Brown are perverted, so is his very Faith,

Brown tries to become a man who leans
too far over the edge of a pit. Thus the heavens darken and the symbolic pink
ribbon causes him to cry out in realization. He says “my Faith is gone!” (30),
as he laughs in despair. F. Walsh Jr. explains the storm in his soul and in the
forest then rises and he stumbles “into the heart of the dark forest depths
where there is symbolically represented the complete pervasion of all that he once
held dear” (F. Walsh Jr. 1). As Richard Fogle says, all the external
manifestations of his faith are turned upside down: “The Communion of Sin is,
in fact, the faithful counterpart of a grave and pious ceremony at a Puritan
meeting house…. Satan resembles some grave divine, and the initiation into
sin takes the form of baptism” Hawthorne’s Fiction: The Light and the Dark,
1952. As the external evidences of his religion are perverted, so is his very
Faith, which is symbolized by his discovering his wife in the unholy communion.
Secondly, there is the journey into Brown’s soul which
is dark and twisted and paralleled by his journey into the darkness of the
forest. When he enters the forest, the readers are told: “He had taken a dreary
road, darkened by all the gloomiest trees of the forest, which barely stood
aside to let the narrow path creep through, and closed immediately behind. It
was all as lonely as could be (…)” (25). This act is symbolic because of the
fact that he is plunging into the road which leads to despair and the immediate
closing of the trees symbolizes the shutting of his escape. He is alone and cut
off from humanity but with one companion; that being the Devil (F. Walsh Jr.

The Devil’s mass is an opportunity
for the reassertion of the natural impulses Brown must keep hidden in the
shadow. It gives him a chance to experience not only his other self but also
the free energies of nature for which his religious has no ordering. D.J.
Moores argues that while Brown is lifting his hands in order to pray, he hears
Faith’s voice. He calls out for her and she answers with a scream. Faith is
about to enter a meeting and so he then decides to attend as well because all
good is destroyed at this point in the story. He reaches a clearing with a
crude altar surrounded by the saints and sinners of Salem (Wilson 1). While the
Devil`s congregation sings an evil hymn rejoicing in sin while Brown awaits
looking for his wife Faith. At a call for the new members he steps forward, and
Faith is led forward by two women where he sees a dark figure speaks of sin
(Moores 1). He commands Brown and Faith to look at each other and then declares
that they now know virtue is but a dream and evil is the nature of mankind.
Goodman Brown cries out to Faith to resist this evil. Brown does not find out
whether or not he dreamed about the forest altercations and the experience
still has a profound effect on him. After that night, he becomes a man filled with
grief and sadness for the rest of his life. He rejects his wife and the faith
he once had in his religion. He has lived a life of gloom filled with sinners
everywhere (Moores 1).

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At the beginning of
the story Young Goodman Brown, a puritan man, leaves his wife Faith, who is an obvious
allegorical figure to meet Satan in the deep gloomy woods. Moores argues that
one may ask why a good puritan man with a spotless wife would be driven to
undertake such an evil journey. The answer lies within the Jungian perspective
in that Goodman Brown is in fact seeking himself his lost and unwanted parts.
The Jungian theory and shadow refers to the “unconscious piece of a personality
in which the ego does not identify itself” (Moores 1). Carl Jung states that
the Jungian theory is the shadow of the unknown dark side of one’s personality.
Jung believed that the human psyche was fundamentally contradictory. Within every
person’s soul, there are “tendencies, feelings, characteristics, and complexes
that do not conform to ego consciousness” (Moores 1). This so called “other
self” is the double, the alter ego, the dark self, or as Jung put it, the
shadow. Jung believed the shadow is the first archetype to be encountered when
one engages the contents of the unconscious. Goodman Brown leaves the safety of
his hearth, his home, and his Faith to undertake a journey he knows is not in
keeping with who he thinks he is a good Christian husband: “What a wretch
am I to leave her on such an errand,” he says, chiding himself (Hawthorne 65).
Yet, he is compelled to go nevertheless, as if he knows that inner work is to
be completed on this evening deep inside the forest. Jungian theory recognizes
two centers of the psyche ego which includes the persona and conscious
awareness. Unwanted parts of the Self residing in shadow can and do compel the
ego, often against its wishes to engage in activities and express feelings not
in keeping with one’s conscious belief system. Goodman Brown, who is a pure, unstained,
wholly good Christian, embarks on the journey, crossing the threshold almost
against his will, but he also knows he is about to embark on journey to
complete  devilish work (Moores 1). He
justifies his evil purpose with the notion that after this dark evening he will
“cling to Faith’s skirts and follow her to