In the beginning of "The Minister's Black Veil", Hawthorne uses vivid and positive imagery to illustrate a peaceful and typical transcendentalist church scene. This is done with word choice such as "Children, with bright faces, tript merrily" and "...pretty maidens, and fancied that the sabbath sunshine made them look prettier than on the weekdays" (Hawthorne 622). However, a shift in tone is evident at the beginning of the second paragraph when the sexton is astonished by Parson Hooper's facewear. From then on the tone starts to become more mysterious and even slightly macabre, as illustrated by Hawthorne's diction choice in quotes such as "With this gloomy shade before him, good Mr. Hooper walked onward, at a slow and quiet pace" as well as "I can't really feel as if good Mr. Hooper's face was behind that piece of crape" (Hawthorne 623). In the same fashion, an even deeper sense of mystery is instilled in the reader by Hawthorne's repetition of the phrase "good Mr. Hooper", since it indicates not only a shift in tone, but the equally important shift in the personality and reputation that Mr. Hooper is known for. By making us feel the same way as the townspeople do in his parable Hawthorne successfully engages the reader throughout the read.
Light and dark imagery is used by Hawthorne throughout the parable in order to bend the mood of his reader. Hawthorne’s parable begins with a beautiful sunny image that is later changed into a dark and gloomy church service. The same way that Mr. Hooper morbidly enthralls his congregation, Hawthorne does to his readers through his use of dark imagery. Therefore, when Hawthorne describes the way that Mr. Hooper speaks at mass, we feel uneasy, beguiled, and somewhat intimidated.
Suspense is built in the 11th paragraph when Hawthorne inverts the order of his subject- verb- and object in the sentence “After a brief interval, forth came good Mr. Hooper also, in the rear of his flock” (Hawthorne 624). Readers may even notice that by inverting the order of his subject, verb and object, Hawthorne significantly creates a brief interval within the sentence. Such a syntax choice riddles the reader with anticipation as Hawthorne continues to paint the picture of Mr. Hooper as he looms over his congregation as a ghost or death would. However, despite all of his actions seeming whiteknuckle, Mr. Hooper’s intentions are religious in both the holy and routine senses. This further confuses both the literary audience and the actual audience of Hawthorne’s sabbath scene.
Also, suspense is further built in due to Hooper's sermon topic about secret sin, the act of individuals hiding their sins from each other while forgetting that God is omniscient, thus making no sin actually secret. It is mind opening to think that people have been more wrapped up in customs of religion, such as the seven deadly sins, because of society's presence more than God's power. Such a revelation may even drive the reader to question whether or not we are actual believers.
Finally, Mr. Hooper’s attire actually fits the occasion, as he bends over the casket of his dead parishioner. The fact that his veil was now appropriate was oddly unusual, since throughout the entire parable, Hooper seemed as if he didn’t match the scene. When he looked at her it was as if death was looming over her, revealing his face only to her as he drooped the black lace around it (i.e. the weird stuff going on). But, while such behavior is definitely suspicious, the reader is not given a reason to feel as if Hooper were hiding anything until Hawthorne establishes that not only Mr. Hooper was fearful and even liable from his encounter with the corpse, but the corpse was fearful as well. The encounter is shown by this quote “Could Mr. Hooper be fearful of her glance, that he so hastily caught back the black veil? A person who watched the interview between the dead and living, scrupled not to affirm, that, at the instant when the clergyman's features were disclosed, the corpse had slightly shuddered, rustling the shroud and muslin cap, though the countenance retained the composure of death” (Hawthorne 62X). This reunion between the conscience-stricken Hooper and the deceased maiden leads Hawthorne’s readers to believe that Hooper had had his own secret sin. Such an event is important because it indicates that the minister had a scandal with the dead woman.
Considering Hawthorne's background, he most likely understood the power of rhetoric. However, despite him being an accomplished writer who makes a direct statement about how one's reputation is perceived in society, he may not know the full extent of his rhetorical power.
Light and dark imagery is used by Hawthorne throughout the parable in order to bend the mood of his reader. Hawthorne’s parable begins with a beautiful sunny image that is later changed into a dark and gloomy church service. The same way that Mr. Hooper morbidly enthralls his congregation, Hawthorne does to his readers through his use of dark imagery. Therefore, when Hawthorne describes the way that Mr. Hooper speaks at mass, we feel uneasy, beguiled, and somewhat intimidated.
Suspense is built in the 11th paragraph when Hawthorne inverts the order of his subject- verb- and object in the sentence “After a brief interval, forth came good Mr. Hooper also, in the rear of his flock” (Hawthorne 624). Readers may even notice that by inverting the order of his subject, verb and object, Hawthorne significantly creates a brief interval within the sentence. Such a syntax choice riddles the reader with anticipation as Hawthorne continues to paint the picture of Mr. Hooper as he looms over his congregation as a ghost or death would. However, despite all of his actions seeming whiteknuckle, Mr. Hooper’s intentions are religious in both the holy and routine senses. This further confuses both the literary audience and the actual audience of Hawthorne’s sabbath scene.
Also, suspense is further built in due to Hooper's sermon topic about secret sin, the act of individuals hiding their sins from each other while forgetting that God is omniscient, thus making no sin actually secret. It is mind opening to think that people have been more wrapped up in customs of religion, such as the seven deadly sins, because of society's presence more than God's power. Such a revelation may even drive the reader to question whether or not we are actual believers.
Finally, Mr. Hooper’s attire actually fits the occasion, as he bends over the casket of his dead parishioner. The fact that his veil was now appropriate was oddly unusual, since throughout the entire parable, Hooper seemed as if he didn’t match the scene. When he looked at her it was as if death was looming over her, revealing his face only to her as he drooped the black lace around it (i.e. the weird stuff going on). But, while such behavior is definitely suspicious, the reader is not given a reason to feel as if Hooper were hiding anything until Hawthorne establishes that not only Mr. Hooper was fearful and even liable from his encounter with the corpse, but the corpse was fearful as well. The encounter is shown by this quote “Could Mr. Hooper be fearful of her glance, that he so hastily caught back the black veil? A person who watched the interview between the dead and living, scrupled not to affirm, that, at the instant when the clergyman's features were disclosed, the corpse had slightly shuddered, rustling the shroud and muslin cap, though the countenance retained the composure of death” (Hawthorne 62X). This reunion between the conscience-stricken Hooper and the deceased maiden leads Hawthorne’s readers to believe that Hooper had had his own secret sin. Such an event is important because it indicates that the minister had a scandal with the dead woman.
Considering Hawthorne's background, he most likely understood the power of rhetoric. However, despite him being an accomplished writer who makes a direct statement about how one's reputation is perceived in society, he may not know the full extent of his rhetorical power.