Wings of the Dove (Barnes & Noble Classics Series)

Wings of the Dove (Barnes & Noble Classics Series)


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The Wings of the Dove, by Henry James, is part of the Barnes & Noble Classics series, which offers quality editions at affordable prices to the student and the general reader, including new scholarship, thoughtful design, and pages of carefully crafted extras. Here are some of the remarkable features of Barnes & Noble Classics:
  • New introductions commissioned from today's top writers and scholars
  • Biographies of the authors
  • Chronologies of contemporary historical, biographical, and cultural events
  • Footnotes and endnotes
  • Selective discussions of imitations, parodies, poems, books, plays, paintings, operas, statuary, and films inspired by the work
  • Comments by other famous authors
  • Study questions to challenge the reader's viewpoints and expectations
  • Bibliographies for further reading
  • Indices & Glossaries, when appropriate
All editions are beautifully designed and are printed to superior specifications; some include illustrations of historical interest. Barnes & Noble Classics pulls together a constellation of influences—biographical, historical, and literary—to enrich each reader's understanding of these enduring works.

One of three masterpieces from Henry James’s final, “major” phase, The Wings of the Dove dramatizes the conflict between nineteenth-century values and twentieth-century passions. Born to wealth and privilege, Kate Croy’s mother threw it all away to marry a penniless opium addict. After her mother’s death, Kate is offered an opportunity to return to the opulent lifestyle her mother gave up—on one condition. Kate must renounce the man she loves: the witty, good-looking, but poor, Merton Densher. Reluctantly agreeing, Kate finds herself becoming friends with “the world’s richest orphan,” Millie Theale. When Kate learns that Millie is dying, she devises a plan of dizzying possibility for herself and Merton that should solve all their problems, but instead leads them down a path strewn with tragic, unexpected consequences.

First published in 1902, this rich and intriguing novel has lost none of its fascination and relevance a century later.

Bruce L. R. Smith is a Fellow of the Heyman Center for the Humanities of Columbia University. He has served as Professor of Public Law and Government at Columbia, Senior Fellow at the Brookings Institution, and as an official in the U. S. State Department. He is the author or editor of sixteen scholarly books, and lectures widely on public affairs and literary topics.

Product Details

ISBN-13: 9781593082963
Publisher: Barnes & Noble
Publication date: 02/01/2005
Series: Barnes & Noble Classics Series
Pages: 544
Sales rank: 69,408
Product dimensions: 5.18(w) x 8.00(h) x 1.36(d)

About the Author

Date of Birth:

April 15, 1843

Date of Death:

February 28, 1916

Place of Birth:

New York, New York

Place of Death:

London, England


Attended school in France and Switzerland; Harvard Law School, 1862-63

Read an Excerpt

From Bruce R. L. Smith’s Introduction to The Wings of the Dove

There are in Wings few of the “big scenes” that one finds in many nineteenth-century novels. James’s method of indirection means that we as readers, as well as the characters, learn of critical developments as they are refracted through another character’s consciousness, or in what somebody says offhandedly, or by means of a poetic image or symbol that brings a sudden burst of understanding. In James’s late fiction, meanings are conveyed, as John Auchard has shown, through the “silences.” Effects are communicated via a glance; a mood is captured in a momentary intrusion of a shaft of light. The emotional aftereffects of a chance encounter linger and the characters ponder the meaning of gestures fraught with wider significance. As in life, great moral issues seem to dissolve into myriad small choices, and the continuous flow of little encounters sweeps the characters along toward ends that they cannot foresee.

Yet in Wings circumstances do not control events to the exclusion of human will. The Jamesian world is not like the naturalist order of a Zola or Dreiser novel, where the individual is subject to the iron determinism of circumstance. Individual moral choices do matter. Important corners are turned in Wings, and decisions are made at every turn that carry a string of consequences. For Kate, deciding to live with her aunt brings her under the sway of her aunt’s values. In choosing money, and in postponing marriage to Densher, she turns her life onto the path of the London “scene.” This scene is marked by crassness and grasping ambition. Densher’s decision that he will be kind to Milly as the gentlemanly thing to do is a pious rationalization. Once he takes the first steps, he is implicated deeply in Kate’s venture. He places himself on a slippery moral slope. Once in the action, he cannot get out. Milly encounters critical turning points, too, and in those moments she makes decisions that will shape her life. How long she can fight off her fate is in some measure a reflection of her own will and of whether she is fully engaged in life. She chooses to ignore Kate’s warning to “drop us while you can.” The scene in which Milly stands with Lord Mark in front of the Bronzino portrait that resembles her sticks in our minds as a decisive moment. She has the first symptoms of her illness on that occasion, and perhaps she surrenders to her fate and loses some of her will to live. Milly thereupon makes a series of important decisions. She decides to consult with Sir Luke Strett. She invites Kate to accompany her on the first visit to the doctor but not on the second visit, and she does not confide in Kate what the doctor tells her. Milly’s pride thus assures that she will face her fate essentially alone.

Why does James—one of the most secular of authors, whose only religious inclination seems to have been a nodding interest in his brother William’s ideas about consciousness and the afterlife—choose the religious symbol of the dove for his heroine? At one level the answer seems obvious enough. Kate calls Milly a “dove” early in the novel when the two of them are alone in a drawing room, and just after Milly has had the thought that Kate is “like a panther” pacing before her. Milly’s dove-like qualities and Kate’s fierceness are nicely juxtaposed here for the reader. The dove image next appears in book seven at Milly’s grand party in Venice. Kate and Densher are watching Milly from across the room as Kate lays out her instructions to him concerning how he should maneuver to be assured of getting Milly’s money. Milly is dressed in white at the party and wears white pearls, and the image of the dove pops into Kate’s mind. But when Kate refers to Milly as a dove the word does not seem apt to Densher; he does not think of Milly as a passive, demure creature. However, a dove has large wings, and it strikes him that at the very moment they all are nestled under Milly’s wings. Indeed, they have all lived for some time under Milly’s patronage and protection. Psalm 55, it may be recalled, is actually a prayer for the release from suffering and persecution:

My heart is in anguish within me, the terrors of death have fallen upon me. Fear and trembling come upon me, and horror overwhelms me. And I say, “O that I had wings like a dove! I would fly away and be at rest; yea, I would wander afar, I would lodge in the wilderness, I would haste to find me a shelter from the raging wind and tempest” (verses 4–8).

Is it a final irony of The Wings of the Dove that Milly escapes from—not to say, triumphs over—her tormentors? In giving away her fortune to Densher despite his deception, she has shown both the softness and the strength of her wings. She has demonstrated her generosity and forgiving spirit, and at the same time has exacted a certain vengeance. Kate and Densher apparently have become permanently estranged as a result of the bequest. Kate has learned that she cannot have everything. For Densher’s part, his grand gesture of renunciation would leave him with nothing. Like all of Henry James’s endings, the end of Wings is more of a beginning than a resolution: Will Densher be redeemed and will he find a new life without Kate? Will Kate free herself from her aunt and from the London “scene,” or will she, after all, fall into a marriage with Lord Mark? Like Lambert Strether in The Ambassadors, who realizes that money has poisoned his relationship with his patroness Mrs. Newsome, and like Maggie Verver in The Golden Bowl, who must at last confront her husband without the presence and emotional support of her father, Kate and Densher must build their lives anew with only a heightened moral awareness to guide them. For Henry James, there is a darkness and a sense of doom hovering over the scene. His characters, and the civilization they represent, may be incapable of redemption, and may instead spiral toward moral decay and social disintegration.

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Wings of the Dove (Barnes & Noble Classics Series) 3.3 out of 5 based on 0 ratings. 86 reviews.
Guest More than 1 year ago
For any english major who loves American literature, or anyone who loves to read period, this is one of those complex books that one cannot forget. Period. James is not an easy writer to follow, nor is he a writer that can be read only once because the psychological subtexts in which his characters deal with are quite complex because of his long-winded sentences. However, it is truly a rich and rewarding experience once the codes have been cracked. Milly Theale from 'The Wings of the Dove' is one of the most unforgettable characters in fiction. Her story will truly resonate and make the reader tremble with hatred and pathos. The 1997 film with Helena Bonham Carter and Linus Roache is equally well-done. But James is James. Period. Exquisite and complex!
Guest More than 1 year ago
I very recently read Colm Toibin's masterful book, THE MASTER, a novel of Henry James and that fueled my desire to reread some of my favorite James works. THE WINGS OF THE DOVE is, I think, my second favorite James book, coming in only a smidgen behind THE GOLDEN BOWL. I reread most of THE WINGS OF THE DOVE on a long flight from Lima, Peru to Madrid, Spain, then finished it on a much shorter flight from Madrid to Nice (with a change of planes in Paris). Even with all that traveling, I was still mesmerized by James' elegant and formal prose and the way he has of folding a sentence back on itself and then folding it yet again. James' stylized prose has been a favorite of mine since my teenaged years. I can't get enough of it and doubt I ever will. THE WINGS OF THE DOVE opens around the year 1900 in London and focuses on Kate Croy, who, shortly after the death of her mother, goes to live with her very wealthy Aunt Maud. Aunt Maud, of course, will do the 'right' thing for Kate and marry her off to a very socially acceptable and wealthy young man, Lord Mark. If love enters into the picture, fine. If it doesn't, that is equally fine and Kate should be grateful and manage as best she can. There is one huge problem, however. Kate is very much in love with the journalist, Merton Densher, a man with little money and no social status and, as such, totally unsuitable to Aunt Maud. When Aunt Maud threatens to disinherit Kate, Kate thinks she's come up with the perfect solution. Like many perfect solutions, however, this one goes terribly awry. Milly Theale is a wealthy, young American woman who has come to Europe because she is seriously, even fatally, ill. In Europe, Milly hopes to find a 'cure' for her disease. Kate befriends Milly and introduces her to Densher. When all three take a holiday to Venice, it is Kate who, without Densher's knowledge or blessing, suggests that Milly charm her way into Densher's heart. Kate, of course, is hoping that Milly will die sooner rather than later and that she and Densher will then be free to marry each other and be the beneficiaries of Milly considerable wealth. But a few things happen that Kate didn't count on. James was nothing if not the master of complex characters. Although he presents the character of Kate Croy in a very harsh light, she isn't completely without redeeming qualities. Either is Densher. And Milly isn't quite as gullible as one might initially expect. All of this complexity, of course, simply adds to the richness of this already rich and complex novel. Unlike many, I don't think Henry James, in general, or THE WINGS OF THE DOVE, in particular, is a particularly 'difficult' read and English is my third language, not my first. His sentences are long and convoluted and his paragraphs run for pages, but this doesn't make him 'difficult,' it only means that you can't speed read your way through one of James' books. And who, in their right mind, would want to speed read through James anyway? His writing is so rich, so insightful, so elegant, that it's writing to be savored, not hurried through. James is slow-paced. This is something I really enjoy about his writing, but others might want a faster, crisper read. If you're a rabid fan if Hemingway (I'm not), you probably won't like James. If, on the other hand, you admire Faulkner's prose, you just might like James' equally as well. If you decide to begin THE WINGS OF THE DOVE and fine it simply too slow going for your taste, I would suggest renting the film. It is slightly different from the book, but not in any substantive way and it's better than not experiencing James at all. THE WINGS OF THE DOVE is one of my all time favorite books. I would recommend it highly to everyone who loves highly intelligent, highly literary writing and who can tolerate a slow-paced novel. Believe me, the payoffs will certainly be worth it.
mahallett on LibraryThing More than 1 year ago
sometimes james is barely readable and usually not listenable but i had these cassettes. i don't know what really happened in this story. i liked the reader who compared james and wharton and joyce and woolf very interesting.
snash on LibraryThing More than 1 year ago
This being my first Henry James reading, I was initially overwhelmed by the style and the concentration necessary to get the gist of each sentence. The insights into the workings of the human mind and emotion along with the descriptions of them made the effort worthwhile. The depth of the character portrayals made them each of them likable despite their faults although I found Densher's submission to love more admirable than Kate's strength. Basically Kate's strength was used to manipulate others to serve her greed. Millie was seemingly too good but appeared to be meant as a pawn to display the characters of Densher and Kate. The book has left me contemplating the characters and the plot long after finishing it -- the sign of a good book
TheBentley on LibraryThing More than 1 year ago
Strunk and White wrote The Elements of Style in 1918, and I think it's entirely possible that they meant the entire book as a critique of Henry James. If you must read James, opt for one of the novellas--"Turn of the Screw" or "Daisy Miller," for instance--where James proves that he was not entirely incapable of clarity and economy of style. Or better yet, just read Edith Wharton, who is just as adept at the leisure-class, drawing-room tragedy and a far better prose stylist. In my opinion, the privileging of Henry James over Edith Wharton is one of the two best arguments the feminist school has for gender bias in traditional literary criticism. (The other being the privileging of James Joyce over Virgina Woolf.) If ever there were a book that justifies the practice of just reading the Cliff's Notes, The Wings of the Dove is it.
sophiemaroon on LibraryThing More than 1 year ago
I have tried to read this book on a few occasions. Conclusion: it's not actually readable! I am a big HJ fan up until some point in his career, after which I do not comprehend his prose at all.
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