Hester Under Scrutiny: Hawthorne’S Heroine V/S Joffe’S Cinematic Representation
Hester under Scrutiny: Hawthorne’s Heroine v/s Joffe’s Cinematic Representation
By Boukali Dimitra
A dissertation submitted to the Department of
American Literature and Culture, School of English,
Faculty of Philosophy of Aristotle University of
Thessaloniki, in partial fulfillment of the requirements for the degree of Master.
ARISTOTLE UNIVERSITY OF THESSALONIKI
DECEMBER 2009
Hester under Scrutiny: Hawthorne’s Heroine v/s Joffe’s Cinematic Representation
By Boukali Dimitra
Has been approved
APPROVED
Smaragda Yemenedzi-Malathouni
Savvas Patsalidis
Michalis Kokkonis
Supervisory Committee
ACCEPTED
Youli Theodosiadou
Department Chairperson
Contents
Acknowledgements………………………………………………...i
Abstract………………………………………………………...…….ii
Introduction………………………………………………...... 1 – 8
Puritanism…………………………………………...…………9 – 11
Hester Prynne:
The Symbol of Evilness …………..………………...... ….11 – 17
The “Poor Woman”…………………………………...…....17 – 20
The “Banished Woman”……………...…………….….....20 – 23
Inner and External Beauty………………...... 23 – 38
Feminine Instinct and Intelligence………………...... 38 – 42
The “Earthly Saint” - Motherhood…………………….42 – 53
Hester on Screen:
Introductory Comments……………………………….....53 – 56 The Symbol of Evilness………….………………………..56 – 64
The “Poor Woman”…………………………………..…….64 – 71
The “Banished Woman”……………….………………….71 – 76
Inner and External Beauty…………………………….76 – 88
Feminine Instinct and Intelligence…………………..88 – 91
The “Earthly Saint” - Motherhood………………...….91 – 96
Conclusion……………………………………………….…..98 – 104
Appendix: Pictures………………………………………105 – 115
Bibliography…...... 116 – 121
i
Acknowledgements
Firstly, I would like to thank all of my teachers that have made the postgraduate program of the Department of American Literature and Culture worthwhile, namely Professor Youli Theodosiadou, Professor Smatie Yemenetzi-
Malathouni, Professor Tatiani Rapatzikou, Professor Domna Pastourmatzi and
Professor Savas Patsalidis. I have learned so much from them, both at academic and personal level.
I would also like to thank Professor Michael Kokkonis and Professor Savas
Patsalidis for accepting to contribute to the evaluation of this project.
Moreover, I would specifically like to express my gratitude towards Professor
Smatie Yemenetzi-Malathouni, without whom this project would be unattainable. Her invaluable guidance, advice and feedback have been a true inspiration. I would also like to thank her for believing in me and my capacities throughout my postgraduate years, including the process of conducting this paper. I have learned to believe in myself, a fact to which her contribution has been enormous.
Finally, I would like to thank my family, including Dr Demetrios Xenides, and friends for their incessant encouragement and patience.
This paper is dedicated to my parents and my sister, who have always stood by me, supporting my decisions and efforts and reminding me that they are always by my side. A
ii
Abstract
This project is a comparison between Nathaniel Hawthorne’s novel The
Scarlet Letter and its film adaptation by Roland Joffe, focusing on the character of
Hester Prynne. One of its aims is to show how Hawthorne indirectly expresses, via his
heroine, Hester Prynne, his disapproval of the Puritan ways in 1600 Massachusetts,
Boston, although he actually lived in the Puritan society in question. This project will lay bare that the writer holds a positive attitude towards Prynne, who has committed adultery, and it will demonstrate his implied compassion and sympathy for her and the ordeals she is submitted to by the Puritan people, due to her sin. Another aim of this paper is to highlight the similarities and differences of Hester’s presentation between the film adaptation and the novel, delving into miscellaneous, but specific, aspects of the heroine in question; it will be shown that although the director of the film respects
Hawthorne’s narrative and viewpoint about Puritans and Hester, creating himself sympathy for her, as well, he adjusts the story to his own era, adapting it to the twentieth century mentality, adding rather daring scenes and presenting the heroine to correspond to the feminine role-model of the time.
Boukali 1
Introduction
In this paper I attempt a comparison between Nathaniel Hawthorne’s The
Scarlet Letter and its 1995 film adaptation by Roland Joffe, highlighting similarities and differences between particular issues. To be more specific, I will delve into the way the character of the protagonist, Hester Prynne, is represented in both works.
There might be some references to other characters as well, but only to serve the purpose of Prynne’s better presentation. The heroine will be approached from several different perspectives, as I will explore specific themes concerning her character.
After saying a few words about Puritanism, its laws and mentality, which are considered essential for a better understanding of the community the heroine lives in,
I will explore how Hester is inextricably connected with evilness by the Puritan society in Boston. Then, I will elaborate on the way the writer and the director present
Prynne’s ordeal, creating sympathy towards her, which comes in opposition to the
Puritan community’s cruel attitude. After that, I will describe how Prynne is represented to be secluded and isolated from the rest of the community and I will go on shedding light on the way her femininity and womanhood are portrayed.
Moreover, I will discuss how Hester’s intelligence and strong intuition are implied in both works. Finally, Prynne’s connection with religion, along with her maternal side, will be looked into.
What I will be arguing is that in both works, Prynne is presented to be inextricably connected with evil by the Puritan society she lives in, responding to patriarchal stereotypes that want women to be linked with wickedness, evilness and impiety. However, I argue that both the author and the director insist on emphasizing the benign nature of the heroine. Joffe seems to follow Hawthorne’s depiction, which comes in contrast to the views and attitude of the Puritan mentality, while both the
Boukali 2 director and the writer manage to awaken feelings of compassion and admiration towards the heroine. More specifically, I argue that Hawthorne holds a positive attitude towards his female protagonist, Hester Prynne, revealing, as hesitantly as he may, his sympathy for her that is opposed to the way the Puritan society treats her in the novel, implying his criticism against the Puritan mentality, as well. In fact, I detect the writer’s own admiration and sympathy towards the heroine, while he presents her to have male traits, alluding to a subversion of gender roles, as she is depicted to possess the strength, the courage, the boldness and the dynamism of a man.
Furthermore, I argue that Hester Prynne is presented to be much more dynamic, educated and strong woman in the film than in the novel, alluding to the later rise of women’s revolution and emancipation and to the effect the book may have had on
Joffe’s interpretation of the heroine. Additionally, I detect an intense subversion of gender roles in the film, which is not emphasized in the book, as the character of
Prynne is presented to have male characteristics in her behavior, a fact that makes her act like a man in the film, too. I maintain that the director of the film does what
Hawthorne did not dare do, because of the era he lived in, presenting a much more daring and liberated, unconventional version of the story.
During the nineteenth century, an outstanding flowering in literature took place both in England and in America. To be more specific, the year 1850 was the center of a span of six or seven years, standing out as one of the eminent ages in the history of the novel and fictional achievement in America (Brodhead 1). According to
Brodhead, this wonderful, and even fearful, welling up of creative energy signaled a revolution in America, whose most important figure was the so-called “obscurest man of letters” of the continent, namely Nathaniel Hawthorne (2).
Boukali 3
After having written short stories for several years, Hawthorne decided at least writing a novel around the period in question. He resolved in producing, as he, himself stated, a “large and serious work that should evolve some deep lesson, and should possess physical substance enough to stand alone” (Brodhead 2). This hopeful resolution of Hawthorne’s turned out not only to stand as “the bright dawn” of his creative life as a novelist, but it also inaugurated the two years of the greatest literary prosperity in America, which were initiated by the release of The Scarlet Letter in
1850 (Brodhead 3).
At this point, a few words ought to be said about a particularly important writer of the time, such as Nathaniel Hawthorne, given his enormous success and numerous achievements in the domain of American fiction that have made him one of the most significant representatives of American literature. From his early childhood,
Hawthorne displayed a distinctive playful and imaginative personality, which was characterized during his mature years by independence of mind, thought and action, and an unshakeable reliance on his own convictions (Turner 23). The writer’s distinctive quality of mind and his intellectual and artistic integrity, along with his demand for perfection are definitely notable. As Ellery Channing puts it, Hawthorne’s
“wide comprehension and awful insight” are indisputable (Turner 163). Hence, the author displays his “remarkable mind,” sharpness and “power of observation” in his outstanding and moving work (Mayo 263). His romance is of great “tragic interest and tragic power,” while it appears to be “deep in thought” and “condensed in style”
(Whipple 240). The writer interweaves miscellaneous themes, such as “the universality of sin,” the impact of concealed sin, the unavoidable consequences of all actions and choices, the origins and effects of seclusion, witchcraft and additional manifestations of evil (Turner 202). Hawthorne’s narrative boils down to being a story
Boukali 4 about “passion and authority,” as Nina Baym states (Colacurcio 319). However, the novel’s major subject matter is no other than “the relation of the sexes and the organization of society” during an era when Puritan patriarchy prevails (Mayo 269).
The combination of the abovementioned major themes, along with Hawthorne’s own genius that is evident in his brilliant story, which is narrated in the “most masterly manner” with a naturalness and continuous flow of expression, giving magic power in the narrative’s style, makes The Scarlet Letter truly delightful to read (Levine 278). In fact, I embrace Abbott’s view that one cannot willingly lay his novel down until one has finished it (248).
Nathaniel Hawthorne’s own conviction that he would never make a
“distinguished figure” in the world seems to have been proven wrong by his own brilliance (Turner 46). “Our honest author,” as Anne W. Abbott calls him, finished writing his controversial novel in February 1849 (Ryskamp 302). The Scarlet Letter was eventually published on March 16, 1850, making a huge success in sales, since its first edition sold more than two thousand copies in ten days, while its second one sold about three thousand copies (Turner 193).
The story of the novel is set in 1600’s Boston, Massachusetts, and more specifically in the years 1642-1649. It has been described as a “psychological romance” and “a tale of remorse” (Duyckinck 237). Bearing in mind that the novel is set in a period when the strict patriarchal and puritan mentality dominated, it is understandable why The Scarlet Letter is considered to be a “thrilling story,” since in nineteenth century when Hawthorne wrote it, Puritanism had already become a tradition (Levine 289). It is also worth noting that Hawthorne was in a particular state of mind when he was writing the book; to be more specific, his mother had died in
July 1849, a fact that cost him a lot (Turner 188). Furthermore, he had been dismissed
Boukali 5 from the surveyorship of customs at Salem in June 1849, after being disputed for his skills as an office-holder, another incident that had a tremendous impact on his psychological and financial state (Turner 188). Turner observes that “The Scarlet
Letter lacks sunshine,” due to the writer’s decapitation from the Custom-House (177).
Hawthorne himself stated that the novel in question would not have existed, unless his colleagues had “set [their] mischief – making faculties at work” (Turner 199-200).
Consequently, after his removal, Hawthorne was actually given the time and the opportunity to put on paper what he had in mind for a long time, that is his discontent about Puritan mentality. The concept of a woman sentenced to wear an emblem of guilt had been on his mind before 1837 (Turner 192). This woman eventually became the medium through which the writer expressed his frustration about Puritan laws and rigidity. After the two aforementioned events, he wrote immensely on a daily basis, a fact that almost frightened his wife, Sophia Peabody (Turner 189). After having spent a lot of time reading anything “he could lay his hands on,” the author made himself scrupulously acquainted with the ancient history of Salem and used the most plausible history of Boston accessible to him at the time (Ryskamp 291-2). He was profoundly influenced by his own “beheading” from the Custom-House, which resulted in the dominance of autobiographical information in his introduction entitled “The Custom-
House.” In fact, Turner claims that Hawthorne planned for an autobiographical introduction, with information about his experiences and his surroundings, which would serve as a background for his work (192). Fields had also encouraged
Hawthorne to write a single romance, rather than a collection of tales, with autobiographical information (Turner 193). The choice between a single romance and a collection of short stories was eventually left to Fields, under the condition that if
Boukali 6 the work was to be a single story, it would be entitled The Scarlet Letter, and it would be printed in red on the title page (Turner 193).
However, Hawthorne was also influenced by real incidents of the past he had read about, since he did not utterly invent the conditions and events of his characters’ dilemmas, as Newberry states (337). Although the writer usually sought for authentic details of colonial history, miscellaneous small changes turned out to be necessary in his presentation of the 1640’s New England, not due to lack of awareness of the facts, but for the sake of the smooth development of the plot and the production of the
“grand and simple balance” of the story (Ryskamp 291). Hence, in The Scarlet Letter
Hawthorne mingles the actual with the imaginary, as all of his characters are actual figures in history and have real names, apart from Hester Prynne, Arthur Dimmesdale,
Roger Chillingworth and little Pearl, who gain their life form throughout their realistic meetings with recognized people of colonial Boston (Ryskamp 298). It took him four years to finish the most famous and controversial novel of his career; four years that were “never spent for a better purpose,” since the “most powerful and imaginative work” of the era and the “most remarkable of Mr. Hawthorne’s works” was produced
(Mayo 267-8).
Nevertheless, it ought to be said that Hawthorne must have been influenced by an actual female figure, Anne Hutchinson, as well. Colacurcio uses an interesting phrase to describe Hawthorne’s work, stating that The Scarlet Letter is created out of
“Hutchinsonian materials” (318). The historical context the writer seems most urgently to suggest in his work is Hutchinson’s life (Colacurcio 319). It is true that
Hawthorne seems to have been inspired by this lady heretic to create the fictional character of Hester (Colacurcio 305). Anne Hutchinson was considered a woman not fit for Boston society and was banished by Governor John Winthrop in 1638 for
Boukali 7 unconventional and insulting preaching. She was an intelligent, dynamic and educated woman that held prayer meetings for women (Colacurcio 306). She was accused by
Puritan society of seductiveness of her doctrines, which were considered to entail sexual implications (Colacurcio 306). She also faced accusations of Sadducism, that is, she denied the existence of resurrection, while she was considered to be an emblem of theological disbelief (Weinauer 371). She was a strong woman that was not afraid to speak her mind and thoughts and was considered dangerous for the time, while her behavior was believed to be inappropriate for her sex by the Puritan community, just as Hester’s in the novel. Hutchinson challenged the theocratic and male-dominated society of her time and was granted the exemplary punishment of banishment, just as
Hester is singled out for a punishment that is supposed to set an example (Colacurcio
306). She had a special kind of relationship with a minister, who was one of the most acknowledged, intellectual and spiritual leaders of the society she lived in. However, there is no evidence that their relationship was more than a friendly one (Colacurcio
306). Although Hester’s and Hutchinson’s stories are not identical, since there is no adultery involved in Hutchinson’s life, nor an illegitimate childbirth, since her children were her husband’s, the two women appear to have a lot in common, a fact that will be pointed out throughout the paper where necessary (Colacurcio 305). In a few words, these two women stood symbolically against their Puritan community and the order Puritan people were keen on emphasizing, given that they denied their assigned position in it, showing enormous and admirable strength of character, dynamism and courage (Weinauer 376). Both Hutchinson and Prynne, the latter with her strong personality and her committed adultery, dared challenge Puritan patriarchy and, more specifically, the established conviction of women’s inferiority of mind.
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Nevertheless, I must refer to certain other facts that Hawthorne must have been influenced by, as well. In 1694, a law was enacted in Salem that demanded women that had been convicted of adultery to wear a capital “A” sewn on their garments (Newberry 331). Moreover, there are historical documents that reveal that there was a woman like Hester that had been accused of adultery (Newberry 332). The first case of adultery is documented in 1651, when Mary Batcheller was branded with a letter “A” on her bosom, while there was a child involved in this woman’s case and her partner in adultery was the minister George Rogers (Newberry 332). The fact is that in seventeenth-century New England, even Puritan ministers were involved in cases of adultery, while wayward women faced the menace of being physically and socially stigmatized by a “burning” “A” (Newberry 337). Hawthorne must have known about all these facts, bearing in mind that he had read the local histories of all the significant New England towns (Ryskamp 292).
The “extraordinary power” of Hawthorne’s romance is made clear by the fact that the novel has been adapted since its publication several times on film, on television and on stage, a fact that constitutes evidence for the enormous popularity of the book among the reading audience throughout the years (Levine 184). The most recent adaptation, which was released by Allied Stars in 1995, will be discussed in this paper, in an attempt to compare it to Hawthorne’s work. The director of the movie, Roland Joffe, presents a film version of the novel, choosing well-known and talented protagonists: Demi Moore incarnates Hester Prynne, while Gary Oldman,
Robert Duvall and Joan Plowright incarnate Arthur Dimmesdale, Roger Chillingworth and Harriett Hibbins co respectively. Joffe’s obvious inspiration is Hawthorne’s fictional heroine. Nevertheless, as it will be shown in this paper, the film is inundated by postmodern ideas and traits, alluding to the twentieth century it was released in.
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Puritanism
The fact that Nathaniel Hawthorne’s female protagonist has attracted my attention to a great extent explains why Hester Prynne is the focus of this paper.
Hawthorne manages to make her the focal point of interest, representing her to be a remarkable and extremely rare personality of the Puritan times. Having committed adultery, she has to face the resentment of the Puritan community she lives in.
However, before I delve into the way Hawthorne presents Hester, a few words about the Puritan laws and way of thinking seem to be necessary for better comprehension of the context of the story.
As Porterfield notes, Puritanism flourished as a “social reform movement” in
England after 1558, with the accession of Elizabeth (18). Puritans gave emphasis to self-control, self-regulation and self-constraint in all domains of life (Porterfield 17).
They were devoted to law and religion, while they were addicted to a formalized behavior (Brodhead 49). The interdependence between society and religion was indisputable and moral behavior constituted great sign of grace (Porterfield 33).
Aggressiveness and violence were paradoxically key elements for the soul’s salvation, representing the Saints’ struggle against Satan (Porterfield 17).
Moreover, the people’s soul was a matter of public concern, while adultery was considered to be a crime against the state (Ziff 127). What is more, there seemed to be an unwritten law according to which the husbands that killed their wives’ lovers in the act of adultery, were acquitted, since they were considered to be “involuntary angels of Good,” while the lovers of their wives were perceived as Satan’s children and “noxious reptiles” (Thomas 189). Marriage was considered to be the basic unit of social order and stability, while it was a precondition for the proper context of family
Boukali 10 life (Porterfield 21). However, the two spouses were not considered to be equal, as
Puritans maintained a particular mentality concerning women. Submissiveness and wifely devotion were basic traits of female piety, which stood for the control of anger, lust and greed that permitted the establishment of a graceful society (Porterfield 13).
Not only should wives be dependent on and subject to their husbands’ desires, but they should actually find pleasure in their obedience, too (Porterfield 20).
Authoritative husbands, the so-called “rulers,” and obedient wives were supposed to love each other, while maintaining their “hierarchical” relationship (Porterfield 20).
John Winthrop himself, the Governor of Massachusetts Bay, where the novel is set, stated in his General Court in 1645: “he is her lord, and she is to be subject to him, yet in a way of liberty, not of bondage” (Porterfield 34). Conclusively, the hierarchical relationship between husband and wife should also be affectionate and faithful
(Porterfield 28). Furthermore, Puritans accepted and, in fact, celebrated sexual intercourse, but “only in marriage” and sexual satisfaction was defined in terms of “an encounter between male authority and female submission” (Porterfield 14). Generally speaking, men dominated in every domain of life, whereas women lived under social constraints, being considered as inferior, while their devotion, dedication and fidelity to men were considered unquestionable (Porterfield 80).
As for the punishments for people who strayed, Hawthorne himself points out that in those days, not only was “[t]he discipline of the family” extremely rigid, but there was also “the frown, the harsh rebuke, the frequent application of the rod, enjoined by Scriptural authority” (SL 62). These penalties had a didactic nature as well, since they served as daily examples useful for the promotion and development of childish virtues (SL 62). The “early severity of the Puritan character,” according to
Hawthorne, also included the punishment on the whipping-post, not to mention death
Boukali 11 on the gallows. Everything was taken very seriously and the punishment by death was not rare (SL 38). People were also ridiculed, scourged or even taken with stripes into the forest, depending on their offence (SL 37). The spectators, on the other hand, dealt with each situation with the same solemnity. All in all, it was a community in which religion and law were almost identical, a fact that explains all the rigidity and strictness in question (SL 37). Even their countenances betray the “grim rigidity that petrified the […] physiognomies” of these, otherwise, “good” people (SL 37).
Hester Prynne
The Symbol of Evilness
Bearing in mind the above-described situation, it is understandable why
Hawthorne presents Hester, an adulteress that raises the offspring of her sin, facing the hostility and rejection of the Puritan community she lives in. To begin with, she has to deal with the punishment of being branded with a scarlet “A” on her bosom standing for “Adultery” and the one of public exposure on the scaffold in the marketplace of Boston (Brodhead 43). To be more specific, her sentence entails not only always wearing the “token of her shame,” as Hawthorne calls the scarlet letter, but also her daily public exposure as well, since she has to stand for a specific time upon the platform but “without undergoing that gripe about the neck and confinement of the head” (SL 42). In fact, according to a townsman, the Massachusetts
“magistracy” have actually shown “great mercy” and “tenderness of heart” towards the female protagonist, reflecting upon the fact that she is young and fair, and has probably been “tempted to her fall” (SL 46). Hence, they have not punished her with the extreme penalty of death; instead, they have condemned her to stand for three hours on the platform of the pillory and to wear a badge of disgrace upon her bosom
Boukali 12 for the rest of her life; a “wise sentence,” as Roger Chillingworth argues, since in this way, she will be “a living sermon against her sin, until the ignominious letter be engraved upon her tomb-stone” (SL 46).
Hester remains throughout the novel the “object of severe and universal observation” (SL 44). She has to endure thousands of merciless and insistent eyes, which are fixed firmly upon her and concentrated on her chest (SL 42-3). Hawthorne makes it clear that, for the Puritans, Prynne has “raised a great scandal” and she is inextricably connected with evil, due to her “evil doings,” as a man of the crowd informs Roger Chillingworth, when Prynne stands upon the scaffold (SL 45). The way
Prynne is treated by the Puritan community verifies Levin’s view that human beings are often framed by the severities of an “inhuman system of values,” such as the one
Hawthorne describes in his novel (15). The writer depicts Hester to represent for the townspeople “iniquity,” which is “punished in the sight of rulers and people” (SL 45).
John Wilson himself, the eldest clergyman in Boston, talks about “the vileness and blackness of [her] sin” and about her dreadful fall when he speaks to her (SL 48). The author has Hester constantly refusing to reveal her child’s father and her partner in her sin, a fact that renders her crime even more severe according to the Puritan mentality, leading John Wilson to point out her “hardness and obstinacy” (SL 48). It is worth noting that when Prynne is in a condition of intense nervousness when she returns to prison after having discerned her husband in the crowd, her state is considered to be in demand of “constant watchfulness,” for fear of perpetrating violence upon herself or upon her child (SL 50). In this scene of the novel, Hawthorne explicitly shows that the
Puritans connect Hester directly with evil, never considering that all this torture has greatly affected her state of mind and her psychological condition, presenting Master
Brackett, the jailer, who symbolizes the common, hostile attitude towards the heroine,
Boukali 13 to point out that she has been “like a possessed one; and there lacks little, that [he] should take in hand to drive Satan out of her with stripes” (SL 50-1).
What is more, Hester is directly connected with superstitions and legends of the time, alluding to evilness. For instance, in the scene in the forest, her daughter, little Pearl, after having heard the comments of the bystanders and witnessed her mother’s embarrassment, asks her if she has ever met “the Black Man,” who represents evilness (SL 120). Hester recognizes “a common superstition of the period” according to which the “Black Man” is the Satan, and answers that she has met him once in her life and that the “scarlet letter is his mark” (SL 120). As Scott Harshbarger observes, given the Puritans’ extremely strict and inflexible attitude towards adulteresses, Prynne is, apparently, drawn into a connection with “the Black Man,” who, for her, stands for her own violation of the rigid Puritan rules, that is her adultery, which has led her to this ordeal (Weinauer 381). In addition, the emblem of her “guilty passion” grows into a living legend, according to which the scarlet letter is
“red-hot with infernal fire,” glowing alight whenever Hester Prynne walks in town during night-time (SL 61). There is no doubt that for the Puritan community in
Boston, Hester becomes a “symbol at which the preacher and moralist might point,” vivifying and embodying “their images of woman’s frailty and sinful passion” (SL
55). She is the “figure, the body, the reality of sin” in the townspeople’s eyes (SL 55).
Therefore, she is watched over inquisitorially (SL 58). Consequently, according to
Puritan mentality, her child must be taken away from her. In fact, Governor
Bellingham compares Hester to the Whore of Babylon, while he insists on reminding her that she has “stumbled and fallen, amid the pitfalls of this world” (SL 74).
Moreover, he keeps on repeating the “stain which [her] letter indicates,” announcing:
“[w]oman, it is thy badge of shame!” (SL 75). Hence, he resolves in taking little Pearl
Boukali 14 away from her, for the child’s “temporal and eternal welfare,” so that the girl can be strictly disciplined and instructed properly “in the truths of heaven and earth” (SL 75).
Hawthorne himself points out that “these good people,” that is the Puritans, “not unreasonably” decide to transfer little Pearl “to wiser and better guardianship” than that of Hester’s (SL 68). Although the writer does not approve of Puritan ways, he seems to understand them and realize exactly how Puritan people think, which is sufficient for a man of his brilliance to write about them (Van Doren 137). Besides,
Hawthorne himself had stated that although he did not believe in Puritanism, he respected its doctrines (Miller ix).
But the Puritans’ resentment against Prynne does not end here. Hawthorne is totally convincing when he argues that, indeed, this “was not an age of delicacy” (SL
59). To be more specific, Hester is constantly made a spectacle in the town.
Swisshelm observes that whenever Prynne and her daughter appear in town, they are greeted by all the Puritans with contempt or appellations of disgrace (272). Hester is treated as a moral leper and she is always either scorned or avoided (Swisshelm 273).
For instance, whenever she is met by clergymen in the street, she faces “words of exhortation,” attracting the crowd’s attention upon her, as if her public display and her shameful brand was not enough (SL 59). Moreover, when she goes to church she often finds herself being the subject of the religious discourse (SL 59). Furthermore, as the writer informs us, Prynne grows to have a dread of children. Having been imbibed from their parents that there was something horrific in “this dreary woman,” they keep their distance from her, while pursuing her with “shrill cries,” babbling unconsciously a word that is terrible for her, insulting her morality (SL 59). Moreover, among the spectators comprised of “stern browed men and unkindly visaged women” when
Hester is commanded to go along and show her scarlet letter in the market place, there
Boukali 15 is also a “crowd of eager and curious school-boys,” with, of course, limited comprehension of the situation (SL 41). However, they do not hesitate to run “before her progress,” constantly turning their faces “to stare into her face,” at her child and at the scarlet letter on her bosom (SL 41). The Puritans’ children even give up their play whenever Hester passes by with Pearl, saying “[b]ehold, verily, there is the woman of the scarlet letter” and, the next moment, Hester and her child are once again humiliated, as the children resolve in flinging mud at them (SL 69).
Of great significance is the rest of the women’s attitude towards Hester.
Hawthorne presents the female Puritans of the town being extremely hostile and cruel towards Prynne. It is true that Hawthorne presents them to “reject sisterhood” with the heroine, as they make it clear with their harsh comments that she has nothing in common with them (Yellin 644). As the writer informs us, the townswomen had a
“peculiar interest in whatever penal infliction might be expected to ensue” (SL 38).
The women of the period were particularly rigid and pitiless, while their attitude appears to be equally stern towards our heroine, a fact that comes as no surprise though, given that they represent the exceptionally strict attitude of the Puritans.
These women obviously correspond to the severity of the Puritan mentality, according to which religion and law are practically identical (Brodhead 44). The values of
Puritan society, through which it defines itself, are brought to light via the female participants in this scene (Brodhead 44). Hence, one of them does not hesitate to state that it is them, the women and goodwives of mature age and good repute, that should have to handle “such malefactresses as this Hester Prynne” (SL 38). Another one, calling her “naughty baggage,” believes that they should have put “the brand of a hot iron on [her] forehead,” since Prynne does not care at all about what they put on her gown, pointing out the “heathenish adornment” of the scarlet letter (SL 39). Their
Boukali 16 cruelty and judgmental attitude towards Prynne goes on, as another one remarks ironically: “Let her cover the mark as she will, the pang of it will be always in her heart” (SL 39). Another goes further, saying that Hester has brought shame upon all of them and should die, since there is such a law in the Scripture and the statute book (SL
39). Their condemnatory approach of Hester continues, as one of them comments upon the adornment of her scarlet letter, emphasizing that it is nothing but a way to ridicule the magistrates and their attempt to punish her; to this remark, another woman answers that they should strip Hester’s gown off “her dainty shoulders” and replace the “curiously” stitched scarlet letter with a rag of “rheumatic flannel, to make a fitter one” (SL 41).
What is more, the strangers that come to town have a fixed gaze of curiosity on her bosom, an act that leads her to cover her scarlet letter with her hand, a fact that betrays her pain and possibly the shame all this ordeal causes her to feel (SL 59). The attitude of strangers is made clear during the Election Sermon, as well. The people that come from around the country, being aware of the story of the scarlet letter,
“embellished” by exaggerating rumors that make Hester horrific, stare at the woman with “rude and boorish intrusiveness” (SL 156). The sailors gathered in town “thrust their sun burnt and desperado looking faces” upon her, while the Indians “[fasten] their snake-like black eyes on Hester’s bosom” (SL 156). As for the inhabitants of the town, they are the worst of all, fixing their “well-acquainted gaze at her familiar shame” (SL 156). Even when Hester goes to persuade Governor Bellingham not to take her little girl away from her, his servant, being a newcomer in the town, stares
“with wide-open eyes” at her mark of shame (SL 70). Her shame and her sin are so diffused, that the writer, via a personification, has the whole nature “talking” about it;
Boukali 17 even the leaves of the trees “whisper the dark story among themselves,” the breeze murmurs it, while the wind shrieks it aloud (SL 59).
It is plain to see that for the Puritans that believed in the doctrine of predestination, the heroine, in committing adultery, simply gave evidence that she had always been one of the damned; hence, she is treated as if she had abandoned God for
Satan (Winters 14). The Puritans evidently lacked power to sympathize, given the harshness and inflexibility they treat Hester with (Thomas 189). For them, Prynne is viewed as another Eve that has fallen deep into sin, a fact that makes society turn against her, giving her no excuse (Yellin 642). The writer reminds the readers of the story of Eve, who, according to Puritanism, being the original sinner, is a proof of female infirmity (Thickstun 31).
The “Poor Woman”
Although Hawthorne describes in detail the way Hester is perceived as evil by the Puritan society she lives in, in an attempt to reveal how harsh and cruel Puritan people are, I argue that he maintains a different point of view from the Puritans as far as the heroine is concerned. The writer obviously sympathizes with his female protagonist, implying his negative feelings for the Puritan society, while he manages to create feelings of sympathy for Hester and of condemnation for the Puritan people.
As hesitant and reluctant as he might be, due to the dominant mentality of his time, he cannot, and does not, hide his admiration and sympathy for Prynne. This point will be explained and justified in the next pages.
To begin with, Puritan people show no human sympathy towards Hester’s sin, a fact that can be justified by the fact that adultery is considered immoral and unacceptable even today. Hence, it is understandable why infidelity could only be
Boukali 18 condemned by the people of the time. However, the writer’s sympathy towards his heroine is evident by the fact that the narrator seems to utterly understand Hester’s emotional and psychological state. For instance, he describes all this experience as an
“ordeal” for her, presenting her to be in “agony” when people stare at her, “as if her heart had been flung into the street for them all to spurn and trample upon” (SL 41).
He describes Prynne standing upon the scaffold, calling it “miserable eminence,” while the way he portrays her as a “miserable” spectacle can only reveal his compassion, observing the “hot, midday sun burning down upon her face, and lighting up its shame” (SL 43). Hawthorne depicts Hester’s suffering, illustrating every single detail of her ordeal, such as the “scarlet token of infamy on her breast,” which is a constant reminder of her sin, the “sin-born infant in her arms,” the crowd that is
“drawn forth as to a festival staring at the features that should have been seen only in the quiet gleam of the fireside,” making clear that she should have been somewhere else and happy, in a happy home (SL 60). Moreover, Hawthorne describes his female protagonist as an “unhappy woman,” going through a “real torture” with a “sick and morbid heart” (SL 47). He presents the heroine having become a spectacle of disgrace, at which, as he puts it, “all mankind was summoned to point its finger” (SL 55). The writer goes on expressing his sympathy naming what she is going through a “daily torture” and a “burden” she has to take up and “bear along with her” forever (SL 60).
The time that would pass, would only add more “misery upon the heap of shame” she is condemned to (SL 55). Calling her a “sufferer,” the author personifies her bosom with the mark on, presenting it to be “defenseless,” too (SL 59). In fact, Hester is stated to be a “sad woman,” a fact that may imply that in the rigid Puritan society in question, there might be some people who actually feel for her (SL 74). Her sadness is more than evident, since even Governor Bellingham calls her “unhappy woman” (SL
Boukali 19
74). What is more, Hawthorne has Reverend Wilson and Arthur Dimmesdale calling
Hester a “poor woman,” a fact which makes the notion of her as a victim even more intense (SL 90). It is possible that Hawthorne implies that the rigid Puritan people realize that they might have been too harsh with the heroine, but there is nothing they can do now to mitigate her suffering pain.
I am in accord with Leverenz that Hawthorne was fully aware that his readers would sympathize with Hester as much as he obviously does, only if she was presented to suffer for her sin (480). Depicting her going through all these ordeals and sufferings makes her “satisfactorily miserable” (Leverenz 480). Hence, the reader, who might have had a negative view of Hester because of the adultery she has committed, certainly attains a different point of view when the heroine is presented as a martyr. Thus, Hawthorne intelligently manages to reach his goal, which is no other than to create the circumstances which make his readers feel compassion for Hester.
However, it is an obvious fact that Hawthorne could understand exactly a woman’s feelings. Throughout this psychological analysis of Hester’s character, the writer verifies Margaret Fuller’s viewpoint that he was a man with delicate tenderness that allowed him to comprehend the heart of a woman (Wagenknecht 18). Hence, although
Hawthorne does not fail to see that Hester has sinned, he indirectly disapproves of the
Puritan people’s pitiless and ruthless attitude towards Hester, given that they act as if
Prynne is the only sinner in this town and they are utterly untainted. This may be the case not only because he might believe that her punishment does not actually serve any useful purpose, but also because he appears to be perfectly capable of understanding a woman’s psyche and feelings (Wagenknecht 143). As Matthiessen notes, Hawthorne seemed to have a unique power to sympathize with people, as it is the case with his heroine as well (190).
Boukali 20
There is another reason why Hawthorne sympathizes with Hester so much, while he seems to be opposed to this ordeal she is going through. The writer maintained the view that human beings are not perfect, as they have tendencies towards evil, while he believed people are nothing but victims of forces that cannot be controlled (Turner 307). He was aware of the existence of evil in the world
(Wagenknecht 192). The writer assumed that in fallen world, sin is unavoidable
(Wagenknecht 195). In fact, he believed that sin is part of people’s lives, as he supported that even when someone merely thought of it, he was stained by it
(Wagenknecht 193). Hence, this is why he shows compassion for Hester, as he feels that all the people, including those who condemn her, are “wronged and wrongers”
(Turner 107).
The “Banished Woman”
It is worth noting that Hawthorne emphasizes his heroine’s seclusion and loneliness, as a consequence of the rejection she faces due to the adultery she has committed. By constantly repeating her isolation, the writer intensifies the readers’ sympathy towards Hester and emphasizes his own compassion. Hester is presented to be banished from the community she lives in because of her sin, while the constant reiteration of her seclusion renders isolation an issue that seems to be of paramount significance in the novel.
Hence, Prynne is presented as a “lonely woman” with no friend on earth, at least none that would dare openly admit friendship with her (SL 57). The author overtly states that she is “banished” and lives “as much alone as if she inhabited another sphere, or communicated with the common nature by other organs and senses than the rest of human kind” (SL 58). She feels that she does not belong to the society
Boukali 21 she lives in, while she remains remote from the Puritan community, living “like a ghost” that cannot be seen or felt (SL 58-9). Along with Pearl, they are banished from
“human society,” living in a “solitary cottage” (SL 68). Hester appears to be an
“outcast woman,” while her footsteps are “lonely” (SL 104). Even whenever she is in the market with other people, there is always a “small vacant area” wherever she stands, formed by the rest of the people who always keep a distance from her, reminding her that she is a sinner that, in their point of view, deserves to be alone (SL
60). As Hawthorne points out, she is thus enforced to a “moral solitude,” enveloped by her scarlet letter (SL 149). It is also worth mentioning that the writer represents her to remain all alone for the rest of her life in Boston, since, apart from experiencing the crowd’s rejection, the father of her child passes away and little Pearl leaves the town when she grows up. Hence, she is presented to live a lonely life, remaining an outcast until she passes away.
It is possible that Hawthorne reflects his own seclusion via the character of
Hester, giving another autobiographical characteristic. Hester’s isolation reminds the readers of Hawthorne, who has been described as the “most solitary man of American writers” (Wagenknecht 75). It is true that the writer had a tendency towards solitude
(Turner 42). His college-mates from Bowdoin college, where he graduated from in
1825, spoke of him as a “quiet, thoughtful, and […] mysterious” young man, living
“in a mysterious world of thought and imagination” (Turner 42). Although the writer is portrayed as a genial and friendly personality that always participated in social gatherings, he was an enigmatic, contradictory character, with a “skeptical outlook” and with an intense inclination towards solitude and seclusion (Turner v). The writer is described as a silent and diffident personality (James 42). In fact, he seemed to retain this solitary attitude when he was at his own residence as well, given that when
Boukali 22 he returned home, he spoke no word to any human being (Turner 155). Moreover, according to Hayes, the author’s childhood was solitary and lonely, too, a fact that led him to reading books for consolation (xi). Turner attributes Hawthorne’s remoteness to an accident he had at the age of nine, which resulted in extensive lameness (18).
Hence, the writer turned towards reading and his tendency for seclusion and introspection was encouraged (Turner 18). Hawthorne, himself, believed that his natural tendency towards isolation was coming from his father, a “reserved man,” who was keen on reading and “subject to melancholy” (Turner 10). Additionally,
James informs us that there was a tendency in the writer’s household for the numerous members of the family to spend time by themselves (51). Hawthorne stated that they did not actually live in their house, while they seldom walked in the town, and that was only during night-time (James 51). Moreover, the members of his family used to eat alone in their rooms, while they rarely communicated with each other
(Wagenknecht 77). According to Parkes, the author remained always aloof and detached from the world that surrounded him (Leavis 25). Hawthorne himself admitted that he “shut himself” in a heavy seclusion, especially after college, while he felt that everybody else moved on and he was left behind (James 42). The writer had confided in Longfellow that he had made himself a “captive” and had thrown himself in a prison, whose key could not find to get out, but, even if the door opened, he would be too afraid to come out to the world (Wagenknecht 76). The sense of isolation led him to regard seclusion as a sin, while he was so obsessed with it, that he made it the topic of numerous of his stories (Leavis 25-6). Kaul verifies this, stating that among the modern spiritual problems Hawthorne dealt with, isolation and alienation were the main ones (2). Making it clear that in Hester’s case isolation does
Boukali 23 not result into anything evil, the writer keeps Prynne in this novel remains all alone throughout the whole book, while her seclusion is repeatedly emphasized (Lewis 73).
Inner and External Beauty
Hawthorne constantly emphasizes Hester’s femininity throughout the novel, as if he wanted to remind the readers that the person he talks about is, above all, a woman. In this part of the paper, it will be shown that the writer appears to respect and admire womanhood. The notion that women were connected with wickedness and evilness seems to be subverted by Hawthorne, as he presents his female protagonist to be both an admirable and beautiful personality, emphasizing her physical perfection, as well.
To start with, the writer admires his own heroine’s appearance, describing
Hester as a particularly beautiful woman. He presents her to be young, tall, “with a figure of perfect elegance” (SL 40). Her hair is described with poetic language, being dark and abundant, “so glossy that it thr[ows] all the sunshine with a gleam” and her face is “beautiful from regularity” with “richness of complexion,” while her “marked brow” and “deep black eyes” seem to be responsible for her impressiveness (SL 40).
The author also points out that this “beautiful woman” looks very “picturesque in her attire and mien” (SL 42). Hawthorne also presents her to be “lady-like,” with a certain dignity (SL 42). The writer even has a townsman admit that this woman is “youthful and fair” (SL 46). It is plain to see that the author highlights Hester’s femininity, betraying his own admiration and fondness for the female sex. In fact, Hawthorne gives the impression that, via Hester, he actually describes the ideal woman according to his own perspective. It seems that Hawthorne disagrees with Melville, as the latter believed that the innocent woman, even when she falls into a sin, is supposed to be
Boukali 24 presented with blonde hair and fair colors, namely the “fair lady,” who was considered to be flawlessly beautiful (Fiedler 401). The writer appears to depict
Hester in darker colors, which alludes to the “dark lady” of the American novel of the time (Fiedler 401). Hence, even though Hawthorne depicts Hester to be a faultlessly beautiful woman, the heroine is presented in colors and a kind of beauty that are different from the literary tendency of the period. Through Hester’s depiction,
Hawthorne verifies that he was not aligned with the established views and tendencies.
Besides, it appears that the writer was somehow “destined to go against the stream,” given his unusual way of living and his unusual themes and way of writing, a fact that is proved by the story of The Scarlet Letter, as it is explained in the introductory part of this paper (Matthiessen 197).
The writer presents Prynne’s beauty in such a detailed manner, giving the impression that he is in awe of female exquisiteness. It seems that for him, external appearance reflects the soul of a woman, portraying Hester’s bewitching prettiness. It is possible that for Hawthorne, Hester’s external excellence reflects her inner beauty and her rare personality. Hence, the readers cannot help noticing that strong that the heroine’s beauty, both in the inside and the outside, is juxtaposed with the terrible ugliness of her ordeal.
However, later in the novel, Hawthorne presents the heroine losing her femininity, as a result of her sufferings. Being tormented and exhausted by her tortures, she does not care at all anymore about her femininity. All the pain she goes through has an impact on her appearance as well, as her endless sorrow inundates her entire being. It is as if the pain is so much that it overflows from her person in every way. The writer states: “nothing in Hester’s form, though majestic and statue-like, that
Passion would ever dream of clasping in its embrace; nothing in Hester’s bosom to
Boukali 25 make it again a pillow of affection” (SL 107). Her femininity is gone, as “[s]ome attribute had departed from her, the permanence of which had been essential to keep her a woman” (SL 107). Her attractiveness disappears, undergoing a “sad transformation,” while her “rich and luxuriant hair” is not visible anymore, either being cut off or hidden by a cap, “that not a shining lock of it ever once gushed into the sunshine” (SL 107). There is nothing left in her face “for Love to dwell upon” (SL
107). Having been through such a “peculiar severity,” as Hawthorne puts it, this
“stern development” comes as a natural fate (SL 107). According to the author, given that Prynne encounters and experiences such an ordeal, this change is understandable.
It is evident that Hawthorne here underscores the effect of her awful experience, emphasizing its horridness by having it washing away such an absolute beauty.
Nevertheless, the writer gives a hint of hope that she will regain her lost femininity, by stating that “[s]he who had once been woman, and ceased to be so, might at any moment become a woman again, if there were only the magic touch to effect the transfiguration” (SL 107). Hawthorne surely puts the readers in great agony, saying that “we shall see whether Hester Prynne were ever afterwards so touched, and so transfigured,” implying that there will follow a scene in the novel where this will take place (SL 107). Indeed, when Hester meets Arthur in the forest, the author has this
“magic touch” coming from the man she loves. Her transformation begins by throwing away the scarlet letter; Hester unfastens the clasp of the scarlet letter, and, taking it off from her bosom, throws it to “a distance among the withered leaves” (SL
130). Her “stigma” now is gone, and her relief shows that she feels as if her agony and shame are gone with it (SL 130). Next, she takes off her cap “that confine[s] her hair”
(SL 130). As the writer describes in detail, “down it fell upon her shoulders, dark and rich, with at once a shadow and a light in its abundance, and imparting the charm of
Boukali 26 softness in her features” (SL 130). Her beauty and femininity are back. Her hair plays around her mouth and a “radiant and tender smile” beams out of her eyes, which seems “gushing from the very heart of womanhood” (SL 130). Hawthorne continues his description of Hester’s revived womanhood, shedding light on her cheek, which, after being pale for so long, obtains a glowing “crimson flush,” while he explicitly states: “Her sex, her youth, and the whole richness of her beauty, came back from what men call the irrevocable past,” emphasizing the heroine’s beauty once again (SL
130). However, Hester’s femininity is gone when she puts the scarlet letter back on her bosom. Hawthorne evidently implies that this badge of shame, and, by extension, the Puritan community that has condemned her to wear it, are responsible for the loss of her beauty, devastating not only her psychological state, but also her physical appearance. To be more specific, the author writes that when she puts on the “scarlet misery” again, it is as if there is “a withering spell in the sad letter, her beauty, her warmth, her richness of her womanhood, [depart], like fading sunshine; and a grey shadow seem[s] to fall across her” (SL 135). The fact that Hester has lost her femininity is emphasized during the Election Sermon, as well. Hester now has a
“frozen calmness of a dead woman’s features” (SL 144). Thus, the author demonstrates that the only instance she becomes a woman again is when she meets the love of her life. Evidently, Hawthorne implies that true and profound love restores the heroine’s lost womanhood, giving her so much happiness that it overflows her entire being, making her beauty shine even brighter (Yellin 652).
But Hawthorne brings to light another aspect of the time concerning women as well, via Hester. Women were traditionally considered to be destined for the household, while needlework was one of their main preoccupations, while they were considered to be very good at it. Hence, Hester is presented to be quite good at
Boukali 27 needlecraft, with a “rare capacity,” while her female vanity may be said to be depicted by the embroidered scarlet letter on her dress (SL 58). Nevertheless, it is likely that
Hawthorne presents this embellishment of her stigma to imply that Hester does everything she can to lighten her burden. Apparently, her art is a means of expression for her and a way of soothing her repressed passion (Brodhead 62). Additionally,
Hester is represented to be creating a scarlet letter that is totally different from the one she was condemned to wear by the Puritans (Brodhead 64). During Hester’s first appearance in the novel, Hawthorne mentions the red cloth on her gown, which is
“surrounded with elaborate embroidery and fantastic flourishes of gold thread” (SL
40). The reader is assured that Hester is good at needlework, as all women are in this sector, as the writer reiterates how the scarlet letter is “fantastically embroidered and illuminated upon her bosom” (SL 41). The letter is so “artistically done” and has such a “gorgeous luxuriance of fancy,” that it looks like a suitable decoration to her outfit
(SL 40). What is more, the writer describes the embellished letter to glimmer with an
“unearthly ray” (SL 105). Hence, Hawthorne presents the heroine to accept her punishment, but on her very own terms. She turns the scarlet letter into a personalized symbol and a product of her own imagination, via which she creatively expresses herself, giving it a new meaning in terms of her own awareness of her sin. Clearly, the embellished letter also represents her conflict with the community she lives in
(Brodhead 45). It is Hester’s statement that, although she realizes that she has sinned in the eyes of the Puritan community she lives in, and therefore she accepts her punishment, she actually believes that her sin was beautiful, a fact that is implied by the embellished letter. To be more specific, Prynne realizes she has committed adultery, which the letter is a constant reminder of. However, she embroiders the symbol of her crime, as if she wants to state that her sin was not merely a common
Boukali 28 adultery, just like the letter affirms, but a profound and true relationship that has awaken beautiful feelings to her, just like the beautiful embroidery implies. Hence, although the Puritans view Hester’s sin as dreadful, just like their stigmatizing letter demonstrates, Prynne knows that what she lived was profound and beautiful, just as her own adorned letter cries out.
Furthermore, Hawthorne informs the reader about the activities women were supposed to be preoccupied with, which mostly include needlework and gardening, via the scene where children secretly enter Prynne’s cottage, looking at her “plying her needle” or “laboring in her little garden” (SL 57). Besides, the writer states explicitly that “the art […] of needlework” was “almost the only one within a woman’s grasp” (SL 57). In fact, Hester has such a “delicate and imaginative skill” at it, that all the ladies of the court want to benefit from it and add their simple Puritan gowns a “richer and more spiritual adornment of human ingenuity to their fabrics of silk and gold” (SL 57). Her handiwork becomes the fashion, as men and women go to her to embroider their attires (SL 57). Even the Governor, military men and the minister wear her needle-work on their embroidered clothing and accessories (SL 68).
Hawthorne possibly presents the Puritans that condemn Hester in the worst way to benefit from the heroine’s needlecraft in order to depict that they are nothing but hypocrites. Perhaps the author implies that, on the one hand, they criticize and censure
Prynne, but, on the other hand, they try to benefit from her skills.
Hester is presented to embellish her own daughter’s clothes too, making them
“fanciful,” while she makes “coarse garments for the poor,” as well (SL 58). The writer attributes his heroine’s preoccupation with needlecraft to the fact that the
“[w]omen derive a pleasure, incomprehensible to the other sex, from the delicate toil of the needle” (SL 58). In addition, the author has Roger Chillingworth remark that
Boukali 29
“[a] woman must needs follow her own fancy, touching the adornment of her person.”
(SL 110).
However, the reason why Hawthorne insists on emphasizing needlework as
Hester’s, and all women’s in general, main preoccupation, is probably because the writer himself believed that needlecraft should be their only preoccupation, as he disliked career-women (Wagenkencht 149). To be more specific, in 1855, Hawthorne expressed his views about women writers, whom he called “the damn mob of scribbling women” (Wagenkencht 150). The writer believed that women writers were frail and tiresome, while he considered their writings to be nothing but trash
(Wagenkencht 150). In fact, Hawthorne wished that women would be forbidden to write, on the grounds that he did not consider them qualified to write first-rate books
(Wagenkencht 150). Nevertheless, this stance comes in total opposition to the fact that the writer admires women, not only for their beauty, but particularly for their intellect, strength and nature. It is very likely that the real reason why he resented women writers is because he felt threatened. What strikes as an oxymoron is that although
Hawthorne thought of women’s writings to be “trash,” he worried that he would not have any chance for success (Wagenkencht 150). In Hawthorne’s insistence on the art of needlecraft, Weinauer notes that he talks about Hester’s needlework, about a literary battle between men and women, in which men would be the losers (384).
Besides, Hawthorne himself stated that women are too good for literature, given that their writing would have enormous effect (Wagenkencht 151). Not to mention that the author feared that women’s entry in authorship would immediately clear their way towards other “inappropriate fields” (Wagenkencht 150). Let us bear in mind that
Hawthorne believed that the appropriate place for women was the household. This stance of his may have derived from his enormous admiration for women and his
Boukali 30 realization of their tremendous capacities, which made him feel threatened.
Apparently, he feared that the other sex would not only inundate and intrude the fields that were linked with masculinity, such as writing, but mostly that they would be even better than himself and the rest of the men.
Of vital significance is the fact that Hawthorne seems to recognize an exceptional strength of character in women. It is evident that for the writer, a woman’s inner beauty is of paramount significance as well. Hawthorne seems to imply that strength of character and courage are among the traits that make a woman beautiful on the inside, as well.
On the one hand, the writer implies that women are harsh and unforgiving by having Hester being unable at first to forgive Dimmesdale for “sinking” her dream of fleeing with him and for withdrawing himself so completely from their “mutual world” (SL 152). The author writes and I quote: “[…] much of a woman was there in
Hester, that she could scarcely forgive him, - at least of all now, when the heavy footstep of their approaching Fate might be heard, nearer, nearer, nearer!” (SL 152).
On the other hand, however, Hawthorne makes it clear that women are much stronger and decisive than men, a quality which he appears to admire. Besides, the author clearly states that Prynne is very strong, “with a woman’s strength” (SL 106). In fact, according to Hawthorne, her “wild energy” enables her to fight “against her sorrows”
(SL 119). Hence, right from the beginning, Hester is presented to have a “natural dignity and force of character,” as she repels the town-beadle that draws her forward to the crowd and steps ahead “as if by her own free will” (SL 40). Her strength and pride are also betrayed by the “haughty smile” and a “glance that would not be abashed” with which she looks at the townspeople (SL 40). As Hawthorne states, being aware of her part, Hester ascends the scaffold by herself, implying that she
Boukali 31 realizes her mistake but is not afraid to deal with the consequences of her action (SL
42). The writer himself constantly informs the reader about his heroine’s personality, as her spirit displays a “wild and picturesque peculiarity” (SL 41). The heroine’s answer to all the “rigid countenances” that stare at her is a “bitter and disdainful smile” (SL 43). She even ignores the servant that tells her that she cannot see
Governor Bellingham, saying decisively: “Nevertheless, I will enter” (SL 70). She does not hesitate to repel the medicine Roger gives her for Pearl, “gazing with strongly marked apprehension into his face” (SL 51). What is more, her mind is constantly working. Even when she is on the scaffold, it travels to her past, bringing up other happier scenes, as a mechanism to help her deal with this awful situation, which is so painful, that she must think of something else in order to endure it (SL
43). Apparently, Hester is trying to escape her present obnoxious situation by conjuring up pleasant and happy thoughts, a fact that reminds the readers once again that she is a true fighter. Even during these moments, she does not give up; instead, she tries to fight this painful and difficult situation by finding escape in joyful reflections.
Hawthorne certainly achieves his goal, which is to create admiration towards
Hester, albeit her sin. Prynne’s strength of character is noteworthy, leaving the readers no choice but to be impressed by her dynamism. The fact that she endures all this torture because of her mistake is only one side of the coin. Even more noteworthy is the fact that the writer depicts her so strong-minded, that she is by no means willing to reveal Pearl’s father; instead, she prefers bearing all her suffering alone, just to protect
Arthur Dimmesdale. No matter how she is pressured to speak out her partner’s name, she simply refuses to talk, a fact that reveals not only her true and deep love for him, but also her tremendous dynamism and unselfishness, which lead her to experiencing
Boukali 32 this entire ordeal alone. Let us not forget that Hester had not sinned alone. The writer himself implies that her partner should face the consequences of their action as well, and attempts to make his readers realize this, by asking: “[h]as Hester sinned alone?”
(SL 60).
A townsman confirms that Prynne’s partner has remained a riddle, since
“Madam Hester absolutely refuseth to speak and the magistrates have laid their heads together in vain” (SL 46). Even when Reverend Wilson cries out to Hester to speak out the name of her partner and the scarlet letter will be taken off her bosom, she is uncompromising: “Never! […] It is too deeply branded. Ye cannot take it off. And would that I might endure his agony, as well as mine” (SL 49). The demanding voices that order her to speak and give her child a father, meet her intransigent answer, with a voice so decisive, that the reader can almost hear it: “I will not speak! […] And my child must seek a heavenly Father; she shall never know an earthly one! (SL 50).
Thus Hester stands upon the “pedestal of shame, with glazed eyes, and an air of weary indifference,” while Dimmesdale, impressed himself, murmurs: “Wondrous strength and generosity of a woman’s heart! She will not speak!” (SL 50). Roger
Chillingworth, her husband, meets her inflexible attitude towards the matter as well, when he asks her who Pearl’s father is, as she replies looking firmly at him: “Ask me not! […] That thou shalt never know!” (SL 53). Hence, Hester appears, indeed, to possess a “strong, calm, steadfastly enduring spirit” that enables her to behave like a man (SL 53). There is no doubt that Hawthorne subverts the traditional gender roles, having his heroine be the one who protects a man.
The subversion of gender roles becomes even more evident when Hester interacts with Dimmesdale. When they meet in the forest, Hester is the one who, selflessly, gives courage to the minister. When he asks her if she has found peace, she
Boukali 33 immediately asks him back “Hast thou?” making clear that her prime concern is
Dimmesdale’s state, not her own, as she is worried about his psychological condition more than hers, while she knows deep inside that they might never find peace (SL
123). She constantly tries to console him, reminding him that the townspeople reverence him, a fact that should comfort him. Hawthorne presents her utterly unselfish, as she forgets all about her own misery and focuses on the minister’s consolation. When Arthur blames himself, she responds that he wrongs himself on the grounds that he has profoundly repented and his sin is left behind, in the past (SL
123). She goes on comforting him, saying that his present life is as holy as the townspeople perceive it to be and that his penitence should give him peace (SL 123).
In addition, Hawthorne depicts Hester being honest and straightforward as well, since when Dimmesdale asks him who Chillingworth really is, she
“remember[s] her oath, and [is] silent,” protecting her husband as well, albeit she does not want to (SL 103). Of course, a woman like Hester cannot keep the secret for too long and put in danger the man she loves. Hence, Hawthorne presents her to be decisive and strong once again. She is a responsible woman that is aware of her duties, as she is “determined to redeem her error” and rescue Dimmesdale from
Chillingworth’s evilness, by confessing that Roger is her husband (SL 109). The writer presents her growing stronger all the time, since she finds herself no longer so inadequate to deal with Roger as on the night she promised to keep his secret. As the narrator states, “[s]he ha[s] climbed her way, since then, to a higher point” (SL 109).
However, even more impressive is the fact that instead of running to Dimmesdale as soon as she decides to tell him the truth, she wants to be sincere and straightforward towards Chillingworth first, even though he plans to harm her beloved. Hawthorne depicts her as such an astonishingly honest personality, that she “resolve[s] to meet
Boukali 34 her former husband, and do what might be in her power for the rescue of the victim on whom he ha[s] so evidently set his gripe” (SL 109). She is depicted so brave and bold, that she does not hesitate to accuse her husband in the face of daily torturing the minister, causing him “to die daily a living death” and she admits at the same time that she is co-responsible for the tortures Dimmesdale goes through (SL 111).
Determined to help Arthur, she tries to persuade her husband to leave him alone, saying “[h]aven’t thou not tortured him enough? […] Has he not paid thee all?” (SL
112). Her strength and superiority as a woman and as a human being are endless, given that she willingly takes all the blame, asking her husband to avenge upon her instead (SL 112). When she eventually realizes that she cannot convince
Chillingworth, she gallantly says “I must reveal the secret […] He must discern thee in thy true character,” being entirely conscious of the consequences, but not afraid to take responsibility for keeping such a secret (SL 112-3). Although she hesitates a bit, she finally reveals the secret, conquering her fears and showing how courageous she is once again (SL 124).
The writer insists on presenting Hester to behave as the man as far as her relationship with the minister is concerned, given that she advises him what is best for him to do, in order to protect him: “Thou must dwell no longer with this man […] Thy heart must be no longer under his evil eye” (SL 126). It seems so ironic that Prynne puts aside her own pain, focusing so thoughtfully once more on the minister’s trouble, which seems to me as nothing compared to Hester’s tortures, saying: “Alas, what a ruin has befallen thee!” (SL 126). Hawthorne depicts her daring and fearless enough to advise the minister to leave with her, so that he can be happy away from all these people, whom she calls “iron men” that have kept Dimmesdale’s better part in bondage for so long (SL 127). Hester continues inciting the minister to flee with her,
Boukali 35 leave all “this seven years’ weight of misery” behind him and “leave this wreck and ruin here where it hath happened” (SL 127). The brave woman sends a thunderous message via Imperative, as if it is not addressed only to Dimmesdale, but also to the reader by Hawthorne: “Begin all anew! […] The future is yet full of trial and success.
There is happiness to be enjoyed! There is good to be done! Exchange this false life of thine for a true one” (SL 127). The writer thus expresses his optimism for the future by having Hester being hopeful for a better life. She is very persuasive and eager to leave, which can be explained by the ordeal she goes through. It is obvious that she really needs this change and does not give up, retaining her optimism for better days for both of them. She is a fighter, no doubt, while she tries to make Dimmesdale fight for their happiness as well: “Preach! Write! Act! Do anything save to lie down and die! […] Why shouldst thou tarry so much as one other day in the torments that have so gnawed into thy life […] Up, and away!” (SL 127-8). It seems that Hawthorne expresses his own wish for himself via Hester. The writer often stated that he wanted to leave his town and never return, as he found it to be “joyless” after his decapitation from the Custom-House (Turner 200-1). In fact, the author stated that he detested his town and did not even wish to walk around the streets. He felt extreme contempt for the townspeople and believed that he would be an entirely different and better man anywhere else (Turner 208-9).
Another scene that reveals subversion of gender roles and renders Hester’s admirable strength unquestionable is the one during the Election Sermon, when the revelation of the scarlet letter takes place. Hawthorne depicts Prynne to support
Dimmesdale both physically and psychologically. Her arm is around the minister in an attempt to support him, while he leans on her shoulder throughout the whole scene
(SL 160). No doubt, this picture is unusual, given that Hester acts like a man once
Boukali 36 more, being supportive and stronger than Dimmesdale. Additionally, she “partly raise[s] him and support[s] his head upon her bosom” when he collapses (SL 161).
What is more, Hawthorne has her support Dimmesdale psychologically as well, even just before he passes away. When he tells her “Farewell,” she maintains the hope that they will meet again and spend their immortal lives together (SL 162). She is so brave, with a wondrous courage and selflessness, that the readers are bound to admire her.
Even now that her beloved is dying, she retains her optimism and hope, trying to alleviate his pain, forgetting about her own hurting, once again.
The enormous strength of Hawthorne’s heroine is once again evident by the fact that she does not flee in order to escape from all her ordeals; instead, she tells herself that this place is where “the scene of her guilt” took place, and therefore, here her “earthly punishment” should take place as well (SL 56). Even though she leaves when all this is over, she returns back to Boston. Although she pauses and hesitates for a while, she enters her home, albeit it now appears “more dreary and desolate than even she could bear” (SL 165). She takes up “her long forsaken shame,” determined to live in the place where her life changed: “Here had been her sin; here, her sorrow; and here was yet to be her penitence” (SL 165). Her courageousness and bravery lead her to start again in Boston on her “own free will” and wear again the symbol that “never afterwards […] quits her bosom” (SL 165).
It is plain to see that Hester is by no means an ordinary woman. On the one hand, her rare, dynamic and brave personality makes her an exceptional lady. On the other hand, her sin and the scarlet letter have attributed to the uncommonness of her character. Hawthorne writes and I quote: “The scarlet letter was her passport into regions where other women dared not tread. Shame, Despair, Solitude! These had been her teachers, - stern and wild ones, - and they had made her strong” (SL 128).
Boukali 37
The writer points out that the “very law that condemned her,” which he calls a “giant of stern features,” is the one that holds her up through her terrible ordeals, making her even stronger than she already is (SL 55). Surely, any other woman would have been broken down psychologically if she had to go through everything Hester does. But
Prynne, preserves the “combative energy of her character” and her “unnatural tension of the nerves” (SL 55). Unlike other women, who are passive and go along with the
Puritan mentality, Hester presents an unusual “energy of character” (SL 58).
Hawthorne undoubtedly presents her to be very different from the rest of the people of the time, especially other women, since the “world’s law [is] no law for her mind” (SL
107). Her spirit entails an uncommon “freedom of speculation,” while her nature is characterized by “wilderness” (SL 56). The writer confirms the impression his heroine gives to the reader that she acts like a man, having her acknowledge her “sisterhood with the race of man” (SL 105).
Autobiographical elements are implied by the writer via Hester, once again.
The fact that Hawthorne presents Hester so strong and protective towards
Dimmesdale has a strong connection to Hawthorne’s own life. Evidently, there was a kind of subversion of gender roles in the writer’s own private existence. To begin with, the author was constantly under his wife’s, Sophia’s, protection (Wagenknecht
90). Hawthorne felt safe with her, while he was sure that she would take care that no harm comes to him (Wagenknecht 90). His wife was a vivid proof of women’s superiority to men as far as strength of character is concerned and had such an energetic spirit and strong character, that when the writer found out about his dismissal, he said that he was sure that she would “bear it like a woman – that is to say, better than a man” (Turner 180). Sophia seemed to have had all the energy that
Hawthorne lacked, while she was the one taking initiatives (James 42). In fact, his
Boukali 38 wife was always by his side, supporting him in everything, while her opinion and her mere presence appear to have been of vital significance to the author. Hence, the fact that Hester is presented to be superior in strength and more courageous than the man she loves resembles Hawthorne’s relationship with his spouse (Van Doren 133).
Feminine Instinct and Intelligence
It is worth noting that Hawthorne sheds light on the fact that women possess a remarkable instinct, which, in combination with their intelligence, forms an admirable and advantageous quality. It is true that women are more instinctive and intuitive than men. In this part, it will be shown how Hawthorne insinuates that Hester possesses a unique intuition and exceptional intelligence.
Prynne is once more the person, via whom the writer expresses his own viewpoint that women’s instinct and intelligence are indubitable and should not be underestimated. The writer seems to grasp and penetrate into the instinctive mechanism of Hester’s psyche, as he appears to see into her soul and mind, depicting her to be extremely clever and intuitive, as well (Brodhead 46). Firstly, when she is on the scaffold in front of the gathered crowd, she can discern her husband, albeit her torture and the horde of people, as if her instinct incites her to observe at a specific direction (SL 44). She immediately starts feeling uncomfortable with her husband’s arrival, maybe predicting that he will wish to avenge, a fact that fills her with so much fear, that the crowd’s rejection seems nothing compared to his wrath (SL 46).
Additionally, when Prynne meets Roger for the first time, she is “still as death,” being afraid of him and cognizant that he will do something to take revenge, a thought that justifies her “turmoil,” “anguish and despair” (SL 51). She is clever and intuitive enough to predict his vengeance, although she thinks at first that he will
Boukali 39
“avenge […] on [her] innocent child” (SL 51). She is hesitant and “full of doubts and questioning, as to what his purposes might be” (SL 52). The writer depicts her so insightful, that she “trembles” during their meeting, feeling that retribution will take place (SL 53). Her intuition that he will do something awful, combined with his wicked smile, troubles her and makes her inquire: “Why do you smile so at me? […]
Hast thou enticed me into a bond that will prove the ruin of my soul?” (SL 55). Hence, the writer implies that the heroine senses Roger’s intention of taking revenge, a fact that fills her with agony and fear.
What is more, Prynne is depicted to be the only one to notice the change that took place on Roger’s appearance during the past seven years. Of course, she knows him much better than the others that hardly know him. However, her intelligence and insight help her observe that his calmness has long disappeared, giving its place to an unspeakable nervousness (SL 110). She is also the only one to notice that
Chillingworth is closer to Dimmesdale than any other man, “beside him, sleeping and waking,” searching his thoughts, clutching on his life, being assured now that Roger has an evil purpose, an insightful observation on her part that verifies her instinct, as well (SL 111). In addition, her mind works so incessantly, disclosing her deep intelligence, but also her suspiciousness, that she wonders what kind of herbs Roger gathers, doubting about his purposes and thinking that they might be poisonous and dangerous (SL 114). Besides, Hawthorne explicitly states that “her conscious heart impute[s] suspicion where none could have been felt” (SL 118).
Moreover, as years go by, Hester is not presented to see, but to “feel” Arthur’s eye upon her bosom, consoling her and giving her “a momentary relief,” a fact that betrays her intuitiveness once again (SL 60). Additionally, Prynne’s intelligence is revealed by the fact that she can infer that a “terrible machinery [is] brought to bear
Boukali 40 and [is] still operating” on the minister’s “well-being and repose” (SL 104). Of course, the fact that she is aware of all the circumstances helps her reach this conclusion, but this does not refute her insightfulness and intellect. What is more, on the day of the
Election Sermon, and just before Dimmesdale reveals the truth, Hester appears to have an expression on her face and a calmness that have never been seen before, while when she looks at Arthur she feels “a dreary influence com[ing] over her” that she cannot define, a fact that may imply that she can sense the imminent revelation and Dimmesdale’s death (SL 152). In fact, the author informs the reader that an
“irresistible feeling” keeps Hester near the spot where Dimmesdale is, while there is a sense in her, “too ill-defined to be made a thought, but weighing heavily on her mind,” as if her whole life is connected with this spot, the spot next to which her secret will be revealed and her beloved will die (SL 154-5).
Additionally, it seems that the scarlet letter affects her intuitiveness, making it even more intense, as it appears to give her a “sympathetic knowledge of the hidden sin in other hearts” (SL 60). Thus, the heroine appears to sense that she is not the only sinner in this town, even though the rest of the people manage to conceal their own wrongdoings. In fact, she becomes so instinctive that she can actually hear “insidious whispers of the bad angel,” which reveal to her that the “outward guise of purity” of other people is nothing but a lie (SL 60).
Finally, Hawthorne presents Hester to be puzzled over the relation between man and woman. Her concern and speculation over the matter insinuates that she has a mature and intelligent way of thinking, which betrays a profoundly witty and uneasy intellect. Hence, the writer depicts his heroine to possess an admirable quality, which is an extraordinary mind, coming once again in juxtaposition with the Puritan mentality of the time that wants women to be passive and obedient. Thus, he
Boukali 41 explicitly associates Hester with Anne Hutchinson, saying that she could be a prophetess and would have surely experienced death for daring to undermine the
Puritan establishment, if Pearl had not come in her life. But her child is the reason why she is so patient and does not react intensely (SL 108). Believing that womanhood is full of difficulties, she feels that everyone is against her, as the fact that she is a woman makes the world even more hostile towards her (SL 108). Her thoughts are totally justifiable, given that women’s inferiority was considered as natural, while they were accepted in society only as secondary, silent and subordinate members (Thickstun 19). It is true that Puritan society defined hierarchy of value and capability according to gender. This was considered to be natural and inevitable, while Puritans’ intransigence over this matter rendered dialogue out of the question
(Thickstun 17). Hence, it is justifiable why Prynne appears to wonder if being a woman is meaningful under the Puritan circumstances. She believes that for the sake of the whole “race of womanhood,” the whole system “should be torn down, and built up anew,” while the nature of male sex needs to be modified and women should change, as well (SL 108). This is definitely a revolutionary moment in the novel, as
Hester is presented to be a prophetess of an entirely new epoch (Kaul 7). This new epoch Hawthorne has Hester foreshadow begins in 1848, when the first women’s rights petitions were circulated in Massachusetts, comparing women’s condition to that of slaves (Yellin 636). It is probable that the writer presents Prynne to criticize the society that rejects and victimizes her and the rest of the women (Leavis 45).
However, she presumes that these problems cannot be solved by any exercise of thought and reaches to the conclusion that they cannot be resolved, a fact that sinks her in despair (SL 108). It is unlikely that any other woman of the time had such thoughts, since it may be assumed that most women accepted the situation as it was,
Boukali 42 even though they may have felt oppressed; or even if they did, they probably did not dare speak. It could be argued that it is accidental that at the end of the novel women,
“with the dreary burden of a heart unyielded, because unvalued and unsought,” turn to
Hester for advice and remedy (SL 165). It is not insignificant that Hester, just like a prophetess, assures them that a brighter future will come and that the relation between the two sexes will be based on “mutual happiness,” alluding to women’s need to be educated and be able to support themselves during the nineteenth century when
Hawthorne lived (SL 166).
It is worth noting that the writer gives the impression that he expresses his own concerns about gender relationships and the position of women via Hester. His compassion for and presentation of Hester leaves no doubt that he respects and admires the representatives of the female sex, while Prynne’s thoughts betray his own feeling that women were underestimated and treated roughly by Puritan people. After all, he himself stated that he could have a better conversation with a responsive woman than with a man (Wagenknecht 144). Additionally, Hawthorne believed that a man who looks for understanding and sympathy should seek for it in a woman, since he could never find that in a man (Wagenknecht 145).However, bearing in mind the dominant Puritan way of thinking, it is understandable why an overt expression of his opposition towards Puritanism would have been considered inappropriate. Hence, he expresses his own thoughts indirectly, via his heroine.
The “Earthly Saint” – Motherhood
It is worth noting that Hawthorne sheds light on another view of Hester, as well. The writer presents his heroine to be inextricably connected with religion, depicting her either as a saint, an angel, or even as the Madonna. The author makes it
Boukali 43 clear that the dynamic woman of the novel has another side, too. She appears to be sensitive, good-hearted, humble, and, to put it in a word, saint-like. Thus, the writer achieves his aim, which is to provoke sympathy and admiration towards the heroine, and perhaps to show that her repentance is genuine as well, a fact that will be explained in the following pages.
Firstly, Hawthorne depicts Hester’s submissiveness when she faces the crowd’s negative reactions towards her. She shows “neither irritation, nor irksomeness” when she “battles” with the public (SL 105). Instead, she “submit[s], uncomplainingly, to its worst usage,” making “no claiming upon it, in requital for what she suffer[s]” (SL 105). This attitude of hers could be connected with the
Christian patterns of suffering and pain, given that it is extremely difficult for a person to undergo such ordeals without reacting at all. However, Hester goes through all this torture long-sufferingly, reminding the readers of a saint-like figure. Moreover,
Hawthorne has her with “nothing […] to lose, in the sight of mankind,” but also with no hope and no wish to gain anything (SL 105). As the writer explicitly points out, she is “self-ordained a Sister of Mercy,” with a warm, rich nature and tenderness (SL
105). Even her scarlet letter glimmers with an “unearthly ray” (SL 105). The writer points out that Prynne has “schooled herself long and well,” and thus never responds to any kind of attack, while she appears to be as “patient” as a “martyr” (SL 59). She never raises her head when she meets people in the streets, while when townspeople are ready to approach her, she lays her finger to the scarlet letter and passes on, displaying her humility and pride at the same time, reminding them who she is (SL
106). Her soul, according to the author, remains so “sacred,” even after her sin (SL
49). Hawthorne believes that she belongs “beneath a matronly veil, at church,” instead of going through all this suffering (SL 46). The “torture of her daily shame” purges
Boukali 44 her soul, giving it a “saint-like” purity because of her “martyrdom” (SL 56). The author calls her an “earthly saint,” given that she convinces herself that “no fellow- mortal [is] guilty like herself” and that she is the only sinner in Boston that has fallen into such a severe sin (SL 60-1). Hawthorne even presents an “A” formed in the sky the night John Winthrop passes away, a letter which the townsmen interpret to stand for the word “Angel” alluding to the Governor. Although this is a typical Puritan reaction, it could be another evidence of their selfish, shallow and arrogant nature, given that they accept the supernaturalism of the “A” as a divine message to their community, as if the accession of Winthrop to the status of an Angel is announced by
God; this is how perfect, flawless and saint-like they think they are (Brodhead 58).
However, the writer gives the impression that the “A” stands for Hester’s badge of shame and that the word “Angel” represents the heroine herself, showing once again his positive attitude towards Prynne (SL 104).
The writer presents Hester so humble, modest and good-hearted, that her benevolence manages to erase in a way her sin and transform the townspeople’s attitude towards her, given that “[…] society was inclined to show its former victim a more benign countenance than she cared to be favored with” (SL 106). The rulers of the town take notice of Hester’s “good qualities,” while her benign nature manages to take them on her side, relaxing their “sour and rigid wrinkles” into an expression of
“almost benevolence” (SL 106). The once hostile townspeople now call her “our
Hester,” as she is the community’s “own Hester,” who is kind to the deprived and caring to the sick (SL 106). Her sin is forgiven and her badge of shame is looked upon as a “token” of her good deeds, whilst the “A” loses its original signification; instead of adultery, people say it stands for “Able” due to her “power to do […] and sympathize” and her helpfulness (SL 106). Hence, the scarlet letter attains a different
Boukali 45 meaning. Her letter now entails a kind of “sacredness” (SL 106). Moreover, when she returns back to Boston after Dimmesdale’s death, she is once again looked upon as a benign woman, while the scarlet letter is looked upon with awe and reverence (SL
165). It is worth noting that Hawthorne makes an interesting turn, having the same women that frowned upon Prynne and accused her in the past, now running to her for remedy and advice, a fact that underlies the grandeur of her character that is so great, that even her enemies appreciate and recognize it (SL 166).
In addition, Hawthorne would not have it any other way than having his saint- like heroine think righteously and blame herself for everything, realizing the severity of her sin. To be more specific, when she interacts with Chillingworth, she admits: “I have greatly wronged thee” (SL 53). Although she is honest once again, reminding
Roger that she never loved him, a fact that he was aware of all along, she does not use this as an excuse and takes responsibility for her sin (SL 53). Moreover, Prynne is presented to feel responsible for Dimmesdale’s psychological condition, too, as she feels that “there lay a responsibility upon her, in reference to the clergyman, which she owe[s] to no other, nor to the whole world besides,” as if Dimmesdale has not sinned with her (SL 104). She appears to be so benevolent and so selfless that the thought that she is the only one that is being punished for their sin, going through this entire terrible ordeal, does not even cross her mind. Additionally, when she meets
Arthur in the forest and reveals who Roger really is, she begs for his forgiveness, full of guilt as she is, blaming herself once again for this whole situation (SL 125).
Claiming that the virtue of truth is one she has always held fast, just like we are taught to do from religion, Prynne feels culpable for having consented to a deception, while she points out that a lie is never good (SL 125).
Boukali 46
Hawthorne’s view of Hester as saint-like comes in total opposition to the initial view of her on the Puritan community’s behalf. Even when Hester appears to repeat to herself that she hates Roger, the author justifies her hate by having her think that her husband’s evil plan is much worse than the sin she has committed. Hawthorne continues his justification for her negative feelings, attributing her hatred to the fact that Roger never “awakened her sensibilities” and never made her happy (SL 114). To be more specific, he writes, justifying her sin as well: “Let men tremble to win the hand of a woman, unless they win along with it the utmost passion of her heart! Else in may be their miserable fortune […] that some mightier touch” will make them happy (SL 114). The writer is clear about the way he perceives Prynne, and by extension women of her kind, who fight for everyone and everything they love. His point of view is made even more evident at the end of his novel when he explicitly says: “The angel and apostle of the coming revelation must be a woman, indeed, but lofty, pure and beautiful [and] wise” (SL 166). He continues adding that such a woman should show people how love can lead to happiness, making plain to see that he considers Hester, and by extension women like her, to be the ones that can do so, pointing out once again his sympathy and admiration towards his heroine and womanhood in general (SL 166).
Hawthorne’s own connection with religion ought to be commented upon, as it is of paramount significance concerning the way he presents Hester. It is true that the writer was indifferent towards church as an institution. He never attended nor joined church as a grown up, while he rejected formal theology (Matthiessen 199). He felt oppressed by the clergy, whose members he perceived to have a geniality that was strictly professional and hypocritical, like their clerical costumes that could be put on and off (Wagenknecht 172). In fact, he once wrote to his mother that he would never
Boukali 47 become a minister, making his repugnance towards the clergy explicit (Turner 26).
Perhaps the way he felt about ministers justifies the way he presents Dimmesdale as a weak and insufficient man for Prynne, who appears to be superior to him in strength of character and courage. Hawthorne’s stance towards ministers verifies that they had lost respect and status during the nineteenth century (Douglas 11). Their materialistic attitude betrayed them, given that, along with authors, ministers occupied an important position on the market, while they viewed the believers as customers, a fact that must have appalled Hawthorne, and not unreasonably (Douglas 8). Nevertheless,
Hawthorne did believe in God, as he was a Christian that believed in immortality, in
Divine Providence, and above all, in the infinite value of the human soul
(Wagenknecht 185). Hence, it is totally understandable why he emphasizes his heroine’s connection with religion and God.
However, the writer sheds light on another view of Hester, as well. He insists on emphasizing the importance and sacredness of motherhood via his heroine. This is another aspect of Prynne and of women in general, which is bound to awaken the readers’ admiration and sympathy towards the female protagonist and, by extension, towards womanhood. After all, motherhood was considered to be sacred during the nineteenth century, a fact that is verified by Hawthorne’s depiction of Hester as a mother, as well (Douglas 74).
First of all, right from the very first moment Hester enters the novel, the writer emphasizes the fact that she is a mother, as she bears her child in her arms (SL 40).
The writer himself betrays his own admiration for Prynne as a mother, comparing her to “the image of Divine Maternity,” which is no other than the Madonna with Jesus
Christ in Her arms (SL 42). Hawthorne predisposes his readers to have a positive attitude towards his heroine, presenting her to allude to the “sacred image of sinless
Boukali 48 motherhood whose infant was to redeem the world,” but due to Hester’s sin, he points out that in her, there is “the deepest sin in the most sacred quality of human life” (SL
42). What is more, Hawthorne gives another dimension to her sinful deed, juxtaposing human nature with God. Hence, he states that “God, as a direct consequence of the sin which man thus punished, had given her a lovely child […] to be finally a blessed soul in heaven” (SL 61). Thus, Hawthorne immediately separates himself from the Puritan crowd and the way they perceive Hester’s action, making clear that God forgives
Prynne by giving her a lovely child, whereas Puritans, being so rigid and critical, do not forgive her. Besides, the writer believed that human law is responsible only for preserving order, while only God can judge and deal with the sins of the human soul; this is the only way to prevent worse evils from growing out of people’s interference with God’s work, according to Hawthorne (Wagenknecht 143).
As a mother, Hester is described to show great affection, tenderness and determination to protect her child. Thus, the readers are bound to have positive feelings towards the heroine. When Hester faces the crowd, “her first impulse [is] to clasp the infant closely to her bosom,” displaying a “motherly affection” that aims at protecting her child (SL 40). Moreover, when she recognizes her husband in the crowd, she clutches her infant “so fiercely to her breast,” causing tears to her child, a reaction that once again betrays her anxiety and concern for her daughter’s well being and her strong need to keep her safe (SL 44). In fact, Hester presses her infant repeatedly onto her breast, where her badge of shame is placed, reminding the readers that the child is the fruit of her sin, with a “convulsive force,” showing not only her love for the child but also that she is determined to save her from any harm (SL 44). It is worth noting that Hawthorne presents Hester to have fears and doubts for Pearl, since she knows the evilness of her deed and worries about its “fruit,” that is her child;
Boukali 49 to be more specific, the writer presents Prynne to dread for some “dark and wild peculiarity, that should correspond with the guiltiness to which she owe[s] her being”
(SL 61). However, maternal love is depicted to surpass all fears and doubts. Albeit the strangeness of her child, Hester fills her “sole treasure,” who means the world to her, with “earnest kisses” and “snatches” her in her bosom, displaying the mother’s endless and unquestionable love for her child (SL 63). Additionally, when Prynne meets Dimmesdale in the forest her love and affection for her child are evident, as she assures him that he will love her dearly and that she is a “splendid child” (SL 132).
Hawthorne here calls Hester “the mother,” emphasizing her maternal side and has her admiring with a “tender smile” and being proud of her daughter’s strange beauty (SL
132). The writer depicts maternal love to exceed any other feeling, given that he presents Prynne to perceive Pearl’s strangeness and intolerance of emotion as unimportant compared to her wonderfulness (SL 133). What is more, as a mother, she understands what annoys Pearl without being told and says: “Children will not abide any, the slightest, change in the accustomed aspect of things that are daily before their eyes. Pearl misses something which she has always seen me wear” (SL 134). Hence, with a sigh, Prynne puts her badge of shame back on her bosom for her daughter, a scene that may insinuate the bond between little Pearl and her sin, reminding the readers that Hester’s child is the living proof of the committed adultery, while the letter is the punishment for it (SL 135). Hawthorne leaves no doubt to the reader that
Hester, as all mothers, loves her child and although she is a suffering woman, she treats Pearl with tenderness and affection, provoking the readers’ admiration once again.
But Prynne’s determinism, dynamism and intransigence as far as her daughter is concerned are made more intense when Puritan rulers want to take the child away.
Boukali 50
Hawthorne depicts her fighting for the custody of her child in such a way that the readers cannot help being touched and moved, sympathizing with his heroine. At first, she is presented willing to discuss the matter, trying to persuade the rulers of Boston that she can teach her daughter everything she has learned out of her sin, so that she can grow up as she should and be “better and wiser,” alluding to the Puritan tradition, part of which was learning from one’s mistakes and then teaching the others (SL 75).
When she realizes that her effort may have no result, she remains calm (SL 75). But when her fear that her child will be taken away from her is confirmed, Hawthorne transforms her into a fighter again, underlining the power and grandeur of motherhood. She catches hold of Pearl, draws her forcibly into her arms and confronts the Puritan magistrate “with a fierce expression” (SL 76). The dynamic woman the readers have met throughout the novel comes forth once again, but this time, she comes out as a mother who will not retreat. She will simply do whatever it takes to keep her child with her, even if she has to die. Once again, the writer succeeds in making the readers sympathize with his heroine, as her motherly love makes her admirable and heartbreaking. Hence, she cries out that God gave her Pearl and that she is her happiness and her torture, the child is the one that keeps her in life and punishes her for her sin at the same time (SL 76). Pearl is the only scarlet letter that can be loved and with a cry that echoes in the readers’ ears, she exclaims: “Ye shall not take her! I will die first!” (SL 76). Her determinism, decisiveness and dynamism are overwhelming, given that she fights so vehemently for her daughter, who is the only consolation in her lonely, tortured life. Any reader cannot help consenting to her demand and inflexibility when she cries: “I will not give her up!” (SL 76). In fact,
Prynne appears to be so decisive and desperate at the same time that she addresses to
Dimmesdale, inciting him to speak for her. Pointing out that he was her pastor and
Boukali 51 knows her better than anyone, she constructs a huge irony, since the judges that hear her do not know that he is the father of her child. Hawthorne here has her provoke the minister to do something, as if both Hester and the writer are frustrated by his lethargy and inactivity; hence, she cries: “I will not lose the child! Speak for me! […] You knowest what is in my heart, and what are a mother’s rights, and how much stronger they are, when that mother has but her child and the scarlet letter!” (SL 76).
Hawthorne here sheds light on the decision of the law court to grant custody to the mother in 1774, while until then, the children belonged to the father (Thomas 193).
Clearly, the thought that her child will be taken away leads Prynne to her only and last hope, that is Dimmesdale’s word; Hawthorne has her in a situation “little less than madness,” emphasizing the splendor of the unlimited love a mother has for her child
(SL 77). Thus, the writer manages to make the readers sympathize with Hester once more, as her situation appears to be particularly moving and overwhelming.
The writer points out that Pearl is the only treasure that keeps Hester’s heart warm, as it should be and as it is for all mothers of the world. Therefore, Hawthorne has her feel that she possesses “indefeasible rights against the world” and is willing to
“defend them to the death” (SL 76). It is worth mentioning that Hawthorne presents little Pearl to have no father around her. The fact is that the writer himself grew up without his father, since the latter was a sea captain that died of yellow fever when
Hawthorne was four years old (Turner 4). Even when he was alive, the writer’s father was away for long spaces of time because of the voyages his job demanded (Turner
11). Turner notes that the author had only hazy reminiscences of him (9).
Nevertheless, Pearl seems to have a lot in common with the writer’s daughter, Una.
Hawthorne writes in his notebook that his daughter was not an ordinary child, given that he thought that an evil spirit was trying to master her. There was something
Boukali 52 supernatural, either “elfish or angelic,” about Una that frightened Hawthorne, as she appeared to be tender and the next moment so hard, expressing such a strong destructive passion that made Hawthorne wonder if she was really his own human child, or a spirit that mingled good and evil that haunted his dwelling (Van Doren
136). Hence, it might be argued that the author’s daughter may have served as a model for the fictitious character of little Pearl.
The fact that motherhood seems to be of paramount significance in the novel finds its explanation to the special relationship Hawthorne had with his own mother.
Given the absence of his father, the author was practically raised by his mother alone.
Although they were not very close and did not have an intimate relationship,
Hawthorne appears to have had a “soft spot” for her. Her opinion was of vital importance for him, a fact that is verified by a letter he had written to her when he was young, asking her what profession she would like him to follow (Turner 26). In the same letter, Hawthorne appears to be especially affectionate with her, expressing his wish to be again with her, while he wishes he were a girl, so that he could be pinned to her apron for the rest of his life (Turner 26). His endless love for his mother led him to a tremendous suffering when she passed away, while his wife said that he suffered from brain fever because of his profound grief (Turner 190). His mother, on the other hand, seems to have held a certain distance from him, even displaying indignation towards Hawthorne (Abbott 244). Nonetheless, the writer’s love for her was indisputable, and although he never enjoyed a close relationship with her, he perceived her to be the most important person in his life. Perhaps the lack of intimacy between them, which Hawthorne yearned for, is what actually made motherhood so important for him. I infer that the distance his mother kept between them may have been what elevated the concept of motherhood into something vitally significant for
Boukali 53
Hawthorne. This could be the reason why the writer underscores motherhood via
Hester, depicting it to be sacred and vital.
Hester on Screen
Introductory Comments
After having completed the discussion about the way Hester is presented in
Hawthorne’s novel, shedding light on specific aspects of the heroine, Joffe’s 1995 film adaptation will be investigated, in an attempt to compare the director’s approach of Prynne to that of the writer’s. This part of the paper deals with Joffe’s presentation of the heroine, in an attempt to point out miscellaneous similarities and differences between the novel and the film. Hester Prynne will remain the focal point of discussion, while the heroine will be approached from exactly the same aspects as in the first part of the paper; that is, the character of Prynne will be delved into as a symbol of sinfulness and wickedness, as a heartbreaking victim, as an isolated and secluded woman, as a beautiful lady and a beautiful personality that overflows femininity, as an intelligent and intuitive woman and, finally, as a mother, while her connection with religion will be investigated, as well.
It is worth noting that Joffe seems to share certain views of Hawthorne’s, a fact which explains the similarities between the film and the book. For instance, the director shares Hawthorne’s approach towards the Puritans’ rigid, harsh and inflexible attitude towards Hester, the same way the writer does. Moreover, his presentation of
Prynne manages to create feelings of sympathy and admiration towards her, which is one of Hawthorne’s aims, as well. In general, the heroine’s depiction appears to resemble the fictitious protagonist in abundant ways, which will be discussed in the following pages. Besides, it must be kept in mind that the film is an adaptation of the
Boukali 54 book, therefore, the heroine should and is expected to have similar, if not identical, traits, while similarities are anticipated in the depiction of her personality and her situation.
Nevertheless, the opening credits of the film inform the viewers that the film is
“freely adapted” from the writer’s book, being loosely based on Hawthorne’s fiction
(Lepore 1166). Indeed, the film presents abundant dissimilarities, as well, many of which are of paramount significance. To begin with, the movie is inundated with postmodern elements, a fact that is justified bearing in mind that it was released in the twentieth century. The most evident and one of the most important differences between the two works is the shift of emphasis. Although Hawthorne’s book begins
“in media res,” developing after Prynne gives birth to little Pearl and is already punished for the adultery she has committed, Joffe presents the whole story from the beginning, emphasizing what the writer briefly insinuates; that is, the director begins his film presenting Hester arriving in Boston, depicting how the two lovers meet, how they fall in love and how their “sin” is committed, before he moves on to Hester’s punishment. Additionally, although the narrator of the book remains unknown, leaving the readers speculating that it is probably the writer himself, in the film Pearl is the one who narrates the story when she grows older, a fact that will be further analyzed in the last pages of the project. Another significant difference between the book and the film is the end of the story, which will be also further discussed in the last part of the paper. Nonetheless, it is worth noting that although in Hawthorne’s work there is no happy ending, as Dimmesdale ends up passing away, while Prynne ends up living alone, Joffe provides the audience with a happy ending, following the well-known recipe for success in American cinema, pleasing the viewers with an end anyone would like to see. Moreover, emphasis is placed on the love affair between
Boukali 55
Dimmesdale and Prynne itself, which is not developed in the book, rather being hinted. In fact, intense eroticism prevails in the film, a fact which could be shocking, on the grounds that Hawthorne barely implied sensuality in his work. However, this can be explained by the fact that what is emphasized in the movie is the period before the adultery, whereas the period after the two lovers’ sin is the focus in the book.
After all, it should not be forgotten that Joffe’s description is very common among writers and directors of the twentieth century, as eroticism prevails in most works of the time in an effort to be successful. Hence, although the director may have been interested in Hawthorne’s novel out of admiration for the writer and his work, he may have been even more interested in releasing a successful film that would turn out profitable and capture the audience’s and the critics’ attention; a possibility that tends to appear as a fact, given that he chose a work that has caused immense uproar and has been enormously successful in sales in the past.
Given that the film is neither historically accurate nor a totally faithful adaptation from Hawthorne’s novel, the character of Prynne can be expected to differ from the fictitious persona, as well. In fact, Lepore argues that Joffe and the screenwriter of the movie, Douglas Day Stewart, present Hester Prynne to be entirely different to Hawthorne’s heroine (1167). However, it is reckoned that this is not exactly the case, given that, despite the abundant dissimilarities between the fictitious and the cinematic presentation of the heroine, similar issues are raised, as well, which will be pointed out in this part of the project. However, it is worth noting that Moore’s performance as Hester Prynne has provoked both positive and negative reviews, given that the actress unfolds her talent in a performance that was bound to cause uproar and attract both the audience’s and the critics’ attention. Following Joffe’s directions,
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Moore manages to magnetize via her extremely interesting leading role, which is worth delving into.
The Symbol of Evilness
The director presents Hester Prynne arriving in Boston in a boat to prepare a household for herself and her husband. However, Hester’s dynamic and independent behavior appears to annoy the Puritan rulers of the town right from the beginning, as it becomes evident that Prynne is an unusual woman that creates discomfort and unease due to her unconventional ways and attitude. It must be pointed out that for the
Puritans Hester evidently represents a threat, due to her uncommon dynamism. It is well known that the historical figure of Anne Hutchinson is reflected in many aspects of the fictitious Hester’s character and it seems that Joffe takes this issue even further, as his heroine seems to be alluding to Hutchinson, who was considered to constitute a menace for the society she lived in, as she had not hesitated to challenge both doctrinal issues and Patriarchal authority (Porterfield 99).
To begin with, Joffe presents the Puritan leaders of the town to be disturbed by the woman’s confidence and bravery right from their first encounter. For instance, the
Governor of the town, right from his very first encounter with Prynne, remarks that she should wear less lace in her dressmaking. The same night, at dinner, a close up on
Hester’s dress indicates that she has defied his comment, as she appears in even more lace, a fact which leads to the Governor’s annoyance and irritation. It should be mentioned that Joffe uses a lot of close-ups in order to demonstrate the characters’ feelings and character attributes, and, in this case, the frustration and discontent towards Prynne. Of course, this is explained by the difference in the medium employed; that is, Hawthorne describes in detail every single feeling and thought of
Boukali 57 his characters, given that he narrates the story. Joffe, on the other hand, merely closes- up on the character, reminding us that “one picture equals a thousand words.” Hence, the director creates Hester’s self-portrait right from the beginning by showing particular character features via cinematic techniques, avoiding over-explaining and over-describing each feeling and thought, as the writer does. Joffe uses another close up, implying that Hester is a woman who has her own mind and does not hesitate to show it to everybody. Moreover, the director makes it evident right from that night that Hester possesses a never known before courage and boldness, which cause discomfort to the Puritan rulers. Rejecting the Governor’s wife’s invitation to stay at their house until her husband arrives, she declares that she intends to find a house of her own as soon as possible, creating a shock, as the question “on thy own?” and the close ups on their faces indicates. Indeed, according to Dowe, Hester’s wish to live on her own alarms the humorless and narrow-minded residents of Boston. The Governor attempts to explain that “it is not considered fitting for a young woman to live alone here”; it is true that for the Puritans it was considered inappropriate for a woman to live on her own, given that a woman alone was perceived as a symbol of frailty and wickedness at the time (Douglas 52). The Puritan leaders emphasize that they keep
“absolute order in all matters” and that their “motto” is “rules, order, survival,” while the Governor shows that he finds the idea of living by herself unusual and against the
Puritan societal norms. Nonetheless, the young woman takes them once again by surprise, when she responds fearlessly: “Will you have me disobey my husband?”.
Her boldness and audacity defy the Puritan advocation according to which women were supposed to respect and obey their patriarchs, not only including fathers and husbands, but also ministers and magistrates. Her wit betrays her education, boldness and, perhaps, arrogance towards the Puritans, traits which were not considered to be
Boukali 58 virtues for a woman. It may be assumed that Joffe insinuates that the dynamism and determination that Prynne demonstrates after her sin in the novel have always been part of her personality, a fact the director wants to show, depicting her so strong and decisive even before her sin. Thus, it is clear for the Puritan magistracy that this newcomer is not an ordinary woman. Once again, Joffe uses his well-known technique of close-ups to indicate that they all share the same thought, which is no other than this woman will cause trouble. Her disobedience and independence of mind appears to be annoying, given the strict Puritan rules. The community’s fear that
Hester will not comply with the rules is even more evident in another scene that does not exist in the book, which takes place when one of the members of the Puritan government escorts Hester to find a house of her own. In this scene, the man appears to foreshadow the stir the heroine is about to cause, along with the scandal that will soon break out, asking her “You intend on scandalizing the town, do you?” uttering the Puritans’ common thought. Hence, via this man’s comment, Joffe underscores once again that for the Puritans, a single woman living alone in the wilderness was an invitation to trouble and it would have never been encouraged by them. There were numerous reasons why a woman should not live alone, given that there were survival dangers, as well. For instance, Anne Hutchinson’s case should be kept in mind, given that when she had to move into wilderness because of her banishment, she was slaughtered by the same Indians whom she had repeatedly treated in her dwelling, a fact that verifies that a woman alone invited problems, even if she did not intend to
(Hawthorne 172). What is more, when the Puritan rulers go to her house to take her to church with them, thinking that since there is no man to escort her there, it is not appropriate for her to go alone, once again, she dares to decline their offer, saying that she will go on her own.
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Moreover, the director depicts the general confusion and disorder Hester’s presence causes, by adding scenes where the heroine is presented not only to have the indiscreet Puritan eyes fastened upon her as she moves around in town, but she is also the subject of the women’s gossip, who make comments, such as: “That Mrs. Prynne has a bathing tub.” However, it should be pointed out that Hawthorne appears to present the women of the town much more vindictive and malicious than Joffe does as far as their comments are concerned. Hawthorne gives great emphasis on their inflexibility, while describing in detail their malevolence, presenting the women to make much more hateful and judgmental remarks about Prynne. This could be the case because Hester’s disobedience annoys the women, as well. On the other hand, it might be reckoned that the director implies that these women may feel threatened or even jealous of such an unusually dynamic woman, given that Hester’s decisiveness and unwillingness to follow the rules are characteristics they lack. Joffe chooses to depict the women’s attitude through their actions, and more specifically through betrayal, given that Hester is repeatedly betrayed by female characters. Nonetheless, it might also be assumed that Joffe shares the common belief that women tend to hurt each other, due to their nature; but given the strong element of misogyny in this view, it could be rejected, as the director does not appear to be a misogynist, given the particular presentation of Hester in the film. One of the scenes where Hester is betrayed is the one during which her pregnancy is revealed to the Puritan rulers by a woman of the Puritan community, an act which could be considered as malicious, as she informs everyone on the heroine’s constant vomit during the morning hours, revealing Prynne’s secret. Betrayal is a theme that also comes up in the film when
Mituba (Lisa Joliffe-Andoh), the slave Hester has bought, notifies the Puritan rulers that Hibbins is hiding in Hester’s house. Even more interesting is the fact that a
Boukali 60 woman chooses Hester’s punishment; to be more specific, the Governor’s wife is the one who suggests to her husband Prynne’s humiliation, saying: “You don’t put her in the prison; you put the prison in her.” Hence, she seems to have realized that the most severe punishment for Prynne would be restriction of her independent spirit, which would bend the heroine, given that she would become a prisoner in a community where she would no longer be able to express herself and humiliation would weaken her. If Joffe had Anne Hutchinson in mind, along with the fictitious Hester, when creating the cinematic character of Prynne, this cruelty towards her may imply the cruelty Hutchinson had been treated with. Joffe probably desires to remind us that
Hutchinson was a midwife that was considered to be responsible for the death of
Winthrop’s newborn son, and, therefore, was despised by the Governor and his wife
(Hawthorne 171). Nevertheless, it could be assumed, although with a certain reservation, that the fact that the director has the Governor’s wife influence him as far as Prynne’s punishment is concerned verifies that Puritan men may have relied on their wives for comfort, emotional security and peace of mind, but it seems that
Puritan wives had an influence on the authority Puritan rulers exercised (Porterfield
88). Evidently, according to Porterfield, by accepting subordination, women became the ideal female figures at the time, as, by their submissiveness, they earned the men’s respect. Hence, this is the way Puritan women actually attained status and exercised influence in a society that rewarded humility.
Thus, Joffe not only shows women’s prejudiced attitude toward the heroine, but he also implies that women could display wickedness, as well. In any case, the director achieves to communicate the message Hawthorne does in his book, that most
Puritan women of the time were hostile and malicious towards Hester, embodying the cruel and inflexible Puritan mentality.
Boukali 61
However, Joffe presents the leaders of the town expressing their annoyance and irritation towards Prynne more intensely after her committed adultery, a fact that shows that the director appears to understand Hawthorne’s presentation of the Puritan attitude towards the heroine. Firstly, when Hester’s pregnancy is revealed, the community appears to be against her, while when she refuses to convey the father of the child, she is immediately arrested. Furthermore, the director represents Prynne to be “unrepentant” five months later, making it clear that her persistence to conceal the identity of Pearl’s father, in combination with her “unbending” behavior, creates frustration to the leaders. Additionally, the director makes it evident that the Puritans believe Prynne should be punished for her sin, and become a living proof of what should be avoided, so that no member of the community would imitate her action. In fact, Joffe presents the Governor confiding in his wife that “freeing this woman would be an invitation to everyone to defy their husband.” Moreover, although the Puritan people give her the chance to “repent [for her] sin” by revealing the father, the fact that she remains intransigent frustrates them even more, as it is the case in the novel, too. The director, just as Hawthorne, depicts the leaders of the town addressing
Dimmesdale as their last hope to make her repent, inciting him to soften her
“hardness” and “obstinacy,” forming the same great irony that is present in the book, since they cannot imagine that he is Pearl’s father.
In addition, Joffe has Hester subjected to the same humiliation as Hawthorne does in his book. Not only is she presented to move around the town with the scarlet
“A” on her bosom, but there is also a little boy with a drum, whose duty is to follow the heroine wherever she goes. Hence, Prynne’s presence in public places is
“announced” by the boy’s drum, whose sound is as if it calls everyone’s attention to the woman that passes by. What is more, Joffe presents the crowd being hostile
Boukali 62 against the heroine, respecting Hawthorne’s presentation. The Puritan mass keeps humiliating Prynne, calling her a “sinner” and shouting that she is not welcome in town. Joffe follows Hawthorne pattern, representing the people of the town to be avoiding Hester, allowing her to pass through them, while they keep a distance from her.
Nevertheless, the director makes an interesting twist in the movie, taking
Hester’s situation and the way she is perceived by the Puritan leaders and community even further. Joffe presents Hester to be accused of witchcraft. Although this is only insinuated in Hawthorne’s novel, the director, in his attempt to be more persuasive, goes even further and adds the element of murder in his film, a fact that will be immediately explained. The Puritan community of the movie appears to believe in witchcraft, just as in the book. However, Joffe represents the Puritan leaders to be much more superstitious and credulous, since they immediately adopt Roger’s arguments and fall into his trap totally unsuspected. Of course, it must not be forgotten that Roger is actually one of them and that his male authority and pride are hurt, hence, up to a point, his anger is justified. However, as soon as Chillingworth argues that there are always elements and signs of witchcraft, such as bad winter and failing crops, they instantaneously connect Hester with evil, perceiving her to be a sign of witchcraft herself. This definitely verifies the fact that Puritans believed that no event was merely natural, since they attributed everything to either God’s or
Satan’s works (Winters 14). Everything had its connection with a kind of either divine or diabolical plot, while they believed that God would often intervene in people’s lives to demonstrate His approval or His disapproval of their actions (Winters 14). In fact, they immediately decide to search little Pearl’s body for witch’s marks, while they resolve in inquiring Mituba. The way these men treat Hester’s slave shows their
Boukali 63 determination to prove that Prynne is involved with Satan. The director presents them to be extremely wicked and violent towards the woman, while they ridicule and humiliate her by forcing her to take off her clothes. They do not even hesitate to hit her and scorn her. Hence, Joffe appears to be more daring than Hawthorne, as he sends the message that these men, who ironically represent and demand order, rules and dignity, are nothing but a crowd of corrupted, awful and mean men, who have no respect whatsoever for the female sex, as they would do anything to achieve their purpose, and they do not hesitate to mistreat and humiliate women. Evidently, the fact that they have authority makes them indifferent towards human rights of anyone who does not belong to their group. The way they appear to act confirms the cruelty of the
Puritans’ actions in the name of God and of piety in their community. It is obvious that their religious, societal and political fanaticism lead them to behave as if they are wild animals and not human beings (Winters 19). It is possible that Hawthorne would have approved of this depiction of them as extremely cruel, on the grounds that it shouts out loud the extent to which Puritan men were harsh and hypocrites, just as the writer believed them to be. It must be admitted that this scene is extremely powerful; it is by no means a pleasant one, but it is one the viewers probably remember clearly, given that it creates feelings of shock, anger and sadness for the way this woman is treated. Although Mituba is set free, she is found dead right after she betrays Hester, having been murdered by Roger, possibly for fear she would claim to have been forced to become an unwilling witness. The Puritan community rushes once again to blame the “symbol of evilness” for her death, Prynne, becoming more confident than ever that she is linked with witchcraft and therefore, responsible for every single terrible thing that happens in their town.
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The red mark on Pearl’s body is perceived to be another proof of Hester’s involvement with Satan. Although such a mark does not exist in Hawthorne’s work,
Joffe presents it to be considered as a “witch’s mark” for the Puritan leaders. Hence, the director presents the Puritan men to believe that Pearl is “the Devil’s child” and that Hibbins is the “brain” of the witchcraft in their town, while Hester is her accomplice. This scene definitely alludes to Anne Hutchinson, reminding us that she had given birth to a premature monstrous fetus that was described as a “devil’s fetus”
(Weinauer 374). The narrator, that is Pearl, describes the town to be “in an uproar,” believing that Satan is in their hometown. In addition, the fact that Roger commits another murder, killing the man who tries to rape Hester because he mistakes him for
Dimmesdale, provokes immense pandemonium and a certainty that “the Lord has sent
[them] a sign.” Thus, Hester, who remains the symbol of sinfulness throughout the movie according to Puritan mentality, is pronounced guilty of witchcraft once again and is arrested immediately along with Hibbins and some women who were close to her. The decision is made without delay; the women must be hanged.
Hence, Joffe makes it evident that he maintains Hawthorne’s perception in his movie that Hester is inextricably connected with evilness for the Puritan people.
Adding miscellaneous elements and scenes that make his point even clearer, and the movie even more interesting and breathtaking, the director appears to respect
Hawthorne’s view of the Puritan community and does not hesitate to express it daringly and boldly. However, one should bear in mind that when the film was released, Puritanism belonged to the very past, hence Joffe was more comfortable to depict a situation like this, whereas Hawthorne lived in a community where
Puritanism had already become a tradition, making it more difficult for him to express himself so gallantly. Although Puritanism belonged to the past when he wrote the
Boukali 65 book, Hawthorne was much closer to Puritanism than Joffe. Therefore, the writer communicates his message in an indirect way, not so explicitly, but for a reader who can read between the lines it is more than obvious that he criticizes the societal aspects of Puritanism.
The “Poor Woman”
Unlike Hawthorne, who repeatedly expresses his compassion for the ordeal
Hester is put through, Joffe presents much fewer incidents and instances where
Prynne is depicted as someone to feel sorry for. The narrator of the book manages to reveal the writer’s sympathy for Hester and awake the readers’ compassion, representing her to be the victim of the rigid and cruel Puritan mentality, which makes her show a rather passive and submissive attitude, accepting the development of her life with no objections, given that she has no other option. Hence, she undergoes her torture rather silently, keeping her thoughts to herself throughout most of the time. In fact, Hawthorne presents Prynne, the “real Hester,” as Barlowe calls her, to be
“beautiful and silent,” which is why she awakes feelings of sympathy (200). However, the director presents Prynne to be much more determined than the writer’s heroine.
The narrator of the film appears to make no comments about how Prynne actually feels. Not once is the word “ordeal” or “martyrdom” mentioned throughout the movie, as it is in the book. Instead, Prynne is depicted as a much more dynamic figure that never gives up and keeps fighting the system that has condemned her. Hence, the director may be alluding to the sexual revolution and women’s evolution in society after claiming their rights since 1848 (Yellin 636). Consequently, Joffe presents a much more active, energetic and vigorous female figure that corresponds more to the image of a twentieth century woman.
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However, there are a few instances where Joffe uses the power of picture in order to imply that what Prynne goes through is painful for her. For instance, when
Hester and Dimmesdale confess their love to each other, the viewers are bound to sympathize with the heroine when the minister tells her that they cannot be together due to the rigid Puritan law. Dimmesdale decides to end all this “by walking away and never speaking with [her] again,” a decision that brings tears in Hester’s eyes. As the minister walks away, Joffe’s close up on Prynne’s hurt countenance and her eyes that are filled with tears and pain, leaves no other option to the viewers than to feel compassion and sympathy for this woman, who, apart from the ordeal she goes through, she has to face the fact that she cannot live and enjoy her love, as well.
Moreover, when Dimmesdale informs her on her husband’s death and Hester thinks that she can finally be with her beloved, her tears of happiness are replaced with tears of pain again, when she is told that the mourning period, according to the Puritan law, is seven years. Despair, disappointment and sorrow inundate her countenance, as another close up on her face indicates, given that she realizes that she has to suppress her feelings for at least another seven years. Hence, Joffe manages to make the viewers sympathize with the heroine once again, as Hester’s profound sadness overwhelms the spectators. Nonetheless, it seems that Hawthorne’s description of the heroine manages to create much more sympathy than Joffe’s depiction of Hester, given that the fictitious Prynne is described as much more submissive and tortured, while the director appears to simply point out that the dynamic protagonist of the film has a sensitive and vulnerable side, as well.
Furthermore, the director awakens the viewers’ compassion towards Hester when she is arrested and put in jail. During the scene in question, Joffe’s close up is focused on the minister’s and Prynne’s hands and on their faces when they talk
Boukali 67 through the rails of her cell. The director has Hester ask Dimmesdale if he believes they have sinned, only to get “I don’t know” as an answer. Just as in Hawthorne’s work, the minister is presented as a weak character, who, despite his place as a minister, is unable to give a definite answer and limits himself to a neutral comment.
Joffe focuses on Hester’s countenance, as she tries to persuade the minister that “what
[they] did had a consecration of its own,” a phrase that is spoken by Hester in the novel, as well. In this scene, the rails between the two lovers could represent the huge obstacles their love meets. Although Prynne is a prisoner that has already been through a lot, her anxiety for what is yet to come probably makes her situation even more painful. Nonetheless, she gives courage to Dimmesdale, who appears to have lost faith in their love. Hester’s countenance betrays immense anxiety and pain when she tries to convince him about the purity and sanctity of their love, while she looks at him as if telling him not to lose faith nor give up on their love. Thus, the viewers are bound to feel for this woman and the fact that her beloved one is likely to give up on their love, for which she has ended up in prison.
Of paramount significance is also the suffering Joffe presents Hester going through in prison. The director depicts the heroine having an exceptionally hard time in her prison cell, crying and being tormented by her imprisonment, which deprives her from a normal life and any communication with the outside world. In fact, her torment reaches its peak when she goes to the window in order to hang the white handkerchief that would be a message to Dimmesdale to speak out, because she can no longer endure all this. However, Joffe presents the heroine to hold on once again, preferring to go through all the hardships on her own, just to protect her beloved.
Hence, she puts the handkerchief away. This scene is bound to move the spectators, who are left with no other option than feel sad for the pregnant woman’s suffering,
Boukali 68 while her decision to protect Dimmesdale once again despite her torment, creates emotion and admiration at the same time for the heroine. The director’s detailed depiction of Hester’s feelings in prison makes her situation even more human and believable. Joffe creates an impact on the viewers via this scene, which, oddly enough, does not exist in Hawthorne’s book. It is rather strange that the writer does not describe Prynne’s experience in prison, given that this would attribute to his purpose, that is to create sympathy for her. It may be reckoned that when one is imprisoned, all feelings and thoughts tend to become magnified, due to lack of contact with the outside world. During imprisonment, a prisoner’s mind is constantly working, as there is nothing else to be done, but think with no distraction. Hence,
Hawthorne could have taken advantage of Hester’s detention, so that her pain and thoughts would have an impact on the readers. Nonetheless, perhaps the writer had estimated that her sentence to wear the emblem of her shame and to be humiliated on a daily basis was of greater significance.
Another scene that creates compassion and emotion to the viewers is the one during which Dimmesdale, after the Puritan leaders’ prompting, tries to persuade
Hester to convey the identity of Pearl’s father. The minister addresses Prynne, asking her to reveal the truth, explaining that her silence can do nothing for her fellow-sinner but “add hypocrisy to sin.” The heroine’s response is nothing but tears, which make her silence a painful one, moving the viewers, as they are bound to feel compassion for the woman’s suffering and admire her courage.
But the most powerful scenes that create the greatest compassion for Hester are, undoubtedly, the ones with Chillingworth. Being angry towards Prynne because of her betrayal, Joffe has her husband treat her in an unspeakable way. The first scene takes place in Hester’s house, where Roger gradually becomes violent. He starts
Boukali 69 talking calmly to Hester, asking her: “Was I ever unkind to you? Did I not love thee or set thee above all womankind? Are you not bound by sacred oath?”. the viewers cannot imagine what is about to take place. Although Joffe depicts Chillingworth acting like a man that keeps his composure, his tone of voice steadily changes and becomes more commanding when he says: “Pray! Beg Lord to forgive your corruption.” From this moment on, the man displays great anger and rage towards
Prynne, as he becomes aggressive and violent. Before they realize it, they viewers are witnessing a scene where Chillingworth presses violently the towel, which was meant for him to clean up, on Hester’s face, in order to “wash away her sin.” As the scene progresses, the director depicts the man becoming more and more aggressive, forcing the towel on her face and finally hitting the woman. Eventually, he throws all the water on her before tossing the bowl away violently. The cruelty and brutality Hester receives from her husband in this scene captivate the spectators, who surely realize that even though Hester is humiliated by her husband, she suffers stoically this ill- treatment, knowing that she has betrayed his trust, as she is the one who had humiliated him first. Nonetheless, the director represents the heroine to be so helpless and afraid in this scene, with her eyes fixed on the ground, that he manages to create a feeling of compassion for Hester, just as Hawthorne does when he narrates the scenes where Prynne and Roger meet. However, it should be pointed out that Joffe is much more daring when he gives flesh to the character of Chillingworth. Even though the writer makes it evident that his heroine is afraid of her husband, insinuating that he is capable of hurting her because of her sin, there is no instance whatsoever that
Hawthorne describes violent behavior towards Hester. This may be because the writer was very careful that his narration would not exceed certain limits, given that he lived at a time when strict Puritanism had become a tradition and his narration would
Boukali 70 probably meet undesired reactions. Joffe, on the other hand, seems to present Roger’s reaction corresponding to the mentality of a betrayed husband of the twentieth century, when violence, especially coming from a wronged husband, is by no means shocking. In fact, the director presents what the viewers possibly expect to see, while probably aiming at a scene that is estimated to capture the spectators’ interest and justify to a certain extent Hester’s involvement with another man, who has given her kindness and love. Besides, it should be kept in mind that violence, along with sensuality, are key elements of the twentieth century movies, which seek for financial success.
There is no doubt that Roger appears to be one of the few people, if not the only one, that Hester is afraid of. Joffe displays Roger’s violence that renders Hester powerless, even for a while, in another scene, as well. Again, the character of Roger appears to be violent, hitting his wife, while asking: “Is his kiss wet on your lips, on your breast? I demand to know.” Once more, Prynne becomes helpless and afraid for a while, making the viewers feel for her hard time. The way Roger treats Hester certainly finds its explanation in the fact that she has wronged him, given that every man, even nowadays, could have reacted the same way if he became a victim of adultery. Hence, Roger’s anger is, up to a point, justifiable. Nevertheless, the fact that
Hester does not appear to be surprised by Chillingworth’s violence, might insinuate that Roger may have exercised violence on his wife again in the past. Of course, this is only an assumption, given Hester’s unsurprised reaction. However, the truth is that when women were married during Puritan times, they were treated as if they were objects. In fact, they were considered to be their husbands’ ownerships, while they owned nothing themselves (De Beauvoir 82). Women were like slaves and men were their masters ever since they were little girls, when they belonged to their fathers, who
Boukali 71 had all power over them (De Beauvoir 83). As grown women, their husbands perceived and treated them as their properties, leaving them totally submerged (De
Beauvoir 84). This must be the reason why Hester calls her husband “sir.” Moreover, women were always kept in a state of dependence (De Beauvoir 139). Both in every day life and during the sexual intercourse between husband and wife, the men’s goal was to “conquer,” to possess the woman (De Beauvoir 152). This was a reality that was offered to all women as their destiny, while they were expected to accept this kind of marriage silently and submissively, expressing no opinion, as they were not supposed to have any point of view of their own (De Beauvoir 425). This is why
Roger treats Hester so badly; he is one of those husbands of Puritan society and, what is more, he has been wronged. Hester’s infidelity, as any woman’s infidelity of the time, is a crime of high treason (De Beauvoir 83). Hence, Roger feels that he has lost proprietorship of Hester, as the “object” he had bought and owned, betrayed him and belongs to someone else now. Apart from anger and sadness, he must also have feelings of shame and embarrassment that render him hesitant to face the Puritan community, as he also feels that his male ego is undermined and humiliated. On the other hand, it may be assumed that this is why Hester commits adultery. She was probably given a man that she never loved, a man who possibly treated her as his property and as an object; a man that obviously never made her happy. It was a matter of time to fall in love with someone else that would awake true and profound feelings out of her.
Hence, Joffe manages to create sympathy for the heroine once again, shedding light on the fact that there are instances when she is a little weak and afraid, reminding the viewers of the conventional type of woman. Besides, she is only human and no matter how strong she may be, this does not mean that all these tortures are easy or of
Boukali 72 minor importance for her; a fact that Hawthorne would have wanted Joffe to display in the film, as well, as he himself does in the novel. It could be argued that the director attempts a clearer representation of Hawthorne’s true character and hints the potential conditions under which the adultery was committed.
The “Banished Woman”
Although Hawthorne presents Hester to be totally secluded, isolated and banished after she was found to be pregnant from the community she lives in, the director of the film does not give such an emphasis to her seclusion. It is more than evident that Joffe represents the heroine to have a constant interaction and contact with certain people of the town, perhaps implying that communication among people is both unavoidable and of vital significance for people’s survival. Besides, it must not be forgotten that Joffe gives details about the heroine’s life even before the adultery takes place, whereas Hawthorne does not shed light on the days before her sin committed. The following scenes, which are not included in the book, verify Hester’s interface with other people.
Right from her arrival in Boston, Prynne is surrounded by the Puritan people that rule the town and approach her to welcome her. The same night, she is surrounded by the same people again, as she has dinner at the Governor’s house. The director probably implies that the Puritans are eager to welcome a newcomer, especially if the person in question is a woman alone. It should be stressed that for these people, it is not appropriate for her neither to live on her own nor to walk unaccompanied in the town. As the movie goes on, Joffe presents Hester to be with her workers, Mituba as well, at her house all the time. In fact, the director presents her working with them in the garden, insinuating that she is so active and restless, that she
Boukali 73 does not hesitate to share the work with her workers, a fact that would probably be criticized by the Puritans, since, not only does she mingle with men while her husband is absent, but she also deals with labor that is connected with men. Hence, she appears to be surrounded by people on an every day basis. Actually, the viewers know for a fact that Hester does not live alone, given that Mituba is depicted to live with her, while the same is assumed for the rest of her workers, even after Pearl is born; a situation that is not existent in the novel, since Hawthorne presents Hester to live totally alone with little Pearl.
Moreover, Joffe depicts Prynne to have close friends, as well, even after she gives birth to her child, differentiating his representation of the heroine from the writer’s own depiction once again. The closest friend Hester is presented to have in the film is Mistress Hibbins. Although in the novel the two women have met each other three times the most and have not spoken a lot, in the film the director has the two women develop a beautiful and strong friendship. It seems that the director implies in his film the obsession with witchcraft in Puritan colonies during the seventeenth century. By presenting Hibbins, who was considered to be a witch, to have a close relationship with the heroine, he attempts to make his work even more interesting, given that witchcraft is among the concepts that attract people’s attention.
Of course, bearing in mind that Joffe may have had Anne Hutchinson in mind when rewriting Prynne’s character, it might be assumed that he alludes to the fact that
Hutchinson was connected with witchcraft, as well (Weinauer 374). Hence, Hibbins and Prynne seem to have a wonderful contact, given that the director presents them to laugh and enjoy each other’s company right from their first encounter. In fact, Hibbins appears to understand exactly what Prynne feels and thinks, since she claims that she can see what other people cannot. Of course, this could not be attributed to the rumors
Boukali 74 that want her to be a witch, but perhaps to the wide experience of life she has. Thus, she “predicts” the love affair between Hester and the minister, as she immediately senses that Prynne finds him handsome, while Joffe presents her repeating
Hawthorne’s own words that a man can stay with a woman only if he wins her heart.
The director presents the two women sharing a strong bond as the film progresses. They are repeatedly represented to be spending a lot of time together, either alone or with certain other women as well, discussing, laughing and having a good time. Evidently, they are two women that simply enjoy life, being indifferent towards religious matters. But their relationship entails a lot more than merely having fun. Their friendship is so strong, that Hibbins is depicted to get upset and react when
Hester is arrested. Moreover, Hibbins is the one that helps Prynne deliver her baby, giving her courage and strength all the time. This scene is a remarkable evidence of the women’s solidarity and mutual support, as it alludes to the fact that women often share common feelings and understand each other perfectly.
Additionally, the two women’s strong friendship becomes once again evident when the Puritan community turns against Hibbins, since she is officially pronounced a witch. Hibbins hides in Hester’s house in order to protect herself, while Prynne willingly risks her own life by hiding her in her dwelling. In fact, Prynne is presented to openly take Hibbins’s side when she talks to Dimmesdale, saying that she “has committed no crime beyond speaking her mind.” In addition, when Hibbins is finally arrested, Hester appears to stand by her until the end, supporting her dear friend and continuing to put her own life at risk. It may be assumed that apart from the strong friendship these two women share, which renders Hester anything but alone, Joffe might be trying to communicate the message of female independence and women’s rights that had been claimed before the release of the film and after Hawthorne’s
Boukali 75 book, while there might be connotations concerning female team spirit and female solidarity.
Another important difference between the novel and the movie, as far as
Hester’s isolation and loneliness are concerned, comes near the end of the movie. In
Hawthorne’s work, Dimmesdale passes away just after he reveals that he is Pearl’s father, leaving Prynne all alone and deprived of the chance to live with her beloved.
On the other hand, the director makes a twist when Hester takes Pearl and is about to leave Boston. Prynne is determined to depart and live with her daughter, a fact that might imply that she does not consider her relationship with Dimmesdale as a sin, given that it was not mere lust, but true and profound love. Arthur steps upon the carriage as well, determined to go with her, saying that he is not letting her leave without him. In fact, not only does he flee with her, but he is presented to deliberately kiss her in front of the surprised crowd. Thus, not only does he finally show to everyone his love for her, but he also sends the message that Hester is definitely not alone and that he will always be with her. It must be kept in mind that the director gives a modern presentation of the book, providing the spectators with the happy ending they would wish to see. After all, a happy end is part of the successful “recipe” most writers and directors followed during the twentieth century. Joffe’s own explanation for having the story end in a different way from the book’s ending is of great interest; as the director himself admits, he was attacked for altering the end of the book. In fact, according to Williams, Joffe makes a little joke about these accusations, saying that changing the end of the novel would entail rewriting the book. Although this could be considered a smart and diplomatic answer, via which the director makes it clear that the novel and the movie are two different, separate works, yet, it is not considered satisfactory. Nevertheless, Joffe does give a good answer
Boukali 76 when he says, as Howe states, that this is the end Hawthorne would have wished for if he had not been so repressed by Puritan society. Indeed, the writer might have wanted his “favorite adulterers,” as Lemons puts it, to end up together. However, due to the strict and unbending Puritan law, the writer could not have written a happy end for the two lovers. Although he implies throughout the novel that he supports their love, he was somehow restricted by the dominant nineteenth-century mentality to show some kind of punishment for the love affair that started out from disobedience towards the
Puritan laws. Hence, the happy ending Joffe presents may not be considered as disturbing, since there is a strong possibility that this would have been Hawthorne’s choice as well, under different circumstances. Besides, it must not be forgotten that in his novel, the writer attacks the hypocrisy of the Puritan society of the time. Hence, even though he might have wanted Dimmesdale to confess the truth, he chooses to display another example of Puritan hypocrisy via the minister.
This representation of Hester could be connected with Hawthorne’s view that
“man is naturally a sociable being.” Although Hawthorne was isolated and secluded, it seems that his isolation was attributed not only to the fact that he grew up in a household full of women, but also to the fact that each member was remote and secluded, sunk in isolation (Wagenknecht 76). The truth is, that the writer believed that one’s troubles and grieves are lessened when one is involved with other people, while he was very much interested in everything that was going on in the world around him (Wagenknecht 80). Hence, it may be assumed that he sentences his heroine to seclusion in order to emphasize her difficult situation, intensify her ordeal and, of course, underline the Puritans’ cruel behavior. Hence, it seems that Joffe is trying to show the same thing, which is that a human being cannot live all alone, given that it is in our nature to interact and communicate with each other.
Boukali 77
Nonetheless, there are instances where Joffe has Hester remind the viewers of the secluded woman Hawthorne presents. Even though the director does not present the heroine as isolated as the writer does, the fact that Prynne chooses to live in a house by the sea, which is near the forest and quite isolated, brings to mind
Hawthorne’s depiction of the woman. Although Joffe has Hester be informed that “no one has lived by the sea,” she is presented to be unafraid and uncompromising. Her isolation appears to have been voluntary and intended, which implies that she may have wished to live as far as possible from the Puritan community. Moreover, the director constantly presents Prynne to go around in town with her carriage all alone, a fact that comes in opposition with the rest of the carriages that are driven by couples and families, emphasizing the fact that she is alone.
Finally, the end of the film reminds the viewers of the fictitious Hester’s situation. The viewers are informed by Pearl’s narration that although Hester, the minister and herself have left together, as a family, Prynne eventually has the same end as in Hawthorne’s book. Dimmesdale died a few years later, just before Pearl reached puberty, while Prynne never married again or loved another man. As far as
Pearl is concerned, since there is no hint about what might have happened to her, it might be assumed that when she grew up, she left her mother in order to live her life as a grown woman, just as in the novel. Hence, the result is the same for our heroine;
Hester ends up living all alone.
Boukali 78
Inner and External Beauty
Joffe appears to respect Hawthorne’s depiction of Hester as far as her appearance is concerned. Choosing Demi Moore to give flesh to Hester’s character appears to have been a successful decision, given that the specific actress’s appearance comes in total accordance with the writer’s description of the heroine. She has long and abundant dark hair, her skin and eyes are fair, while her beauty is indisputable. The director’s numerous close-ups on her face verify her exceptional beauty, as well.
Hawthorne repeatedly gives emphasis on the heroine’s prettiness. Joffe, on the other hand, does not need a narrator to demonstrate Hester’s attractiveness; his close- ups are enough to emphasize her beauty. There is a particular scene in the film, which does not exist in the book, where Prynne’s beauty and femininity inundate the screen.
Joffe depicts Hester having a bath, making close-ups to her naked body. The viewers witness the heroine’s femininity and sexuality for the first time, as her hair is undone, betraying its richness and length, while her body is actually flawless. Prynne’s external perfection, along with the way she is presented to take her bath, shed light on her female, sensual side, which Joffe places emphasis on, while Hawthorne, because of the time he is writing, completely overlooks. Even more interesting is the fact that while she is taking her bath, she is thinking about Dimmesdale’s naked body she had seen in the river, while, at the same time, the minister is presented to be thinking about her, too. Hence, the director adopts the writer’s implication that a “magic touch” is needed for a woman’s femininity to come to light, that is a man who loves her and is loved by her, as well. Here, Hester is starting to have feelings for
Dimmesdale, which magically touch her soul and bring her sexuality and femininity to light. Joffe appears to imply that Hester herself realizes the change on her, as she is
Boukali 79 depicted to stare at her naked body in the mirror. The message is clear; Dimmesdale awoke deep feelings to the heroine and reminded her of her femininity and sexuality she had long forgotten. Hester feels like a woman again. However, this is a scene
Joffe has been attacked for. For instance, Alleva sarcastically refers to Demi Moore’s body as “aerobically sculpted.” However, one should delve deeper into the director’s thoughts and intentions, as the scene entails the above-analyzed meaning. It is rather improbable that Demi Moore’s good-shaped body is being showed off, as the aforementioned comment implies. In fact, it could be considered as a rather superficial remark, given that it misses the essence of what the director insinuates during the scene in question.
Another scene that displays Hester’s femininity is the one during which
Dimmesdale and Hester make love. Although Hawthorne could not include such a scene in his novel, given that he wrote his book in the nineteenth century and negative comments and uproar would have been probably received, Joffe appears to be more daring, which is justifiable, given the time the film was released. The director not only presents such a scene, but he also has it last for four minutes and twenty seconds.
Howe ironically calls the couple’s sexual intercourse a “passionate gusto.” Moreover,
Gleiberman sarcastically describes the protagonists’ sexual intercourse as a “coupling out in the grain bin in rapturous slow motion” that is worth cherishing. However, the truth is that, showing great respect to Hawthorne’s work and to the viewers, the director includes nothing offensive or vulgar during this love scene, insinuating that what Hester and Dimmesdale shared was not mere sexual attraction; instead, it is a very moving scene, given that what are emphasized are the passion, tenderness and true love between the two lovers. It is worth noting that according to Puritan tradition, sexual intercourse should only be enjoyed and performed in marriage for human
Boukali 80 procreation (Porterfield 14). Joffe, however, makes it evident that the two lovers enjoy their love, even though they are not married to each other, letting their profound feelings inundate the screen. Throughout the unity of their bodies and souls, the couple reaches the peak of their true love, while the close-ups to their countenances reveal their profound emotions. Hence, the director represents Hester to be freeing herself during this sexual intercourse, letting her femininity and sexuality come to light. Her womanhood and femininity are emphasized, as she feels a free woman in the arms of the man she loves.
Of great significance is also the fact that the director does not present Hester to occupy herself with needlework, as Hawthorne repeatedly emphasizes in the novel as the main occupation of women at the time. The only instance where it may be only inferred, and still not with certainty, that the heroine deals with needlecraft, is when she appears in a dress with a lot of lace. But the viewers can only assume that she is the one doing all this needlework on her dresses, given that the director does not give any clue at all concerning this matter. This may be the case in order to emphasize that
Hester is definitely not an ordinary woman and differs greatly from the rest of the female characters of the time. But it could also be the case that Joffe is more closely to the twentieth century woman, who is freed from such traditional restrictions.
Hence, instead of sewing, Prynne seems to be interested in reading. The director depicts Hester to be educated, reminding the viewers of Anne Hutchinson, who was an intelligent, educated and independent woman (Colacurcio 306). The image of the cinematic heroine is definitely an image of a twentieth century woman, who has overcome all the prohibitions and prejudice concerning women’s education.
Unlike Joffe’s insinuation of Prynne being a well-educated woman, it is true that during Hawthorne’s time women were not supposed to be educated. This is why the
Boukali 81 writer does not present his heroine to have any connection at all with education and reading, since this field used to be suitable only for men, while women’s activities were limited to housework and needlecraft. However, Joffe represents Hester to have taken advantage of her husband’s large library, allowing herself to be schooled, as she admits to Dimmesdale. In fact, Prynne is represented to be going to the library of the town, looking for more books to read, a fact that displays her uneasy spirit and desire for more education and knowledge. It is worth noting that she is the only woman in the film that is depicted to be interested in such an activity, which stresses her unique and rare personality. Even more interesting is the fact that Joffe has Hester have already read the book Dimmesdale is reading, impressing both the minister and the viewers, while implying that she is ahead of and, in a way, superior to a man, once again.
What is really stressed in Joffe’s representation of Hester is her strength of character and dynamism. This is the focal point of the director’s description of the heroine. This intense depiction of her dynamism could be connected with her education, as it could be argued that knowledge equals power. Indeed, an educated person is much more difficult to be restricted and suppressed, as education gives awareness and great power of mind and intellect. Therefore, Joffe’s heroine is presented to be even more active, strong and dynamic than the fictitious Prynne. Thus, the character of Prynne in the movie displays great vigor, strength and boldness right from the beginning, being much closer to the characteristics of women after their emancipation than the fictitious Hester is. Joffe reveals Hester’s energy and strength right from the moment she appears on screen.
Moreover, the bravery and fearlessness the character Hester possesses is made clear by the scene where the man who escorts her, after the dinner with the Puritan
Boukali 82 leaders, compliments her, saying that she has pretty hands, not to mention that he even tries to kiss her, an incident that is not mentioned in the novel. Apart from the fact that
Joffe’s close up on his face implies that these Puritan men, who ironically demand order and dignity, are rather wicked and hypocrites themselves, the director also has
Hester display great strength and vigor when she deals with this incident. She does not hesitate to slap him on the face, while when he says, in shock, that that hurts, she valiantly responds: “Good! It will remind you not to do it again.” Of course, Hester’s reaction corresponds to the twentieth century, given that, in the seventeenth century, no woman would dare slap a man, especially a man that belonged to the upper class as this one does. In another scene of the film, again not existent in the book, Joffe has the same man intrude into Hester’s house when he realizes that she has been seeing another man who is not her husband. The director represents the man to be attempting to rape Hester. He is depicted to be violent, while he talks to her in an unspeakable way when he tries to undress her: “I should have guessed long ago, you naughty girl.
You fucked the minister […] Did he suck your breasts? Did he lick you?”. The language Joffe has the man use is rather shocking, along with the man’s actions.
Hence, the director tries to show in his own way, and in a way that talks immediately to the twentieth century viewer, what Hawthorne implies in his book; that Puritan men were nothing but disguise and fraud, as they are sunk in corruption. Even more impressive in this scene is the way Joffe represents Hester to be reacting to this intrusion. The message is clear and unquestionable; Hester is represented as a strong woman, just as Hawthorne intended her to be, hence, she would by no means permit anyone to force her into something she does not want. She fights, she struggles hard to save herself and responds to his violence with violence, as well. In the end, of course, she manages to beat him, hurting his eye with a lit candle. What is more, the scene
Boukali 83 ends with Hester scaring the man away and out of her house with a gun, a weapon that is traditionally linked with masculinity. Having the heroine posses a gun, Joffe verifies the subversion of roles Hawthorne seems to imply in his book, representing
Hester to act like a man. In fact, it could be argued that she seems to be superior in vigor and courage than this man, since not only does she manage to protect herself from being raped, but she even scares him away, saying: “Get out! You bastard, get out.”
The director emphasizes the subversion of gender roles in question with the addition of miscellaneous scenes, where Hester appears to act like a man. For instance, the heroine is represented to be bold enough to go and hire workers for her house and garden. Joffe makes it clear that this is an exclusively male activity, given that in this scene, Hester is the only woman present for this purpose. When she expresses her interest in specific workers, she receives the full of surprise comment:
“…but shouldn’t your husband or your father doing with me business, mistress?”.
This phrase confirms once again the fact that women were considered to be unfit to do business in the market domain, given that they were considered to be fit only for the domestic activities during Puritan times. Apparently, a woman was dependent on her father until the day she got married, whereof she was subject to her husband, a truth that is reminded to the viewers and the heroine, as well. Nevertheless, it must be kept in mind that Puritan women took over their husbands’ business when the latter died, but only if they did not remarry or did not have a son old enough to take over. In
Hester’s case, although her husband is not dead, he is away, a fact that may justify her presence in such a place. However, Joffe has Hester respond to the man, fearlessly and intransigently: “Is my money no good to you, sir?” in other words, the heroine
Boukali 84 reminds the man in her turn that what he asks is none of his business, showing again her dynamism and wit.
Of great significance is the image the director repeatedly presents in the film and it is no other than Hester driving her own carriage. The contrast is clear. The streets are inundated with carriages that are driven by men, with the women beside them, implying feminine inferiority and submissiveness, while masculine superiority is emphasized. Nevertheless, Joffe insists on representing Hester driving alone her own carriage, having no man beside her, a fact that not only implies her isolation and foreshadows her loneliness, but also verifies that she acts like a man. Even more worth noting is the fact that she seems to feel no discomfort, given that she is represented to have an air of pride and no sign of agitation concerning the indiscreet
Puritan looks that are fastened upon her, nor the gossips of women. It is also worth mentioning that the director represents Hester to work in her garden as well, carrying on her shoulders heavy equipment that would normally be carried by men, considering this to be something ordinary, since she does not complain nor ask anyone’s help.
Of immense interest is the first encounter between Hester and Arthur
Dimmesdale, a scene that emphasizes Hester’s strength of character. To begin with, when Hester tries to make the horse pull the carriage out of the mud where it is stuck, she refuses to ride with the minister that offers his help, as she gallantly asserts: “I can ride,” a fact that is definitely confirmed, given that she manages the difficult shortcut
Dimmesdale suggests and ends up ahead of him. This is definitely a subversion of roles, since the man is supposed to lead the woman, not to mention that women usually ride with men, sitting behind them. But, no, this could not be the case with a woman so confident and strong like Joffe’s character that appears to be even more
Boukali 85 active, energetic, confident and stronger than Hawthorne’s heroine. This may be not only due to the fact that Joffe adds the specific scenes, trying to communicate
Hawthorne’s message that Prynne acts like a man, while she is a rare and admirable woman, but also because it is true that “a picture is worth a thousand words,” as it has a unique power to move the viewers. It is essential to point out that when at the end of the movie Dimmesdale, Hester and Pearl go away together as a family, the director presents Prynne driving the carriage once again, leaving the viewers with this picture as this is the last scene of the film. Hence, the viewers are reminded not only that
Hester is stronger than Dimmesdale, but also that the specific woman, and perhaps women in general, are the ones who actually “lead” the family, just like Hester leads the way with the carriage. This could be a feminine implication that Joffe wants to communicate, bearing in mind Hawthorne’s admiration and perception of women.
Of paramount significance is the way the director presents the approach between Hester and Dimmesdale, alluding once again to the subversion of gender roles in question. It is worth mentioning that Prynne is represented to act like a man, given that she takes a lot of initiatives to come closer to Dimmesdale, being the one who takes most of the steps. For instance, she is the one who first lays eyes on him in the river. Joffe uses a bird’s eye view to show how Prynne first encounters Arthur’s naked body swimming in the waters, while a close up to her countenance betrays how she is quite taken with his appearance and movement. Normally, one would expect a man to be the first who notices a woman that impresses him, since this is the norm most films follow. Moreover, Hester is the one who flatters Dimmesdale, praising him on his sermon and saying that “it is rare for a man so young to speak with such a force of passion.” Prynne cannot seem to be able to hide her admiration, excitement and emotion for his person, pointing out once again how moved she is by his passion
Boukali 86 during the sermon. Furthermore, the director depicts her approaching him once again, bringing him books from her husband’s library. During this scene, Joffe makes it clear that Hester knows when she should apologize, since, realizing that she has made him feel uncomfortable with the comment about the pain in his heart that she had discerned during his sermon, she admits that she is sorry for having been “too straightforward” and that she has been “reprimanded a lot of times for speaking too bluntly,” leaving no doubt about her bold and daring personality. Additionally, it is worth noting that Prynne takes the initiative to praise Dimmesdale and show her admiration towards him, as she exclaims “What an ambitious undertaking!” when she is told that he translates the Bible into the local Indian language. There is also another implication, or rather verification, of Hester’s audacity and intelligence. When Arthur asks her why she did not tell him that she was married, Joffe has her immediately respond: “Why didn’t you say you were a minister?” leaving him speechless with her smartness and wittiness that betray that she is not an ordinary woman, winning more and more his attention. Joffe may actually allude to Anne Hutchinson’s wit and readiness of speech, given that she was a woman that had surprised the magistrates with her retorts and her knowledge on religious matters (Porterfield 99). Finally, the scene during which the minister and Hester confess their love for one another is of paramount significance. Although Dimmesdale confesses his love first, it is clear that
Prynne is more exuberant than him. She immediately responds that she loves him too.
But what is worth noting is the fact that she is the one who gently touches his face, while wondering if she had really been alive before she laid her eyes on him. Hence, even though Joffe has the love-confession take place in a traditional way, given that the man speaks out his love first, the subversion of gender roles is once again evident
Boukali 87 by the fact that the director has the heroine be the one who expresses her tenderness and affection first, by caressing his visage.
There is no doubt that Hester’s immense strength of character becomes even more evident after she gets pregnant, whereof her martyrdom starts. Joffe makes sure to display the heroine’s vigor and intransigence, as Hawthorne does in his book.
When Prynne is asked if she carries a “bastard child” in her womb, she gallantly admits that it is so. However, just as the heroine of the book, she refuses to disclose the name of the father, saying firmly and calmly: “I won’t reveal the name sir.”
Hence, the director displays how strong she is, taking Dimmesdale’s responsibility on her shoulders, but also how much this woman loves the minister, given that she protects him all the way, even though she is told that she is innocent compared to him, a fact that is emphasized in the novel, as well. In fact, Joffe represents Hester to be exceptionally bold, daring and provoking for the Puritan era, as she bravely admits that she loves the father of her child, that he is her true husband, hence, she will not disclose any information that will cause him harm. In the film, Prynne displays the same fearlessness and courage Hawthorne represents her to display in his book, leaving the viewers awestruck by her decisiveness to protect the one she loves at her own expense. Not to mention that the subversion of gender roles is again evident, since one would normally expect a man to protect a woman, given that men are supposed to be the “strong sex.” Her determination to protect the man she loves is once more revealed when she goes to the church in order to warn Dimmesdale that her husband is alive, in town, and preparing his vengeance. Joffe has her reveal
Chillingworth’s arrival to the minister immediately, in opposition to the writer who depicts her waiting for seven years before she informs him about her husband’s appearance. Prynne is presented to actually beg Dimmesdale to leave the town
Boukali 88 without her, as she cannot bear to see him hurt. Moreover, she is so worried about the man she loves, that she risks writing a letter to him reminding him that he should never speak the truth about their relationship. Once again, Joffe displays the woman’s profound love for the minister, her selflessness and self-sacrifice.
Additionally, the director depicts Hester to be extremely firm towards the
Puritan leaders who condemn her. It is worth noting that she does accept her punishment just as Hawthorne’s heroine does, however, she seems to be particularly audacious, as she does not hold such a humble and passive attitude as the writer presents the heroine to be doing in his book. For instance, when the Puritan leaders are about to place the brand of shame on her bosom, she provokes them, as she gallantly dares them to put it on without hesitation, saying that it is their own badge of shame and not hers, making it clear that she has nothing to be ashamed of. The heroine keeps provoking the Puritan government, daring to dispute their judgment, pointing out in front of the whole shocked community that there is no qualified man to guide women and that Mituba’s death is not a result of witchcraft, but of murder. In fact she does not hesitate to argue that the murderer is a man, while she literally screams that Satan is among men and not among the wrongly accused of witchcraft women. Furthermore, she is not reluctant to stay in town and be hanged with Hibbins and the rest of the other women, displaying enormous courage when she says that she intends to go as far as her strength will take her. Hence, instead of running away, she dares to risk sacrificing her own life and stand by her friend, Hibbins, while she chooses to fight against the injustice of the Puritan community. Besides, it is not accidental that Joffe has the minister actually begging her not to anger the magistrates any further. He has obviously acknowledged this woman’s endless bravery, which
Boukali 89 makes him love her even more, but he is worried about her provoking boldness that might get her into more trouble.
Additionally, when the people of the Government intrude into her house in order to find and arrest Hibbins, she appears to deal with this with exceptional heroism, as she refuses to let them in. Moreover, when these people leave, she does not hesitate to speak intensely to Dimmesdale, who believes that all this uproar in town is God’s punishment for their sin and that he considers himself a lie and a pollution for not confessing the truth. Hester firmly reminds him that “they are the lie” and does not hesitate to point out that he is actually allowing them alter the man she loves, permitting them to destroy everything that is good in him. It must have taken her a lot of strength to talk to the man she loves like this, but she appears to be honest, straightforward and daring once again, characteristics she retains even when speaking to the love of her life. However, the fact that she worries about him is revealed once again as soon as she sees him, as she points out that he has lost weight, implying that she is concerned about him and the fact that he is in psychological pain.
However, Joffe represents Hester to be confiding in Hibbins, during a moment of weakness, her speculation about womanhood, a speculation Hawthorne has her have in the book, as well. Thus, Prynne appears to wonder whether a woman’s existence is worth while, given that she feels so wronged and mistreated by all these men. However, Hibbins’s replies that at least the heroine knows what true love is, a reply that leaves the viewers speechless, given that it implies that women were considered to be inferior in Puritan times, while they did not have the chance to choose the man they would marry. But although Hester seems to have a moment of weakness, pondering over women’s existence, the truth seems to be that she has
Boukali 90 grown stronger throughout her trials and ordeals, as she herself daringly announces to
Roger.
Feminine Instinct and Intelligence
Joffe manages to convey Hester’s intelligence and intuition, as Hawthorne does in the novel. It is evident throughout the film that the director projects feminine instinct, via scenes that do not exist in the book. Although Joffe does not display as many instances as Hawthorne does concerning Hester’s intuition, it is obvious that the director adopts the writer’s implication that women possess a remarkable and admirable instinct.
To begin with, Prynne is presented to confide in the minister that she is already late for the service and that people are talking about her. Hence, the director points out that the heroine has a perfect perception of what is going on around her and that she is intelligent and intuitive enough to realize and sense the situation. In addition, Joffe reminds the viewers once more of the heroine’s intuition and instinct, just as Hawthorne often does in his book, given that Prynne brings the minister to a rather awkward position, saying that he must have a broken heart that is in pain. It is not accidental that Joffe has Dimmesdale wonder how she could see so deeply into his nature. Hester’s answer that maybe she is a witch is intended as a joke by the heroine, but forms a great irony, since it foreshadows that she will be accused of witchcraft later on.
It is also worth noting that Hawthorne repeats the image of red roses in his book, which were traditionally linked with Jesus, given that they were the flowers that used to be white, but they were painted red with His blood. Hence, red roses traditionally represented sin, pain and sacrifice, while Hawthorne seems to associate
Boukali 91 them with Hester’s situation (Colacurcio 304). On the other hand, Joffe insists on the presence of a red bird in his film, which, presumably, replaces the repeated image of the flowers in the novel. Joffe’s choice of this symbol is of great interest, given that it has received miscellaneous disapproving comments, among which Howe’s sarcastic remark that, in an effort to make his own symbolism, the director, or the screenwriter,
“throws in a red bird (actually a red-dyed canary).” Although the director intended a scarlet bird to be the main symbol in his movie, it is true that the canary he chooses for a symbol is unrealistic, given that it looks as if it is dyed red. As a bird, it seems very artificial and unnatural. However, the symbolism appears to be successful, given that its eyes are also red, a fact which alludes to Satan. Hence, in the film, this bird seems to be an emblem of temptation related to the Devil. In fact, it is not accidental that the bird appears during the love-scene between Dimmesdale and Hester, in the scene during which Mituba secretly watches the couple for a while, implying women’s sexual repression of the time. According to Gleiberman, Mituba seems to actually enjoy a communion with the red bird while taking a bath. Her face- expressions when staring at the bird, along with the way she washes her naked body, depict her as if she is having, as Howe puts it, her own “sexual intercourse,” sharing a
“sympathetic eroticism” with it. Moreover, the red bird stands as a symbol of temptation once more, given that when Hester sees it, her instinct leads her to follow it in the forest, where she first sees Dimmesdale swimming in the river, and is tempted by his naked body.
Additionally, the heroine’s intelligence and enormous instinctive power lead her to warn Dimmesdale about her husband’s arrival, even before Roger attempts to hurt him, just as in the book. The director makes Hester’s anxiety evident, since she senses that Roger will do something to hurt the minister, whom he suspects to be the
Boukali 92 father of Prynne’s child. The close up on her countenance when she tries to persuade
Dimmesdale to depart from the town, leaves no doubt to the viewers that the heroine senses the danger that something really bad will soon happen.
Another scene that displays Prynne’s intuition, but also her intelligence, is the one where she tries to convince Dimmesdale that the scenarios about Hibbins’s witchcraft are all “part of some malevolence.” The woman is represented to see right through this entire situation, as she understands that these accusations are an evil plan in order to hurt Hibbins and herself. It must not be forgotten that Hibbins had helped
Prynne to deliver little Pearl, a fact that was bound to bring the two women closer to each other. Puritan men must have been afraid of women’s bond, especially when it was created during labor, a process during which men were never present. Besides, it should be kept in mind that Anne Hutchinson herself had developed very close friendly relations, especially with women she had helped during labor, a fact that made her popular in Boston, but also contributed to the Puritan magistrates’ negative attitude towards her (Porterfield 81). Hence, bearing in mind Puritan men’s feelings towards women that developed a strong bond particularly during labor, Prynne’s suspicions seem to be justified. Her intelligence and instinct do not prove her wrong, although the unsuspicious minister hesitates to believe her.
Finally, the first encounter between the two lovers should be commented upon, a scene which displays once again Hester’s intelligence. When Dimmesdale offers his help because Hester’s carriage is stuck in the mud, the heroine intelligently and instantaneously answers that he obviously cannot help her if he does not get off his horse. This scene has received miscellaneous negative comments, among which
Alleva’s misogynist remark that Hester’s answer “Not from up there” to
Dimmesdale’s question “Can I help you?” transforms the heroine from the
Boukali 93 personification of natural graciousness and instinctive courteousness into a
“wisecracking cutie.” Although it is true that Prynne has nothing to do with
Hawthorne’s heroine when she answers like this, as she is presented to flirt with the minister in a daring way, it could be argued that Alleva’s sarcastic comment is rather offensive. Besides, there is no doubt that via Hester’s response, the director displays once more the woman’s intellect and wit that surprise Dimmesdale and the viewers, making them admire her aptitude.
The “Earthly Saint” – Motherhood
Even though Hawthorne insists on depicting Hester as a saint, it is more than evident that this is not the case in the film. There is no instance whatsoever in the movie where Hester is presented to be saint-like, neither by the narrator, nor by
Joffe’s direction. There is no hint that Prynne is viewed as a saint, as described by the author, nor is she depicted to accept her punishment so submissively and passively as the writer’s heroine. Instead, what is really emphasized by the director is the heroine’s endless strength, energy, uncompromised independence and will to struggle.
In fact, the scene where Joffe presents Hester following the red bird to the forest, where nobody is supposed to go, reminds the viewers of the story of Eve.
Hester is in the forest and just before she lays her eyes on Dimmesdale’s naked body in the river, she cuts cranberries from a tree and eats them. It may be argued that this scene alludes to Eve’s fall, which started as soon as she ate the forbidden apple from the apple-tree. Hence, Hester’s suffering initiates right after she eats the fruit, since this is when she sees Dimmesdale for the first time. She is bewitched by the presence of a man other than her husband, for whom her feelings grow stronger, leading her to everything she goes through later. Indeed, Prynne and Dimmesdale are depicted as
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Eve and Adam, transcending a violent historical inheritance of patriarchy to found our more liberal and open minded era, the epoch we live in (Lepore 1168).
However, there are scenes during which Joffe makes it clear that Hester believes deeply in God. For instance, when she goes to church she appears to be in awe as she listens to Dimmesdale’s sermon. She is enchanted by both his handsomeness and his passion during his religious lecture. His calm and benevolent countenance gives the impression to the viewers that he is a dedicated, passionate minister. Dimmesdale’s words about God speak straight into her heart, contributing to the fact that Hester is bewitched by the minister.
Moreover, during the scene when Hester finds out about Roger’s supposed death, she says that she has been praying for a long time to be set free and asks
Dimmesdale if this is an answer to her prayers. Hence, even though Joffe does not present Prynne as saint-like throughout the movie, he insinuates that she is a religious person that believes in God.
Furthermore, having Hester say that she has been talking to God ever since she was a little girl and that He actually answers to her, the director displays the heroine’s connection with religion, alluding to Anne Hutchinson once again, who had claimed to have communicated with God and that He actually spoke to her, a fact that led to her excommunication by the magistrates (Porterfield 99). The women that listen to Prynne, including Hibbins, are taken by surprise by this bold and controversial statement, not to mention the viewers, as well. It is true that although Joffe gives the impression to the audience that Hester is religious, he does not give emphasis on this side of hers. Hence, the viewers, just as the women in this scene, are taken aback by such a declaration, given that they try to figure out whether Hester is really meant to be represented so religious. Joffe could be implying that the heroine would never
Boukali 95 commit a sin, given that a woman who talks with God is bound not to be involved in anything sinister. Thus, the director gives another dimension to the relationship between the minister and Prynne, insinuating the immense depth of their connection.
Nonetheless, Hester’s statement is quite surprising and confusing, on the grounds that the director underscores Prynne’s strength and energy throughout the film and not her faith in God. Hearing her say that she speaks to God and that He actually answers, may seem a little bit exaggerating. This is because Joffe’s Hester displays no passivity whatsoever, and is not presented as humble as Hawthorne presents her to be in his novel.
However, the fact that the director depicts Prynne saying to the Puritan magistrates that she believes that she has sinned in their eyes, but nobody knows if
God shares their own views, makes it clear that Joffe respects Hawthorne’s description of Hester. Throughout this scene, the director represents Hester to be acknowledging God’s superiority, just as the writer does in his novel. This is also emphasized by Pearl’s last words when the film ends, where Joffe has her wonder
“who is to say what is a sin in God’s eyes?” probably adopting Hawthorne’s repeated insinuation that the Puritan people are very judgmental and cruel against the heroine, implying that they have wronged her and judged her as if they were gods, whereas the truth is that the only one who is in position to judge Hester and decide if she is to be punished, is God.
The aforementioned implication is explicitly brought to light during the scene where Prynne is in labor. The director presents Hester connecting her physical pain with her sin, as she infers that God is punishing her. It is true that labor pains were connected with Eve who had sinned (Porterfield 96). Since her sin, women’s pains in labor were considered to be a punishment for the female sex, while it was believed
Boukali 96 that women were expiated from the heritage of the original sin through this procedure
(Porterfield 96). However, Hibbins answers what Hawthorne himself states in the novel. God is not punishing the heroine; instead, He is giving her a child. This automatically alludes to the writer’s view that the pure love between the minister and
Hester, which is so rigidly condemned by the shallow and narrow-minded Puritans, is blessed by God, who actually offers the woman the joy of becoming a mother.
Although Hawthorne gives enormous emphasis on Hester’s motherhood, as she is always presented in the novel with Pearl, shedding light on the heroine’s thoughts, feelings and the way she raises little Pearl, Joffe does not focus on this side of hers. First of all, the narrator does not give any description of Pearl when she was a child, as the narrator in the book so extensively does. There are only two instances in the film that actually refer to little Pearl. The first is by Pearl herself, who narrates that the pain of her parents’ separation must have had a great impact on her, as she was a
“troublesome child.” The other one is when Hester says to Dimmesdale that little
Pearl is an “elf,” which is continuously repeated in the novel. Otherwise, as far as
Pearl herself is concerned, there are only a few scenes where she participates, as the director’s primal focus appears to be on the two lovers’ troublesome lives after their sin and the way they try to get away from Roger’s evilness and desire for revenge.
However, there are cases where Joffe brings to light maternity, presenting
Hester as a mother. For instance, the director represents the heroine to be giving birth to little Pearl, showing the process of becoming a mother, a scene which does not exist in the book, given that Hawthorne could not have been aware of the procedure in question, since men did not participate in labor. Joffe’s close ups on Hester’s sweat on her face, along with her countenance and her moans, betray how painful this is to her and how much she suffers to become a mother. However, her great pain ceases and
Boukali 97 her suffering countenance is replaced by a big smile as soon as she holds her baby in her arms. Hence, Joffe chooses this way to communicate to the viewers the grandeur of motherhood, which is underscored by Hawthorne throughout the book.
Moreover, Hester’s maternal love is made clear when her child is officially pronounced by Roger as “the devil’s child.” Joffe depicts little Pearl to have a red birth-mark on her belly, which Chillingworth cunningly uses for his evil plan for revenge. The fact that the mark is red is obviously not random, as it is thus immediately connected with the heroine’s scarlet letter; not to mention that little
Pearl’s red dress reminds us of Hawthorne’s descriptions of the child’s clothes in the novel. Hence, when the child is taken away from her mother in that court and Hester listens to all the false allegations, the director has her constantly scream “No!” At the same time, her worried and terrified countenance, along with the fact that she reaches out her hands to take Pearl back to her arms, reveal her deep love for her child, whilst making it clear that, being at risk of losing her child, she fights and struggles to take her beloved little one back, while being overwhelmed with pain and anger.
Furthermore, there is another scene that sheds light on Hester’s maternal love.
When Hester decides to stand on the scaffold with Hibbins, her primal concern is to make sure that her child will be in good hands and makes Dimmesdale promise her that whatever happens, he will always look after little Pearl.
Finally, the two scenes during which Dimmesdale, Hester and little Pearl hug each other as a family, one in the forest and one near the end of the film, display how much Hester loves her child. Joffe shows Prynne always holding her very tight, as the little girl is always included in her parents’ hug, while Hester looks at her with great tenderness, love and pride.
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Conclusion
The Scarlet Letter has been a puzzle to the critics, who attempted to grasp its deeper meaning and its writer’s intentions (Mayo 268). There are a lot of people that have been disturbed by the issue of adultery and the way the adulteress is presented in
Hawthorne’s book. For instance, as it was expected, the Churchmen characterized
Hawthorne’s work “delicately immoral,” since they could not approve of a work that presented a minister to be the partner in a crime of adultery, let alone the fact that
Hawthorne actually suggests sympathy for the heroine’s sin, along with an implicit anxiety whether the couple will escape to a land where they can go on with their shameful relationship (259). Hawthorne’s own reaction towards this negative criticism was, surprisingly, not irritation, as he believed it was necessary for his success as a writer to have certain bitter enemies (Turner 206). His answer displays the writer’s professionalism and wit, given that he was aware not only of the fact that it is logical that his heroine and her sin were bound to meet negative comments, but also of the fact that he realized that Hester’s story was not an ordinary one. The theme of adultery was so provoking at the time that it was certain to gather bitter criticism.
Not only discussing adultery, but also suggesting compassion for the adulteress,
Hawthorne took an enormous risk that could have cost him his career as a writer. But at the same time, he was very intelligent, given that such a provoking story was bound to create, above all, curiosity to read it. Even the worst reviews were a benefit for both the book and the writer, as even negative criticism actually advertizes someone’s work, a fact that Hawthorne seems to have been aware of. The more the reviews, and, most importantly, the more contradictory they are, the more people will be incited to read the book.
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However, The Scarlet Letter did not only meet condemnation. Hester’s story has also met huge success and sympathies, while it has had an enormous effect on people, given that the issue of adultery puzzles and concerns the public up until these days. The phenomenon called “Hester Prynne-ism,” which is based on fears that women are gradually replacing men in the field of writing literature, is the most striking evidence of the impact the character of Prynne has had (Lutes 274).
According to “Hester Prynne-ism” male writers banish women from the field of writing literature, describing female experiences in terms of “Otherness,” just as
Hester was rejected from the Puritan society and was treated as the “other” by
Puritans due to her sin (Lutes 274). The phenomenon in question that is named after the character of Prynne leaves no doubt that Hawthorne’s heroine has enormously inspired and affected people, which is reasonable, given that Hester is so unusual and revolutionary that is bound to create awe and be unforgettable.
There is no doubt that the way Hester is presented by Hawthorne is bound to create sympathy for her, even though she is an adulteress. The writer describes aspects of the heroine that one would not bother to consider when first hearing that she is an adulteress, as the most probable reaction would be to think that she deserves the consequences of her action. Nonetheless, Hawthorne sheds light on the other side of the coin concerning the issue of adultery. He indirectly points out that things are not always as they seem to be, while he brings to light the circumstances which may have led to adultery. We immediately censure adulterers, but after reading The Scarlet
Letter, we cannot help but think twice before we do. The writer brings to light the fact that adultery may actually be painful and unpleasant for those involved in it, as well.
But the prevailing circumstances must be taken into consideration, too. Depicting
Hester to suffer, Hawthorne points out that everything is not merely black or white.
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He persuades us that there are times when adultery does not happen with the intention to hurt other people. Moreover, describing Hester’s isolation and both her maternal and feminine nature, Hawthorne manages to create feelings of admiration and sympathy for the heroine, which immediately replace any potential intention to judge and condemn her for her sin. The truth is that adultery is in our lives and it can happen to everyone. It is a reality that goes back a long time and, up until today, it is a fact.
Hawthorne merely dares to show this in his novel, depicting the reality everyone avoids confronting. Finally, it should be emphasized that Hawthorne also reminds everyone that women are not objects that can be bought or owned. They have emotions and a mind of their own, even when they are not allowed to express any of it, a fact that is made clear through Hester’s representation, making her character even more admirable and worthy of attention.
On the other hand, Joffe’s cinematic representation of the heroine and the issue of adultery have met a lot of negative criticism, being attacked more than once, as well. To begin with, according to Lee, the director himself had been quite sure that his work would be condemned and disapproved of by numerous critics. As Lee points out, Joffe has stated that when he read Hawthorne’s book, he realized that to be true to the novel would be more difficult than he had imagined, on the grounds that the issue of “polemic against adultery” had been long forgotten, given that most of the films of the twentieth century were occupied with different issues, not to mention that a lot of them, even though they did not project adultery as something approvable, they depicted it as a reality in people’s every day life. In fact, this is still the case nowadays, as well, given that the screen is inundated with scenes of adultery, implying that although it is unpleasant, it is part of modern people’s lives. Moreover, it may be presumed that the fact that the novel itself had provoked so much uproar
Boukali 101 made it even more evident that its film adaptation was bound to draw the critics’ attention. Joffe’s instinct did not betray him. The film received massive disapproval, a fact that led Lutes to characterize it a “much-maligned” film version (274).
For instance, Alleva accuses the director of “gross stupidity” because the film is narrated by Pearl, who was not even born during the first half of the story, while during the rest of the film she was too young to comprehend the situation so as to be able to narrate it later on. However, Alleva fails to see that, apparently, Pearl was narrated the story by her mother as she grew up, filling in the details the girl could not have remembered because of her age. It may be argued that the fact that Joffe presents
Pearl to be the narrator of the story is not disturbing, even though this is not the case in the novel. In fact, the director’s choice of the narrator is an interesting one, given that hearing the story from little Pearl has great impact on the viewers, as it makes it even more touching and moving. Besides, if there is a person who can narrate details about Hester’s and Dimmesdale’s profound feelings, thoughts and actions, not to mention their life after they had left the town, then it is definitely Pearl.
Additionally, Howe argues that the characters of the movie appear to be too modern for the story in question. In fact, according to Howe, the director presents the characters to have been “revisited…to speak directly to our own age.” Additionally,
Howe sarcastically states that Joffe turns Hawthorne’s novel into “grist of the Calvin
Klein-culture mill,” as Prynne is depicted as an “isometrically toned free spirit of the
1990s.” Howe’s disapproval of Joffe’s work becomes even clearer with the suggestion that the appropriate symbol of this movie should not be the scarlet letter “A” for adultery, but the letter “D” for disappointment. Gleiberman appears to share Howe’s views, given that he finds Prynne to be depicted as a “coquette” that displays an annoying superiority towards Puritan rulers. According to Gleiberman, when Prynne
Boukali 102 is with Dimmesdale, she is too smooth and too casually old-fashioned, while he suggests the letter “S” for shamelessness as an appropriate symbol for the movie.
Finally, Gleiberman does not hesitate to imply that Hawthorne’s book should not have been adapted at all.
Lepore is obviously right when she states that Joffe’s film has received considerable disapproval, if not absolute dismissal (1167). However, she seems to condemn the movie herself, characterizing it “badly written,” boring and not intelligent at all, while she finds the characters to be presented as harshly modern
(1167). Alleva appears to share Lepore’s opinion, characterizing Joffe’s film adaptation as the worst one of the year 1995, while he accuses the director of merely displaying cinematic ordinariness. Alleva’s statement that the movie is a “revenge of the present upon the past for not being the present” makes his disapproval and condemnation of Joffe’s effort explicit, implying that the film is so bad that it avenges the strictness of the Puritan society of the past.
It is worth noting, however, that the director claims that most of the journalists and critics that have condemned his adaptation end up changing their minds after delving deeper into the movie. As Williams notes, Joffe compares his film to a breaking wave that makes everyone furious at first, but when the tide retreats, everyone realizes that they might have been wrong. According to the director, this is totally justifiable, given that it is not easy to understand the depth of a movie all at once. Hence, it is logical that time is needed for a movie to be appreciated. In any case, everyone should speak their mind freely, while it is expected bad reviews to take place when a work is released. However, it is not fair to seek for an opportunity to denounce an effort, as it is my conviction that a work is bound to have good points, as well. This is why the abovementioned reviews might be too harsh on Joffe’s film.
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However, it is true that Joffe’s cinematic representation of Hester’s story and her committed sin is not a thrilling one. Things move a little bit too fast in the movie, while the viewers do not have the time to realize just exactly how deep the love the protagonists shared is. Perhaps it is not so exciting if one has already read
Hawthorne’s book, in which the description of situations, feelings and thoughts is detailed enough so as to grasp the serious predicament the heroes were in.
Nevertheless, it must not be forgotten that a picture equals a thousand words, which justifies the lack of detailed description of the film. Additionally, Demi Moore is a wonderful “Hester,” while the fact that she is presented to be verily modern should be attributed to the director’s ideas. Besides, it must have been expected that the heroine would have modern traits, given that the film is addressed to twentieth century viewers. Hence, Joffe actually depicts what Hawthorne hesitated to explicitly show due to the era he lived in. It is possible that the cinematic “Hester,” through her audacity, determination and dynamism, openly articulates what most women in
Puritan times must have had in mind, but could not express, creating sympathy and admiration, mostly due to her strength of character. The director succeeds in creating positive feelings for the heroine, as he appears to respect to a great extent
Hawthorne’s depiction of Prynne, while he does not fail to allude numerous times to what must have been great inspiration for Hawthorne, the figure of Anne Hutchinson.
Moreover, the director sheds light on the aspects of the protagonist the writer emphasizes, as well, such as her maternal nature and her impeccable beauty as a person, as he seems to understand Hawthorne’s intention to demonstrate Hester’s benign and sensitive nature. Although it may be argued that the book is more interesting than the movie, the film should by no means be denounced.
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All in all, I strongly recommend reading Hawthorne’s book and watch Joffe’s movie. The Scarlet Letter is a thrilling story itself that is worth delving into. It is so powerful that it is bound to captivate anyone. Being acquainted with Hester Prynne’s story, her tortured life and her wonderful, strong and exceptionally rare personality anyone is sure to be fascinated and feel awe. The legendary heroine has been captivating both readers’ and viewers’ interest for about two centuries and she will definitely continue to magnetize in years to come.
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APPENDIX
PICTURES
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Nathaniel Hawthorne
The Custom-House
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Roland Joffe
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The Scarlet Letter by Roland Joffe
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Hester Prynne (Demi Moore)
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Minister Arthur Dimmesdale (Gary Oldman)
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Dimmesdale informs Hester about her husband’s death and the seven-year mourning law
The profound passion and true love Dimmesdale and Hester shared
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Roger Chillingworth (Robert Duvall) and his aggressiveness towards Prynne
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Dimmesdale tries to persuade Hester to reveal the father of the child
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Dimmesdale confesses the truth and saves Hester from being hung
Running to save their lives and find little Pearl
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The family finally united
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BIBLIOGR PHY
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Works Cited
Primary Sources
Hawthorne, Nathaniel. The Scarlet Letter and Other Writings. Ed. Leland S. Person.
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The Scarlet Letter. Dir. Roland Joffe. Perf. Demi Moore, Gary Oldman. Allied Stars.
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Secondary Sources
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De Beauvoir, Simone. The Second Sex. Ed. H. M. Parshley. New York: Vintage,
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Fiedler, Leslie. Love and Death in the American Novel. New York: Dell Pub, 1969.
Gleiberman, Owen. “Red Letter Daze.” Movie Review: Entertainment Weekly. October
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