PSYCHOLOGICAL ALLEGORY IN
THE SCARLET LETTER
by
VICTOR NEUMAN
B.A. , University of B r i t i s h
Columbia,
1966
A THESIS SUBMITTED IN PARTIAL FULFILMENT OF
THE REQUIREMENTS FOR THE DEGREE OF
MASTER OF ARTS
i n the
of
Department
English
We a c c e p t . t h i s t h e s i s as conforming
required standard
to
THE UNIVERSITY OF BRITISH COLUMBIA
M a r c h , 19 72
the
In presenting t h i s t h e s i s i n p a r t i a l f u l f i l m e n t of the requirements for
an advanced degree at the U n i v e r s i t y of B r i t i s h Columbia, I agree that
the Library s h a l l make i t f r e e l y a v a i l a b l e for reference and study.
I further agree that permission for extensive copying of t h i s thesis
for s c h o l a r l y purposes may be granted by the Head of my Department or
by h i s representatives.
I t i s understood that copying or p u b l i c a t i o n
of t h i s t h e s i s for f i n a n e i a l gain s h a l l not be allowed without my
w r i t t e n permission.
Department of
The U n i v e r s i t y of B r i t i s h Columbia
Vancouver 8, Canada
T H E S I S ABSTRACT
I n Hawthorne c r i t i c i s m t h e r e i s a tendency t o
The
Scarlet Letter
carefully
as a l l e g o r y
from t r a d i t i o n a l
and then f a i l
forms o f t h i s
i s n o t , i n t h i s w o r k , an a l l e g o r i s t
or
Spenser because h i s a l l e g o r y
to distinguish i t
l i t e r a r y mode.
i m p o s e d f rom,.without..but. an. e m b l e m a t i c s t r u c t u r e
failure
theologized
of.the
evolves
tale.
A
l e a d s us t o
H a w t h o r n e ' s own m o r a l i z i n g
editorials
complement.the b r a z e n l y . e m b l e m a t i c . f u n c t i o n o f c h a r a c t e r s
P e a r l and C h i l l i n g w o r t h
religious
and C h i l l i n g w o r t h
are p u n i t i v e ,
images o f g u i l t
a v e n g i n g f i g u r e s and
and p e n i t e n c e
Hester, and Dimmesdale i n t h e a f t e r m a t h o f t h e i r
distinction
lies
i n that
Spenser might depict
self-torment
primarily
s u c h as
and c r e a t e . t h e . a p p e a r a n c e o f t r a d i t i o n a l
resemble the stock a l l e g o r i c a l
afflict
tend
allegory.
Pearl
of
that
view of•HawthorneVs purposes and achievement
i n The S c a r l e t L e t t e r .
to
necessities
strategy
to understand the nature.of these n e c e s s i t i e s
an o v e r l y
Hawthorne
of. t h e same i l k as B u n y a n
i s not a d i d a c t i c
from and i s governed by i n t e r n a l
categorize
they a r e n o t everyman's g u i l t ,
them, b u t t h e y s p e c i f i c a l l y
H e s t e r and Dimmesdale a r e p r e y o t o .
a psycho-allegorical
p a r a b l e o f s i n and e x p i a t i o n .
scheme r a t h e r
crime.
Their,
as a B u n y a n
incarnate
Their
that
roles
than.any p a t e n t l y
the
fulfill
Christian
i i
The
his
clues
a l l e g o r y are
" m u t a b i l i t y " of
perturbed
nature",
to
this psychological priority
contained
i n the
author's
the s u b s t a n t i a l w o r l d
p e r c e i v e r may
frequent
and
being
man
"A"
upon h i s bosom.
a t t e n d e d , by. t h e l e e c h b y
as h e ,
miraculously
I t i s D i m m e s d a l e who
e x i s t e n c e on
Hawthorne's o b s e r v a t i o n
that
t h i s e a r t h , was-the anguish
Chillingworth.'s
a p p e a r a n c e and
she
character
for
this
Dimmesdale's
the i n c r e a s i n g l y demonic n a t u r e
dresses
as a r e s u l t o f h e r
Pearl in.lavish
superficial
direct
appearance o f the
clues
of,the external world
and
usurps
"real
of h i s
severe
of
psyche:
"morbid purpose" j u s t
l e t t e r on h e r
to the e x t e n t
the humanity
r e l a t i o n to Hester's
finery with
Dimmesdale's i s s u f f i c i e n t l y
strife.
to
i n h i s inmost s o u l . "
dress.
to which Hester
punishing.role Pearl's personality . f u l f i l l s . .
like
consents
the t u r m o i l of h i s mind.
embellishes-.'the
are.the
otherwise,
the m i n i s t e r ' s only
S i m i l a r l y P e a r l ' s emblematic being
Hester
or
i s t h u s an i n e v i t a b l e b y p r o d u c t o f D i m m e s d a l e ' s i n c r e a s i n g
introversion, into
her
disorder.
i n c r e a t i n g the p r e s e n c e o f C h i l l i n g w o r t h i s f u r t h e r
u n d e r l i n e d by
character
of
inflicts
reason of h i s " f a s c i n a t i o n "
of science w i t h h i s probing, i n t e l l e c t u a l i t y , .
culpability
the
omens w h i c h r e f l e c t h i s i n t e r n a l
C h i l l i n g w o r t h on h i s p e r s o n j u s t
an
to which
the
over the whole expanse
There i s e v i d e n c e t h a t Dimmesdale h i m s e l f
carves
gives
a l l u s i o n s to
and.the e x t e n t
"extend h i s egotism
c r e a t i n g events
Hawthorne
Hester's
These
creates
sense of
to r e - c r e a t e the
as
the
guilt,
realities
c r e a t e the embodied phantoms.of her
inward
i i i
Hawthorne's p s y c h o l o g i c a l
reality
Actual
i n t h e w o r l d o f The S c a r l e t L e t t e r ;
a n d t h e I m a g i n a r y " do,.meet
i n t e r i o r o f t h e human h e a r t .
and
allegory
Dimmesdale d e r i v e s
creates
a state of sur-
a dream s t a t e where " t h e
and t h e m e e t i n g ground i s t h e
Our i n s i g h t i n t o t h e minds o f H e s t e r
from our p a r t i c i p a t i o n i n t h e i r
d i s t o r t i o n of experience,and t h e i r projected
allegory.
anguished
TABLE OF CONTENTS
Chapter
I.
II.
III.
IV.
P
a
8
e
THE DISTINCTIVENESS. OF HAWTHORNE'S ALLEGORY. . . . . 1
EMBLEMS AND THE INTERNAL P E R S P E C T I V E . .
17
CHILLINGWORTH'S ROLE
28
PEARL'S ROLE
45
CHAPTER I
THE DISTINCTIVENESS OF HAWTHORNE'S ALLEGORY
The Salem townspeople o f Hawthorne's The S c a r l e t
Letter
are not t h e o n l y ones b e f u d d l e d i n t h e i r w i l d l y v a r y i n g accounts
a s i n g l e event.
Their predicament,
t h e i r n o t knowing what i s
revealed
upon the m i n i s t e r ' s b r e a s t , o r what to make, o f i t , i s analogous
the c r i t i c ' s
Scarlet
to
f r u s t r a t i o n i n t r y i n g to.make a b s o l u t e sense o f The
Letter.
commentary,
of
Hawthorne's, t a l e abounds w i t h i n t e r p r e t e d
s t r u c t u r a l devices,
to a b o l d c r i t i c a l s t a n c e .
e d i t o r i a l s and o t h e r
symbols,
enticements
The f r u s t r a t i o n comes w i t h o n e ' s
reali-
z a t i o n t h a t Hawthorne i s q u i t e o f t e n a f f i r m a t i v e i n d i f f e r e n t
d i r e c t i o n s a t . the same time..
Hawthorne stands
L i k e Dimmesdale.on t h e s c a f f o l d ,
r e v e a l e d m o r e ' i n demeanor.than i n r e a l i t y .
Examples o f t h i s r a t h e r pronounced a m b i g u i t y o c c u r i n
issues
t h a t are a t t h e . very, h e a r t
In h i s . s t u d y o f c o n s c i e n c e
o f the t a l e ' s d r a m a t i c
concern.
Hawthorne's approach seems p r e - e m i n e n t l y
t h e o l o g i c a l w i t h the p r e s e n t a t i o n o f . P e a r l and C h i l l i n g w o r t h as
p a r t s o f a. D i v i n e P l a n aimed, at. t h e m o r a l r e g e n e r a t i o n , o f the. s t o r y ' s
adulterous p a i r .
But elsewhere-.Hawthorne .undermines such p i o u s
.assurance w i t h , gloomy i n t i m a t i o n s , of., t h e . f u t i l i t y o f t h e e n t i r e
ordeal
and the u n c e r t a i n t y of i t s e f f i c a c y , i n a c h i e v i n g s a l v a t i o n o r peace
o r even r e g e n e r a t i o n .
Is.Hester's
d o c i l e , s a i n t l y , l i f e a f t e r t h e death
2
of
Dimmesdale t h e r e s u l t
to
sin?
has
Why
o f m o r a l .renewal o r t h e . r e m o v a l o f a l l i n c e n t i v e
does i t a p p e a r
t h a t Dimmesdale's. s u r g e o f m o r a l
i t s b e g i n n i n g i n t h e f o r e s t s c e n e when h e
g u i l t with Hester?
resolves
its
tragic
to escape h i s
Hawthorne's study i n g u i l t n e v e r q u i t e
and a m o r a l p r o c e s s e s o f m i n d i n d e f i n i n g w h a t c a r r i e s
conclusion.
By
turns the s o u r c e appears
strength
fuses moral
the t a l e
t o be t h e c o n s c i e n c e -
s t r i c k e n , m i n d r e e l i n g f r o m t h e h o r r o r o f i t s s i n , and. t h e n t h e
s t r i c k e n mind,
t o r t u r e d by
shadowy r e l a t i o n s h i p . f t o
a morbidity, of s p i r i t
i r r e s o l u t i o n i n Hawthorne.
the w r i t e r , . c r i t i c s
mind-
that bears only
a
the e x t e r i o r , event of s i n .
There has been a,tendency
of
to
i n c r i t i c i s m to. u n d e r p l a y
L i s t e n i n g mainly to the c l e a r e s t
this
voice
t e n d t o s e e , H a w t h o r n e ' s t h e o l o g y as b e i n g more
p e r v a s i v e , more c o m p l e t e
and more a t . t h e b a s i s
phenomena t h a n i t , r e a l l y
i s .
One
of a l l the
hears the term " P u r i t a n
tale's
novelist"
f r o m s u c h an. a s t u t e o b s e r v e r as F. 0. M a t t h i e s s e n , and t h e same
critic
c o n c l u d e s . t h a t H a w t h o r n e was
w o r k i n g i n "a w o r l d o f s o l i d
moral
2
values."
' Along s i m i l a r l i n e s
Dar.rel A b e l i s l e d t o a b l i t h e
i n t e r p r e t a t i o n o f P e a r l as a r e g e n e r a t i v e s y m b o l
or
Age
d e n o t i n g " t h e power
m o r a l thought i n man.which i s n e v e r o b s c u r e d and.guides h i m
aright."
3
F. 0. M a t t h i e s s e n , A m e r i c a n R e n a i s s a n c e ; A r t arid E x p r e s s i o n i n t h e
o f E m e r s o n arid W h i t m a n ( L o n d o n ; . O x f o r d U n i v e r s i t y : P r e s s , .1941), p . 3 1 2 .
2
Ibid.,
p.
312.
3
D a r r e l A b e l , "Hawthorne's P e a r l ; Symbol and C h a r a c t e r , " . E n g l i s h
L i t e r a r y H i s t o r y , X V I I I , ( M a r c h , 1 9 5 1 ) , 54.
3
L i k e w i s e Raymond S h o r t c o n c l u d e s t h a t t h e s t o r y ' s . e m p h a s i s i s on
issues
somewhat a t t h e e x p e n s e
a n d Roy
R. M a l e v i e w s
t h e p h y s i c i a n who
of the n a t u r a l i s m o f c e r t a i n
Chillingworth
posterity,"
Crews c a u t i o n s
Hawthorne's moral p o s t u r e .
i s g i v e n the appearance
t a l e ' s e v e n t s a f a r more c o n s i s t e n t
t h e o l o g i c a l unders t a n ding..
against
well-documented
The
real
of a " r e l i g i o u s
tutor
to
study, c a l l s
The
conflicts
i n v o l v e d are O e d i p a l , says
While
i n t o q u e s t i o n , much o f t h e
form,
Crews'
orthodox
it.leaves.one large.stone
allegory,
a.devotee
o f Bunyan and S p e n s e r .
o f t h e same l i t e r a r y mode and
unturned.
Critics
Pearl
authorial abstractions.
Raymond W. S h o r t , " I n t r o d u c t i o n , " F o u r G r e a t / N o v e l s (New
H o l t ' a n d C o . , . I n c . , 1946), pp. x x i - x x v i i .
^Roy R. Male,' H a w t h o r n e ' s T r a g i c V i s i o n
I n c . ; 1 9 5 7 ) , p. 9 6 .
•>••:•<
(New
York:
consider
therefore
the v e h i c l e of i t s author's d i d a c t i c i n t e n t i o n .
a n d C h i l l i n g w o r t h seem t o b e u l t i m a t e l y
Henry
any
a r e b u t t a l c a n . b e made t h a t . H a w t h o r n e i s s e l f - c o n f e s s e d l y
S c a r l e t ; L e t t e r t o be
principally
the
r e a d i n g than, t h a t a c h i e v e d by
r e l e v a n c e t o an a c t o f s i n .
c r i t i c i s m surrounding.Hawthorne,
a writer.of
the
Complaining
Crews., and t h e g u i l t , t h a t u n d e r l i e s .them, i s a d e e p l y n e u r o t i c
Ultimately
tool—
Crews u n c o v e r s a w e l t e r o f F r e u d i a n themes t h a t g i v e
unredeemed by'any
4
i s a healer i n spite of himself.^
to over-emphasize
that the a r t i s t
characters
as an i n g e n i o u s a l l e g o r i c a l
In Sins of the Fathers Frederick
tendency
moral
W.
W.
They
York:
Norton
F r e d e r i c k C. C r e w s , S i n s o f t h e F a t h e r s :
Hawthorne's P s y c h o l o g i c a l
Themes (New; Y o r k : . O x f o r d . U n i v e r s i t y P r e s s , 1 9 6 6 ) , p . 6.Y' '
4
may p o s s e s s more s o p h i s t i c a t i o n o r a m b i g u i t y t h a n any o f S p e n s e r ' s
c r e a t i o n s , b u t t h e y s t a n d as emblems r a t h e r t h a n c h a r a c t e r s a n d t h u s
consign the t a l e
to the category of r e l i g i o u s
To o v e r w o r k
"revelation"
reality
a metaphor,
allegory.
Hawthorne's a l l e g o r y ,
upon, t h e s c a f f o l d , ..has more t h e a p p e a r a n c e
of standing.revealed..
What, i t b o r r o w s
a n c e s t o r s i s a s e t o f . mannerisms...
in
t h e use. o f a l l e g o r y
in
t h e camp o f . . K a f k a . as B u n y a n .
from, i t s
like
Dimmesdale's
than the
literary
I n substance i ti s a s p e c i a l
case
a n d h a s f e a t u r e s w h i c h p u t H a w t h o r n e as much
The a l l e g o r y . , t h a t , . p e r m e a t e s The S c a r l e t
L e t t e r i s n o t a. s-upe.rimposed.. s y s tern. o f , . i d e n t i t i e s b u t a s e t o f p h e n o mena t h a t grow f r o m i n t e r n a l
the tormented p e r s p e c t i v e s
reference!points in.the tale,
namely
o f Hester,. and„Dimmesdale. .. The r e s u l t
quasi-magical,, a l l e g o r i c a l , world.'that i s s i m u l t a n e o u s l y l o o k i n g
t o t h e m a r v e l r f i l l e d w o r l d . o f Spenser and ahead
of Kafka.
.
.
.
.
.
to t h e psycho-pnenomenology
a, k i n d o f p s y c h o l o g i c a l s u r -
i s . b e s t u n d e r s t o o d by e x a m i n i n g i t s most,fundamental
and t h e ways i n w h i c h
this
definition
l i t e r a r y neighbour, symbolism.
distinction/between allegory
as t h e i n v e n t i o n o f v i s i b i l i a
and s y m b o l i s m
back
.
Allegory's potential,, f o r creating
reality
is a
distinguishes
definition
i t from i t s
C. S. ..Lewis . g i v e s t h e commonly m a d e •
a n d s y m b o l i s m when he, d e s c r i b e s
allegory
t o express c o n s c i o u s c o n t e n t o f t h e mind
as t h e a t t e m p t t o s e e p r e r - e x i s . t i n g f o r m s
and q u a l i t i e s
as e x p r e s s i o n s o f u n c o n s c i o u s c o n t e n t , o r t h e s e a r c h . f o r . t h e " a r c h e t y p e
in
t h e copy.""''
I n H a w t h o r n e , we d i s c o v e r a h y b r i d f o r m o f a l l e g o r y
C. S. Lewis., T h e A l l e g o r y O f L o v e :
A Study, i n M e d i e v a l T r a d i t i o n ,
(New Y o r k : : O x f o r d U n i v e r s i t y P r e s s , 1 9 5 8 ) ; p . 4 5 .
5
w h i c h uses v i s i b i l i a
v i s i b i l i a such
Hester
and
c r e a t e d by
as P e a r l and
Dimmesdale.
unconscious
processes
C h i l l i n g w o r t h who
They d i f f e r
of
mind—
i n c a r n a t e the fears
from symbols i n t h a t they
of
are
c o n s p i c u o u s l y mutated forms o f the e x t e r n a l w o r l d whereas symbols
as t h e l e t t e r
attain
p h y s i c a l nature..
a significance
that i s partly
When H e s t e r e n c o u n t e r s
a meaning t h a t the
meaning i s . p a r t l y
community has
sign exists
i n an i n t r i n s i c r e l a t i o n s h i p
t h e r e s u l t o f . h e r own
t h e n becomes, more p o t e n t l y . e m b l e m a t i c as
its
Her
expansion
symbol, i s . not
on
perceptual bias.
Thus
to i t s meaning f i r s t
ward s o u l s , i s not
not
l o s t t o t h i s . s i g n i f i c a n c e d e p e n d i n g , on w h e t h e r
t h i s ' . i n t e r p r e t a t i o n on i t .
contrast w i t h i t s grim surroundings.
dark
truth
falsity
or
Part of i t s
i t s location
The
same i s t r u e o f
i m a g e s w h i c h d o . n o t become, s y m b o l i c , o f . g o o d and
i n t h e i n s t a n t :they
are g i v e n t h i s
but have q u a l i t i e s w h i c h mould the thoughts
themselves
way-,
of the j a i l h o u s e where i t s appearance i s i n marked
l i g h t , and
they
The
o f Nature's, sympathy toward
=
and
the
an e f f e c t , o f . p r i v a t e m e n t a l
m e a n i n g i s i n h e r e n t i n i t s b e a u t y, i t s f r a g r a n c e and
physical
signi-
dependent f o r . i t s e x i s t e n c e o r a l l o f
as s y m b o l i c
someone i s t h e r e t o p u t
the v i c i n i t y
this
and
m e a n i n g s o l e l y , on, t h e p a r t i c u l a r , m i n d w h i c h p e r c e i v e s i t .
rose, blossom, p r e s e n t e d
in
denotes
a l o g i c a l extension,..of t h i s p r e v i o u s l y e x i s t i n g
partly
The
their
the l e t t e r i t already
p l a c e d on i t .
f i c a n c e and
processes..
inherent i n
such
they
a r e m o u l d e d "by. t h e s e , t h o u g h t s . .
c e i v e s s o m e t h i n g as. s y m b o l i c
interpretation
e v o k e as much
The
evil,
mind which
is. not ."extending h i s . egotism
over
as
per^
the
8
whole expanse o f n a t u r e , "
but merely
expressing s e n s i t i v i t y
to
certain
N a t h a n i e l Hawthorne, C e n t e n a r y E d i t i o n o f t h e Works o f N a t h a n i e l
H a w t h o r n e , ed.. W i l l i a m C h a r v a t . and. Roy H a r v e y P e a r c e (Ohio ''State U n i v e r s i t y
P r e s s , 1 9 6 5 ) , I , p. 1 5 5 .
H e r e a f t e r , a l l p a g e r e f e r e n c e s t o The S c a r l e t
L e t t e r s h a l l r e f e r t o t h i s e d i t i o n and w i l l be i n c l u d e d i n t h e t e x t w i t h i n
parentheses.
;
6
qualities
i n the
On
the
thing
perceived.
o t h e r h a n d , a l l e g o r y , w h e t h e r i t grows i t s m e a n i n g s
from p r e - e x i s t i n g s i g n i f i c a n c e s o r
purpose, has. the
an
and
invention..
visibilia's.debt
The
allegory i s "invention"
to the
perceiving
intellect
i n the
for.its
t h e s e emblems, o p e r a t e , as
T h i s a c k n o w l e d g m e n t , may.
;
P e a r l and
intimate relationship with
symbolic meaning.for.us because they
function
and
systematic
they
F a & r y Queen
Alma
(soul)
Hester's
psyche.
rather
are persons.and,not
than
things.
undergo deepening s i g n i f i c a n c e
m a n i p u l a t i o n s o f . . n a t u r a l .fact.,and., p r o b a b i l i t y . .
the
protection' i n s c r u t a b i l i t y
and
m u s t e x i s t , and.: c h a n g e e x c l u s i v e l y , i n . t h e f l i g h t , o f t h e
t h e i r meaning, w h i c h i s imposed f r o m
as
They
Hawthorne.'s i n a n i m a t e
outside.•
and
Chillingworth
same p r o c e s s , w i t h o u t a p p e a r i n g
affords
may
ultra-significant
as. a .symbol w i t h . e x p a n d e d d i m e n s i o n s i n meaning,,
P e a r l cannot undergo, the
which
acknowledgment
C h i l l i n g w o r t h must t e n d t o h a v e a l l e g o r i c a l
W h e r e a s t h e . s c a r l e . t , l e t t e r .may
elaborate-
a p p e a r f r a n k l y . , as . i n .The
as. in...the, c a s e .of . P e a r l w h o s e
m a n n e r i s m s ; h i n t at.*her
the
m i n d from, w h i c h
s u c h c o n s p i c u o u s i n g e n u i t y ; . o r .the
only . i m p l i c i t ,
allegorically
with
d e s c r i p t i o n o f . t h e . c a s t l e .(body), i n h a b i t e d by
operates with
be
a function of:the
the
d e f i n i t i o n i s more
r o l e by
exclusiveness
as
characters
sense that
p r e - e m i n e n t t h a n i . t : . i s . i n . s y m b o l i s m . . The
n e s s o f t h e . e m b l e m s . i t c r e a t e s , and. t h e
when t h e
this
c h a r a c t e r i s t i c of, a l w a y s a p p e a r i n g c o n s p i c u o u s l y
p e r c e i v i n g m i n d i s a c k n o w l e d g i n g ..its f o r m a t i v e
emanate.
for
I n H a w t h o r n e , the. p r o c e s s i s i n t e r n a l t o h i s
unconscious.
a p p a r e n t and
conjures v i s i b i l i a
lack
symbols
part
of
7
This
a l l e g o r y has
symbolic
leads
its
question
o f what v a l u e
psychological
f o r Hawthorne t h a t , cannot b e . g i v e n e x p r e s s i o n
mode.
The
symbolism implies
being
to.the
an
answer t o t h i s
lies
i n the
awareness o f i n t r i n s i c
within
distinction
qualities
that
i n the
object
perceived while, subconsciously, i n s p i r e d allegory tyrannizes
visibilia,
d r a i n i n g them o f . t h e i r s u b s t a n t i a l i t y
p r o d u c t s . o t . t h e m i n d a l o n e , r a t h e r t h a n t h e m i n d and
working i n conjunction..
than the symbolic
The
universe..
the
bolism,
t h e y become
material
a surrealistic
egocentric
The
unconscious
m i n d w h i c h , spawns i t . t h r o u g h
to appreciate
or
In
d i s t o r t i o n , of. e x p e r i e n c e
s u b j e c t i v e i m p o s i t i o n , o f meanings..
D i m m e s d a l e ' s m i n d and : H e s t e r ' s
grows, t o . tyrannize... t h e i r
denoting
as
This
by
sym-
minds w h i c h
totally
the s t a t e
t h e i r sense of g u i l t
and
of
fatality
senses.
as u n e a r t h l y ,
t o w n s p e o p l e who' do n o t 'share i n t h e
Dimmesdale.
describes
a r g u m e n t m i g h t , be. r a i s e d , a t . t h i s p o i n t
and . P e a r l are. p e r c e i v e d
this
S c a r l e t .Better, i s a . p s y c h o t i c , v e r s i o n o f
h a v e gone b e y o n d = r e c e p t i v e s e n s i t i v i t y :„to ..reach, .a, s t a g e o f
The
fact
i n d e p e n d e n t r e a l i t i e s . o f . w h a t e v e r i t ..perceives.
s e n s e t h e , a l l e g o r y o f The
over
a l l e g o r i c a l . u n i v e r s e , i s f a r more
p r o c e s s e s i s a m i n d w h i c h has. l o s t i t s a b i l i t y
respect
until
the
that Chillingworth
e m b l e m a t i c . c r e a t i o n s by
i n t e r i o r tumult, of Hester
I n . g o v e r n o r B e l l i n g h a m ' s m a n s i o n . Mr.
Wilson
is
Salem
and
startled
P e a r l ' s : appearance:
"What l i t t l e b i r d . , o f . s c a r l e t p l u m a g e m a y - t h i s b e ?
M e t h i n k s I h a v e s e e n . j u s t s u c h f i g u r e s , when t h e
sun has b e e n s h i n i n g t h r o u g h a r i c h l y p a i n t e d window,,
and t r a c i n g o u t .the g o l d e n a n d c r i m s o n , i m a g e s a c r o s s
t h e floor';',. B u t t h a t was; i n t h e o l d l a n d .
Prithee,
8
y o u n g o n e , who a r t t h o u , and w h a t h a s a i l e d t h y
mother to b e d i z e n thee i n t h i s s t r a n g e f a s h i o n ?
A r t t h o u a C h r i s t i a n c h i l d , — h a ? D o s t t h o u know
thy catechism?
Or a r t t h o u one o f t h o s e n a u g h t y
e l f s o r f a i r i e s , whom we t h o u g h t t o h a v e l e f t
b e h i n d us, w i t h o t h e r r e l i c s o f P a p i s t r y , i n merry
old England?"
(pp. 109-110)
Mr.
Wilson's
observation, of Pearl i s p o t e n t i a l l y
a two-pronged c o n t r a -
d i c t i o n . o f h e r s t a t u s as t h e v i s i b i l i a . o f H e s t e r ' s p r i v a t e
allegory.
F i r s t l y W i l s o n i s q u i c k t o i n c o r p o r a t e her. a p p e a r a n c e i n t o
a broader'
allegorical
relic
f r a m e o f r e f e r e n c e a n d , b y r e g a r d i n g h e r . as a gaudy
of P a p i s t r y ,
psychological.
r e n d e r h e r . m e a n i n g more p a t e n t l y , m y t h o l o g i c a l
W h i l e we
P e a r l in.terms
m i g h t r e c o g n i z e t h a t Mr.
that r e f l e c t , h i s p e r s o n a l concerns
than
Wilson i s understanding
as
minister
t o t h e f l e d g l i n g t h e o c r a c y . , he n e v e r t h e l e s s i s p u t t i n g h e r i n t h e
light
o f a p u b l i c emblem,, i n s i n u a t i n g
domain.
Wilson i s not.drawing
a meaning i n h e r . t h a t i s p u b l i c
upon-personal
e a t i o n brut u p o n r e l i g i o u s ' a n d h i s t o r i c a l
data to g i v e h e r
tradition.
Since this i s
t h e s t a r t i n g p o i n t o f most t r a d i t i o n a l a l l e g o r y , i t i s a
convenience
t o r e g a r d Mr.
an i l l u s t r a t i o n
devices.
The
delin-
tempting
W i l s o n as a c a p s u l e v e r s i o n o f H a w t h o r n e ,
o f t h e p u b l i c o r i e n t a t i o n , o f t h e a u t h o r ' s own
allegorical
a r g u m e n t t h a t H a w t h o r n e i n s i n u a t e s . a f a r b.roader
meaning
i n P e a r l t h a n W i l s o n can comprehend.is not,enough t o d e t a c h h e r
t h e c l a s s o f symbology the m i n i s t e r f a s t e n s upon h e r .
toward
is
rigid
associations,
toward
g i v e n c o n s i d e r a b l e - p l a y by
a c c o u t r e d i n c l o t h e s and
well-dressed
devil's
This
tendency
s c h e m a t i z e d Bunyanesque meanings
Hawthorne. . C h i l l i n g w o r t h i s w e l l
f a c i a l e x p r e s s i o n s t h a t w o u l d become
emissary.
from
P e a r l ' s n a t u r e and
appearance
any
heavily
9
underline^ h e r correspondence w i t h
k i n d o f peak i s reached, i n t h i s
A
t r i b u t e t o t h e powers o f b a r e
a l l e g o r y , when H a w t h o r n e d i s c u s s e s
increasingly
"that w i l d heathen Nature."
the population's
response to the
obvious i n t e n t i o n s o f C h i l l i n g w o r t h :
When an u n i n s t r u c t e d m u l t i t u d e a t t e m p t s t o s e e
w i t h i t s e y e s , i t i s e x c e e d i n g l y a p t t o be de'ceived.
When, h o w e v e r , i t forms, i t s j u d g m e n t , as i t u s u a l l y
d o e s , o n t h e i n t u i t i o n s , o f i t s g r e a t , a n d warm h e a r t ,
the c o n c l u s i o n s ' t h u s a t t a i n e d a r e o f t e n so p r o f o u n d
and. s o u n e r r i n g , as t o p o s s e s s t h e c h a r a c t e r o f t r u t h s
supernaturally revealed.
( p . 127)
What t h e m u l t i t u d e
observes i s that
"something very
ugly
has
c r e p t i n t o t h e appearance o f Roger C h i l l i n g w o r t h .
and
from, the
It
this
( p . 1 2 7 ) , ,they a r e . l e d t o . t h e i r
conclusions:
To sum up t h e m a t t e r , i t grew t o b e a
w i d e l y d i f f u s e d o p i n i o n , t h a t the Reverend A r t h u r
. D i m m e s d a l e , . l i k e , many o t h e r p e r s o n a g e s o f e s p e c i a l
s a n c t i t y , i n a l l a g e s of. t h e C h r i s t i a n w o r l d ,
was'haunted e i t h e r by Satan h i m s e l f , o r Satan's
e m i s s a r y , i n t h e guise o f o l d Roger C h i l l i n g w o r t h .
T h i s • d i a b o l i c a l agent had t h e . D i v i n e
permission,
for a season, t o burrow,into t h e clergyman's:
i n t i m a c y , and p l o t a g a i n s t h i s s o u l .
( p . 128)
i s a s i m p l i f i e d view o f the m i n i s t e r ' s p l i g h t but'one which
stand
by
From
rumor t h a t t h e " f i r e , i n h i s l a b o r a t o r y , h a d been b r o u g h t
from t h e lower, r e g i o n s "
. .
and e v i l "
as m e r e l y
a more.graphic v e r s i o n of.what Hawthorne i s i n t e n d i n g
his'allegory.
and
so u n e r r i n g ,
revealed"
tale
might
H a w t h o r n e ' s own p r e f a c e
as t o p o s s e s s
t o these t r u t h s "so p r o f o u n d
the character
tends t o q a f f i r m the p l a c e
and s h u t o f f debate a t once.
of truths
of.classical
supernaturally
allegory i n h i s
But s h u t t i n g o f f debate i s a l s o
an e n d t o e x p l o r a t i o n a n d t h e t a l e ' s a l l e g o r y h a s g p e r m u t a t i o n s i n .
10
psychology t h a t are
its basic
lost i f theological picture-writing i s
considered
aim.
The
i m p a s s e c a n be b r o k e n n e a t l y by
J e a n Normand's s t u d y
allegorists-—"the
observing,
as
does
o f Hawthorne, t h a t Hawthorne i s r e a l l y
allegorist
of.private realities
and
the
two
allegorist
9
of surfaces".
Still
i t has
b e e n : o b s e r v e d t h a t t h e o l o g i c a l and
non-
e l i t i c a l c o n c e r n s f a i l ,to c o i n c i d e i n a l l , p o i n t s , o f • t h e . a l l e g o r y . I f
i t i s t o b e c o n c e d e d t h a t Haw.thorne i s " . a l t e r n a t e l y ( n o t
simultaneously)
both kinds
of a l l e g o r i s t
e t a l . are. n o t
really
then the questions
answered but
s h i f t e d . i n t o matters of
Is Hawthorne humanizing, t h e o l o g y ' o r
confounding,
r a i s e d .by R e v e r e n d
comments, . d e m o n s t r a t e , his." t a l e n t f o r r e d u c i n g
to t h e i r barest elements.
sterile
Noting
on
c o m p l e x i t i e s i n Hawthorne
into
rigid,
this, clinging.'to surfaces
to a v o i d p e n e t r a t i o n , i n t o , t h e p s y c h o l o g i c a l s u b s t a n c e
o f h i s ' . m a t e r i a l . . Somewhat h a r s h l y , b u t . n o t
this
It is less
A g a i n J e a n Normand's
Hawthorne!s e x c u r s i o n s
t o k e n i s m , Normand, concludes,.,.that
is,carried
ascendency.
t h e o l o g i z i n g , humanity?
a . p r o p o s i t i o n t h a n ; it.,might..appear...
Wilson
i n a c c u r a t e l y Normand terms
t e n d e n c y a . " c o w a r d i c e ; o f the, imagination.""!"^... More, c h a r i t a b l y
Richard
H. ...Jogle. . f i n d s s y s t e m a t i c
a l l e g o r y i n The
Scarlet Letter
the
y
J e a n N o r m a n d , . . N a t h a n i e l .Hawthorne,: An A p p r o a c h to•:an A n a l y s i s
o f . : A r t j s t i e C r e a t i o n , , t r a n s . D e r e k C o l t m a n • ( C l e v e l a n d and L o n d o n :
C a s e W e s t e r n " R e s e r v e U n i v e r s i t y P r e s s , ,19 70)., p.
242/'
;
10 •
I b i d . , p.
244.
11
necessary
complement t o Hawthorne's a m b i g u i t y
" c l a s s i c balance"
Jr.
of the l i g h t
and
t h e dark)"'""'" and
c o n s i d e r s Hawthorne's a l l e g o r i z i n g
on
the s y m b o l i c
But
charitably
c h a o s he
penetrates
or otherwise
i t still
t o keep the l i d
appears t h a t the
a s t e p on
to
something
I t may
1
God
a h u r r i e d adieu to Hester
and h e r
f o r sending
be
recalled
allegorical
such a s c o u r g e — t h e n
d i s t u r b i n g barrage
of
l e a s t on
the m o r a l l e v e l ,
Finally
morality
true!
o f Mr.
Be
true!
dissatisfying
Be
i f not
i t i s H a w t h o r n e h i m s e l f who
Wilson
and
d e s i r e t o a b s t r a c t an o r d e r
true'")
company i n t o i t s p l a c e .
But
piece
the
irrelevant.
allegorized
Hawthorne's
from h i s p s y c h o l o g i c a l l a b y r i n t h
t o a n a t u r a l e m p a t h y w i t h P u r i t a n m y t h o l o g y and
allegory.
a
that i s , at
downright
puts
bids
questions.
d i s s i m i l a r l y Hawthorne takes h i s l e a v e of t h e t a l e w i t h
o f m o r a l p o s i t i v i s m ("Be
a
the p u b l i c ' s " s u p e r n a t u r a l "
regarding Chillingworth s identity.
p e t r i f i c a t i o n i n thanking
him
r e s o r t i n g to
t h e way
t h a t D i m m e s d a l e , d y i n g , a l s o damns C h i l l i n g w o r t h t o
Not
Feidelson
"Shutting o f f debate" w e l l describes
number o f p o i n t s i n t h e t a l e b e s i d e s
intuition
as i n t e n d e d
Charles
(the
toward almost " i n s p i t e o f h i m s e l f .
public allegory i s characteristically
e l s e , something beyond.
of s u b j e c t matter
leads
a l l forms
H a w t h o r n e i s a l s o a n a t u r a l s k e p t i c and
of
obsessively
^R.
H. F o g l e , H a w t h o r n e ' s F i c t i o n :
The L i g h t and
(Oklahoma:
U n i v e r s i t y o f O k l a h o m a P r e s s , 1 9 5 2 ) , p. 4.
the
Dark,
12
C h a r l e s F e i d e l s o n , J r . , S y m b o l i s m and
( U n i v e r s i t y o f C h i c a g o P r e s s , 1 9 5 3 ) , p. 9.
American
Literature,
12
a w a r e o f t h e t h i n l i n e b e t w e e n c o h e r e n c e . o f v i s i o n and. s u p e r f i c i a l i t y .
The
spokesmen f o r - t r a d i t i o n a l , a l l e g o r y a r e . g i v e n , a
but
Hawthorne, even i n the midst o f appearing
supernatural
insight,
with naivete.and
hearing
i n the story
t o . c r e d i t them w i t h
cannot, r e f r a i n f r o m t a i n t i n g
their interpretations
d i s s o c i a t i n g t h e i r i n s i g h t s f r o m any p e n e t r a t i o n
i n t o t h e h e a r t o f anything..
Mr. W i l s o n , i s i n p o s s e s s i o n
o f a "great and
warm h e a r t " o f t h e k i n d t h a t i s s u p p o s e d t o g i v e t h e m u l t i t u d e
supernatural
insights into
C h i l l i n g w o r t h . a n d Dimmesdale.
d e m e a n o r i s a l s o .marked .by: a c e r t a i n , c o m i c . myjooia.
he
i s a t ' a serious disadvantage,
bumbling contrast with
(pp.
are
111-112)..
But h i s
Questioning
and .his solemn, p l a i n q u e r i e s
Pearl
are a
t h e f a n c i f u l , s u g g e s t i v e , r e p l i e s o f t h e child.-,
T h e s c e n e , and: the., i m a g e ; we g e t o f . t h e k i n d l y m i n i s t e r
aptly prefaced
W i l s o n .enters
their
b y t h e f i r s t p a r a g r a p h . o f t h e same c h a p t e r
t h e stage...engaged, i n . c o n v i n c i n g . B e l l i n g h a m
p e a r s a n d . g r a p e s m i g h t yet..be g r o w n i n t h e c l i m a t e of. New
that
when
peaches,
England.
L a t e r , when D i m m e s d a l e . t a k e s h i s m i d n i g h t : v i g i l u p o n . t h e s c a f f o l d ,
Wilson
makes a n o t h e r a p p e a r a n c e , as h e t r u n d l e s h o m e . f r o m t h e d e a t h b e d o f
Governor Winthrop,,wrapt
t i g h t l y , i n h i s c l o a k , . s y m b o l i c a l l y and l i t e r a l l y
o b l i v i o u s t o . t h e p r e s e n c e o f D i m m e s d a l e .on t h e s c a f f o l d .and t h e me a i l i n g
implied therein.
In t h i s
is
i n s t a n c e Hawthorne's d i s c r e d i t i n g o f s y s t e m a t i c
allegory
i n d i r e c t - - M r . W i l s o n ' s ' c l a s s , o f , commentary i s . robbed.,of i t s a p p l i -
c a b i l i t y . m o r e .by i t s , a s s o c i a t i o n w i t h h i m t h a n . i t s . i n t r i n s i c
faults.
B u t • e l s e w h e r e H a w t h o r n e ' s a t t a c k . o n , t h i s mode o f p e r c e p t i o n
is'more
f r o n t a l ; and.: o c c u r s
e v e n when t h e , a u t h o r seems m o s t b e n t o n p a y i n g h i s
r e s p e c t s . .The p a s s a g e l a u d i n g t h e . p u b l i c ' s i n s t i n c t i v e
responseSxChillingworth
13
offers
a f i n e example o f t h i s
characterizes
giving
their
ambivalence i n Hawthorne.
conclusions
as.'.'so p r o f o u n d and
them a p p a r e n t a u t h o r i t y .
wrapt i n a p a t e n t l y
emissary
and
And
since
a l l e g o r i c a l p i c t u r e of
their
so
formal
a l l e g o r y as
as
damaging to u n d e r s t a n d i n g the
unsophisticated
a means t o s p i r i t u a l
tale
Hawthorne—except
commentary i n b o t h
cases.
as
unerring",
conclusions
insight.
regarding
clinch
This
Mr.
t o w n s p e o p l e , .Hawthorne, a d d s a s a r d o n i c
the
devil's
the
role
could
be
W i l s o n as
t h a t Hawthorne u n d e r c u t s
A f t e r : r e l a t i n g the
thus
are
C h i l l i n g w o r t h as
Dimmesdale a s . J o b , Hawthorne appears to
of
Hawthorne
an
such
i n s i g h t s o f the
aware
postscript:
This d i a b o l i c a l , agent had,the D i v i n e
permission,
for. a s e a s o n , t o burrow i n t o the clergyman's
intimacy,.and.plot
a g a i n s t h i s s o u l . No s e n s i b l e
man,
i t :was c o n f e s s e d , c o u l d d o u b t on w h i c h
s i d e the.'•victory would" t u r n .
The p e o p l e l o o k e d ,
w i t h an u n s h a k e n h o p e , t o s e e t h e m i n i s t e r come
f o r t h out of the c o n f l i c t , t r a n s f i g u r e d w i t h the
g l o r y w h i c h he w o u l d . u n q u e s t i o n a b l y w i n .
Meanw h i l e , n e v e r t h e l e s s , i t was s a d . t o t h i n k o f t h e
. p e r c h a n c e m o r t a l agony t h r o u g h w h i c h he m u s t
s t r u g g l e towards h i s triumph.
A l a s , to j u d g e f r o m the gloom. a n d j t e r r o r i n
the depths: o f the poor m i n i s t e r ' s eyes, the
b a t t l e was a s o r e one, and ,the v i c t o r y a n y t h i n g
but secure!
(p.
128)
The
f a c i l e optimism they evince
i s h e a v i l y p r e m i s e d on
their, blithe
r e m i n d s us
that
their
Dimmesdale!s p u r i t y , a m i s t a k e t h a t
gives
a s s u r a n c e ' a d o l t i s h :q-uality i n the m i d s t o f i t s
I n t r u t h the outcome o f the
c o n f l i c t p r o v e s them c o r r e c t
D i m m e s d a l e i s e n n o b l e d , . C h i l l i n g w o r t h r e p e l l e d and
gloomy v i c t o r y h a r d l y
the
confidence-
presents
townspeople's unquestioning,
him
yet
schematically.
the
as. " t r a n s f i g u r e d w i t h
"profundity".
minister's
glory."
doubt-free a t t i t u d e toward the
Contrasting
struggle
14
with
D i m m e s d a l e ' s own
view from.the p r e c i p i c e forces
m u s t e i t h e r r e g a r d . D i m m e s d a l e '.s t e r r o r as
or
the
townspeople's a l l e g o r i c a l
H a w t h o r n e - i n t e n d s by
his
a m b i g u i t y o f . s i n and
ends w i t h
the i s s u e .
a d i s p l a y of
an. a m b i g u i t y o f s a l v a t i o n and
a kind of
c e r t a i n t y p o s s e s s e s an/.equal m e a s u r e o f
shallowness..
Hawthorne s e t out
c o n c e r n and. a w a r e n e s s , .but
somewhere a l o n g
f a c t t h a t he
see's t h e
s e e s m i g h t . b e r e g a r d e d as
the p u b l i c ' s
i s . : how
can
that,
bitter
faith
and
their
patent
sympathy
allegorical
r a t h e r than the
gateways.
on P e a r l r a i s e a s e c o n d s e t
a l l e g o r y ' i n the
same P e a r l . H e s t e r
g i v i n g the . l i e . t o her
apprehension, of
calls into,question his status
question
and.their
about the. status, of . p s y c h o l o g i c a l
Similarly
the. l i n e
p e r i m e t e r s , of. u n d e r s t a n d i n g
Mr..-Wilson's, o b s e r v a t i o n s
Simply the
an
to. p r a i s e t h e . p u b l i c h e a r t , i t s
r e d u c e d t o a . k i n d .of t o n g u e c l i c k i n g
questions
Whatever e l s e
t a l e . i t . i s c e r t a i n . t h a t he.begins i t with
realism while
i n s i g h t s become t h e
comely h u m i l i t y
f a i t h . a s unwarranted.
w i t h i n s u c h a. w o r l d , , u n c e r t a i n t y , must .needs be
is
We
as
s e e s and
illusory
Chillingworth's
of
tale.
Dimmesdale
being.
fiendish nature
a.privately,created apparition.
these, r e l a t i v e l y n e u t r a l p o i n t s , of view
w h a t i s the. s u b j e c t i v e p r o d u c t o f , o t h e r minds?..
The
The
perceive
answer-is
that
the. v i s u a l , e x p e r i e n c e . i s s h a r e d , s i m p l y ..because . P e a r l and. C h i l l i n g w o r t h
dp h a v e a " r e a l "
in
existence:.
t h e madness:: of. a p r i e s . t ' s m i n d" b u t
p h a n t o m , / e v e r y b i t as
him
C h i l l i n g w o r t h may. be
t o be..
i s a. p h y s i c a l l y - r e a l i z e d
other-worldly
as
I f a m i n d i n t u r m o i l , i s . t h e w i n d o w on
this, universe
"miraculous"
f i e n d i s h and
he
a phantom h a t c h e d
has
a.new,.frame o f
reference..
then they are m i r a c l e s
i n the
Dimmesdale
the
universe
I f i t s workings
context
of a
imagines
then
are
phenomeriological
15
w o r l d , i n w h i c h case
different
reality.
manner do n o t b e l i e
merely
world
in
they
are not i l l u s i o n s but r e a l events
T h o s e who
perceive the leech's strange
the p r i v a t e a l l e g o r y
show t h e m s e l v e s
the leech,, a naughty g i r l
T h o s e who
of.view.
solely
Ironically
they
is,
as o b t u s e ,
i n e f f e c t , undermining,
points
to see w i t h i t s eyes"
i s . " e x c e e d i n g l y , apt t o be
By u n d e r m i n i n g
While
soulless
deceived."
also represent purest objectivity.by
t h e i r uninvolvement.
Dimmesdale's
of a l l experience,
They, a r e t h e ^ m u l t i t u d e t h a t . " a t t e m p t s
and c o n s e q u e n t l y
upon
o l d doctor
a r e t h e ones " d e l u d e d " .
appear, i n . the context o f the t a l e ,
devilish
phenomenological
see only a k i n d l y
s e r v i n g to demonstrate the u t t e r s u b j e c t i v i t y
they
of the
i n P e a r l and n o t h i n g
b r e a s t when he r e v e a l s t h e l e t t e r
and
o u t o f w h i c h he grows b u t
attune'd t o t h e r e a l i t i e s
of which they partake.
of a
the e x t r e m i t y o f
their observations
Hawthorne
the p l a c e of e s t a b l i s h e d , r e a l i t y
inhis
tale.
Sifting
through.,.the. v a r i o u s , comments t h a t , . f o l l o w . t h e " r e v e -
l a t i o n " o f t h e l e t t e r o n Dimmesdale.,. H a w t h o r n e s a y s . " t h e r e a d e r
c h o o s e among' t h e s e
t h e o r i e s " ..(p.. 259) b u t o n l y i n r e f e r e n c e t o
t h e o p i n i o n s o f t h o s e who
origin.
saw t h e l e t t e r
Their interpretations
own s p e c i a l
reality.
and q u e s t i o n e d
as
the r e a l
therefore, are coincident w i t h the
H a w t h o r n e e x e r c i s e s more c a u t i o n and
e d i t o r i a l , prerogative i n handling the spectators'who
was
only i t s
are. d i f f e r e n t b u t a l l . a c c e p t
e x i s t e n c e o f .the emblem and. a l l ,
tale's
may
r e v e a l e d upon t h e s c a f f o l d .
They
insist
nothing
regard the m i n i s t e r ' s character
u n b l e m i s h e d a n d h i s ' a c t i o n s as p a r t o f a p a r a b l e o f c o m p a s s i o n
for sinners.
Hawthorne
comments:
16
5;
W i t h o u t d i s p u t i n g a t r u t h s o momentous, we m u s t
b e a l l o w e d t o c o n s i d e r t h i s v e r s i o n o f M r . Dimmesd a l e '.s s t o r y a s o n l y a n i n s t a n c e o f t h a t ^ s t u b b o r n
f i d e l i t y w i t h w h i c h a man's f r i e n d s — a n d e s p e c i a l l y
a c l e r g y m a n ' s — w i l l sometimes uphold h i s c h a r a c t e r ;
when p r o o f s , c l e a r as t h e m i d - d a y s u n s h i n e o n t h e
s c a r l e t l e t t e r , e s t a b l i s h h i m a f a l s e and s i n stained creature of the dust.
( p . 259)
As m a t t e r a n d a n t i - m a t t e r t o l e r a t e no p r o x i m i t y , r e a l i t y
reality
stir
and
counter-
a c o n t r a d i c t i o n that. Hawthorne i s o b l i g e d t o d e a l w i t h .
He h a s s o t h o r o u g h l y , b u i l t
the. i n t e r n a l r e a l i t y , t h e t a l e
manifests
t h a t h e i s . now i n a . p o s i t i o n , t o v i e w as. p r e j u d i c e d t h e o n l y
objective r e a l i t y has!
voice
17
CHAPTER I I
EMBLEMS. AND
To
THE
u n d e r s t a n d H a w t h o r n e ' s use
p s y c h o l o g i c a l ..allegory.,. we
s u c h as
INTERNAL P E R S P E C T I V E
Chillingworth
and
must r e - e x a m i n e t h e
Pearl.
o r D u e s s a .or. S e v e n D e a d l y S i n s . .
termed
function
of
.They. h a v e . t h e i m m e d i a t e
of s t o c k ' a l l e g o r i c a l , creations..on; the
sophisticated, creations
of what I have
same. plaTxg as
They, a r e
characters
appearance
Spenser's
credited, with
b e i n g more
i n a realistic.vein,, more:psychologically
r o u n d e d out. t h a n S p e n s e r ' s ' p e r s o n a g e s . , . b u t . t o most. . c r i t i c s
not
o f a d i f f e r e n t c l a s s . , F.
:
distinguishing features
is
"the
Archimago
0.
Matthiessen,
they
though . a l e r t to
of Hawthorne's a l l e g o r y ,
concedes
are
other
that.Pearl
p u r e s t , type. of. S p e n s e r i a n c h a r a c t e r i z a t i o n . , , w h i c h s t a r t s
with
13
abstract
q u a l i t i e s . a n d h u n t s f o r t h e i r p r o p e r embodiment."
Perhaps, the b e s t approach to a r e - a p p r a i s a l
versions
o f h u m a n i t y i s a s l i g h t l y r o u n d a b o u t one.
of
these s t y l i z e d
Hawthorne's
e m b l e m a t i c t e n d e n c i e s a r e more e a s i l y ..analyzed .when t h e y a p p e a r i n
forms l e s s i n t r i c a t e ' t h a n c h a r a c t e r s ;
andother
tangibles.not, subject
to
the
forms such.as o b j e c t s ,
f l u x of. p e r s o n a l i t y .
colours
The
intense
s u b j e c t i v i t y o f The- S c a r l e t L e t t e r ' s , w o r l d i s . a l l - p e r v a s i v e ,
and
laws that
as
the
govern the b e i n g s , o f P e a r l
f o r c e f u l l y to inanimate
matter.
A m e r i c a n R e n a i s s a n c e , p.
278.
and . C h i l l i n g w o r t h
apply
18
H y a t t Waggoner p a r t i a l l y
s y m b o l i c m e t h o d when he
observes
a f u l l - b l o w n symbolic, value but
uncovers
the n a t u r e o f Hawthorne's
t h a t ' c o l o u r s do h o t h a v e ,
initially,
grow t o be more t h a n t h e m s e l v e s
in
14
stages.
"pure"
T h e s e s t a g e s he
terms "pure",
image-j b e i n g a l i t e r a l ,
" m i x e d " , and
"drained"; a
s e n s o r y i m p r e s s i o n , a " m i x e d " image
one w h i c h
i s b o t h s e n s o r y and m e a n i n g f u l ,
one w h i c h
i s given over t o t a l l y . t o
and
a " d r a i n e d " image
i t s symbolic
import:
Thus, o n t h e f i r s t p a g e t h e g r a y n e s s .of t h e h a t s
and t h e " w e a t h e r - s t a i n s " o f t h e j a i l a r e p u r e
images, sense i m p r e s s i o n s t o be t a k e n q u i t e
literally.
O n l y a f t e r we h a v e become c o n s c i o u s
o f t h e p a r t p l a y e d : b y c o l o u r i n t h e t a l e a r e we
a p t t o be aware o f t h e a p p r o p r i a t e n e s s o f t h e s e
c o l o u r s , t h o u g h , t o be s u r e t h e y may h a v e h a d
t h e i r e f f e c t on us b e f o r e we became c o n s c i o u s
of t h a t e f f e c t .
1 5
Waggoner a t t r i b u t e s
to b r e a k
v a l u e s so
such
graduated
s y m b o l i c growth
the reader in. g e n t l y , cushioning.the i n t r o d u c t i o n
t h e y : w i l l be
felt
as a p p r o p r i a t e , i n t h e i r
form.. Although .there i s indeed a growing
images, the reasons b e h i n d
to
the tale..
of
ultimate,
symbolic
"drained"
" a p p r o p r i a t e n e s s " t o such
t h e s e c h a n g e s h a v e a more o r g a n i c
relationship
What W a g g o n e r ' i s o b s e r v i n g i s H a w t h o r n e ' s w o r k i n g
t h e i n s i d e o u t , e v o l v i n g v a l u e s f o r c o l o u r s and
Mass.:
to Hawthorne's w i s h
o b j e c t s r a t h e r than
H y a t t H. W a g g o n e r , H a w t h o r n e :
A C r i t i c a l Study
H a r v a r d U n i v e r s i t y P r e s s , 1 9 5 5 ) , p . 122.
I b i d . , p.
123.
from
(Cambridge,
19
a f f i x i n g them.
His characters,
Dimmesdale and H e s t e r ,
grow c o n s c i o u s
of v a r i o u s l e v e l s of meaning, g r a d u a l l y , as a f u n c t i o n o f
i n c r e a s i n g burden o f g u i l t and s e c r e c y .
their
T h i s . r e l a t i o n s h i p between
the • " d r a i n i n g ' . ' o f images and the ..point of v i e w o f c e r t a i n
i s i l l u s t r a t e d by Hawthorne i n the c h a r a c t e r
characters
of Dimmesdale.
I t i s the unspeakable m i s e r y of a l i f e so f a l s e
as h i s , t h a t i t s t e a l s the p i t h and s u b s t a n c e out
of. w h a t e v e r r e a l i t i e s t h e r e , a r o u n d u s , and
w h i c h were meant by Heaven to be the s p i r i t ' s j o y
and nutriment... To the u n t r u e man, the whole
universe i s false,—-it.:is impalpable, i t shrinks
to. n o t h i n g w i t h i n h i s . g r a s p .
And he h i m s e l f , i n
so f a r as he. shows, . h i m s e l f , i n a f a l s e l i g h t ,
becomes a shadow, o r , . i n d e e d , ceases to e x i s t .
The o n l y t r u t h : , t h a t c o n t i n u e d to g i v e M r .
Dimmesdale a . r e a l , e x i s t e n c e on t h i s e a r t h , was
the anguish: o f h i s .inmost s o u l . , . . . . . (pp. 145-146)
The p a s s a g e , , i n e f f e c t , i s s e t t i n g , the s t a g e f o r the changes w h i c h
m a t e r i a l images undergo i n the course o f t h e t a l e . .
that
The " f a l s e n e s s "
i n f e c t s , a l l . s u b s t a n t i a l r e a l i t y may be . p a r t l y , an . a u t h o r i a l i n d e x
to Dimmesdale's m o r a l s t a t e , . b u t • i t . d o e s
not s t o p at t h i s .
It
is
a l s o a d e s c r i p t i o n of the. m u t a b i l i t y o f a l l t a n g i b l e . q u a l i t i e s
as s u c h , p e r t a i n s
to the l a r g e r question... of s u b j e c t i v e
and the r e l a t i v i t y of. experience...
n o t h i n g " i s not f a l s e
and,
perception
The. u n i v e r s e t h a t " s h r i n k s
i n the sense t h a t i t , i s an a n t i t h e s i s
to
to
the
" t r u e " u n i v e r s e ; r a t h e r i t . i s . d e s c r i b e d i n terms ,of. i t s . . g r o w i n g
n e u t r a l i t y in.the equation.of
experience.
Deprived,of . i t s p h y s i c a l ,
independent, e x i s t e n c e through Dimmesdale's t u r n i n g o f h i s senses
inwardly, it.stands
ready to accept a s e c o n d . r e a l i t y ,
" d r a i n e d " o f independent l i f e . .
portentous
and
Waggoner's v i e w of t h e s e changes as
20
testimony
to Hawthorne's c a r f t s m a n s h i p has
the w r i t e r
a p p e a r more i n g e n i o u s
view
to s h o r t - c i r c u i t
of
tends
emblems a n d . t h e r e b y
style
than i n v o l v e d .
l i n k s Hawthorne too c l o s e l y
t h e p r e - c o n c e i v e d scheme o f t h e
their sin, guilt
Letter
literal,
outward f a c t
expanse o f
and
universe
hyper-
embroidered
I t i s a universe
i n . The
As
Scarlet
i s the " a m b i g u i t y
between
'an e x t e n s i o n o f e g o t i s m o v e r t h e w h o l e
nature.'""^
The
first
chapter springs q u i c k l y
i n t o emblematic s p e c u l a -
t i o n w i t h Hawthorne's r e f e r e n c e to the f r a g i l e beauty
bush which
The
comprehends i t .
the operating p r i n c i p l e
a n d some o f H a w t h o r n e ' s :best s t o r i e s
consequently
letters
t h e sky by m e t e o r s .
e x p l i c a b l e o n l y i n terms of.the.psychology, which
Crews'observes,
to
and
t h e . r e s u l t i s the
s i g n i f i c a n t w o r l d of the tale, w i t h burning s c a r l e t
Frederick
growth
i n obedience
v i e w , o f t h e u n i v e r s e as w e l l . .
g o l d t h r e a d , o r e m b l a z o n e d , on
the
to a Bunyanesque
exclusively
t h e y p e r c e i v e r e f l e c t s , t h e i r p e r t u r b a t i o n and
in
a
author.
and Dimmesdale s h a r e
t h e i r phenomenological
of making
Moreover such
the p s y c h o l o g i c a l b i a s b e h i n d
of w r i t i n g where symbols o p e r a t e
Hester
the disadvantage
bloomed o u t s i d e the p r i s o n ' " i n
h e a r t .of n a t u r e
could p i t y . . . . "
( p . 48)
w i t h s i g n i f i c a n c e , more a f o r e s h a d o w i n g
of the
token t h a t the
But
this
rose'
deep
i s a toying
of the t a l e ' s
emblematic b i a s
than a f o r e r u n n e r o f the k i n d . o f symbolism that w i l l
predominate i n
the s t o r y .
f o r meaningful
A f t e r we
a r e made.aware o f t h e p o t e n t i a l
; C r e w s , S i n s , o f : t h e Fathers,... p . 263.
Hawthorne's r e f e r e n c e t o Dimmesdale.
I n t e r i o r quote i s
21
interpretation
the
through oup encounter w i t h
tale increasingly
points
and approaches
an e x t r e m i t y o f k i n d s d u r i n g
away a n d * f e e l s H e r s e l f f r e e
e v e n t and e n s u i n g emotions
sin
s u f f e r i n g i nwhich
and t h e s i g n w h i c h
moral
blossom,"
d e v e l o p s i t s m e a n i n g s from, i n t e r n a l r e f e r e n c e
meeting of.the g u i l t - r i d d e n p a i r .
of
t h e "sweet
the forest
When H e s t e r f l i n g s
the l e t t e r
from t h e s t i g m a a s s o c i a t e d w i t h i t , t h e
a r e v i a b l e because
she has had seven years
t o n u r t u r e a t o t a l i d e n t i f i c a t i o n between h e r
d e n o t e s i t t o .the w o r l d .
When H e s t e r o p e n l y
r e - a f f i r m s her: l o v e f o r t h e m i n i s t e r the, e v e n t b r i n g s on a " f l o o d
. o f , s u n s h i n e " s u g g e s t i n g , , i n part., an a c u t e c o r r e l a t i o n o f i n w a r d
s t a t e w i t h t h e appearance
as. w e l l .as t h e m e a n i n g , o f o u t w a r d
reality:
. S u c h •was.:• t h e s y m p a t h y o f N a t u r e — t h a t w i l d ,
h e a t h e n Nature.. of t h e - f o r e s t , n e v e r s u b j u g a t e d
b y human l a w , n o r i l l - u m e d by. h i g h e r t r u t h —
w i t h t h e b l i s s 'of. t h e s e two s p i r i t s !
Love,
whether newly b o r n , o r aroused from a deaths
l i k e s l u m b e r , must a l w a y s c r e a t e a s u n s h i n e ,
f i l l i n g t h e h e a r t so f u l l o f radiance, that i t
o v e r f l o w s upon t h e o u t w a r d . w o r l d .
Had t h e
f o r e s t s t i l l k e p t i t s gloom, i t w o u l d have
been b r i g h t in. H e s t e r ' s eyes , and b r i g h t i n
A r t h u r •'Dimmesdale.'s!
( p . 203)
:
Hawthorne's sense
ambiguous.
Almost
o f correspondence i s u l t i m a t e l y
tentative,
even
i n t h e same b r e a t h .we a r e i n v i t e d t o draw two-
very d i f f e r e n t . conclusions
f r o m w h a t o c c u r s . . .On o n e , h a n d H a w t h o r n e
i n v i t e s .us t o a p p r a i s e t h e e v e n t a s . b e t o k e n i n g N a t u r e ' s a p p r o v a l o f
s u c h l o v e w h i c h , i n t u r n , l e a d s us t o a W a g g o n e r - l i k e v i e w
externals are protagonists in.causing
meaning;
that Nature's.sympathy
that
the p r o l i f e r a t i o n o f symbolic
i s h e a t h e n i s h and b e t o k e n e d by a " f l o o d
22
o f s u n s h i n e , " t h a t God's i n t e r e s t s a r e r e p r e s e n t e d
properties
off,
of the letter
and t h a t
the
and i t s r e f u s a l t o d e p a r t when i t i s c a s t
a l l tokenism i s u l t i m a t e l y part
commentary o n h i s s t o r y .
On t h e o t h e r
contradictory notion.that."love"
of s u n s h i n e , " t h a t
i n t h e phenomenal
interior
o f Hawthorne's
hand, the passage
introduces
is.responsible f o r the "flood
feelings.; love
or guilt,
"overflow
upon t h e o u t w a r d w o r l d " w i t h
s u f f i c i e n t p o t e n c y . to c r e a t e
well
i n t e r p r e t a t i o n , Nature's
as i n f e r
them.
By t h i s
invisible
omens as
heathenish
q u a l i t y may b e s e e n l e s s as a m o r a l a n t i t h e s i s t o P u r i t a n i s m
a k i n d o f m o r a l . . n e u t r a l i t y ; : t h e same n e u t r a l i t y , t h a t
the
" f a l s e " ' universe
described
characterizes
i n r e l a t i o n t o Dimmesdale and
s y m p t o m i z e s t h e g r o s s m u t a b i l i t y of. t h e " o u t w a r d w o r l d "
no
identity
parallel
play
separable
from i t s p e r c e i v e d / i d e n t i t y .
i n t e n s i f i c a t i o n of. g u i l t . a n d g o t h i c
upon t h i s , n a t u r a l m u t a b i l i t y i n o r d e r
version
of the moonlit
than
that has
The c l o s e l y
f a n t a s y i i s Hawthorne's
to create
room w h e r e " t h e A c t u a l
t h e mind's
and the Imaginary
may
m e e t " ("The C u s t o m H o u s e , " p . 3 6 ) . W h i l e t h i s , v i e w o f t h e p r e t e r n a t u r a l e v e n t s in'; the
moral construction,
At
t a l e does n o t d e s t r o y
the p o s s i b i l i t y
of a
i t a t l e a s t poses' an . a l t e r n a t i v e u n d e r s t a n d i n g .
t h i s , s t a g e o f t h e argument i t can be s a i d t h a t Hawthorne i s
d e a l i n g i n a t l e a s t two modes o.f c o n c e p t i o n .
Waggoner's s t u d y , o f
neglect
this
the growth o f s y m b o l i c meaning tends t o
s e c o n d , i n t e r i o r , mode . o f c o n c e p t i o n . .
commits a second, s i n - o f o m i s s i o n .
images, i s u n n e c e s s a r i l y
objects, or. q u a l i t i e s .
Moreover'he
H i s study o f t h e growth o f
r e s t r i c t e d when h e c o n s i d e r s , o n l y
The m u t a b i l i t y o f p e r c e i v e d
inanimate
f o r m s Sua
property
23
not
only
of
sub-human m a t t e r b u t
k i n d which eats with
a knife
and
pertains
to
fork
demands, by
and
a l l matter i n c l u d i n g
a p r i v a t e i d e n t i t y s e p a r a b l e from i t s p e r c e i v e d
worth
role
for
complains
("A
his
identity.
of.becoming h e l p l e s s l y submerged i n h i s
m o r t a l man
especial
s o much as
reason of
with
o n c e a human h e a r t ,
t o r m e n t " ) , he
recognizing
i s not
himself
as
has
When
the
this,
Chilling-
fiendish
become a
fiend
s h i r k i n g his moral r e s p o n s i b i l i t y
subject
to, t h e
same p r o c e s s
by
which.less s e l f - a s s e r t i v e objects
come.to e x i s t more
symbolically
than actually..
Scarlet Letter:
A
Reading",
his
character.
R u d o l p h e Von
Abele
his
first
In h i s
essay
A b e l e makes an
complains
that
identity straddles
istic
and
the
two
allegorical.
"The
a c u t e . o b s e r v a t i o n on
Chillingworth. loses, e f f e c t i v e n e s s
modes o f , l i t e r a r y
T h e n he
relents
Von
because
p o r t r a i t u r e , the
somewhat i n h i s
natural-
judgment:
We can s a v e h i m b e r e g a r d i n g h i m as a p r o j e c t i o n
o f m e n t a l s t a t e s j i n . w h i c h c a s e he " f i t s " h i s r o l e
almost p e r f e c t l y . 1 7
Though the
of
complaint of
characters
Chillingworth
i s stock
as
leech
the
material world.
the
to w h a t h a s
already
cation
as
mirror
and
f a r e , ..Von
consequent
Abele's
Dimmesdale's m e n t a l s t a t e
Von
Abele omits
I f Chillingworth
resides
"Rudolphe.Von A b e l e ^ "The
( A u t u m n , 1 9 5 1 ) , 219.
i n the
corollary
appraisal
i s , in fact, a
t o Dimmesdale,. t h e n a l a r g e p a r t
a character
relates
alterations i n
a logical
that, might have r e s u l t e d i n a k i n d e r
story.
dehumanization
reference,.to
been.observed regarding
Curiously,
leech's r o l e , i n the
of p s y c h i c
XI
critical
a d e r i v a t i v e of
the
to h i s . s u g g e s t i o n
over-ingenuity
of his
kind
justifi-
e x t e n t to w h i c h Dimmesdale
Scarlet Letter:
of
A.Reading",
achieves
Accent,
24
full
dramatic l i f e .
V o n A b e l e seems t o s a y t h a t C h i l l i n g w o r t h
s e r v e a m i r r o r f u n c t i o n and then c o m p l a i n
does
that the m i r r o r i s too
flat.
S t i e p h e n A. B l a c k p u r s u e s . - t h e . - c o r r e l a t i o n b e t w e e n p s y c h e
and s y m b o l i s m
sees, t h i s
a t . more l e n g t h . t h a n does. V o n A b e l e
and c r e d i t a b l y
a s p e c t o f t h e t a l e a s c r u c i a l .to. t h e u n d e r s t a n d i n g o f
c h a r a c t e r s as w e l l
as a l l m e t a p h y s i c a l m e a n i n g s i n t h e s t o r y :
...a c e n t r a l p r o b l e m i n . t h e a c t i o n of, t h i s n o v e l i s
t h a t phenomenal, r e a l i t y . . i s . u s u a l l y , o b s c u r e d f o r t h e
•characters b y t h e i r u n f l a g g i n g e f f o r t s t o account
f o r e v e r y e x p e r i e n c e as s y m b o l i c o f a . g r e a t e r r e a l i t y
believed to exist.outside the humanly.perceivable world.
Any. u n d e r s t a n d i n g o f ' H e s t e r ' a n d D i m m e s d a l e , s a y s B l a c k , m u s t
i n t o account., " t h e i r p r o c l i v i t y — o n e w h i c h
they share w i t h the r e s t
of the community—rto^construct.symbolic, i n t e r p r e t a t i o n s
e v e n t s , t h i n g s and people."
19
When t h i s
take
tendency
of real
goes amok a s
i n the; c a s e o f H e s t e r a n d D i m m e s d a l e t h e r e s u l t i s " h a l l u c i n a t i o n ,
20
t o t a l estrangement
from r e a l i t y . "
observation, i s that he borders
discovering
,'\ The w e a k n e s s o f B l a c k ' s
on.an unnecessary
contradiction i n
the i n t e r n a l p e r s p e c t i v e behind s y m b o l i z a t i o n , admitting
18
S t e p h e n . A. B l a c k , " I n t r o d u c t i o n :
The S y m b o l i c N a r r a t i v e o f
The S c a r l e t L e t t e r , " i n T h e S c a r l e t L e t t e r (New Y o r k :
H a r p e r a n d Row,
1968), p. i x .
19
S t e p h e n A.. B l a c k , "The S c a r l e t
Paunch, XXIV (October, 1965), 5 2 /
Ibid.
Letter:.
Death by Symbols,"
25
the
"total
e s t r a n g e m e n t f r o m r e a l i t y " e x p e r i e n c e d by
D i m m e s d a l e , and
then p o s t u l a t i n g
("phenomenal r e a l i t y , "
" r e a l events,
degrees of. e s t r a n g e m e n t
any
real
insists
and
the
can
be
existence
things
conveniently
and
o f an
that
distortions
there
i s a basic naturalism
a v i e w he
the
i m p o s e d by
Black's
absolute
p e o p l e " ) by
measured.
reality
which
Black
skirts
i n the p o r t r a i t u r e of
author .maintains d e s p i t e
H e s t e r and
theirs,
a number o f o t h e r
abstraction of e v i l ,
l e a d s . t o . an. a c r o b a t i c
he
attempt to
may
and
the
curious
e x p l a n a t i o n s ' h a v e somewhat t h e same a p p e a r a n c e as
for. the
c a r n a g e , he
b e e n c u c k o l d e d by
the
f e e l i n g that
s e c r e t l y observes
case
a
of
demonic
These
Iago's
self-
i n s t i g a t e s , namely his. s u s p i c i o n
Othello.
In both
Black's
contention
episode i n the
the m i n i s t e r i n h i s s l e e p
o b s e r v e s upon h i s
After
the
his
seeking
c a s e s one
t a n g i b l e , . human-j m o t i v a t i o n s
convenient than s a t i s f y i n g .
unstuck i n - d e a l i n g w i t h
the
a p p e a r as
scientist.
and
is
shift
In
i s a l s o the.cuckolded husband
r e v e n g e , t h e o b s e s s e d man
l e f t with
emblematic
Hawthorne, c r i t i c s
C h i l l i n g w o r t h i t i s a r g u e d t h a t a l t h o u g h he
has
the
Pearl
Dimmesdale.
Hawthorne's,point of.emphasis i n c h a r a c t e r i z a t i o n .
justification
he
argument f o r . n a t u r a l i s m i n c e r t a i n c h a r a c t e r s
shares, w i t h
defense,.like
he
and
c o n t r a d i c t i o n b y . e n l i s t i n g H a w t h o r n e on h i s s i d e w h e n
Chillingworth that
t h a t he
Hester
becomes
is
are
more
particularly
t a l e when C h i l l i n g w o r t h
and
i s s t r u c k by
what
breast:
a b r i e f p a u s e , t h e p h y s i c i a n t u r n e d away.
B u t w i t h w h a t a w i l d l o o k o f w o n d e r , j o y , and
horror!
W i t h w h a t a g h a s t l y r a p t u r e , as i t w e r e , t o o
m i g h t y t o be e x p r e s s e d o n l y by t h e e y e and f e a t u r e s ,
and t h e r e f o r e b u r s t i n g f o r t h . t h r o u g h t h e w h o l e u g l i n e s s
26
o f h i s f i g u r e , and m a k i n g i t s e l f e v e n r i o t o u s l y
m a n i f e s t by t h e e x t r a v a g a n t g e s t u r e s w i t h w h i c h he
t h r e w up h i s arms t o w a r d s t h e c e i l i n g , and s t a m p e d
h i s f o o t upon t h e f l o o r !
Had a man s e e n o l d R o g e r
C h i l l i n g w o r t h , a t t h a t moment.of h i s e c s t a s y , he
w o u l d h a v e h a d n o n e e d t o a s k how S a t a n c o m p o r t s
h i m s e l f , when a p r e c i o u s human s o u l i s l o s t t o
h e a v e n , and w o n . i n t o h i s k i n g d o m .
But what d i s t i n g u i s h e d the p h y s i c i a n ' s e c s t a s y
f r o i a v S a t a n ' s was t h e t r a i t o f w o n d e r i n i t !
( p . 138)
Black
s e i z e s u p o n the. e l e m e n t o f ."wonder" i n C h i l l i n g w o r t h ' s
d e m e a n o u r as
evidence of
which i s touched w i t h
dis
the
old.man's b a s i c a l l y , s c i e n t i f i c
a rather, persistent c u r i o s i t y
and
bias
love
of
covery.
In the
case of P e a r l , the
seems e v e n more . t h e
Chillingworth.
R.. H.
attempt to n a t u r a l i z e her
f o r c i n g , o f . an i s s u e
Fogle
t h a n i n , the, c a s e
defends..:Pearl.'.s, n a t u r e
as
character
of
essentially
21
childlike while
conceding;.she asks " f i e n d i s h l y
M a r j o r i e J . E l d e r g o e s one
better.
After noting
a c h i l d ' s c a p r i c i o u s n e s s . and, t h a t , h e r
"naughty' ' as. w e l l , as,; a p t ,
1
loneliness of a c h i l d
. c h a r a c t e r w i l l be
w h i l e , by way
among c r i t i c s ,
she
questions
extends her
cut o f f from other
discussed
apt"
;
questions.
that Pearl
m i g h t be
seen
sympathy to "the
22
children."
has
pathetic
Pearlis
at a f u r t h e r .point i n t h i s work;
o f some r e f u t a t i o n o f t h i s
as
Mean-
" n a t u r a l i z i n g " approach
i t . m i g h t be. s a i d . t h a t P e a r l seems, t o b e a r a minimum
o f human q u a l i t i e s
and. a s u r f e i t
of demonic p r o p e r t i e s .
Her
behavior
21
,R. H. Fogley.,. The L i g h t , arid t h e / D a r k , ( O k l a h o m a : , U n i v e r s i t y o f
O k l a h o m a - P r e s s . , 1952),. p. 144.
On t h e same p a g e F o g l e adds., i n r e f e r e n c e
to P e a r l :
"No s i n g l e . a c t i o n o f . h e r s i s e v e r , i n c r e d i b l e : o r i n c o n s i s t e n t
w i t h t h e , c o n c e i v a b l e . a c t i o n s . , o f ,:any. c h i l d u n d e r t h e same . c o n d i t i o n s ."'
22
M a r j o r i e J . E l d e r , N a t h a n i e l Hawthorne:
( O h i o U n i v e r s i t y P r e s s , . 1 9 6 9 ) , p. 138.
WF
Trariscendental
Symbolist,
27
when H e s t e r • c a s t s
o f f the scarlet
but i t i s so h i g h l y
be
the
letter i s a rebellious
charged with, a s i g n i f i c a n c e
aware o f . t h a t h e r " c h i l d i s h n e s s ' . '
scene r a t h e r
so that P e a r l
might
s h e ,can n o t
"naturally"
imparts, a grotesque f e e l i n g to
t h a n any. s e n s e o f . p r o b a b i l i t y , .
acknowledgement t h a t ,
tantrum,
Hawthorne's
own
i n the f i n a l s c a f f o l d scene, "a s p e l l i s broken"
"grow up amid, human. j o y a n d s o r r o w "
makes i t p l a i n e n o u g h . t h a t
intended.by h e r character.
( p . 256)
s o m e t h i n g i n a non-human s p h e r e was
28
CHAPTER I I I
CHILLINGWORTH'S ROLE
Chillingworth
a sense l e s s obvious
i s both
a. v i c t i m i z e r and
a v i c t i m but
t h a n H a w t h o r n e s u g g e s t s when h e
in
moralizes:
I n a w o r d , o l d R o g e r . C h i l l i n g w o r t h was a s t r i k i n g
e v i d e n c e o f man's f a c u l t y o f , t r a n s f o r m i n g h i m s e l f
i n t o a d e v i l , i f he w i l l o n l y , f o r a r e a s o n a b l e
space of time, undertake a d e v i l ' s o f f i c e .
( p . 170)
When t h e l e e c h . a c c u s e s
de-humanization,
man,
the .priest of being
he .may
be
shirking.his. moral
b u t : as. an a l l e g o r i s m o r t y p e . (by. t h i s
more t h i s
t h a n , a man),
he
formation correctly.
responsible for his
is. attributing
responsibility
as
t i m e i n t h e s t o r y he
the causes
of his
trans-
L i k e R o d e r i c k E l l i s . t o n ' s bosom s e r p e n t o r
witches
t h a t appear, t o . M a c b e t h , C h i l l i n g w o r t h ' s a p p e a r a n c e and
h a v e no
autonomous e x i s t e n c e .
his
conscience
h i s mind .would
t h e o u t w a r d w o r l d t o c r e a t e t h e embodied phantoms o f h i s
strife.
figure
As
many h a v e o b s e r v e d ,
allegorically. resembling
an a c t i v e . c o n s c i e n c e .
would, be
rather, than
I t i s out
directly
mettle
violated
disrupt
inward
C h i l l i n g w o r t h ,is, a , p u n i t i v e , avenging
the.,guilt-ridden r e c r i m i n a t i o n s of
H o w e v e r he
i s : n o t everyman's g u i l t ,
i n the. hands, o f Bunyan, but
Dimmesdale..
the
When D i m m e s d a l e c o m m i t t e d s i n h e
and b e g a n . t h e p r o c e s s , b y w h i c h
is
specifically
of the p r i e s t ' s mind.that
from Hawthorne or.God
the g u i l t
he has
his
as
he
of
source
(viewing conscience, f o r
29
the
moment, i n p s y c h o l o g i c a l
Arthur
than t h e o l o g i c a l
Dimmesdale's d e c l i n i n g h e a l t h
f e s t a t i o n of h i s
tortured,
psychosomatic e f f e c t .
the
rather
i s a physical
declining spirit—-a
readily
mani-
understandable
L e s s u s u a l , p l a u s i b i l i t i e s .must , a c c o u n t
appearance of the
s e e n e , . a l t h o ugh
terms).
"A"
only, an
presence i n n a t u r a l i s t i c
on h i s b r e a s t
i n the
final scaffold
e x t e r n a l l y i n f l i c t e d wound c o u l d
terms.
Yet,
for
a f t e r many s u c h
explain i t s
emblematic
wonders.have p r e c e d e d i t , the
more p h e n o m e n a l , l i k e l i h o o d d o e s n o t
improbable.
conviction that
D i m m e s d a l e ' s own
"the
seem
D e v i l knew i t w e l l
and
f r e t t e d i t c o n t i n u a l l y ' w i t h h i s b u r n i n g f i n g e r " ( p . 255)
confirms
its
a c u t e p s y c h o l o g i c a l , b e i n g i f not. i t s p h y s i c a l p r e s e n c e .
It is
not
a long.step
f r o m p s y c h o s o m a t i c i s m t o . . p s e u d o - m i r a c u l i s m and
to
a more u l t i m a t e
is
only
e v i d e n c e of. t h e
a f u n c t i o n of the
extent
i n t e r n a l one.
Dimmesdale i n f l i c t s C h i l l i n g w o r t h . o n
his
bodily health
and,
on h i s b o s o m .
instructive
with
to
Goodman B r o w n " .
There i s
external
evidence.that
h i s p e r s o n j u s t as he
or.otherwise,
many p r e c e d e n t s i n H a w t h o r n e ' s t a l e s
s i m i l a r , r a d i c a l morbidity
digress
The
f o r a moment and
as
the
"A"
of s p i r i t .
involving
It is
examine the
case of
"Young
t a l e ..is. a p a r t i c u l a r l y g r a p h i c
account
of
wherein the h y p e r - s e n s i t i v e
motivations
ruins
c a r v e s an
the. i n t r o s p e c t i v e , t e n d e n c y : g o n e amok, . p u r s u i n g n i g h t m a r i s h
The
world
.
T h e r e axe
characters
miraculously
to w h i c h the
then
spirit
confronts
f o r Brown's j o u r n e y i n t o the
nature of obsession,
but
there
i t s own
adventures
direst.fears.
f o r e s t are
as
i s ' a "dark n e c e s s i t y "
vague
to
30
the
journey:
"Too f a r !
too f a r ! " exclaimed the
unconsciously resuming h i s walk.23
The e v e n t s o f Brown's o r d e a l
pattern beginning
reputable
with
follow a precisely
the endurable . t r i a l s , of l e a r n i n g
cumulative
that
f i g u r e s . o f . a u t h o r i t y , a n d :Brown's o w n . a n c e s t o r s
h a d . c o v e n a n t s , w i t h .the . D e v i l .
seemingly
.Brown, i s d i s t u r b e d b u t manages t o .
r a t i o n a l i z e the evidence.of f a r - r e a c h i n g
touch, him
goodman,
corruption.
I t does n o t
directly:
H o w b e i t , I h a v e n o t h i n g t o , do w i t h t h e g o v e r n o r
and c o u n c i l ; t h e y , h a v e t h e i r own w a y s , a n d a r e no
r u l e f o r a s i m p l e . h u s b a n d m a n l i k e me. ^
B r o w n ' s f e a r s b e g i n t o b e more e a r n e s t l y
C l o y s e a f f i r m s her. p a c t w i t h
him
t h e , man
i n c a r n a t e d ;when Goody
of the f o r e s t .
This
touches
moire d e e p l y ; a n d : d e n o t e s a s h a r p . p r o g r e s s i o n . " d e e p i n t o t h e
25
heathen wilderness."..
Brown's.realization
The f i n a l . . p r o g r e s s i o n . i s , o f c o u r s e ,
that, the status
o f . h i s own w i f e
i s uncertain.
^ N a t h a n i e l H a w t h o r n e , " Y o u n g Goodman B r o w n , " M o s s e s F r o m a n
O l d Manse' ( L o n d o n :
K e g a n P a u l , T r e n c h a n d Company, 1 8 8 3 ) , p . 92.24
2 5
I b i d . , p. 9 3 .
Ibid.,
p. 97.
31
Literally,
F a i t h , b e i n g B r o w n ' s w i f e , i s h i s most i n t i m a t e human
r e l a t i o n and hence h i s c h i e f s u p p o r t i n l i f e .
F i g u r a t i v e l y viewed,
f a i t h i s • the u l t i m a t e b u l w a r k a g a i n s t the doubts w h i c h a s s a i l Brown's
piety.
Her appearance i n the w i l d e r n e s s communion r e p r e s e n t s
d a r k e s t f e a r t h a t can c o n f r o n t an e r s t w h i l e p i o u s man; n o t
the
the
p e r v a s i v e n e s s o f d e p r a v i t y i n mankind b u t the s u s p i c i o n c o n c o m i t t a n t
26
w i t h t h i s — n a m e l y . t h a t " s i n i s but a name"
and v i r t u e a n o t h e r .
U n l i k e M r . E v a n g e l i s t o f P i l g r i m ' s P r o g r e s s , , who r e p r e s e n t s
a c t i v e , p r a c t i s i n g f a i t h as o p p o s e d . t o complacent p i e t y , Goodman
Brown's f a i t h seems t o be. b e l i e f i t s e l f s t r u g g l i n g a g a i n s t
which suggests
a G o d - f o r s a k e n r e a l i t y . . O b s e r v i n g the
evidence
forest
company, Brown i s shocked by the p r o x i m i t y o f - t h e good and the
wicked:
E i t h e r , the sudden gleams o f l i g h t f l a s h i n g o v e r
the obscure f i e l d b e d a z z l e d Goodman B r o w n , ' o r he
r e c o g n i z e d a s c o r e o f the c h u r c h members o f Salem
v i l l a g e famous f o r t h e i r , e s p e c i a l s a n c t i t y .
Good
o l d Deacon Gookin had . a r r i v e d ' , and. w a i t e d at the
s k i r t s of that venerable s a i n t , h i s revered pastor.
B u t , i r r e v e r e n t l y c o n s o r t i n g w i t h these g r a v e ,
r e p u t a b l e and p i o u s people., t h e s e e l d e r s o f the
c h u r c h , these c h a s t e ".dames and dewy, v i r g i n s , t h e r e
were men o f d i s s o l u t e l i v e s and women o f s p o t t e d
fame, w r e t c h e s g i v e n , o v e r to a l l mean and f i l t h y
v i c e , and s u s p e c t e d even, o f h o r r i d c r i m e s .
It
was s t r a n g e to see t h a t the good shrank not from
the w i c k e d , n o r were t h e s i n n e r s abashed b y . t h e
saints.
S c a t t e r e d a l s o among t h e i r p a l e f a c e d
enemies were the I n d i a n . p r i e s t s or.powwows, who
had o f t e n s c a r e d t h e i r n a t i v e f o r e s t w i t h more h i d e o u s
i n c a n t a t i o n s than any known t o E n g l i s h , v i t c h c r a f t . ^
"Young Goodman B r o w n , " p .
I b i d . , p.
101.
99.
32
Later i n the story Hawthorne makes the suggestion
that the virtuous
demeanor of these "venerable s a i n t s " i s a mask, but i n the meantime,
with the context of the scene unmodified, itsvimport i s strangely
blasphemous.
The interspersing of saints and sinners suggests
more the lack of .grounds for distinction.between
mixture of p l a i n appearances and facades.
the two than a
.The pessimism seems
almost a t h e i s t i c , and this vein i s reaffirmed.when the fiend
bids Brown and his wife face one another,, and then exults:
"Depending upon, one an^oher.'s. hearts, ye had
s t i l l hoped that virtue, were not a l l a dream.
Now ye are.. undeceived.. E v i l i s .the nature of
mankind. E v i l must be your'only happiness.
Welcome again, my.children, to the communion
of your.race".28
The-evil that causes Brown's f i n a l despair i s negatively
defined;
not. the power of wickedness, so much as an absence of any absolute
virtue that-might give testimony: to an e t h i c a l universe and the
workings of. a Providence.
Goodman Brown's confusion might
require a.plea of the kind made by the man:viewing h i s mirror image
i n "Monsieur du M i r o i r " :
A few words, perhaps, might-satisfy :the feverish
yearning of.my soul f o r some.master thought that
should.guide me'-; thro ugh; this labyrinth of l i f e ,
teaching wherefore I was born, and how to do my'
task on earth, and what i s d e a t h .
29
28
"Young Goodman Brown", p. 104.
29
Nathaniel Hawthorne, "Monsieur du M i r o i r , " Mosses Prom an
Old Manse (London: Kegan Paul, Trench and Company; 1883), p.. 195,
33
But
Brown can d i s c o v e r
will
allow
no i n t i m a t i o n o f any " m a s t e r t h o u g h t "
h i m t o return' t o the easy f a i t h which comforted h i m
b e f o r e he began, m e t a p h o r i c a l l y ,
doubts.
the e x p l o r a t i o n
Like other sensitive s p i r i t s
of his
i n Hawthorne's
darkest
fiction—
R o d e r i c k E l l i s t - o n , Reuben B o u r n e , R o b i n M o l i n e u x , Reverend
and
that
D i m m e s d a l e - - G o o d m a n , B r o w n t h r o u g h h i s own c o m p u l s i o n
;
Hooper,
toward
p s y c h o l o g i c a l , s e l f - c a s . t i g a t i o n ^ . i s .plunged, i n t o an i r r e v e r s i b l y
tragic
process.
Just
as Goodman B r o w n i s . l e d
to w h i c h he i s most s u s c e p t i b l e ,
into
the forest, of h i s heart,
to face
exactly
D i m m e s d a l e , .on h i s
finds, "a,fiend
those
fears
own<< j o u r n e y
for h i s especial
torment."
He f i n d s C h i l l i n g w o r t h , . whose, n a t u r e a n d . p u r p o s e a r e n o t o n l y
a d v e r s e . t o Dimmesdale's b u t t h e a n t i t h e s i s o f a l l t h a t
wishes,
t o !b e l i e v e
and. h o p e f o r . . . B r o w n ' s o r d e a l , i s n o t a r a n d o m
collection of.temptations.and.trials
l o g i c a l .sequence,; and. s i m i l a r l y
i s n o t an i n g e n i o u s ,
the p r i e s t
but a highly, structured
the, D i m m e s d a l e - C h i l l i n g w o r t h
psychoframework
s u p e r i m p o s e d symmetry b u t . a . p s y c h o l o g i c a l l y
evolved
apposition.
The'minister, whose,great f e a r i s the r e v e l a t i o n , o f h i s
s e c r e t , . i s a t t e n d e d b y h i s m o r t a l enemy, t h e c u c k o l d e d h u s b a n d , .
whose s i n g l e p u r p o s e , i s t h e d i s c o v e r y
a mind t h a t
"impelled
of that
i t s e l f powerfully
secret.
along.the track o f a creed,
and w o r e i t s p a s s a g e c o n t i n u a l l y , d e e p e r w i t h . t h e
is
cared,for
by.one p o s s e s s i n g
The'man o f
lapse
o f time'! ( p . 1 2 3 )
.an " i n t e l l e c t u a l ' c u l t i v a t i o n ,
m o d e r a t e d e p t h o r scope;, t o g e t h e r w i t h
o f no
a r a n g e : and. f r e e d o m o f i d e a s ,
t h a t he i D i m m e s d a l e ] w o u l d have v a i n l y l o o k e d
f o r among t h e members
34
o f h i s own p r o f e s s i o n " ( p . 1 2 3 ) . T h i s
resembles
is
last
antithesis strongly
t h e o r d e a l o f Goodman B r o w n , p a r t i c u l a r l y when D i m m e s d a l e
described
as a man f o r whom " i t w o u l d a l w a y s b e e s s e n t i a l t o . h i s
peace to f e e l t h e p r e s s u r e
o f ..a f a i t h
about him, s u p p o r t i n g
while
it
c o n f i n e d h i m w i t h i n i t s i r o n f r a m e w o r k " ( p . 1 2 3 ) . J u s t as B r o w n
is
c o m p e l l e d t o make t h e j o u r n e y
Dimmesdale i s ' m a k i n g
Notably
into
t h e same j o u r n e y
t h e f o r e s t o f h i s own a n x i e t i e s ,
i n c o n j u r i n g Roger C h i l l i n g w o r t h .
i t i s Dimmesdale . h i m s e l f who•consents t o b e i n g
the l e e c h a f t e r
Among o t h e r
originally
attended
p r o t e s t i n g " I need no m e d i c i n e "
by
(p. 122).
t h i n g s h i s r e a s o n s i n c l u d e a c e r t a i n " f a s c i n a t i o n " ( p . 123)
f o r t h i s man o f s c i e n c e w i t h h i s p r o b i n g
intellectuality.
Chilling-
worth appears t o recognize, a c e r t a i n n o n - c i r c u m s t a n t i a l q u a l i t y i n
h i s p r o x i m i t y w i t h Dimmesdale when h e g i v e s
a p p r a i s a l of the success
a rather
ambiguous
of his disguise:
"He h a s b e e n c o n s c i o u s o f me.
He h a s f e l t a n
i n f l u e n c e d w e l l i n g a l w a y s .upon h i m l i k e a c u r s e .
He knew, b y some s p i r i t u a l s e n s e , — f o r t h e C r e a t o r
n e v e r madeaanot'her b e i n g . s o s e n s i t i v e as t h i s , —
he knew t h a t no f r i e n d l y h a n d was p u l l i n g a t h i s
h e a r t s t r i n g s , and t h a t an eye w a s - l o o k i n g
c u r i o u s l y , i n t o h i m , w h i c h s o u g h t o n l y e v i l , and
found i t .
B u t h e knew n o t t h a t t h e e y e a n d
h a n d w e r e m i n e ! W i t h t h e s u p e r s t i t i o n common t o
h i s b r o t h e r h o o d , he f a n c i e d h i m s e l f g i v e n o v e r t o
a f i e n d , . . .Yea, i n d e e d ! — a n d h e d i d n o t e r r ! —
t h e r e was-a f i e n d a t h i s elbow!
A m o r t a l man, w i t h
o n c e a human h e a r t , h a s become a f i e n d f o r h i s
e s p e c i a l torment!"
(pp. 171-172)
L a t e r , when H e s t e r
"reveals" the doctor's
comment d i s p e l s f i n a l l y
true identity,
the notion that intrigue
Dimmesdale's
or circumstance
has
35
any
bearing
on h i s i n t i m a c y
with
the l e e c h :
"I mi'ghthave known i t ! " murmured he. " I d i d
know i t ! Was n o t t h e s e c r e t t o l d me i n the
n a t u r a l r e c o i l o f my h e a r t , a t the f i r s t s i g h t
o f him, and as o f t e n as I have, seen him s i n c e ? "
When Hawthorne d e s c r i b e s
having
is
f o r i t s only
reality
the.minister's
(p. 194)
s t a t e o f mind as
" t h e . a n g u i s h , i n h i s inmost s o u l " , he
doing more than making emphatic t h e . p r i e s t ' s
o r d e a l ; he i s
s t a t i n g an amoral p s y c h o l o g i c a l , f a c t . ..Dimmesdale has begun t o
l o s e h i s power t o d i s t i n g u i s h a. sane froms'ia n e u r o t i c p e r c e p t i o n of
the w o r l d .
The " r e a l " w o r l d becomes the i n n e r w o r l d
into e x t e r i o r objects
translated
and a drama, o f o b s e s s i o n b e g i n s .
The
p o r t e n t o u s f i e n d s which once haunted Dimmesdale's n i g h t m a r i s h
dreams., i n c e s s a n t l y , reminding him o f h i s . g u i l t
the
s i n g l e f a c t o f .his. e x i s t e n c e ,
has
become: i l l u s o r y
finally
and h y p o c r i s y ,
erupting
become
into.. a w o r l d which
i n i t s . vagueness... and. f i n d i n g , an. embodiment i n
Chillingworth,.: "a f i e n d f o r his. e s p e c i a l torment;"
As at the waving.of a magician's wand, uprose a
g r i s l y p h a n t o m — u p r o s e a thousandgiphantoms—in
many shapes, of. death or. mo re. a w f u l shame, a l l
f l o c k i n g round about the clergyman, and p o i n t i n g
. w i t h t h e i r f i n g e r s at has b r e a s t !
(p. 140)
The
v i t a l question
that
grows out o f t h i s p r o c e s s i s .
whether o r not. Dimmesdale can w i t h s t a n d C h i l l i n g w o r t h ' s
domination, .
o r , i n o t h e r words, whether t h e p r i e s t w i l l succumb to h i s
a l i e n t a t i o n from the r e a l ,
increasing
l i t e r a l , w o r l d . When Dimmesdale.is
to as. a " c o n s c i e n c e - s t r i c k e n
p r i e s t , " the observation
referred
has s t r o n g
36
non-religious
was
connotations
" n e v e r made a b e i n g
b e t w e e n s i n and
while
guilt
r e l a t e d i n t i m a t e l y to the f a c t that
s o s e n s i t i v e as t h i s . "
appears
The
there
correlation
t o wane : i n i t s r e l a t i o n
to the
tale
t h e c o r r e l a t i o n b e t w e e n s m o r b i d i t y and s u f f e r i n g , looms i n c r e a s i n g l y
large.
I t i s noteworthy
moral transgression
facile.
that
only;
Hawthorne speaks
t h e s c a r l e t "A"
i s not a talisman
of
i t a l s o has. a s i g n i f i c a n c e t h a t i s l e s s
of i t a f t e r Hester flings
i t from her:
But there l a y the embroidered l e t t e r , g l i t t e r i n g
l i k e a l o s t j e w e l , , w h i c h some, i l l - f a t e d w a n d e r e r
m i g h t p i c k u p , and t h e n c e f o r t h b e h a u n t e d b y
s t r a n g e phantoms o f e v i l , s i n k i n g s o f t h e h e a r t ,
and u n a c c o u n t a b l e m i s f o r t u n e .
(p.
202)
S i g n i f i c a n t l y H a w t h o r n e does n o t : i m p l y
e f f e c t only
sinners
i n t h i s way,
Here i s t h e t a l i s m a n , a p a r t
t h e i r m o r a l frame
The
in
sinkings
terms
the l e t t e r
b u t a n y o n e who
would
happened upon i t .
f r o m H e s t e r ; t h e symptoms a r e a p a r t
of reference
of the heart
that
a n d y e t .the e f f e c t s do n o t
change.
r e c u r , e v e n when t h e s o u r c e i s " u n a c c o u n t a b l e "
o f crime and punishment,
suggesting
causes which
must
be s o u g h t w i t h i n t h e . p r e d i l e c t i o n s o f t h e p e r s o n a l i t y r a t h e r
the
e x t e r i o r e v e n t of; s i n .
I n h i s a n a l y s i s , o f . a passage
c h a p t e r "A F l o o d , o f S u n s h i n e " , . F r e d e r i c k
Crews s h r e w d l y
t h a t Hawthorne momentarily s u b s t i t u t e s g u i l t
the
from
than
i n the
observes
for s i n i n discussing
source o f the t a l e ' s sorrow:,
And b e t h e s t e r n and a a d t r u t h s p o k e n , t h a t t h e
b r e a c h w h i c h g u i l t h a s o n c e made i n t o t h e human.
sonl i s never, i n this mortal s t a t e , repaired.
I t may b e w a t c h e d a n d g u a r d e d ; s o t h a t t h e
enemy s h a l l n o t f o r c e h i s way a g a i n i n t o t h e c i t a d e l ,
37
and m i g h t e v e n , i n h i s s u b s e q u e n t a s s a u l t s , s e l e c t
some o t h e r a v e n u e , i n p r e f e r e n c e t o t h a t w h e r e
he h a d f o r m e r l y s u c c e e d e d .
But th&re i s s t i l l
t h e r u i n e d w a l l , and, n e a r i t , the s t e a l t h y t r e a d
of the foe that would win over again h i s u n f o r gotten triumph(pp. 200-201)
One
must d e d u c e , s a y s C r e w s , t h a t t h e
i s not
possess
t o be
confused
with
the.power t o induce
actual state of C h r i s t i a n g u i l t
f e e l i n g s o f . g u i l t , which i n themselves
s u f f e r i n g and. r e - c r e a t e t h e
realities
30
of the outward
As
world.
C h i l l i n g w o r t h p r o b e s more d e e p l y ,
Dimmesdale's
becomes -more e x p l i c i t l y , a s t r u g g l e ' t o w i t h s t a n d
h i s sanity.;: The/ c a p t u r e
o f : the. p r i e s t ' s , s o u l ,
an
the
a s s a u l t upon
destruction
of h i s : m o r a l , f i b r e , i s a f i g u r a t i v e r e p r e s e n t a t i o n of
w o r t h ' s a t t e m p t t o g a i n : a s c e n d e n c y , and.make t h e
represented
Dimmesdale!s o n l y
a b r e a k d o w n .has,
like
representation.
Figuratively,
an
r e a l i t y . . The
struggle
Chilling-
i l l u s o r y world
deterrent
t h e . cause,, b o t h a . f i g u r a t i v e and
to
he
such
a working
i.t i s penance; i n p r a c t i s e i t i s
immersion i n the p h y s i c a l , sensory
or any,other s u b s t a n t i a l d i s t r a c t i o n ,
world whether through
eVen d e a t h ,
flagellation
t h a t w i l l have
the
e f f e c t o f d i s p e l l i n g h a l l u c i n a t o r y phantasms:
He k e p t v i g i l s . , l i k e w i s e , n i g h t a f t e r n i g h t , somet i m e s i n u t t e r d a r k n e s s ; sometimes, w i t h a g l i m m e r i n g
l a m p ; and. s o m e t i m e s , v i e w i n g h i s o w n . f a c e i n a
l o o k i n g - g l a s s , . by the. m o s t p o w e r f u l l i g h t w h i c h h e
c o u l d t h r o w upon i t .
He
thus t y p i f i e d
C r e w s , S i n s of. t h e F a t h e r s , p. 137.
Crews a n a l y z e s :
"Does
H a w t h o r n e mean t o d e s c r i b e t h e s o u l ' s p r e c a u t i o n s a g a i n s t t h e r e p e t i t i o n
of overt s i n ?
A p p a r e n t l y n o t , s i n c e t h e ' s t e a l t h y f o e ' i s i d e n t i f i e d as
g u i l t r a t h e r t h a n as t h e f o r b i d d e n u r g e t o s i n . . . . I t i s p l a i n l y i n a p p r o p r i a t e
t o s e e ' g u i l t ' as t h e o r i g i n a l a s s a i l a n t o f t h e c i t a d e l , f o r f e e l i n g s o f
g u i l t a r i s e o n l y i n r e a c t i o n a g a i n s t condemned a c t s o r
thoughts."
38
t h e c o n s t a n t i n t r o s p e c t i o n w h e r e w i t h he t o r t u r e d ,
but could not p u r i f y , h i m s e l f .
In these
l e n g t h e n e d v i g i l s , - h i s b r a i n o f t e n r e e l e d , and
v i s i o n s seemed t o f l i t b e f o r e him;...Now i t was
a h e r d o f d i a b o l i c s h a p e s , t h a t g r i n n e d and mocked
a t t h e p a l e m i n i s t e r , and b e c k o n e d . h i m away w i t h
them; now a g r o u p o f s h i n i n g a n g e l s , .who f l e w u p w a r d
h e a v i l y , as s o r r o w l a d e n , b u t . grew, more e t h e r e a l
as . t h e y r o s e . . . .
None o f t h e s e v i s i o n s e v e r q u i t e d e l u d e d h i m .
A t any moment, by an e f f o r t o f h i s w i l l , he c o u l d
d i s c e r n substances through, t h e i r misty l a c k of
s u b s t a n c e , and c o n v i n c e h i m s e l f t h a t t h e y w e r e n o t
s o l i d i n t h e i r n a t u r e , l i k e yonder, t a b l e of carved
oak,, o r . t h a t b i g , s q u a r e , , l e a t h e r - b o u n d and b r a z e n c l a s p e d volume, o f d i v i n i t y ,
(pp. 144-145)
But
t h e s e v i s i o n s , o f " d i a b o l i c s h a p e s " a r e . m e r e l y dreams w i t h i n
dream.-
The
phantom w h i c h . i s
C h i l l i n g w o r t h . i s an
s u b s t a n t i a l r e a l i t y : o f , a more s i n i s t e r ,
c a n n o t , be
encroachment
into
a l l - p e r v a d i n g dream w h i c h
so . e a s i l y . d i s p e l l e d .
H e s t e r makes t h e
significant
observation.that
s u f f e r i n g seems an " u n w h o l e s o m e " form: o f s t r i f e w i t h
tive
a
Dimmesdale's
dubious•regenera-
value:
She d o u b t e d n o t , t h a t t h e . c o n t i n u a l p r e s e n c e o f
Roger.. C h i l l i n g w , o , r . t h , — . t h e s e c r e t p o i s o n o f h i s
m a l i g n i t y , , i n f e c t i n g a l l the a i r about him,—-and h i s
a u t h o r i z e d i n t e r f e r e n c e ; , as a. p h y s i c i a n , w i t h
t h e m i n i s t e r ' s , s p i r i t u a l and p h y s i c a l i n f i r m i t i e s , —
t h a t these had o p p o r t u n i t i e s had"been.turned i n t o
a c r u e l purpose.
By means o f . t h e m , .the s u f f e r e r ' s
c o n s c i e n c e h a d ' b e e n k e p t i n an i r r i t a t e d s t a t e ,
t h e t e n d e n c y o f .which was, n o t t o c u r e : b y , w h o l e s o m e
p a i n , b u t t o . d i s o r g a n i z e , and. c o r r u p t h i s s p i r i t u a l .
being.
I t s r e s u l t , on e a r t h , c o u l d h a r d l y . f a i l
t o b e i n s a n i t y , and h e r e a f t e r t h a t e t e r n a l a l i e n a t i o n
f r o m t h e Good and T r u e , of. w h i c h madness i s p e r h a p s
the e a r t h l y type.
(p.
193)
39
The
"Good" c o n n o t e s h a p p i n e s s o r a s t a t e
of harmonious
existence.
"At peace w i t h
o n e s e l f " i s a c l i c h e w h i c h has p e c u l i a r
the
The
minister.
" T r u e " has
the f a m i l i a r moral connotations of
u n h y p o c r i t i c a l e x i s t e n c e , b u t Hawthorne uses
n u m b e r o f t i m e s i n t h e t a l e , and
" t r u e " and
t h e y h a v e an a l t e r n a t e
" T r u e " , as h a s b e e n shown,, i s s o m e t i m e s e q u a t e d w i t h
the
world of l i t e r a l
reality
mind.
f a c t ,where;';people
that, i s not e v e r - r e f l e c t i n g
the
and
minister's
sanity
more t h a n m o r a l c o r r e c t n e s s .
She
worthlis
t h e e v i l he
psychological threat
of
t h e " g o o d " God
Heaven t o be
an a m o r a l c o n c e r n f o r
consciously
recognizes Chillingworth
the s p i r i t ' s
This " e v i l " i s the opposite
the "pithand substance"
growth i n f i e n d i s h s t a t u r e i s
the f o r e s t m e e t i n g b e t w e e n H e s t e r and Dimmesdale.
the p r o s p e c t of a l i f e
domestic r e a l i t i e s which
of
the immediate,
a
j o y , a n d n u t r i m e n t " ,(p. 1 4 5 ) .
f o r C h i l l i n g w o r t h because
p r o c e s s o f Dimmesdale's a l i e n a t i o n
offers
Chilling-
t h e r e a r e a r o u n d u s , and w h i c h w e r e meant b y
marks the b e g i n n i n g o f t h e end
the
intuitively
r e p r e s e n t s i s more p e c u l i a r l y
t h a n a m o r a l one.
Chillingworth's
until
Dimmesdale's
f o r r e s p i t e and r e t u r n e d n o r m a l c y
i n t e n d e d when h e g a v e man
of'whatever r e a l i t i e s
unportentous
alienate
t h e / g r o w i n g h a l l u c i n a t o r y w o r l d he i n c a r n a t e s .
e v i l but
meaning
perceiving
t r i u m p h and
as a s o u r c e o f t h e u n t r u e , i n v a m o r a l s e n s e , and s h e
recognizes
a
meaning.
"real",
the t e r r o r s o f the
therefore partly
and,a...wish
"false"
t h i n g s , p o s s e s s an
Hester's fear that Chillingworth w i l l
f r o m t h e "Good and. T r u e " ' i s
r e l e v a n c e to
unchecked
This episode
i t reverses
f r o m t h e "Good a n d T r u e . "
unburdened
o f the past, f u l l
of
d e t e r the d e l u s o r y w o r l d by p r o v i d i n g
t h e t a n g i b l e and t h e s e n s o r y .
The
Hester
everyday
a
sense
s o l a c e o f such
a
40
life
i s r e f e r r e d to by Hawthorne i n h i s notebook e n t r y o f August
15, 1842.
I t was a p l e a s a n t s e n s a t i o n when t h e c o a c h r u m b l e d
up o u r a v e n u e , a n d w h e e l e d r o u n d a t t h e d o o r ; f o r
t h e n I f e l t I was r e g a r d e d as?- a man w i t h a w i f e a n d
a h o u s e h o l d — a man h a v i n g a t a n g i b l e e x i s t e n c e
and l o c a l i t y i n t h e w o r l d — w h e n f r i e n d s came t o
a v a i l themselves o f our h o s p i t a l i t y .
!
J ±
Hester's
to
e x h o r t a t i o n t o D i m m e s d a l e t o e s c a p e S a l e m i s an e x h o r t a t i o n
exchange r e a l i t i e s , . t o
Immediately
finds himself
indirectly
re-establish a literal
a f t e r h i s meeting with.Hester,
a b l e t o p r a c t i s e d i r e c t l y what H e s t e r
a n d . f i g u r a t i v e l y , i n h e r escape p r o p o s a l :
a re-immersion in,the s u b s t a n t i a l world.
He b e g i n s
anew p e o p l e b e y o n d t h e c l a u s t r o p h o b i c c o n f i n e s
Chillingwor.th-Hester-Pearl grouping.
begins.to
re-orient himself.
the e x t e n t
reality.
That, i s ,
Dimmesdale
had suggested
he
begins
to discover
of the s e l f -
And, most i m p o r t a n t l y , he
he r e c o g n i z e s
more
clearly
t o w h i c h h i s o w n mind i s r e s p o n s i b l e f o r t h e c r e a t i o n
of a h i t h e r t o adverse
:
universe:
As h e . d r e w n e a r t h e t o w n , h e t o o k a n i m p r e s s i o n
o f change f r o m t h e s e r i e s of: f a m i l i a r o b j e c t s t h a t .
p r e s e n t e d t h e m s e l v e s . . . T h e - s a m e was t r u e as
r e g a r d e d t h e a c q u a i n t a n c e s , whom h e m e t , a n d a l l
.the w e l l - k n o w n s h a p e s .'of human l i f e , a b o u t t h e
l i t t l e town. They l o o k e d n e i t h e r o l d e r . n o r
y o u n g e r , now; t h e b e a r d s o f t h e a g e d w e r e h o
w h i t e r , n o r c o u l d t h e c r e e p i n g babe o f y e s t e r d a y w a l k
o n h i s f e e t t o - d a y ; i t was i m p o s s i b l e t o d e s c r i b e i n
Stewart
N a t h a n i e l Hawthorne,: The A m e r i c a n N o t e b o o k s , e d . R a n d a l l
(New H a v e n : Y a l e U n i v e r s i t y P r e s s , 1 9 3 3 ) , p . 1 5 6 .
41
w h a t r e s p e c t t h e y d i f f e r e d f r o m t h e i n d i v i d u a l s on whom
he h a d s o r e c e n t l y b e s t o w e d a p a r t i n g g l a n c e ;
and
y e t the m i n i s t e r ' s d e e p e s t s e n s e seemed t o i n f o r m
him of t h e i r m u t a b i l i t y . A s i m i l a r impression
s t r u c k h i m m o s t r e m a r k a b l y , as. he p a s s e d u n d e r t h e
w a l l s o f h i s own c h u r c h .
The e d i f i c e i b a s s o v e r y
s t r a n g e , a n d y e t s o f a m i l i a r , an a s p e c t , t h a t
Mr. D i m m e s d a l e ' s m i n d v i b . r a t e d b e t w e e n two i d e a s ;
e i t h e r he h a d s e e n i t o n l y i n a d r e a m h i t h e r t o ,
o r t h a t he was m e r e l y d r e a m i n g a b o u t i t riow.
(pp. 216-217)
D i m m e s d a l e ' s a w a r e n e s s o f t h e . " m u t a b i l i t y " o f t h o s e he
is
a t a c i t ..awareness o f t h e
e m b o d i e s and
f a l s i t y , in.himself which
foreshadows the
leech's
failure
now
perceives
Chillingworth
to r e g a i n
his
ascendency o v e r Dimmesdale's " s o u l " .
To
this point
constructions
but
from the
this
can b e
the
the
o f an
sermon.
immoral act
emotions has
and
the
amicably;
causes
T h e r e i s no
A s u d d e n c h a n g e i n mood o u t s i d e
hypothesized
of
break
impulses,
re-affirmation.
never received
D i m m e s d a l e ' s u r g e t o do
of
the
the
b e c a u s e Hawthorne does
I t m u s t be. a s s u m e d ,
a c o n t i n u a t i o n .of t h e
a p s y c h o l o g i c a l v i e w o f f e r s more
connection
fairly
t h e m s e l v e s more
m i n i s t e r ' s m o r a l s a l v a t i o n i s e f f e c t e d by
proceed from t h i s
in
coincide
t o w n , a n d . t h e t i m e o f : h i s p r e p a r a t i o n .of
work i n s u c h a random f a s h i o n .
t h a t the
events
psychological
time o f Dimmesdale's impious
r e a d e r ' s k n o w l e d g e c a n n o t be
and
the
to a p s y c h o l o g i c a l ~ : i n t e r p r e t a t i o n .
upon h i s r e t u r n to
not
on
events which f o l l o w lend
c o n t i n u i t y between the
election-day
put
time C h i l l i n g w o r t h ' s power i s b r o k e n ,
a l t e r a t i o n and
exclusively
in
that
i n t h e . t a l e . t h e t h e o l o g i c a l and
re-affirmation
untoward impulses
While this
a satisfying
his
therefore,
sequence of
theological
which'
events
explanation
cohesion.
"some s t r a n g e ,
w i l d , wicked
w i t h members o f h i s p a r i s h i s , i n f a c t ,
thing"
an e x t e n s i o n
of
42
the
to
new
existence Hester proposes
h i s mental balance.
as a means t o r e s i s t i n g
Dimmesdale's s p i r i t
a r a d i c a l i m p u l s e t o make c o n t a c t w i t h
the
of impiety s t i l l
denotes
the substantial world.
a l s o d e n o t e s an i n c l i n a t i o n t o r e j e c t t h e p a s t t h a t i s e v e n
harsh
are
than Hester's plan of a c t i o n .
an a p p r o a c h
returns
It
more
Above a l l , Dimmesdale's
toward a r e s o l u t i o n o f h i s inward s t r i f e .
Crews, H e s t e r ' s p r o p o s e d escape
dangers
feelings
Says
renews h i s l l b i d i n a l e n e r g y
and
he
t o town renewed b u t on t h e v e r g e o f l o s i n g h i s powers t o
32
repress.
And s i m u l t a n e o u s l y h e
i s on t h e v e r g e o f a n n i h i l a t i n g
Chilling-
w o r t h , whose power waxes and wanes i n i n v e r s e p r o p o r t i o n t o t h e m i n i s t e r ' s
extemalization of conflicts.
S i g n i f i c a n t l y , Dimmesdale's
to w h i s p e r to t h e widowed l a d y " a b r i e f , p i t h y , and,
appeared
to him, unanswerable
human s o u l "
he
tacitly
the
( p . 219)
with
The
changed
demise
doubts
S. A. B l a c k makes
o b s e r v a t i o n t h a t the tone of Dimmesdale's
Chillingworth i s already d r a s t i c a l l y
foreshadowed
of the
i s a n e a r l y open e x p r e s s i o n o f t h e r e l i g i o u s
meeting a f t e r the f o r e s t scene.
is
as i t t h e n
argument a g a i n s t the i m m o r t a l i t y
embraces i n t h e form o f C h i l l i n g w o r t h .
noteworthy
urge
relationship
i n their
first
of Chillingworth's
power
i n t h e e n c o u n t e r when D i m m e s d a l e d e f t l y p a r r i e s
the
p h y s i c i a n ' s q u e r i e s and c o u n t e r s t h e p r o b e w i t h a b r a z e n c h a r a d e o f h i s
own.
Wry]jp h e
tions
and d e i g n s t o o f f e r
services.
thanks h i s " k i n d p h y s i c i a n " f o r h i s " f r i e n d l y "
ministra-
g o o d p r a y e r s as.' r e c o m p e n s e f o r t h e l e e c h ' s
As B l a c k o b s e r v e s :
S i n s o f t h e F a t h e r s , p.
146.
43
D i m m e s d a l e ' s m i n d i s now f i l l e d w i t h t h e p o l i t i c s
of the s i t u a t i o n r a t h e r than the metaphysics or
g u i l t . . . T h e b o g e y o f t h e o l d man h a s b e e n r e p u d i a t e d . 33
With
the r e v e l a t i o n o f t h e l e t t e r on Dimmesdale's
the s t o r y ' s e t h i c a l
and p s y c h o l o g i c a l l e v e l s
are b e l a t e d l y
though the l a t t e r c o n c l u s i o n i s r e p r e s e n t e d o n l y
minister's
act.
Repression i s s o l v e d — n o t
breast,
consummated,
f i g u r a t i v e l y by t h e
technically
since
Dimmesdale's
" c o n f e s s i o n " has a powofrful m e t a p h o r i c r e l e v a n c e t o the r e a l needs
of h i s s p i r i t .
Crews n o t e s t h a t H a w t h o r n e h a s P e a r l l e a v e S a l e m i n
t h e end and t a k e s
this
as e v i d e n c e t h a t
been to the nature o f o b s e s s i o n
Calvinist Puritanism.
the author's
commitment h a s
r a t h e r than the m o r a l p e r s p e c t i v e o f
Applying this p r i n c i p l e
to Dimmesdale,
Crews
observes:
From t h e d i s t a n c e we l o o k b a c k t o D i m m e s d a l e ' s
e g o c e n t r i c c o n f e s s i o n , n o t as a m o r a l e x a m p l e w h i c h
H a w t h o r n e w o u l d l i k e us t o f o l l o w , b u t as t h e l a s t
l i n k i n a c h a i n o f c o m p u l s i o n t h a t h a s now b e e n
relaxed.^
Inevitably
the t a l e ' s
t o t h e w a k i n g f r o m a dream.
f i n a l secne bears s t r o n g resemblance
H e r e , as I n much o f h i s w r i t i n g ,
Hawthorne
d e m o n s t r a t e s h i s i n t e r e s t i n p o s t u l a t i n g a p l a c e "where t h e A c t u a l
t h e I m a g i n a r y may
meet;" a m e e t i n g ground f r e q u e n t l y
H a w t h o r n e as a d r e a m - w o r l d .
favorite
and
d e p i c t e d by
O b s e r v i n g t h a t the dream a p p a r a t u s i s a
device o f t h e a l l e g o r i s t , Edwin Honig analyzes
S t e p h e n A. B l a c k , "The S c a r l e t L e t t e r :
Paunch, XXIV ( O c t o b e r , 1 9 6 5 ) , 69-70.
this
affinity
Death by Symbols,"
44
and
finds that
dreams h a v e t h e v a l u e o f m a k i n g " o p p o s i t i o n a l
much more d i s t i n c t
f o r the i n d i v i d u a l w h i l e dreaming
than
relationships
they
35
a p p e a r when he
i s awake.!'
Clearly,
the v e r y p r o c e s s by
which
C h i l l i n g w o r t h b e c o m e s more g r a p h i c a l l y e n t r e n c h e d i n h i s r o l e ,
more
h y p e r - s i g n i f i c a n t , more t w o - d i m e n s i o n a l l y a l l e g o r i c a l ,
i s t h e same
p r o c e s s by which
increasingly
extends
t h e d r e a m grows and D i m m e s d a l e ' s m i n d
i t s egotism "over the whole expanse o f n a t u r e . "
W a l k i n g i n t h e shadow o f a d r e a m , as i t w e r e , and
perhaps a c t u a l l y under the i n f l u e n c e of a s p e c i e s
o f s o m n a m b u l i s m , Mr. D i m m e s d a l e r e a c h e d t h e s p o t ,
where, net so l o n g s i n c e , H e s t e r Prynne had l i v e d
through h e r f i r s t hours o f p u b l i c ignomy.
( p . 147)
The h o l i d a y s c e n e
that i s a n t i t h e t i c a l
preceeded
it.
The
is
d e s c r i p t i o n o f the s w a s h b u c k l i n g s a i l o r s ,
finery
and o t h e r p a r t i c i p a n t s
i n the
w o r l d such
as t h a t p e r c e i v e d b y
H a u n t e d M i n d " , who
the
cele-
woe
t o o d i s t u r b i n g t o e n d u r e and
his
room as a means o f r e s c u e f r o m h i s t r o u b l e d s l u m b e r i n g s .
E d w i n H o n i g , D a r k C o n c e i t : The M a k i n g
N o r t h w e s t e r n U n i v e r s i t y P r e s s , 1 9 5 9 ) , p. 69.
It
waking
f i n d s h i s thoughts o f death
fixes his sights
has
the
d e t a i l e d , v i s u a l and " p u r e " i n i t s i m a g e r y .
a sensory immediate
d r e a m e r o f "The
an i n t e n s e n a t u r a l i s m
to the o p p r e s s i v e i m p a l p a b i l i t y o f a l l t h a t
Indians i n t h e i r savage
bration i s highly
i n the market p l a c e has
and
on o b j e c t s i n
of Allegory
(Evanston:
45
CHAPTER I V
PEARL'S ROLE
To
t h o s e c r i t i c s who c o n s i d e r H a w t h o r n e ' s a l l e g o r i c a l
to be u s u r p i n g
the c r e d i b i l i t y
more p r o b l e m a t i c a l
her
on h i s
bias
o f h i s s t o r y , P e a r l i s an e v e n
c r e a t i o n than C h i l l i n g w o r t h .
Hawthorne
patterned
d a u g h t e r Una and s a i d o f t h e p r o t o t y p e :
To r e t u r n t o U n a , t h e r e i s s o m e t h i n g t h a t a l m o s t
f r i g h t e n s me a b o u t t h e c h i l d — I know n o t w h e t h e r e l f i s h
or a n g e l i c , but, at a l l events, supernatural....
I n s h o r t , I now a n d t h e n c a t c h a n a s p e c t o f h e r , i n
w h i c h I c a n n o t b e l i e v e h e r t o b e my own human c h i l d ,
but a s p i r i t s t r a n g e l y m i n g l e d w i t h good and e v i l ,
h a u n t i n g t h e house where I dwell.36
Of
course,
Pearl's similarity
to a r e a l
c h i l d d o e s n o t make h e r a n y
the
less fantastical.
Considering
Una
receives, a l l that
can be s a i d i s t h a t Hawthorne's
transformation
seeing
of r e a l i t y
the world
Similarly,
as h i s way o f r e p r o d u c i n g
an
understanding
imaginative
the nature
o f Hester's
i t fictionally.
His
a simultaneous awareness o f t h e
and t h e p e r c e p t u a l
understanding
that
seems t o o c c u r as r e a d i l y i n h i s way o f
d e s c r i p t i o n o f Una n e c e s s i t a t e s
daughter's nature
the almost m y s t i c a l treatment
viewing
eccentricities
of her father.
of Pearl i s inseparable
perspective.
Like
H a w t h o r n e , A m e r i c a n N o t e b o o k s , e d . R. S t e w a r t
Y a l e U n i v e r s i t y P r e s s , 1933), p. 211.
from
Hawthorne,
(New H a v e n :
46
i n h i s d e s c r i p t i o n o f Una,
vulnerability
she
Hester a l s o demonstrates a p e r s i s t e n t
to q u a s i - m y s t i c a l
contemplation.
Watching
Chillingworth
wonders:
W o u l d he n o t s u d d e n l y s i n k i n t o t h e e a r t h , l e a v i n g
a b a r r e n and b l a s t e d s p o t , w h e r e , i n due c o u r s e o f
t i m e , w o u l d be s e e n d e a d l y n i g h s h a d e , d o g w o o d ,
henbane, and w h a t e v e r e l s e o f v e g e t a b l e w i c k e d n e s s
the c l i m a t e c o u l d produce, a l l f l o u r i s h i n g w i t h
hideous luxurience?
Or w o u l d he s p r e a d b a t ' s w i n g s
and f l e e away, l o o k i n g s o much t h e u g l i e r , t h e h i g h e r
he r o s e t o w a r d s h e a v e n ?
(p.
175)
C l e a r l y , H e s t e r ' s way
as w e l l as w i t h
g u i l t and
Pearl's
i s a q u a l i t y she
H a w t h o r n e , j u s t as s u r e l y
secret.
By
extension
Like
a signpost
i t can be
increasingly allegorical
from heaven.
Her
the
on
her:
s c a f f o l d , her
she
shares with
shares the
i n f e r r e d that
the
t h e same r u l e s
Dimmesdale
minister's
growth
that
of
govern
stature.
C h i l l i n g w o r t h , P e a r l i s not
an
nature derives
p r o c e s s e s i n the mind o f H e s t e r P r y n n e .
on
as
e m b l e m a t i c b e i n g i s bound p a r t l y by
Chillingworth's
as
of seeing
a f f i x e d emblem d r o p p e d
from
psychological
Hester's f i r s t
e x p o s u r e t o p u b l i c shame, h a s
appearance
a traumatic
C o u l d i t be t r u e ?
She c l u t c h e d t h e c h i l d s o
f i e r c e l y to her b r e a s t , t h a t i t s e n t f o r t h a c r y ;
s h e t u r n e d h e r e y e s downward a t t h e s c a r l e t l e t t e r ,
and e v e n t o u c h e d i t w i t h h e r f i n g e r , t o a s s u r e
h e r s e l f t h a t t h e i n f a n t and t h e shame w e r e r e a l .
Y e s ! — t h e s e were her r e a l i t i e s , — a l l e l s e had
vanished!
( p . 59)
impact
47
Shortly
a f t e r , she undergoes a s i m i l a r experience
i n discovering the
p r e s e n c e o f R o g e r C h i l l i n g w o r t h among t h e o n l o o k e r s :
While t h i s passed, Hester Prynne had been
s t a n d i n g on h e r p e d e s t a l , s t i l l w i t h a f i x e d
gaze towards t h e s t r a n g e r ; s o f i x e d a g a z e ,
t h a t , a t moments o f i n t e n s e a b s o r p t i o n , - a l l
o t h e r o b j e c t s i n t h e v i s i b l e w o r l d seemed t o
v a n i s h , l e a v i n g o n l y h i m and h e r .
( p . 63)
The
d i s t i n c t i o n b e t w e e n what i s a c t u a l and what i s r e a l o n l y
mind already begins
to b l u r .
Although,
i n these
first
i n the
moments o f
the s t o r y , the v i s i b l e world's v a n i s h i n g i s simply
a matter o f
traumatic
by w h i c h t h e
emphasis, t h i s
i n t e r i o r world begins
As
characterizes the process
t o p r e d o m i n a t e and t r a n s f i g u r e o u t e r
I n Dimmesdale's r e - m a k i n g o f r e a l i t y , H e s t e r ' s
a pattern of guilt
Hester's
readers
and s e l f
d e m e a n o r i s more d i g n i f i e d
b y t h e gaudy
than r e b e l l i o u s .
i n s p e c u l a t i o n s a b o u t any h y p o c r i s y
Hester's
She i s a w a r e o f h e r
others
i n t h e i r judgment o f h e r g u i l t
vanished") indicates that, l i k e
to the a f f r o n t o t h e r s
and t h e
( " a l l e l s e had
Dimmesdale's, h e r v i o l a t e d
r a t h e r than minimizes h e r torment.
whose sympathy f o r H e s t e r
to luxuriate
i n the fervor of her persecutors.
i n t e n s i t y w i t h w h i c h s h e f e e l s h e r own d e p r a v i t y
reinforces
But
stitching
else a t this p o i n t — c e r t a i n l ynot able
concurs w i t h
follows
mood o n t h e s c a f f o l d i s o f t e n m i s t a k e n b y
w i t h w h i c h s h e e m b r o i d e r e d t h e "A" o n h e r d r e s s .
Hester
self-inquiry
torment.
t o b e one o f d e f i a n c e , e p i t o m i z e d
shame a n d l i t t l e
reality.
conscience
One member o f t h e c r o w d ,
lends weight to h i s observations,
replies
f e e l a t t h e s i g h t o f t h e l a v i s h l y e m b r o i d e r e d "A":
48
"0, peace, n e i g h b o u r s , peace!"
whispered t h e i r
youngest companion.
"Do n o t l e t h e r h e a r y o u !
Not
a s t i t c h i n t h a t e m b r o i d e r e d l e t t e r , b u t she has
f e l t i t i n h e r h e a r t . " ( p . 154)
This
a p p r a i s a l of Hester's motives
s p i r i t which
l e d Dimmesdale t o d w e l l upon t h e f a c t o f h i s c r i m e
c r e a t e h i s own
surprising
l i n k s h e r t o t h e same m o r b i d i t y o f
d i r e s t torments.
t h a t H e s t e r chooses
anew e l s e w h e r e .
She
Following this,
i t i s not
to remain i n Salem r a t h e r than b e g i n
s t a y s p a r t l y because of her emotional t i e s
Dimmesdale, b u t p a r t l y h e r r e s i d e n c e i s a n o t h e r i n s t a n c e o f
affliction,
and
f o r Hawthorne p o i n t e d l y g l o s s e s t h i s
to
self
decision:
. . . — i t may seem m a r v e l l o u s , t h a t t h i s woman s h o u l d
s t i l l c a l l t h a t p l a c e h e r home, w h e r e , and w h e r e
o n l y , s h e m u s t n e e d s b e t h e t y p e o f shame.
But
t h e r e i s a f a t a l i t y , a f e e l i n g s o i r r e s i s t i b l e and
i n e v i t a b l e t h a t i t h a s t h e f o r c e o f doom, w h i c h
a l m o s t i n v a r i a b l y c o m p e l s human b e i n g s t o l i n g e r
a r o u n d and h a u n t , g h o s t - l i k e , t h e s p o t w h e r e some
g r e a t and marked e v e n t has g i v e n t h e c o l o u r t o
t h e i r l i f e t i m e ; a n d s t i l l t h e more i r r e s i s t i b l y , t h e
d a r k e r the t i n g e t h a t saddens i t .
Her s i n , h e r
ignominy, were t h e r o o t s w h i c h she had s t r u c k i n t o
the s o i l .
( p p . 79-80)
T h i s manner, t h i s m o r b i d i t y o f s p i r i t w h i c h H e s t e r
w i t h t h e m i n i s t e r n e e d s t o be p r o m i n e n t
character.
I t i s one
ground
i n our understanding of her
of t h e f u n d a m e n t a l ways i n w h i c h
l i n k e d w i t h Dimmesdale p s y c h o l o g i c a l l y ,
i s o v e r l o o k e d by
critics.
shares
and
she i s
too o f t e n t h i s
common
D a r r e l A b e l s e e s H e s t e r as
the
37
t y p i f i c a t i o n of romantic individualism.
Marius Bewley a l s o g i v e s
D a r r e l A b e l , "Hawthorne's H e s t e r " , C o l l e g e E n g l i s h , X I I I
1 9 5 2 ) , pp. 303-309.
(March
49
prominence to her feminist appearance
who admires the proud defiance
38
as does Charles Feidelson, J r .
she expresses i n her needlework and judges
her humble appearance on the s c a f f o l d as an a f f e c t a t i o n to disguise
39
her rebellious s p i r i t .
Such cursory
interpretations of Hester
give to her role the quality of a splendid i s o l a t i o n and hopelessly
detatch Pearl from her psychic relevance so that she becomes what
Chillingworth seems to be i f judged separately;
an authorial
signpost.
Hester's "freedom of speculation" and her b e l i e f that
"the world's law was no law to her" must not be confused with the
operation of personal g u i l t .
There i s no doubt o f the torment
Hester experiences her f i r s t time on the s c a f f o l d , and there i s no
evidence that this sense of g u i l t i s ever successfully abandoned—
only that Hester grows increasingly s k e p t i c a l of the community's
right or power to i n f l i c t , from without, any punishment comparable
to the action of the individual's own remorse.
The paradox of public
d i s c i p l i n e i s capsulized early i n the story when a stern woman i n the
crowd about the s c a f f o l d complains of the lightness of Hester's
sentence and warns that i t w i l l lead to a spread of debauchery
among others:
"Mercy on us, goodwlfe," exclaimed a man i n the
crowd, " i s there no virtue i n woman, save what
springs from a wholesome fear of the gallows?"
(p. 52)
Marius Bewly, "Hawthorne's Novels," The Eccentric Design, (New
York, 1959), pp. 147-186.
39
Charles Feidelson J r . , "The Scarlet Letter", Hawthorne Centenary
Essays, ed. Roy Harvey Pearce (Ohio State University Press, 1964), p. 53.
50
H a w t h o r n e seems t o s u g g e s t
justice
i s t h e i n d i v i d u a l ' s own
"crime".
it
t h a t the u l t i m a t e a r b i t e r
sensitivity
For, i f such s e n s i t i v i t y
exists
this
(I p r e f e r not to
call
a r e a c t i o n to
a
a c t ) t h e n t h e i n d i v i d u a l s u f f e r s more s e v e r e l y
t h a n f r o m any p u b l i c
I f no s e n s e
of
to the f a c t of h i s
"conscience" since this implies exclusively
t a n g i b l e immoral
by
thereby
c h a s t i s e m e n t , as w i t n e s s
of guilt inhabits
the
minister.
the i n d i v i d u a l the t h r e a t of
public
p u n i s h m e n t i s o n l y an e x t e r n a l d e t e r r e n t , i t s e x e c u t i o n o n l y a
form
o f vengeance such
the
as
t h a t w i s h e d by
magistrates' leniency.
The
c o m m u n i t y i s compounded b y
such
a conglomerate
soul.
This results
t h e woman who
complains
presumptuousness o f such
a role
the i n e v i t a b l e n e a r - s i g h t e d n e s s
mind i n matters
r e l a t i n g to the
i n huge i r o n i e s such
o f H e s t e r and v e n e r a t i o n o f Dimmesdale.
w h i c h H e s t e r r e b e l s a g a i n s t when s h e
tells
f o r the
of
individual
as t h e p u b l i c ' s
I t i s this
of
degradation
communal m o r a l i t y
Chillingworth
" i t lies
n o t w i t h i n t h e p l e a s u r e o f t h e m a g i s t r a t e s t o t a k e o f f t h i s badges
Were I w o r t h y
o r be
(p.
t o be
quit of i t ,
transformed i n t o something
i t would f a l l
away o f i t s own
purport."
67)
the l e t t e r ,
i n r e m a i n i n g i n S a l e m , and
i n clinging
i n d i v i d u a l i s m would imply a r e l e a s e from
t h a t are not p r i v a t e l y i n t u i t e d .
e x t r e m i t y i n t h e f o r e s t s c e n e when s h e
" c o n s e c r a t i o n o f i t s own,"
own
nature,
t h a t s h o u l d speak a d i f f e r e n t
Thus H e s t e r c o n t i n u e s t o n u r t u r e h e r own
evil
...
inward moral
the seven y e a r s
but she
climate i n this
during which
suffering
i n wearing
to P e a r l .
Romantic
a l l standards
o f good
H e s t e r approaches
and
this
r e g a r d s h e r s i n as h a v i n g
i s ignoring
declaration.
the r e a l i t i e s
She
a
of her
ignores the f a c t
she n u r t u r e d t h e g u i l t o f
this
of
"consecrated"
51
act i n the
f o r m o f P e a r l , and
she
of f i n d i n g i n another land w h i l e
guilt
(Pearl).
the b a t t l e
own
impulsive
hopelessness
undetached
from
her
d e c l a r a t i o n seems l e s s
cry of a f e m i n i s t than a sentiment p a r a l l e l
cultivates
s p i r i t u a l v o i d i n a more c o v e r t
to Dimmesdale's
f o r m , when
he
the presence of C h i l l i n g w o r t h .
I n the
t r a d i t i o n o f Goodman B r o w n ' s own
f a i t h l e s s n e s s , Hester
the g e n e r a l
into
scarlet
letter
glows w i t h sympathy at
o f t h e v i l l a g e e l d e r s ' communion w i t h
to overestimate
as a r e v e l a t i o n o f h y p o c r i s y
not
an i n d i c a t i o n o f an i n d i f f e r e n t P r o v i -
approach of " e a r t h l y s a i n t s " , suggesting
not
excursion
a l s o i s drawn to wonder i f d e p r a v i t y I s
c a s e o f mankind and
I t i s s a i d her
cautious
the i n n a t e
remaining
In f a c t , Hester's
t o y i n g w i t h the
dence.
ignores
Goodman B r o w n ' s
the d e v i l .
One
i n the
community.
discovery
must
Hawthorne's i n t e r e s t i n t h i s
Hester
the
be
phenomenon
does d i s p l a y
a c o m e l y h u m i l i t y i n c o n s i d e r i n g h e r s e l f t h e w o r s t s i n n e r o f a l l and
H a w t h o r n e does
by
secrecy
intimate that her
than v i r t u e ; but,
experience
and
recalling
o u t w a r d s i g n s , we
l e t t e r so n e a r h e r h e a r t w i t h
those
she
encounters.
t h e same e x t r e m i t y
as
depravity.
For Hester
t h a t i s one
of
is
f a t e i s avoided
In t h i s
may
The
identify
l i g h t Hester
others
more
c o r r e l a t i o n between
the
a part of Hester's
response of
interior
a p p e a r s t o be
inner
the
response
tempted
to
to
Goodman B r o w n i s i n h i s v i s i o n o f w i d e s p r e a d
as
f o r Brown i t r e s u l t s
i n a "loss of
the s a d d e s t r e s u l t s o f s i n " (p. 8 7 ) .
t o s t r u g g l e t o b e l i e v e " t h a t no
herself."
the
by
pattern of her
f e l l o w - m o r t a l was
conflict i s entirely
Hester's
guilty
faith
response
like
a k i n to Dimmesdale's.
52
Faced w i t h
the
choice between amoral s p e c u l a t i o n
G o d l e s s s t a t e o f man
universe,
or complete, unquestioning
Hester s t r i v e s to
f o l l o w the
manages t o r e a f f i r m h i s p i e t y .
a s s e r t i o n t h a t he
i s "the
dubious t r u t h (but
as
one
faith
phenomenological
i n a moral
who
.triumph, i s t h e
Christ-like
sinner
of the w o r l d , "
and w i t h
conflict, exists,
this
c r u s h e d h i s own
Hester's success i s
c l o s e l y resembles
and.gives grounds f o r n o t i c i n g - s i m i l a r p a t t e r n s
her
graceless,
This
r e l i g i o u s . p o s i t i v i s m ) , he
the
to the
example of Dimmesdale
they are'embodied i n Chillingworth...
more i n d o u b t , b u t
as
i n the
doubts
left
Dimmesdale's,
growth-of
world.
Hester indulges, i n a form;of s e l f - c a s t i g a t i o n which
f o l l o w s , the .pattern of Dimmesdale's c r e a t i o n o f
e s p e c i a l torment."
decision
begins
obsessive,.fatalism which prompted
t o r e m a i n i n Salem.and., h e r
to evolve
(Pearl's
The
attire)
a "fiend for his
ostentatious. .decoration
from.s.uch d i r e c t m a n i p u l a t i o n
toward the
her
of
Pearl
o f .the m a t e r i a l
world
l e s s conscious d i s t o r t i o n s that
are
a
p r e a m b l e :to' d e l u s i o n :
She. knew t h a t . h e r . d e e d h a d b e e n e v i l ; s h e , c o u l d
h a v e no f a i t h , t h e r e f o r e , t h a t i t s r e s u l t w o u l d b e
for.good.
Day a f t e r day, s h e l o o k e d f e a r f u l l y i n t o the c h i l d ' s expanding nature;, ever
d r e a d i n g t o , d e t e c t some d a r k and w i l d p e c u l i a r i t y , t h a t
s h o u l d c o r r e s p o n d ' w i t h the g u i l t i n e s s to w h i c h she
owed h e r b e i n g .
(pp. 89-90)
Predictably Pearl's
a p p r e h e n s i o n s , and
identity
the
tensions.which
e x a c t n e s s o f s y m m e t r y s u c h as
juxtaposition.
caters
itself
to. H e s t e r ' s
evolvesare
that present i n the
grimmest
c h a r a c t e r i z e d by
an
Chillingworth-Dimmesdale
53
Hester dresses somberly;
extreme.
Hester's
P e a r l ' s a p p a r e l i s gaudy i n t h e
demeanor i s h e a v i l y
controlled
P e a r l i s spontaneous and.wildly, i m p u l s i v e .
b e l i e v e t h a t , "no f e l l o w - m o r t a l was g u i l t y
the w o r l d i n a moral
"heathen"
will
t o be a normal
with, the r a c e a n d
Hester s t r u g g l e s to
l i k e h e r s e l f , " t o put
c o n t e x t ; P e a r l i s s h o c k i n g l y amoral
a f f i n i t y with nature.
prove
and j o y l e s s ;
descent
i n her
H e s t e r e n t e r t a i n s hopes t h a t P e a r l
offspring
" t o connect, h e r p a r e n t
o f mortals." (p. 8 9 ) ; P e a r l ' s n a t u r e i s found
to l a c k " r e f e r e n c e and a d a p t a t i o n , t o t h e w o r l d i n t o w h i c h
was b o r n "
(p. 91).
Hester, wishes
i n toying with i t .
escape
country; P e a r l ' s n a t u r a l ; connection w i t h h e r mother
relating
t h a n an i n d e p e n d e n t
wishes
o f h e r m o t h e r t h a t . s h e c a n b e no l e s s
jects
o n e - — o f f s e t t i n g so exactly
P e a r l as w e l l
into
In
spirit
the anxious
than a product o f that
A s . w i t h Dimmesdale.,' H e s t e r ' s s e n s e
itself
connection.
t o H e s t e r ' s h o p e s P e a r l i s an a d v e r s a r y
rather
same mind..
from t h e
frame o f r e f e r e n c e o f
implies' the inescapable q u a l i t y o f her preternatural
all.things
of her
o f t h e l e t t e r and
Hester seeks: a f i n a l
l a n d and,, b y i m p l i c a t i o n , , t h e m o r b i d l y , m o r a l
her. i n t e r i o r
she
r e s p i t e . f r o m the torment
stigma; P e a r l i s preoccupied w i t h the presence
delights
f o r ever
of tragic
adversity
a vanishing, increasingly.malleable world,
as o t h e r r e m o n s t r a t i v e • p h e n o m e n a
pro-
creating
not u n f a m i l i a r to the
minis ter.
Hester's
same c o m b i n a t i o n
feeling
t h a t s h e h a s "evoked: a s p i r i t "
i s the
o f metaphor a n d : t r u t h t h a t C h i l l i n g w o r t h a s s e r t s
i n b l a m i n g , Dimmesdale f o r h i s demonic a l t e r a t i o n .
:
t r u t h o f the metaphor i s v e r i f i e d
i n both
cases
The
literal
i n a moment o f r e c o g -
54
nition.
the
W i t h D i m m e s d a l e , who
recognition i s slower
experiences
dale
("I
heart,
have seen him
her
h i s own
d i d know i t !
r e c o i l o f my
formation
and
takes
the
form o f the epiphany
when H e s t e r " r e v e a l s " C h i l l i n g w o r t h ' s i d e n t i t y
recognizes
leech
i s more i m m e r s e d , i n h i s i n t e r n a l
culpability
Was
not
at the
since?").
first
to
cut
s i g h t of him,
Hester's
of Pearl's nature
ability
t h e s e c r e t t o l d me
and
through the
and
r e c o g n i t i o n of her
Watching P e a r l , Hester considers
natural
o f t e n as
part
b e i n g , i s more d i r e c t and
f a b r i c of her
in
I
the
reveals
dream-allegory.
the source of the
Dimmes-
the
i n the
as
he
and
i n his proximity with
reality,
child's
on
occasion.
nature:
Hester.could only account f o r the c h i l d ' s c h a r a c t e r —
and e v e n t h e n , m o s t v a g u e l y and
imperfectly—by
r e c a l l i n g what she h e r s e l f h a d b e e n , d u r i n g t h a t
momentous p e r i o d w h i l e P e a r l w a s . i m b i b i n g h e r s o u l
f r o m t h e s p i r i t u a l w o r l d , and h e r b o d i l y f r a m e •
from i t s m a t e r i a l of e a r t h .
The m o t h e r ' s
i m p a s s i o n e d s t a t e h a d b e e n , t h e medium t h r o u g h
w h i c h were t r a n s m i t t e d : t o . the unborn i n f a n t
the rays o f i t s m o r a l l i f e ; and, however w h i t e
and c l e a r o r i g i n a l l y , t h e y h a d t a k e n t h e deep
s t a i n s o f c r i m s o n .and g o l d , t h e f i e r y l u s t r e , t h e
b l a c k s h a d o w , and t h e u n t e m p e r e d l i g h t , o f t h e •
intervening substance.
Above a l l . , t h e w a r f a r e o f
H e s t e r ' s s p i r i t , a t t h a t e p o c h , was. p e r p e t u a t e d
in Pearl.
She c o u l d r e c o g n i z e h e r w i l d , d e s p e r a t e ,
d e f i a n t mood, t h e f l i g h t i n e s s . o f h e r t e m p e r , and
e v e n some o f t h e v e r y c l o u d - s h a p e s o f
g l o o m and d e s p o n d e n c y t h a t h a d b r o o d e d i n h e i r
heart.
( p . 91)
This
a w a r e n e s s on H e s t e r ' s
or amoral l i g h t .
passions,
ordered
regarded i n e i t h e r a moral
N o t i c i n g P e a r l ' s resemblance to her
H e s t e r c o u l d be
world
p a r t m i g h t be
testifying.to
the e x i s t e n c e
own
untoward
of a c l o s e l y
o f d i v i n e r e t r i b u t i o n : t h a t she, i n h a b i t s — a s y s t e m w h i c h
punished Hester's
v i o l a t i o n of i t s moral order
and
simultaneously
55
supplies
t h e means t o r e g e n e r a t i o n
i n c a r n a t i o n of her
o f P e a r l . c o u l d be
on H e s t e r ' s
error in Pearl.
a study
character
by
On
i n paranoic
t h a n on
any
presenting
the
the mother w i t h
other hand the
c r e a t i o n t h a t has
discussion
more
bearing
D i v i n e o r a u t h o r i a l scheme.
l o v e o f p r o v i d i n g i n s i g h t t h r o u g h . innueri'do p o s e s p r o b l e m s f o r
attempt
by
at a c o n c l u s i o n ,
inference.
Pearl with
A t one
i l l
and
point
frequently.evidence
i n the
must be
t a l e Hester attempts
an
Hawthorne's
any
gleaned
to
catechize
effect:
"Thy H e a v e n l y F a t h e r s e n t t h e e ! " a n s w e r e d H e s t e r
Prynne.
But she . s a i d i t w i t h a h e s i t a t i o n t h a t d i d
n o t escape, t h e a c u t e n e s s o f t h e c h i l d .
Whether
moved o n l y b y h e r o r d i n a r y f r e a k i s h n e s s , o r b e c a u s e
an e v i l s p i r i t p r o m p t e d h e r , s h e . p u t up h e r s m a l l
f o r e f i n g e r , and t o u c h e d t h e s c a r l e t l e t t e r .
"He d i d n o t s"end me!"
c r i e d she, p o s i t i v e l y .
. " I h a v e no H e a v e n l y F a t h e r ! "
"Hush P e a r l , h u s h ! T h o u m u s t n o t t a l k s o ! "
answered,the mother, suppressing a groan.
"He
s e n t us a l l i n t o t h i s .world..
He s e n t e v e n me,
thy mother.
T h e n , much m o r e , t h e e !
Or, i f n o t ,
t h o u s t r a n g e and e l f i s h c h i l d , w h e n c e d i d s t t h o u
come?"
" T e l l me!
T e l l me!"
r e p e a t e d P e a r l , no l o n g e r
s e r i o u s l y , b u t l a u g h i n g , and c a p e r i n g a b o u t t h e
floor.
" I t i s t h o u t h a t must t e l l
me!"
But H e s t e r c o u l d n o t . r e s o l v e the q u e r y , b e i n g
h e r s e l f i n a dismal l a b y r i n t h of doubt.
(pp. 9
8-99)
Again P e a r l i s i n p e r f e c t resonance.with her
mischievous.replies
h i n t at a sub-ethical universe
difficulty
H e s t e r has
everything
and
As
mother's s p i r i t ,
in.trying
and
the
and
her
continuing
t o i m p o s e a m o r a l r a t i o n a l e on
making i t s t i c k .
i n the
works compatibly
case o f C h i l l i n g w o r t h , P e a r l ' s
with her psychological status
Defending Hester's
right
to the
child,
only
theologized
up
identity
to a p o i n t .
Dimmesdale a s s e r t s
that
Pearl
56
is
Heaven-sent t o keep h e r mother i n t h e p a t h
perhaps e f f e c t h e r moral r e g e n e r a t i o n .
o c c u r s when H e s t e r
is
then
o f r i g h t e o u s n e s s and
A rather stagey
i s permitted to retain
custody
example
o f t h e c h i l d and
c o n f r o n t e d by M i s t r e s s Hibbens:
"Had t h e y t a k e n h e r f r o m me,- I w o u l d w i l l i n g l y h a v e
gone w i t h t h e e i n t o t h e f o r e s t , a n d s i g n e d my name
i n t h e . B l a c k Man's b o o k t o o , a n d . t h a t w i t h my own
blood!"
( p . 117)
Y e t P e a r l ' s r e g e n e r a t i v e . . f u n c t i o n seems r a t h e r . t o o e a s i l y
t o p r o v i d e an e x c l u s i v e i n t e r p r e t a t i o n , o f . h e r r o l e .
case, seven, y e a r s
Hester's
first
ability
of. h e r p r e s e n c e
to withstand
succumbed.
Were s u c h t h e
s h o u l d have s t e a d i l y
the exact
temptation
But the forest, meeting.with
overthrown
increased
torwhich she had
Dimmesdale
nullifies
i n a moment, w h a t e v e r m o r a l . i n f l u e n c e P e a r l may h a v e h a d o n h e r
mother, a n d H e s t e r , r e - c r e a t e s t h e m o o d v a n d a l m o s t
ance o f h e r o r i g i n a l , t r a n s g r e s s i o n .
Hester
the p h y s i c a l • appear-
again wears
the l e t t e r
at the i n s i s t e n c e o f P e a r l b u t t h e r e i s . n o evidence .that she
simultaneously
bility.
g i v e s o v e r a l l hope o f escape from h e r m o r a l r e s p o n s i -
She r e s u m e s h e r " v i r t u e "
the p o s s i b i l i t y
o n l y when m a t e r i a l e v e n t s
or. i n c e n t i v e to.be. f r e e ,
t o meet h i s f a t e i n S a l e m .
a b l e i n other, than
as when D i m m e s d a l e r e s o l v e s
C l e a r l y P e a r l i s more c o n s i s t e n t l y e x p l a i n -
theologically
symbolic
terms.
We h a v e s e e n t h a t Dimmesdale.'s e x c l a m a t i o n ,
"•. . . — b e h o l d
me h e r e ,
t h e one s i n n e r o f t h e w o r l d , " i s s i m u l t a n e o u s l y . a
of'faith
and a l o g i c a l
out'the
deny h e r
fallacy.
triumph
I t i s D i m m e s d a l e ' s attemp-jt. t o s h u t
:
f a i n t - h e a r t e d f a i t h w h i c h d i s t u r b s h i m and p l u n g e • i n t o
radical piety.
The m i n i s t e r i s on t h e same t r a c k i n p r a i s i n g God's
57
wisdom f o r sending
C h i l l i n g w o r t h t o be h i s s c o u r g e and m i n i s t e r .
This,
a l s o i s an a t t e m p t t o a c c o u n t f o r " u n a c c o u n t a b l e woe", t o r e l i e v e t h e
s u f f e r i n g he.undergoes by b e l i e v i n g i n a P r o v i d e n c e
no
unhappiness without
which
p u r p o s e a n d no s u f f e r i n g w i t h o u t
I n h i s f i n a l moments D i m m e s d a l e i s e a r n e s t l y q u e s t i o n e d
s e e k s t o u n d e r s t a n d a n d b o r r o w some • o f h i s . a s s u r a n c e ,
regeneration.
by H e s t e r ,
of: h i s t o r m e n t i n . t h e f i r s t
who
but the m i n i s t e r
seems a g i t a t e d b y t h i s . r e n e w a l o f t h e k i n d o f q u e s t i o n i n g
formed p a r t
creates
which
place:
"...Thou l o o k e s t f a r . i n t o e t e r n i t y , w i t h t h o s e . b r i g h t
d y i n g e y e s ! . . T e l l me w h a t • t h o u s e e s t ? "
" H u s h , H e s t e r , hush.!" s a i d h e , w i t h t r e m u l o u s
solemnity..
"The l a w w e - b r o k e ! — t h e s i n h e r e s o
a w f u l l y r e v e a l e d ! — l e t these alone be i n thy thoughts!
I. f e a r !
I f e a r ! . I t may b e , t h a t , when, we f o r g o t
o u r G o d , — w h e n we v i o l a t e d o u r r e v e r e n c e f o r e a c h
o t h e r ' s s o u l , — i t was t h e n c e f o r t h v a i n t o h o p e t h a t
we c o u l d m e e t . h e r e a f t e r , . i n a n . , e v e r l a s t i n g a n d p u r e
reunion.
God knows;, and. He i s m e r c i f u l ! , He h a t h
p r o v e d , h i s mercy,, m o s t o f . a l l , i n my • a f f l i c t i o n s ,
By g i v i n g me t h i s b u r n i n g t o r t u r e . , t o b e a r u p o n my
breast!
B y . s e n d i n g y o n d e r d a r k and t e r r i b l e o l d
man, t o k e e p , t h e t o r t u r e . a l w a y s a t , r e d - h e a t !
Byb r i n g i n g me h i t h e r , t o d i e t h i s . d e a t h o f t r i u m p h a n t
ignominy before.the people!
Had e i t h e r - o f t h e s e
agonies been wanting, I had been l o s t f o r ever!
P r a i s e d b e h i s name! H i s w i l l b e d o n e !
Farewell!"
(pp. 256-257)
Dimmesdale's answers a r e vague and a b r u p t l y h a s t y ,
having
achieved
to get on w i t h
be
again
a l m o s t as i f ,
a . v i c t o r y o f emotion over i n t e l l e c t , he i s anxious'
the business
o f d y i n g . b e f o r e h i s h a r d won. f a i t h
could
tested.
A l s o h o t l y i n p u r s u i t o f an e x p l a n a t i o n , Hawthorne
h i s . own. sermon, t o D i m m e s d a l e ' s :
adds
58
..."Be t r u e !
Be t r u e !
Be t r u e !
Show f r e e l y t o
the w o r l d , i f not y o u r w o r s t , yet.some t r a i t whereby
t h e w o r s t may b e i n f e r r e d ! "
( p . 260)
It
i s an e a r n e s t a t t e m p t
to come.to t h e p o i n t , b u t
of
the s t o r y unaccounted
f o r t o be
than Dimmesdale's l a s t
minister's
i t l e a v e s t o o much
t a k e n t o h e a r t any more
d i t c h sermonizing..
case i s b r a z e n l y obvious but
seriously
I t s application to
i t neglects Hester.
the
Hester
wears her token openly, showing p u b l i c l y h e r worst but s h e . s u f f e r s
t o r m e n t s , s i m i l a r i n n a t u r e t o Dimmesdale's., t h o u g h to. a f a r l e s s e r
degree.
b e no
Supposedly,
less
follows
relevant.to.Hester. Since this
that t h e i r
g u i l t but
the l e s s o n t h a t a p p l i e s . t o Dimmesdale s h o u l d
common d e n o m i n a t o r
t h e i r tendency
i s not.the case, i t
is. not
t h e i r open o r s e c r e t
to e x p e r i e n c e g u i l t so d e e p l y ,
self-chastising morbidity.of.s p i r i t . •
This
comes m o r e , c l e a r l y t o
when H a w t h o r n e r e l e n t s , somewhat f r o m . h i s m o r a l
to
their
light
frame o f r e f e r e n c e
e x a m i n e c h a r a c t e r i n ..purely p s y c h o l o g i c a l t e r m s :
.... She h a d i n h e r n a t u r e . a r i c h , v o l u p t u o u s , . o r i e n t a l
c h a r a c t e r i s t i c , — a t a s t e f o r the g o r g e o u s l y b e a u t i f u l ,
which, save i n the e x q u i s i t e p r o d u c t i o n s o f her
needle, found n o t h i n g e l s e , i n a l l the p o s s i b i l i t i e s
of h e r l i f e , to e x e r c i s e i t s e l f . u p o n .
Women d e r i v e
a p l e a s u r e , i n c o m p r e h e n s i b l e to the o t h e r sex, from
t h e d e l i c a t e t o i l o f the. n e e d l e . . To H e s t e r P r y n n e
i t m i g h t . h a v e b e e n a . m o d e o f e x p r e s s i n g , and t h e r e f o r e
. s o o t h i n g , , t h e p a s s i o n of. h e r l i f e .
Like a l l other
j o y s she r e j e c t e d i t . a s s i n . . T h i s m o r b i d / m e d d l i n g
of c o n s c i e n c e w i t h . a n i m m a t e r i a l m a t t e r b e t o k e n e d , i t
i s t o b e f e a r e d , , no g e n u i n e . and . . s t e a d f a s t p e n i t e n c e ,
b u t s o m e t h i n g d o u b t f u l , something, t h a t m i g h t be d e e p l y
w r o n g , b ene ath.': (pp . 83- 84 )
This
to
comment,on H e s t e r ' s . n a t u r e , h a s
include i n their
reverberations which
reach f a r
r e l e v a n c e R e v e r e n d . H o o p e r , R e u b e n B o u r n e , Goodman
59
Brown, Dimmesdale and many o t h e r s .
A l l have t h e same p r e d i s p o s i t i o n
to wage c o n t i n u a l war on t h e i r own peace of mind a n d , i n a l l ,
the
s u f f e r i n g i s r e l a t e d to s i n by an i l l o g i c a l b u t e m o t i o n a l l y n e c e s s a r y
process.
J u s t as Dimmesdale i n s i s t s
and Hawthorne attempts
on v i e w i n g h i s . t o r t u r e as e x p i a t i o n
to l e g i t i m a t i z e the u n r e l i e v e d gloom o f h i s
t a l e by f o o t n o t i n g i t w i t h a r e f e r e n c e ...to a d u l t e r y , H e s t e r
to wrap h e r o v e r - s e n s i t i v i t i e s
i n a moral cloak.
attempts
The f a l l a c y
of
h e r e q u a t i n g s u f f e r i n g w i t h .penance a p p l i e s •'equally to Dimmesdale a n d ,
ultimately,
to Hawthorne who, r e f u s i n g to acknowledge the m o r a l
vacuum h i s gloom i n h a b i t s ,
defrsses h i s p s y c h o l o g y as r e l i g i o u s
to the e v e r l a s t i n g c o n f u s i o n o f too many c r i t i c s .
parable
Dimmesdale almost
w i l f u l l y r e f u s e s to r e c o g n i z e C h i l l i n g w o r t h . t h r o u g h h i s d i s g u i s e j u s t
as he r e f u s e s to r e c o g n i z e h i s t o r t u r e as s e l f - i n f l i c t e d .
Hawthorne, owns up o n l y i n d i r e c t l y to the amoral b a s i s
Similarly
of. h i s v i s i o n
o f e x p e r i e n c e by making h i s a r t i s t i c v i s i o n more'., c o h e s i v e t h a n h i s
moral v i s i o n .
The d e s c r i p t i o n o f P e a r l ' s . manner of p l a y i n g o f f e r s
s t r i k i n g metaphor b o t h o f the n a t u r e , o f h e r - p a r e n t s
d e s i g n .by w h i c h , the t a l e ' s , t r a g e d y
and the
grows:
. . . P e a r l , i n the dearth, of,human p l a y m a t e s , was
thrown more upon t h e v i s i o n a r y , .throng w h i c h she
created.
The s i n g u l a r i t y , l a y i n , t h e h o s t i l e
f e e l i n g s . w i t h , which t h e , c h i l d regarded a l l these
o f f s p r i n g , o f .her. own.heart and, m i n d .
She never
c r e a t e d a f r i e n d , b u t seemed always, to be sowing
b r o a d c a s t the d r a g o n ' s t e e t h , whence sprung a
h a r v e s t of. armed enemies,, a g a i n s t whom she rushed
to do b a t t l e .
I t was i n e x p r e s s i b l y s a d — t h e n
what depth o f sorrow to a mother, w h o - f e l t i n .her
own h e a r t the c a u s e ! — t o . o b s e r v e , i n one so y o u n g ,
a
organic
60
t h i s c o n s t a n t r e c o g n i t i o n o f an a d v e r s e w o r l d ,
and s o f i e r c e a t r a i n i n g o f t h e e n e r g i e s
that
w e r e t o make g o o d her. c a u s e , i n t h e c o n t e s t t h a t
must e n s u e .
(pp. 95-96)
It
i s apparent that Hester's p a i n f u l f a m i l i a r i t y w i t h
in
store
in
the
f o r P e a r l .derives
formulation
of her
from h a v i n g undergone the
own
adverse world,
sub-human emblems, o f r e m o r s e .
Pearl
and
H e s t e r does n o t
or elevate her
At, t h e
detract
full
o f human
characterization.
c a s e t h e . t a l e ' s a l l e g o r y , w o u l d , v a n i s h , and. w i t h
the
i n t e n s i t y of Hester's i n t e r i o r , s t r i f e .
and,
totally
lacking this
extroverted,
interior life,
unintrospective
there
betweentinner,and;outer experience.
e x t e r n a l , and
sents
p h y s i c a l as
a caricature rather
e f f e c t s her.
.. .
no
t h a n . a. c o p y of. t h e
the
of; s u c h a v e n t u r e .
w o u l d i n e v i t a b l y accompany h e r
realistic
of
state of
being
conflict
is
turmoil
totally
and.repre-
that
parents.
psycho-allegorical, nature.of
d i s p l a y i n g an
sense
correspondence
escape, from
an u l t i m a t e
c h a n g e . o f g e o g r a p h y , i s doomed t o f a i l u r e .
futility
status
eapiriciousness
i n ,.the p a s s a g e
H e s t e r and. D i m m e s d a l e c o n s i d e r . a n
a simple
in
Pearl's
i t i s described
a d y e r s i t i e s . b u t :the hope. of. a c h i e v i n g
the
can be
of
Were s u c h
i t our
Pearl's
and
likeness
emblematic
the
preserves her
contest
same p r o c e s s
same t i m e t h i s
from P e a r l ' s
to Hester's l e v e l of
the
freedom
through
Again i t i s
"role".characters which
, In the
their
the
illustrates
event of such; a voyage P e a r l ,
m o t h e r and
g u a r d i a n , . ; and
Chillingworth,
i n t u i t i o n p s y c h o l o g i c a l l y i n e v i t a b l e , however improbable,^
terms, would a l s o book passage.
These mentors are
so
61
integrally
a part
o f t h e m i n d s w h i c h s p a w n e d them t h a t
they cannot be
l e f t b e h i n d any m o r e t h a n H e s t e r a n d D i m m e s d a l e c a n a l t e r
of perception
without
altering
their personalities.
t h e i r mode
Chillingworth,
P e a r l a n d S a l e m a r e m e r e l y t h e o u t w a r d shadows o r d r e a m i m a g e s o f a
disturbance.lodged
no
d e e p l y i n t h e minds o f H e s t e r and Dimmesdale and
change i n l o c a t i o n c a n a l t e r
principle
that
reality
perceives
tragically
the tale's c e n t r a l ,
motivating
i s i n . . t h e e y e of. t h e b e h o l d e r .
and m o r b i d l y . i t w i l l
I f t h e eye
sow anew i t s " d r a g o n ' s
t e e t h " w h e r e v e r i t may b e .
It
i s most o f t e n
considered
tale that i t becomes.unfaithful
to i t s creations, i n i t s final•moments,
s o o n a f t e r t h e death, o f .Dimmesdale.
Pearl,
a weakness o f Hawthorne's
The c h a n g e s t h a t o c c u r i n
C h i l l i n g w o r t h and H e s t e r c a n be e x p l a i n e d
terms, w i t h
a certain f i l l i n g
i n . o f gaps b y c o n j e c t u r e ,
r a p i d i t y w i t h which these transformations
with
appreciate
conclusion.
Again.this
some.critics
events i n
The c h a n g e s t h a t o c c u r a r e i n d e e d
profound,
a f t e r a l l , , i s n o t Hawthorne's so
much as H e s t e r ' s a n d D i m m e s d a l e ' s . . . I t . i s
it
i t s tinge and.their
of
C h i l l i n g w o r t h and P e a r l . .
over the i l l u s o r y world
their;minds
which
c o n f l i c t s which i n s p i r e the character
Dimmesdale m e t a p h o r i c a l l y
conflict
failure
govern.all
the t a l e ' s a l l e g o r i c a l world,
Hester's
complaint i s a
the i n t e r n a l necessities that
The. S c a r l e t L e t t e r .
but
occur leaves
but the
t h e f e e l i n g H a w t h o r n e i s w r a p p i n g up t h e p l o t i n o r d e r t o
achieve a h u r r i e d
to
i n naturalistic
give
traits
With the r e v e l a t i o n o f the l e t t e r
e x t e r n a l i z e s h i s t u r m o i l and s e a l s h i s v i c t o r y '
by embracing t h e u l t i m a t e
ceases.with
the minister's
physical reality,
death.
d e a t h and t h e r e m o v a l o f
all
of
incentive
to s i n .
The i n t e r n a l t e n s i o n s
a Copernican universe
shadows d i s s o l v e
Pearl
a r e gone a n d c o n s e q u e n t l y
as w e l l .
a tearful "natural"
"revelation"
disintegrates
" r e a l l y " happened.
w h i c h w e r e t h e hub
C h i l l i n g w o r t h becomes
girl,
and t h e r a b b l e
into gabbling
the outward
a mindless husk,
o b s e r v i n g Dimmesdale
speculations
as t o w h a t
63
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