By clicking âCheck Writersâ Offersâ, you agree to our terms of service and privacy policy. Weâll occasionally send you promo and account related email
No need to pay just yet!
About this sample
About this sample
Words: 2208 |
Pages: 5|
12 min read
Published: Oct 26, 2018
Words: 2208|Pages: 5|12 min read
Published: Oct 26, 2018
Henry Jamesâ The Portrait of a Lady presents the reader with a novel that uses literary form in an attempt to frame the life of its female protagonist; the very title â âPortraitâ â expresses a double meaning, referring both to the representation of someoneâs interior character and also a painting, drawing or engraving of the external body. Art pervades both the structure and narrative of the piece, and how it is presented is integral to our understanding of the novel. Through his writing, James considers contrasting views on aesthetics.
On the one hand, he appears to reject the notion that art must serve a didactic purpose, but on the other he refuses to align with the notion of 'art pour l'artâ in his characterisation of the soulless aesthete Osmond. Moreover, writing when traditional art itself was being challenged by the birth of photography, these artistic anxieties are reflected in Jamesâ experimentation with realism â and its limits - as he tries to capture and distill a character whose self-identity revolves around the resistance against being pinned down.
Taken alongside The Author of Beltraffio, a short story which embodies this conflict between didacticism and aestheticism, James presents the view that art should represent life as accurately as possible. Yet in doing so he reveals the limitations of art, affecting the genre, perspective and structure of both The Author of Beltraffio and The Portrait of a Lady.
Through his writing, James presents the value of art as lying within the accurate portrayal of reality. In the Portrait of a Lady characters are repeatedly described in relation to works of art, for example, protagonist Isabel is referred to early on in the novel by Ralph as âfiner than the finest work of art â than a Greek bas-relief, than a great Titian. Than a Gothic cathedralâ. Her beauty emphasized by the use of comparative and superlative âfinerâ and âfinestâ in relation to both neo-classical and gothic traditions.
Moreover, there is already the suggestion that art is unable to completely capture reality: Isabel cannot be pinned down by any aesthetic piece. Likewise, in The Author of Beltraffio Mark Ambientâs sister is casually described by the anonymous narrator as âmade up very well as a Rossettiâ, metaphorically suggesting that she embodies the Pre-Raphaelite ideal. Yet while his characters may constantly approach life through constant comparison to art, James is careful to critique the projection of artistic values onto reality. It is suggested in his critical piece The Art of Fiction that âthe good health of an art which undertakes so immediately to reproduce life must demand that it is perfectly freeâ , the implication being that bad art is that which projects superficial artistic values and structure onto life as opposed to stemming from life itself.
Isabelâs artistic romanticizing of the European landscape and Oswald leaves her blind to his machinations, and it is the narratorâs ignorance towards separating Ambientâs literary art from his domestic life that arguably results in the tragic death of his son. Indeed, both protagonists can be accused of artistic solipsism, a fact which is made explicit in the texts themselves; in the early stages of the novel Isabel is accused of living âtoo much in a world of your own dreamsâ and Ambientâs home is described as âa palace of artâ. Thus both characters are portrayed as portrayed as projecting mind-dependent aesthetic viewpoints onto mind-independent reality.
Ultimately Jamesâ artistic philosophy acts as a critique of elements of 19th century Aestheticism, shown in his works through his characterisation of individuals representative of the movement. In The Portrait of a Lady this is seen most clearly in the presentation of antagonists Osmond and Madame Merle.
In an early scene with Isabel, Merle claims that selfhood is outwardly rather than inwardly known, stating the self is âoneâs expression of oneâs self; and oneâs house, oneâs furniture, oneâs garments, the books one reads, the company one keeps â these things are all expressiveâ. If one were to take Merleâs philosophy as gospel, then Mark Ambientâs sister in The Author of Beltraffio would truly be the Pre-Raphaelite muse she attempts to emulate. Instead the narrator sees through her external façade revealing her to be a faux-artist, claiming through cutting repetition âshe wished to be looked at, she wished to be married, she wished to be thought original.â
Moreover, the artistic failure of Osmond can be put down to his inability to see beauty beyond material goods, or what critic Maurizo Ascari argues is his âsphere of immobilityâ . Osmond is unable to appreciate anything outside of âstaticâ objects, and while the interior of his house is âtelling of arrangements subtly studied and refinements frankly proclaimedâ his interior artistic life is equally empty and inanimate. While James may display a critical approach to âart for artâs sakeâ, his portrayal of moral didacticism is equally, if not more, damning: it is Beatriceâs severe Calvinism in The Author of Beltraffio that prevents her from saving her son. As clarified in The Art of Fiction, James rejects the notion that âEnglish Fiction should have a "conscious moral purposeâ in favor of an accurate presentation of reality.
Yet while James seems to value art which gives priority to an accurate representation of reality, it could be argued that he falls victim to the same romanticization for which he criticizes his characters. Indeed, he frequently uses houses and settings as externalizations of personalities within the novel; for example, Osmondâs house is described as âthe house of darkness, the house of dumbness, the house of suffocationâ. As a reflection of Osmondâs own controlling persona, Ascari argues that this portrayal âconnects the refined Osmond with Gothic villains, turning him into a jailerâ .
Moreover, when assessing the realism in the text many critics overlook the supernatural element presented by the ghost of Gardencourt, appearing as âa vague, hovering figure in the vagueness of the roomâ in the penultimate chapter. Nevertheless, while it may seem as if James undermines his own artistic ethos in his melodrama and presentation of the unreal, the novelâs use of perspective can explain the existence of these artistic elements. Osmondâs home appears a âhouse of suffocationâ precisely because Isabel is projecting her interior life onto the environment, likewise Ambientâs home is described as âa palace of artâ because of the narratorâs obsession with the author; the descriptions becoming an exercise in psychology.
Rather than losing its realism, through taking the subjective perspectives of his characters and articulating the way they perceive the objective world James is able to use the techniques of gothic and romantic literature without being guilty of artistic solipsism. Good art, to James, is that which presents the âbeauty and truthâ of the reality of the artist, and likewise âno good novel will ever proceed from a superficial mind.â Following this argument even the use of the ghost is justified within a realist narrative, indeed it is this oscillation between the psychological and the fantastical in The Turn of The Screw that saw to its popularity with psychoanalytical readings in the 20th century.
Not only does perspective allow for an exploration of the psychology of the characters, it is also used as a way almost of mimicking art itself, while challenging the extent of mimesis. While The Author of Beltraffio restricts the reader to a first-person perspective, in The Portrait of a Lady James dips in and out of the viewpoint of a range of characters through the use of a third person omniscient narrator. Indeed, the introduction of Osmond can be compared to an initial viewing of a painting: âa gentleman was seated in company with a young girl and two good sisters from a religious houseâ.
The use of the common nouns âgirlâ, âsistersâ and âgentlemanâ places two of the major characters in seemingly static roles, with the narrator himself claiming that the âsmall group might have been described by a painter as composing wellâ. There are times in the novel where it also appears that the titular character is literally posing for a portrait, for example âIsabel walked to the other side of the gallery and stood there showing him her charming back, her light slim figure, the length of her white neck as she bent her head, and the density of her dark braids.â Yet Isabel is shown to consistently evade a completion of her portraiture; crucially the onlooker Warburton cannot see that her eyes are âsuffused with tearsâ.
James denies perception of Isabelâs emotions to Warburton, foreshadowing the withdrawal of Isabelâs psychology from the reader during the second half of the novel. As the story progresses perspective plays a more structural role, with the succession of elliptical time jumps the reader is left to piece together key events, such as the marriage of Osmond to Isabel.
This manipulation of viewpoints has led some critics, such as Alan Nadel, to consider Jamesâs literature to be proto-cinematic, claiming that âcinema is Jamesian â James is cinematicâ. Certainly, he was writing during the emergence of photography as an artistic medium, challenging the purpose of traditional art which was striving to represent reality; even the artist Delaroche is purposed to have declared that âpainting is deadâ.
For an author concerned with art and literature as the presentation of reality â in The Author of Beltraffio Mark Ambient declares âI want to be truer than Iâve ever been ⌠I want to give the impression of life itselfâ - James was wary of photography. He accused it of being âtemporaryâ, criticizing early photographer Mathew Brady, stating that the medium "tells you everything except the very thing you want to know."
Critic Edward L. Schwarzschild points out that James saw photography, despite its mimesis, as âshallow, superficial, merely "lifelike," while the creations of such Europeans as Goethe and Velazquez are âlife itselfâ," placing both literature and art above that of photography. While James may have espoused a prejudice towards an art form that was still in its infancy, the nature of photography as temporary has been reiterated even by later photographers, with Susan Sontag declaring âlife is a movie. Death is a photographâ. This anxiety towards photography as a representation of a singular, finite moment â a symbolic death â is akin to the anxiety Isabel has, at least in the first half of the novel, towards being intellectually confined and made into a static object.
Thus, we can see the withdrawal of Isabelâs perspective in the middle as providing the reader with a symbolic death. We are only provided snapshots as Osmond exerts more control over her personality: âthis ladyâs intelligence was to be a silver plate, not an earthen oneâa plate that he might heap up with ripe fruits, to which it would give a decorative valueâ. Thus, her portrait becomes more like that of a photograph, an instant, static âlifelikeâ moment in time. It is only when Isabel begins to question the intentions of her husband that the reader is invited back into her interior life. It could be argued that from this perspective, the open ending is Isabelâs last act of evasion; she refuses to be distilled into any form of portraiture, neither that of a painting or photograph, and this is reflected in the breaking of literary conventions.
Henry James presents a conflicted view of art, critiquing both moral didacticism and the Aesthetic Movement in his short story The Author of Beltraffio in favor of a realistic portrayal of reality to reveal truths of beauty and knowledge. This attempt at portraying life as accurately as possible is reflected in the psychological realism of his novel The Portrait of a Lady. Through accurately representing reality as it appears to the perceiver, James pushes the limits of realism, and at times appears to cross into romantic and gothic territory.
Moreover, the birth of photography and its apparent ability to capture and confine the external world in mimetic form reflects and arguably feeds into the narrative of the novel which concerns the attempted portrait of a protagonist who wishes to evade this very confinement. As a result of this paradox, James subverts a typical literary structure in providing the reader with an open ending, an act that he knew would be the âobvious criticismâ of the piece. Thus, through applying a conception of art and aesthetic values to his work, Henry James questions how accurately reality can be represented through literature, a question that would continue to be explored in modernism and 20th century.
Browse our vast selection of original essay samples, each expertly formatted and styled