A is for Abatement

Got loads of family staying overnight here somewhat unexpectedly, but I get to use the computer upstairs while imoto is napping and everyone else is finishing up preparations. Our topic today is Hawthorne's use of heraldry in The Scarlet Letter.

Even the Indians were affected by a sort of cold shadow of the white man's curiosity, and, gliding through the crowd, fastened their snake-like black eyes on Hester's bosom; conceiving, perhaps, that the wearer of this brilliantly embroidered badge must needs be a personage of high dignity among her people.

The office of the scarlet letter, to borrow a phrase famously analyzed by Sacvan Bercovitch, is a herald's office. One of Governor Bellingham's "bond-servants," a "free-born Englishman, but now a seven years' slave," newly arrived in Boston and not familiar with Hester Prynne, makes the same assumption as the Indians who saw in her "brilliantly embroidered badge" a mark of colonial aristocracy:

"Ye may not see his worship now."

"Nevertheless, I will enter," answered Hester Prynne; and the bond-servant, perhaps judging from the decision of her air and the glittering symbol in her bosom, that she was a great lady in the land, offered no opposition.

These characters of lower status in Puritan society or outside it are joined by the narrator, who is separated by time and temperament from the era, when he "discovers" the remains of the scarlet letter in the Salem Custom-House:

It had been intended, there could be no doubt, as an ornamental article of dress; but how it was to be worn, or what rank, honor, and dignity, in by-past times, were signified by it, was a riddle which (so evanescent are the fashions of the world in these particulars) I saw little hope of solving.

The narrator, certain that he has come across an item of colonial fashion, nevertheless admits to being fascinated and "perplexed" by it, wondering even if "the letter might not have been one of those decorations which the white men used to contrive to take the eyes of Indians." Of course this turns out to be as mistaken as his original, bland version of Hester Prynne--"rather a noteworthy personage in the view of our ancestors." But actually these kinds of assumptions about Hester Prynne's "badge" are not that far off.

Consider the first description of the letter in the romance itself:

On the breast of her gown, in fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold thread, appeared the letter A. It was so artistically done, and with so much fertility and gorgeous luxuriance of fancy, that it had all the effect of a last and fitting decoration to the apparel which she wore; and which was of a splendor in accordance with the taste of the age, but greatly beyond what was allowed by the sumptuary regulations of the colony.

No wonder, then, that one of her harsher judges among the "female spectators" at this first scaffold scene remarks, "She hath good skill at her needle, that's certain, but did ever a woman, before this brazen hussy, contrive such a way of showing it! Why, gossips, what is it but to laugh in the face of our godly magistrates, and make a pride out of what they, worthy gentlemen, meant for a punishment?" The largely uncharitable remarks of the audience in this and other scenes raise questions about Hester's intentions and the effect of the magistrates' punishment on her, but they also align her with an English, aristocratic, and Catholic past (and hence suggest a certain critical attitude toward English as well as American Puritans at this point in the novel, a point that has been well made by Larry Reynolds and Frederick Newberry). Among the "mass of imperfectly shaped and spectral images" that bring to Hester's mind "other scenes than this roughly hewn street of a little town, on the edge of the Western wilderness; other faces than were lowering upon her from beneath the brims of these steeple-crowned hats," was "her native village, in Old England, and her paternal home; a decayed house of gray stone, with a poverty-stricken aspect, but retaining a half-obliterated shield of arms over the portal, in token of antique gentility."

The herald's office is to assign coats of arms to families of sufficient birth and standing; the Puritans have appropriated this office for their own purposes, using the scarlet letter to indicate that Hester may well be a descendant of English aristocracy, but she is fallen in more ways than one. Hester to some extent accepts the terms of her punishment when she tells Pearl, "Once in my life I met the Black Man! This scarlet letter is his mark!" On the surface at least, this rare admission echoes Roger Chillingworth's interpretation, "Thus she will be a living sermon against sin, until the ignominious letter be engraved upon her tomb-stone." But designating the scarlet letter the Black Man's mark does not necessarily make it a symbol of her sin, or her sin alone; it could easily refer to two other men she's met in the forest, Chillingworth and Dimmesdale, or it could refer to the Puritan magistrates themselves, sinning against the act that she later tells Dimmesdale "had a consecration of its own."

The battle over the meaning of the A is a well-trodden topic, so I'll stop with four observations: 1) the scarlet letter is is intended to function as a mark of dishonor; in the language of heraldry, it is an abatement; 2) Pearl disappears from the novel, but the narrator strongly suggests she has married a non-English aristocrat and is living abroad with him and their child when he notes that "Letters came, with armorial seals upon them, though of bearings unknown to English heraldry," again emphasizing her and Hester's contrast with the natal alienation and long-term inheritance of the mother's condition that marked female slaves from the mid-seventeenth century until the mid-nineteenth century in England's American colonies from Hester Prynne's time until the independent America of Hawthorne's time; 3) nevertheless, the narrator returns to heraldry at Hester's death, appearing to ratify Chillingworth's prophecy of the monumentalizing of the letter by ending the novel with "a herald's wording" of the "semblance of an engraved escutcheon" and "device": "ON A FIELD, SABLE, THE LETTER A, GULES"; 4) Jim's coat of arms in Mark Twain's Adventures of Huckleberry Finn parodies Hawthorne's ending of The Scarlet Letter, in ways crucial to understanding the compromises of 1850 and 1876--but that will be the subject of an Intertextual Thursday after I've finished with Beloved.

Heraldry in Ned Ward's "A Trip to Jamaica"

Taking a break from governance/union/funding matters to make a note of a surprisingly racialized heraldry reference in Ned Ward's A Trip to Jamaica (1698):

A Man under this Misery, may be said to be the 'Scutchion of the Island, the Complection of the Patient, being the Field, bearing Or charg'd with all the Emblems of Destruction, proper, supported by Two Devils, Sables; and Death the Crest, Argent. (488)

This version is from Carla Mulford's anthology, Early American Writings, and follows upon a sarcastic portrayal of the unhealthy effects of a Jamaican diet on travelling Europeans, including "The Dry Belly-Ach," which "takes away the use of their Limbs, that they are forc'd to be let about by Negro's" (488)--who are, of course, the "Two Devils, Sables" referred to above.

There's a connection to both The Scarlet Letter and Adventures of Huckleberry Finn here, but what kind of connection is the question I'll leave hanging for now...and just bemoan the fact that I heard about this conference in searching for my older posts here on the topic!

How Pearl and Beloved Show Why Water Imagery Matters

Well, as predicted, I missed last Saturday. Today I hope to have time to get into some passages from The Scarlet Letter that I overlooked for a long time, but which I now believe hold one key to understanding the prose poem that is Beloved's monologue in Toni Morrison's Beloved. So for those (imaginary) readers looking forward to a post on heraldry in Hawthorne's works and its relation to race, I'll try to devote a Close Reading Tuesday to that topic. [Update: mission accomplished].And for those (hypothetical) readers interested in what a real Intertextual Thursday post would look like, I'll try to oblige with a post that goes beyond noting parallels between characters and plot elements in The Scarlet Letter and Beloved to actually consider what follows from them [Update: mission only somewhat and tangentially accomplished, but not on Hawthorne and Morrison].

Today, though, let's start, as I like to do with brainstorming-type writing, with a quotation--or rather, a set of quotations, the first two from The Scarlet Letter and the last from Beloved.

Hester bade little Pearl run down to the margin of the water, and play with the shells and tangled seaweed, until she should have talked awhile with yonder gatherer of herbs. So the child flew away like a bird, and, making bare her small white feet, went pattering along the moist margin of the sea. Here and there, she came to a full stop, and peeped curiously into a pool, left by the retiring tide as a mirror for Pearl to see her face in. Forth peeped at her, out of the pool, with dark, glistening curls around her head, and an elf-smile in her eyes, the image of a little maid, whom Pearl, having no other playmate, invited to take her hand and run a race with her. But the visionary little maid, on her part, beckoned likewise, as if to say,--"This is a better place! Come thou into the pool!" And Pearl, stepping in, mid-leg deep, beheld her own white feet at the bottom; while, out of a still lower depth, came the gleam of a kind of fragmentary smile, floating to and fro in the agitated water.

At first, as already told, she had flirted fancifully with her own image in a pool of water, beckoning the phantom forth, and--as it declined to venture--seeking a passage for herself into its sphere of impalpable earth and unattainable sky. Soon finding, however, that either she or the image was unreal, she turned elsewhere for better pastime.

Down by the stream in back of 124 her footprints come and go, come and go. They are so familiar. Should a child, an adult place his feet in them, they will fit. Take them out and they disappear as though nobody ever walked there.

By and by all trace is gone, and what is forgotten is not only the footprints but the water too and what it is down there. The rest is weather. Not the breath of the disremembered and unaccounted for, but wind in the eaves, or spring ice thawing too quickly. Just weather. Certainly no clamor for a kiss.

Beloved.

As this trio of quotations should hint to you, I'm going to try to draw some connections between Pearl and Beloved in this post--specifically between Pearl's reflection and the mystery of who Beloved is and where she came from. For I believe that Hawthorne's representation of Pearl influenced Morrison's characterization of Beloved as well as Denver.

Recall that the narrator of The Scarlet Letter repeatedly emphasizes Hester's dressing Pearl in an outfit that makes her seem to be "the scarlet letter in another form; the scarlet letter endowed with life!" Like the scarlet letter, Pearl is represented as fiery and vengeful. When the Puritan children, taking time away from their usual pastimes of "playing at going to church, perchance; or at scourging Quakers; or taking scalps in a sham-fight with the Indians; or scaring one another with freaks of imitative witchcraft," decide to torment Hester and Pearl (in one of the [unintentionally?] funniest lines in the novel, one says, "Behold, verily, there is the woman of the scarlet letter; and, of a truth, moreover, there is the likeness of the scarlet letter running along by her side! Come, therefore, and let us fling mud at them!"), Pearl's response, "after frowning, stamping her foot, and shaking her hand with a variety of threatening gestures," is to suddenly "rush at the knot of her enemies, and put them all to flight." The narrator notes then that "She resembled, in her fierce pursuit of them, an infant pestilence,--the scarlet fever, or some such half-fledged angel of judgment,--whose mission was to punish the sins of the rising generation."

For Ella in Beloved, Beloved too is a symbol of sin and retribution:

When Ella heard 124 was occupied by something-or-other beating up on Sethe, it infuriated her and gave her another opportunity to measure what could very well be the devil himself against "the lowest yet." There was also something very personal in her fury. Whatever Sethe had done, Ella didn't like the idea of past errors taking possession of the present. Sethe's crime was staggering and her pride outstripped even that; but she could not countenance the possibility of sin moving on in the house, unleashed and sassy.

But Pearl and Beloved are much more than the symbols others make of them. Some (including Sethe and Denver) believe Beloved to be Sethe's daughter "in another form," the baby ghost that was haunting 124 before Paul D's arrival "endowed with life." (Although Denver tells Paul D, "At times, I think she was--more.") Paul D is tempted to believe Stamp Paid's supposition that Beloved may be a girl who was "locked up in a house with a whiteman over by Deer Creek. Found him dead last summer and the girl gone.... Folks say he had her in there since she was a pup." But Paul D isn't satisfied with this theory. In conversation with Stamp Paid, he says, "She reminds me of something. Something, look like, I'm supposed to remember." And upon his return to 124 he realizes that "Something is missing.... Something larger than the people who lived there. Something more than Beloved or the red light. He can't put his finger on it, but it seems, for a moment, that just beyond his knowing is the glare of an outside thing that embraces while it accuses." So just who or what is Beloved? Where does she comes from? What does she want?

One way to begin answering these questions is to note that unlike Pearl in the previous SL passage, Beloved doesn't rush at her enemies, but instead feels herself to be abandoned when others do so. When the former abolitionist Edward Bodwin arrives at 124 as Ella is leading an attempted exorcism, Sethe mistakes him for Schoolteacher and tries to attack him and Denver runs after her to stop her, as we find out from the free indirect discourse that marks Beloved's last appearance (in the flesh) in the novel:

Sethe is running away from her, running, and she feels the emptiness in the hand Sethe had been holding. Now she is running into the faces of the people out there, joining them and leaving Beloved behind. Alone. Again. Then Denver, running too. They make a hill. A hill of black people, falling. And above them all, rising from his place with a whip in his hand, the man without skin, looking. He is looking at her.

For Beloved, this is the last straw; her own confused (and confusing) account of her life (lives?) focuses obsessively on losing Sethe--or the women she confuses with Sethe:

Three times I lost her: once with the flowers because of the noisy clouds of smoke; once when she went into the sea instead of smiling at me; once under the bridge when I went in to join her and she came toward me but did not smile. She whispered to me, chewed me, and swam away. Now I have found her in this house. She smiles at me and it is my own face smiling. I will not lose her again. She is mine.

The imagery in the last scene where the young woman Beloved is present in the novel--the hill of black people, the man without skin--references Beloved's second loss. But the passages where this scene is narrated--incoherently by Beloved--make it clear that it couldn't possibly be Sethe she lost then. Let's start with the relatively coherent summary and follow it up with the stream of consciousness version to see why this is so:

Sethe went into the sea. She went there. They did not push her. She went there. She was getting ready to smile at me and when she saw the dead people pushed into the sea she went also and left me there with no face or hers.

I cannot lose her again my dead man was in the way like the noisy clouds when he dies on my face I can see hers she is going to smile at me she is going to her sharp earrings are gone the men without skin are making loud noises they push my own man through they do not push the woman with my face through she goes in they do not push her she goes in the little hill is gone she was going to smile at me she was going to a hot thing


They are not crouching now we are they are floating on the water they break up the little hill and push it through I cannot find my pretty teeth I see the dark face that is going to smile at me it is my dark face that is going to smile at me the iron circle is around her neck she does not have sharp earrings in her ears or a round basket she goes in the water with my face

If you've seen Amistad, you may recall the scene where the woman on the slave ship commits suicide; if you've read Uncle Tom's Cabin, you may recall a similar attempted suicide on the Mississippi River (I can't recall now if Tom saved the woman or not). If you read Beloved's monologue in its entirety, you'll see that most of it is a fragmented narration of a similar scene from the middle passage. Beloved asks herself at the beginning of the monologue, "how can I say things that are pictures," although without a question mark (as the entire monologue is without punctuation), this comes off as much as a rhetorical question admitting defeat from the start as an open question that the rest of the monologue attempts to answer. But as I read it, this middle passage scene is the second of the three losses Beloved suffers. In fact, I think you can break the three scenes of Beloved's monologue down into eight parts, despite the difficulty presented by a narrator for whom "All of it is now it is always now":

1-2. Somewhere in Africa, where an infant girl is separated from her mother by a slave raiding party.

I see her take flowers away from leaves she puts them in a round basket the leaves are not for her she fills the basket she opens the grass I would help her but the clouds are in the way ... I am not separate from her there is no place where I stop her face is my own and I want to be there in the place where her face is and to be looking at it too ... In the beginning I coud see her I could not help her because the clouds were in the way in the beginning I could see her the shining in her ears ... Sethe is the one that picked flowers, yellow flowers in the place before the crouching. Took them away from their green leaves.... wanted to help her when she was picking the flowers, but the cloud of gunsmoke blinded me and I lost her. Three times I lost her; once with the flowers because of the noisy clouds of smoke....

3-5. On a slave ship during the middle passage, where a young girl witnesses the bodies of those who died en route pushed overboard by the slave traders and a woman who commits suicide by following them into the sea.

In the beginning the women are away from the men and the men are away from the women storms rock us and mix the men into the women and the women into the men that is when I begin to be on the back of the man for a long time I see only his neck and his wide shoulders above me I am small I love him because he has a song when he turned around to die I see the teeth he sang through ... there will never be a time when I am not crouching and watching others who are crouching too I am always crouching the man on my face is dead ... we are all trying to leave our bodies behind the man on my face has done it it is hard to make yourself die forever you sleep short and then return ... those able to die are in a pile I cannot find my man the one whose teeth I ave loved a hot thing the little hill of dead people a hot thing the men without skin push them through with poles the woman is there with the face I want the face that is mine they fall into the sea which is the color of bread she has nothing in her ears ... [see above middle passage quotes] ... All I want to know is why did she go in the water in the place where we crouched? Why did she do that when she was just about to smile at me? I wanted to join her in the sea but I could not move....

6-8. This is the most confusing one, but I believe that the teenage girl Stamp Paid talked about attempted suicide from a bridge and was possessed by the spirit of the baby ghost that had been haunting 124, who then returns to 124 in the flesh.

there is no one to want me to say me my name I wait on the bridge because she is under it there is night and there is day

again again night day night day I am waiting no iron circle is around my neck no boats go on this water no men without skin my dead man is not floating here his teeth are down there where the blue is and the grass so is the face I want the face that is going to smile at me it is going to in the day diamonds are in the water where she is and turtles in the night I hear chewing and swallowing and laughter it belongs to me she is the laugh I am the laugher I see her face which is mine it is the face that was going to smile at me in the place where we crouched now she is going to her face comes through the water a hot thing her face is mine she is not smiling she is chewing and swallowing I have to have my face I go in the grass opens she opens it I am in the water and she is coming there is no round basket no iron circle around her neck she goes up where the diamonds are I follow her we are in the diamonds which are her earrings now my face is coming I have to have it I am looking for the join I am loving my face so much my dark face is close to me I want to join she whispers to me she whispers I reach for her chewing and swallowing she touches me she knows I want to join she chews and swallows me I am gone now I am her face my own face has left me I see me swim away a hot thing I see the bottoms of my feet I am alone I want to be the two of us I want the join

I come out of blue water after the bottoms of my feet swim away from me I come up

....Three times I lost her: ...once under the bridge, when I went in to join her and she came toward me but did not smile. She whispered to me, chewed me, and swam away....

Here's where the Pearl quotations that I began this post with help out the most, because they allow us to see that the passage from Beloved that I quoted at the beginning and end of this post deal with reflections, mirror images, and phantoms--and help us understand that the "I" in this scene sometimes refers to the baby ghost and sometimes to the traumatized young woman. But it's dinner time, so I'll have to continue this next Saturday!

Mark Twain: The Badge of Servitude

Scott Eric Kaufman has been organizing and participating in The Valve's ongoing book event on Amanda Claybaugh's The Novel of Purpose. His recent contribution is worth a close read. I'm going to take the opening his reading of the end of Adventures of Huckleberry Finn offers me to follow up on an invitation from Claybaugh herself and say a little bit more about my views on Hawthorne and 19th C reform movements.

In "The Power of Blackness and the Device of Race: On the Compromises of 1850 and 1877," the third chapter of my manuscript, American Studies and the Race for Hawthorne,

I turn to three major nineteenth-century writers who have offered assessments of Hawthorne’s racial politics as rigorous as any professional reviewer or scholar. Specifically, I examine how Herman Melville, in “Hawthorne and His Mosses” (1850), Henry James, in Hawthorne (1879), and Mark Twain, in Adventures of Huckleberry Finn (1885), offer implicit readings of Hawthorne’s racial politics, and, in the process, comment on the racial politics of the third quarter of the nineteenth century. Instead of studying Hawthorne’s relation to other major nineteenth-century writers in terms of source, influence, or intertextuality, that is, I examine what certain major responses to and revisions of Hawthorne’s texts reveal about the historical moments in which they were written. After considering how James’s and Melville’s criticism helps specify the race and Hawthorne problem that I identified in the previous two chapters, I turn to the controversial ending of Mark Twain’s novel and its puzzling allusion to the ending of The Scarlet Letter. As we shall see, Herman Melville, Henry James, and Mark Twain together tell a remarkably consistent story--a story that links the 1850 Fugitive Slave Act with the 1877 Tilden-Hayes Agreement.

This is one of my longest and most-involved chapters and I'm considering sending off parts of it to journals this fall, so I won't give it the Chapter 2 treatment (see the "Old News" category for what I'm talking about). But I will give the set-up and the conclusion to my Twain argument. Here are the two passages that begin the Twain section of the chapter, the first from The Scarlet Letter and the second from Adventures of Huckleberry Finn:

All around there were monuments carved with armorial bearings; and on this simple slab of slate--as the curious investigator may still discern, and perplex himself with the purport--there appeared the semblance of an engraved escutcheon. It bore a device, a herald’s wording of which might serve for a motto and brief description of our now concluded legend; so sombre it is, and relieved only by one ever-glowing point of light gloomier than the shadow:--

“On a field, sable, the letter A, gules.”

“On the scutcheon we’ll have a bend or in the dexter base, a saltire murrey in the fess, with a dog, couchant, for common charge, and under his foot a chain embattled, for slavery, with a chevron vert in a chief engrailed, and three invected lines on a field azure, with the nombril points rampant on a dancette indented; crest, a runaway nigger, sable, with his bundle over his shoulder on a bar sinister; and a couple of gules for supporters, which is you and me; motto, Maggiore fretta, minore atto. Got it out of a book--means, the more haste, the less speed.”

“Geewhillikins,” I says, “but what does the rest of it mean?”

And here's the intro to the Twain section:

Huck Finn is as perplexed by Tom Sawyer’s insistence that Jim inscribe his coat of arms on the wall of his cell at Phelps Farm as he is unsure of that armorial device’s meaning. And he remains as dissatisfied with Tom’s evasion of his questions about the meaning of Jim’s coat of arms--“We ain’t got no time to bother over that”--as he is with Tom’s eventual admission of ignorance--“Oh, I don’t know. But he’s got to have it. All the nobility does” (322). Still, Huck decides to trust Tom and goes along with his efforts to devise a plan “romantical enough” to “set a free nigger free” (294, 358). “Tom said we’d got to,” he reports: “there warn’t no case of a state prisoner not scrabbling his inscription to leave behind, and his coat of arms” (321).

Tom Sawyer’s romantical plan, in which Jim is figured both as nobility and as state prisoner, has been the subject of much critical controversy. But given Shelley Fisher Fishkin’s point that critics of Adventures of Huckleberry Finn have “built an increasingly solid case that the last portion of the novel may be read as a commentary on American race relations in the post-Reconstruction era,” the more productive question now is, what kind of commentary? There is no better way to answer this question, I propose, than to consider the meaning and significance of Jim’s coat of arms. For where it is fairly clear that Tom Sawyer’s motto (“the more haste, the less speed”) could well have been a slogan for the nation’s recent repudiation of Reconstruction, the significance of Huck’s question (“What does the rest of it mean?”) is less clear. As we shall see, answering Huck’s question can help us determine what kind of commentary Mark Twain was making, not only on the racial politics of his own times but also on the author the entire episode seems designed to confront--Nathaniel Hawthorne.

It may seem that Clemens’s transformation of The Scarlet Letter’s heraldic motto, “On a field, sable, the letter A, gules,” into Tom Sawyer’s description of Jim’s coat of arms--“crest, a runaway nigger, sable, with his bundle over his shoulder on a bar sinister; and a couple of gules for supporters, which is you and me”--is simply a joke at Hawthorne’s expense, a parody of the romance in the name of American realism, a rejection of Hawthorne’s gloom in the name of American humor. But if it is a joke, it is an eminently practical one.

And here's how I conclude the section:

In the end, then, Jim’s coat of arms suggests the source of Mark Twain’s critique of America in 1885. Whatever racist hatreds and pleasures the coat of arms encodes, it is also a critique of the nation’s turn against Reconstruction and turn toward race as a mark of distinction and badge of servitude. By making Jim’s coat of arms harken back to Hester’s ambiguous position between enslavement and freedom, Clemens points to the bitter resentments, frivolous emancipationist impulses, and uncomprehending perplexity that went into the construction of race. But even as he draws on Hawthorne’s imagery, Clemens also criticizes his politics, for the final implication of the allusions to The Scarlet Letter is to link the Fugitive Slave Act with the Tilden-Hayes Agreement. Mark Twain implies that a similar political coalition to the one that produced the Compromise of 1850 resulted in the Compromise of 1877; he quite consciously superimposes antebellum and post-Reconstruction ideologies of race in order to suggest that a new form of racial oppression as insidious in its own way as slavery was taking shape in the wake of Reconstruction. To borrow a figure Clemens might have appreciated, then, a major message of the evasion scene in Adventures of Huckleberry Finn is that the same horses that Hawthorne backed in 1850 were pulling ahead again in 1877.

What happens in the middle is a survey of the uses of heraldry in Hawthorne's fiction and in The Scarlet Letter (see my posts in the categories for The Scarlet Letter and Beloved for some arguments at CitizenSE that draw on this section of the chapter); a consideration of the similarities and differences between Hawthorne's and Clemens's characters that the quoted passages from both novels suggest; a close reading of the coat of arms itself and of Kemble's illustration of it for the three political narratives inscribed in it; a comparison of Tom's, Huck's, and Jim's responses to it and them; and soon, a consideration of John Edward Bruce's journalism and activism for the light it sheds on Clemens and Hawthorne.

So, how does this connect to Scott's post and Amanda's book? Come back tomorrow, fearless readers!

CRT II: The Scarlet Letter Remix

Since I don't have time to do a good close reading this Tuesday, I'll settle for a second-worst one. Hopefully.

"Look your last on the scarlet letter and its wearer!"--the people's victim and life-long bond-slave, as they fancied her, might say to them. "Yet a little while, and she will be beyond your reach! A few hours longer, and the deep, mysterious ocean will quench and hide for ever the symbol which ye have caused to burn upon her bosom!"

This quotation comes at a key moment in The Scarlet Letter, before Dimmesdale has begun his Election Day sermon and before Hester discovers that Chillingworth has booked passage on the same "questionable vessel" on which she and Dimmesdale have resolved to flee Boston for Europe with Pearl. The narrator is trying to convey her emotions upon wearing the scarlet letter for what she believes will be the last time in Boston, and perhaps ever. In this passage, he invents an internal monologue for her ("might say") and embeds within it a curious interjection. What I am interested in is the reference to Hester as "the people's victim and life-long bond-slave"--and how qualified it is, for immediately the narrator concedes, "as they fancied her." This is both a reference to her intended escape and an acknowledgement of the game he's been playing throughout the romance in using the iconography of the female slave and, here, the fugitive slave to dramatize Hester's relationship with her community. As this is ground that Jean Fagan Yellin and Jennifer Fleischner, among others, have covered thoroughly, I'm going to focus on an aspect of Hester's "social death" that has not to my knowledge been discussed before, and, in so doing, pick up where my not-very-intertextual Intertextual Thursday left off last week.

For this passage is a culmination of sorts of a consistent motif in The Scarlet Letter: the idea that the scarlet letter imposes a kind of social death upon Hester. This is the reason for all the ghostly imagery the narrator uses when attempting to identify Hester's place in the Boston Puritan community. As I (barely) discussed last Thursday, Hester could have been sentenced to death for her adultery and hence the letter is a kind of suspended death sentence; Hester is consistently portrayed as banished from the community yet still haunting it; the figure of the ghost is an apt figure for her there-but-not-quite-there, not-there-but-not-quite-not-there presence/absence. In a certain sense, then, the "social death" Hester suffers in Boston is not so different from being a "life-long bond-slave," for her condition satisfies key parts of Orlando Patterson's classic definition of slavery in his Slavery and Social Death. She is enduring a kind of social death that involves both "dishonor" and "natal alienation" (she is completely separated from her ancestors and disavowed by her husband); her "enslavement" takes place at a time in 17th-century British America when slavery was becoming racialized (the first Africans in the English-speaking New World were, like poor whites, indentured servants--it took most of the century for temporary indentured servitude to be limited to non-Africans); her daughter Pearl is, in a certain sense, following the condition of her mother; both, like some 19th-century black colonizationists or fugitive slaves, are attempting to leave North America for "the old world" (in their case, Africa; in hers, Europe) in a kind of reverse middle passage.

But at the same time as he invokes these associations of slavery, the narrator stresses the differences. Hester is, after all, only wearing a symbol, one she hopes "the deep, mysterious ocean will quench and hide for ever," rather than being branded as many African-American slaves were. She is allowed to keep her daughter, unlike most African-American slaves--her natal alienation has limits theirs didn't. In fact, in the scene in Governor Bellingham's mansion where she successfully argues her case, her status is contrasted with that of a recently-arrived indentured servant of the governor. More on that scene next Tuesday, for it can be linked to another key motif in The Scarlet Letter--heraldry. But my older daughter--who on this blog will go only by the names onechan, or Gohan Girl, or "Uh oh Diva Girl"--had the shortest nap ever, and it's back to daddy duty for CitizenSE.

We Take Requests Here at CitizenSE

A Japanese colleague of mine whom I've responded to here before recently asked me what I had on the sketch "The Intelligence Office." I emailed him back with some quick ideas and promised an update here. This is it (or maybe the first part if I can't finish it between classes today!).

As you can see here, the only time I've previously blogged on "The Intelligence Office" is to link it to Faulkner's Thomas Sutpen in an aborted larger argument aiming to show Hawthorne's intimate knowledge of the importance of international trade (including the slave trade) on the fortunes of Salem, colonial New England, and the northeastern United States. The narrator's comment, "Judging from its description, it was beautiful enough to vanish like a dream, yet substantial enough to endure for centuries," could apply to the idea of America as easily as it could to the estate of the "man of deplorable success." And indeed there are several sharp ripostes at American politics and imperialism sprinkled throughout the sketch.

But as you can see from the following excerpt from my email response to my colleague--

I think "The Intelligence Office" is a very interesting sketch. If you have time, I strongly recommend Kristie Hamilton's arguments on the importance of Hawthorne's sketches in general, in The Cambridge Companion to Nathaniel Hawthorne (2004) or in her book America's Sketchbook (1998).

My own interest in the sketch is different from her emphasis on Hawthorne's anticipation of modernist (and even postmodernist) aesthetic and social issues. I'm interested in the 19th C and earlier resonances of his emphasis on "proper place" (which I use to investigate Hawthorne's ideas on race, class, and gender politics).

--what I am most interested in is the way "The Intelligence Office" provides evidence that Hawthorne in the early 1840s was engaging his culture's interests in the relations between the external and the internal, the material and the spiritual, the physical and the psychological, the real and the symbolic, between manners and morals, appearances and essences, in everything from transcendentalism and romanticism to phrenology and physiognomy to the American School of Ethnography. If you read the sketch alongside such earlier meditations on these subjects as "Fancy's Show Box," "Roger Malvin's Burial," and "Young Goodman Brown," you'll see it reworking that earlier interest in the relations between thoughts and actions. And if you read it alongside contemporary or later tales and sketches like "A Virtuoso's Collection," "The Procession of Life," "The Birth-mark," "Rappaccini's Daughter," "The Christmas Banquet," "Earth's Holocaust," and "The Custom House"--or novels like The House of the Seven Gables and The Marble Faun--you'll see Hawthorne's abiding interest in classification schemes of all kinds.

The scholarly work I'd most recommend for understanding the context for Hawthorne's engagement of these issues is Samuel Otter's brilliant study Melville's Anatomies--I can't think of a better evocation of the times or investigation of an author's engagement with them than any other recent work except Eduardo Cadava's Emerson and the Climates of History, and Otter more systematically analyzes the various attempts to know (human) nature in the antebellum period than Cadava.

As for myself, I find Hawthorne's suggestion at the beginning of the story and confirmation at the end that the agent of the sketch's "Central Intelligence Office" to be the "Recording Spirit" a fascinating anticipation of Destiny in Neil Gaiman's Sandman series of comics and graphic novels. Certainly Hawthorne is engaging religious themes that energized the Puritans--the difficulty of reconciling God's omniscience, omnipotence, and benevolence--when he has the agent reveal

"My agency in worldly action--my connection with the press, tumult, and intermingling, and development of human affairs--is merely delusive. The desire of man's heart does for him whatever I seem to do. I am no minister of action, but the Recording Spirit!"

Thus the opening simile--"He looked like the spirit of a record--the soul of his own great volume--made visible in mortal shape"--and the intermediate elaboration of the book of life metaphor within it--

Human character in its individual developments--human nature in the mass--may best be studied in its wishes; and this was the record of them all.... It would be an instructive employment for a student of mankind, perusing this volume carefully, and comparing its record with men's perfected designs, as expressed in their deeds and daily life, to ascertain how far the one accorded with the other. Undoubtedly, in most cases, the correspondence would be found remote. The holy and generous wish, that rises like incense from a pure heart toward heaven, often lavishes its sweet perfume on the blast of evil times. The foul, selfish, murderous wish, that steams forth from a corrupted heart, often passes into the spiritual atmosphere, without being concreted into an earthly deed. Yet this volume is probably truer, as a representation of the human heart, than is the living drama of action, as it evolves around us. There is more of good and more of evil in it; more redeeming points of the bad, and more errors of the virtuous; higher up-soarings, and baser degradation of the soul; in short, a more perplexing amalgamation of vice and virtue, than we witness in the outward world. Decency, and external conscience, often produce a far fairer outside, than is warranted by the stains within. And be it owned, on the other hand, that a man seldom repeats to his nearest friend, any more than he realizes in act, the purest wishes, which, at some blessed time or other, have arisen from the depths of his nature, and witnessed for him in this volume. Yet there is enough, on every leaf, to make the good man shudder for his own wild and idle wishes, as well as for the sinner, whose whole life is the incarnation of a wicked desire.

--allows the story to be read as a gloss on abstract, even universal problems of theology and ethics. But I think even this version of the sketch is an interesting anticipation of Gaiman's Endless.

Now, the classic take on the sketch is Melville's claim in "Hawthorne and His Mosses" that the seeker after Truth is Hawthorne's own self-portrait, although I wonder whether the person the narrator jokes is "invariably out of place" and who cries in anguish--

"I want my place!--my own place!--my true place in the world!--my proper sphere!--my thing to do, which nature intended me to perform when she fashioned me thus awry, and which I have vainly sought, all my lifetime! Whether it be a footman's duty, or a king's, is of little consequence, so it be naturally mine."

--might be an ironically distanced sketch of a younger self. Of course, it's also possible to see in the figure of the Recording Spirit himself Hawthorne's own wishes for his art, or to argue that Hawthorne dispersed his own wishes and desires throughout a range of characters, so I'm not sure how productive this line of argument ends up being. The seeker after Truth's comment to the Recording Spirit could well be Hawthorne's commentary on the sketch itself:

"And what are you?" said he. "It will not satisfy me to point to this fantastic show of an Intelligence Office, and this mockery of business. Tell me what is beneath it, and what your real agency in life, and your influence upon mankind?"

So the sketch could just as easily be linked with Hawthorne's exploration of various writer analogues--whether artist or scientist--in his fictions of the 1840s and 1850s, and thus be autobiographical at a remove, in the sense of exploring the functions and powers of literary texts and the roles of authors in the antebellum U.S.

In the end, though, I would emphasize that Hawthorne's idea of the Intelligence Office is connected to the Herald's Office that runs throughout his writings in this same period. I've blogged on heraldry in Hawthorne's and others' fiction a little bit here already, so I won't say too much more right now. But it would be both interesting and informative to explore the ways the Intelligence Office discloses Hawthorne's interests in subjectivity (a la Pfister, Gilmore, Goddu, and others who look at the emergence of the middle class and domestic/affective life in this period) and the Herald's Office in genealogy (a la Bentley, Yellin, Carton, and others who look at the emergence of whiteness and classification schemes/racial sciences in this period).

Racial Science, Evolution, and "Fitness" Bleg

One reason to blog is to make the world--or that portion of it which chooses to read your blog and respond to your request--your research assistant. It's an inefficient and unreliable method, but you get what you pay for. So here's my first official bleg (I'm counting as unofficial its predecessors).

I'm looking for input from people who know something about the evolution of evolutionary discourse. Obviously Darwin published The Origin of Species too late to have an influence on any but Hawthorne's last works. Yet Hawthorne used the term "fitted" or "fitness" throughout his career. So, beyond what the OED may tell us, I'm interested in sources and perspectives on the genealogy of this concept and its relation to the racial science that emerged in the early 19th C, almost as if Jefferson's Notes of the State of Virginia summoned it into existence.

What prompted this bleg is the recognition (I'm sure an old and forgotten one recalled as if it were new, but it sure feels new to me right now), that "The Custom-House" is saturated with antebellum discourses of race, in its invocations of nativity, traits of nature, descent, inheritance, family trees, roots, transplantation, heraldry, and destiny. And that Hawthorne seems to be transposing his own time period's conceptions with 17th-C American Puritans', as he spends some time in The Scarlet Letter on characters' and the narrator's speculations on Pearl's nature, the possibility of prenatal influences on her character, the influences of heredity and environment, and the question of her being a "monstrous birth," a demonic offspring, or an elf-human hybrid. If you've read Evan Carton on The House of the Seven Gables The Marble Faun, you'll have noted that these concerns continue into Hawthorne's next novel, published the next year in 1851 last published novel.

But the specific passages that prompted my attention this time are of a much more trivial nature. Three times in "The Custom-House," Hawthorne uses the discourse of "fitness" or "adaptation," and each time it sums up his character sketch of the three individuals he focuses on in the essay:

...of all men I have ever known, ths individual was fittest to be a Custom-House officer.

If, in our country, valor were rewarded by heraldic honor, this phrase-which it seems so easy to speak,--but which only he, with such a task of danger and glory before him, has ever spoken,--would be the best and fittest of all mottoes for the General's shield of arms.

Here, in a word,--and it is a rare instance in my life,--I had met with a person thoroughly adapted to the situation which he held.

My interest in these passages stems from my interest in two rather obscure sketches, "Old News" from the 1830s and "The Intelligence Office" from the 1840s. "Old News" makes the link to race and slavery most explicit, so I'll end with a passage from the first part of it, where the narrator is perusing and reflecting upon newspapers from the 1720s:

But the slaves, we suspect, were the merriest part of the population--since it was their gift to be merry in the worst of circumstances; and they endured, comparatively, few hardships, under the domestic sway of our fathers. There seems to have been a great trade in these human commodities. No advertisements are more frequent than those of 'a negro fellow, fit for almost any household work;' 'a negro woman, honest, healthy, and capable;' 'a young negro wench, of many desirable qualities;' 'a negro man, very fit for a taylor.' We know not in what this natural fitness for a taylor consisted, unless it were some peculiarity of conformation that enabled him to sit cross-legged.

I've devoted an entire chapter in my dissertation to "Old News" (which Hawthorne collected for the first time in The Snow-Image in 1851 with small but highly significant revisions) and (once I finish the conference paper that is sadly behind schedule) am looking forward to returning to revising it for my manuscript, so I obviously believe there's a lot to say about this sketch. Suffice to say for now that this sketch made its way into print first within a year of the founding of the first Salem abolitionist society (and second in the nation) and later within a year of the controversy over the Fugitive Slave Act.

But what I'm interested in right now is the relation between the moral, social, and biological aspects of "fit(ted)ness" you can spot in all the quoted passages in this post. And what you make of the joke that closes this opening part of a much longer passage on slavery in early 18th-C New England (and implicitly elsewhere). It's part of a larger issue of what you (and I) make of the narrator's intentions in this sketch--and Hawthorne's perspective on them. But for that, more later!