Bertram Cope’s Year · Chapter
XXIV: Cope in Danger Anew explained
Cope's reputation at the university recovers after his earlier misadventure.
What happens
Cope's reputation at the university recovers after his earlier misadventure. Mrs. Phillips takes him to the opera, where he is admired, and Hortense Dunton reveals a portrait she has painted of him, asking him to sit for final touches. Lemoyne warns Cope to be careful of Hortense, but Cope dismisses his concern. Randolph visits Hortense's studio and later walks with Cope, expressing sympathy over the loss of Amy and renewing an invitation to his home.
Themes in this chapter
Social Manipulation and Patronage
Mrs. Phillips uses her social influence to rehabilitate Cope's reputation by taking him to the opera and showcasing him in a prominent box.
Performance and Artifice
Cope is presented as a spectacle at the opera, described as 'glittering' and 'scenically gratifying,' while Hortense's portrait project involves artistic manipulation of his image.
Unrequited and Ambiguous Desire
Mrs. Phillips' physical and emotional attentions toward Cope, along with Hortense's aggressive pursuit, create a web of ambiguous romantic and possessive desires.
Characters to notice
- Bertram Cope
Recovers from his earlier embarrassment, attends the opera with Mrs. Phillips, and agrees to sit for Hortense's portrait despite Lemoyne's warnings.
- Medora Phillips
Becomes sympathetic and tender toward Cope, takes him to the opera and theatre, and arranges seating to showcase him.
- Hortense Dunton
Reveals a portrait of Cope she has painted, invites him to her studio for final touches, and shows initiative in her pursuit of him.
- Arthur Lemoyne
Warns Cope to be cautious of Hortense, offers to accompany him to her studio, and is described as a 'dark, yielding plum-pudding' compared to Cope.
- Basil Randolph
Visits Hortense's studio, walks with Cope afterward, expresses sympathy over Amy's engagement, and renews his invitation to Cope and Lemoyne.
- Amy Leffingwell
Mentioned as engaged to George Pearson; Mrs. Phillips is kind to her, and she is no longer a romantic prospect for Cope.
Key passages
“He is charming,” she said to herself, over and over again. What about him “took” her? Was it his slenderness, his grace? Was it his youthfulness, intact to this moment and promising an extension of agreeable possibilities into an entertaining future? Or was it more largely his fundamental coolness of tone?”
Mrs. Phillips repeatedly thinks Cope is charming, wondering if his appeal lies in his slender grace, his preserved youthfulness, or his cool demeanor.
Reflects Mrs. Phillips' infatuation and the theme of ambiguous desire.
“Look out!” he said to Cope. “Look out!” “I can take care of myself,” the other replied, rather tartly. “I wish you could!” retorted Lemoyne, with poignant brevity.”
Lemoyne warns Cope to be careful of Hortense, but Cope dismisses him, leading Lemoyne to express doubt in Cope's ability to protect himself.
Highlights Lemoyne's protective concern and Cope's stubborn independence.
“Pain sometimes took its own time to travel, and reached its goal by a slow, circuitous route.”
Randolph reflects that emotional pain can be delayed, arriving long after the triggering event.
Shows Randolph's empathy and understanding of Cope's lingering hurt over Amy.