Tuesday, 21 March: Nathaniel Hawthorne, introduction (2242-2245) +  “The Minister’s Black Veil” (2267-76)

Reader: Bill Wolfe

The course objectives covered in this presentation will be:

Objective 1:

To use critical techniques of “close reading” and “New Historicism” as ways of studying classic, popular, and representative literature and cultural history of the “American Renaissance.”

Objective 2:

To study the movement of “Romanticism,” the narrative genre of “romance,” and the related styles of the “gothic” and the “sublime.”

There is a marked similarity in the writings of Nathaniel Hawthorne and those of Edgar Allan Poe, and yet it is often argued that Hawthorne’s writings are classical in tone while Poe’s lean more toward the popular. The primary reason for this distinction is that it is often difficult to discern a “deeper meaning” in much of Poe’s work. Hawthorne, on the other hand, crafts stories that tend to engage the reader on a more cerebral level. He utilizes elevated and poetic language in creating tales which stimulate critical thinking of complex social, moral, or emotional issues.

On page 2271, the first complete paragraph, a failed intervention explores the psychological significance of the “black veil.”

It was remarkable that of all the busybodies and impertinent people in the parish, not one ventured to put the plain question to Mr. Hooper, wherefore he did this thing. Hitherto, whenever there appeared the slightest call for such interference, he had never lacked advisers, nor shown himself adverse to be guided by their judgment. If he erred at all, it was by so painful a degree of self-distrust, that even the mildest censure would lead him to consider an indifferent action as a crime. Yet, though so well acquainted with this amiable weakness, no individual among his parishioners chose to make the black veil a subject of friendly remonstrance. There was a feeling of dread, neither plainly confessed nor carefully concealed, which caused each to shift the responsibility upon another, till at length it was found expedient to send a deputation of the church, in order to deal with Mr. Hooper about the mystery, before it should grow into a scandal. Never did an embassy so ill discharge its duties. The minister received them with friendly courtesy, but became silent, after they were seated, leaving to his visitors the whole burden of introducing their important business. The topic, it might be supposed, was obvious enough. There was the black veil swathed round Mr. Hooper's forehead, and concealing every feature above his placid mouth, on which, at times, they could perceive the glimmering of a melancholy smile. But that piece of crape, to their imagination, seemed to hang down before his heart, the symbol of a fearful secret between him and them. Were the veil but cast aside, they might speak freely of it, but not till then. Thus they sat a considerable time, speechless, confused, and shrinking uneasily from Mr. Hooper's eye, which they felt to be fixed upon them with an invisible glance. Finally, the deputies returned abashed to their constituents, pronouncing the matter too weighty to be handled, except by a council of the churches, if, indeed, it might not require a general synod.              (2271)

This passage illustrates Hawthorne’s use of elevated language to heighten the tension and suspense of the encounter between the deputies and Mr. Hooper. In addition, it explores the power that the deputies assign to the veil. The reader is left to ponder the significance of the veil and the inherent power of the human mind to create scenarios that incite emotion and restrict action. This correlation or relationship between the veil and the mind is an example of correspondence.

Question: Is “the Minister’s Black Veil” an example of classical literature, popular literature, or both?

Objective 2:

To study the movement of “Romanticism,” the narrative genre of “romance,” and the related styles of the “gothic” and the “sublime.”

One of the most poignant and enduring aspects of romantic literature is the recurring thematic element of lost or unattainable love. In fact, the driving mechanism of many romance narratives is the conflict between desire and loss. One of the many themes of “The Minister’s Black Veil,” centers around just such a conflict as is illustrated by the interchange between Mr. Hooper and his fiancée, Elizabeth. Elizabeth confronts Hooper about his veil, an action which ultimately results in the dissolution of their future together:

"Have patience with me, Elizabeth!" cried he, passionately. "Do not desert me, though this veil must be between us here on earth. Be mine, and hereafter there shall be no veil over my face, no darkness between our souls! It is but a mortal veil--it is not for eternity! O! you know not how lonely I am, and how frightened, to be alone behind my black veil. Do not leave me in this miserable obscurity forever!"

"Lift the veil but once, and look me in the face," said she.

"Never! It cannot be!" replied Mr. Hooper.

"Then farewell!" said Elizabeth.

She withdrew her arm from his grasp, and slowly departed, pausing at the door, to give one long shuddering gaze, that seemed almost to penetrate the mystery of the black veil. But, even amid his grief, Mr. Hooper smiled to think that only a material emblem had separated him from happiness, though the horrors, which it shadowed forth, must be drawn darkly between the fondest of lovers.                                      (2272-2273)

This passage highlights the depth of the minister’s conviction. He desires to be with Elizabeth but feels his obligation to wear the veil is more important. Elizabeth feels that his refusal to even lift the veil is an affront to her. The minister’s obedience to a principle that Elizabeth is unable to understand destroys their future and consigns him to a solitary existence. The idea of a solitary protagonist who loves one he cannot be with is a staple in romantic literature.

Question: The loss of his future with Elizabeth is poignant but not the primary thematic element of this story. If Elizabeth had not been introduced, would the minister’s self-induced isolation have seemed so sad and tragic?