The scarlet letter has been interpreted as a story of sins and sinners for so long that this perspective has hardened into a convention. In Hester, Dimmesdale, and Pearl the sin of adultery and its consequences are seen; to Dimmesdale is added the further, less sympathetic sin of hypocrisy; and beyond the pale stands Chillingworth in his isolating sin of pride and self-consuming revenge. Once this standard point of view is assumed, it can be supported by what is incontrovertibly in the text, but if the angle of attention is shifted so that the novel is seen as a love story, that is, as a tragedy of the grand passion rather than as a tale of sinful passion, then certain features in our picture of the novel, obscure before, will leap into prominence and some of the previously more emphatic features will change their value in relation to the whole composition. Hawthorne's masterpiece may remain for us a haunted book, but it will be haunted by a mystery which we can identify as the mystery of erotic passion itself. It will be seen, in this perspective, that passion is the fixed reality throughout the novel and that it is “sin” which is the shifting, ambiguous term, as it is refracted in the many-sided ironies of the plot and of the narrative commentary. Further, from this point of view it becomes clear that the passion of the lovers is entering its most interesting phase when the story opens instead of being over and done with, except for its consequences, as is tacitly assumed in the conventional approach.