Henry James’s late novels suggest a world of talk which is morally ambiguous because epistemologically unstable. James’s early and late dialogues are radically different: in the late fiction, talk becomes a process of imaginative collaboration, and language virtually creates the conditions under which perception is possible. In The Ambassadors, Parisian talk educates Strether even as it seems to dissemble. And in The Wings of the Dove and The Golden Bowl, conversation shapes the terms in which certain actions will be possible; talking together, characters create a world that fits the shape of their desires. Jamesian talk is at once hypocrisy and art: lying becomes a mode of vision. But if James’s liars are artists, his artists are also liars. We prefer Maggie Verver to Charlotte Stant not because she is more honest, but because her language makes for the most harmonious and inclusive order.
‘Masterpieces’ focuses on three of Henry James’s novels that are generally considered his greatest: The Ambassadors (1902), The Wings of the Dove (1903), and The Golden Bowl (1904). The Ambassadors is a meditation on the nature of ambition, destiny, and what makes a life meaningful. The Wings of the Dove deals with illness and suffering, and the moral conundrum presented by a dying girl possessed of great wealth she cannot enjoy, and her needy friends who seek to inherit it. The Golden Bowl is about the institutions of marriage and family, and how they are disrupted by passion. The chapter also examines James’s travel narrative, The American Scene (1907).
Maggie’s Deafening Silence: Femininity as a Masquerade in Henry James’ The Golden Bowl