The Real Thing

Major Monarch is a former soldier and a meticulous dresser. The Major, “a gentleman, a man of fifty, very high and very straight” (138), is the first character observed by the artist in “The Real Thing.” The Major exhibits the manners expected of someone of his aristocratic social class. As a military man, he is stalwart in his beliefs and holds them as absolute truths. Without much to do around the artist’s studio while his wife poses, Major Monarch reveals himself to be a man of the past, with outdated opinions and traditional ideas about pragmatic issues such as air quality. Despite this, he still maintains a respect for the artist’s work and its importance to their survival. The artist is captured by Major Monarch’s sophisticated style, granting a remnant of formality within a world rapidly changing against tradition.

Of all the characters, the Major is perhaps the most consistently resilient, the one who experiences the least amount of change and transformation throughout the story. His physical height, a characteristic the artist carefully notes and is irritated by, reinforces his standing as the one with a rigid and unyielding identity. A significant moment for him takes place in the last part of the story, when he questions the artist’s choice of Oronte as the Rutland Ramsay hero. Seemingly incredulous, the Major asks, “Is he your idea of an English gentleman?” (159). The artist’s reply—“I can’t be ruined for you!” (159)—prompts the Major to leave the studio, allowing the artist a sense of relief that turns out to be temporary. The Major returns three days later, with his wife, ready to try again. As the patriarch, the Major graciously initiates the role as attendant. Even if cast in a lower esteem, the Major maintains his sense of duty and purpose.

Mrs. Monarch also represents the aristocracy, or upper class. Smart and stylish in dress with “a dim smile” (139), Mrs. Monarch’s embarrassment is quickly evident when she auditions for the artist at the Major’s coaxing: “She walked to the end of the studio, and then she came back blushing, with her fluttered eyes on her husband” (141). Her rigid construct is unnerving yet fascinating to the narrator. As he learns more about her, this admiration turns to unease. Although Mrs. Monarch can pose well for photographs, her lack of emotion represents a kind of false perfection that isn’t relatable to human perception. Mrs. Monarch’s intrusion into the artist’s life reveals that identity is complex and often contradictory.

Although she positions herself as socially superior to the narrator and his working-class models, her relationship with those in the studio becomes unbalanced due to subverted power dynamics. Her displeasure at being stared at, not as an esteemed society lady but instead as a studio model, is obvious in her uneasy expression and tense posture—an effect that is inevitably expressed in the artist’s drawings. Throughout the story, she appears cold and distant, with a tight smile and the suggestion of lost beauty. Her pretensions render her a formidable threat as she challenges conventional expectations. We can see this when she acts high-handedly around Miss Churm. In doing so, both her husband and the narrator must struggle to accept her impolite behavior. This clash of expectations makes Mrs. Monarch’s presence especially unnerving to the artist. However, Mrs. Monarch resigns herself to her lowered social position and eventually fulfills the role of a studio attendant with humility and grace.

Miss Churm is an adaptable, working-class woman who functions as a foil to the “stiff” Mrs. Monarch. From a Russian princess to an English pianist, Miss Churm has an uncanny ability to draw from her inner depths believable portrayals that bring varied figures to life for the narrator. Her effortless transitions impress the narrator with how difficult the art of imitation can be. Her remarkable ability for metamorphosis leaves the narrator fixated on how she can make such bold changes in characterization and physicality. Miss Churm is a master of her art, perfecting a unique version of each character that reflects her respect for their individual personalities. She has an innate understanding of emotion and human nature, which gives her creations a level of authenticity unmatched by others.

In many ways, James explores the lives of young women in England’s late 19th century through Miss Churm, described as a “freckled cockney” (146). She is symbolic of individualism, the idea that everyone should be able to find their own path and make their own success. While the Monarchs represent a traditional view of marriage and family, Miss Churm stands for a more progressive future for women, made possible in the newly-dawning industrialist society. James also uses Miss Churm to explore the concept of “the real thing” in terms of art and creativity, as her story arc is interwoven with that of the artist/narrator. The two characters have different perspectives on life, but they are united by their individualism and creative vision.

Oronte represents the immigrant class and is a foil to Major Monarch. He is an Italian able to naturally blend into various societal groups or even take on the appearance of the noble class. With the artist’s help, he becomes another successful model in the studio: “He was sallow but fair, and when I put him in some old clothes of my own he looked like an Englishman” (153). Oronte is a classic example of a driven, hardworking individual with the self-assurance to appeal to the narrator’s needs. Part of the working-class as an ice cream vendor, he is driven to break free from the status quo and prove his worth.

Although he is short in stature, Oronte is interpreted by the artist as both aristocratic and regal, projecting confidence and authority that erases other preconceptions within different tiers of society. The young man has the agility to fulfill any role: He can be a leader, an ally, or a friend for those around him. The character of Oronte suggests that art is not bound by class or stature but by emotion and technique. The artist/narrator’s admiration for Oronte is a testament to the power of art and the freedom it grants people. Oronte illustrates James’s message that “the real thing” isn’t just found in the artist’s external environment but within one’s own creative depths. He is a symbol of hope and possibility, his character arc serving as a reminder that art can be used to transcend socio-economic boundaries.

Jack Hawley is an artist who has paused his work to deepen his understanding and exploration of aesthetics. He values expression through his art and has traveled around the world with this intent in mind, seeking a perspective that allows him to create unique and sophisticated works. His criticism of the artist in the story suggests an understanding of how good art should look and feel, which hints at his own impressive knowledge. Ironically, Hawley is not considered an esteemed artist himself, and the narrator believes that Hawley “painted badly.” However, the narrator welcomes Hawley’s “fresh eye” and critiques. Hawley can detect flaws that even the artist might overlook. Similarly, the artistic advisor of Rutland Ramsay agrees with Hawley and the artist that, rather than a blanket dismissal of the project, there is room to make valuable improvements. His critiques reinforce the collective opinion, allowing even more trust in the validity of any potential changes made.

Some critics think Hawley is a character meant to embody the thoughts and beliefs of James. Through Hawley, James advocated an art style that doesn’t replicate reality accurately but expands upon it, focusing on soulful and meaningful alterations that bring the reader closer to a higher truth than what the everyday can provide. Put simply, James believed that to create something unique, the artist needed to engage in their craft more deeply than realistic mimicry allowed.