Hawthorne's Allegory and Critiques

Hawthorne's early works, such as Twice-Told Tales, were received with positive critical acclaim, highlighting his talent and artistry.

Some critics labeled Hawthorne as a 'gentle dreamer' with a feminine writing style, emphasizing his detailed observations and delicate approach.

The Scarlet Letter marked a turning point for Hawthorne, establishing him as a writer of depth and complexity, moving beyond the 'gentle dreamer' label.

Hawthorne's use of allegory and moral themes in his writing sparked mixed reactions, with some praising his style and others criticizing its indirectness and potential to alienate readers.

Edgar Allan Poe, a major literary figure, admired Hawthorne's originality and artistic genius but critiqued his use of allegory, feeling it detracted from storytelling and emotional impact.

Melville appreciated Hawthorne's exploration of moral complexities and deeper themes, seeing it as a reflection of his own literary ambitions.

Longfellow described Hawthorne as a poetic and imaginative writer, praising his unique style and capacity to connect with nature and human emotions.

Margaret Fuller admired Hawthorne's delicate and moral storytelling, particularly in works like The Birth-Mark and Rappaccini's Daughter.

Hawthorne’s use of allegory and moral themes generated mixed reactions. While some admired its depth, others criticized its over-reliance on indirectness, claiming it hindered broader appeal.

Hawthorne’s works were praised for their delicate explorations of human nature, paired with a deeper engagement with spiritual and moral issues.

Hawthorne’s style was characterized by its imaginative originality, moral depth, and ability to transform mundane details into poetic expressions.

Hawthorne viewed Melville’s work as intense and dramatic, while he saw his own as gentler and more nuanced.

Hawthorne’s relationship with Poe was marked by tension and mutual acknowledgment of artistic talent. Hawthorne appreciated Poe’s honest criticism, despite its harshness.

Melville deeply admired Hawthorne's literary skill and

Longfellow played a vital role in introducing Hawthorne to wider audiences and elevating his stature through praise and reviews.

Hawthorne's works were criticized for their limited appeal, with critics arguing they were too introspective and lacked universality.

Hawthorne was considered a uniquely American voice by Melville, reflecting national themes and character.

Fuller and Melville praised Hawthorne’s use of allegory for its depth and psychological resonance.

Poe criticized Hawthorne for writing for a limited, refined audience rather than a broader public.

Hawthorne's early criticism highlights the polarizing elements of his writing—his genius for allegory, poetic prose, and moral depth versus his perceived lack of accessibility and repetitive tone.

Critics universally acknowledged Hawthorne’s exploration of Puritanism, morality, and human nature as central to his appeal.

Hawthorne's ability to combine imaginative storytelling with deep moral and philosophical themes, transforming complex ideas into engaging narratives.

James believed Hawthorne struggled with the desire to connect with others while maintaining his introspective style.

Hawthorne's stories can be categorized into three groups: tales with clear themes, stories reflecting on everyday life and human nature, and narratives exploring profound, imaginative ideas.

Hawthorne's writing style, characterized by its focus on details, subtle observations, and elegant language.

Hawthorne's exploration of the darker aspects of human nature, including sin, guilt, and consequences.

The use of symbolic characters and events to convey deeper meanings and moral lessons in Hawthorne's stories.

Poe's criticism of Hawthorne's reliance on allegory, arguing it limited the stories' appeal and emotional impact.

Longfellow recognized the beauty and depth of Hawthorne's writing, praising its connection to New England's traditions.

Fuller's admiration for Hawthorne's subtle exploration of moral and psychological themes.

James's acknowledgment of Hawthorne's moral brilliance while criticizing his limited scope and focus on New England.

The tension between Hawthorne's desire to connect with readers and his comfort in solitude, reflecting in his writing.

The debate surrounding Hawthorne's use of allegory, with some critics praising its depth and others criticizing its limitations.

Hawthorne's exploration of Puritanism, morality, and the darker aspects of human nature, a recurring theme in his work.

The debate about Hawthorne's representation of American identity, whether it was limited to New England or broader, nationalistic themes.

Hawthorne's writing reflects the influence of Puritan values, including a focus on sin, responsibility, and divine judgment, but he uses these themes as artistic tools rather than strict doctrines.

Hawthorne frequently uses allegories to explore moral and psychological truths. He weaves together narrative elements and symbolic meanings, often with a focus on individual struggles against societal norms.

Hawthorne critiques the transition of American society from its Puritan roots to its modern identity, highlighting the conflicts between old-world values and cultural evolution.

Hawthorne explores the conflict between individual desires and societal expectations, often highlighting the struggles of his characters against isolation, rejection, and personal guilt.

Henry James admires Hawthorne's ability to delve into the psychological depths of human experience, praising his capacity for exploring emotional complexities, moral dilemmas, and the mysteries of the human condition.

James criticizes allegory in literature, arguing that it can prioritize intellectual cleverness over genuine emotional impact, potentially diminishing the power of a story.

Q.D. Leavis views Hawthorne's writing as highly poetic, rich in symbolic meaning and dramatic structure, drawing parallels to Shakespeare's work.

Leavis analyzes Hawthorne as a sociologist, examining the cultural transformations of early America, focusing on the costs associated with forging a new national identity.

Leavis interprets Hawthorne's symbolism as a means to critique Puritanism and explore recurring cultural conflicts in early American society, seeing it as a reflection of ritual dramas.

Critics of the 1950s and 1960s focused on the structural elements in Hawthorne's tales, examining irony, complexity, and symbolism. Later, feminist, Freudian, and post-structuralist perspectives explored themes of gender, repression, and existential alienation in his work.

Judith Fetterley's Feminist interpretation of The Birth-Mark critiques male dominance and the erasure of female agency, challenging traditional interpretations.

J. Hillis Miller's Post-Structuralist approach focuses on the Instability of language and meaning in Hawthorne's works, highlighting the ambiguity and complexity of representation in The Minister's Black Veil.

The Maypole represents a harmonious pagan worldview, contrasting with the Puritans' strictness. Hawthorne critiques both perspectives, suggesting the inevitable dominance of Puritanism in shaping the New World.

Young Robin seeks his kinsman, Major Molineux, but finds him publicly humiliated by the townspeople, symbolizing the colonies' rejection of British authority and embracing independence.

Using the past of New England as a backdrop, Hawthorne creates fictional narratives with historical charm and insight.

Hawthorne captures the natural beauty and everyday moments of life, showcasing his ability to find charm in simple things.

James argues that even though Hawthorne downplayed his stories as 'trifles,' their true brilliance lies within the unconscious power of genius and imagination. This spontaneous element gives his works charm.

Like a black patch on his soul, Hawthorne inherited the Puritan sense of sin from his ancestors, but he didn't simply dwell on it. He transformed this burden into creative energy.

Hawthorne examines Puritan morality as an objective subject, not as a personal torment. He explores its themes with a detached, artistic perspective, using it as a 'playground' for his imagination.

James challenges the view of Hawthorne as a pessimistic writer whose work reflects negativity about human nature. Instead, he argues that Hawthorne's use of dark themes is rooted in the power of these themes to inspire compelling imagery and stories.

Hawthorne's fascination with gloomy themes comes from their aesthetic value, particularly the stark contrast of light and shadow. He uses these themes not to express despair, but to create visually rich narratives.

Hawthorne's greatest strength lies in his ability to blend moral ideas with artistic expression. His imagination takes the shadows of Puritanism and transforms them into captivating stories.

Hawthorne distances himself from the strictures of Puritanism, using its principles as tools for artistic exploration. This imaginative independence allows him to create a unique artistic voice, free from personal guilt.

James praises the freshness and originality of Hawthorne's early short stories, describing them as delicate, dusky flowers emerging from the barren landscape of early American literature. Despite their brevity, these stories possess lasting charm.

Hawthorne modestly calls the stories in Mosses from an Old Manse 'fitful sketches' lacking depth. Yet, James argues that their true strength lies in their imaginative purity and spontaneity, qualities that Hawthorne himself may not have fully appreciated.

James sees Hawthorne as a literary pioneer, introducing a fresh voice and elevating the standards of American literature. His allegorical and historical stories reveal an imaginative depth that sets him apart as a master storyteller.

James admires Hawthorne's ability to combine irony and lightness with moral gravity, creating a distinctive tone that avoids extremes of tragedy and optimism.

James highlights Hawthorne's pure imagination, mastery of allegory, and ability to balance irony with moral depth. These qualities have made Hawthorne's works timeless and enduring.

In Hawthorne's "Roger Malvin's Burial," Reuben experiences subjective guilt, meaning his feelings of guilt stem from imagined sins, not actual wrongdoing. This emphasizes the psychological nature of his torment.

Reuben's actions, like his inability to confess the truth, are driven by hidden, unconscious feelings of guilt and a repressed association with patricide.

Reuben's journey back to Malvin's death site and the killing of Cyrus are acts he feels compelled to do, not choices he consciously makes.

Malvin's use of paternal terms like "my boy" and "my son" creates a father-son dynamic, amplifying Reuben's guilt over abandoning him.

Reuben's agreement to leave Malvin appears rational, but Hawthorne reveals it as self-deception. He prioritizes his own survival and happiness over Malvin's.

The forest represents the unexplored depths of Reuben's mind, where his repressed guilt and trauma reside. His journey into the forest symbolizes his psychological descent.

The sapling, bent to hold a bloodstained handkerchief, represents Reuben's vow to return and his lingering guilt. Its growth symbolizes both his maturity and internal torment.

Reuben projects his guilt onto Cyrus, seeing him as an extension of himself and a vessel for his sins. Killing Cyrus is a symbolic act of self-purification.

Though framed as an accident, Cyrus's death may be unconsciously intentional, motivated by Reuben's compulsion to pay for his imagined sins.

Hawthorne gives reasons for Reuben's decision to leave Malvin, like the fear of the Indians, but these reasons are undermined by Reuben's inner selfishness.

Reuben's internal struggle reveals the beginning of his guilt, as he feels morally compromised even before abandoning Malvin.

Hawthorne portrays the Revolution as both a necessary fight for independence and a continuation of Puritan values of strictness and severity.

By focusing on loyalists and other marginalized figures, Hawthorne challenges the idealized narrative of American independence.

Hawthorne’s portrayal of the Revolution resists simple interpretations, showing both its necessity and its flaws.

Hawthorne's works offer a unique perspective on the Revolution, focusing on its psychological and moral dimensions.

Reuben's return to the scene of Malvin's death is not a conscious choice, but a subconscious compulsion driven by guilt.

The date of Malvin's death and Reuben's misdirection during the journey foreshadow the inevitable climax of the story.

Hawthorne uses the act of killing Cyrus as a symbolic sacrifice representing Reuben's need to atone for the imagined murder of Malvin.

The ambiguity about Reuben's intent when shooting Cyrus highlights the blurred line between conscious choice and subconscious compulsion.

The breaking of the sapling's withered bough represents the release of Reuben's guilt and his psychological transformation.

The story ends with Reuben's prayer, suggesting a resolution of guilt but not complete moral absolution, leaving him permanently changed by his actions.

Crews argues that "Roger Malvin's Burial" is not a Christian parable of redemption but a psychological exploration of guilt and compulsion.

Hawthorne explores Freudian concepts like repression, projection, and unconscious motivation through Reuben's journey, illustrating the destructive power of repressed trauma.

Names like Reuben, Dorcas, and Cyrus evoke Biblical connotations, but Crews argues they are used ironically to critique traditional religious interpretations.

The sapling's withered top represents Reuben's inner decay, while its excessive vegetation symbolizes his outward growth and appearance of normalcy.

Crews argues that "Roger Malvin's Burial" is a pioneering example of psychological realism, highlighting its relevance to modern psychoanalytic theory.

The lack of easy answers in the story's resolution invites different interpretations and challenges readers to consider the costs and limitations of redemption.

Goodman Brown believes he can temporarily sin while maintaining his righteousness through his wife Faith and professed religiosity.

Goodman Brown starts his journey with a sense of

The Half-Way Covenant allows partial church membership for those who haven't experienced a full conversion, creating a false sense of security for Brown.

The third generation of Puritans faced a decline in religious fervor, struggling to maintain their faith amidst changing societal expectations.

The Half-Way Covenant aimed to preserve religious order within the Puritan community by accommodating those who lacked 'visible sainthood.'

Brown's presumptive faith, a belief in his own salvation without true spiritual struggle, leads to his moral downfall.

The forest represents a realm of moral ambiguity and spiritual testing, mirroring Brown's internal struggles.

Spectral evidence, unverifiable and subjective claims often used in the Salem witch trials, represents the deceitful nature of illusions in the story.

Faith, Brown's wife, symbolizes both a literal marriage and the abstract concept of spiritual faith.

Brown's reliance on outward appearances to judge spirituality is shattered when he sees respected figures engaging in seemingly sinful acts.

Brown's naive and arrogant attitude towards his wife and his belief in returning to righteousness reveal his immature understanding of salvation.

Brown's background as a third-generation Puritan gives him a sense of entitlement to sainthood, but his faith is untested and superficial.

The Devil exposes Brown to the sins of his ancestors and the hypocrisy of his community, challenging his faith and worldview.

The Devil's illusions align with Brown's own subconscious suspicions, making them seem more credible. This reflects his internal guilt and unease.

The climax at the devilish congregation reveals the supposed universal corruption of humanity, even including Faith. This signifies the collapse of Brown's beliefs.

Brown declares that there is no good in the world, succumbing to a nihilistic view. This reflects his despair and inability to reconcile his faith with the complexities of human nature.

Brown's life becomes filled with suspicion and distrust, reflecting his unresolved inner struggles and the projection of his own failings onto others.

Brown's life ends in spiritual desolation, unable to reconcile his faith with the realities of human nature and morality.

Hawthorne believed that the American Revolution was directly linked to the Puritan legacy, particularly their resistance to monarchy. He saw revolutionaries as continuing this Puritan lineage, inheriting their strong will and independence. This contrasts with a more celebratory view of the Revolution as a step towards progress.

Hawthorne believed that the intense devotion and drive for independence that characterized the Revolution could also lead to violence and injustice, contrasting it with idealized principles of liberty. He used the example of the tarring and feathering of Major Molineux to depict the brutality of the Revolution.

Hawthorne's portrayal of loyalists is complex, showing their dedication to the crown and their struggles caught between opposing forces. Figures like Major Molineux and Hutchinson embody the personal cost of rebellion, pushing readers to think critically about the Revolution's morality.

Hawthorne critiques the mob's actions, highlighting their lack of self-control and the darker aspects of the Revolution. He uses events like the Boston Tea Party and Boston Massacre to demonstrate the impulsive nature of mob violence.

The story of Robin’s journey in My Kinsman, Major Molineux showcases the gap between expectations and reality. Robin witnesses the harshness of the revolution, finding his desire to succeed clashing with the chaotic events unfolding around him.

The Half-Red, Half-Black Figure, representing 'war personified,' highlights the duality of the Revolution. It symbolizes both the fiery destruction associated with war and the deadly consequences of violence. This figure also symbolizes the tension between the ideal of freedom and the harsher realities of the revolution.

Hawthorne explores the dehumanization and humiliation of mob justice through the tarring and feathering of Major Molineux. This act symbolizes the darker aspects of the Revolution, highlighting the cruelty that can accompany a cause that is meant to be about freedom.

Robin's laughter during his uncle's humiliation raises questions about his involvement in the mob's actions. This ambiguity reflects the theme of historical guilt, highlighting the moral complexities of the events surrounding the Revolution.

Hawthorne's revolutionaries often lack the moral integrity and devotion that he associates with earlier Puritans. This suggests that the Revolution, rather than being a moral awakening, is more like a continuation of Puritan resistance, a new chapter in the old story.

Hawthorne's stories like Grandfather's Chair and Legends of the Province House showcase the sacrifices of loyalists who remain loyal to the crown despite the consequences. This challenges the idea that the Revolution was a universally accepted cause.

Hawthorne's portrayal of events like the Boston Tea Party and the Boston Massacre shows that violence wasn't always a calculated action but often impulsive and lacking self-control, again reflecting the darker aspects of the Revolution.

Hawthorne's portrayal of the Revolution in My Kinsman, Major Molineux and other works has been interpreted in various ways. Critics like Roy Harvey Pearce believe that Robin's complacency in the mob's actions reflects the theme of historical guilt, a sense of shared responsibility for the violence and suffering of the revolution.

Hawthorne's portrayal is more morally ambiguous than a celebratory narrative, suggesting that the quest for independence is not without its ethical costs and challenging readers to confront the darker side of human nature and the complexities of history.

In contrast to celebratory accounts, Hawthorne's depiction of the Revolution is more somber and introspective. This gives his writing a unique perspective, highlighting the human consequences of upheaval and forcing readers to confront the complexities of history.

Hawthorne's writing is not just a historical account; it is a moral commentary on human nature and the complexities of history. This makes his works impactful, as they challenge readers to think critically about the past and its influence on the present.

Hawthorne's allegorical technique splits the self into fragments, externalizing internal conflicts and projecting them onto external characters or objects.

Characters in Hawthorne's stories yearn for tangible, permanent representations of their lives, often through monuments or memorials, in a futile attempt to capture the fleeting nature of existence.

Hawthorne's characters experience a sense of detachment and alienation, yearning for connection but often retreating into isolation, creating a feeling of being separate from the world.

"Wakefield" and "The Ambitious Guest" explore the theme of self-abandonment, where characters seek refuge in externalizing aspects of themselves, leading to isolation and a loss of identity.

In "The Ambitious Guest", the characters' desire for permanence and recognition leads them to prioritize external validation over their own safety, signifying the destructive nature of ambition.

Hawthorne's stories often explore the duality of good and evil, questioning moral boundaries and challenging traditional notions of right and wrong.

Hawthorne's works present a world where the boundaries between the real and the supernatural are blurred, creating an atmosphere of mystery and uncertainty.

Borges sees Hawthorne as a foundational figure in American literature whose unique style and exploration of themes resonate across eras.

Borges criticizes Hawthorne's novels for their artificial construction and lack of spontaneity, preferring his short stories for their more profound exploration of themes.

Borges admires Hawthorne's ability to embrace the ambiguity and multiplicity of meaning within literature, drawing parallels with the dreamlike experience.

Borges argues that Kafka's work retroactively deepens our understanding of Hawthorne's writing, showcasing how writers influence each other across time.

Hawthorne's journals reveal his obsessive need to create, driven by an internal struggle with feelings of unreality and ghostliness.

Borges highlights the moral severity and metaphysical concerns present in Hawthorne's work, reflecting the influence of his Puritan heritage.

In contrast to European literature, Borges sees Hawthorne's work as hallucinatory and imaginative, laying the foundation for writers like Faulkner.

Borges argues that allegory, while attempting to express complex ideas, can become cumbersome and reduce abstract concepts to unnecessary symbols, making the storytelling less engaging.

Borges believed that Hawthorne’s tendency to impose moral lessons upon his stories often undermined their natural flow and artistic impact.

Borges describes Hawthorne's birthplace, Salem, with its decaying Puritanical past, as a significant influence on his imagination, shaping his fascination with sin, guilt, and moral dilemmas.

Borges compares Hawthorne's stories to dreams, suggesting his works are filled with ambiguity, symbolic richness, and a refusal to conform to logical structures, resembling the logic of dreams.

Borges recognizes that Hawthorne’s writing often begins with intriguing situations, creating compelling narratives, yet this approach sometimes leads to weak character development and psychological depth, particularly in his novels.

Borges critiques Hawthorne's tendency to combine conflicting ideas about Hell, time, and eternity in a way that defies logical understanding, but which resonates with the logic of dreams, creating ambiguous symbols.

Borges notes that Hawthorne’s internal struggle between his artistic aspirations and Puritan guilt often manifested in viewing writing as frivolous or sinful. He attempted to reconcile this by framing his work as moral fables, but Borges questions the effectiveness of this approach.

Borges views "Wakefield" as a precursor to Kafka's works, with its protagonist's seemingly trivial actions of self-imposed exile echoing Kafka's themes of estrangement, moral ambiguity, and surreal punishment.

Borges argues that Hawthorne’s use of allegory can be both beneficial and detrimental. While it allows for the exploration of complex themes, it can also hinder the natural flow of a story, making it less engaging for the reader.

Borges compares Hawthorne’s characters to dream figures, highlighting their tendency to be less fully developed and more symbolic, emphasizing the importance of situations rather than character depth in his storytelling.

Borges sees Hawthorne’s stories as a reflection of his own reclusiveness and inclination toward a richly imaginative world.

Borges acknowledges Edgar Allan Poe's critique of Hawthorne’s allegorical tendencies, citing Poe’s view that allegory can detract from the story’s impact and emotional resonance.

Borges argues that Hawthorne’s work, rich in fantasy and allegory, is aligned with the inventive spirit of North American literature, which he sees as more dream-like and imaginative than strictly observational.

Borges explores the tension in Hawthorne’s work between the desire for moral justification and an inclination towards pure, unsettling fantasy, arguing that his journals reveal a preference for the latter.

The desire to externalize oneself, seeking validation and permanence through external representations like monuments or mirrors, leading to alienation from authentic lived experience.

The theme that the self is not a whole entity but a fragmented collection of experiences, memories, and moments, often symbolized by incomplete elements like a smile or a monument.

The ambiguity of Hawthorne's symbols, particularly the black veil, which lacks a clear and fixed meaning, leaving interpretation to the reader.

The black veil's ability to obscure rather than reveal, making it a 'blank' symbol without inherent meaning, forcing viewers to confront their own interpretations.

The irony of Mr. Hooper's smile, which can be interpreted as both sorrowful and ironic, mirroring the ambiguous nature of the black veil.

The dangers of seeking validation and permanence through static representations, often leading to alienation from the true essence of life, as seen in 'The Ambitious Guest' and 'Wakefield.'

The illusory nature of external representations, such as monuments, which fail to capture the fluid and complex reality of life, often leading to tragic consequences.

The desire to observe one's life from an external perspective, leading to detachment and a loss of connection with one's own identity, as exemplified in 'Wakefield.'

The exploration of universal human impulses, such as the desire to step outside one's life and view it from an outsider's perspective, as seen in Wakefield's behavior.

The consequences of seeking detachment from life, leading to a loss of identity and recognition, as Wakefield becomes a stranger to himself and his wife.

The tragic results of attempting to externalize the self, ultimately leading to a hollow and fragmented existence, as seen in both 'The Ambitious Guest' and 'Wakefield.'

The recurring motif of the self being reduced to fragments, such as a smile, a monument, or a memory, representing the whole but failing to fully encompass it.

The haunting presence of the intangible nature of life, as Hawthorne's characters struggle to grasp its fleeting essence, leading to tragic attempts to externalize and solidify it.

Hawthorne's exploration of the yearning to externalize the self, reflected in both characters seeking validation through monuments ('The Ambitious Guest') and observing their lives from afar ('Wakefield').

The community of Milford is initially depicted as harmonious, with open-faced interactions reflecting a sense of unity and trust. However, Hooper's arrival with his black veil disrupts this harmony, instantly creating unease and suspicion among the townspeople. The veil throws their sense of normalcy into disarray, highlighting the importance of visible signs in establishing societal cohesion.

The veil's ambiguity breeds uncertainty. It is seen as a symbol of secret sin, universal guilt, or even the limits of human understanding, yet Hooper refuses to reveal its true meaning. This deliberate ambiguity creates a sense of mystery, prompting the parishioners to grapple with their own perceptions of sin and hidden emotions.

Hooper's refusal to remove his veil, even in the face of social ostracism and emotional isolation, signifies his unwavering commitment to his chosen symbol. He accepts his alienation, demonstrating his rejection of societal norms in pursuit of his personal truth, which remains shrouded in secrecy.

Hooper's veil, a symbol of concealment, serves as a mirror reflecting back to others their own hidden aspects. It forces them to confront the unspoken truths and vulnerabilities they may try to ignore, creating discomfort and unease within the community.

The veil isolates Hooper from his parishioners, his fiancée, and even himself. The persistent barrier he creates prevents genuine connection and understanding, reinforcing his sense of isolation and estrangement.

The veil disrupts traditional social rituals such as marriage, courtship, and funerals, undermining the significance of these ceremonies. In the absence of visible faces and the reliability of shared signs, the rituals lose their grounding, becoming fragmented and unsettling.

Hooper's declaration that

The veil represents a universal truth, a shared human condition of hiding our true selves. However, the irony lies in Hooper's isolation precisely because of this very act of concealment, highlighting the paradoxical nature of human connection and self-expression.

Hooper's veil challenges the assumed relationship between the face and inner subjectivity. It disrupts the belief that one's face reflects their true feelings and intentions, revealing the face as a mask or a 'veil' itself, concealing rather than revealing.

The veil's significance remains open to interpretation, defying definitive meaning. This ambiguity mirrors the inherent difficulty of understanding human nature and the inherent uncertainty that surrounds the meaning of symbols.

The veil's ambiguous nature challenges the reliability of signs as carriers of meaning. Every attempt to interpret it only raises more questions, leaving readers grappling with uncertainty and the inherent limitations of language.

The story's open-ended structure invites the reader to participate in the act of interpretation, drawing parallels to the characters' struggles to comprehend Hooper's veil. The veil's enduring mystery mirrors the ambiguity of language itself, forcing readers to confront the instability of meaning.

The veil symbolizes Death's ultimate silencing of the self, making it impossible to understand the true nature of the departed. The veil, like death, embodies the ultimate inaccessibility of true meaning and self-expression. It is a 'displaced name for a linguistic predicament,' defying direct understanding or representation.

The story critiques Puritanism's focus on sin, guilt, and inaccessibility of grace, suggesting that the veil is a symbol of the alienation caused by this worldview. The veil can be seen as representing the weight of guilt and the burden of judgment imposed by a rigid religious system.