Claudia Durst Johnson

In both his short fiction and major works, Nathaniel Hawthorne, like many romantics, is torn between the eighteenth-century view of an orderly, balanced, static art and universe, on the one hand, and the nineteenth-century conception of a changeful, various art on the other. Hawthorne based his social and psychological values on an organic view of the world, but the world of his art tended to be mechanistic. Johnson argues that Hawthorne found in theology the myths which became vehicles for his exploration of his art.