How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #1
For some reason or other, not very easy to analyze, there had hardly been so bitter a pang in all her previous misery about the matter as what thrilled Hepzibah's heart on overhearing the above conversation. The testimony in regard to her scowl was frightfully important; it seemed to hold up her image wholly relieved from the false light of her self-partialities, and so hideous that she dared not look at it. She was absurdly hurt, moreover, by the slight and idle effect that her setting up shop—an event of such breathless interest to herself—appeared to have upon the public, of which these two men were the nearest representatives. A glance; a passing word or two; a coarse laugh; and she was doubtless forgotten before they turned the corner. They cared nothing for her dignity, and just as little for her degradation. Then, also, the augury of ill-success, uttered from the sure wisdom of experience, fell upon her half-dead hope like a clod into a grave. (3.26)
In the first several chapters, we get plenty of descriptions of Miss Hepzibah Pyncheon, and they all seem to emphasize the fact that she is an elderly unmarried woman. As a result of her status as an "old maid," she is timid, shy, and unwilling to join in the rest of society. But the flip side of her timidity is that Hepzibah is extremely vain. When she opens her shop, she expects the rest of the world to understand how terrible this is for her.
Quote #2
Now and then, there came a thrill of almost youthful enjoyment. It was the invigorating breath of a fresh outward atmosphere, after the long torpor and monotonous seclusion of her life. So wholesome is effort! So miraculous the strength that we do not know of! The healthiest glow that Hepzibah had known for years had come now in the dreaded crisis, when, for the first time, she had put forth her hand to help herself. (3.40)
All of the terms that Hawthorne uses to describe what it means to be a lady ("torpor" and "monotonous seclusion") suggest inactivity, boredom, isolation, staleness – nothing good, in other words. Now that Hepzibah is trying to do something productive, suddenly she is "wholesome" and filled with "miraculous" strength. This transformation isn't immediate or permanent, of course, but Hawthorne is still creating a strong contrast between "ladies," who are inactive, and women who are busy and productive. He shows a strong preference for the latter.
Quote #3
Little Phoebe was one of those persons who possess, as their exclusive patrimony, the gift of practical arrangement. It is a kind of natural magic that enables these favored ones to bring out the hidden capabilities of things around them; and particularly to give a look of comfort and habitableness to any place which, for however brief a period, may happen to be their home. [...] What was precisely Phoebe's process we find it impossible to say. She appeared to have no preliminary design, but gave a touch here and another there; brought some articles of furniture to light and dragged others into the shadow; looped up or let down a window-curtain; and, in the course of half an hour, had fully succeeded in throwing a kindly and hospitable smile over the apartment. No longer ago than the night before, it had resembled nothing so much as the old maid's heart; for there was neither sunshine nor household fire in one nor the other, and, save for ghosts and ghostly reminiscences, not a guest, for many years gone by, had entered the heart or the chamber. (5.4)
Two things strike us about this passage, but we'll start with Phoebe. Hawthorne is assigning her a gender-specific talent. He says that she has a great gift for arranging things so that even the most desolate, disused rooms become "kindly and hospitable." Phoebe's talent for interior design shows that she fulfills the popular 19th-century ideal of the Angel in the House. According to this ideal, it is the social role of women to make all interior spaces pleasant, pretty, and welcoming. Phoebe's talent in this area shows that she is a good woman in a much less ambiguous way than vain, awkward Hepzibah Pyncheon.
The second thing that strikes us about this passage is Hawthorne's little jab at "the old maid's heart." The dusty, unused state of the room before Phoebe gets to it becomes yet another symbol of Hepzibah, who is caught up in "ghosts and ghostly reminiscences." The contrast Hawthorne builds between the two women could not be more stark: Phoebe is fresh and young while Hepzibah is dried-up and old. We think this is a bit cruel toward Hepzibah, frankly. How do you feel about Hawthorne's depiction of her? What can her character tell us about his views on womanhood and the role of women in society?
Quote #4
"It is handsome!—it is very beautiful!" said Phoebe admiringly. "It is as sweet a face as a man's can be, or ought to be. It has something of a child's expression, – and yet not childish, – only one feels so very kindly towards him! He ought never to suffer anything. One would bear much for the sake of sparing him toil or sorrow. Who is it, Cousin Hepzibah?" (5.21)
Hawthorne's depiction of Clifford Pyncheon is interestingly androgynous. Let's think about how Phoebe describes his portrait. Looking at his face, she immediately decides that "he ought never to suffer anything." This suggests that Clifford is delicate and not strong enough to look after himself, which sounds a lot like Hepzibah's stereotypes of "ladyhood." (Ladies are not supposed to be strong or self-sufficient.) We learn later that Clifford loves beauty, which Hawthorne also strongly links to women. Clifford's face is "as sweet a face as a man's can be," and "beautiful" as well – again, not as obviously masculine as, say, Judge Pyncheon's "imperious" (6.17) daguerreotype (which we analyze further in "Symbolism, Imagery, Allegory"). Clifford and Judge Pyncheon are total opposites. Where Clifford is weak, Judge Pyncheon is strong. Where Clifford loves beauty, Judge Pyncheon loves money. And where Clifford's portrait is somewhat effeminate, Judge Pyncheon's is stern and masculine.
Quote #5
To be brief, besides Hepzibah's disadvantages of person, there was an uncouthness pervading all her deeds; a clumsy something, that could but ill adapt itself for use, and not at all for ornament. She was a grief to Clifford, and she knew it. In this extremity, the antiquated virgin turned to Phoebe. No grovelling jealousy was in her heart. Had it pleased Heaven to crown the heroic fidelity of her life by making her personally the medium of Clifford's happiness, it would have rewarded her for all the past, by a joy with no bright tints, indeed, but deep and true, and worth a thousand gayer ecstasies. This could not be. She therefore turned to Phoebe, and resigned the task into the young girl's hands. The latter took it up cheerfully, as she did everything, but with no sense of a mission to perform, and succeeding all the better for that same simplicity. (9.6)
The plot point that Hawthorne builds out of Hepzibah's ugliness reveals some unpleasant aspects of the his conception of femininity. Clifford cannot stand to look at his adoring sister, so she leaves his care to pretty young Phoebe. Phoebe is an ideal woman not only because she makes housekeeping look easy and keeps everything pleasant, but also because of her youth and beauty.
Now, Hawthorne certainly expresses sympathy for poor Hepzibah's situation. But that doesn't change the troubling conclusion that an unattractive woman is somehow less of a woman. Clifford's distaste for Hepzibah appears to be an extreme version of something the narrator himself feels, with all of his dismissive descriptions of Hepzibah's "antiquated [virginity]." By contrast, Judge Pyncheon's appearance is unsettling because it reveals the cruelty of his character. His ugliness never makes him less of a man – on the contrary, he appears a lot manlier than Clifford. So why should prettiness be such a cornerstone of female identity?
Quote #6
There was something very beautiful in the relation that grew up between this pair, so closely and constantly linked together, yet with such a waste of gloomy and mysterious years from his birthday to hers. On Clifford's part it was the feeling of a man naturally endowed with the liveliest sensibility to feminine influence, but who had never quaffed the cup of passionate love, and knew that it was now too late. He knew it, with the instinctive delicacy that had survived his intellectual decay. Thus, his sentiment for Phoebe, without being paternal, was not less chaste than if she had been his daughter. He was a man, it is true, and recognized her as a woman. She was his only representative of womankind. He took unfailing note of every charm that appertained to her sex, and saw the ripeness of her lips, and the virginal development of her bosom. All her little womanly ways, budding out of her like blossoms on a young fruit-tree, had their effect on him, and sometimes caused his very heart to tingle with the keenest thrills of pleasure. At such moments, – for the effect was seldom more than momentary, – the half-torpid man would be full of harmonious life, just as a long-silent harp is full of sound, when the musician's fingers sweep across it. But, after all, it seemed rather a perception, or a sympathy, than a sentiment belonging to himself as an individual. (9.14)
Hawthorne doesn't want us to get the wrong idea – he takes care to emphasize that Clifford's feeling for Phoebe is "not less chaste than if she had been his daughter." In other words, this isn't the sexual attraction of an old dude for a hot young lady. Instead, Clifford is attached to Phoebe for symbolic reasons. He recognizes in the abstract that she is an ideal woman, and that he might once have fallen in love with her. What are some reasons why Hawthorne might stop the narrative to emphasize the asexual nature of Clifford's love for Phoebe? Do you find this believable?
Quote #7
Alice complied, She was very proud. Setting aside all advantages of rank, this fair girl deemed herself conscious of a power—combined of beauty, high, unsullied purity, and the preservative force of womanhood—that could make her sphere impenetrable, unless betrayed by treachery within. She instinctively knew, it may be, that some sinister or evil potency was now striving to pass her barriers; nor would she decline the contest. So Alice put woman's might against man's might; a match not often equal on the part of woman. (13.62)
Some might say that The House of the Seven Gables really jumps the shark here. The whole idea that Matthew Maule II puts Alice Pyncheon under hypnosis seems truly contrived. But bear in mind – hypnosis, a.k.a. Mesmerism, was the hot new science in the first half of the 19th century. Popular novelists like Charles Brockden Brown also used hypnosis as a plot device. That said, we can't really explain why Hawthorne decides to make this a battle of the sexes kind of a thing, with a "woman's might against man's might." We guess it just sounded dramatic to him?
Quote #8
Poor Hepzibah! Could she have understood this fact, it would have brought her some little comfort; for, to all her other troubles, – strange to say!—there was added the womanish and old-maiden-like misery arising from a sense of unseemliness in her attire. Thus, she was fain to shrink deeper into herself, as it were, as if in the hope of making people suppose that here was only a cloak and hood, threadbare and woefully faded, taking an airing in the midst of the storm, without any wearer! (17.4)
How odd, once more, that Hawthorne should stop to comment on "the womanish and old-maiden-like" misery of Hepzibah feeling embarrassed about her clothing. Is vanity about clothing truly such a "womanish" obsession? What about the care with which we are told Judge Pyncheon dresses? Hawthorne never fails to comment on his gold-topped cane or the respectability of his snowy white shirts (which he won't be needing where he's going). Hawthorne's manner of describing Hepzibah really shows the mark of the era he's writing in.
Quote #9
If a fixed idea be madness, she was perhaps not remote from it. Fast and far as they had rattled and clattered along the iron track, they might just as well, as regarded Hepzibah's mental images, have been passing up and down Pyncheon Street. With miles and miles of varied scenery between, there was no scene for her save the seven old gable-peaks, with their moss, and the tuft of weeds in one of the angles, and the shop-window, and a customer shaking the door, and compelling the little bell to jingle fiercely, but without disturbing Judge Pyncheon! This one old house was everywhere! It transported its great, lumbering bulk with more than railroad speed, and set itself phlegmatically down on whatever spot she glanced at. The quality of Hepzibah's mind was too unmalleable to take new impressions so readily as Clifford's. He had a winged nature; she was rather of the vegetable kind, and could hardly be kept long alive, if drawn up by the roots. Thus it happened that the relation heretofore existing between her brother and herself was changed. At home, she was his guardian; here, Clifford had become hers, and seemed to comprehend whatever belonged to their new position with a singular rapidity of intelligence. He had been startled into manhood and intellectual vigor; or, at least, into a condition that resembled them, though it might be both diseased and transitory. (17.15)
Hepzibah must now pay the price of the common stereotype that associates women with the home and its care. Now that she has been torn loose from the House of the Seven Gables, her whole sense of identity is shaken. She doesn't know what to do with herself. Meanwhile, Clifford, who has "a winged nature," is able to adapt more quickly to new circumstances. Hawthorne continues to describe their different responses in terms of gender: Clifford has now been "startled into manhood," so he's finally ready to take control (for a time at least). Clifford has gone from being Hepzibah's ward at home to the man in charge on the train.
Quote #10
It will be far otherwise than as you forebode. The world owes all its onward impulses to men ill at ease. The happy man inevitably confines himself within ancient limits. I have a presentiment that, hereafter, it will be my lot to set out trees, to make fences, – perhaps, even, in due time, to build a house for another generation, – in a word, to conform myself to laws and the peaceful practice of society. Your poise will be more powerful than any oscillating tendency of mine. (20.35)
Mr. Holgrave promises that if he and Phoebe are happily married, it will become his purpose to "set out trees, to make fences...[and] to build a house for another generation." What do you make of Mr. Holgrave's sudden reversal at the end of the novel? What does he suggest marriage does to a man?