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They buy nothing and leave empty-handed.
The wedding itself goes off without a hitch, but Maggie, as an only child, has always been extremely close with her widowed father and now worries that with her out of the house he will become lonely. In order to prevent this, she convinces him to marry Charlotte. Neither Maggie nor her father know about Charlotte's past and possibly continuing relationship with Amerigo.
Oblivious, he proposes to Charlotte. She accepts based on the prospects of his vast wealth, and they are married in turn. As a superficially perfect foursome, they spend more and more time together.
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But this has the side effect of allowing Charlotte and Amerigo to deepen their own connections to one another, and soon even Maggie begins to suspect the true nature of their relationship. Maggie convinces herself, though, that she's just being paranoid. Then one day she happens to visit the same shop with the Jewish owner.
Maggie sees the golden bowl and buys it on the spot. Later, though, the Jewish owner feels guilty over the high price he charged her for it, and decides to visit her at home to apologize and offer her some of her money back. It is a commonplace of the ordeal of Henry James that the presentation of his work on the stage, to which he devoted many years, has been invariably better managed in the theatre by other hands than his own.
Saul Rosenzweig, a psychologist and student of Henry James, dug up the opinion of the novelist-psychiatrist Dr. To get the threads of his thought off his mind onto mine with the intermediation of his too exasperating style has been too much for me. However, I am too old to learn a new language and still struggle to write my own with clearness.
I explain to myself his bewildering style thus: he is attempting the impossible with it—a certain very particular form of the impossible; namely, to produce upon the reader, as a painting produces upon the gazer, a number of superimposed, simultaneous impressions. He would like to put several sentences on top of each other so that you could read them all at once, and get all at once the various shadings and complexities, instead of getting them consecutively as the mechanical nature of his medium compels.
This I am sure is the secret of his involved parentheses, his strangely injected adverbs, the whole structure, in short, of his twisted syntax.
One grows used to it by persisting. One other thing of signal importance is a key to his later books. He does not undertake to tell a story but to deal with a situation, a single situation. Beginning in his scheme at the center of this situation, he works outward, intricately and exhaustively, spinning his web around every part of the situation, every little necessary part no matter how slight, until he gradually presents to you the organic whole, worked out.
But he never lets the situation go, never digresses for a single instant; and no matter how slow or long his pages may seem as you first read them, when you have at the end grasped the total thing, if you then look back you find that the voluminous texture is woven closely and that every touch bears upon the main issue.
I sat before my television set that night last January hoping for the passable, fearing the worst.
The worst is a perverse tendency, exhibited by at least one adapter in the past, to twist the plot into low, ironic comedy by saving the life of Milly Theale. Densher, that is, marries the rich girl only to find, to his dismay, and that of Kate, that Milly becomes a rose, no longer choked in the grass but fresh-sprung in the June of salutary happiness.
Even Madame la Comtesse de Vionnet was named Marie. I have set down the foregoing names from memory, and I am sure a research through the books would turn up many more. Probably dozens of seniors in English literature courses—like one I met at Yale a few years ago—have devoted their theses to a study of the proper names in Henry James. He had something more than a gift, almost an impish perversity, for the invention of plain, even homely feminine names, and by no means all of them were for his American women.
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This is partly because the voices of American women, from coast to coast, as he once said, were a torture to his own ear. They might conceivably throw some light upon the James names for women, and upon his complicated, ambivalent attitude toward the ladies themselves. In any case, he usually took them up tenderly, fashioned so slenderly, young and so rich. What feminine reader has not wept over the death of poor dear Daisy Miller?
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Basically, he deliberately chose a loveless life because of his transfiguring conviction that the high art he practiced was not consonant with marriage but demanded the monastic disciplines of celibacy. Terms and Conditions. How It Works? IMEI Number. Exchange Discount Summary Exchange Discount -Rs.
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The Golden Bowl (Annotated)
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