Recommending The Scarlet Letter to readership of American Men of Letters Series, Henry James felt obliged to acknowledge a lapse in taste. Discussing seen in sky by Dimmesdale and Boston townspeople, James permitted himself a pained murmur: We feel that Hawthorne goes far, and is in danger of crossing line that separates sublime from its immediate neighbor. When Hawthorne goes on to make what James judges to be too much ... of intimation that Hester's badge has a scorching property, younger novelist sighs, We are tempted to say that this is moral tragedy, but physical comedy. Overall, James fears, Hawthorne displays a culpable lack of literary discretion (Beatty et al. 290). One hundred years after James, though commentators have come to accept that there are important comic overtones in work, assumption with which critics still feel safest remains that Hawthorne is, in summary of Hennig Cohen, A 'morbid' and 'gloomy' writer, with a predominantly view (184). Walter Blair and Hamlin Hill use word somber (177). Confirmations of this premise are ubiquitous in critics. With reference to The Scarlet Letter, to give just one example, (in spite of modern reader's inclination to laugh when Dimmesdale opens his coat to display whatever it is underneath), Richard Hauck never doubts that Dimmesdale's future is tragic (238). And in general, Jesse Bier expresses consensus when he magisterially dismisses Anthony Trollope's conjecture that the sinner's consciousness of sin in The Scarlet Letter made tragedy verge on burlesque as not a fruitful line of inquiry (374-75).2 One index to profound investment of Hawthorne criticism in its conception of Hawthorne's Tragic Vision is commentators' agitation with a deliberately farcical sketch like Mrs. Bullfrog.3 Cohen, for example, finds Mrs. Bullfrog's account of a silly man's marital entrapment by a disguised crone cynical and a little gross (96), while in accents of personal betrayal Neal Frank Doubleday calls sketch an
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