Hawthornes Rappaccinis Daughter Essay -- Nathaniel Hawthorne Rappacc

Hawthornes Rappaccinis DaughterThis essay focuses on the way Hawthornes Rappaccinis Daughter cunningiculates the tension between the reputation and the empirical human being. Hawthorne challenges the empirical world Rappaccini, both malevolent for his experimentation with hu musical composition race nature and sympathetic for his jazz for his daughter, represents, by raising an aesthetic point Rappaccini implicitly asks. Hawthorne never conclusively answers this question in his quest to keep abreast spiritual beauty in an empirical world, offering the most disturbing possibility of all could art and the artist prove as disgraceful to the human spirit as empiricism? Hawthornes sinister design of Rappaccini early in the story belies this self-isolating characters complexity and his overrule desire to protect his daughter from the miserable doom (942) she nonetheless suffers by creating her as a poisonous body, dangerous like her sister full treatment in the garden. Rappacci ni is first presented to us a tall, emaciated, sallow, and sickly-looking man, dressed in a scholars garb of black. He could never, even in his more youthful days, have expressed much warmth of heart, appearing as a somber figure apparently morose and removed from love at the tales beginning. Hawthorne opens the story in an allegorical poser he draws from Dantes Inferno by presenting Rappaccini as a ostensibly fixed character his demeanor was that of one walking among malignant influences, or influences that signal his role in the tale both as malefic, since he walks among the insanely snakes, or evil spirits (925), and as Adam, the first man encountering evil in the Garden of Eden. Rappaccinis dubious, if not entirely evil character as the distrustful gardener, along... ... in a practical world that threatens the spiritual one with its evil? Obviously, Rappaccinis answer in his self-imposed isolation and experiment with Giovanni and Beatrice fails rather, his attempt to ameli orate the poisonous effects of the physiological world on the spirit only attracts a greater, more deadly poisonthe dark aspects of human nature. He gives a dissatisfying alternative in Baglionis last, mocking line to Rappaccini, one in which the empirical horrors have, in the end, killed the spiritual essence along with Beatrice. It is a lesson not just most the dangers of science, then, but also about the dangers of human nature and its capacity for evil, from which art rout outnot lift us. Hawthornes bleak view of the scientist and the artist proposes a ideal world no onenot Rappaccini, not Giovanni, not Hawthornecan achieve, even with the best of intentions.