Beatrice Rappaccini: A Victim of Male Love and Horror Author(s): Richard Brenzo Source: American Literature, Vol. 48, No. 2 (May, 1976), pp. 152-164 Published by: Duke University Press Stable URL: http://www.jstor.org/stable/2925069 Accessed: 17/12/2010 12:27 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=duke. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected].

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Beatrice Rappaccini: A Victim of Male Love and Horror RICHARD

BRENZO

Universityof Wisconsin,Milwaukee HAVE BEEN FASCINATED by NathanielHawthorne's"Rappaccini'sDaughter,"a tale which has provedas elusive,amas BeatriceRappacciniis in the biguous,symbolic, and intimidating eyesofGiovanniGuasconti.RoyR. Male seesthestoryas an allegory, faith"and mabetween"idealistic" richin ambiguity, abouta conflict terialistic skepticism," withBeatricesymbolizingthe first,Baglioni thesecond,and Giovannicaughtbetweenthetwo.1FrederickCrews emphasizesthe psychosexualelementsof the tale, characterizing Giovannias "anotherHawthorneprotagonist to juvewho regresses Otherscholarsview the tale as nile nauseaoverfemalesexuality."2 an allegoryof corruptedand pure nature,or emphasizethe attack on single-minded scientificinquiry,representedby Doctor Raphave validity,especiallyCrews'sstress paccini.These interpretations on the sexual qualityof Beatrice'sallure. However,what I find of threemento a concernwiththerelationship is thestory's striking harmsanyof them,and woman,who,thoughsheneverdeliberately thoughthe men professto have her good in mind,is nevertheless destroyed bythem. The tale is a partialallegory;Beatrice'spoisonousnatureas well as the gardenand its contentsare to be understoodsymbolically, and to and therelationship of thewomanwithherlover,herfather, a lesserextenther professionalrival, Baglioni,are typicalmalemustexhibitcredibleattitudes, femalepairings.Yet the characters motives,and responsesif the story'sethicalcontentis to have any and For thistale,likeThe ScarletLetter,"The Birthmark," validity. of one personby another, "Ethan Brand,"concernstheexploitation forlove,forrevenge,forscience,or simplyforcuriosity. is carriedon for a In "Rappaccini'sDaughter"thisexploitation RITICS

1 RoyR. Male,Hawthorne's TragicVision(Austin,Tex., I957),

2

p. 67. Themes(New FrederickC. Crews,The Sins of the Fathers:Hawthorne'sPsychological

York, I966), p. I34.

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reasonbyeach of themalecharacters. different All theirmotivesare based on Beatrice'sfemaleness,althoughher sexualityis the prime motiveonly for Giovanni.She becomesa focus for these men's fantasies, fears,and desires,and is creditedwith(or at leastpunished which in factspringfromwithinthe for) variousevil intentions mindsof the threemen. In the languageof psychology, Giovanni, Rappaccini,and Baglioni"project"upon Beatriceimpulsestheyare unwillingto acknowledgeas theirown. Ethan Brandfinallylearns thatthe greatestsin lies in the human heart,in fact,in his own heart.But neitherGiovanni,Rappaccini,nor Baglionievergains a similarinsight. The centralsymbolof thetale is not Beatrice,thegarden,or the gorgeousflower,but the poison which pervadesall three.Poison usuallysymbolizesdeath,but here the effectseemsmorefearsome becausemoresubtle,rendering thevictimscontagiousto otherswithout killingthem.However,thepoisoncausesa deathof sorts,since it isolatesits victimsfrommostpreviousor futurehumanrelationships.This isolationis preciselywhat causes Beatriceher greatest sorrow. Yet thepoisonitselfis introducedby a man,herfather;it is not inherentin the woman. This extremely importantpointis underlined by the tale Baglionirelatesto Giovanniof how an Indian princesenta womanas a giftto AlexandertheGreat.This beautiful womanhad been"nourishedwithpoisonsfromherbirthupward."3 The princehad expectedAlexanderto be poisonedwhen he had relationswiththewoman."'With thatrichperfumeof herbreath, she blastedthe veryair. Her love would have been poison!-her embracedeath!Is notthisa marvellous tale?'" (p. II7). The Indian prince,likeRappaccini,is obviously responsible forimpregnating the woman'ssystemwithpoison; yethe is mentionedonlyonce,while Baglioni'sretellingdwells on the woman's beautyand deadliness. AlthoughBaglioniknows,and Giovannieventuallylearns,who is responsiblefor Beatrice'senvenomedbody,theirefforts to thwart Rappaccini'spower are aimed at his innocentdaughter,who stirs theirimaginations farmorethandoesherfather. The inclusionof thistaleby "an old classicauthor"(p. II7) also universalizes thesignificance of Hawthorne'sallegory."Rappaccini's 3 NathanielHawthorne, MossesFroman Old Manse,Centenary Editionof the Worksof NathanielHawthorne,ed. WilliamCharvatand others(Columbus,Ohio, I974), p. II7.

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Daughter"is his variationon the"femmefatale"legend,one of the and folklore.She is the woman mostprevalentmythsof literature degrades,devours,and enwhose embraceis death,who destroys, slavesherlovers.But neitherBeatricenor theIndianwomanis this harmfulto men. kind of female,essentially malignant,deliberately Let us firstlook at Giovanni'sbehavior,since his relationship withBeatriceformsthe main plot of the story.The youngman is infatuated withherfromthemomenthe firstseesherin thegarden dangerous sensessomething belowherwindow.Yet he immediately and immunity to the becauseofherresemblance abouther,especially avoids."Flowerand plantwhichherfathercarefully purple-flowered maiden were different and yet the same, and fraughtwith some thisfeelingcomes strangeperilin eithershape"(p. 98). Significantly, to him in a dream,showinghow Giovanni'sown fancybegins to influencehis idea of the woman.Moreover, almostimmediately otherimagerysuggeststhatmaidenand flowerare not only sisters to Giovanni'ssexualfearof but lovers,addinga senseof perversion Beatrice. Since Giovanni'simaginationis provokedby his veryfirstobforhim to servanceof Beatriceand her surroundings, it is difficult focus on the realityof who and what she is. In the following passage,notice how his thoughtsquickly move away from the createdby his mind. actualityof Beatriceto metaphors "Heream I, myfather! Whatwouldyou?"crieda richand youthful house;a voiceas richas a tropical voicefromthewindowoftheopposite and whichmadeGiovanni, thoughhe knewnotwhy,thinkof sunset, andofperfumes heavilydelectable. deephuesofpurpleorcrimson, Soon thereemergedfromundera sculptured portalthe figureof a of tasteas themostsplendid withas muchrichness younggirl,arrayed

of the flowers. . . witha bloom so deep and vividthatone shade more would have been too much. . . . the impressionwhich the fairstranger

the humansister madeuponhimwas as if herewereanotherflower, as they. . . butstillto be touched of thosevegetable ones,as beautiful without a mask.(pp. 9697) onlywitha glove,norto be approached

The associationof Beatricewiththe plantis onlypartiallycorrect. rich,and perilous,Beatricehas human Althoughbothare beautiful, more thanGiovanni'sfantasies. She loves her which make qualities beautifulthings,shewantsto love,sheis able to laugh,to think,and

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The twowordsused as thereaderlaterdiscovers. herself, to sacrifice to describeher are "rich" and "deep," both inmost frequently beauty,and knowledge,not all dicatingan abundanceof character, view. maybe apparenton first ofwhich,however, The nexttimeGiovanniwatchesBeatrice,he noticeswithhorror that an insectbuzzing near her suddenlyfalls dead, and that a bouquet he tossesher seems to witheras soon as she catchesit. Giovanni avoids the window for severaldays, yet cannot bring himselfto vacatehischambersor getusedto Beatrice'sdailyroutine. describestheemotionsshe has arousedin the Hawthornebrilliantly youngman. fatal attributes-that Whetheror no Beatricepossessedthoseterrible and deadlyflowers-which withthoseso beautiful breath-theaffinity shehad at leastinstilled wereindicated bywhatGiovannihadwitnessed, her It was notlove,although a fierce and subtlepoisonintohissystem. her evenwhilehe fancied to him;norhorror, richbeautywasa madness essencethatseemedto pervade spirittobe imbuedwiththesamebaneful thathad ofbothloveandhorror herphysical frame;buta wildoffspring each parentin it, and burnedlike one and shiveredlike the other. Giovanniknewnotwhatto dread;stilllessdid he knowwhatto hope; be theydarkor bright!It is the . . . Blessedare all simpleemotions, theilluminating blazeofthe of that produces luridintermixturethetwo infernal regions. (p. 105) Giovanni'sdreads are indefinable,yet potentand monstrous;his "loveand horror"are reactionsto the"embrace"and the"death"he associateswiththesexualityof Beatrice.The passagemakesit clear Beatriceis not tryingto seduceGiovanniin any sense.He "fancies" herspiritis fullof a "banefulessence"becausethe vague evidences of her poisonoussystemare seized upon and magnifiedby fears in hispsyche. alreadypresent Giovanni'sfirstmeetingwithBeatrice,whichoccursafterhe has in sepaadmiredher forsome time,showshis continualdifficulty ratinghis image of her fromreality.His two talkswith Baglioni to his feelingthatthereis somethingsinister have also contributed aboutRappacciniand his daughter,withoutgivinghim muchof a Beatricewarns Significantly, clue as to why theyare threatening. him almostat once to " 'Believenothingof me save what you see withyourown eyes'" (p. iii). SincewhatGiovannihas seenwith his own eyeshas only confusedhim, he respondswith "'Bid me

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savewhatcomesfromyourownlips'" (p. II2). Her believe nothing, to theheartof thestory:"'I do so bid you, replygoes straight Signor!'she replied,'Forgetwhatever you mayhave fanciedin regardtome.Iftruetotheoutward stillitmaybe falsein its senses, essence.Butthewordsof Beatrice Rappaccini's lipsare truefrom thedepths oftheheartoutward. Thoseyoumaybelieve!'"(p. II2). Giovanni is deeplyimpressed "He seemedtogaze bythisstatement. thebeautiful through girl'seyesintohertransparent soul,and felt no moredoubtor fear"(p. II2). For a moment, on hermystery, whichhisimagination feeds, disappears, shedoesnotseem although thereby shalloworlessintriguing. As theytalk,Giovanninotesthat herthoughts seemsto come"froma deepsource";theyoungman is surprised thatthe woman"whomhe had idealizedin such huesof terror" shouldturnout to be "so humanand so maidenlike.. . . theeffect ofhercharacter was tooreal,notto makeitself

familiarat once" (p. I

3).

ForBeatrice theconversation is alsoa milestone, sinceGiovanni's

presencemakesher forgetthe shrubwith purpleblossomsforthe firsttime.Despiteher manyvirtues,her personality is incomplete,

sinceherlovehasbeendirected a plant,nota humanbeing. towards She immediately demonstrates herconcern forGiovanni's welfare; whenhe reachestopluckoneofthepurpleflowers, shewarnshim away:"'Touch it not!'exclaimed she,in a voiceofagony.'Notfor

thylife! It is fatal!'" (p. II4). Giovannilaterforgetsthisconcern forhissafety. Afterhe returns tohisroom,Giovanni'sthoughts of Beatriceare a minglingof his imaginingswiththerealityhe has experienced.

The imageofBeatrice camebacktohispassionate musings, invested with all thewitchery thathad beengathering aroundit eversincehis first ofher,andnowlikewise glimpse imbuedwitha tender warmth ofgirlish womanhood. She was human:hernaturewas endowedwithall gentle and feminine qualities;she was worthiest to be worshipped; she was capable,surely, on herpart,of theheightand heroismof love.Those whichhe hadhitherto tokens, considered as proofs ofa frightful peculiarityinherphysical andmoralsystem, werenoweither forgotten, or,bythe subtlesophistry of passion,transmuted intoa goldencrownof enchantment.(p. II4) Now Giovanniidealizesher,and his idealizationignoresthe real,

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thoughnot willful,perilsin her "physicalsystem."Swingingbetweenthe two classicextremesof viewingwoman as demon or as saint,he neverfindsa basisin realityforhis feelingsaboutBeatrice. HawthornehintsthatGiovannifeelsonlya "cunningsemblanceof in theimagination, lovewhichflourishes but findsno depthof root intotheheart"(p. II5). Giovannicontinuesto meetBeatrice,now withherfullapproval, and even at her insistence.All "appreciablesigns,"such as their looks and words,indicatetheyare in love. Yet thereis a distance betweenthem;theirlove has no sexualdimension,"no seal of lips, no clasp of hands,nor any slightest caress,such as love claimsand hallows"(p. ii6). Giovanniwantsthisphysicalintimacy, yetwhen he seeksit, Beatricegiveshim "such a look of desolateseparation" (p. ii6) thathe givesup his attempts. If we understandthe story Beatriceavoidsthiscontactbecauseshefearscontaminating literally, him.Butis therea deepermeaningbehindheravoidanceofphysical contact? Giovanni'sreactionsprovidea clue. Beatrice'sreluctancecauses "horriblesuspicionsthatrose,monster-like, out of thecavernsof his heart,and staredhim in the face; his love grew thinand faintas the morning-mist . . ." (p. ii6). Giovannihas not reallyshed his mistrust of Beatrice.The strengthof his love decreaseswhen she appearssad and increaseswhen she appearshappy; it has no firm rootsin his heart.Love may "hallow" kisses,caresses,and deeper sexualcontact, butGiovanni'sloveis limitedand unhallowed.Unless he can freehimselffromthe"horriblesuspicions"whicharisewhen Beatriceavoidshistouches(suspicionswhichindicatehisinabilityto look past her "physicalsystem"to her "moral system")he is not preparedfortherisksand commitments ofsexuallove. His "horriblesuspicions"seemrelatedto fearof the "embraceof death,"symbolizedby the poisonin Beatrice'ssystem.There is no thatGiovannifeels"castrated" suggestion or inadequatebecauseshe has rejectedhis sexualadvances.Rather,he seemsto desiresexual union, while fearingits dangers.Ironically,Beatrice'sreluctance itselfbringsabouthissuspicions thattheremustbe something deadly in her,whichcould be unleashedupon him if he has relationswith her.For Giovanni,sexualcommitment to Beatricemeans"death"in the sense of being dominatedby a woman, being robbedof his

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independence,and having his personalityswallowedup. Beatrice to bindhimto her; actually,sheprofesses actuallymakesno attempt to want"'only to love thee,and be withtheea littletime,and so to lettheepassaway,leavingbutthineimagein mineheart'" (p. I25). It is hard to believethis statement could reflectBeatrice'sdeepest of whichshe maybe unaware."Pass away" mayalso have feelings, two meanings,althoughI doubtwe shouldassumeBeatriceexpects his insightseemsdeeperthanhers; Giovanni'sdeath.In thismatter, while withBeatricemustbe permanent, he knowshis involvement the she, ignorantof the power of her sexuality,underestimates difficulties of separatingher destinyfromGiovanni's.In fact,Gioto changeand control vannihas a realcompulsiontopossessBeatrice, her,a compulsionrevealedby his attemptsto know her sexually, and by his persistent desireto shapeher intohis personalimage of thedivinewoman. of Giovanni'slove and of his The greatproofof the instability wish to possess Beatricecomes when he decides to test her by observingwhetherherbreathwiltsa bouquethe plans to give her. with Baglionihas drivenhim to this trial, His thirdconversation since Baglionihas warnedhim thathe may be the subjectof an conductedby Rappaccini,withhis daughter'sunwitting experiment assistance."'The fairand learnedSignoraBeatricewould minister to herpatientswithdraughtsas sweetas a maiden'sbreath.But wo to him thatsipsthem!'" (p. II8). BaglionigivesGiovannian antidote whichhe maintainswill cure Beatrice'spoisonousnatureand foilRappaccini'sschemes.Giovanni,whoselatentsuspicionsareonce again aroused"like so manydemons,"defendsBeatrice'shonesty and virtue,but he cannot refuteBaglioni's claim that she is "poisonousas she is beautiful!"(p. iI8). Therefore,he buys the flowersforthe test,and also acceptsthe antidote.In doing so, he notto believewhathe sees,but ignoresBeatrice'searlierinstructions onlywhatshetellshim. JustbeforeGiovannileavesto testBeatrice,he looksvainlyin his mirror,an actiondisplaying"a certainshallownessof feelingand His shallownesscontrastswith of character"(p. I2I). insincerity he admireshis of Beatrice'sdepth.Unsuspecting, earlierdescriptions complexion,and thinks"'her poison has not yet inoverhealthy sinuateditselfinto my system.I am no flowerto perishin her he discoversthat the Immediatelythereafter, grasp!'" (p. I2I).

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havewithered in hisownhand,apparently flowers fromthepoison Withhisworstfearsconfirmed, hehearsBeatrice inhisownbreath. callinghim,andmutters, "'She is theonlybeingwhommybreath maynotslay!Wouldthatit might!'"(p. I22). Hereis proofthat thedeadlyintent he attributes toheris withinhimself as well. Although Giovannihas beenrepeatedly warnedthatRappaccini is usingBeatriceto harmhim,and althoughhe has continually observed Rappaccini onhimandhisdaughter, spying stilltheyoung man'sfascination and fearare alwaysfocusedon Beatrice, noton her father.In theirlast meetingGiovanniaccusesher: "'Yes, poisonousthing!. . . Thou hastdoneit! Thou hastblastedme! Thouhastfilledmyveinswithpoison!Thouhastmademeas hateanddeadlya creature ful,as ugly,as loathsome as thyself . . . . let us joinourlipsin onekissofunutterable and so die!'" (p. hatred, I24). The motives he attributes to herarereallyhisown,as noted previously. Givinghertheantidote is hisattempt toremakeherinto hisidealwoman.Onlyhefeels"unutterable hatred." Moregenerous thanhe,Beatrice tellshimto waitbefore drinking theantidote, so he canfirst observe theeffects on herbody.Although sheis willing tosacrifice herlifeforhim,heis willingtosacrifice nothing forher. Giovannihas respect neither forwhatlittleindependence Beatrice has,norforherpersonal integrity, wherebothvirtues andfaultsare a inextricably entangled, as theyarein everyone. His "love"requires womanwho will gratify his ego and conform to his fantasies. Beatrice makesno suchdemands on himandis unawareuntiltheir lastmeeting thathe hasbecomepoisoned. Therefore, sheis entirely correct whensheaskshim,"Oh,wastherenot,fromthefirst, more poisonin thynaturethanin mine?"(p. I27). The poisonin her "physical system" is farlessdeadlythanthevenomin his "moral system." Although Baglioni actswithmoredeliberation thandoesGiovanni, hisattitudes andbehavior resemble thoseoftheyoungman.Superficially, Baglioniappearsa benevolent character, concerned withthe ofhisoldfriend's welfare son,andintent onexposing andfrustrating theschemes ofRappaccini. Yetalthough realizesRappaccini Baglioni is thesourceof theevil,Beatrice to is thetargetof his attempts combatthisevil.In fact,he seesheras a realdangertohisposition attheUniversity, telling Giovanni, "'she is already qualified tofilla professor's chair.Perchance herfather destines herformine!'" (p.

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That thisfearis groundlessis provedby Beatrice'ssubsequent denial."'Do people say thatI am skilledin my father'sscienceof plants? . . . No; thoughI have grownup among theseflowers,I know no moreof themthan theirhues and perfume;and sometimes,methinksI would fainrid myselfof even thatsmallknowledge'" (p. iii). Clearly,sheis nothappywiththelifeherfatherhas forceduponher. Baglioni,not Beatrice,seeks academic triumphand status.He wantstodiscredit Rappaccini,aboutwhomhe has mixedfeelings;he fearsand envies,yetalso admiresthe doctor.PerhapsBaglionisuspectsthatRappaccinipossessesa greaterknowledgeof medicineand botanythan he himselfdoes. He acknowledgesonly grudgingly thatRappaccinihas had successtreating thesickwithhis medicines, whose" 'virtuesarecomprised withinthosesubstances whichwe term vegetablepoisons'" (p. ioo). Later,BaglioniwarnsGiovannithat "'for somepurposeor other,thisman of scienceis makinga study ofyou.I knowthatlook ofhis! It is thesamethatcoldlyilluminates his face,as he bendsovera bird,a mouse,or a butterfly, which,in pursuanceof some experiment, he has killed by the perfumeof a flower ;-a lookas deepas Natureitself, butwithoutNature'swarmth of love'" (p. I07). Baglioni'scallousmanipulation of Giovanniand Beatricelateron shows how well he fitshis own descriptionof Rappaccini.That his hatredof the doctoris mixed with genuine admirationis shown by his remarksafterhe gives Giovannithe antidote(itselfa poison). "'Let us confessthetruthof him,he is a man!-a wonderful wonderful manindeed!A vileempiric, however, in hispractice, and therefore notto be tolerated bythosewho respect thegood old rulesof themedicalprofession'"(p. I20). Aftertheirfirstmeeting,Giovanniavoids Baglioni,afraidthat the professor may detecthis secretpassionfor Beatrice.However, Baglionistopshim in the street, warninghim thatRappaccinihas takena sinister interest in him.When Giovannileaves,we discover Baglioni's motivesare not simplybenevolent,but are instead a complexmixtureof friendship, envy,professional rivalry,and fear of Beatrice'sthreatto his academicchair: "'This mustnot be. . .. The youthis the son of my old friend,and shall not come to any harmfromwhichthe arcanaof medicalsciencecan preservehim. in Rappaccini,thusto an impertinence Besides,it is too insufferable snatchthelad out of myown hands,as I maysay,and makeuse of IOI).

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This daughterof his! It shall be him forhis infernalexperiments. mostlearnedRappaccini,I mayfoilyouwhere lookedto.Perchance, of Giovanni, you littledreamof it!'" (pp. I07-I08). Possessive in Rappaccini. Baglioniobservesand fearsthe same possessiveness arecorrectin makinghimavoidBaglioni, The youngman'sinstincts theRappaccinis. forthelattermakesGiovannihistoolfordestroying by Rappaccini,thenthe thoughtof a If Baglionifeelsthreatened superiorand displacinghim fromhis womanbeinghis intellectual To be outdoneby Rappaccini positionmustbe doublyfrightening. to be outdoneby Beatricewould be utterly would be "insufferable"; disgraceful. denunciationof the doctorat the Thus, Baglioni'sself-righteous veryend of the tale is not reallya moraljudgment,but primarily of an academicianexposingthe errorof a thegloatingsatisfaction colleague."Baglioni . . . called loudly,in a toneof triumphmixed withhorror,. . . 'Rappaccini!Rappaccini!And is thistheupshotof yourexperiment?'"(p. I28). Why "mixedwithhorror"?Perhaps we are to believeBaglionihas not anticipatedthatBeatricewould die,onlythattheantidotewould thwartRappacciniby disenvenoming his daughter,thusreleasingher fromher father'scontrol.If perhapshis knowledge thedrug'seffect, Baglionihas miscalculated is notas greatas he pretends.Or perhapsBaglioni,like Rappaccini, testingon Beatricea drug of whose is conductingan experiment, since effecthe is unsure.Thus, the horrormay be inner-directed, Baglioni'sfinalquestioncould be asked of himselfas well as of Rappaccini.And if Baglioniknowsthe antidotewill be fatal,he is a murderer. withhis daughter,it When considering Rappaccini'srelationship to look firstof all at thestory'stitle.While apparently is important creation; itemphasizesthatBeatriceis herfather's merelydescriptive, his unwitting and is him, on shespringsfromhim.She is dependent tool.We cannotjudge thedaughterwithoutlookingpastherto her father. man to judge,however,sinceso muchof Rappacciniis a difficult abouthimcomesthroughthedeeplybiasedBaglioni. ourinformation Baglioniis rightaboutcertainthings.Rappacciniis a Nevertheless, schemer;he does have sinisterplans for Giovanni. He is also arrogant,ruthless,and cunning,but above all he is obsessedwith power,the power to intimidateand the power to control.True,

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Baglioniaccuseshimofsacrificing "'human life,hisown amongthe rest,or whateverelse was dearestto him,forthe sake of adding so much as a grainof mustard-seed to the greatheap of his accumu-

latedknowledge'"(pp. 99-IOO).

YetRappaccini's statements at the

end of thetale showclearlythatthisquestforknowledgeis in turn to his need forpower.The exactnatureof his schemes subservient is unclear;are Giovanniand Beatriceto be his agentsin a play for some sortof social or even politicalpower? However,Rappaccini is a plotterand activator, not a doer. Thereforehe needs Beatrice as hisinstrument. Rappacciniis gratified whenhe learnsGiovanniis also envenomed, so thathe and Beatricecan pass "'throughtheworld,mostdear to one another,and dreadfulto all besides!'" (p. I27). Suspiciousand isolatedhimself, he cannotunderstand whyhisdaughtermournsher lonelinessand spurnsthepowerhis sciencehas givenher.Like Giovanniand Baglioni,he projectshis own selfishdesiresontoBeatrice, and therefore blamesher,nothimself, when sherefusesto go along withhis scheme."'What meanyou,foolishgirl?Dost thoudeemit miserytobe endowedwithmarvellous gifts,againstwhichno power nor strength could avail an enemy?Misery,to be able to quell the mightiest with a breath?. . . Wouldstthou,then,have preferred theconditionof a weak woman,exposedto all evil,and capableof none?' 'I would fain have been loved, not feared,'murmured Beatrice"(p. I27). ironicis Rappaccini'srhetorical Supremely questionaboutwhether Beatricewould preferto be a "weak woman." By isolatingher,he has keptherignorant,dependenton him,and therefore weak. He needsa weak daughter, weak enoughto lethim experiment on and throughher. Moreover,althoughRappaccini claims the poison will benefitBeatrice,it is reallya punishment. He does not expose himselfto it, afterall. We may assumethatif he approachesthe plantwitha maskand heavygloves,he mustalso approachBeatrice in the same cautious manner.His experimentshave created a daughtertowardswhom his attitude,like Giovanni's,must be essentially fear,coveredby onlya "cunningsemblance"of love.The powerRappaccinihas givenhis daughteris ultimately forhis own use,notforherprotection. herpoisonmakeshervulnerIronically, able to thepowerof theoutsideworldin a way Rappaccinihas not anticipated. Beatricemostneedsprotection fromher father,who is

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her worstenemy,and the one personwhom his sciencecannot fromharmingher. prevent the poisonin the naturesof Giovanni,Baglioni,and Ultimately, theirown fears,obsessions,ambitions,and Rappaccinirepresents unhealthydesires.The poison theysee (and fear) in Beatriceis This idea is actuallythe evil theycannotadmit is in themselves. dramatizedby Rappaccini'sdeliberatepoisoningof his daughter, an act which makesher dangerousto himselfand others.Having poisonedher, theycannotbear the thoughtthat she may poison (control,displace,rebel against) them. Even though each man thatshe is an unwittingtool, each has psyknows,intellectually, a target, or a vehicle. chologicalneedswhichmustfinda victim, need to dominateand possessBeatrice; Giovannihas a destructive in his idea of thisis precisely thequalityhe findsmostthreatening her.BaglioniimaginesBeatriceis aboutto make a conquestof his academicchair;in fact,he desiresto scorea triumphoverRappaccini by neutralizinghis daughter.He plans to discreditRappaccini's himexperiments equallyreprehensible by performing experiments with poisonsare intendedto self.Her father,whose experiments makeothersfearhim,assumesBeatriceis also movedby a wish to be feared.The poisonhe lovesand fearsin heris reallythedestructiveimpulsein his own being.All threemen are right,of course,in each otherand evenfearingBeatrice.But theirsin liesin mistrusting theirenmityat takingtheirrevengeon Beatrice,insteadof directing eachotheror betterstill,tryingto heal themselves. As I have said,themen'smotivesand thestory'smeaningdepend a typicalmale role, on Beatrice'sfemaleness.Each man represents and the storyexamineshow men playingeach role mightfinda tryto destroyher. Giowoman threatening, and mighttherefore yetfears desiresher sexuality, vanni,herloverand almost-husband, its powerto dominateand destroyhim. Baglioni,her professional position,triesto neutralize rival,feelinginsecureabouthisuniversity her energiesto woman'spropersphere,marriage. her by diverting Her fatherwantsherbeautifulenoughto win a husband,dependent enoughto remainin his home,obedientenoughto do his bidding, and compliantenoughto be moldedto his standards.None of these as feelingthesesamefears,withthe mencould havebeenportrayed a about man. Notice,for example,that Baglioni same intensity,

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withRappaccinialmostas a game,witha rather viewshis struggles tone.OnlywithBeatricedoeshe playforkeeps. gentlemanly And the fateof Beatriceanticipatesthe fatesof laterwomen in in The Awakening,The Bell Jar,even in A Streetcar literature, Named Desire.Educatedfora lifeof sacrifice, Beatricecan respond to the irrationalfearsof men only with one more sacrifice.It is unclearwhethershe knowsthatdrinkingtheantidotewill be fatal, but the"peculiaremphasis"she putson thewords"'I will drinkbutdo thouawaittheresult'" (p. 126) indicatesthatshe suspectsit will be deadlyand acceptsherdeathquitehappilywhilesavingGiovanni's life at the same time. The final ironyis the reversalof Baglioni'sstoryof theIndian woman.As Hawthornesuggests, one mustlook beyondsuch femmesfatalesto the hommesfatalswho make themdeadly.Giovanni,Rappaccini,even Baglioni,have professeda desireto help Beatrice,while secretly fearingher "embrace ofdeath."Consequently, theyhaveembracedher-offeredherhelpin theirown selfish,vengeful,scientificways, and for her their embracehasmeant-death.