Last Updated on May 7, 2015, by eNotes Editorial. Word Count: 797
*Boston. Massachusetts’s capital and leading city, known in this novel mainly as the city of reform and feminist views, which one character refers to as “Boston ideas.”
*Charles Street. Fashionable Boston street on which Olive Chancellor, the novel’s central feminist figure, lives. Near the even more fashionable Beacon Street. Because of where she lives, the wealthy Olive is expected to move in fashionable circles, but she has cut herself off from that milieu in order to be a reformer.
Olive’s house. Boston residence of Olive Chancellor; a place of strange, narrow rooms, perhaps suggesting something strange and narrow about Olive’s life and ideas. The house is full of books and fashionable objects, and yet seems not entirely comfortable, as if embodying a conflict in Olive between expensive tastes and a self-denying dedication to a cause. Olive’s windows provide a view of distant, ugly, impoverished parts of Boston, perhaps to show, by contrast, how comfortable Olive is materially. Somewhat oddly, Olive’s companion, Verena, finds the view lovely, perhaps suggesting that however impoverished those parts of Boston may be, they are richer metaphorically than Olive’s house of narrow rooms.
Miss Birdseye’s rooms
Miss Birdseye’s rooms. Site of a feminist meeting in Boston to which Olive takes her cousin, Basil Ransom, and where they both meet the inspirational speaker, Verena Tarrant. The rooms, which belong to Miss Birdseye, an old reformer in decline, are in a boardinghouse in the South End, a part of Boston in decline. They are much less elegant than Olive’s house, and Olive thinks that Birdseye lacks taste. However, the point seems to be that Birdseye is quite at home in plain rooms because she is more interested in causes than in taste—unlike Olive, who is in conflict because she is interested in both.
Ransom’s neighborhood. Ugly yet somehow appealingly alive neighborhood, where Basil Ransom rents shabby rooms on the upper East Side of New York City near the corner of Second Avenue. The narrator says, however, that the neighborhood had little influence on the southern-born Ransom, who seems quite out of place in both New York and Boston.
Tarrants’ house. Shabby little house where Verena Tarrant lives with her parents in the Boston suburb of Cambridge on a street ironically called Monadnoc Place. Monadnoc is the name of a New Hampshire mountain often called sublime, but there is nothing sublime about Monadnoc Place. However, Verena herself does seem sublime, and thus very much separate from her surroundings, though in a more positive way than Basil and Olive.
*Memorial Hall. Harvard University building commemorating students who died while fighting for the Union during the Civil War. Verena takes Ransom to see it. It is described in the novel as a noble, solemn place celebrating honor, sacrifice, duty, and generosity. Ransom feels a spirit of reconciliation between North and South when he sees it. The mood is broken, however, when Verena criticizes the memorial for glorifying war.
*Central Park. Pastoral oasis in the middle of New York City where Verena and Ransom go for a walk. The park and its surroundings are described in great detail, but in contradictory terms. On one hand, the area is fresh and fragrant, with a glow over it. Verena enjoys herself, and Ransom’s voice seems to merge into the distant hum of the city, as if finally he is fitting in somewhere. However, when Ransom and Verena leave the park they encounter disappointed, unemployed men propped against a wall; and even within the park, the narrator says that the landscape is...
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*Cape Cod. Slender peninsula extending from southeastern Massachusetts into the Atlantic Ocean. It is such a restful vacation spot that the novel’s narrator calls it the “Italy of Massachusetts.” Ransom and Verena court on Cape Cod, near the fictional town of Marmion on the real Buzzard’s Bay, amid scenery that is described in detailed but contradictory terms. The scenery is both rocky and shrub-covered, bright and dim, shining and hazy. There is sweetness and peace in the air, but the landscape also contains decaying shipyards and tough orchards that promise to bear only sour fruit.
*Boston’s Music Hall
*Boston’s Music Hall. Vast auditorium that is filled with people waiting to her Verena speak at the end of the novel. Ransom sees the audience as a raving rabble and compares the hall itself to Rome’s great Colosseum, which had been the site of horrific blood sports in ancient times. The climactic scene at the music hall, in which Ransom spirits Verena away before she can make her speech, is fraught with agitation, conflict, and uncertainty.
Last Updated on May 7, 2015, by eNotes Editorial. Word Count: 307
Anderson, Charles R. “James’s Portrait of the Southerner.” In On Henry James: The Best from American Literature, edited by Louis J. Budd and Edwin H. Cady. Durham, N.C.: Duke University Press, 1990.
Bell, Millicent. “The Determinate Plot: The Bostonians.” In Meaning in Henry James. Cambridge, Mass.: Harvard University Press, 1991. Bell compares The Bostonians with other James novels and argues that it serves as an ironic rejection of naturalism.
Bowen, Janet Wolf. “Architectural Envy: A Figure Is Nothing Without a Setting in Henry James’s The Bostonians.” New England Quarterly 65, no. 1 (March, 1992): 3-23. By focusing on the architectural imagery of the novel, Bowen points out that the novel depicts conflicts between inner life and public persona.
Davis, Sara de Saussure. “Feminist Sources in The Bostonians.” In On Henry James: The Best from American Literature, edited by Louis J. Budd and Edwin H. Cady. Durham, N.C.: Duke University Press, 1990.
Faderman, Lillian. “Female Same-Sex Relationships in Novels by Longfellow, Holmes, and James.” New England Quarterly 51, no. 3 (September, 1978): 309-332. A feminist perspective on the novel that focuses on the contrasting treatment James gives to Verena’s relationships with Basil and with Olive.
Howe, Irving. Introduction to The Bostonians, by Henry James. New York: Modern Library, 1956.
Samuels, Charles. The Ambiguity of Henry James. Champaign: University of Illinois Press, 1971.
Jacobson, Marcia. “Popular Fiction and Henry James’s Unpopular Bostonians.” Modern Philology 73, no. 3 (February, 1976): 264-275. Focuses on the novel as a political work and examines it in the context of the social and political consequences of the Civil War and the emerging women’s movement.
Wagenknecht, Edward. “Explorations: The Bostonians; The Princess Casamassima; The Tragic Muse; and Reverberater.” In The Novels of Henry James. New York: Felix Ungar, 1983. This chapter, in a book which provides general background on James’s life and works, places the novel in a biographical context.