1881) appeared “Washington Square,” a quiet story laid in a formerly aristocratic quarter of New York; the tale has been called “a miracle in monotone.” Then came “The Bostonians” (1886), which Professor Richardson speaks of as typically “long, dull, and inconsequential, but mildly pleasing the reader, or at times quite delighting him, by a deliberate style which is enjoyable for its own sake, by a calm portraiture which represents the characters with silhouette clearness, and by some very faithful and delicately humorous pictures of the life and scenery of Eastern Massachusetts.” “The Princess Casamassima” (1886) continues the career of an American adventuress, Christina Light, who has figured in “Roderick Hudson,” to which it thus forms a kind of sequel. Less read than some others, it is one of the most remarkable of Mr. James’ stories. In 1888 appeared “The Aspern Papers, and Other Stories” and “The Reverberator,” a comedy of manners recalling “The American,” and dealing with the incompatibility between the cultivated and the vulgar relatives of two lovers and with the odious violation of private life by modern journalism. “The Tragic Muse” (1890), a study of a psychological problem of art and love, is complicated and difficult in the extreme; a friend expressed a sound view of it to Mr. James: “I will say it is your best novel if you promise never to do it again,” probably meaning that the extreme limit of elaboration had been reached. Three collections of stories, “The Lesson of the Master, and Other Stories” (1892), “The Real Thing, and Other Tales” (1893), and “Terminations” (1895), include various comic sketches, with some preciosities, and a well-told ghost-story, “Sir Edmund Orme,” the _motif_ of which was later repeated in “The Turn of the Screw” (1898), a horrible, nerve-racking tale. “The Other House” (1896) is a highly dramatic, even sensational, story of passion, culminating, strange to say, in a murder; yet Rose Armiger is Mr. James’ one supremely passionate woman. In 1897 were published “The Spoils of Poynton” and “What Maisie Knew,” the latter a rather unpleasant story of domestic unhappiness and sordid intrigue; Maisie being a little girl whose life was spent alternately in the company of divorced parents, equally guilty, each of whom had remarried. “In the Cage” (1898) is a tissue of shrewd guess-work woven by a lively telegraph girl who becomes interested in the love affair of two others. “The Two Magics” (1898) includes “The Turn of the Screw” and “Covering End,” a pleasant comedy about an English country house. “The Awkward Age” (1899) is a unique example of subtle, often elusive, analysis of character--of character which some might say was not worth analysis, with unimportant incidents and little action. “The Soft Side” (1900) is a collection of studies of abnormal character and curious psychical phenomena, in which the rhythm of the prose is at times remarkable for its suggestiveness.