Nathaniel Hawthorne's The Scarlet Letter (1850) occupies a foundational place in the American literary tradition of symbolic romance, a mode of narrative that Hawthorne himself distinguished from the realist novel by its willingness to admit "the Marvellous" into otherwise ordinary human affairs. This paper undertakes a systematic examination of the symbolic architecture of the novel, arguing that Hawthorne constructs meaning not through a single, stable emblem but through a network of interlocking and evolving symbols: the scarlet letter itself, the scaffold, the forest and the settlement, the child Pearl, light and shadow, and the recurring imagery of concealment and revelation. Drawing on the methodology of close textual reading informed by the American symbolist tradition of criticism inaugurated by F. O. Matthiessen and Charles Feidelson, the paper demonstrates that Hawthorne's symbols resist fixed allegorical resolution, acquiring instead a deliberate multivalence that mirrors the novel's larger meditation on the instability of moral judgment in Puritan society. The discussion further considers how this symbolic indeterminacy has been read by successive generations of critics as a form of psychological realism, a historiographic critique of Puritan typology, and a proto-feminist commentary on the policing of the female body. The paper concludes that the enduring critical richness of The Scarlet Letter derives precisely from Hawthorne's refusal to let his symbols settle into single meanings, a refusal that transforms the novel's central emblem from a badge of shame into an open and continually re-signified sign.