Aminadab Symbolism In The Birthmark

Through “The Birthmark” Hawthorne gives warning to those who are utterly devout to science or religion. Hawthorne does so by writing himself into the story as the narrator and utilizing sinister foreshadowing, symbolism, and allegory. Aylmer is clearly a man of science, but is so captivated by the subject he has lost his sense of morals. Aylmer feels that science has granted him the ability to alter nature, contributing to his attitude of feeling as powerful as God himself. Aylmer believed he could “lay his hand on the secret of creative force and perhaps make new worlds for himself.” (14-15) Therefore, Aylmer thinks he can easily remove Georgiana’s birthmark and render her the most beautiful woman in the world. Aylmer is completely unaware

The Narrator describes Aminadab as "a man of low stature, but bulky frame, with shaggy hair hanging about his visage, which was grimed with the vapors of the furnace.” (200-202) Aminadab isn’t intelligent enough to understand Aylmer’s work but is rather an assistant for the scientist’s mundane tasks. Aminadab represents the physical, earthly nature of men. Aminadab name is also based off a high priest from the Book of Genesis and the Gospel according to Matthew. Hawthorne wishes to portray Aylmer as the man of science while Aminadab as a man of religion and a subordinate. Insteading of viewing the birthmark as a stain on Georgiana’s beauty like Aylmer, Aminadab believes it is an essential feature that defines her as human saying, “I'd never part with that birthmark." (215) When the birthmark is disappearing from Georgiana’s cheek Aminadab can be heard giving a hoarse chuckle, and then a laugh when she finally dies. While religion has had the last laugh over science, Hawthorne complicates the story’s moral by casting Aminadab in sinister light. Even the words used to describe Aminadab: “shaggy hair, his smoky aspect, and the indescribable earthiness” bring forth images similar to the hunchback from Victor Hugo’s “The Hunchback of Notre Dame.” (207-208) It seems that Hawthorne has doubts in both religion and science, and wishes to convey that total

The two stories parallel one another very much, Aylmer view himself as a creator of beauty but doesn’t recognize his own mortal limitations. Pygmalion on the other hand, recognizes that he is only a sculptor and asks Aphrodite to bring his creation to life. Aylmer brags that upon his successful operation that Pygmalion will not have “felt not an ecstasy greater than mine.” (159) Aymler’s statement emphasizes Hawthorne’s tragic yet ironic ending, as Aylmer's ambitions become his