How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #1
This impalpable claim, therefore, resulted in nothing more solid than to cherish, from generation to generation, an absurd delusion of family importance, which all along characterized the Pyncheons. It caused the poorest member of the race to feel as if he inherited a kind of nobility, and might yet come into the possession of princely wealth to support it. [...] Years and years after their claim had passed out of the public memory, the Pyncheons were accustomed to consult the Colonel's ancient map, which had been projected while Waldo County was still an unbroken wilderness. (1.25)
Here, we see the bitter pride of the Pyncheons: they are so convinced of the strength and honor of their origins that they don't pay much attention to building for the future. They are so caught up in dreams of "inherited [...] nobility" that they don't try to establish new legacies for future generations of Pyncheons.
Quote #2
As for Matthew Maule's posterity, it was supposed now to be extinct. For a very long period after the witchcraft delusion, however, the Maules had continued to inhabit the town where their progenitor had suffered so unjust a death. To all appearance, they were a quiet, honest, well-meaning race of people, cherishing no malice against individuals or the public for the wrong which had been done them; or if, at their own fireside, they transmitted from father to child any hostile recollection of the wizard's fate and their lost patrimony, it was never acted upon, nor openly expressed. (1.32)
There is a lot of foreshadowing in this early chapter about the mysterious Maules: "to all appearance" the Maules are quiet and well-meaning. They do not "openly" express resentment over their forefather's lost land. But these adjectives make us wonder what's happening beneath the surface of the Maule family. What might the Maule family have hidden?
Quote #3
Nervously—in a sort of frenzy, we might almost say—she began to busy herself in arranging some children's playthings, and other little wares, on the shelves and at the shop-window. In the aspect of this dark-arrayed, pale-faced, ladylike old figure there was a deeply tragic character that contrasted irreconcilably with the ludicrous pettiness of her employment. It seemed a queer anomaly, that so gaunt and dismal a personage should take a toy in hand; a miracle, that the toy did not vanish in her grasp; a miserably absurd idea, that she should go on perplexing her stiff and sombre intellect with the question how to tempt little boys into her premises! [...] As her rigid and rusty frame goes down upon its hands and knees, in quest of the absconding marbles, we positively feel so much the more inclined to shed tears of sympathy, from the very fact that we must needs turn aside and laugh at her. For here, – and if we fail to impress it suitably upon the reader, it is our own fault, not that of the theme, here is one of the truest points of melancholy interest that occur in ordinary life. It was the final throe of what called itself old gentility. A lady—who had fed herself from childhood with the shadowy food of aristocratic reminiscences, and whose religion it was that a lady's hand soils itself irremediably by doing aught for bread, – this born lady, after sixty years of narrowing means, is fain to step down from her pedestal of imaginary rank. (2.13)
We find this scene quite painful. Hepzibah is totally not designed, either by upbringing or by nature, to open a store. But she has to or else starve to death. The worst thing of all, though, is "her pedestal of imaginary rank." She is only an example of "old gentility" because that's what her family has clung to all of these years. The Pyncheon family has no real aristocratic greatness; they just insist on their importance out of pride. In fact, these categories of family pride seem totally misplaced now that it's 70 years after the American Revolution. Hawthorne observes that this is "the final throe" of old gentility. How do you interpret this line? Is Hawthorne describing a general kind of person who no longer exists? Or is it specifically Hepzibah's "old gentility" that is dying out?
Quote #4
This natural tunefulness made Phoebe seem like a bird in a shadowy tree; or conveyed the idea that the stream of life warbled through her heart as a brook sometimes warbles through a pleasant little dell. It betokened the cheeriness of an active temperament, finding joy in its activity, and, therefore, rendering it beautiful; it was a New England trait, – the stern old stuff of Puritanism with a gold thread in the web. (5.26)
We've talked about the pride of the Pyncheon family in the novel, but what about the pride of Nathaniel Hawthorne as a writer? Hawthorne was a New Englander born and bred. While he may be very critical of his Puritan forebears, with their hypocrisy and the whole witchcraft thing, he is also really proud of the strength and energy that he identifies as Puritan traits. Like Hepzibah, Hawthorne seems caught between admiration and distaste for his origins.
Quote #5
As for Clifford, an absolute palsy of fear came over him. Apart from any definite cause of dread which his past experience might have given him, he felt that native and original horror of the excellent Judge which is proper to a weak, delicate, and apprehensive character in the presence of massive strength. Strength is incomprehensible by weakness, and, therefore, the more terrible. There is no greater bugbear than a strong-willed relative in the circle of his own connections. (11.32)
Clifford starts to physically tremble with fear at the sight of Judge Pyncheon. And it isn't just because Judge Pyncheon once put him away unjustly for murder – it's also because he is weak. The weak don't understand the strong, so they are afraid of them, according to Hawthorne. But we wonder whether "the strong" really understand what it is to be weak. If Judge Pyncheon understood the vulnerability and uncertainty of weakness, surely he wouldn't be so cruel to his relatives?
Quote #6
Holgrave had read very little, and that little in passing through the thoroughfare of life, where the mystic language of his books was necessarily mixed up with the babble of the multitude, so that both one and the other were apt to lose any sense that might have been properly their own. He considered himself a thinker, and was certainly of a thoughtful turn, but, with his own path to discover, had perhaps hardly yet reached the point where an educated man begins to think. The true value of his character lay in that deep consciousness of inward strength, which made all his past vicissitudes seem merely like a change of garments; in that enthusiasm, so quiet that he scarcely knew of its existence, but which gave a warmth to everything that he laid his hand on; in that personal ambition, hidden—from his own as well as other eyes—among his more generous impulses, but in which lurked a certain efficacy, that might solidify him from a theorist into the champion of some practicable cause. Altogether in his culture and want of culture, – in his crude, wild, and misty philosophy, and the practical experience that counteracted some of its tendencies; in his magnanimous zeal for man's welfare, and his recklessness of whatever the ages had established in man's behalf; in his faith, and in his infidelity; in what he had, and in what he lacked, – the artist might fitly enough stand forth as the representative of many compeers in his native land. (12.19)
Mr. Holgrave represents "many compeers in his native land" according to Hawthorne – in other words, he's like a lot of Americans. He isn't formally educated, but he has a lot of life experience, and he has a deep "inward strength" that keeps him going through hard times. How does Mr. Holgrave's strength compare or contrast with Judge Pyncheon's? How do the two of them use their strength of character differently? And what do you think of Hawthorne's assessment of the American character? What individual characteristics of Mr. Holgrave's do you think Hawthorne is trying to apply to Americans as a group? How accurate do you find Hawthorne's observations? Are Americans truly so filled with "crude, wild, and misty philosophy"?
Quote #7
As [Matthew Maule II] stept into the house, a note of sweet and melancholy music thrilled and vibrated along the passage-way, proceeding from one of the rooms above stairs. It was the harpsichord which Alice Pyncheon had brought with her from beyond the sea. The fair Alice bestowed most of her maiden leisure between flowers and music, although the former were apt to droop, and the melodies were often sad. She was of foreign education, and could not take kindly to the New England modes of life, in which nothing beautiful had ever been developed. (13.19)
Alice Pyncheon is not flourishing in this harsh New England village because she is "of foreign education," and not adapted to these circumstances. Like Clifford Pyncheon, she is one of that "great class of people" (10.8) whom fate forces to go against their personal natures. But besides Alice's sad situation, we're also interested in Hawthorne's inferiority complex about "the New England modes of life, in which nothing beautiful had ever been developed." Yet. By which we mean, Hawthorne himself was one of the first great writers of a uniquely American experience. He himself has identified an artistic need for something "beautiful" developing out of "New England modes of life" – and he's writing something to fill that gap.
Quote #8
"You have lost nothing, Phoebe, worth keeping, nor which it was possible to keep," said Holgrave after a pause. "Our first youth is of no value; for we are never conscious of it until after it is gone. But sometimes—always, I suspect, unless one is exceedingly unfortunate – there comes a sense of second youth, gushing out of the heart's joy at being in love; or, possibly, it may come to crown some other grand festival in life, if any other such there be. This bemoaning of one's self (as you do now) over the first, careless, shallow gayety of youth departed, and this profound happiness at youth regained, – so much deeper and richer than that we lost, – are essential to the soul's development. In some cases, the two states come almost simultaneously, and mingle the sadness and the rapture in one mysterious emotion." (14.12)
Phoebe is growing up, and Mr. Holgrave is glad to see it. One of the things we find hilarious about Mr. Holgrave's way of expressing himself is that he speaks with so much weight and seriousness, as though he's some old sage or wise man on a mountain somewhere. But he's only 22! How much does he truly know firsthand about the essential stages of a soul's development? We think we can see glimmers here of the much older and more experienced author speaking through his character.
Quote #9
And allowing that, many, many years ago, in his early and reckless youth, he had committed some one wrong act, – or that, even now, the inevitable force of circumstances should occasionally make him do one questionable deed among a thousand praiseworthy, or, at least, blameless ones, – would you characterize the Judge by that one necessary deed, and that half-forgotten act, and let it overshadow the fair aspect of a lifetime? What is there so ponderous in evil, that a thumb's bigness of it should outweigh the mass of things not evil which were heaped into the other scale! This scale and balance system is a favorite one with people of Judge Pyncheon's brotherhood. A hard, cold man, thus unfortunately situated, seldom or never looking inward, and resolutely taking his idea of himself from what purports to be his image as reflected in the mirror of public opinion, can scarcely arrive at true self-knowledge, except through loss of property and reputation. (15.19)
Judge Pyncheon assesses the value of his life according to the big picture: he thinks that he's done "a thousand praiseworthy" things, so why should he care about one or two bad deeds along the way? It all balances out in his favor at the end, doesn't it? Obviously Judge Pyncheon is blinded by his insane pride – he doesn't exactly have a reliable moral compass on this matter. Do you think there is anything an individual can do to make up for ruining someone else's life? Is there any way to balance those moral scales?
Quote #10
"But I must and will find somebody here!" cried Mrs. Gubbins, inflicting another outrage on the bell. "I want a half-pound of pork, to fry some first-rate flounders for Mr. Gubbins's breakfast; and, lady or not, Old Maid Pyncheon shall get up and serve me with it!" (19.17)
So Hepzibah was right: a lot of the neighborhood folks have seized the opportunity of her opening a store to laugh at her. Mrs. Gubbins speaks furiously about "Old Maid Pyncheon" lying in bed until noon and refusing to serve her. Why does she think she has a right to Hepzibah's time? If any of you out there have worked in retail, have you dealt with a Mrs. Gubbins?