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Hawthorne does not even let Kenyon receive the one missile he is capable of accepting without a delicious bit of irony. Kenyon is ready to receive the final shot at his heart, the 'single rosebud' which Kenyon has identified as his love, his self, that Hilda throws at him. But along with that missile of maidenly love comes another; at the very instant the rose-bud alights on him, 'we are ashamed to say, a cauliflower ... flung by a young man from a passing carriage, came with a prodigious thump against his shoulder'.
These images form an appropriate warning of the coming death of Kenyon's passionate art, of the sacrifice of his vision of the complexity of human love. As Hawthorne uncovers Kenyon's Cleopatra for our view, he reminds us that she is the 'fossil woman of an age that produced statelier, stronger, and more passionate creatures than our own' (377). With Kenyon lay the potential for resurrecting this age in our own. In the next chapter, appropriately entitled 'Reminiscences of Miriam', Kenyon gives voice again to the compassionate complexity of vision that allowed the creation of his Cleopatra.
Ralph R. , (New York: Columbia University Press, 1939), 1, pp. 175-6. journals, III, pp. 226-7. Letters, 1, p. 318. journals, III, p. 226. Rusk, Life, p. 150. Journals, III, p. 228; undated Fragment 48. Pommer, p. 58. Letters, 1, p. 434. Rusk, Life, p. 228. Ellen Tucker Emerson, The Life of Lidian Jackson Emerson, ed. Dolores Bird Carpenter (Boston: Twayne, 1980) p. 68. Letters, 1, pp. 44~1. Letters, II, p. 264. Pommer, pp. 93-5. Journals, III, p. 299 (1831); and vi, p. 181 (1824-1836). Rusk, Life, p.