Mr. and Mrs. Wilfred Sheridan had asked him to be godfather to their eldest child.
105 Pall Mall, S.W.
Jan. 12th, 1912.
My dear Wilfred,
Beautiful and touching to me your conjoined appeal, with dear Clare's, but I beg you to see the matter in the clear and happy light when I say that I'm afraid it won't do and that the blest Babe must really be placed, on the threshhold of life (there should be but one h there—don't teach her to spell by me!) under some more valid and more charming protection than that of my accumulated and before long so concluding years. She mustn't be taken, for her first happy holiday, to visit her late godfather's tomb—as would certainly be the case were I to lend myself to the fond anachronism her too rosy-visioned parents so flatteringly propose. You see, dear Wilfred, I speak from a wealth of wisdom and experience—life has made me rather exceptionally acquainted with the godpaternal function (so successful an impostor would I seem to have been,) and it was long since brought home to me that the character takes more wearing and its duties more performing than I feel I have ever been able to give it. I have three godchildren living (for to some I have been fatal)—two daughters and a son; and my conscience tells me that I have long grossly neglected them. They write me—at considerable length sometimes, and I just remember that I have one of their last sweet appeals still unanswered. This, dear Clare and dear Wilfred, is purely veracious history—a dark chapter in my life. Let me not add another—let me show at last a decent compunction. Let me not offer up a helpless and unconscious little career on the altar of my incompetence. Frankly, the lovely child should find at her font a younger and braver and nimbler presence, one that shall go on with her longer and become accessible to her personal knowledge. You will feel this together on easier reflection—just as you will see how my plea goes hand in hand with my deep appreciation of your exquisite confidence.
You must indeed, Wilfred, have been through terrific tension—I gathered from Ethel Dilke's letter that Clare's crisis had been dire; such are not the hours when a man most feels the privilege and pride of fatherhood. But I rejoice greatly in the good conditions now, and already make out that the daughter is to be of prodigious power, beauty and stature. I feel for that matter that by the time Easter comes I should drop her straight into the ritual reservoir—with a scandalous splash. It will take more than me—! (though you may well say you don't want more—after so many words!) I embrace you all three and am devotedly yours,
HENRY JAMES.
H. J. never at any time received presents easily, and the difficulty seems to have reached a climax over one recently sent him by Mr. Berry. It may not be obvious that the gift in question was a leather dressing-case.
Lamb House, Rye.
February 8th, 1912.
Très-cher et très-grand ami!
How you must have wondered at my silence! But it has been, alas, inevitable and now is but feebly and dimly broken. Just after you passed through London—or rather even while you were passing through it—I began to fall upon evil days again; a deplorable bout of unwellness which, making me fit for nothing, gave me a sick struggle, first, in those awkward Pall Mall conditions, and then reduced me to scrambling back here as best I might, where I have been these several days but a poor ineffectual rag. I shall get better here if I can still further draw on my sadly depleted store of time and patience; but meanwhile I am capable but of this weak and appealing grimace—so deeply discouraged am I to feel that there are still, and after I have travelled so far, such horrid little deep holes for me to tumble into. (This has been a deeper one than for many months, though I am, I believe, slowly scrambling out; and blest to me has been the resource of crawling to cover here—for better aid and comfort.) ... The case has really and largely been, however, all the while, dearest Walter, that of my having had to yield, just after your glittering passage in town, to that simply overwhelming coup de massue of your—well, of your you know what. It was that that knocked me down—when I was just trembling for a fall; it was that that laid me flat.
February 14th. Well, dearest Walter, it laid me after all so flat that I broke down, a week ago, in the foregoing attempt to do you, and your ineffable procédé, some manner of faint justice; I wasn't then apt for any sort of right or worthy approach to you, and there was nothing for me but resignedly to intermit and me recoucher. You had done it with your own mailed fist—mailed in glittering gold, speciously glazed in polished, inconceivably and indescribably sublimated, leather, and I had rallied but too superficially from the stroke. It claimed its victim afresh, and I have lain the better part of a week just languidly heaving and groaning as a result de vos œuvres—and forced thereby quite to neglect and ignore all letters. I am a little more on my feet again, and if this continues shall presently be able to return to town (Saturday or Monday;) where, however, the monstrous object will again confront me. That is the grand fact of the situation—that is the tawny lion, portentous creature, in my path. I can't get past him, I can't get round him, and on the other hand he stands glaring at me, refusing to give way and practically blocking all my future. I can't live with him, you see; because I can't live up to him. His claims, his pretensions, his dimensions, his assumptions and consumptions, above all the manner in which he causes every surrounding object (on my poor premises or within my poor range) to tell a dingy or deplorable tale—all this makes him the very scourge of my life, the very blot on my scutcheon. He doesn't regild that rusty metal—he simply takes up an attitude of gorgeous swagger, straight in front of all the rust and the rubbish, which makes me look as if I had stolen somebody else's (re-garnished blason) and were trying to palm it off as my own. Cher et bon Gaultier, I simply can't afford him, and that is the sorry homely truth. He is out of the picture—out of mine; and behold me condemned to live forever with that canvas turned to the wall. Do you know what that means?—to have to give up going about at all, lest complications (of the most incalculable order) should ensue from its being seen what I go about with. Bonne renommée vaut mieux que sac-de-voyage doré, and though I may have had weaknesses that have brought me a little under public notice, my modest hold-all (which has accompanied me in most of my voyage through life) has at least, so far as I know, never fait jaser. All this I have to think of—and I put it candidly to you while yet there is time. That you shouldn't have counted the cost—to yourself—that is after all perhaps conceivable (quoiqu'à peine!) but that you shouldn't have counted the cost to me, to whom it spells ruin: that ranks you with those great lurid, though lovely, romantic and historic figures and charmers who have scattered their affections and lavished their favours only (as it has presently appeared) to consume and to destroy! More prosaically, dearest Walter (if one of the most lyric acts recorded in history—and one of the most finely aesthetic, and one stamped with the most matchless grace, has a prosaic side,) I have been truly overwhelmed by the princely munificence and generosity of your procédé, and I have gasped under it while tossing on the bed of indisposition. For a beau geste, c'est le plus beau, by all odds, of any in all my life ever esquissé in my direction, and it has, as such, left me really and truly panting helplessly after—or rather quite intensely before—it! What is a poor man to do, mon prince, mon bon prince, mon grand prince, when so prodigiously practised upon? There is nothing, you see: for the proceeding itself swallows at a gulp, with its open crimson jaws (such a rosy mouth!) like Carlyle's Mirabeau, "all formulas." One doesn't "thank," I take it, when the heavens open—that is when the whale of Mr. Allen's-in-the-Strand celestial shopfront does—and discharge straight into one's lap the perfect compendium, the very burden of the song, of just what the Angels have been raving about ever since we first heard of them. Well may they have raved—but I can't, you see; I have to take the case (the incomparable suit-case) in abject silence and submission. Ah, Walter, Walter, why do you do these things? they're magnificent, but they're not—well, discussable or permissible or forgiveable. At least not all at once. It will take a long, long time. Only little by little and buckle-hole by buckle-hole, shall I be able to look, with you, even one strap in the face. As yet a sacred horror possesses me, and I must ask you to let me, please, though writing you at such length, not so much as mention the subject. It's better so. Perhaps your conscience will tell you why—tell you, I mean, that great supreme gestes are only fair when addressed to those who can themselves gesticulate. I can't—and it makes me feel so awkward and graceless and poor. I go about trying—so as to hurl it (something or other) back on you; but it doesn't come off—practice doesn't make perfect; you are victor, winner, master, oh irresistible one—you've done it, you've brought it off and got me down forever, and I must just feel your weight and bear your might to bless your name—even to the very end of the days of yours, dearest Walter, all too abjectly and too touchedly,
HENRY JAMES.
The following "open letter" was written to be read at the dinner held in New York in celebration of Mr. Howells's seventy-fifth birthday.
105 Pall Mall, S.W.
February 19th, 1912.
My dear Howells,
It is made known to me that they are soon to feast in New York the newest and freshest of the splendid birthdays to which you keep treating us, and that your many friends will meet round you to rejoice in it and reaffirm their allegiance. I shall not be there, to my sorrow, and though this is inevitable I yet want to be missed, peculiarly and monstrously missed; so that these words shall be a public apology for my absence: read by you, if you like and can stand it, but better still read to you and in fact straight at you, by whoever will be so kind and so loud and so distinct. For I doubt, you see, whether any of your toasters and acclaimers have anything like my ground and title for being with you at such an hour. There can scarce be one, I think, to-day, who has known you from so far back, who has kept so close to you for so long, and who has such fine old reasons—so old, yet so well preserved—to feel your virtue and sound your praise. My debt to you began well-nigh half a century ago, in the most personal way possible, and then kept growing and growing with your own admirable growth—but always rooted in the early intimate benefit. This benefit was that you held out your open editorial hand to me at the time I began to write—and I allude especially to the summer of 1866—with a frankness and sweetness of hospitality that was really the making of me, the making of the confidence that required help and sympathy and that I should otherwise, I think, have strayed and stumbled about a long time without acquiring. You showed me the way and opened me the door; you wrote to me, and confessed yourself struck with me—I have never forgotten the beautiful thrill of that. You published me at once—and paid me, above all, with a dazzling promptitude; magnificently, I felt, and so that nothing since has ever quite come up to it. More than this even, you cheered me on with a sympathy that was in itself an inspiration. I mean that you talked to me and listened to me—ever so patiently and genially and suggestively conversed and consorted with me. This won me to you irresistibly and made you the most interesting person I knew—lost as I was in the charming sense that my best friend was an editor, and an almost insatiable editor, and that such a delicious being as that was a kind of property of my own. Yet how didn't that interest still quicken and spread when I became aware that—with such attention as you could spare from us, for I recognised my fellow beneficiaries—you had started to cultivate your great garden as well; the tract of virgin soil that, beginning as a cluster of bright, fresh, sunny and savoury patches, close about the house, as it were, was to become that vast goodly pleasaunce of art and observation, of appreciation and creation, in which you have laboured, without a break or a lapse, to this day, and in which you have grown so grand a show of—well, really of everything. Your liberal visits to my plot, and your free-handed purchases there, were still greater events when I began to see you handle, yourself, with such ease the key to our rich and inexhaustible mystery. Then the question of what you would make of your own powers began to be even more interesting than the question of what you would make of mine—all the more, I confess, as you had ended by settling this one so happily. My confidence in myself, which you had so helped me to, gave way to a fascinated impression of your own spread and growth; for you broke out so insistently and variously that it was a charm to watch and an excitement to follow you. The only drawback that I remember suffering from was that I, your original debtor, couldn't print or publish or pay you—which would have been a sort of ideal repayment and of enhanced credit; you could take care of yourself so beautifully, and I could (unless by some occasional happy chance or rare favour) scarce so much as glance at your proofs or have a glimpse of your "endings." I could only read you, full-blown and finished—and see, with the rest of the world, how you were doing it again and again.
That then was what I had with time to settle down to—the common attitude of seeing you do it again and again; keep on doing it, with your heroic consistency and your noble, genial abundance, during all the years that have seen so many apparitions come and go, so many vain flourishes attempted and achieved, so many little fortunes made and unmade, so many weaker inspirations betrayed and spent. Having myself to practise meaner economies, I have admired, from period to period, your so ample and liberal flow; wondered at your secret for doing positively a little—what do I say a little? I mean a magnificent deal!—of Everything. I seem to myself to have faltered and languished, to have missed more occasions than I have grasped, while you have piled up your monument just by remaining at your post. For you have had the advantage, after all, of breathing an air that has suited and nourished you; of sitting up to your neck, as I may say—or at least up to your waist—amid the sources of your inspiration. There and so you were at your post; there and so the spell could ever work for you, there and so your relation to all your material grow closer and stronger, your perception penetrate, your authority accumulate. They make a great array, a literature in themselves, your studies of American life, so acute, so direct, so disinterested, so preoccupied but with the fine truth of the case; and the more attaching to me, always, for their referring themselves to a time and an order when we knew together what American life was—or thought we did, deluded though we may have been! I don't pretend to measure the effect, or to sound the depths, if they be not the shallows, of the huge wholesale importations and so-called assimilations of this later time; I can only feel and speak for those conditions in which, as "quiet observers," as careful painters, as sincere artists, we could still, in our native, our human and social element, know more or less where we were and feel more or less what we had hold of. You knew and felt these things better than I; you had learnt them earlier and more intimately, and it was impossible, I think, to be in more instinctive and more informed possession of the general truth of your subject than you happily found yourself. The real affair of the American case and character, as it met your view and brushed your sensibility, that was what inspired and attached you, and, heedless of foolish flurries from other quarters, of all wild or weak slashings of the air and wavings in the void, you gave yourself to it with an incorruptible faith. You saw your field with a rare lucidity; you saw all it had to give in the way of the romance of the real and the interest and the thrill and the charm of the common, as one may put it; the character and the comedy, the point, the pathos, the tragedy, the particular home-grown humanity under your eyes and your hand and with which the life all about you was closely interknitted. Your hand reached out to these things with a fondness that was in itself a literary gift, and played with them as the artist only and always can play: freely, quaintly, incalculably, with all the assurance of his fancy and his irony, and yet with that fine taste for the truth and the pity and the meaning of the matter which keeps the temper of observation both sharp and sweet. To observe, by such an instinct and by such reflection, is to find work to one's hand and a challenge in every bush; and as the familiar American scene thus bristled about you, so, year by year, your vision more and more justly responded and swarmed. You put forth A Modern Instance, and The Rise of Silas Lapham, and A Hazard of New Fortunes, and The Landlord at Lion's Head, and The Kentons (that perfectly classic illustration of your spirit and your form,) after having put forth in perhaps lighter-fingered prelude A Foregone Conclusion, and The Undiscovered Country, and The Lady of the Aroostook, and The Minister's Charge—to make of a long list too short a one; with the effect, again and again, of a feeling for the human relation, as the social climate of our country qualifies, intensifies, generally conditions and colours it, which, married in perfect felicity to the expression you found for its service, constituted the originality that we want to fasten upon you, as with silver nails, to-night. Stroke by stroke and book by book your work was to become, for this exquisite notation of our whole democratic light and shade and give and take, in the highest degree documentary; so that none other, through all your fine long season, could approach it in value and amplitude. None, let me say too, was to approach it in essential distinction; for you had grown master, by insidious practices best known to yourself, of a method so easy and so natural, so marked with the personal element of your humour and the play, not less personal, of your sympathy, that the critic kept coming on its secret connection with the grace of letters much as Fenimore Cooper's Leather-stocking—so knowing to be able to do it!—comes, in the forest, on the subtle tracks of Indian braves. However, these things take us far, and what I wished mainly to put on record is my sense of that unfailing, testifying truth in you which will keep you from ever being neglected. The critical intelligence—if any such fitful and discredited light may still be conceived as within our sphere—has not at all begun to render you its tribute. The more inquiringly and perceivingly it shall still be projected upon the American life we used to know, the more it shall be moved by the analytic and historic spirit, the more indispensable, the more a vessel of light, will you be found. It's a great thing to have used one's genius and done one's work with such quiet and robust consistency that they fall by their own weight into that happy service. You may remember perhaps, and I like to recall, how the great and admirable Taine, in one of the fine excursions of his French curiosity, greeted you as a precious painter and a sovereign witness. But his appreciation, I want you to believe with me, will yet be carried much further, and then—though you may have argued yourself happy, in your generous way and with your incurable optimism, even while noting yourself not understood—your really beautiful time will come. Nothing so much as feeling that he may himself perhaps help a little to bring it on can give pleasure to yours all faithfully,
HENRY JAMES.
The following refers to the third volume (covering the years 1838 to 1848) of Mme Vladimir Karénine's "George Sand, sa Vie et ses Œuvres," an article on which, written by H. J. for the Quarterly Review, appears in Notes on Novelists.
Reform Club, Pall Mall, S.W.
March 13th, 1912.
Dearest Edith,
Just a word to thank you—so inadequately—for everything. Your letter of the 1st infinitely appeals to me, and the 3d vol. of the amazing Vladimir (amazing for acharnement over her subject) has rejoiced my heart the more that I had quite given up expecting it. The two first vols. had long ago deeply held me—but I had at last had to suppose them but a colossal fragment. Fortunately the whole thing proves less fragmentary than colossal, and our dear old George ressort more and more prodigious the nearer one gets to her. The passages you marked contribute indeed most to this ineffable effect—and the long letter to sweet Solange is surely one of the rarest fruits of the human intelligence, one of the great things of literature. And what a value it all gets from our memory of that wondrous day when we explored the very scene where they pigged so thrillingly together. What a crew, what mœurs, what habits, what conditions and relations every way—and what an altogether mighty and marvellous George!—not diminished by all the greasiness and smelliness in which she made herself (and so many other persons!) at home. Poor gentlemanly, crucified Chop!—not naturally at home in grease—but having been originally pulled in—and floundering there at last to extinction! Ce qui dépasse, however—and it makes the last word about dear old G. really—is her overwhelming glibness, as exemplified, e.g., in her long letter to Gryzmala (or whatever his name,) the one to the first page or two of which your pencil-marks refer me, and in which she "posts" him, as they say at Stockbridge, as to all her amours. To have such a flow of remark on that subject, and everything connected with it, at her command helps somehow to make one feel that Providence laid up for the French such a store of remark, in advance and, as it were, should the worst befall, that their conduct and mœurs, coming after, had positively to justify and do honour to the whole collection of formulae, phrases and, as I say, glibnesses—so that as there were at any rate such things there for them to inevitably say, why not simply do all the things that would give them a rapport and a sense? The things we, poor disinherited race, do, we have to do so dimly and sceptically, without the sense of any such beautiful cadres awaiting us—and therefore poorly and going but half—or a tenth—of the way. It makes a difference when you have to invent your suggestions and glosses all after the fact: you do it so miserably compared with Providence—especially Providence aided by the French language: which by the way convinces me that Providence thinks and really expresses itself only in French, the language of gallantry. It will be a joy when we can next converse on these and cognate themes—I know of no such link of true interchange as a community of interest in dear old George.
I don't know what else to tell you—nor where this will find you.... I kind of pray that you may have been able to make yourself a system of some sort—to have arrived at some modus vivendi. The impossible wears on us, but we wear a little here, I think, even on the coal-strike and the mass of its attendant misery; though they produce an effect and create an atmosphere unspeakably dismal and depressing; to which the window-smashing women add a darker shade. I am blackly bored when the latter are at large and at work; but somehow I am still more blackly bored when they are shut up in Holloway and we are deprived of them....
Yours all and always, dearest Edith,
HENRY JAMES.
This refers to a proposal (which did not take effect) that Mr. Wells should become a member of the lately formed Academic Committee of the Royal Society of Literature.
105 Pall Mall, S.W.
March 25th, 1912.
My dear Wells,
Your letter is none the less interesting for being what, alas, I believed it might be; in spite of which interest—or in spite of which belief at least—here I am at it again! I know perfectly what you mean by your indifference to Academies and Associations, Bodies and Boards, on all this ground of ours; no one should know better, as it is precisely my own state of mind—really caring as I do for nothing in the world but lonely patient virtue, which doesn't seek that company. Nevertheless I fondly hoped that it might end for you as it did, under earnest invitation, for me—in your having said and felt all those things and then joined—for the general amenity and civility and unimportance of the thing, giving it the benefit of the doubt—for the sake of the good-nature. You will say that you had no doubt and couldn't therefore act on any: but that germ, alas, was what my letter sought to implant—in addition to its not being a question of your acting, but simply of your not (that is of your not refusing, but simply lifting your oar and letting yourself float on the current of acclamation.) There would be no question of your being entangled or hampered, or even, I think, of your being bored; the common ground between all lovers and practitioners of our general form would be under your feet so naturally and not at all out of your way; and it wouldn't be you in the least who would have to take a step backward or aside, it would be we gravitating toward you, melting into your orbit as a mere more direct effect of the energy of your genius. Your plea of your being anarchic and seeing your work as such isn't in the least, believe me, a reason against; for (also believe me) you are essentially wrong about that! No talent, no imagination, no application of art, as great as yours, is able not to make much less for anarchy than for a continuity and coherency much bigger than any disintegration. There's no representation, no picture (which is your form,) that isn't by its very nature preservation, association, and of a positive associational appeal—that is the very grammar of it; none that isn't thereby some sort of interesting or curious order: I utterly defy it in short not to make, all the anarchy in the world aiding, far more than it unmakes—just as I utterly defy the anarchic to express itself representationally, art aiding, talent aiding, the play of invention aiding, in short you aiding, without the grossest, the absurdest inconsistency. So it is that you are in our circle anyhow you can fix it, and with us always drawing more around (though always at a respectful and considerate distance,) fascinatedly to admire and watch—all to the greater glory of the English name, and the brave, as brave as possible English array; the latter brave even with the one American blotch upon it. Oh patriotism!—that mine, the mere paying guest in the house, should have its credit more at heart than its unnatural, its proud and perverse son! However, all this isn't to worry or to weary (I wish it could!) your ruthlessness; it's only to drop a sigh on my shattered dream that you might have come among us with as much freedom as grace. I prolong the sigh as I think how much you might have done for our freedom—and how little we could do against yours!
Don't answer or acknowledge this unless it may have miraculously moved you by some quarter of an inch. But then oh do!—though I must warn you that I shall in that case follow it up to the death!
Yours all faithfully,
HENRY JAMES.
Reform Club, Pall Mall, S.W.
May 17th, 1912.
My dear Florence Bell,
A good friend of ours—in fact one of our very best—spoke to me here a few days ago of your having lately had (all unknown to me) a great tribulation of illness; but also told me, to my lively relief, that you are getting steadily well again and that (thankful at the worst for small mercies after such an ordeal) you are in some degree accessible to the beguilement and consolation of letters. I have only taken time to wonder whether just such a mercy as this may not be even below the worst—but am letting the question rest on the basis of my feeling that you must never, and that you will never, dream of any "acknowledging" of so inevitable a little sign of sympathy. Such dreams, I too well know, only aggravate and hamper the upward struggle, don't in the least lighten or quicken it. Take absolute example by me—who had a very dismal bad illness two and a half years ago (from out of the blackness of which I haven't even now wholly emerged,) and who reflect with positive complacency on all my letters, the received ones, of that time, that still, and that largely always will, remain unanswered. I want you to be complacent too—though at this rate there won't be much for you to be so about! I really hope you go on smoothly and serenely—and am glad now that I didn't helplessly know you were so stricken. But I wish I had for you a few solid chunks of digestible (that is, mainly good) news—such as, given your constitutional charity, will melt in your mouth. (There are people for whom only the other sort is digestible.) But I somehow in these subdued days—I speak of my own very personal ones—don't make news; I even rather dread breaking out into it, or having it break into me: it's so much oftener—
May 26th. Hill Hall, Theydon Mount, Epping.
I began the above now many days ago, and it was dashed from my hand by a sudden flap of one of the thousand tentacles of the London day—broken off short by that aggressive gesture (if the flapping of a tentacle is a conceivable gesture;) and here I take it up again in another place and at the first moment of any sort of freedom and ease for it. As I read it over the interruption strikes me as a sort of blessing in disguise, as I can't imagine what I meant to say in that last portentous sentence, now doubtless never to be finished, and not in the least deserving it—even if it can have been anything less than the platitude that the news one gets is much more usually bad than good, and that as the news one gives is scarce more, mostly, than the news one has got, so the indigent state, in that line, is more gracefully worn than the bloated. I must have meant something better than that. At any rate see how indigent I am—that with all the momentous things that ought to have happened to me to explain my sorry lapse (for so many days,) my chronicle would seem only of the smallest beer. Put it at least that with these humble items the texture of my life has bristled—even to the effect of a certain fever and flurry; but they are such matters as would make no figure among the great issues and processions of Rounton—as I believe that great order to proceed. The nearest approach to the showy is my having come down here yesterday for a couple of days—in order not to prevent my young American nephew and niece (just lately married, and to whom I have been lending my little house in the country) from the amusement of it; as, being invited, they yet wouldn't come without my dim protection—so that I have made, dimly protective, thus much of a dash into the world—where I find myself quite vividly resigned. It is the world of the wonderful and delightful Mrs. Charles Hunter, whom you may know (long my very kind friend;) and all swimming just now in a sea of music: John Sargent (as much a player as a painter,) Percy Grainger, Roger Quilter, Wilfred von Glehn, and others; round whose harmonious circle, however, I roam as in outer darkness, catching a vague glow through the veiled windows of the temple, but on the whole only intelligent enough to feel and rue my stupidity—which is quite the wrong condition. It is a great curse not to be densely enough indifferent to enough impossible things! Most things are impossible to me; but I blush for it—can't brazen it out that they are no loss. Brazening it out is the secret of life—for the peu doués. But what need of that have you, lady of the full programme and the rich performance? What I do enter here (beyond the loving-kindness de toute cette jeunesse) is the fresh illustration of the beauty and amenity and ancientry of this wondrous old England, which at twenty miles or so from London surrounds this admirable and interesting and historic house with a green country as wide and free, and apparently as sequestered, and strikingly as rural—in the Constable way—as if it were on the other side of the island. But I leave it to-morrow to go back to town till (probably) about July 1st, before which I fondly hope you may be so firm on your feet as to be able to glide again over those beautiful parquets of 95. In that case I shall be so delighted to glide in upon you—assuming my balance preserved—at some hour gently appointed by yourself. Then I shall tell you more—if you can stand more after this—fourteen sprawling and vacuous pages. (Alas, I am but too aware there is nothing in them; nothing, that is, but the affectionate fidelity, with every blessing on your further complete healing, of) yours all constantly,
HENRY JAMES.
On May 7, 1912, the Academic Committee of the Royal Society of Literature celebrated the centenary of the birth of Robert Browning. H. J. read a paper on "The Novel in The Ring and the Book," afterwards included in Notes on Novelists. In an appreciative notice of the occasion in the Pall Mall Gazette Mr. Filson Young described his voice as "old."
Reform Club, Pall Mall, S.W.
May 18th, 1912.
Dearest Lucy!
Your impulse to steep me, and hold me down under water, in the Fountain of Youth, with Charles Boyd muscularly to help you, is no less beautiful than the expression you have given it, by which I am more touched than I can tell you. I take it as one of your constant kindnesses—but I had, all the same, I fear, taken Filson Young's Invidious Epithet (in that little compliment) as inevitable, wholly, though I believe it was mainly applied to my voice. My voice was on that Centenary itself Centenarian—for reasons that couldn't be helped—for I really that day wasn't fit to speak. As for one's own sense of antiquity, my own, what is one to say?—it varies, goes and comes; at times isn't there at all and at others is quite sufficient, thank you! I cultivate not thinking about it—and yet in certain ways I like it, like the sense of having had a great deal of life. The young, on the whole, make me pretty sad—the old themselves don't. But the pretension to youth is a thing that makes me saddest and oldest of all; the acceptance of the fact that I am all the while growing older on the other hand decidedly rejuvenates me; I say "what then?" and the answer doesn't come, there doesn't seem to be any, and that quite sets me up. So I am young enough—and you are magnificent, simply: I get from you the sense of an inexhaustible vital freshness, and your voice is the voice (so beautiful!) of your twentieth year. Your going to America was admirably young—an act of your twenty-fifth. Don't be younger than that; don't seem a year younger than you do seem; for in that case you will have quite withdrawn from my side. Keep up with me a little. I shall come to see you again at no distant day, but the coming week seems to have got itself pretty well encumbered, and on the 24th or 26th I go to Rye for four or five days. After that I expect to be in town quite to the end of June. I am reading the Green Book in bits—as it were—the only way in which I can read (or at least do read the contemporary novel—though I read so very few—almost none.) My only way of reading—apart from that—is to imagine myself writing the thing before me, treating the subject—and thereby often differing from the author and his—or her—way. I find G. W. very brisk and alive, but I have to take it in pieces, or liberal sips, and so have only reached the middle. What I feel critically (and I can feel about anything of the sort but critically) is that you don't squeeze your material hard and tight enough, to press out of its ounces and inches what they will give. That material lies too loose in your hand—or your hand, otherwise expressed, doesn't tighten round it. That is the fault of all fictive writing now, it seems to me—that and the inordinate abuse of dialogue—though this but one effect of the not squeezing. It's a wrong, a disastrous and unscientific economy altogether. I squeeze as I read you—but that, as I say, is rewriting! However, I will tell you more when I have eaten all the pieces. And I shall love and stick to you always—as your old, very old, oldest old
H. J.
Reform Club, Pall Mall, S.W.
May 19th, 1912.
...Your letter greatly moves and regales me. Fully do I enter into your joy of sequestration, and your bliss of removal from this scene of heated turmoil and dusty despair—which, however, re-awaits you! Never mind; sink up to your neck into the brimming basin of nature and peace, and teach yourself—by which I mean let your grandmother teach you—that with each revolving year you will need and make more piously these precious sacrifices to Pan and the Muses. History eternally repeats itself, and I remember well how in the old London years (of my old London—this isn't that one) I used to clutch at these chances of obscure flight and at the possession, less frustrated, of my soul, my senses and my hours. So keep it up; I miss you, little as I see you even when here (for I feel you more than I see you;) but I surrender you at whatever cost to the beneficent powers. Therefore I rejoice in the getting on of your work—how splendidly copious your flow; and am much interested in what you tell me of your readings and your literary emotions. These latter indeed—or some of them, as you express them, I don't think I fully share. At least when you ask me if I don't feel Dostoieffsky's "mad jumble, that flings things down in a heap," nearer truth and beauty than the picking and composing that you instance in Stevenson, I reply with emphasis that I feel nothing of the sort, and that the older I grow and the more I go the more sacred to me do picking and composing become—though I naturally don't limit myself to Stevenson's kind of the same. Don't let any one persuade you—there are plenty of ignorant and fatuous duffers to try to do it—that strenuous selection and comparison are not the very essence of art, and that Form is [not] substance to that degree that there is absolutely no substance without it. Form alone takes, and holds and preserves, substance—saves it from the welter of helpless verbiage that we swim in as in a sea of tasteless tepid pudding, and that makes one ashamed of an art capable of such degradations. Tolstoi and D. are fluid puddings, though not tasteless, because the amount of their own minds and souls in solution in the broth gives it savour and flavour, thanks to the strong, rank quality of their genius and their experience. But there are all sorts of things to be said of them, and in particular that we see how great a vice is their lack of composition, their defiance of economy and architecture, directly they are emulated and imitated; then, as subjects of emulation, models, they quite give themselves away. There is nothing so deplorable as a work of art with a leak in its interest; and there is no such leak of interest as through commonness of form. Its opposite, the found (because the sought-for) form is the absolute citadel and tabernacle of interest. But what a lecture I am reading you—though a very imperfect one—which you have drawn upon yourself (as moreover it was quite right you should.) But no matter—I shall go for you again—as soon as I find you in a lone corner....
Well, dearest Hugh, love me a little better (if you can) for this letter, for I am ever so fondly and faithfully yours,
HENRY JAMES.
Reform Club, Pall Mall, S.W.
June 2nd, 1912.
My dear Rhoda,
Too many days have elapsed since I got your kind letter—but London days do leak away even for one who punily tries to embank and economise them—as I do; they fall, as it were, from—or, better still, they utterly dissolve in—my nerveless grasp. In that enfeebled clutch the pen itself tends to waggle and drop; and hence, in short, my appearance of languor over the inkstand. This is a dark moist Sunday a.m., and I sit alone in the great dim solemn library of this Club (Thackeray's Megatherium or whatever,) and say to myself that the conditions now at last ought to be auspicious—though indeed that merely tends to make me but brood inefficiently over the transformations of London as such scenes express them and as I have seen them go on growing. Now at last the place becomes an utter void, a desert peopled with ghosts, for all except three days (about) of the week—speaking from the social point of view. The old Victorian social Sunday is dust and ashes, and a holy stillness, a repudiating blankness, has possession—which however, after all, has its merits and its conveniences too.... Cadogan Gardens, meanwhile, know me no more—the region has turned to sadness, as if, with your absence, all the blinds were down, and I now have no such confident and cordial afternoon refuge left. Very promptly, next winter, the blinds must be up again, and I will keep the tryst. I have been talking of you this evening with dear W. E. Norris, who is paying one of his much interspaced visits to town and has dined with me, amiably, without other attractions. (This letter, begun this a.m. and interrupted, I take up again toward midnight.) ...
Good-night, however, now—I must stagger (really from the force of too total an abstinence) to my never-unappreciated couch. (Norris dined on a bottle of soda-water and I on no drop of anything.) I pray you be bearing grandly up, and I live in the light of your noble fortitude. One is always the better for a great example, and I am always all-faithfully yours,
HENRY JAMES.
Lamb House, Rye.
July 16th, 1912.
Dearest Harry,
...I came down here from town but five days ago, and feel intensely, after so long an absence, the blest, the invaluable, little old refuge-quality of dear L. H. at this and kindred seasons. A tremendous wave of heat is sweeping over the land—passed on apparently from "your side"—and I left London a fiery furnace and the Reform Club a feather bed on top of one in the same. The visitation still goes on day after day, but, with immense mitigation, I can bear it here—where nothing could be more mitigating than my fortunate conditions.
...The "working expensively" meanwhile signifies for me simply the "literary and artistic," the technical, side of the matter—the fact that in doing this book I am led, by the very process and action of my idiosyncrasy, on and on into more evocation and ramification of old images and connections, more intellectual and moral autobiography (though all closely and, as I feel it, exquisitely associated and involved,) than I shall quite know what to do with—to do with, that is, in this book (I shall doubtless be able to use rejected or suppressed parts in some other way.) It's my more and more (or long since established) difficulty always, that I have to project and do a great deal in order to choose from that, after the fact, what is most designated and supremely urgent. That is a costly way of working, as regards time, material etc.—at least in the short run. In the long run, and "by and large," it, I think, abundantly justifies itself. That is really all I meant to convey to you and to your mother through Bill—as a kind of precaution and forewarning—for your inevitable sense of my "slowness." Of course too I have had pulls up and breaks, sometimes disheartening ones, through the recurrence of bad physical conditions—and am still liable, strictly speaking, to these. But the main thing to say about these, once for all, is that they tend steadily, and most helpfully, to diminish, both in intensity and in duration, and that I have really now reached the point at which the successful effort to work really helps me physically—to say nothing of course of (a thousand times) morally. It remains true that I do worry about the money-question—by nature and fate (since I was born worrying, though myself much more than others!)—and that this is largely the result of these last years of lapse of productive work while my expenses have gone more or less (while I was with you all in America less!) ruthlessly on. But of this it's also to be cheeringly said that I have only to be successfully and continuously at work for a period of about ten days for it all to fall into the background altogether (all the worry,) and be replaced by the bravest confidence of calculation. So much for that! And now, for the moment—for this post at least, I must pull up. Well of course do I understand that with your big new preoccupations and duties close at hand you mayn't dream of a move in this direction, and I should be horrified at seeming to exert the least pressure toward your even repining at it. More still than the delight of seeing you will be that of knowing that you are getting into close quarters with your new job. I repeat that you have no idea of the good this will do me!—as to which I sit between your Mother and Peg, clasping a hand of each, while we watch your every movement and gloat, ecstatically, over you. Oh, give my love so aboundingly to them, and to your grandmother, on it all!
Yours, dearest Harry, more affectionately than ever,
H. J.