     '''''The Portrait of a Lady''''' is a novel by Henry James, first published as a serial in ''The Atlantic Monthly'' and ''Macmillan's Magazine'' in 1880–81 and then as a book in 1881. It is one of James's most popular long novels, and is regarded by critics as one of his finest.  ''The Portrait of a Lady'' is the story of a spirited young American woman, Isabel Archer, who &quot;affronts her destiny&quot; and finds it overwhelming. She inherits a large amount of money and subsequently becomes the victim of Machiavellian scheming by two American expatriates. Like many of James's novels, it is set mostly in Europe, mostly England and Italy. Generally regarded as the masterpiece of James's early period, this novel reflects James's continuing interest in the differences between the New World and the Old, often to the detriment of the former. It also treats in a profound way the themes of personal freedom, responsibility, betrayal.  == Major themes == James's first idea for ''The Portrait of a Lady'' was simple: a young American woman confronting her destiny, whatever it might be. Only then did he begin to form a plot to bring out the character of his central figure. This was the uncompromising story of the free-spirited Isabel losing her freedom&amp;mdash;despite (or because of) suddenly coming into a great deal of money&amp;mdash;and getting &quot;ground in the very mill of the conventional.&quot;  It is a rather existentialist novel, as Isabel is very committed to living with the consequences of her choice with integrity but also a sort of stubbornness.  The richness of ''The Portrait'' is hardly exhausted by a review of Isabel's character. The novel exhibits a huge panorama of trans-Atlantic life, a far larger canvas than any James had previously painted. This moneyed world appears charming and leisurely but proves to be plagued with treachery, deceit, and suffering.  ==Literary significance &amp; criticism== ''The Portrait of a Lady'' received critical acclaim since its first publication in the pages of ''The Atlantic Monthly'', and it remains the most popular of James's longer fictions. Contemporary critics recognized that James had pushed the analysis of human consciousness and motivation to new levels, particularly in such passages as the famous Chapter 42, where Isabel meditates deep into the night about her marriage and the trap she seems to have fallen into. James made an in-depth account of Isabel's deepest terrors in his preface to the ''New York Edition'' of the novel.  More recent criticism has come at the novel from feminist, sociopolitical and formalist directions, though some critics have demurred at these approaches as somewhat anachronistic for what remains, after all, very much a product of the Victorian era. In particular, Isabel's final return to Osmond has fascinated critics, who have debated whether James sufficiently justifies this seemingly paradoxical rejection of freedom. One interpretation is that Isabel not only feels as honor-bound to the promise she has made to stepdaughter Pansy as she does to Osmond, but also considers that the scene her &quot;unacceptable&quot; trip to England will create with Osmond will leave her in a more justifiable position to abandon her dreadful marriage.  The extensive revisions James made for the 1908 ''New York Edition'' have generally been accepted as improvements, unlike the changes in other texts, such as ''The American'' or ''Roderick Hudson''. The revision of the final scene between Isabel and Goodwood has been especially applauded. As Edward Wagenknecht noted, James &quot;makes it as clear as any modern novelist could make it by using all the four-letter words in the dictionary that [Isabel] has been roused as never before in her life, roused in the true sense perhaps for the first time in her life.&quot; James's verbal magic allowed him to both obey and evade the restrictive conventions of his day for the treatment of sexuality in literature.  Critic Alfred Habegger has claimed that the main character of ''Portrait'' was inspired by Christie Archer, the protagonist from Anne Moncure Crane's novel, ''Reginald Archer'' (1871). Crane (1838–1872) may have influenced James, who Habegger claimed was interested in Crane’s female characters. In the preface to the ''New York Edition'' of the novel, James referred to several of George Eliot's female protagonists as possible influences on the ''Portrait''. Habegger questions this claim and quotes others as doing the same.Alfred Habegger (2004) ''Henry James and the 'Woman Business''', Cambridge University Press  Another critical article is &quot;Rewriting Misogyny: ''Portrait of a Lady'' and the Popular Fiction Debate&quot; by Paul M. Hadella.  The author also mentions the similarities with Crane's novel.Paul M. Hadella (1994)  &quot;Rewriting Misogyny: ''Portrait of a Lady'' and the Popular Fiction Debate&quot; in ''American Literary Realism, 1870-1910'', University of Illinois Press.  ==Film, TV or theatrical adaptations== ''The Portrait of a Lady'' was turned into a film in 1996 by New Zealand director Jane Campion, starring Nicole Kidman as Isabel, John Malkovich as Osmond, and Barbara Hershey as Madame Merle. The movie got lukewarm reviews. James might have agreed that the novel does not make for a good visual presentation. As he pointed out in his ''New York Edition'' preface, the best &quot;scene&quot; in the book consists of Isabel sitting motionless in a chair. When actor Lawrence Barrett wanted James to turn the novel into a play, he replied that he didn't think it could be done.  In 1968 the BBC produced a television miniseries of ''The Portrait of a Lady'', starring Suzanne Neve as Isabel and Richard Chamberlain as Ralph Touchett.  ==Release details== * ''The Portrait of a Lady: An Authoritative Text, Henry James and the Novel, Reviews and Criticism'' edited by Robert Bamberg (New York: W.W. Norton &amp; Company 2003) ISBN 0-393-96646-1  