotama, but cannot accept their teachings. He believes that true peace cannot be taught; he must experience it for himself. He expresses this belief in his conversation with the exalted Buddha, stating that for myself alone must I judge, must I choose, must I decline. (Hesse) In essence, he believes that he exists as the only potter in control of his wheel. He realizes that only he can cultivate his clay of life. As his journey continues into the city, his eyes become transfixed on an entirel y different existence Kamalas love. Although he previously denies all teachers, he allows Kamala and Kamaswami to teach him the arts of love and trade. This sets the new motion within his potters wheel, and ultimately, the new motion within his circle of life. As Siddhartha adapts to this new life of prosperity, he remains the samana within his heart. He continues to practice his own arts of thinking, fasting, and waiting, and feels indifferent to business affairs. (Hesse) However, as he plunges further into the world of the child people, his wheel begins to slow. The game of samsara begins to occupy his thoughts as much as the gods and Brahmin once [occupy] them. As Siddhartha makes love to Kamala, he slowly becomes seized by the spiritual malaise of the rich. (Hesse) The potters wheel within in his soul encompasses the wheel of asceticism, the wheel of thinking, [and] the wheel of determination. These wheels continue to whirl. However, they now spin slowly and hesitantly, and nearly [come] to a standstill. A slower speed in a potters wheel prompts errors in the clays structure. Similarly, this speed endangers Siddharthas self. Once the wheel reaches a standstill, it contains the potential to permanently engulf its creation. Siddhartha no tices this gradual transformation within his self, but becomes paralyzed to act against it. He lives as the hollow men do in the twilight kingdom. (Eliot) No longer a man of spirituality, he becomes a prisoner to gambling, wine, and dancing girls; he exists as the bird in the golden cage. In a symbolic dream, Siddhartha sees that the bird in the golden cage lies dead. This prompts him to head to the river, where his wheel sets into another motion. Upon his arrival to the river, Siddhartha stands hesitantly by the shore. The bird in his heart feels dead, and thus, his potters wheel feels at a standstill. He spits at his reflection, and then plunges into the water, where he sinks down toward death. Then he hears a word from the remote precincts of his soul. The holy OM of perfect completion penetrates his being, and sets his wheel in motion again. Siddhartha feels reborn. He realizes that with his unity of suffering and prosperity, he achieves true understanding of the world; he achieves nirvana. Although the slowing of the wheel exists as potentially detrimental to the clay, it also exists as necessary for a beautiful masterpiece. Paralleling the unity of both worlds, a potter must spin the wheel both fast to make the clay taller, and slow to center it. (Devries) Thus, Siddhartha molds his clay into enlightenment. Also, just as Siddhartha went through many smaller cycles to achieve his goals, the potters wheel spins in smaller cycles as it cultivates the clay. Siddhartha realizes these many cycles of life when he tells Govinda that the wheel of forms turns quickly. Furthermore, the river guides Siddhartha through his entire journey, just as the potter must continuously wet the clay as he guides its final shape. Water, therefore, exists as the sustenance for the potters wheel, in both physical and metaphorical terms. Siddharthas wheel sets into motion again, and ultimately, he completes his circle of life. Overall, Siddharthas spiritual journey parallels that of a potters wheel. Hesse creates this metaphor as the circle of life, and intricately weaves it throughout his entire novel. Siddharthas wheel initially spins, slows down almost to a standstill, and, with the help of that delay, sets into motion again. A potter must meet both motions in order to obtain a deeper and more beautiful creation. Otherwise, the creation exists as nothing more than a shadow, just as Siddhartha before he obtains his unity. In the end, Siddharthas circle of life results in an enlightened self. With his potters wheel, he creates something beautiful.