The Tragic Muse: the objective centre

Abstract

From what Henry James writes in the well-known passage on the novelist's ‘need of the individual vision’ (Preface to The Portrait of a Lady), one is surprised to find him attributing absolute objectivity to the central character in another of his novels. A valid subject, he had said, is the result of some direct impression or perception of life; it springs out of the soil of the artist's prime sensibility. To represent adequately what he felt mattered about Isabel Archer, James had decided to place ‘the centre of the subject in the young woman's own consciousness’. He had rejected the easy evasive trick of giving only the general sense of her effect upon the characters surrounding her. To make theirs the predominant point of view would have been an escape from any close account of the subject. What then induced James on a later occasion to reverse this procedure without scruple? One can look first at James's account of the effect which this novel was to produce.