Symbols
Development of artifacts and symbols associated with Halloween formed over time. The turnip has traditionally been used in Ireland and Scotland at Halloween, but immigrants to North America used the native pumpkin, which is both much softer and much larger – making it easier to carve than a turnip. Subsequently, the mass marketing of various size pumpkins in autumn, in both the corporate and local markets, has made pumpkins universally available for this purpose. The American tradition of carving pumpkins is recorded in 1837 and was originally associated with harvest time in general, not becoming specifically associated with Halloween until the mid-to-late 19th century.
The modern imagery of Halloween comes from many sources, including national customs, works of Gothic and horror literature (such as the novels Frankenstein and Dracula) and classic horror films (such as Frankenstein and The Mummy). One of the earliest works on the subject of Halloween is from Scottish poet John Mayne, who, in 1780, made note of pranks at Halloween; "What fearfu' pranks ensue!", as well as the supernatural associated with the night, "Bogies" (ghosts), influencing Robert Burns' Halloween 1785. Elements of the autumn season, such as pumpkins, corn husks and scarecrows, are also prevalent. Homes are often decorated with these types of symbols around Halloween.
Halloween imagery includes themes of death, evil, the occult, and mythical monsters. Black, orange, and sometimes purple are Halloween's traditional colors.
Read more about this topic: Halloween
Famous quotes containing the word symbols:
“Children became an obsessive theme in Victorian culture at the same time that they were being exploited as never before. As the horrors of life multiplied for some children, the image of childhood was increasingly exalted. Children became the last symbols of purity in a world which was seen as increasingly ugly.”
—C. John Sommerville (20th century)
“If the Americans, in addition to the eagle and the Stars and Stripes and the more unofficial symbols of bison, moose and Indian, should ever need another emblem, one which is friendly and pleasant, then I think they should choose the grapefruit. Or rather the half grapefruit, for this fruit only comes in halves, I believe. Practically speaking, it is always yellow, always just as fresh and well served. And it always comes at the same, still hopeful hour of the morning.”
—Johan Huizinga (1872–1945)
“That way of inspiration
is always open,
and open to everyone;
it acts as go-between, interpreter,
it explains symbols of the past
in to-day’s imagery.”
—Hilda Doolittle (1886–1961)