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As Giovanni begins to suspect that Beatrice is poisonous, Hawthorne uses the motif of natural vs. unnatural to trace Giovanni's mounting horror. Giovanni is afflicted with a mixture of conflicting emotions:
It was not love, although her rich beauty was a madness to him; nor horror, even while he fancied her spirit to be imbued with the same baneful essence that seemed to pervade her physical frame; but a wild offspring of both love and horror that had each parent in it, and burned like one and shivered like the other[...] Blessed are all simple emotions, be they dark or bright! It is the lurid intermixture of the two that produces the illuminating blaze of the infernal regions.
What the story condemns about Rappaccini is the way he disturbs the natural order by cross-breeding plants to produce species that do not exist in nature—all for the purpose of satisfying his greed for knowledge. Like these artificial bodies, Giovanni’s feelings toward Beatrice are the unnatural “offspring” of love and horror: his suspicions that she might be poisonous corrupt his love for her.
Another form of “wild offspring” in the story is Beatrice herself. Just as Rappaccini produces artificial plant species, he also manipulates human anatomy in the form of his own daughter. The story repeats, in various forms, the notion that Beatrice’s poisonous anatomy transgresses the natural order. As Baglioni introduces his supposed antidote for her condition, he declares, “Possibly we may even succeed in bringing back this miserable child within the limits of ordinary nature, from which her father’s madness has estranged her.” Baglioni's comment implies that Rappaccini's experimentation has placed Beatrice in the realm of the unnatural, beyond the pale of daily life. In this way, the story suggests that there are boundaries to knowledge-seeking that humanity should not cross.

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Common Core-aligned