Painting, Photography and Fidelity in the Tragic Muse
Cleveland State University EngagedScholarship@CSU English Faculty Publications English Department Winter 10-1-2003 Painting, Photography and Fidelity in The Tragic Muse Adam Sonstegard Cleveland State University, a.sonstegard@csuohio.edu Follow this and additional works at: https://engagedscholarship.csuohio.edu/cleng_facpub Part of the Literature in English, North America Commons How does access to this work benefit ou?y Let us know! Publisher's Statement Copyright © 2005 The Johns Hopkins University Press. This article first appeared in Henry James Review, Volume 24, Issue 1, Winter 2003, 27-44. Recommended Citation Sonstegard, Adam, "Painting, Photography and Fidelity in The Tragic Muse" (2003). English Faculty Publications. 27. https://engagedscholarship.csuohio.edu/cleng_facpub/27 This Article is brought to you for free and open access by the English Department at EngagedScholarship@CSU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of EngagedScholarship@CSU. For more information, please contact library.es@csuohio.edu. Painting, Photography, and Fidelity in The Tragic Muse 27 Painting, Photography, and Fidelity in The Tragic Muse By Adam Sonstegard, Washington University Let me at any rate have some sort of sketch of you as a kind of feather from the angel’s wing or a photograph of the ghost—to prove to me in the future that you were a solid sociable fact, that I didn’t invent you, didn’t launch you as a deadly hoax. —Nick Dormer to Gabriel Nash, Henry James, The Tragic Muse Like Henry James’s character Nick Dormer in my epigraph from The Tragic Muse (1890), this essay brings together James’s attitudes toward painting and photography.
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