The immediate sources of the exceptional mastery of James are the two moments of his creativity, ultimately inextricably linked to each other. One of them is James's ability to be more versatile, although not necessarily more vividly than other writers, to show us his characters; the other is the sophistication and sophistication of the author's position. Without this second feature, it goes without saying, the first would be impossible. You cannot completely control the reader's perception, if you do not have perfect knowledge of your material.
From the point of view of critical analysis, the characters in the novel "The Woman's Portrait" can be divided into two categories: those we know from the direct and subtle description of the author, and those whose character is revealed in action. The main characters, obviously, belong to the second category. Characters that make up the first category - Ms. Tachet, Henrietta Stekpol, Countess Gemini, and Pensi Osmond - are interesting mainly in terms of their relationship with the main characters and the role they play in the overall design. Their existence interests us only within the limits of the official function assigned to them. But for all that, these characters are not disembodied shadows. No, they arise from the pages of the novel not as "types", not as personified traits of character, but as living, "full" people (the exception is, perhaps, only Pansy - however, the intentions of the author, apparently, To depict it as a being that is faceless, independent), and if we follow their destinies only insofar as they appear in the plot, then this happens solely because we are more interested in other things.
The way in which Henry James introduces us to his characters, entirely depends on the role that they are called upon to play in the narrative. The main actors are never described as they really are, as a rule; we see them first through the eyes of Isabella Archer. At first we know them only from the impression that they make on it. Little by little, we begin to better understand what they are: just like we are better acquainted with people in life as we get to know them closer. And just as in life we rarely are completely sure of what really is another person, so in the novel of Henry James, we often throughout almost the whole book do not know what to think about this or that character. For example, in the "Women's Portrait" such an actor, whom we initially know less about than others, is Madame Merle.
The immediate sources of the exceptional mastery of James are the two moments of his creativity, ultimately inextricably linked to each other. One of them is James's ability to be more versatile, although not necessarily more vividly than other writers, to show us his characters; the other is the sophistication and sophistication of the author's position.