Washington Square: Idioms 2 key examples

This idiom about Dr. Sloper’s “household gods” offers the reader a subtle critique of 19th-century materialism and class pretensions. It also acts as a little window into the cultural atmosphere of late Victorian New York. By invoking the phrase "household gods," James is drawing from Roman antiquity. In this period, many people believed in protective deities of the household, often symbolized by small statues kept in the home. The application of this term to largely Christian, 19th-century New York gives the modern concept of "moving house" a feeling of historical depth. It also points to the Gilded Age trope of materialism, where characters venerated possessions and personal belongings.

In the hierarchy of New York's neighborhoods, moving “up town” often signifies upward social mobility, while moving "down town" would be the opposite. The idiom reflects the societal values of the time, in a world where belongings and the trappings of a house significantly reflected one's status and importance. In this context, the term "household gods" also refers to personal, often revered belongings that one would typically take along when relocating. By indicating that Dr. Sloper moved with his "household gods," James hints at Sloper's somewhat inflated sense of self-worth and his attachment to worldly possessions. The reference to these "gods" as part of a home that can be moved and shifted, therefore, serves two purposes: it paints a vivid image of Sloper's grandeur as a man who can “move” gods while also casting light on the world in which his move takes place.

This idiom about Dr. Sloper’s “household gods” offers the reader a subtle critique of 19th-century materialism and class pretensions. It also acts as a little window into the cultural atmosphere of late Victorian New York. By invoking the phrase "household gods," James is drawing from Roman antiquity. In this period, many people believed in protective deities of the household, often symbolized by small statues kept in the home. The application of this term to largely Christian, 19th-century New York gives the modern concept of "moving house" a feeling of historical depth. It also points to the Gilded Age trope of materialism, where characters venerated possessions and personal belongings.

In the hierarchy of New York's neighborhoods, moving “up town” often signifies upward social mobility, while moving "down town" would be the opposite. The idiom reflects the societal values of the time, in a world where belongings and the trappings of a house significantly reflected one's status and importance. In this context, the term "household gods" also refers to personal, often revered belongings that one would typically take along when relocating. By indicating that Dr. Sloper moved with his "household gods," James hints at Sloper's somewhat inflated sense of self-worth and his attachment to worldly possessions. The reference to these "gods" as part of a home that can be moved and shifted, therefore, serves two purposes: it paints a vivid image of Sloper's grandeur as a man who can “move” gods while also casting light on the world in which his move takes place.

A “coxcomb” is the vivid crest atop a rooster's head. For a long while (and certainly in James’s time) the comb was thought to be functionless. However, it isn't, as it actually helps the bird stay cool. It's also used to help birds find good mates: female chickens can judge a male’s health by the redness of his comb. This term, rich in historical connotation, suggests that Morris is shallow and superficial: a synonym for “coxcomb” would be “fop” or “dandy.” By saying he’s a “coxcomb,” the Doctor is displaying disdain for what he believes is Morris’s lack of substantive character. The idiom, in this context, evokes the idea of something ostentatious but lacking in real substance or purpose.

By using this particular idiom, Dr. Sloper emphasizes his disdain for Morris's perceived pretentiousness. Townsend's "over-familiarity," as described by Dr. Sloper, points to a confidence or comfort that is unearned. He doesn’t like Morris’s casual attitude and thinks it means he’s all surface and no substance. The term "plausible" preceding "coxcomb" compounds this criticism. While Morris might present himself convincingly or be temporarily charming, ultimately, to Dr. Sloper, he remains a figure of mere show.

In the larger context of "Washington Square," this criticism is an important moment. It provides readers with a clear window into the dynamics between these two characters and the underlying tensions in their relationship. Dr. Sloper's sharp assessment not only says something about his own character—he’s a man who apparently values substance over style and is deeply protective of his daughter—but also gives the reader an insight into his deep and instant dislike of Morris.