AP English 11: Mr. George
25 January 2009
Final Essay on Sin
“If we confess our sins, he is faithful and just and will forgive us our sins and purify us from all unrighteousness” (1 John 1:9). This is the only way of acquiring salvation. Throughout the play, The Crucible, and the novels The Scarlet Letter and The Picture of Dorian Gray, the theme of redemption is prevalent in the main characters’ lives. Each carried the guilt of a sin; however, each diverged toward their own means of grappling with it. John Proctor from The Crucible and Dimmesdale and Hester Prynne from The Scarlet Letter begin their misguided search for forgiveness by different means, but are ultimately forgiven after both publicly and privately bearing their sins. Abigail from The Crucible, Chillingworth from The Scarlet Letter, and Dorian from The Picture of Dorian Gray choose to reject their opportunities to obtain absolution, which only results in their downfall. It is evident that once absolution is sought through both public and private acknowledgment, it is surely found.
All three works share a common message of upholding values in which one must carry out in the process of obtaining absolution through public and private means. In The Crucible, Proctor is depicted as a sinner, living faithfully in search of forgiveness. This is evident when he says, “Do that which is good, and no harm shall come to thee” (Miller 95). He remains faithful to the truth and ultimately receives forgiveness. Likewise, in The Scarlet Letter, one is encouraged to be honest: “Be true! Be true! Show freely to the world, if not your worst, yet some trait whereby the worst may be inferred” (Hawthorne 231). The Picture of Dorian Gray also reveals that honesty is of great value. This importance is revealed when observing Basil’s urgent plea to Dorian to repent and ask God for forgiveness. One can come to the understanding that remaining faithful to the truth is essential to grappling with sin publicly and privately; for if one is not truthful to both God and the public, redemption cannot be found.
Proctor begins his search for amnesty by admitting his sin to his wife. Despite Proctor’s best efforts in abiding by the truth, he is met with Elizabeth’s unwillingness to warmly accept his faults. An emotional detachment is formed between Proctor and Elizabeth, which only pushes Proctor toward other means of acquiring redemption. He looks to the people. Proctor was aware that failing to confess would hinder him from obtaining his desired forgiveness, while also allowing Abigail to continue to cause chaos within the town. In hopes of receiving forgiveness and putting an end to Abigail’s treacherous deeds, Proctor contritely confesses his sin to the people. Unfortunately, the people were unable to offer his desperately sought after redemption. Proctor upholds his values and tarnishes his name in hopes of obtaining absolution; however, he is unjustly condemned to death. Proctor loses patience and becomes infuriated at the fact that he still does not feel absolved of his sin so he continues to seek forgiveness elsewhere.
Proctor’s misguided search comes to an end when he discovers with whom his answers truly lie. As Proctor’s search for forgiveness proceeds, Elizabeth plays a large role in his atonement. Elizabeth helps Proctor come to the understanding that she is unable to give redemption: “I cannot judge you, John, I cannot” (Miller 138). She reinforces the mentality that God is the only judge. Furthermore, Proctor sees Rebecca’s disappointment when he is about to sign the false confession. Through Proctor’s constant demand for answers, for the first time, he sees God as an option: “Then who will judge me? Suddenly clasping his hands: God in Heaven who is John Proctor, what is John Proctor?” (138). Proctor does indeed seek forgiveness from others, but comes to the understanding that God must also be involved.
Dimmesdale has a similar means of grappling with his sin. At first, Dimmesdale deals with his sin privately. He is seen as an important figure in the church and is deeply revered by the townspeople and fellow ministers. If Dimmesdale were to publicly bear his sin, the church would go awry and possibly fall apart causing great chaos within the town. Aware of this, Dimmesdale is forced to grapple with his sin privately, which only results in his personal torment: “Fast…in order to purify the body and render it the fitter medium of celestial illumination, but rigorously, and until his knees trembled beneath him, as an act of penance” (Hawthorne 132). He had also been tormented by Chillingworth during this time, but was unaware of it. After Dimmesdale realized, he was grateful for his self-torture and Chillingworth’s torment because he believed them to be a part of his soon to come redemption.
Dimmesdale felt unsatisfied by the fact that he did not feel completely absolved. The Bible states that, “He who conceals his sins does not prosper, but whoever confesses and renounces them finds mercy” (Proverbs 28:13). Dimmesdale chooses to publicly confess his sin after grappling with it privately, which finally releases him from the burden of his sin. He acknowledges that bearing his sin privately and also bringing it to the people were essential to freeing himself in order to die peacefully. Nonetheless, there were those who did not take this route.
Chillingworth took the role as Dimmesdale’s physician only to do evil and poison him with medication that solely kept Dimmesdale alive for more suffering. Chillingworth was aware of the horrid sin he was committing; however, that did not hinder him from leeching onto Dimmesdale. Instead of searching for repentance, Chillingworth continued to punish and seek vengeance. Dimmesdale becomes Chillingworth’s purpose to live, but soon loses this purpose after Dimmesdale’s death: “All his strength and energy—all his vital and intellectual force—seemed at once to desert him; insomuch that he positively withered up, shriveled away” (Hawthorne 232). Chillingworth’s physical appearance altered drastically and leads to his death because he could no longer depend on Dimmesdale. He fails to confess and passes away blanketed with sin. Through Chillingworth’s refusal to grapple with his sin, it is assumed that he is faced with the fate of eternal life in Hell.
Dorian had a childlike innocence to his nature that would soon be corrupted, forcing him to result in committing sins. His optimistic view of the world was inspiring and he was not interested in questioning things around him. Upon Lord Henry’s arrival into Dorian’s life, Dorian changed drastically. He influenced Dorian’s every thought; however, Dorian’s naïveté was questionable. It was unclear whether Dorian was indeed genuinely innocent or if he was purposely willing to be influenced. Dorian’s innocence is indistinct because Sibyl was also able to influence Dorian when he tells Lord Henry that, “When I am with her, I regret all that you have taught me... I am changed, and the mere touch of Sibyl Vane’s hand makes me forget you and all your wrong, fascinating, poisonous, delightful theories” (Wilde 82). It can be assumed that instead of being under Lord Henry’s influence, he feels as though Sibyl has a different affect on him. Regardless of his influence, Dorian had the ability to choose between good and evil but failed.
Basil, a painter and close acquaintance of Dorian, paints a portrait of Dorian representing youth and beauty as the secret of life. Lord Henry convinced Dorian that his youth and beauty should be cherished because it can slip away quickly; however, the painting captured his current beauty, which would be ever-present. Dorian claimed that the painting had “taught him to love his own soul” (95). However, one can certainly question if the portrait truly encouraged him to love his soul or rather served as an escape.
Dorian discovers that his portrait would bear his sins, while he remained young. His portrait revealed lines of age and was now “the visible emblem of [his] conscience” (96). The portrait was aging, showing Dorian his wrongdoing. One can suppose that the painting would encourage Dorian to do good; however, it becomes a physical representation of sin so he chooses to place it in his attic where no one can see it. Instead of utilizing the picture as a means of self-improvement, he uses it as an escape from having to bear the shame of his sin. Due to the fact that Dorian’s portrait held the “lines of his mouth, [and] the droop of his eyelids” (153), he did not have to grapple with his sins. In doing so, Dorian never sought redemption and his rotting soul became unable to be salvaged.
Dorian, like Chillingworth, can be considered to act as a parasite. As years passed by, Dorian evolved into a maniacal human being. Although Dorian hid the painting, he is dependent on it. Indeed Dorian hides his portrait from the outside world and becomes paranoid to the idea that his servant may have seen it; however, Dorian chose to look at it extremely often. As long as the portrait existed, so would his rotting soul, along with his urge to do harm and destruction. He can also be seen as a parasite by how his friends were affected by his change. Dorian’s friends were drained of their goodness and success when meeting with Dorian. He begins to bring struggle and sorrow to whomever he is around. This is evident when Basil asks Dorian, “Why is your friendship so fatal to young men? …They have gone down into the depths. You led them there; and yet you can smile as you are smiling now” (155). Following all of his wrongdoing Dorian is faced with the opportunity to repent and gain absolution; however he believed that, “it [was] too late” (162).
Basil Hallward certainly did not believe it was too late for redemption. In fact, he searches for redemption by coming to terms with his sin and confessing to Dorian: “I worshiped you too much. I am punished for it. You worshiped yourself too much. We are both punished” (162). Basil’s adoration and high regard for Dorian came to the extreme where it became sinful. Basil attempted to encourage Dorian to also ask for absolution by praying and pleading for God’s forgiveness. Dorian refuses to and actually responds to Basil’s act of compassion by murdering Basil. However, through Basil’s pleas of forgiveness, Basil was able to obtain absolution before his untimely death.
Abigail is also faced with the opportunity to repent for her sins but chooses not to. From the beginning of the play, Abigail lied which only led to more lies. She refused to seek forgiveness and simply continued to lie. Proctor gave her a chance to confess and gain absolution from their shared sin when he confessed in the court, but she chose to continue her deceiving behavior. Instead of Abigail releasing herself from her sinful standing by confessing her wrongdoing, she compounds her sin, which resulted in an undesirable end. Abigail ignored her sin and had to suffer an earthly fate of being a harridan, implying that her eternal fate was eternal life in Hell.
Unlike Abigail, Hester had no option but to reveal her sin. Hester was impregnated and could not conceal such an obvious state; therefore she was forced to publicly bear her sin because Pearl, her daughter, was a result of it. In addition to that, Hester was to wear the scarlet letter “A” on her chest, symbolizing the sin of adultery. She had to face the ridicule and hatred of the townspeople, which only grew worse as the people glared at this symbol of shame. Although she had to endure emotional pain, Hester partly believed that bearing the sin on her chest in the form of a scarlet “A”, was her means of obtaining absolution: “The torture of her daily shame would at length purge her soul, and work out another purity than that which she had lost; more saint-like” (Hawthorne 74). Dimmesdale tells Hester that she is fortunate to wear the scarlet letter on her chest for all to see (173) and later encourages her to seek redemption from God: “The sin here so awfully revealed!—let these alone be in thy thoughts… God knows; and He is merciful!” (229). Hester ultimately obtains her absolution through suffering in the public eye, but also through seeking God’s mercy.
Though everyone commits sin, God gives us the opportunity to be absolved. Proctor sought forgiveness from the townspeople and was unsuccessful until coming to the understanding that God plays an important role in redemption, thus allowing him to pass away absolved of sin. Both Dimmesdale and Basil demonstrate patience in their relationship between themselves and God, and themselves and the public, ultimately acknowledging that both components were crucial for their redemption. Likewise, Hester must publicly bear her sin with shame and humiliation, but in the end, she is assured that God is involved with her ultimate forgiveness. It is assumed that they are all given a heavenly reward through their search for forgiveness, unlike those who refused to repent.
The fact that God forgives all sinners should have motivated Chillingworth, Dorian and Abigail to repent; however, they chose to ignore their sins. Chillingworth died with malcontent because he could no longer leech on Dimmesdale in search of vengeance. It is obvious that if Dorian had kept his previous belief that, “When we blame ourselves we feel that no one else has the right to blame us. It is confession, not the priest, that gives us absolution” (100) and applied it to all aspects of his life, forgiveness would have been obtained. Abigail also had a chance to be absolved but instead, like all of the characters that refused to seek exoneration, is forced to suffer an eternal fate in the fires of Hell.
From observing those who sought amnesty, one can conclude that when finding contentment with earthly lives by both publicly and privately bearing ones sin, their eternal lives are in Heaven. Therefore, the initial sin is not important; what is important is how one deals with the sin. If we humble ourselves and confess our sins before God and others, salvation is inevitable. “Therefore, my brothers, I want you to know that through Jesus the forgiveness of sins is proclaimed to you” (Act 13:38).
Work Cited
BibleGateway. 26 February 2009.
Hawthorne, Nathaniel. The Scarlet Letter. New York: Bantam Dell, 2003.
Miller, Arthur. The Crucible. New York: Penguin Group, 1973.
Wilde, Oscar. The Picture of Dorian Gray. New York: Barnes & Noble Books, 2003.
