Maypole of Merrymount a Failed Attempt to Escape English...

Nathaniel Hawthorne’s â€Å"Maypole of Merry Mount† still seems to follow the traditions and conventions of English Romanticism, despite having an American concept as its subject, in its use of several Romantic themes and figures. First among these themes is that of revelry and carelessness, as the Lord of May emphasizes: O, Edith, this is out golden time! Tarnish it not by any pensive shadow of mind; for it may be that nothing of futurity will be brighter than the mere remembrance of now passing. (Hawthorne, 1147) Another theme emphasized in the story is emotion, exhibited by the Lord and Lady of May. Reminiscent of many English Romantic poems, the idea of â€Å"love conquers all† is reflected on the thoughts, decisions and actions the†¦show more content†¦Such incorporation is also reminiscent of English Romanticism, especially ones that highlight fear as well as passion. Several Romantic works, such as Samuel Taylor Coleridge’s â€Å"Lamia† and John Keats’ â€Å"La Belle Dame Sans Merci†, exhibit this. This, in turn, draws its roots from continental European Romanticism. But what was the wild throng that stood hand in hand about the Maypole? It could not be that the fauns and nymphs, when driven from their classic homes of ancient fable, had sought refuge, as all the persecuted did, in the fresh woods of the West. These were Gothic monsters, though perhaps of Grecian ancestry. (Hawthorne, 1145) This is further reinforced by Hawthorne’s emphasis on fear by using it as a theme on the story’s climax. In the story’s penultimate scene, where the revelry ends, Hawthorne establishes a gloomy and fearful ambiance. Yes, with the setting sun, the last day of mirth had passed from Merry Mount. The ring of gay masquers was disordered and broken; the stag lowered his antlers in dismay; the wolf grew weaker than a lamb; the bells of the morris-dancers tinkled with tremulous affright. (Hawthorne, 1149) This emphasis to various emotions, almost blurring the intellectual aspect of the text, is another characteristic of Romantic literature, not only of England, but of continental Europe as well. The whole text, instead of just