Search Results for strether

..., the impressionistic rather than concrete sense of events, and the heroic am­ bivalence that characterize the novel as a whole.2 We might say that things come to us in the first paragraph with an awareness of how things do not come, as the paragraph records Strether s awareness of Waymarsh s absence and his...

..., Daisy Miller, Isabel Archer, Christopher Newman, Lambert Strether, Milly Teal, and Maggie Verver James on at least one occasion drew a very different American type in Roderick Hudson. He appears again as Floyd Dell s Moon Calf, as Dreiser s Genius, as Carl Van Vechten s Gareth Johns, as Wolfe s...

..., now an eminent and acknowledged master, he be­ comes a representative of the goal sought by Lambert Strether: With his genius in his eyes, his manners on his lips, his long career behind him, and his honours and rewards all round, the great artist, in the course of a single sustained look and a few...

..., Strether and Chad and Mrs. Newsome in that novel. Such a restricted rule of measurement of either character or situation (and Mr. Ward concentrates a little heavily on character, despite his disclaimer) is inevitably too simple, even though it may sometimes call attention to characteristics unnoticed...

..., Strether, and aesthetic sensibilities familiar in much early twen­ tieth-century writing. One accepts this insight, yet wishes for more from The Blithedale Romance than the voyeurism and self-indul­ gence of the narrator. Mr. Poirier makes much of Emerson s implicit and explicit influence upon later...

... raise the volume to the status of a critical commentary for the initiate, if not (what with its substantial amount of plot, biography, and bibliography) to that of a guide for the general reader. Miss Stevenson s special method is vulnerable but successful. If Lam­ bert Strether s situation...

.... There is, for example, little new insight into The Ambassadors (Edel has written about it often before), the novel that speaks for the central myth of Henry James s life and that equates Strether s experience with Europe and America with James s. (It may be noted here that Robert E. Young, who in 1950 was the first...

... how carefully the form of evil is analyzed, is to obscure James s grasp of the complexities of existence. As a matter of fact, to call Woollett evil at all destroys something of 120 The South Atlantic Quarterly the sensitive moral interplay of Europe and America, Strether and Chad and Mrs. Newsome...

... into the beneficent freedom of the aesthetic mode of moral perception. As Spengemann says of Strether-James, he learns to appreciate rather than judge things. He yields morality (the either/or of melodrama) for the aesthetic (the both/and of moral perception) and in doing so is both truer to life and sustains...

... Strether s situation in The Ambassadors is that of the American in Europe, it is also that of innocence and experience (or even, as Miss Stevenson suggests, that of the artist in society if May Server (whose desires, to be sure, collide with society s) is not the protagonist of The Sacred Fount...

... discover why, though more of his friends have read Gone with the Wind than War and Peace, he and even the people who have started but never finished the latter know it as the better Book Reviews 477 book. He may discover why Lambert Strether, not so well known to as many people as Sam Dodsworth...

... character like Lambert Strether, who serves as ready-made intermediary between tale and reader. James s method may in the long run contain greater potentialities for breadth, but it lacks the possibili­ ties of tonal shifts and ironic control offered by the witness method. Noteworthy works using the method...

... of Henry James when the latter, as in The Ambassadors, watched over Strether who was trying to find out the bearing of his ideals, as by stages he uncovered the truth about himself and others. Conrad, how­ ever, without disesteem for such intentions on the part of an individual, felt skeptical of James s...

... is beautiful: Beauty is sometimes the shape of the book, the book as a whole, the unity (p. 152). Not only is James discussed in the section on pattern rather than in the brief section on point of view within the second People chapter, but Strether s role as an observer, as a rather too first-rate oculist...

... Baldwin reflect on how characters use others to avoid the terrors of risking their own selves. Baldwin finds the moral difficulties faced by Lambert Strether The( Ambassadors [1903]) and Hyacinth Robinson (Princess Casamassima [1886]) to be related to the prob- lem of race in America in the 1960s...