By Deanne W. Kells illustrated by Suzanna Hubbard
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Extra info for Little Ann’s Nap - Decodable Book 17 Grade 1
Nathaniel Hawthorne, The Scarlet Letter (New York: Penguin, 1983), p. 93; ch. 3. Hereafter cited in text by page number and chapter. D’Emilio and Freedman, Intimate Matters, p. 101. Among numerous examples, one must select a very few: the narrator tells us Hester is linked to Dimmesdale by ‘the iron link of mutual crime’ (p. 178; ch. 13), and this image recurs in one of the novel’s climaxes, when Arthur, Hester and Pearl stand together on the scaffold and form ‘an electric chain’ (p. 172; ch. 12).
This re-naming, however ‘natural’, actually does a disservice to Yellin’s interpretative efforts, and in her conclusion she can find no links between ‘metaphorical slavery and the literal enslavement of blacks’ (p. 88). Yellin searches for Hawthorne’s ‘recognition’, as well as for some signs that he ‘finally did respond imaginatively’, but the terms ‘recognition’ and ‘response’, no less than the adjective ‘great’, delimit Yellin’s capacity to account for the presence of the black man because these words carry a wide range of commonsensical assumptions about literary agency and an author’s turning inward to compose solely out of the stuff of his own isolated psychology and individual experience.
For whom is the historicized ‘political’ reading of Shakespearean texts being constructed, we might ask? For what political purposes in the present? What is so important about routing the aestheticized Shakespeare in favour of an (often authoritarian, monarchist) ‘political’ one? It is certainly the case that the modern division between the political and the aesthetic is the product of a post-Enlightenment, differentiated society and that critics who impose a purely ‘aesthetic’ reading on Shakespeare’s plays are being anachronistic, since those plays were written in a period preceding such a differentiation.