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Rhetorical Analysis Of The Scarlet Letter

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The Prison Door In this Chapter from The Scarlet Letter, Hawthorne introduces the setting of the book in Boston. He uses a gloomy and depressed tone in the beginning of the chapter. He is able to convey this tone using imagery while describing the citizens, the prison, and the cemetery. However, as he continues to discuss the rose-bush, he uses parallelism to shift the tone to be brighter and joyful. To create a gloomy and depressed tone, Hawthorne uses imagery. In the first paragraph, he begins by talking about men with “sad-colored garments”. This sets a gloomy tone because the word “sad” is blatantly used to describe the characters. Later on in the paragraph, Hawthorne begins to describe the prison door. He says that the door consists of …show more content…

The rose-bush conveys a brighter and joyful tone, which is evident when words like “delicate gems” and “fragile beauty” are used as descriptors. The rose-bush is further talked about as a happy symbol for people walking into the prison: “...and to the condemned criminal as he came forth to his doom, in token that the deep heart of Nature could pity and be kind to him.” This quote shows parallelism while talking about someone’s heading to their doom, and having something even that small to give them joy. The parallelism used here is in place to help shift the tone from gloomy and depressed, to something brighter and happier. In “The Prison Door” from The Scarlet Letter, Hawthorne uses imagery and parallelism to convey his tone while introducing the setting of the book. He uses a gloomy and depressed tone in the beginning of the chapter using imagery while describing different places through the town. Later on in the chapter, he moves on to discuss the rose-bush. This is looked at as a joyful symbol to the sad citizens. This is the parallelism he uses to shift the tone to be brighter and

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Reverend Arthur Dimmesdale, one of the protagonists of Nathaniel Hawthorne’s novel The Scarlet Letter, stands as a highly conflicted character. The source of his divide stems from the consequences of private sins, and is prevalent within the first paragraphs of Chapter 12, “The Minister’s Vigil,” where the narration chronicles Dimmesdale’s surroundings as he dream walks through the town in a state of limbo. He is portrayed as a model citizen who lacks moral imperfections to the general public yet suffers privately from the juxtaposition of his sins to his position within the community. In this specific passage, Hawthorne uses somber diction and imagery to illustrate Dimmesdale’s strife, while portraying his internal conflict through the formation

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Hawthorne uses chapter twenty-two, “The Procession”, to put all the pieces of the puzzle of the conflict together. This is where the reader remotely begins to understand how the ending of the novel will come to an end. To reveal the conclusion to the reader, Hawthorne uses rhetorical devices such as, irony, simile, and diction. To expose the irony in this chapter, Hawthorne writes of Dimmesdale’s sermon. As Dimmesdale speaks, “if the auditor listened intently, and for the purpose, he could detect the same cry of pain.”

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From the very beginning, the second paragraph of the novel describes “their [Puritans] earliest practical necessities to allot a portion of the virgin soil as a cemetery, and another portion as the site of a prison” (Hawthorne 45). The first building constructed, the prison, represents Puritan priorities. Hawthorne emphasizes the Puritan’s mainly pessimistic and dull characteristics that make up their society as a prison represents fear, punishment and pain. Further in the paragraph, Hawthorne describes the new puritan community with words connoting depression: “grave...gloomy” with “darker aspects “and “ugly edifices” (Hawthorne 45). Hawthorne utilizes dismal diction, invoking a melancholy tone.

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Whereas the writer described the prison as “unsightly,” he describes the rose bush as “ covered, in this month of June, with its delicate gems, which might be imagined to offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom, in token that the deep heart of Nature could pity and be kind to him.” Immediately what comes to mind is the protagonist vs the antagonist. The rose bush, the noble creature, against all odds, fighting for good, and this society, ugly and evil, fighting against what is right. This difference in diction immediately juxtaposes the society from the “wild” rose bush, and signals the shift in tone, revealing Hawthorne’s attitude towards the two different

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While describing the muddled community, Hawthorne notes the wild rose bush growing outside the prison as an “[offering],” to the doomed prisoners. He also suggests the flowers sprung up beneath the feet of the “sainted Anne Hutchinson.” His specific vocabulary suggests that these flowers are a symbol of opposition because they emerged from a “saint” like Anne Hutchinson who challenged Puritan standards. Not only that but these holy flowers are also offering hope and grace to prisoners condemned by the new colony. Hawthorne’s dictation at this point projects the idea that these prisoners are not at all guilty of a horrible crime and deserve to feel hope from a “delicate gem” and not be persecuted in the “black flower of civilized society.”

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The rose bush grew just outside the prison doors and has been there for a very long time. It is seen as imperfect because, while it may look beautiful, each rose has its own thorns. Hawthorne explains, “It may serve, let us hope, to symbolize some sweet moral blossom, that may be found along the track, or relieve the darkening close of a tale of human frailty and sorrow” (Hawthorne 46). This quote shows that the rose bush can be interpreted differently by every reader. It can be seen as good or bad because it is by the prison and has thorns, but it also has beauty.

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Nathanial Hawthorne sets the climax of The Scarlet Letter up in his telling of the scaffold scene. Throughout the scene Hawthorne utilizes parallelism, a subtle spiritual allusion and a heavy dose of irony in order to resolve the main conflict of the book, Dimmesdale’s refusal to tell the truth. Hawthorne presents the scene at a very quick pace; which appeases his audience compared to the slower pace set in earlier chapters. Hawthorne makes clear the thoughts of Dimmesdale by continuously repeating them. Dimmesdale is up on the scaffold and wants nothing more than for Hester and Pearl to join him, “come hither!

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However, he also uses these allusions to create a new side to his narrative as evident when he describes Hester’s resilience, and to create a new element in the plot as evident in his description of Dimmesdale’s penance and need for redemption. Therefore, Hawthorne demonstrates an effective use of allusions to craft a religious and detailed narrative for The Scarlet Letter by reviewing on parallels between the Bible and the novel’s main characters. There’s more to The Scarlet Letter than these allusions though, and there are many questions to answer about this book. These questions may never be answered fully, but by reading the novel itself, we might find the right places to start searching for answers and formulate our own opinions on the matter. What’s important from this novel is the realistic warning about what might happens when an individual place themselves too highly among others, a message Hawthorne writes to warn against the fervor of transcendentalism of his time.

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The entirety of of The Scarlet Letter is written from the perspective of an anonymous third person narrator. Due to his egotistical tendencies, much of the novel is told through very didactic word usage because the narrator intends on teaching the readers instead of solely telling a story. Another prevalent aspect of the work in the difference of diction between the descriptions and speakings of each individual character. Hawthorne ensures that the language a character uses reflects on their personalities as well as follows along with their characterizations throughout the book. In possessing very formal diction overall, the narrator also manages to include artistic aspects such as imagery, metaphor and personification to enhance the novel’s

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