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The Quest of Self in The Portrait Of A Lady
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Character Sketch of Isabel Archer
Oedipus Complex in Sons and Lovers
The quest of self in The Portrait of a lady is vital
because a kind of psychic journey forms the very heart of the novel. The journey is that of a mysterious and an
uncommitted self, setting out to find the right house to live in and the right
partner to live with. Evidently, the journey of Isabel in the novel is
analogous to the journey of the inquiring self, seeking identity and
realization. Henry James’s moral universe consists of two worlds –means and
ends. In the world of means, everyone and everything is shown of a fixed
intrinsic worth. The world of ends is one wherein everyone and everything has
an intrinsic worth and respectability. In case of Isabel Archer, she thinks she
is ascending towards the world of ends, but actually she is descending into the
world of means. After her marriage, she realises that instead of being a free
creature devoted to the twin ideals of art and culture, she has become,
a woman who has been made use of.
She is intrigued and trapped inescapably.
Being an idealistic and a theoretic girl, Isabel
views the world as a benevolent place where she expects to put into practice
her theories of ‘free expansion’ and ‘irresistible action’. She is therefore
not prepared for any harsh encounter with the realities of life. She rejects
Goodwood on the ground of his sheer masculinity, and rejects Lord Warburton on
theoretic grounds, as what he offers does not tally with her vague notions of
indefinite expansion. Then why does she accept Gilbert Osmond?
In choosing Osmond, she perhaps feels that she can
now live at a higher level in communion with her cherished ideals of ‘beauty’
and ‘liberty’ She thinks she is embracing the ideal; the mistake done by her
due to lack of vision. Moreover, Isabel herself is not completely free from
appearances and external decorations. Once, Lord Warburton compliments her on
keeping her house in perfect order. She has ‘an unquenchable desire to please’
and ‘an unquenchable desire to think well of herself’. In this way, she is very
liable to the sin of self-esteem. She has a latent desire to look very well and
to be, if possible even better. She perhaps wishes to emulate Madam Merle and
appears before Osmond as he wants her to-just like a finished work of art. In a
sense, Isabel has misled not only Osmond, but herself too.
Isabel’s error, her difficulty, her fate forms a
journey on which she must go. It is only through choice and commitment that we
can realize what she is. In this sense even error becomes discovery. Isabel’s
quest, besides being a search for the right partner to live with, is also a
quest for the right house to live in. It is notable that Henry James has
described Osmond’s house in minute detail. It is situated on a hill-top, the
ideal place for a person of artistic taste and detached observation. However,
the front of the house is descriptive,
It was the mask, not the face of the
house. It had heavy lids, but no eyes; the house in reality looked another way.
At first , Isabel believes that her life here will
lead up to the world of ends, but gradually she finds it plunging down into the
world of means. Osmond’s palace of art turns out to be
the house of darkness, the house of
dumbness, the house of suffocation.
But, it is the house of her choice. The reason of
Isabel’s returning to Rome at the end of the novel is that, she has to get back
to the place where she made the most significant, even if mistaken choice. That
is where the experience of life, of buffets and blows can be earned; that is
where the knowledge can be really attained. That is, where she can attain
quest.
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