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Introduction
In essence, most novels, myths, fairy tales, or movies are similar in that they have specific adventures rife with various trials, obstacles, and conflicts the central heroes should endure to reach particular goals. In this regard, Joseph Campbell developed his universal template of stories, named the monomyth, or the Hero’s Journey, that contains twelve stages that generally fall under three acts: Departure, Initiation, and Return. Therefore, this paper aims at providing the analysis and comparison of two pieces of literature, namely, “Young Goodman Brown” by Nathaniel Hawthorne and “The Alchemist” by Paulo Coelho. Despite distinct underlying themes of these works, both main characters become involved in risky and mysterious ventures that have different outcomes herewith.
Comparison
According to Campbell’s monomyth, the first stage of the story is The Ordinary World where heroes lead their typical lives before the upcoming adventures. The first work contains scarce details about Goodman Brown’s previous life, only indicating that he has married his beloved wife Faith for three months. It is impossible to identify what Brown deals with, his features and character, but it can be assumed that he is a simple, average man. Concerning the Call To Adventure, Hawthorne also does not describe the circumstances or the clear reasons that urge the main Goodman to venture forth. The narration only specifies a mysterious errand in the forest, which should be completed by this night (Hawthorne 1). Simultaneously, “The Alchemist” sufficiently recounts the main hero named Santiago who enjoys the humble life of a shepherd and only desires to have a little wine and a book in his handbag. The Journey’s second element is explicitly revealed via a recurring weird dream where a child promises a hidden treasure in the Egyptian pyramids.
In both stories, the main heroes experience The Refusal of the Call because of various doubts. In “Young Goodman Brown,” despite his eagerness, the character begins feeling a surging fear as he approaches the woods. Moreover, Faith’s doubts and apprehensions amplify Brown’s anxiety and even make him stop and turn his face back. Nevertheless, he proceeds with his journey and meets an older fellow-traveler, a demonic figure, dressed similarly and resembling Brown (Hawthorne 2). This older man serves as a Mentor whose goal is to encourage and guide the central hero. Believing the traveler and following him, Goodman crosses The Threshold that separates The Special World from The Ordinary World and signifies Brown’s commitment to the adventure. In this respect, Zapf notes that “Young Goodman Brown” comprises many elements belonging to “Faust” by Goethe, including encountering a demonic force and its role in the journey (28).
In “The Alchemist,” the refusal is more related to Santiago’s habit and desire of living as a shepherd than to concrete frights. In contrast to “Young Goodman Brown,” this work does not have obvious mentors, but some personages direct and prompt Santiago his way, such as a Gypsy woman, Melchizedek, and Englishman. Crossing The Threshold begins when Santiago listens to Melchizedek’s advice, sells his sheep, and travels to Africa for his treasure. Kumari indicates that Santiago’s decision to embark on Egypt is a turning point, due to which he overcome his feeling of inferiority stipulated by his previous life (90). Santiago becomes resolute in pursuing his destiny, which is the main idea of a Personal Legend introduced by Melchizedek. It is worth also noting that while in “The Alchemist,” crossing The Threshold portends something joyful and fortune, in “Young Goodman Brown,” it bodes entirely otherwise.
It is evident that after intersecting a starting point, heroes are highly likely to face different tests, hardships, and allies. In the first story, Brown’s core trials are directly connected with his religious belief. In the forest, Brown first meets Goody Cloyse who taught him catechism when he was a boy. Goodman Brown is dazed to see her and lurks in the woods, but his impression becomes even more enhanced when Cloyse greets the traveler as the demon and titles him “my worship” (Hawthorne 4). Although this scene should undermine Brown’s Faith, he endures the test. Then, Brown encounters riders, namely, the minister and Deacon Gookin speaking about “deviltry” and a young woman planned to be inducted. His faith wavers when during praying, he observes a gloomy cloud and hears only ominous giggle and murmur from above, including Faith’s voices. These intense, soulful experiences can signify the stage named Approach to the Inmost Cave when the main hero struggles with his/her fears.
If in the first story, trials are more linked to abstract notions, that is, beliefs and feelings, in “The Alchemist,” tests have a tangible, material character. In particular, on his arrival to Africa, Santiago is soon robbed by a thief and abandoned without help. Because of this costly failure, the central character “approaches to the inmost cave,” reflecting on rejecting his dream and seeking enough money to return home. However, remembering Melchizedek’s words about personal destiny, he manages to surmount his despondency and then join a caravan heading to Egypt. Santiago also faces another tricky trial when he, accompanied by the Englishman, reaches the oasis and meets a gorgeous girl named Fatima (Coelho 39). He falls in love with her so much that he proposes marriage and forgets about his treasure. However, Fatima helps him realize that genuine love never thwarts seeking a personal dream. At this moment, contrary to “Young Goodman Brown,” love in the novel inspires, not bewilders the main hero.
Goodman Brown gradually reaches his Supreme Ordeal when he finds himself near a blazing rock, around which the worshipping assembly, comprising townspeople and priests, gathered. At the ceremony, Brown sees his wife Faith and the demonic figure announcing, “Evil is the nature of mankind. Evil must be your only happiness. Welcome again, my children, to the communion of your race” (Hawthorne 9). Hearing the demon’s speech, Brown pleads Faith to pray but receives nothing in response. After the Supreme Ordeal, the high-point of the hero’s path, where everything precious and intimate is at stake, and irrespective of the results, the life will be not like before, the hero gains his Reward. Nevertheless, in this phase, the hero feels that something essential, deep in the soul, has broken, thereby indicating his root transformation. After the event near the rock, Brown occurs near the rock where he rested earlier. The narration does not describe the hero’s internal state, but, as the reader can discover later, Brown’s life will change dramatically, becoming much worse.
Regarding the following stages, The Road Back displays how, depressed, Goodman Brown heavily walks back to the village at sunrise. The Resurrection is not healing but more of a poisonous nature because the experience happening in the forest disrupts Brown’s ability to accept and relish his life completely. He perceives all village citizens as hypocritical and vile persons and the whole world as the pit of evil. Ellis states that by revealing Brown’s inner struggle and loss of faith, Puritan dilemmas, such as the contradiction between free will and divine foreordination or God’s mercy and irrevocable judgment, destroy many Christians’ faith (2). Overall, unlike “The Alchemist,” the end of the story is mournful and dramatic.
Santiago’s Supreme Ordeal unfolds when enduring all tests, he arrives at the Egyptian pyramids and starts delving. Suddenly, thieves attack and rob him of all his money. Santiago’s disappointment should be overwhelming since he fails to find the treasure, herewith having traveled the way replete with numerous perils. Nonetheless, he continues believing and, as a Reward, the leader of bandits tells Santiago that the treasure nearby the ruined church where he saw his initial dream. The stage The Road Back relates to returning to Andalusia, while Resurrection is the hero’s reborn. The final stage shows that Santiago finds his treasure, a chest with gold enough for a long, blissful life with Fatima.
Conclusion
In summary, the paper has examined and compared the two literature pieces, namely, “Young Goodman Brown” by Nathaniel Hawthorne and “The Alchemist” by Paulo Coelho, based on Campbell’s monomyth. In essence, the two works possess all structural elements belonging to the Hero’s Journey. The core difference between these two narrations is the culminating outcomes. While the main hero of “The Alchemist” achieves his resurrection and dream, the central character of another work fails his test and loses his happiness. Besides, it is worth admitting that “Young Goodman Brown” concerns more internal experiences and religious matters, whereas “The Alchemist” raises the theme of personal destiny and dream.
Work Cited
Coelho, Paulo. The Alchemist. Translated by Alan R. Clarke, HarperOne, 1992.
Ellis, Robert P. “Young Goodman Brown.” Masterplots II, 2004, pp. 1-3. Literary Reference Center, Web.
Hawthorne, Nathaniel. Young Goodman Brown. Gothic Digital Series.
Kumari, Archana. “Paulo Coelho’s The Alchemist – An Exploration of Individual Psychological Dimension.” Language in India, vol. 20, no. 9, 2020, pp. 19-40. Communication & Mass Media Complete, Web.
Vogler, Christopher.Excepts from Myth and the Movies, Stuart Voytilla. Web.
Zapf, Hubert. “The Rewriting of the Faust Myth in Nathaniel Hawthorne’s “Young Goodman Brown.”” Nathaniel Hawthorne Review, vol. 38, no. 1, 2012, pp. 19-40. Gale Literature Resource Center. Web.
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