124 pages • 4 hours read
Thomas HarrisA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more. For select classroom titles, we also provide Teaching Guides with discussion and quiz questions to prompt student engagement.
The symbol of the lamb is crucial to understanding Clarice’s motivations. Clarice constantly dreams of the screaming lambs from her childhood, which disrupts her sleeping and causes her anxiety. As a child on her cousin’s ranch, she “woke up in the dark and heard the lambs screaming” as they were sent to slaughter (229). The way Clarice “couldn’t do anything” for the lambs at the time continues to traumatize her (230). Lambs conventionally symbolize innocence and purity, and here they represent the innocent victims of crime. Their screams represent the extreme violence that Gumb enacts upon his vulnerable victims. His victims were all tricked into trusting Gumb—like a lamb ignorantly following its slaughterer—when he was leading them to their deaths.
Clarice dreams of the screaming lambs whenever she feels unable to save the victims. The reader sees Clarice awaken from a dream of screaming lambs after Krendler sends her back to Quantico and sidelines her on the investigation. In her position, Clarice feels like she has no ability or power to save Catherine and the future victims of Buffalo Bill. When Clarice ultimately kills Gumb and saves Catherine Martin, she “sleeps […] in the silence of the lambs” (367), as Gumb can no longer victimize innocent women. Lecter believes that the silence will not last forever, implying that new victims—new lambs—will always scream for Clarice’s help.
The moth symbol has two differing meanings depending on the perspective of the character. For Clarice, moths represent destruction, fear, and Buffalo Bill’s violence. The Death’s-Head Moth has “struck fear in men for as long as men have come upon it suddenly in their happy gardens” because of the skull pattern on its wings and its ability to stab humans (261). In folk superstitions, the Death’s-Head is an omen of evil, and the Black Witch Moth is associated with death. Clarice identifies Gumb when the Death’s-Head Moth crawls up his back. The moth settling on the killer’s heart symbolizes their deep connection. Like the moth feasts on tears, Clarice understands Buffalo Bill as feeding on the tears of his victims.
Alternatively, Gumb views the moth as a symbol of beauty and of transformation into a truer form. Moths must create a chrysalis before turning into a mature winged insect. Gumb sees his project as Buffalo Bill—creating a new body from his victims’ skin—as a similar kind of chrysalis. Gumb envies the moth’s easy transformation, evident in his final words before dying: “How…does…it feel…to be…so beautiful?” (348). The mature moth is called an imago, which is also a psychoanalytic term for the repressed image of one’s parents. Rather than desiring to be a woman, Gumb specifically wants to transform into the image of his mother that he creates in his mind through the VHS recordings. For Gumb, the moth’s transformation from pupa to imago directly mimics his proposed transformation from his current body to his constructed body.
Gumb’s use of night vision goggles represents his predatory nature and emphasizes the sinister enjoyment he finds in stalking his victims. Gumb uses the night vision goggles when he “hunted young women through the blacked-out basement […] watching them feel their way around” (302). While wearing the apparatus, Gumb “could stand in absolute darkness […], wait until they took their hands down from their faces, and shoot them right in the head” (302). The goggles symbolize the power he holds over them and the pleasure he takes in stripping them of mobility. When Clarice has defenses at her disposal—like her gun and training—the goggles lose their power and expose the performativity of Gumb’s control.
The night vision goggles also connect Gumb to his moths and deepen his feelings of affinity for the insects. As night creatures, moths see in the dark, and Gumb’s goggles mimic this characteristic. Gumb likes to “sit in one or another of his many rooms without turning on the light” to forge this connection to the moths (137). With the goggles on, only Gumb can see the moths; this represents his unique perception of the creatures and the significance they hold for his project. While he dies, Clarice cannot see the moth that is “only visible to Mr. Gumb” as it descends upon his head, which further highlights their difference in perspective (348).
In the Baltimore State Hospital, Lecter receives a heightened level of restraints and isolation. The hyperbolic restraints represent the immense threat Lecter poses to those around him, regardless of the apparent respect he receives from scientific communities. The restraints—a straitjacket and hockey mask, all tied to an upright mover’s cart—are the consequence of Lecter disfiguring a nurse’s face. The event and restraints expose the contrast between Lecter’s poised exterior and his vicious internal desires.
The restraints also represent Chilton’s supposed mastery of Lecter and his desire to place Lecter in a state of indignity. When Chilton removes Lecter’s mask with a flourish in front of the Senator, he believes he demonstrates his control. The Senator, however, finds the action foolish. Lecter eventually manipulates the officers Pembry and Boyle into leaving his full restraints off, which results in his escape and his murdering of the officers. This action justifies Chilton’s fears of Lecter, exposing the necessity of the restraints for holding back Lecter’s bloodlust. When Lecter roams freely after his escape, Chilton fears for his life and demands to be put into witness protection, as there is nothing to hold Lecter back from coming after him.
Harris explores both the classification of insects and the classification of humans. The narrative often returns to the motif of classification to show the difficulty in the FBI’s task of profiling criminal behavior. The FBI’s various pattern recognition databases—like the VI-CAP and Latent Descriptor Index—haven’t positively impacted the investigation because Buffalo Bill’s behavior doesn’t fall easily into their broad categorizations. Lecter comments that the FBI and Clarice’s understanding of human behavior is “simplistic,” “puerile,” and “on a level with phrenology” (20). When Clarice starts looking at Gumb’s behavior for what it is rather than how it fits the flawed textbook definitions of criminal behavior, she makes progress on the case. Harris draws attention to the insufficiency of looking at criminals through only an objective lens, though objective evidence is useful to prompting Clarice’s further inquiries.
To highlight the immensity of Clarice and the FBI’s task, Harris contrasts the difficulty of human classification with the ease of insect classification. When Clarice enters the entomology department, she “left Man for the older and more orderly world of Insects” (98). Pilcher and Roden easily identify the moth’s species through a standard series of minute identifiers found in detailed reference books, and they check their hypotheses against real insect specimens. The FBI’s information shows Clarice that Buffalo Bill “was almost certain to be a white male” (71), but without the ability to definitively reference his behavior against existing models, she can only guess at his next actions. On the other hand, the cocoon—even when deteriorated by the elements—reveals a plethora of universal information that can pinpoint where the species lives, how it feeds, and how it moves.
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