Portrait of A Novel (47 page)

253—“
falsify the total show
”: LC2, 964. See also David McWhirter, “Saying the Unsayable: James’s Realism in the Late 1890s,”
Henry James Review
20 (1999).

PART FIVE: PUTTING OUT THE LIGHTS
CHAPTER 20: THE ALTAR OF THE DEAD

257—“
Darling old father
”: WJL5, 227.

258—“
worn and shrunken
”: N, 229.

258—“
ought to be
”: N, 216.

259—“
hand to its
”: N, 225.

259—“
old world—my choice
”: N, 214.

260—“
have ceased to suffer
”: To Mary James, 29 January 1882.

260—“
all that has gone
”: N, 229.

260—“
sweetness and beneficence
”: N, 229.

260—“
neither ideal nor ethereal
”: E3, 38.

261—“
the most supremely
”: Letter to William James of 30 July 1891; in Ruth Bernard Yeazell, ed.,
The Death and Letters of Alice James
(Berkeley: University of California Press, 1981), 186.

261—“
tensions and emotions
”: E3, 38.

261—“
obscene bird of night
”: Henry James, Sr.,
Substance and Shadow
(Boston: Ticknor & Fields, 1863), 75.

262—“
beneficent hush
”: N, 232.

262—“
a way of his own
”: To Mrs. Francis Mathews, 13 February 1882.

262—“
Here lies a man
”: From the entry for 24 June 1891 in
The Diary of Alice James
, ed. Leon Edel (Boston: Northeastern University Press, 1999), 217.

263—“
softening of the
”
. . .
“
almost natural
”: To William James, 26 December 1882.

263—“
heard somewhere
”
. . .
“
my belief
”: To William James, 1 January 1883.

264—“
feeling somewhat unprotected
”: WJL5, 228.

265—“
let her off easy
”: CS4, 217.

265—“
complete appreciation
”: LC1, 1333.

265—“
a past which is
”: LC1, 233.

265—“
When the mortal
”: LC2, 1006.

265—“
an air of
”: LC2, 1016.

266—“
I bade him
”: LC2, 1026.

266—“
ruled by a
”: CS4, 450.

267—“
do something great
”: N, 233.

CHAPTER 21: “I WAS PERFECTLY FREE”

268—“
in small pieces
”: P, 654.

268—“
enough to do
”: P, 653.

269—“
visibly happy
”: P, 705.

269—“
direct opposition
”
. . .
“
of marriage
”: P, 667.

269—“
I can’t publish
”: P, 694.

269—“
have to take
”: P, 667.

269—“
that had once
”: P, 724.

269—“
old Rome into
”: P, 723–24.

270—“
through the veil
”: Ibid.

270—“
I was perfectly
”: P, 694.

271—“
free and separate
”: Iris Murdoch, “Against Dryness,”
Encounter
, January 1961.

272—“
when one is
”: P, 721.

272—“
Let him off
”: P, 723.

272—“
mocking voice
”
. . .
“
destiny
”: P, 720.

272—“
Who are you
”
. . .
“
Everything
”: P, 723.

273—“
the man in the world
”: P, 725.

273—“
that the worst
”: P, 726.

273—“
the great historical
”: P, 725.

274—“
aim high
”: P, 689.

274—“
in the old way
”: P, 555.

274—“
a chance for
”: P, 736.

274—“
It’s dishonourable
”: P, 744.

275—“
malignant
”: P, 743.

275—“
pure mind
”: P, 749.

275—“
some one else’s wife
”
. . .
“
property
”: P, 750–51.

276—“
I have watched
”: P, 752.

276—“
no longer the lover
”: P, 751.

277—
The critic Arnold Kettle
: See his chapter on the
Portrait
in
An Introduction to the English Novel
, vol. 2 (London: Hutchinson’s University Library, 1953).

278—“
a high door
”: P, 756.

279—“
dull un-reverenced tool
”: P, 759.

279—“
your cousin
”
. . .
“
match
”: P, 766.

CHAPTER 22: WORKING IN THE DARK

280—“
despite the constant
”: N, 232.

281—“
local
”
. . .
“
New England
”: N, 19.

281—“
down to the deep
”:
Diary of Alice James
, 230. See Jean Strouse’s
Alice James: A Biography
(Boston: Houghton Mifflin, 1980) for details of her relationship with Katherine Loring.

282—“
dishabituated to the
”: CS2, 246.

284—“
inexplicable injury
”: To William Dean Howells, 2 January 1888. For James’s earnings, see Anesko,
Friction with the Market
.

284—“
anyone to be
”: E3, 211.

285—“
shrinking opportunity
”: CS4, 337.

285—“
last manner
”: CS4, 350.

285—“
second chance
”
. . .
“
of art
”: CS4, 355.

286—“
flooded with light
”: To William James, 9 March 1886.

286—“
of about the length
”: To William James, 1 October 1887.

287—“
half a dozen
”: N, 52. Edel’s biography remains the best source for details of James’s theatrical career; see also his edition of the
Complete Plays of Henry James
(1949) with its introductions to each work.

288—“
pure situation
”: N, 53.

289—“
dip my pen
”: N, 77.

289—“
the quantity of tailoring
”: E4, 26.

290—“
repulsive and fatuous
”: To Isabella Stewart Gardner, 23 January 1882.

290—“
clumsy, feeble
”
. . .
“
a success
”: To Mr. and Mrs. William James, 2 February 1895.

290—“
the last
”
. . .
“
y’are
”: E4, 78.

291—“
audible defeat
”: Ibid.

291—“
an abominable quarter
”: To William James, 9 January 1895.

292—“
need say
”
. . .
“
I will
”: N, 109.

CHAPTER 23: THE SECOND CHANCE

294—“
march of an action
”: N, 167.

295—“
denounced
”: To Edmund Gosse, 28 August 1896.

296—“
long-unassuaged desire
”: To Mrs. William James, 1 December 1897.

296—“
not too-delusive
”: Ibid.

297—“
wide, sheep-studded greenness
”: E4, 160.

298—“
come back next
”: To Hendrik Andersen, 7 September 1899.

298—“
without thinking
”: Ibid.

298—“
their bellies and bottoms
”: To Hendrik Andersen, 31 May 1906.

299—“
squalid violence
”: To William James, 26 April 1895.

299—“
absolutely holding
”: To W. Morton Fullerton, 2 October 1900.

300—“
pendulous
”
. . .
“
two stockings
”: Max Beerbohm, “The Mote in the Middle Distance,” in
A Christmas Garland
(London: Heinemann, 1912).

301—“
It wasn’t till
”
. . .
“
great decorated surface
”:
The Golden Bowl
, in Henry James,
Novels, 1903–1911
(New York: Library of America, 2010), 733. My account of James’s late style is indebted to Ian Watt’s classic “The First Paragraph of
The Ambassadors
,”
Essays in Criticism
(1960), and Ruth Bernard Yeazell’s introduction to the most recent (2009) Penguin edition of
The Golden Bowl
.

302—“
apertures and outlooks
”: Ibid.

302—
Many critics
: F. O. Matthiessen,
Henry James: The Major Phase
(1944); Dorothea Krook,
The Ordeal of Consciousness
(1962); Laurence Holland,
The Expense of Vision
(1964).

302—“
people’s moral scheme
”: LC2, 1312.

305—“
hugely and ingeniously
”
. . .
“
molehill
”: To Sarah Butler Wister, 21 December 1902.

306—“
steel-souled
”: CTW1, 418.

306—“
expensively provisional
”: CTW1, 420.

306—“
distressful, inevitable waste
”: CTW1, 540.

306—“
the moral identity
”
. . .
“
point of view
”: CTW1, 525–26.

307—“
triumph of the superficial
”: CTW1, 736.

307—“
Do New York!
”
. . .
“
waits for
”: To Edith Wharton, 20 August 1902.

307—“
Would You Care
”: Quoted in Home,
Henry James and Revision
.

308—“
as to expression
”
. . .
“
native city
”: To Charles Scribner’s Sons, 30 July 1905.

CHAPTER 24: ENDGAME

309—“
rushing hotels
”: CTW1, 689.

309—“
hot-looking stars
”: CTW1, 710.

310—“
filthily
”: To Brander Matthews, 24 March 1915.

310—“
fit for appearance
”: Bosanquet,
Henry James at Work
, 40.

310—“
values implicit
”: Ibid., 42.

310—“
incapable of stupidity
”: PNY, 183.

311—“
she grew impatient
”: P, 777.

311—“
nervous and scared
”: PNY, 560.

311—“
wide brown rooms
”: P, 777.

311—
in the first systematic study
: F. O. Matthiessen, “The Painter’s Sponge and Varnish Bottle,” in
Henry James: The Major Phase
(Oxford: Oxford University Press, 1944). Reprinted in Bamberg.

311—“
private thrill
”: PNY, 263.

311—“
time and the weather
”: LC2, 1045.

312—“
a few buried
”: LC2, 1046.

312—“
latent
”: LC2, 1335.

312—“
the march of
”: LC2, 1329.

312—“
the inner life
”: Nina Baym, in Bamberg, 620.

313—“
Are you going
”
. . .
“
is over
”: P, 785.

313—“
a scene that
”: P, 773.

313—“
life would be
”: P, 769.

314—“
very bad
”
. . .
“
of me
”: P, 781–82.