‘Scarlet Terms’ by Wilbur dee Case The Society August 13, 2014 Culture, Poetry 1 Comment The allegory of The Scarlet Letter by Nathaniel Hawthorne isn’t flawless; yet it is, in places, good. The A itself does signify adultery, able, and angel, as well as in the hornbook phrase, “in Adam’s fall, we sinnéd all.” I also think it represents America, a nation married to the old and natural, to knowledge of the dark and awful, hard to see, to healing drugs, and herbs, to the medicinal; yet is in love with meek spirituality, as well as the divine, the heavens and the sky, sadly aware of evil and mortality. Wilbur dee Case has been described as “a poet of the particular and the random. He even writes poetic literary criticism, as in the [above] poem. His topics frankly are unpredictable, an ongoing puzzle.” Featured Image: “The Scarlet Letter” by Hugues Merle NOTE: The Society considers this page, where your poetry resides, to be your residence as well, where you may invite family, friends, and others to visit. Feel free to treat this page as your home and remove anyone here who disrespects you. Simply send an email to email@example.com. Put “Remove Comment” in the subject line and list which comments you would like removed. The Society does not endorse any views expressed in individual poems or comments and reserves the right to remove any comments to maintain the decorum of this website and the integrity of the Society. Please see our Comments Policy here. Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Click to print (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to email this to a friend (Opens in new window)Click to share on Pinterest (Opens in new window) One Response Reid McGrath August 13, 2014 “The Scarlet Letter” by Monsieur Merle portrays a recalcitrant and obdurate Hester Prynne. She’s homely as Batista Sforza in the rays of sun painted by Piero Francesca in Renaissance Italy; the backdrop’s near as big. In Hugues’, it’s mostly made up of sky, whereas in Piero’s, there’s more tawn desert, dotted with fig. Two passerby, down to the left, amble by her. Pearl, ironically named, tries to fondle and dig for her mom’s bosom, beneath the A, which bestirs, in later years, her temper-tantrum and dismay when Prynne sheds it. Merle’s “The Widow” I prefer. Reply Leave a Reply Cancel ReplyYour email address will not be published.CommentName* Email* Website Notify me of follow-up comments by email. Notify me of new posts by email. This site uses Akismet to reduce spam. Learn how your comment data is processed.