James: The Art of Fiction
Quote:
Originally Posted by Scheherazade
That's interesting!
I read James' Daisy Miller at university and loved every bit of it; characters, description and since then, I have always wanted to read his books but never had the chance. Because of that one book I read, I actually consider James one of the writers I like! Maybe I should read his other books and see how I feel about his style now.
It is my understanding that he wrote some essays on theory of the novel, interpretation. I have looked around for those. I would like to read them. By the way, his brother, William James, was one of the last famous psychologists prior to Sigmund Freud; one of the last pre-Freudians.
It became fashionable for literature majors to say that Henry was the better psychologist and William was the better writer, but such observations are sometimes more clever than accurate.
http://www.press.jhu.edu/books/hopki...nry_james.html
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Originally Posted by The Art of Fiction
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.
http://dictionary.reference.com/word...003/06/02.html
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Originally Posted by 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."
http://www.litencyc.com/php/speople....=true&UID=5083
Ezra Pound noted James’s faithfulness to the vernacular.
http://www.cercles.com/review/r10/lodge.html
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Originally Posted by Consciousness and the Novel by David Lodge
In Lodge’s thumbnail sketch of the history of the novel Henry James is perhaps given too much credit—and Lodge’s interest being English Literature, Flaubert none at all—but he notes succinctly and effectively how James married in his fiction the first person of subjective enquiry with the third person of objective enquiry, developing the mastery of free indirect speech that allows the novelist to locate the narrative in a character’s consciousness and yet move away from it to suggest other realities.
http://mockingbird.creighton.edu/english/Erkan.htm
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Originally Posted by The Lioness and the Dove
James describes Aunt Maud in The Wings of the Dove as: “ Mrs. Lowder was London, was life—the roar of the siege and the thick of the fray. There were some things, after all, of which Britannia was afraid; but Aunt Maud was afraid of nothing – not even, it would appear, of arduous thought” (24). Here is another example of a personal description about Kate:
She would have been meanwhile a wonderful lioness for a show, an extraordinary figure in cage or anywhere; majestic, magnificent, high-coloured, all brilliant gloss, perpetual satin, twinkling bugles and flashing gems, with a lustre of agate eyes, a sheen of raven hair, a polish of complexion that was like that of well-kept china and that-as if the skin were too tight-told especially at curves and corners. (23)
On the other hand Milly is described as a dove : “ Milly was indeed a dove; this was the figure, though it most applied to her spirit. . . . so far as one remembered that doves have wings and wondrous flights, have them as well as tender tints and soft sounds” (337). James is very successful in describing people: Kate resembles to a lioness who acts according to her interests and get the best as she can whereas, Milly is soft and helpless resembling especially to a dove.
I have just found a link to the e-text of "The Art of Fiction"
http://dinamico.unibg.it/rls/essays/james.htm
which I reached through this useful looking page
http://dinamico.unibg.it/rls/e-texts.htm
By the way, this work by Robert Louis Stevenson looks interesting:
http://dinamico.unibg.it/rls/essays/writing/aw-1.htm
ON SOME TECHNICAL ELEMENTS OF STYLE IN LITERATURE
by Robert Louis Stevenson