What is one’s personality, detached from that of the friends with whom fate happens to have linked one? I cannot think of myself apart from the influence of the two or three greatest friendships of my life, and any account of my own growth must be that of their stimulating and enlightening influence. From a childhood and youth of complete intellectual isolation — so complete that it accustomed me never to be lonely except in company — I passed, in my early thirties, into an atmosphere of the rarest understanding, the richest and most varied mental comradeship. Some of my friends were men exceptionally distinguished in their own walk of life, without being public figures; others were already celebrated when I first knew them, and of these I shall find it difficult to give an adequate account because of my unhappy lack of verbal memory. Once I had emerged from my long inner solitude my opportunities, though limited in extent (for I have always been fundamentally un-“social”), were of a quality so rare that it ought to illuminate all my pages. I have lived in intimate friendship with two or three great intelligences; but I am not a Boswell myself, and have never had a Boswell of my own, both of which facts I deplore, since in the former case I might have set down the dazzling talk I spent such enchanted hours in absorbing, and in the latter have handed it on to my recording satellite. As it is, having a tendency to pass, when in high company, into a state of exhilaration that precludes anything as precise as taking notes, I enjoy the commerce with great minds as a painter enchanted by the glories of an Alpine meadow rather than as a botanist cataloguing its specimens.
Once, happening to sit next to M. Bergson at a dinner, I confided to him my distress and perplexity over the odd holes in my memory. How was it, I asked, that I could remember, with exasperating accuracy, the most useless and insignificant things, such as the address of every one I knew, and the author of the libretto of every opera I had ever heard since the age of eighteen — while, when it came to poetry, my chiefest passion and my greatest joy, my verbal memory failed me completely, and I heard only the inner cadence, and could hardly ever fill it out with the right words?
I had the impression, before I ended, that my problem did not greatly interest my eminent neighbour; and his reply was distinctly disappointing. “Mais c’est precisement parce que vous etes eblouie” (“It’s just because you are dazzled”), he answered quietly, turning to examine the dish which was being handed to him, and making no effort to pursue the subject. It was only afterward that I saw he had really said all there was to say: that the gift of precision in ecstasy (the best definition I can find for the highest poetry) is probably almost as rare in the appreciator as in the creator, and that my years of intellectual solitude had made me so super-sensitive to the joys of great talk that precise recording was impossible to me. Good talk seems, instead, to pass into my mind with a gradual nutritive force sometimes felt only long afterward; it permeates me as a power, an influence, it encloses my universe in a dome of many-coloured glass from which I can detach but few fragments while it builds itself up about me. The reader may here object that I have taken more than a page to say that I have a bad memory; but to say only that would not quite cover the case, since the talk I hear is not forgotten, but stored in some depth from which it still returns in its essential implications, though so seldom in its verbal shape.
Since I have already spoken of Henry James’s visits to the Mount, it is perhaps best to put his name first on the list of the friends who composed my closest group during the years I spent there, and those that followed. In fact, however, my first meeting with Henry James happened many years earlier, probably in the late ‘eighties; though it is at the Mount that he first comes into the foreground of the picture.
For a long time there seemed small hope of his ever figuring there, for when we first met I was still struck dumb in the presence of greatness, and I had never doubted that Henry James was great, though how great I could not guess till I came to know the man as well as I did his books. The encounter took place at the house of Edward Boit, the brilliant water-colour painter whose talent Sargent so much admired. Boit and his wife, both Bostonians, and old friends of my husband’s, had lived for many years in Paris, and it was there that one day they asked us to dine with Henry James. I could hardly believe that such a privilege could befall me, and I could think of only one way of deserving it — to put on my newest Doucet dress, and try to look my prettiest! I was probably not more than twenty-five, those were the principles in which I had been brought up, and it would never have occurred to me that I had anything but my youth, and my pretty frock, to commend me to the man whose shoe-strings I thought myself unworthy to unloose. I can see the dress still — and it WAS pretty; a tea-rose pink, embroidered with iridescent beads. But, alas, it neither gave me the courage to speak, nor attracted the attention of the great man. The evening was a failure, and I went home humbled and discouraged.
A year or two later, in Venice (probably in 1889 or 1890), the same opportunity came my way. Another friend of my husband’s, Ralph Curtis of Boston, had the happy thought of inviting us to meet Henry James, who was, I think, staying either with Curtis at the Palazzo Barbaro, or with Robert Browning’s old friend, Mrs. Arthur Bronson. Again fortune held out her hand — and again mine slipped out of it. Once more I thought: How can I make myself pretty enough for him to notice me? Well — this time I had a new hat; A BEAUTIFUL NEW HAT! I was almost sure it was becoming, and I felt that if he would only tell me so I might at last pluck up courage to blurt out my admiration for “Daisy Miller” and “The Portrait of a Lady.” But he noticed neither the hat nor its wearer — and the second of our meetings fell as flat as the first. When I spoke to him of them years afterward he owned that he could not even remember having seen me on either occasion! And as for the date of the meeting which finally drew us together, without hesitations or preliminaries, we could neither of us ever recall when or where that happened. All we knew was that suddenly it was as if we had always been friends, and were to go on being (as he wrote to me in February 1910) “more and more never apart.”
The explanation, of course, was that in the interval I had found myself, and was no longer afraid to talk to Henry James of the things we both cared about; while he, always so helpful and hospitable to younger writers, at once used his magic faculty of drawing out his interlocutor’s inmost self. Perhaps it was our common sense of fun that first brought about our understanding. The real marriage of true minds is for any two people to possess a sense of humour or irony pitched in exactly the same key, so that their joint glances at any subject cross like interarching search-lights. I have had good friends between whom and myself that bond was lacking, but they were never really intimate friends; and in that sense Henry James was perhaps the most intimate friend I ever had, though in many ways we were so different.
The Henry James of the early meetings was the bearded Penseroso of Sargent’s delicate drawing, soberly fastidious in dress and manner, cut on the approved pattern of the homme du monde of the ‘eighties; whereas by the time we got to know each other well the compact upright figure had expanded to a rolling and voluminous outline, and the elegance of dress given way to the dictates of comfort, while a clean shave had revealed in all its sculptural beauty the noble Roman mask and the big dramatic mouth. The change typified something deep beneath the surface. In the interval two things had happened: Henry James had taken the measure of the fashionable society which in youth had subjugated his imagination, as it had Balzac’s, and was later to subjugate Proust’s, and had fled from it to live in the country, carrying with him all the loot his adventure could yield; and in his new solitude he had come to grips with his genius. Exquisite as the early novels are — and in point of perfection probably none can touch “The Portrait of a Lady” — yet measured by what was to come Henry James, when he wrote them, had but skimmed the surface of life and of his art. Even the man who wrote, in “The Portrait of a Lady,” the chapter in which Isabel broods over her fate at night by the fire, was far from the man in whom was already ripening that greater night-piece, the picture of Maggie looking in from the terrace at Fawns at the four bridge-players, and renouncing her vengeance as “nothing nearer to experience than a wild eastern caravan, looming into view with crude colours in the sun, fierce pipes in the air, high spears against the sky . . . but turning off short before it reached her and plunging into other defiles.”
But though he had found his genius and broken away from the social routine, he never emancipated himself in small matters from the conformities. Though he now affected to humour the lumbering frame whose physical ease must be considered first, he remained spasmodically fastidious about his dress, and about other trifling social observances, and once when he was motoring with use in France in 1907, and suddenly made up his mind (at Poitiers, of all places!) that he must then and there buy a new hat, almost insuperable difficulties attended its selection. It was not until he had announced his despair of ever making the hatter understand “that what he wanted was a hat like everybody else’s,” and I had rather impatiently suggested his asking for a head-covering “pour l’homme moyen sensuel,” that the thought broke through his indecisions, and to a rich accompaniment of chuckles the hat was bought.
Still more particular about his figure than his dress, he resented any suggestion that his silhouette had lost firmness and acquired volume; and once, when my friend Jacques–Emile Blanche was doing the fine seated profile portrait which is the only one that renders him AS HE REALLY WAS, he privately implored me to suggest to Blanche “not to lay such stress on the resemblance to Daniel Lambert.”
The truth is that he belonged irrevocably to the old America out of which I also came, and of which — almost — it might paradoxically be said that to follow up its last traces one had to come to Europe; as I discovered when my French and English friends told me, on reading “The Age of Innocence,” that they had no idea New York life in the ‘seventies had been so like that of the English cathedral town, or the French “ville de province,” of the same date. As for the nonsense talked by critics of a later generation, who never knew James, much less the world he grew up in, about his having thwarted his genius by living in Europe, and having understood his mistake too late, as a witness of his long sojourns in America in 1904, 1905 and 1910, and of the reactions they produced (expressed in all the letters written at the time), I can affirm that he was never really happy or at home there. He came several times for long visits to the Mount, and during his first visit to America, in 1904–5, he also stayed with us for some time in New York; and responsive as he always was, interested, curious, and heroically hospitable to new ideas, new aspects, new people, the nostalgia of which he speaks so poignantly in one of his letters to Sir Edmund Gosse (written from the Mount) was never for a moment stilled. Henry James was essentially a novelist of manners, and the manners he was qualified by nature and situation to observe were those of the little vanishing group of people among whom he had grown up, or their more picturesque prototypes in older societies. For better or worse he had to seek that food where he could find it, for it was the only food his imagination could fully assimilate. He was acutely conscious of this limitation, and often bewailed to me his total inability to use the “material,” financial and industrial, of modern American life. Wall Street, and everything connected with the big business world, remained an impenetrable mystery to him, and knowing this he felt he could never have dealt fully in fiction with the “American scene,” and always frankly acknowledged it. The attempt to portray the retired financier in Mr. Verver, and to relate either him or his native “American City” to any sort of concrete reality, is perhaps proof enough of the difficulties James would have found in trying to depict the American money-maker in action.
On his first visit, however, he was still in fairly good health, and in excellent spirits, exhilarated (at first) by the novelty of the adventure, the success of his revolt against his own sedentary habit (he called me “the pendulum-woman” because I crossed the Atlantic every year!), and, above all, captivated by the new experience of motoring. It was the summer when we were experimenting with “Alfred de Musset” and “George”; in spite of many frustrations there were beautiful tours successfully carried out “in the Whartons’ commodious new motor, which has fairly converted me to the sense of all the thing may do for one and one may get from it”; and this mode of locomotion seemed to him, as it had to me, an immense enlargement of life.
It is particularly regrettable in the case of Henry James that no one among his intimates had a recording mind, or rather that those who had did not apply it to noting down his conversation, for I have never known a case in which an author’s talk and his books so enlarged and supplemented each other. Talent is often like an ornamental excrescence; but the quality loosely called genius usually irradiates the whole character. “If he but so much as cut his nails,” was Goethe’s homely phrase of Schiller, “one saw at once that he was a greater man than any of them.” This irradiation, so abundantly basked in by the friends of Henry James, was hidden from those who knew him slightly by a peculiarity due to merely physical causes. His slow way of speech, sometimes mistaken for affectation — or, more quaintly, for an artless form of Anglomania! — was really the partial victory over a stammer which in his boyhood had been thought incurable. The elaborate politeness and the involved phraseology that made off-hand intercourse with him so difficult to casual acquaintances probably sprang from the same defect. To have too much time in which to weigh each word before uttering it could not but lead, in the case of the alertest and most sensitive of minds, to self-consciousness and self-criticism; and this fact explains the hesitating manner that often passed for a mannerism. Once, in New York, when I had arranged a meeting between him and the great Mr. Dooley, whose comments on the world’s ways he greatly enjoyed, I perceived, as I watched them after dinner, that Peter Dunne was floundering helplessly in the heavy seas of James’s parentheses; and the next time we met, after speaking of his delight in having at last seen James, he added mournfully: “What a pity it takes him so long to say anything! Everything he said was so splendid — but I felt like telling him all the time: ‘Just ‘pit it right up into Popper’s hand’.”
To James’s intimates, however, these elaborate hesitancies, far from being an obstacle, were like a cobweb bridge flung from his mind to theirs, an invisible passage over which one knew that silver-footed ironies, veiled jokes, tiptoe malices, were stealing to explode a huge laugh at one’s feet. This moment of suspense, in which there was time to watch the forces of malice and merriment assembling over the mobile landscape of his face, was perhaps the rarest of all in the unique experience of a talk with Henry James.
His letters, delightful as they are, give but hints and fragments of his talk; the talk that, to his closest friends, when his health and the surrounding conditions were favourable, poured out in a series of images so vivid and appreciations so penetrating, the whole so sunned over by irony, sympathy and wide-flashing fun, that those who heard him at his best will probably agree in saying of him what he once said to me of M. Paul Bourget: “He was the first, easily, of all the talkers I ever encountered.”
Of the qualities most impossible to preserve in his letters, because so impossible to explain with whatever fulness of foot-notes, was the quality of fun — often of sheer abstract “fooling” — that was the delicious surprise of his talk. His letter to Walter Berry “on the gift of a dressing-bag” is almost the only instance of this genial play that is intelligible to the general reader. From many of the letters to his most intimate group it was necessary to excise long passages of chaff, and recurring references to old heaped-up pyramidal jokes, huge cairns of hoarded nonsense. Henry James’s memory for a joke was prodigious; when he got hold of a good one, he not only preserved it piously, but raised upon it an intricate superstructure of kindred nonsense, into which every addition offered by a friend was skilfully incorporated. Into his nonsense-world, as four-dimensional as that of the Looking Glass, or the Land where the Jumblies live, the reader could hardly have groped his way without a preparatory course in each correspondent’s private history and casual experience. The merest hint was usually enough to fire the train; and, as in the writing of his tales a tidy mustard-seed of allusion spread into a many-branched “subject,” so his best nonsense flowered out of unremembered trifles.
I recall a bubbling over of this nonsense on one of our happy motor-trips among the hills of Western Massachusetts. We had motored so much together in Europe that allusions to Roman ruins and Gothic cathedrals furnished a great part of the jests with which his mind played over what he has called “the thin empty lonely American beauty”; and one day, when his eye caught the fine peak rising alone in the vale between Deerfield and Springfield, with a wooden barrack of a “summer hotel” on its highest ledge, I told him that the hill was Mount Tom, and the building “the famous Carthusian monastery.” “Yes, where the monks make Moxie,” he flashed back, referring to a temperance drink that was blighting the landscape that summer from a thousand hoardings.
Sometimes his chaff was not untinged with malice. I remember a painful moment, during one of his visits, when my husband imprudently blurted out an allusion to “Edith’s new story — you’ve seen it in the last ‘Scribner’?” my heart sank; I knew it always embarrassed James to be called on, in the author’s presence, for an “appreciation.” He was himself so engrossed in questions of technique and construction — and so increasingly detached from the short-story form as a medium — that very few “fictions” (as he called them) but his own were of interest to him, except indeed Mr. Wells’s, for which he once avowed to me an incurable liking, “because everything he writes is so alive and kicking.” At any rate I always tried to keep my own work out of his way, and once accused him of ferreting out and reading it just to annoy me — to which charge his sole response was a guilty chuckle. In the present instance, as usual, he instantly replied: “Oh, yes, my dear Edward, I’ve read the little work — of course I’ve read it.” A gentle pause, which I knew boded no good; then he softly continued: “Admirable, admirable; a masterly little achievement.” He turned to me, full of a terrifying benevolence. “Of course so accomplished a mistress of the art would not, without deliberate intention, have given the tale so curiously conventional a treatment. Though indeed, in the given case, no treatment BUT the conventional was possible; which might conceivably, my dear lady, on further consideration, have led you to reject your subject as — er — in itself a totally unsuitable one.”
I will not deny that he may have added a silent twinkle to the shout of laughter with which — on that dear wide sunny terrace of the Mount — his fellow-guests greeted my “dressing-down.” Yet it would be a mistake to imagine that he had deliberately started out to destroy my wretched tale. He had begun, I am sure, with the sincere intention of praising it; but no sooner had he opened his lips than he was overmastered by the need to speak the truth, and the whole truth, about anything connected with the art which was sacred to him. Simplicity of heart was combined in him with a brain that Mr. Percy Lubbock has justly called robust, and his tender regard for his friends’ feelings was equalled only by the faithfulness with which, on literary questions, he gave them his view of their case when they asked for it — and sometimes when they did not. On all subjects but that of letters his sincerity was tempered by an almost exaggerated tenderness; but when le metier was in question no gentler emotion prevailed.
Another day — somewhat later in our friendship, since this time the work under his scalpel was “The Custom of the Country” — after prolonged and really generous praise of my book, he suddenly and irrepressibly burst forth: “But of course you know — as how should you, with your infernal keenness of perception, NOT know? — that in doing your tale you had under your hand a magnificent subject, which ought to have been your main theme, and that you used it as a mere incident and then passed it by?”
He meant by this that for him the chief interest of the book, and its most original theme, was that of a crude young woman such as Undine Spragg entering, all unprepared and unperceiving, into the mysterious labyrinth of family life in the old French aristocracy. I saw his point, and recognized that the contact between the Undine Spraggs and the French families they marry into was, as the French themselves would say, an “actuality” of immense interest to the novelist of manners, and one which as yet had been little dealt with; but I argued that in “The Custom of the Country” I was chronicling the career of a particular young woman, and that to whatever hemisphere her fortunes carried her, my task was to record her ravages and pass on to her next phase. This, however, was no argument to James; he had long since lost all interest in the chronicle-novel, and cared only for the elaborate working out on all sides of a central situation, so that he could merely answer, by implication if not openly: “Then, my dear child, you chose the wrong kind of subject.”
Once when he was staying with us in Paris I had a still more amusing experience of this irresistible tendency to speak the truth. He had chanced to nose out the fact that, responding to an S.O.S. from the “Revue des Deux Mondes,” for a given number of which a promised translation of one of my tales had not been ready, I had offered to replace it by writing a story myself — in French! I knew what James would feel about such an experiment, and there was nothing I did not do to conceal the horrid secret from him; but he had found it out before arriving, and when in my presence some idiot challenged him with: “Well, Mr. James, don’t you think it’s remarkable that Mrs. Wharton should have written a story in French for the ‘Revue’?” the twinkle which began in the corner of his eyes and trickled slowly down to his twitching lips showed that his answer was ready. “Remarkable — most remarkable! An altogether astonishing feat.” He swung around on me slowly. “I do congratulate you, my dear, on the way in which you’ve picked up every old worn out literary phrase that’s been lying about the streets of Paris for the last twenty years, and managed to pack them all into those few pages.” To this withering comment, in talking over the story afterward with one of my friends, he added more seriously, and with singular good sense: “A very creditable episode in her career. BUT SHE MUST NEVER DO IT AGAIN.”
He knew I enjoyed our literary rough-and-tumbles, and no doubt for that reason scrupled the less to hit straight from the shoulder, but with others, though he tried to be more merciful, what he really thought was no less manifest. My own experience has taught me that nothing is more difficult than to talk indifferently or insincerely on the subject of one’s craft. The writer, without much effort, can reel off polite humbug about pictures, the painter about books; but to fib about the art one practises is incredibly painful, and James’s over-scrupulous conscience, and passionate reverence for letters, while always inclining him to mercy, made deception doubly impossible.
I think it was James who first made me understand that genius is not an indivisible element, but one variously apportioned, so that the popular system of dividing humanity into geniuses and non-geniuses is a singularly inadequate way of estimating human complexity. In connection with this, I once brought him a phrase culled in a literary review. “Mr. —— has ALMOST A STREAK of genius.” James, always an eager collector of verbal oddities, fell on the phrase with rapture, and earnest requests to every one to define the exact extent of “almost a streak” caused him amusement for months afterward. I mention this because so few people seem to have known in Henry James the ever-bubbling fountain of fun which was the delight of his intimates.
One of our joys, when the talk touched on any great example of prose or verse, was to get the book from the shelf, and ask one of the company to read the passage aloud. There were some admirable readers in the group, in whose gift I had long delighted; but I had never heard Henry James read aloud — or known that he enjoyed doing so — till one night some one alluded to Emily Bronte’s poems, and I said I had never read “Remembrance.” Immediately he took the volume from my hand, and, his eyes filling, and some far away emotion deepening his rich and flexible voice, he began:
Cold in the earth, and the deep snow piled above thee, Far, far removed, cold in the dreary grave, Have I forgot, my only Love, to love thee, Severed at last by Time’s all-severing wave?
I had never before heard poetry read as he read it; and I never have since. He chanted it, and he was not afraid to chant it, as many good readers are, who, though they instinctively feel that the genius of the English poetical idiom requires it to be spoken AS POETRY, are yet afraid of yielding to their instinct because the present day fashion is to chatter high verse as though it were colloquial prose. James, on the contrary, far from shirking the rhythmic emphasis, gave it full expression. His stammer ceased as by magic as soon as he began to read, and his ear, so sensitive to the convolutions of an intricate prose style, never allowed him to falter over the most complex prosody, but swept him forward on great rollers of sound till the full weight of his voice fell on the last cadence.
James’s reading was a thing apart, an emanation of his inmost self, unaffected by fashion or elocutionary artifice. He read from his soul, and no one who never heard him read poetry knows what that soul was. Another day someone spoke of Whitman, and it was a joy to me to discover that James thought him, as I did, the greatest of American poets. “Leaves of Grass” was put into his hands, and all that evening we sat rapt while he wandered from “The Song of Myself” to “When lilacs last in the door-yard bloomed” (when he read “Lovely and soothing Death” his voice filled the hushed room like an organ adagio), and thence let himself be lured on to the mysterious music of “Out of the Cradle,” reading, or rather crooning it in a mood of subdued ecstasy till the fivefold invocation to Death tolled out like the knocks in the opening bars of the Fifth Symphony.
James’s admiration of Whitman, his immediate response to that mighty appeal, was a new proof of the way in which, above a certain level, the most divergent intelligences walk together like gods. We talked long that night of “Leaves of Grass,” tossing back and forth to each other treasure after treasure; but finally James, in one of his sudden humorous drops from the heights, flung up his hands and cried out with the old stammer and twinkle: “Oh, yes, a great genius; undoubtedly a very great genius! Only one cannot help deploring his too-extensive acquaintance with the foreign languages.”
I believe James enjoyed those days at the Mount as much as I did (or could) anything connected with the American scene; and the proof of it is the length of his visits and their frequency. But on one occasion his stay with us coincided with a protracted heat-wave; a wave of such unusual intensity that even the nights, usually cool and airy at the Mount, were as stifling as the days. My own dislike of heat filled me with sympathy for James, whose sufferings were acute and uncontrollable. Like many men of genius he had a singular inability for dealing with the most ordinary daily incidents, such as giving an order to a servant, deciding what to wear, taking a railway ticket, or getting from one place to another; and I have often smiled to think how far nearer the truth than he could possibly have known was the author of that cataclysmic sketch in the famous “If — ” series: “If Henry James had written Bradshaw.”
During a heat-wave this curious inadaptability to conditions or situations became positively tragic. His bodily surface, already broad, seemed to expand to meet it, and his imagination to become a part of his body, so that the one dripped words of distress as the other did moisture. Always uneasy about his health, he became visibly anxious in hot weather, and this anxiety added so much to his sufferings that his state was pitiful. Electric fans, iced drinks and cold baths seemed to give no relief; and finally we discovered that the only panacea was incessant motoring. Luckily by that time we had a car which would really go, and go we did, daily, incessantly, over miles and miles of lustrous landscape lying motionless under the still glaze of heat. While we were moving he was refreshed and happy, his spirits rose, the twinkle returned to lips and eyes; and we never halted except for tea on a high hillside, or for a “cooling drink” at a village apothecary’s — on one of which occasions he instructed one of us to bring him “something less innocent than Apollinaris,” and was enchanted when this was interpreted as meaning an “orange phosphate,” a most sophisticated beverage for that day.
On another afternoon we had encamped for tea on a mossy ledge in the shade of great trees, and as he seemed less uneasy than usual somebody pulled out an anthology, and I asked one of the party to read aloud Swinburne’s “Triumph of Time,” which I knew to be a favourite of James’s; but after a stanza or two I saw the twinkle of beatitude fade, and an agonized hand was lifted up. “Perhaps, in view of the abnormal state of the weather, our young friend would have done better to choose a poem of less inordinate length — ” and immediately we were all bundled back into the car and started off again on the incessant quest for air.
James was to leave for England in about a fortnight; but his sufferings distressed me so much that, the day after this expedition, feeling sure that there was nothing to detain him in America if he chose to go, I asked a friend who was staying in the house to propose my telephoning for a passage on a Boston steamer which was sailing within two days. My ambassador executed the commission, and hurried back with the report that the mere hint of such a plan had thrown James into a state of helpless perturbation. To change his sailing date at two days’ notice — to get from the Mount to Boston (four hours by train) in TWO DAYS— how could I lightly suggest anything so impracticable? And what about his heavy luggage, which was at his brother William’s in New Hampshire? And his wash, which had been sent to the laundry only the afternoon before? Between the electric fan clutched in his hand, and the pile of sucked oranges at his elbow, he cowered there, a mountain of misery, repeating in a sort of low despairing chant: “Good God, what a woman — what a woman! Her imagination boggles at nothing! She does not even scruple to project me in a naked flight across the Atlantic . . . ” The heat collapse had been as nothing to the depths into which my rash proposal plunged him, and it took several hours to quiet him down and persuade him that, if he preferred enduring the weather to flying from it, we were only too glad to keep him at the Mount.
A similar perturbation could be produced (I later learned, to my cost) by asking him to explain any phrase in his books that did not seem quite clear, or any situation of which the motive was not adequately developed; and still more disastrous was the effect of letting him know that any of his writings had been parodied. I had always regarded the fact of being parodied as one of the surest evidences of fame, and once, when he was staying with us in New York, I brought him with glee a deliciously droll article on his novels by poor Frank Colby, the author of “Imaginary Obligations.” The effect was disastrous. I shall never forget the misery, the mortification even, which tried to conceal itself behind an air of offended dignity. His ever-bubbling sense of fun failed him completely on such occasions; as it did also (I was afterward to find) when one questioned him, in a way that even remotely implied criticism, on any point in the novels. It was in England, I think — when he and I, and a party of intimate friends, were staying together at Howard Sturgis’s — that I brought him, in all innocence, a passage from one of his books which, after repeated readings, I still found unintelligible. He took the book from me, read over the passage to himself, and handed it back with a lame attempt at a joke; but I saw — we all saw — that even this slight, and quite involuntary, criticism, had wounded his morbidly delicate sensibility.
Once again, and again unintentionally — I was guilty of a similar blunder. I was naturally much interested in James’s technical theories and experiments, though I thought, and still think, that he tended to sacrifice to them that spontaneity which is the life of fiction. Everything, in the latest novels, had to be fitted into a predestined design, and design, in his strict geometrical sense, is to me one of the least important things in fiction. Therefore, though I greatly admired some of the principles he had formulated, such as that of always letting the tale, as it unfolded, be seen through the mind most capable of reaching to its periphery, I thought it was paying too dear even for such a principle to subordinate to it the irregular and irrelevant movements of life. And one result of the application of his theories puzzled and troubled me. His latest novels, for all their profound moral beauty, seemed to me more and more lacking in atmosphere, more and more severed from that thick nourishing human air in which we all live and move. The characters in “The Wings of the Dove” and “The Golden Bowl” seem isolated in a Crookes tube for our inspection: his stage was cleared like that of the Theatre Francais in the good old days when no chair or table was introduced that was not RELEVANT TO THE ACTION (a good rule for the stage, but an unnecessary embarrassment to fiction). Preoccupied by this, I one day said to him: “What was your idea in suspending the principal characters in “The Golden Bowl” in the void? What sort of life did they lead when they were not watching each other, and fencing with each other? Why have you stripped them of all the HUMAN FRINGES we necessarily trail after us through life?”
He looked at me in surprise, and I saw at once that the surprise was painful, and wished I had not spoken. I had assumed that his system was a deliberate one, carefully thought out, and had been genuinely anxious to hear his reasons. But after a pause of reflection he answered in a disturbed voice: “My dear — I didn’t know I had!” and I saw that my question, instead of starting one of our absorbing literary discussions, had only turned his startled attention on a peculiarity of which he had been completely unconscious.
This sensitiveness to criticism or comment of any sort had nothing to do with vanity; it was caused by the great artist’s deep consciousness of his powers, combined with a bitter, a life-long disappointment at his lack of popular recognition. I am not sure that Henry James had not secretly dreamed of being a “best seller” in the days when that odd form of literary fame was at its height; at any rate he certainly suffered all his life — and more and more as time went on — from the lack of recognition among the very readers who had most warmly welcomed his early novels. He could not understand why the success achieved by “Daisy Miller” and “The Portrait of a Lady” should be denied to the great novels of his maturity: and the sense of protracted failure made him miserably alive to the least hint of criticism, even from those who most completely understood, and sympathized with, his later experiments in technique and style.
Those long days at the Mount, in the deep summer glow or the crisp glitter of autumn, the walks in the woods, motor-flights over hill and dale, evening talks on the moonlit terrace and readings around the library fire, come back with a mocking radiance as I write — and with them the figures of our other most beloved guests, Walter Berry, Bay Lodge, and three dear friends from England, Gaillard Lapsley, Robert Norton and John Hugh Smith.
Still others, friendly and delightful also, came and went; but these, with Henry James, if not by the actual frequency of their visits, yet from some secret quality of participation, had formed from the first the nucleus of what I have called the inner group. In this group an almost immediate sympathy had established itself between the various members, so that our common stock of allusions, cross-references, pleasantries was always increasing, and new waves of interest in the same book or picture, or any sort of dramatic event in life or letters, would simultaneously flood through our minds.
I think I may safely say that Henry James was never so good as with this little party at the Mount, or when some of its members were reunited, as often happened in after years, under Howard Sturgis’s welcoming roof at Windsor. The mere fact that we had in common so many topics, and such innumerable allusions, made James’s talk on such occasions easier and wider-ranging than I ever heard it elsewhere; and the free and rapid give-and-take of ideas animated his mind, which so easily drooped in dull company.
In one respect Henry James stood alone among the great talkers I have known, for while he was inexhaustible in repartee, and never had the least tendency to monopolize the talk, yet it was really in monologue that he was most himself. I remember in particular one summer evening, when we sat late on the terrace at the Mount, with the lake shining palely through dark trees, and one of us suddenly said to him (in response to some chance allusion to his Albany relations): “And now tell us about the Emmets — tell us all about them.”
The Emmet and Temple families composed, as we knew, the main element of his vast and labyrinthine cousinship — “the Emmetry,” as he called it — and for a moment he stood there brooding in the darkness, murmuring over to himself: “Ah, my dear, the Emmets — ah, the Emmets!” Then he began, forgetting us, forgetting the place, forgetting everything but the vision of his lost youth that the question had evoked, the long train of ghosts flung with his enchanter’s wand across the wide stage of the summer night. Ghostlike indeed at first, wavering and indistinct, they glimmered at us through a series of disconnected ejaculations, epithets, allusions, parenthetical rectifications and restatements, till not only our brains but the clear night itself seemed filled with a palpable fog; and then, suddenly, by some miracle of shifted lights and accumulated strokes, there they stood before us as they lived, drawn with a million filament-like lines, yet sharp as an Ungres, dense as a Rembrandt; or, to call upon his own art for an analogy, minute and massive as the people of Balzac.
I often saw the trick repeated; saw figures obscure or famous summoned to the white square of his magic-lantern, flickering and wavering there, and slowly solidifying under the turn of his lens; but never perhaps anything so ample, so sustained, as that summoning to life of dead-and-gone Emmets and Temples, old lovelinesses, old follies, old failures, all long laid away and forgotten under old crumbling grave-stones. I wonder if it may not have been that very night, the place and his re-awakened associations aiding, that they first came to him and constrained him to make them live for us again in the pages of “A Small Boy” and “A Son and Brother?”
In New York James was a different being. He hated the place, as his letters abundantly testify; its aimless ugliness, its noisy irrelevance, wore on his nerves; but he was amused by the social scene, and eager to leave nothing of it unobserved. During his visits, therefore, we invited many people to the house, and he dined out frequently, and went to the play — for he was still intensely interested in the theatre. But this mundane James, his attention scattered, his long and complex periods breaking against a dull wall of incomprehension, and dispersing themselves in nervous politenesses, was a totally different being from our leisurely companion at the Mount. I always enjoyed having him under my roof, wherever that good fortune befell me; but my hurried preoccupied New York guest seemed a mere fragment of the great “Henry” of our country hours.
New York in those days, though more cosmopolitan than in my youth, was still a small place, with so limited a range of intellectual interests and allusions that dinner-table talk was a good deal like the “local items” column in a country newspaper; and I remember depressing evenings when the hosts, contributing orchids and gold plate, remained totally unconscious of the royal gifts their guest had brought them in exchange.
James knew that his treasures were largely unmarketable in Fifth Avenue, but it perplexed and saddened him that they should, as a rule, be equally so in the world of letters, which he was naturally even more eager to explore. I remember one occasion when a dinner was especially arranged to make known to him a brilliant essayist whose books he greatly enjoyed. Unhappily the essayist’s opaque countenance revealed nothing of the keenness within, and he on his part, though appreciative of James’s genius, was obviously put off by his laborious hesitations. Their comments on the meeting were, on the essayist’s side, a joke about James’s stammer, and on James’s the melancholy exclamation: “What a mug!”
I suspect that he was much happier, and more at his ease, in Boston than in New York. At Cambridge, in the houses of his brother, William James, and of Charles Eliot Norton, and their kindred circles, he had the best of Boston; and in Boston itself, where the sense of the past has always been so much stronger than in New York, he found all sorts of old affinities and relations, and early Beacon Hill traditions, to act as life-belts in the vast ocean of strangeness. He had always clung to his cousinage, and to any one who represented old friendly associations, whether in Albany, New York or Boston, and I remember his once saying: “You see, my dear, they’re so much easier to talk to, because I can always ask them questions about uncles and aunts, and other cousins.” He had brought this question-asking system to a high state of perfection, and practised it not only on relations and old friends, but on transatlantic pilgrims to Lamb House, whom he would literally silence by a friendly volley of interrogations as to what train they had taken to come down, and whether they had seen all the cathedral towns yet, and what plays they had done; so that they went away aglow with the great man’s cordiality, “and, you see, my dear, they hadn’t time to talk to me about my books” — the calamity at all costs to be averted.
Last updated Sunday, March 27, 2016 at 12:02