Readers of Shakespeare's greatest tragedies have long noted the absence of readily explainable motivations for some of Shakespeare's greatest characters: why does Hamlet delay his revenge for so long? Why does King Lear choose to renounce his power? Why is Othello so vulnerable to Iago's malice? But while many critics have chosen to overlook these omissions or explain them away, Millicent Bell demonstrates that they are essential elements of Shakespeare's philosophy of doubt. Examining the major tragedies, Millicent Bell reveals the persistent strain of philosophical skepticism. Like his contemporary, Montaigne, Shakespeare repeatedly calls attention to the essential unknowability of our world. In a period of social, political, and religious upheaval, uncertainty hovered over matters great and small-the succession of the crown, the death of loved ones from plague, the failure of a harvest. Tumultuous social conditions raised ultimate questions for Shakespeare, Bell argues, and ultimately provoked in him a skepticism which casts shadows of existential doubt over his greatest masterpieces.

Emerging from the grit and stigma of poverty to a life of fairytale privilege under the wing of her aunt, the beautiful and financially ambitious Kate Croy is already romantically involved with promising journalist Merton Densher when they become acquainted with Milly Theale, a New York socialite of immense wealth. Learning of Milly's mortal illness and passionate attraction to Densher, Kate sets the scene for a romantic betrayal intended to secure her lasting financial security. As the dying Milly retreats within the carnival splendour of a Venetian palazzo, becoming the frail hub of a predatory circle of fortune-seekers, James unfolds a resonant, brooding tale of doomed passion, betrayal, human resilience and remorse.

This volume of essays offers fresh examinations of Wharton's fiction designed both to engage the interest of the student or general reader encountering Wharton for the first time, and to be valuable to advanced scholars looking for new insights into her creative achievement. Written by a mix of established commentators on Wharton and newer scholars in the field, the essays cover Wharton's most important novels as well as some of her shorter fiction. The Introduction supplies a valuable review of the history of Wharton criticism; a detailed chronology of her life and publications and a useful bibliography of important books for further reading are also provided.

This volume of essays offers fresh examinations of Wharton's fiction designed both to engage the interest of the student or general reader encountering Wharton for the first time, and to be valuable to advanced scholars looking for new insights into her creative achievement. Written by a mix of established commentators on Wharton and newer scholars in the field, the essays cover Wharton's most important novels as well as some of her shorter fiction. The Introduction supplies a valuable review of the history of Wharton criticism; a detailed chronology of her life and publications and a useful bibliography of important books for further reading are also provided.

Henry James rebelled intuitively against the tyranny and banality of plots. Believing a life to have many potential paths and a self to hold many destinies, he hung the evocative shadow of "what might have been" over much of what he wrote. Yet James also realized that no life can be lived--and no story written--except by submission to some outcome. The limiting conventions of society and literature are, he found, almost inescapable. In a major, comprehensive new study of James's work, Millicent Bell explores this oscillation between hope and fatalism, indeterminacy and form, and uncertainty and meaning. In the process Bell provides fresh insight into how we read and interpret fiction.

Bell demonstrates how James's texts steadfastly, almost perversely at times, preserve a sense of alternative possibilities. James involves his characters in overlapping scenarios drawn from folklore, drama, literature, or naturalist formula. The reader engages, with the hero or heroine, in imagining many plots other than the one that finally-and often ambiguously--emerges. The story arouses expectations, proposes courses, then cancels them successively. In complicity with author and character, the reader crafts the story in an adventure of constant revision and anticipation. Literary meaning becomes an experience as well as a goal. In the end, revelations and resolutions, even if unclear or partial, assume an altered significance in light of the earlier imaginings.

Not surprisingly, James's deepest sympathies lay with those characters who resisted entrapment by cultural expectations--his idealistic free spirits like Isabel, his marriage renouncers like Fleda Vetch, his largely silent anddetached witnesses to life like Strether and the generous Maisie. They are frequently the victims of callous manipulators who box them into oppressive roles or who literally "plot against" them. By looking closely at James's critiques of clever" categorical mind and at his loving and complex portraits of characters of unfulfilled potentiality, Bell celebrates the paradoxes of James's story-denying fiction.

In extended analyses of Daisy Miller," "Washington Square," "The Portrait of a Lady"; "The Bostonians," "The Princess Casamassima," "The Aspern Papers," "The Spoils of Poynton," "The Turn of the Screw," "What Maisie Knew," "The Beast in the Jungle," "The Jolly Corner," "The Wings of the Dove," and "The Ambassadors," Bell relates James's work to influential movements of the day, notably impressionism and naturalism. She examines the influence of Hawthorne, Emerson, Flaubert, Balzac, and Zola on James at various periods throughout his career. Drawing on rich traditions of criticism and on stimulating recent theories, Bell forges a critical approach both accessible and profound for this elegant reading of one of the greatest writers of this or any time.

It is a book that will be of high value and interest to the advanced scholar--marking out new ground in its methodology and offering innovative interpretations of James's fiction. At the same time, it will appeal equally to the general, reader, who will find his reading of James enriched by Bell's lucid and impassioned discussion.