¹ Page references to The Golden Bowl are to the Penguin Modern Classics edition (Harmondsworth, 1966).

² The Art of the Novel: Critical Prefaces by Henry James, Blackmur, R. P. (ed.) (New York: 1962), 327, 328, 329.Google Scholar Page references to Prefaces will all be to the versions in this edition.

³ Ibid., 347.

⁴ See my ‘Pragmatism and The Portrait of a Lady’, in Philosophy and Literature 5 (1981).Google Scholar There is no opportunity here to discuss the parallels between The Portrait of a Lady and The Golden Bowl.Earlier versions of my discussions of the two novels were delivered in the University of Edinburgh, 1976.

⁵ See my discussion of Anna Karenina, in Philosophy and the Novel (Oxford, 1975).Google Scholar

⁶ Compare with Goodwood, , in The Portrait of a LadyGoogle Scholar, or Vronsky, , in Anna Karenina.Google Scholar

⁷ Among other things, Isabel Archer is said to fear herself, and her mind; various possibilities conjured up by her imagination; appearing narrow-minded; Goodwood, Mme Merle, Countess Gemini, sex: apart from her unspecified or undiagnosed fears, Maggie is said to fear herself, and her ideas; knowledge, freedom, change; being alone with her father and with the Prince; sex.

⁸ The Art of the Novel, 30, 31, 32.Google Scholar

⁹ Ibid., 62–63, 64, 66.

¹⁰ Ibid., 62.

¹¹ Ibid., 66, 67.

¹² Ibid., 34, 304.

¹³ Reprinted in Henry James: The Critical Heritage, Gard, R. (ed.) (London, 1968), 392.Google Scholar

¹⁴ Ibid., 393.

¹⁵ James, William, The Will to Believe and Other Essays in Popular Philosophy (New York, 1956), viii.Google Scholar

¹⁶ Ibid., ix, x, xi, xiii.

¹⁷ Ibid., 11.

¹⁸ Ibid., 269, 271.

¹⁹ James, William, The Principles of Psychology (London, 1890), I, 139, 402Google Scholar; cf. II, 619. James records that the book was completed in 1885 (II, 686).

²⁰ Ibid., I, 478 n.

²¹ Ibid., I, 488, 288.

²² Ibid., II. 561, 563, 566.

²³ Ibid., II. 639.

²⁴ Ibid., II. 672, 674.

²⁶ Philosophy and the Novel, 68.Google Scholar

²⁶ Reprinted in The House of Fiction: Essays on the Novel by Henry James Edel, L. (ed.) (London, 1957), 54, 53, 51.Google Scholar

²⁷ Ibid., 61.

²⁸ Ibid., 26, 76, 25.

²⁹ The Art of the Novel, 120Google Scholar; The House of Fiction, 64.Google Scholar

³⁰ The House of Fiction, 79.Google Scholar

³¹ Ibid., 155.

³² But in 1884 James did argue for something like a necessary connection, although it must be stressed that he later used a different notion of ‘idea’: ‘This sense of the story being the idea, the starting-point, of the novel, is the only one that I see in which it can be spoken of as something different from its organic whole; and sonce in proportion as the work is successful the idea permeates and penetrates it, informs and animates it, so that every word and every punctuation-point contribute directly to the expression, in that proportion do we lose our sense of the story being a blade which may be drawn more or less out of its sheath’ (The House of Fiction, 39).Google Scholar

³³ Ibid., 81.

³⁴ Ibid., 60, 48.

³⁵ Ibid., 53; cf. 80–81.

³⁶ Ibid., 60.

³⁷ Ibid., 38.

³⁸ All readers of Henry James should study Martha Craven Nussbaum's forthcoming article in New Literary History, ‘Flawed Crystals: James's The Golden Bowl and Literature as Moral Philosophy’. I am most grateful to Professor Nussbaum for sending me a typescript of her discussion.