Does Nathaniel Hawthorne Use Physiognomy In The Scarlet Letter

The usage of physiognomy in Nathaniel Hawthorne’s The Scarlet Letter
Throughout history, many literal works have utilized physiognomy to bring a deeper meaning to the characters. Nathaniel Hawthorne’s The Scarlet Letter is a prime example of this, where the author uses physical appearances to emphasize the true qualities of the characters. By analyzing the physical descriptions of Hester Prynne’s beauty, Arthur Dimmesdale’s weakness, and Roger Chillingworth’s ugliness, this essay explores how Hawthorne employs physiognomy to convey the inner character of each person.
Hester Prynne’s beauty is a great representation of how Hawthorne uses physiognomy in The Scarlet Letter, by linking her appearance to her personality. The author describes Hester

Although she is described as physically attractive, her inner beauty reflects her attractiveness from the outside, allowing her to bear the burden of the scarlet letter with dignity and grace. In contrast to the Puritan society’s expectations, Hester’s charmer reveals her pure and innocent heart. Hawthorne’s use of physiognomy in Hester’s character highlights the irony of the situation, as her beauty contradicts society’s perception of her as a sinner. Overall, Hester’s beauty reflects her true character and defies the societal expectations imposed on

(113)
“What can thy silence do for him, except it tempt him—yea, compel him, as it were—to add hypocrisy to sin?” (62)
These passages emphasize the internal conflict within Dimmesdale, he is a man who is desperately trying to hide his sins from the public. The physical description of Dimmesdale emphasizes his physical weakness and fragility, which reflects his moral weakness, linked with his unfaithfulness which brings him to fulfill sinful acts.
Throughout the novel, Chillingworth’s ugly look is combined with his altruistic, as well as revenge-seeking and malicious nature. Chillingworth’s ugliness is described to be “—a deformed old figure, with a face that haunted men’s memories longer than they liked” (166), and his contradictory behaviours are revealed when the author writes:
Calm, gentle, passionless, as he appeared, there was yet, we fear, a quiet depth of malice, hitherto latent, but active now, in this unfortunate old man, which led him to imagine a more intimate revenge than any mortal had ever wreaked upon an