By Professor David W Smit
Smit addresses the abstraction and complexity of Henry James’ overdue sort via 3 easy severe techniques: sort as identity, as expression, and as imitation.Those critics who specialize in James’ variety as identity are keen on the original or particular parts of his prose. Smit argues that the foundation for selecting those gains is subjective. The beneficial properties studied usually are not frivolously dispensed in James’ paintings, and on the point of so much literary research the belief of the fashion varies from one analyzing to the next.Style as expression stresses the cultured caliber or character of the author. Smit compares 5 varieties of writing James produced through the wintry weather of 1899–1900 and indicates that the range of his writing can't be correlated with any particular expression of personality.Smit surveys the Jamesian units for representing psychological job and concludes that they're self reliant of his kind. the main convincing reason for James’ sort is mental. As a shy guy, James built a fashion of conversing that saved humans at a distance, and this carried over into his writing.
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Extra info for The language of a master: theories of style and the late writing of Henry James
Example text
16 I think that Fowler's defense avoids the key issues. It seems to me that we have any number of theories of style, each of which is useful for its own particular purposes, and I plan to summarize them in a moment. We also have any number of aesthetic theories which argue that what Fowler wants, a clearly stated, logically necessary way to move from description to evaluation, is impossible, and I will present these arguments in subsequent chapters. Fowler, of course, does not confront the issue of whether his vision of "an adequate theory of style" is even possible.
The difficulty we all have in using the term Page 15 "style" is not that we do not use the word with precision but that the term is such an umbrella to take in such a wide range of related concepts that despite our most careful preliminary definitions we often find ourselves using the term in any number of senses quite different from our original definition, and quite correctly, too. Our usage in particular cases is usually quite precise and accurate; it is the way our usage shifts from case to case that is so bothersome.
True, language is governed by a series of rules or grammars, but these rules are in themselves conventions with no necessary or logical connection to reality. To think about language at all is to confront an infinite hall of mirrors in which diction and syntax, rules of grammar, the neurological structure of the human mind, and what we call reality reflect upon one another with no ultimate source for all the shifting mirror images. " One of the reasons we read Henry James, as well as other great writers, is to watch a master of Page 9 language come to terms with the limits imposed on him by the nature of things, to watch him test those limits, creating in the process a new prism for viewing the hall or, an even greater achievement, creating a new addition to the hall, a new reality, risking all the while complete and total nonsense.