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Clara and her family have plans to meet in the temple that afternoon. Clara hopes that Henry will finally declare his love and ask her to marry him, but Henry does not appear at the temple. Clara spends half the night brooding then gets up to fetch a book from her closet. As she reaches for the lock, she hears an inhuman voice from right beside her shriek, “Hold! Hold!” She whirls around, but the room is empty. Connecting the words to those in the dream in the summerhouse, she irrationally concludes that her brother is in the closet.
Clara opens the door, and Carwin emerges. Carwin confesses that he had planned to sexually assault her, but the presence of supernatural aid—in the form of the voice that cried out for Clara to stop—prevented him. If he had attempted to injure her, the supernatural force would have destroyed him, but he adds that even if he had succeeded in his aim, she would not have lost honor or virtue. He refers to the importance society places on a woman’s virtue as a chimera, or an illusion. Carwin announces that having been exposed, he is leaving the neighborhood forever.
After Carwin has gone, Clara hears footsteps entering the house. The footsteps are Henry’s, but Clara assumes that Carwin has returned. She seizes a penknife from her table. She tells her reader that they will no doubt assume she intends to defend herself; she always supposed virtue would give a woman strength to resist—even kill—an attempted assailant. She always imagined herself doing that, yet now all she can think is that she will die by suicide before her assailant fulfills his intention.
The steps pause outside her door. Clara holds still and silent, hoping the intruder will think she has fled the house. Henry tries her door. Finding it locked, he goes to his room and slams the door. Still believing the intruder is Carwin, Clara waits several minutes for him to leave. Finally, she sees Carwin briefly through the window, standing on the riverbank. Clara creeps down to the front door and locks it, then mounts the stairs more confidently to her room. Henry hears her climbing the stairs and concludes that she is just then returning from a tryst with Carwin.
The next morning, Clara is awakened by Henry knocking at her door. She meets him in the parlor where he accuses her of having engaged in an affair with Carwin. He uses words like “polluted”, “wanton” and “profligate,” then rushes from the house. Clara supposes he must have seen Carwin leave the house the night before and drawn the wrong conclusion. She decides that when Henry’s feelings have cooled, he will see his error. Meanwhile, she must tell Theodore about the incident with Carwin.
Arriving at her brother’s house, Clara finds that Henry has been there before her and told Theodore his version of events. According to Theodore, Henry was returning home late from the city when, passing along the bank above the summerhouse, he heard Carwin and Clara engaged in a tryst. Once back home, he heard no sound of Clara in her room, but shortly thereafter, he heard her returning to her room after going downstairs to shut the front door. He concluded that she left Carwin in the summerhouse and returned home. Clara tells Theodore what actually happened, and Theodore assures her that he would believe her even if his own eyes and ears contradicted her. Theodore adds that Henry has had a sudden change of plans and is leaving the neighborhood immediately.
Realizing she doesn’t have time to wait for Henry to realize his error on his own, Clara sets out to confront him. She burns with reflections on the social impact of chastity versus “pollution” for women. Nothing about her has changed, yet if Henry exposes what he believes to be her sin, she will be socially ruined. Henry believes Clara has come to him to confess her guilt and remorse. He tells her that he has not abandoned all hope for her redemption; he feels she cannot be utterly devoid of better feeling, and he refuses to believe that her heart is “incurably diseased.”
Indignantly, Clara informs him that she is there to protest her innocence; his only evidence is a voice that he thinks sounded like hers saying things that he should know she would never say. She further points out that when one of his senses (hearing) contradicted what he knew to be true, he failed to use another (sight) to resolve the conflict. For a moment, Clara believes Henry is going to see his error, but he relapses into his previous conviction of her guilt; he sees Clara’s denial as further evidence of her depravity. He announces his intention to leave the neighborhood as soon as he can.
Clara collapses in despair, and Henry rushes back to her. When she recovers consciousness, he clasps her hands and praises God for her recovery. He declares that he must have been mistaken in his accusations. No doubt his senses were momentarily confused.
In these chapters, Romanticism takes precedence over Rationalism. The characters rely on one sense or another in isolation and form conclusions based on emotion and incomplete information. If Clara had applied critical thinking, it might have occurred to her that Carwin is not trustworthy when he says the voice she heard is supernatural. First, he previously told her that there are many ways to create the effect of a disembodied voice. Second, the fact that he is in her house and in her closet without her consent should be enough to cast doubt on anything he says. His presence is already a symbolic sexual violation.
Chapters 10 and 11 contrast the sense of sound versus the sense of sight. In each case, the two senses are separate from one another. Clara hears footsteps without seeing the source, then sees Carwin without hearing the footsteps she believes are his. Because the senses are detached from one another, not unified, they convey a false impression. The characters jump to conclusions rather than investigate inconsistencies, again showing a lack of critical thinking.
Henry makes the same error when he hears what he believes to be Clara engaged in a tryst with Carwin. He erroneously believes his ears but does not confirm his suspicions with his sense of sight. Henry knows from what Carwin has told them that voices can be imitated. However, Clara does essentially the same thing when she accepts the reality of the disembodied voices she hears. Like Henry, she knows there are ways to produce that effect which don’t involve spiritual entities.
The rationalists of Charles Brockton Brown’s literary circle tended to reject social norms that suppressed or denied female sexuality. Carwin is speaking as the rationalist when he argues that rape does not rob the survivor of any virtue or honor. First, because the victim does not consent, she cannot be condemned for her assailant’s actions. Second, he argues that the importance of female chastity as a virtue is a “chimera”—an illusion with no basis in reality.
Clara takes the Romantic perspective perhaps because, as a woman, she must deal with social reality. She cannot afford to ignore the social reaction to her perceived virtue. Her concern about her reputation relates to the theme of Woman as Victim of Seduction. Any intimation of sexual experience renders her “polluted” in the eyes of “decent” men. Carwin argues that the prejudice is unreasonable. It is doubly unreasonable because Clara doesn’t have to be guilty to have her reputation tarnished; she only has to be believed guilty. The only remedy then is to grovel and repent. Even then, she will only be partially absolved. Henry interprets Clara coming to him as evidence that she is not entirely depraved, and when she continues to declare her innocence, that is to him evidence only that her guilt is deeper than he originally believed.
Carwin’s declaration that Clara’s supposed supernatural guardian—an externalized manifestation of her inner virtue—has disarmed him conforms to the victim of seduction theme as well. Clara tells the reader she has always supposed that virtue would give a woman the strength to defend herself. She has learned, however, from recent experience that she was, in fact, defenseless. Virtue didn’t give her superhuman strength. Under the conventional understanding of female virtue, even physical self-defense should be unnecessary; her virtue alone should render her assailant unable to continue. When Clara believes Carwin to be coming back, she concludes that her virtue, in the form of her spiritual guardian, has not been sufficient to disarm her assailant after all, and she resorts to the last defense of a non-consenting woman: death.
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