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Whatever had looked ugly was now beautiful; or, if incapable of such a change, it stole away and hid itself among those shapeless half ideas which throng the dim region beyond the daylight of our perfect consciousness. Thus did he spend the night, nor fell asleep until the dawn had begun to awake the slumbering flowers in Dr. Rappaccini's garden, whither Giovanni's dreams doubtless led him.
It is the same that coldly illuminates his face as he bends over a bird, a mouse, or a butterfly, which, in pursuance of some experiment, he has killed by the perfume of a flower; a look as deep as Nature itself, but without Nature's warmth of love. Signor Giovanni, I will stake my life upon it, you are the subject of one of Rappaccini's experiments!"
"The Birthmark," "The Bosom Serpent," "Rappaccini's Daughter," and that terrible and lurid parable of "Young Goodman Brown," are made up of such horror as Hawthorne has seldom expressed elsewhere. "The Procession of Life" is a fainter vibration of the same chord of awfulness.
The first vivid impression I received from books came from his stories for children, Grandfather's Chair, Famous Old People, and The Liberty Tree; when somewhat older I read The Rill from the Town Pump and Little Annie's Ramble, still later came the weird creations in which Hawthorne's expanding genius manifested itself, such as The Minister's Black Veil, Rappaccini's Daughter, and The Celestial Railroad.
If true to the outward senses, still it may be false in its essence; but the words of Beatrice Rappaccini's lips are true from the depths of the heart outward. Those you may believe."
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.
It was an idle thought; there could be no possibility of distinguishing a faded flower from a fresh one at so great a distance. For many days after this incident the young man avoided the window that looked into Dr. Rappaccini's garden, as if something ugly and monstrous would have blasted his eyesight had he been betrayed into a glance.
At this moment there came a beautiful insect over the garden wall; it had, perhaps, wandered through the city, and found no flowers or verdure among those antique haunts of men until the heavy perfumes of Dr. Rappaccini's shrubs had lured it from afar. Without alighting on the flowers, this winged brightness seemed to be attracted by Beatrice, and lingered in the air and fluttered about her head.
"I know not, most learned professor," returned Giovanni, after musing on what had been said of Rappaccini's exclusive zeal for science, "I know not how dearly this physician may love his art; but surely there is one object more dear to him. He has a daughter." "Aha!" cried the professor, with a laugh. "So now our friend Giovanni's secret is out.
"Rappaccini's Daughter" and other tales followed in the next year; and in 1845 the second volume of "Twice-Told Tales" was brought out at Boston. During the same year Hawthorne edited the "African Journals" of his friend Bridge, then an officer in the navy, who had just completed a cruise. The editor's name evidently carried great weight, even then.
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