Abstract
A study such as Wolfgang Clemen's The Development of Shakespeare's Imagery (Cambridge: Harvard Univ. Press, 1951) indicates that something other than the content of a metaphor, or even its simple recurrence, will prove important for the investigator of images. The skill of the artist may better be revealed in the functioning of his images or the great variety of uses which they are made to serve in different contexts. This suggestion has especial validity when applied to such a craftsman as Henry James. The changing conditions under which he applies certain figures in part explain why James's later fiction becomes more dramatic, at the same time that it remains realistic and more exclusively concerns itself with subjective events.
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