Wings of the Dove (Barnes & Noble Classics Series) Read Online Free

inclined, the avuncular Sir Luke is worldly, urbane, and, in modern jargon, laid back. He is so confident of his skills that he scarcely bothers with pills, powders, and the usual armamentaria of medical practice. Sir Luke, through a process of divination or intuition, does, however, diagnose Milly’s condition precisely. He understands what is required. He is enamored (in a fatherly way) with Milly; her kindness, courage, and nobility of spirit make her irresistible to him. He promises to help her, and he gives the message that she wants to hear: She must live to the fullest, and not be bound or limited in any way by her condition.
    It is part of the novel’s design that we know more of Milly’s state of mind than of her physical appearance. But we do have clues to her appearance. Milly apparently is not beautiful. Her nose and mouth are too big, and her pale skin makes her appear almost white, which in turn accentuates the redness of her hair. She generally wears black clothes that give her a slightly eccentric appearance. When we last see her at the rented palazzo in Venice, she is wearing a dazzling white gown and white pearls. This contrasts strikingly with her past costume and makes her inner beauty come radiantly to life. What counts is her inner beauty, her qualities of goodness and kindness that endear her to others. Of course her enormous wealth is part of her aura. Milly herself is completely unselfconscious about her wealth. She no more thinks of money than of the air she breathes. She will simply spend what she has to even if she is occasionally taken to the cleaners by those who serve her.
    Henry James clearly worshiped Milly as much as he did his dead cousin Minny Temple. The memory of his cousin never left James. To Susan Shepherd Stringham, the Boston writer and Milly’s traveling companion in the novel, Milly seems almost “a princess” or “an heir of all the ages.” This latter characterization is how James wishes us to see Milly (see the preface, p. 6), and the phrase is a useful shorthand for everything she represents.
    To some observers, Milly is so unreal in her goodness as to belong in a fairy tale. There are certainly fairy-tale qualities to The Wings of the Dove: The good princess encounters evil forces and a kind of magical tale unfolds. Indeed, Milly herself feels as if she were “on a carpet” as she whirls through the hubbub and bustle of London life. James’s less-noble female characters may appear more “real” to some readers. Certainly, Kate Croy is a memorable literary creation of this type. Other critics, some of a feminist bent, counter that Milly is a much more forceful figure than merely the long-suffering victim. In their view Milly is by no means a mere patsy; rather, she is someone who flexes her muscles in a quiet way and who makes full use of all the power that her great wealth confers.
    The other major characters, whose relations with Milly form the heart of the novel, are two very different people. Kate Croy and Merton Densher have little in common beyond their mutual sexual attraction and their poverty. Kate is pure action, a handsome, strong, willful, dark-haired young woman who knows her mind exactly. Kate has a talent for living and habitually devises practical plans of action to cope with any problems she encounters. James had sketched Kate in his notebook as a willful, unsympathetic figure. But she turns out to be more fully rounded, a complex and compelling figure with a mixture of attractive and unattractive qualities. Whatever James’s original intentions, Kate Croy becomes through his artistry a sympathetic character even though she is the instigator of an unsavory, not to say immoral scheme to exploit her sick friend. She is also the one figure in the book who is brutally honest. She is in a tough game, and it is hardly surprising that she plays to win. Self-deception is not something she can afford.
    Densher, in contrast, is pure thought, a man who