Classism in My Kinsman, Major Molineux
A Study in Repression in Nathaniel Hawthorne's Work
Oct 1, 2009 Christopher Mansour
Amidst political turmoil and impending civil war, Nathaniel Hawthorne's "My Kinsman, Major Molineux" explores power structures in a social hierarchy that fosters class discrimination and socio-economic predetermination.
The Exercise of Individual Power and Majesty
Hawthorne's tale illustrates the paradigmatic lust and self-glorification of certain individuals to aggrandize themselves, often ruthlessly, at the expense of others. Class discrimination and the social hierarchy grant the elite sole mastery of privilege and social freedoms. Robin's unfortunate first encounter is with the well-dressed aristocrat who flaunts a large cane. The aged man represents the wealth and status of his class, a bourgeoning and economically mobile American aristocracy. He wears a "full periwig of grey hair, a wide-skirted coat of dark cloth, and silk stockings"(Hawthorne 4). Majestically, he bears a "long and polished cane" that he strikes down with every step.
Paradigms of power and majesty dominate the text. And yet, a greedy aristocracy dominates an internal power dynamic that suppresses the lower classes. The clothing worn by the characters enhances this social dynamic.The aged man's black silk cloth symbolizes power and wealth; the grey wig, wisdom; the cane, a king's sceptre. Such trappings are indicative of one man's attempt to aggrandize himself before others. That Robin finds him intimidating is relevant in two contexts: firstly, the cane and dress establish the man's social and political power; secondly, that the dominance and submission dynamic overshadow the interpersonal level as they do the international.
The aristocracy, with its wealth and political influence, is essentially colonizing its social inferiors. Robin's "course grey coat", blue stockings, "three-cornered hat", and knapsack (Hawthorne 3-4) loudly broadcast his humble social origins. As the rich man's clothing awes his beholders, Robin's worn attire elicits the sheer contempt of the aristocrats and authorities. The promenade scene demonstrates the colony's economic disparity. Blinded by the "embroidered garments", "gold-laced hats", and "gallant figures"(Hawthorne 7), Robin feels inadequate. All tell of a thriving economy of little benefit to the underprivileged.
The Elite Control Freedom of Movement and Privilege
Wealth grants the elite an education and sense of culture. Here "travelled youths, imitators of the European fine gentleman of the period, trod jauntily along, half-dancing to the fashionable tunes which they [hum]"(Hawthorne 7). Fearing nothing, they are at liberty to move as they please, hum Baroque tunes, and enjoy soirees. And yet a predatory feeling dominates. The passersby make "poor Robin [feel] ashamed of his quiet and natural gait"(8). Robin, like his class, feels powerless before their indomitable influence and excess.
The aristocrats manipulate social interactions between classes. While enquiring about Molineux, Robin is "rebuke[d] for the impertinence"(8) of looking into people's faces. And yet, if an aristocrat does the same, none would notice. Later, the nightwatchman calls Robin a "vagabond", threatening to "set [him] in the stocks by peep of day"(Hawthorne 9). The social elite are not questioned when they move at night; the poor, having no civil rights, endure verbal and physical abuse.
"My Kinsman, Major Molineux" as Social Criticism
The fall of Major Molineux, as aristocrat, into disrepute may be read as a social criticism. With his "civil and military rank" and his assurance of Robin's "future establishment"(Hawthorne 13), the Major is indicative of British patronage towards its colony. He also stands for the patronizing overtone of class relationships. That his downfall is orchestrated by social inferiors is an irony Charles Dickens could appreciate. Dickens' Little Dorritt, the portrait of his working-class feminine ideal, presents the downfall of a similarly corrupt aristocracy. While Amy Dorritt is rewarded for her moral rectitude, the aristocratic bevy perishes in sin.
The British defeat in America is, in part, the story of an aristocracy's downfall, albeit British, not American. The "large and majestic" Major, "pale as death", has so aroused the outrage of his inferiors that they reward him with "tar-and-feathery dignity"(Hawthorne 16).Where once he commanded soldiers, Molineux now sits "contracted in his agony", red-eyed, with "foam [hanging] white upon his quivering lip"(16). Molineux, brought down by his transgressions, will die in "foul disgrace"(16).
Classist Notions Divide Characters Among Socio-Economic Lines
Class distinction inevitably breeds hostility and the perpetuation of stereotypes only intensify it. Robin's inability to grasp appropriate customs leads him into conflict with others. By taking hold of the old man's coat, he incurs outrage and humiliation. Any notion about social class bursts forth in an angry torrent making Robin yet another ruffian. The offended aristocrat bellows, "I have authority, I have--hem, hem--authority; and if this be the respect you show your betters, your feet shall be brought acquainted with the stocks"(Hawthorne 5). There is a generational clash between impulse and convention.
But Robin is an ironic figure--a "shrewd youth" ought to know that touching others unbidden leads to conflict. But the vainglorious old man is no better. He belches "sepulchral intonations" like "the cold grave". He is a parody of upper class ostentation. His outburst is a hollow attempt at so-called superiority. The aura of death that surrounds the old man reminds the reader that death is the final authority over all. As each person accounts for his sins, the vanity of the old and the young is immaterial. This man, like any other, has no grandiosity to boast of.
The old man's statement about "respect" and "betters" reflects the aristocrat's notion that the poorer classes owe him fear and respect. It matters little how the upper class perceives itself. Mighty as they are, in their own eyes, they can do no wrong. But to be poor, however, is to be a wretch. Even Robin reflects these ideas.
Full of class self-loathing, he likens the old man to a "country representative" lacking the "breeding" to be civil (Hawthorne 5). Molineux becomes his yardstick for the so-called moral authority of the rich and powerful. Robin's contemptuous disregard for the prostitute as fallen woman is based both on the context of sin and his ideological condemnation of poverty. In such a cruel milieu, no less fortunate soul is "worthy" of human dignity.
Work Cited
Hawthorne, Nathaniel. "My Kinsman, Major Molineux." Nathaniel Hawthorne's Tales. Ed. James McIntosh. New York: London: Norton, 1987. 3-17.
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