Chapter 7-12

In the beginning of chapter seven, I noticed a palpable link between the Scarlet Letter and Pearl. In preparation for their meeting at the Governor’s Hall, Hester dresses Pearl in “a crimson velvet tunic, of a peculiar cut, abundantly embroidered with fantasies and flourishes of gold thread” (Hawthorne 91). To me, it seemed that dressing Pearl like the Scarlet Letter was Hester’s attempt to keep her daughter from the clergymen. Pearl is both a reminder of Hester’s sin, as well as a preventer of any future sin, just like the Scarlet Letter. By pointing out that raising Pearl is punitive, Hester hopes to persuade the clergymen to let her keep her baby. 

I also recognized a symbolic meaning in Bellingham’s garden. In the narrator’s description of Bellingham’s garden, he remarks, “But the proprietor appeared already to have relinquished, as hopeless, the effort to perpetuate on this side of the Atlantic” (96). It seems as if this description of the garden represents a lack of order and control throughout their city, perhaps as a result of Governor Bellingham’s rule. Bellingham’s garden is intended to provide an interesting and comfortable environment, yet its lack of execution mitigates its tranquility. This might just reflect his power. Ironically, the only thing growing in the garden is a rose bush. This imagery reminds me of the beginning scene outside of the prison. In that scene, the rose bush serves as the only image of beauty, just as it does in Bellingham’s garden. It is interesting that Pearl begins to cry for a red rose upon seeing the bush; however, I am not quite sure what that represents. It might be that Pearl acts almost as a purifying force in such a toxic environment, just as she does in Hester’s life.

In only two chapters, the relationship between Dimmesdale and Chillingworth takes multiple twists and turns. It is interesting that neither Dimmesdale’s spirituality, nor Chillingworth’s science can heel Dimmesdale. I think that this points to the fact that Dimmesdale’s sickness is only a result of his guilt. Chapters nine and ten make it fairly obvious that this guilt is a result of being Pearl’s father. It seems that Dimmesdale wants to tell his secret so he can get rid of the guilt in his heart. In fact, when Chillingworth asks, “Is Hester Prynne the less miserable, think you, for that scarlet letter on her breast,” Dimmesdale responds saying that yes he does think so. I think that in a way Dimmesdale wishes he could wear the guilt he feels, like Hester, instead of holding it inside of him. 

By the end of chapter eleven, it is obvious that Chillingworth is harming Dimmesdale with his accusations and questions. Describing Dimmesdale, the narrator states, “True, he looked doubtfully, fearfully, - even, at times, with horror and the bitterness of hatred, - at the deformed figure of the old physician” (127). It is obvious that Chillingworth is only sickening Dimmesdale even more. 

Lastly, I just want to point out that Chillingworth demonstrates extreme hypocrisy throughout the final chapters. I thought it was extremely ironic that as Chillingworth lectured Dimmesdale about keeping secrets, he himself was keeping a large secret as well. Uncool, Chillingworth. Very uncool.

In the beginning of chapter seven, I noticed a palpable link between the Scarlet Letter and Pearl. In preparation for their meeting at the Governor’s Hall, Hester dresses Pearl in “a crimson velvet tunic, of a peculiar cut, abundantly embroidered with fantasies and flourishes of gold thread” (Hawthorne 91). To me, it seemed that dressing Pearl like the Scarlet Letter was Hester’s attempt to keep her daughter from the clergymen. Pearl is both a reminder of Hester’s sin, as well as a preventer of any future sin, just like the Scarlet Letter. By pointing out that raising Pearl is punitive, Hester hopes to persuade the clergymen to let her keep her baby. 

I also recognized a symbolic meaning in Bellingham’s garden. In the narrator’s description of Bellingham’s garden, he remarks, “But the proprietor appeared already to have relinquished, as hopeless, the effort to perpetuate on this side of the Atlantic” (96). It seems as if this description of the garden represents a lack of order and control throughout their city, perhaps as a result of Governor Bellingham’s rule. Bellingham’s garden is intended to provide an interesting and comfortable environment, yet its lack of execution mitigates its tranquility. This might just reflect his power. Ironically, the only thing growing in the garden is a rose bush. This imagery reminds me of the beginning scene outside of the prison. In that scene, the rose bush serves as the only image of beauty, just as it does in Bellingham’s garden. It is interesting that Pearl begins to cry for a red rose upon seeing the bush; however, I am not quite sure what that represents. It might be that Pearl acts almost as a purifying force in such a toxic environment, just as she does in Hester’s life.

In only two chapters, the relationship between Dimmesdale and Chillingworth takes multiple twists and turns. It is interesting that neither Dimmesdale’s spirituality, nor Chillingworth’s science can heel Dimmesdale. I think that this points to the fact that Dimmesdale’s sickness is only a result of his guilt. Chapters nine and ten make it fairly obvious that this guilt is a result of being Pearl’s father. It seems that Dimmesdale wants to tell his secret so he can get rid of the guilt in his heart. In fact, when Chillingworth asks, “Is Hester Prynne the less miserable, think you, for that scarlet letter on her breast,” Dimmesdale responds saying that yes he does think so. I think that in a way Dimmesdale wishes he could wear the guilt he feels, like Hester, instead of holding it inside of him. 

By the end of chapter eleven, it is obvious that Chillingworth is harming Dimmesdale with his accusations and questions. Describing Dimmesdale, the narrator states, “True, he looked doubtfully, fearfully, - even, at times, with horror and the bitterness of hatred, - at the deformed figure of the old physician” (127). It is obvious that Chillingworth is only sickening Dimmesdale even more. 

Lastly, I just want to point out that Chillingworth demonstrates extreme hypocrisy throughout the final chapters. I thought it was extremely ironic that as Chillingworth lectured Dimmesdale about keeping secrets, he himself was keeping a large secret as well. Uncool, Chillingworth. Very uncool.

Chapters 7-12

In the beginning of chapter seven, I noticed a palpable link between the Scarlet Letter and Pearl. In preparation for their meeting at the Governor’s Hall, Hester dresses Pearl in “a crimson velvet tunic, of a peculiar cut, abundantly embroidered with fantasies and flourishes of gold thread” (Hawthorne 91). To me, it seemed that dressing Pearl like the Scarlet Letter was Hester’s attempt to keep her daughter from the clergymen. Pearl is both a reminder of Hester’s sin, as well as a preventer of any future sin, just like the Scarlet Letter. By pointing out that raising Pearl is punitive, Hester hopes to persuade the clergymen to let her keep her baby. 

I also recognized a symbolic meaning in Bellingham’s garden. In the narrator’s description of Bellingham’s garden, he remarks, “But the proprietor appeared already to have relinquished, as hopeless, the effort to perpetuate on this side of the Atlantic” (96). It seems as if this description of the garden represents a lack of order and control throughout their city, perhaps as a result of Governor Bellingham’s rule. Bellingham’s garden is intended to provide an interesting and comfortable environment, yet its lack of execution mitigates its tranquility. This might just reflect his power. Ironically, the only thing growing in the garden is a rose bush. This imagery reminds me of the beginning scene outside of the prison. In that scene, the rose bush serves as the only image of beauty, just as it does in Bellingham’s garden. It is interesting that Pearl begins to cry for a red rose upon seeing the bush; however, I am not quite sure what that represents. It might be that Pearl acts almost as a purifying force in such a toxic environment, just as she does in Hester’s life.

In only two chapters, the relationship between Dimmesdale and Chillingworth takes multiple twists and turns. It is interesting that neither Dimmesdale’s spirituality, nor Chillingworth’s science can heel Dimmesdale. I think that this points to the fact that Dimmesdale’s sickness is only a result of his guilt. Chapters nine and ten make it fairly obvious that this guilt is a result of being Pearl’s father. It seems that Dimmesdale wants to tell his secret so he can get rid of the guilt in his heart. In fact, when Chillingworth asks, “Is Hester Prynne the less miserable, think you, for that scarlet letter on her breast,” Dimmesdale responds saying that yes he does think so. I think that in a way Dimmesdale wishes he could wear the guilt he feels, like Hester, instead of holding it inside of him. 

By the end of chapter eleven, it is obvious that Chillingworth is harming Dimmesdale with his accusations and questions. Describing Dimmesdale, the narrator states, “True, he looked doubtfully, fearfully, - even, at times, with horror and the bitterness of hatred, - at the deformed figure of the old physician” (127). It is obvious that Chillingworth is only sickening Dimmesdale even more. 

Lastly, I just want to point out that Chillingworth demonstrates extreme hypocrisy throughout the final chapters. I thought it was extremely ironic that as Chillingworth lectured Dimmesdale about keeping secrets, he himself was keeping a large secret as well. Uncool, Chillingworth. Very uncool.

Scarlet Letter, Chapters 1-6

Looking back on the first six chapters of Nathaniel Hawthorne’s The Scarlet Letter, the actual prison in the settlement, as well as the conceptual idea of prison, has played an important role, highlighting the pitfalls of justice systems in Puritan New England that prevail today. On page 71, when discussing Hester’s release from prison, Hawthorne writes, “She could no longer borrow from the future, to help her through the present grief. To-morrow would bring its own trial with it; so would the next day, and so would the next; each its own trial, and yet the very same that was now so unutterable grievous to be borne.” I believe Hawthorne is trying to say that in prison, she had become comfortable, especially in the idea that she could employ the simple tactic of being hopeful for a return to normalcy when she was released. She had made her cell a home, a place where she has become a mother and welcomed Pearl. This practice of normalizing prison was not uncommon for the Puritans, as in the novel and in the actual settlement, Puritan prisons were characteristically harsh and brutal, as they believed that they were committing themselves to justice. However, this practice in extremes can lead to the erosion of mercy in a justice system. In the second chapter, we learn through Pearl’s excessive winking that the baby was not only born in prison but also has never been outside, making this the baby’s first time seeing the sun through more than just a prison window. I feel that I can almost view this as a merciless incarceration, especially when considering that Pearl is only an infant. This blatant abuse of power, coupled with Hawthorne depicting Hester as having gotten comfortable with being imprisoned, adds to the satirical nature of the novel, juxtaposing the deep Christian priorities of Puritans with their merciless actions and comments regarding Hester.

What strikes me most about the prison symbolism so far are the connections to modern justice systems. By far, America incarcerates more people than any other country, disproportionately imprisoning minorities. I think that the Puritanical practice of enacting harsh justice is alive today, an example being that drug possession charges have the potential to turn into life sentences if you are not a connected, most likely white, man. While the infusion of church and state makes sins into state crimes in Puritan New England, as Hester is imprisoned for adultery, our country still has a notorious reputation for prosecuting nonviolent crimes in a way that contradicts the idea of “innocent until proven guilty.”

Whoop de whoop! It's almost fall break.

The Awakening Ch.1-11

Edna Pontellier is such a fascinating character to me. She seems so uptight and unhappy. Her marriage has no love in it as she explains that there was “no passion”. Before she married Mr. Pontellier, she had been a hopeless romantic but after many rejections from men, she kind of just settled for her current husband and gave up on romance. She also seems to be very cool toward her children. She even confesses that she sometimes forgets about them and that “Their absence was a sort of relief”(25). I think her lack of motherly kindness towards her children stems from the fact that her mother died when she was young. She never had a other take care of her so she does not know how to take care of her kids. Her coolness probably comes from being uncomfortable despite her love for her children. I noticed that at the beginning of the book, her husband comes home drunk one night and ask her to check one of the boys for a fever. She explains that there’s no need to worry yet she still gets up to check, obeying her husband. However, at the end of the chapter, Mr. Pontellier almost aggressively requests that she come to bed. Instead of simply doing as he says, she stays in the hammock outside and even tells him to never speak to her in that tone again. Here, we can see that Edna is starting to become more independent by standing up for herself. She feels this sense of freedom when she is around Robert. They spend a lot of time together in these chapters from sitting on the porch to walking from the beach. When Edna had not seen Robert she explained that she missed him “just as one misses the sun on a cloudy day without having thought much about the sun when it was shining”(36). In other words, she enjoys his company subconsciously to where she feels sad without his presence. I find it ironic that when her husband left for a business trip, she did not think twice about missing him but when she does not see Robert for one day, she immediately misses him. I wonder if Robert will ever make a move on Edna and if he did, would Edna reciprocate back or is their relationship totally platonic?  I also find it funny how Edna finds such a fascination with Madame Ratignolle, who seems to be the polar opposite of herself. Madame Ratignolle seems to be more femine and loving toward her family than Edna. Once again, this could stem from Edna’s loss of her mother at a young age.