Symbolism and Imagery in The Portrait of a Lady

 Structure of The Portrait...

International Situation

Character Sketch of Isabel Archer

Henry James (1843-1916) is one of the major figures of Trans-Atlantic literature. He spent much of his life in Europe and became a British subject shortly before his death. He is primarily known for novels, novellas and short stories based on theme of consciousness. The Portrait of a Lady, his masterpiece is a study of young woman from Albany who brings to Europe her narrow provincialism and pretensions but also sense of her own sovereignty, her free spirit, her refusal to be treated in the Victorian world merely as a marriageable object.

The Portrait of a Lady is rich in symbolism and imagery.

Symbolism: In the present novel symbolism is suggestive and seems to grow in the very subject. James utilizes architecture beyond conventional world building to symbolise the influence of art and the way that art can both express characters internal thoughts and feelings as well as mask them. Isabel’s house in Albany with its shuttered windows objectifies the parochial and limited mind of Isabel. The Garden-Court with its spacious lawn and garden captures the grandeur of the civilization of its dwellers. It is harmonious and peaceful place of rest. Mr. Touchett and Ralph Touchett are similarly calm and kindly figures. Lockleigh is a castle with a defensive moat that symbolizes Warburton’s fixed pride in his noble heritage. Osmond’s Florentine villa ‘on the hilltop’ and the Roman villa symbolizes the pride and jealous nature of the owner. They reflect his deceptive and menacing character.

The ‘garden’ is a symbol of happiness and pleasure in the novel. Isabel spends some of her best days in Garden-Court. We find there is very small garden in Osmond’s Florentine villa and no garden in the Roman villa. The absence of proper garden in these places suggests the absence of happiness for Isabel. Towards the end of the novel, the garden offers a contrast to the house. It lurks Caspar Goodwood where he tries to deceive Isabel. Here the garden is linked with primitive pleasure and indulgence. And, in rejecting it Isabel chooses the securer path of duty and settled married life. The ‘house’ wherein she runs from Caspar becomes a symbol of security.

Next, we find symbol of ‘flower’ and ‘bird’. Pansy is described as a convent bred flower. Her name itself indicates a flower. Like a flower representing its soil and climate, Pansy perfectly represents her civilization. On the other hand Isabel and the Countess (Gemini) are compared to birds, for they express a strong tendency towards freedom. Then we find symbolism of ‘light’ and ‘water’ in the later part of the novel; Goodwood kiss is ‘like a flash of white lightening’ and lights go out during Isabel’s midnight vigil. The symbol of ‘water’ actually stands for Isabel’s urge to plunge herself into action, and yet she chooses ultimately to withdraw from the abyss.

Symbolism of art pieces have been used at a lesser level of intensity. Madam Merle compares her broken life to a broken tea-cup. Similarly symbolic irony is clear in showing Osmond copying a picture of a coin from a book of archaeology. His meaningless activity indicates the meaninglessness of his life.

Imagery: The imagery in the novel is evocative and carries a great figurative significance. First of all there are architectural references. Ralph thinks of Isabel in obvious terms of an ‘edifice’. He also remarks that he keeps a group of musicians in his ante-room to shut away the sounds of the world and passerby, and dancing is going on within. One may almost trace Isabel’s development by reference to the houses and rooms she occupies- from the cluttered office in Albany to the comforting spaciousness of Garden-Court which appears to Isabel like a castle in legend; and then the Osmond’s villa.

Another cluster of images is that of fine arts. Isabel is drawn to historical pictures for her romantic longings. She chooses the books by their cover page drawings. Also, she insists on viewing the paintings in Garden-Court even in dim light. Ralph thinks of Isabel as ‘finer than the finest work of art.’ To Isabel, Osmond’s features are ‘as fine as one of the drawings in the long gallery above the bridge of the uffizi’. Osmond thinks that ‘one ought to make one’s life a work of art’. And he constantly treats Isabel and Pansy as mere objects of art. Art-galleries, museums and picturesque ruins are frequent scenes of the novel’s action.

The water image first of all suggests the possibility of adventure of ‘sailing before the breeze’, but for Henrietta it becomes a token of danger as Isabel ‘drifts away’ from American way of life to the European one without having a secure foothold therein.

Thus, The Portrait of a Lady has a fine use of symbolism and imagery in its texture.