Drama To Kill a Mockingbird Motifs & Symbols by Harper Lee
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Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text's major themes.
Gothic Details
The forces of good and evil in To Kill a Mockingbird seem larger than the small Southern town in which the story takes place. Lee adds drama and atmosphere to her story by including a number of Gothic details in the setting and the plot. In literature, the term Gothic refers to a style of fiction first popularized in eighteenth-century England, featuring supernatural occurrences, gloomy and haunted settings, full moons, and so on. Among the Gothic elements in To Kill a Mockingbird are the unnatural snowfall, the fire that destroys Miss Maudie’s house, the children’s superstitions about Boo Radley, the mad dog that Atticus shoots, and the ominous night of the Halloween party on which Bob Ewell attacks the children. These elements, out of place in the normally quiet, predictable Maycomb, create tension in the novel and serve to foreshadow the troublesome events of the trial and its aftermath.
Small-Town Life
Counterbalancing the Gothic motif of the story is the motif of old-fashioned, small-town values, which manifest themselves throughout the novel. As if to contrast with all of the suspense and moral grandeur of the book, Lee emphasizes the slow-paced, good-natured feel of life in Maycomb. She often deliberately juxtaposes small-town values and Gothic images in order to examine more closely the forces of good and evil. The horror of the fire, for instance, is mitigated by the comforting scene of the people of Maycomb banding together to save Miss Maudie’s possessions. In contrast, Bob Ewell’s cowardly attack on the defenseless Scout, who is dressed like a giant ham for the school pageant, shows him to be unredeemably evil.
Reading and Writing
The ability to read and write is a topic that occurs frequently throughout the novel and invites questions about education, class divisions, and perspective. While literacy means different things to different characters, it appears inherently tied to authority and social hierarchy. In Chapter 2, Scout’s teacher, Miss Caroline, tells her not to read with Atticus any more as a means of attempting to maintain control over her students’ education. While this attempt to use literacy as a form of manipulation is a relatively innocent example, other instances, such as the history of Black churches lacking hymnals or the Ewell children’s lack of attendance at school, have more severe implications. Ultimately, the ability to read and write represents the gateway to advancing up Maycomb’s social hierarchy. Jem astutely observes a similar point when he tells Scout that “background doesn’t mean Old Family…I think it's how long your family's been readin' and writin’.” Atticus, whose primary pastime is reading, holds significant power in his community through his role as a lawyer while the Ewells, for example, will be perpetually stuck near the bottom of the hierarchy. Historically, enslaved people were also prevented from learning to read and write out of a fear that an education would give them the power to challenge their situation. While there are certainly exceptions to the relationship between literacy and class, the motif of reading and writing throughout the novel illuminates many of the power dynamics at work in Maycomb.
Symbols are objects, characters, figures, and colors used to represent abstract ideas or concepts.
Mockingbirds
The title of To Kill a Mockingbird has very little literal connection to the plot, but it carries a great deal of symbolic weight in the book. In this story of innocents destroyed by evil, the “mockingbird” comes to represent the idea of innocence. Thus, to kill a mockingbird is to destroy innocence. Throughout the book, a number of characters (Jem, Tom Robinson, Dill, Boo Radley, Mr. Raymond) can be identified as mockingbirds—innocents who have been injured or destroyed through contact with evil. This connection between the novel’s title and its main theme is made explicit several times in the novel: after Tom Robinson is shot, Mr. Underwood compares his death to “the senseless slaughter of songbirds,” and at the end of the book Scout thinks that hurting Boo Radley would be like “shootin’ a mockingbird.” Most important, Miss Maudie explains to Scout: “Mockingbirds don’t do one thing but . . . sing their hearts out for us. That’s why it’s a sin to kill a mockingbird.” That Jem and Scout’s last name is Finch (another type of small bird) indicates that they are particularly vulnerable in the racist world of Maycomb, which often treats the fragile innocence of childhood harshly.
Boo Radley
As the novel progresses, the children’s changing attitude toward Boo Radley is an important measurement of their development from innocence toward a grown-up moral perspective. At the beginning of the book, Boo is merely a source of childhood superstition. As he leaves Jem and Scout gifts and mends Jem’s pants, he gradually becomes increasingly and intriguingly real to them. At the end of the novel, he becomes fully human to Scout, illustrating that she has developed into a sympathetic and understanding individual. Boo, an intelligent child ruined by a cruel father, is one of the book’s most important mockingbirds; he is also an important symbol of the good that exists within people. Despite the pain that Boo has suffered, the purity of his heart rules his interaction with the children. In saving Jem and Scout from Bob Ewell, Boo proves the ultimate symbol of good.
Front Porches
Throughout the novel, front porches appear again and again as a symbol of the liminal space, or transitional space, between the private sphere of the home and the public sphere of the streets of Maycomb. Almost every character’s house is adorned with a front porch, and many of them, such as Miss Maudie, Mrs. Dubose, and Mr. Avery, spend significant amounts of time sitting out on their porches. As a result, the front porch becomes a space where the tensions between personal beliefs and public discourse become particularly evident. Mrs. Dubose publicizes her critical opinion of Atticus from the comfort of her front porch, a group of men, including Mr. Tate and Mr. Deas, question Atticus’s decision to take the case while he stands on his own front porch, and Miss Stephanie spreads gossip about the children’s presence at the trial on Miss Maudie’s front porch. All of these scenarios represent a mixture of opinion and actual events, giving way to a form of public gossip that feels deeply personal. Perhaps the most significant front porch scene occurs in the final chapter of the novel when Scout walks Boo Radley back to his home. She explains to the reader that “just standing on the Radley porch was enough” to learn who he really was, a man who, despite his invisibility, never failed to look out for Jem and Scout. In this instance, the space of the front porch helps Scout decipher the relationship between Boo’s public actions and his private life.
