I am writing a thesis statement for my essay on the Scarlet Letter. I need to know if it is OK. It is about the theme of guilt. The characters in the Scarlet Letter deal with their guilt in different ways. The Scarlet letter demonstrates through Dimmesdale's death, the damaging potential of...
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The letter was written over several days, which shows his dedication to their relationship; very few men would write that much, or with such candidness to anybody.
IT is the opinion of some very judicious writers, that the Gothic, or Eastern style, is only fit for large buildings, where it can be carried out in full perfection. But I doubt the correctness of this idea. On the contrary, it appears to me, that there is no style of architecture which admits of such variety, which is so beautiful on any scale, and which is so little dependent on size for its effect. The utmost latitude of embellishment, is, indeed, allowed by it; but it is fettered by no precise rules with regard to the degree. And although the kind of ornament and finish is fixed by examples, from which no man of judgment or good taste would venture to depart; yet the distinctive characters of the style may be preserved in union with the utmost simplicity. The general proportion, securing a due height in all its dimensions--buttresses, producing strong perpendicular lines of light and shade, and terminating in pinnacles--battlements, breaking the horizontal line, where it is next the sky--pointed arches, enclosing at least two subdivisions in the windows; and both windows and doors retreating from the outside of the walls, so as to furnish strong shadows, and increase the solemnity of the effect--these seem to present the prominent external features of the style, and may be preserved in connexion with the highest ornament, or with none at all, just as circumstances may require. The interior admits of the same variety, and demands attention to the same general principles. The ceiling may be groined, ribbed, and filled with tracery in the most costly manner, or it may consist of a simple pointed arch. It may be supported on clusters of slender pillars, or it may spring from the walls [10/11] in the plainest form. But its terminating line should never be horizontal. The upper line of the galleries should be broken by foliage or battlements, and the lower line should take the form of the pointed arch. All the panel work should give preponderance to the effect of the perpendicular line, and every termination which admits of it, should come to a point. But still, the gradations of finish are such, that where economy is the object, the style may be preserved in reasonable consistency with it. Proportions and forms must be marked, but ornament, in which the expense is chiefly involved, is arbitrary; and may be added afterwards, when the circumstances of those concerned shall allow.
But if we suppose that such was the mode in which the Gothic style was introduced into Europe, a difficulty occurs in the name by which it has become generally known; for why should it be termed if its origin was in Palestine? In answer to this, it may be sufficient to state that this name is commonly agreed to be the product of the dislike entertained against it by the architects of the sixteenth century, who, being desirous to establish the Italian style, in their devotion to the works of Vitruvius and Palladio, called the eastern style , in order to express their opinion of its comparative barbarism. ['A pedantic affectation of Italian taste' says Pugin, (1. vol. p. 10) had branded the pointed arch and all the buildings constructed on its principles, with the opprobrious term , an epithet inconsiderately applied, merely as designating something barbarous and devoid of regular design.] All late writers seem to admit that this name is every way objectionable; and many other appellations have been suggested as more appropriate. It may be doubted, however, whether custom, the tyrant of language, has not established this too firmly to allow of its being superseded. But if another term could be generally agreed on, perhaps the Eastern style, or the Ecclesiastical style, would be preferable to most of the phrases recommended by writers on the subject.
THE Gothic style of architecture has long possessed a high rank in the estimate of ecclesiastical taste, and has drawn forth no small share of, erudition in the various attempts made by European writers, to trace its derivation. Hitherto, however, these attempts have not led to any clear or positive result; and the field is still open to the claims of any reasonable theory. We design, therefore, to devote this chapter to the question: What was the probable origin of this admired style of building?
THERE is no fault more common, and none more opposed by every principle of good taste, than the having too many windows in Churches. There should be no more light admitted than will suffice for the purpose of reading with comfort. More than this increases the expense, exposes to cold, and, above all,--so far as the eye is concerned,--destroys solemnity, and is unfriendly to devotion. Thus H. Wotton, in his elements of architecture, p. 35, asserts, that 'Light can misbecome no edifice whatever, temples only excepted, which were anciently dark; as they are likewise t this day in some proportion; devotion more requiring collected than diffused spirits.' And Sir Thomas More, describing the temples of his Utopia, says that they were somewhat obscure; not on account of the unskilfulness of the architects, but by the choice of the priesthood: because immoderate light scatters the thoughts.' ['Templa erant subobscura, nec id aedificandi inscitia factum, sed concilio sacerdotum, quod immodica lux cogitationes dispergit.']
Part of that complexity comes from ever-so-slight hint of wryness or skepticism that he can't help using. He notes that the founders had "originally" wanted to found a "Utopia"—a perfect place—but, nevertheless, two of the very first sites they build are a cemetery and a prison. We get the sense that the narrator is poking just a little bit of fun at the lofty, idealistic goals of the Puritan founders—and suggesting that even they didn't fully believe it.
E. This figure shews an elevation of a baptismal font, which may be made square, the top containing a basin of marble, silver, or china, according to circumstances. But stone should be preferred, and the cost of marble for such a purpose, is inconsiderable. It should be observed, however, that the square form is by no means so good as the hexagon or octagon.