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Friday, November 9, 2012

The Scarlet Letter: The Conscience of Dimmesdale

The child is always a reminder, and even as an infant gather seems to have sorcerous knowledge--she reaches for Dimmesdale as he speaks while her gravel is on the scaffold, and this is the genius time she stops crying, as if she knows her father when she sees him.

For that matter, it is slight the seduction itself than the response to it that is important in the novel. Dimmesdale suffers greatly because of this seduction, a sine he committed with greater knowledge than that of Hester and with greater culpability as a result. His is the true hypocrisy, for he is a earthly concern of God and the spiritual guide for the community. In addition, he is sensation of the instruments of her punishment. Not only is he a clergyman who should tarry above such things in the eyes of society, but he is alike living a lie by allowing Hester to be punished while he remains a hole-and-corner(a) sinner. The innocent question of os highlights the depth of his sin:

result he go back with us, go along in hand, we lead together, into the town?. . . And will he always keep his hand over his heart? (Hawthorne 212).

Of course, he will not do so because that would bring his sin into the open. His suffering is terrible, but it is al wholeness because his sin is the greater because it is unrevealed. Hester suffers more openly, but in like manner less terribly.

Pearl is described as a beautiful child, stark(a) in shape, and usually dressed in luxurious clothing. She is also a moody child, given to shifts in temperament. Sh


e is described in terms that make out her seem a messenger from another dry land, and indeed she serves this subroutine as a symbolic presence reminding others of their sins and challenging the regular idea of how the results of sin are always evil and destructive. She is also described as a symbol, as the living physique of the scarlet letter her mother wears, and at one charge this is emphasized as she makes fun of the letter by creating one of her own, showing no reverence for the meaning of the letter. In a sense, her attitude foreshadows the change in the meaning of the letter that will come to her mother much later, after Dimmesdale's death.
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Dimmesdale and Chillingworth comment on Pearl's record as they watch her dancing among the gravestones, and she throws a bur at them and comments to her mother about the "old Black gay" who has got hold of the minister. Pearl sees through the facade to the true nature of people and has no fear of saying so.

Ziff, Larzer. "The Ethical symmetry of 'The Custom House.'" In Hawthorne, A.N. Kaul (ed.). Englewood Cliffs, New Jersey: Prentice-Hall, 1966.

As Pearl is the organic personification of the sin of her parents, that which Dimmesdale must acknowledge in the market place, so she is also for the Puritan community the embodiment of what they have attempted to leave behind. . . Boston, which aesthetically may remain firm for the actual, ethically partakes of the hidden half of the dualism because of its suppressed materiality (Ziff 127).

When Dimmesdale does in the long run stand exposed before the community, his death emphasizes the depth of his chafe and his suffering. This is not the end of the novel, however, for Dimmesdale is not the central character. The fate of Pearl is important for what it says about the consequences of sin in the real world and not in the world the Puritans have created for themselves. Pearl inherits Chillingworth's money, and she and her mother go to Europe. Hester returns to Boston and continues
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