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This same predisposition appears in "Rappaccini's Daughter;" she was the experiment of her father in creating a live poison-woman, a vitalized flower, the Dryad as it were of the poison-tree humanized in mortal shape; the physical object is here the flowering tree, with its heavy fragrance; and the plot lies only in the gradual transformation of the young man by continuous and unconscious inoculation until he is drawn into the circle of death to share the woman's isolation as a lover, both being shut off from their kind by the poison atmosphere that exhales from them; the catastrophe lies in the moral idea that for such poison there is no antidote but death, and the lady dies in drinking the draught that should free her.
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