The poetic, intuitive, outlawed nature of the artist is an object of evil to the Puritans. As a symbol, Pearl represents that nature. As she looks in the brook in Chapter 19, she sees “another child, — another and the same, with likewise its ray of golden light.” This child is an image of Pearl but not quite. Filled with the glory of sunshine, sympathetic, but only “somewhat of its [Pearl’s] own shadowy and intangible quality,” it is the passion of the artist, the outlaw. This is a passion that does not know the bounds of the Puritan village. In the forest, this passion can come alive and does again when Hester takes off her cap and lets down her hair. Pearl is the living embodiment of this viewpoint, and the mirror image makes that symbol come to life.
Hester herself tries to account for the nature of her child and gets no farther than the symbolic unity of Pearl and her own passion. A close examination of Chapter 6, “Pearl,” shows the unification of the child with the idea of sin. Hester is recalling the moment when she had given herself to Dimmesdale in love. The only way she can account for Pearl’s nature is in seeing how the child is the symbol of that moment. She recalls ". . . what she herself had been during that momentous period while Pearl was imbibing her soul from the spiritual world, and her bodily frame from its material of earth. The mother’s impassioned state had been the medium through which were transmitted to the unborn infant the rays of its moral life; and, however white and clear originally, they had taken the deep stains of crimson and gold, the fiery lustre, the black shadow, and the untempered light of the intervening substance.”
