Condemnation or Admiration: Generational opinions and Social Values
At the time of its dissemination, An International Episode received both praise and scrutiny from readers. A look into the periodicals of the late 19th century showcase a world of critics deeply invested in James's work. As engrossed as they were, their interest in James’ writing was not reciprocated, as he showed very little concern over his critics. James Lane Allen, whose critical response appears in The Continent, a weekly publication, compared James to the Scottish philosopher and economist, David Hume. He likens James’ disposition toward criticism to David Hume’s in that he “[pays] not the least attention to his critics.” This periodical was published on March 19, 1884, just six years after the original publication date of An International Episode. Furthermore, Allen goes on to say that James “is the most profoundly versed in the knowledge of national distinctions,” a high praise coming from a contemporary critic who lived during an age of cultural diffusion. On the contrary, a critic who wrote for Zion’s Herald in 1879, just one year after James’ novel began to circulate, concluded that contemporary novels have attempted to contemplate the relationship and interactions between European and American culture, and in doing so all have failed. His list of failures included two works by James: Daisy Miller and An International Episode, which complement one another. However, it is not uncommon for perhaps some of the most acute backlash to come during the immediacy or near immediacy of a work’s influence. A third criticism, in the The Times, London, comes almost 100 years later in 1962. The author gives the highest praise to all of James’ work, and says that they “are among the object lessons of the master.” It is interesting to observe how the transition of criticism from disdainful to laudatory correlates to the publications of the original work and of the periodical. Generally, James was not a repudiated writer of his time who only gained acclaim post mortem. Despite an observable shift in his esteem, he was still widely acknowledged for his talents in both breadth and depth, something that cannot be said of all great writers.
With James’ reputation in mind, it is no surprise that critics responded so passionately to the social and gender implications of 19th century Europe and America, contained in his work. Perhaps his most fervent critics and supporters were impassioned by the political atmosphere framing the literary world in which James’ works were disseminated. To put such an atmosphere into perspective, The Yellow Wallpaper, by Charlotte Perkins Stetson was published the same year as An International Episode by Henry James. The second edition of An International Episode, with illustrations by Harry McVickar, was published in 1892. This means that it was published at a time when women were continuously questioning their roles as domestic beings. Stetson advocated that women’s roles exceed the boundaries of domestic life, as merely wife or mother. Beyond being a fictitious short story about a woman losing her sanity, “The Yellow WallPaper” is a condemnation of the subjugation of women. The way that the protagonist’s husband treats her illness raises questions of power in her mind. In 1913, Stetson published an article detailing why she wrote The Yellow Wallpaper. In the explanation, she said that to treat her nervous breakdowns, a physician once prescribed that she "’live as domestic a life as far as possible,’ to ‘have but two hours' intellectual life a day,’ and ‘never to touch pen, brush, or pencil again’ as long as [she] lived.” Thus, one could look beyond the misdiagnosis and mistreatment that typically occured at the time, and identify the underlying misogyny at work in the doctor’s orders. The characters in An International Episode showcase the concept of “The New Woman” that was popularized in the late 19th century. Bessie Alden is an educated, intellectual woman. She challenges Lord Lambeth’s knowledge of his home country, England, criticizes English high society, and rejects his proposal at the end of the story. This “New Woman,” that James is portraying in the novel is juxtaposed with McVickar’s subliminal sexist illustrations of women, which perfectly encapsulates the controversy surrounding women’s rights at the time of conception for both of these works.