Henry James. (1843–1916). The Portrait of a Lady.
The Harvard Classics Shelf of Fiction. 1917.
Criticisms and Interpretations. II. From The Nation
IT has long been evident that Mr. James’s powers of observation are not only remarkably keen, but sleepless as well. But “The Portrait of a Lady” would not be what it is if it did not possess a fond of moral seriousness, in addition to and underlying its extraordinary interest of purely intellectual curiosity. There is a specific lesson for the American girl in the first place; there are others, more general, which accompany every imaginative work of large importance. That these are nowhere distinctly stated is now nothing new in fiction even of a distinctly moral purpose. But Mr. James has carried suggestiveness in this regard further than any rival novelist, and though, unless one has ears to hear, it is entirely possible to miss the undertone of his book, to an appreciative sense there is something exquisite in the refinement with which it is conveyed. Refinement in this respect cannot be carried too far. In strictly literary matters Mr. James’s fastidiousness may be objected to, perhaps, if one chooses; he has carried the method of the essayist into the domain of romance: its light touch, its reliance on suggestiveness, its weakness for indirect statement, its flattering presupposition of the reader’s perceptiveness, its low tones, its polish. Upon occasion, where the circumstances really seem to warrant a little fervor, you only get from the author of “The Portrait of a Lady” irreproachability. Objection to this may easily be carried too far, however; and those who do thus carry it too far, and argue that no people ever spoke and acted with the elegance and precision of the personages here portrayed, must of necessity pay the penalty of ultra-literalness and miss the secret of Mr. James’s success. To characterize this secret with adequate fulness would require far more than the space at our disposal; but it may be sufficiently indicated by calling it the imaginative treatment of reality. In this unquestionably lies Mr. James’s truly original excellence. “The Portrait of a Lady” is the most original example we have thus far had of realistic art in fiction á outrance, because its substance is thoroughly, and at times profoundly, real and at the same time its presentation is imaginative. On the one hand, wilfulness and fantasticality are avoided, and on the other, prose and flatness. One may even go further, and say that the book succeeds in the difficult problem of combining a scientific value with romantic interest and artistic merit.—From a review in “The Nation” (February 2, 1882).