The House of the Seven Gables Society and Class Quotes

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

Quote #1

In this republican country, amid the fluctuating waves of our social life, somebody is always at the drowning-point. The tragedy is enacted with as continual a repetition as that of a popular drama on a holiday, and, nevertheless, is felt as deeply, perhaps, as when an hereditary noble sinks below his order. More deeply; since, with us, rank is the grosser substance of wealth and a splendid establishment, and has no spiritual existence after the death of these, but dies hopelessly along with them. (2.14)

When Hawthorne talks about "this republican country," he doesn't mean republican as in the Republican Party. He means republican as in a form of government without a king. Because Hawthorne sees social class in the United States as a matter of money rather than inherited rank, he thinks it's almost worse when a once-wealthy American family loses its cash than when a European aristocratic family falls on hard times. After all, you can be an aristocrat without a dime (in fact, it's pretty common), but you can't be rich and important in America without money. Do you agree with Hawthorne's assessment of American social classes? Is it all based on money? Are there any other factors that contribute to a family's social status in the States?

Quote #2

I speak frankly, my dear Miss Pyncheon!—for are we not friends? I look upon this as one of the fortunate days of your life. It ends an epoch and begins one. Hitherto, the life-blood has been gradually chilling in your veins as you sat aloof, within your circle of gentility, while the rest of the world was fighting out its battle with one kind of necessity or another. Henceforth, you will at least have the sense of healthy and natural effort for a purpose, and of lending your strength be it great or small—to the united struggle of mankind. This is success, – all the success that anybody meets with! (3.10)

Mr. Holgrave preaches the democratic ideal of "lending your strength [...] to the united struggle of mankind" to Hepzibah, who is still caught up in an aristocratic mode of imagining society. Mr. Holgrave wants Hepzibah to give up her old, foolish dreams of being a lady to begin a new life as a productive member of society. We can't help but notice that his speech strongly resembles the narrator's words about Hepzibah's ladyhood in Chapter 2. How closely do you think Hawthorne identifies with Mr. Holgrave? How does the narrator portray Mr. Holgrave? Is his representation neutral, positive, or negative?

Quote #3

"Those old gentlemen that grew up before the Revolution used to put on grand airs. In my young days, the great man of the town was commonly called King; and his wife, not Queen to be sure, but Lady. Nowadays, a man would not dare to be called King; and if he feels himself a little above common folks, he only stoops so much the lower to them. I met your cousin, the Judge, ten minutes ago; and, in my old tow-cloth trousers, as you see, the Judge raised his hat to me, I do believe! At any rate, the Judge bowed and smiled!"

"Yes," said Hepzibah, with something bitter stealing unawares into her tone; "my cousin Jaffrey is thought to have a very pleasant smile!"

"And so he has" replied Uncle Venner. "And that's rather remarkable in a Pyncheon; for, begging your pardon, Miss Hepzibah, they never had the name of being an easy and agreeable set of folks. There was no getting close to them. But Now, Miss Hepzibah, if an old man may be bold to ask, why don't Judge Pyncheon, with his great means, step forward, and tell his cousin to shut up her little shop at once? It's for your credit to be doing something, but it's not for the Judge's credit to let you!" (4.18-20)

This exchange between Uncle Venner and Hepzibah is quite fascinating. Uncle Venner observes that before the Revolution, the big guys in the neighborhood were called "King." Now, that's not allowed. Even the men who think they are "a little above the common folks" will bow even lower so as not to seem stuck up. Judge Pyncheon is willing to take off his hat to Uncle Venner, but does that really show that he's a humble and respectful man? We think not – especially since Hepzibah is so guarded and resentful about her cousin's character. The fact that she would rather open her hated shop than accept money from Jaffrey is a definite sign that something's rotten about Judge Pyncheon. One of Hawthorne's most notable characteristics is that he's heavy on the foreshadowing. While we may not be sure yet quite how Judge Pyncheon is going to turn out hypocritical and evil, Hawthorne has given us plenty of hints that it will happen.

Quote #4

The guest responded to her tone by a smile, which did not half light up his face. Feeble as it was, however, and gone in a moment, it had a charm of wonderful beauty. It was followed by a coarser expression; or one that had the effect of coarseness on the fine mould and outline of his countenance, because there was nothing intellectual to temper it. It was a look of appetite. He ate food with what might almost be termed voracity; and seemed to forget himself, Hepzibah, the young girl, and everything else around him, in the sensual enjoyment which the bountifully spread table afforded. In his natural system, though high-wrought and delicately refined, a sensibility to the delights of the palate was probably inherent. It would have been kept in check, however, and even converted into an accomplishment, and one of the thousand modes of intellectual culture, had his more ethereal characteristics retained their vigor. (7.28)

Clifford Pyncheon's essential nature is one of sweetness and light, and, as with most characters in this book, you can read these traits on his face. But his long life in prison has written over his essential nature with "the effect of coarseness." He is starving and he scarfs down food in a way that makes Phoebe pity him. We're of two minds about this point. On the one hand, we find it interesting that Hawthorne tries to show physical evidence of Clifford's conflict between his personal nature and the demands of the world around him (nature vs. nurture embodied in one person). On the other hand, we think the narrator's passing judgment on a man who's just gotten out of prison for his "coarseness" of "appetite" seems a little harsh. Sure, the narrator finds it worth pitying, but he also appears disgusted by Clifford's behavior. We find that disgust a little misplaced – how would you act if you'd spent the majority of your life in prison? A little gulping at the breakfast table seems fair.

Quote #5

Coming so late as it did, it was a kind of Indian summer, with a mist in its balmiest sunshine, and decay and death in its gaudiest delight. The more Clifford seemed to taste the happiness of a child, the sadder was the difference to be recognized. [...] Clifford saw, it may be, in the mirror of his deeper consciousness, that he was an example and representative of that great class of people whom an inexplicable Providence is continually putting at cross-purposes with the world: breaking what seems its own promise in their nature; withholding their proper food, and setting poison before them for a banquet; and thus—when it might so easily, as one would think, have been adjusted otherwise—making their existence a strangeness, a solitude, and torment. All his life long, he had been learning how to be wretched, as one learns a foreign tongue; and now, with the lesson thoroughly by heart, he could with difficulty comprehend his little airy happiness. (10.8)

Clifford is happy to be spending these afternoons with Phoebe in their secluded garden. But it's a case of too little, too late: having spent 30 years in prison, it's still hard for him to believe that he's allowed to enjoy himself now. We're intrigued by the narrator's description of "that great class of people" who are constantly required by fate to act against their own natures. Clifford is not meant for a lifetime of misery in prison, but that's what he gets. We guess that the reverse of his case is Judge Pyncheon, who is a hypocrite – he doesn't deserve a lifetime of wealth and respect from his fellow man – but that's what he gets. It seems that Hawthorne is meditating, as we all so often do, on why life is unfair.

Quote #6

"I shall not bandy words with you," observed the foreign-bred Mr. Pyncheon, with haughty composure. "Nor will it become me to resent any rudeness towards either my grandfather or myself. A gentleman, before seeking intercourse with a person of your station and habits, will first consider whether the urgency of the end may compensate for the disagreeableness of the means. It does so in the present instance." (13.38)

We aren't sure why the narrator insists so strongly that Gervayse Pyncheon is "foreign-bred" in this exchange between Matthew Maule II and Gervayse Pyncheon. Does it matter? Is it supposed to explain why Gervayse is so high-handed and snotty with someone he thinks is his social inferior? At any rate, it really shows how stupid and self-defeating Gervayse Pyncheon can be that he actually thinks he can persuade Matthew Maule II to help him by saying that someone as poor and low-class as Maule can't be proud enough to turn his nose up at the offer of good, hard cash. Nice going, Gervayse.

Quote #7

The purity of his judicial character, while on the bench; the faithfulness of his public service in subsequent capacities; his devotedness to his party, and the rigid consistency with which he had adhered to its principles, or, at all events, kept pace with its organized movements; his remarkable zeal as president of a Bible society; his unimpeachable integrity as treasurer of a widow's and orphan's fund; his benefits to horticulture, by producing two much esteemed varieties of the pear and to agriculture, through the agency of the famous Pyncheon bull; the cleanliness of his moral deportment, for a great many years past; the severity with which he had frowned upon, and finally cast off, an expensive and dissipated son, delaying forgiveness until within the final quarter of an hour of the young man's life; his prayers at morning and eventide, and graces at meal-time; his efforts in furtherance of the temperance cause; his confining himself, since the last attack of the gout, to five diurnal glasses of old sherry wine; the snowy whiteness of his linen, the polish of his boots, the handsomeness of his gold-headed cane, the square and roomy fashion of his coat, and the fineness of its material, and, in general, the studied propriety of his dress and equipment; the scrupulousness with which he paid public notice, in the street, by a bow, a lifting of the hat, a nod, or a motion of the hand, to all and sundry of his acquaintances, rich or poor; the smile of broad benevolence wherewith he made it a point to gladden the whole world, – what room could possibly be found for darker traits in a portrait made up of lineaments like these? This proper face was what he beheld in the looking-glass. This admirably arranged life was what he was conscious of in the progress of every day. Then might not he claim to be its result and sum, and say to himself and the community, "Behold Judge Pyncheon there"? (15.18)

Here Hawthorne is sketching out in great detail what it takes to appear to be a respectable man in Massachusetts in 1851. You have to have a job as a public servant (like, say, a judge). You have to be faithful to your political party. You have to say your prayers and run a Bible society. You have to donate money to the right charities. You have to be tough with your kids (really, really tough, apparently). You have to restrain your drinking. You have to dress well. And you have to greet everyone you meet with "the smile of broad benevolence." Once you've accomplished all of these public duties, you appear to be a good man, no matter what's really in your heart.

What do you think of this list of respectable traits? What does it tell you about the social structure of Massachusetts back in Hawthorne's day? Do we judge respectability using similar criteria now?

Quote #8

Might and wrong combined, like iron magnetized, are endowed with irresistible attraction. There would be Judge Pyncheon, – a person eminent in the public view, of high station and great wealth, a philanthropist, a member of Congress and of the church, and intimately associated with whatever else bestows good name, – so imposing, in these advantageous lights, that Hepzibah herself could hardly help shrinking from her own conclusions as to his hollow integrity. The Judge, on one side! And who, on the other? The guilty Clifford! Once a byword! Now, an indistinctly remembered ignominy! (16.5)

Hepzibah is clearly aware of the difference in social power between Judge Pyncheon and his unfortunate cousin Clifford. But we are wondering how universal Hawthorne is trying to be in his assessment of "might and wrong combined." Hawthorne is obviously highly critical of the hypocrisy he finds to be ingrained in Puritan life and culture. Judge Jaffrey Pyncheon is one fictional example of the danger of power in the hands of the wrong man. But we also can't lose sight of the fact that Pyncheon is a type as much as he is a character: he stands in for a more general social problem that Hawthorne is observing in America's history.

Quote #9

"And how do you know they're gone to the Judge's?" asked Mrs. Gubbins. "He's a rich man; and there's been a quarrel between him and Hepzibah this many a day, because he won't give her a living. That's the main reason of her setting up a cent-shop."

"I know that well enough," said the neighbor. "But they're gone, – that's one thing certain. And who but a blood relation, that couldn't help himself, I ask you, would take in that awful-tempered old maid, and that dreadful Clifford? That's it, you may be sure." (19.19-20)

This brief slice of dialogue between two townspeople shows how gossip can get things wrong. Hawthorne often uses local lore to supplement official history, since the latter is often inaccurate. (Check out our first quote in the "Religion" section.) But local legend doesn't always get it right. These two women have at least part of the story: they know Judge Pyncheon and Hepzibah have a longstanding feud. But they also think Judge Pyncheon is in the right and that Hepzibah and Clifford have gone to live with him anyway. If they only knew the truth!

Quote #10

Still the young Italian's eye turned sidelong upward; and it really seemed as if the touch of genuine, though slight and almost playful, emotion communicated a juicier sweetness to the dry, mechanical process of his minstrelsy. These wanderers are readily responsive to any natural kindness—be it no more than a smile, or a word itself not understood, but only a warmth in it—which befalls them on the roadside of life. They remember these things, because they are the little enchantments which, for the instant, – for the space that reflects a landscape in a soap-bubble, – build up a home about them. Therefore, the Italian boy would not be discouraged by the heavy silence with which the old house seemed resolute to clog the vivacity of his instrument. He persisted in his melodious appeals; he still looked upward, trusting that his dark, alien countenance would soon be brightened by Phoebe's sunny aspect. Neither could he be willing to depart without again beholding Clifford, whose sensibility, like Phoebe's smile, had talked a kind of heart's language to the foreigner. He repeated all his music over and over again, until his auditors were getting weary. So were the little wooden people in his show-box, and the monkey most of all. (19.40)

The only thing we know about the man with the barrel-organ is that he is "foreign." Because he's not from around these parts, he has a long memory for small kindnesses. He remembers both Phoebe and Clifford's faces talking "a kind of heart's language" to him. But how does his yearning for the kindness of home fit with Clifford's idea that we should all be nomads living on trains, with no permanent home? How does Hawthorne's depiction of this wanderer's life contrast with the criticisms he's been heaping on family and inheritance?