Samantha Gaylord

EN 545

Professor Boots

March 6, 2014

Redefining Previous Gender Roles in Early American Literature

The power struggle between the sexes has been seen for centuries; several early

civilizations exalted women as ethereal deities, or as in Nathaniel Hawthornes A Scarlet Letter,

the character, Hester Prynne, envisions herself as a powerful prophetess in this newly

developed landscape (Hawthorne 180). Eventually the previous dominant cultures crumble and

fall, contemporary attitudes concerning gender equality begin to transform as time passes.

During the colonization of America, men were regarded as the dominant sex whereas women

were positioned in a domestic role that made females responsible for ensuring that the household

runs smoothly and more importantly, securing her husbands happiness while disregarding her

own well-being.

In Americas infancy, the vastly diverse landscapes imparts deadly winters and

inconsistent weather, and when combined with establishing a new residency in an unfamiliar

land, led to widespread diseases and death for many of its inhabitants. With all these adverse

factors, it induced a populace to strive to be stronger in order to survive in these harsh

conditions. Although white males considered themselves the dominant force, womens roles in

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society suddenly became more influential which slightly shifted the balance of power of the

sexes; as America was without an identity, men grasped this opportunity to search for

individuality in an uncertain time.

In Washington Irvings The Legend of Sleepy Hollow, the character, Brom Van Brunt, or

more commonly referred to by his his nickname of Brom Bones is the epitome of masculinity

and even illustrated with a Herculean frame enabling feats of strength and hardihood; Brom

is handsome, muscular, and a his friendly face is well-liked which demonstrates his power

among the people (Irving 24). Ichabod Crane is undoubtedly Broms foil in that Ichabod

signifies the sensitive yet modern educated man and juxtaposes Broms brute strength that is

reminiscent of the native savages with Ichabod mothering nature. Brom may constitute the

American ideal of masculinity, but ultimately is controlled by Katrina Von Tassel which

contradicts previous examples of masculinity since he has relinquished his power to Katrina.

David Gamut, like Ichabod, is depicted as possessing feminine traits, he is also a music

teacher that sings psalmodies, and is insinuated as being impotent, which when connected,

causes him to lose his masculinity. Gamut reveals feminine qualities and felt compelled to shut

his sensitive ears which proposes dramatic and erratic female behaviors, but later

demonstrates his masculinity with his use of powerful language and not relying on physical

strength unlike other men during this time (Cooper 228). Gamut, who is an unlikely hero, rescues

Cora and Alice, and the idea that he would not [dream] of deserting his trust which

demonstrates his heroism (181). David emasculates himself when he direct[s] an attack on his

manhood, but although Gamut possesses feminine attributes, the native scout admits to Gamut

that he has spoken like a man which is imperative since even the native that embodies

masculinity views Gamut as a man (Cooper 282).

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 Dimmesdale portrays stereotypical female characteristics which showcase his weak,

indecisive, and powerless personality; Dimmesdale projects masculinity with his respected

leadership role that offers power within the community. He must follow his parochial duty

which suggests his elevated role in the community (82). After submitting to his unbridled carnal

pleasures, he attempts to protect his illegitimate family, but Dimmesdale, in reality, is a coward

and hides his true self behind his mask of hypocrisy. Hester is the dominant partner and

Dimmesdale looks to Hester for safety and the fact that Dimmesdale neither rescues nor fights

for Hester which reveals his lack of masculinity. When Dimmesdale cries out, thou art strong.

Resolve for me! this suggests his inability to take responsibility for his actions and pushes his

guilt upon Hester (Hawthorne 134).

Hester does not rely on a man to survive; she is self-sufficient, strong, and a determined

individual that will not back down even in the face of adversity. Hope and

Hester share their disinterest in rejoining the community which is not typical of women to

defy men and abandon society to create a new identity, and Hester purports that a woman can be

allowed to assume what seems a fair and suitable position which suggests Hester altering

opinion on womens rights (Hawthorne 112). Even though Hester does not follow societys

guidelines, she retains an income with domestic duties of sewing and embroidering, and taking

care if her daughter, Pearl, and is described as possessing a feminine gentility (37). Hester

finds refuge in the wilderness where there are no rules and she is free of her inhibitions and the

harsh judgment of the community. Hester gets a new lease on life which exhibits her power

where she is not afraid of exposing her true self while Dimmesdale stalls because of his

overwhelming fear so he hides behind Hester; Hester has honor, is not a gossip, and protects

those she loves.

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 After her mother died when she was very young, Hope must rely on her father who

infused into the parental affection which forced Mr. Fletcher, Hopes father, to assimilate into

both gender roles, but seems to have made Hope to become more masculine (127). Faith is more

feminine than her sister, but defies societal norms with her marriage to a Native American; Hope

is an individual and a heroine that rescues both male and female characters within the novel.

Esther is Hope's complete opposite exemplifying traditional domestic duties and believing man

is the boss, but later, Esther has an epiphany that marriage is not essential, to the contentment,

dignity, or happiness of a woman (371). Hope and Magawisca discover their own sense of

morality based upon female intuition. Hope is the complete opposite of typical feminine ideals,

but she significantly is the heroine of the novel; Magawisca parallels Hope's strength and

courage even though her culture is regarded as immoral and inhuman savages described as a

kind of beast that [the colonists] cannot comprehend (Sedgwick 43). On the surface Faith

displays the usual female traits that reflects women of the historical era, but she blatantly defies

society with her marriage to Oneco. Esther is the epitome of femininity and stereotypical

expectations; she is devout, moral, submissive, but this newly discovered country is breeding a

new type of woman that must be strong to survive and this lends the opportunity for their

advancement of power. Everell picks Hope to be his bride instead of Esther who is an obedient

woman which implies times are changing where an independent woman is far more enticing than

a dependent woman that is fearful to speak her mind so not to cause any friction.

Cora rebels against the ideal woman, and lives in a nation of women which suggests

the bonds between these women are far greater than the connection any have with a man

(Sedgwick 248). Alice is representative of typical female expectations that needs to be rescued

by a man; Alice is frequently dramatic and hysterical that yield[s]to the emotions common to

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 her sex (Sedgwick 268). There is hope for this nation when it is fantasized that one day all

people will come gather around his throne without the distinction of sex, or rank, or color

(Sedgwick 361).

In early American history, man has grappled with a forming a new identity within the

newly developed country since the definition of what constitutes what it means to be a man has

yet to be established. Gender plays a significant role in understanding the early progression of

America; men and women greatly differ in their pre-established roles in society, but there is hope

within the aforementioned works with the constant presence of a heroine that exudes greater

power over the male counterparts in the piece which encourages the notion that to fully

understand history, it is crucial to examine literature as historical text where one can predict the

direction of society by tracing the past.

Works Cited:

Cooper, James Fennimore. The Last of the Mohicans. New York: Barnes & Noble Classics, 2003. print.

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Hawthorne, Nathaniel. The Scarlet Letter Thrift Study Edition. Piscataway: Dover Publications, Inc.,

2009. print.

Sedgwick, Catharine Maria. Hope Leslie. New York: Rutgers University Press, 1998. print.

Washington, Irving. The Legend of Sleepy Hollow. University of Virginia Library.

<http://etext.virginia.edu/etcbin/toccernew2?

id=IrvLege.sgm&images=images/modeng&data=/texts/english/modeng/parsed&tag=public&part=1&divisi

on=div1. 3 March 2014.

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