The House of the Seven Gables Family Quotes

How we cite our quotes: Citations follow this format: (Chapter.Paragraph)

Quote #1

The reader may deem it singular that the head carpenter of the new edifice was no other than the son of the very man from whose dead gripe the property of the soil had been wrested. Not improbably he was the best workman of his time; or, perhaps, the Colonel thought it expedient, or was impelled by some better feeling, thus openly to cast aside all animosity against the race of his fallen antagonist. Nor was it out of keeping with the general coarseness and matter-of-fact character of the age, that the son should be willing to earn an honest penny, or, rather, a weighty amount of sterling pounds, from the purse of his father's deadly enemy. At all events, Thomas Maule became the architect of the House of the Seven Gables, and performed his duty so faithfully that the timber framework fastened by his hands still holds together. (1.7)

Most of the first chapter of The House of the Seven Gables is dedicated to the peculiar Pyncheon family. We learn that the Pyncheons have a huge amount of family pride and cling to their history. But the Maule family is much harder to figure out. If they have any strong family resentments, they aren't telling anyone about them – in fact, the Pyncheon family seems to be brooding about Matthew Maule much more than his actual descendants. Why might guilt be more important than family loyalty in keeping memory alive? What point might Hawthorne be trying to get across here?

Quote #2

When the pathless forest that still covered this wild principality should give place—as it inevitably must, though perhaps not till ages hence—to the golden fertility of human culture, it would be the source of incalculable wealth to the Pyncheon blood. Had the Colonel survived only a few weeks longer, it is probable that his great political influence, and powerful connections at home and abroad, would have consummated all that was necessary to render the claim available. But, in spite of good Mr. Higginson's congratulatory eloquence, this appeared to be the one thing which Colonel Pyncheon, provident and sagacious as he was, had allowed to go at loose ends. So far as the prospective territory was concerned, he unquestionably died too soon. His son lacked not merely the father's eminent position, but the talent and force of character to achieve it: he could, therefore, effect nothing by dint of political interest; and the bare justice or legality of the claim was not so apparent, after the Colonel's decease, as it had been pronounced in his lifetime. Some connecting link had slipped out of the evidence, and could not anywhere be found. (1.24)

One of the things we find fascinating about Hawthorne's depiction of the early Puritan days is that land ownership is an act of will. Colonel Pyncheon is able to grab a chunk of Maine because he insists that it's his right. When he dies, his son is too weak to hang on to this property. Since the Europeans' whole process of settling the Americas in the first place was through a land grab, it seems odd to think of legal limits on the early settlers. We are really curious about how the Puritans decided they were entitled to certain land in Massachusetts but not other land elsewhere.

Quote #3

But there is no one thing which men so rarely do, whatever the provocation or inducement, as to bequeath patrimonial property away from their own blood. They may love other individuals far better than their relatives, – they may even cherish dislike, or positive hatred, to the latter; but yet, in view of death, the strong prejudice of propinquity revives, and impels the testator to send down his estate in the line marked out by custom so immemorial that it looks like nature. In all the Pyncheons, this feeling had the energy of disease. It was too powerful for the conscientious scruples of the old bachelor; at whose death, accordingly, the mansion-house, together with most of his other riches, passed into the possession of his next legal representative. (1.30)

Even the elderly bachelor who considers handing over the House of the Seven Gables to a representative of Matthew Maule doesn't go so far as to change his will to prevent his own family from inheriting. Having a family house gives the owners a kind of immortality: even after individuals die, the family as a whole continues on. This is probably the worst thing the Pyncheons do to the Maules: they take away the Maule family home, so there's nothing left to draw them together (except maybe the memory of Matthew Maule's execution for witchcraft).

Quote #4

"This is the very man!" murmured [Hepzibah] to herself. "Let Jaffrey Pyncheon smile as he will, there is that look beneath! Put on him a skull-cap, and a band, and a black cloak, and a Bible in one hand and a sword in the other, – then let Jaffrey smile as he might, – nobody would doubt that it was the old Pyncheon come again. He has proved himself the very man to build up a new house! Perhaps, too, to draw down a new curse!" (4.9)

There is this intense sense of personal division within Hepzibah: she recognizes that Colonel Pyncheon founded the family line of which she is so proud. But she also sees his hard character and blames him for "draw[ing] down" bad fortune on the family. She's proud of her family but she has mixed feelings about its founder and his current heir, Judge Pyncheon. Why does Hepzibah seem so oddly proud of her family's cursed status? Why might family as a category still be important to Hepzibah when she knows that her family has done evil? What does Hepzibah get out of her attachment to the Pyncheon line?

Quote #5

Truly was there something high, generous, and noble in the native composition of our poor old Hepzibah! Or else, – and it was quite as probably the case, – she had been enriched by poverty, developed by sorrow, elevated by the strong and solitary affection of her life, and thus endowed with heroism, which never could have characterized her in what are called happier circumstances. Through dreary years Hepzibah had looked forward – for the most part despairingly, never with any confidence of hope, but always with the feeling that it was her brightest possibility – to the very position in which she now found herself. In her own behalf, she had asked nothing of Providence but the opportunity of devoting herself to this brother, whom she had so loved, – so admired for what he was, or might have been, – and to whom she had kept her faith, alone of all the world, wholly, unfalteringly, at every instant, and throughout life. (9.1)

Hepzibah's character appears ridiculous in the first couple of chapters, but we respect her more and more as we discover her completely unselfish devotion to her brother, who has been so screwed over by life. Why might Hawthorne choose to reveal the better sides of Hepzibah's character later on in the novel rather than when we first meet her? A second question jumps out at us from this passage: what effect does Hawthorne think suffering has on character? How have both Hepzibah and Clifford's essential natures been changed by their painful life experiences? Do you agree with Hawthorne's ideas of suffering and its effects on the soul?

Quote #6

To plant a family! This idea is at the bottom of most of the wrong and mischief which men do. The truth is, that, once in every half-century, at longest, a family should be merged into the great, obscure mass of humanity, and forget all about its ancestors. Human blood, in order to keep its freshness, should run in hidden streams, as the water of an aqueduct is conveyed in subterranean pipes. In the family existence of these Pyncheons, for instance, – forgive me Phoebe, but I cannot think of you as one of them, – in their brief New England pedigree, there has been time enough to infect them all with one kind of lunacy or another. (12.33)

Mr. Holgrave traces back most of the crimes men commit to their desire to build a family home for their descendants. Mr. Holgrave thinks that, instead of these heavy, burdensome inheritances, we should just break apart family lines every 50 years. What do you think of Mr. Holgrave's suggestion? How do you imagine this being carried out? Are there social systems in the world that seem to approach Mr. Holgrave's ideal of no inheritance? What new social problems can you imagine cropping up if we all tried to merge "into the great, obscure mass of humanity" and forget our ancestors?

Quote #7

Miss Hepzibah, by secluding herself from society, has lost all true relation with it, and is, in fact, dead; although she galvanizes herself into a semblance of life, and stands behind her counter, afflicting the world with a greatly-to-be-deprecated scowl. Your poor cousin Clifford is another dead and long-buried person, on whom the governor and council have wrought a necromantic miracle. I should not wonder if he were to crumble away, some morning, after you are gone, and nothing be seen of him more, except a heap of dust. Miss Hepzibah, at any rate, will lose what little flexibility she has. They both exist by you. (14.19)

What do you think of the tone of Mr. Holgrave's description of Hepzibah and Clifford in this passage? Do you agree that, without society, these characters have essentially already died? Are we only alive in our relation to other people? And what kind of responsibility does Phoebe have to ensure they both "exist by [her]"? What is the emotional content of Phoebe's relationship with her two elderly relatives? What keeps her at the House of the Seven Gables with them?

Quote #8

NEVER had the old house appeared so dismal to poor Hepzibah as when she departed on that wretched errand. There was a strange aspect in it. As she trode along the foot-worn passages, and opened one crazy door after another, and ascended the creaking staircase, she gazed wistfully and fearfully around. It would have been no marvel, to her excited mind, if, behind or beside her, there had been the rustle of dead people's garments, or pale visages awaiting her on the landing-place above. Her nerves were set all ajar by the scene of passion and terror through which she had just struggled. Her colloquy with Judge Pyncheon, who so perfectly represented the person and attributes of the founder of the family, had called back the dreary past. It weighed upon her heart. Whatever she had heard, from legendary aunts and grandmothers, concerning the good or evil fortunes of the Pyncheons, – stories which had heretofore been kept warm in her remembrance by the chimney-corner glow that was associated with them, – now recurred to her, sombre, ghastly, cold, like most passages of family history, when brooded over in melancholy mood. (16.1)

We talk about the symbolic value of the House of the Seven Gables in "Symbolism, Imagery, Allegory," so we're not going to get into it too much here. Obviously the structure of the house keeps bringing back "the dreary past." The house provides a place for the dead Pyncheons to keep haunting. It's also the reason for the original Pyncheon crime against Matthew Maule. But we know that some Pyncheons have left this house – Phoebe's family, for example, flourishes elsewhere. Are they beyond the genetic curse of the Pyncheon family? Would this curse dissipate if the original House of the Seven Gables were torn down? As a counterexample, what about Judge Pyncheon himself? He wasn't raised in the house and he doesn't seem very attached to it. Yet he is clearly Colonel Pyncheon reborn. What is the relationship of the House of the Seven Gables to the family curse that Matthew Maule inflicted on the Pyncheon family?

Quote #9

And if he have time, amid the press of more urgent matters, he must take measures for the renewal of Mrs. Pyncheon's tombstone, which, the sexton tells him, has fallen on its marble face, and is cracked quite in twain. She was a praiseworthy woman enough, thinks the Judge, in spite of her nervousness, and the tears that she was so oozy with, and her foolish behavior about the coffee; and as she took her departure so seasonably, he will not grudge the second tombstone. It is better, at least, than if she had never needed any! (18.7)

Chapter 18 is this odd moment in the novel when the narrator tells us what Judge Pyncheon would have done that day if he hadn't suddenly died in the parlor. One of these things is to replace the tombstone on his dead wife's grave. He thinks she was "praiseworthy enough" and doesn't mind replacing her tombstone – especially since it's better to get her a second tombstone than "if she had never needed any!" In other words, he's glad his wife is dead! What did not like about his wife? What traits of hers does he think are worthy of death?