Overview

Partial Portraits is a book of literary criticism by Henry James published in 1888. The book collected essays that James had written over the preceding decade, mostly on English and American writers. But the book also offered treatments of Alphonse Daudet, Guy de Maupassant and Ivan Turgenev. Perhaps the most important essay was The Art of Fiction, James' plea for the widest possible freedom in content and technique in narrative fiction. The Art of Fiction was a response to remarks by English critic Walter Besant, who wrote an article that literally attempted to lay down the laws of fiction. For instance, Besant insisted that novelists should confine themselves to their own experience: A young lady brought up in a quiet country village should avoid descriptions of garrison life. James argued that a sufficiently alert novelist could catch knowledge from everywhere and use it to good purpose: The young lady living in a village has only to be a damsel upon whom nothing is lost to make it quite unfair (as it seems to me) to declare to her that she shall have nothing to say about the military. Greater miracles have been seen than that, imagination assisting, she should speak the truth about some of these gentlemen. Picture and Text is a collection of essays by Henry James on the art of illustration, published in 1893. The essays are brief profiles of the principal illustrators for Harper and Brothers books and magazines, and has been remembered for extensive and perceptive essays on John Singer Sargent and Honore Daumier. Included with the essays on black-and-white illustration of texts is a discussion in dialogue form about the similar relation between scenery and play in the theater. Roderick Hudson is a novel by Henry James. Originally published in 1875 as a serial in The Atlantic Monthly, it is a bildungsroman that traces the development of the title character, a sculptor. Rowland Mallet, a wealthy Bostonian bachelor and art connoisseur, visits his cousin Cecilia in Northampton, Massachusetts, before leaving for Europe. There he sees a Grecian figure he thinks is a remarkable work of art. Cecilia introduces him to the local sculptor, Roderick Hudson, a young law student who sculpts in his spare time. Mallet-who loves art but is without artistic talent himself-sees an opportunity to contribute: he offers to advance Roderick a sum of money against future works which will allow Roderick to join him in moving to Italy for two years. Mallet believes that in Rome, Roderick will be exposed to the kind of artistic influences which will allow his natural talent to fully mature. Roderick is galvanized by the offer, but he fears his highly protective mother's disapproval and urges Mallet to meet with and reassure her. Mallet does so, eventually overcoming the woman's doubts. At the meeting, Mallet is also introduced to Mary Garland, a distant poor cousin of the Hudsons who has been living with them as a companion to Mrs. Hudson. Mallet finds himself unexpectedly attracted to the young woman-to her simplicity, her lack of affectation, her honesty. During a farewell picnic attended by many of the Hudsons' friends and family, Mallet realizes he has fallen in love for the first time in his life. But, because of his natural reserve and imminent departure for two years, he fails to declare his feelings, yet still harbors hopes that something may yet come of the relationship.

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