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The Project Gutenberg eBook, The Tragic Muse, by Henry James This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: The Tragic Muse Author: Henry James Release Date: December 10, 2006 [eBook #20085] Language: English Character set encoding: ISO-646-US (US-ASCII) ***START OF THE PROJECT GUTENBERG EBOOK THE TRAGIC MUSE*** E-text prepared by Chuck Greif, R. Cedron, and the Project Gutenberg Online Distributed Proofreading Team Europe (http://dp.rastko.net/) THE TRAGIC MUSE by HENRY JAMES MacMillan and Co., Limited St. Martin's Street, London 1921 PREFACE I profess a certain vagueness of remembrance in respect to the origin and growth of _The Tragic Muse_, which appeared in the _Atlantic Monthly_ again, beginning January 1889 and running on, inordinately, several months beyond its proper twelve. If it be ever of interest and profit to put one's finger on the productive germ of a work of art, and if in fact a lucid account of any such work involves that prime identification, I can but look on the present fiction as a poor fatherless and motherless, a sort of unregistered and unacknowledged birth. I fail to recover my precious first moment of consciousness of the idea to which it was to give form; to recognise in it--as I like to do in general--the effect of some particular sharp impression or concussion. I call such remembered glimmers always precious, because without them comes no clear vision of what one may have intended, and without that vision no straight measure of what one may have succeeded in doing. What I make out from furthest back is that I must have had from still further back, must in fact practically have always had, the happy thought of some dramatic picture of the "artist-life" and of the difficult terms on which it is at the best secured and enjoyed, the general question of its having to be not altogether easily paid for. To "do something about art"--art, that is, as a human complication and a social stumbling-block--must have been for me early a good deal of a nursed intention, the conflict between art and "the world" striking me thus betimes as one of the half-dozen great primary motives. I remember even having taken for grante
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