Appearance
Excerpt
Excerpt from The Princess Aline, by Richard Harding Davis
H. R. H. the Princess Aline of Hohenwald came into the life of Morton
Carlton--or "Morney" Carlton, as men called him--of New York city, when
that young gentleman's affairs and affections were best suited to
receive her. Had she made her appearance three years sooner or three
years later, it is quite probable that she would have passed on out of
his life with no more recognition from him than would have been
expressed in a look of admiring curiosity.
But coming when she did, when his time and heart were both unoccupied,
she had an influence upon young Mr. Carlton which led him into doing
several wise and many foolish things, and which remained with him
always. Carlton had reached a point in his life, and very early in his
life, when he could afford to sit at ease and look back with modest
satisfaction to what he had forced himself to do, and forward with
pleasurable anticipations to whatsoever he might choose to do in the
future. The world had appreciated what he had done, and had put much
to his credit, and he was prepared to draw upon this grandly.
At the age of twenty he had found himself his own master, with
excellent family connections, but with no family, his only relative
being a bachelor uncle, who looked at life from the point of view of
the Union Club's windows, and who objected to his nephew's leaving
Harvard to take up the study of art in Paris. In that city (where at
Julian's he was nicknamed the junior Carlton, for the obvious reason
that he was the older of the two Carltons in the class, and because he
was well dressed) he had shown himself a harder worker than others who
were less careful of their appearance and of their manners. His work,
of which he did not talk, and his ambitions, of which he also did not
talk, bore fruit early, and at twenty-six he had become a
portrait-painter of international reputation. Then the French
government purchased one of his paintings at an absurdly small figure,
and placed it in the Luxembourg, from whence it would in time depart to
be buried in the hall of some provincial city; and American
millionaires, and English Lord Mayors, members of Parliament, and
members of the Institute, masters of hounds in pink coats, and
ambassadors in gold lace, and beautiful women of all nationalities and
conditions sat before his easel. And so when he returned to New York
he was welcomed with an enthusiasm which showed that his countrymen had
feared that the artistic atmosphere of the Old World had stolen him
from them forever. He was particularly silent, even at this date,
about his work, and listened to what others had to say of it with much
awe, not unmixed with some amusement, that it should be he who was
capable of producing anything worthy of such praise. We have been told
what the mother duck felt when her ugly duckling turned into a swan,
but we have never considered how much the ugly duckling must have
marvelled also.
Explanation
Detailed Explanation of the Excerpt from The Princess Aline by Richard Harding Davis
Context of the Source
Richard Harding Davis (1864–1916) was an American journalist and author known for his witty, observational style and his focus on high society, adventure, and romance. The Princess Aline (1895) is a novella that blends romance, social satire, and the fin-de-siècle fascination with European aristocracy. The story follows Morton "Morney" Carlton, a successful young American artist, and his encounter with the enigmatic Princess Aline of Hohenwald, a fictional European royal.
The excerpt introduces Carlton at a pivotal moment in his life—financially secure, artistically accomplished, and emotionally available—just as the princess enters his world. The passage sets the stage for a tale of love, social climbing, and the clash between American ambition and European aristocracy, themes common in Davis’s work and in late 19th-century literature (e.g., Henry James, Edith Wharton).
Themes in the Excerpt
Fate and Timing
- The opening lines emphasize the serendipity of timing in human relationships. Aline’s arrival at this precise moment—when Carlton is both emotionally and professionally unoccupied—is framed as decisive. Had she come earlier or later, she might have been just another passing fascination.
- This reflects a deterministic view of romance, suggesting that love is not just about attraction but about opportunity and readiness.
Self-Made Success and American Ambition
- Carlton is the archetypal self-made American man: orphaned (or effectively so), defiant of traditional expectations (leaving Harvard for art), and achieving fame through talent and hard work.
- His success is meritocratic—he earns recognition from both European institutions (the French government, the Luxembourg) and American high society. This mirrors the Gilded Age ideal of upward mobility, where talent and charm could transcend birth.
- The mention of his silence about his achievements (listening to praise with "awe" and "amusement") suggests a modesty that contrasts with the ostentation of the era, or perhaps a self-awareness of his own luck.
Art, Reputation, and Social Currency
- Carlton’s artistic success is both genuine and performative. He is a "harder worker" than his bohemian peers but also well-dressed and mannered, blending talent with social polish.
- The purchase of his painting by the French government is a double-edged honor: it cements his reputation but also hints at the ephemeral nature of fame (the painting will eventually be "buried" in a provincial hall).
- His clients—millionaires, lord mayors, ambassadors, beautiful women—show how art intersects with power, wealth, and social validation. His return to New York is triumphant, suggesting that America claims its successful expatriates as proof of cultural parity with Europe.
The Ugly Duckling Metaphor
- The closing analogy to The Ugly Duckling (Hans Christian Andersen’s fairy tale) is ironic and self-deprecating.
- Traditionally, the tale is about unrecognized potential—the duckling’s transformation into a swan is a revelation to others.
- Here, Davis flips the perspective: Carlton is the one marveling at his own success, as if he, too, is surprised by his swan-like emergence. This underscores his humility (or feigned humility) and the unpredictability of fame.
- The metaphor also hints at social transformation—Carlton, like the duckling, has transcended his origins (orphaned, defying his uncle’s expectations) to become something admired.
- The closing analogy to The Ugly Duckling (Hans Christian Andersen’s fairy tale) is ironic and self-deprecating.
Class and National Identity
- Carlton’s Americanness is central: he is self-reliant, ambitious, and adaptable, contrasting with the entitled European aristocracy (represented by Aline).
- His uncle’s disapproval (viewing life from the "Union Club’s windows") symbolizes old-money conservatism, which Carlton rejects in favor of self-determination.
- The international clientele (American millionaires, English lords, European beauties) shows how cosmopolitan success was a marker of status in the Gilded Age.
Literary Devices
Irony and Understatement
- The narrator’s tone is dryly ironic, particularly in lines like:
- "the French government purchased one of his paintings at an absurdly small figure" (implying that the "honor" was also a financial slight).
- "from whence it would in time depart to be buried in the hall of some provincial city" (a wry comment on the fleeting nature of artistic immortality).
- The ugly duckling analogy is also ironic—Carlton’s success is not a fairy-tale transformation but a calculated rise, yet the metaphor frames it as magical.
- The narrator’s tone is dryly ironic, particularly in lines like:
Foreshadowing
- The opening sentence ("Had she made her appearance three years sooner or later...") foreshadows that Aline’s impact will be profound and irreversible.
- The mention of Carlton doing "several wise and many foolish things" hints at romantic impulsivity—likely a central conflict in the story.
Characterization Through Contrast
- Carlton is industrious yet effortlessly charming ("well-dressed," "careful of his manners"), contrasting with the bohemian stereotype of the starving artist.
- His silence about his work contrasts with the noisiness of his success (the long list of prestigious clients), suggesting a disconnect between private humility and public acclaim.
Satire of High Society
- The catalog of Carlton’s clients (lord mayors, ambassadors, "beautiful women of all nationalities") is both impressive and ridiculous, poking fun at the vanity of the elite.
- The Union Club uncle represents old-money snobbery, which Carlton’s success renders obsolete.
Symbolism
- Paris vs. New York: Paris is where Carlton hones his craft, but New York is where he is celebrated, symbolizing the tension between European tradition and American innovation.
- The Luxembourg purchase: A symbol of institutional validation, but also a hollow honor (since the painting will be "buried").
Significance of the Passage
Gilded Age Social Commentary
- The excerpt captures the aspirational culture of the late 19th century, where American newcomers (like Carlton) could rival European aristocrats (like Aline) through talent and charm.
- It also critiques the superficiality of high society, where artistic merit is secondary to social connections.
The Artist as Celebrity
- Carlton’s story reflects the rise of the artist as a public figure—no longer a reclusive genius but a social commodity.
- His modesty amid fame is a romanticized ideal, contrasting with the self-promotion common in real-life Gilded Age figures.
Romance and Power Dynamics
- The timing of Aline’s arrival suggests that love is as much about circumstance as passion.
- The clash between American ambition and European aristocracy (a recurring theme in Davis’s work) sets up a power struggle—will Carlton be elevated by Aline’s status, or will she be diminished by his new-money success?
The Myth of the Self-Made Man
- Carlton embodies the American Dream, but the passage also questions its sustainability.
- His surprise at his own success ("how much the ugly duckling must have marvelled") implies that even the self-made man is at the mercy of fate.
Line-by-Line Analysis of Key Sections
"H. R. H. the Princess Aline of Hohenwald came into the life of Morton Carlton... when that young gentleman's affairs and affections were best suited to receive her."
- Tone: Detached, almost fatalistic. The princess is an agent of change, but her impact depends on Carlton’s readiness.
- Implication: Love is transactional—it requires mutual convenience.
"He had reached a point in his life... where he could afford to sit at ease and look back with modest satisfaction..."
- Imagery: "Sit at ease" suggests leisure as a status symbol.
- "Modest satisfaction": A contradiction—his success is immense, but he downplays it, reinforcing the ugly duckling motif.
"At the age of twenty he had found himself his own master..."
- "His own master": Emphasizes autonomy, a key American value.
- The uncle’s disapproval sets up generational conflict—old-world values vs. new-world ambition.
"His work, of which he did not talk, and his ambitions, of which he also did not talk, bore fruit early..."
- Repetition of "did not talk": Highlights his humility (or strategic silence).
- Contrast: His actions speak louder than words, a Protestant work ethic ideal.
"And so when he returned to New York he was welcomed with an enthusiasm which showed that his countrymen had feared that the artistic atmosphere of the Old World had stolen him from them forever."
- National pride: America reclaims its successful expatriates as proof of cultural parity.
- "Stolen him": Personifies Europe as a rival suitor, competing for talent.
"We have been told what the mother duck felt when her ugly duckling turned into a swan, but we have never considered how much the ugly duckling must have marvelled also."
- Perspective shift: The focus is on Carlton’s self-perception, not others’ admiration.
- Irony: His "marvel" is both genuine and performative—he knows he’s successful, but the metaphor makes it seem innocent.
Conclusion: Why This Passage Matters
This excerpt is a masterclass in Gilded Age storytelling, blending:
- Social satire (the absurdity of high society),
- Romantic idealism (the transformative power of love),
- National identity (the American artist proving himself abroad),
- Psychological depth (Carlton’s surprise at his own success).
Davis subverts the rags-to-riches trope by making Carlton’s rise both earned and accidental, celebrated yet precarious. The passage sets up a central tension: Will Carlton’s encounter with Aline elevate or undo him? Is his success durable or fleeting? The ugly duckling metaphor lingers as a warning—even swans can be forgotten.
In the broader context of The Princess Aline, this introduction frames the novel as a study of ambition, love, and the cost of social climbing—themes that resonate with Davis’s own era and with modern readers alike.