Wings of the Dove (Modern Library Series)

Wings of the Dove (Modern Library Series)

by Henry James
Wings of the Dove (Modern Library Series)

Wings of the Dove (Modern Library Series)

by Henry James

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Overview

Selected by the Modern Library as one of the 100 best novels of all time

Neither Edith Wharton nor E. M. Forster admired it, but Louis Auchincloss calls The Wings of the Dove 'perhaps the greatest of Henry James's novels.' Published in 1902, the novel represented something of a comeback for James, whose only 'bestseller,' Daisy Miller, had appeared more than two decades earlier. Set amid the splendor of fashionable London drawing rooms and gilded Venetian palazzos, the story concerns a pair of lovers who conspire to obtain the fortune of a doomed American heiress. But the naïve young woman becomes both their victim and their redeemer in James's meticulously designed drama of treachery and self-betrayal. 'It seems to me that I know the characters even more intimately than I know the characters in the earlier novels of his Balzac period,' said Louis Auchincloss. 'The Wings of the Dove represents the pinnacle of James's prose.' This version is the definitive New York Edition, which appeared in 1907, together with the author's Preface.

Product Details

ISBN-13: 9780679641568
Publisher: Random House Publishing Group
Publication date: 11/01/2000
Series: Modern Library 100 Best Novels
Sold by: Random House
Format: eBook
Pages: 768
File size: 729 KB

About the Author

Henry James was born in New York City on April 15, 1843, of Scottish and Irish ancestry. His father, Henry James, Sr., was a whimsical, utterly charming, maddeningly openminded parent--a Swedenborgian philosopher of considerable wealth who believed in a universal but wholly unformed society. He gave both Henry and his elder son, William, an infant baptism by taking them to Europe before they could even speak. In fact, Henry James later claimed that his first memory, dating from the age of two, was a glimpse of the column of the Place Vendome framed by the window of the carriage in which he was riding. His peripatetic childhood took him to experimental schools in Geneva, Paris, and London. Even back in the United States he was shuffled from New York City to Albany to Newport to Boston and finally to Cambridge, where in 1862 he briefly attended Harvard Law School. 'An obscure hurt,' probably to his back, exempted him from service in the Civil War, and James felt he had failed as a man when it counted most to be one and he vowed never to marry.

In search of a possible occupation, the young James turned to literature; within five years it had become his profession. His earliest story appeared in The Atlantic Monthly in 1865, when he was twenty-two. From the start of his career James supported himself as a writer, and over the next ten years he produced book reviews, drama and art criticism, newspaper columns, travel pieces and travel books, short stories, novelettes, a biography, and his first novel--Roderick Hudson (1876). Late in 1875, following two recent trips to Europe, James settled in Paris, where he met Turgenev, Flaubert, and Zola, and wrote The American (1877). In December 1876 he moved to London, where he produced The Europeans (1878). Soon afterward he achieved fame on both sides of the Atlantic with the publication of Daisy Miller (1879), the book that forever identified him with the 'international theme' of the effect of Americans and Europeans on each other.

Yet Henry James aspired to more than the success of Daisy Miller. Determined to scale new literary heights, James abandoned the intense social life of his earlier years and, with Balzac as his role model, devoted himself all out to the craft of fiction. Although The Portrait of a Lady (1881) was critically acclaimed and sold well, the other novels of James's 'Balzac' period--Washington Square (1881), The Bostonians (1886), The Princess Casamassima (1886), and The Tragic Muse (1890)--were not popular with the public. As a result, he decided to redirect his efforts and began writing for the stage. In 1895, the disastrous opening night of his play Guy Domville--when James came onstage only to be hissed and booed by the London audience--forever ended his career as a playwright.

Rededicating himself to fiction, he wrote The Spoils of Poynton (1897), What Maisie Knew (1897), The Turn of the Screw (1898), and The Awkward Age (1899). Then, as he approached and passed the age of sixty James's three greatest novels appeared in rapid succession: The Wings of the Dove (1902), The Ambassadors (1903), and The Golden Bowl (1904). He spent most of his remaining years at Lamb House, his ivy-covered home in Rye, writing his memoirs and revising his novels for the twenty-four-volume New York Edition of his lifework. When World War I broke out, he was eager to serve his adopted country and threw himself into the civilian war effort. In 1915, after four decades of living in England, James became a British subject, and King George V conferred the Order of Merit on him in January 1916. Henry James died in London on February 28, 1916, and his ashes were buried in the James family plot in Cambridge, Massachusetts.

Commenting on the enormous contemporary interest in James, novelist Louis Auchincloss said: 'How he would have loved his posthumous fame! One can imagine Emily Bronte and Herman Melville shrugging shoulders, faintly scornful, but James would have bristled with pride at every mention of his name. . . . It is pleasant to think that in the end he had at least a whiff of it and that the silent, grave, bearded young man should have evolved into the portly figure of the rolling, resolute gait, simple in emotion but quick and spontaneous in affection, leaving among his recording disciples a deep impression of majesty, beauty and greatness.'

Date of Birth:

April 15, 1843

Date of Death:

February 28, 1916

Place of Birth:

New York, New York

Place of Death:

London, England

Education:

Attended school in France and Switzerland; Harvard Law School, 1862-63

Read an Excerpt

SHE WAITED, Kate Croy, for her father to come in, but he kept her unconscionably, and there were moments at which she showed herself, in the glass over the mantel, a face positively pale with the irritation that had brought her to the point of going away without sight of him. It was at this point, however, that she remained; changing her place, moving from the shabby sofa to the armchair upholstered in a glazed cloth that gave at once--she had tried it--the sense of the slippery and of the sticky. She had looked at the sallow prints on the walls and at the lonely magazine, a year old, that combined, with a small lamp in coloured glass and a knitted white centre-piece wanting in freshness, to enhance the effect of the purplish cloth on the principal table; she had above all, from time to time, taken a brief stand on the small balcony to which the pair of long windows gave access. The vulgar little street, in this view, offered scant relief from the vulgar little room; its main office was to suggest to her that the narrow black housefronts, adjusted to a standard that would have been low even for backs, constituted quite the publicity implied by such privacies. One felt them in the room exactly as one felt the room&mdashthe hundred like it, or worse&mdashin the street. Each time she turned in again, each time, in her impatience, she gave him up, it was to sound to a deeper depth, while she tasted the faint, flat emanation of things, the failure of fortune and of honour. If she continued to wait it was really, in a manner, that she might not add the shame of fear, of individual, personal collapse, to all the other shames. To feel the street, to feel the room, to feel the table-cloth and the centre-piece and the lamp, gave her a small, salutary sense, at least, of neither shirking nor lying. This whole vision was the worst thing yet--as including, in particular, the interview for which she had prepared herself; and for what had she come but for the worst? She tried to be sad, so as not to be angry; but it made her angry that she couldn't be sad. And yet where was misery, misery too beaten for blame and chalk-marked by fate like a 'lot' at a common auction, if not in these merciless signs of mere mean, stale feelings?

Her father's life, her sister's, her own, that of her two lost brothers--the whole history of their house had the effect of some fine florid, voluminous phrase, say even a musical, that dropped first into words, into notes, without sense, and then, hanging unfinished, into no words, no notes at all. Why should a set of people have been put in motion, on such a scale and with such an air of being equipped for a profitable journey, only to break down without an accident, to stretch themselves in the wayside dust without a reason? The answer to these questions was not in Chirk Street, but the questions themselves bristled there, and the girl's repeated pause before the mirror and the chimney-place might have represented her nearest approach to an escape from them. Was it not in fact the partial escape from this 'worst' in which she was steeped to be able to make herself out again as agreeable to see? She stared into the tarnished glass too hard indeed to be staring at her beauty alone. She readjusted the poise of her black, closely-feathered hat; retouched, beneath it, the thick fall of her dusky hair; kept her eyes, aslant, no less on her beautiful averted than on her beautiful presented oval. She was dressed altogether in black, which gave an even tone, by contrast, to her clear face and made her hair more harmoniously dark. Outside, on the balcony, her eyes showed as blue; within, at the mirror, they showed almost as black. She was handsome, but the degree of it was not sustained by items and aids; a circumstance moreover playing its part at almost any time in the impression she produced. The impression was one that remained, but as regards the sources of it no sum in addition would have made up the total. She had stature without height, grace without motion, presence without mass. Slender and simple, frequently soundless, she was somehow always in the line of the eye--she counted singularly for its pleasure. More 'dressed,' often, with fewer accessories, than other women, or less dressed, should occasion require, with more, she probably could not have given the key to these felicities. They were mysteries of which her friends were conscious--those friends whose general explanation was to say that she was clever, whether or no it were taken by the world as the cause or as the effect of her charm. If she saw more things than her fine face in the dull glass of her father's lodgings, she might have seen that, after all, she was not herself a fact in the collapse. She didn't judge herself cheap, she didn't make for misery. Personally, at least, she was not chalk-marked for the auction. She hadn't given up yet, and the broken sentence, if she was the last word, would end with a sort of meaning. There was a minute during which, though her eyes were fixed, she quite visibly lost herself in the thought of the way she might still pull things round had she only been a man. It was the name, above all, she would take in hand--the precious name she so liked and that, in spite of the harm her wretched father had done it, was not yet past praying for. She loved it in fact the more tenderly for that bleeding wound. But what could a penniless girl do with it but let it go?

When her father at last appeared she became, as usual, instantly aware of the futility of any effort to hold him to anything. He had written her that he was ill, too ill to leave his room, and that he must see her without delay; and if this had been, as was probable, the sketch of a design, he was indifferent even to the moderate finish required for deception. He had clearly wanted, for perversities that he called reasons, to see her, just as she herself had sharpened for a talk; but she now again felt, in the inevitability of the freedom he used with her, all the old ache, her poor mother's very own, that he couldn't touch you ever so lightly without setting up. No relation with him could be so short or so superficial as not to be somehow to your hurt; and this, in the strangest way in the world, not because he desired it to be--feeling often, as he surely must, the profit for him of its not being--but because there was never a mistake for you that he could leave unmade or a conviction of his impossibility in you that he could approach you without strengthening. He might have awaited her on the sofa in his sitting-room, or might have stayed in bed and received her in that situation. She was glad to be spared the sight of such penetralia, but it would have reminded her a little less that there was no truth in him. This was the weariness of every fresh meeting; he dealt out lies as he might the cards from the greasy old pack for the game of diplomacy to which you were to sit down with him. The inconvenience--as always happens in such cases--was not that you minded what was false, but that you missed what was true. He might be ill, and it might suit you to know it, but no contact with him, for this, could ever be straight enough. Just so he even might die, but Kate fairly wondered on what evidence of his own she would some day have to believe it.

He had not at present come down from his room, which she knew to be above the one they were in: he had already been out of the house, though he would either, should she challenge him, deny it or present it as a proof of his extremity. She had, however, by this time, quite ceased to challenge him; not only, face to face with him, vain irritation dropped, but he breathed upon the tragic consciousness in such a way that after a moment nothing of it was left. The difficulty was not less that he breathed in the same way upon the comic: she almost believed that with this latter she might still have found a foothold for clinging to him. He had ceased to be amusing--he was really too inhuman. His perfect look, which had floated him so long, was practically perfect still; but one had long since for every occasion taken it for granted. Nothing could have better shown than the actual how right one had been. He looked exactly as much as usual--all pink and silver as to skin and hair, all straitness and starch as to figure and dress--the man in the world least connected with anything unpleasant. He was so particularly the English gentleman and the fortunate, settled, normal person. Seen at a foreign table d'ôte, he suggested but one thing: 'In what perfection England produces them!' He had kind, safe eyes, and a voice which, for all its clean fulness, told, in a manner, the happy history of its having never had once to raise itself. Life had met him so, half-way, and had turned round so to walk with him, placing a hand in his arm and fondly leaving him to choose the pace. Those who knew him a little said, 'How he does dress!'--those who knew him better said, 'How does he?' The one stray gleam of comedy just now in his daughter's eyes was the funny feeling he momentarily made her have of being herself 'looked up' by him in sordid lodgings. For a minute after he came in it was as if the place were her own and he the visitor with susceptibilities. He gave you funny feelings, he had indescribable arts, that quite turned the tables: that had been always how he came to see her mother so long as her mother would see him. He came from places they had often not known about, but he patronised Lexham Gardens. Kate's only actual expression of impatience, however, was 'I'm glad you're so much better!'

What People are Saying About This

Gore Vidal

James did nothing like an Englishman - or an American. He was a great fact in himself, a new world, a terra incognita that he would devote all his days to mapping for the rest of us... James was the master of the novel in English in a way that no one had ever been before; or had ever been since.

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