COMPLEX TEXTTutor: Paul Luna

Francesca RomanoMA Book DesignDepartment of Typography and Graphic CommunicationsUniversity of Reading2012–13

COMPLEX TEXTTutor:Paul Luna

The main aim of the project was to create the layouts for a series of classics texts, in a way that the books were clearly identifi able as part of the series. In the meantime we had the chance to explore the typical ways of displaying certain parts of the texts, like title pages, content pages, header hierarchy, notes in relation to the main text and the navigational issues involved in the different kind of annotation solutions.

We had to work with excerpts for nine classic books:Leo Tolstoy: War and Peace;Shakespeare: Henry V;Gaston Leroux: The Phantom of the Opera;La Fontaine: Fables (in verse translation);Robert Louis Stevenson: Treasure Island;The Gospels according to St. Matthew;Henry James: Washington Square;Rilke: Selected Poems (parallel German and English text);Laozi: Daodejing (parallel Chinese and English text).

Each of them provided its own particularities and set problems to be solved in a coherent way.

2

Photo from the research on classic books I started the project with.

I was inspired by the series of books Piccola Biblioteca (Small Library) by the Italian publisher Adelphi, as one of the books in that series was the first novel that I noticed had a very nice layout.

3

Discovery

At first I looked at other editions of the books I had to design, to have an idea of different publishers’ typographic choices. I looked especially at how they treated the notes in the text – when they used footnotes, endnotes or sidenotes.

It was clear that, while sidenotes are never used for this kind of publication, footnotes and endnotes usage is not that dogmatic. Common sense , however, suggested that the choice of having one or the other was linked to the length and the nature of the notes and to the kind of text they were referring to – longer notes with in-depth parenthesis usually sent to the back and short references or com-ments to more academic texts are placed at the bottom of the page.

This kind of observation lasted throughout the duration of the project, every time focusing on the part of the text I was working on at that moment: navigation from notes to main text, title pages, etc…

A second part of the discovery was to look at the layouts of books part of existing series of classics. It was very disappointing to learn that there was almost nothing linking them together, apart from the cover. A lot of books in a same series were set in different ways, often with different fonts too.

4

The format of a righthand page and the space occupied on it by the text block. The two shapes have different proportions, so that they have a more interesting relationship. The margins are asymmetrical, the external being larger than the internal.

Sketches to quickly visualise the spatial relationships between text blocks, running heads, folios and notes.

5

Transformation

book formatThe first thing I designed was the format of the books. I decided I wanted them to be in golden proportion, with the possibility of enlarging the format for too long books , with the condition that the proportions would remain the same. The base format will then be 5.3 × 8.5 inches, 137 × 215,9 mm.

text blockThen I decided the dimensions of the text block, 3.8 × 6.5 inches, 197 × 165,1 mm. The proportion of the text block is not the golden ratio, so that the two shapes of the page and of the text block are in a more interesting relationships.

The margins are asymmetric, the external one being wider than the internal one, to leave space for the text to breathe and for the reader to comfortably hold the book.

fontI wanted to use an old-style font and, after I tried out a few in different sizes in the text block , I settled for Janson Text LT Std for no particular reason apart from the one that it seemed just the right font for the books I wanted to make. The final font size and baseline are 10 / 13 pt.

spacing and indentations systemAs I proceeded in analysing the different parts of the text, especially the running heads / page numbers and the footnotes I developed a indentation system to help me manage all the spatial variations in the text.

The paragraph’s first lines, the layout of the notes, the quotation in the text, the poetry, the tabulations, the distance between the folios and the running heads, the spaces above and below headers and paragraphs, all use the half-baseline as a spatial unit (the grid is shown on pages 6–7).

The only thing that doesn’t follow this system are the space between footnotes, that would have been too large even if it were a quarter of the baseline space , so I set for a space of 1 millimeter.

6

The grid of the book’s spreads uses the halft of the baseline measure as its module.The vertical spacing, like the space before and after some paragraphs, are one baseline measure, half a baseline measure or a third of a baseline measure.The horizontal spacing like the tabulations and indenting if the paragraphs are shown in the picture in light blue. They consist of half, one , one and a half and two baseline measures.

For the use of spacing in every paragraph style, see the “Specifications” section at page 11.

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viiIntroduction

collection, Virginibus Puerisque, was published in 1881. Such was Stevenson’s reputation for this lightly philosophical kind of writ-ing that when, in 1893, Kenneth Grahame published a not dis-similar collection of essays, Pagan Papers (many of which had first appeared in Henley’s National Observer), a reviewer noted that he was ‘only one in a crowd, only one in a generation who turns out a “Stevensonette” as easily and as lightly as it rolls a cigarette’.14 Despite the succès d’estime of two travel books, An Inland Voyage (1878) and Travels with a Donkey (1879), Stevenson remained reli-ant on his father for money.

The Writing and Publication of Treasure Island

In 1879, despite very poor health, Stevenson travelled to Cali-fornia, where he married Fanny Osbourne; August 1881 found them, with Fanny’s son Samuel Lloyd Osbourne (then known as Sam) and Stevenson’s parents, staying at a cottage in Braemar. It was here that Treasure Island (and the myth of Treasure Island) was begun. Just as Alice’s Adventures in Wonderland and The Wind in the Willows have accumulated a certain romance about their begin-nings, so Treasure Island’s beginnings have been embroidered. It certainly seems to have begun with a map, but whether it was one drawn by Lloyd (as Lloyd claimed) or by Stevenson (as Steven-son claimed) has been debated. What is clear is that the book was underway by 25 August, when Stevenson wrote to Henley (using some phrases that have become bywords in the study of children’s books):

I am now on another lay for the moment, purely owing to Sam; but I do believe there is more coin in it than in any amount of crawlers [horror stories]: now, see here

The Sea Cook Or Treasure Island: A Story for Boys.

14 Patrick R. Chalmers, Kenneth Grahame. Life, Letters and Unpublished Work (London: Methuen, 1933), 48.

iv vIntroduction Introduction

his characters’ expression, spoken and unspoken, as when Mrs. Penniman reflects on Morris Townsend, that ‘[H]e was certainly much more imperious – she ended by calling it imperial – than Mr. Penniman’ (32), or the Doctor sizes up the situation in the Almonds’ drawing-room, ‘these two young persons might con-fabulate, as the Doctor phrased it to himself, without attracting attention’ (49).

Readers of Washington Square have detected the influence of Balzac’s French successors in the realist tradition – Zola, the Gon-courts, Maupassant, Daudet – attributing to it the cool detachment that features largely though not exclusively in the narrator’s voice. James certainly read and reviewed his French contemporaries with great interest. One early reviewer of Washington Square went so far as to accuse him of the cruelty towards his main character typi-cal of French realism, or its sterner offspring, naturalism. It was as if James had begun ‘like a spiritualized Zola with the assumption that the legitimate subject-matter of tragedy is the infliction of suffering on a human being’. Catherine Sloper’s suffering made ‘painful reading’, as if James ‘with the most admirable skill, had performed a difficult vivisection for us to witness’. The reviewer concluded that ‘the piercing of live flesh in cold blood is bad art’.4 Others have agreed in aligning James with Catherine’s medical father, who can deal, we are told, ‘a terribly incisive look – a look so like a surgeon’s lancet’ (106). This would have disappointed the novelist who reviewed Zola’s Nana in February 1880, just after finishing Washington Square. James deplored its lack of humour and wit, and defiantly claimed, on behalf of the English tradition, ‘that we have, as a general thing, a deeper, more delicate percep-tion of the play of character and the state of the soul.’ 5

James may have shrunk from the unbridled fancy he deplored in Miss Prescott, but he also shrank from ‘the dryness, the so-lemnity, the air of tension and effort’ he detected in Zola and his

4 The Contemporary Reviews, ed. Hayes, pp. 115, 116.

5 Henry James: Literary Criticism, vol. ii: European Writers and the Prefaces, ed. Leon Edel with the assistance of Mark Wilson (New York, 1984), p. 870.

fellows.6 A generation back, Balzac had provided a richer, more unrestrained model. Yet when it comes to the style in which the fathers express their anger, nothing could be further from Dr. Sloper’s feline urbanity than this tirade of Balzac’s M. Grandet, at least on first hearing:

‘Accursed serpent of a daughter! Oh, you bad lot, you know I love you and you take advantage of it. She’s cutting her father’s throat! Good Lord, you must have thrown your for-tune at the feet of that good-for-nothing with his fine leather boots. By my father’s pruning-hook, I can’t disinherit you, by my casks! But I curse you, your cousin, and your chil-dren! …’ He looked at his daughter, who stood there cold and silent. ‘She won’t budge; she won’t bat an eyelid. She’s more of a Grandet than I am.’ 7

More typical of Dr. Sloper is the way in which he thinks to himself with amusement, in retreat from deeper feelings such as anger or compassion: ‘By Jove, … I believe she will stick – I believe she will stick!’ (104) Balzac’s is not the style in which James’s tyrannical fa-thers oppress their daughters: we might think of Gilbert Osmond and Pansy in The Portrait of a Lady, or even Adam Verver and Mag-gie in The Golden Bowl. Yet the possibility of such violence in word or deed haunts James’s great scenes of confrontation. James did not suffer from a shortage of literary (and dramatic) models for a father’s grasp on his daughter, but as Angus Wrenn has shown, Dr. Sloper owes something not just to Balzac but to the less well-known contemporary French writer, the Swiss-born Victor Cher-buliez (1829-99). The classically Gothic plot of Cherbuliez’ first novel, Le Comte Kostia (1863), revolves around the hero’s rescue of an only daughter from imprisonment by the title-character, a jealously possessive widower. Like Catherine Sloper, she is made to suffer for surviving a firstborn male child who dies in infancy.8

6 Ibid., p. 869.

7 Eugénie Grandet, trans Sylvia Raphael, with introduction by Christopher Prendergast (Oxford, 1990) pp. 144-5.

8 Angus Wrenn, Henry James and the Second Empire (Oxford, 1995), p. 86.

54 Henry VWilliam Shakespeare

and it will endure cold, as another man’s sword will - and there’s an end.

bardolph:I will bestow a breakfast to make you friends, and we’ll be all three sworn brothers to France. Let’t be so, good Corporal Nim.

nim: Faith, I will live so long as I may, that’s the certain of it, and when I cannot live any longer, I will do as I may. That is my rest, that is the rendezvous of it.

bardolph: It is certain, corporal, that he is married to Nell Quickly, and certainly she did you wrong, for you were troth-plight to her.

nim: I cannot tell. Things must be as they may. Men may sleep, and they may have their throats about them at that time, and some say knives have edges. It must be as it may. Patience be a tired mare, yet she will plod. There must be conclusions. Well, I cannot tell.

Enter Ensign Pistol and Hostess Quickly

bardolph: Good morrow, Ensign Pistol. (To Nim) Here comes Ensign Pistol and his wife. Good corporal, be pa-tient here.

nim: How now, mine host Pistol?pistol: Base tick, call’st thou me host? Now by Gad’s lugs

I swear I scorn the term. Nor shall Nell keep lodgers.hostess: No, by my troth, not long, for we cannot lodge

and board a dozen or fourteen gentlewomen that live hon-estly by the prick of their needles, but it will be thought we keep a bawdy-house straight.

Nim draws his sword

nim: Oh well-a-day. Lady! If he be not hewn now, we shall see wilful adultery and murder committed.

Pistol draws his sword

bardolph: Good Lieutenant, good corporal, offer nothing here. toast cheese: Compare K. John, act 4 scene 3 line 99, ‘I’ll so maul you and

your toasting iron’. The modern equivalent would probably be ‘toast marshmallows’.

11 sworn bothers: ‘companions in arms who took an oath according to the rules of chivalry to share each other’s goods and bad fortunes’ (oed).

14 when … may: Proverbial: ‘Men must do as they may (can), not as they would’ (Tilley M554).

do as I may: A modern stage tradition, that Nim stutters, has the merit of bringing out the absurdity of this line, the stutter on do giving the audience time to anticipate the obvious and logical conclusion die, which Nim then avoids.

15 rest: last resolve

rendezvous: a retreat, a refuge; a sense first recorded at 1 Henry IV, act 4 scene 1 line 57.

18 troth-plight: betrothed (a more binding contract than the modern engagement)

22 mare: E. A. J. Honigmann (Modern Language Review, 50 (1955), 197) defends Folio name, arguing that Nim and his associates ‘specialise in misquotation’, and that Shakespeare may have deliberately twisted the proverb ‘for the sake of a double pun (name-Nim, plodde-plot)’. But the ease of the apparent mis-reading, the phonological and dramatic implausibility of Honigmann’s puns, and the fact that Nim himself (unlike Quickly and Pistol) does not elsewhere engage in misquotation, but does systematically regurgitate proverbs, all support Q’s variant mare.

s.d. Pistol: The name probably alludes to Basilisco, a cowardly braggart in Kyd’s Solyman and Perseda (1589-92); a basilisk was a great cannon. Contemporary pistols were notoriously inaccurate but very noisy. For Pistol in the theatre, see Introduction, pp. 64-5.

24 good morrow, Ensign Pistol: In F, Bardolph sees Pistol coming, urges Nim to be patient, then addresses Pistol. In Q Bardolph sees Pistol, shouts a greeting to him, then while Pistol approaches, urges Nim to be patient; but Nim imme-diately greets Pistol in a provocative manner.

27 host: Corporal Nim addresses his superior officer not as ‘Ensign’ (as Bardolph has done twice in the immediately preceding speech) but as ‘inn-keeper’. Host could also imply ‘pimp’.

28 tick: Most editors have respelled tike, glossing ‘small dog’.

Gad’s lugs] God’s ears

32 honestly: (a) decently (b) chastely

prick: unwittingly obscene

34 Lady: ‘(By Our) Lady’, a mild oath

hewn: cut down

35 wilful adultery: She probably means ‘unwilling adultery’ (rape) or ‘intentional adultery’ (on Nim’s part). Editors assume she malaprops a neologism (‘assaultery’) - which seems uncommunicable.

2. 1. 372. 1. 23

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15

20

35

25

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Further Reading

james’s writings

The most immediately profitable fictions to read alongside Wash-ington Square are the other works James wrote between his second and third long novels, The American (1877) and The Portrait of a Lady (1881), namely: the short novels The Europeans and Confi-dence, and the tales ‘Daisy Miller’, ‘Longstaff’s Marriage’, ‘An In-ternational Episode’, ‘The Pension Beaurepas’, ‘The Diary of a Man of Fifty’, and ‘A Bundle of Letters’. Of the non-fiction he wrote at this time, the study of Hawthorne (1879) and the review of Zola’s Nana (1880) are particularly significant (they can be found in the respective volumes of James’s collected Literary Criticism noted below). For full details of these and other writings, see Leon Edel and Dan H. Laurence, A Bibliography of Henry James, 3rd edition, revised with the assistance of James Rambeau (Oxford, 1982). It is also instructive (and pleasurable) to read the works inspired by James’s return to New York in 1904-5, the relevant chapters of The American Scene (1907) and the tales published between 1908 and 1910, ‘The Jolly Corner’, ‘Julia Bride’, ‘Crapy Cornelia’ and ‘A Round of Visits’, and finally, the memories of his childhood included in the autobiographical work, A Small Boy and Others (1913). James’s critical writings are collected in Liter-ary Criticism, vol. i: Essays on Literature, American Writers, English Writers, and vol. ii: European Writers and the Prefaces, ed. Leon Edel with the assistance of Mark Wilson (New York, 1984). For selec-tions of his voluminous correspondence, see Henry James Letters, 4 vols, ed. Leon Edel, (Cambridge, MA, and London, 1974-84); Henry James: A Life in Letters, ed. Philip Horne (London, 1999); and in the fullness of time, The Complete Letters of Henry James, eds Pierre A. Walker and Greg W. Zacharias (Lincoln, NE, 2006 —). Michael Anesko gathers a massive amount of important material

Second level titles in Henry James’ Washington Square. They use the B Header style.

First exception: the second level tiles in Stevenson’s Treasure Island use the style C Header because they contain emphasised words.

The running heads are usually symmetrical in the book series.

Second exception: not to confuse the folios with the line numbers, always on the righthand margins of the page, the running heads are asymmetrical.

9exceptionsOne of the aims of this project was also to understand the need of having excep-tions in a system of unified elements and be able to make conscious decisions about them. Not every part of the system can, in fact, be applied everywhere succesfully, especially when dealing with texts so different to one another.

For example, the first exception I had to do was to better deal with titles. The second level titles (B Header) are set in small caps in the general system. However, in the introduction to Treasure Island the second level titles often contain italicised words, that do not render well at all in small caps. Considering there were no third level titles in that part of the book, I used that style (C Header) for the second level ones. Those are in italic and the emphasised words are in regular. This turned into a rule of the system itself: if the second level titles include italic words, then the designer has to apply the C Header style, not the B Header.

Another exception was about the running heads for Shakespeare’s play. The running heads are usually symmetrical in my series, but in this case they are asymmetrical, to avoid confusing the folios with the line numbers. This also can be considered as a rule for the general system: use asymmetrical running heads in books where line numbers are used.

The paragraph styles of the different titles are specified on page 13.

10

Bound dummy and cover.

11

Specifications

Here is a list of the paragraph and character styles I created to set the books.

basic paragraph (base for all the others)Font: Janson Text LT Std 55 Roman 10 / 13 ptTabs: right at 13 pt, left at 19,5 pt and 26 ptwith proportional old style numbers.

running heads left pageFont: Janson Text LT Std 55 Roman 9 / 11 pt Flushed leftwith lining numbers

running heads right pageFont: Janson Text LT Std 55 Roman 9 / 11 pt Flushed rightwith lining numbers

main textFont: Janson Text LT Std 55 Roman 10 / 13 ptLeft JustifiedFirst line indent: 13 pt

first paragraphFont: Janson Text LT Std 55 Roman 10 / 13 ptLeft JustifiedNo first line indent

last paragraphFont: Janson Text LT Std 55 Roman 10 / 13 ptLeft JustifiedFirst line indent: 13 ptSpace Below: 13 pt

chapter intro:Font: Janson Text LT Std 56 Italic 10 / 13 ptLeft JustifiedNo first line indentParagraph indent: 26 pt

Paragraph Styles

Basic Texts

12 indent single paragraphFont: Janson Text LT Std 56 Italic 10 / 13 ptLeft JustifiedNo first line indentParagraph indent: 26 ptSpace above: 13 ptSpace Below: 13pt

indent first paragraphFont: Janson Text LT Std 56 Italic 10 / 13 ptLeft JustifiedNo first line indentParagraph indent: 26 ptSpace above: 13 pt

indent middle paragraphFont: Janson Text LT Std 56 Italic 10 / 13 ptLeft JustifiedFirst line indent: 13 ptParagraph indent: 26 pt

indent last paragraphFont: Janson Text LT Std 56 Italic 10 / 13 ptLeft JustifiedFirst line indent: 13 ptParagraph indent: 26 ptSpace Below: 13pt

indent raggedFont: Janson Text LT Std 56 Italic 10 / 13 ptFlushed LeftParagraph indent: 26 pt

poetryFont: Janson Text LT Std 55 Roman 10 / 13 pt Paragraph indentation: 13 ptTabulations by multiple baseline measures

dedicationFont: Janson Text LT Std 56 Italic 9 / 11 pt Paragraph indentation: 13 ptSpace after: 4,3 pt (1 / 3 baseline measure)

line numbersFont: Janson Text LT Std 55 Roman 9 / 11 pt Flushed right

Indentations

Poetry

13play textFont: Janson Text LT Std 55 Roman 10 / 13 ptLeft JustifiedParagraph indent: 6,5 pt (half a baseline)First line indent: -6,5 pt

actsFont: Janson Text LT Std 56 Italic 9 / 11 pt Paragraph indentation: 26 ptSpace after: 4,3 pt (1 / 3 baseline measure)Space before: 4,3 pt

footnotesFont: Janson Text LT Std 55 Roman 7,5 / 9,5 ptLeft JustifiedParagraph indent: 26 ptFirst Line indent: -26pt(the numbers are right tabulated to 19,5 pt to accommodate a three-digit number)Space in between footnotes: 1mm

endnotesFont: Janson Text LT Std 55 Roman 9 / 11 ptLeft JustifiedParagraph indent: 26 ptFirst Line indent: -26pt(the numbers are right tabulated to 19,5 pt to accommodate a three-digit number)Space below: 4,3 pt (1 / 3 baseline)

endnotes indent Font: Janson Text LT Std 55 Roman 9 / 11 ptLeft JustifiedParagraph indent: 39 ptFirst Line indent: noneSpace below: 4,3 pt (1 / 3 baseline)

bibliographyFont: Janson Text LT Std 55 Roman 9 / 11 ptLeft JustifiedParagraph indent: 13 ptFirst Line indent: -13ptSpace below: 4,3 pt (1 / 3 baseline)

titleFont: Janson Text LT Std 55 Roman 13 / 13 pt All CapsSpace below: 13 pt

authorFont: Janson Text LT Std 55 Roman 13 / 13 pt Space below: 13 pt

Annotations

Play

Titles

14 subtitleFont: Janson Text LT Std 55 Roman 9 / 11 pt All Caps

a headerFont: Janson Text LT Std 75 Bold 10 / 13 ptSpace Below: 65 pt (the text always starts on the sixth line of the page)

a header (play)Font: Janson Text LT Std 75 Bold 10 / 13 pt Space Below: 6,5 pt (half a baseline)

b headerFont: Janson Text LT Std 55 Roman 10 / 13 pt Small Caps, 40 of trackingSpace Below: 6,5 pt (half a baseline)

c headerFont: Janson Text LT Std 56 Italic 10 / 13 ptSpace Below: 6,5 pt (half a baseline)

italicJanson Text LT Std 56 Italic

small capsFont: Janson Text LT Std 55 RomanSmall Caps, 40 of tracking

all capsFont: Janson Text LT Std 55 RomanAll Caps

regular (for emphasis in long italic texts)Font: Janson Text LT Std 55 Roman

Character Styles

15

Author

Title

Subtitle

Reader’s Classics

Edition

Henry James

WASHINGTON SQUARE

Edited with an Introduction and Notes by Adrian Poole

reader’s classics

A University of Reading Edition

reader’s classics

16

iv vIntroduction Introduction

his characters’ expression, spoken and unspoken, as when Mrs. Penniman reflects on Morris Townsend, that ‘[H]e was certainly much more imperious – she ended by calling it imperial – than Mr. Penniman’ (32), or the Doctor sizes up the situation in the Almonds’ drawing-room, ‘these two young persons might con-fabulate, as the Doctor phrased it to himself, without attracting attention’ (49).

Readers of Washington Square have detected the influence of Balzac’s French successors in the realist tradition – Zola, the Gon-courts, Maupassant, Daudet – attributing to it the cool detachment that features largely though not exclusively in the narrator’s voice. James certainly read and reviewed his French contemporaries with great interest. One early reviewer of Washington Square went so far as to accuse him of the cruelty towards his main character typi-cal of French realism, or its sterner offspring, naturalism. It was as if James had begun ‘like a spiritualized Zola with the assumption that the legitimate subject-matter of tragedy is the infliction of suffering on a human being’. Catherine Sloper’s suffering made ‘painful reading’, as if James ‘with the most admirable skill, had performed a difficult vivisection for us to witness’. The reviewer concluded that ‘the piercing of live flesh in cold blood is bad art’.4 Others have agreed in aligning James with Catherine’s medical father, who can deal, we are told, ‘a terribly incisive look – a look so like a surgeon’s lancet’ (106). This would have disappointed the novelist who reviewed Zola’s Nana in February 1880, just after finishing Washington Square. James deplored its lack of humour and wit, and defiantly claimed, on behalf of the English tradition, ‘that we have, as a general thing, a deeper, more delicate percep-tion of the play of character and the state of the soul.’ 5

James may have shrunk from the unbridled fancy he deplored in Miss Prescott, but he also shrank from ‘the dryness, the so-lemnity, the air of tension and effort’ he detected in Zola and his

4 The Contemporary Reviews, ed. Hayes, pp. 115, 116.

5 Henry James: Literary Criticism, vol. ii: European Writers and the Prefaces, ed. Leon Edel with the assistance of Mark Wilson (New York, 1984), p. 870.

fellows.6 A generation back, Balzac had provided a richer, more unrestrained model. Yet when it comes to the style in which the fathers express their anger, nothing could be further from Dr. Sloper’s feline urbanity than this tirade of Balzac’s M. Grandet, at least on first hearing:

‘Accursed serpent of a daughter! Oh, you bad lot, you know I love you and you take advantage of it. She’s cutting her father’s throat! Good Lord, you must have thrown your for-tune at the feet of that good-for-nothing with his fine leather boots. By my father’s pruning-hook, I can’t disinherit you, by my casks! But I curse you, your cousin, and your chil-dren! …’ He looked at his daughter, who stood there cold and silent. ‘She won’t budge; she won’t bat an eyelid. She’s more of a Grandet than I am.’ 7

More typical of Dr. Sloper is the way in which he thinks to himself with amusement, in retreat from deeper feelings such as anger or compassion: ‘By Jove, … I believe she will stick – I believe she will stick!’ (104) Balzac’s is not the style in which James’s tyrannical fa-thers oppress their daughters: we might think of Gilbert Osmond and Pansy in The Portrait of a Lady, or even Adam Verver and Mag-gie in The Golden Bowl. Yet the possibility of such violence in word or deed haunts James’s great scenes of confrontation. James did not suffer from a shortage of literary (and dramatic) models for a father’s grasp on his daughter, but as Angus Wrenn has shown, Dr. Sloper owes something not just to Balzac but to the less well-known contemporary French writer, the Swiss-born Victor Cher-buliez (1829-99). The classically Gothic plot of Cherbuliez’ first novel, Le Comte Kostia (1863), revolves around the hero’s rescue of an only daughter from imprisonment by the title-character, a jealously possessive widower. Like Catherine Sloper, she is made to suffer for surviving a firstborn male child who dies in infancy.8

6 Ibid., p. 869.

7 Eugénie Grandet, trans Sylvia Raphael, with introduction by Christopher Prendergast (Oxford, 1990) pp. 144-5.

8 Angus Wrenn, Henry James and the Second Empire (Oxford, 1995), p. 86.

Runningh Heads Left

Main Text

Footnotes

Footnotes have a paragraph indentation of 26 pt and a first line indentation of -26pt. The first line accomodates the note reference number and two tabs, so that the first line of the actual text aligns the the rest of the paragraph.

17

iv vIntroduction Introduction

his characters’ expression, spoken and unspoken, as when Mrs. Penniman reflects on Morris Townsend, that ‘[H]e was certainly much more imperious – she ended by calling it imperial – than Mr. Penniman’ (32), or the Doctor sizes up the situation in the Almonds’ drawing-room, ‘these two young persons might con-fabulate, as the Doctor phrased it to himself, without attracting attention’ (49).

Readers of Washington Square have detected the influence of Balzac’s French successors in the realist tradition – Zola, the Gon-courts, Maupassant, Daudet – attributing to it the cool detachment that features largely though not exclusively in the narrator’s voice. James certainly read and reviewed his French contemporaries with great interest. One early reviewer of Washington Square went so far as to accuse him of the cruelty towards his main character typi-cal of French realism, or its sterner offspring, naturalism. It was as if James had begun ‘like a spiritualized Zola with the assumption that the legitimate subject-matter of tragedy is the infliction of suffering on a human being’. Catherine Sloper’s suffering made ‘painful reading’, as if James ‘with the most admirable skill, had performed a difficult vivisection for us to witness’. The reviewer concluded that ‘the piercing of live flesh in cold blood is bad art’.4 Others have agreed in aligning James with Catherine’s medical father, who can deal, we are told, ‘a terribly incisive look – a look so like a surgeon’s lancet’ (106). This would have disappointed the novelist who reviewed Zola’s Nana in February 1880, just after finishing Washington Square. James deplored its lack of humour and wit, and defiantly claimed, on behalf of the English tradition, ‘that we have, as a general thing, a deeper, more delicate percep-tion of the play of character and the state of the soul.’ 5

James may have shrunk from the unbridled fancy he deplored in Miss Prescott, but he also shrank from ‘the dryness, the so-lemnity, the air of tension and effort’ he detected in Zola and his

4 The Contemporary Reviews, ed. Hayes, pp. 115, 116.

5 Henry James: Literary Criticism, vol. ii: European Writers and the Prefaces, ed. Leon Edel with the assistance of Mark Wilson (New York, 1984), p. 870.

fellows.6 A generation back, Balzac had provided a richer, more unrestrained model. Yet when it comes to the style in which the fathers express their anger, nothing could be further from Dr. Sloper’s feline urbanity than this tirade of Balzac’s M. Grandet, at least on first hearing:

‘Accursed serpent of a daughter! Oh, you bad lot, you know I love you and you take advantage of it. She’s cutting her father’s throat! Good Lord, you must have thrown your for-tune at the feet of that good-for-nothing with his fine leather boots. By my father’s pruning-hook, I can’t disinherit you, by my casks! But I curse you, your cousin, and your chil-dren! …’ He looked at his daughter, who stood there cold and silent. ‘She won’t budge; she won’t bat an eyelid. She’s more of a Grandet than I am.’ 7

More typical of Dr. Sloper is the way in which he thinks to himself with amusement, in retreat from deeper feelings such as anger or compassion: ‘By Jove, … I believe she will stick – I believe she will stick!’ (104) Balzac’s is not the style in which James’s tyrannical fa-thers oppress their daughters: we might think of Gilbert Osmond and Pansy in The Portrait of a Lady, or even Adam Verver and Mag-gie in The Golden Bowl. Yet the possibility of such violence in word or deed haunts James’s great scenes of confrontation. James did not suffer from a shortage of literary (and dramatic) models for a father’s grasp on his daughter, but as Angus Wrenn has shown, Dr. Sloper owes something not just to Balzac but to the less well-known contemporary French writer, the Swiss-born Victor Cher-buliez (1829-99). The classically Gothic plot of Cherbuliez’ first novel, Le Comte Kostia (1863), revolves around the hero’s rescue of an only daughter from imprisonment by the title-character, a jealously possessive widower. Like Catherine Sloper, she is made to suffer for surviving a firstborn male child who dies in infancy.8

6 Ibid., p. 869.

7 Eugénie Grandet, trans Sylvia Raphael, with introduction by Christopher Prendergast (Oxford, 1990) pp. 144-5.

8 Angus Wrenn, Henry James and the Second Empire (Oxford, 1995), p. 86.

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First Paragraph

18

20 21Matthew Matthew

we be clothed?” 32 (for after all these things do the Gentiles seek): for your heavenly Father knoweth that ye have need of all these things. 33 But seek ye first the kingdom of God, and his righteous-ness, and all these things shall be added unto you. 34 Take therefore no thought for the morrow: for the morrow shall take thought for the things of itself: sufficient unto the day is the evil thereof.

chapter 7

1 Christ endeth his Sermon in the Mount, reproveth rash judge-ment, 6 forbiddeth to cast holy things to dogs, 7 exhorteth to prayer, 13 to enter in at the strait gate, 15 to beware of false prophets, 21 not to be hearers, but doers of the word: 24 like houses builded on a rock, 26 and not on the sand.

i ‘‘Judge not, that ye be not judged. 2 For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured to you again. 3 And why beholdest thou the mote that is in thy brother’s eye, but considerest not the beam that is in thine own eye? 4 Or how wilt thou say to thy brother, “Let me pull out the mote out of thine eye”; and behold, a beam is in thine own eye? 5 Thou hypocrite, first cast out the beam out of thine own eye: and then shalt thou see clearly to cast out the mote out of thy brother’s eye.

6 ‘Give not that which is holy unto the dogs, neither cast ye your pearls before swine: lest they trample them under their feet, and turn again and rend you.

7 ‘Ask, and it shall be given you: seek, and ye shall find: knock, and it shall be opened unto you: 8 For every one that asketh, re-ceiveth: and he that seeketh, findeth: and to him that knocketh, it shall be opened. 9 Or what man is there of you, whom if his son ask bread, will he give him a stone? 10 Or if he ask a fish, will he

give him a serpent? 11 If ye then being evil, know how to give good gifts unto your children, how much more shall your Father which is in heaven, give good things to them that ask him? 12 Therefore all things whatsoever ye would that men should do to you, do ye even so to them: for this is the Law and the Prophets.

13 ‘Enter ye in at the strait gate, for wide is the gate, and broad is the way that leadeth to destruction, and many there be which go in thereat: 14 because strait is the gate, and narrow is the way which leadeth unto life, and few there be that find it.

15 ‘Beware of false prophets which come to you in sheep’s cloth-ing, but inwardly they are ravening wolves. 16 Ye shall know them by their fruits: do men gather grapes of thorns, or figs of thistles? 17 Even so, every good tree bringeth forth good fruit: but a corrupt tree bringeth forth evil fruit. 18 A good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit. 19 Every tree that bringeth not forth good fruit, is hewn down, and cast into the fire. 20 Wherefore by their fruits ye shall know them.

21 ‘Not every one that saith unto me, “Lord, Lord”, shall enter into the kingdom of heaven: but he that doeth the will of my Fa-ther which is in heaven. 22 Many will say to me in that day, “Lord, Lord, have we not prophesied in thy name? and in thy name have cast out devils? and in thy name done many wonderful works?” 23 And then will I profess unto them, I never knew you: depart from me, ye that work iniquity.

24 ‘Therefore, whosoever heareth these sayings of mine, and doeth them, I will liken him unto a wise man, which built his house upon a rock: 25 and the rain descended, and the floods came, and the winds blew, and beat upon that house: and it fell not, for it was founded upon a rock. 26 And every one that heareth these sayings of mine, and doeth them not, shall be likened unto a foolish man, which built his house upon the sand: 27 and the rain descended, and the floods came, and the winds blew, and beat upon that house; and it fell, and great was the fall of it.’

7. 6 that which is holy: i.e. meat from sacrificial animals.

rend you: i.e. (of the dogs) attack you, tear you to pieces. (The sentence structure is chiastic, the order of reference in the first clause being inverted in the second. Thus: dogs, swine – trample, rend.)

7. 12 the Law and the Prophets: see note to 5:17 above.

7. 23 depart . . . iniquity: quoting Ps 6:8.

7. 24 scribes: see note on 5:20 above.

7. 276. 31

B Header

Chapter Intro

19

20 21Matthew Matthew

we be clothed?” 32 (for after all these things do the Gentiles seek): for your heavenly Father knoweth that ye have need of all these things. 33 But seek ye first the kingdom of God, and his righteous-ness, and all these things shall be added unto you. 34 Take therefore no thought for the morrow: for the morrow shall take thought for the things of itself: sufficient unto the day is the evil thereof.

chapter 7

1 Christ endeth his Sermon in the Mount, reproveth rash judge-ment, 6 forbiddeth to cast holy things to dogs, 7 exhorteth to prayer, 13 to enter in at the strait gate, 15 to beware of false prophets, 21 not to be hearers, but doers of the word: 24 like houses builded on a rock, 26 and not on the sand.

i ‘‘Judge not, that ye be not judged. 2 For with what judgment ye judge, ye shall be judged: and with what measure ye mete, it shall be measured to you again. 3 And why beholdest thou the mote that is in thy brother’s eye, but considerest not the beam that is in thine own eye? 4 Or how wilt thou say to thy brother, “Let me pull out the mote out of thine eye”; and behold, a beam is in thine own eye? 5 Thou hypocrite, first cast out the beam out of thine own eye: and then shalt thou see clearly to cast out the mote out of thy brother’s eye.

6 ‘Give not that which is holy unto the dogs, neither cast ye your pearls before swine: lest they trample them under their feet, and turn again and rend you.

7 ‘Ask, and it shall be given you: seek, and ye shall find: knock, and it shall be opened unto you: 8 For every one that asketh, re-ceiveth: and he that seeketh, findeth: and to him that knocketh, it shall be opened. 9 Or what man is there of you, whom if his son ask bread, will he give him a stone? 10 Or if he ask a fish, will he

give him a serpent? 11 If ye then being evil, know how to give good gifts unto your children, how much more shall your Father which is in heaven, give good things to them that ask him? 12 Therefore all things whatsoever ye would that men should do to you, do ye even so to them: for this is the Law and the Prophets.

13 ‘Enter ye in at the strait gate, for wide is the gate, and broad is the way that leadeth to destruction, and many there be which go in thereat: 14 because strait is the gate, and narrow is the way which leadeth unto life, and few there be that find it.

15 ‘Beware of false prophets which come to you in sheep’s cloth-ing, but inwardly they are ravening wolves. 16 Ye shall know them by their fruits: do men gather grapes of thorns, or figs of thistles? 17 Even so, every good tree bringeth forth good fruit: but a corrupt tree bringeth forth evil fruit. 18 A good tree cannot bring forth evil fruit, neither can a corrupt tree bring forth good fruit. 19 Every tree that bringeth not forth good fruit, is hewn down, and cast into the fire. 20 Wherefore by their fruits ye shall know them.

21 ‘Not every one that saith unto me, “Lord, Lord”, shall enter into the kingdom of heaven: but he that doeth the will of my Fa-ther which is in heaven. 22 Many will say to me in that day, “Lord, Lord, have we not prophesied in thy name? and in thy name have cast out devils? and in thy name done many wonderful works?” 23 And then will I profess unto them, I never knew you: depart from me, ye that work iniquity.

24 ‘Therefore, whosoever heareth these sayings of mine, and doeth them, I will liken him unto a wise man, which built his house upon a rock: 25 and the rain descended, and the floods came, and the winds blew, and beat upon that house: and it fell not, for it was founded upon a rock. 26 And every one that heareth these sayings of mine, and doeth them not, shall be likened unto a foolish man, which built his house upon the sand: 27 and the rain descended, and the floods came, and the winds blew, and beat upon that house; and it fell, and great was the fall of it.’

7. 6 that which is holy: i.e. meat from sacrificial animals.

rend you: i.e. (of the dogs) attack you, tear you to pieces. (The sentence structure is chiastic, the order of reference in the first clause being inverted in the second. Thus: dogs, swine – trample, rend.)

7. 12 the Law and the Prophets: see note to 5:17 above.

7. 23 depart . . . iniquity: quoting Ps 6:8.

7. 24 scribes: see note on 5:20 above.

7. 276. 31

20

Book IV

i: the lion in love

To Mademoiselle de Sévigné

My lady, you whom painters might portrayas one among the Graces; who at birthbrought beauty in perfection to the earth, except for holding love at bay - I wonder if you might approve a playful tale which means no harm, and contemplate without alarm a lion forced by love to yield? Strange is the force that love can wield, and happy those who only know from tales how deep its wounds can go. If those who tell of love to you offend, when what they say is true, it can at least, I think, be told in fable: this one, then, makes bold to offer you, once more renewed, devout respect and gratitude.

Long, long ago, when animals could speak,the lions (mostly; others too) would seekalliances by marriage with our race.Why should they not? - the race of lions then,for sense and courage, equalled that of men. Besides, they had that handsome face. On one occasion, this took place: a lion born of high degree while by a meadow chanced to see a shepherd maid. She was, he thought,

In this particular case, the illustrations are placed at the beginning of the different books.

21

Book IV

i: the lion in love

To Mademoiselle de Sévigné

My lady, you whom painters might portrayas one among the Graces; who at birthbrought beauty in perfection to the earth, except for holding love at bay - I wonder if you might approve a playful tale which means no harm, and contemplate without alarm a lion forced by love to yield? Strange is the force that love can wield, and happy those who only know from tales how deep its wounds can go. If those who tell of love to you offend, when what they say is true, it can at least, I think, be told in fable: this one, then, makes bold to offer you, once more renewed, devout respect and gratitude.

Long, long ago, when animals could speak,the lions (mostly; others too) would seekalliances by marriage with our race.Why should they not? - the race of lions then,for sense and courage, equalled that of men. Besides, they had that handsome face. On one occasion, this took place: a lion born of high degree while by a meadow chanced to see a shepherd maid. She was, he thought,

A Header

Dedication

Poetry

22

20 21Explanatory Notes Explanatory Notes

invited Ballantyne to dinner at his uncle’s house, Colington Manse in Leith, and told him that he had read The Coral Island twice ‘and hoped to read it twice more’. Stevenson, however, claimed to have been tongue – tied. On Ballantyne’s death, Stevenson subscribed to a memorial fund, suggesting that the bulk of the money go to Ballantyne’s family. He also commented that Ballantyne’s works ‘scarce seem to me designed for immortality.’ (Eric Quayle, Bal-lantyne the Brave (London: Hart-Davis, 1967, 217, 298-9; Robert Louis Stevenson, ‘Memoirs of Himself’, Tusitala Edition (1924) xxix: 161). James Fenimore Cooper (1789-1851) was perhaps most fa-mous for his five ‘Leatherstocking’ novels, from The Pioneers (1823) to The Deerslayer (1841). He also wrote eleven novels of the sea, including The Pilot (1824), which has some claim to be the origina-tor of ‘sea-fiction’, and The Sea-Lions (1849), which hinges upon a treasure-map owned by a dying seaman.

to s.l.o.

S. L. O.: Samuel Lloyd Osbourne, Stevenson’s stepson, known as Sam until 1886. In later editions the dedication reads ‘To Lloyd Osbourne’.

treasure island

chapter 1

1 Admiral Benbow: the inn is appropriately named after John Ben-bow (1653-1702) who was commander of the King’s ships in the West Indies in pursuit of pirates (1698, 1701). The second act of Admiral Guinea, the play written in collaboration with W. E. Hen-ley, is set here. There was an inn with the same name in Captain Lyons’s The Boy Sailor (Newsagents’ Publishing Company, 1865; reprinted in Brett’s Boy’s Library as Harry Halliard, 1879) (see Kevin Carpenter, Desert Isles and Pirate Islands. The Island Theme in Nineteenth-Century English Juvenile Fiction: a Survey and Bibliogra-phy (Frankfurt am Main: Peter Lang, 1984) 83.)

2 Trelawney: in a letter to W. E. Henley (24/25 August, 1881) Stevenson wrote that the book has ‘a fine old Squire Trelawney ( the real Tre, purged of literature and sin, to shuit (sic) the in-fant mind)… My Trelawney has a strong dash of Landor, as I see him from here’ (Letters, iii, 225). He was referring to Edward John Trelawny (1792-1881), author of Adventures of a Younger Son (1831) and Records of Shelley, Byron and the Author (1878). He is

the subject of a popular picture by John Everett Millias, ‘The Northwest Passage’ (1874). Walter Savage Landor (1775-1864) was quick-tempered but well-liked; Dickens caricatured him as Boythorn in Bleak House.

3 under our roof: in his essay ‘A Gossip on Romance’ (Longman’s Magazine 1882, collected in Memories and Portraits, 1887), Ste-venson wrote: ‘For my part, I liked a story to begin with an old wayside inn where, “toward the close of the year 17--,” several gentlemen in three-cocked hats were playing bowls… I can still hear that merry clatter of the hoofs along the midnight lane… and the words “post-chaise,” the “great North road,” “ostler,” and “nag” still sound in my ears like poetry.’ (Tusitala Edition (1924) xxix, 119-20.)

4 tarry pigtail: sailors frequently braided their hair and kept it in place with Stockholm tar, used to treat rigging. This is a possible root of the word ‘tar’ meaning sailor. ‘Jack Tar’ was first used in William Congreave’s Love for Love (1695).

5 livid white: in Washington Irving’s story, ‘Wolfert Webber; or Golden Dreams’, from Tales of a Traveller [by Geoffrey Crayon, Gent, 1824] there is a stranger at the inn

who seemed … completely at home in the chair and the tavern. He was rather under-size, but deep-chested, square, and mus-cular. His broad shoulders, double joints, and bow-knees, gave tokens of prodigious strength. His face was dark and weather-beaten; a deep scar, as if from the slash of a cutlass, had almost divided his nose, and made a gash in his upper lip, through which his teeth shone like a bull-dog’s. A mass of iron gray hair gave a grizzly finish to his hard-favored visage. His dress was of an amphibious character. He wore an old hat edged with tarnished lace, and cocked in martial style, on one side of his head; a rusty blue military coat with brass buttons, and a wide pair of short petticoat trousers, or rather breeches, for they were gathered up at the knees. He ordered every body about him with an authoritative air; talked in a brattling voice, that sounded like the crackling of thorns under a pot; damned the landlord and servants with perfect impunity.

Stevenson wrote in ‘My First Book’ (see p. 196): ‘Billy Bones, his chest, the company in the parlour, the whole inner spirit, and a good deal of the material detail of my first chapters – all were there, all were the property of Washington Irving’. J. C. Furnas

Endnotes

Like the footnotes, the endnotes have a paragraph indentation of 26 pt and a first line indentation of -26pt. The first line accomodates the note reference number and two tabs, so that the first line of the actual text aligns the the rest of the paragraph.

23

20 21Explanatory Notes Explanatory Notes

invited Ballantyne to dinner at his uncle’s house, Colington Manse in Leith, and told him that he had read The Coral Island twice ‘and hoped to read it twice more’. Stevenson, however, claimed to have been tongue – tied. On Ballantyne’s death, Stevenson subscribed to a memorial fund, suggesting that the bulk of the money go to Ballantyne’s family. He also commented that Ballantyne’s works ‘scarce seem to me designed for immortality.’ (Eric Quayle, Bal-lantyne the Brave (London: Hart-Davis, 1967, 217, 298-9; Robert Louis Stevenson, ‘Memoirs of Himself’, Tusitala Edition (1924) xxix: 161). James Fenimore Cooper (1789-1851) was perhaps most fa-mous for his five ‘Leatherstocking’ novels, from The Pioneers (1823) to The Deerslayer (1841). He also wrote eleven novels of the sea, including The Pilot (1824), which has some claim to be the origina-tor of ‘sea-fiction’, and The Sea-Lions (1849), which hinges upon a treasure-map owned by a dying seaman.

to s.l.o.

S. L. O.: Samuel Lloyd Osbourne, Stevenson’s stepson, known as Sam until 1886. In later editions the dedication reads ‘To Lloyd Osbourne’.

treasure island

chapter 1

1 Admiral Benbow: the inn is appropriately named after John Ben-bow (1653-1702) who was commander of the King’s ships in the West Indies in pursuit of pirates (1698, 1701). The second act of Admiral Guinea, the play written in collaboration with W. E. Hen-ley, is set here. There was an inn with the same name in Captain Lyons’s The Boy Sailor (Newsagents’ Publishing Company, 1865; reprinted in Brett’s Boy’s Library as Harry Halliard, 1879) (see Kevin Carpenter, Desert Isles and Pirate Islands. The Island Theme in Nineteenth-Century English Juvenile Fiction: a Survey and Bibliogra-phy (Frankfurt am Main: Peter Lang, 1984) 83.)

2 Trelawney: in a letter to W. E. Henley (24/25 August, 1881) Stevenson wrote that the book has ‘a fine old Squire Trelawney ( the real Tre, purged of literature and sin, to shuit (sic) the in-fant mind)… My Trelawney has a strong dash of Landor, as I see him from here’ (Letters, iii, 225). He was referring to Edward John Trelawny (1792-1881), author of Adventures of a Younger Son (1831) and Records of Shelley, Byron and the Author (1878). He is

the subject of a popular picture by John Everett Millias, ‘The Northwest Passage’ (1874). Walter Savage Landor (1775-1864) was quick-tempered but well-liked; Dickens caricatured him as Boythorn in Bleak House.

3 under our roof: in his essay ‘A Gossip on Romance’ (Longman’s Magazine 1882, collected in Memories and Portraits, 1887), Ste-venson wrote: ‘For my part, I liked a story to begin with an old wayside inn where, “toward the close of the year 17--,” several gentlemen in three-cocked hats were playing bowls… I can still hear that merry clatter of the hoofs along the midnight lane… and the words “post-chaise,” the “great North road,” “ostler,” and “nag” still sound in my ears like poetry.’ (Tusitala Edition (1924) xxix, 119-20.)

4 tarry pigtail: sailors frequently braided their hair and kept it in place with Stockholm tar, used to treat rigging. This is a possible root of the word ‘tar’ meaning sailor. ‘Jack Tar’ was first used in William Congreave’s Love for Love (1695).

5 livid white: in Washington Irving’s story, ‘Wolfert Webber; or Golden Dreams’, from Tales of a Traveller [by Geoffrey Crayon, Gent, 1824] there is a stranger at the inn

who seemed … completely at home in the chair and the tavern. He was rather under-size, but deep-chested, square, and mus-cular. His broad shoulders, double joints, and bow-knees, gave tokens of prodigious strength. His face was dark and weather-beaten; a deep scar, as if from the slash of a cutlass, had almost divided his nose, and made a gash in his upper lip, through which his teeth shone like a bull-dog’s. A mass of iron gray hair gave a grizzly finish to his hard-favored visage. His dress was of an amphibious character. He wore an old hat edged with tarnished lace, and cocked in martial style, on one side of his head; a rusty blue military coat with brass buttons, and a wide pair of short petticoat trousers, or rather breeches, for they were gathered up at the knees. He ordered every body about him with an authoritative air; talked in a brattling voice, that sounded like the crackling of thorns under a pot; damned the landlord and servants with perfect impunity.

Stevenson wrote in ‘My First Book’ (see p. 196): ‘Billy Bones, his chest, the company in the parlour, the whole inner spirit, and a good deal of the material detail of my first chapters – all were there, all were the property of Washington Irving’. J. C. Furnas

Endnotes Indent

24

36 37Further Reading Further Reading

biography

Edel, Leon, Henry James: The Conquest of London, 1870-1883, vol. ii of The Life of Henry James (London, 1962).

Kaplan, Fred, Henry James: The Imagination of Genius (New York, 1992).

Fisher, Paul, House of Wits: An Intimate Portrait of the James Family (New York, 2008).

Lewis, R. W. B., The Jameses: A Family Narrative (London, 1991).

Novick, Sheldon M., Henry James: The Young Master (New York, 1996).

selected criticism

Bell, Ian F. A., Washington Square: Styles of Money (New York, 1993).

Bell, Millicent, ‘Style as Subject: Washington Square’, Sewanee Review, 83. 2 (1975), 19-38.

–––––––––––, ‘“Daisy Miller” and Washington Square’, in Meaning in Henry James (Cambridge, MA: and London, 1991), pp. 45-79.

Berlant, Lauren, ‘Fancy-Work and Fancy Foot-Work: Motives for Si-lence in Washington Square’, Criticism, 29.4 (Fall 1987), 439-58.

Chandler, Karen Michele, ‘“Her Ancient Faculty of Silence’: Catherine Sloper’s Ways of Being in James’s Washington Square and Two Film Adaptations’, in Henry James Goes to the Movies, ed. Susan M. Griffin (Louisville, KY, 2002), pp. 170-89.

Hayes, Kevin (ed.), Henry James: The Contemporary Reviews, (New York, 1996).

Hughes, Clair, ‘The Ironic Dresses of Washington Square’, in Henry James and the Art of Dress (Basingstoke, 2001), pp. 29-44.

Hutchison, Stuart, ‘Washington Square: The Look of a Social History’, in Henry James: An American as Modernist (London and Totowa, NJ, 1982, 1983), pp. 9-23.

Gargano, James W., ‘Washington Square: A Study in the Growth of an Inner Self’, Studies in Short Fiction, 13.3 (Summer 1976), 355-62.

Holland, Bette, ‘Washington Square, The Family Plot’, Raritan, 15.4 (Spring 1996), 88-110.

Klein, Marcus, ‘Washington Square. Or Downtown with Henry James’, Arizona Quarterly, 53.4 (Winter 1997), 7-21.

Long, Robert Emmet, ‘James’s Washington Square: The Hawthorne Rela-tion’, New England Quarterly, 46.4 (December 1973), 573-90.

Lucas, John, ‘Washington Square’, in The Air of Reality: New Essays on Henry James, ed. John Goode (London, 1972), pp. 36-59.

Maini, Darshan Singh, ‘Washington Square: A Centennial Essay’, Henry James Review, 1.1 (1979), 81-101.

Poirier, Richard, The Comic Sense of Henry James (London, 1960), pp. 165-82.

Rivkin, Julie, ‘“Prospects of Entertainment”: Film Adaptations of Wash-ington Square’, in Henry James Goes to the Movies, ed. Susan M. Grif-fin (Louisville, KY, 2002), pp. 147-69.

Rowe, John Carlos, ‘For Mature Audiences: Sex, Gender and Recent Film Adaptations of Henry James’s Fiction’, in Henry James on Stage and Screen, ed. John R. Bradley (Basingstoke, 2002), pp. 190-211.

Swaab, Peter, ‘The End of the Embroidery: from Washington Square to The Heiress’, in Henry James on Stage and Screen, ed. John R. Bradley (Basingstoke, 2002), pp. 56-71.

Veeder, William, ‘Style, Character, and Social Commentary’, in Henry James – The Lessons of the Master: Popular Fiction and Personal Style in the Nineteenth Century (Chicago and London, 1975), pp. 184-205.

Walker, Pierre A., ‘The Experimental and Sentimental Novels in Wash-ington Square, in Reading Henry James in French Cultural Contexts (Illinois, 1995), pp. 116-25.

Williams, Merle A., ‘The American Spaces of Henry James’, in Literary Landscapes: from Modernism to Postcolonialism, eds Attie de Lange, Gail Fincham, Jeremy Hawthorn and Jakob Lothe (Basingstoke, 2008), pp. 19-37.

Zacharias, Greg W., ‘Henry James’ Style in Washington Square’, Studies in American Fiction, 18.2 (Autumn 1990), 207-24.

25

36 37Further Reading Further Reading

biography

Edel, Leon, Henry James: The Conquest of London, 1870-1883, vol. ii of The Life of Henry James (London, 1962).

Kaplan, Fred, Henry James: The Imagination of Genius (New York, 1992).

Fisher, Paul, House of Wits: An Intimate Portrait of the James Family (New York, 2008).

Lewis, R. W. B., The Jameses: A Family Narrative (London, 1991).

Novick, Sheldon M., Henry James: The Young Master (New York, 1996).

selected criticism

Bell, Ian F. A., Washington Square: Styles of Money (New York, 1993).

Bell, Millicent, ‘Style as Subject: Washington Square’, Sewanee Review, 83. 2 (1975), 19-38.

–––––––––––, ‘“Daisy Miller” and Washington Square’, in Meaning in Henry James (Cambridge, MA: and London, 1991), pp. 45-79.

Berlant, Lauren, ‘Fancy-Work and Fancy Foot-Work: Motives for Si-lence in Washington Square’, Criticism, 29.4 (Fall 1987), 439-58.

Chandler, Karen Michele, ‘“Her Ancient Faculty of Silence’: Catherine Sloper’s Ways of Being in James’s Washington Square and Two Film Adaptations’, in Henry James Goes to the Movies, ed. Susan M. Griffin (Louisville, KY, 2002), pp. 170-89.

Hayes, Kevin (ed.), Henry James: The Contemporary Reviews, (New York, 1996).

Hughes, Clair, ‘The Ironic Dresses of Washington Square’, in Henry James and the Art of Dress (Basingstoke, 2001), pp. 29-44.

Hutchison, Stuart, ‘Washington Square: The Look of a Social History’, in Henry James: An American as Modernist (London and Totowa, NJ, 1982, 1983), pp. 9-23.

Gargano, James W., ‘Washington Square: A Study in the Growth of an Inner Self’, Studies in Short Fiction, 13.3 (Summer 1976), 355-62.

Holland, Bette, ‘Washington Square, The Family Plot’, Raritan, 15.4 (Spring 1996), 88-110.

Klein, Marcus, ‘Washington Square. Or Downtown with Henry James’, Arizona Quarterly, 53.4 (Winter 1997), 7-21.

Long, Robert Emmet, ‘James’s Washington Square: The Hawthorne Rela-tion’, New England Quarterly, 46.4 (December 1973), 573-90.

Lucas, John, ‘Washington Square’, in The Air of Reality: New Essays on Henry James, ed. John Goode (London, 1972), pp. 36-59.

Maini, Darshan Singh, ‘Washington Square: A Centennial Essay’, Henry James Review, 1.1 (1979), 81-101.

Poirier, Richard, The Comic Sense of Henry James (London, 1960), pp. 165-82.

Rivkin, Julie, ‘“Prospects of Entertainment”: Film Adaptations of Wash-ington Square’, in Henry James Goes to the Movies, ed. Susan M. Grif-fin (Louisville, KY, 2002), pp. 147-69.

Rowe, John Carlos, ‘For Mature Audiences: Sex, Gender and Recent Film Adaptations of Henry James’s Fiction’, in Henry James on Stage and Screen, ed. John R. Bradley (Basingstoke, 2002), pp. 190-211.

Swaab, Peter, ‘The End of the Embroidery: from Washington Square to The Heiress’, in Henry James on Stage and Screen, ed. John R. Bradley (Basingstoke, 2002), pp. 56-71.

Veeder, William, ‘Style, Character, and Social Commentary’, in Henry James – The Lessons of the Master: Popular Fiction and Personal Style in the Nineteenth Century (Chicago and London, 1975), pp. 184-205.

Walker, Pierre A., ‘The Experimental and Sentimental Novels in Wash-ington Square, in Reading Henry James in French Cultural Contexts (Illinois, 1995), pp. 116-25.

Williams, Merle A., ‘The American Spaces of Henry James’, in Literary Landscapes: from Modernism to Postcolonialism, eds Attie de Lange, Gail Fincham, Jeremy Hawthorn and Jakob Lothe (Basingstoke, 2008), pp. 19-37.

Zacharias, Greg W., ‘Henry James’ Style in Washington Square’, Studies in American Fiction, 18.2 (Autumn 1990), 207-24.

Bibliography

26

54 Henry VWilliam Shakespeare

and it will endure cold, as another man’s sword will - and there’s an end.

bardolph:I will bestow a breakfast to make you friends, and we’ll be all three sworn brothers to France. Let’t be so, good Corporal Nim.

nim: Faith, I will live so long as I may, that’s the certain of it, and when I cannot live any longer, I will do as I may. That is my rest, that is the rendezvous of it.

bardolph: It is certain, corporal, that he is married to Nell Quickly, and certainly she did you wrong, for you were troth-plight to her.

nim: I cannot tell. Things must be as they may. Men may sleep, and they may have their throats about them at that time, and some say knives have edges. It must be as it may. Patience be a tired mare, yet she will plod. There must be conclusions. Well, I cannot tell.

Enter Ensign Pistol and Hostess Quickly

bardolph: Good morrow, Ensign Pistol. (To Nim) Here comes Ensign Pistol and his wife. Good corporal, be pa-tient here.

nim: How now, mine host Pistol?pistol: Base tick, call’st thou me host? Now by Gad’s lugs

I swear I scorn the term. Nor shall Nell keep lodgers.hostess: No, by my troth, not long, for we cannot lodge

and board a dozen or fourteen gentlewomen that live hon-estly by the prick of their needles, but it will be thought we keep a bawdy-house straight.

Nim draws his sword

nim: Oh well-a-day. Lady! If he be not hewn now, we shall see wilful adultery and murder committed.

Pistol draws his sword

bardolph: Good Lieutenant, good corporal, offer nothing here. toast cheese: Compare K. John, act 4 scene 3 line 99, ‘I’ll so maul you and

your toasting iron’. The modern equivalent would probably be ‘toast marshmallows’.

11 sworn bothers: ‘companions in arms who took an oath according to the rules of chivalry to share each other’s goods and bad fortunes’ (oed).

14 when … may: Proverbial: ‘Men must do as they may (can), not as they would’ (Tilley M554).

do as I may: A modern stage tradition, that Nim stutters, has the merit of bringing out the absurdity of this line, the stutter on do giving the audience time to anticipate the obvious and logical conclusion die, which Nim then avoids.

15 rest: last resolve

rendezvous: a retreat, a refuge; a sense first recorded at 1 Henry IV, act 4 scene 1 line 57.

18 troth-plight: betrothed (a more binding contract than the modern engagement)

22 mare: E. A. J. Honigmann (Modern Language Review, 50 (1955), 197) defends Folio name, arguing that Nim and his associates ‘specialise in misquotation’, and that Shakespeare may have deliberately twisted the proverb ‘for the sake of a double pun (name-Nim, plodde-plot)’. But the ease of the apparent mis-reading, the phonological and dramatic implausibility of Honigmann’s puns, and the fact that Nim himself (unlike Quickly and Pistol) does not elsewhere engage in misquotation, but does systematically regurgitate proverbs, all support Q’s variant mare.

s.d. Pistol: The name probably alludes to Basilisco, a cowardly braggart in Kyd’s Solyman and Perseda (1589-92); a basilisk was a great cannon. Contemporary pistols were notoriously inaccurate but very noisy. For Pistol in the theatre, see Introduction, pp. 64-5.

24 good morrow, Ensign Pistol: In F, Bardolph sees Pistol coming, urges Nim to be patient, then addresses Pistol. In Q Bardolph sees Pistol, shouts a greeting to him, then while Pistol approaches, urges Nim to be patient; but Nim imme-diately greets Pistol in a provocative manner.

27 host: Corporal Nim addresses his superior officer not as ‘Ensign’ (as Bardolph has done twice in the immediately preceding speech) but as ‘inn-keeper’. Host could also imply ‘pimp’.

28 tick: Most editors have respelled tike, glossing ‘small dog’.

Gad’s lugs] God’s ears

32 honestly: (a) decently (b) chastely

prick: unwittingly obscene

34 Lady: ‘(By Our) Lady’, a mild oath

hewn: cut down

35 wilful adultery: She probably means ‘unwilling adultery’ (rape) or ‘intentional adultery’ (on Nim’s part). Editors assume she malaprops a neologism (‘assaultery’) - which seems uncommunicable.

2. 1. 372. 1. 23

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Shakespeare’s Henry V includes prose and poetry. For the poetry it is applied the Poetry style, the prose has a different style than the other novels, as it has a short indentation to better highlight the names of the different characters.

Play Text

27

54 Henry VWilliam Shakespeare

and it will endure cold, as another man’s sword will - and there’s an end.

bardolph:I will bestow a breakfast to make you friends, and we’ll be all three sworn brothers to France. Let’t be so, good Corporal Nim.

nim: Faith, I will live so long as I may, that’s the certain of it, and when I cannot live any longer, I will do as I may. That is my rest, that is the rendezvous of it.

bardolph: It is certain, corporal, that he is married to Nell Quickly, and certainly she did you wrong, for you were troth-plight to her.

nim: I cannot tell. Things must be as they may. Men may sleep, and they may have their throats about them at that time, and some say knives have edges. It must be as it may. Patience be a tired mare, yet she will plod. There must be conclusions. Well, I cannot tell.

Enter Ensign Pistol and Hostess Quickly

bardolph: Good morrow, Ensign Pistol. (To Nim) Here comes Ensign Pistol and his wife. Good corporal, be pa-tient here.

nim: How now, mine host Pistol?pistol: Base tick, call’st thou me host? Now by Gad’s lugs

I swear I scorn the term. Nor shall Nell keep lodgers.hostess: No, by my troth, not long, for we cannot lodge

and board a dozen or fourteen gentlewomen that live hon-estly by the prick of their needles, but it will be thought we keep a bawdy-house straight.

Nim draws his sword

nim: Oh well-a-day. Lady! If he be not hewn now, we shall see wilful adultery and murder committed.

Pistol draws his sword

bardolph: Good Lieutenant, good corporal, offer nothing here. toast cheese: Compare K. John, act 4 scene 3 line 99, ‘I’ll so maul you and

your toasting iron’. The modern equivalent would probably be ‘toast marshmallows’.

11 sworn bothers: ‘companions in arms who took an oath according to the rules of chivalry to share each other’s goods and bad fortunes’ (oed).

14 when … may: Proverbial: ‘Men must do as they may (can), not as they would’ (Tilley M554).

do as I may: A modern stage tradition, that Nim stutters, has the merit of bringing out the absurdity of this line, the stutter on do giving the audience time to anticipate the obvious and logical conclusion die, which Nim then avoids.

15 rest: last resolve

rendezvous: a retreat, a refuge; a sense first recorded at 1 Henry IV, act 4 scene 1 line 57.

18 troth-plight: betrothed (a more binding contract than the modern engagement)

22 mare: E. A. J. Honigmann (Modern Language Review, 50 (1955), 197) defends Folio name, arguing that Nim and his associates ‘specialise in misquotation’, and that Shakespeare may have deliberately twisted the proverb ‘for the sake of a double pun (name-Nim, plodde-plot)’. But the ease of the apparent mis-reading, the phonological and dramatic implausibility of Honigmann’s puns, and the fact that Nim himself (unlike Quickly and Pistol) does not elsewhere engage in misquotation, but does systematically regurgitate proverbs, all support Q’s variant mare.

s.d. Pistol: The name probably alludes to Basilisco, a cowardly braggart in Kyd’s Solyman and Perseda (1589-92); a basilisk was a great cannon. Contemporary pistols were notoriously inaccurate but very noisy. For Pistol in the theatre, see Introduction, pp. 64-5.

24 good morrow, Ensign Pistol: In F, Bardolph sees Pistol coming, urges Nim to be patient, then addresses Pistol. In Q Bardolph sees Pistol, shouts a greeting to him, then while Pistol approaches, urges Nim to be patient; but Nim imme-diately greets Pistol in a provocative manner.

27 host: Corporal Nim addresses his superior officer not as ‘Ensign’ (as Bardolph has done twice in the immediately preceding speech) but as ‘inn-keeper’. Host could also imply ‘pimp’.

28 tick: Most editors have respelled tike, glossing ‘small dog’.

Gad’s lugs] God’s ears

32 honestly: (a) decently (b) chastely

prick: unwittingly obscene

34 Lady: ‘(By Our) Lady’, a mild oath

hewn: cut down

35 wilful adultery: She probably means ‘unwilling adultery’ (rape) or ‘intentional adultery’ (on Nim’s part). Editors assume she malaprops a neologism (‘assaultery’) - which seems uncommunicable.

2. 1. 372. 1. 23

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Acts

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Table of Contents

part i the old buccaneer

1 Chapter 1: the Old Sea-Dog at the ‘Admiral Benbow’ 7 Chapter 2: Black Dog Appears and Disappears 13 Chapter 3: the Black Spot 19 Chapter 4: the Sea Chest 25 Chapter 5: the Last of the Blind Man 30 Chapter 6: the Captain’s Papers

part ii the sea cook

36 Chapter 7: I Go to Bristol 42 Chapter 8: at the Sign of the ‘Spy-Glass’ 47 Chapter 9: Powder and Arms 52 Chapter 10: the Voyage 57 Chapter 11: What I Heard in the Apple Barrel 63 Chapter 12: Council of War

part iii my shore adventure

68 Chapter 13: How my Shore Adventure Began 73 Chapter 14: the First Blow 78 Chapter 15: the Man of the Island

Treasure Island’s tables of contents uses only the Basic Paragraph style.