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It was often stated that Henry James was primarily the novelist’s novelist, meaning that only a trained writer could exhaust the wealth of information about the technique of writing to be found in his stories. Few writers have been more fascinated than James by the artistic process and the artistic personality, and James dealt with these subjects again and again both as practicing critic and fiction writer. For James, life and art are inseparable. What he revered in life was art, and one may legitimately add that what he revered in art was life. For him art was only valuable because it was the means of creating life. And to the thesis that applied to himself that art was life, there followed the antithesis that life was art, which accounts for so much of the characterization in his later work, where he described people who were artists in creating their own, and in their approach to other people's lives.
In this article, we will study the artist image in Henry James’s works, especially through The Tragic Muse, “The Middle Years,” and “The Broken Wings.” The Tragic Muse(1890) is perhaps the simplest of James’s parables on the relation of the artist to society and one cannot avoid the feeling that he neglected the full examination of his theme in his delight in the situations which it allowed; his narrative was rarely before given so broad a scope and it is in this that the book’merits lie. The Tragic Muse is significant, not because of James’s growing interest in the world of drama. It was not until the short novels about the literary life that he gave himself up entirely to his theme. James’s short novels of this period projected and protected his vision of himself as a serious writer and an uncompromising artist.
With art made to explain life or to replace it, it is not surprising that the Jamesian artist develops an aesthetics couched in religious jargon. The same figurative motif is introduced in the very title of “The Broken Wings”(1900), the story of two artists, Stuart Straith and Mrs. Harvey. They suffer from the pressing social demands at the countryhouse of Mundham. What lived longest in James’ vision was not the value of art to this one or that one, nor even so questionable a thing as success. What he most treasured was the wondrous experience of the creative process itself, “the inveterate romance of the labour.”
Dencombe, in “The middle Years”(1883), is the clearest portrait of James’s heroes and martyrs of the artistic ideals. Dencombe’s enigmatic phrase “the madness of art” affirms the mystery at the heart of the act that translates experience into art. James sees himself in the self-subsiding figure of a disappointed stylist discovered, just before his death, by a young devotee. He has experienced frustration and won command of his art only with the exhaustion of life itself. There will be no second chance, now that mastery has at last come. His emergence from doubt to certainty in recognizing the value of his work in its representing his best effort to touch the consciousness of others qualifies Dencombe as the first of James’ modern writer-heroes. Dencombe expresses one of James’s own deepest convictions--his belief in what he called the “religion of doing.” by which he meant the “imagination in action.”
In this article, we will study the artist image in Henry James’s works, especially through The Tragic Muse, “The Middle Years,” and “The Broken Wings.” The Tragic Muse(1890) is perhaps the simplest of James’s parables on the relation of the artist to society and one cannot avoid the feeling that he neglected the full examination of his theme in his delight in the situations which it allowed; his narrative was rarely before given so broad a scope and it is in this that the book’merits lie. The Tragic Muse is significant, not because of James’s growing interest in the world of drama. It was not until the short novels about the literary life that he gave himself up entirely to his theme. James’s short novels of this period projected and protected his vision of himself as a serious writer and an uncompromising artist.
With art made to explain life or to replace it, it is not surprising that the Jamesian artist develops an aesthetics couched in religious jargon. The same figurative motif is introduced in the very title of “The Broken Wings”(1900), the story of two artists, Stuart Straith and Mrs. Harvey. They suffer from the pressing social demands at the countryhouse of Mundham. What lived longest in James’ vision was not the value of art to this one or that one, nor even so questionable a thing as success. What he most treasured was the wondrous experience of the creative process itself, “the inveterate romance of the labour.”
Dencombe, in “The middle Years”(1883), is the clearest portrait of James’s heroes and martyrs of the artistic ideals. Dencombe’s enigmatic phrase “the madness of art” affirms the mystery at the heart of the act that translates experience into art. James sees himself in the self-subsiding figure of a disappointed stylist discovered, just before his death, by a young devotee. He has experienced frustration and won command of his art only with the exhaustion of life itself. There will be no second chance, now that mastery has at last come. His emergence from doubt to certainty in recognizing the value of his work in its representing his best effort to touch the consciousness of others qualifies Dencombe as the first of James’ modern writer-heroes. Dencombe expresses one of James’s own deepest convictions--his belief in what he called the “religion of doing.” by which he meant the “imagination in action.”
목차
Ⅰ. 서론
Ⅱ. 궁극적인 예술가 상
Ⅲ. 결론
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