Miriam’s Red Jewel

This article offers a new perspective on Miriam’s red jewel in Nathaniel Hawthorne’s The Marble Faun (1860), interpreting it as a symbol of Jewish femininity, diasporic memory, and aesthetic resistance. Although the jewel has received little critical attention, this study suggests that it plays a central role in shaping Miriam’s identity and in articulating broader cultural anxieties around gender, ethnicity, and visibility. Through intertextual readings of Shakespeare’s Jessica and Walter Scott’s Rebecca and Rowena, the essay situates Miriam within a literary tradition of Jewish women whose identities are mediated through symbolic adornments. In addition to literary analysis, the article draws on visual art history—particularly Carol Ockman’s interpretation of Jean-Auguste-Dominique Ingres’s 1848 portrait of Baronne de Rothschild—to explore how 19th-century visual culture contributed to the eroticization and exoticization of Jewish women. By placing Hawthorne’s portrayal of Miriam in dialogue with such visual representations, the essay highlights how the red jewel functions as a site of encoded cultural meaning. The analysis is further informed by feminist art theory (Griselda Pollock) and postcolonial critique (Edward Said), offering an interdisciplinary approach to questions of identity, marginalization, and symbolic resistance. While not claiming to offer a definitive reading, this article aims to open new interpretive possibilities by foregrounding the jewel’s narrative and symbolic significance. In doing so, it contributes to ongoing conversations in Hawthorne studies, Jewish cultural history, and the intersections of literature and visual art

Cultural identity · Femininity · Foregrounding · Judaism · Narrative · Portrait · The Symbolic · American Jewish Fiction Analysis

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