Moral Geography in What Maisie Knew

Abstract

The difficulties for the reader of What Maisie Knew are inherent in the remarkably complex technical problem James set himself, that of rendering the intellectual and moral evolution of a child. Because Maisie is represented as passing from very early childhood to the verge of adolescence, she does not have the more nearly fixed perspective of an adult protagonist. Only at the end is she old enough to be confronted with a major decision without the sacrifice of verisimilitude. Confronting her with such a trial, however, was the means by which James could achieve depth as well as ironic effect. Hence he begins with a heroine whose perceptions are oriented to the material world and ends with one who is more concerned with abstractions. Because Maisie is still very young at the end, there is also a discrepancy between the conclusion of the plot and the symbolic conclusion. She can now think independently, but, on the morning that she tries it, Mrs Wix helps with the back hooks. In other words, Maisie's independence of spirit cannot be corroborated by an independent action on her part, such as Isabel's returning to Gilbert Osmond or Milly Theale's leaving her fortune to Densher. Instead, Maisie goes off to England with Mrs Wix, to the consternation of most readers. And because Maisie remains a child, limited in knowledge and in the terms with which to frame concepts, the maturing of her conviction depends to an uncommon degree on schematic symbolization. Normally James can rely more heavily on conversation to bring out point of view and on more subtle imagery than is at Maisie's command. Maisie's rapidly changing perspective, the final discrepancy between action and symbolism, and the perhaps excessive dependence on symbolism in the Boulogne scenes all make particular demands upon the reader.