her, as if her heart had been flung into the street for them all to spurn and trample upon.  In our nature, however, there is a provision, alike marvellous and merciful, that the sufferer should never know the intensity of what he endures by its present torture, but chiefly by the pang that rankles after it.  With almost a serene deportment, therefore, Hester Prynne passed through this portion of her ordeal, and came to a sort of scaffold, at the western extremity of the market-place.  It stood nearly beneath the eaves of Boston’s earliest church, and appeared to be a fixture there.

In fact, this scaffold constituted a portion of a penal machine, which now, for two or three generations past, has been merely historical and traditionary among us, but was held, in the old time, to be as effectual an agent, in the promotion of good citizenship, as ever was the guillotine among the terrorists of France.  It was, in short, the platform of the pillory; and above it rose the framework of that instrument of discipline, so fashioned as to confine the human head in its tight grasp, and thus hold it up to the public gaze.  The very ideal of ignominy was embodied and made manifest in this contrivance of wood and iron.  There can be no outrage, methinks, against our common nature—­whatever be the delinquencies of the individual—­no outrage more flagrant than to forbid the culprit to hide his face for shame; as it was the essence of this punishment to do.  In Hester Prynne’s instance, however, as not unfrequently in other cases, her sentence bore that she should stand a certain time upon the platform, but without undergoing that gripe about the neck and confinement of the head, the proneness to which was the most devilish characteristic of this ugly engine.  Knowing well her part, she ascended a flight of wooden steps, and was thus displayed to the surrounding multitude, at about the height of a man’s shoulders above the street.

Had there been a Papist among the crowd of Puritans, he might have seen in this beautiful woman, so picturesque in her attire and mien, and with the infant at her bosom, an object to remind him of the image of Divine Maternity, which so many illustrious painters have vied with one another to represent; something which should remind him, indeed, but only by contrast, of that sacred image of sinless motherhood, whose infant was to redeem the world.  Here, there was the taint of deepest sin in the most sacred quality of human life, working such effect, that the world was only the darker for this woman’s beauty, and the more lost for the infant that she had borne.