Dimly queer and "pathetic" to me were to remain through much of the after time indeed most of those early indigenous vogues and literary flurries: so few of those that brushed by my childhood had been other than a tinkling that suddenly stopped. I am afraid I mean that what was touching was rather the fact that the tinkle could penetrate than the fact that it died away; the light of criticism might have beat so straight—if the sense of proportion and the fact of compassion hadn't waved it away—on the Æsthetic phase during which the appeal was mainly by the tinkle. The Scarlet Letter and The Seven Gables had the deep tone as much as one would; but of the current efforts of the imagination they were alone in having it till Walt Whitman broke out in the later fifties—and I was to know nothing of that happy genius till long after. An absorbed perusal of The Lamplighter was what I was to achieve at the fleeting hour I continue to circle round; that romance was on every one's lips, and I recollect it as more or less thrust upon me in amends for the imposed sacrifice of a ranker actuality—that of the improper Mr. Robinson, I mean, as to whom there revives in me the main question of where his impropriety, in so general a platitude of the bourgeois, could possibly have dwelt. It was to be true indeed that Walt Whitman achieved an impropriety of the first magnitude; that success, however, but showed us the platitude returning in a genial rage upon itself and getting out of control by generic excess. There was no rage at any rate in The Lamplighter, over which I fondly hung and which would have been my first "grown-up" novel—it had been soothingly offered me for that—had I consented to take it as really and truly grown-up. I couldn't have said what it lacked for the character, I only had my secret reserves, and when one blest afternoon on the New Brighton boat I waded into The Initials I saw how right I had been. The Initials was grown-up and the difference thereby exquisite; it came over me with the very first page, assimilated in the fluttered little cabin to which I had retired with it—all in spite of the fact too that my attention was distracted by a pair of remarkable little girls who lurked there out of more public view as to hint that they weren't to be seen for nothing.

That must have been a rich hour, for I mix the marvel of the Boon Children, strange pale little flowers of the American theatre, with my conscious joy in bringing back to my mother, from our forage in New York, a gift of such happy promise as the history of the long-legged Mr. Hamilton and his two Bavarian beauties, the elder of whom, Hildegarde, was to figure for our small generation as the very type of the haughty as distinguished from the forward heroine (since I think our categories really came to no more than those). I couldn't have got very far with Hildegarde in moments so scant, but I memorably felt that romance was thick round me—everything, at such a crisis, seeming to make for it at once. The Boon Children, conveyed thus to New Brighton under care of a lady in whose aspect the strain of the resolute triumphed over the note of the battered, though the showy in it rather succumbed at the same time to the dowdy, were already "billed," as infant phenomena, for a performance that night at the Pavilion, where our attendance, it was a shock to feel, couldn't be promised; and in gazing without charge at the pair of weary and sleepy little mountebanks I found the histrionic character and the dramatic profession for the first time revealed to me. They filled me with fascination and yet with fear; they expressed a melancholy grace and a sort of peevish refinement, yet seemed awfully detached and indifferent, indifferent perhaps even to being pinched and slapped, for art's sake, at home; they honoured me with no notice whatever and regarded me doubtless as no better than one of the little louts peeping through the tent of the show. In return I judged their appearance dissipated though fascinating, and sought consolation for the memory of their scorn and the loss of their exhibition, as time went on, in noting that the bounds of their fame seemed somehow to have been stayed. I neither "met" them nor heard of them again. The little Batemans must have obscured their comparatively dim lustre, flourishing at the same period and with a larger command of the pictorial poster and the other primitive symbols in Broadway—such posters and such symbols as they were at that time!—the little Batemans who were to be reserved, in maturer form, for my much later and more grateful appreciation.

This weak reminiscence has obstructed, however, something more to the purpose, the retained impression of those choicest of our loiterings that took place, still far down-town, at the Bookstore, home of delights and haunt of fancy. It was at the Bookstore we had called on the day of The Initials and the Boon Children—and it was thence we were returning with our spoil, of which the charming novel must have been but a fragment. My impression composed itself of many pieces; a great and various practice of burying my nose in the half-open book for the strong smell of paper and printer's ink, known to us as the English smell, was needed to account for it. That was the exercise of the finest sense that hung about us, my brother and me—or of one at least but little less fine than the sense for the satisfaction of which we resorted to Thompson's and to Taylor's: it bore me company during all our returns from forages and left me persuaded that I had only to snuff up hard enough, fresh uncut volume in hand, to taste of the very substance of London. All our books in that age were English, at least all our down-town ones—I personally recall scarce any that were not; and I take the perception of that quality in them to have associated itself with more fond dreams and glimmering pictures than any other one principle of growth. It was all a result of the deeply infected state: I had been prematurely poisoned—as I shall presently explain. The Bookstore, fondest of my father's resorts, though I remember no more of its public identity than that it further enriched the brave depth of Broadway, was overwhelmingly and irresistibly English, as not less tonically English was our principal host there, with whom we had moreover, my father and I, thanks to his office, such personal and genial relations that I recall seeing him grace our board at home, in company with his wife, whose vocal strain and complexion and coiffure and flounces I found none the less informing, none the less "racial," for my not being then versed in the language of analysis.

The true inwardness of these rich meanings—those above all of the Bookstore itself—was that a tradition was thus fed, a presumption thus created, a vague vision thus filled in: all expression is clumsy for so mystic a process. What else can have happened but that, having taken over, under suggestion and with singular infant promptitude, a particular throbbing consciousness, I had become aware of the source at which it could best be refreshed? That consciousness, so communicated, was just simply of certain impressions, certain sources of impression again, proceeding from over the sea and situated beyond it—or even much rather of my parents' own impression of such, the fruit of a happy time spent in and about London with their two babies and reflected in that portion of their talk with each other to which I best attended. Had all their talk for its subject, in my infant ears, that happy time?—did it deal only with London and Piccadilly and the Green Park, where, over against their dwelling, their two babies mainly took the air under charge of Fanny of Albany, their American nurse, whose remark as to the degree to which the British Museum fell short for one who had had the privilege of that of Albany was handed down to us? Did it never forbear from Windsor and Richmond and Sudbrook and Ham Common, amid the rich complexity of which, crowding their discourse with echoes, they had spent their summer?—all a scattering of such pearls as it seemed that their second-born could most deftly and instinctively pick up. Our sole maternal aunt, already mentioned as a devoted and cherished presence during those and many later years, was in a position to share with them the treasure of these mild memories, which strike me as having for the most part, through some bright household habit, overflowed at the breakfast-table, where I regularly attended with W. J.; she had imbibed betimes in Europe the seeds of a long nostalgia, and I think of her as ever so patiently communicative on that score under pressure of my artless appeal. That I should have been so inquiring while still so destitute of primary data was doubtless rather an anomaly; and it was for that matter quite as if my infant divination proceeded by the light of nature: I divined that it would matter to me in the future that "English life" should be of this or that fashion. My father had subscribed for me to a small periodical of quarto form, covered in yellow and entitled The Charm, which shed on the question the softest lustre, but of which the appearances were sadly intermittent, or then struck me as being; inasmuch as many of our visits to the Bookstore were to ask for the new number—only to learn with painful frequency that the last consignment from London had arrived without it. I feel again the pang of that disappointment—as if through the want of what I needed most for going on; the English smell was exhaled by The Charm in a peculiar degree, and I see myself affected by the failure as by that of a vital tonic. It was not, at the same time, by a Charm the more or the less that my salvation was to be, as it were, worked out, or my imagination at any rate duly convinced; conviction was the result of the very air of home, so far as I most consciously inhaled it. This represented, no doubt, a failure to read into matters close at hand all the interest they were capable of yielding; but I had taken the twist, had sipped the poison, as I say, and was to feel it to that end the most salutary cup. I saw my parents homesick, as I conceived, for the ancient order and distressed and inconvenienced by many of the more immediate features of the modern, as the modern pressed upon us, and since their theory of our better living was from an early time that we should renew the quest of the ancient on the very first possibility I simply grew greater in the faith that somehow to manage that would constitute success in life. I never found myself deterred from this fond view, which was implied in every question I asked, every answer I got, and every plan I formed.

Those are great words for the daydream of infant ignorance, yet if success in life may perhaps be best defined as the performance in age of some intention arrested in youth I may frankly put in a claim to it. To press my nose against the sources of the English smell, so different for young bibliophiles from any American, was to adopt that sweetness as the sign of my "atmosphere"; roundabout might be the course to take, but one was in motion from the first and one never lost sight of the goal. The very names of places and things in the other world—the marked opposite in most ways of that in which New York and Albany, Fort Hamilton and New Brighton formed so fallacious a maximum—became to me values and secrets and shibboleths; they were probably often on my tongue and employed as ignorance determined, but I quite recall being ashamed to use them as much as I should have liked. It was New Brighton, I reconstruct (and indeed definitely remember) that "finished" us at last—that and our final sordid school, W. J.'s and mine, in New York: the ancient order had somehow to be invoked when such "advantages" as those were the best within our compass and our means. Not further to anticipate, at all events, that climax was for a while but vaguely in sight, and the illusion of felicity continued from season to season to shut us in. It is only of what I took for felicity, however few the years and however scant the scene, that I am pretending now to speak; though I shall have strained the last drop of romance from this vision of our towny summers with the quite sharp reminiscence of my first sitting for my daguerreotype. I repaired with my father on an August day to the great Broadway establishment of Mr. Brady, supreme in that then beautiful art, and it is my impression—the only point vague with me—that though we had come up by the Staten Island boat for the purpose we were to keep the affair secret till the charming consequence should break, at home, upon my mother. Strong is my conviction that our mystery, in the event, yielded almost at once to our elation, for no tradition had a brighter household life with us than that of our father's headlong impatience. He moved in a cloud, if not rather in a high radiance, of precipitation and divulgation, a chartered rebel against cold reserves. The good news in his hand refused under any persuasion to grow stale, the sense of communicable pleasure in his breast was positively explosive; so that we saw those "surprises" in which he had conspired with our mother for our benefit converted by him in every case, under our shamelessly encouraged guesses, into common conspiracies against her—against her knowing, that is, how thoroughly we were all compromised. He had a special and delightful sophistry at the service of his overflow, and never so fine a fancy as in defending it on "human" grounds. He was something very different withal from a parent of weak mercies; weakness was never so positive and plausible, nor could the attitude of sparing you be more handsomely or on occasion even more comically aggressive.

My small point is simply, however, that the secresy of our conjoined portrait was probably very soon, by his act, to begin a public and shining life and to enjoy it till we received the picture; as to which moreover still another remembrance steals on me, a proof of the fact that our adventure was improvised. Sharp again is my sense of not being so adequately dressed as I should have taken thought for had I foreseen my exposure; though the resources of my wardrobe as then constituted could surely have left me but few alternatives. The main resource of a small New York boy in this line at that time was the little sheath-like jacket, tight to the body, closed at the neck and adorned in front with a single row of brass buttons—a garment of scant grace assuredly and compromised to my consciousness, above all, by a strange ironic light from an unforgotten source. It was but a short time before those days that the great Mr. Thackeray had come to America to lecture on The English Humourists, and still present to me is the voice proceeding from my father's library, in which some glimpse of me hovering, at an opening of the door, in passage or on staircase, prompted him to the formidable words: "Come here, little boy, and show me your extraordinary jacket!" My sense of my jacket became from that hour a heavy one—further enriched as my vision is by my shyness of posture before the seated, the celebrated visitor, who struck me, in the sunny light of the animated room, as enormously big and who, though he laid on my shoulder the hand of benevolence, bent on my native costume the spectacles of wonder. I was to know later on why he had been so amused and why, after asking me if this were the common uniform of my age and class, he remarked that in England, were I to go there, I should be addressed as "Buttons." It had been revealed to me thus in a flash that we were somehow queer, and though never exactly crushed by it I became aware that I at least felt so as I stood with my head in Mr. Brady's vise. Beautiful most decidedly the lost art of the daguerreotype; I remember the "exposure" as on this occasion interminably long, yet with the result of a facial anguish far less harshly reproduced than my suffered snapshots of a later age. Too few, I may here interject, were to remain my gathered impressions of the great humourist, but one of them, indeed almost the only other, bears again on the play of his humour over our perversities of dress. It belongs to a later moment, an occasion on which I see him familiarly seated with us, in Paris, during the spring of 1857, at some repast at which the younger of us too, by that time, habitually flocked, in our affluence of five. Our youngest was beside him, a small sister, then not quite in her eighth year, and arrayed apparently after the fashion of the period and place; and the tradition lingered long of his having suddenly laid his hand on her little flounced person and exclaimed with ludicrous horror: "Crinoline?—I was suspecting it! So young and so depraved!"

A fainter image, that of one of the New York moments, just eludes me, pursue it as I will; I recover but the setting and the fact of his brief presence in it, with nothing that was said or done beyond my being left with my father to watch our distinguished friend's secretary, who was also a young artist, establish his easel and proceed to paint. The setting, as I recall it, was an odd, oblong, blank "private parlour" at the Clarendon Hotel, then the latest thing in hotels, but whose ancient corner of Fourth Avenue and—was it Eighteenth Street?—long ago ceased to know it; the gentle, very gentle, portraitist was Mr. Eyre Crowe and the obliging sitter my father, who sat in response to Mr. Thackeray's desire that his protÉgÉ should find employment. The protector after a little departed, blessing the business, which took the form of a small full-length of the model seated, his arm extended and the hand on the knob of his cane. The work, it may at this time of day be mentioned, fell below its general possibilities; but I note the scene through which I must duly have gaped and wondered (for I had as yet seen no one, least of all a casual acquaintance in an hotel parlour, "really paint" before,) as a happy example again of my parent's positive cultivation of my society, it would seem, and thought for my social education. And then there are other connections; I recall it as a Sunday morning, I recover the place itself as a featureless void—bleak and bare, with its developments all to come, the hotel parlour of other New York days—but vivid still to me is my conscious assistance for the first time at operations that were to mean much for many of my coming years. Those of quiet Mr. Crowe held me spellbound—I was to circle so wistfully, as from that beginning, round the practice of his art, which in spite of these earnest approaches and intentions never on its own part in the least acknowledged our acquaintance; scarcely much more than it was ever to respond, for that matter, to the overtures of the mild aspirant himself, known to my observation long afterwards, in the London years, as the most touchingly resigned of the children of disappointment. Not only by association was he a Thackerayan figure, but much as if the master's hand had stamped him with the outline and the value, with life and sweetness and patience—shown, as after the long futility, seated in a quiet wait, very long too, for the end. That was sad, one couldn't but feel; yet it was in the oddest way impossible to take him for a failure. He might have been one of fortune's, strictly; but what was that when he was one of Thackeray's own successes?—in the minor line, but with such a grace and such a truth, those of some dim second cousin to Colonel Newcome.