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By Dennis Tredy, Annick Duperray, Adrian Harding

Henry James and the Poetics of Duplicity goals to strengthen the sector of reviews at the existence and paintings of Henry James through absolutely exploring the author's use of duplicity, one of many key literary and rhetorical innovations in the author's great and notorious arsenal of strategies of 'ambiguity'. the gathering brings jointly essays through either lengthy validated and newer Jamesian students from 11 varied international locations, the collective paintings of whom, via this e-book, additional complements our snatch of the ever-elusive literary variety of Henry James. The prefatory component of this quantity presents a common review of the myriad makes use of of 'duplicity' within the writings of Henry James. The accrued essays are then divided into 5 sections, each one offering an in-depth research of a selected use of duplicity as a rhetorical process. the 1st 3 sections specialize in duplicitous units hired inside James' works of fiction - together with the author's usually underhanded use of undisclosed literary resources ('Duplicitous Subtexts'), his staging of characters who depend upon subterfuge and outright mendacity ('Duplicitous Characters'), and his production of doubles and dopplegangers - one other key connotation of the time period 'duplicity' - either inside a unmarried paintings and all through his literary occupation ('Duplicitous Representation'). the 2 ultimate sections then concentration the poetics of duplicity hired in works of non-fiction via James, together with his autobiographies and his experiences of different authors, in addition to in his own writings and correspondence. This comprises James' guileful use of duplicity in his illustration of himself, specific cognizance being paid to James' past due works of self-assessment ('Duplicitous Self-Representation'), in addition to in his checks of alternative writers in his stories or of sure locations in his trip writing ('Duplicitous Judgements'). Henry James and the Poetics of Duplicity may hence be a superb asset to students of James in any respect degrees, from the coed grappling with James' literary sleight of hand for the 1st time, to experts within the box of James who've lengthy studied the masterful artwork of James' literary trickery

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Curiously enough, Humphrey’s sacrificial ending in Misunderstood has some analogy with the “crisis” which James experienced in Florence in 1874. In his letter dated February 5th of that year, the novelist informed his parents of his own “mysterious visitation,” when he was “ten days in bed,”: “an affair chiefly of the head,” as he wrote, a ”sort of crisis,” during which his brother had been acting as a ”ministering angel” (TS 118). In Florence, he added, the house where he was staying had been “a paradise to be ill in,” and “For three nights, I had a soft good Italian matron who hovered about me with the softness—and the size—of a mother.

Hence The Tempest is a triumph of self-satisfaction: in spite of its being concocted on demand for a Court occasion, it became “a charming opportunity to taste above all for himself, for himself above all […] of the quality of his mind and the virtue of his skill […]. Innumerable one may always suppose those delicate debates and intimate understandings of the artist with himself” (1210). Shakespeare is thus exposed as “a divine musician, who, alone in his room, preludes or improvises at close of day.

The moral consciousness of a child is as much part of life as the islands of the Spanish Main” (LC1 61-62). The interesting point is that when in the Prefaces James expands on the theory and practice of the “psychological” novel, he finds his precedent, a double or a Doppelgänger, in no other than Shakespeare. I have what seems to me two conclusive references. One in the Preface to The Princess Casamassima: “the figures in any picture, the agents in any drama, are interesting only in proportion as they feel their respective situations […].

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