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21 Evidently Melville, Hardy, and Eiseley share the belief that nature hints at something beyond itself. ”22 Whatever lies beyond the mask 30 H AW T H O R N E A N D E I S E L E Y is not a Nothing but a Something. However, Eiseley’s technique in the essay’s final sentence, like the earlier reference to McCosh, qualifies the theological speculation. The technique is called “litotes,” which means stating the negative of the opposite of what one wants to say. When Eiseley wants to suggest that nature has a supernatural element, he says that “‘nature is not as natural as it looks’” and further distances himself from the notion by attributing the claim to the unnamed McCosh.

Jung on Nature, Technology & Modern Life, ed. Meredith Sabini (Berkeley, CA: North Atlantic, 2008), 169. 2 My articles are as follows: “We Are One Psyche: A Jungian Approach to Hawthorne’s ‘Young Goodman Brown,’” Postscript 27, no. org; and “The Literary Matrix of Loren Eiseley’s ‘The Secret of Life,’” The CEA Critic 72, no. 3 (2009): 17−36. 3 Richard P. Adams, “Hawthorne’s Provincial Tales,” The New England Quarterly 30, no. 1 (1957): 39−57; Reginald Cook, “The Forest of Goodman Brown’s Night: A Reading of ‘Young Goodman Brown,’” The New England Quarterly 43, no.

3 Shadow and anima. Since the shadow is not evil but merely inferior, the goal is to acknowledge and integrate it, to defang its negatives and incorporate its strengths (CW 11, 134/78). 5 The threshold image anticipates Jung’s ominous statement in Psychology and Religion that the encounter with the shadow involves crossing “the threshold of the unconscious and [taking] cognizance of those impersonal forces which make you the unconscious instrument of the wholesale murderer in man” (CW 11, 86/49; my emphasis).

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