the scarlet letter essays

The Scarlet Letter

Nathaniel hawthorne, everything you need for every book you read..

Welcome to the LitCharts study guide on Nathaniel Hawthorne's The Scarlet Letter . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

The Scarlet Letter: Introduction

The scarlet letter: plot summary, the scarlet letter: detailed summary & analysis, the scarlet letter: themes, the scarlet letter: quotes, the scarlet letter: characters, the scarlet letter: symbols, the scarlet letter: literary devices, the scarlet letter: quizzes, the scarlet letter: theme wheel, brief biography of nathaniel hawthorne.

Historical Context of The Scarlet Letter

Other books related to the scarlet letter.

• Full Title: The Scarlet Letter
• When Written: 1848-1850
• Where Written: Salem, Massachusetts
• When Published: 1850
• Literary Period: Transcendentalism
• Genre: Novel
• Setting: Boston, Massachusetts in the 1640s
• Climax: Dimmesdale's confession and death
• Antagonist: Roger Chillingworth; the Puritans
• Point of View: Third person omniscient

Extra Credit for The Scarlet Letter

Hawthorne and the Salem Witch Trials: Nathaniel Hawthorne was a direct descendent of John Hathorne, (1641-1717), a Puritan justice of the peace. Justice Hathorne is best known for his role as the lead judge in the Salem Witch Trials, in which he sentenced numerous innocent people to death for allegedly practicing witchcraft. Nathaniel added a "w" to his name to distance himself from his infamous ancestor.

Preview Citation

Export citation.

Reference Manager

The Scarlet Letter. New Critical Essays

• eBook for 45.- € Download immediately. Incl. VAT Format: PDF, ePUB and MOBI – for all devices
• Hardcover for 47.50 € Shipping in approx. 10 working days national, international shipping possible

Table Of Contents

• About the author(s)/editor(s)
• About the book
• This eBook can be cited
• The children of Pearl: The Scarlet Letter in the criticism and fiction of Henry James (Joseph Kuhn)
• Resettlement, mobility and modernity in The Scarlet Letter (Marek Paryż)
• From the Spanish Main to the Book of Revelation; or, Another View of Hester (Janusz Semrau)
• “The Custom-House” as a Biedermeier text (Paweł Stachura)
• The artist as adulterer in The Scarlet Letter (Jørgen Veisland)
• Notes on contributors
• Series index

The letter is alive and well. (Coale 2011: 19)

Anecdotally, The Scarlet Letter (1850) saw the light of day almost immediately upon completion only because its existence in the author’s private escritoire at 14 Mall Street in Salem was first intuited and then insistently assumed by a keen junior partner of a Boston publisher. However wary Hawthorne may have been to relinquish the original manuscript, soon after it appeared in print he would spare but a single leaf from the flames, the title page with the table of contents on the reverse. Alluding to the cumbersome logistics of an unplanned and in the end rushed publication – specifically to the distance between Salem and Boston – the writer quipped that his tightly contained narrative became gracelessly at least fourteen miles long in the process. Uncertain whether his ripeness and fullness of time as a novelist had already come, he could not be sure whether The Scarlet Letter was any good at all to begin with: “I don’t make any such calculation”, he wrote unenthusiastically to a friend (Nathaniel Hawthorne quoted in James [1879: 38]). Indeed, contrary to the later persistent and still current historiographic legend, the book did not become exactly a proverbial overnight success. It was much rather a succès d’estime . It established the author as a full-fledged professional man of letters, but it sold in his lifetime according to various sources just around ten thousand copies, with total royalties amounting to no more than just over a thousand dollars. 1

Given the benefit of hindsight, what is especially striking about the novel’s stretch and range today is not only its array and elasticity of polysemic meanings – and these extend from the historiographic to the theoretical to the philosophical as well as from the allegorical to the ambivalent to the aporetic – but also its ongoing poignant topicality, i.e., its (a)temporal reach, the idealized Poundian condition of news that stays news. The Scarlet Letter is a rare case of a text that has remained in print, cultural circulation, and public awareness for over a century and a half now. It ranks among the top best remembered, most widely discussed, most closely studied, and most profoundly influential American works of fiction ever written. By common consent, it is one of a few select tales that continually ← 7 | 8 → help define as well as refine not only American literature but also American culture at large. In the words of two contemporary commentators of rather different ideological persuasions, Hawthorne’s work is appreciable as “[A] foundation epic of American literacy” (Crain 2000: 209) and “[A] national master text” (Buell 2014: 90). As Paul Auster (quoted in Coale 2011: 16) has pithily identified the standing of The Scarlet Letter : “This is where American literature begins”. As far as structural properties and aesthetic qualities go, the novel in its clarity of conception, exquisiteness of execution and lightness of expression satisfies the definition of a literary tour de force as an inimitable sort of work that both cannot and need not be written again. It is perfectly safe to assume that for all kinds of, more or less, nuanced reasons The Scarlet Letter will continue to be viewed, and actually read, as an indispensable and irreplaceable American classic.

In accordance, as it were, with the well-known Romantic dictum that notwithstanding classics each age must need write its own books, The Scarlet Letter. New Critical Essays finds itself emulating in scope and length Michael Colacurcio’s anthology of 1985 New Essays on the Scarlet Letter , as well as supplementing and opening up a dialogue with that book. In its own right, the present publication may be seen as (un)intentional or serendipitous testimony to Oscar Wilde’s claim that the essence of true art is the capacity to make one pause, look at and ponder over a thing “a second time” (Wilde 2007 : 41). Also, the essays collected here validate Nina Baym’s recognition of The Scarlet Letter as a unique kind of tale and a unique kind of narrative that we are not only likely to approach and enter in our own individual way but we are very likely to approach and enter “in different ways at different points in our lives” (Baym 1986: xxix). This kind of second time and these kinds of different ways are demonstrated here by Joseph Kuhn (Poznań), Marek Paryż (Warsaw), Janusz Semrau (Warsaw), Paweł Stachura (Poznań), and Jørgen Veisland (Gdańsk).

In “The children of Pearl: The Scarlet Letter in the criticism and fiction of Henry James”, Joseph Kuhn focuses at first on the study Hawthorne of 1879 to show how the author was keen to present himself as the American inheritor of the French realists. Although this made James portray Hawthorne as a Salem provincial and a somewhat vague romancer The Scarlet Letter had quite clearly a formative influence on some of his own later fiction, especially through the character of Pearl. Kuhn argues that James elaborates on the Hawthornian figure of the child as a paradoxical transmitter of sin and a new-born anima. According to Kuhn, James takes his discourse ultimately in the direction of the modern Blanchotian themes of the death of the infans and the nekyia or return to the dead. While Hawthorne finds a conservative principle redux for the New World in the child, with James it ← 8 | 9 → turns into an intimation of disaster in the British imperial fabric of late Victorian culture.

In “Resettlement, mobility and modernity in The Scarlet Letter ”, Marek Paryż pays special attention to how the novel sketches the difficult and awkward emergence of modernizing impulses in Puritan New England. First of all, he points out that the story gets under way with a double movement and a double resettlement, semi-independently that of Roger Chillingworth and that of Hester Prynne. Paryż argues that the two central characters embody two tendencies and challenges Hawthorne’s 19 th -century readers could relate to, namely, the professionalization of social life and the emancipation of women. Even if Roger and Hester appear to respect the rules of the social system in which they find themselves embedded, they develop personal systems of values at odds with the official one. In contradistinction, the third central character, Arthur Dimmesdale, comes across as a figure of immobility and indecision, which is a subplot that ends up perpetuating the mid-17 th -century Puritan status quo.

In “From the Spanish Main to the Book of Revelation; or, Another View of Hester”, Janusz Semrau approaches Hawthorne’s text as a kind of post-Reformation morality play. The essay takes its initial cue from the hitherto critically neglected brief performative appearance of Spanish sailors, comparable in their general plot function to that of the troupe of travelling actors in Hamlet . Fundamentally, Semrau recognizes Hawthorne as an unchurched Calvinist and promotes a quasi-Calvinist reading into the Book of Revelation as a re-interpretive tool to The Scarlet Letter . The idea is to map out and explore Hester Prynne’s allegorical capacity as a Babylonian meretrix Augusta and throw thereby a new light on the immediate story as well as on the much-discussed ending of the book, where there can be detected a graphic apocalyptic eschaton rather than a proud or sentimental escutcheon.

In “The Custom-House as a Biedermeier text”, Paweł Stachura reviews some of the most representative readings of Hawthorne’s introductory sketch and proposes a radically new one. He structures his interpretation as an original comparative analysis of “The Custom-House” (along with The Scarlet Letter as a whole) and Adalbert Stifter’s programmatic introduction to his Bunte Steine [Colorful Stones] of 1853. Adalbert Stifter was an Austrian novelist and a short story writer who was one of the most energetic and dedicated advocates of the 19 th -century Biedermeier aesthetics. This middle-class cultural phenomenon in German-speaking countries is best remembered for its use of plenitude, tropes of collection, moralizing stance, and its generally conservative ideology. The ultimate objective of Stachura’s ← 9 | 10 → reading of Hawthorne is to show the applicability of the Biedermeier aesthetics to the study of American literature at large.

In “The artist as adulterer”, Jørgen Veisland highlights at first the letter on Hester Prynne’s dress. He sees the letter A as writing and knowledge, repressed in the author’s mind and manifesting itself as a renewal of the imaginative and creative potential as such. According to Veisland, it becomes evident that Hester herself serves as a mediator for the elusive heterogeneous object of the author’s desire, one that contains both artistic and erotic impulses. With Pearl as embodiment of the work of Art, Hawthorne’s project becomes a quest for the excavation of knowledge, the liberation of womanhood, and the transformation of the letter into an episteme that ends up signifying the integration of nature, being, and artwork. In contradistinction, Veisland argues that Roger Chillingworth represents the futility of the “chill” intellect, while Arthur Dimmesdale personifies the obfuscations of the “dim” soul.

This book is dedicated to the continued memory of Andrzej Kopcewicz (1934–2007), the first professor ordinarius of American literature in the history of English studies in Poland, on the tenth anniversary of his death.

Janusz Semrau

October 9, 2017

Biographical notes

Janusz Semrau (Volume editor)

Janusz Semrau is Associate Professor of American literature at the University of Social Sciences (SAN) in Warsaw. He has authored several books and numerous papers on 19th- and 20th-century American literature.

Key Subject Areas

• English Studies
• German Studies
• History & Political Science
• Law, Economics & Management
• Linguistics
• Media & Communication
• Romance Studies
• Science, Society and Culture
• Slavic Studies
• Theology & Philosophy
• Peter Lang Classics

• The Scarlet Letter

Nathaniel Hawthorne

• Literature Notes
• Symbolism in The Scarlet Letter
• The Scarlet Letter at a Glance
• Book Summary
• About The Scarlet Letter
• Character List
• Summary and Analysis
• The Custom-House
• Character Analysis
• Hester Prynne
• Arthur Dimmesdale
• Roger Chillingworth
• Character Map
• Nathaniel Hawthorne Biography
• Critical Essays
• The Puritan Setting of The Scarlet Letter
• The Scarlet Letter as a Gothic Romance
• The Structure of The Scarlet Letter
• Famous Quotes from The Scarlet Letter
• Film Versions of The Scarlet Letter
• Full Glossary for The Scarlet Letter
• Essay Questions
• Practice Projects
• Cite this Literature Note

Critical Essays Symbolism in The Scarlet Letter

Introduction

Nathaniel Hawthorne is one of the most prolific symbolists in American literature, and a study of his symbols is necessary to understanding his novels. Generally speaking, a symbol is something used to stand for something else. In literature, a symbol is most often a concrete object used to represent an idea more abstract and broader in scope and meaning — often a moral, religious, or philosophical concept or value. Symbols can range from the most obvious substitution of one thing for another, to creations as massive, complex, and perplexing as Melville's white whale in Moby Dick.

An allegory in literature is a story where characters, objects, and events have a hidden meaning and are used to present some universal lesson. Hawthorne has a perfect atmosphere for the symbols in The Scarlet Letter because the Puritans saw the world through allegory. For them, simple patterns, like the meteor streaking through the sky, became religious or moral interpretations for human events. Objects, such as the scaffold, were ritualistic symbols for such concepts as sin and penitence.

Whereas the Puritans translated such rituals into moral and repressive exercises, Hawthorne turns their interpretations around in The Scarlet Letter. The Puritan community sees Hester as a fallen woman, Dimmesdale as a saint, and would have seen the disguised Chillingworth as a victim — a husband betrayed. Instead, Hawthorne ultimately presents Hester as a woman who represents a sensitive human being with a heart and emotions; Dimmesdale as a minister who is not very saint-like in private but, instead, morally weak and unable to confess his hidden sin; and Chillingworth as a husband who is the worst possible offender of humanity and single-mindedly pursuing an evil goal.

Hawthorne's embodiment of these characters is denied by the Puritan mentality: At the end of the novel, even watching and hearing Dimmesdale's confession, many members of the Puritan community still deny what they saw. Thus, using his characters as symbols, Hawthorne discloses the grim underside of Puritanism that lurks beneath the public piety.

Some of Hawthorne's symbols change their meaning, depending on the context, and some are static. Examples of static symbols are the Reverend Mr. Wilson, who represents the Church, or Governor Bellingham, who represents the State. But many of Hawthorne's symbols change — particularly his characters — depending on their treatment by the community and their reactions to their sins. His characters, the scarlet A, light and darkness, color imagery, and the settings of forest and village serve symbolic purposes.

Hester is the public sinner who demonstrates the effect of punishment on sensitivity and human nature. She is seen as a fallen woman, a culprit who deserves the ignominy of her immoral choice. She struggles with her recognition of the letter's symbolism just as people struggle with their moral choices. The paradox is that the Puritans stigmatize her with the mark of sin and, in so doing, reduce her to a dull, lifeless woman whose characteristic color is gray and whose vitality and femininity are suppressed.

Over the seven years of her punishment, Hester's inner struggle changes from a victim of Puritan branding to a decisive woman in tune with human nature. When she meets Dimmesdale in the forest in Chapter 18, Hawthorne says, "The tendency of her fate and fortunes had been to set her free. The scarlet letter was her passport into regions where other women dared not tread."

In time, even the Puritan community sees the letter as meaning "Able" or "Angel." Her sensitivity with society's victims turns her symbolic meaning from a person whose life was originally twisted and repressed to a strong and sensitive woman with respect for the humanity of others. In her final years, "the scarlet letter ceased to be a stigma which attracted the world's scorn and bitterness, and became a type of something to be sorrowed over, and looked upon with awe, yet with reverence, too." Since her character is strongly tied to the scarlet letter, Hester represents the public sinner who changes and learns from her own sorrow to understand the humanity of others. Often human beings who suffer great loss and life-changing experiences become survivors with an increased understanding and sympathy for the human losses of others. Hester is such a symbol.

Dimmesdale, on the other hand, is the secret sinner whose public and private faces are opposites. Even as the beadle — an obvious symbol of the righteous Colony of Massachusetts — proclaims that the settlement is a place where "iniquity is dragged out into the sunshine," the colony, along with the Reverend Mr. Wilson, is in awe of Dimmesdale's goodness and sanctity. Inside the good minister, however, is a storm raging between holiness and self-torture. He is unable to reveal his sin.

At worst, Dimmesdale is a symbol of hypocrisy and self-centered intellectualism; he knows what is right but has not the courage to make himself do the public act. When Hester tells him that the ship for Europe leaves in four days, he is delighted with the timing. He will be able to give his Election Sermon and "fulfill his public duties" before escaping. At best, his public piety is a disdainful act when he worries that his congregation will see his features in Pearl's face.

Dimmesdale's inner struggle is intense, and he struggles to do the right thing. He realizes the scaffold is the place to confess and also his shelter from his tormenter, Chillingworth. Yet, the very thing that makes Dimmesdale a symbol of the secret sinner is also what redeems him. Sin and its acknowledgment humanize Dimmesdale. When he leaves the forest and realizes the extent of the devil's grip on his soul, he passionately writes his sermon and makes his decision to confess. As a symbol, he represents the secret sinner who fights the good fight in his soul and eventually wins.

Pearl is the strongest of these allegorical images because she is nearly all symbol, little reality. Dimmesdale sees Pearl as the "freedom of a broken law"; Hester sees her as "the living hieroglyphic" of their sin; and the community sees her as the result of the devil's work. She is the scarlet letter in the flesh, a reminder of Hester's sin. As Hester tells the pious community leaders in Chapter 8, ". . . she is my happiness! — she is my torture . . . See ye not, she is the scarlet letter, only capable of being loved, and so endowed with a million-fold the power of retribution for my sin?"

Pearl is also the imagination of the artist, an idea so powerful that the Puritans could not even conceive of it, let alone understand it, except in terms of transgression. She is natural law unleashed, the freedom of the unrestrained wilderness, the result of repressed passion. When Hester meets Dimmesdale in the forest, Pearl is reluctant to come across the brook to see them because they represent the Puritan society in which she has no happy role. Here in the forest, she is free and in harmony with nature. Her image in the brook is a common symbol of Hawthorne's. He often uses a mirror to symbolize the imagination of the artist; Pearl is a product of that imagination. When Dimmesdale confesses his sin in the light of the sun, Pearl is free to become a human being. All along, Hester felt there was this redeemable nature in her daughter, and here she sees her faith rewarded. Pearl can now feel human grief and sorrow, as Hester can, and she becomes a sin redeemed.

Chillingworth is consistently a symbol of cold reason and intellect unencumbered by human compassion. While Dimmesdale has intellect but lacks will, Chillingworth has both. He is fiendish, evil, and intent on revenge. In his first appearance in the novel, he is compared to a snake, an obvious allusion to the Garden of Eden. Chillingworth becomes the essence of evil when he sees the scarlet letter on Dimmesdale's breast in Chapter 10, where there is "no need to ask how Satan comports himself when a precious human soul is lost to heaven, and won into his kingdom."

Eventually, his evil is so pervasive that Chillingworth awakens the distrust of the Puritan community and the recognition of Pearl. As time goes by and Dimmesdale becomes more frail under the constant torture of Chillingworth, the community worries that their minister is losing a battle with the devil himself. Even Pearl recognizes that Chillingworth is a creature of the Black Man and warns her mother to stay away from him. Chillingworth loses his reason to live when Dimmesdale eludes him at the scaffold in the final scenes of the novel. "All his strength and energy — all his vital and intellectual force — seemed at once to desert him; insomuch that he positively withered up, shrivelled away, and almost vanished from mortal sight." As a symbol, Chillingworth's job is done.

The Scarlet A

Besides the characters, the most obvious symbol is the scarlet letter itself, which has various meanings depending on its context. It is a sign of adultery, penance, and penitence. It brings about Hester's suffering and loneliness and also provides her rejuvenation. In the book, it first appears as an actual material object in The Custom House preface. Then it becomes an elaborately gold-embroidered A over Hester's heart and is magnified in the armor breast-plate at Governor Bellingham's mansion. Here Hester is hidden by the gigantic, magnified symbol just as her life and feelings are hidden behind the sign of her sin.

Still later, the letter is an immense red A in the sky, a green A of eel-grass arranged by Pearl, the A on Hester's dress decorated by Pearl with prickly burrs, an A on Dimmesdale's chest seen by some spectators at the Election Day procession, and, finally, represented by the epitaph "On a field, sable, the letter A, gules" (gules being the heraldic term for "red") on the tombstone Hester and Dimmesdale share.

In all these examples, the meaning of the symbol depends on the context and sometimes the interpreter. For example, in the second scaffold scene, the community sees the scarlet A in the sky as a sign that the dying Governor Winthrop has become an angel; Dimmesdale, however, sees it as a sign of his own secret sin. The community initially sees the letter on Hester's bosom as a mark of just punishment and a symbol to deter others from sin. Hester is a Fallen Woman with a symbol of her guilt. Later, when she becomes a frequent visitor in homes of pain and sorrow, the A is seen to represent "Able" or "Angel." It has rejuvenated Hester and changed her meaning in the eyes of the community.

Light and Color

Light and darkness, sunshine and shadows, noon and midnight, are all manifestations of the same images. Likewise, colors — such as red, gray, and black — play a role in the symbolic nature of the background and scenery. But, similar to the characters, the context determines what role the light or colors play. The Scarlet Letter 's first chapter ends with an admonition to "relieve the darkening close of a tale of human frailty and sorrow" with "some sweet moral blossom." These opposites are found throughout the novel and often set the tone and define which side of good and evil envelop the characters.

In Chapter 16, Hester and Dimmesdale meet in the forest with a "gray expanse of cloud" and a narrow path hemmed in by the black and dense forest. The feelings of the lovers, weighed down by guilt, are reflected in the darkness of nature. Every so often, sunshine flickers on the setting. But Pearl reminds her mother that the sun will not shine on the sinful Hester; it does shine, however, when Hester passionately lets down her hair. The sun is the symbol of untroubled, guilt-free happiness, or perhaps the approval of God and nature. It also seems to be, at times, the light of truth and grace.

Darkness is always associated with Chillingworth. It is also part of the description of the jail in Chapter 1, the scene of sin and punishment. The Puritans in that scene wear gray hats, and the darkness of the jail is relieved by the sunshine of the outside. When Hester comes into the sunshine from the darkness, she must squint at the light of day, and her iniquity is placed for all to see. Noon is the time of Dimmesdale's confession, and daylight is the symbol of exposure. Nighttime, however, is the symbol of concealment, and Dimmesdale stands on the scaffold at midnight, concealing his confession from the community. In the end, even the grave of Dimmesdale and Hester is in darkness. "So sombre is it, and relieved only by one ever-glowing point of light gloomier than the shadow . . ." The light, of course, is the scarlet letter, shining out of the darkness of the Puritanic gloom.

Colors play a similar role to light and darkness. One of the predominant colors is red, seen in the roses, the letter, Pearl's clothing, the "scarlet woman," Chillingworth's eyes, and the streak of the meteor. At night and always with the physician, the letter is associated with darkness and evil; in the other associations, it is a part of nature, passion, lawlessness, and imagination. The context determines the meaning. Black and gray are colors associated with the Puritans, gloom, death, sin, and the narrow path of righteousness through the forest of sin. Three chapters that contain a multitude of color images are Chapters 5, 11, and 12.

Even Hawthorne's settings are symbolic. The Puritan village with its marketplace and scaffold is a place of rigid rules, concern with sin and punishment, and self-examination. Public humiliation and penance are symbolized by the scaffold, the only place where Dimmesdale can go to atone for his guilt and escape his tormentor's clutches. The collective community that watches, at beginning and end, is a symbol of the rigid Puritan point of view with unquestioning obedience to the law. The Church and State are ubiquitous forces to contend with in this colony, as Hester finds out to her dismay. They see Dimmesdale as a figure of public approval, Chillingworth, at least initially, as a man of learning to be revered, and Hester as the outcast. Predominant colors are black and gray, and the gloom of the community is omnipresent.

However, nearby is the forest, home of the Black Man but also a place of freedom. Here the sun shines on Pearl, and she absorbs and keeps it. The forest represents a natural world, governed by natural laws, as opposed to the artificial, Puritan community with its man-made laws. In this world, Hester can take off her cap, let down her hair, and discuss plans with Dimmesdale to be together away from the rigid laws of the Puritans. As part of this forest, the brook provides "a boundary between two worlds." Pearl refuses to cross this boundary into the Puritan world when Hester beckons to her. However, the forest is also a moral wilderness that Hester finds herself in once she is forced to wear the sign of her guilt.

The forest is also a symbolic place where witches gather, souls are signed away to the devil, and Dimmesdale can "yield himself with deliberate choice . . . to what he knew was deadly sin." In these instances, the forest is a symbol of the world of darkness and evil. Mistress Hibbins knows on sight those who would wander "in the forest" or, in other words, secretly do Satan's work. When Dimmesdale leaves the forest with his escape plan in mind, he is tempted to sin on numerous occasions during his journey back to the village. The forest, then, is a symbol of man's temptation.

Every chapter in The Scarlet Letter has symbols displayed through characterization, setting, colors, and light. Perhaps the most dramatic chapters using these techniques are the chapters comprising the three scaffold scenes and the meeting in the forest between Hester and Dimmesdale. Hawthorne's ability to introduce these symbols and change them through the context of his story is but one of the reasons The Scarlet Letter is considered his masterpiece and a peerless example of the romance novel.

Previous Nathaniel Hawthorne Biography

Next The Puritan Setting of The Scarlet Letter

Home — Essay Samples — Literature — The Scarlet Letter — The Scarlet Letter: Literature Review

The Scarlet Letter: Literature Review

• Categories: Nathaniel Hawthorne The Scarlet Letter

About this sample

Words: 1147 |

Published: Oct 22, 2018

Words: 1147 | Pages: 3 | 6 min read

Media Creation Analysis

Cite this Essay

Let us write you an essay from scratch

• 450+ experts on 30 subjects ready to help
• Custom essay delivered in as few as 3 hours

Get high-quality help

Dr. Heisenberg

Verified writer

• Expert in: Literature

+ 120 experts online

By clicking “Check Writers’ Offers”, you agree to our terms of service and privacy policy . We’ll occasionally send you promo and account related email

No need to pay just yet!

Related Essays

3 pages / 1282 words

2.5 pages / 1033 words

3 pages / 1297 words

2 pages / 887 words

Remember! This is just a sample.

You can get your custom paper by one of our expert writers.

121 writers online

Still can’t find what you need?

Browse our vast selection of original essay samples, each expertly formatted and styled

Related Essays on The Scarlet Letter

When a person or character makes a mistake or commits an affective act, their life can be altered both negatively and positively. This idea takes an important contribution in The Scarlet Letter by Nathaniel Hawthorne. This novel [...]

Nathaniel Hawthorne's novel, The Scarlet Letter, explores the consequences of sin and the complexities of human nature in Puritan society. Throughout the narrative, Hawthorne employs various tones to convey the emotional and [...]

"The Minister's Black Veil" is a short story written by Nathaniel Hawthorne in 1836. The story takes place in a small Puritan town in New England and revolves around the town's minister, Reverend Hooper. The story begins with [...]

The red pickle dish in Edith Wharton's novel "Ethan Frome" has been the subject of much speculation and analysis among literary scholars. The dish, which is a wedding gift to Ethan and Zeena Frome, is a seemingly insignificant [...]

Love and hate require intimacy and heart-knowledge. Both emotions leave the individual subservient to the emotion and become compulsory for survival. If an emotion develops into a discernible obsession, it may eventually abandon [...]

Hester Prynne is considered to be both one of the first heroines and feminist icons in American Literature. This is despite Nathaniel Hawthorne, born on July 4, 1804 in Salem, Massachusetts, being labelled as a misogynist, [...]

Related Topics

By clicking “Send”, you agree to our Terms of service and Privacy statement . We will occasionally send you account related emails.

Where do you want us to send this sample?

By clicking “Continue”, you agree to our terms of service and privacy policy.

Be careful. This essay is not unique

This essay was donated by a student and is likely to have been used and submitted before

Download this Sample

Free samples may contain mistakes and not unique parts

Sorry, we could not paraphrase this essay. Our professional writers can rewrite it and get you a unique paper.

Please check your inbox.

We can write you a custom essay that will follow your exact instructions and meet the deadlines. Let's fix your grades together!

Get Your Personalized Essay in 3 Hours or Less!

We use cookies to personalyze your web-site experience. By continuing we’ll assume you board with our cookie policy .

• Instructions Followed To The Letter
• Deadlines Met At Every Stage
• Unique And Plagiarism Free

Is a robot writing your kids’ essays? We asked educators to weigh in on the growing role of AI in classrooms.

R emember writing essays in high school? Chances are you had to look up stuff in an encyclopedia — an actual one, not Wikipedia — or else connect to AOL via a modem bigger than your parents’ Taurus station wagon.

Now, of course, there’s artificial intelligence. According to new research from Pew, about 1 in 5 US teens who’ve heard of ChatGPT have used it for schoolwork. Kids in upper grades are more apt to have used the chatbot: About a quarter of 11th- and 12th-graders who know about ChatGPT have tried it.

For the uninitiated, ChatGPT arrived on the scene in late 2022, and educators continue to grapple with the ethics surrounding its growing popularity. Essentially, it generates free, human-like responses based on commands. (I’m sure this sentence will look antiquated in about six months, like when people described the internet as the “information superhighway.”)

I used ChatGPT to plug in this prompt: “Write an essay on ‘The Scarlet Letter.’” Within moments, ChatGPT created an essay as thorough as anything I’d labored over in AP English.

Is this cheating? Is it just part of our strange new world? I talked to several educators about what they’re seeing in classrooms and how they’re monitoring it. Before you berate your child over how you wrote essays with a No. 2 pencil, here are some things to consider.

Adapting to new technology isn’t immoral. “We have to recalibrate our sense of what’s acceptable. There was a time when every teacher said: ‘Oh, it’s cheating to use Wikipedia.’ And guess what? We got used to it, we decided it’s reputable enough, and we cite Wikipedia all the time,” says Noah Giansiracusa, an associate math professor at Bentley University who hosts the podcast “ AI in Academia: Navigating the Future .”

“There’s a calibration period where a technology is new and untested. It’s good to be cautious and to treat it with trepidation. Then, over time, the norms kind of adapt,” he says — just like new-fangled graphing calculators or the internet in days of yore.

“I think the current conversation around AI should not be centered on an issue with plagiarism. It should be centered on how AI will alter methods for learning and expressing oneself. ‘Catching’ students who use fully AI-generated products ... implies a ‘gotcha’ atmosphere,” says Jim Nagle, a history teacher at Bedford High School. “Since AI is already a huge part of our day-to-day lives, it’s no surprise our students are making it a part of their academic tool kit. Teachers and students should be at the forefront of discussions about responsible and ethical use.”

Teachers and parents could use AI to think about education at a higher level. Really, learning is about more than regurgitating information — or it should be, anyway. But regurgitation is what AI does best.

“If our system is just for students to write a bunch of essays and then grade the results? Something’s missing. We need to really talk about their purpose and what they’re getting out of this, and maybe think about different forms of assignments and grading,” Giansiracusa says.

After all, while AI aggregates and organizes ideas, the quality of its responses depends on the users’ prompts. Instead of recoiling from it, use it as a conversation-starter.

“What parents and teachers can do is to start the conversation with kids: ‘What are we trying to learn here? Is it even something that ChatGPT could answer? Why did your assignment not convince you that you need to do this thinking on your own when a tool can do it for you?’” says Houman Harouni , a lecturer on education at the Harvard Graduate School of Education.

Harouni urges parents to read an essay written by ChatGPT alongside their student. Was it good? What could be done better? Did it feel like a short cut?

“What they’re going to remember is that you had that conversation with them; that someone thought, at some point in their lives, that taking a shortcut is not the best way ... especially if you do it with the tool right in front of you, because you have something real to talk about,” he says.

Harouni hopes teachers think about its implications, too. Consider math: So much grunt work has been eliminated by calculators and computers. Yet kids are still tested as in days of old, when perhaps they could expand their learning to be assessed in ways that are more personal and human-centric, leaving the rote stuff to AI.

“We could take this moment of confusion and loss of certainty seriously, at least in some small pockets, and start thinking about what a different kind of school would look like. Five years from now, we might have the beginnings of some very interesting exploration. Five years from now, you and I might be talking about schools wherein teaching and learning is happening in a very self-directed way, in a way that’s more based on … igniting the kid’s interest and seeing where they go and supporting them to go deeper and to go wider,” Harouni says.

Teachers have the chance to offer assignments with more intentionality.

“Really think about the purpose of the assignments. Don’t just think of the outcome and the deliverable: ‘I need a student to produce a document.’ Why are we getting students to write? Why are we doing all these things in the first place? If teachers are more mindful, and maybe parents can also be more mindful, I think it pushes us away from this dangerous trap of thinking about in terms of ‘cheating,’ which, to me, is a really slippery path,” Giansiracusa says.

AI can boost confidence and reduce procrastination. Sometimes, a robot can do something better than a human, such as writing a dreaded resume and cover letter. And that’s OK; it’s useful, even.

“Often, students avoid applying to internships because they’re just overwhelmed at the thought of writing a cover letter, or they’re afraid their resume isn’t good enough. I think that tools like this can help them feel more confident. They may be more likely to do it sooner and have more organized and better applications,” says Kristin Casasanto, director of post-graduate planning at Olin College of Engineering.

Casasanto says that AI is also useful for de-stressing during interview prep.

“Students can use generative AI to plug in a job description and say, ‘Come up with a list of interview questions based on the job description,’ which will give them an idea of what may be asked, and they can even then say, ‘Here’s my resume. Give me answers to these questions based on my skills and experience.’ They’re going to really build their confidence around that,” Casasanto says.

Plus, when students use AI for basics, it frees up more time to meet with career counselors about substantive issues.

“It will help us as far as scalability. … Career services staff can then utilize our personal time in much more meaningful ways with students,” Casasanto says.

We need to remember: These kids grew up during a pandemic. We can’t expect kids to resist technology when they’ve been forced to learn in new ways since COVID hit.

“Now we’re seeing pandemic-era high school students come into college. They’ve been channeled through Google Classroom their whole career,” says Katherine Jewell, a history professor at Fitchburg State University.

“They need to have technology management and information literacy built into the curriculum,” Jewell says.

Jewell recently graded a paper on the history of college sports. It was obvious which papers were written by AI: They didn’t address the question. In her syllabus, Jewell defines plagiarism as “any attempt by a student to represent the work of another, including computers, as their own.”

This means that AI qualifies, but she also has an open mind, given students’ circumstances.

“My students want to do the right thing, for the most part. They don’t want to get away with stuff. I understand why they turned to these tools; I really do. I try to reassure them that I’m here to help them learn systems. I’m focusing much more on the learning process. I incentivize them to improve, and I acknowledge: ‘You don’t know how to do this the first time out of the gate,’” Jewell says. “I try to incentivize them so that they’re improving their confidence in their abilities, so they don’t feel the need to turn to these tools.”

Understand the forces that make kids resort to AI in the first place . Clubs, sports, homework: Kids are busy and under pressure. Why not do what’s easy?

“Kids are so overscheduled in their day-to-day lives. I think there’s so much enormous pressure on these kids, whether it’s self-inflicted, parent-inflicted, or school-culture inflicted. It’s on them to maximize their schedule. They’ve learned that AI can be a way to take an assignment that would take five hours and cut it down to one,” says a teacher at a competitive high school outside Boston who asked to remain anonymous.

Recently, this teacher says, “I got papers back that were just so robotic and so cold. I had to tell [students]: ‘I understand that you tried to use a tool to help you. I’m not going to penalize you, but what I am going to penalize you for is that you didn’t actually answer the prompt.”

Afterward, more students felt safe to come forward to say they’d used AI. This teacher hopes that age restrictions become implemented for these programs, similar to apps such as Snapchat. Educationally and developmentally, they say, high-schoolers are still finding their voice — a voice that could be easily thwarted by a robot.

“Part of high school writing is to figure out who you are, and what is your voice as a writer. And I think, developmentally, that takes all of high school to figure out,” they say.

And AI can’t replicate voice and personality — for now, at least.

Is a robot writing your kids’ essays? We asked educators to weigh in on the growing role of AI in classrooms.

Educators weigh in on the growing role of ai and chatgpt in classrooms..

Remember writing essays in high school? Chances are you had to look up stuff in an encyclopedia — an actual one, not Wikipedia — or else connect to AOL via a modem bigger than your parents’ Taurus station wagon.

Now, of course, there’s artificial intelligence. According to new research from Pew, about 1 in 5 US teens who’ve heard of ChatGPT have used it for schoolwork. Kids in upper grades are more apt to have used the chatbot: About a quarter of 11th- and 12th-graders who know about ChatGPT have tried it.

For the uninitiated, ChatGPT arrived on the scene in late 2022, and educators continue to grapple with the ethics surrounding its growing popularity. Essentially, it generates free, human-like responses based on commands. (I’m sure this sentence will look antiquated in about six months, like when people described the internet as the “information superhighway.”)

Advertisement

I used ChatGPT to plug in this prompt: “Write an essay on ‘The Scarlet Letter.’” Within moments, ChatGPT created an essay as thorough as anything I’d labored over in AP English.

Is this cheating? Is it just part of our strange new world? I talked to several educators about what they’re seeing in classrooms and how they’re monitoring it. Before you berate your child over how you wrote essays with a No. 2 pencil, here are some things to consider.

Adapting to new technology isn’t immoral. “We have to recalibrate our sense of what’s acceptable. There was a time when every teacher said: ‘Oh, it’s cheating to use Wikipedia.’ And guess what? We got used to it, we decided it’s reputable enough, and we cite Wikipedia all the time,” says Noah Giansiracusa, an associate math professor at Bentley University who hosts the podcast “ AI in Academia: Navigating the Future .”

“There’s a calibration period where a technology is new and untested. It’s good to be cautious and to treat it with trepidation. Then, over time, the norms kind of adapt,” he says — just like new-fangled graphing calculators or the internet in days of yore.

“I think the current conversation around AI should not be centered on an issue with plagiarism. It should be centered on how AI will alter methods for learning and expressing oneself. ‘Catching’ students who use fully AI-generated products ... implies a ‘gotcha’ atmosphere,” says Jim Nagle, a history teacher at Bedford High School. “Since AI is already a huge part of our day-to-day lives, it’s no surprise our students are making it a part of their academic tool kit. Teachers and students should be at the forefront of discussions about responsible and ethical use.”

Teachers and parents could use AI to think about education at a higher level. Really, learning is about more than regurgitating information — or it should be, anyway. But regurgitation is what AI does best.

“If our system is just for students to write a bunch of essays and then grade the results? Something’s missing. We need to really talk about their purpose and what they’re getting out of this, and maybe think about different forms of assignments and grading,” Giansiracusa says.

After all, while AI aggregates and organizes ideas, the quality of its responses depends on the users’ prompts. Instead of recoiling from it, use it as a conversation-starter.

“What parents and teachers can do is to start the conversation with kids: ‘What are we trying to learn here? Is it even something that ChatGPT could answer? Why did your assignment not convince you that you need to do this thinking on your own when a tool can do it for you?’” says Houman Harouni , a lecturer on education at the Harvard Graduate School of Education.

Harouni urges parents to read an essay written by ChatGPT alongside their student. Was it good? What could be done better? Did it feel like a short cut?

“What they’re going to remember is that you had that conversation with them; that someone thought, at some point in their lives, that taking a shortcut is not the best way ... especially if you do it with the tool right in front of you, because you have something real to talk about,” he says.

Harouni hopes teachers think about its implications, too. Consider math: So much grunt work has been eliminated by calculators and computers. Yet kids are still tested as in days of old, when perhaps they could expand their learning to be assessed in ways that are more personal and human-centric, leaving the rote stuff to AI.

“We could take this moment of confusion and loss of certainty seriously, at least in some small pockets, and start thinking about what a different kind of school would look like. Five years from now, we might have the beginnings of some very interesting exploration. Five years from now, you and I might be talking about schools wherein teaching and learning is happening in a very self-directed way, in a way that’s more based on … igniting the kid’s interest and seeing where they go and supporting them to go deeper and to go wider,” Harouni says.

Teachers have the chance to offer assignments with more intentionality.

“Really think about the purpose of the assignments. Don’t just think of the outcome and the deliverable: ‘I need a student to produce a document.’ Why are we getting students to write? Why are we doing all these things in the first place? If teachers are more mindful, and maybe parents can also be more mindful, I think it pushes us away from this dangerous trap of thinking about in terms of ‘cheating,’ which, to me, is a really slippery path,” Giansiracusa says.

AI can boost confidence and reduce procrastination. Sometimes, a robot can do something better than a human, such as writing a dreaded resume and cover letter. And that’s OK; it’s useful, even.

“Often, students avoid applying to internships because they’re just overwhelmed at the thought of writing a cover letter, or they’re afraid their resume isn’t good enough. I think that tools like this can help them feel more confident. They may be more likely to do it sooner and have more organized and better applications,” says Kristin Casasanto, director of post-graduate planning at Olin College of Engineering.

Casasanto says that AI is also useful for de-stressing during interview prep.

“Students can use generative AI to plug in a job description and say, ‘Come up with a list of interview questions based on the job description,’ which will give them an idea of what may be asked, and they can even then say, ‘Here’s my resume. Give me answers to these questions based on my skills and experience.’ They’re going to really build their confidence around that,” Casasanto says.

Plus, when students use AI for basics, it frees up more time to meet with career counselors about substantive issues.

“It will help us as far as scalability. … Career services staff can then utilize our personal time in much more meaningful ways with students,” Casasanto says.

We need to remember: These kids grew up during a pandemic. We can’t expect kids to resist technology when they’ve been forced to learn in new ways since COVID hit.

“Now we’re seeing pandemic-era high school students come into college. They’ve been channeled through Google Classroom their whole career,” says Katherine Jewell, a history professor at Fitchburg State University.

“They need to have technology management and information literacy built into the curriculum,” Jewell says.

Jewell recently graded a paper on the history of college sports. It was obvious which papers were written by AI: They didn’t address the question. In her syllabus, Jewell defines plagiarism as “any attempt by a student to represent the work of another, including computers, as their own.”

This means that AI qualifies, but she also has an open mind, given students’ circumstances.

“My students want to do the right thing, for the most part. They don’t want to get away with stuff. I understand why they turned to these tools; I really do. I try to reassure them that I’m here to help them learn systems. I’m focusing much more on the learning process. I incentivize them to improve, and I acknowledge: ‘You don’t know how to do this the first time out of the gate,’” Jewell says. “I try to incentivize them so that they’re improving their confidence in their abilities, so they don’t feel the need to turn to these tools.”

Understand the forces that make kids resort to AI in the first place . Clubs, sports, homework: Kids are busy and under pressure. Why not do what’s easy?

“Kids are so overscheduled in their day-to-day lives. I think there’s so much enormous pressure on these kids, whether it’s self-inflicted, parent-inflicted, or school-culture inflicted. It’s on them to maximize their schedule. They’ve learned that AI can be a way to take an assignment that would take five hours and cut it down to one,” says a teacher at a competitive high school outside Boston who asked to remain anonymous.

Recently, this teacher says, “I got papers back that were just so robotic and so cold. I had to tell [students]: ‘I understand that you tried to use a tool to help you. I’m not going to penalize you, but what I am going to penalize you for is that you didn’t actually answer the prompt.”

Afterward, more students felt safe to come forward to say they’d used AI. This teacher hopes that age restrictions become implemented for these programs, similar to apps such as Snapchat. Educationally and developmentally, they say, high-schoolers are still finding their voice — a voice that could be easily thwarted by a robot.

“Part of high school writing is to figure out who you are, and what is your voice as a writer. And I think, developmentally, that takes all of high school to figure out,” they say.

And AI can’t replicate voice and personality — for now, at least.

Kara Baskin can be reached at [email protected] . Follow her @kcbaskin .

Advertisement

Supported by

‘Boy Erased’ Author Returns With a Historical Novel About Forbidden Love

Garrard Conley makes his fiction debut with a story about a queer affair between a reverend and a doctor in Puritan New England.

• Share full article

By Tom Crewe

Tom Crewe is a contributing editor at The London Review of Books. His first novel, “The New Life,” has won four literary prizes and was chosen as The Sunday Times’s novel of the year.

• Barnes and Noble
• Books-A-Million

When you purchase an independently reviewed book through our site, we earn an affiliate commission.

ALL THE WORLD BESIDE , by Garrard Conley

Like Nathaniel Hawthorne’s “The Scarlet Letter,” on which it is modeled, Garrard Conley’s “All the World Beside” begins after the fact. When the novel opens, it is 1730, in the recently established Puritan town of Cana, Mass., and the Rev. Nathaniel Whitfield (who founded the town after leading a religious revival) and Arthur Lyman (a doctor who followed him there) have already committed their crime against the moral order, just as Hawthorne’s classic takes place after Arthur Dimmesdale and Hester Prynne’s illicit tryst. Somewhat unexpectedly, there is a baby here too, who is both the relationship’s proof and symbol.

Alas, Conley — whose first book was a memoir, “Boy Erased,” about his time in gay conversion therapy — has neither Hawthorne’s clarity of intention, nor his skill. Hawthorne chose his setup because it allowed him maximum space for psychological exploration. An absence of action was the precondition of success; it allowed him to emphasize the dramatic, hidden changes taking place on the level of conscience and personality.

Conley’s book is equally short on action, but without a compensating depth of character analysis. “All the World Beside” is ostensibly about two Puritan men’s adulterous relationship, and its repercussions for them, their families and their town. But over a 15-year period, Nathaniel and Arthur contrive neither to have a full affair, having sex only twice, nor to ever truly break with each other. Nor do they, until the very last moment, face any real danger because of their relationship.

Instead they have some dialogues about how to reconcile their love with faith and family, but these read as dutiful airings of the issues rather than convincing products of an anguished human relationship. Neither man gleams with individuality. The tiny amount of sex that does occur is blurred with generalities and lacks intensity: “The word, ‘abomination,’ redefines itself with each second that passes, so it seems to lose all meaning, for what they are doing now is more than a word.”

The weakness of the central situation affects other aspects of the book. Much of the novel is given over to Nathaniel’s wife, Catherine; his daughter, Sarah; and his son, Ezekiel. But because Nathaniel and Arthur’s relationship is discovered early on — and hardly develops — these characters have little to react to. Catherine’s sadness manifests as an overwhelming lethargy, and she sleeps through many pages. Sarah hardens against her father and finally challenges him by attempting to lead a second revival in Cana (this is an awkwardly joined and underwritten plot point). Ezekiel is attracted to women’s clothing and turns mute. The perspectives of Arthur’s wife, Anne, and his daughter, Martha, which might offer complicating contrasts, do not fully engage Conley’s attention.

I can see what Conley was aiming for. There is promise in the idea of two families growing and warping around the secret of queerness, in such a time and place. Yet its development here is circular and shallow. This is how Conley conveys Catherine’s realization of her husband’s sexuality: “She will not even think to herself what she now suspects to be true, for it is unthinkable; it is unknowable, impossible. She has never heard of such a thing, not really, only rumors of court cases with that horrible word, ‘sodomy.’” Later, when she confronts Nathaniel, Conley writes: “Shock. She has shocked him.”

This trite flatness is typical. When Conley does try for an effect, his figurative language is often confused: “Behind every facade, I imagine I can see the secret life beneath it, just waiting for someone to open its doors.” Other times, it’s silly: “Sarah feels as though her head has been stabbed with a spear.” And sometimes it’s both: “Within the relentless rags of time, they will require diversions.”

These are symptoms of a larger problem with the prose. Sensibly, Conley doesn’t attempt to recreate the speech of 18th-century Puritans; anachronism has to be forgiven because authenticity is intrinsically beyond reach. The issue with his dialogue is that it’s undifferentiated, every character sounding the same. And what can’t be forgiven is his profligacy with verbal cliché: “You should have thought of that earlier”; “Arthur can hardly believe his luck”; “the logical next step.” Crawling across this prose desert, the reader pants, thirst unslaked, for a pleasurable sentence, a fresh image, a dynamic scene, a single sign of genuine life.

In an afterword, Conley criticizes, with belated zest, those historians who have hesitated to name gay desire when they have encountered it, often claiming “romantic friendship.” He is right that heterosexuality has not been relativized with anything like the same insistence. And he is right that the challenge of writing queer history lies in “expanding the way we think about the past, the way we make assumptions, in opening up possibilities.” Certainly, “All the World Beside” does not represent a failure of sympathy. It represents a failure of art.

ALL THE WORLD BESIDE | By Garrard Conley | Riverhead Books | 336 pp. | $28

Explore More in Books

Want to know about the best books to read and the latest news start here..

James McBride’s novel sold a million copies, and he isn’t sure how he feels about that, as he considers the critical and commercial success  of “The Heaven & Earth Grocery Store.”

How did gender become a scary word? Judith Butler, the theorist who got us talking about the subject , has answers.

You never know what’s going to go wrong in these graphic novels, where Circus tigers, giant spiders, shifting borders and motherhood all threaten to end life as we know it .

When the author Tommy Orange received an impassioned email from a teacher in the Bronx, he dropped everything to visit the students  who inspired it.

Do you want to be a better reader?   Here’s some helpful advice to show you how to get the most out of your literary endeavor .

Each week, top authors and critics join the Book Review’s podcast to talk about the latest news in the literary world. Listen here .