The House of the Seven Gables Morality and Ethics Quotes

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

Quote #4

Not to speak it harshly or scornfully, it seemed Clifford's nature to be a Sybarite. It was perceptible, even there, in the dark old parlor, in the inevitable polarity with which his eyes were attracted towards the quivering play of sunbeams through the shadowy foliage. It was seen in his appreciating notice of the vase of flowers, the scent of which he inhaled with a zest almost peculiar to a physical organization so refined that spiritual ingredients are moulded in with it. It was betrayed in the unconscious smile with which he regarded Phoebe, whose fresh and maidenly figure was both sunshine and flowers, – their essence, in a prettier and more agreeable mode of manifestation. Not less evident was this love and necessity for the Beautiful, in the instinctive caution with which, even so soon, his eyes turned away from his hostess, and wandered to any quarter rather than come back. It was Hepzibah's misfortune, – not Clifford's fault. How could he, – so yellow as she was, so wrinkled, so sad of mien, with that odd uncouthness of a turban on her head, and that most perverse of scowls contorting her brow, – how could he love to gaze at her? But, did he owe her no affection for so much as she had silently given? He owed her nothing. A nature like Clifford's can contract no debts of that kind. It is—we say it without censure, nor in diminution of the claim which it indefeasibly possesses on beings of another mould—it is always selfish in its essence; and we must give it leave to be so, and heap up our heroic and disinterested love upon it so much the more, without a recompense. Poor Hepzibah knew this truth, or, at least, acted on the instinct of it. So long estranged from what was lovely as Clifford had been, she rejoiced—rejoiced, though with a present sigh, and a secret purpose to shed tears in her own chamber that he had brighter objects now before his eyes than her aged and uncomely features. (7.32)

This is a rather bizarre assessment of Clifford. The narrator says he cannot help but be a "Sybarite" – a lover of beauty. Because he loves beauty so much, he enjoys looking at Phoebe and at the roses and turns away from poor old Hepzibah with distaste. But Hepzibah is the one who has loved him and missed him for all of these years. And she forgives him for turning away from her, because she's wrinkled, yellow, and ugly. How does this description of Clifford make you feel about his character? What seems to be the narrator's assessment of Clifford's moral character? How does the narrator judge Clifford's love of beauty?

Quote #5

For example: tradition affirmed that the Puritan had been greedy of wealth; the Judge, too, with all the show of liberal expenditure, was said to be as close-fisted as if his gripe were of iron. The ancestor had clothed himself in a grim assumption of kindliness, a rough heartiness of word and manner, which most people took to be the genuine warmth of nature, making its way through the thick and inflexible hide of a manly character. His descendant, in compliance with the requirements of a nicer age, had etherealized this rude benevolence into that broad benignity of smile wherewith he shone like a noonday sun along the streets, or glowed like a household fire in the drawing-rooms of his private acquaintance. The Puritan—if not belied by some singular stories, murmured, even at this day, under the narrator's breath—had fallen into certain transgressions to which men of his great animal development, whatever their faith or principles, must continue liable, until they put off impurity, along with the gross earthly substance that involves it. We must not stain our page with any contemporary scandal, to a similar purport, that may have been whispered against the Judge. The Puritan, again, an autocrat in his own household, had worn out three wives, and, merely by the remorseless weight and hardness of his character in the conjugal relation, had sent them, one after another, broken-hearted, to their graves. Here the parallel, in some sort, fails. The Judge had wedded but a single wife, and lost her in the third or fourth year of their marriage. There was a fable, however, – for such we choose to consider it, though, not impossibly, typical of Judge Pyncheon's marital deportment, – that the lady got her death-blow in the honeymoon, and never smiled again, because her husband compelled her to serve him with coffee every morning at his bedside, in token of fealty to her liege-lord and master. (8.21)

Colonel and Judge Pyncheon are both willing to let other men suffer for crimes they didn't commit. Colonel Pyncheon's treatment of Matthew Maule and Judge Pyncheon's treatment of Clifford Pyncheon are their greatest sins. Hawthorne also takes care to sketch out other flaws in their characters. They are both misers. Both show themselves to be energetic, which people mistake for kindliness (so they are hypocrites). Hawthorne is a little euphemistic in getting this across, but he strongly implies that both like lots of sex, no matter what kind of "faith or principles" they are supposed to have. And both are tyrants in their private lives, having basically bossed their wives to death. What do all of these character flaws and crimes have in common? How do these flaws add up to a complete portrait of each man's character?

Quote #6

"Softly, Mr. Pyncheon!" said the carpenter with scornful composure. "Softly, an' it please your worship, else you will spoil those rich lace-ruffles at your wrists! Is it my crime if you have sold your daughter for the mere hope of getting a sheet of yellow parchment into your clutch? There sits Mistress Alice quietly asleep. Now let Matthew Maule try whether she be as proud as the carpenter found her awhile since." (13.82)

Why should Alice Pyncheon have to pay the price of Gervayse Pyncheon's grasping, greedy ways? Why is it always the weaker figures of the family – Alice and Clifford Pyncheon for example – who pay the worst price for the maintenance of the Pyncheon family fortune? The other thing that's interesting about Matthew Maule II's behavior here is his relative loss of the moral high ground. He insists that he is "the strongest spirit" (13.84), but what does that strength do for him except to make him as cruel as the Pyncheons? Hawthorne is not making it easy for us to decide who's in the right and who's in the wrong in this novel: frankly, all these people seem messed up by their families. Maybe Mr. Holgrave is right, and we should just forget about the idea of family heritage entirely.