The opportunities James missed at the end of The Princess Casamassima

Inevitably, Henry James's "The Princess Casamassima" ends tragically - we could see the conflict building within Hyacinth, as he falls in love with the inaccessible and cruel P.C., sees her drawn toward his more charismatic friend, Paul, feels a class aspiration (his noble blood rising?) and feels increasingly uncomfortable with his working-class roots and with his radical politics, but because he is a painfully honest young man feels compelled to make good on his commitment to assassinate someone in service to his radical - in short, he gets a small glimpse of the nobility and yearns to join that class but feels too ashamed of his origins to actually do so - a vast oversimplification but that's the essence. Can't help but feel that James handled the ending of the P.C. poorly - it's already a long book, but in the Jamesian manner he's far more interested in interior drama than in actual drama - Hyacinth's suicide, like his meeting with the German radical, takes place offstage, so to speak. Imagine what Dostoyevsky would do with those two scenes - or Stendahl. In fact, rather than a suicide, it would have been more satisfying to have H. arrested and to have him go through self-mortificaiton or reflection or justification or to achieve self-knowledge in prison, on trial, on the gallows - but, no, James just does away with him. Too bad. Another odd element - H. was just becoming physically close to his childhood friend, Millicent, but he backs away from this intimacy - in almost any other novelist's hands, Millicent would save H. in some manner - but not in Jamesland, where physical intimacy and mature emotional love between adults is a dark and unexplored country. There's a sense that H. killed himself not only because he lost the Princess, who would only have destroyed him, but also because he could have won Millicent.