By Peter B. High
A survey of the English prose, poetry and drama of the U.S. from Colonial occasions to the1980s.
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The French reads as follows: À savoir que la danseuse n’est pas une femme qui danse, pour ces motifs juxtaposés qu’elle n’est pas une femme, mais une métaphore résumant un des aspects élémentaires de notre forme, glaive, coupe, fleur, etc, et qu’elle ne danse pas, suggérant, par le prodige de raccourcis ou d’élans, avec une écriture corporelle ce qu’il faudrait des paragraphes en prose dialoguée autant que descriptive, pour exprimer, dans la rédaction : poème dégagé de tout appareil du scribe. html.
The novel becomes a twinned display-case, first showing us Maggie through Amerigo’s eyes, and then Amerigo through Maggie’s. By serving as point of view, Maggie “duplicates . . ” Bill Brown notes that characters within the fictional world of the novel follow the same procedure. ”17 This privileging of arrangement makes James, for some readers, an aesthete who prefers superficiality to depth. H. G. Wells’s famous satire of James skewers him for his still-life fictions that amount to “a dead kitten, an egg-shell, a bit of string .
By the time Sarah Pocock arrives on the scene, he is so far gone that he is subject to the “perverse law” that “he should affect Mrs. Pocock and Waymarsh as launched in a relation in which he had really never been launched at all” (22:94). Strether even manages to get “into relation” with the young Mamie Pocock when he becomes aware of the fact that, alone among the second wave of ambassadors from Woollett, she had taken in the “deep still things” of Paris and thus “knew what had become” of Chad (22:151).