In Nathaniel Hawthorne's novel, "The Blithedale Romance", Zenobia presents a false image of herself to the world in order to bolster her self esteem. Every character, in some way or another, hides their true nature, but none so much as Zenobia. Zenobia's public persona was probably much more satisfying to her than her true self: Zenobia isn't even her real name, but a pen name which she adopted for everyday life, and "encouraged its constant use" (14). In fact, Zenobia seems to be such a great dissembler that she has lost track of her own true self.

This public facade seems to be an elaborate defense system for Zenobia. Upon first meeting Zenobia, we're struck by her outer persona and larger-than-life character. She appears to have "as much native pride as any queen would have known what to do with" (14), but as we shall soon find out, it is all an act. Coverdale spends several pages describing her physical beauty, and Zenobia seems to be encouraging this by flirting with him. She even causes him to imagine her "in Eve's earliest garment"(17). The exotic flower she wears in her hair is also part of her guise.

In her first conversations with Coverdale, Zenobia seems mostly interested in his public persona as well, and compliments his poetry, going so far as to call him one of the world's "true poets" (15). Even more puzzling, given later events, is her original opinion of Hollingsworth and his philosophy. Despite being admitting that he is physically attractive and charismatic, she tells Coverdale that she "never could tolerate a philanthropist" (21). This is probably in keeping with her public image as a transcendentalist. Later, when Zenobia falls in love with Hollingsworth, she seems to fully adopt his views: "I was willing to realize your dream, freely... heedless though it should prove the ruin of my fortune" (178). It seems that what Zenobia truly wants is love, but she's too afraid of being hurt to allow anyone to love her.

This fear of intimacy is evident in many of her dealings with other characters, such as Priscilla, when old Moody went to check on them:

Coverdale theorizes that her strong public persona was caused by "the pressure of exceptional misfortune" (100). When we hear old Moody's story about her birth, we see that her parents only loved her superficially: "he took her... as a man, already rich in jewels, would receive another jewel. If he loved her, it was because she shone" (151). Coverdale, when he is sick, realizes that "Zenobia is a wife! Zenobia has lived, and loved!" (41). It would seem that Zenobia's apprehension comes from an episode in her past, in which she, after a lifetime of not knowing love, entered into a relationship and was hurt by it. As to the identity of this man, we can only guess. A strong possibility is the devilish showman, Westervelt, but that's just conjecture.

Zenobia's public image does fool Coverdale on numerous occasions. In the love triangle between Hollingsworth, Priscilla and Zenobia, Coverdale is primarily worried about Priscilla, because he thinks that "As for Zenobia, I saw no occasion to give myself any trouble. With her native strength, and experience of the world, she could not be supposed to need any help of mine" (67). It is very ironic that Coverdale thinks that Priscilla needs care and that Zenobia can take care of herself, as it is actually the other way around. During the discussion at Eliot's Pulpit, Zenobia surprises Coverdale by readily agreeing with Hollingsworth's decidedly chauvinistic comments:

This illustrates for Coverdale, who only moments ago realized that she'd been the victim of "exceptional misfortune", this shows how weak she really feels inside, as she'd be willing to deny her entire public life as a feminist for this man.

Zenobia's weaknesses also are illustrated when Coverdale finds her in the town. He says that "Zenobia, as I well knew, had retained an establishment in town, and had not unfrequently withdrawn herself from Blithedale, at brief intervals" (129). It seems that despite her idealism in being a founding member of Blithedale, she could never give up the city comforts which they fought against. She is very much changed while in the city, and even asks her: "Can it be, Zenobia, that you ever really numbered yourself with our little band of earnest, thoughtful, philanthropic laborers?" (135).

Another change in Zenobia is that her trademark flower has been replaced by a jeweled one. Coverdale comments on the change by saying that the flower "imparted the last touch that transformed Zenobia into a work of art" (135), and later, that "Zenobia now looked like marble" (175), because her humanity is being slowly taken away by her public persona and the influence of Westervelt. She also feels that Hollingsworth is her last chance for love. She is so afraid of losing him that she gives Priscilla back to Westervelt in order to ensure that she can have him.

The final time that Coverdale sees her, she is wearing a masquerade costume, although it is ironic that this costume shows her inner self more truly than any of her costumes before: "Her attitude was free and noble, yet, if a queen's, it was not that of a queen triumphant, but dethroned, on trial for her life, or perchance condemned already" (175). She truly was a queen dethroned, with her self-esteem crushed and broken by Hollingsworth's decision that he loves Priscilla, and not Zenobia. When she is denouncing Hollingsworth, Zenobia's words apply just as much to her as to Hollingsworth: "You are a better masquerader than the witches and gipsies yonder; for your disguise is a self-deception" (179).

After the others leave, Zenobia still tries to put on her guise for Coverdale, in order to protect herself and distance herself from the situation: "Ah, I perceive what you are about! You are turning this whole affair into a ballad. Pray let me hear as many stanzas as you happen to have ready!" (183). Zenobia had let down her defenses, but had been hurt once more. Foster's words were darkly ironic when he said to Hollingsworth: "You have wounded the poor thing's breast... Close by her heart too!" (193).