Henry James（1843 - 1916年）对小说艺术的独特贡献是在五十年的漫长职业生涯中发展的。莱昂·埃德尔（Leon Edel）可能是最著名和最受尊敬的詹姆斯学者，他表示，詹姆斯的成熟写作可以分为三个时期（中间阶段有三个细分）。通过出版一位女士的肖像，在1880 - 1881年，詹姆斯主要对现在著名的“国际主题”感兴趣，即欧洲和美国欧洲人的学习经历和冲突（前者的情况更加频繁）。第一个阶段由罗德里克·哈德森（Roderick Hudson），，，，美国人，，，，黛西·米勒（Daisy Miller）， 和一位女士的肖像;这些黛西·米勒（Daisy Miller）和一位女士的肖像可能是詹姆斯早期工作的最好例子。
更复杂的第二阶段分为三个部分。大约从1881年到1890年，第一个表现出詹姆斯对社会问题的关注（不是他所知道的那种话题），如波士顿人和公主卡萨马西玛，前者关于美国的妇女权利以及后者关于英格兰阶级斗争的信息。这些子周期中的第二个是他创作的戏剧（其中许多从未表演过），并制作了各种短篇小说。
最后一个细分是出现了与艺术家在与社会关系中的问题上的短篇小说和中期小说的出现（他已经在罗德里克·哈德森（Roderick Hudson））和偶尔的奇怪故事，例如The Turn of the Screw和 ”The Altar of the Dead关于男人，女人和儿童，他们被痴迷，鬼屋甚至疯了。其中一些作品是在詹姆斯对戏剧性的灾难性努力中写的。从1896年左右到职业生涯结束的最后一个时期，称为“主要阶段”，显示詹姆斯重返国际主题。这个时期的主题最明显地显示在他晚年的三本大小说中：大使（这是在下一部小说之前写的，但之后出版了），鸽子的翅膀，和金碗。
在这种扩展的发展和兴趣和热情的转变期间，詹姆斯一直在试图完善他的性格，主题和活动的表现。在他的批判性著作中，他说他终于认识到“他的主要形象的间接呈现”的价值（他在这里谈论的是鸽子的翅膀，主要是通过其他角色的眼睛以及读者学到的，甚至是她的死亡，主要是通过报告）。几个批评家，也许是最著名的是F. R. Leavis， 在伟大的传统（1948年），认为这种“认可”是一个严重的错误；他们声称詹姆斯将他的演讲不仅仅是明确的理解（因此是过度歧义的普遍指控），并最终超出了利益。其他人 - 也许最突出的是亨利·詹姆斯（Henry James，1951年）中的F. W. Dupee，这三本小说是詹姆斯的杰作，在其中他对道德决定的复杂性的研究达到了另一位作者从未达到的高程。
詹姆斯小说的两个方面很少受到关注：关于他的幽默的写作并不多，这通常具有讽刺意味，但通常是温柔的。A fine example is his presentation of Mrs. Lavinia Penniman, the foolish aunt of Catherine Sloper in Washington Square and a widow “without fortune—with nothing but the memory of Mr. Penniman’s flowers of speech, a certain vague aroma of which hovered about her own conversation.” This romantic, meddling woman is depicted by James humorously, but with a clear indication of the harm that her interference causes. The image of her “flowers of speech” suggests another neglected style: the repetition of certain key words and images throughout his canon. Readers can easily become distracted by frequently encountered “flower” images such as the foregoing one and key words such as “figured” (as in “it figured for him”), “lucid” or “lucidly” (as in “he said it lucidly”), “idea” (as in “he had his idea of”), and a phrase such as “She took it in” to signify an understanding of a remark. Also, “theory”—in a phrase such as “She had a theory that”—appears many times. It is not surprising that certain terms might emerge frequently in a canon as large as James’s, but his evident affection for particular expressions such as the foregoing ones does seem odd in a writer whose repertoire of verbal expression appears to be boundless. It would, for example, be hard to think of another writer, who, in characterizing the grim conversation of Mrs. Bowerbank, in公主卡萨马西玛，，，，would be able to suggest it by noting, “her outlook seemed to abound in cheerless contingencies.”
All in all, though, there is little of James’s subject matter and technique that has escaped the close inspection of scholarship. Possibly the greatest shift of critical emphasis in James scholarship has been the increasing awareness of the moral thrust of his work. Early critics frequently charged that no consistent moral attitude was clearly expressed in his work. In later times, this concern evaporated, with a realization that James was an insightful moralist who understood that general rules are of little use in dealing with complex social and personal situations. He tended to treat each novel as a sort of special problem, to be worked out by the characters. From his total production, though, two “principles” have issued: The author was a firm believer in freedom and in personal development. To become a true hero or heroine in a James novel, a character must achieve a state of self-realization (again, an acute act of consciousness is needed), must recognize the truth and face it bravely, must act freely (without emotional dependence on others), and must renounce any personal gain in order to promote the welfare of others. In this way, the person attains true personal development and achieves as much freedom as James believed the world could offer—he did not subscribe to the doctrine that human liberty is unlimited. The basic moral conflict in his novels is essentially between powerful, often heartless or thoughtless, oppressors, such as Gilbert Osmond in一位女士的肖像和橄榄总理波士顿人，以及他们的“受害者”，例如伊莎贝尔·阿切尔（Isabel Archer），在前作品中以及后者的维雷娜·塔兰特（Verena Tarrant）。詹姆斯的声誉已经很高，正在继续上升，并且很可能会继续这样做。他在电影院的几部作品的戏剧化（黛西·米勒（Daisy Miller），，，，欧洲人，华盛顿广场，，，，一位女士的肖像， 和鸽子的翅膀）和电视（大使，The Turn of the Screw，“ Beltraffio的作者”，Poynton的战利品，和金碗）也许是提高好评的表面索引，但批判性关注的兴起并不是。毫无疑问，詹姆斯属于F. R. Leavis的短语，直到小说的“伟大传统”中。
黛西·米勒（Daisy Miller）
黛西·米勒（Daisy Miller）在英格兰和美国，詹姆斯成为主要小说家的声誉，宣布了他的几个重复主题和图案。从情节的角度来看，这个故事是一个简单的故事。弗雷德里克·温特伯恩（Frederick Winterbourne黛西·米勒（Daisy Miller），她和她的母亲和弟弟一起访问欧洲；米勒先生回到纽约的斯克内克塔迪，大概赚了足够的钱来让家人舒适地旅行。中篇小说的本质是年轻，国际化的外籍人士（詹姆斯小说中的罕见类型）与漂亮，幼稚和故意的女孩之间的关系。
在黛西·米勒（Daisy Miller）一个核心问题是温特伯恩是否可以防止黛西的生命结束的悲剧。As he gets to know her better and comes to like her, he becomes increasingly distressed at Daisy’s refusal to heed the warnings of Mrs. Costello, his aunt, and Mrs. Walker, another Europeanized American society matron (it is significant that the people who most condemn Daisy are not native Europeans but expatriates). Daisy stubbornly continues to consort with the gigolo Giovanelli, who is seen with her all about Rome, much to the dismay of the society people, who are scandalized by such “loose” behavior—even the Romans joke about it in a subdued fashion, which only irritates Winterbourne the more. He tries to warn Daisy that she is seen too much with Giovanelli—“Everyone thinks so”—but she refuses to take his cautions seriously: “I don’t believe a word of it. They’re only pretending to be shocked. They don’t really care a straw what I do.” This perverse attitude finally leads to Daisy’s death, when she goes, against Winterbourne’s urging, to the Colosseum at night (a place that, after dark, was reputed to have a miasma often fatal to foreigners) and contracts a mortal fever. When Winterbourne angrily asks Giovanelli why he took Daisy to such a dangerous place, the Italian answers, “she—she did what she liked.”
当人们记得温特伯恩（Winterbourne）被认为是一位非常完美的年轻绅士，在最好的社会中受到欢迎，他在日内瓦（Geneva）有一位情妇，这是这个故事的道德差异的复杂性。显然，在那个“最好的”社会中，重要的不是美德（雏菊对任何实际不法行为都无罪），但是它的外观 - 冬天可能不是美德的，但他是谨慎的。因此，外观与现实的古老主题在这个故事中出现了，但在其他作者的作品中没有发现社会影响。对詹姆斯来说，对于试图与欧洲达成协议的美国人最困难的问题之一是，美德的外观通常比现实更重要。十年后写的混响者中很清楚地看到了这个问题，其中一位美国商人感到困惑，因为法国家庭对报纸上的一些丑闻对他们说的话感到沮丧。就他而言，只要它们不正确，这些事情就无关紧要。
詹姆斯的现实主义在故事结束时最为明显。温特伯恩（Winterbourne）对黛西（Daisy）的死感到re悔。他感到遗憾的是，他没有更努力地理解她并纠正她的误解。他告诉姑姑：“她会赞赏一个人的尊敬。”然后，他将课程应用于自己：“我在外国地区生活太久了。”到目前为止，这个故事似乎已经推进了关于纯真腐败和可以学到的宝贵真理的道德论文。詹姆斯（James）关闭了中篇小说，这表明他对人性的愿景是多么现实：“尽管如此，他很快就回到日内瓦生活，因此，仍然有关于他的苏期动机的最矛盾的记载：一报告：he’s ‘studying’ hard—an intimation that he’s much interested in a very clever foreign lady.” James had no illusions about people.
一位女士的肖像
虽然黛西·米勒（Daisy Miller）从温特伯恩的意识中讲述了第一人称一位女士的肖像这是一个更长，更复杂的小说，与许多角色的思想有关。这本书可能是所有詹姆斯全长小说中最受人们最欣赏的一本书。它带有“国际主题”，有些人认为其最高水平的表达方式，并为读者提供了詹姆斯作品中最令人印象深刻的角色之一，令人愉悦的伊莎贝尔·阿切尔（Isabel Archer），标题的“女士”。同样，詹姆斯在心理上是现实的：尽管伊莎贝尔是诚实，聪明和敏感的，但她并非没有错。她确实有“对自己进行良好思考的渴望”。她是“国外无辜的”，正在“屈服她的命运”。首先，将有机会参观欧洲（由她的富有的姨妈莉迪亚·塔特特（Lydia Touchett）夫人提供的机会），然后是大量的钱（由丹尼尔·蒂特（Daniel Touchett）先生的遗嘱提供在他的儿子拉尔夫（Ralph）的建议下，他非常喜欢伊莎贝尔（Isabel）。高连接的这种组合-MR。Touchett与许多著名的英国家庭，最重要的是Warburton勋爵（Lord Warburton） - 旅行和舒适的环境在詹姆斯的小说中很常见。
在一位女士的肖像，詹姆斯非常详细地研究角色的关系。当沃伯顿勋爵向伊莎贝尔求婚时，局势进行了仔细的审查，她对他的拒绝为后来的情节发展和性格启示做准备。就像詹姆斯经常一样，伊莎贝尔继承的钱既是祝福又是诅咒。它使她能够旅行并几乎奢侈地生活，但它也吸引了她在詹姆斯小说中少数几个彻底的恶棍之一。吉尔伯特·奥斯蒙德（Gilbert Osmond）似乎是迷人，谦虚，聪明和敏感的。他被证明是自豪，傲慢，闲着和残酷的。在对国际主题的有力阐述中，奥斯蒙德法院巧妙地伊莎贝尔（Isabel）巧妙地吸引了她对欧洲艺术奇观的感觉，他似乎是一名出色的法官。He wins her hand, partly through the efforts of Madame Serena Merle, an American expatriate (as is Osmond) who, Isabel later discovers, was once Osmond’s mistress (they could not marry, since neither was wealthy—the topic of marrying for money is one that James explored as thoroughly as any writer ever had and with greater insight). Mme Merle is eager for Osmond to marry well, since they have a daughter, Pansy, whom she wishes to see well placed in the world. With James’s usual subtlety and with his use of a device that again proves effective in金碗，伊莎贝尔（Isabel）首先怀疑梅尔（Mme Merle）和奥斯蒙德（Osmond）之间未被认可的亲密关系，当她通过窗户看到它们，在她站着而他坐在的房间里，他的社交触动是多次的社交感动。对他来说，社会风格不仅仅是人类性交边缘的宜人装饰。
婚姻是失败的。奥斯蒙德（Osmond）来到伊莎贝尔（Isabel）的仇恨，最终她鄙视他。在著名的第42章中，伊莎贝尔（Isabel）研究了她生活中的严峻状况。在显然是意识流技术的先兆的扩展通道中，詹姆斯使伊莎贝尔回顾了她犯的可怕错误 - “这是她对丈夫的深刻不信任 - 这是使她的世界变黑的事” -考虑一下她的骄傲使她有多愚蠢：拉尔夫·蒂特（Ralph Touchett）警告她对奥斯蒙德（Osmond）。伊莎贝尔的固执和拒绝注意明智的建议提醒一个黛西·米勒（Daisy Miller）同样的愚蠢。当沃伯顿勋爵将自己的感情引导给三角时，情节变得更加复杂。自然，奥斯蒙德（Osmond）非常赞成这种婚姻，因为沃伯顿（Warburton）非常富有。伊莎贝尔（Isabel）以一个简单的论点使丈夫更加仇恨英国同伴，即他和潘西（Pansy）并不是真的彼此相爱。在这里，欧洲的腐败（在美国的外籍人士中表达，在詹姆斯的小说中经常表达）反对美国的纯真和情感完整性。
这本小说的结论是詹姆斯最微妙和模棱两可的。伊莎贝尔（Isabel）返回英国参观拉尔夫·塔特（Ralph Touchett）的临终。第一章中的宣布他的健康状况已经准备好了。实际上，拉尔夫（Ralph）是詹姆斯（James）真正贤惠的角色之一，这是因为他放弃了任何关于伊莎贝尔（Isabel）的想法，因为他的身体状况失败了。伊莎贝尔（Isabel）向拉尔夫（Ralph）承认，他是对的，她在嫁给奥斯蒙德（Osmond）时犯了一个巨大的错误。拉尔夫（Ralph）通常是指责自己为她提供了诱使奥斯蒙德（Osmond）的钱。伊莎贝尔（Isabel）拒绝了这个借口，他意识到错误是她自己的借口。
小说的最后一页令人困惑的方面是伊莎贝尔决定回到奥斯蒙德（Osmond）作为他的妻子。已经提供了几种解释，所有这些都证明了詹姆斯对人类动机的深度。The most dramatic is that Isabel’s confrontation with her old lover from America, Casper Goodwood, is so violent—he seizes her and kisses her passionately—that it frightens her (perhaps arousing an unsettling sexuality in her nature) into returning to a life that may be despicable but is safe. Another, more likely reason for the decision is that Isabel has become fond of Pansy and has promised to come back and help her to advance in life along sound and honorable lines. The most subtle reason may be that Isabel is simply too proud to admit her blunder openly to the world, which a separation would do, and prefers to live in misery rather than escape to what she would regard as shame. Whatever the true cause of her resolution (and they might all be operative), she starts back to Rome immediately. In the last passage of the book, however, Isabel’s old friend and confidante, Henrietta Stackpole, suggests to Caspar that he must have patience—evidently a hint that this loyal friend of Isabel believes that she will not stay with Osmond forever.
Scholars who believe that James attained the peak of his treatment of the international theme in this novel point to the delicate illumination of Isabel’s growing awareness of the sinister undertones of life and to the gallery of superb portraits of ineffectual innocence (as in Ralph, who is all good will and yet helps to ruin Isabel’s life), black evil (in Mme Merle and Osmond), and admixtures of positive and negative traits, as in Mrs. Touchett, who is essentially well intentioned but is supremely intransigent (she does not live with the mild-mannered Mr. Touchett, and “the edges of her conduct were so very clear-cut” that they “had a knife-like effect”). Even if the reader is not quite ready to agree with the judgment of F. R. Leavis that this novel, along with波士顿人，是“语言中两本最辉煌的小说”之一，似乎很难否认一位女士的肖像is the articulate treatment of the “international theme” in American literature.
波士顿人
詹姆斯省略了波士顿人来自纽约版，因为它涉及美国纯粹的美国臣民，美国的美国人；它没有国际主题的痕迹。波士顿人被批评家和作者所低估了，读者花了很多年的时间才将小说认出，因为用莱维斯的话说，“一本富有，富有，聪明和辉煌的书”。除了关注社会话题之外波士顿人在这个时代，他心中的另一个主题也巧妙地对待：痴迷，干扰的人的问题和畸变。老式的保守派南方人罗勒·勒索姆（Basil Ransom）和他的新英格兰表弟橄榄省（Olive Chancellor）之间的冲突使充满了紧张和动画的小说。这本书中的一些现代兴趣是由于判断橄榄和维雷娜·塔兰特（Verena Tarrant）之间几乎是女同性恋的关系，这是对抗性的来源。正如欧文·豪（Irving Howe）在他对现代图书馆版本的介绍中所建议的那样波士顿人（1956年），詹姆斯时代的人们没有现代参考条款，例如“女同性恋”这一事实并不意味着他们对这类关系的了解较少。
小说强调的社会问题是妇女权利，困难是妇女很少有她们的权利。如今，妇女有权投票，任职等获得的胜利是理所当然的，但阅读波士顿人清楚地表明，在创造这些进步方面付出了多少痛苦和沉闷的努力。然而，像往常一样，詹姆斯用个人人来特别对待这个问题。詹姆斯稍后讨论这本书时说，他花了很长时间才能讲故事，并为角色提供了太多背景。但是，许多目前的读者判断背景既需要又有趣。例如，重要的是要在正面和负面的光中出现赎金，以便为图的某种模棱两可的解决方案做好充分的准备。作为一名南方人，他在北部练习法律，在战争遭受的南部为他提供机会，这是一种聪明的触摸，詹姆斯使他成为一名内战老兵，现在居住在该地区populated by his recent enemies; in this way James emphasizes Basil’s sense of alienation and loneliness), Ransom is both appealing—he has “a fine head and such magnificent eyes”— and repelling: “He was very long . . . and he looked a little hard and discouraging, like a column of figures.”
赎金证明非常艰难和令人沮丧。After he meets Verena Tarrant, the daughter of a “mesmeric healer” of dubious integrity (James’s depiction of this character is further evidence of his rich fund of humor), who has become, by some natural inspiration, an eloquent platform speaker on behalf of the movement to extend the rights of women, the stage is set for the great contention. Olive Chancellor reluctantly allows Basil to become acquainted with Verena—by this time, the well-to-do Boston spinster has already been overwhelmed by the innocent charm of the naïve girl. Thus the battle lines are drawn early. Ransom soon realizes that Verena should be married, preferably to him, instead of wasting her life on a fruitless and, in his opinion, misguided cause. Ransom believes that the highest destiny to which a woman can aspire is “to make some honest man happy.” He finds a formidable opponent in Olive, whose zeal for reform inspires her widowed sister, Mrs. Luna, who believes the whole movement to be ridiculous (since she is very interested in romantic relationships with men, particularly Ransom, for a time), to remark that “she would reform the solar system if she could get hold of it.” The wit that James displays at the expense of the movement may seem to indicate that he too thinks it ridiculous, but, as usual, the author is fair, offering a warm and sensitive picture of Miss Birdseye (a character who caused James to be much criticized in his own time, since many readers believed her to be based closely on a highly respected member of the Peabody family of Boston—James always denied the charge), an old reformer who has been pursuing the cause for decades.
Verena and Basil meet but a handful of times before the climax of the novel, but their dialogues are artfully designed by the author to reveal that Verena, who has been welcomed into Olive’s home as a permanent guest (the Boston spinster, while having no gift for oratory herself, is fully committed to Verena’s promulgation of the cause—she is also deeply and possessively committed to Verena personally, having once cried passionately, “Promise me not to marry!”), is slowly becoming interested in Ransom. Finally, when he believes that he can afford to marry, a conviction that seems somewhat optimistic, since his career has advanced very slowly, and because his belief is based on the publication of only one essay on political and social philosophy, he proposes to Verena. James has not been widely accused of depending on coincidences in his plots, as Charles Dickens and Thomas Hardy, for example, have been, but a number of them do appear. In this case, Verena turns to Olive and away from Basil chiefly because Miss Birdseye, of whom she is very fond, dies shortly after the proposal.
These circumstances lead to the highly dramatic scene at the Boston Music Hall, where Verena is scheduled to address a large crowd. Ransom, learning of the planned address, arrives, manages to get backstage (to the door of the dressing room, which is guarded by a large Boston policeman, provided by the fearful and distraught Olive), and forcefully urges Verena to go away with him. She ultimately accedes to his coercion (he seizes her and almost pushes her out the door), leaving Olive weeping and desolate. James, in his customary evenhanded dealing with themes and characters, makes it clear that the marriage of Basil and Verena will certainly be anything but “happy ever after.” Verena is in tears when she is ushered from the theater by her lover, and in the last sentence of the book, James provides a typically ominous forecast of their future: “It is to be feared that with the union, so far from brilliant, into which she is about to enter, these were not the last she was destined to shed.” Many readers find it astonishing that James could have so underrated this penetrating study of social movements and human beings torn between personal loyalties and abstract ideals. The climactic final scene is the most dramatic and lively that James ever wrote. This is, though, clearly not the end of the story. As Conrad has said, “One is never set at rest by Mr. Henry James’s novels. His books end as an episode in life ends. You remain with the sense of the life still going on.”
大使
大使詹姆斯认为，这是我的作品中“坦率地说，是最好的‘全能'”，现在通常被评为他的杰作之一（一些批评家认为这是主要阶段中最有成就的作品）。像他的许多小说一样，这是基于现实生活中的事件。詹姆斯在笔记本上回忆说，他的老朋友威廉·迪恩·豪威尔斯（William Dean Howells）在他的晚年对巴黎做出了访问。据《轶事》报道，乔纳森·斯特吉斯（Jonathan Sturges）告诉詹姆斯（James），豪威尔斯（Howells）被巴黎的美丽所克服，他对他年轻的朋友说：“哦，你年轻，你年轻，很高兴：对此感到高兴。一切都可以：这是一个错误。”这段话以及演讲的其余部分几乎是中年兰伯特·斯特雷特（Lambert Strether）的英雄大使，在美丽的巴黎花园格洛里亚尼（Gloriani）的小比勒姆（Little Bilham）罗德里克·哈德森（Roderick Hudson）;James sometimes became so interested in a character that he revived him for a later novel).
斯特尔确实是“大使”。他被说服了她的儿子查德威克·纽瑟姆（Chadwick Newsome）返回他的家人和商业责任（可能代表马萨诸塞州伍斯特），他的儿子查德威克·纽瑟姆（Chadwick Newsome）说服了他的家人和商业责任。这本小说的主要主题是乔伊·德·维弗尔（Joie de Vivre）；这种素质正是斯特雷斯（Strether）到达巴黎时发现的，自从他年轻时就一直没有去过。据观察，詹姆斯小说的显着方面之一是讽刺的。这种质量在任何地方都没有比在大使。Chad Newsome，Strether发现，他在巴黎的一生中成为了一个亲切的绅士。因城市的美丽和魅力所吸引的斯特雷特（Strether）不能很好地敦促乍得（Chad）留下令人愉悦的巴黎，为愚蠢的沃利特（Dull Woollett）留下。具有讽刺意味的是，乍得非常愿意，最后，渴望返回家园以赚钱（家族企业非常成功；它制造了一些有用的文章，这些文章通常是詹姆斯不明显的），而分支渴望留在巴黎。的确，他延迟派遣乍得回家的迫使新闻夫人派遣她令人生畏的女儿莎拉·波科克夫人和她的丈夫接任委员会，因为斯特雷特显然已经失败了。因此，非利式主义的力量存在，使冲突变得活跃。
这场冲突主要是在Strether的脑海中，因为在这本小说中，詹姆斯承诺采用第三人称限量观点，达到其最大的效果。像往常一样，情况并不像看起来那么简单。乍得“文明”的不仅是巴黎的居住。这也是他的情妇玛丽·德·维奥尼特（Mme Marie de Vionnet）。在他知道他的年轻朋友和这位老熟而迷人的女士之间的亲密关系之前，他对她产生了深厚的钦佩和感情。即使在得知联络人之后，也意外地看到了两条在他们住的旅馆附近的一条河上划船，玛丽·德·维奥尼特（Marie de Vionnet）仍被玛丽·德·维奥尼特（Marie de Vionnet）围困。When Chad decides to return home and abandon his mistress (who has been reviled, to Strether’s dismay, by Mrs. Pocock, who refers to Chad’s relationship with her as “hideous”), Strether recognizes her tragedy (“You are fighting for your life!”) and is extremely sympathetic. He has, however, his own problems. Thanks to Mrs. Newsome’s already aroused suspicions and Sarah Pocock’s expected damning report, Strether sees that his comfortable position in Woollett (and possibly eventual marriage to his widowed employer) is very likely gone: “It probably曾是一切都结束了。”
在詹姆斯的小说中如此突出的放弃主题在这本小说结束时可能比其他任何书籍都更有强大的表述。尽管巴黎有吸引力，并提出了与美国外籍人士玛丽亚·戈斯特雷（Maria Gostrey）的同意结婚的提议，他在他第一次降落在欧洲时就与斯特雷斯（Strether）结为朋友，但这个高度道德和负责任的人决心返回沃利特（Woollett），他相信他有责任他的职责说谎。他无能为力。他无能为力。这种道德解决方案对现代读者来说似乎很愚蠢，但在小说中是可以相信的，这种情况表明詹姆斯的信念是，从目前的话来说，一切都有一个价格标签，甚至幸福。因此，这部小说不仅是对巴黎的致敬和它可以提供的文化海拔生命，而且是负责任和体贴行动的必要性。詹姆斯承认，他从乔治·艾略特那里学到了很多东西。他坚信在道德宇宙中义务是绝对的。斯特尔的诱惑几乎是压倒性的，但他的新英格兰责任感迫使他征服它。 It is difficult to think of another novelist, or, indeed, another novel, that illuminates so brightly the significance of conscientious moral choices.
亨利·詹姆斯（Henry James）对现代小说演变的贡献是惊人的多样性。詹姆斯去世后不久，埃兹拉·庞德（Ezra Pound）总结了他最大的贡献：“和平是沟通。我们这个时代的人没有像已故的亨利·詹姆斯那样努力创造交流手段。伟大的艺术是进行交流的斗争。”
主要作品
Long Fiction：罗德里克·哈德森（Roderick Hudson），，，，1876; The American, 1876-1877; An International Episode, 1878-1879 (novella); Daisy Miller, 1878; The Europeans, 1878; Confidence, 1879-1880; The Portrait of a Lady, 1880-1881; Washington Square, 1880; The Bostonians, 1885-1886; The Princess Casamassima, 1885-1886; The Reverberator, 1888; The Tragic Muse, 1889-1890; The Awkward Age, 1897-1899; The Spoils of Poynton, 1897; What Maisie Knew, 1897; In the Cage, 1898; The Turn of the Screw, 1898; The Sacred Fount, 1901; The Wings of the Dove, 1902; The Ambassadors, 1903; The Golden Bowl, 1904; The Outcry, 1911; The Ivory Tower, 1917; The Sense of the Past, 1917.
短篇小说：1875年充满激情的朝圣者；未来的麦当娜，1879年；1883年的伦敦围攻；1884年的三个城市故事；贝尔特拉菲奥（Beltraffio）的作者，1885年；阿斯伯恩论文，1888年；大师的教训，1892年；私人生活，波普尔勋爵，访问，1893年；真实的东西，1893年；终止，1895年； Embarrassments, 1896; The Two Magics: The Turn of the Screw and Covering End, 1898; The Soft Side, 1900; The Better Sort, 1903; The Novels and Tales of Henry James, 1907-1909 (24 volumes); The Finer Grain, 1910; A Landscape Painter, 1919; Travelling Companions, 1919; Master Eustace, 1920; Stories of Writers and Other Artists, 1944; Henry James: Selected Short Stories, 1950; Henry James: Eight Tales from the Major Phase, 1958; The Complete Tales of Henry James, 1962-1965 (12 volumes; Leon Edel, editor); The Figure in the Carpet, and Other Stories, 1986; The Jolly Corner, and Other Tales, 1990; The Uncollected Henry James: Newly Discovered Stories, 2004.
播放：黛西·米勒（Daisy Miller），pb。1883年（改编他的小说）；美国人，PR。1891年，pb。1949年（改编他的小说）；Guy Domville，PB。1894年，私下；PR。1895年，pb。1949年; The Reprobate, pb. 1894, pr. 1919; Theatricals: Tenants and Disengaged, pb. 1894; Theatricals, Second Series: The Album and The Reprobate, pb. 1895; The High Bid, pr. 1908, pb. 1949; The Other House, wr. 1909, pb. 1949; The Outcry, wr. 1909, pr. 1917, pb. 1949; The Saloon, pr. 1911, pb. 1949 (one act); The Complete Plays of Henry James, pb. 1949 (Leon Edel, editor).
非小说：跨大西洋素描，1875年；法国诗人和小说家，1878年；霍桑，1879年；地方肖像，1883年；1884年在法国进行了一次巡回演出；小说艺术，1884年；部分肖像，1888年；1893年在伦敦的论文；威廉·韦特莫尔的故事和他的朋友，1903年；英语时间，1905年； The American Scene, 1907; Views and Reviews, 1908; Italian Hours, 1909; A Small Boy and Others, 1913 (memoirs); Notes of a Son and Brother, 1914 (memoirs); Notes on Novelists, 1914; The Middle Years, 1917; The Art of the Novel: Critical Prefaces, 1934 (R. P. Blackmur, editor); The Notebooks of Henry James, 1947 (F. O.Matthiessen and Kenneth B. Murdock, editors); The Scenic Art, 1948 (Allan Wade, editor); Henry James Letters, 1974-1984 (5 volumes; Leon Edel, editor); Henry James: Literary Criticism, 1984; The Art of Criticism: Henry James on the Theory and Practice of Fiction, 1986; The Complete Notebooks of Henry James, 1987; Dear Munificent Friends: Henry James’s Letters to Four Women, 1999 (Susan E. Gunter, editor); Henry James on Culture: Collected Essays on Politics and the American Social Scene, 1999 (Pierre A. Walker, editor); Dearly Beloved Friends: Henry James’s Letters to Younger Men, 2001 (Susan E. Gunter and Steven H. Jobe, editors).
资料来源：著名的美国小说家修订版詹姆斯·艾格（James Agee） - 欧内斯特·J·盖恩斯（Ernest J. Gaines），由卡尔·罗莉森·塞勒姆出版社（Carl Rollyson Salem Press）编辑，2008年。
类别：美国文学，，，，文学批评，，，，俄罗斯乌克兰比分直播，，，，Literature，，，，现实主义
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