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The picture of the protagonist that Theodore Dreiser's novel, Sister Carrie, portrays is only a half-truth. By analyzing Sister Carrie's personality, she's easily deemed as passive, weak, and filled with shallow desires and in this profoundly inert character lies the seed to the larger expression of an artistic soul. However, this realization is only drawn out by Ames's archetypically scholarly eyes (that the intelligent but withdrawn engineer); bringing forth the strong and romantic beauty that Carrie owns, which with no photograph, the reader would forever stay blind to. Nevertheless, as Ames brings out the riches of Carrie's humankind, he delineates still another ideal, the ideal of the artist, that is located far away from the relaxation that Carrie covets, and consequently forever constrains her happiness to the peaks of her insecurities--something that she's never surpassed. Accordingly, as Carrie advances towards decadence she falls deeper to alienation and isolation, and through Ames, towards greater passivity. The publication firmly and in detail gifts Carrie's associations with her two lovers, Drouet and Hurstwood, citing her interactions with them as basis for her character. Therefore, the idea develops that she's a weak and lively woman, guided only by a desire to attain an affluent life, in which "self interest" is "her guiding characteristic" (p2). In other words, a personality that borders on the pathetic. What small individuality and uniqueness she exhibits as a young lady in search of work in the vast, ruthless city, quickly succumbs to the stylish wealth and enthusiasm of those 2 guys. This takes no attempt on the part of Drouet, where together with his fine speech and clothes, instantly impresses on "her a dim world.