NabilaUddin: Relationship Between Hester and Pearl
Chillingworth doesn't think he's done anything wrong, but Dimmesdale has a different opinion: he sees Chillingworth's sin as way worse than his or Hester's. 7Hester and Pearl's relationship does not constitute this sort of intertextual . are indirect quotes from three generations of Puritan preachers and historians. Appearing in each scaffold scene, he serves as a reminder for Hester, the Puritan who cannot subdue her passion, that there is no escape from Puritanism's.
She's forced to stand in shame before the mass of Puritan citizens, enduring their stares, their whispers and their contempt. In the self-righteous eyes of the townspeople, she is the ultimate example of sin.
Hester Prynne is also the object of a cruel and shadowy love triangle between herself, her minister lover, Arthur Dimmesdale, and her husband, now called Roger Chillingworth.
Hester Prynne: Sinner, Victim, Object, Winner : NPR
How do you know for sure whether your baby is yours? If you don't know if your woman and your child are actually yours, then you have no control over property, no control over social order, no control over anything — and that's the deep radical challenge that Hester presents to this society. Women's rights were a part of the cultural conversation. Strong women like Susan B. Anthony and Elizabeth Cady Stanton were gathering other women to talk about science, politics and ideas.
For the first time in America, women were challenging the firmly established male patriarchy. Of course, by the end of the paragraph, the text has once again contradicted itself: The divine purposes which the characters claim to be obeying are in fact human purposes.
In that case, just what are these purposes? I said that there was no perceptible break between these two scenes; there is, however, a perceptible connection: Whatever the exact nature of this transformation, it clearly provides Dimmesdale with the momentum for writing his sermon, since he arrives from the forest full of unaccustomed energy, throws away his first draft of the election sermon and immediately writes another in a sudden and unexpected burst of inspiration.
The next day, he delivers his speech before the people of Boston; this act in turn seems to provide the impulse which leads to the final scaffold scene. And, as he drew towards the close, a spirit as of prophecy had come upon him, constraining him to its purpose as mightily as the old prophets of Israel were constrained; only with this difference, that, whereas the Jewish seers had denounced judgments and ruin on their country, it was his mission to foretell a high and glorious destiny for the newly gathered people of the Lord.
Yale University Press, This led them both to formulate their concrete historical experience in allegorical terms and to give these allegorical terms a literal value: Since both of these places symbolize spiritual states, their only legitimate connection to real geographical locations is metaphorical. In the course of this process of self-identification, the locus of evil was displaced from Europe to the wilderness surrounding the Puritan settlements: The witchcraft motif which recurs throughout the novel can be read in fact as a form of indirect discourse: This is the process that lies behind the metaphor of diabolical conversion evoked in the forest scene.
It simply seduces them into adopting the ultimate allegorical identity in the Puritan system: Hester confesses to Dimmesdale that Chillingworth is her husband, and proposes that she and the minister and Pearl flee the Puritan settlement together.Ivy Schweitzer on Chillingworth’s Triangulation of the Hester-Dimmesdale Relationship
After some resistance, Dimmesdale consents. Unlike Dimmesdale, Hester is not radically transformed by this experience: A closer look at the text will help us understand just what has happened to each of the two characters.
However, this Romantic wilderness is not a Romantic wilderness. It is very much a Puritan construct, and provides the setting for some characteristically Puritan behavior. The child draws our attention to the fact that she and her mother are entering his territory. The very phrase which seemed the most unmistakably Romantic is an intertextual trap: As the two lovers appear to liberate themselves from the fetters of Calvinist morality, we see the forest suddenly flooded with sunlight: To the unwary reader, this sounds like the narrator speaking.
But the narrator has already provided us with historical information that directly contradicts this sentence. She doesn't understand the religion. Pearl's only companion is her mother, and she has no father figure in her life. In Chapter 7Hester and Pearl are attacked by a group of children, who try to fling mud at them. Pearl becomes angry and frightens the children off. She throws rocks at them. She doesn't know why the children are making fun of her and her mother.
The only thing left for her to do was to throw something at them to make the village children go away. Pearl cares for her mother and she doesn't want anyone to hurt her. In Chapter 15Hester and Pearl were walking along the beaches. Pearl dressed up as a mermaid and placed a green seaweed on her breast. It took the shape of the letter "A".
Hester thought that Pearl was too young to understand what the scarlet letter means. In the meantime, Pearl was persistent, when she kept asking her mother about scarlet letter and why the minister clutches his hand over his heart.