The critical act, for James, must first of all be a disinterested and dignified search for "truth," for "life." Like Matthew Arnold, one of his earliest critical models, James saw criticism as a means of making "truth generally accessible"; "it does not busy itself with consequences" but "takes high ground, which is the ground of theory" (717). Unlike the vulgar, "off-hand" productions of his English contemporaries, James's reviews self-consciously attempt to rise above practical matters of "rough-and-ready" evaluation (96-97) and achieve detached discrimination, analysis, and appreciation, the qualities that he felt characterized both Arnold and Charles Augustin Sainte-Beuve, another early critical model.
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Before the appearance of "The Art of Fiction," James wrote approximately 200 reviews almost entirely on individual works. During this same period he wrote about 20 essays (including his book on Hawthorne) on more expansive topics, literary figures, schools, or movements. After its appearance he wrote only six reviews but published almost 100 critical essays, including the 18 prefaces to the collected New York Edition of his novels (1907-9). It was in these essays and prefaces that James voiced his major aesthetic, critical, and theoretical concerns.
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Because of its crucially transitional place in James's development, it provides a synthesis of 20 years of inchoate and desultory*** thoughts about fiction and fiction writing and transforms them into a group of interrelated principles upon which most of his later criticism rests.
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Desultory
comes from Latin desultorius, from desultor, "a leaper," from the past participle of desilire, "to leap down," from de-, "down from" + salire, "to leap."