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James, 1984a, p. 922) The secret, certainly, was at least partly in James's style, involving enough to create in its demands his ideal reader. The equating, embedding, stalling, generating activity of his sentences, capable of infinite expansion and revision, keep a reader on constant alert, attentive by necessity to syntax, as events before and after catch into this allusive, elusive prose. , p. 124). 44 Henry farnes: The Contingencies of Style Style as Subject The contradictions or gaps that open up between words and their reference are also the centre of the attention paid to language by his characters.

216) as emblematic of The Portrait' s 'visual' method. James's style here joins forces with language in its play of differ and defer. The basic principle is parallelism, analogues of syntax that had always offered James the pattern for the cumulative perspective and processive meaning he had favoured from the first, and now in The Portrait brought to full development to negotiate subtle turns. It is an elastic syntax, one that would easily accommodate the amplifications in sentences to come and the revisions James would later make as he prepared the New York Edition, and it had been there from the beginning.

922) The secret, certainly, was at least partly in James's style, involving enough to create in its demands his ideal reader. The equating, embedding, stalling, generating activity of his sentences, capable of infinite expansion and revision, keep a reader on constant alert, attentive by necessity to syntax, as events before and after catch into this allusive, elusive prose. , p. 124). 44 Henry farnes: The Contingencies of Style Style as Subject The contradictions or gaps that open up between words and their reference are also the centre of the attention paid to language by his characters.

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