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in Boston when he was a student at
Harvard College, courted her and been rejected. Invited by Mrs. Burrage at the request of Verena, Basil comes to her talk. When Olive learns that Verena had requested Basil's invitation and that, back in Boston, she had received a letter from him, she begins to fear that he will take her young protegée away. When the two women return to their temporary quarters on Tenth Avenue, before going out to dine with Henry Burrage, they find two notes, one from Basil requesting an hour of Verena's time and another from Mrs. Burrage inviting Olive to her house for a conversation. During her meeting with Mrs. Burrage, Olive discovers that she is acting on behalf of her son, who still wants to marry Verena. Though she despises men and wants to hold onto Verena, Olive gives serious thought to supporting Mrs. Burrage's proposal after she leaves her house. But when she returns to Tenth Avenue, she discovers that Verena has gone out walking with Basil. During their walk Basil expounded on his belief that women should not be granted suffrage and legal equality to men because their proper sphere is within the home as a wife and mother. Attracted by his manner and personality, but appalled by his views, Verena leaves him and falls into Olive's arms, begging in tears that they immediately quit New York and return to Boston.
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the speaker. Olive, who never has set eyes on Verena, is equally fascinated. She persuades Verena to leave her parents' house, move in with her and study in preparation for a career in the feminist movement. Meanwhile, Ransom returns to his law practice in New York, which is not doing well. Still enchanted with Verena, he visits Boston again, travels to
Cambridge where she is visiting her parents, and walks with her through the grounds of Harvard College, including the impressive Civil War Memorial Hall. Verena finds herself attracted to the charismatic Ransom and, without telling him of her decision, accedes to his request not to disclose their encounter to Olive, who, she well understands, strongly objects to her southern cousin and fears he will come between her and Verena.
457:: "The first hundred pages of The Bostonians, with the arrival of the young Southerner in Boston and his first contacts with the Boston reformers, is, in its way, one of the most masterly things that Henry James ever did". The quiet but significant struggle between Olive Chancellor and Basil Ransom does seem more pertinent and engrossing today than it might have appeared to 19th century readers, because it records the struggles of a historical period that has had a profound impact upon the kind of country America has become.
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Verena that he finally feels able to ask her to marry him because, with the imminent publication an article setting forth his conservative views, he now believes he has a future he can share with her. Verena is more than ever drawn to him, but the death of old Mrs. Birdseye, a companion in their rented cottage and a notable reformer and abolitionist, makes Verena flee again to Boston with Olive, unable to bear the thought of abandoning Mrs. Birdseye's ideals and wounding Olive.
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and seems never wearied of setting them in every possible light, we also accede to this interest, and if we have time enough strike up an extraordinary intimacy with all parties. It is when this interest leads Mr. James to push his characters too near the brink of nature that we step back and decline to follow.
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When
Mississippi lawyer and Confederate Civil War veteran, Basil Ransom, visits his affluent cousin Olive Chancellor in Boston, she reluctantly takes him to a political meeting where Verena Tarrant delivers a feminist speech. Ransom, a strong conservative, is annoyed by the speech but fascinated with
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When we say that most of the characters are repellent, we are simply recording the effect which they produce upon the reader by reason of the attitude which the author of their being takes toward them. He does not love them. Why should he ask more of us? But since he is extremely interested in them,
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had never, "even to my much-disciplined patience, received any sort of justice". James' portrayal of Boston reformers was denounced as inaccurate and unfair, especially because some felt James had satirised actual persons in the novel. Darrel Abel observes that when the novel was first published in
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As Olive prepares Verena to become a platform speaker in the cause of feminism and the liberation of women from male domination, she accepts an invitation to speak in New York to a gathering of fashionable women from Mrs. Burrage, an immensely rich society woman whose son, Henry, had courted Verena
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The story picks up sometime later. Olive and Verena have taken an August holiday in Cape Cod, where Verena is preparing for her first important public appearance as an advocate of feminism. Olive has hired an agent and rented the Boston Music Hall for Verena's speech. When Basil shows up, he tells
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described the book, in her biography of Henry James, as "a foolish song set to a good tune in the way it fails to 'come off'". She praised the book's language and themes, but thought the book's political content was strained and unnecessary; she believed that James, by emphasising the political
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The story comes to a climax at the Boston Music Hall. When Verena spies Basil in the audience before she comes out to give her address, she refuses to go on. Despite the presence of a policeman guarding the door back stage, Basil is able to enter and persuade Verena to elope with him, to the
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People divide over how to read the book. To some, as Ransom gets closer to winning Verena, he seems to lose at least some of his creator's sympathy; to others, none at all. To some, he becomes more sympathetic to Olive in the later chapters as she begins to lose Verena; to others, he merely
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came to connote just such an ambiguous co-habiting long-term relationship between two women. James is not explicit here, partially due to the conventions of the time. But this vagueness—because it creates possible ambiguity about Olive's motives—may, or may not, enrich the novel.
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Some later critics, though uncomfortable with what they think the novel's rather static nature and perhaps excessive length, have found more to praise in James' account of the contest for Verena and his description of the wider background of feminism and other reform movements.
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aspects of the subject matter, had inadvertently distracted the reader from what he actually had set out to say: "The pioneers who wanted to raise the small silvery song of art had to tempt their audiences somehow from the big brass band of
America's political movements".
387:, and therefore too sacrosanct a personage to be placed in a humorous light. But probably most offensive to Boston propriety were the unmistakable indications of Lesbianism in the portrait of Olive Chancellor, which made it a violation of Boston decency and reticence.
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for the magazine to serialize the novel. In May 1885, before the serialization had finished and James had been paid any of the money owed to him, Osgood's firm went bankrupt. James was able to recover part of the lost sum by selling the copyright to
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by Henry James. Oxford, NY: Oxford
University Press, 1951. xxxiv. "The novel was a success neither financially nor critically (American readers were particularly offended) and it was not included in the New York Edition of James's novels and tales
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deals with explicitly political themes: feminism and the general role of women in society. James was at best ambivalent about the feminist movement: he wrote to a suffragette friend on April 6, 1909: "I confess I am not eager for the
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of a multitudinous & overwhelming female electorate—& don't see how any man in his senses can be." Another theme in the book, much discussed recently, is Olive's possible lesbian attraction to Verena. The term
177:. 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.
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The title refers, not to the people of Boston in general, but to the two characters Olive and Verena, "as they appeared to the mind of Ransom, the southerner, and outsider, looking at them from New York".
473:. Leavis described it as "wonderfully rich, intelligent and brilliant . . . It could have been written only by James, and it has an overt richness of life such as is not commonly associated with him".
482:(published in the same year) had on his critical fortunes. Although he did not turn away from political themes completely, he never again gave political ideas such a prominent place in his fiction.
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in a three-volume edition in
Britain in February 1886, and in a one-volume edition in the US in May 1886. James was not, however, able to recover any money for the serialization in
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reviewed the book in 1886, calling it an unfair treatment of characters whom the author simply did not like, although James had a definite interest in them:
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distress of Olive and her fellow-feminists. The final sentence of the novel shows Verena in tears—not to be her last, James's narrator assures the reader.
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The
Bostonians resented its satire upon their intellectual and humanitary aspirations. They resented the author's evident sympathy with his reactionary
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The three central characters are surrounded by a vivid supporting cast of would-be reformers, cynical journalists, and sometimes sinister hangers-on.
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her suffering. Some think her painful recognition of her situation somewhat similar to Isabel Archer's long nighttime meditation in chapter 42 of
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Tanner, T. (1968). Henry James: A Selection of
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was not well received by contemporary critics, especially in North
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by Henry James. Oxford, NY: Oxford University Press, 1991. xvii. "
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According to Henry James' 'Notebooks', the "initial idea" of
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The film earned mixed reviews, with a 87% "fresh" rating on
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647:. The Belknap Press of Harvard University. pp. 79–82.
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centres on an odd triangle of characters: Basil Ransom, a
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in 1885–1886 and then as a book in 1886. This bittersweet
662:. The Belknap Press of Harvard University. p. 102.
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James bemoaned the adverse effect that this novel and
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813:. First published in 1916. Retrieved 4 December 2013.
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583:A young Olive Chancellor appears as a character in
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Volume one, 244; volume two, 226; volume three, 232
37:For the opera company known as The Bostonians, see
1623:Works originally published in The Century Magazine
996:(New York: Frederick Ungar Publishing Co., 1983)
979:by Robert Gale (New York: Greenwood Press, 1989)
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841:The Triple Thinkers: Ten Essays on Literature
455:The Triple Thinkers: Ten Essays on Literature
901:5 September 2003. Retrieved 4 December 2013.
795:"MARK TWAIN'S LETTERS 1876–1885. Volume III"
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281:Learn how and when to remove this message
406:vowed that he would rather be damned to
764:. June 1886. Retrieved 5 December 2013.
706:Gooder, R. D. "Note on the Text". From
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586:The League of Extraordinary Gentlemen
30:For the film based on the novel, see
941:"The Californians - Rotten Tomatoes"
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853:Gooder, R. D. "Introduction". From
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408:John Bunyan
204:The Century
191:The Century
181:Publication
171:Mississippi
163:tragicomedy
153:Henry James
68:Henry James
1577:Categories
1555:Lamb House
1290:The Outcry
1170:Confidence
863:Gilded Age
711:(1907–9)".
627:References
489:came from
404:Mark Twain
369:caricature
18:Bostonians
1515:Notebooks
1419:Hawthorne
1031:(1885–86)
1018:Volume II
878:Amazon.ca
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695:Leon Edel
564:The 2005
522:, writer
493:'s novel
377:Hawthorne
300:avènement
82:Publisher
1317:Novellas
1078:LibriVox
1054:web site
1014:Volume I
621:Misogyny
594:See also
465:language
371:of Miss
361:Southern
314:observes
210:Synopsis
88:, London
74:Language
1533:Related
1050:at the
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139:3179002
114:Print (
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