This study examines the process of Isabel’s growing awareness and narrative technique which is employed to effectively represent it in Henry James’s The Portrait of a Lady. James uses various narrative methods such as focusing on Isabel’s consciousness as well as conveying the comment of omniscient narrator and observation of many satellites who locate and illustrate Isabel. Each different narrative method is employed before and after the enlargement of Isabel’s consciousness and the growth of her awareness. At first Isabel’s consciousness is limited, not knowing her inner contradiction between her conscious commitment to individualism and an unconscious yearning for safety and stability, which is the reason for her dread of herself. In this stage the comment of omniscient narrator and observation of many satellites as well as Isabel’s limited consciousness are conveyed. Isabel’s consciousness gets focused on with the enlargement of consciousness and her growing awareness. Thereafter Isabel becomes the center of consciousness. Through mid-night meditation (in chapter 42), she recognizes the reason and background of her marriage to Osmond, admitting her mistakes and inner problem. Her growing awareness becomes complete at the last confrontation with Goodwood (in chapter 55). Isabel, with sudden awakening, affronts the source of her dread, confronts and overcomes it. This leads her to return to Rome, bravely facing the consequences of her error. Thereby she becomes a tragic heroine. James explores Isabel’s consciousness both as a subject and an object of observation. Through the comment and observation of narrator and many satellites including Ralph, James guides readers to sympathize Isabel who is vulnerable to criticism and sneer. James’s effective use of light and dark image corresponding to Isabel’s growing awareness contributes to this novel’s well-proportioned organic form as well.