PREFACE "The Portrait of a Lady" was, like "Roderick Hudson," begun in Florence, during three months spent there in the spring of 1879. Like "Roderick" and like "The American," it had been designed for publication in "The Atlantic Monthly," where it began to appear in 1880. It differed from its two predecessors, however, in finding a course also open to it, from month to month, in "Macmillan's Magazine"; which was to be for me one of the last occasions of simultaneous "serialisation" in the two countries that the changing conditions of literary intercourse between England and the United States had up to then left unaltered. It is a long novel, and I was long in writing it; I remember being again much occupied with it, the following year, during a stay of several weeks made in Venice. I had rooms on Riva Schiavoni, at the top of a house near the passage leading off to San Zaccaria; the waterside life, the wondrous lagoon spread before me, and the ceaseless human chatter of Venice came in at my windows, to which I seem to myself to have been constantly driven, in the fruitless fidget of composition, as if to see whether, out in the blue channel, the ship of some right suggestion, of some better phrase, of the next happy twist of my subject, the next true touch for my canvas, mightn't come into sight. But I recall vividly enough that the response most elicited, in general, to these restless appeals was the rather grim admonition that romantic and historic sites, such as the land of Italy abounds in, offer the artist a questionable aid to concentration when they themselves are not to be the subject of it. They are too rich in their own life and too charged with their own meanings merely to help him out with a lame phrase; they draw him away from his small question to their own greater ones; so that, after a little, he feels, while thus yearning toward them in his difficulty, as if he were asking an army of glorious veterans to help him to arrest a peddler who has given him the wrong change.

The Portrait of a Lady is a novel by Henry James, first published as a serial in The Atlantic Monthly and Macmillan's Magazine in 1880–81 and then as a book in 1881. It is the story of a spirited young American woman, Isabel Archer, who "affronts her destiny" and finds it overwhelming. She inherits a large amount of money and subsequently becomes the victim of Machiavellian scheming by two American expatriates. Like many of James's novels, it is set in Europe, mostly England and Italy. Generally regarded as the masterpiece of James's early period, this novel reflects James's continuing interest in the differences between the New World and the Old, often to the detriment of the former. It also treats in a profound way the themes of personal freedom, responsibility, and betrayal. The Bostonians by Henry James was first published as a serial in The Century Magazine in 1885–1886 and then as a book in 1886. This bittersweet tragicomedy centers on an odd triangle of characters: Basil Ransom, a political conservative from Mississippi; Olive Chancellor, Ransom's cousin and a Boston feminist; and Verena Tarrant, a pretty, young protégée of Olive's in the feminist movement. The storyline concerns the struggle between Ransom and Olive for Verena's allegiance and affection, though the novel also includes a wide panorama of political activists, newspaper people, and quirky eccentrics. Henry James (1843–1916) was an American author regarded as a key transitional figure between literary realism and literary modernism, and is considered by many to be among the greatest novelists in the English language.

Reproduction of the original.

One of the great heroines of American literature, Isabel Archer, journeys to Europe in order to, as Henry James writes in his 1908 Preface, "affront her destiny." James began "The Portrait of a Lady" without a plot or subject, only the slim but provocative notion of a young woman taking control of her fate. The result is a richly imagined study of an American heiress who turns away her suitors in an effort to first establish--and then protect--her independence. But Isabel's pursuit of spiritual freedom collapses when she meets the captivating Gilbert Osmond. "James's formidable powers of observation, his stance as a kind of bachelor recorder of human doings in which he is not involved," writes Hortense Calisher, "make him a first-class documentarian, joining him to that great body of storytellers who amass what formal history cannot."

The legendary Renaissance man and amateur sleuth is back in this exciting follow-up to The Queen's Gambit. As court engineer to the Duke of Milan, Leonardo da Vinci turns his superior mind to a variety of pursuits-from painting to solving the occasional murder. After the deaths of two female servants, Leonardo asks his apprentice, Dino, to go undercover disguised as a woman in the service of the Duke's ward, Contessa Caterina. This should be easy enough, given that "Dino" is in reality Delfina, a young woman masquerading as a boy to serve as Leonardo's apprentice. Delfina is soon torn between her loyalty to Leonardo and her growing feelings for Gregorio, the handsome captain of the Duke's guard. But if what the Contessa's tarot cards foretold is correct, Delfina might be destined to lose her heart...and perhaps her life.

In 'The Portrait of a Lady + The Bostonians + The Tragic Muse + Daisy Miller (4 Unabridged Classics)', Henry James showcases his mastery of psychological depth and complex interpersonal relationships. Through meticulous character development and intricate plotlines, James explores the themes of love, ambition, and societal expectations in the late 19th century. His use of intricate prose and insightful narrative structure sets him apart as a pioneer of psychological realism in literature, influencing generations of writers to come. The seamless blend of social commentary and intimate character portrayals makes this collection a timeless classic in the literary canon. Henry James, known for his keen observations of human nature and societal norms, drew inspiration from his own experiences living in both Europe and America. His unique perspective on the cultural differences between the two continents is evident in his nuanced depiction of characters navigating complex social landscapes. James' ability to delve into the depths of human emotions and desires adds a layer of richness to his narratives that captivates readers to this day. I highly recommend 'The Portrait of a Lady + The Bostonians + The Tragic Muse + Daisy Miller (4 Unabridged Classics)' to readers who appreciate intricately crafted character studies and thought-provoking explorations of human relationships. Henry James' distinctive literary style and profound insights make this collection a must-read for those interested in delving into the complexities of the human psyche.

16. 1763: Unraveling Empire -- Coda: 1791 -- Note on Sources and Methodology -- Notes -- Acknowledgments -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W

This set comprises 40 volumes covering 19th and 20th century European and American authors. These volumes will be available as a complete set, mini boxed sets (by theme) or as individual volumes. This second set complements the first 68 volume set of Critical Heritage published by Routledge in October 1995.