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Analysis of Nathaniel Hawthorne's style and tone in The Scarlet Letter
Analysis of Nathaniel Hawthorne's style and tone in The Scarlet Letter
The house of the seven gables judge pyncheon essay
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In the excerpt from Nathaniel Hawthorne’s novel The House of the Seven Gables. Hawthorne reveals character, Judge Pyncheon through a list of great qualities. In the excerpt, these qualities are labeled “splendid rubbish”. The phrase establishes that Hawthorne doesn’t think that the qualities are that great. He starts the section of the excerpt off by saying how the Judge has many great qualities such as the “purity of his judicial character”, “his faithfulness in public service,” “remarkable zeal," unimpeachable integrity," and "scrupulousness." there are other phrases that support the idea of "splendid rubbish." For example, the narrator includes somewhat important offering of the Judge, such as his production of "two much-esteemed varieties of the pear." He also mentions Pyncheon's handsome "gold-headed" cane, his polished boots. There is also …show more content…
an almost disturbing piece of information about the Judge's son, whom he treated with harshness and "cast off," and to whom he didn’t forgive him until he was almost dead. This insight to the Judge's family relations does not exactly lift the Judge up in character. Hawthorne also states that Pyncheon himself was "conscious of" his traits, which he opposed to many of his other attributes. He cannot be pure and humble if he is aware of his good deeds and is proud of them. Near the end of the first paragraph, Hawthorne begins to say that the list of traits does not reflect his opinion of the Judge, but rather that of the society around him.
The author asks question of, "what room could possibly be found for darker traits, in a portrait made up of lineaments like these!" Hawthorne has revealed that he does not find the Judge as a great person. It also says that, the face that the Judge beholds in "the looking-glass" is far from pure. In the second column, Hawthorne explains that the Judge committed a wrong act. However, the socitey forgets this information and looks to his "good" deeds instead. Hawthorne has included, that the people have allowed themselves to be deceived by the Judge's open character. Hawthorne emphasizes the irony of the Judge's position and public consent with another exclamation: "would you characterize the Judge by that one necessary deed, and that half-forgotten act, and let it overshadow the fair aspect of a lifetime! What is there so ponderous in evil, that a thumb's bigness of it should outweigh the mass of things not evil, which were heaped into the other
side." Hawthorne has critically shown the reader that Judge Pyncheon is not to emphasize the irony that the Judge is not the man the public thinks he is. In reality he is a hypocrite and a horrible man, but because the public has always thought of the judge as a positive person, he is deceived into thinking highly of himself. Therefore, he will never "arrive at a true self-knowledge," "taking his idea of himself...as reflected in the mirror of public opinion." He is misguided in his perception and character. Hawthorne has written from the point of view of the public, in the beginning, not his own. Hawthorne does not share the high opinion of the Judge as the public does.
The Dark Side of Judge Pyncheon in Nathaniel Hawthorne’s Novel, The House of the Seven Gables People in society live in a masquerade. Everyone wears a decoratively adorned mask that displays beauty, purity, and service. However, behind the mask lies on the inside of all society. One will stop at nothing in order to be well liked, thus becoming hypocrites. In Nathaniel Hawthorne’s novel, The House of the Seven Gables, the narrator uses intense diction, a vivid selection of detail, and a shocking tone to reveal that the character of Judge Pyncheon resembles perfection on the outside, yet “darker traits” sit latent on the inside.
Governor Bellingham is the leader of the Boston Colony. He is therefore supposed to be one of the most pious and upstanding members of the community. As he “makes the rules”, he is supposed to follow them to the letter. This is why, when Hester visits his house to deliver his gloves, she is so surprised at its state. Instead of a humble abode tastefully decorated in the muted pastels and earthtones of the Puritan lifestyle, she was slightly amused (but not particularly surprised) to find very near the opposite. Before they even enter, she is struck by the opulence of the house. It had walls which were “overspread with a kind of stucco, in which fragments of broken glass were plentifully intermixed; so that, when the sun fell aslant-wise over the front of the edifice, it glittered and sparkled as if diamonds had been flung against it by the double handful. The brilliancy might have befitted Aladdin’s palace rather than the mansion of a grave old Puritan ruler. It was further decorated with strange and seemingly cabalistic features and diagrams, suitable to the quaint taste of the age, which had been drawn in the stucco when newly laid on, and had now grown hard and durable, for the admiration of after times.” This was not in accordance of the laws of hard work, sacrifice, and the “swearing off” of earthly pleasures that the Puritans abided by. In fact, it was garish and nearly gaudy, and not fitting for a man of his rank. These descriptions in The Scarlet Letter further illustrate the hypocrisy and pretense of virtue of the Bostonians.
Nathaniel Hawthorne strategically reveals Judge Pyncheon’s seemingly good side to the reader in order to show how “fake” Pyncheon really is. Judge Pyncheon is a man of “eminent respectability” (line 3), who is always “faithful to his public service” (line 8) as Judge and “devoted to his party.” (line 9) The Judge also has “unimpeachable integrity” as the treasurer of a club for widows and orphans. But Judge Pyncheon was unlike any of the characteristics afore mentioned. Truly, Judge Pyncheon was the man who “cast off” his son and only forgave him when forgiveness was useless, in the final fifteen minutes of his own son’s life. Judge Pyncheon definitely wanted to cast a good impression of himself onto the public so he said his pra...
In “The Minister’s Black Veil,” for example, Hawthorne describes how, “perhaps the palefaced congregation was almost as fearful a sight to the minister, as his black veil to them”(2). This directly contrasts the “light” faces of the members of the congregation with the darkness of the minister’s veil. By stating that the minister was just as afraid of the people as the people were of him, Hawthorne indicates that the people fear the minister due to the abrupt reveal of his mysterious sin, but the minister also somewhat fears the people and the secrets they hold deep within their hearts. The people of the town are supposedly pure and innocent, yet it is clear that many of the citizens carry the burden of their own evils. Although the minister boldly comes forward with his own sin, he still feels the pain of the loneliness, scorn, and spite that has come with his statement. Hawthorne represents the discomfort the guilty townspeople feel when in the presence of Mr. Hooper when he describes how they were, “conscious of lighter spirits the moment they lost sight of the black veil” (3). Once again, this use of light and dark imagery supports Hawthorne’s argument that people, even those who claim to be pure and innocent, are capable of sin. The townspeople in Mr. Hooper’s community feel the burden of their own sins when they come in
The style of Hawthorne is deft and effective. His examination of Pyncheons two-facedness is formatted like a courtroom interrogation with Pyncheon on the witness chair. The climatic last tirade of the narrator releases all of Hawthorne’s disgust and revulsion in a captivating fashion. The organization and attention to what the reader is expecting keep the argument subtle and critical.
The reader can feel the differences of the time period in the writings of these two men. “Sinners in the Hands of an Angry God” was a sermon by a pastor used to revive people’s faith to follow God. The audience is being approached with a calm tone that required them to really pay close attention to what was being said. On the other-hand, when reading Hawthorne’s piece of work a more eerie feeling is felt because he is speaking of dealing with evil rather than good. “Young Goodman Brown” used an allegory that was used to keep the character aware of who he was being influenced by. As an author, Hawthorne makes his audience mindful of who they associate themselves with because he suggests that people may not be what their societal stature
Lang, H.J.. “How Ambiguous Is Hawthorne.” In Hawthorne – A Collection of Critical Essays, edited by A.N. Kaul. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
The sunlight gives the reader a feeling of exposure and scrutiny. This feeling is later reveled to the reader by Hawthorne,
Since ours is an age that has found irony, ambiguity, and paradox to be central not only in literature but in life, it is not surprising that Hawthorne has seemed to us one of the most modern of nineteenth century American writers. The bulk and general excellence of the great outburst of Hawthorne criticism of the past decade attest to his relevance for us (54).
In the Scarlet Letter, Hawthorne displays a society filled with sinners who believe the are not the worst and that they deserve justice. Some of the them trampel over each other in seeking justice how Chillingsworth tries to destroy Dimmsdale in a way of seeking justice for himself. Hester tries to escape a whole continet to give herself and her a family a better life in a form of seeking justice. While Dimmsdale confesses his sin a form of getting justice for himself by dying without any regrets. All of these characters were sinners who believed they werent the worse sinner whic is why they deserved justice.
Lang, H.J. “How Ambiguous is Hawthorne?” In Hawthorne – A Collection of Critical Essays, edited by A.N. Kaul. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1966.
In the first Chapter of The Scarlet Letter, "The Prison-Door", the reader is immediately introduced to the people of Puritan Boston. Hawthorne begins to develop the character of the common people in order to build the mood of the story. The first sentence begins, "A throng of bearded men, in sad-colored garments and gray, steeple-crowned hats, intermixed with women, some wearing hoods, and others bareheaded, was assembled in front of a wooden edifice, the door of which was heavily timbered with oak, and studded with iron spikes" (Hawthorne 45). Hawthorne's use of vivid visual images and his Aaccumulation of emotionally weighted details" (Baym xii) creates sympathy for the not yet introduced character, Hester Prynne, and creates an immediate understanding of the harshness of the Puritanic code in the people. The images created give the freedom to imagine whatever entails sadness and morbidity of character for the reader; Hawthorne does not, however, allow the reader to imagine lenient or cheerful people.
As stated earlier, Hawthorne’s goal is to show the discovery of evil can lead one to utter desperation and cynicism. Brown is the medium through which he is able to achieve this goal. He is successful in teaching his audience a moral lesson; which is that in denying the idea that good exists and is capable of overpowering evil, Brown has committed the worst sin of all. Bereft of spiritual faith, “his dying hour was gloom” (2216).
Critics of Nathaniel Hawthorne’s work agree his writing intends to expose the unfair treatment of people and the rulings made by the church of the Puritan society. Critic Elizabeth Fox-Genovese
Wrought with double irony and an overall sense of mock-pastoral, English playwright John Gay’s The Beggar’s Opera (1728) has its forefront of irony vividly expressed between the dynamic of the central characters Macheath and Peachum. Even the names of the characters comically resemble their occupations within the play, Peachum’s being a play on the word “peach” which means to bring one to trial, while Macheath’s meaning “son of heath” and being a play on the heaths of London, which were prime places worked on by highwaymen (Tillotson, et al.). While both characters were used as a political satire towards Jonathan Wild and the then Prime Minister Robert Walpole (after all, The Beggar’s Opera was a political satire first and a potential literary