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The Narrator behind the Centres of Consciousness in The Wings of the Dove PDF Free Download

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The Narrator behind the Centres of Consciousness in The Wings of the Dove PDF Free Download

The Narrator behind the Centres of Consciousness in The Wings of the Dove PDF free Download. Think more deeply and widely.

TheNarratorbehindtheCentresofConsciousness
inTheWingsoftheDove
SatomiHatae‑Hasegawa(畑江(長谷川)里美)
Ⅰ
"You'recryptic,Love!",saidMertonDenshertoKateCroyatthesoireeatthePalazzo
Leporelli‑andKatedoesindeedseemHcryptic".InthetriangularrelationshipofMilly,Kate
andDensher,Katehasbeenusuallyregardedasanantagonist,eitherf♭rMillyorDensherasa
protagonist･CriticshaveemphasisedMilly'sforglVeneSS,dedicationanddivinesacrifice
crystallisedinherfinalactofbequest‑.Densher'ssplntualtransformationhasalsoreceived
attention2.1nbothofthosereadings,Kateisalmostautomaticallyregardedasavictimizer,a
manlpulator,adeceiver,whoconceivesadiabolicaldesign,enticesDensherandexploitsMilly.
Evenso,Criticsoftenfinditdifficulttodismissherasapurevillain･Instead,theyallowthat
herearetheelementsofHpityandgenerosityHinherplan(Graham205);her"genuinedevotionM
toMilly(Krook20415);her"intensifiedsenseofdutytobehavenoblyandunselfishly"(Foge1
56),etc･RuthBemardYeazellarguesthat"thelovers'plotencourageslMilly'S]desireforlife"
(83)･Morerecently,LeeClarkMitchellandJohnLandauevenraisethequestionofwhether
Kateisreallyblameable.IsKate,then,amixtureofgoodandevil?Doesshedeservethe
condemnationshehassooftenreceivedforheartlessmanipulation?Isshecondonable?Or,is
shenotreallyculpable?Whyisitsodifficulttoanswerthesequestions?Wemaywonder
whetherJamesmakesanyclarifyingcommentstosustainanyoftheseviews,and,ifso,which?
Theobjectofthisdiscussionistore‑examinetheroleofKateCroyinTheWl'ngsoftheDove,
especiallyinrelationtoMertonDensher,andtoattempttoresolvesomeof血eproblemsaround
Katebyconsideringherfromanarratologicalperspective,
ⅠI
ContradictorycharacterizationsofKatearenotjustrecent:theycanbetracedbacktoJames
himselfandtohisfirstdetailedplanforthenovel,TheideathatwastobedevelopedintoThe
WingsoftheDovefirstappearsinhisNotebookentryfor3November1894,eightyearsbefore
publication.Thestorywastobeaboutadyinggirl,andhertriangularrelationshipwithayoung
manandhisfiancee･ThecoupleendurealongengagementbecausehehasHnoincome"andshe
"nofortune".Thegirlfallsinlovewithhimwithoutknowingheisalreadyengaged,whilethe
couplerecognizeherattachment,aswellasherfatalillness,andmostofal1,herwealth.
On7NovemberJamesreconsideredandextendedthisidea.Histwoentriesonthe3rdand
7thareremarkablydifferentintermsofthecharacterizationoftheyounglovers,especiallythe
fiancie.Intheformer,themantakesthelead.Hepitiesthegirlandsaystohisfiancee:
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'Don'tbejealousifrmkindtoherlyouseewhyitis.'Thefiancgeisgenerous,she
alsoismagnanimous‑sheisfullofpitytoo...'Ohyes,poorthing:bekindtoherjIt
goesfurtherthanshelikes;butsheholdsout‑sheissosureofberlover.(CⅣ104)
Ontheotherhand,inthelaterentry,ltisthefianceewhotakesthelead.Sheandthegirldislike
eachother･Shemakestheman"mystifiedlyandbewilderedly"followherplan:
Playacertaingame‑andyou'llhavemoneyfromher･ButifsheknowsthemoneylS
tohelpyoutomarryme,youwon'thaveit;neverintheworld!(CN105)
ThefiancgevulgarlyinstlgateStheactionoftheyoungmanoutofself‑interest,andintheend
shetakesthemoneybequeathedbythegirltothemanandmamiesaLordX･
Inbrief,thefomernotebookentryrepresentsKateasapatheticwoman,andthelatterasan
evilwoman･Althoughtherealizednovelseemstobeanextensionofthelaterplan,itretains
certainaspectsoftheearlierone.ViewlngtherelationbetweenKateandDensher,whatKate
doesissimilartothelaterversion,butviewlngherattitudetowardMilly,whatsheisremains
moreliketheearlierone･Yeazellarguesthat"insofarasthelovers'plotencourages【Milly'S]
desireforlife,ittoomaybecalledbeautiful,For･･･KateandDensherhaveatleastgrantedher
theillusionoflove‑haveallowedherto'live"(83),Thecrudeoutlinewasthusprofoundly
amplified･Inthenovel,thefiancgebecomesacharacterwithdepth･
InhisPrefacetotheNewYorkedition,writtenaboutsixyearsafterthepublicationofthe
firstedition,JamesrecognlZeSthatthenovelisacompoundoftwosubjects.Thepnmarysubject
islocatedinMillyTheale;thesecondarysubjectresidesintheinteractionandthecorrelation
betweenothercharacters,especiallyKateCroyandMertonDensher･TheyareHfarfroma
commoncouple":
whattheyhavemosttotellusisthat,allunconsciouslyandwiththebestfaithinthe
world,allbymereforceofthete‑Softheirsuperiorpassioncombinedwiththeir
superiordiplomacy,theyarelayingatrapforthegreatinnocencetocome.(AN303)
ThisisalmosttosuggestthattheytrapMilly,butdoitqulteunintentionallyandonlyasa
consequenceoftheirpursuitoftheirunfulfilledpassion･Thereishardlyanyindicationrecorded
inthePrefacethatJamesregardsKateasavillainoramanlPulator･Hisnearestapproachtosuch
aviewmaybeaconvolutedsentencethatrunsasfわllows:
Heavenforbid,wesaytoourselvesduringalmostthewholeVenetianclimax,heaven
forbidweshould"know"anythingmoreofourravagedsisterthanwhatKateCroy
pays,heroically,1tmustbeowned,atthehourofhervisitalonetoDensher'slodging,
forhersuperiorhandlingandherdireprofanationof.(AN301)
Ataglance,JamesseemstoassociateKatewithHhandlingMandHdireprofanationM･Butthis
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sentenceandthenexttoitareexceptionalintheirtakingastheirsubject'we',thatisthereaders,
insteadofⅠ',thatistheauthor,Jamesleaveshisownviewdeliberatelynoncommittal,andatthe
sametimeacquiescesinthereader'stendencytoregardKateasamanipulator3,Whythendo
readerstendtoassociateherwithdiabolism,andwithheroismtoo?
ⅠⅠI
Thequestionaboveprovokesanothermore乱lndamentalone,thatis:howcrediblyarewe
informedaboutKateCroy'sthoughtsandemotions?Asmanycommentatorshavepointedout,
MillyThealeisaconsplCuOuSlyabsentheroine4,Shedoesnotappearuntilthetl血doftheten
Booksinthenovel,anddisappearsasearlyastheninthIiook.Comparedtoher,Kateismuch
morevisible,Thetextbeginsandendswithher.SheisabsentfromtwoBooksonly:thethird
Book,whichintroducesMillyinthesettingOfSwissAlps,andtheninthBook,inwhichDensher
alonestaysinVenicewithMilly.Butherpresenceitselfdoesnotguaranteeasecureinsightinto
herinnerthoughtsandemotions.BecausethenarrativeofTheWingsoftheDovereliessomuch
onsuccessivecentresofconsciousness,or"reflectors",touseJames'sterm,wemaycomprehend
whatacharacterthinksorfeels,Onlywhenthenarratorchoosestousethatcharacterasfocalizor,
Orwhenthenarratorchoosestoconfidetoreadersauthoritatively.Thusourviewofthe
charactersislimited,ingeneral,tohowthereflectorunderstandsthem.Andthistypically
Jamesianprocedureismademorecomplexbythefactthatthefocalizationshi允sinthenovel
fromKateCroytoMillyTheale,andfinallytoMertonDensher,
Inordertofacilitatefurtherdiscussion,itmaybehelpfulheretotracetheoutlineofthe
story,payingattentiontotheshiftsinfocalization.InBookOneandpartofBookTwo,the
narrativeusesKateasfocalizor,introducingheranddescribingherdifficultfamilysituation,her
happyrelationshipwithDensher,andhersettlementinthemilieuofLancasterGate.Partof
BookTwousesDensherasafocalizor,onhisvisittoMrs,Lowder,BookThreeintroduces
MillyfromtheviewpointOfMrs,Stringham,whoadmiresherwarmlyandlikensherto"the
wanderingprincess"(I:171),BooksFourandFive,inwhichMillyentersLondonsocietyand
makesatremendoussuccess,aremainlyrelatedthroughMilly'S"singlethrobbing
consciousness"(AN300).ThenarrativethenswitchestoDensherasfocalizorinBookSix,
wherehereturnstoLondonandestablishesfriendlyrelationswithMilly,evenwhileheis
passionatelyattachedtoKate.BookSeventhensh肌stoMillyasfocalizoragain,thoughthereis
anexceptlOninchapterI,inwhichconversationbetweenMrs,LowderamdMrs,Stringhamtakes
place,BetweenchaptersIIandIll,thesettingShiftsfromLondontoVenice.Theatmosphereof
thePalazzoLeporelli,totallydifferentfromthatofLancasterGate,isrelatedfromMilly'spoint
ofview,ThefocalizationreinstatesDensherafterheappearsatVemice,anditremainswithhim
throughBooksEight,Nine,Tentotheend,eventhOughthesettingreturnstoLondonatthe
beginningOfBookTen,BookEightcoversDensher'sarrivalinVenicetoMilly'sclimactic
soiree,TheclandestinemeetingofDensherandKatetakesplacebehindthescenesbetween
BookEightandNine.BookNinebeginsafterthedepartureofKateanddealswithDensherleft
withMillyinVenice.LordMark'svisitandthesuddenchangeinMilly'sconditionHwhichare
keyeventsinthedevelopmentoftheplot,andseemexactlythekindofmaterialthatmighthave
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madeastrongdramaticscene‑arenotdepicted,butonlyintuitedbyDensherandlaterdescribed
tohimbyMrs,Stringham,ThefinalmeetlngOfDensherandMillytakesplaceagainbetween
BooksNineandTen.AtthebeginningOfBookTen,DensherhasreturnedtoLondonand
appearsatLancasterGate.Milly'sdeathoccursinthebackground,andthetextendswith
DensherandKateconfrontingeachotherwiththelegaldocumentcontainingMilly'slegacyln
between.
Thefirstinsightderivedfromtheaboveoverviewisthatthereisapreferenceinthe
narrativeforDensherasregardsfocalization,Notonlyishegiventhelargestandthelastpart,
butalSoheisgivenPnOntyOVeranyOthercharacterwheneverheisonstage'.Thenarrator's
employmentofa"figuralperspective"(i.e,where"themediatingnarratorisreplacedbya
renector:acharacterinthenovelwhothinks,feelsandperceives,butdoesnotspeaktothe
readerlikeanarrator"5)isfardeeperinDensher'scase,
ButthequestionoffocalizationanditsshiftsasusedbyJamesarenottheonlyimportant
featl】reSOfthenovel.Beforeexaminingfurthertheproblemofperspective,itisworth
consideringthetwodifferentnarrativemethods,whichJamesreferstoasdifferentkindsof
"treatment"andwhichhemakesfulluseofinthenovel,andtowhichheattachesgreat
importanceinthePreface,
ⅠV
JamesdistinguisheshisnarrativemethodemployedinTheWingsoftheDoveinto'pictorial
treatment'and'dramatictreatment',HisremarkinthePreface:"pictureH.lSjealousofdrama,
anddrama,Hsuspiciousofpicture"(AN298)clarifiesthepoint.Theybothbelongtothe
methodof'showing'.AccordingtoGeraldPrince,'Picture'isa"nonscenicrenderingofsome
character'sconsciousnessofasituation"(71),whiledrama'orscene'is…【t]hescenicrendering
ofsituationsandeventsand,moreparticularly,ofthecharacters'speechandbehaviour"(23)ln
otherwords,theformercorrespondstointernalfocalization'andthelattertoexternal
focalization'6.1fthe'pictorialtreatment'dominates,thenarrativeexclusivelydealswithwhat
theconsciousnessperceives.Ontheotherhand,if'dramatictreatment'dominates,bydefinition,
thenarrativekeepseachcharacteratthesamedistance,andneitherdifferentiatesnorexpresses
anycbaracter'sconsciousness.
ThroughoutthetextwewitnessmanyconversationsbetweenDensherandKate,mostof
whicharedramatized･TheytalkabolltMrs.Lowder,aboutMilly,andabouttheirfuture
prospects.Atfirstatleast,itisajoyforthemtotalktogetherfreely:
if也eycouldhavenootherstraightway,也erealmof血ollghtatleastwasopentothem.
TheyCouldthinkwhatevertheylikedaboutwhatevertheywould‑inotherwordsthey
couldsayit.Sayingitforeachother,foreachotheralone,onlyofcourseaddedtothe
taste.(I:65)
Aswellasthefrequentuseofthey'inthenarration,thedramatictreatment'isafoundationf♭r
theHpracticalbsionofconsciousness"(AN299)･HSaying"hereismadetransparentasthoughit
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wereequaltothinking･Theconsciousnessesofthecouplearenotseparatedbutoccupyasingle
"realmofthought",Lateron,however,theirrelationshippassesthroughdifferentphasesand
theirconversationbecomesmuchmorerestricted:
Pensher]hadonseveralrecentoccasionstakenwithKateanout‑of‑thewaywalkthat
waseachtimetode茄neitselfasmoreremarkable允)rwhattheydidn'tsaythanwhat
theydid‥‥m:391)
Silencecould,ofcourse,beindicativeofdeepcommumication･Theymaybebothconsciousof
thesamethoughtwhichtheychoosenottosay,oratleastconsciousofthefactthattheyhave
somethingtheychoosenottosay.ButheretheveryfactthattheyavoidsaylngltSuggeStSthe
separationoftheirHrealmofthought".Thattheybecomescrupulousandre允ainfromfreetalkis
animportantfeaturewhichindicatesthetransformationoftheirliaison.
YettheendingofthetextisadialoguebetweenDensherandKate,Dialogue,atbstsight,
Implieszerofocalization,andshouldneutralizethepointofview.Butthisisnotthecase･The
dramas'inThe耶ngsoftheDovedonotallowreaders'neutralresponsetothecharacters'point
ofview,Onthecontrary,theyfunctiontofavourDensher'sconsciousness.Thisisbecause,for
onething,the'draJnatictreatment'inthiscaseisnotcompletebuttendstoemployDensher's
perspective;foranotherthing,evenifthetreatmentisthoroughly'dramatic'forpartofthe
dramas',thereaderisnotnecessarilyprevented触)midentifyingwithDensher'spointofview･
Thefirstpointcanbeconfirmedbyspecifyingsomepassagesinterposedbetweenthe
verbalisedspeeches,Forexample,whenDenshermeetsKateatLancasterGateafewdaysafter
hisretumfromAmerica,thereisapassageof付紙indirectdiscoursealmostaparagraphlong
dmingtheirdialogue:
ltwasn'ttotormenthim‑thatagainhedidn'tbelieve;buthehadtocometothehouse
insomediscomfort,sothathehwnedalittleathercallingitthusaluxury.'Wasn't
thereanelementinitofcormngbackintobondage?.日,Hedidn'twantherdeeper
thanhimself.日;hewantedtokeepherwheretheircommumicationswouldbestraight
andeasyandtheirintercourseindependent.M(刀:19,emphasisandquotationmarks
added)
InsidetheaddedquotationmarksisDensher'sindirectdiscourse,WhenDensherisintroduced
byKatetoLordMarkafterthedinneratLancasterGate,thenarratorallowsthereadertosee
whatDensherthinksoftheotherman:
Hereco等miseditinamomentaslessimponderablethanitmighthaveappeared,as
havingindeedpositiveclaims,Itwasn't,thatis.heknew,the'Oh!'oftheidiot,
howevergreatthesuperficialresemblance:itwasthatoftheclever,theaccomplished
man‥.(刀:57,emphasisadded)
Theemphasisedtagsofthought‑phrasesindicatethattheyarenotthenarrator'sreportoffacts,
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butspringfromDensher'Smind.DuringthedialoguebetweenDensherandKateatthePiazza
SamMarco,thereisafurtherpassagefromhisperspective:
Itwasthefirsttimesincethelaunchingofherwonderfulideathathehadseenherata
loss.Hejudgedthenextinstantmoreoverthatshedidn'tlikeiトーeitherthebeingsoor
thebeingseen,forshesoonspokewithanimpatiencethatshowedheraswounded･,an
appearancethatproducedinhimself,henolessquicklvfelt,asharppangof
indulgence.(ⅠⅠ:197‑8,emphasisadded)
AnotherexampleisfromtheirdialogueatLancasterGateafterhisretumfromVenice,inwhich
thenarratorelaboratelyrepeatsmentalphrases:
Hisideahadbeeninadvancethatshewould‥‥ Hehadfairlyfanciedhereven
wantingto‥‥Hehadaskedhimselfifhewerepreparedtohearherdothat,andhad
hadtotakeforanswerthathewaspreparedofcourseforevery仙ing･uWasn'the
preparedforherascertainingifhertwoorthreeprophecieshadfoundtimetobemade
true?"Hehadfairlybelievedhimselfreadytosaywhetherorn0....Butwhatwasin
factblessedlycomlngtOhimwasthatsofarassuchthingswereconcernedhis
readinesswouldn'tbetaxed.(II:324,emphasisandquotationmarksadded)
ThustherealereCumnglntruSionsofpicture'fromDensher'Sperspectiveevenduringdramas'･
Anditshouldbeemphasised仙atthereisnopassagewhichgivesusKate'sperspective･
SeymourChatman'sdiscussionofthecharacters'polntOfviewandna汀ativevoiceis
helpfulhere,Chatmanarguesthat"【access]toacharacter'sconsciousnessisthestandardentree
tohispointofview,theusualandquickestmeansbywhichwecometoidenti&withhim,"and
thatweidentifywithacharacter"simplybecauseheistheonelandonlyone]continuallyonthe
scene"(Sto7715718)7.
TheplacementofDensherinthetextsatisfiesbothofthesequalificationsforwinnlngthe
reader'ssympathy,nomatterifthedialoguesarecompletely'dramatic'.Firstly,thedialoguesin
whichDensherpartlCIPateSarealwayseithersurroundedoratleastprecededbyfiguralnaJTation
focalizingDensher,exceptthatinBookTwo,ChapterI.Secondly,inBooksTwo,Six,andfrom
EightthroughTen,whereDensherispresent,Densheristhechamcterwhois"continuallyonthe
scene",Besides,figuralnamtionisextensivelyplacedintheintroductoryparts,namely,thef:1rSt
chaptersofBookSixandBookEight.Thosechapters(andthesecondandfourthofBookNine
aswell)arealmostwhollydedicatedtoDensher'sfreeindirectdiscourse･Inthisrespect,Book
Two,ChapterIisagainexceptional,buttheearlierpartofitssecondchapterisrelatedfrom
Densher'spolntOfview.Alltheseapplicationsofextensivefiguralnamtionmustfunctionto
transposethereader'sviewfromeitherKate'sorMilly'stoDensher'S,andfinallymakeittotally
absorbedhhis,
Inaddition,thecontentoftheverbalizedspeechesalsocontributestothereader'stendency
toidentifywithDensher.TheconversationsbetweenDensherandKatealmostalwaysfallintoa
pattemwhereheasksquestionsandsheanswersthem.Indeed,heasksaboutMilly,aboutMrs･
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Lowder,aboutLordMark,andevenabouthisownsituationsopersistentlythatshesometimes
cannothelpseemlnglmpatient･Whilehepursuesherwithendlessquestions,itisalwaysshe
whotriestoappreciatethesituation,considersandproducescertainexplanations,whichare
giveneXternallyindirectspeeches8･AsaresultKatefunctionsratherlikeaconfidantefor
Densherthanaprotagonist,(asMariaGostreydoesforStretherinTheAmbassadors)IThe
reader,whohaslimitedinformationonthesematters,isreadytoassumehispositionbutnot
hers,WeareinclinedtoseeevenherimpatiencefromhispointOfviewandassumehertobe
secretiveandscheming･Thustheaccumulationoftheprocedurespervadingthetextperformsto
adjustthereader'SviewgraduallybutinescapablytoDensher'S･
ThatKate'sperspectivevanishesatanearlystageofthetexthasbeenacknC.wledgedby
somecritics.J,A,Wardpointsout,"ThoughwegetveryclosetoKateinherconversationwith
Densher,herconsciousnessisclosedtousafterthefirstbook"(176),andLeoBersanistates,
"thelasttimeweareinsidehermindisafewpagesbeforesheinsiststhatDenshergotoseeMrs･
Lowder"("Narrator"639),Myanalysisaboveofthetextualarrangementofdialoguesand
figuralnarrationaffordsamorerigorousbasisforsucharguments･Afterthesecondchapterof
thesecondBookatthelatest,thenarratordoesnotchoosetotakeupKate'sconsciousness,
exceptoncertainrareoccasions9.
V
Itisodd,then,forJamestostateinthePrefacethatKate'sconsciousnessis"turnedon
largelyatVenice":
ItisinKate'sconsciousnessthatatthestageinquestionthe血amaisbrol唱httoahead,
andtheoccasion,onwhich,inthesplendidsaloollOfpoorMilly'shiredpalace,she
takesthemeasureofherfriend'sfestalevening,Squaresitselftothesamesynthetic
firmnessasthecompactconstructionalblockinsertedbythesceneatLancasterGate･
∽〃301)
Thisismisleadingbecauseitaccountsforonlyhalfofthesituation･
JamescomparesherethepartyattheVenetianpalacewiththepartyatLancasterGateby
whichMillyisintroducedtoMrs･Lowder'scircle.InJames'sterm,theLondonpartylSa
'pICture'usingMillyasafocalizor,where,hedeclaresthateverythinglSrecordedasdisclosed
through"Milly'ssinglethrobbingconsciousness"(AN300)IBycontrast,Jamesregardsthe
VenetianpartyassubmittingtOHanotherrulen,thatis,of'drama'･Butthe'drama'inquestionis,
aswehaveargued,relatedfromDensher'spointofview･Kateiscertainlyseeing,feeling,
thinkingand,Jamesmightsay,'everything';butwhatweareallowedtoseeisnottheoperation
ofherconsciousness,itisonlytheexpressionofit･MoreoverwhatshesaystoDensheris
decodedbyhisconsciousnessbeforebeingrecordedinthetext･
Wecanseethis,forexample,inthefbllowlngPassage:
"Pearlshavesuchamagicthattheysuiteveryone･"
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Theywoulduncommonlysuityou,"hefranklyreturned,
HOhyes,Iseemyself!"
Asshesawherself,suddenly,hesawher‑shewouldhavebeensplendid;andwithit
hefeltmorewhatshewasthinkingOf･Milly'sroyalornamenthad‑underpressure
nownotwhollyoccult‑takenonthecharacterofasymbolofdifferences,differences
ofwhichthevisionwasactuallvinKate'sface,(II:218‑9,emphasisadded)
Evenifthisisafineexampleof"thelucidinterplayof日.conspiringandconflictingagents"(AN
301),theargumentremainsthesame.Itisnothervisionthatweareshownbutitisonlyhis
visionofhervision,ormerelyhisassumptlOnOfit･HowevervibrantKate'sconsciousnessmay
be,itisscreenedfromthereader'seye･
HavingadmittedtheremarkinthePrefaceismisleading,itisilluminatinglnanothersense
thatJamesmakessuchacomparisonbetweenMillyandKate･JamessuggestsherethatKate's
consciousnessis,althoughundetailed,assensitivelyvibrantandvividlyexcitedbythevisionas
Milly'Sfullyfocalizedonein"thelongpassagethatforms日.theopeningofBookFourth"(AN
300).
ForJames,山eindividualvisionofeachcharacterisoneof仙emillion"WindowsMto仙e
"houseoffiction"･Ateach"Window"stands"afigurewithpairofeyesH,entertainlng"an
Impressiondistinctfromeveryother":
Heandhisneighboursarewatchingthesameshow,butoneseeingmoreWherethe
otherseesless,oneseelngblackwheretheotherseeswhite‥日Thespreadingheld,
thehumanscene,isthe"choiceofsubject";thepiercedaperture,eitherbroador
balcomiedorslit‑likeandlow‑browed,isthe"literaryform";buttheyare,singlyor
toge仏er,asnothingwithoutthepostedpresenceofthewatcher‑W仙out,inother
words,theconsciousnessoftheartist.(AN46)
ThecoexistenceofvaryingfiguralvisionsthusinspiredJamesIThe"optimalconditionfora
novelisticcreationHwasasimultaneouspresentationoftheHviewer'ssensibilityMand也e
"integrityoftheview"captivatingtheviewerlO,Theultimatewatcherwithinthetextisthe
narrator,andthenarratormayadoptanywindow,thatisanyfiguralperspective,arbitrarily,on
onecondition:thatthefigureis'%eonlysortofpersononwhomwecancountnottobetray,to
cheapenor,aswesay,giveaway,thevalueandbeautyofthething"(AN67).ForJames,then,
theperspectiveadoptedforhisartisbynomeanschosenbecauseitisthemostaccurateone.In
otherwords,theperspectivemaywellbeunreliable,solongasitachievesHvalueandbeautyM･
VI
Ontheonehand,inThemngsoftheDove,Densher'sperspectiveisgivenpriorityoverany
othercbaracter'sinthenovel･Ontheotherhand,however,Wemaynowunderstandwhy
accuracylSnotnecessarilythereasonwhyitischosen.Itisrelevantthereforetoaskwhatthe
relationshipbetweenDensher'sviewandtheauthorialnarrationis.
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Bersanioffersusaninsighttostartoffwith･InhisoplnlOn,althoughJameswascommitted
inhislaternovelsto"thenarrativetechniqueofpresentinghisstoriesthroughcentersof
consciousness",thenarratorisnot"effacedbehindthefictionalrenectors".Instead:
thecentersofconsciousnesstendrathertobemergedwiththenarrator,tobe
assimilatedintohispolntOfviewonthestory.ThepsychologiCalcenterofthedrama
inJames'slatenovelsisinthenarrator'smind.("NarratorasCenter"635)
SinceBersaniregardsDensherasthecentraldramaticcharacterandthenovelasDensher's
moraldrama,hisargumentaboutthecentersisvirtuallycenteredonDensher'sconsciousnessH･
Theargumentisbasedontheobservationthatthedistinctionisvaguebetweenuthecenters'
expressionoftheirownthoughts"and"thenarrator'spresentationofthem,orindeedevenhis
comments"(635).
Narrativetheoristshave,however,informedusoftheimportanceofthedistinctionbetween
theauthorandthenarrator,andbetweenthenarrativevoiceandthecharacters'perspective]2.In
statingthatHtheboundariesbetweenDensher'sconsciousnessandJames'Shaveinmanyareas
beenobliterated･,thetwoarefusedintoasingleawareness"(636),Bersami'sargumentseemsto
confusethisbasicdivision,Theauthorialnarratorisafterall,outsidethenarrative,
authoritativelynarratingit･Densheriswithinitandalwaysaproductoftheauthorialnarrator's
invention.Densherandthisnarratoraresituatedatdifferentnarrativelevelsl3,Itisnotthatthe
narratorbecomesthecenter,butthatthenarratormakesthecharacterthecenter.Ifthe
consciousnessofthenarratorandthatofthecharacterseemtomergeintoone,itisbecausethe
voiceisthenarrator'S,whiletheperspectiveisthecharacter'sandthefocalizationisthus
intensifiedandextended.Inotherwords,suchmerglnglSaCharacteristiccaseof'narrated
monologue'asdefinedbyDomitCohn.
Thenarrativemethodofpresentingfiguralmindsinathird‑personcontextisclassifiedby
Cohnintothreetypes:psycho‑narration',quotedmonologue',andnarratedmonologue'14･
Narrativemaysmoothlyshiftamongthethree,andoscillatebetweenthemandnarration･
Narratedmonologue'isthenearesttonarrationinitslinguisticfeatures･ItisHthetechmiquef♭r
renderingacharacter'sthoughtinhisownidiomwhilemaintainingthethird‑personreference
andthebasictenseofnarration"(100).Theborderbetweennarratedmonologueandnarration
canbesoblurredthatitreduces"tothegreatestpossibledegreethehiatusbetweenthenarrator
andthefigureexistinginal1third‑personnarration"(112).Suchatechmiqueenablesathird‑
personfictiontoenterHthedomairLPreviouslyreservedforfirst‑person‑fiction",andtoHfocus
onthementalandemotional1ifeofitscharacters"(113).
Jamesis,asCohnidentifies,oneofthenovelistswhomostextensivelyutilizesthis
technique,whichenableshimtoinstitute"thenormsofthedramaticnovel,objectivenarration,
andunobtrusivenarrators''(115).Accordingly,narratedmonologueinathird‑personcontext
functionsasaneffectivesubstituteforfirst‑personnarration(presumablywithoutits"fluidity")･
Inotherwords,theauthorialnarratormayforegroundacharacterthroughthenarrated
monologuetosuchanextentthatthecharacterbecomesalmostlikeanarrator(andhasbeen
confusedbysomecriticswiththenarrator).Onceappliedtothisnovel,thisobservationsuggests
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thatDensherbecomesatcertainpointsaProxyforthefirst‑personnarrator,asaresultofthe
large‑scaleemploymentofhisnarratedmonologue･
Jamesisfamouslythecreatoroffirst‑personnarratorswhosereliabilityisdisputably
susplCIOuS･IfweacceptuncriticallywhatasusplCIOuSna汀atOトCharacterpresentstous,Wemiss
whateachtextconveysasawbole･AnaloglCally,thecharacter'sview,whichbecomesmore
obtrusivethantheauthenticna汀atOr'sinathird‑personna汀ative,isnottobetakenforgranted,
becauseinsuchnovelstheforegroundedcentreofconsciousnessisgrantedthepowertopresent
itsmentalprocessattheexpenseoftheothercharacters'polntOfview･WhattheJamesianhero
ofTheWllngsoftheDove,Densher,conceivesiscertainlynottheoneandonlyinterpretationof
thefictionalsituationinthenovel,andalsonotnecessarilythemostcorrectversionofit･
Inthefirst‑personcontext,thepossibilityofanotherinterpretationapartfromthenarrator‑
character'siseithertobefoundintheothercharacters'disapprovlngCOmmentSOrtOberevealed
intheinconsistencyorirrationalityoftheviewitself･Aswellassuchmanoeuvres,inthethird‑
personcontext,anarratorexists,howevercovertly,whomaytreatthecharacter'sviewironically.
Innarratedmonologue,thenarratorusuallyrefrainsfrommakingdistinctcomments,butthe
languagetendstobearHthestampofcharacteristicallimitationsanddistortions"(Co也n102)of
thefocalizor.Furthermore,becausethevoiceisthenarrator'S:
Tbenarratedmonologuesthemselvestendtocommitthenarratortoattitudesof
sympathyorirony･Preciselybecausetheycastthelanguageofasubjectivemindinto
thegrammarofobjectivenarration,theyamplifyemotionalnotes,butalsothrowinto
ironicreliefallfalsenotesstruckbyafiguralmind.(Cohn117)
Thustheexistenceoftheironyonthepartofthenarratorisanimportantcluetosuggestthe
unreliabilityofthecharacter'sview.
InTheWl'ngsoftheDove,boththenarratorandtheothercharactersfunctiontopreserve
Densher'sviewunattacked.Butironicallyenough,Densher'sreflectionsarefullofself‑
JuStificationandself‑exaltation15･Evenliersani,whobasicallyclaimsDensher'sHsplrltual
victoryH(=Narrator"645),doesnotfailtopointoutthat"James'sorganizationofDensher's
thoughtandemphasisofcertainaspectsofitsuggestanironiccomment"(642‑3).Indeed,
projectionasadefencemechanismisundeniablythereinhisnarratedmonologue･Forexample,
whenherealisesthatLordMarkhastoldhissecrettoMilly,lnSPlteOfherstrickencondition,he
feels"exhilaration"(II:264),thinkingheisabsolvedofallresponsibility:
ItwashelLordMark],thebrute,whohadstumbledintojustthewronginspirationand
whohadthereforeproduced,fortheverypersonhehadwishedtohurt,animpunlty
thatwascomparativeinnocence,thatwasalmostlikepurification.(II:265)
ItsuitshimtocastanimputationonLordMark･JulieOlin‑AmmentorppolntSOutthat
Densher'sviewofLordMarkiscolouredbyhisriValryandfrustration(47‑48).Eventhough
DensherthinksLordMark"abrute"and"anidiotofidiots",Wemustbecarefulnottotakehis
viewforgranted.
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ThesamemaybesaidofKate,InDensher'snarratedmonologue,intheearlypartofhis
stayinVenice,heexplodesintohostilitytowardfemalemanipulation,whichhelatercalls"a
circleofpetticoats"(Il:209),HeaccusesKatemostofal1fわrhisfrustration:
ItwasKatewhohadsoperchedhim,andtherecameupforhimatmoments.,.a
sensiblesharpnessofironyastohermanagementofhim･･･IThereglowedforhimin
factakindofrageatwhathewasn'thaving;anexasperation,aresentment,begotten
trulybytheveryImpatienceofdesire,inrespecHohispostponedandrelegated,hisso
extremelymanipulatedstate,(II:17516,emphasisadded)
ThusinDensher'svision,theimageofKateisestablishedasamanlPulator･Whethershe
deservestheaccusationornotisadifferentmatter,ltistobenoted,however,thatDensheris
meanwhileattackingthemostvulnerableandtheleastpotentofthewomeninthenovel,
includingMilly,"anangelwithathumpingbankaccount"(II:51)16,
AttheVeroneseparty,DensherbrutallyarticulatesthetaskthatKatewisheshimtotake
on‑andacceptsit,inretumforKate'ssexualfavours,Heestablisheshismasculinecontrolover
herbymakingherpayforwhathethinksofashermanagementofhim･Thatiswhy,whenhe
forcesherfinallytoobey,hefeelsasensationof"vulgartriumphs"inhis"playlngwithher
pride";"thevividnesswithwhichhesawhimselfmasterintheconflict"(II:231)I01in‑
Ammentorparguesthat"DensherchoosestopushhisrelationshipwithKateintoaneconomic
model,.,.hemakes'thesharpestpossiblebargain'inforcinghertouseheronlycommodity,
herbody,toobtainwhatshewants"(45).Byintroducingsuchabusinesslikedeal,bedegradesa
relationshipthatusedtobeforKatea"savingromance"inherhardlife(I:72),
Atthefinale,DensherforcesKatetochoose:eithertotakethemoneyandthustolosehim,
ortoallowhimtogiveuPthemoneyandmarryher.AsSallieSearsstates,Densher'sfinal
attitudetowardKateisoneof"sanctimomiousviciousness..,coupledwiththecomparatively
gentle,forgivingattitudehehastowardhimself"(95).Densherseemstodifferentiatehimself
fromKateherebyhisostentatiousnoncomitment.ltsuitshimtoexoneratehimselfbylaying
alltheresponsibilityonKate.Hisincriminationofhershouldbeexplainedasaprocessof
projection,whichderivesfromhisownfeelingofguilttowardMilly･
ⅤⅠI
ThetextofT71eWingsoflheDoveinvitesthereadertoassumeDensher'sview･Densher's
perspectiveisforegroundedtosuchanextentthateventhenarrator'sperspectiveis
overshadowed,especiallyinthelaterpartofthenovel,Theimagesoftheothercharactersare
influencedbyDensher'sconsciousness,whichmaynotbeidenticaltotheauthorialnarrator'S･
Themoralambiguities,aswehaveseen,allowustoassumethatthenarratordoesnotentirely
approveofDensher'sview,lfoneidentifieswithhimuncritically,onealsoacceptsunawaresthe
distortioninterwovenintohisvision.Densher'sprofessedpmificationandspiritualgrowthis
suspICIOuSbecauseitisavisiononlyfromhisperspectivewithoutanysupportbytheauthorial
narrator,EventhoughDensherregardsKateasamanipulator,thatisonlyhisurueliableand
ReadJ'ng27(2006)
94
p画udicedconviction
Provocatively,Jamesremarkedhisdissatisfactionwiththenovelagainandagalninthe
Preface,mentionlngCOmpOSitionalfaultsandstructuralfailures･HedeploresthatHone'splan,
alas,isonethingandone'sresultanother"(A〃296).Hemournsover"theabsentvalues,
palpablevoid,andmockingshadows''(AN297),HeevenadmitsthatitslatterhalfisHfalseand
defomed"(A〃302).Mostconspicuousofall,hesays:HThereisajobquitetothemeasureof
mostofourmonitors‑andwiththeinterestforthemwellenhancedbythepreliminarycunnlng
questforthespotwheredeformityhasbegun"(AN302‑3).Withsuchintriguingself‑Criticism,
heclaimsourattentionfortheotherfaceoftheHmedalH:whatissuppressedbehindDensher's
fallaciousperspective.Wemayinferthatthedeformitybeginswiththeforegroundingofthe
unreliablefiguralnarration,andthatthelatterhalfis"falseanddeformed"preciselybecauseitis
overshadowedbyDensher'sdelusiveperspective.Jameshasaimedatasimultaneous
presentationofhemeneuticmultiplicity,andmoumsbecauseitisnotrealisedduetothetoo
obtrusivefiguralna汀ation.
InthePreface,WemayperceivethatJamesregrettedhisreaders'tendencytobehostileto
Kate,SomelightmayalSobeshedontheproblembyalaterfictionaltreatmentthatrepeatsthe
Kate‑Densherproblemwithnewvariations,In1909110,Jamespublishedanovellaentitled"The
BenchofDesolation".ItisthestoryofHerbertDoddandhisex‑fiancie,KateCookham,related
fromDodd'sperspective.TheparallelswithTheWingsoftheDovearestriking:eventhenames
oftheprotagonistsaresuggestive.DoddhascometoloatheKatebecause(hebelieves)sheis
vulgarandmanipulative.Hebreakshisengagementwithher,foranotherwoman,agreeingtO
payKateaconsiderableamountofmoneyforhisbreachofpromise.Hepreferstheother
womanbecause(hebelieves)sheisbeautifulandtender‑souled,buttheirmamiagetumsouta
failure.Theyarebadlyoff.Hecomestothinksheisdowdyandgrudging,Theirmarriedlife
endsinherearlydeath.Thenonedayheencountersa"real"lady:Kateaftertenyearsof
absence.Hefindsher"handsome,grave,authoritative,butrefined"(269).Shemakeshim
understandthatitisnotonlyhewhohassufferedal1theseyears.Shehassavedupalarge
amountofmoney(nearlyfivetimesmorethantheamounthepaidher),withtheintentionof
renderinglttOhim.Sheletshimchoosewhetherornottotakethemoney.Hetakesit,without
offeringanythinglnreturn,Heisnotreadytoadmitfinallythatheneedsher,butsheoffersto
takecareofhim,Inshort,HerbertDoddisanotherexampleofanunreliableandprejudiced
focalizor.Katehasalwaysbeenconstantandconsiderate,whileHerberthasbeenunstableand
selfish.Itishewhohasnotappreciatedhertruenature.Perhapswecanseethenovellaasan
epilogueto,orareflectivevariationon,KateCroyandMertonDensher.ItisasthoughJames
herehastriedtorectifythepartialinterpretationthatarisesinTheWingsoftheDove.
Inthelongernovel,Densher'svisionisnottheauthenticpresentationofthefictional
situation.Rather,itisafabulousfa冒ade.Thelatterhalfofthenovelis"falseanddeformed"
becauseitforegroundssoentirelyhisdistortedvision.JustaswiththesolipsISticnarrator‑
characterofTheSacredFount,Densher'sconvictionwouldnotsuⅣiveifchallengedbyother
interpretations.ThesimultaneouscoexistenceofmultipleconsciousnessesfascinatedJames,and
inordertoinscribeitinthistext,themanipulationoffocalizationhasbeenofgreatsignificance,
Thisnovelexists,then,asasynthesisofJames'sinitialtwoconceptlOnSWhich,aswehaveseen,
95
ReadL'ng27(2(氾6)
wereapparentlyincompatible,Onthesurfaceisskateasanevilwoman'‑theversioninthe
figuralperspectiveofDensher･Indepthwemaystillfindtheversionof'Kateasapathetic
womall',unreCOgnizedorullaCCeptedbyDensher'sself‑centeredconsciousness.Kateba島
remainedmisunderstoodbehindhisfiguralperspective･She,wemightsay,haswaitedpatiently
forredemptionattainableonlythroughthe"attentionofperusal"(AN304)ontheobservant
reader'spart.
Notes
.QuentinAnderson,DorotheaKrook,LaurenceB.Holland,andWilliamStoweareofthemany
whoseesMillyasthecentral血emeof血enovel.
2 SeeDanielMarkFogelandLeoBersani.
3 RuthBemardYeazellreferstothetendencyandarguesthatcriticshave"adangeroustendencyto
fillin"thegapsinthetext…inourknowledge,andthentotalknotabolltJames'snovel,butabouttheir
own"(138).
4 Mi11y'sabsencehasbeeninspiringcritics,forexample,NicolaBradbury(Nothing),SheilaTeal1an,
andPriscillaWalton.
5 SeeF.K.Stanzel(5).
6Focalization'isatermintroducedbyGerardGenettetodescribewhatistraditionallycalled
pointofview':theperspectiveinrelationto血epresentationof也ena汀atedsituationsandevents.He
classifiesthreetypesoffocalizations:zerofocalization,internalfocalization,andexternalfocalization.
Theycorrespondrespectivelyto(classical)narrativewith'omniscientnarrator',narrativewith'pointof
view',andobjectivenarrative,
7 MiekeBalalsoarguesthatfocalizationproducesamanipulativeeffectonthepowerstructure
betweenthecharacters(109110).Stanzelnotifiesthatthisphenomenaofidentificationwouldhavetc･be
clarifiedby"psychologicalinvestigationofreaders'reactions"tothetechmiquesofpresenting
consciollSneSS(127‑28).
8 WemustrememberherethatbothDensherandKatearewitnessingpractiCallythesamethingat
thesametime,andyetitishewhodemandsandshewhosuppliesclarification,Sheobserves,recognizes,
andinfersonherown･Hedoesnot.Inthiscase,theaccuracyofherintelPretationimpliesthatsheis
muchmoreendowedwithperceptlOnandintelligencethanheis.
9 Asubtleintrusionofthenarrator'sviewofKateisfoundinapassage:Thegirlspokeindeed
withanoblecompassion"(II:52).Herethenomination,"Thegirl",istheindication.Forfurther
explication,seeStanzel(189‑90).
10TheargumenthereisindebtedtoDorothyHale,especially84‑88.
)ILeoBersaniasserts"Al1thepnncipalcenters‑firstKate,thenMillyandfinallyDensher‑seem
tobereenactingthemoralchoiceofthemindfromwhosepointOfviewthestorylSreallybeingenacted･
It'Sasifwehadthreeimagesoftheselfconfrontedwiththealternativesoftheworldofthelionessandthe
worldofthedove.AndwhenKatehaschosentheformerandMillythelatter,theyal1egoriCallybecome
theirchoiceforthejinalandmostcrucialspiritLlalpeQonnance,whichisofcourseDensher'sJ'(Future
142;myemphasis).
I2SeeChatman'sdiscussiononthe"nonnarratedstories"inStoryandDiscourse,146‑58.
)3SeeGenetteonnarrativelevels.Heexplainsthat"anyeventanarrativerecountsisatadiegetic
levelimmediatelyhigherthanthelevelatwhichthenarratingactproducingthisnarrativeisplaced"(228
Originallyitalicized).Hecallstheleveloftheauthorialnarration'extradiegetic'andthatofthenarrated
eventsintradiegetic'.
14SimpleformulationforthethreetypesglVenbyCohnisasfollows:"1.psycho‑narration:the
ReadL'ng27(2006)
96
narrator'sdiscourseaboutacharacter'sconsciousness;2.quotedmonologue:acbaracter'smental
discourse;3.narratedmonologue:acharacter'smentaldiscourseintheguiseOfthenarrator'sdiscourse"
(14)
■5Dro山eaKrookarguesthatDensherbelongstoalineofJamesianheroesoftheusacredte汀Or",
whoarecharacterisedbythecombinationofpersonalchmandmoralindecisiveness(223‑225).
'bMichaelMoonarguesthatMrs.LowderandMillyhavephallic'powerbutKatelacksit.
Bib)iography
WORKSBYHENRYJAMES
AN‑TheA7･tOftheNovel:CriticalPrefaces,Ed.RichardP,Blackmur,1934.NewYork:Charles
Scribner'sSons,1950.
日TheBenchofDesolation."1909‑10.TheJollyCornerandOtherTales.Ed.RogerGard.
Harmondsworth:Penguin,1990.249195.
CN‑TheCompleteNotebooksofHenfyJames.Ed,LeonEdelandLyallH,Powers.Oxford:OxfordUP,
1987.
TheWingsoftheDove.1909.NewYork:CharlesScribner'sSons,1937,
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