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In “The Real Thing,” clothing, and the changing in and out of different clothes, represents a character’s identity, as well as their adaptability—in particular their ability to take on different roles or identities. When the artist meets Mrs. Monarch and Major Monarch, he pays special attention to their clothing, which is well-fitted and stiff, and indicates their status as members of the aristocratic class. In the studio, he recognizes the clothing as fine and fashionable—both things to expect from gentility—but also notes that their clothes betray their financial situation, that is, the fact that they are living on credit.
But clothing doesn’t just symbolize the Monarchs’ class. Their unwillingness to wear costumes demonstrates their inflexibility, which is what makes them such unsuitable models and prevents them from being anything but themselves. When the artist informs the Monarchs that being a model requires wearing various clothes to suggest different “types,” or characters, they are very unwilling. They inform the artist that they will bring their own clothes, especially as they intend to be models for contemporary pieces. Although the artist is initially amused by the chance to depict the Monarchs in their fine clothes—which he recognizes as “the real thing”—this quickly turns to frustration at how the Monarchs as models never inspire him to paint anything but them. Their restrictions on the clothes they wear—in addition to their other traits—limit their range of potential representations. They cannot take on any other roles or identities than who they are.
In contrast to the Monarchs, Oronte and Miss Churm, two of the artist’s favorite models, are willing to wear a variety of different clothes in order to suggest the various identities that they pose as. By wearing the necessary clothing while capturing a feeling or idea through their posing, lowly Miss Churm can represent a Russian princess, and Italian street-vendor Oronte can look just like an English gentleman. In this way, clothing symbolizes a character’s range of identities and roles that they can take on.
Clothing Quotes in The Real Thing
The The Real Thing quotes below all refer to the symbol of Clothing. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
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Part 1
Quotes
The hand of time had played over her freely, but only to simplify. She was slim and stiff, and so well-dressed, in dark blue cloth, with lappets and pockets and buttons, that it was clear she employed the same tailor as her husband. The couple had an indefinable air of prosperous thrift—they evidently got a good deal of luxury for their money.
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Part 2
Quotes
“There isn’t a confounded job I haven’t applied for—waited for—prayed for. You can fancy we’d be pretty bad first. Secretaryship and that sort of thing? You might as well ask for a peerage. I’d be anything—I’m strong; a messenger or a coalheaver. I’d put on a gold-laced cap and open carriage-doors in front of the haberdasher’s; I’d hang about a station, to carry portmanteaux; I’d be a postman. But they won’t look at you; there are thousands, as good as yourself, already on the ground.”
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Get the entire The Real Thing LitChart as a printable PDF.
Clothing Symbol Timeline in The Real Thing
The timeline below shows where the symbol Clothing appears in The Real Thing. The colored dots and icons indicate which themes are associated with that appearance.
Part 1
...him to paint their portraits, as they look very elegant and are wearing fine tailored clothing. The couple look so distinguished, in fact, that the artist reflects that he would have...
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...The artist takes this time to look them over, noticing that, while they are very well-dressed, they have an “air of prosperous thrift.” At last, the woman speaks, explaining that Mr....
(full context)
Part 2
...told him their story. He pictures them in country estates, surrounded by lush furnishings and clothing. He assumes that they were generally liked, but no one wanted to support them, so...
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...Monarch are concerned when the artist informs them that they would have to wear “special clothes,” or costumes, that he has all of his models use. They respond that, instead, they...
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...able to “represent everything.” After the artist sends her to a separate room to get dressed as a Russian princess, the Monarchs reveal their incredulity and ask the artist if he...
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