Nathaniel Hawthorne's Custom House and The Scarlet Letter

The Custom House

The introduction to The Scarlet Letter, by Nathaniel Hawthorne, also known as "The Custom House", is autobiographical in nature with a great many embellishments. Though not customarily described as creative fiction, there is enough truth in Hawthorne's introduction to give it that tag. Considering the contents of "The Custome House," Hawthorne shares that he may "keep the inmost Me behind its veil," he also concludes that it is in his rights to "be autobiographical without violating either the reader's rights or his own" (6).

While reading "The Custom House" we can discern the absolute truths and those items that have been inserted for the benefit of the story. Specifically the discovery of a package discarded in a pile of rubbish in the corner of a large room on the second floor of the Custom House. Here, Hawthorne introduces the inspiration for The Scarlet Letter by describing a particular piece of "fine red cloth" with "traces about it of gold embroidery" (27). He continues to describe the state of the fabric, later revealing that this worn-out rag "was the capital letter A" (28). Hawthorne continues his description of the fabric and then begins to analyze what the letter might symbolize.

For those of you who are familiar with The Scarlet Letter, the next thing Hawthorne demonstrates with this faded letter A may evoke unexpected emotions: he places "it on [his] breast" and consequently experiences a " sensation not altogether physical, yet almost so, as of burning heat" (28). This act and the resulting burning foreshadow the habit of Arthur Dimmesdale placing his own hand upon his breast and later revealing the red mark in the shape of a capital A on the bare skin where his hand once was. Hawthorne continues to describe the contents of the package, revealing that the following story of The Scarlet Letter is as explained in a record left "by the old Surveyor's pen (28). The story of The Scarlet Letter is the story of Hester Prynne, a woman "of stately and solemn aspect" (28).

The Scarlet Letter

Nathaniel Hawthorne's novel begins in the summer and it has been suggested that it is around the year 1642. As Hawthorne sets the stage for the tale of Hester Prynne, we are informed of the time and space with historical elements including references to Isaac Johnson and Ann Hutchinson, individuals marked as milestones in the history of New England. In addition to historical landmarks, Hawthorne incorporates vivid imagery intertwined with symbolism; explicit and implied: "[The rose] may serve to symbolize some sweet moral blossom" - a blossom, whose color has not been shared with the reader (42). Initially, the imagery produced a red rose and upon reflection, a white rose replaced it with "or relived the darkening close of a tale of human frailty and sorrow" (42). The reader is left to determine what the rose represents and possibly change its meaning and color by the end of this tale.

To the well-informed scholar, it comes as no surprise to learn of the "demeanor" of the spectators living in a town where "religion and law were almost identical" and justice and mercy are presumed to be at the center of Puritan faith (43). Introducing the matrons of this society, we discover that they do not agree with the mercy offered by the magistrates towards Hester Prynne, and one of the women suggests that they would have done a better job if Hester Prynne had "stood up for judgment before [them]" (44). Ironically, another of these women offers compassion and mercy toward the Reverend Master Dimmesdale, who appears to be suffering "grievously to heart that such a scandal should have come upon his congregation" (44). The reader, fully aware, cannot agree with this brood; for we know that the Reverend is a party to the crime that is never explicitly revealed.

As Hester Prynne enters the stage, Hawthorne reintroduces the embroidered cloth, no longer as the faded and worn piece of the Custom House, but rather the crisp freshness of "fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold thread" affixed to the breast of Hester's gown as she walks from the prison house to the pillory for her punishment. The penalty for Hester's crime would have been death were it not for the mercy of the magistrates. We learn from a bystander while answering the query of Roger Chillingworth that "Mistress Prynne [is] doomed to stand only a space of three hours on the platform of the pillory, and for the remainder of her natural life, to wear a mark of shame upon her bosom" (54). We find later, that this act of mercy ignites a fury within Chillingworth to seek revenge for unsatisfied justice, ultimately becoming the personification of the law and revealing to Hester his intentions to exact punishment upon the man party to her sin.

Chillingworth is vigilant in seeking the identity of the man who fathered Hester's child and eventually discovers Arthur Dimmesdale's connection and orchestrates his design for revenge upon Arthur through the guise of friendship and professional concern as a physician. Tormented by his own guilt, Arthur struggles with his part and his role as the religious representative for the community. His anguish is soothed by Hester and Pearl in chapter twelve, only to be wretched again upon the arrival of Roger Chillingworth.

The characters, Hester Prynne, Arthur Dimmesdale, and Roger Chillingworth represent some profound theological principles, including sin, guilt, and punishment. Justice seems to be served, yet mercy seems to be hidden from view. Where is the repentance, forgiveness, and redemption in this tale, if it exists?

Resources:

Hawthorne, Nathaniel. The Scarlet Letter. Barnes & Noble Classics, 2005.