The Full Wiki

Henry James: Wikis

  
  
  

Note: Many of our articles have direct quotes from sources you can cite, within the Wikipedia article! This article doesn't yet, but we're working on it! See more info or our list of citable articles.

Encyclopedia

From Wikipedia, the free encyclopedia

Henry James Jr.

Henry James in 1890
Born April 15, 1843(1843-04-15)
New York City
Died February 28, 1916 (aged 72)
London
Occupation Writer
Nationality American; acquired British nationality in 1915
Alma mater Harvard Law School
Notable work(s) The Turn of the Screw
The Portrait of a Lady
The Wings of the Dove
Daisy Miller
The Ambassadors
Relative(s) Henry James, Sr. (father), William James (brother), Alice James (sister)

Henry James, O.M. (April 15, 1843(1843-04-15) – February 28, 1916) was an American writer, regarded as one of the key figures of 19th-century literary realism. He was the son of Henry James, Sr., a clergyman, and the brother of philosopher and psychologist William James and diarist Alice James.

James spent the last 40 years of his life in England, becoming a British subject in 1915, one year before his death. He is primarily known for the series of novels in which he portrays the encounter of Americans with Europe and Europeans. His method of writing from the point of view of a character within a tale allows him to explore issues related to consciousness and perception, and his style in later works has been compared to impressionist painting.

James contributed significantly to the criticism of fiction, particularly in his insistence that writers be allowed the greatest possible freedom in presenting their view of the world. His imaginative use of point of view, interior monologue and possibly unreliable narrators in his own novels and tales brought a new depth and interest to narrative fiction. An extraordinarily productive writer, in addition to his voluminous works of fiction he published articles and books of travel, biography, autobiography, and criticism, and wrote plays, some of which were performed during his lifetime with moderate success. His theatrical work is thought to have profoundly influenced his later novels and tales.

Contents

Life

Henry James at eight years old with his father, Henry James, Sr. — 1851 daguerreotype by Mathew Brady

James was born in New York City into a wealthy family. His father, Henry James Sr. was one of the best-known intellectuals in mid-nineteenth-century America. In his youth James traveled back and forth between Europe and America. He studied with tutors in Geneva, London, Paris, Bologna and Bonn. At the age of 19 he briefly attended Harvard Law School, but preferred reading literature to studying law. James published his first short story, A Tragedy of Error, two years later, and devoted himself to literature. In 1866–69 and 1871–72 he was a contributor to The Nation and Atlantic Monthly.

From an early age James had read the classics of English, American, French and German literature and Russian classics in translation. His first novel, Watch and Ward (1871), was written while he was traveling through Venice and Paris. After living in Paris, where he was contributor to the New York Tribune, James moved to England in 1876, living first in London and then in Rye, Sussex. During his first years in Europe James wrote novels that portrayed Americans living abroad. In 1905 James visited America for the first time in twenty-five years, and wrote "Jolly Corner".

Among James's masterpieces are Daisy Miller (1879); in which the eponymous protagonist, the young and innocent American Daisy Miller, finds her values in conflict with European sophistication; and The Portrait of a Lady (1881), in which once again a young American woman becomes a victim of her provincialism during her travels in Europe. The Bostonians (1886) is set in the era of the rising feminist movement. What Maisie Knew (1897) depicts a preadolescent girl, who must choose between her parents and a motherly old governess. In The Wings of the Dove (1902) an inheritance destroys the love of a young couple. James considered The Ambassadors (1903) his most "perfect" work of art. James's most famous short story is The Turn of the Screw, a ghost story in which the question of childhood corruption obsesses a governess. Although James is best known for his novels, his essays are now attracting a more general audience.

Grave marking Henry James in Cambridge Cemetery in Cambridge, Massachusetts

Between 1906 and 1910 James revised many of his tales and novels for the New York edition of his complete works. His autobiography, A Small Boy And Others, appeared in 1913 and was continued in Notes Of A Son And Brother (1914). The third volume, The Middle Years, appeared posthumously in 1917. The outbreak of World War I was a shock for James, and on July 26, 1915 he became a British citizen as a declaration of loyalty to his adopted country and in protest against the America's refusal to enter the war.[1] James suffered a stroke on December 2, 1915, and died in London on February 28, 1916. He was cremated at Golders Green Crematorium and his ashes are interred at Cambridge, Massachusetts.

Career in letters

James early established the precedent of pursuing his career as a man of letters. His first published work was a review of a stage performance, "Miss Maggie Mitchell in Fanchon the Cricket," published in 1863,[2] that reflected a life-long interest in the actor's art. From an early age James read, criticized, and learned from the classics of English, American, French, Italian, German and (in translation) Russian literature. In 1863, he anonymously published his first short story, A Tragedy of Error. Until his fiftieth year he supported himself by writing, principally by contributing extensively to illustrated monthly magazines in the United States and Great Britain, but after his sister's death in 1892 his royalties were supplemented by a modest income from the family's properties in Syracuse, New York.

Until late in life his novels were serialized in magazines before book publication, and he wrote the monthly installments as they were due, allowing him little opportunity to revise the final work. To supplement his income he also wrote frequently for newspapers, and from 1863 to his death he maintained a strenuous schedule of publication in a variety of genres and media. In his criticism of fiction, the theater, and painting he developed ideas concerning the unity of the arts; he wrote two full-length biographies, two volumes of memoirs of his childhood and a long fragment of autobiography; 22 novels, including two left unfinished at his death, 112 tales of varying lengths, fifteen plays, and dozens of travel and topical essays.

Biographers and critics have identified Henrik Ibsen, Nathaniel Hawthorne, Honoré de Balzac, and Ivan Turgenev as important influences.[3] He heavily revised his major novels and many of his stories for a selected edition of his fiction, whose twenty-three volumes formed an artistic autobiography which he called "The New York Edition" to emphasize his continuing ties to the city of his birth. In his essay The Art of Fiction, and in prefaces to each volume of The New York Edition, James explained his views of the art of fiction, emphasizing the importance to him of realist portrayals of character as seen through the eyes and thoughts of an embodied narrator.

At several points in his career James wrote plays, beginning with one-act plays written for periodicals in 1869 and 1871[4] and a dramatization of his popular novella Daisy Miller in 1882.[5] From 1890 to 1892, he made a concerted effort to succeed commercially on the London stage, writing a half-dozen plays of which only one, a dramatization of his novel The American, was produced. This play was performed for several years by a touring repertory company, and had a respectable run in London, but did not earn very much money for James. His other plays written at this time were not produced. The effort was made avowedly to improve his finances, and after his sister Alice's death in 1892, as he had a modest independent income, he halted his theatrical efforts. In 1893, however, he responded to a request from actor-manager George Alexander for a serious play for the opening of his renovated St. James's Theatre, and James wrote a long drama, Guy Domville, which Alexander produced. There was a noisy uproar on the opening night, January 5, 1895, with hissing from the gallery when James took his bow after the final curtain, and the author was considerably upset. The incident was not repeated, the play received good reviews, and had a modest run of five weeks and was then taken off to make way for Oscar Wilde's The Importance of Being Earnest, which Alexander thought would have better prospects for the coming Season. After the stresses and disappointment of this effort James insisted that he would write no more for the theater, but within weeks had agreed to write a curtain-raiser for Ellen Terry. This became the one-act "Summersoft", which he later rewrote into a short story, "Covering End", and then expanded into a full-length play, The High Bid, which had a brief run in London in 1907, when James made another concerted effort to write for the stage. He wrote three new plays, two of which were in production when the death of Edward VII May 6, 1910 plunged London into mourning and the theaters were closed. Discouraged by failing health and the stresses of theatrical work, James did not renew his efforts in the theater, but recycled his plays as successful novels. The Outcry was a best-seller in the United States when it was published in 1911. During the years 1890-1893 when he was most engaged with the theater, James wrote a good deal of theatrical criticism and assisted Elizabeth Robins and others in translating and producing Henrik Ibsen for the first time on the London stage.[6]

Biographer Leon Edel was the first to call attention to the importance of the "theatrical years" 1890–1895 for James's later work. Following the commercial failure of his novel The Tragic Muse, in 1890, James renounced novel writing and dedicated himself to short fiction and plays, which he described as related forms. Between 1890 and 1895, he sketched in his notebooks plots and themes of nearly all his later novels, which he first conceived as short stories or plays. The structure of his late novels was "scenic" in James's special sense, in that they followed the scene-by-scene structure of a French play in the classical mode, and he freely translated short stories into plays and vice versa. The use of an observer's consciousness and the sense of the action as a performance became most marked in James's fiction in and after the 1890s. Failing to make a commercial success on the stage, however, and finding that the stresses of theatrical work were difficult to sustain, he returned to the writing of long, serialized novels, which again became the mainstay of his income. With his new private income as well, he was able to maintain a country house and rooms in London.

Leon Edel argued in his psychoanalytic biography that James was deeply traumatized by the opening night uproar that greeted Guy Domville, and that it plunged him into a prolonged depression. The successful later novels, in Edel's view, were the result of a kind of self-analysis, expressed in James's fiction, which partly freed him from his fears. Other biographers and scholars have not accepted this account, however; the more common view being that of F.O. Matthiessen, who wrote: "Instead of being crushed by the collapse of his hopes [for the theater]. . . he felt a resurgence of new energy."[7]

James returned to the United States in 1904–1905 for a lecture tour to recoup his finances and to visit his family. His essays describing that visit, published as The American Scene, were perhaps his most important work of social commentary. In them he described the rise of commerce and democracy, the impact of free immigration on American culture, and his agonized sense that his deeply felt American nationality was threatened by these upheavals.

Psychological characterizations

James at sixteen years old

James never married, and after settling in London proclaimed himself "a bachelor" and regularly rejected suggestions that he marry. After his death, critics speculated on the cause of his bachelorhood. F. W. Dupee, in several well-regarded volumes on the James family, originated the theory that James had been in love with his cousin Mary ("Minnie") Temple, but that a neurotic fear of sex kept him from admitting such affections: "James's invalidism . . . was itself the symptom of some fear of or scruple against sexual love on his part." Dupee used an episode from James's memoir A Small Boy and Others, recounting a dream of a Napoleonic image in the Louvre, to exemplify James's romanticism about Europe, a Napoleonic fantasy into which he fled.[8] This analysis seemed to support literary critics like Van Wyck Brooks and Vernon Parrington who had condemned James's expatriation, and who criticized his work as effeminate and deracinated. Leon Edel used it as the premise of his own masterly biography, which held the field for many years. Dupee had not been given access to the James family papers, however, and had worked principally from James's published memoir of his older brother, and the limited collection of letters edited by Percy Lubbock, which was heavily weighted toward James's last years. Dupee's account, perhaps as a result, portrayed James as a man moving directly from childhood, when he trailed after his older brother, to an elderly invalidism.

As more material became available to scholars, including the diaries of contemporaries and hundreds of affectionate and sometimes erotic letters written by James to younger men, the picture of neurotic celibacy gave way to a portrait of a closeted homosexual. As author Terry Eagleton has stated, "...gay critics debate exactly how repressed his (probable) homosexuality was..."[9] James's letters to expatriate American sculptor Hendrik Christian Andersen have attracted particular attention. James met the 27-year-old Andersen in Rome in 1899, when James was 56, and wrote letters to Andersen that are intensely emotional: "I hold you, dearest boy, in my innermost love, & count on your feeling me—in every throb of your soul". In a letter of May 6, 1904 to his brother William, James referred to himself as "always your hopelessly celibate even though sexagenarian Henry".[10] How accurate that description might have been is the subject of contention among James's biographers,[11] but the letters to Andersen were occasionally quasi-erotic: "I put, my dear boy, my arm around you, & feel the pulsation, thereby, as it were, of our excellent future & your admirable endowment."[12] To his homosexual friend Howard Sturgis, James could write: "I repeat, almost to indiscretion, that I could live with you. Meanwhile I can only try to live without you,"[13] and it is only in letters to young gay men that James refers to himself as their "lover". James wrote to young men who are now thought to have been homosexual or bisexual, who made up a large fraction of his close male friends. In a letter to Howard Sturgis, following a long visit, James refers jocularly to their "happy little congress of two".[14] In letters to Hugh Walpole, James pursues involved jokes and puns about their relationship, referring to himself as an elephant who "paws you oh so benevolently" and winds about Walpole his "well meaning old trunk".[15] The privately printed letters to Walter Berry have long been celebrated for their lightly veiled eroticism.[16]

However, James wrote to fellow-novelist Lucy Clifford: "Dearest Lucy! What shall I say? when I love you so very, very much, and see you nine times for once that I see Others! Therefore I think that—if you want it made clear to the meanest intelligence—I love you more than I love Others."[17] In another example he wrote to his New York friend Mary Cadwalader Jones:

Dearest Mary Cadwalader. I yearn over you, but I yearn in vain; & your long silence really breaks my heart, mystifies, depresses, almost alarms me, to the point even of making me wonder if poor unconscious & doting old Célimare [Jones's pet name for James] has "done" anything, in some dark somnambulism of the spirit, which has...given you a bad moment, or a wrong impression, or a "colourable pretext"...However these things may be, he loves you as tenderly as ever; nothing, to the end of time, will ever detach him from you, & he remembers those Eleventh St. matutinal intimes hours, those telephonic matinées, as the most romantic of his life...[18]

His long friendship with American novelist Constance Fenimore Woolson, in whose house he lived for a number of weeks in Italy in 1887, and his shock and grief over her suicide in 1894, are discussed in detail in Leon Edel's biography and play a central role in a study by Lyndall Gordon. Edel conjectured that Woolson was in love with James and killed herself in part because of his coldness. Gordon builds on Edel's account and adds her own speculation that James felt guilt at having sabotaged Woolson's work. Woolson's biographers have strongly objected to Edel's account, however,,[19] and have generally portrayed James as a friend who advanced Woolson's career. Novick in his more recent account argues that the available evidence shows that James suffered strong emotions prompted by the apparent suicide of a friend and colleague, but that there is no evidence Woolson was in love with him or that he was the cause of her death.[20]

Work

Style and themes

Portrait of Henry James, charcoal drawing by John Singer Sargent (1912).

James is one of the major figures of trans-Atlantic literature. His works frequently juxtapose characters from the Old World (Europe), embodying a feudal civilization that is beautiful, often corrupt, and alluring, and from the New World (United States), where people are often brash, open, and assertive and embody the virtues — freedom and a more highly evolved moral character — of the new American society. James explores this clash of personalities and cultures, in stories of personal relationships in which power is exercised well or badly. His protagonists were often young American women facing oppression or abuse, and as his secretary Theodora Bosanquet remarked in her monograph Henry James at Work:

When he walked out of the refuge of his study and into the world and looked around him, he saw a place of torment, where creatures of prey perpetually thrust their claws into the quivering flesh of doomed, defenseless children of light… His novels are a repeated exposure of this wickedness, a reiterated and passionate plea for the fullest freedom of development, unimperiled by reckless and barbarous stupidity.[21]

Critics have jokingly described three phases in the development of James's prose: "James the First, James the Second, and The Old Pretender"[22] and observers do often group his works of fiction into three periods. In his apprentice years, culminating with the masterwork The Portrait of a Lady, his style was simple and direct (by the standards of Victorian magazine writing) and he experimented widely with forms and methods, generally narrating from a conventionally omniscient point of view. Plots generally concern romance, except for the three big novels of social commentary that conclude this period. In the second period, as noted above, he abandoned the serialized novel and from 1890 to about 1897, he wrote short stories and plays. Finally, in his third and last period he returned to the long, serialized novel. Beginning in the second period, but most noticeably in the third, he increasingly abandoned direct statement in favor of frequent double negatives, and complex descriptive imagery. Single paragraphs began to run for page after page, in which an initial noun would be succeeded by pronouns surrounded by clouds of adjectives and prepositional clauses, far from their original referents, and verbs would be deferred and then preceded by a series of adverbs. The overall effect could be a vivid evocation of a scene as perceived by a sensitive observer. In its intense focus on the consciousness of his major characters, James's later work foreshadows extensive developments in 20th century fiction.[23] Then and later many readers find the late style difficult and unnecessary; his friend Edith Wharton, who admired him greatly, said that there were passages in his work that were all but incomprehensible.[24] H.G. Wells harshly portrayed James as a hippopotamus laboriously attempting to pick up a pea that has got into a corner of its cage.[25] Some critics have claimed that the more elaborate manner was a result of James taking up the practice of dictating to a secretary. He was afflicted with a stutter and compensated by speaking slowly and deliberately. The late style does become more difficult in the years when he dictates, but James also was able to revise typewritten drafts more extensively, and his few surviving drafts show that the later works are more heavily revised and redrafted. In some cases this leads critics to prefer the earlier, unrevised versions of some works because the older style is thought to be closer to the original conception and spirit of the work, Daisy Miller being a case in point: most of the current reprints of this novel contain the unrevised text. On the other hand, the late revision of the early novel The Portrait of a Lady is generally much preferred to the first edition, even by those who dislike the late style, because of the power of the imagery and the depth of characterization, while his shorter late fiction, such as The Turn of the Screw, is considered highly accessible and remains popular with readers.

More important for his work overall may have been his position as an expatriate, and in other ways an outsider, living in Europe. While he came from middle-class and provincial belongings (seen from the perspective of European polite society) he worked very hard to gain access to all levels of society, and the settings of his fiction range from working class to aristocratic, and often describe the efforts of middle-class Americans to make their way in European capitals. He confessed he got some of his best story ideas from gossip at the dinner table or at country house weekends.[26] He worked for a living, however, and lacked the experiences of select schools, university, and army service, the common bonds of masculine society. He was furthermore a man whose tastes and interests were, according to the prevailing standards of Victorian era Anglo-American culture, rather feminine, and who was shadowed by the cloud of prejudice that then and later accompanied suspicions of his homosexuality.[27] Edmund Wilson famously compared James's objectivity to Shakespeare's:

One would be in a position to appreciate James better if one compared him with the dramatists of the seventeenth century—Racine and Molière, whom he resembles in form as well as in point of view, and even Shakespeare, when allowances are made for the most extreme differences in subject and form. These poets are not, like Dickens and Hardy, writers of melodrama — either humorous or pessimistic, nor secretaries of society like Balzac, nor prophets like Tolstoy: they are occupied simply with the presentation of conflicts of moral character, which they do not concern themselves about softening or averting. They do not indict society for these situations: they regard them as universal and inevitable. They do not even blame God for allowing them: they accept them as the conditions of life.[28]

It is also possible to see many of James's stories as psychological thought-experiments. The Portrait of a Lady may be an experiment to see what happens when an idealistic young woman suddenly becomes very rich. In many of his tales, characters seem to exemplify alternate futures and possibilities, as most markedly in "The Jolly Corner", in which the protagonist and a ghost-doppelganger live alternate American and European lives; and in others, like The Ambassadors, an older James seems fondly to regard his own younger self facing a crucial moment.[29]

Major novels

"Portrait of Henry James", oil painting by John Singer Sargent (1913)

Although any selection of James's novels as "major" must inevitably depend to some extent on personal preference, the following books have achieved prominence among his works in the views of many critics.[30]

The first period of James's fiction, usually considered to have culminated in The Portrait of a Lady, concentrated on the contrast between Europe and America. The style of these novels is generally straightforward and, though personally characteristic, well within the norms of 19th century fiction. Roderick Hudson (1875) is a Künstlerroman that traces the development of the title character, an extremely talented sculptor. Although the book shows some signs of immaturity—this was James's first serious attempt at a full-length novel — it has attracted favorable comment due to the vivid realization of the three major characters: Roderick Hudson, superbly gifted but unstable and unreliable; Rowland Mallet, Roderick's limited but much more mature friend and patron; and Christina Light, one of James's most enchanting and maddening femmes fatale. The pair of Hudson and Mallet has been seen as representing the two sides of James's own nature: the wildly imaginative artist and the brooding conscientious mentor.[31]

Although Roderick Hudson featured mostly American characters in a European setting, James made the Europe–America contrast even more explicit in his next novel. In fact, the contrast could be considered the leading theme of The American (1877). This book is a combination of social comedy and melodrama concerning the adventures and misadventures of Christopher Newman, an essentially good-hearted but rather gauche American businessman on his first tour of Europe. Newman is looking for a world different from the simple, harsh realities of 19th century American business. He encounters both the beauty and the ugliness of Europe, and learns not to take either for granted.

James wrote Washington Square (1880), a deceptively simple tragicomedy that recounts the conflict between a dull but sweet daughter and her brilliant, domineering father. The book is often compared to Jane Austen's work for the clarity and grace of its prose and its intense focus on family relationships. James was not particularly enthusiastic about Jane Austen, so he might not have regarded the comparison as flattering. In fact, James was not enthusiastic about Washington Square itself. He tried to read it over for inclusion in the New York Edition of his fiction (1907–09) but found that he could not. So he excluded the novel from the edition. But other readers have enjoyed the book enough to make it one of the more popular works in the entire Jamesian canon.

In The Portrait of a Lady (1881) James concluded the first phase of his career with a novel that remains his most popular long fiction. The story is of a spirited young American woman, Isabel Archer, who "affronts her destiny" and finds it overwhelming. She inherits a large amount of money and subsequently becomes the victim of Machiavellian scheming by two American expatriates. The narrative is set mainly in Europe, especially in England and Italy. Generally regarded as the masterpiece of his early phase, The Portrait of a Lady is described as a psychological novel, exploring the minds of his characters, and almost a work of social science, exploring the differences between Europeans and Americans, the old and the new worlds.[32]

In the 1880s James wrote The Bostonians (1886), a bittersweet tragicomedy that centers on: Basil Ransom, an unbending political conservative from Mississippi; Olive Chancellor, Ransom's cousin and a zealous Boston feminist; and Verena Tarrant, a pretty protégée of Olive's in the feminist movement. The story line concerns the contest between Ransom and Olive for Verena's allegiance and affection, though the novel also includes a wide panorama of political activists, newspaper people, and quirky eccentrics.

James followed with The Princess Casamassima (1886), the story of an intelligent but confused young London bookbinder, Hyacinth Robinson, who becomes involved in far left politics and a terrorist assassination plot. The book is something of a lone sport in the Jamesian canon for dealing with such a violent political subject. But it is often paired with The Bostonians, which is concerned with political issues.

Just as James was beginning his ultimately disastrous attempt to conquer the stage, he wrote The Tragic Muse (1890). This novel offers a wide, cheerful panorama of English life and follows the fortunes of two would-be artists: Nick Dormer, who vacillates between a political career and his efforts to become a painter, and Miriam Rooth, an actress striving for artistic and commercial success. A huge cast of supporting characters help and hinder their pursuits. The book reflects James's consuming interest in the theater and is often considered to mark the close of the second or middle phase of his career.

After the failure of his "dramatic experiment" James returned to his fiction and began to probe his characters' consciousness. His style started to grow in complexity to reflect the greater depth of his analysis. The Spoils of Poynton (1897) is a half-length novel that describes the struggle between Mrs. Gereth, a widow of impeccable taste and iron will, and her son Owen over a houseful of precious antique furniture. The story is largely told from the viewpoint of Fleda Vetch, a young woman in love with Owen but sympathetic to Mrs Gereth's anguish over losing the antiques she patiently collected.

James continued the more involved, psychological approach to his fiction with What Maisie Knew (1897), the story of the sensitive daughter of divorced and irresponsible parents. The novel has great contemporary relevance as an unflinching account of a wildly dysfunctional family.

The third period of James's career reached its most significant achievement in three novels published just after the turn of the century. Critic F. O. Matthiessen called this "trilogy" James's major phase, and these novels have certainly received intense critical study. It was the second-written of the books, The Wings of the Dove (1902) that was the first published. This novel tells the story of Milly Theale, an American heiress stricken with a serious disease, and her impact on the people around her. Some of these people befriend Milly with honorable motives, while others are more self-interested. James stated in his autobiographical books that Milly was based on Minny Temple, his beloved cousin who died at an early age of tuberculosis. He said that he attempted in the novel to wrap her memory in the "beauty and dignity of art".[33]

The next published of the three novels, The Ambassadors (1903), is a dark comedy that follows the trip of protagonist Lewis Lambert Strether to Europe in pursuit of his widowed fiancée's supposedly wayward son. Strether is to bring the young man back to the family business, but he encounters unexpected complications. The third-person narrative is told exclusively from Strether's point of view. In his preface to the New York Edition text of the novel, James placed this book at the top of his achievements, which has occasioned some critical disagreement. The Golden Bowl (1904) is a complex, intense study of marriage and adultery that completes the "major phase" and, essentially, James's career in the novel. The book explores the tangle of interrelationships between a father and daughter and their respective spouses. The novel focuses deeply and almost exclusively on the consciousness of the central characters, with sometimes obsessive detail and powerful insight.

Shorter narratives

Lamb House in Rye, East Sussex, where James lived from 1897

James was particularly interested in what he called the "beautiful and blest nouvelle", or the longer form of short narrative. Still, he produced a number of very short stories in which he achieved notable compression of sometimes complex subjects. The following narratives are representative of James's achievement in the shorter forms of fiction.[34]

Just as the contrast between Europe and America was a predominant theme in James's early novels, many of his first tales also explored the clash between the Old World and the New. In "A Passionate Pilgrim" (1871), the earliest fiction that James included in the New York Edition, the difference between America and Europe erupts into open conflict, which leads to a sadly ironic ending. The story's technique still seems somewhat inexpert, with passages of local color description occasionally interrupting the flow of the narrative. But James manages to craft an interesting and believable example of what he would call the "Americano-European legend".

James published many stories before what would prove to be his greatest success with the readers of his time, "Daisy Miller" (1878). This story portrays the confused courtship of the title character, a free-spirited American girl, by Winterbourne, a compatriot of hers with much more sophistication. His pursuit of Daisy is hampered by her own flirtatiousness, which is frowned upon by the other expatriates they meet in Switzerland and Italy. Her lack of understanding of the social mores of the society she so desperately wishes to enter ultimately leads to tragedy.

As James moved on from studies of the Europe-America clash and the American girl in his novels, his shorter works also explored new subjects in the 1880s. "The Aspern Papers" (1888) is one of James's best-known and most acclaimed longer tales. The storyline is based on an anecdote that James heard about a Shelley devotee who tried to obtain some valuable letters written by the poet. Set in a brilliantly described Venice, the story demonstrates James's ability to generate almost unbearable suspense while never neglecting the development of his characters. Another fine example of the middle phase of James's career in short narrative is "The Pupil" (1891), the story of a precocious young boy growing up in a mendacious and dishonorable family. He befriends his tutor, who is the only adult in his life that he can trust. James presents their relationship with sympathy and insight, and the story reaches what some have considered the status of classical tragedy.

"The Altar of the Dead", first published in James's collection Terminations in 1895 after the story failed of magazine publication, is a fable of literally life and death significance. The story explores how the protagonist tries to keep the remembrance of his dead friends, to save them from being forgotten entirely in the rush of everyday events. He meets a woman who shares his ideals, only to find that the past places what seems to be an impassable barrier between them. Although James was not religious in any conventional sense, the story shows a deep spirituality in its treatment of mortality and the transcendent power of unselfish love.

The final phase of James's short narratives shows the same characteristics as the final phase of his novels: a more involved style, a deeper psychological approach, and a sharper focus on his central characters. Probably his most popular short narrative among today's readers, "The Turn of the Screw" (1898) is a ghost story that has lent itself well to operatic and film adaptation. With its possibly ambiguous content and powerful narrative technique, the story challenges the reader to determine if the protagonist, an unnamed governess, is correctly reporting events or is instead an unreliable neurotic with an overheated imagination. To further muddy the waters, her written account of the experience—a frame tale—is being read many years later at a Christmas house party by someone who claims to have known her.

"The Beast in the Jungle" (1903) is almost universally considered to be one of James's finest short narratives, and has often been compared with The Ambassadors in its meditation on experience or the lack of it. The story also treats other universal themes: loneliness, fate, love and death. The parable of John Marcher and his peculiar destiny speaks to anyone who has speculated on the worth and meaning of human life. Among his last efforts in short narrative, "The Jolly Corner" (1908) is usually held to be one of James's best ghost stories. The tale describes the adventures of Spencer Brydon as he prowls the now-empty New York house where he grew up. Brydon encounters a "sensation more complex than had ever before found itself consistent with sanity".

Nonfiction

Photograph of Henry James (1897)

Beyond his fiction, James was one of the more important literary critics in the history of the novel. In his classic essay The Art of Fiction (1884), he argued against rigid proscriptions on the novelist's choice of subject and method of treatment. He maintained that the widest possible freedom in content and approach would help ensure narrative fiction's continued vitality. James wrote many valuable critical articles on other novelists; typical is his insightful book-length study of his American predecessor Nathaniel Hawthorne. When he assembled the New York Edition of his fiction in his final years, James wrote a series of prefaces that subjected his own work to the same searching, occasionally harsh criticism.[35]

For most of his life James harbored ambitions for success as a playwright. He converted his novel The American into a play that enjoyed modest returns in the early 1890s. In all he wrote about a dozen plays, most of which went unproduced. His costume drama Guy Domville failed disastrously on its opening night in 1895. James then largely abandoned his efforts to conquer the stage and returned to his fiction. In his Notebooks he maintained that his theatrical experiment benefited his novels and tales by helping him dramatize his characters' thoughts and emotions. James produced a small but valuable amount of theatrical criticism, including perceptive appreciations of Henrik Ibsen.[36]

With his wide-ranging artistic interests, James occasionally wrote on the visual arts. Perhaps his most valuable contribution was his favorable assessment of fellow expatriate John Singer Sargent, a painter whose critical status has improved markedly in recent decades. James also wrote sometimes charming, sometimes brooding articles about various places he visited and lived in. His most famous books of travel writing include Italian Hours (an example of the charming approach) and The American Scene (most definitely on the brooding side).[37]

James was one of the great letter-writers of any era. More than ten thousand of his personal letters are extant, and over three thousand have been published in a large number of collections. A complete edition of James's letters began publication in 2006 with two volumes covering the 1855–1872 period, edited by Pierre Walker and Greg Zacharias. James's correspondents included celebrated contemporaries like Robert Louis Stevenson, Edith Wharton and Joseph Conrad, along with many others in his wide circle of friends and acquaintances. The letters range from the "mere twaddle of graciousness"[38] to serious discussions of artistic, social and personal issues. Very late in life James began a series of autobiographical works: A Small Boy and Others, Notes of a Son and Brother, and the unfinished The Middle Years. These books portray the development of a classic observer who was passionately interested in artistic creation but was somewhat reticent about participating fully in the life around him.[39]

Henry James was only twenty-two when he wrote The Noble School of Fiction for The Nation's first issue in 1865. He wrote, in all, over two hundred essays and book, art and theater reviews for the magazine.[40]

Reception

Criticism, biographies and fictional treatments

Interior view of Lamb House, James's residence from 1897 till his death in 1916. (1898)

James's work has remained steadily popular with the limited audience of educated readers to whom he spoke during his lifetime, and remained firmly in the British canon, but after his death American critics, such as Van Wyck Brooks, expressed hostility towards James's long expatriation and eventual naturalization as a British citizen.[41] Other critics like E.M. Forster complained about what they saw as James's squeamishness in the treatment of sex and other possibly controversial material, or dismissed his style as difficult and obscure, relying heavily on extremely long sentences and excessively latinate language.[42] Vernon Parrington, composing a canon of American literature, condemned James for having cut himself off from America. Jorge Luis Borges wrote about him, "Despite the scruples and delicate complexities of James his work suffers from a major defect: the absence of life."[43]

Despite these criticisms, James is now valued for his psychological and moral realism, his masterful creation of character, his low-key but playful humor, and his assured command of the language. In his 1983 book, The Novels of Henry James, Edward Wagenknecht offers an assessment that echoes Theodora Bosanquet's:

"To be completely great," Henry James wrote in an early review, "a work of art must lift up the heart," and his own novels do this to an outstanding degree… More than sixty years after his death, the great novelist who sometimes professed to have no opinions stands foursquare in the great Christian humanistic and democratic tradition. The men and women who, at the height of World War II, raided the secondhand shops for his out-of-print books knew what they were about. For no writer ever raised a braver banner to which all who love freedom might adhere.[44]

Early biographies of James echoed the unflattering picture of him drawn in early criticism. F.W. Dupee, as noted above, characterized James as neurotically withdrawn and fearful, and although Dupee lacked access to primary materials his view has remained persuasive in academic circles, partly because Leon Edel's massive five-volume work, published from 1953 to 1972, seemed to butress it with extensive documentation. Michael Anesko, Fred Kaplan, and Sheldon Novick, working from primary materials have disputed the factual basis of Dupee's and Edel's accounts. Other critics and biographers have disputed Edel's interpretations and conclusions. James has also figured in at least a half-dozen novels. Colm Tóibín used an extensive list of biographies of Henry James and his family for his widely admired 2004 novel, The Master, which is a third person narrative with James as the central character, and deals with specific episodes from his life during the period between 1895 and 1899. Author, Author, a novel by David Lodge published in the same year, was based on James's efforts to conquer the stage in the 1890s. In 2002 Emma Tennant published Felony: The Private History of The Aspern Papers, a novel that fictionalized the relationship between James and American novelist Constance Fenimore Woolson and the possible effects of that relationship on The Aspern Papers.

The published criticism of James's work has reached enormous proportions. The volume of criticism of The Turn of the Screw alone has become extremely large for such a brief work. The Henry James Review, published three times a year, offers criticism of James's entire range of writings, and many other articles and book-length studies appear regularly. Some guides to this extensive literature can be found on the external sites listed below.

Legacy

Perhaps the most prominent examples of James's legacy in recent years have been the film versions of several of his novels and stories. Three of James's novels were filmed by the team of Ismail Merchant and James Ivory: The Europeans (1978), The Bostonians (1984) and The Golden Bowl (2000). The Iain Softley-directed version of The Wings of the Dove (1997) was successful with both critics and audiences. Helena Bonham Carter received an Academy Award nomination as Best Actress for her memorable portrayal of Kate Croy. Agnieszka Holland's Washington Square (1997) was well received by critics, and Jane Campion tried her hand with The Portrait of a Lady (1996) but with much less success. In earlier times Jack Clayton's The Innocents (1961) brought The Turn of the Screw to vivid life on film, and William Wyler's The Heiress (1949), adapted from Washington Square, won four Academy Awards, including a Best Actress award for Olivia de Havilland as Catherine Sloper.

Most of James's work has remained continuously in print since its first publication, and he continues to be a major figure in realist fiction, influencing generations of novelists. Testifying to his importance, a character named "Henry James" appears in at least a half-dozen novels, as noted above, the best-known of which is The Master by Colm Toibin.[45] Such disparate writers as Joyce Carol Oates with Accursed Inhabitants of the House of Bly (1994), Louis Auchincloss with The Ambassadress (1950), Tom Stoppard with The Real Thing (1982), and Alan Hollinghurst with The Line of Beauty (2004) were explicitly influenced by James's works. James was definitely out of his element when it came to music, but Benjamin Britten's operatic version of "The Turn of the Screw" (1954) has become one of the composer's most popular works. William Tuckett converted the story into a ballet in 1999.

Even when the influence is not so obvious, James can cast a powerful spell. In 1954, when the shades of depression were thickening fast, Ernest Hemingway wrote an emotional letter where he tried to steady himself as he thought James would: "Pretty soon I will have to throw this away so I better try to be calm like Henry James. Did you ever read Henry James? He was a great writer who came to Venice and looked out the window and smoked his cigar and thought." The odd, perhaps subconscious or accidental allusion to "The Aspern Papers" is striking. And there are the real oddities, like the Rolls-Royce ad which used Strether's famous words: "Live all you can; it's a mistake not to." That's more than a little ironic, considering The Ambassadors' sardonic treatment of the "great new force" of advertising.[46]

Bibliography

Novels

Short stories and novellas

  • A Tragedy of Error (1864)
  • The Story of a Year
  • A Landscape Painter
  • A Day of Days
  • My Friend Bingham
  • Poor Richard
  • The Story of a Masterpiece
  • A Most Extraordinary Case
  • A Problem
  • De Grey: A Romance
  • Osborne's Revenge
  • A Light Man
  • Gabrielle de Bergerac
  • Travelling Companions
  • A Passionate Pilgrim (1871)
  • At Isella
  • Master Eustace
  • Guest's Confession
  • The Madonna of the Future
  • The Sweetheart of M. Briseux
  • The Last of the Valerii
  • Madame de Mauves (1874)
  • Adina
  • Professor Fargo
  • Eugene Pickering
  • Benvolio
  • Crawford's Consistency
  • The Ghostly Rental
  • Rose-Agathe
  • Daisy Miller (1878)
  • Longstaff's Marriage
  • An International Episode
  • The Pension Beaurepas
  • A Diary of a Man of Fifty
  • Four Meetings (1879)
  • A Bundle of Letters (1879)
  • The Point of View
  • The Siege of London

Other

Notes

  1. ^ http://muse.jhu.edu/journals/henry_james_review/v029/29.2.hutchison.html
  2. ^ Novick (1996) p. 431
  3. ^ James acknowledged his debt to these writers. For instance, see the New York Edition preface to The Portrait of a Lady for a discussion of Turgenev's influence, and the Lesson of Balzac for the French novelist's. James wrote extensive critical essays on all four of these writers. Later critics such as Cornelia Sharp and Edward Wagenknecht have noted specific influences on James's works, such as Balzac's Eugénie Grandet on Washington Square, Hawthorne's The Marble Faun on Roderick Hudson, and Turgenev's Virgin Soil on The Princess Casamassima. Novick (2007) pointed out the influence of Ibsen on his fiction.
  4. ^ Edel (1990) pp. 75, 89
  5. ^ Edel (1990) p.121
  6. ^ Novick (2007) pp.15-160 et passim.
  7. ^ The Notebooks of Henry James, F.O. Matthiessen and Kenneth B. Murdoch, eds., p. 179. See similarly Richard Ellmann, in Bradley (1999) p. 21, n; Novick (2007) pp. 219-225 et passim.
  8. ^ See Dupee (1949) and (1951), collecting earlier papers.
  9. ^ "The asperity papers" (June 24, 2006) by Terry Eagleton, a review of The Year of Henry James: The Story of a Novel by David Lodge in The Guardian.
  10. ^ The Correspondence of William James: Volume 3, William and Henry edited by Ignas Skrupskelis and Elizabeth Bradley (1994) p. 271.
  11. ^ See volume four of Edel's referenced biography, p.306–316, for a particularly long and inconclusive discussion on the subject. See also Bradley (1999) and (2000).
  12. ^ Mamoli Zorzi, Rosella (Ed.) Beloved Boy: Letters to Hendrik C. Andersen, 1899–1915 ISBN 0-8139-2270-4
  13. ^ Gunter, Susan E; Jobe, Steven Dearly Beloved Friends: Henry James's Letters to Younger Men (2001) ISBN 0-472-11009-8
  14. ^ Gunter and Jobe (2001) p.125
  15. ^ Gunter and Jobe p.179
  16. ^ Black Sun Press (1927)
  17. ^ Bravest of Women and Finest of Friends: Henry James's Letters to Lucy Clifford, edited by Marysa Demoor and Monty Chisholm, University of Victoria (1999), p.79 ISBN 0-920604-67-6
  18. ^ Dear Munificent Friends: Henry James's Letters to Four Women, edited by Susan E. Gunter, The University of Michigan Press (1999), p.146 ISBN 0-472-11010-1
  19. ^ See e.g. Cheryl Torsney, Constance Fenimore Woolson: The Grief of Artistry (1989)("Edel's text. . . a convention-laden male fantasy").
  20. ^ Novick (2007)pp. 202-204
  21. ^ Henry James At Work by Theodora Bosanquet, p.275–276 (1970) ISBN 0-8383-0009-X
  22. ^ ""But I come back, I come back, as I say, I all throbbingly and yearningly and passionately, oh, mon bon, come back to this way"". MetaFilter. http://www.metafilter.com/36657/but-I-come-back-I-come-back-as-I-say-I-all-throbbingly-and-yearningly-and-passionately-oh-mon-bon-come-back-to-this-way. Retrieved 2007-07-14. 
  23. ^ See James's prefaces, Horne's study of his revisions for The New York Edition, Edward Wagenknecht's The Novels of Henry James (1983) among many discussions of the changes in James's narrative technique and style over the course of his career.
  24. ^ The Writing of Fiction by Edith Wharton, p.90–91 (1925)
  25. ^ H.G. Wells, Boon, The Mind of the Race, The Wild Asses of the Devil, and The Last Trump. London: T. Fisher Unwin (1915) p. 101.
  26. ^ James's prefaces to the New York Edition of his fiction often discuss such origins for his stories. See, for instance, the preface to The Spoils of Poynton.
  27. ^ James himself noted his "outsider" status. In a letter of October 2, 1901 to W. Morton Fullerton, James talked of the "essential loneliness of my life" as "the deepest thing" about him (Henry James Letters edited by Leon Edel, volume 4, p.170 (1984) ISBN 0-674-38780-5)
  28. ^ The Portable Edmund Wilson edited by Lewis Dabney, p.128–129 (1983) ISBN 0-14-015098-6
  29. ^ Millicent Bell explores such themes in her monograph Meaning in Henry James
  30. ^ For extensive critical discussions of The American, The Portrait of a Lady, The Ambassadors and The Wings of the Dove, see the referenced editions of these novels. For discussion of all of James's novels from a variety of critical viewpoints, see the referenced books of criticism.
  31. ^ Kraft, James. The early tales of Henry James. Southern Illinois University Press, 1969, p. 68.
  32. ^ Brownstein, Gabriel. "Introduction," in James, Henry. Portrait of a Lady, Barnes and Noble Classics series, Spark Educational Publishing, 2004.
  33. ^ Posnock, Ross. "James, Browning, and the Theatrical Self," in Neuman, Mark and Payne, Michael. Self, sign, and symbol. Bucknell University Press, 1987, p. 114.
  34. ^ For further critical analysis of these narratives, see the referenced editions of James's tales and The Turn of the Screw. The referenced books of criticism also discuss many of James's short narratives.
  35. ^ See the referenced editions of James's criticism and the related articles in the "Literary criticism" part of the "Notable works by James" section for further discussion of his critical essays.
  36. ^ Henry James: The Scenic Art, Notes on Acting and the Drama 1872–1901 edited by Allan Wade, p.243–260 (1948). For a general discussion of James's efforts as a playwright, see Edel's referenced edition of his plays.
  37. ^ Further information about these works can be found in the related articles in the "Travel writings" and "Visual arts criticism" parts of the "Notable works by James" section and in the referenced editions of James's travel writings.
  38. ^ Henry James Letters edited by Leon Edel, volume 4 p.208 (1983). Further information on James's letters can be found at The Online Calendar of Henry James's Letters. For more information on the complete edition of James's letters, see The Henry James Scholar's Guide to Web Sites in the "External links" section.
  39. ^ See the referenced edition of James's autobiographical books by F.W. Dupee, which includes a critical introduction, an extensive index, and notes.
  40. ^ Katrina Vanden Heuvel The Nation 1865-1990, p. 5, Thunder's Mouth Press, 1990 ISBN 1-56025-001-1
  41. ^ The Pilgrimage of Henry James by Van Wyck Brooks (1925) develops this thesis at length.
  42. ^ Aspects of the Novel by E.M. Forster p.153–163, (1956) ISBN 0-674-38780-5
  43. ^ Borges, Jorge Luis, in collaboration with Esther Zemborain de Torres (1971) An Introduction to American Literature. Lexington: University Press of Kentucky. p. 55.
  44. ^ The Novels of Henry James by Edward Wagenknecht, p.261–262 (1983) ISBN 0-8044-2959-6
  45. ^ (2004) ISBN 0-330-48566-0
  46. ^ Many of these examples are drawn from Henry James's Legacy: The Afterlife of His Figure and Fiction by Adeline Tintner (1998) ISBN 0-8071-2157-6. Specific references from the book: Joyce Carol Oates p.378–380, Louis Auchincloss p.350–353, Tom Stoppard p.251–253, Benjamin Britten p.247, Ernest Hemingway p.176–188, and Rolls-Royce p.2–4.

References

Biography
  • Henry James by F.W. Dupee. William Sloane Associates, The American Men of Letters Series, 1951.
  • Henry James: The Untried Years 1843–1870 by Leon Edel (1953)
  • ------------ The Conquest of London 1870–1881 by Leon Edel (1962) ISBN 0-380-39651-3
  • ------------ The Middle Years 1882–1895 by Leon Edel (1962) ISBN 0-380-39669-6
  • ------------ The Treacherous Years 1895–1901 by Leon Edel (1969) ISBN 0-380-39677-7
  • ------------ The Master 1901–1916 by Leon Edel (1972) ISBN 0-380-39677-7
  • "Friction with the Market": Henry James and the Profession of Authorship by Michael Anesko (1986) ISBN 0-19-504034-1
  • Henry James: The Imagination of Genius by Fred Kaplan (1992) ISBN 0-688-09021-4
  • ------------ The Young Master by Sheldon Novick (1996) ISBN 0-394-58655-7
  • ------------ The Mature Master by Sheldon Novick (2007) ISBN 978-0-679-45023-8
  • A Private Life of Henry James: Two Women and His Art by Lyndall Gordon (1998) ISBN 0-393-04711-3
  • Henry James's Permanent Adolescence by John R. Bradley (2000) ISBN 0-333-91874-6
Letters
  • Theatre and Friendship by Elizabeth Robins. London: Jonathan Cape, 1932.
  • Henry James: Letters edited by Leon Edel (four vols., 1974-1984)
  • The Correspondence of William James: vols. 1-3, William and Henry (1992-1994)
  • Dear Munificent Friends: Henry James's Letters to Four Women edited by Susan Gunter (1999) ISBN 0-472-11010-1
  • Henry James: A Life in Letters edited by Philip Horne (1999) ISBN 0-670-88563-0
  • Dearly Beloved Friends: Henry James's Letters to Younger Men edited by Susan E. Gunter and Steven H. Jobe (2001) ISBN 0-472-11009-8
  • Beloved Boy: Letters to Hendrik C. Andersen, 1899-1915 edited by Rosella Mamoli Zorzi (2004) ISBN 0-8139-2270-4
  • The Complete Letters of Henry James,1855-1872 edited by Pierre A. Walker and Greg Zacharias (two vols., University of Nebraska Press, 2006)
  • The Complete Letters of Henry James, 1872-1876 edited by Pierre A. Walker and Greg W. Zacharias (three vols., University of Nebraska Press, 2008)
Editions
  • Henry James: Autobiography edited by F.W. Dupee (1956)
  • The American: an Authoritative Text, Backgrounds and Sources, Criticism edited by James Tuttleton (1978) ISBN 0-393-09091-4
  • The Notebooks of Henry James edited by F. O. Matthiessen and Kenneth Murdock (1981) ISBN 0-226-51104-9
  • Novels 1871–1880: Watch and Ward, Roderick Hudson, The American, The Europeans, Confidence (William T. Stafford, ed.) (Library of America, 1983) ISBN 978-0-940450-13-4
  • Literary Criticism Volume One: Essays on Literature, American Writers, English Writers edited by Leon Edel and Mark Wilson (Library of America, 1984) ISBN 978-0-940450-22-6
  • Literary Criticism Volume Two: French Writers, Other European Writers, The Prefaces to the New York Edition edited by Leon Edel and Mark Wilson (Library of America, 1984) ISBN 978-0-940450-23-3
  • Novels 1881–1886: Washington Square, The Portrait of a Lady, The Bostonians (William T. Stafford, ed) (Library of America, 1985) ISBN 978-0-940450-30-1
  • The Complete Notebooks of Henry James edited by Leon Edel and Lyall Powers (1987) ISBN 0-19-503782-0
  • Novels 1886–1890: The Princess Casamassima, The Reverberator, The Tragic Muse (Daniel Mark Fogel, ed) (Library of America, 1989) ISBN 978-0-940450-56-1
  • The Complete Plays of Henry James edited by Leon Edel (1990) ISBN 0-19-504379-0
  • Collected Travel Writings, Great Britain and America: English Hours; The American Scene; Other Travels edited by Richard Howard (Library of America, 1993) ISBN 978-0-940450-76-9
  • Collected Travel Writings, The Continent: A Little Tour in France, Italian Hours, Other Travels edited by Richard Howard (Library of America, 1993) ISBN 0-940450-77-1
  • The Ambassadors: An Authoritative Text, The Author on the Novel, Criticism edited by S.P. Rosenbaum (1994) ISBN 0-393-96314-4
  • Complete Stories 1892–1898 (John Hollander, David Bromwich, Denis Donoghue, eds) (Library of America, 1996) ISBN 978-1-883011-09-3
  • Complete Stories 1898–1910 (John Hollander, David Bromwich, Denis Donoghue, eds) (Library of America, 1996) ISBN 978-1-883011-10-9
  • Complete Stories 1864–1874 (Jean Strouse, ed) (Library of America, 1999) ISBN 978-1-883011-70-3
  • Complete Stories 1874–1884 (William Vance, ed) (Library of America, 1999) ISBN 978-1-883011-63-5
  • Complete Stories 1884–1891 (Edward Said, ed) (Library of America, 1999) ISBN 978-1-883011-64-2
  • The Turn of the Screw: Authoritative Text, Contexts, Criticism edited by Deborah Esch and Jonathan Warren (1999) ISBN 0-393-95904-X
  • Henry James on Culture: Collected Essays on Politics and the American Social Scene edited by Pierre Walker (1999) ISBN 0-8032-2589-X
  • Novels 1896–1899: The Other House, The Spoils of Poynton, What Maisie Knew, The Awkward Age (Myra Jehlen, ed) (Library of America, 2003) ISBN 978-1-931082-30-3
  • The Portrait of a Lady: An Authoritative Text, Henry James and the Novel, Reviews and Criticism edited by Robert Bamberg (2003) ISBN 0-393-96646-1
  • The Wings of the Dove: Authoritative Text, The Author and the Novel, Criticism edited by J. Donald Crowley and Richard Hocks (2003) ISBN 0-393-97881-8
  • Tales of Henry James: The Texts of the Tales, the Author on His Craft, Criticism edited by Christof Wegelin and Henry Wonham (2003) ISBN 0-393-97710-2
  • The Portable Henry James, New Edition edited by John Auchard (2004) ISBN 0-14-243767-0
  • Novels 1901–1902: The Sacred Fount, The Wings of the Dove (Leo Bersani, ed) (Library of America, 2006) ISBN 978-1-931082-88-4
  • Henry James, et al., The Classics of Style. The American Academic Press, New Edition of writing advice (2006) ISBN 0-9787282-0-3
Criticism
  • The Novels of Henry James by Oscar Cargill (1961)
  • The Tales of Henry James by Edward Wagenknecht (1984) ISBN 0-8044-2957-X
  • Modern Critical Views: Henry James edited by Harold Bloom (1987) ISBN 0-87754-696-7
  • A Companion to Henry James Studies edited by Daniel Mark Fogel (1993) ISBN 0-313-25792-2
  • Henry James: A Collection of Critical Essays edited by Ruth Yeazell (1994) ISBN 0-13-380973-0
  • The Cambridge Companion to Henry James edited by Jonathan Freedman (1998) ISBN 0-521-49924-0
  • Henry James and Homo-Erotic Desire edited by John R. Bradley (1999) ISBN 0-312-21764-1
  • Henry James on Stage and Screen edited by John R. Bradley (2000) ISBN 0-333-79214-9
  • The Novel Art: Elevations of American Fiction after Henry James by Mark McGurl (2001) ISBN 0-691-08899-3
  • Henry James and the Visual by Kendall Johnson (2007) ISBN 0-521-88066-1
  • False Positions: The Representational Logics of Henry James's Fiction. by Julie Rivkin. (1996) ISBN 0-8047-2617-5
General
  • A Bibliography of Henry James: Third Edition by Leon Edel, Dan Laurence and James Rambeau (1982) ISBN 1-58456-005-3
  • A Henry James Encyclopedia by Robert L. Gale (1989) ISBN 0-313-25846-5
  • Henry James and Modern Moral Life by Robert B. Pippin (1999) ISBN 0-521-65230-8
Fiction
  • Richard Liebmann-Smith. The James Boys: A Novel Account of Four Desperate Brothers (2008) posits Jesse and Frank are noms de outlaw used by William and Henry James's two younger brothers who went West and fought in the Civil War. Written somewhat in the style of Henry James.

External links


Quotes

Up to date as of January 14, 2010

From Wikiquote

Live all you can—it's a mistake not to. It doesn't so much matter what you do in particular, so long as you have your life. If you haven't had that, what have you had?

Henry James, OM (1843-04-151916-02-28), brother of the philosopher and psychologist William James, was an American-born author and literary critic of the late 19th and early 20th centuries.

See also: The American Scene

Contents

Sourced

  • In the long run an opinion often borrows credit from the forbearance of its patrons.
    • "Essays in Criticism by Matthew Arnold," North American Review (July 1865)
  • Everything about Florence seems to be coloured with a mild violet, like diluted wine.
  • The face of nature and civilization in this our country is to a certain point a very sufficient literary field. But it will yield its secrets only to a really grasping imagination... To write well and worthily of American things one need even more than elsewhere to be a master.
  • It's a complex fate, being an American, and one of the responsibilities it entails is fighting against a superstitious valuation of Europe.
    • Letter to Charles Eliot Norton (1872-02-04)
  • Deep experience is never peaceful.
    • Madame de Mauves, Galaxy Magazine (February/March 1874), ch. V, reprinted in A Passionate Pilgrim (1875) and later in The Madonna of the Future and Other Tales (1879) and the New York Edition of James' works, vol. 13 (1908)
  • True happiness, we are told, consists in getting out of one's self; but the point is not only to get out — you must stay out; and to stay out you must have some absorbing errand.
  • It takes a great deal of history to produce a little literature.
  • One might enumerate the items of high civilization, as it exists in other countries, which are absent from the texture of American life, until it should become a wonder to know what was left.
    • Hawthorne, ch. II: Early Manhood
  • Whatever question there may be of his [Thoreau's] talent, there can be none, I think, of his genius. It was a slim and crooked one; but it was eminently personal. He was imperfect, unfinished, inartistic; he was worse than provincial — he was parochial; it is only at his best that he is readable.
    • Hawthorne, ch. IV: Brook Farm and Concord
  • He would agree that life is a little worth living — or worth living a little; but would remark that, unfortunately, to live little enough, we have to live a great deal.
    • Hawthorne, ch. V: The Three American Novels
  • It is, I think, an indisputable fact that Americans are, as Americans, the most self-conscious people in the world, and the most addicted to the belief that the other nations of the earth are in a conspiracy to undervalue them.
    • Hawthorne, ch. VI: England and Italy
  • My choice is the old world — my choice, my need, my life.
  • Don't mind anything anyone tells you about anyone else. Judge everyone and everything for yourself.
  • The real offence, as she ultimately perceived, was her having a mind of her own at all. Her mind was to be his — attached to his own like a small garden-plot to a deer-park.
    • The Portrait of a Lady (1881), ch. XLII
  • You wanted to look at life for yourself — but you were not allowed; you were punished for your wish. You were ground in the very mill of the conventional!
    • The Portrait of a Lady, ch. LIV
  • Young men of this class never do anything for themselves that they can get other people to do for them, and it is the infatuation, the devotion, the superstition of others that keeps them going. These others in ninety-nine cases out of a hundred are women.
  • She ordered a cup of tea, which proved excessively bad, and this gave her a sense that she was suffering in a romantic cause.
    • Washington Square, ch. XV
  • I hold any writer sufficiently justified who is himself in love with his theme.
    • "Venice," The Century Magazine, vol. XXV (November 1882), reprinted in Portraits of Places (1883) and later in Italian Hours (1909), ch: I: Venice, pt. I
  • Though there are some disagreeable things in Venice there is nothing so disagreeable as the visitors.
    • "Venice," The Century Magazine, vol. XXV (November 1882), reprinted in Portraits of Places (1883) and later in Italian Hours (1909), ch. I: Venice, pt. II
  • There are two kinds of taste in the appreciation of imaginative literature: the taste for emotions of surprise and the taste for emotions of recognition.
    • "Anthony Trollope," Century Magazine (July 1883); reprinted in Partial Portraits (1888)
  • A tradition is kept alive only by something being added to it.
  • If the artist is necessarily sensitive, does that sensitiveness form in its essence a state constantly liable to shade off into the morbid? Does this liability, moreover, increase in proportion as the effort is great and the ambition intense?
    • "The Journal of the Brothers de Goncourt," Fortnightly Review (October 1888)
  • To take what there is, and use it, without waiting forever in vain for the preconceived — to dig deep into the actual and get something out of that — this doubtless is the right way to live.
  • The superiority of one man's opinion over another's is never so great as when the opinion is about a woman.
    • The Tragic Muse (1890), ch. IX
  • The practice of "reviewing"... in general has nothing in common with the art of criticism.
    • Criticism (1893)
  • The critical sense is so far from frequent that it is absolutely rare, and the possession of the cluster of qualities that minister to it is one of the highest distinctions... In this light one sees the critic as the real helper of the artist, a torchbearing outrider, the interpreter, the brother... Just in proportion as he is sentient and restless, just in proportion as he reacts and reciprocates and penetrates, is the critic a valuable instrument.
    • Criticism
  • However incumbent it may be on most of us to do our duty, there is, in spite of a thousand narrow dogmatisms, nothing in the world that anyone is under the least obligation to like — not even (one braces one's self to risk the declaration) a particular kind of writing.
    • Flaubert (1893)
  • We work in the dark — we do what we can — we give what we have. Our doubt is our passion and our passion is our task. The rest is the madness of art.
  • She had an unequalled gift, especially pen in hand, of squeezing big mistakes into small opportunities.
  • The only success worth one's powder was success in the line of one's idiosyncrasy. Consistency was in itself distinction, and what was talent but the art of being completely whatever it was that one happened to be?
    • "The Next Time," The Yellow Book, vol. VI (July 1895)
  • The time-honored bread-sauce of the happy ending.
    • Theatricals: Second Series (1895)
  • Vereker’s secret, my dear man — the general intention of his books: the string the pearls were strung on, the buried treasure, the figure in the carpet.
  • He is outside of everything, and an alien everywhere. He is an aesthetic solitary. His beautiful, light imagination is the wing that on the autumn evening just brushes the dusky window.
    • "Nathaniel Hawthorne" in Library of the World's Best Literature, vol. XII (1897), ed. Charles Dudley Warner
  • People talk about the conscience, but it seems to me one must just bring it up to a certain point and leave it there. You can let your conscience alone if you're nice to the second housemaid.
  • Live all you can — it's a mistake not to. It doesn't so much matter what you do in particular, so long as you have your life. If you haven't had that, what have you had?... What one loses one loses; make no mistake about that...The right time is any time that one is still so lucky as to have.... Live!
  • She was a woman who, between courses, could be graceful with her elbows on the table.
    • The Ambassadors, book VII, ch. I
  • I'm glad you like adverbs — I adore them; they are the only qualifications I really much respect.
    • Letter to Miss M. Betham Edwards (1912-01-05)
  • We must know, as much as possible, in our beautiful art...what we are talking about — and the only way to know is to have lived and loved and cursed and floundered and enjoyed and suffered. I think I don't regret a single "excess" of my responsive youth — I only regret, in my chilled age, certain occasions and possibilities I didn't embrace.
  • I still, in presence of life... have reactions — as many as possible... It's, I suppose, because I am that queer monster, the artist, an obstinate finality, an inexhaustible sensibility. Hence the reactions — appearances, memories, many things, go on playing upon it with consequences that I note and "enjoy" (grim word!) noting. It all takes doing — and I do. I believe I shall do yet again — it is still an act of life.
  • The effect, if not the prime office, of criticism is to make our absorption and our enjoyment of the things that feed the mind as aware of itself as possible, since that awareness quickens the mental demand, which thus in turn wanders further and further for pasture. This action on the part of the mind practically amounts to a reaching out for the reasons of its interest, as only by its ascertaining them can the interest grow more various. This is the very education of our imaginative life.
    • The New Novel (1914)
  • It is art that makes life, makes interest, makes importance, for our consideration and application of these things, and I know of no substitute whatever for the force and beauty of its process.
  • The full, the monstrous demonstration that Tennyson was not Tennysonian.
  • If I were to live my life over again, I would be an American. I would steep myself in America, I would know no other land.
    • Said to Hamlin Garland in 1906 and quoted by Garland in Roadside Meetings (1930; reprinted by Kessinger Publishing, 2005, ISBN 1-417-90788-6), ch. XXXVI: Henry James at Rye (p. 461)
  • Summer afternoon — summer afternoon; to me those have always been the two most beautiful words in the English language.
  • So here it is at last, the distinguished thing!
    • After suffering a stroke (1915-12-02), the first of several which led to his death, as recounted by Edith Wharton in A Backward Glance (1934), ch. 14: "He is said to have told his old friend Lady Prothero, when she saw him after the first stroke, that in the very act of falling (he was dressing at the time) he heard in the room a voice which was distinctly, it seemed, not his own, saying: 'So here it is at last, the distinguished thing!'"
  • Three things in human life are important. The first is to be kind. The second is to be kind. And the third is to be kind.
    • Said to his nephew, Willie James, in 1902; quoted in Leon Edel, Henry James: A Life, vol V: The Master 1901-1916 (1972)

The Art of Fiction (1884)

Originally published in Longman's Magazine (1884-09-04) and reprinted in Partial Portraits (1888)

  • The only reason for the existence of a novel is that it does attempt to represent life.
    • Variant text: The only reason for the existence of a novel is that it does compete with life.
  • The only obligation to which in advance we may hold a novel without incurring the accusation of being arbitrary, is that it be interesting.
  • The advantage, the luxury, as well as the torment and responsibility of the novelist, is that there is no limit to what he may attempt as an executant — no limit to his possible experiments, efforts, discoveries, successes.
  • Experience is never limited, and it is never complete; it is an immense sensibility, a kind of huge spider-web, of the finest silken threads, suspended in the chamber of consciousness and catching every air-borne particle in its tissue.
  • The power to guess the unseen from the seen, to trace the implication of things, to judge the whole piece by the pattern, the condition of feeling life, in general, so completely that you are well on your way to knowing any particular corner of it — this cluster of gifts may almost be said to constitute experience, and they occur in country and in town, and in the most differing stages of education. If experience consists of impressions, it may be said that impressions are experience, just as (have we not seen it?) they are the very air we breathe. Therefore, if I should certainly say to a novice, "Write from experience, and experience only," I should feel that this was a rather tantalizing monition if I were not careful immediately to add, "Try to be one of the people on whom nothing is lost!"
  • What is character but the determination of incident? What is incident but the illustration of character?
  • We must grant the artist his subject, his idea, what the French call his donnée; our criticism is applied only to what he makes of it. Naturally I do not mean that we are bound to like it or find it interesting: in case we do not our course is perfectly simple — to let it alone. We may believe that of a certain idea even the most sincere novelist can make nothing at all, and the event may perfectly justify our belief; but the failure will have been a failure to execute, and it is in the execution that the fatal weakness is recorded. If we pretend to respect the artist at all we must allow him his freedom of choice, in the face, in particular cases, of innumerable presumptions that the choice will not fructify. Art derives a considerable part of its beneficial exercise from flying in the face of presumptions, and some of the most interesting experiments of which it is capable are hidden in the bosom of common things.
  • There are few things more exciting to me, in short, than a psychological reason.

The Turn of the Screw (1898)

  • The story had held us, round the fire, sufficiently breathless, but except the obvious remark that it was gruesome, as, on Christmas Eve in an old house, a strange tale should essentially be.
    • Introduction
  • It was as if, at moments, we were perpetually coming into sight of subjects before which we must stop short, turning suddenly out of alleys that we perceived to be blind, closing with a little bang that made us look at each other — for, like all bangs, it was something louder than we had intended— the doors we had indiscreetly opened.
    • Ch. XIII
  • The place, with its gray sky and withered garlands, its bared spaces and scattered dead leaves, was like a theater after the performance — all strewn with crumpled playbills.
    • Ch. XIII
  • I caught him, yes, I held him — it may be imagined with what a passion; but at the end of a minute I began to feel what it truly was that I held. We were alone with the quiet day, and his little heart, dispossessed, had stopped.
    • Ch. XXIV

Prefaces (1907-1909)

  • Really, universally, relations stop nowhere, and the exquisite problem of the artist is eternally but to draw, by a geometry of his own, the circle within which they shall happily appear to do so.
    • Roderick Hudson
  • There is, I think, no more nutritive or suggestive truth... than that of the perfect dependence of the "moral" sense of a work of art on the amount of felt life concerned in producing it. The question comes back thus, obviously, to the kind and the degree of the artist's prime sensibility, which is the soil out of which his subject springs.
    • The Portrait of a Lady
  • To see deep difficulty braved is at any time, for the really addicted artist, to feel almost even as a pang the beautiful incentive, and to feel it verily in such sort as to wish the danger intensified. The difficulty most worth tackling can only be for him, in these conditions, the greatest the case permits of.
    • The Portrait of a Lady
  • Life being all inclusion and confusion, and art being all discrimination and selection, the latter, in search of the hard latent value with which it alone is concerned, sniffs round the mass as instinctively and unerringly as a dog suspicious of some buried bone.
    • The Spoils of Poynton
  • The fatal futility of Fact.
    • The Spoils of Poynton
  • No themes are so human as those that reflect for us, out of the confusion of life, the close connection of bliss and bale, of the things that help with the things that hurt, so dangling before us forever that bright hard medal, of so strange an alloy, one face of which is somebody's right and ease and the other somebody's pain and wrong.
    • What Maisie Knew
  • The effort really to see and really to represent is no idle business in face of the constant force that makes for muddlement. The great thing is indeed that the muddled state too is one of the very sharpest of the realities, that it also has color and form and character, has often in fact a broad and rich comicality.
    • What Maisie Knew
  • To criticize is to appreciate, to appropriate, to take intellectual possession, to establish in fine a relation with the criticized thing and to make it one's own.
    • What Maisie Knew
  • The historian, essentially, wants more documents than he can really use; the dramatist only wants more liberties than he can really take.
    • The Aspern Papers; The Turn of the Screw; The Liar; The Two Faces
  • We are divided of course between liking to feel the past strange and liking to feel it familiar.
    • The Aspern Papers; The Turn of the Screw; The Liar; The Two Faces
  • The ever importunate murmur, "Dramatize it, dramatize it!"
    • The Altar of the Dead
  • In art economy is always beauty.
    • The Altar of the Dead
  • The terrible fluidity of self-revelation.
    • The Ambassadors

Misattributed

  • Be not afraid of life. Believe that life is worth living, and your belief will help create the fact.
    • William James, "Is Life Worth Living?," The Will to Believe and Other Essays in Popular Philosophy (1897)
  • Ideas are, in truth, force.
    • "Ideas are, in truth, forces. Infinite, too, is the power of personality. A union of the two always makes history." - Henry James (1879-1947), Charles W. Eliot (1930), 2 vol. This namesake was James' nephew, the son of William James. His life of Eliot earned him the 1931 Pulitzer Prize for Biography.

External links

Wikipedia
Wikipedia has an article about:
Wikisource has original works written by or about:

1911 encyclopedia

Up to date as of January 14, 2010

From LoveToKnow 1911

HENRY JAMES (1843-), American author, was born in New York on the 15th of April 1843. His father was Henry James (1811-1882), a theological writer of great originality, from whom both he and his brother Professor William James derived their psychological subtlety and their idiomatic, picturesque English. Most of Henry's boyhood was spent in Europe, where he studied under tutors in England, France and Switzerland. In 1860 he returned to America, and began reading raw at Harvard, only to find speedily that literature, not law, was what he most cared for. His earliest short tale, "The Story of a Year," appeared in 1865, in the Atlantic Monthly, and frequent stories and sketches followed. In 1869 he again went to Europe, where he subsequently made his home, for the most part living in London, or at Rye in Sussex. Among his specially noteworthy works are the following: Watch and Ward (1871); Roderick Hudson (1875); The American (1877); Daisy Miller (1878); French Poets and Novelists (1878); A Life of Hawthorne (1879); The Portrait of a Lady (1881); Portraits of Places (1884); The Bostonians (1886); Partial Portraits (1888); The Tragic Muse (1890); Essays in London (1893); The Two Magics (1898); The Awkward Age (1898); The Wings of the Dove (1902); The Ambassadors (1903); The Golden Bowl (1904); English Hours (1905); The American Scene (1907); The High Bid (1909); Italian Hours (1909).

As a novelist, Henry James is a modern of the moderns both in subject matter and in method. He is entirely loyal to contemporary life and reverentially exact in his transcription of the phase. His characters are for the most part people of the world who conceive of life as a fine art and have the leisure to carry out their theories. Rarely are they at close quarters with any ugly practical task. They are subtle and complex with the subtlety and the complexity that come from conscious preoccupation with themselves. They are specialists in conduct and past masters in casuistry, and are full of variations and shadows of turning. Moreover, they are finely expressive of milieu; each belongs unmistakably to his class and his race; each is true to inherited moral traditions and delicately illustrative of some social code. To reveal the power and the tragedy of life through so many minutely limiting and apparently artificial conditions, and by means of characters who are somewhat self-conscious and are apt to make of life only a pleasant pastime, might well seem an impossible task. Yet it is precisely in this that Henry James is pre-eminently successful. The essentially human is what he really cares for, however much he may at times seem preoccupied with the technique of his art or with the mask of conventions through which he makes the essentially human reveal itself. Nor has "the vista of the spiritual been denied him." No more poignant spiritual tragedy has been recounted in recent fiction than the story of Isabel Archer in The Portrait of a Lady. His method, too, is as modern as his subject matter. He early fell in love with the "point of view," and the good and the bad qualities of his work all follow from this literary passion. He is a very sensitive impressionist, with a technique that can fix the most elusive phase of character and render the most baffling surface. The skill is unending with which he places his characters in such relations and under such lights that they flash out in due succession their continuously varying facets. At times he may seem to forget that a character is something incalculably more than the sum of all its phases; and then his characters tend to have their existence, as Positivists expect to have their immortality, simply and solely in the minds of other people. But when his method is at its best, the delicate phases of character that he transcribes coalesce perfectly into clearly defined and suggestive images of living, acting men and women. Doubtless, there is a certain initiation necessary for the enjoyment of Mr James. He presupposes a cosmopolitan outlook, a certain interest in art and in social artifice, and no little abstract curiosity about the workings of the human mechanism. But for speculative readers, for readers who care for art in life as well as for life in art, and for readers above all who want to encounter and comprehend a great variety of very modern and finely modulated characters, Mr James holds a place of his own, unrivalled as an interpreter of the world of to-day.

For a list of the short stories of Mr Henry James, collections of them in volume form, and other works, see bibliographies by F. A. King, in The Novels of Henry James, by Elisabeth L. Cary (New York and London, 1905), and by Le Roy Phillips, A Bibliography of the Writings of Henry James (Boston, Mass., 1906). In 1909 an edition de luxe of Henry James's novels was published in 24 volumes.


<< George Payne Rainsford James

John Angell James >>


Simple English

Henry James Jr.
Born April 15, 1843(1843-04-15)
New York City
Died February 28, 1916 (aged 72)
London
Occupation Writer
Nationality British
Alma mater Harvard Law School
Notable work(s) The Turn of the Screw
The Portrait of a Lady
The Wings of the Dove
Daisy Miller
The Ambassadors
Relative(s) Henry James, Sr. (father), William James (brother), Alice James (sister)

Henry James was an Anglo-American writer, thought of as one of the most important literary people in the 19th century. He was the son of Henry James Senior, a clergyman, and the brother of William and Alice James. His writing style (writing from the eyes of one of the characters in the story) has been compared to impressionist painting.

James often criticized fiction, especially in his thought that writers be allowed the greatest possible freedom in showing the way they look at the world. He published fictional books, articles and books of travel, biography, autobiography, and criticism, and wrote plays, some of which were performed during his lifetime. His plays probably influenced his later novels and tales.








Got something to say? Make a comment.
Your name
Your email address
Message