The American Scene. But the phenomena are distinct” (130-31). A further consideration from Burkert is relevant here: “Gift exchange appears to be one of the universalia of human civilizations. Others, besides the Prince, heed the magic as well. The Insecure World of Henry James’s Fiction: Intensity and Ambiguity. Despite the fact that, in the persons of the Prince and Charlotte seated at the card-table, Maggie sees “evil… where she had only dreamed of good,” she cannot, out of feelings for the totality of her family, “give them up” (489); she cannot expel them from the family structure – as they had expelled her – by humiliating them before others. Maggie makes them out to be extremely unhappy, both of them, and she sees their return to America as a banishment, assuming that both Adam and Charlotte are going back entirely against their will… But if, as I believe, Maggie’s moral conversion genuinely wins her husband back to her, healing her marriage, why should we not then assume that a symmetrical development takes place with Charlotte-Adam? Los Angeles and Berkeley: University of California Press, 1991. After a short period of mutual hesitation, however, Charlotte reveals her plight in the form of a question to Maggie: Has anything happened, Charlotte wishes to know, “for which I’m in any degree responsible?” (496). Maggie can, she tells her husband: “only think of [the shopkeeper] as kind, for he had nothing to gain. Rather than rejoin ceramic pieces with a camouflaged adhesive, the Kintsugi technique employs a special tree sap lacquer dusted with powdered gold, silver, or platinum. “We know nothing on earth,” observes the Colonel in The Golden Bowl. For a bare instant, James suggests, that hopeless result might actually be achieved, for Fanny “had flushed with the force of her effort as Maggie had flushed with wonder at the sight, and this high reflexion in their faces was all that passed between them for a minute more.” In the unspecifiable because absolutely compact emotion generated by “the violence of the crash” and reflected in their mutual coloration, the two women momentarily become one, their union expressed paradoxically by their dilatory silence. Charlotte’s idea that the man notices her, sees in her a being that he does not possess himself, but can nevertheless recognize, strategically complements her sense that the Prince does not notice him – that Amerigo possesses, that is, the very being that the man lacks and therefore keenly remarks when it appears in another. In Book Third, during the soirée at Matcham, Adam exudes among his guests a “pervasion” of “quantity” (267): Every voice in the great bright house was a call to the ingenuities and impunities of pleasure; every echo was a defiance of difficulty, doubt or danger; every aspect of the picture, a glowing plea for the immediate, and as with plenty more to come, was another phase of the spell. In the first place, Fanny attempts, through so melodramatically smashing the object-catalyst of Maggie’s new consciousness, to efface the knowledge around which that consciousness has so implacably crystallized; it is as if Fanny would suppress the revelation of perfidy by superimposing an arbitrary violence which absorbs the specific and damning knowledge into its own scenic abruptness: the act, so Fanny must intend, will permanently divert Maggie’s attention from the troubling discovery. 2 Fall 1998/Winter 1999. If you are a reader seeking action, exciting plots or a fast read, forget about Henry James. eNotes.com will help you with any book or any question. I am touched that Professor Bayley should want James’s career to end on a lovely high visse d’arte, visse d’amore note. Vol. Fanny, says James: who had been casting about her and whose inspiration decidedly had come, raised the cup in her two hands, raised it positively above her head and from under it solemnly smiled at the Princess as a signal of intention. ", Reviewed in the United States on September 22, 2010. (16). 4, The Master. (3) In James’s Hawthornesque metaphor, Maggie sees “the red mark of conviction flaming there in his beauty” (450) and finds in it the corroboration of her surmise. Maggie knows, however, that Charlotte now passes through life with “a long silken halter looped about her neck” (523), captured by Adam – and even more by the introjection of a renewed moral structure into the scene. The commanding image in the final pages is Charlotte being led away forever from all that she loves, “a silken cord” about her neck which Old Adam masterfully tugs this way and that. Maggie’s handling of her knowledge – her treatment of Charlotte – deserves examination, but her behavior will only make sense if one first distinguishes certain of her predispositions from certain of the Prince’s and Charlotte’s. The narrator of The Sacred Fount, who, like Maggie in The Golden Bowl, becomes absorbed in trying to identify the existence of hidden passions and illicit affairs by tracing their effects, comments that: It was of course familiar enough that when people were so deeply in love they rubbed off on each other - that a great pressure of soul to soul usually left on either side a sufficient show of tell-tale traces.

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