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Chris BohjalianA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
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Animals figure strongly in Hour of the Witch as symbolism for human nature and religious ideology. The most symbolic animal in the novel is the serpent or the snake, largely because this is the form Lucifer takes in the Garden of Eden to tempt Eve in the Bible. For example, Catherine testifies that the carving on the pestle is “a symbol for the tongue of that most wretched creature: the snake. The form the Devil took when he first seduced Eve” (426). This indicates the multifaceted nature of the snake as a representation of the Devil, deceitfulness, and the original sin of women.
Characters in the novel also use animals to describe their base, sinful natures in comparison to God. Richard Wilder says, “We are but rats skulking in corners. And yet we do our best because that is what we must” (241). Animals like hawks, snakes, wolves, and rats are used throughout the novel to symbolize hierarchies of power and biblical signs of sin, God, and Satan. In all of these cases, animals work to describe both the nature of power and the nature of humankind.
The Devil’s tines operate in myriad ways in the novel to stoke fear, cause or indicate spiritual harm and, of course, cause actual harm through initiating The Dangers of Mass Hysteria. The tines are a symbol for excess, distrust, violence, evil, and hypocrisy. The tines first represent excess because of their connection to England, a place which New Englanders fled to live a more godly, simple life away from indulgence and greed. They then come to represent the Devil himself or, more broadly, evil. They are the weapon Thomas uses to stab Mary and Catherine’s weapon against Mary to accuse her of witchcraft, acting as the symbol for the evil that humanity inflicts upon itself.
They also symbolize the absurdity and hypocrisy of Puritan society toward women at this time, as when Mary looks in Caleb’s eyes and sees “in the lines of his deep brown irises a pair of three-tined forks” (244). The Devil’s tines even come to represent “a fork with three glorious tines” (477, emphasis added) once Mary is free and eating in England, thereby transforming from a symbol of her oppression into a symbol of her emancipation.
Signs, from either the Devil or from God, operate as a motif for the themes of Predetermination Versus Self-Determination and The Dangers of Mass Hysteria. Many of the characters in the novel are directed by signs, most notably Mary, who reflects, “Signs, after all, were everywhere; it was just a question of knowing how to read them” (27). The first sign is the Devil’s tines which are, in actuality, only forks. Mary hinges many of her decisions upon signs, like poisoning Thomas because of Reverend Norton’s sermon, yet later determines that God offers her an opportunity to change her course when a competing sign appears (such as Thomas’s uncharacteristic reluctance to drink a lot of beer at dinner).
Signs are also used against Mary when she is accused of witchcraft. Goody Howland and Catherine view Mary’s barrenness as a potential motive for her witchcraft, while Mary herself wonders if it is a sign of punishment from God. Hour of the Witch thus demonstrates the way in which aspects of faith and morality are up for interpretation, as the characters can interpret various signs toward particular—and even contradictory—meanings.
By Chris Bohjalian
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