How we cite our quotes: Citations follow this format: (Chapter.Paragraph)
Quote #4
Then, all at once, it struck Phoebe that this very Judge Pyncheon was the original of the miniature which the daguerreotypist had shown her in the garden, and that the hard, stern, relentless look, now on his face, was the same that the sun had so inflexibly persisted in bringing out. Was it, therefore, no momentary mood, but, however skilfully concealed, the settled temper of his life? And not merely so, but was it hereditary in him, and transmitted down, as a precious heirloom, from that bearded ancestor, in whose picture both the expression and, to a singular degree, the features of the modern Judge were shown as by a kind of prophecy? A deeper philosopher than Phoebe might have found something very terrible in this idea. It implied that the weaknesses and defects, the bad passions, the mean tendencies, and the moral diseases which lead to crime are handed down from one generation to another, by a far surer process of transmission than human law has been able to establish in respect to the riches and honors which it seeks to entail upon posterity. (8.14)
The narrator is drawing attention to one of the main themes of the book: inheritance. It's a matter of genetics that each generation of Pyncheons appears to give in to the family's specific "weaknesses and defects": false pride, vanity, and hypocrisy. The Pyncheon family character almost seems like fate. Judge Pyncheon has been doomed to be just like Colonel Pyncheon from the moment of his birth. But the narrator draws this conclusion using weirdly indirect language. He poses a bunch of rhetorical questions and puts his conclusions in the mouth of "a deeper philosopher than Phoebe." Hawthorne wants to draw out the suspense of how, exactly, Judge Pyncheon will prove to be like Colonel Pyncheon while still making the parallels between the two visible at the outset.
Quote #5
Alas, poor Clifford! You are old, and worn with troubles that ought never to have befallen you. You are partly crazy and partly imbecile; a ruin, a failure, as almost everybody is, – though some in less degree, or less perceptibly, than their fellows. Fate has no happiness in store for you; unless your quiet home in the old family residence with the faithful Hepzibah, and your long summer afternoons with Phoebe, and these Sabbath festivals with Uncle Venner and the daguerreotypist, deserve to be called happiness! Why not? If not the thing itself, it is marvellously like it, and the more so for that ethereal and intangible quality which causes it all to vanish at too close an introspection. Take it, therefore, while you may. (10.27)
Here the narrator pretends to address Clifford Pyncheon directly. He informs Clifford that "fate has no happiness in store" for him. But Hawthorne is fate for Clifford: after all, he's the author and Clifford is his character. Not only does Hawthorne get to decide whether Clifford is going to be happy, he's also the one who determines whether Clifford wants happiness in the first place. We find this moment of direct address to be quite odd, really. It's basically Hawthorne's long, roundabout way of saying "seize the day! You never know what tomorrow will bring!" So it's not truly addressed to Clifford – it's really addressed to the reader.
Quote #6
As to the main point, – may we never live to doubt it!—as to the better centuries that are coming, the artist was surely right. His error lay in supposing that this age, more than any past or future one, is destined to see the tattered garments of Antiquity exchanged for a new suit, instead of gradually renewing themselves by patchwork; in applying his own little life-span as the measure of an interminable achievement; and, more than all, in fancying that it mattered anything to the great end in view whether he himself should contend for it or against it. Yet it was well for him to think so. This enthusiasm, infusing itself through the calmness of his character, and thus taking an aspect of settled thought and wisdom, would serve to keep his youth pure, and make his aspirations high. And when, with the years settling down more weightily upon him, his early faith should be modified by inevitable experience, it would be with no harsh and sudden revolution of his sentiments. He would still have faith in man's brightening destiny, and perhaps love him all the better, as he should recognize his helplessness in his own behalf; and the haughty faith, with which he began life, would be well bartered for a far humbler one at its close, in discerning that man's best directed effort accomplishes a kind of dream, while God is the sole worker of realities. (12.18)
Hawthorne approves of Mr. Holgrave's idealism because it keeps him young. But he doesn't agree with Mr. Holgrave's faith that he can revolutionize the world. Each new age holds on to Antiquity, according to Hawthorne. Why does Hawthorne view the past as something that's always with us? How does his analysis of Mr. Holgrave's ideals fit with the plot and the more general themes of The House of the Seven Gables?