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- W49073457 abstract "While composing the last chapters of Bostonians in 1884, Henry James wrote his famous essay The Art of Fiction in which he argued that an aspiring novelist should strive above for solidity of specifi? cation. As he explained it, the novel's only requirement is that it convey the writer's direct, personal impression of life, and its value depends upon the intensity of that impression. According to James, art thus in? volves all life, feeling, observation, vision.1 In Bostonians, described tentatively in his Notebooks as study of one of those friendships between women which are so common in New England, James tried to correct what he termed the affront to verisimilitude in his early works.2 Moving from the realm of romance to that of the realistic novel, he determined to place special emphasis on graphic physical detail, realism of atmosphere, and psychological char? acterization. His efforts in this last respect are most interesting, for an examination of James's methods of depicting Verena Tarrant and Olive Chancellor reveals clearly his successes and failures in meeting the needs of his first realistic novel. His depiction of Verena miscarries in that it is drawn only from the outside and partakes of elements of romance which are incongruous in a realistic setting. rendering of Olive, how? ever, represents one of his earliest and most successful psychological portraits. In attempting to avoid what he considered the faulty character? ization techniques of earlier novels and in incorporating certain aspects of his own experience into her portrait, he achieved a figure whose credi? bility is as real for readers today as it was for a late nineteenth-century audience." @default.
- W49073457 created "2016-06-24" @default.
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- W49073457 date "2016-01-01" @default.
- W49073457 modified "2023-09-24" @default.
- W49073457 title "THE PSYCHOLOGY OF CHARACTERIZATION: JAMES'S PORTRAITS OF VERENA TARRANT AND OLIVE CHANCELLOR" @default.
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