A Review of “The Romance of Certain Old Clothes” (1868) by Henry James
James did not think enough of this story to include it in the authoritative New York Edition of his works. And yet it is important both as self-revelation (probably unintended) and as the first in his series of Gothic tales culminating thirty years later in “The Turn of the Screw.”
This tale is set in New England prior to the Revolutionary War, which helps distance it from the supposed skepticism of late nineteenth century readers about the supernatural events characteristic of Gothic fiction. The repressive atmosphere of early American Puritanism is evident in the contrast between the morally unimpeachable outward manner of the two sisters at the center of the story and their fierce hidden jealousy of one another. Rosalind and her younger, slightly more attractive sister Perdita are competing without saying so for the favor of Arthur Lloyd, a British gentleman with a sizeable fortune who attended Oxford with their brother, Bernard, and who has accompanied him to the Colonies intending to make some profitable investments. Perdita wins Arthur, the day of her marriage arrives and Rosalind, while wishing her sister well, inwardly seethes with resentment at her victory.
Perdita changes her clothes after her wedding ceremony but notices that Rosalind is not present to see her off. So she returns to her bedroom to find Rosalind there wearing her wedding dress, a sight that makes her realize the enormity of her sister’s jealousy. A year into Perdita’s marriage, however, she grows ill after bearing her first child and sends for her husband, who has stopped off for a visit at his sister-in-law’s. Arthur arrives home several hours late, and Perdita takes a turn for the worse when she hears him admitting, like innocence itself, that his lateness was due to his riding out with Rosalind. Before her death Perdita, understandably suspicious of her sister, entreats Arthur to lock up her wedding clothes and save them for their baby daughter when she herself gets married. Arthur complies.
Rosalind then acts out her continuing jealousy by conniving to marry Arthur who, after an acceptable period of mourning his first wife, congratulates himself on obtaining “a devilish fine woman.” But after three years of marriage Rosalind bears him no children and Arthur himself suffers significant business losses. Feeling deprived of her deceased sister’s more luxurious lifestyle, Rosalind talks her husband into unlocking the chest containing Perdita’s trousseau and Arthur, unable to resist a woman’s sobbing, finally complies with his second wife’s wishes as he had with those of his first. But here James, as if unable tolerate any more of Rosalind’s trespassing on the terrain of others’ lives, stops it for good by having her supernaturally choked to death.
James’s eminent biographer Leon Edel tells us that Henry James, while unfailingly cordial and respectful toward his brother, the future philosopher William James, was inwardly as ferociously competitive with him as the fictional Rosalind is with Perdita. In fact Henry, not long before he wrote “The Romance of Old Clothes” had his tailor send him a suit made of the same cloth as one belonging to William. Henry’s transfer of his male rivalry with William to the fictional Rosalind is consistent with the misogyny of Henry’s other early tales, and the supernatural death Henry inflicts on Rosalind at the end of the story may well be his way of punishing himself for his attempted takeovers of his brother William’s life.
Henry James is often called a psychological realist in part because he breaks with his inherited Puritanism by not hiding our baser thoughts and feelings and the contradiction they pose to our self-images as moral beings. Imagining ourselves trespassing on forbidden territory (we now like to call it “border crossing”) is a reality of our inner lives we have somehow to reconcile with our higher aspirations.