Cult of the Master
Atlantic, The, April, 2003 by James Wood
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>The story of Henry James's fruitless flirtation with the theater has been so often told that it has become folkloric, invoked and repeated by generations of marveling Jamesians. Everyone knows the tale of the first night, in London, of his historical play Guy Domville (1895) —how the nervous playwright spent the evening down the road at the Wildely successful new play An Ideal Husband , by James's despised rival, the "mechanical Oscar"; how he finally slipped into his own theater just as the performance was ending; how he was led on stage by the play's actor-manager, ostensibly to enjoy the curtain call but in reality to receive the boos and jeers of a large proportion of the audience; how a few moments earlier, when this same actor-manager had declaimed from the stage, "I'm the last , my lord, of the Domvilles!," a cry had come from the seats: "It's a ...
