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50 pages 1 hour read

Nathaniel Hawthorne

The Blithedale Romance

Fiction | Novel | Adult | Published in 1851

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Symbols & Motifs

Zenobia’s Flower

When Coverdale first meets Zenobia, he immediately notices that she wears a single flower in her hair. This flower, rare and exotic, has the power to trigger Coverdale’s memory years later. He interprets this blossom as representative of Zenobia’s character. Throughout the novel, Zenobia wears a new flower every day, but at the very end of the book, she dons a jeweled flower in place of the real blossoms.

While Coverdale suggests that the flower symbolizes Zenobia’s pride, other mentions of Zenobia in relation to flowers reveal not just pride but the possibilities inherent in Zenobia. Priscilla, likewise, is frequently referred to as a flower. When Coverdale first views the young girl, he compares her to “a flower-shrub that had done its best to blossom in too scanty light” (27). Nevertheless, under Zenobia’s influence, Priscilla grows “to be a very pretty girl, and still [keeps] budding and blossoming” (72). Thus, while Zenobia’s ornamental flowers become a part of her mystique, her power over the flowers in her world—both the real blossoms and those symbolized by people—become symbolic of her ability to bring ripeness and vibrancy to the world.

The flower she wears in her hair, though, also symbolizes Zenobia’s life force. Coverdale inadvertently recognizes this at the height of his illness, telling Hollingsworth that the “flower in her hair is a talisman. If you were to snatch it away, she would vanish, or be transformed into something else” (45). Coverdale’s observation proves true, when at the end of her life Zenobia removes her jeweled flower and asks Coverdale to give it to Priscilla. Thus, the flower symbolizes Zenobia’s complicated nature as one who is prideful but generous and whose life intimately connects to the symbol of the hothouse flower.

Coverdale’s Hermitage

During his stay at Blithedale, Coverdale discovers a secret spot: “a hollow chamber […] formed by the decay of some pine-branches” (98). Although he originally uses this space to compose poetry and smoke cigars, the “hermitage” offers Coverdale additional benefits, which reflect his character, highlighting his desire for individuality, his need to separate himself from others, and his longing to observe the world around him without being seen himself.

Although Coverdale embraces the utopian goals of Blithedale, this secret space, which he treasures as a possession, allows him to escape from the socialism imposed by the commune. Additionally, he notes that the space “symbolized my individuality, and aided me in keeping it inviolate” (99). Furthermore, the hermitage provides Coverdale with a good vantage point from which to view other community members. In short, the secret space he discovers and never reveals to others, functions as his private universe, where he can freely express himself while analyzing the behavior of others. Indeed, his view from the hidden spot—and his composition of verse—mirror his actions in the story as he functions primarily as an observer and recorder of events. Thus, the hermitage and Coverdale’s identity within the secret space become a microcosm of the larger story.

The Veil

Obscuring the truth and revealing what is hidden, the veil—worn by Priscilla in her guise as the Veiled Lady—is an important symbol in the novel. It allows her to appear on stage while hiding her identity. At first glance, it protects Priscilla’s position, allowing her the freedom to explore a public identity while remaining anonymous. As Coverdale notes, the Veiled Lady is a celebrity and “one of the earliest that had indicated the birth of a new science” (5). In addition, the veil generates mystery, as it not only endows Priscilla with “privileges of a disembodied spirit” (5) but also inspires rumors of her beauty to circulate.

However, while the veil allows Priscilla to hide beneath its sheen, it also symbolizes Westervelt’s control over her physical person. In Priscilla’s final moments wearing the veil at the Village-Hall, Westervelt explains to the audience that the “veil is, in one sense, an enchantment, having been dipt, as it were, and essentially imbued, through the potency of [his] art” (201) and that the Veiled Lady will obey his every word. However, when Hollingsworth mounts the stage, Priscilla throws off the veil, revealing herself to the crowd while simultaneously freeing herself from Westervelt’s hold. Thus, the veil evolves from a symbol of mystery and privacy to a diabolic symbol of enslavement.

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