Black Vs. White Imagery In 'Désirée's Black Veil'

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Rough Draft: In Kate Chopin’s “Désirée’s Baby,” Désirée a former orphan meets and falls in love with Armand, having a child the couple start to notice the child’s pigment is very different than a normal white person.

Thesis: In both Kate Chopin's “Désirée’s Baby” and Nathaniel Hawthorne’s “The Minister’s Black Veil,” the contrast between black and white imagery symbolizes how the man-made force of evil overcomes the natural force of innocence, tainting the white images into dark.
In both short stories, the dark images produced by man represent alienation and sin. In “Désirée’s Baby”, after Désirée notices the distinct resemblance between the “mulatto” and her baby, she goes to Armand to discover the reason behind this: “It means,” he answered …show more content…

The child’s “not white” skin represents the harsh alienation that comes with Armand’s belief that Désirée is black. Loving her before finding out about her assumed ‘flaw’, Armand turns his affection into cruelty immediately once he finds out: “Moreover he no longer loved her, because of the unconscious injury she had brought upon his home and his name”(Chopin,2). The “Unconscious injury” represents her assumed race and because he is so ashamed, he later kicks her out. By using ‘unconscious’ Chopin shows that Désirée’s race is out of her control, therefore, Armand is alienating her for something she cannot change. Similarly, In “The Minister’s Black Veil,” Hawthorne uses dark images . Hawthorne uses other people’s reactions to the black veil during certain events to show just how sinister it truly is: “..the first thing that …show more content…

In “Désirée’s Baby,” when Madame Valmondé visited Désirée and the baby, she noticed the baby looked a lot different then when she first saw him: “Madame Valmondé had never removed her eyes from the child. She lifted it and walked with it over to the window that was lightest. She scanned the baby narrowly,then looked as searchingly at Zandrine.”(Chopin,2). Chopin uses the imagery of the “window that was the lightest” to show how only the light can reveal the truth. By looking at Zandrine, Madame Valmondé is confirming her ideas comparing the baby to Zandrine, one of Désirée and Armand’s slaves. In “The Minister’s Black Veil,” white images are shown when describing the innocent. Hawthorns writes “But the bride's cold fingers quivered in the tremulous hand of the bridegroom, and her deathlike paleness caused a whisper that the maiden who had been buried a few hours before was come from her grave to

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