All themes are correctly identified as important recurring topics or messages in the story. Symbols are correctly identified as objects that represent something else at a higher level in the story.
Motifs are correctly identified as important recurring features or ideas in the story. Most themes are correctly identified, but others are missing or incomplete. Most symbols are correctly identified, but some objects are missing or incomplete. Some motifs are correctly identified, but others are missing or incomplete. Most themes are missing, incomplete, or incorrect.
Most symbols are missing, incomplete, or incorrect. Most motifs are missing, incomplete, or incorrect. Descriptions contain inaccuracies in their explanations, or do not highlight their significance to the story. They reflect time and effort put into placement and creation of the scenes.
The depictions may be rushed or show minimal effort, time, and care put into placement and creation of the scenes. Most depictions are missing too many elements or are too minimal to score. Little time or effort has been put into placement and creation of the scenes. There are no errors in spelling, grammar, or mechanics throughout the storyboard.
All writing portions reflect careful proofreading and accuracy to the story. There are a few errors in spelling, grammar, and mechanics throughout the storyboard. All writing portions show accuracy to the story and some proofreading.
And since, for them, the condition of remaining a member of the community with which their conception of personal identity is inextricably tied is that one be redeemed, the price of admitting to oneself that one is sinful means that one is not fit to remain in the community. And since giving up one's status as a respected member of the community is, for them, more painful than giving up one's prospect of eternal life and immunity to eternal damnation, it is necessary to deny that one any longer harbors sin.
But since acknowledging that one is doing this is inconsistent with one's enjoyment of one's identity as member of the community of the decent, it is necessary to deny one's consciousness of sin even to oneself.
In contrast, the fact that Rev. Hooper preaches the sermon he does -- on the first day he adopts the veil, and subsequently by his persistence in his decision to keep wearing it -- suggests that he either rejects the view that redemption and persistence in sin are consistence or is able to bear the consciousness that he may not, at least yet, be redeemed.
Presumably, for both Rev. Hooper and his parishioners, Puritan theology is insistent that, without conviction of sin, there can be no salvation. Conviction of sin is necessary, though not sufficient for salvation. If this tenet of their ancestors is true, though, the members of this community are in dire spiritual peril. But even if it is not, their commitment to social respectability is revealed as more important to them than their appreciation of their eternal welfare.
The historical irony that Hawthorne suggests is that the original Puritan communal plan contained within it the potential to produce a society constructed on a thoroughgoing hypocrisy.
His story asks his readers to ask themselves whether this potential has in fact become a reality. Of course, his readers are at liberty to answer "No. By now we are in a position to note that the story does not restrict itself to parallels, either. For it is a fundamental fact of the narrative that Rev. Hooper also stands out as different from everyone else in the community -- that his parishoners regard him as an eccentric, and with malaise and suspicion, and that he himself is unable, with his gesture, to persuade them to draw nearer to him and to each other by at least acknowledging frankly that each is subject to sins that he or she is too embarrassed to reveal to any other.
We've already hinted at this with the OR in the 3rd box in the right-hand column of the table we constructed. That may be the reason he can never bring himself to take off the veil. Parson Hooper is traditionally praised for his courageous representation of secret sin and an outward symbol of the imperfections of sinners in comparison with God.
However, it is evident that Parson Hooper was still ashamed and fearful of the retribution he might face if he ever admitted to whatever sin he had…. While the minister showed his guilt it made him isolated from society. The reason he was isolated was because of his openness with his guilt which gave him a sense of evil.
Because the minister can not forgive himself and he rejects the forgiveness from others and isolates himself even more. His isolation then increases because no one wants to be around his ominus sense of guilt that goes with his veil leading to many people leaving him Leary Hawthorne relates Mr. Hooper to agonizing souls, creating an image of anguish that follows the minister around wherever he goes. The beliefs of the people contrast with those of Mr.
Hooper which is the reason that the minister is constantly judged for showing his own guilt while the rest of the town judges him, not focusing on their own sins. Separation from society is caused by rumors and judgement based on different beliefs as shown by Mr.
Dimmesdale, for example, has an ironic turn of events when he reveals to the town he is the father of Pearl. The black veil is thought to represent secret sin. Hooper exposed himself through the veil which caused him to banish himself because he upholds the community's sins. Hooper upheld the sins for the entire community and felt it would be seen as an ethical fluctuation by wearing the veil. He does not give specific reason into why he refuses to remove the veil but imagery used in the parable convinces readers that Hooper has beliefs that he is some kind of.
He accused Putnam of prompting his daughter to accuse their fellow townsmen of witchery, like George Jacobs, in order to seize more land. The tension between Corey and Putnam shows the tension between people in the town, but it also exemplifies the way they manipulated people in order to receive power for themselves.
Everyone's a Sinner! For the sake of your holy office, do away this scandal! In The Crucible, when people have grudges towards someone, then they do stupid things to get the person they grudge on in trouble.
Parris blames others to divert attention away from himself. He worries that if the townspeople learn that his daughter and niece have fiddled with witchcraft, his position as pastor could be expelled.
Yet at the same time, in the beginning of the play, because Parris placed the title witch on the heads of even the most pious members of his community, he converts into an overly insecure character. All in all, Parris horrors the loss of his job, others finding fault in him, and. The town people murmured the appearance of Mr. Hooper and the reason why he was wearing the piece of cloth. This affects the relationship between Mr.
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