An examination of James's representation of the privileges and pains of turn-of-the-century society.Tessa Hadley examines how Henry James progressively disentangles himself from the moralizing frame through which English-language novels in the nineteenth century had imagined sexual passion. Hadley argues that his relationship with the European novel tradition was crucial, helping to leave behind a way of seeing in which only bad women could be sexual. She explores the emphasis James placed on the power of pleasure and play: themes which are central to his ambitious enterprise to represent the privileges and the pains of turn-of-the-century leisure class society.Tessa Hadley examines how Henry James progressively disentangles himself from the moralizing frame through which English-language novels in the nineteenth century had imagined sexual passion. Hadley argues that his relationship with the European novel tradition was crucial, helping to leave behind a way of seeing in which only bad women could be sexual. She explores the emphasis James placed on the power of pleasure and play: themes which are central to his ambitious enterprise to represent the privileges and the pains of turn-of-the-century leisure class society.Tessa Hadley examines how Henry James progressively disentangles himself from the moralizing frame through which English-language novels in the nineteenth century had visualized sexual passion. Hadley argues that his relationship with the European novel tradition was crucial, helping to leave behind the belief that only bad women could be sexual. She explores the emphasis James placed on the power of pleasure and play--themes central to his ambitious goal to represent the privileges and the pains of turn-of-the-century leisure class society.Introduction; 1. 'Just you wait!': reflections on the last chapters of The Portrait of a Lady; 2. 'In a dream or an old novel': governesses in What Maisie Knew and The Turn of the Screw; 3. 'The sacred terror': TlS'