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Excerpt
Excerpt from The Scarlet Letter, by Nathaniel Hawthorne
THE CUSTOM-HOUSE
INTRODUCTORY TO “THE SCARLET LETTER”
It is a little remarkable, that—though disinclined to talk overmuch of
myself and my affairs at the fireside, and to my personal friends—an
autobiographical impulse should twice in my life have taken possession
of me, in addressing the public. The first time was three or four years
since, when I favoured the reader—inexcusably, and for no earthly
reason that either the indulgent reader or the intrusive author could
imagine—with a description of my way of life in the deep quietude of an
Old Manse. And now—because, beyond my deserts, I was happy enough to
find a listener or two on the former occasion—I again seize the public
by the button, and talk of my three years’ experience in a
Custom-House. The example of the famous “P. P., Clerk of this Parish,”
was never more faithfully followed. The truth seems to be, however,
that when he casts his leaves forth upon the wind, the author
addresses, not the many who will fling aside his volume, or never take
it up, but the few who will understand him better than most of his
schoolmates or lifemates. Some authors, indeed, do far more than this,
and indulge themselves in such confidential depths of revelation as
could fittingly be addressed only and exclusively to the one heart and
mind of perfect sympathy; as if the printed book, thrown at large on
the wide world, were certain to find out the divided segment of the
writer’s own nature, and complete his circle of existence by bringing
him into communion with it. It is scarcely decorous, however, to speak
all, even where we speak impersonally. But, as thoughts are frozen and
utterance benumbed, unless the speaker stand in some true relation with
his audience, it may be pardonable to imagine that a friend, a kind and
apprehensive, though not the closest friend, is listening to our talk;
and then, a native reserve being thawed by this genial consciousness,
we may prate of the circumstances that lie around us, and even of
ourself, but still keep the inmost Me behind its veil. To this extent,
and within these limits, an author, methinks, may be autobiographical,
without violating either the reader’s rights or his own.
Explanation
Detailed Explanation of the Excerpt from The Scarlet Letter (Custom-House Introduction)
Nathaniel Hawthorne’s The Scarlet Letter (1850) is a foundational work of American literature, exploring themes of sin, guilt, legalism, and redemption in Puritan New England. The novel is preceded by a lengthy introductory essay, "The Custom-House," which serves as both a framing device and a semi-autobiographical reflection on Hawthorne’s own life, his time working at the Salem Custom House, and his motivations for writing The Scarlet Letter.
The excerpt provided is a meta-literary meditation on authorship, audience, and the nature of self-revelation in writing. Below is a breakdown of its key elements, focusing primarily on the text itself while also situating it within broader literary and historical contexts.
1. Context of the Passage
- "The Custom-House" was written after Hawthorne lost his job at the Salem Custom House (a federal tax collection office) due to political changes in 1849. The essay blends fact and fiction, presenting a fictionalized version of Hawthorne’s experiences while also introducing the manuscript of The Scarlet Letter, which he claims to have discovered in the Custom House.
- The passage reflects Hawthorne’s ambivalence about public self-disclosure. Though he was a private man, he had previously written a similar autobiographical sketch in "The Old Manse" (1846), describing his life in Concord. Here, he justifies (or critiques) his tendency to write about himself when addressing the public.
2. Summary of the Excerpt
Hawthorne begins by acknowledging a paradox: though he is reluctant to discuss himself in private conversations, he has twice felt compelled to write autobiographical prefaces for his works. He describes this impulse as inexplicable—almost involuntary—and suggests that authors sometimes write not for the general public but for a select few readers who might truly understand them.
He compares himself to "P. P., Clerk of this Parish" (a reference to an anonymous 18th-century English essayist who wrote personal, gossipy sketches under that pseudonym), implying that his own writing shares a similar confessional yet detached tone. Hawthorne then reflects on the intimacy of writing, suggesting that some authors write as if addressing a single, perfectly sympathetic soul—even though their words are published for the world.
However, he cautions against complete self-exposure, arguing that even in impersonal writing, an author should retain some mystery. He proposes a middle ground: imagining a friendly, attentive listener (not too close, but understanding) to thaw his "native reserve" and allow him to speak freely yet not entirely openly. This way, the writer can discuss personal matters while still keeping the "inmost Me" veiled.
3. Key Themes in the Passage
A. The Paradox of Autobiographical Writing
- Hawthorne presents himself as both reticent and compulsively confessional. He claims he doesn’t like talking about himself in private, yet he twice writes autobiographical prefaces for the public.
- This tension mirrors a broader Romantic and Transcendentalist concern with self-expression vs. privacy. Writers like Emerson and Thoreau also grappled with how much of the self to reveal in their works.
- The passage suggests that writing is a controlled form of self-exposure—unlike conversation, it allows the author to shape their own image.
B. The Ideal Audience: Writing for the "Few"
- Hawthorne rejects the idea that an author writes for the masses. Instead, he suggests that the true audience is a small, discerning group who will understand the writer’s deeper intentions.
- This aligns with the Romantic notion of the artist as a misunderstood genius, whose work is appreciated only by a select few.
- The reference to "P. P., Clerk of this Parish" (likely Peter Pindar, a pseudonym for satirist John Wolcot) reinforces this idea—Hawthorne sees himself as part of a tradition of personal yet public writing.
C. The Illusion of Intimacy in Writing
- Hawthorne describes how some authors write as if speaking to one perfect soulmate, even though their work is published for all.
- This reflects the paradox of literary communication: writing is both public and private, addressed to strangers yet often feeling like a personal confession.
- The idea that a book might "find the divided segment of the writer’s own nature" suggests a Platonic or mystical belief in a preordained connection between author and reader.
D. The Veiled Self: Partial Revelation
- Hawthorne argues that total self-disclosure is "scarcely decorous." Instead, an author should reveal enough to engage the reader but keep the "inmost Me" hidden.
- This aligns with Puritan and Gothic traditions of hidden sin and secrecy—a major theme in The Scarlet Letter itself (e.g., Dimmesdale’s concealed guilt).
- The metaphor of "thawing" reserve suggests that writing is a controlled melting of privacy, not a complete surrender.
4. Literary Devices & Stylistic Features
| Device | Example from the Text | Effect |
|---|---|---|
| Paradox | "Disinclined to talk overmuch of myself... yet an autobiographical impulse twice took possession of me." | Highlights the contradiction between Hawthorne’s private nature and his public confessions. |
| Metaphor | "Casts his leaves forth upon the wind" (writing as scattering leaves) | Suggests that writing is both natural (like autumn leaves) and uncontrollable (subject to the wind’s direction). |
| Allusion | "The example of the famous ‘P. P., Clerk of this Parish’" | Connects Hawthorne to a tradition of personal yet public writing, adding literary credibility. |
| Personification | "Thoughts are frozen and utterance benumbed" | Portrays creative blockage as a physical state, emphasizing the need for a warm, receptive audience. |
| Extended Metaphor | "The divided segment of the writer’s own nature" | Implies that the ideal reader completes the author, like a missing piece of a circle. |
| Irony | "Beyond my deserts, I was happy enough to find a listener or two" | Hawthorne downplays his success while acknowledging that his previous autobiographical writing was well-received. |
| Imagery of Cold/Warmth | "Thoughts are frozen... thawed by this genial consciousness" | Contrasts creative sterility with the warmth of an imagined friend, reinforcing the idea that writing requires connection. |
5. Significance of the Passage
A. Framing The Scarlet Letter as a "Found" Manuscript
- By presenting The Scarlet Letter as a discovered document (rather than his own invention), Hawthorne distances himself from the story’s controversial themes (adultery, hypocrisy, religious legalism).
- The Custom-House introduction blurs fact and fiction, making the novel seem like a historical artifact rather than a direct critique of Puritan society.
B. Hawthorne’s Ambivalence About Authorship
- The passage reveals Hawthorne’s anxiety about public judgment. He justifies his autobiographical impulses while also criticizing them as "inexcusable."
- This reflects the 19th-century American writer’s dilemma: the desire for literary fame vs. the Puritan distrust of self-promotion.
C. The Role of the Reader in Literature
- Hawthorne’s idea that an author writes for a few understanding readers challenges the mass-market approach to literature.
- This perspective influences later modernist and postmodern writers (e.g., Joyce, Borges) who also question the relationship between author and audience.
D. Themes That Foreshadow The Scarlet Letter
- Secrecy vs. Revelation: Just as Hawthorne veils his "inmost Me," characters like Dimmesdale and Hester conceal or reveal their sins in complex ways.
- The Power of the Written Word: The Custom-House manuscript (like Hester’s scarlet letter) is a symbol of enduring truth, even if its origins are mysterious.
- Isolation vs. Connection: Hawthorne’s imagined friendly listener parallels Hester’s loneliness and eventual redemption through human connection.
6. Conclusion: Why This Passage Matters
This excerpt is not just an introduction—it is a manifestation of Hawthorne’s literary philosophy. It explores:
- The ethics of self-revelation in writing.
- The relationship between author and reader.
- The tension between public and private identities.
By framing The Scarlet Letter with this meditation on authorship, Hawthorne prepares the reader for a novel that is itself about hidden truths, confession, and the power of storytelling. The Custom-House introduction thus serves as both a literary device (creating distance between Hawthorne and his controversial tale) and a deeply personal reflection on why writers write—and for whom.
In essence, Hawthorne is saying: "I will tell you a story, but remember—every story, even the most personal, keeps something back." This idea resonates throughout The Scarlet Letter, where sin is exposed, yet never fully understood; guilt is confessed, yet never entirely absolved.
Questions
Question 1
The passage’s depiction of the author’s relationship with his audience is most analogous to which of the following interpersonal dynamics?
A. A preacher delivering a sermon to a congregation of varied faiths, tailoring his message to resonate with the broadest possible audience.
B. A philosopher composing a treatise for posterity, indifferent to whether contemporary readers grasp its full significance.
C. A letter-writer addressing a pen pal of long standing—intimate yet not entirely without reservation—who is known to interpret silences as eloquently as words.
D. A politician crafting a stump speech, calculating each phrase to appeal to undecided voters while avoiding alienation of the base.
E. A diarist recording private reflections with no intention of sharing them, only to have the journal published posthumously against their wishes.
Question 2
The "inmost Me" Hawthorne chooses to keep veiled serves primarily as a metaphor for:
A. the irreducible gap between any author’s intended meaning and the reader’s interpretation, a gap that preserves the mystery essential to art.
B. the Puritanical guilt inherited from his ancestors, which compels him to withhold full confession even in secular writing.
C. the practical necessity of maintaining professional detachment, given his former role as a customs officer bound by bureaucratic discretion.
D. a strategic ambiguity designed to provoke readers into projecting their own psyches onto the text, thereby ensuring its universality.
E. the subconscious mind as theorized by early psychologists, a reservoir of primal impulses too dangerous to articulate directly.
Question 3
Which of the following statements about the "few who will understand him better than most of his schoolmates or lifemates" is least supported by the passage?
A. They are imagined as a compensatory audience, compensating for the author’s perceived isolation in his immediate social circles.
B. Their understanding is portrayed as a kind of intellectual sympathy that transcends the limitations of personal acquaintance.
C. They function as a rhetorical device, allowing the author to justify the public disclosure of private thoughts.
D. They are explicitly described as a statistically significant portion of the reading public, large enough to ensure commercial success.
E. Their role parallels the "kind and apprehensive" friend the author imagines to thaw his native reserve.
Question 4
The passage’s allusion to "P. P., Clerk of this Parish" primarily serves to:
A. invoke a tradition of satirical, gossip-laden writing to signal that the Custom-House sketch should not be taken as entirely serious.
B. position Hawthorne within a lineage of authors who blend the personal and the public, using pseudonymity or detachment as a shield.
C. contrast his own restrained confessional style with the unfiltered revelations of an earlier, more scandalous writer.
D. suggest that, like the Clerk, he is merely a recorder of others’ stories, not the originator of the narrative that follows.
E. underscore the futility of autobiographical writing, since even the most candid authors are ultimately misunderstood.
Question 5
The "genial consciousness" that thaws the author’s reserve is best understood as:
A. the warmth of a physical fireside, evoking the domestic comforts he claims to eschew in private conversation.
B. the flattering attention of literary critics, whose praise emboldens him to reveal more than he otherwise would.
C. the therapeutic effect of writing itself, which liberates repressed thoughts regardless of whether anyone reads them.
D. the imagined presence of a receptive reader—neither too distant nor too familiar—who makes disclosure feel safe but not reckless.
E. the collective spirit of his ancestors, whose Puritan legacy both constrains and compels his act of confession.
Solutions and Explanations
1) Correct answer: C
Why C is most correct: The passage emphasizes a relationship that is intimate yet bounded, where the author reveals himself to an audience that is attentive but not intrusive. The "pen pal of long standing" analogy captures this dynamic: such a correspondent would understand the writer’s silences and implications (e.g., "interpret silences as eloquently as words") without demanding full disclosure. Hawthorne describes his ideal reader as "kind and apprehensive, though not the closest friend"—a balance between connection and reserve that aligns with the pen-pal relationship. The act of writing, like letter-writing, is deliberate and reciprocal, but not without self-protective reticence.
Why the distractors are less supported:
- A: A preacher addressing a diverse congregation implies a broad, adaptable appeal, but Hawthorne explicitly rejects writing for "the many" in favor of "the few." His tone is not homiletic but confessional and selective.
- B: A philosopher writing for posterity suggests indifference to contemporary readers, but Hawthorne is acutely concerned with imagined immediate listeners ("a friend... is listening to our talk"). His focus is on thawing reserve, not detached legacy.
- D: A politician’s calculated appeal implies strategic manipulation, but Hawthorne’s disclosure is framed as organic and thawed by genuine connection, not electoral math. The passage lacks the cynicism of this analogy.
- E: A posthumously published diarist suggests unintended exposure, but Hawthorne’s disclosure is intentional and mediated ("we may prate... but still keep the inmost Me behind its veil"). The dynamic is controlled, not accidental.
2) Correct answer: A
Why A is most correct: The "inmost Me" represents the unbridgeable gap between author and reader, a space that preserves ambiguity and artistic depth. Hawthorne argues that total revelation is "scarcely decorous"—not because of guilt or strategy, but because mystery is inherent to meaningful communication. The passage frames writing as an act that requires relation but not surrender: the author must stand in "some true relation with his audience," yet the "inmost Me" remains untranslatable. This aligns with Romantic and modernist ideas about the limits of language and the necessity of negative capability (Keats) or indeterminacy (later theorists like Barthes).
Why the distractors are less supported:
- B: While Hawthorne’s Puritan heritage is relevant to The Scarlet Letter, the passage does not invoke guilt as the reason for veiling the self. The tone is aesthetic and rhetorical, not moral or confessional.
- C: The "Custom-House" role is a biographical detail, but the passage’s concern is literary and philosophical, not bureaucratic discretion. Hawthorne’s reserve is artistic, not professional.
- D: The passage does not suggest the veil is a deliberate technique to provoke projection. Hawthorne’s focus is on authentic connection, not psychological manipulation. The "few who understand" are sympathetic, not projective.
- E: The "inmost Me" is not framed as the Freudian unconscious or a dangerous id. Hawthorne’s language is metaphorical and relational, not psychological. The veil is social and artistic, not repressive.
3) Correct answer: D
Why D is least supported: The passage explicitly contrasts the "few" with the "many who will fling aside his volume." The ideal readers are not statistically significant but exceptional and rare ("the few who will understand him better"). Hawthorne’s tone is resigned to obscurity, not optimistic about commercial reach. The "few" are a consolation, not a market segment.
Why the other options are supported:
- A: The "few" compensate for the lack of understanding from "schoolmates or lifemates," suggesting the author feels misunderstood in his immediate circles.
- B: The "few" possess a sympathy that transcends personal acquaintance ("understand him better than most... lifemates"), implying an intellectual or artistic kinship.
- C: The "few" serve as a rhetorical justification for public disclosure, allowing Hawthorne to frame his confessions as selective, not indiscriminate.
- E: The "kind and apprehensive friend" is directly parallel to the "few" who thaw the author’s reserve. Both are imagined audiences that enable disclosure.
4) Correct answer: B
Why B is most correct: The reference to "P. P., Clerk of this Parish" positions Hawthorne within a tradition of semi-anonymous, personally inflected public writing. The Clerk’s work was gossipy yet detached, blending personal observation with public address—much like Hawthorne’s Custom-House sketch. By invoking this figure, Hawthorne signals his own use of pseudonymity (the Custom-House narrator is a fictionalized version of himself) and detachment as tools for mediating self-revelation. The allusion underscores that his autobiographical impulse is not unique but part of a literary lineage.
Why the distractors are less supported:
- A: The passage does not treat the Custom-House sketch as satire or gossip. The tone is reflective and meta-literary, not mocking or scandalous.
- C: Hawthorne does not contrast his restraint with the Clerk’s unfiltered revelations. The Clerk is a model, not a foil. The passage emphasizes continuity, not opposition.
- D: The Clerk allusion does not suggest Hawthorne is merely a recorder. The Custom-House introduction is his own story, not a found manuscript. The later claim about discovering Hester’s tale is separate from this passage.
- E: The allusion is not cynical about understanding. Hawthorne believes the "few" can understand him; the Clerk reference affirms the possibility of connection, not its futility.
5) Correct answer: D
Why D is most correct: The "genial consciousness" is the imagined presence of a receptive reader—one who is "kind and apprehensive, though not the closest friend." This reader is close enough to thaw reserve ("genial") but not so intimate as to demand full disclosure ("not the closest"). The dynamic is safe but not reckless, enabling the author to "prate of... ourselves" while keeping the "inmost Me" veiled. The passage explicitly ties this warmth to the act of writing for an audience, not to physical comfort, criticism, therapy, or ancestry.
Why the distractors are less supported:
- A: The "fireside" is mentioned in the first sentence as a contrast—Hawthorne is disinclined to talk there. The "genial consciousness" is literary, not domestic.
- B: Hawthorne does not mention critics’ praise as a motivator. The warmth comes from imagined sympathy, not external validation.
- C: The thawing is relational (reader-author), not solipsistic (writing as self-therapy). The passage emphasizes communication, not catharsis.
- E: The "genial consciousness" is forward-looking (a contemporary reader), not backward-looking (ancestral legacy). The Puritan past is not invoked here as a source of warmth.