The Jolly Corner (Style)

Style

Point of View and Narration

In “The Jolly Corner,” the narrator is nearly omniscient, relating exactly what Spencer sees, thinks, and feels. However, this perspective is a limited one. For example, Alice’s opinions are presented by Spencer; all impressions of her character — as well as others — are presented through him.

Also, at a few points in the story the narrator addresses the reader directly, implying perhaps a collaboration between the reader and narrator. Another narrative technique utilized by James is the slightly different narrative tone used for the different sections of the story. In the second section, Spencer wanders the house alone and the narrative voice nearly becomes his point of view. In the first and third sections, the narrator is more objective in explaining not only Spencer’s impressions but other characters’ actions and opinions.

Setting

The story takes place around the year 1908, shortly after James visited New York City after having lived for many years in Europe. The house “on the jolly corner” is in Manhattan on Fifth Avenue near Washington Square. On a personal level, Spencer is yearning to comprehend both the passing of his family and friends and the emergence of a new type of urban social environment. Therefore, the incredible growth of heavy industry and architectural innovation — such as the proliferation of skyscrapers — represent progress, ambition, and power: things that he left behind when he moved to Europe.

Symbol and Images

Spencer’s childhood home is the most fully developed image in the story. As a symbol, the house operates on many different levels. While walking in the rooms of the house Spencer recalls the time when the building was his home. The house also symbolizes his economic circumstances; his choice to protect the building as a sacred space is enabled by his wealth, partially generated from the rents he collects on the other property. Spencer’s personal quest to revisit the past are connected to the business operations he has attempted to avoid.

In Henry James’ other writings, he utilizes architectural metaphors — including “the house,” and “the window” — metaphorically, symbolizing the structure that organizes and communicates meaning in fiction. In the preface to his novel The Portrait of a Lady (1881), James describes the ideal “house of fiction” as having millions of windows, each representing distinct perspectives on the world.

Structure

The story is divided in three parts, each with a different narrative tone. The first introduces us to Spencer and Alice, explaining Spencer’s return to New York. The second section chronicles Spencer’s attempt to track down his alter ego and is characterized by dense narrative description. In the third section Alice revives Spencer and pledges her love to him.