Wings of the Dove

From Bruce R. L. Smith's Introduction toThe Wings of the Dove There are inWingsfew of the "big scenes" that one finds in many nineteenth-century novels. James's method of indirection means that we as readers, as well as the characters, learn of critical developments as they are refracted through another character's consciousness, or in what somebody says offhandedly, or by means of a poetic image or symbol that brings a sudden burst of understanding. In James's late fiction, meanings are conveyed, as John Auchard has shown, through the "silences." Effects are communicated via a glance; a mood is captured in a momentary intrusion of a shaft of light. The emotional aftereffects of a chance encounter linger and the characters ponder the meaning of gestures fraught with wider significance. As in life, great moral issues seem to dissolve into myriad small choices, and the continuous flow of little encounters sweeps the characters along toward ends that they cannot foresee. Yet inWingscircumstances do not control events to the exclusion of human will. The Jamesian world is not like the naturalist order of a Zola or Dreiser novel, where the individual is subject to the iron determinism of circumstance. Individual moral choices do matter. Important corners are turned inWings, and decisions are made at every turn that carry a string of consequences. For Kate, deciding to live with her aunt brings her under the sway of her aunt's values. In choosing money, and in postponing marriage to Densher, she turns her life onto the path of the London "scene." This scene is marked by crassness and grasping ambition. Densher's decision that he will be kind to Milly as the gentlemanly thing to do is a pious rationalization. Once he takes the first steps, he is implicated deeply in Kate's venture. He places himself on a slippery moral slope. Once in the action, he cannot get out. Milly encounters critical turning points, too, and in those moments she makes decisions that will shape her life. How long she can fight off her fate is in some measure a reflection of her own will and of whether she is fully engaged in life. She chooses to ignore Kate's warning to "drop us while you can." The scene in which Milly stands with Lord Mark in front of the Bronzino portrait that resembles her sticks in our minds as a decisive moment. She has the first symptoms of her illness on that occasion, and perhaps she surrenders to her fate and loses some of her will to live. Milly thereupon makes a series of important decisions. She decides to consult with Sir Luke Strett. She invites Kate to accompany her on the first visit to the doctor but not on the second visit, and she does not confide in Kate what the doctor tells her. Milly's pride thus assures that she will face her fate essentially alone. Why does Jamesone of the most secular of authors, whose only religious inclination seems to have been a nodding interest in his brother William's ideas about consciousness and the afterlifechoose the religious symbol of the dove for his heroine? At one level the answer seems obvious enough. Kate calls Milly a "dove" early in the novel when the two of them are alone in a drawing room, and just after Milly has had the thought that Kate is "like a panther" pacing before her. Milly's dove-like qualities and Kate's fierceness are nicely juxtaposed here for the reader. The dove image next appears in book seven at Milly's grand party in Venice. Kate and Densher are watching Milly from across the room as Kate lays out her instructions to him concerning how he should maneuver to be assured of getting Milly's money. Milly is dressJames, Henry is the author of 'Wings of the Dove ', published 2005 under ISBN 9781593082963 and ISBN 1593082967.