  For the next five years, when once The Tragic Muse was off his hands, Henry James gave himself up with persevering determination to the writing of plays. He speaks very plainly, in his letters of the time, concerning the motives which urged him to the theatre, and there is no doubt that the chief of them was the desire for a kind of success which his fiction failed to achieve. He puts it simply that he wished to make money, that his books did not sell, and that he regarded the theatre solely as a much-needed pecuniary resource. But such belittling of his own motives—out of a feeling that was partly pride and partly shyness—was not unusual with him; and it seems impossible to take this language quite literally. For a man of letters with moderate tastes and no family, Henry James's circumstances were more than easy, even if his writings should earn him nothing at all; and he had no reason to doubt that his future was sufficiently assured. Moreover, though his work might have no great popular vogue—it had had a measure of that too, at the time of Daisy Miller—it still never wanted its own attentive circle; so that he had not to complain of the utter indifference that may wear upon the nerves of even the most disinterested artist. The sense of solitude that began to weigh upon him was perhaps more a matter of temperament than of fact; it never for a moment meant that he had lost faith in himself and his powers, but there mingled with it his inveterate habit of forecasting the future in the most ominous light. As he looked forward, he saw the undoubted decline of his popularity carrying him further and further away from recognition and its rewards; and the prospect, once the thought of it had taken root in his imagination, distressed and dismayed him. All would be righted, he felt, by the successful conquest of the theatre; there lay the way, not only to solid gains, but to the reassurance of vaguer, less formulated anxieties. With such a tangible gage of having made his impression he would be relieved for ever from the fear of working in vain and alone. But from the moment when he began to write plays instead of novels, the task laid hold upon him with other attractions; and it was these, no doubt, which kept him at it through so many troubles and disappointments. The dramatic form itself, in the first place, delighted and tormented him with its difficulty; the artistic riddle of lucidity in extreme compression, what he once characteristically described as the "passionate economy" of the play as he wrote it, appealed to him and drew him on to constantly renewed attempts. He admits that, but for this perpetual challenge to his ingenuity, he could never have supported the annoyances and irritations entailed by practical commerce with the theatre. And yet it is easy to see that these too had a certain fascination for him. He could not have been so eloquent in his denunciation of all theatrical conditions, the "saw-dust and orange-peel" of the trade, if he had not been enjoyably stimulated by them; and indeed from his earliest youth his interest in the stage had been keenly professional. The Tragic Muse herself, outcome of innumerable sessions at the ThÉÂtre FranÇais, shews how intently he had studied the art of acting—not as a spectacle only, but as a business and a life. The world behind the theatrical scene, though in the end he broke away from it with relief, closely occupied his mind during these few years; and with his gift for turning all experience to imaginative account he could scarcely look back on it afterwards as time wasted, little as his heavy expenditure of spirit and toil had to shew for it. His hope of finding fame and fortune in this direction failed utterly—and failed, which was much to the good, with clearness and precision at a given moment, so that he was able to make a clean cut and return at once to his right line. But he took with him treasures of observation lodged in a memory that to the end of his life always dwelt upon the theatre with a curious mixture of exasperation and delight. Of all the plays, seven or eight in number, that he wrote between 1889 and 1894, only two were actually seen upon the stage. The first of these was a dramatic version of The American, produced by Edward Compton (who played the principal part) at Southport in January 1891. The piece had a fairly successful provincial life, but it failed to make good its hold upon London, where it was given for the first time on September 26, 1891, at the OpÉra Comique, by the same company. It ran for about two months, after which it was seen no more in London, though it continued for some while longer to figure in Compton's provincial repertory. In its later life it was played with a re-written last act, in which, much against his will, Henry James conceded to popular taste a "happy ending" for his hero and heroine. The other and much more elaborate production was that of Guy Domville at the St. James's Theatre on January 5, 1895, with George Alexander and Miss Marion Terry in the chief parts. The story of this unfortunate venture is to be read in the letters that follow. The play (which has never been published) was enthusiastically received by the few and roughly rejected by the many; it ran for exactly a month and then disappeared for good. It was the most ambitious, and no doubt the best, piece of dramatic work that Henry James had produced, and he immediately accepted its failure as the end, for the present, of his play-writing. The first night of Guy Domville had been marked by an incident which wounded him so deeply that he could never afterwards bear the least reference to it; after the fall of the curtain he had been exposed, apparently by a misunderstanding, to the hostility of the grosser part of the audience, and the affront, the shock to his sensitive taste, was extreme and enduring. There had been various plans and projects in connection with his other plays, but by this time they had all come to nothing. To the relief of those friends who knew what an intolerable strain the whole agitated time had thrown upon his nerves, he went back to the work and the life which were so evidently the right scope for his genius. But before doing so he published four of his plays in two volumes of Theatricals (1894, 1895,) to the second of which he prefixed an introduction which sums up, with great candour and dignity, a part of the lesson he had learnt from his discouraging experience. Outside the theatre his life proceeded as usual, and his yearly visits to Paris or Italy are almost the only events to be recorded. He was in Paris in the autumn of 1889 and in Italy, chiefly at Florence and Venice, for the following summer. But both these centres of attraction were beginning to lose their hold on him a little, though for different reasons: Paris for something in its artistic self-sufficiency that he found increasingly unsympathetic—and Italy as it became more and more a field of social claims, English and American, irresistible on the spot but destructive of quiet work. He began to feel the need of some settled country-home of his own in England, though for some years yet he took no practical steps to find one. He was in Paris again, early in 1891. At the end of the same year he was called to Dresden by the sudden death in hospital there of a gifted young American friend with whom he had latterly been much associated—Wolcott Balestier, whose short but remarkable career, as a writer and still more as a "literary agent" for other writers (including Henry James), has been commemorated by Mr. Gosse in his Portraits and Sketches. From this distressing excursion Henry James returned home to face another and greater sorrow which had begun to threaten him for some time past. For two years his sister had been growing steadily weaker; she had moved to London, and lived near her brother in Kensington, but her seclusion was so rigid that only those who knew him well understood how great a part she played in his life. Her vigour of mind and imagination was as keen as ever, and though the number of people she was able to see and know in England was very small she lived ardently in the interest, highly critical for the most part, that she took in public affairs. Her death in March 1892 meant for Henry James not only the end of a companionship that was very dear to him, but the breaking of the only family tie that he had had or was ever to have in England. So long as his sister was near him there was one person who shared his old memories and with whom he was in his own home; and when it is recalled how intensely he always clung to his distant kindred, and what a sense of support he drew from them even in his long separation, it is possible to measure the loss that befell him now—exactly at a time when such familiar and natural sympathy was most precious to him. He spent the summer of 1892 again in Italy, avoiding the tourist-stream by settling at Siena, after it had subsided, in the company of M. and Mme. Paul Bourget, by this time his intimate friends. William James and his family were now in Europe for a year of Switzerland and Italy, and Henry joined them at Lausanne on his way home. The next two years of London were given up, almost without intermission, to the hopes and anxieties of his theatrical affairs, in which he was now completely immersed—so much so, indeed, as to test his very remarkable powers of physical endurance, which seem in middle life to have thrown off the early troubles of his health. When this time of fevered agitation was over he was able to compose himself at once to happier work, without apparently feeling even the need of a day's holiday. In 1893 he was in Paris in the spring, and again for a short while in Switzerland with his brother; but these excursions were never real holidays—he was quickly uneasy if he had not work of some kind on hand. He projected another summer in Italy for the following year, and spent it chiefly in Venice and Rome. This was the last of Italy, however, for some time; there were too many friends everywhere—"the most disastrous attempt I have ever made," he writes, "to come abroad for privacy and quiet." Still the only alternative seemed to be sea-side lodgings in England; and for the summer of 1895, escaping from the London season as usual, he went to Torquay. By this time Guy Domville had failed and he was free again; he had the happiest winter of work in London that he had known for five years. After finishing some short stories he began The Spoils of Poynton, and with it the series of his works that belong definitely to his "later manner." At last, in 1896, instead of his usual esplanade, he settled for a while upon an English country-side, making an accidental choice that was to prove momentous. He took a small house for the summer on the hill of Playden, in Sussex, where for the first time in his life, and after twenty years of England, he enjoyed a solitude of his own among trees and fields. From his terrace, where he sat under an ash-tree working at his novel, he looked across a wide valley to the beautiful old red-roofed town of Rye, climbing the opposite hill and crowned with its church-tower. The charm and tranquillity of the place were perfect, and when he had to give up the house at Playden he moved for the autumn into the old Rye vicarage. Exploring the steep cobbled streets round the church he came upon a singularly delightful old house, of the early eighteenth century, with a large walled garden behind it, which attracted him to the point of enquiring whether he might hope to possess it. There appeared to be no prospect of this; but he went back to London with a vivid sense that Lamb House was exactly the place he needed, if it should ever fall to him. He had already finished The Spoils of Poynton and had immediately set to work on What Maisie Knew, deeply reconciled now to the indifference of the general public, which indeed became more and more confirmed. The only question by this time was whether London was any longer the right place for the determined concentration upon fiction that he decided was to fill the rest of his life. The country would hardly have drawn him thither for its own sake; there could not have been such a lack of it in his existence, for more than fifty years, if it had strongly appealed to him in itself. But London had long ago given him all it could, and his great desire now was for peace and quiet and freedom from interruption. In 1897, after a summer of the usual kind, at Bournemouth and Dunwich, he suddenly learned that a tenant was being sought for Lamb House, and he signed the lease within a few days. It was the most punctual and appropriate stroke of fortune that could have been devised. To Robert Louis Stevenson. 34 De Vere Gardens, W.
April 29th, 1889. This is really dreadful news, my dear Louis, odious news to one who had neatly arranged that his coming August should be spent gobbling down your yarns—by some garden-window of Skerryvore—as the Neapolitan lazzarone puts away the lubricating filaments of the vermicelli. And yet, with my hideous capacity to understand it, I am strong enough, superior enough, to say anything, for conversation, later. It's in the light of unlimited conversation that I see the future years, and my honoured chair by the ingleside will require a succession of new cushions. I miss you shockingly—for, my dear fellow, there is no one—literally no one; and I don't in the least follow you—I can't go with you (I mean in conceptive faculty and the "realising sense,") and you are for the time absolutely as if you were dead to me—I mean to my imagination of course—not to my affection or my prayers. And so I shall keep humble that you may pump into me—and make me stare and sigh and look simple and be quite out of it—for ever and ever. It's the best thing that can happen to one to see it written in your very hand that you have been so uplifted in health and cheer, and if another year will screw you up so tight that you won't "come undone" again, I will try and hold on through the barren months. I will go to Mrs. Sitwell, to hear what has made you blush—it must be something very radical. Your chieftains are dim to me—why shouldn't they be when you yourself are? Va for another year—but don't stay away longer, for we should really, for self-defence, have to outlive [?] you.... I myself do little but sit at home and write little tales—and even long ones—you shall see them when you come back. Nothing would induce me, by sending them to you, to expose myself to damaging Polynesian comparisons. For the rest, there is nothing in this land but the eternal Irish strife—the place is all gashed and gory with it. I can't tell you of it—I am too sick of it—more than to say that two or three of the most interesting days I ever passed were lately in the crowded, throbbing, thrilling little court of the Special Commission, over the astounding drama of the forged Times letters. I have a hope, a dream, that your mother may be coming home and that one may go and drink deep of her narrations. But it's idle and improbable. A wonderful, beautiful letter from your wife to Colvin seemed, a few months ago, to make it clear that she has no quarrel with your wild and wayward life. I hope it agrees with her a little too—I mean that it renews her youth and strength. It is a woeful time to wait—for your prose as for your person—especially as the prose can't be better though the person may. Your very faithful
HENRY JAMES. To William James. HÔtel de Hollande, Paris.
Nov. 28th, '89. My dear William, ...I send you this from Paris, where I have been for the last five weeks. Toward the end I relented in regard to the exhibition and came over in time for the last fortnight of it. It was despoiled of its freshness and invaded by hordes of furious Franks and fiery Huns—but it was a great impression and I'm glad I sacrificed to it. So I've remained on. I go back Dec. 1st. It happens that I have been working very hard all this month—almost harder than ever in my life before—having on top of other pressing and unfinished tasks undertaken, for the bribe of large lucre, to translate Daudet's new Tartarin novel for the Harpers.... I had a talk of one hour and a half with him the other day—about "our work" (!!) and his own queer, deplorable condition, which he intensely converts into art, profession, success, copy, etc.—taking perpetual notes about his constant suffering (terrible in degree,) which are to make a book called La Douleur, the most detailed and pessimistic notation of pain qui fut jamais. He is doing, in the midst of this, his new, gay, lovely "Tartarin" for the Harpers en premier lieu; that is, they are to publish it serially with wonderfully "processed" drawings before it comes out as a book in France—and I am to represent him, in English (a difficult, but with ingenuity a pleasant and amusing task,) while this serial period lasts. I have seen a good deal of Bourget, and as I have breakfasted with CoppÉe and twice dined in company with Meilhac, Sarcey, Albert Wolff, Goncourt, Ganderax, Blowitz, etc., you will judge that I am pretty well saturated and ought to have the last word about ces gens-ci. That last word hasn't a grain of subjection or of mystery left in it: it is simply, "Chinese, Chinese, Chinese!" They are finished, besotted mandarins, and their Paris is their celestial Empire. With that, such a Paris as it sometimes seems! Nevertheless I've enjoyed it, and though I am very tired, too tired to write to you properly, I shall have been much refreshed by my stay here, and have taken aboard some light and heat for the black London winter.... I hope that above house and college and life and everything you still hold up an undemented head, and are not in a seedy way. Ever your affectionate
HENRY. To Robert Louis Stevenson. Stevenson was now beginning to break to his friends at home the possibility that he might settle permanently in the South Seas; but he still projected a preliminary visit to England, or at least to Europe. 34 De Vere Gardens, W.
March 21st, 1890. My dear Louis and my dear Mrs. Louis, It comes over me with horror and shame that, within the next very few months, your return to England may become such a reality that I shall before long stand face to face with you branded with the almost blood-guilt of my long silence. Let me break that silence then, before the bliss of meeting you again (heaven speed the day) is qualified, in prospect, by the apprehension of your disdain. I despatch these incoherent words to Sydney, in the hope they may catch you before you embark for our palpitating England. My despicable dumbness has been a vile accident—I needn't assure you that it doesn't pretend to the smallest backbone of system or sense. I have simply had the busiest year of my life and have been so drained of the fluid of expression—so tapped into the public pitcher—that my whole correspondence has dried up and died of thirst. Then, somehow, you had become inaccessible to the mind as well as to the body, and I had the feeling that, in the midst of such desperate larks, any news of mine would be mere irrelevant drivel to you. Now, however, you must take it, such as it is. It won't, of course, be news to you at all that the idea of your return has become altogether the question of the day. The other two questions (the eternal Irish and Rudyard Kipling) aren't in it. (We'll tell you all about Rudyard Kipling—your nascent rival; he has killed one immortal—Rider Haggard; the star of the hour, aged 24 and author of remarkable Anglo-Indian and extraordinarily observed barrack life—Tommy Atkins—tales.) What I am pledged to do at the present moment (pledged to Colvin) is to plead with you passionately on the question of Samoa and expatriation. But somehow, when it comes to the point, I can't do it—partly because I can't really believe in anything so dreadful (a long howl of horror has gone up from all your friends), and partly because before any step so fatal is irretrievably taken we are to have a chance to see you and bind you with flowery chains. When you tell me with your own melodious lips that you're committed, I'll see what's to be done; but I won't take a single plank of the house or a single hour of the flight for granted. Colvin has given me instantly all your recent unspeakable news—I mean the voyage to Samoa and everything preceding, and your mother has kindly communicated to me her own wonderful documents. Therefore my silence has been filled with sound—sound infinitely fearful sometimes. But the joy of your health, my dear Louis, has been to me as an imparted sensation—making me far more glad than anything that I could originate with myself. I shall never be as well as I am glad that you are well. We are poor tame, terrified products of the tailor and the parlour-maid; but we have a fine sentiment or two, all the same.... I, thank God, am in better form than when you first took ship. I have lately finished the longest and most careful novel I have ever written (it has gone 16 months in a periodical) and the last, in that form, I shall ever do—it will come out as a book in May. Also other things too flat to be bawled through an Australasian tube. But the intensest throb of my literary life, as of that of many others, has been the Master of Ballantrae—a pure hard crystal, my boy, a work of ineffable and exquisite art. It makes us all as proud of you as you can possibly be of it. Lead him on blushing, lead him back blooming, by the hand, dear Mrs. Louis, and we will talk over everything, as we used to lang syne at Skerryvore. When we have talked over everything and when all your tales are told, then you may paddle back to Samoa. But we shall call time. My heartiest greeting to the young Lloyd—grizzled, I fear, before his day. I have been very sorry to hear of your son-in-law's bad case. May all that tension be over now. Do receive this before you sail—don't sail till you get it. But then bound straight across. I send a volume of the Rising Star to goad you all hither with jealousy. He has quite done for your neglected even though neglectful friend, HENRY JAMES. To Robert Louis Stevenson. 34 De Vere Gardens, W.
April 28th, '90. My dear Louis, I didn't, for two reasons, answer your delightful letter, or rather exquisite note, from the Sydney Club, but I must thank you for it now, before the gulfs have washed you down, or at least have washed away from you all after-tastes of brineless things—the stay-at-home works of lubberly friends. One of the reasons just mentioned was that I had written to you at Sydney (c/o the mystic Towns,) only a few days before your note arrived; the other is that until a few days ago I hugged the soft illusion that by the time anything else would reach you, you would already have started for England. This fondest of hopes of all of us has been shattered in a manner to which history furnishes a parallel only in the behaviour of its most famous coquettes and courtesans. You are indeed the male Cleopatra or buccaneering Pompadour of the Deep—the wandering Wanton of the Pacific. You swim into our ken with every provocation and prospect—and we have only time to open our arms to receive you when your immortal back is turned to us in the act of still more provoking flight. The moral is that we have to be virtuous whether we like it or no. Seriously, it was a real heart-break to have September substituted for June; but I have a general faith in the fascinated providence who watches over you, to the neglect of all other human affairs—I believe that even He has an idea that you know what you are about, and even what He is, though He by this time doesn't in the least know himself. Moreover I have selfish grounds of resignation in the fact that I shall be in England in September, whereas, to my almost intolerable torment, I should probably not have been in June. Therefore when you come, if you ever do, which in my heart of hearts I doubt, I shall see you in all your strange exotic bloom, in all your paint and beads and feathers. May you grow a magnificent extra crop of all such things (as they will bring you a fortune here,) in this much grudged extra summer. Charming and delightful to me to see you with a palate for my plain domestic pudding, after all the wild cannibal smacks that you have learned to know. I think the better of the poor little study in the painfully-familiar, since hearing that it could bear such voyages and resist such tests. You have fed a presumption that vaguely stirs within me—that of trying to get at you in June or July with a fearfully long-winded but very highly-finished novel which I am putting forth in (probably) the last days of May. If I were sure it would overtake you on some coral strand I shouldn't hesitate; for, seriously and selfishly speaking, I can't (spiritually) afford not to put the book under the eye of the sole and single Anglo-saxon capable of perceiving—though he may care for little else in it—how well it is written. So I shall probably cast it upon the waters and pray for it; as I suppose you are coming back to Sydney, it may meet you there, and you can read it on the voyage home. In that box you'll have to. I don't say it to bribe you in advance to unnatural tolerance—but I have an impression that I didn't make copious or clear to you in my last what a grand literary life your Master of B. has been leading here. Somehow, a miracle has been wrought for you (for you they are,) and the fine old feather-bed of English taste has thrilled with preternatural recognitions. The most unlikely number of people have discerned that the Master is "well written." It has had the highest success of honour that the English-reading public can now confer; where it has failed (the success, save that it hasn't failed at all!) it has done so through the constitutional incapacity of the umpire—infected, by vulgar intercourses, as with some unnameable disease. We have lost our status—nous n'avons plus qualitÉ—to confer degrees. Nevertheless, last year you woke us up at night, for an hour—and we scrambled down in our shirt and climbed a garden-wall and stole a laurel, which we have been brandishing ever since over your absent head. I tell you this because I think Colvin (at least it was probably he—he is visibly better—or else Mrs. Sitwell) mentioned to me the other day that you had asked in touching virginal ignorance for news of the fate of the book. Its "fate," my dear fellow, has been glittering glory—simply: and I ween—that is I hope—you will find the glitter has chinked as well. I sent you a new Zola the other day—at a venture: but I have no confidence that I gratified a curiosity. I haven't read The Human Beast—one knows him without that—and I am told Zola's account of him is dull and imperfect. I would read anything new about him—but this is old, old, old. I hope your pen, this summer, will cleave the deeps of art even as your prow, or your keel, or whatever's the knowing name for it, furrows the Pacific flood. Into what strange and wondrous dyes you must be now qualified to dip it! Roast yourself, I beseech you, on the sharp spit of perfection, that you may give out your aromas and essences! Tell your wife, please, to read between the lines of this, and between the words and the letters, all that I miss the occasion to write directly to her. I hope she has continued to distil, to your mother, the honey of those impressions of which a few months ago the latter lent me for a day or two a taste—on its long yellow foolscap combs. They would make, they will make, of course, a deliciously sweet book. I hope Lloyd, whom I greet and bless, is living up to the height of his young privilege—and secreting honey too, according to the mild discipline of the hive. There are lots of things more to tell you, no doubt, but if I go on they will all take the shape of questions, and that won't be fair. The supreme thing to say is Don't, oh don't, simply ruin our nerves and our tempers for the rest of life by not throwing the rope in September, to him who will, for once in his life, not muff his catch: H.J. To William James. The project guardedly referred to in this letter was that of writing a series of plays. He had already finished the dramatisation of The American. HÔtel de la Ville, Milan.
May 16th, 1890. My dear William, ...I have been both very busy and very bent on getting away this year without fail, for a miracle, from the oppressive London season. I have just accomplished it; I passed the St. Gotthard day before yesterday, and I hope to find it possible to remain absent till August 1st. After that I am ready to pay cheerfully and cheaply for my journey by staying quietly in town for August and September, in the conditions in which you saw me last year. I shall take as much as possible of a holiday, for I have been working carefully, consecutively and unbrokenly for a very long time past—turning out one thing (always "highly finished") after another. However, I like to work, thank heaven, and at the end of a month's privation of it I sink into gloom and discomfort—so that I shall probably not wholly "neglect my pen".... I hope you will have received promptly a copy of The Tragic Muse, though I am afraid I sent my list to the publishers a little late. I don't in the least know, however, when the book is supposed to come out. I have no opinion or feeling about it now—though I took long and patient and careful trouble (which no creature will recognise) with it at the time: too much, no doubt: for my mind is now a muddled, wearied blank on the subject. I have shed and ejected it—it's void and dead—and my feeling as to what may become of it is reduced to the sordid hope it will make a little money—which it won't.... The matter you expressed a friendly hope about the success of, and which for all sorts of reasons I desire to be extremely secret, silent and mysterious about—I mean the enterprise I covertly mentioned to you as conceived by me with a religious and deliberate view of gain over a greater scale than the Book (my Books at least) can ever approach bringing in to me: this matter is on a good and promising footing, but it is too soon to say anything about it, save that I am embarked in it seriously and with rather remarkably good omens. By which I mean that it is not to depend on a single attempt, but on half a dozen of the most resolute and scientific character, which I find I am abundantly capable of making, but which, alas, in the light of this discovery, I become conscious that I ought to have made ten years ago. I was then discouraged all round, while a single word of encouragement would have made the difference. Now it is late. But on the other hand the thing would have been then only an experiment more or less like another—whereas now it's an absolute necessity, imposing itself without choice if I wish a loaf on the shelf for my old age. Fortunately as far as it's gone it announces itself well—but I can't tell you yet how far that is. The only thing is to do a great lot. By the time this reaches you I suppose your wife and children will have gone to recline under the greenwood tree. I hope their gentle outlawry will be full of comfort for them. It's poor work to me writing about them without ever seeing them. But my interest in them is deep and large, and please never omit to give my great love to them: to Alice first in the lump, to be broken up and distributed by her. May you squeeze with a whole skin through the tight weeks of the last of the term—may you live to rest and may you rest to live. I shall not, I think, soon again write to you so rarely as for the last year. This will be partly because The Tragic Muse is to be my last long novel. For the rest of my life I hope to do lots of short things with irresponsible spaces between. I see even a great future (ten years) of such. But they won't make money. Excuse (you probably rather will esteem) the sordid tone of your affectionate HENRY JAMES. To W. D. Howells. HÔtel de la Ville, Milan.
May 17th, 1890. My dear Howells, I have been not writing to you at a tremendous, an infamous rate, for a long time past; but I should indeed be sunk in baseness if I were to keep this pace after what has just happened. For what has just happened is that I have been reading the Hazard of New Fortunes (I confess I should have liked to change the name for you,) and that it has filled me with communicable rapture. I remember that the last time I came to Italy (or almost,) I brought your Lemuel Barker, which had just come out, to read in the train, and let it divert an intense professional eye from the most clamourous beauties of the way—writing to you afternoons from this very place, I think, all the good and all the wonder I thought of it. So I have a decent precedent for insisting to you, now, under circumstances exactly similar (save that the present book is a much bigger feat,) that, to my charmed and gratified sense, the Hazard is simply prodigious.... I should think it would make you as happy as poor happiness will let us be, to turn off from one year to the other, and from a reservoir in daily domestic use, such a free, full, rich flood. In fact your reservoir deluges me, altogether, with surprise as well as other sorts of effusion; by which I mean that though you do much to empty it you keep it remarkably full. I seem to myself, in comparison, to fill mine with a teaspoon and obtain but a trickle. However, I don't mean to compare myself with you or to compare you, in the particular case, with anything but life. When I do that—with the life you see and represent—your faculty for representing it seems to me extraordinary and to shave the truth—the general truth you aim at—several degrees closer than anyone else begins to do. You are less big than Zola, but you are ever so much less clumsy and more really various, and moreover you and he don't see the same things—you have a wholly different consciousness—you see a totally different side of a different race. Man isn't at all one after all—it takes so much of him to be American, to be French, &c. I won't even compare you with something I have a sort of dim stupid sense you might be and are not—for I don't in the least know that you might be it, after all, or whether, if you were, you wouldn't cease to be that something you are which makes me write to you thus. We don't know what people might give us that they don't—the only thing is to take them on what they do and to allow them absolutely and utterly their conditions. This alone, for the tastes, secures freedom of enjoyment. I apply the rule to you, and it represents a perfect triumph of appreciation; because it makes me accept, largely, all your material from you—an absolute gain when I consider that I should never take it from myself. I note certain things which make me wonder at your form and your fortune (e.g.—as I have told you before—the fatal colour in which they let you, because you live at home—is it?—paint American life; and the fact that there's a whole quarter of the heaven upon which, in the matter of composition, you seem consciously—is it consciously?—to have turned your back;) but these things have no relevancy whatever as grounds of dislike—simply because you communicate so completely what you undertake to communicate. The novelist is a particular window, absolutely—and of worth in so far as he is one; and it's because you open so well and are hung so close over the street that I could hang out of it all day long. Your very value is that you choose your own street—heaven forbid I should have to choose it for you. If I should say I mortally dislike the people who pass in it, I should seem to be taking on myself that intolerable responsibility of selection which it is exactly such a luxury to be relieved of. Indeed I'm convinced that no readers above the rank of an idiot—this number is moderate, I admit—really fail to take any view that is really shown them—any gift (of subject) that's really given. The usual imbecility of the novel is that the showing and giving simply don't come off—the reader never touches the subject and the subject never touches the reader; the window is no window at all—but only childish finta, like the ornaments of our beloved Italy. This is why, as a triumph of communication, I hold the Hazard so rare and strong. You communicate in touches so close, so fine, so true, so droll, so frequent. I am writing too much (you will think me demented with chatter;) so that I can't go into specifications of success.... I continue to scribble, though with relaxed continuity while abroad; but I can't talk to you about it. One thing only is clear, that henceforth I must do, or half do, England in fiction—as the place I see most today, and, in a sort of way, know best. I have at last more acquired notions of it, on the whole, than of any other world, and it will serve as well as any other. It has been growing distincter that America fades from me, and as she never trusted me at best, I can trust her, for effect, no longer. Besides I can't be doing de chic, from here, when you, on the spot, are doing so brilliantly the vÉcu.... To Miss Alice James. The play which H. J. had given his sister to read was the dramatic version of The American. It had now been accepted for production by Edward Compton, who was to play the part of Christopher Newman. Some intentional and humorous exaggeration, it ought perhaps to be mentioned, enters into H. J.'s constant appeal for discreet silence in these matters. As for the projected excursion with Mr. and Mrs. Curtis, he eventually went with them the whole way, and saw the Passion Play at Oberammergau. Palazzo Barbaro, Venice.
June 6th [1890]. Dearest Sister, I am ravished by your letter after reading the play (keep it locked up, safe and secret, though there are three or four copies in existence) which makes me feel as if there had been a triumphant premiÈre and I had received overtures from every managerial quarter and had only to count my gold. At any rate I am delighted that you have been struck with it exactly as I have tried to strike, and that the pure practical character of the effort has worked its calculated spell upon you. For what encourages me in the whole business is that, as the piece stands, there is not, in its felicitous form, the ghost of a "fluke" or a mere chance: it is all "art" and an absolute address of means to the end—the end, viz., of meeting exactly the immediate, actual, intense British conditions, both subjective and objective, and of acting in (to a minute, including entr'actes) 2 hours and 3/4. Ergo, I can do a dozen more infinitely better; and I am excited to think how much, since the writing of this one piece has been an education to me, a little further experience will do for me. Also I am sustained by the sense, on the whole, that though really superior acting would help it immensely, yet mediocrity of handling (which is all, at the best, I am pretty sure, that it will get) won't and can't kill it, and that there may be even something sufficiently general and human about it, to make it (given its eminent actability) "keep the stage," even after any first vogue it may have had has passed away. That fate—in the poverty-stricken condition of the English repertory—would mean profit indeed, and an income to my descendants. But one mustn't talk of this kind of thing yet. However, since you have been already so deeply initiated, I think I will enclose (keep it sacredly for me) an admirable letter I have just received from the precious Balestier in whose hands, as I wrote you, I placed the settlement of the money-question, the terms of the writing agreement with Compton. Compton saw him on Monday last—and I send the letter mainly to illustrate the capital intelligence and competence of Balestier and show you in what good hands I am. He will probably strike you, as he strikes me, as the perfection of an "agent"—especially when you consider that he has undertaken this particular job out of pure friendship. Everything, evidently, will be well settled—on the basis, of course, which can't be helped, of production in London only about the middle of next year. But by that time I hope to have done a good bit more work—and I shall be beguiled by beginning to follow, in the autumn, the rehearsals for the country production. Keep Balestier's letter till I come back—I shall get another one from him in a day or two with the agreement to sign.... These castles in Spain are at least exhilarating: in a certain sense I should like you very much to communicate to William your good impression of the drama—but on the whole I think you had better not, for the simple reason that it is very important it shouldn't be talked about (especially so long) in advance—and it wouldn't be safe, inasmuch as every whisper gets into the papers—and in some fearfully vulgarized and perverted form. You might hint to William that you have read the piece under seal of secresy to me and think so-and-so of it—but are so bound (to me) not to give a sign that he must bury what you tell him in tenfold mystery. But I doubt if even this would be secure—it would be in the Transcript the next week. Venice continues adorable and the Curtises the soul of benevolence. Their upstairs apartment (empty and still unoffered—at forty pounds a year—to any one but me) beckons me so, as a foot-on-the-water here, that if my dramatic ship had begun to come in, I should probably be tempted to take it at a venture—for all it would matter. But for the present I resist perfectly—especially as Venice isn't all advantageous. The great charm of such an idea is the having, in Italy, a little cheap and private refuge independent of hotels etc., which every year grow more disagreeable and German and tiresome to face—not to say dearer too. But it won't be for this year—and the Curtises won't let it. What Pen Browning has done here ... with the splendid Palazzo Rezzonico, transcends description for the beauty, and, as Ruskin would say, "wisdom and rightness" of it. It is altogether royal and imperial—but "Pen" isn't kingly and the train de vie remains to be seen. Gondoliers ushering in friends from pensions won't fill it out.... I am thinking, after all, of joining the Curtises in the evidently most beautiful drive (of upwards of a week, with rests) they are starting upon on the 14th, from a place called Vittorio, in the Venetian Alps, two hours rail from here, through Cadore, Titian's country, the Dolomites etc., toward Oberammergau. They offer me pressingly the fourth seat in the carriage that awaits them when they leave the train—and also an extra ticket they have taken for the play at Oberammergau, if I choose to go so far. This I shall scarcely do, but I shall probably leave with them, drive 4 or 5 days and come back, via Verona, by rail—leaving my luggage here. Continue to address here—unless, before that, I give you one other address while I am gone. I shall find all letters here, on my return, if I do go, in the keeping of the excellent maestro di casa—the Venetian Smith. I should be back, at the latest, by the 25th—probably by the 20th. In this case I shall presumably go back to Florence to spend 4 or 5 days with Baldwin (going to Siena or Perugia;) after which I have a dream of going to Vallombrosa (nearly 4000 feet above the sea—but of a softness!) for 2 or 3 weeks—till I have to leave Italy on my way home. I am writing to Edith Peruzzi, who has got a summer-lodge there, and is already there, for information about the inn. If I don't go there I shall perhaps try Camaldoli or San Marcello—all high in the violet Apennines, within 3 or 4 hours, and mainly by a little carriage, of Florence. But I want to compass Vallombrosa, which I have never seen and have always dreamed of and which I am assured is divine—infinitely salubrious and softly cool. The idea of lingering in Italy a few weeks longer on these terms is very delightful to me—it does me, as yet, nothing but good. But I shall see. I put B.'s letter in another envelope. I rejoiced in your eight gallops; they may be the dozen now. Ever your HENRY. To William James. Paradisino, Vallombrosa, Tuscany.
July 23rd, 1890. My dear Brother, I had from you some ten days ago a most delightful letter written just after the heroic perusal of my interminable novel—which, according to your request, I sent off almost too precipitately to Alice, so that I haven't it here to refer to. But I don't need to "refer" to it, inasmuch as it has plunged me into a glow of satisfaction which is far, as yet, from having faded. I can only thank you tenderly for seeing so much good in the clumsy thing—as I thanked your Alice, who wrote me a most lovely letter, a week or two ago. I have no illusions of any kind about the book, and least of all about its circulation and "popularity." From these things I am quite divorced and never was happier than since the dissolution has been consecrated by (what seems to me) the highest authorities. One must go one's way and know what one's about and have a general plan and a private religion—in short have made up one's mind as to ce qui en est with a public the draggling after which simply leads one in the gutter. One has always a "public" enough if one has an audible vibration—even if it should only come from one's self. I shall never make my fortune—nor anything like it; but—I know what I shall do, and it won't be bad.—I am lingering on late in Italy, as you see, so as to keep away from London till August 1st or thereabouts. (I stay in this exquisite spot till that date.) I shall then, returning to my normal occupations, have had the best and clearest and pleasantest holiday of three months, that I have had for many a day. I have been accompanied on this occasion by a literary irresponsibility which has caused me to enjoy Italy perhaps more than ever before;—let alone that I have never before been perched (more than three thousand feet in the air) in so perfect a paradise as this unspeakable Vallombrosa. It is Milton's Vallombrosa, the original of his famous line, the site of the old mountain monastery which he visited and which stands still a few hundred feet below me as I write, "suppressed" and appropriated some time ago by the Italian Government, who have converted it to the State school of "Forestry." This little inn—the Paradisino, as it is called, on a pedestal of rock overhanging the violet abysses like the prow of a ship, is the Hermitage (a very comfortable one) of the old convent. The place is extraordinarily beautiful and "sympathetic," the most romantic mountains and most admirable woods—chestnut and beech and magnificent pine-forests, the densest, coolest shade, the freshest, sweetest air and the most enchanting views. It is full 20 years since I have done anything like so much wandering through dusky woods and lying with a book on warm, breezy hillsides. It has given me a sense of summer which I had lost in so many London Julys; given me almost the summer of one's childhood back again. I shall certainly come back here for other Julys and other Augusts—and I hate to go away now. May you, and all of you, these weeks, have as sweet, or half as sweet, an impression of the natural universe as yours affectionately, HENRY JAMES. To Edmund Gosse. The "ordeal" was the first night of The American, produced by Edward Compton and his company at Southport in anticipation of its eventual appearance in London. Prince of Wales Hotel,
Southport. Jan. 3rd [1891]. My dear Gosse, I am touched by your petit mot. De gros mots seem to me to be so much more applicable to my fallen state. The only thing that can be said for it is that it is not so low as it may perhaps be to-morrow—after the vulgar ordeal of to-night. Let me therefore profit by the few remaining hours of a recognizable status to pretend to an affectionate reciprocity. I am yours and your wife's while yet I may be. After 11 o'clock to-night I may be the world's—you know—and I may be the undertaker's. I count upon you both to spend this evening in fasting, silence and supplication. I will send you a word in the morning—wire you if I can—if there is anything at all to boast of. My hopes rest solely on intrinsic charms—the adventitious graces of art are not "in it." I am so nervous that I miswrite and misspell. Pity your infatuated but not presumptuous friend, HENRY JAMES. P.S. It would have been delightful—and terrible—if you had been able to come. I believe Archer is to come. P.P.S. I don't return straight to London—don't get there till Tuesday or Wednesday. I shall have to wait and telegraph you which evening I can come in. To Mrs. Hugh Bell. 34 De Vere Gardens, W.
Jan. 8th [1891]. Dear Mrs. Bell, Your most kind gratulatory note deserved an answer more gratefully prompt than this. But I extended my absence from town to a short visit at Cheltenham, and the whole thing was virtually, till yesterday, a complete extinction of leisure. Delightful of you to want "details." I think, if I were to inflict them on you, they would all be illustrative of the cheering and rewarding side of our feverish profession. The passage from knock-kneed nervousness (the night of the premiÈre, as one clings, in the wing, to the curtain rod, as to the pied des autels) to a simmering serenity is especially life-saving in its effect. I flung myself upon Compton after the 1st act: "In heaven's name, is it going?" "Going?—Rather! You could hear a pin drop!" Then, after that, one felt it—one heard it—one blessed it—and, at the end of all, one (after a decent and discreet delay) simpered and gave oneself up to courbettes before the curtain, while the applausive house emitted agreeable sounds from a kind of gas-flaring indistinguishable dimness and the gratified Compton publicly pressed one's hand and one felt that, really, as far as Southport could testify to the circumstance, the stake was won. Of course it's only Southport—but I have larger hopes, inasmuch as it was just the meagre provincial conditions and the limited provincial interpretation that deprived the performance of all adventitious aid. And when my hero and heroine and another friend supped with me at the inn after the battle, I felt that they were really as radiant as if we were carousing among the slain. They seem indeed wondrous content. The great feature of the evening was the way Compton "came out" beyond what he had done or promised at rehearsal, and acted really most interestingly and admirably—if not a "revelation" at any rate a very jolly surprise. His part is one in which I surmise he really counts upon making a large success—and though I say it who shouldn't, it is one of incontestable opportunities. However, all this is to come—and we stumble in judgment. Amen. VoilÀ, ma chÈre amie. You have been through all this, and more, and will tolerate my ingenuities.... All merriment to your "full house." Yours most truly,
HENRY JAMES. To Robert Louis Stevenson. 34 De Vere Gardens, W.
January 12th, 1891. My dear Louis, I have owed you a letter too shamefully long—and now that I have taken my pen in hand, as we used to say, I feel how much I burn to communicate with you. As your magnanimity will probably have forgotten how long ago it was that you addressed me, from Sydney, the tragic statement of your permanent secession I won't remind you of so detested a date. That statement, indeed, smote me to the silence I have so long preserved: I couldn't—I didn't protest; I even mechanically and grimly assented; but I couldn't talk about it—even to you and your wife. Missing you is always a perpetual ache—and aches are disqualifying for gymnastic feats. In short we forgive you (the Muses and the soft Passions forgive us!) but we can't quite treat you as if we did. However, all this while I have many things to thank you for. In the first place for Lloyd. He was delightful, we loved him—nous nous l'arrachÂmes. He is a most sympathetic youth, and we revelled in his rich conversation and exclaimed on his courtly manners. How vulgar you'll think us all when you come back (there is malice in that "when.") Then for the beautiful strange things you sent me and which make for ever in my sky-parlour a sort of dim rumble as of the Pacific surf. My heart beats over them—my imagination throbs—my eyes fill. I have covered a blank wall of my bedroom with an acre of painted cloth and feel as if I lived in a Samoan tent—and I have placed the sad sepia-drawing just where, 50 times a day, it most transports and reminds me. To-day what I am grateful for is your new ballad-book, which has just reached me by your command. I have had time only to read the first few things—but I shall absorb the rest and give you my impression of them before I close this. As I turn the pages I seem to see that they are full of charm and of your "Protean" imaginative life—but above all of your terrible far-off-ness. My state of mind about that is of the strangest—a sort of delight at having you poised there in the inconceivable; and a miserable feeling, at the same time, that I am in too wretched a back seat to assist properly at the performance. I don't want to lose any of your vibrations; and, as it is, I feel that I only catch a few of them—and that is a constant woe. I read with unrestrictive relish the first chapters of your prose volume (kindly vouchsafed me in the little copyright-catching red volume,) and I loved 'em and blessed them quite. But I did make one restriction—I missed the visible in them—I mean as regards people, things, objects, faces, bodies, costumes, features, gestures, manners, the introductory, the personal painter-touch. It struck me that you either didn't feel—through some accident—your responsibility on this article quite enough; or, on some theory of your own, had declined it. No theory is kind to us that cheats us of seeing. However, no doubt we shall rub our eyes for satiety before we have done. Of course the pictures—Lloyd's blessed photographs—y sont pour beaucoup; but I wanted more the note of portraiture. Doubtless I am greedy—but one is when one dines at the Maison d'or. I have an idea you take but a qualified interest in "Beau Austin"—or I should tell you how religiously I was present at that memorable premiÈre. Lloyd and your wonderful and delightful mother will have given you the agreeable facts of the occasion. I found it—not the occasion, so much, but the work—full of quality, and stamped with a charm; but on the other hand seeming to shrug its shoulders a little too much at scenic precautions. I have an idea, however, you don't care about the matter, and I won't bore you with it further than to say that the piece has been repeatedly played, that it has been the only honourable affair transacted dans notre sale tripot for many a day—and that Wm. Archer en raffole periodically in the "World." Don't despise me too much if I confess that anch' io son pittore. Je fais aussi du thÉÂtre, moi; and am doing it, to begin with, for reasons too numerous to burden you with, but all excellent and practical. In the provinces I had the other night, at Southport, Lancashire, with the dramatization of an early novel—The American—a success dont je rougis encore. This thing is to be played in London only after several months—and to make the tour of the British Islands first. Don't be hard on me—simplifying and chastening necessity has laid its brutal hand on me and I have had to try to make somehow or other the money I don't make by literature. My books don't sell, and it looks as if my plays might. Therefore I am going with a brazen front to write half a dozen. I have, in fact, already written two others than the one just performed; and the success of the latter pronounced—really pronounced—will probably precipitate them. I am glad for all this that you are not here. Literature is out of it. I miss no occasion of talking of you. Colvin I tolerably often see: I expect to do so for instance to-night, at a decidedly too starched dining-club to which we both belong, of which Lord Coleridge is president and too many persons of the type of Sir Theodore Martin are members. Happy islanders—with no Sir Theodore Martin. On Mrs. Sitwell I called the other day, in a charming new habitat: all clean paint and fresh chintz. We always go on at a great rate about you—celebrate rites as faithful as the early Christians in the catacombs.... January 13th.—I met Colvin last night, after writing the above—in the company of Sir James Stephen, Sir Theo. Martin, Sir Douglas Galton, Sir James Paget, Sir Alfred Lyall, Canon Ainger, and George du Maurier. How this will make you lick your chops over Ori and Rahiro and Tamatia and Taheia—or whatever ces messieurs et ces dames, your present visiting list, are called. He told me of a copious diary-letter he has just got from you, bless you, and we are discussing a day on which I shall soon come to meat or drink with him and listen to the same. Since yesterday I have also read the ballad book—with the admiration that I always feel as a helplessly verseless creature (it's a sentiment worth nothing as a testimony) for all performances in rhyme and metre—especially on the part of producers of fine prose. January 19th.—I stopped this more than a week ago, and since then I have lacked time to go on with it—having been out of town for several days on a base theatrical errand—to see my tribute to the vulgarest of the muses a little further on its way over the provincial circuit and re-rehearse two or three portions of it that want more effective playing. Thank heaven I shall have now no more direct contact with it till it is produced in London next October.—I broke off in the act of speaking to you about your ballad-book. The production of ringing and lilting verse (by a superior proser) always does bribe me a little—and I envy you in that degree yours; but apart from this I grudge your writing the like of these ballads. They show your "cleverness," but they don't show your genius. I should say more if it were not odious to a man of my refinement to write to you—so expectantly far away—in remonstrance. I don't find, either, that the cannibalism, the savagery se prÊte, as it were—one wants either less of it, on the ground of suggestion—or more, on the ground of statement; and one wants more of the high impeccable (as distinguished from the awfully jolly,) on the ground of poetry. Behold I am launching across the black seas a page that may turn nasty—but my dear Louis, it's only because I love so your divine prose and want the comfort of it. Things are various because we do 'em. We mustn't do 'em because they're various. The only news in literature here—such is the virtuous vacancy of our consciousness—continues to be the infant monster of a Kipling. I enclose, in this, for your entertainment a few pages I have lately written about him, to serve as the preface to an (of course authorized) American recueil of some of his tales. I may add that he has just put forth his longest story yet—a thing in Lippincott which I also send you herewith—which cuts the ground somewhat from under my feet, inasmuch as I find it the most youthfully infirm of his productions (in spite of great "life,") much wanting in composition and in narrative and explicative, or even implicative, art. Please tell your wife, with my love, that all this is constantly addressed to her also. I try to see you all, in what I fear is your absence of habits, as you live, grouped around what I also fear is in no sense the domestic hearth. Where do you go when you want to be "cosy"?—or what at least do you do? You think a little, I hope, of the faithful forsaken on whose powers of evocation, as well as of attachment, you impose such a strain. I wish I could send a man from Fortnum and Mason's out to you with a chunk of mortadella. I am trying to do a series of "short things" and will send you the least bad. I mean to write to Lloyd. Please congratulate your heroic mother for me very cordially when she leaps upon your strand, and believe that I hold you all in the tenderest remembrance of yours ever, my dear Louis, HENRY JAMES. To William James. 34 De Vere Gardens, W.
Feb. 6th, 1891. My dear William, Bear with me that I haven't written to you, since my last, in which I promised you a better immediate sequel, till the receipt of your note of the 21st, this a.m., recalls me to decency. Bear with me indeed, in this and other ways, so long as I am in the fever of dramatic production with which I am, very sanely and practically, trying to make up for my late start and all the years during which I have not dramatically produced, and, further, to get well ahead with the "demand" which I—and others for me—judge (still very sanely and sensibly) to be certain to be made upon me from the moment I have a London, as distinguished from a provincial success. (You can form no idea—outside—of how a provincial success is confined to the provinces.) Now that I have tasted blood, c'est une rage (of determination to do, and triumph, on my part,) for I feel at last as if I had found my real form, which I am capable of carrying far, and for which the pale little art of fiction, as I have practised it, has been, for me, but a limited and restricted substitute. The strange thing is that I always, universally, knew this was my more characteristic form—but was kept away from it by a half-modest, half-exaggerated sense of the difficulty (that is, I mean the practical odiousness) of the conditions. But now that I have accepted them and met them, I see that one isn't at all, needfully, their victim, but is, from the moment one is anything, one's self, worth speaking of, their master; and may use them, command them, squeeze them, lift them up and better them. As for the form itself, its honour and inspiration are (À dÉfaut d'autres) in its difficulty. If it were easy to write a good play I couldn't and wouldn't think of it; but it is in fact damnably hard (to this truth the paucity of the article—in the English-speaking world—testifies,) and that constitutes a solid respectability—guarantees one's intellectual self-respect. At any rate I am working hard and constantly—and am just attacking my 4th!... No. 4 has a destination which it would be premature to disclose; and, in general, please breathe no word of these confidences, as publicity blows on such matters in an injurious and deflowering way, and interests too great to be hurt are at stake. I make them, the confidences, because it isn't fair to myself not to let you know that I may be absorbed for some months to come—as long as my present fit of the "rage" lasts—to a degree which may be apparent in my correspondence—I mean in its intermittence and in my apparent lapse of attention to, or appreciation of, other things. For instance, I blush to say that I haven't had freedom of mind or cerebral freshness (I find the drama much more obsÉdant than the novel) to tackle—more than dipping in just here and there—your mighty and magnificent book, which requires a stretch of leisure and an absence of "crisis" in one's own egotistical little existence. As this is essentially a year of crisis, or of epoch-making, for me, I shall probably save up the great volumes till I can recline upon roses, the fruits of my production fever, and imbibe them like sips of sherbet, giving meanwhile all my cerebration to the condensation of masterpieces.... Farewell, dear William, and bear with my saw-dust and orange-peel phase till the returns begin to flow in. The only hitch in the prospect is that it takes so long to "realise." The American, in the country, played only on Friday nights, with the very low country prices, gives me nothing as yet to speak of—my royalty making only about £5-0-0 for each performance. Later all this may be thoroughly counted upon to be different. Ever your
HENRY. To Robert Louis Stevenson. 34 De Vere Gardens, W.
Feb. 18th, 1891. My dear Louis, Your letter of December 29th is a most touching appeal; I am glad my own last had been posted to you 2 or 3 weeks before it reached me. Whether mine has—or will have been—guided to your coral strand is a matter as to which your disclosures touching the state of the Samoan post inspire me with the worst apprehensions. At any rate I did despatch you—supposedly via San Francisco—a really pretty long screed about a month ago. I ought to write to you all the while; but though I seem to myself to live with my pen in my hand I achieve nothing capable of connecting me so with glory. I am going to Paris to-morrow morning for a month, but I have vowed that I will miss my train sooner than depart without scrawling you and your wife a few words to-night. I shall probably see little or nothing there that will interest you much (or even interest myself hugely—) but having neither a yacht, an island, an heroic nature, a gallant wife, mother and son, nor a sea-stomach, I have to seek adventure in the humblest forms. In writing the other day I told you more or less what I was doing—am doing—in these elderly days; and the same general description will serve. I am doing what I can to launch myself in the dramatic direction—and the strange part of the matter is that I am doing it more or less seriously, as if we had the ScÈne Anglaise which we haven't. And I secretly dream of supplying the vile want? Pas mÊme—and my zeal in the affair is only matched by my indifference. What is serious in it is that having begun to work in this sense some months ago, to give my little ones bread—I find the form opens out before me as if there were a kingdom to conquer—a kingdom forsooth of ignorant brutes of managers and dense cabotins of actors. All the same, I feel as if I had at last found my form—my real one—that for which pale fiction is an ineffectual substitute. God grant this unholy truth may not abide with me more than two or three years—time to dig out eight or ten rounded masterpieces and make withal enough money to enable me to retire in peace and plenty for the unmolested business of a little supreme writing, as distinguished from gouging—which is the Form above-mentioned. Your loneliness and your foodlessness, my dear Louis, bring tears to my eyes. If there were only a parcels' post to Samoa I would set Fortnum and Mason to work at you at this end of the line. But if they intercept the hieroglyphics at Sydney, what would they do to the sausage? Surely there is some cure for your emptiness; if nothing else, why not coming away? Don't eat up Mrs. Louis, whatever you do. You are precious to literature—but she is precious to the affections, which are larger, yet in a still worse way.... I shall certainly do my utmost to get to Egypt to see you, if, as is hinted to me by dear Colvin, you turn up there after the fitful fever of Samoa. Your being there would give me wings—especially if plays should give me gold. This is an exquisitely blissful dream. Don't fail to do your part of it. I almost joy in your lack of the Tragic Muse; as proving to me, I mean, that you are curious enough to have missed it. Nevertheless I have just posted to you, registered, the first copy I have received of the 1 vol. edition; but this moment out. I wanted to send you the three volumes by Lloyd, but he seemed clear you would have received it, and I didn't insist, as I knew he was charged with innumerable parcels and bales. I will presently send another Muse, and one, at least, must reach you.... Colvin is really better, I think—if any one can be better who is so absolutely good. I hope to God my last long letter will have reached you. I promise to write soon again. I enfold you all in my sympathy and am ever your faithfullest HENRY JAMES. To Charles Eliot Norton. 34 De Vere Gardens, W.
Aug. 28th, 1891. My dear Charles, It is only the conspiracy of hindrances so perpetually characteristic of life in this place, even when it is theoretically not alive, as in the mid-August, that has stayed my hand, for days past, when it has most longed to write to you. Dear Lowell's death—the words are almost as difficult as they are odious to write—has made me think almost as much of you as of him. I imagine that you are the person in the world to whom it makes the most complete and constant difference that he is no longer here; just as you must have been the one most closely associated with the too vain watching of his last struggle with the monster. It is a dim satisfaction to me, therefore, to say to you how fond I was of him and how I shall miss him and miss him and miss him. During these last strange English years of his life (it would take me long to tell you why I call them strange,) I had seen a great deal of him, and all with the effect of confirming my affection for him. London is bestrewn, to my sense, with reminders of his happy career here, and his company and his talk. He was kind and delightful and gratifying to me, and all sorts of occasions in which he will ever be vivid swarm before me as I think of him.... Strange was his double existence—the American and the English sides of his medal, which had yet so much in common. That is, I don't know how English he was at home, but he was conspicuously American here. However, I am not trying to characterize him, to you least of all who had known him well so much longer and seen all, or most, of the chapters of his history; but only letting you see how much I wish we might talk of him together. Some day we will, though it's a date that seems unfixable now. I am taking for granted ... that you inherit the greatest of literary responsibilities to his memory. I think of this as a very high interest, but also a very arduous labour. It's a blessing, however, to feel that such an office is in such hands as yours. The posthumous vulgarities of our day add another grimness to death. Here again is another matter as to which I really miss not having the opportunity to talk with you. This is a brief communication, my dear Charles, for I am literally catching a train. I go down to the Isle of Wight half an hour hence.... To Edmund Gosse. This refers to the recent production of The American in London. 34 De Vere Gardens, W.
October 2nd [1891]. My dear Gosse, Your good and charming letter should have been answered on the spot—but my days are abnormal and perspective and relation are blurred. I shall come to see you the moment you return, and then I shall be able to tell you more in five minutes than in fifteen of such hurried scrawls as this. Meanwhile many thanks for your sympathy and curiosity and suspense—all thanks, indeed—and, in return, all eagerness for your rentrÉe here. My own suspense has been and still is great—though the voices of the air, rightly heard, seem to whisper prosperity. The papers have been on the whole quite awful—but the audiences are altogether different. The only thing is that these first three or four weeks must be up-hill: London is still empty, the whole enterprise is wholly new—the elements must assemble. The strain, the anxiety, the peculiar form and colour of such an ordeal (not to be divined the least in advance) have sickened me to death—but I am getting better. I forecast nothing, however—I only wait. Come back and wait with me—it will be easier. Your picture of your existence and circumstance is like the flicker of the open door of heaven to those recumbent in the purgatory of yours not yet damned—ah no!— HENRY JAMES. To Mrs. Mahlon Sands. HÔtel de l'Europe,
Dresden. Dec. 12th [1891]. Dear Mrs. Sands, Just a word—in answer to your note of sympathy—to say that I am working through my dreary errand and service here as smoothly as three stricken women—a mother and two sisters—permit. They are however very temperate and discreet—and one of the sisters a little person of extraordinary capacity—who will float them all successfully home. Wolcott Balestier, the young American friend beside whose grave I stood with but three or four others here on Thursday, was a very remarkable creature who had been living in London for some three years—he had an intimate business-relation with literature and was on the way to have a really artistic and creative one. He had made himself a peculiar international place—which it would take long to describe, and was full of capacities, possibilities and really big inventions and ideas. He had rendered me admirable services, become in a manner a part of my life, and I was exceedingly attached to him. And now, at 30, he dies—in a week—in a far-away German hospital—his mother and sisters were in Paris—of a damnable vicious typhoid, contracted in his London office, the "picturesqueness" of which he loved, as it was in Dean's Yard, Westminster, just under the Abbey towers, and in a corner like that of a peaceful Cathedral close. Many things, many enterprises, interests, visions, originalities perish with him. Oh, the "ironies of fate," the ugly tricks, the hideous practical jokes of life! I start for London some time next week and shall very soon come and see you. I hope all is well with you. Yours always,
HENRY JAMES. To Mrs. Humphry Ward. The following was written a few days after the death of Miss Alice James. 34 De Vere Gardens, W.
March 10th [1892]. Dear Mrs. Ward, Many, many thanks for your friendly remembrance of me—the flowers are full of spring and life and the universe, as it were, and, besides this, are very close and charming company to me as I sit scribbling—writing many notes among other things—in still, indoor days that are grateful to me. You were one of the very few persons in England who had seen my sister even a little—and I am very glad of that. She was a rare and remarkable being, and her death makes a great difference in my existence. But for her it is only blessed. I hope you are happy in the good reasons you have for being so—if one is happy strictly (certainly one isn't the reverse) for "reasons." Believe me yours always,
HENRY JAMES. To Robert Louis Stevenson. Stevenson, it will be recalled, dedicated Across the Plains to M. Paul Bourget, as an expression of his delight in that author's Sensations d'Italie, sent him by H. J. Mr. Kipling did not, as it turned out, pay his projected visit to Samoa, referred to in this letter. 34 De Vere Gardens, W.
March 19th, 1892. My dear Louis, I send you to-day by book-post, registered, a little volume of tales which I lately put forth—most of which however you may have seen in magazines. Please accept at any rate the modest offering. Accept, too, my thanks for your sweet and dateless letter which I received a month ago—the one in which you speak with such charming appreciation and felicity of Paul Bourget. I echo your admiration—I think the Italian book one of the most exquisite things of our time. I am in only very occasional correspondence with him—and have not written since I heard from you; but I shall have an early chance, now probably, to repeat your words to him, and they will touch him in a tender place. He is living much, now, in Italy, and I may go there for May or June—though indeed I fear it is little probable. Colvin tells me of the volume of some of your inÉdites beauties that is on the point of appearing, and the news is a bright spot in a vulgar world. The vulgarity of literature in these islands at the present time is not to be said, and I shall clutch at you as one turns one's ear to music in the clatter of the market-place. Yet, paradoxical as it may appear, oh Louis, I have still had the refinement not to read the Wrecker in the periodical page. This is an enlightened and judicious heroism, and I do as I would be done by. Trust me, however, to taste you in long draughts as soon as I can hold the book. Then will I write to you again. You tell me nothing of yourself—so I have nothing to take up or take hold of, save indeed the cherished superstition that you enjoy some measure of health and cheer. You are, however, too far away for my imagination, and were it not for dear Colvin's friendly magic, which puts in a pin here and there, I shouldn't be able to catch and arrest at all the opaline iridescence of your legend. Yet even when he speaks of intending wars and the clash of arms, it all passes over me like an old-time song. You see how much I need you close at hand to stand successfully on the tiptoe of emulation. You fatigue, in short, my credulity, though not my affection. We lately clubbed together, all, to despatch to you an eye-witness in the person of the genius or the genus, in himself, Rudyard, for the concussion of whose extraordinary personality with your own we are beginning soon to strain the listening ear. We devoutly hope that this time he will really be washed upon your shore. With him goes a new little wife—whose brother—Wolcott Balestier, lately dead, in much youthful promise and performance (I don't allude, in saying that, especially to the literary part of it,) was a very valued young friend of mine.... The main thing that has lately happened to myself is the death of my dear sister a fortnight ago—after years of suffering, which, however, had not made her any less rare and remarkable a person or diminished the effect of the event (when it should occur) in making an extreme difference in my life. Of my occupation what shall I tell you? I have of late years left London less and less—but I am thinking sooner or later (in a near present) of making a long foreign, though not distant, absence. I am busy with the short—I have forsworn the long. I hammer at the horrid little theatrical problem, with delays and intermissions, but, horrible to relate, no failure of purpose. I shall soon publish another small story-book which I will incontinently send you. I have done many brief fictions within the last year.... The good little Thomas Hardy has scored a great success with Tess of the d'Urbervilles, which is chock-full of faults and falsity and yet has a singular beauty and charm.... What we most talk of here, however, is the day when it may be believed that you will come to meet us on some attainable southern shore. We will all go to the Mediterranean for you—let that not nail you to Samoa. I send every greeting to your play-fellows—your fellow-phantoms. The wife-phantom knows my sentiments. The ghost of a mother has my heartiest regard. The long Lloyd-spectre laughs an eerie laugh, doubtless, at my [word illegible] embrace. Yet I feel, my dear Louis, that I do hold you just long enough to press you to the heart of your very faithful old friend, HENRY JAMES. To Robert Louis Stevenson. 34 De Vere Gardens, W.
April 15th, 1892. My dear Louis, I send you by this post the magnificent MÉmoires de Marbot, which should have gone to you sooner by my hand if I had sooner read them and sooner, thereby, grasped the idea of how much they would probably beguile for you the shimmering tropical noon. The three volumes go to you in three separate registered book-post parcels and all my prayers for an escape from the queer perils of the way attend and hover about them. Some people, I believe, consider this fascinating warrior a bien-conditionnÉ Munchausen—but perish the injurious thought. Me he not only charms but convinces. I can't manage a letter, my dear Louis, to-day—I wrote you a longish one, via San Francisco (like this,) just about a month ago. But I mustn't fail to tell you that I have just read the last page of the sweet collection of some of your happiest lucubrations put forth by the care of dear Colvin. They make a most desirable, and moreover a very honourable, volume. It was indispensable to bring them together and they altogether justify it. The first one, and the Lantern-Bearers and two last, are of course the best—these last are all made up of high and admirable pages and do you the greatest credit. You have never felt, thought, said, more finely and happily than in many a passage here, and are in them altogether at your best. I don't see reviews or meet newspapers now (beside which the work is scarcely in the market,) so I don't know what fortune the book encounters—but it is enough for me—I admit it can hardly be enough for you—that I love it. I pant for the completion of The Wrecker—of which Colvin unwove the other night, to my rapturous ear, the weird and wondrous tangle. I hope I don't give him away if I tell you he even read me a very interesting letter from you—though studded with critical stardust in which I a little lost my way—telling of a project of a dashing roman de moeurs all about a wicked woman. For this you may imagine how I yearn—though not to the point of wanting it before the sequel of Kidnapped. For God's sake let me have them both. I marvel at the liberality of your production and rejoice in this high meridian of your genius. I leave London presently for 3 or 4 months—I wish it were with everything required for leaping on your strand. Sometimes I think I have got through the worst of missing you and then I find I haven't. I pine for you as I pen these words, for I am more and more companionless in my old age—more and more shut up to the solitude inevitably the portion, in these islands, of him who would really try, even in so small a way as mine, to do it. I'm often on the point of taking the train down to Skerryvore, to serenade your ghosts, get them to throw a fellow a word. Consider this, at any rate, a plaintive invocation. Again, again I greet your wife, that lady of the closed lips, and I am yours, my dear Louis, and Lloyd's and your mother's undiscourageably, HENRY JAMES. To the Countess of Jersey. The "little story" is The Lesson of the Master, the opening scenes of which take place at "Summersoft." Lord Jersey was at this time Governor of New South Wales. HÔtel de Sienne, Siena.
June 11th [1892]. Dear Lady Jersey, Your kind letter finds me in a foreign land—the land in the world, I suppose, least like New South Wales—and gives me very great pleasure. It is charming to hear your voice so distinctly round so many corners of the globe. Yes, "Summersoft" did venture in a timorous and hesitating manner to be an affectionate and yet respectful reminiscence of Osterley the exquisite—of whose folded and deserted charms I can't bear to think. But I beg you to believe—as indeed you will have perceived if you were so good as to look at the little story—that the attempted resemblance was only a matter of the dear old cubic sofa-cushions and objects of the same delightful order, and not of the human furniture of the house. I take the liberty of being, in your absence, so homesick for Osterley that I can scarcely conceive of the pangs by which you and your children and Lord Jersey—with your much greater right to indulge in them—must sometimes be visited. I am delighted, however, to gather from your letter that you have occupations and interests which drop a kindly veil over that dreamland. It must indeed, I can imagine, be a satisfaction to be really lending a hand in such a great young growing world—doing something in it and with it and for it. May the sense of all this make the years roll smoothly—till they roll you back into our ken.... Please give my very friendliest remembrance to Lord Jersey—to whom I wish—as to all of you—and indeed to myself, that you may serve your term with an appearance of rapidity. And please believe, dear Lady Jersey, that when it is over, no one will more heartily rejoice than yours most faithfully, HENRY JAMES. To Charles Eliot Norton. HÔtel de Sienne, Siena.
July 4th, 1892. My dear Charles, Too long have I owed you a letter and too many times have your generosities made me blush for my silence. I have received beautiful books from you and they have given me almost more pleasure as signs of your remembrance than as symbols of your wisdom and worth. The Purgatorio reached me just before I came abroad—or a short time—and I was delighted to know that you continue to find time and strength for labours so various and so arduous. Great glory is yours—for making something else come out of America than railway-smashes and young ladies for lords. During a singularly charming month that I have been spending in this most loveable old city I have often thought of you and wished I had a small fraction of your power to put the soul of history into Italian things. But I believe I shouldn't love Siena any better even if I knew it better. I am very happy indeed to feel that—as I grow older—many things come and go, but Italy remains. I have been here many times—regularly every year or almost, for many years now, but the spell, the charm, the magic is still in the air. I always try, between May and August, to give London a wide berth, and I find these parts far and away most pleasant when the summer has begun and the barbarians have fled. As one stays and stays on here—I mean on this spot—one feels how untouched Siena really is by the modern hand. Yesterday was the Palio of the ten contrade, and though I believe it is not so intense a festival as the second one—of Aug. 15th (you have probably—or certainly—seen them both)—it was a most curious and characteristic (of an uninterrupted tradition) spectacle. The Marchese Chigi asked me and a couple of friends—or rather asked them, and me with them—to see it from the balcony of his extraordinarily fine old palace, where by the way he has a large collection of Etruscan and Tarentine treasures—a collection to break the heart of envy. My friends were Paul Bourget, the French essayist and novelist (some of whose work you probably know,) and his very remarkably charming, cultivated and interesting young wife. They have been living in Italy these two years—ever since their marriage, and I have been living much with them here. Bourget is a very interesting mind—and figure altogether—and the first—easily, to my sense—of all the talkers I have ever encountered. But it would take me much too far to begin to give you a portrait of such a complicated cosmopolitan Frenchman as he! But they departed, alas, this morning, for the Piedmontese Alps, and I take my way, in a couple of hours, to Venice, where I spend but a few days—with perhaps a few more at Asolo—before joining my brother William and his wife for a month in Switzerland. After that I expect to return to London for the last of the summer and the early autumn—the season I prefer there above all others. But before I do this I wish I could talk to you more about this sweet old Siena. I have been talking for a month about it with Bourget—but how much better it would have been for both of us if you could have broken in and taken up the tale! But you did, sometimes, very happily—for Mme. Paul knows you by heart (she is the Madonna of cosmopolitan culture) and cites you with great effect. Have you read P. B.'s Sensations d'Italie? If you haven't, do—it is one of the most exquisite of books. Have you read any of his novels? If you haven't, don't, though they have remarkable parts. Make an exception, however, for Terre Promise, which is to appear a few months hence, and which I have been reading in proof, here—if on trial, indeed, you find you can stand so suffocating an analysis. It is perhaps "psychology" gone mad—but it is an extraordinary production. A fortnight ago, on a singularly lovely Sunday, we drove to San Gimignano and back. I had never been there before, and the whole day was a delight. There are of course four Americans living at San G.—one of whom proved afterwards to have been an American "lady-newspaper-correspondent" furious at having missed two such birds as Bourget and me—whom a single stone from that rugged old quarry would have brought down. But she didn't know us until we had departed and we fortunately didn't suspect her till a suppliant card reached us two days later at Siena. We were in the hands of the good old Canonico—the proposito, as they call him—and he put us gently through. You remember well enough of course—though to such a far-away world your Siena summer must seem to belong—the rich loveliness, at this moment, of this exquisite old Tuscany. One can't say enough about it, and the way the great sea of growing things—the corn and the vines and the olives—breaks in green surges at the very foot of the old golden-brown ramparts, is one of the most enchanting features of Siena. There is still never a suburb to speak of save in the quarter of the railway-station, and everywhere you look out of back-windows and back-doors and off terraces and over parapets straight down into the golden grain and the tangled poderi. Every evening we have gone to walk in the Lizza and hang over the bastions of the Castello; where the near views and the far, and the late afternoons and the sunsets and the mountains have made us say again and again that we could never, never go away. But we are coming back, and I greatly wish you were. We went the other day to the archivio, which I had never seen before, and where I was amazed and fascinated. (It is a great luxury to be in Italy with a French celebrity—he is so tremendously known and well treated, as the "likes" of us can never be, and one comes in for some of his privileges.) You of course probably know, however, what the fullness, detail, continuity and curiosity of the records of this place are—filling with their visible, palpable medievalism the great upper chamber of Pal. Piccolomini. Basta—I have my trunk to pack and my reckoning to pay. I am very glad to have shaken hands with you before I go. I saw dear Burne-Jones tolerably often this spring—often unwell, but almost always stippling away. He is the most loveable of men and the most disinterested of artists, but sometimes I wish that he set himself a different order of tasks. Painting—as I feel it most—it is true I have ceased to feel it very much—is, with him, more and more "out of it." There remains, however, a beautiful poetry.... I want to ask you 20 questions about [Lowell's] papers—but I feel it isn't fair—and I must wait and see. I hope this work—and your masses of other work—don't take all your holiday.... I shall send this to Ashfield, and if you are there will you give, for me, a very cordial greeting to that mythical man George Curtis? I embrace all your house and am, my dear Charles, very affectionately yours, HENRY JAMES. To W. D. Howells. 34 De Vere Gardens, W.
Jan. 29th [1893]. My dear Howells, Two beneficent notes have I had from you since last I wrote you a word: one in regard to looking, effectively, after some Cosmopolitan business in the autumn; the other a heavenly remark or two (still further sublimated by Mildred's lovely photograph) in lately forwarding me—with a courtesy worthy of a better cause—a particularly shameless autograph-seeker's letter. For such and all of these good gifts I am more thankful than the hurrying, days have left me much of a chance to tell you. Most especially am I grateful for the portrait of the beautiful, beautiful maiden. Please thank her from me, if not for sending it, at least for so felicitously sitting for it. It makes me jump the torrent of the years and reconstruct from her fine features the mythological past—a still tenderer youth than her present youth. (I ought to be able to mean my own; but I can't manage it—her profile won't help me to that.) I envy you and your wife her company and I rejoice for you in her presence. I rejoice for myself, my dear Howells, about your so delicate words to me in regard to a bit of recent work. They go to my heart—they go perhaps still straighter to my head! I am so utterly lonely here—on the "literary plane"—that it is the strangest as well as the sweetest sensation to be conscious in the boundless void—the dim desert sands—of any human approach at all or any kindly speech. Therefore please be very affectionately thanked.—All this while I never see anything that you yourself have lately flowered with—I mean the volumes that you freehandedly scatter. I console myself with believing that one or two of your last serial fictions are not volumes yet. Please hold them not back from soon becoming so. I see you are drawing a longish bow in the Cosmopolitan—but I only read you when I can sit down to a continuous feast and all the courses. You asked me in your penultimate—I am talking now of your early-in-the-winter letter—if I should object to being made a feature of your composed reminiscences. To which I reply that I only wish that I could enrich them better. I won't pretend that I like being written about—the sight of my own name on a printed page makes me as ill (and the sensibility increases strangely with time) as that of one of my creations makes me well. I have a morbid passion for personal privacy and a standing quarrel with the blundering publicities of the age. I wince even at eulogy, and I wither (for exactly 2 minutes and 1/2) at any qualification of adulation. But on the other hand I like, I love, to be remembered by you and I surrender myself to your discretion. I hope your winter, and Mrs. Howells' and the fairest of daughters's, is rich and full and sane. How you must miss the Boy. I go abroad soon and hope to see him in Paris. When do you do the same? Yours always, my dear Howells, HENRY JAMES. To Robert Louis Stevenson. 34 De Vere Gardens, W.
Feb. 17th, 1893. My dear distant Louis, The charmingest thing that had happened to me for a year was the advent of your reassuring note of Dec. 5th (not 1891—my dear time-deluded islander: it is enviable to see you so luxuriously "out." When you indulge in the eccentricity of a date you make it eccentric indeed.) I call your good letter reassuring simply on the general ground of its making you credible for an hour. You are otherwise wholly of the stuff that dreams are made of. I think this is why I don't keep writing to you, don't talk to you, as it were, in my sleep. Please don't think I forget you or am indifferent to anything that concerns you. The mere thought of you is better company than almost any that is tangible to me here, and London is more peopled to me by your living in Samoa than by the residence of almost anybody else in Kensington or Chelsea. I fix my curiosity on you all the while and try to understand your politics and your perils and your public life. If in these efforts I make a poor figure it is only because you are so wantonly away. Then I think I envy you too much—your climate, your thrill of life, your magnificent facility. You judge well that I have far too little of this last—though you can't judge how much more and more difficult I find it every day to write. None the less I am presently putting forth, almost with exact simultaneity, three little (distinct) books—2 volumes of penny fiction and one of little essays, all material gathered, no doubt, from sources in which you may already have encountered some of it. However this may be, the matter shall again be (D.V.) deposited on your coral strand. Most refreshing, even while not wholly convincing, was the cool trade-wind (is the trade-wind cool?) of your criticism of some of ces messieurs. I grant you Hardy with all my heart.... I am meek and ashamed where the public clatter is deafening—so I bowed my head and let "Tess of the D.'s" pass. But oh yes, dear Louis, she is vile. The pretence of "sexuality" is only equalled by the absence of it, and the abomination of the language by the author's reputation for style. There are indeed some pretty smells and sights and sounds. But you have better ones in Polynesia. On the other hand I can't go with you three yards in your toleration either of —— or of ——. Let me add that I can't read them, so I don't know anything about them. All the same I make no bones to pronounce them shameless industriels and their works only glories of Birmingham. You will have gathered that I delight in your year of literary prowess. None the less I haven't read a word of you since the brave and beautiful Wrecker. I won't touch you till I can feel that I embrace you in the embracing cover. So it is that I languish till the things now announced appear. Colvin makes me impatient for David Balfour—but doesn't yet stay my stomach with the Beach of FalesÀ.... Mrs. Sitwell me fait part of every savoury scrap she gets from you. I know what you all magnificently eat, and what dear Mrs. Louis splendidly (but not somewhat transparently—no?) wears. Please assure that intensely-remembered lady of my dumb fidelity. I am told your mother nears our shores and I promise myself joy on seeing her and pumping her. I don't know, however, alas, how long this ceremony may be delayed, as I go to Italy, for all the blessed spring, next week. I have been in London without an hour's absence since the middle of Aug. last. I hear you utter some island objurgation, and go splashing, to banish the stuffy image, into the sapphire sea. Is it all a fable that you will come some month to the Mediterranean? I would go to the Pillars of Hercules to greet you. Give my love to the lusty and literary Lloyd. I am very glad to observe him spreading his wings. There is absolutely nothing to send you. The Muses are dumb, and in France as well. Of Bourget's big 7 franc Cosmopolis I have, alas, purchased three copies—and given them away; but even if I were to send you one you would find it too round and round the subject—which heaven knows it is—for your taste. I will try and despatch you the charming little "Etui de Nacre" of Anatole France—a real master. Vale—age. Yours, my dear Louis, in a kind of hopeful despair and a clinging alienation, HENRY JAMES. To Mrs. Edmund Gosse. HÔtel Westminster, Paris.
March 21st [1893]. Dear Mrs. Gosse, Many thanks for your better news—and especially for the good news that Gosse is coming to Paris. I shall be very glad to see him and shall rejoice to take him gently by that injured—but I trust soon to be reanimated—member. Please express this to him, with all my sympathy and impatience. Won't he—or won't you (though indeed I shall cull the precious date from Harland,) give me a hint, in advance of the particular moment at which one may look for him? Please tell him confidently to expect that Paris will create within him afresh all the finest pulses of life. It is mild, sunny, splendid—blond and fair, all in order for his approach. I allude of course to the specious allurements of its exterior. The state is odorously rotten—but everything else is charming. And then it's such a blessing, after long grief and pain, to find the arms of a climate around us once again! Hasten, my dear Edmund, to be healed. Thank heaven, my allusion to my own manual distress was mainly a florid figure. My hand is infirm—but I am not yet thinking of the knife. Mille choses to the Terrace. Yours and Gosse's always,
HENRY JAMES. To Edmund Gosse. The seductive "Queen of the Golconda," and of the Boulevard St. Michel, appears in Mr. Gosse's anecdote of Paul Verlaine (French Profiles.) The passage of Loti's Matelot, to which H. J. refers, is the following: "Donc, ils en venaient À s'aimer d'une Également pure tendresse, tous les deux. Elle, ignorante des choses d'amour et lisant chaque soir sa bible; elle, destinÉe À rester inutilement fraÎche et jeune encore pendant quelques printemps pÂles comme celui-ci, puis À vieillir et se faner dans l'enserrement monotone de ces mÊmes rues et de ces mÊmes murs. Lui, gÂtÉ dÉjÀ par les baisers et les Étreintes, ayant le monde pour habitation changeante, appelÉ À partir, peut-Être demain, pour ne revenir jamais et laisser son corps aux mers lointaines." HÔtel Westminster, Paris.
Monday [May 1st, 1893]. My dear Gosse, I have delayed too long to thank you for your genial last: which please attribute to the misery of my Boulevard-baffled aspirations. Paris n'est plus possible—from any point of view—and I leave it tomorrow or next day, when my address will become: Hotel National, Lucerne. I join my brother there for a short time. This place continues to rengorger with sunshine and sauces, not to mention other appeals to the senses and pitfalls to the pocket. I am not alluding in particular to the Queen of Golconda! I have read Matelot more or less over again; for the extreme penury of the idea in Loti, and the almost puerile thinness of this particular donnÉe, wean me not a jot from the irresistible charm the rascal's very limitations have for me. I drink him down as he is—like a philtre or a baiser, and the coloration of his moindre mots has a peculiar magic for me. Read aloud to yourself the passage ending section XXXV—the upper part of page 165, and perhaps you will find in it something of the same strange eloquence of suggestion and rhythm as I do: which is what literature gives when it is most exquisite and which constitutes its sovereign value and its resistance to devouring time. And yet what niaiseries! Paris continues gorgeous and rainless, but less torrid. I have become inured to fear as careless of penalties. There are no new books but old papiers de famille et d'arriÈre-boutique dished up. Poor Harland came and spent 2 or 3 hours with me the other afternoon—at a cafÉ-front and on chairs in the Champs-ElysÉes. He looked better than the time previous, but not well; and I am afraid things are not too well with him. One would like to help him—and I try to—in talk; but he is not too helpable, for there is a chasm too deep to bridge, I fear, in the pitfall of his literary longings unaccompanied by the faculty. Apropos of such things I am very glad to see your faculty is reflowering. I shall return to England for the volume. Are you writing about Symonds? Vale—especially in the manual part. And valeat your dame compagne. Yours, my dear Gosse, always,
HENRY JAMES. To Robert Louis Stevenson. Stevenson, writing to H. J. from Vailima, June 17, 1893, announced that he was sending a photograph of his wife. "It reminds me of a friend of my grandmother's who used to say when talking to younger women, 'Aweel, when I was young, I wasnae just exactly what ye wad call bonny, but I was pale, penetratin', and interestin'.'" (Letters to his Family and Friends.) 34 De Vere Gardens, W.
August 5th, 1893. My dear Louis, I have a most charming and interesting letter, and a photographic representation of your fine head which I cannot so unrestrictedly commend, to thank you for. The portrait has its points as a memento, but they are not fine points as a likeness. I remember you, I think of you, I evoke you, much more plastically. But it was none the less liberal and faithful of you to include me in the list of fond recipients. Your letter contained all sorts of good things, but best of all the happy news of your wife's better condition. I rejoice in that almost obstreperously and beg you to tell her so with my love. The Sydney photograph that you kindly announce (of her) hasn't come, but I impatiently desire it. Meanwhile its place is gracefully occupied by your delightful anecdote of your mother's retrospective Scotch friend—the pale, penetratin' and interestin' one. Perhaps you will permit me to say that it is exquisitely Scotch; at any rate it moves altogether in the highest walks of anecdote. I get, habitually, the sympathetic infection, from Colvin, of so much general uneasiness and even alarm about you, that it is reassuring to find you apparently incommoded by nothing worse than the privation of liquor and tobacco. "Nothing worse?" I hear you echo, while you ask to what more refined savagery of torture I can imagine you subjected. You would rather perhaps—and small blame to you—perish by the sword than by famine. But you won't perish, my dear Louis, and I am here to tell you so. I should have perished—long ago—if it were mortal. No liquor—to speak of—passes my wasted lips, and yet they are capable of the hypocrisy of the sigh of resignation. I am very, very sorry for you—for I remember the genial tray which in the far-off, fabulous time used to be placed, as the evening waxed, under the social lamp at Skerryvore. The evenings wax at Vailima, but the tray, I gather, has waned. May this heavy trial be lightened, and, as you missionaries say, be even blessed to you. It wounds, I repeat, but it doesn't kill—more's the pity. The tobacco's another question. I have smoked a cigarette—at Skerryvore; and I shall probably smoke one again. But I don't look forward to it. However, you will think me objectionably destitute of temperament. What depresses me much more is the sad sense that you receive scarcely anything I send you. This, however, doesn't deter me from posting you to-day, registered, via San Francisco (it is post-day,) a volume of thin trifles lately put forth by me and entitled Essays in London and Elsewhere. It contains some pretty writing—not addressed to the fishes. My last letter to you, to which yours of June 17th [was a reply]—the only dated one, dear Louis, I ever got from you!—was intended to accompany two other volumes of mine, which were despatched to you, registered, via San F., at the same moment (The Real Thing and The Private Life.) Yet neither of these works, evidently, had reached you when you ask me not to send you the former (though my letter mentioned that it had started,) as you had ordered it. It is all a mystery which the fishes only will have sounded. I also post to you herewith Paul Bourget's last little tale (Un Scruple,) as to which nothing will induce me to utter the faintest rudiments of an opinion. It is full of talent (I don't call that a rudiment,) but the French are passing strange. I am very glad to be able to send you herewith enclosed a petit mot from the said Paul Bourget, in response to your sense of outrage at his too-continuous silence.... His intentions, I can answer for it, had been the best; but he leads so migratory a life that I don't see how any intention can ever well fructify. He has spent the winter in the Holy Land and jumps thence in three weeks (from Beyrout) to his queer American expedition. A year ago—more—he earnestly asked me (at Siena) for your address. I as eagerly gave it to him—par Écrit—but the acknowledgment that he was then full of the desire to make to you succumbed to complex frustrations. Now that, at last, here it is, I wish you to be able to read it! But you won't. My hand is the hand of Apollo to it. I have been at the sea-side for six weeks, and am back in the empty town mainly because it is empty. My sea-side is the sordid sands of Ramsgate—I see your coral-reefs blush pink at the vulgarity of the name. The place has for me an unutterable advantage (in the press of working-weeks) which the beach of FalesÀ would, fortunately, not have—that of being full of every one I don't know. The beach of FalesÀ would enthrall but sterilize me—I mean the social muse would disjoint the classic nose of the other. You will certainly think me barren enough as I am. I am really less desiccated than I seem, however, for I am working with patient subterraneity at a trade which it is dishonour enough to practise, without talking about it: a trade supremely dangerous and heroically difficult—that credit at least belongs to it. The case is simplified for me by the direst necessity: the book, as my limitations compel me to produce it, doesn't bring me in a penny. Tell it not in Samoa—or at least not in Tahiti; but I don't sell ten copies!—and neither editors nor publishers will have anything whatever to say to me. But I never mention it—nearer home. "Politics," dear politician—I rejoice that you are getting over them. When you say that you always "believed" them beastly I am tempted to become superior and say that I always knew them so. At least I don't see how one can have glanced, however cursorily, at the contemporary newspapers (I mean the journal of one's whole time,) and had any doubt of it. The morals, the manners, the materials of all those gentlemen are writ there more large than any record is elsewhere writ, and the impudence of their airs and pretensions in the presence of it revolts even the meekness of a spirit as resigned to everything as mine. The sordid fight in the House of Commons the other night seemed to me only a momentary intermission of hypocrisy. The hypocrisy comes back with the pretended confusion over it. The Lives of the Stevensons (with every respect to them) isn't what I want you most to write, but I would rather you should publish ten volumes of them than another letter to the Times. Meanwhile I am languishing for Catriona—and the weeks follow and I must live without you. It isn't life. But I am still amicably yours and your wife's and the insidious Lloyd's, HENRY JAMES. To Robert Louis Stevenson. 34 De Vere Gardens, W.
October 21st [1893.] My dear Louis, The postal guide tells me, disobligingly, that there is no mail to you via San Francisco this month and that I must confide my few lines to the precarious and perfidious Hamburg. I do so, then, for the plain reason that I can no longer repress the enthusiasm that has surged within me ever since I read Catriona. I missed, just after doing so, last month's post, and I was infinitely vexed that it should not have conveyed to you the freshness of my rapture. For the said Catriona so reeks and hums with genius that there is no refuge for the desperate reader but in straightforward prostration. I'm not sure that it's magnanimous of you to succeed so inconsiderately—there is a modesty in easy triumph which your flushed muse perhaps a little neglects.—But forgive that lumbering image—I won't attempt to carry it out. Let me only say that I don't despatch these ineffectual words on their too watery way to do anything but thank you for an exquisite pleasure. I hold that when a book has the high beauty of that one there's a poor indelicacy in what simple folk call criticism. The work lives by so absolute a law that it's grotesque to prattle about what might have been! I shall express to you the one point in which my sense was conscious of an unsatisfied desire, but only after saying first how rare an achievement I think the whole personality and tone of David and with how supremely happy a hand you have coloured the palpable women. They are quite too lovely and everyone is running after them. In David not an error, not a false note ever; he is all of an exasperating truth and rightness. The one thing I miss in the book is the note of visibility—it subjects my visual sense, my seeing imagination, to an almost painful underfeeding. The hearing imagination, as it were, is nourished like an alderman, and the loud audibility seems a slight the more on the baffled lust of the eyes—so that I seem to myself (I am speaking of course only from the point of view of the way, as I read, my impression longs to complete itself) in the presence of voices in the darkness—voices the more distinct and vivid, the more brave and sonorous, as voices always are—but also the more tormenting and confounding—by reason of these bandaged eyes. I utter a pleading moan when you, e.g., transport your characters, toward the end, in a line or two from Leyden to Dunkirk without the glint of a hint of all the ambient picture of the 18th century road. However, stick to your own system of evocation so long as what you positively achieve is so big. Life and letters and art all take joy in you. I am rejoiced to hear that your wife is less disturbed in health and that your anxieties are somewhat appeased. I don't know how sufficiently to renew, to both of you, the assurance of all my friendliest sympathy. You live in conditions so unimaginable and to the tune of experience so great and so strange that you must forgive me if I am altogether out of step with your events. I know you're surrounded with the din of battle, and yet the beauty you produce has the Goethean calm, even like the beauty distilled at Weimar when the smoke was over Jena. Let me touch you at least on your bookish side and the others may bristle with heroics. I pray you be made accessible some day in a talkative armchair by the fire. If it hadn't been for Catriona we couldn't, this year, have held up our head. It had been long, before that, since any decent sentence was turned in English. We grow systematically vulgarer and baser. The only blur of light is that your books are tasted. I shall try to see Colvin before I post this—otherwise I haven't seen him for three months. I've had a summer of the British seaside, the bathing machine and the German band. I met Zola at luncheon the day before he left London and found him very sane and common and inexperienced. Nothing, literally nothing, has ever happened to him but to write the Rougon-Macquart. It makes that series, I admit, still more curious. Your tour de force is of the opposite kind. Renew the miracle, my dear Louis, and believe me yours already gaping, HENRY JAMES. P.S. I have had to keep my poor note several days—finding that after all there is, thank heaven, a near post by San Francisco. Meanwhile I have seen Colvin and made discreetly, though so eagerly, free of some of your projects—and gyrations! Trapezist in the Pacific void! ..."Catriona" is more and more BEAUTIFUL. There's the rub! H.J. To William James. The incident referred to in the following letter was the unexpected miscarriage of one of H. J.'s theatrical schemes. Meanwhile Guy Domville had been accepted for future production at the St. James's Theatre. 34 De Vere Gardens, W.
Dec. 29th, 1893. ...I rejoice greatly in Alice's announcement (which you, William, coyly don't mention) of the presidency of the [Society for Psychical Research]. I hope it's all honour and kudos and pleasantness, without a tax of botherations. I wish I could give you some correspondingly good tidings of my own ascensory movement; but I had a fall—or rather took a jump—the other day (a month ago) of which the direction was not vulgarly—I mean theatrically and financially—upward. You are so sympathetic about the whole sordid development that I make a point of mentioning the incident.... It was none the less for a while a lively disgust and disappointment—a waste of patient and ingenious labour and a sacrifice of coin much counted on. But À la guerre comme À la guerre. I mean to wage this war ferociously for one year more—1894—and then (unless the victory and the spoils have by that become more proportionate than hitherto to the humiliations and vulgarities and disgusts, all the dishonour and chronic insult incurred) to "chuck" the whole intolerable experiment and return to more elevated and more independent courses. The whole odiousness of the thing lies in the connection between the drama and the theatre. The one is admirable in its interest and difficulty, the other loathsome in its conditions. If the drama could only be theoretically or hypothetically acted, the fascination resident in its all but unconquerable (circumspice!) form would be unimpaired, and one would be able to have the exquisite exercise without the horrid sacrifice. However, Alexander's preparations of my play are going on sedulously, as to which situation and circumstances are all essentially different. He will produce me at no distant date, infallibly.... But meanwhile I am working heroically, though it every month becomes more difficult to give time to things of which the pecuniary fruit is remote. Excuse these vulgar confidences. I have come to hate the whole theatrical subject.... Don't write to condole with me about the business. I don't in the least "require" it. May the new year not have too many twists and turns for you, but lie straight and smooth before you. Evermore your
HENRY. To Julian R. Sturgis. 34 De Vere Gardens, W.
Sunday [1893]. My dear Julian, I wish I had your gift of facile and fascinating rhyme: I would turn it to account to thank you for your note and your sympathy. Yes, Ibsen is ugly, common, hard, prosaic, bottomlessly bourgeois—and with his distinction so far in, as it were, so behind doors and beyond vestibules, that one is excusable for not pushing one's way to it. And yet of his art he's a master—and I feel in him, to the pitch of almost intolerable boredom, the presence and the insistence of life. On the other hand his mastery, so bare and lean as it is, wouldn't count nearly as much in any medium in which the genus was otherwise represented. In our sandy desert even this translated octopus (excuse my confusion of habitats!!) sits alone, and isn't kept in his place by relativity. "Thanks awfully" for having retained an impression from the few Tales. My intentions are mostly good. I hope to knock at your door this p.m. Yours always,
HENRY JAMES. To George du Maurier. An article by H. J. on George du Maurier had appeared in Harper's Weekly, April 14, 1894. Casa Biondetti, San Vio 715,
Venice. Thursday [May 1894]. Only see, my dear Kikaccio, to what my thick-and-thin espousal of your genius exposes me at the hands of an unknown American female. Guileless, stupid, muddled, distracted, well-meaning, but slightly hypocritical American female!—Don't return, of course, the letter. I haven't seen the little cochonnerie I wrote about you, bothered, preoccupied with other work, more and more incapable of writing that sort of thing gracefully and properly—in the muddle and confusion of my coming abroad; and I hope you haven't, by the trop bons soins of McIlvaine, seen it either. But I bless it in that through arousing the American female my clumsy 'critique' has given me the occasion to salutarvi tutti. Are you on the hill or in the vale? I give it up, only pressing you all to my bosom wherever you are. Trilby goes on with a life and charm and loveability that gild the whole day one reads her. It's most delightfully and vividly talked! And then drawn!—no, it isn't fair. Well, I'm in Venice and you're not—so you've not got quite everything. It has been cold and wet; but Italy is always Italy—and the only thing really to be depended on quand mÊme. I hope you have not returned to Hampstead, if you have returned, without tying your legs somewhere or other to Bayswater. I hope that everything has been well with you all—you yourself most well. It makes me homesick to write to you—but it is the only thing that does. I trust fame and flattery and flowers flow in upon you with the revolving Harpers.... Write me a word—tell me you don't hate me. I seem to remember rather disagreeably what I wrote about you. Yours, caro mio, always,
HENRY JAMES. To William James. H. J. had just received from his brother the diary which their sister had kept during her last years in England. Grand Hotel, Rome.
May 28th, 1894. My dear William:—my dear Alice:— I wrote you a scrabbly note from Ravenna a few days since—but I must follow it up, without delay, with something better. I came on here an hour afterwards, and shall remain till June 1st or 2nd. I find Rome deliriously cool and empty, and still very pleasing in spite of the "ruining" which has been going on so long and of which one has heard so much, i.e., the redemption and cockneyfication of the ruins. This "changes" immensely—as everyone says; but I find myself, I am afraid, so much more changed—since I first knew and rhapsodized over it, that I am bound in justice to hold Rome the less criminal of the two. I am thinking a little about going down—if the coolness lasts—for three or four days to Naples; but I haven't decided. I feel rather hard and heartless to be prattling about these touristries to you, with the sad picture I have had these last weeks of your—William's—state of suffering. But it is only a way of saying that that state makes one feel it to be the greater duty for me to be as well as I can. Absit omen! Your so interesting letter of the 6th dictated to Alice speaks of the possibility of your abscess continuing not to heal—but I trust the event has long ere this reassured, comforted and liberated you. Meanwhile may Alice have smoothed your pillow as even she has never smoothed it before.... As regards the life, the power, the temper, the humour and beauty and expressiveness of the Diary in itself—these things were partly "discounted" to me in advance by so much of Alice's talk during her last years—and my constant association with her—which led me often to reflect about her extraordinary force of mind and character, her whole way of taking life—and death—in very much the manner in which the book does. I find in its pages, for instance, many things I heard her say. None the less I have been immensely impressed with the thing as a revelation of a moral and personal picture. It is heroic in its individuality, its independence—its face-to-face with the universe for and by herself—and the beauty and eloquence with which she often expresses this, let alone the rich irony and humour, constitute (I wholly agree with you) a new claim for the family renown. This last element—her style, her power to write—are indeed to me a delight—for I have had many letters from her. Also it brings back to me all sorts of things I am glad to keep—I mean things that happened, hours, occasions, conversations—brings them back with a strange, living richness. But it also puts before me what I was tremendously conscious of in her life-time—that the extraordinary intensity of her will and personality really would have made the equal, the reciprocal, life of a "well" person—in the usual world—almost impossible to her—so that her disastrous, her tragic health was in a manner the only solution for her of the practical problem of life—as it suppressed the element of equality, reciprocity, etc. The violence of her reaction against her British ambiente, against everything English, engenders some of her most admirable and delightful passages—but I feel in reading them, as I always felt in talking with her, that inevitably she simplified too much, shut up in her sick room, exercised her wondrous vigour of judgment on too small a scrap of what really surrounded her. It would have been modified in many ways if she had lived with them (the English) more—seen more of the men, etc. But doubtless it is fortunate for the fun and humour of the thing that it wasn't modified—as surely the critical emotion (about them,) the essence of much of their nature, was never more beautifully expressed. As for her allusions to H.—they fill me with tears and cover me with blushes.... I find an immense eloquence in her passionate "radicalism"—her most distinguishing feature almost—which, in her, was absolutely direct and original (like everything that was in her,) unreflected, uncaught from entourage or example. It would really have made her, had she lived in the world, a feminine "political force." But had she lived in the world and seen things nearer she would have had disgusts and disillusions. However, what comes out in the book—as it came out to me in fact—is that she was really an Irishwoman; transplanted, transfigured—yet none the less fundamentally national—in spite of her so much larger and finer than Irish intelligence. She felt the Home Rule question absolutely as only an Irishwoman (not anglicised) could. It was a tremendous emotion with her—inexplicable in any other way—but perfectly explicable by "atavism." What a pity she wasn't born there—and had her health for it. She would have been (if, always, she had not fallen a victim to disgust—a large "if") a national glory! But I am writing too much and my late hindrances have left me with tremendous arrears of correspondence. I thank you, dear Alice, caramente, for your sweet letter received two or three weeks before William's. I crudely hope you won't let your house—so as to have it to go to in the summer. Otherwise what will become of you. I dig my nose into the fleshiest parts of the young Francis. Tell Peggy I cling to her—and to Harry too, and Billy not less.... I haven't sent you "The Yellow Book"—on purpose; and indeed I have been weeks and weeks receiving a copy of it myself. I say on purpose because although my little tale which ushers it in ("The Death of the Lion") appears to have had, for a thing of mine, an unusual success, I hate too much the horrid aspect and company of the whole publication. And yet I am again to be intimately, conspicuously associated with the 2d number. It is for gold and to oblige the worshipful Harland (the editor). Wait and read the two tales in a volume—with 2 or 3 others. Above all be debout and forgive the long reticence of your affectionate HENRY. To Edmund Gosse. Mr. Gosse and his family, with Mr. A. C. Benson, were at this time spending a holiday in Switzerland, apparently not without mischance. Stevenson's offending letter is to be found among his published correspondence, dated from Vailima, July 7, 1894. H. J. misrepresents the phrase he quotes. "I decline any longer to give you examples of how not to write" are Stevenson's words. Tregenna Castle Hotel,
St. Ives. August 22nd [1894]. My dear Gosse, I should have been very glad to hear from you yesterday if only for the sweet opportunity it gives me of crying out that I told you so! It gives me more than this—and I didn't tell you so; but I wanted to awfully—and I only smothered my wisdom under my waistcoat. Tell Arthur Benson that I wanted to tell him so too—that guileless morning at Victoria: I knew so well, both then and at Delamere Terrace, with my half century of experience, straight into what a purgatory you were all running. The high Swiss mountain inn, the crowd, the cold, the heat, the rain, the Germans, the scramble, the impossible rooms and the still more impossible everything else—the hope deferred, the money misspent, the weather accurst: these things I saw written on your azure brows even while I perfidiously prattled with your prattle. The only thing was to let you do it—for one can no more come between a lady and her Swiss hotel than between a gentleman and his wife. Meanwhile I sit here looking out at my nice, domestic, inexpensive English rain, in my nice bad stuffy insular inn, and thanking God that I am not as Gosses and Bensons are. I am pretty bad, I recognise—but I am not so bad as you. I am so bad that I am fleeing in a day or two—as I hope you will have been doing if your ineluctable fate doesn't spare you. I stopped on my way down here to spend three days with W. E. Norris, which were rendered charming by the urbanity of my host and the peerless beauty of Torquay, with which I fell quite in love. Here I go out for long walks on wet moors with the silent Stephen, the almost speechless Leslie. In the morning I improve the alas not shining hours, in a little black sitting-room which looks out into the strange area—like unto that of the London milkman—with which this ci-devant castle is encompassed and which sends up strange scullery odours into my nose. I am very sorry to hear of any friends of yours suffering by the Saturday Review, but I know nothing whatever of the cataclysm. It's a journal which (in spite of the lustre you add to it) I haven't so much as seen for 15 years, and no echoes of its fortunes ever reach me. 23rd. I broke off yesterday to take a long walk over bogs and brambles, and this morning my windows are lashed by a wet hurricane. It makes me wish I could settle down to a luxurious irresponsible day with the Lourdes of your appreciation, which lies there on my table still uncut. But my "holiday" is no holiday and I must drive the mechanic pen. Moreover I have vowed not to open Lourdes till I shall have closed with a final furious bang the unspeakable Lord Ormont, which I have been reading at the maximum rate of ten pages—ten insufferable and unprofitable pages, a day. It fills me with a critical rage, an artistic fury, utterly blighting in me the indispensable principle of respect. I have finished, at this rate, but the first volume—whereof I am moved to declare that I doubt if any equal quantity of extravagant verbiage, of airs and graces, of phrases and attitudes, of obscurities and alembications, ever started less their subject, ever contributed less of a statement—told the reader less of what the reader needs to know. All elaborate predicates of exposition without the ghost of a nominative to hook themselves to; and not a difficulty met, not a figure presented, not a scene constituted—not a dim shadow condensing once either into audible or into visible reality—making you hear for an instant the tap of its feet on the earth. Of course there are pretty things, but for what they are they come so much too dear, and so many of the profundities and tortuosities prove when threshed out to be only pretentious statements of the very simplest propositions. Enough, and forgive me. Above all don't send this to the P.M.G. There is another side, of course, which one will utter another day. I have a dictated letter from R. L. S., sent me through Colvin, who is at Schwalbach with the horsey Duchess of Montrose, a disappointing letter in which the too apt pupil of Meredith tells me nothing that I want to know—nothing save that his spirits are low (which I would fain ignore,) and that he has been on an excursion on an English man-of-war. The devilish letter is wholly about the man-of-war, not a word else; and at the end he says "I decline to tell you any more about it!" as if I had prescribed the usurping subject. You shall see the rather melancholy pages when you return—I must keep them to answer them. Bourget and his wife are in England again—at Oxford: with PrÉvost at Buxton, H. Le Roux at Wimbledon etc., it is the Norman conquest beginning afresh. What will be the end, or the effect, of it? P. B. has sent me some of the sheets (100 pp.) of his Outremer, which are singularly agreeable and lively. It will be much the prettiest (and I should judge kindest) socio-psychological book written about the U.S. That is saying little. It is very living and interesting. PrÉvost's fetid Étude (on the little girls) represents a perfect bound, from his earlier things, in the way of hard, firm, knowing ability. So clever—and so common; no ability to imagine his "queenly" girl, made to dominate the world, do anything finally by way of illustrating her superiority but become a professional cocotte, like a fille de portier. Pity's akin to love—so I send that to Mrs Nellie and Tessa and to A. Benson. Yours ever,
HENRY JAMES. To Edmund Gosse. This refers to an essay by Mr. Gosse on the Norwegian novelist BjÖrnson, prefixed to an English translation of his SynnÖvÉ Solbakken. 34 De Vere Gardens, W.
Nov. 9th, 1894. My dear Gosse, Many thanks for the study of the roaring Norseman, which I read attentively last night—without having time, claimed by more intimes perusals, for reading his lusty fable. BjÖrnson has always been, I frankly confess, an untended prejudice—a hostile one—of mine, and the effect of your lively and interesting monograph has been, I fear, to validate the hardly more than instinctive mistrust. I don't think you justify him, rank him enough—hardly quite enough for the attention you give him. At any rate he sounds in your picture—to say nothing of looking, in his own!—like the sort of literary fountain from which I am ever least eager to drink: the big, splashing, blundering genius of the hit-or-miss, the a peu prÈs, family—without perfection, or the effort toward it, without the exquisite, the love of selection: a big super-abundant and promiscuous democrat. On the other hand the impossibly-named Novelle would perhaps win me over. But the human subject-matter in these fellows is so rebarbatif—"Mrs. Bang-Tande!" What a Romeo and Juliet! Have you seen Maurice BarrÈs's last volume—"Du Sang, de la VoluptÉ et de la Mort"? That is exquisite in its fearfully intelligent impertinence and its diabolical Renanisation. We will talk of these things—all thanks meanwhile for the book. Yours ever,
HENRY JAMES. To Edmund Gosse. Mr. Gosse's study of Walter Pater is included in his Critical Kit-kats. 34 De Vere Gardens, W.
[Dec. 13th, 1894.] My dear Gosse, I return with much appreciation the vivid pages on Pater. They fill up substantially the void of one's ignorance of his personal history, and they are of a manner graceful and luminous; though I should perhaps have relished a little more insistence on—a little more of an inside view of—the nature of his mind itself. Much as they tell, however, how curiously negative and faintly-grey he, after all telling, remains! I think he has had—will have had—the most exquisite literary fortune: i.e. to have taken it out all, wholly, exclusively, with the pen (the style, the genius,) and absolutely not at all with the person. He is the mask without the face, and there isn't in his total superficies a tiny point of vantage for the newspaper to flap his wings on. You have been lively about him—but about whom wouldn't you be lively? I think you'd be lively about me!—Well, faint, pale, embarrassed, exquisite Pater! He reminds me, in the disturbed midnight of our actual literature, of one of those lucent matchboxes which you place, on going to bed, near the candle, to show you, in the darkness, where you can strike a light: he shines in the uneasy gloom—vaguely, and has a phosphorescence, not a flame. But I quite agree with you that he is not of the little day—but of the longer time. Will you kindly ask Tessa if I may still come, on Saturday? My visit to the country has been put off by a death—and if there is a little corner for me I'll appear. If there isn't—so late—no matter. I daresay I ought to write to Miss Wetton. Or will Tessa amiably inquire? Yours always,
HENRY JAMES. To Edmund Gosse. The news of Stevenson's death in Samoa reached London at this moment, when H. J. was deeply occupied with the rehearsals of Guy Domville at the St. James's Theatre. "Jan. 5th" was to be the first night of the play. 34 De Vere Gardens, W.
Dec. 17th, 1894. My dear Gosse, I meant to write you to-night on another matter—but of what can one think, or utter or dream, save of this ghastly extinction of the beloved R.L.S.? It is too miserable for cold words—it's an absolute desolation. It makes me cold and sick—and with the absolute, almost alarmed sense, of the visible material quenching of an indispensable light. That he's silent forever will be a fact hard, for a long time, to live with. To-day, at any rate, it's a cruel, wringing emotion. One feels how one cared for him—what a place he took; and as if suddenly into that place there had descended a great avalanche of ice. I'm not sure that it's not for him a great and happy fate; but for us the loss of charm, of suspense, of "fun" is unutterable. And how confusedly and pityingly one's thought turns to those far-away stricken women, with their whole principle of existence suddenly quenched and yet all the monstrosity of the rest of their situation left on their hands! I saw poor Colvin to-day—he is overwhelmed, he is touching: But I can't write of this—we must talk of it. Yet these words have been a relief. And I can't write, either, of the matter I had intended to—viz. that you are to rest secure about the question of Jan. 5th—I will do everything for you. That business becomes for the hour tawdry and heartless to me. Yours always,
HENRY JAMES. To Sidney Colvin. H. J. unexpectedly found himself named by Stevenson as one of his executors; but this charge he felt it impossible to undertake, on account of his complete inexperience in matters of business. The last paragraph of this letter refers to a suggestion that the cabled news of Stevenson's death might prove to be mistaken. 34 De Vere Gardens, W.
Dec. 20th, '94. My dear Colvin, I didn't come, as I threatened, to see you this a.m.; because up to the time I was forced (early) to absent myself from home for several hours no sign had come from Edinburgh. On coming home at 4 o'clock, however, I found both a telegram and a letter from Mr. Mitchell. The telegram asked for a telegraphic Yea or Nay that might instantly be cabled to Baxter at Port Said. I immediately wired a profoundly regretful, but unconditional and insurmountable refusal. The absolute necessity of doing this has gathered still more overwhelming force since I saw you yesterday—if indeed there could have been any "still more" when the maximum had been so promptly reached. To ease still more (at all events) my conscience—though God knows it was, and is, easy!—I conferred last p.m. with a sage friend about the matter, and if I had been in the smallest degree unsettled some words he dropped about the pecuniary liability of executors, under certain new regulations (in regard to the Revenue &c.,) would sufficiently have fixed me. But in truth the question was not even one to talk of at all—even to the extent of asking for confirmations. I wish the thing could have been otherwise. But that is idle. So I have answered Mr. Mitchell's letter, by this evening's post, in a manner that leaves no doubt either of my decision or my sorrow. There may be something legal for me to do to be exonerated: I have inquired. And meanwhile comes the torture of such phenomena as Dr. Balfour's letter in to-day's P.M.G.—a torture doubtless only meant (by a perverse Providence) to deepen the final pain. At any rate it is unsettling to the point of nervous anguish—or À peu prÈs. But to whom do I say this? I don't like to think of your horrible worry—your all but damnable suspense. Don't answer this—or write me unless you particularly want to: I ache, in sympathy, under the letters, telegrams, complications of every sort you have to meet: that you may find strength to bear which is the hearty wish of yours, my dear Colvin, more than ever, HENRY JAMES. To Miss Henrietta Reubell. 34 De Vere Gardens, W.
December 31st, 1894. Dear Miss Etta, This is to wish you a brand-New Year, and to wish it very affectionately—and to wish it of not more than usual length but of more than usual fulness. I have had an unacknowledged letter from you longer than is decorous. But I have shown you ere this that epistolary decorum is a virtue I have ceased to pretend to. And during the last month I have not pretended to any other virtue either—save an endless patience and an heroic resignation, as I have been, and still am, alas, in the sorry position of having in rehearsal a little play—3 acts—which is to be produced on Saturday next, at the St. James's Theatre, as to which I beg you heartily to indulge for me, about 8.30 o'clock on that evening, in very fervent prayer. It is a little "romantic" play of which the action is laid (in England) in the middle of the last century, and it will be exquisitely mounted, dressed &c., and very creditably acted, as things go here. But rehearsal is an Écoeurment is the right spelling] and one's need of heroic virtues infinite. I have been in the breach daily for 4 weeks, and am utterly exhausted. To-night (the theatre being closed for the week on purpose) is the first dress rehearsal—which is here of course not a public, as in Paris, but an intensely private function—all for me, me prÉlassant dans mon fauteuil, alone, like the King of Bavaria at the opera. There are to be three nights more of this, to give them ease in the wearing of their clothes of a past time, and that, after the grind of the earlier work, is rather amusing—as amusing as anything can be, for a man of taste and sensibility, in the odious process of practical dramatic production. I may have been meant for the Drama—God knows!—but I certainly wasn't meant for the Theatre. C'est pour vous dire that I am much pressed and am only sending you mes voeux trÈs-sincÈres in a shabbily brief little letter. There are a number of interesting things in your last to which I want to respond. I send you also by post 3 or 4 miserable little (old) views of Tunbridge Wells, which I have picked up in looking, at rare leisure moments, for one good one for you. I haven't, alas, found that; but I think I am on the track of it, and you shall have it as soon as it turns up. Accept these meanwhile as a little stop-gap and a symbol of my New Year's greeting.... I hope you are in good case and good hope. We are having here an excellent winter, almost fogless and generally creditable. Write me a little word of hope and help for the 5th; I shall regard it as a happy influence for yours forever, HENRY JAMES. To William James. 34 De Vere Gardens, W.
Jan. 9th, 1895. My dear William, I never cabled to you on Sunday 6th (about the first night of my play,) because, as I daresay you will have gathered from some despatches or newspapers (if there have been any, and you have seen them,) the case was too complicated. Even now it's a sore trial to me to have to write about it—weary, bruised, sickened, disgusted as one is left by the intense, the cruel ordeal of a first night that—after the immense labour of preparation and the unspeakable tension of suspense—has, in a few brutal moments, not gone well. In three words the delicate, picturesque, extremely human and extremely artistic little play was taken profanely by a brutal and ill-disposed gallery which had shown signs of malice prepense from the first and which, held in hand till the end, kicked up an infernal row at the fall of the curtain. There followed an abominable quarter of an hour during which all the forces of civilization in the house waged a battle of the most gallant, prolonged and sustained applause with the hoots and jeers and catcalls of the roughs, whose roars (like those of a cage of beasts at some infernal "zoo") were only exacerbated (as it were) by the conflict. It was a cheering scene, as you may imagine, for a nervous, sensitive, exhausted author to face—and you must spare my going over again the horrid hour, or those of disappointment and depression that have followed it; from which last, however, I am rapidly and resolutely, thank God, emerging. The "papers" have, into the bargain, been mainly ill-natured and densely stupid and vulgar; but the only two dramatic critics who count, W. Archer and Clement Scott, have done me more justice. Meanwhile all private opinion is apparently one of extreme admiration—I have been flooded with letters of the warmest protest and assurance.... Everyone who was there has either written to me or come to see me—I mean every one I know and many people I don't. Obviously the little play, which I strove to make as broad, as simple, as clear, as British, in a word, as possible, is over the heads of the usual vulgar theatre-going London public—and the chance of its going for a while (which it is too early to measure) will depend wholly on its holding on long enough to attract the unusual. I was there the second night (Monday, 7th) when, before a full house—a remarkably good "money" house Alexander told me—it went singularly well. But it's soon to see or to say, and I'm prepared for the worst. The thing fills me with horror for the abysmal vulgarity and brutality of the theatre and its regular public, which God knows I have had intensely even when working (from motives as "pure" as pecuniary motives can be) against it; and I feel as if the simple freedom of mind thus begotten to return to one's legitimate form would be simply by itself a divine solace for everything. Don't worry about me: I'm a Rock. If the play has no life on the stage I shall publish it; it's altogether the best thing I've done. You would understand better the elements of the case if you had seen the thing it followed (The Masqueraders) and the thing that is now succeeding at the Haymarket—the thing of Oscar Wilde's. On the basis of their being plays, or successes, my thing is necessarily neither. Doubtless, moreover, the want of a roaring actuality, simplified to a few big familiar effects, in my subject—an episode in the history of an old English Catholic family in the last century—militates against it, with all usual theatrical people, who don't want plays (from variety and nimbleness of fancy) of different kinds, like books and stories, but only of one kind, which their stiff, rudimentary, clumsily-working vision recognizes as the kind they've had before. And yet I had tried so to meet them! But you can't make a sow's ear out of a silk purse.—I can't write more—and don't ask for more details. This week will probably determine the fate of the piece. If there is increased advance-booking it will go on. If there isn't, it will be withdrawn, and with it all my little hope of profit. The time one has given to such an affair from the very first to the very last represents in all—so inconceivably great, to the uninitiated, is the amount—a pitiful, tragic bankruptcy of hours that might have been rendered retroactively golden. But I am not plangent—one must take the thick with the thin—and I have such possibilities of another and better sort before me. I am only sorry for your and Alice's having to be so sorry for yours forever, HENRY. To George Henschel. Answering a suggestion that H. J. should write a libretto to be set to music by Sir George Henschel. 34 De Vere Gardens, W.
January 22d, 1895. My dear Henschel, Your flattering dream is beautiful—but, I fear, alas, delusive. When I say I 'fear' it, I mean I only too completely feel it. It is a charming idea, but the root of the libretto is not in me. We will talk of it—yes: because I will talk with you, with joy, of anything—will even play to myself that I have convictions I haven't, for that privilege. But I am unlyrical, unmusical, unrhythmical, unmanageable. And I hate "old New England stories"!—which are lean and pale and poor and ugly. But let us by all means talk—and the more the better. I am touched by your thinking so much good of me—and I embrace you, my dear Henschel, for such rich practical friendship and confidence. I congratulate you afresh on your glorious wife, I await you with impatience, and I stretch out to you across the wintry wastes the very grateful hand of yours always, HENRY JAMES. To W. D. Howells. 34 De Vere Gardens, W.
January 22d, 1895. My dear Howells, ...I am indebted to you for your most benignant letter of December last. It lies open before me and I read it again and am soothed and cheered and comforted again. You put your finger sympathetically on the place and spoke of what I wanted you to speak of. I have felt, for a long time past, that I have fallen upon evil days—every sign or symbol of one's being in the least wanted, anywhere or by any one, having so utterly failed. A new generation, that I know not, and mainly prize not, has taken universal possession. The sense of being utterly out of it weighed me down, and I asked myself what the future would be. All these melancholies were qualified indeed by one redeeming reflection—the sense of how little, for a good while past (for reasons very logical, but accidental and temporary,) I had been producing. I did say to myself "Produce again—produce; produce better than ever, and all will yet be well;" and there was sustenance in that so far as it went. But it has meant much more to me since you have said it—for it is, practically, what you admirably say. It is exactly, moreover, what I meant to admirably do—and have meant, all along, about this time to get into the motion of. The whole thing, however, represents a great change in my life, inasmuch as what is clear is that periodical publication is practically closed to me—I'm the last hand that the magazines, in this country or in the U.S., seem to want. I won't afflict you with the now accumulated (during all these past years) evidence on which this induction rests—and I have spoken of it to no creature till, at this late day, I speak of it to you.... All this, I needn't say, is for your segretissimo ear. What it means is that "production" for me, as aforesaid, means production of the little book, pure and simple—independent of any antecedent appearance; and, truth to tell, now that I wholly see that, and have at last accepted it, I am, incongruously, not at all sorry. I am indeed very serene. I have always hated the magazine form, magazine conditions and manners, and much of the magazine company. I hate the hurried little subordinate part that one plays in the catchpenny picture-book—and the negation of all literature that the insolence of the picture-book imposes. The money-difference will be great—but not so great after a bit as at first; and the other differences will be so all to the good that even from the economic point of view they will tend to make up for that and perhaps finally even completely do so. It is about the distinctness of one's book-position that you have so substantially reassured me; and I mean to do far better work than ever I have done before. I have, potentially, improved immensely and am bursting with ideas and subjects—though the act of composition is with me more and more slow, painful and difficult. I shall never again write a long novel; but I hope to write six immortal short ones—and some tales of the same quality. Forgive, my dear Howells, the cynical egotism of these remarks—the fault of which is in your own sympathy. Don't fail me this summer. I shall probably not, as usual, absent myself from these islands—not be beyond the Alps as I was when you were here last. That way Boston lies, which is the deadliest form of madness. I sent you only last night messages of affection by dear little "Ned" Abbey, who presently sails for N.Y. laden with the beautiful work he has been doing for the new Boston public library. I hope you will see him—he will speak of me competently and kindly. I wish all power to your elbow. Let me hear as soon as there is a sound of packing. Tell Mildred I rejoice in the memory of her. Give my love to your wife, and believe me, my dear Howells, yours in all constancy, HENRY JAMES. To William James. 34 De Vere Gardens, W.
February 2nd, 1895. ...The poor little play seems already, thank God, ancient history, though I have lived through, in its company, the horridest four weeks of my life. Produce a play and you will know, better than I can tell you, how such an ordeal—odious in its essence!—is only made tolerable and palatable by great success; and in how many ways accordingly non-success may be tormenting and tragic, a bitterness of every hour, ramifying into every throb of one's consciousness. Tonight the thing will have lived the whole of its troubled little life of 31 performances, and will be "taken off," to be followed, on Feb. 5th, by a piece by Oscar Wilde that will have probably a very different fate. On the night of the 5th, too nervous to do anything else, I had the ingenious thought of going to some other theatre and seeing some other play as a means of being coerced into quietness from 8 till 10.45. I went accordingly to the Haymarket, to a new piece by the said O.W. that had just been produced—"An Ideal Husband." I sat through it and saw it played with every appearance (so far as the crowded house was an appearance) of complete success, and that gave me the most fearful apprehension. The thing seemed to me so helpless, so crude, so bad, so clumsy, feeble and vulgar, that as I walked away across St. James's Square to learn my own fate, the prosperity of what I had seen seemed to me to constitute a dreadful presumption of the shipwreck of G.D., and I stopped in the middle of the Square, paralyzed by the terror of this probability—afraid to go on and learn more. "How can my piece do anything with a public with whom that is a success?" It couldn't—but even then the full truth was, "mercifully," not revealed to me; the truth that in a short month my piece would be whisked away to make room for the triumphant Oscar. If, as I say, this episode has, by this time, become ancient history to me, it is, thank heaven, because when a thing, for me (a piece of work,) is done, it's done: I get quickly detached and away from it, and am wholly given up to the better and fresher life of the next thing to come. This is particularly the case now, with my literary way blocked so long and my production smothered by these theatrical lures: I have such arrears on hand and so many things seem to wait for me—that I want far more and that it will be nobler to do—that I am looking in a very different direction than in that of the sacrificed little play. Partly for this reason, this receiving from you all the retarded echo of my reverse and having to live over it with you (you must excuse me if I don't do so much,) is the thing, in the whole business, that has been most of an anguish and that I dreaded most in advance. As for the play, in three words, it has been, I think I may say, a rare and distinguished private success and scarcely anything at all of a public one. By a private success, I mean with the even moderately cultivated, civilised and intelligent individual, with "people of taste" in short, of almost any kind, as distinguished from the vast English Philistine mob—the regular "theatrical public" of London, which, of all the vulgar publics London contains, is the most brutishly and densely vulgar. This congregation the things they do like sufficiently judge.... I no sooner found myself in the presence of those yelling barbarians of the first night and learned what could be the savagery of their disappointment that one wasn't perfectly the same as everything else they had ever seen, than the dream and delusion of my having made a successful appeal to the cosy, childlike, naÏf, domestic British imagination (which was what I had calculated) dropped from me in the twinkling of an eye. I saw they couldn't care one straw for a damned young last-century English Catholic, who lived in an old-tune Catholic world and acted, with every one else in the play, from remote and romantic Catholic motives. The whole thing was, for them, remote, and all the intensity of one's ingenuity couldn't make it anything else. It has made it something else for the few—but that is all. Such is the bare history of poor G.D.—which, I beg you to believe, throws no light on my "technical skill" which isn't a light that that mystery ought to rejoice to have thrown. The newspaper people muddle things up with the most foredoomed crudity; and I am capable of analysing the whole thing far more scientifically and drawing from it lessons far more pertinent and practical than all of them put together. It is perfectly true that the novelist has a fearful long row to hoe to get into any practical relation to the grovelling stage, and his difficulty is precisely double: it bears, on one side, upon the question of method and, on the other, upon the question of subject. If he is really in earnest, as I have been, he surmounts the former difficulty before he surmounts the latter. I have worked like a horse—far harder than any one will ever know—over the whole stiff mystery of "technique"—I have run it to earth, and I don't in the least hesitate to say that, for the comparatively poor and meagre, the piteously simplified, purposes of the English stage, I have made it absolutely my own, put it into my pocket. The question of realising how different is the attitude of the theatre-goer toward the quality of thing which might be a story in a book from his attitude toward the quality of thing that is given to him as a story in a play is another matter altogether. That difficulty is portentous, for any writer who doesn't approach it naÏvely, as only a very limited and simple-minded writer can. One has to make one's self so limited and simple to conceive a subject, see a subject, simply enough, and that, in a nutshell, is where I have stumbled. And yet if you were to have seen my play! I haven't been near the theatre since the second night, but I shall go down there late this evening to see it buried and bid good-bye to the actors.... I am very sorry for Marion Terry, who has delighted in her part and made the great hit of her career, I should suppose, in it, and who has to give it up thus untimely. Her charming acting has done much for the little run.... The money disappointment is of course keen—as it was wholly for money I adventured. But the poor four weeks have brought me $1,100—which shows what a tidy sum many times four weeks would have brought; without my lifting, as they say, after the first performance, a finger. I have written you so long-windedly on this matter that I have left neither time nor space for anything else. I must catch the post and will write more sociably something by the next one. One's time, in the whole history, has gone like water, and still it pours out. Please don't send me anything out of newspapers. Always your
HENRY. To Sidney Colvin. The first of Stevenson's letters to be published, it will be remembered, were the "Vailima Letters" to Sir Sidney Colvin. 34 De Vere Gardens, W.
Feb. 19th, 1895. My dear Colvin, I shall send you all the Vailima Letters back to-morrow or next day by hand. I have completely read them. I can't say, and I don't want to say, anything of them but "Publish them—they make the man so loveable." It's on that I should take my stand. I think your estimate of them as ranking high in their class (epistolary) is perhaps (if I remember what you seemed to express of it) a larger one than I should concur in; but I think still more that that makes little difference; for they will assuredly be liked—immensely, and that is mainly what one is concerned to ask for him. They are charming, living, touching, absolutely natural; and I think better toward the end than at the beginning. What they suffer from is: 1º Want of interest and want of clearness as to the subject-matter of much of them—the Samoan personalities, politics, &c; all to me almost squalid—and the irritating effect of one's sense of his clearing the very ground to be able to do his daily work. Want also to a certain extent of generalization about all these matters and some others—into the dreary specifics of which the reader perhaps finds himself plunged too much. 2º A certain tormenting effect in his literary confidences (to you,) glimpses, promises, revelations &c., arising from his so seldom telling the subject, the idea of the thing—what he sees, what he wants to do, &c—as against his pouring forth titles, chapters, divisions, names &c., in such magnificent abundance.—On the other hand the personality shines out so beautiful and there are so many charming things—passages, pages—that not to publish them would seem to me like the burial of something alive. I see but little in what you have left in these copies to excise on grounds of discretion, unless it be many of those reports of the state of public affairs and allusions to public personages which are primarily excisable by reason of obscurity, failure to appeal to reader's interest, &c. But I should like to see you and talk about the matter with you better than thus, and shall take the earliest occasion. The hideous sadness of them—to us! To readers at large—no. But I feel as though I had been sitting with him for hours. Yours always,
HENRY JAMES. To Mrs. John L. Gardner. Royal Hospital, Dublin.
March 23d, 1895. Dear Isabella Gardner, Yes, I have delayed hideously to write to you, since receiving your note of many days ago. But I always delay hideously, and my shamelessness is rapidly becoming (in the matter of letter-writing) more disgraceful even than my procrastination. I brought your letter with me to Ireland more than a fortnight ago with every intention of answering it on the morrow of my arrival; but I have been leading here a strange and monstrous life of demoralisation and frivolity and the fleeting hour has mocked, till today, at my languid effort to stay it, to clutch it, in its passage. I have been paying three monstrous visits in a row; and if I needed any further demonstration of the havoc such things make in my life I should find it in this sense of infidelity to a charming friendship of so many years. I return to England to enter a monastery for the rest of my days—and crave your forgiveness before I take this step. I have been staying in this queer, shabby, sinister, sordid place (I mean Dublin,) with the Lord Lieutenant (poor young Lord Houghton,) for what is called (a fragment, that is, of what is called) the "Castle Season," and now I am domesticated with very kind and valued old friends, the Wolseleys—Lord W. being commander of the forces here (that is, head of the little English army of occupation in Ireland—a five-years appointment) and domiciled in this delightfully quaint and picturesque old structure, of Charles II's time—a kind of Irish Invalides or Chelsea Hospital—a retreat for superannuated veterans, out of which a commodious and stately residence has been carved. We live side by side with the 140 old red-coated cocked-hatted pensioners—but with a splendid great rococo hall separating us, in which Lady Wolseley gave the other night the most beautiful ball I have ever seen—a fancy-ball in which all the ladies were Sir Joshuas, Gainsboroughs, or Romneys, and all the men in uniform, court dress or evening hunt dress. (I went as—guess what!—alas, nothing smarter than the one black coat in the room.) It is a world of generals, aide-de-camps and colonels, of military colour and sentinel-mounting, which amuses for the moment and makes one reflect afresh that in England those who have a good time have it with a vengeance. The episode at the tarnished and ghost-haunted Castle was little to my taste, and was a very queer episode indeed—thanks to the incongruity of a vice-regal "court" (for that's what it considers itself) utterly boycotted by Irish (landlord) society—the present viceroy being the nominee of a home-rule government, and reduced to dreary importation from England to fill its gilded halls. There was a ball every night, etc., but too much standing on one's hind-legs—too much pomp and state—for nothing and nobody. On my return (two days hence) to my humble fireside I get away again as quickly as possible into the country—to a cot beside a rill, the address of which no man knoweth. There I remain for the next six months to come; and nothing of any sort whatever is to happen to me (this is all arranged,) save that you are to come down and stay a day or two with me when you come to England. There is, alas, to be no "abroad" for me this year. I rejoice with you in your Rome—but my Rome is in the buried past. I spent, however, last June there, and was less excruciated than I feared. Have you seen my old friend Giuseppe Primoli—a great friend, in particular, of the Bourgets? I dare say you have breakfasted deep with him. May this find you perched on new conquests. It's vain to ask you to write me, or tell me, anything. Let me only ask you therefore to believe me your very affectionate old friend. HENRY JAMES. To Arthur Christopher Benson. The excursion to Windsor was one of several on which H. J. conducted Alphonse Daudet and his family during their visit to England this spring. The "adorable cottage" was the house then occupied by Mr. Benson as a master at Eton. 34 De Vere Gardens, W.
May 11th [1895]. My dear Arthur B. A quelque chose malheur est bon: my very natural failure to find you brought me your engaging letter. Strike, but hear me. I knew but too well that it would not seem felicitous to you that I should leave a mere card at your ravishing bower: but please believe that I had no alternative. I weighed the question of notifying you in advance—weighed it anxiously; but the scale against it was pressed down by overwhelming considerations. Daudet is so unwell and fatigable and unable to walk or to mount steps or stairs (he could do Windsor Castle only from the carriage,) that I didn't know he would pull through the excursion at all—and I thought it unfair to inflict on you the awkward problem of his getting, or not getting, into your house—of his getting over to Eton at all—and of the five other members of his family being hurled upon you. We had, in fact, only just time to catch our return train. Still, I had a sneaking romantic hope of you. I should have liked them, hungry for the great show, to behold you! As I turned sadly from your "adorable cottage" and got back into the carriage A. D. said to me—having waited contemplatively during my conference with your domestic: "Ah, si vous saviez comme ces petits coins d'Angleterre m'amusent!" A. C. B. would have amused him still more. Content yourself, for the hour, my dear Arthur Benson, with "amusing" a humbler master of Dichtung—and an equal one, perhaps, of Wahrheit. I am delighted you have been thinking of me—and beg you to be sure that whenever you happen to do so, Telepathy, as you say, will happen to be in it! This time, e.g., it was intensely in it—for you had been peculiarly present to me all these last days in connection with my alternations of writing to you or not writing to you about the projected Thursday at Windsor. I wanted to confine myself to the pure feasible for Daudet, and yet I wanted (still more) to write to you "anyway," as they say in the U. S. And I am writing to you—q.e.d. So there we are. I rejoice in a certain air of happiness in your letter. Dine with you some day? De grand coeur—after a little—after the very lively practical pre-occupation of the presence of my helpless and bewildered Gauls has abated. There is a late train from Windsor that would put me back after dinner—unless I err. Your mother has kindly invited me to a party on the 16th and I shall certainly go—if I survive (and return from) the process of taking Daudet down to see G. Meredith at Box Hill—which has been fixed for that day. You won't be there (at Lambeth) I ween—but if you were, what possibilities (of the order hinted at above) we might discuss in a Gothic embrasure! Respond—respond, if ever so briefly, to yours, my dear Arthur Benson, for ever, HENRY JAMES. To W. E. Norris. The "American outbreak" was the trouble over the question of the Venezuelan frontier. The articles in the Times by the late G. W. Smalley (correspondent for the journal in New York) did much, in H. J.'s view, to preserve the relations between England and the United States during this difficult time. 34 De Vere Gardens, W.
Feb. 4th [1896]. My dear Norris, Your letter is as good as the chair by your study-table (betwixt it, as it were, and the tea-stand) used to be; and as that luxurious piece of furniture shall (D.V.) be again. Your news, your hand, your voice sprinkle me—most refreshingly—with the deep calm of Torquay. It is in short in every way good to hear from you, so that, behold, for your sweet sake, I perpetrate that intensest of my favourite immoralities—I snatch the epistolary, the disinterested pen before (at 10 a.m.) squaring my poor old shoulders over the painful instrument that I fondly try to believe to be lucrative. It isn't—but one must keep up the foolish fable to the end. I am having in these difficult conditions a very decent winter. It is mild, and it isn't wet—not here and now; and it is—for me—thanks to more than Machiavellian cunning, more dinnerless than it has, really, ever been. My fireside really knows me on some evenings. I forsake it too often—but a little less and less. So you bloom and smack your lips, while I shrivel and tighten my waistband. In spite of my gain of private quiet I have suffered acutely by my loss of public. The American outbreak has darkened all my sky—and made me feel, among many other things, how long I have lived away from my native land, how long I shall (D.V.!) live away from it and how little I understand it today. The explosion of jingoism there is the result of all sorts of more or less domestic and internal conditions—and what is most indicated, on the whole, as coming out of it, is a vast new split or cleavage in American national feeling—politics and parties—a split almost, roughly speaking, between the West and the East. There are really two civilisations there side by side—in one yoke; or rather one civilisation and a barbarism. All the expressions of feeling I have received from the U.S. (since this hideous row) have been, intensely, of course, from the former. It is, on the whole, the stronger force; but only on condition of its fighting hard. But I think it will fight hard. Meanwhile, the whole thing sickens me. That unfortunately, however, is not a reason for its not being obviously there. It's there all the while. But let it not be any more here: I mean in this scribblement. My admiration of Smalley is boundless, and my appreciation and comfort and gratitude. He has really done something—and will do more—for peace and decency. I went yesterday to Leighton's funeral—a wonderful and slightly curious public demonstration—the streets all cleared and lined with police, the day magnificent (his characteristic good fortune to the end;) and St. Paul's very fine to the eye and crammed with the whole London world.... The music was fine and severe, but I thought wanting in volume and force—thin and meagre for the vast space. But what do I know? No, my dear Norris, I don't go abroad—I go on May 1st into the depths (somewhere) of old England. A response to that proposal I spoke to you of (from Rome) is utterly impossible to me now.... I've two novels to write before I can dream of anything else; and to go abroad is to plunge into the fiery furnace of people. So either Devonshire or some other place will be my six months' lot. I must take a house, this time—a small and cheap one—and I must (deride me not) be somewhere where I can, without disaster, bicycle. Also I must be a little nearer town than last year. I'm afraid these things rather menace Torquay. But it's soon to say—I must wait. I shall decide in April—or by mid-March—only. Meanwhile things will clear up. I'm intensely, thank heaven, busy. I will, I think, send you the little magazine tale over which (I mean over whose number of words—infinite and awful) I struggled so, in Sept. and Oct. last, under your pitying eye and with your sane and helpful advice. It comes in to me this a.m. ...I hope your daughter is laying up treasure corporeal in Ireland. I like your dinners—even I mean in the houses of the other hill-people; and I beg you to feel yourself clung to for ever by yours irrepressibly, HENRY JAMES. To William James. Point Hill,
Playden, Rye. July 24th, 1896. My dear William, ...I wrote you at some length not very long since, and my life has been, here, so peaceful that nothing has happened to me since save an incident terminated this a.m.—a charming little visit (of 24 hours) from Wendell Holmes, who was in admirable youth, spirits, health and "form," and whose presence I greatly enjoyed. He is—or has been—having his usual social triumphs in London, was as vivid and beautiful as ever about them—also seems to enjoy much this humble but picturesque little place and sails for the U.S. on Aug. 22nd. Save that he seems to see you rarely and precariously, he will carry you good news of me. I have only five days more of Point Hill, alas—but I have solved the problem of not returning on Aug. 1st to the stifling London (we are having a summer of transcendent droughts and heat—like last, only more so,) and not on the other hand sacrificing precious days to hunting up another refuge—solved it by taking, for two months, the Vicarage at Rye, which is shabby, fusty—a sad drop from P.H., but close at hand to this (15 minutes walk,) and has much of the same picturesque view (from a small terrace garden behind—a garden to sit in, and more or less, as here, to eat in) and almost the same very moderate loyer. It has also more room, and more tumblers and saucepans, and above all, at a moment when I am intensely busy, saves me a wasteful research. So I shall be there from the 29th of this month till the last week in September. "The Vicarage, Rye, Sussex," is my address. The place, unfortunately, isn't quite up to the pretty suggestion of the name. But this little corner of the land endears itself to me—and the peace of the country is a balm. It is all, about here, most mild and mellow and loveable—too "relaxing," but that is partly the exceptional summer. I have been able, every evening, for three months, to dine, at 8, on my little terrace. So the climate of England is, literally, not always to be sneezed at. But the absence of rain threatens a water-famine, and the "tub" is a short allowance. With Chocorua let, I am at a loss to place you all, and only hope you are succeeding better in placing yourselves. It would delight me to hear that Alice is "boarding" somewhere with Peggy and the afflicted infant whom I refuse to denominate "Tweedy." I hope, at any rate, she is getting rest and refreshment of some sort. There would be room for two or three of you at my Vicarage—I wish you were here to feel the repose of it. May your summer be merciful and your lectures on ne peut plus suivies. I say nothing about the political bear-garden—I fear I pusillanimously keep out of it. I am well (absit omen) and interested in what I am in—and I embrace you all. Ever your affectionate HENRY. To Edmumd Gosse. The Spoils of Poynton (under the title of The Old Things) had begun to appear in the Atlantic Monthly in April 1896. The Vicarage,
Rye. August 28th, 1896. My dear Edmund, Don't think me a finished brute or a heartless fiend or a soulless one, or any other unhappy thing with a happy name. I have pressed your letter to my bosom again and again, and if I've not sooner expressed to you how I've prized it, the reason has simply been that for the last month there has been no congruity between my nature and my manners—between my affections and my lame right hand. A crisis overtook me some three weeks ago from which I emerge only to hurl myself on this sheet of paper and consecrate it to you. I will reserve details—suffice it that in an evil hour I began to pay the penalty of having arranged to let a current serial begin when I was too little ahead of it, and when it proved a much slower and more difficult job than I expected. The printers and illustrators overtook and denounced me, the fear of breaking down paralysed me, the combination of rheumatism and fatigue rendered my hand and arm a torture—and the total situation made my existence a nightmare, in which I answered not a single note, letting correspondence go to smash in order barely to save my honour. I've finished (day before yesterday,) but I fear my honour—with you—lies buried in the ruin of all the rest. You will soon be coming home, and this will meet or reach you God only knows when. Let it take you the assurance that the most lurid thing in my dreams has been the glitter of your sarcastic spectacles. It was charming of you to write to me from dear little old devastated Vevey—as to which indeed you make me feel, in a few vivid touches, a faint nostalgic pang. I don't want to think of you as still in your horrid ice-world (for it is cold even here and I scribble by a morning fire;) and yet it's in my interest to suppose you still feeling so all abroad that these embarrassed lines will have for you some of the charm of the bloated English post. That makes me, at the same time, doubly conscious that I've nothing to tell you that you will most languish for—news of the world and the devil—no throbs nor thrills from the great beating heart of the thick of things. I went to town for a week on the 15th, to be nearer the devouring maw into which I had to pour belated copy; but I spent the whole time shut up in De Vere Gardens with an inkpot and a charwoman. The only thing that befell me was that I dined one night at the Savoy with F. Ortmans and the P. Bourgets—and that the said Bourgets—but two days in London—dined with me one night at the Grosvenor club. But these occasions were not as rich in incident and emotion as poetic justice demanded—and your veal-fed table d'hÔte will have nourished your intelligence quite as much. The only other thing I did was to read in the Revue de Paris of the 15th Aug. the wonderful article of A. Daudet on Goncourt's death—a little miracle of art, adroitness, demoniac tact and skill, and taste so abysmal, judged by our fishlike sense, that there is no getting alongside of it at all. But I grieve to say I can't send you the magazine—I saw it only at a club. Doubtless you will have come across it. I have this ugly house till the end of September and don't expect to move from Rye even for a day till then. The date of your return is vague to me—but if it should be early in the month I wonder if you couldn't come down for another Sunday. I fear you will be too blasÉ, much. For comfort my Vicarage is distinctly superior to my eagle's nest—but, alas, beauty isn't in it. The peace and prettiness of the whole land, here, however, has been good to me, and I stay on with unabated relish. But I stay in solitude. I don't see a creature. That, too, dreadful to relate, I like. You will have been living in a crowd, and I expect you to return all garlanded and odorous with anecdote and reminiscence. Mrs Nelly's will all bear, I trust, on miraculous healings and feelings. I feel far from all access to the French volume you recommend. Are you crawling over the Dorn, or only standing at the bottom to catch Philip and Lady Edmund as they drop? Pardon my poverty and my paucity. It is your absence that makes them. Yours, my dear Edmund, not inconstantly, HENRY JAMES. To Jonathan Sturges. 34 De Vere Gardens, W.
Thursday [Nov. 5, 1896]. My dear Jonathan, I spill over, this a.m., in a certain amount of jubilation—all the more that I have your little letter of the other day to thank you for. One breathes, I suppose—the alarmed, anxious, prudent part of one. But I don't feel that McKinley is the end of anything—least of all of big provincial iniquities and abuses and bloody billionaires. However he's more decent than the alternative—and your fortune will flow in, more regularly; and mine will permit me to say I'm delighted you "accept," and shall see that the cold mutton is not too much "snowed under" before you come. Only give me a few—three or four if possible—days' notice: then we will talk of many things—and among them of Rudyard Kipling's "Seven Seas," which he has just sent me and which I will send you tomorrow or next day (kindly guard it,) on the assumption that you won't have seen it. I am laid low by the absolutely uncanny talent—the prodigious special faculty of it. It's all violent, without a dream of a nuance or a hint of "distinction"; all prose trumpets and castanets and such—with never a touch of the fiddle-string or a note of the nightingale. But it's magnificent and masterly in its way, and full of the most insidious art. He's a rum 'un—and one of the very few first talents of the time. There's a vilely idiotic reference to his "coarseness" in this a.m.'s Chronicle. The coarseness of the The Mary Gloster is absolutely one of the most triumphant "values" of that triumphant thing. How lovely, in these sweet days, your Haslemere hermitage must be! I hope you've still the society of your young friend—it eases the mind of your old one. What you said about Howells most true—he is very touching. And I feel so remote from him! The little red book is extremely charming. Write to me. Tout À vous, HENRY JAMES. To W. E. Norris. 34 De Vere Gardens, W.
Dec. 23rd, 1896. My dear Norris, I respond with joy to your suggestion in your beautiful letter of two days ago—that I shall enable you to find a word from me on your table on the darkest a. m. of the year; in the first place because I am much touched by your attaching to any word of mine any power to comfort or charm; and in the second because I can well measure—by my own—your sense of a melancholy from which you must appeal. It is indeed a lugubrious feast and a miserable merriment. But it is something to spend the evil season by one's own poor hearthstone (save that yours is opulent), crouching over the embers and chuckling low over all the dreadful places where one is not! I've been literally pressed to go to two or three—one of them in Northumberland! (the cheek of some people!) and the reflection that I might be there and yet by heaven's mercy am not, does give a faint blush as of the rose to my otherwise deep depression. It is a mild, gray, rainless, sunless inoffensive sort of Xmas here—and the shop fronts look rather prettily pink and green and golden in the dear dirty old London streets—and I have ventured into three or four—but I do it, bless you, for nine and sevenpence half-penny, all told! No wonder you want epistolary balm if you're already in the fifties! Do you give them diamond necklaces and Arab horses all round?—But Torquay, I too intensely felt, has gorgeous ways of its own. Really it isn't bad here, for almost every one has left town. I have yet had nothing worse to suffer than a first night at the Lyceum—the too great Irvingism of which—mainly in Ellen Terry's box—had been, the same day, pleasantly mitigated, in advance, by Tessa Gosse in Sheridan's Critic. Tessa had a play and acted Mr Puff better than any of her blushing fellow-nymphs acted anything else. And on New Year's eve I go to her parents for a carouse of some sort, and until then, thank God! I don't dine out save on Xmas day. Nor in 1897—by all that's holy! ever again! I have been quite smothered with it these two months—and it's getting far beyond a joke.... I see no literary fry, and languish in incorrigible obscurity. I had a fevered dream that The Other House might reach a second edition—but it declines to do anything of the sort, and the pauper's grave continues to yawn. Nevertheless—as it is assured any way—I may go to Italy on April 1st. Meanwhile, my dear Norris, I think of you with a degree of envy which even the manners of Topper scarce avail to diminish—I mean because you have a beautiful home and are so many miles nearer than I am to nature. You are also nearer to Miss Norris, and that is another advantage, even though it does make a hole in £50! I have nothing better to offer her on Xmas a.m. than the very friendly handshake of yours and hers, my dear Norris, affectionately and always, HENRY JAMES. To Arthur Christopher Benson. 34 De Vere Gardens, W.
December 28th, 1896. My dear Arthur, Your generous letter has, this wild, mild, soft, sombre morning, made me feel as if I were standing beside you, with my hand on your shoulder, in an embrasure of one of the windows—at that fine old Farnham Castle that I have seen (years ago)—that look out on the noble things you speak of. And the communication in question is worthy, exactly, of the things in question; and grave and handsome and interesting and touching even as they are. "Burn" it, quotha!—it wouldn't have burnt, I would have you know: it would have flown straight up the chimney and taken, unscathed as marble, its invulnerable way to the individual for whom it had just been so admirably winged. You say to me exactly the right things, and you say them to exactly the right person. I can't tell you how glad I am for you that you have all that highest sanity and soundness (though it isn't as if I doubted it!) of emotion, full, frank and deep. If there be a wisdom in not feeling—to the last throb—the great things that happen to us, it is a wisdom I shall never either know or esteem. Let your soul live—it's the only life that isn't, on the whole, a sell. You have evidently been magnificent, and as I have my hand on your shoulder I take the opportunity of patting you very tenderly on the back. That back will evidently carry its load and be all the straighter for the—as it seems to me—really quite massive experience. I rejoice that the waters have held you up—they do, always, I think, when they are only deep enough. And all your missings and memories and contrasts and tendernesses are a part—the essence—of the very force that is in you to live, and to feel again—and yet again and again; when, at last, to have so felt will be the thing in the world you'll be gladdest to have done. I don't know, in spite of your compliment, whether I am much like Gray, save in the devil of a time it takes me to do a thing. What keeps me incommunicative, however, is not indifference, but almost a kind of suspense, a fear to break—by speaking—the spell of some other spectacle—other than that of my own fonctionnement. But I respond to the lightest touch of a friendly hand, I think I may say; and I haven't the slightest fear of breaking any spell in saying—to you—that I seem to myself just now (absit omen!) to fonctionner pretty well. I am as occupied and preoccupied with work as even my technical temper can desire, and out of it something not irremediably nauseating will not improbably spring! I never had more intentions—what do I say?—more ferocities; I am sitting in my boat and my oars rhythmically creak. In short I propose to win my little battle—and even believe, more than hitherto, that I may annex my little province. It will be as small as the Grand Duchy of Pumpernickel—but there will be room to put up a friend. Therefore you must come and stay with me there; in fact I give you rendez-vous on the battlefield itself, the moment the day is declared. I mix my metaphors—but it all means that it's all a fight and that the only thing that changes is our fighting train. Let us then fight side by side, never too far out of sight. How I congratulate you on the value of your friends; I mean the particular Davidsons. I don't know them, but I like them for liking you. I think I have a strong sense, too, of the beauty and charm of many of the conditions in which you are engaged and which have a really decorative effect—so that the aesthetic sense too is pleased—on everything that makes you minister to the confidence, my dear Arthur, of yours very constantly, HENRY JAMES. To the Viscountess Wolseley. The reference in the following letter is to a visit paid by H. J., with Lady Wolseley, to the elaborately beautiful old house of the late C. E. Kempe, the well-known artist of church-decoration, at Lindfield, Sussex. Dictated. 34 De Vere Gardens, W.
8th March, 1897. Dear Lady Wolseley, I was so deprived, yesterday, for all those beautiful hours, of a word with you away from our host that I felt as if I didn't say to you a tenth of what I wanted; which, however, will make it all the better for our next meeting—when I shall overflow like a river fed by melting snows. Let these few words, therefore, not anticipate the deluge—let them only express to you afresh my grateful sense of the interest and success of our excursion. The whole wonder of it was the greater through my wholly unprepared state, my antecedent inward blank—which blank is now overscored with images and emotions as thick as any page of any of your hospitable house-books ever was with visitors' names. The man himself made the place more wonderful and the place the man. I was greatly affected by his courtesy and charm; and I got afterwards, in the evening, a little of the light that I couldn't snatch from you under his nose. What struck me most about the whole thing was the consummate cleverness: that was the note it sounded for me more than any one of the notes more imposing, more deep, that an artistic creation may throw out. Don't for the world—and for my ruin—ever breathe to him I have said it; but the whole thing, and his taste, are far too Germanic, too Teutonic, a business to make a medium in which I could ever sink down in final peace or take as the domestic and decorative last word. The element of France and Italy are too much out of it—and they, to me, are the real secret of Style. But we will talk of these things—heaven speed the day. Do have a little of France and a great deal of Italy at South Wraxall; but do have also a great deal of the cunning Kempe and of the candid—too candid—companion of your pilgrimage. Don't imagine the companion didn't have a most sweet and glorious day—from which the light, even in London dusk again, has not yet wholly faded. I hope your security was complete to the end, and I am, in earnest hope also of a speedy reunion, yours, dear Lady Wolseley, more gratefully, if possible, than ever, HENRY JAMES. To Miss Frances R. Morse. H. J.'s admiration for St. Gaudens's memorial to Col. R. G. Shaw, when he afterwards saw it at Boston, found expression, it will be remembered, in The American Scene. Dictated. 34 De Vere Gardens, W.
June 7th, 1897. My dear Fanny, I have, as usual, endless unacknowledged benefits to thank you for after too many days. The last is your letter of the end of March, full of interesting substance as always and of things that no one else has the imagination or the inspiration to tell me. (My allusion to the imagination there is not, believe me, an imputation on your exactitude. The light of truth, of good solid vivid Boston truth, shines in each of your pages.) Especially are you interesting and welcome, as I have told you before, I think, on the young generations and full-blown, though new, existences, that are in possession of a scene I knew as otherwise occupied. All the old names—or most of them—appear to be represented by the remote posterity of my old acquaintance. In this remote posterity, however, I take an interest—and scraps and specimens of it, even here, occasionally flash past me.... I have stayed on in town later than for some years past, and though I had, at the end of March, all my plans made to go to Italy, have put it off till so late that, in a few days, I shall have to be content with simply crossing to Paris and seeing then what is to be further done. London is given up to carpenters and seat-mongers—being prepared, on an enormous scale and a rather unsightly way, for the "circus" of the 22nd. The circus is already, amid the bare benches and the mere bousculade of the preparations, a thing to fly from—in spite of the good young George Vanderbilt's having offered me an ample share of a beautiful balcony in Pall Mall to see it from. I shall spend the next few weeks in some place or places, north of the Alps, as yet utterly undefined, and be back in England before the summer is over. The voice of Venice, all this time, has called very loud. But it has been drowned a good deal in the click of the typewriter to which I dictate and which, some months ago, crept into my existence through the crevice of a lame hand and now occupies in it a place too big to be left vacant for long periods of hotel and railway life. All this time I am not coming to the great point, which is my hope that you may have been able to be present (I believe with all my heart of course you were) at the revelation of the Shaw Memorial. In charity, my dear Fanny, if this be the case, do write me a frank word about it. I heard from William and Alice more or less on the eve, but I fear they will have afterwards—just now be having—too much to do to be able to send me many echoes. I daresay that you will, for that matter, already have sent me one. I receive, as it happens, only this morning, a copy of Harper's Weekly with a big reproduction of St. Gaudens's bas-relief, which strikes me as extraordinarily beautiful and noble. How I rejoice that something really fine is to stand there forever for R. G. S.—and for all the rest of them. This thing of St. G.'s strikes me as a real perfection, and I have appealed to William to send me the finest and biggest photograph of it that can be found—for such surely have been taken. How your spiritual lungs must, over it all, have filled themselves with the air of the old wartime. Even here—I mean simply in the depths of one's own being—I myself, for an hour, seem to breathe it again. But the strange thing is that however much, in memory and imagination, it may live for one again, with all its dim figures and ghosts and reverberations and emotions, it appears to belong yet to some far away other world and state of being. I talked of this the other day with Sara Darwin, whose memories are so much identical with my own, and it was a relief to do so—in the absence of all other communications: that absence produced by the up-growth, since, of a whole generation, which began after the end and for which the whole history is as alien as the battles of Alexander. But I am writing you a long letter when I only meant to wave you a hand of greeting and gratitude. Correspondence is rather heavy to me, for I can tackle it only in the margin of time left over after the other matters that my machine has to grind. I hope your summer promises, and in the midst of a peculiar degree, at the present moment, of smoky London stuffiness, I envy you—for I see you in the mind's eye at Beverly—the element of wide verandahs, cut peaches—I mean peaches and cream, you know—white frocks and Atlantic airs. You make me, my dear Fanny, in these high lights, quite incredibly homesick.... Yours very constantly, HENRY JAMES. To Mrs. George Hunter. Instead of going abroad for the summer, as he had proposed, H. J. went first to Bournemouth, and from there to join his cousin, Mrs. George Hunter, and her daughters at Dunwich, near Saxmundham. Bath Hotel, Bournemouth.
Saturday [July 3, 1897]. Dearest Elly, It is an immense satisfaction to get your news—and no figure of speech to say that it has found me literally on the point of reaching out, for it, into the thick twilight of your whereabouts. I have had my general silence much on my conscience—and especially my dumbness and darkness to Rosina and Bay, for whom my movements must have been enveloped in a perfidious mystery that has caused me, I fear, to forfeit all their esteem. But let me tell you first of all how I rejoice in your good conditions and in your having found your feet. It was "borne in" upon me, on general grounds, that Southwold would never do for long, and it is charming that you have found so near and so nice a substitute. I especially delight (without wanting to sacrifice the rest of you) in such a letting-down-easy of the Art-Daughters. Please give them my tender love and tell them that, preposterous as it sounds, I have never, all this time, and in spite of the rosiest asseverations, crossed the channel at all. The nearest I have come to it is to have, early last month, come down here to the edge of the sea and collapsed into the peace and obscurity of this convenient corner (long familiar to me,) which, having a winter season, is practically empty at present. I will tell R. and B. when I see them just how it was that I happened to be so false—it is too long a story now. Suffice it that my reasons (for continuing to hug this fat country) were overwhelming, and my regrets (at not tasting of their brave Bohemia) of the sharpest. Moreover all's well that ends well. If I had gone abroad I should be abroad now and the rest of the summer; and therefore unable to join you on your Suffolk shore—or at least alight upon you there—which is what I shall be enchanted to do. You describe a little Paradise—houris and all; and I beseech you to keep a divan for me there. The only thing is that I fear I shan't be able to come till toward the end—or by the end—of the month. I have more or less engaged myself (to a pair of friends who are coming down here next week for my—strange as it may seem—sweet sake) to remain on this spot till toward the 25th. But I will come then, and stay as long as you will let me. If you can bespeak any quarters for me at the inn, in advance, I will take it very kindly of you. Can they give me a little sitting-room as well as a bed-room? If you can achieve any effective [word illegible] at them to do so I shall be very grateful. I always need some small literary bower other than the British bed-room—and in this case I would of course "meal" there, as that makes them always more zealous. I don't know the East Coast to speak of at all—and I can imagine no more winsome introduction to it. I quite yearn to commune with the young Parisians. Bravo, McMonnies. Bravo everybody—especially Grenville. How I shall joy to frolic with him in the sand! Have they seen—the art-daughters—the image of the St. Gaudens Shaw? It is altogether great. William's oration was a first-class success. I encircle you all and will write again! Ever, my dear Elly, so constantly yours, HENRY JAMES. P.S. The oddest trio of coincidences yesterday afternoon. I was reading the delightful Letters of that peculiarly Suffolk genius (of Woodbridge) Edward FitzGerald ("Omar Khayyam") and, just finishing a story in one of them about his relations with a boatman of Saxmundham (a name—seen for the first time—that struck me—by its strangeness and handsomeness,) laid down the book and went a long walk—five miles along this coast, to where, in a very picturesque and lonely spot, I met a sea-faring man with whom I fraternised. "Do you belong to this place?" "Oh no. I've been here five years; but I come from the Suffolk coast—Saxmundham." "Did you know Mr. FitzGerald?" "Know him? My brother was his boatman!"—and he tells me the story! Then I walk home and coming in, find your letter on my table. I tear it open and the first word I see in it—in your date—is Saxmundham! Tableau!!! It never rains but it pours!— To Edward Warren. On returning from Dunwich—it was there that he had been bicycling with Mr. Warren—H. J. heard that Lamb House, which he had seen and admired at Rye the year before, was unexpectedly vacant. He at once appealed to Mr. Warren for professional advice with regard to the condition of the house, and as this proved satisfactory, secured it without delay. Dictated. 34 De Vere Gardens, W.
15th September, 1897. My dear Edward, Very kindly read, for me, the enclosed—which throws an odd coincidental light on the very house we talked of, day before yesterday (or was it yesterday?) as we bumped and bounced and vainly shifted sides. The place in question is none other than the mansion with the garden-house perched on the wall; and though to be fairly confronted with the possibility and so brought to the point is a little like a blow in the stomach, what I am minded to say to you is that perhaps you may have a chance to tell me, on Friday, that you will be able to take some day next week to give me the pleasure of going down there with me for a look. I feel as if I couldn't think on the subject at all without seeing it—the subject—again; and there would be no such seeing it as seeing it in your company. Perhaps I shall have speech of you long enough on Friday to enable us to settle a day. I should be capable of Monday. I hope you slid gently home and are fairly on all fours—that is on hands and feet—again. What a day we should have had again also—I mean this one—if we had kept it up! But basta cosÌ!—it does beautifully for your journey. A thousand friendships to Margaret. Always yours, HENRY JAMES. To Arthur Christopher Benson. The following refers to a manuscript diary of Mr. Benson's and to the privately printed Letters and Journals of William Cory, author of Ionica. 34 De Vere Gardens, W.
September 25th, 1897. My dear Arthur, Send me by all means the Diary to which you so kindly allude—nothing could give me greater pleasure than to feel I might freely—and yet so responsibly—handle it. I hope it contains a record of your Hawarden talk—of which you speak. I shall be very glad indeed of a talk with you about W. Cory—my impression of whom, on the book, you deepen—whenever anything so utterly unlikely as articulate speech between us miraculously comes to pass.—I am just drawing a long breath from having signed—a few moments since—a most portentous parchment: the lease of a smallish, charming, cheap old house in the country—down at Rye—for 21 years! (One would think I was your age!) But it is exactly what I want and secretly and hopelessly coveted (since knowing it) without dreaming it would ever fall. But it has fallen—and has a beautiful room for you (the "King's Room"—George II's—who slept there;) together with every promise of yielding me an indispensable retreat from May to October. I hope you are not more sorry to take up the load of life that awaits, these days, the hunch of one's shoulders than I am. You'll ask me what I mean by "life." Come down to Lamb House and I'll tell you. And open the private page, my dear Arthur, to yours very eagerly, HENRY JAMES. To Mrs. William James. Dictated. 34 De Vere Gardens, W.
1st December, 1897. Dearest Alice, It's too hideous and horrible, this long time that I have not written you and that your last beautiful letter, placed, for reminder, well within sight, has converted all my emotion on the subject into a constant, chronic blush. The reason has been that I have been driving very hard for another purpose this inestimable aid to expression, and that, as I have a greater loathing than ever for the mere manual act, I haven't, on the one side, seen my way to inflict on you a written letter, or on the other had the virtue to divert, till I should have finished my little book, to another stream any of the valued and expensive industry of my amanuensis. I have, at last, finished my little book—that is a little book, and so have two or three mornings of breathing-time before I begin another. Le plus clair of this small interval "I consecrate to thee!" I am settled in London these several weeks and making the most of that part of the London year—the mild, quiet, grey stretch from the mid-October to Christmas—that I always find the pleasantest, with the single defect of its only not being long enough. We are having, moreover, a most creditable autumn; no cold to speak of and almost no rain, and a morning-room window at which, this December 1st, I sit with my scribe, admitting a radiance as adequate as that in which you must be actually bathed, and probably more mildly golden. I have no positive plan save that of just ticking the winter swiftly away on this most secure basis. There are, however, little doors ajar into a possible brief absence. I fear I have just closed one of them rather ungraciously indeed, in pleading a "non possumus" to a most genial invitation from John Hay to accompany him and his family, shortly after the new year, upon a run to Egypt and a month up the Nile; he having a boat for that same—I mean for the Nile part—in which he offers me the said month's entertainment. It is a very charming opportunity, and I almost blush at not coming up to the scratch; especially as I shall probably never have the like again. But it isn't so simple as it sounds; one has on one's hands the journey to Cairo and back, with whatever seeing and doing by the way two or three irresistible other things, to which one would feel one might never again be so near, would amount to. (I mean, of course, then or never, on the return, Athens, Corfu, Sicily the never-seen, etc., etc.) It would all "amount" to too much this year, by reason of a particular little complication—most pleasant in itself, I hasten to add—that I haven't, all this time, mentioned to you. Don't be scared—I haven't accepted an "offer." I have only taken, a couple of months ago, a little old house in the country—for the rest of my days!—on which, this winter, though it is, for such a commodity, in exceptionally good condition, I shall have to spend money enough to make me quite concentrate my resources. The little old house you will at no distant day, I hope, see for yourself and inhabit and even, I trust, temporarily and gratuitously possess—for half the fun of it, in the coming years, will be occasionally to lend it to you. I marked it for my own two years ago at Rye—so perfectly did it, the first instant I beheld it, offer the solution of my long-unassuaged desire for a calm retreat between May and November. It is the very calmest and yet cheerfullest that I could have dreamed—in the little old, cobble-stoned, grass-grown, red-roofed town, on the summit of its mildly pyramidal hill and close to its noble old church—the chimes of which will sound sweet in my goodly old red-walled garden. The little place is so rural and tranquil, and yet discreetly animated, that its being within the town is, for convenience and immediate accessibility, purely to the good; and the house itself, though modest and unelaborate, full of a charming little stamp and dignity of its period (about 1705) without as well as within. The next time I go down to see to its "doing up," I will try to have a photograph taken of the pleasant little old-world town-angle into which its nice old red-bricked front, its high old Georgian doorway and a most delightful little old architectural garden-house, perched alongside of it on its high brick garden-wall—into which all these pleasant features together so happily "compose." Two years ago, after I had lost my heart to it—walking over from Point Hill to make sheep's eyes at it (the more so that it is called Lamb House!)—there was no appearance whatever that one could ever have it; either that its fond proprietor would give it up or that if he did it would come at all within one's means. So I simply sighed and renounced; tried to think no more about it; till at last, out of the blue, a note from the good local ironmonger, to whom I had whispered at the time my hopeless passion, informed me that by the sudden death of the owner and the preference (literal) of his son for Klondyke, it might perhaps drop into my lap. Well, to make a long story short, it did immediately drop and, more miraculous still to say, on terms, for a long lease, well within one's means—terms quite deliciously moderate. The result of these is, naturally, that they will "do" nothing to it: but, on the other hand, it has been so well lived in and taken care of that the doing—off one's own bat—is reduced mainly to sanitation and furnishing—which latter includes the peeling off of old papers from several roomfuls of pleasant old top-to-toe wood panelling. There are two rooms of complete old oak—one of them a delightful little parlour, opening by one side into the little vista, church-ward, of the small old-world street, where not one of the half-dozen wheeled vehicles of Rye ever passes; and on the other straight into the garden and the approach, from that quarter, to the garden-house aforesaid, which is simply the making of a most commodious and picturesque detached study and workroom. Ten days ago Alfred Parsons, best of men as well as best of landscape-painters-and-gardeners, went down with me and revealed to me the most charming possibilities for the treatment of the tiny out-of-door part—it amounts to about an acre of garden and lawn, all shut in by the peaceful old red wall aforesaid, on which the most flourishing old espaliers, apricots, pears, plums and figs, assiduously grow. It appears that it's a glorious little growing exposure, air, and soil—and all the things that were still flourishing out of doors (November 20th) were a joy to behold. There went with me also a good friend of mine, Edward Warren, a very distinguÉ architect and loyal spirit, who is taking charge of whatever is to be done. So I hope to get in, comfortably enough, early in May. In the meantime one must "pick up" a sufficient quantity of ancient mahogany-and-brass odds and ends—a task really the more amusing, here, where the resources are great, for having to be thriftily and cannily performed. The house is really quite charming enough in its particular character, and as to the stamp of its period, not to do violence to by rash modernities; and I am developing, under its influence and its inspiration, the most avid and gluttonous eye and most infernal watching patience, in respect of lurking "occasions" in not too-delusive Chippendale and Sheraton. The "King's Room" will be especially treated with a preoccupation of the comfort and aesthetic sense of cherished sisters-in-law; King's Room so-called by reason of George Second having passed a couple of nights there and so stamped it for ever. (He was forced ashore, at Rye, on a progress somewhere with some of his ships, by a tempest, and accommodated at Lamb House as at the place in the town then most consonant with his grandeur. It would, for that matter, quite correspond to this description still. Likewise the Mayors of Rye have usually lived there! Or the persons usually living there have usually become mayors! That was conspicuously the case with the late handsome old Mr. Bellingham, whose son is my landlord. So you see the ineluctable dignity in store for me.) But enough of this swagger. I have been copious to copiously amuse you. Your beautiful letter, which I have just read over again, is full of interest about you all; causing me special joy as to what it says of William's present and prospective easier conditions of work, relinquishment of laboratory, refusal of outside lectures, etc., and of the general fine performance, and promise, all round, of the children. What you say of each makes me want to see that particular one most.... I had a very great pleasure the other day in a visit, far too short—only six hours—from dear old Howells, who did me a lot of good in an illuminating professional (i.e. commercial) way, and came, in fact, at quite a psychological moment. I hope you may happen to see him soon enough to get from him also some echo of me—such as it may be. But, my dear Alice, I must be less interminable. Please tell William that I have two Syracuse "advices," as yet gracelessly unacknowledged—I mean to him—to thank him for. It's a joy to find these particular months less barren than they used to be. I embrace you tenderly all round and am yours very constantly, HENRY JAMES. To Miss Grace Norton. Dictated. 34 De Vere Gardens, W.
Christmas Day, 1897. My dear Grace, Is it really a year? I have been acutely conscious of its getting to be a horrible time, but it hadn't come home to me that it was taking on quite that insolence. Well, you see what the years—since years il y a—are making of me: I don't write to you for a hideous age, and then, when at last I do, I take the romantic occasion of this particular day to write in this unsympathetic ink. But that is exactly what, as I say, the horrid time has made of me. The use of my hand, always difficult, has become impossible to me; and since I am reduced to dictation, this form of dictation is the best. May its distinctness make up for its indirectness.... I dare say that, from time to time, you hear something of me from William; and you know, by that flickering light, that my life has had, for a long time past, a very jog-trot sort of rhythm. I have ceased completely to "travel." It is going on into four years since I have crossed the Channel; and the day is not yet. This will give you a ghastly sense of the insular object that I must have become; however, I shall break out yet, perhaps, and surprise you. Meanwhile, none the less, I was unable, these last days, to break the spell of immobility even to the extent of going over to Paris to poor Daudet's funeral. I felt that, lÀ-bas—by which I mean in the immediate house—a certain expectation rested on me, but I looked it straight in the face and cynically budged not. I dislike, more and more, the terrific organized exploitation, in Paris, on the occasion of death and burial, of every kind of personal privacy and every kind of personal hysterics. It is newspaperism and professionalism gone mad—in a way all its own; and I felt as if I should go mad if I even once more, let alone twenty times more, heard Daudet personally compared (more especially facially compared, eyeglass and all) to Jesus Christ. Not a French notice of him that I have seen but has plumped it coquettishly out. I had not seen him, thanks to my extreme recalcitrance, since the month he spent more than two years ago in London. His death was not unhappy—was indeed too long delayed, for all his later time has been sadly (by disease, borne with wonderful patience and subtlety) blighted and sterilized. Yet it is a wonderful proof of what a success his life had been that it had remained a success in spite of that. It was the most worked thing that ever was—I mean his whole career. His talent was so great that I feel, as to his work, that the best of it will quite intensely remain. But he was a queer combination of a great talent with an absence of the greater mind, as it were—the greater feeling. ...Well, my dear Grace, I can't tell you the comfort and charm it is to be talking with you even by this horrid machinery, and to squeeze the little round golden orange of your note dry of every testimony to your honoured tranquillity that I can gouge out of it. My metaphors are mixed, but my fidelity is pure. How is the mighty Montaigne? I don't read him a millionth part as much as I ought, for of all the horrors of London almost the worst horror is the way it conspires against the evening book under the evening lamp. I don't "go out"—and yet, far too much of the time, I am out. The main part of the rest I devote to wondering how I got there. A propos of which, as much as anything, do you read Maurice BarrÈs? If you do, his last thing, Les DÉracinÉs, is very curious and serious, but a gruesome picture of young France. If it didn't sound British and Pharisaic I would almost risk saying that, on all the more and more showing, young and old France both seem to me to be in a strange state of moral and intellectual decomposition. But this isn't worth saying without going into the detail of the evidence—and that would take me too far. Then there is Leslie Stephen and the little Kiplings. Leslie seems to be out-weathering his woes in the most extraordinary way. His health is literally better than it was in his wife's lifetime, and is perhaps, more almost than anything else, a proof of what a life-preserver in even the wildest waves is the perfect possession of a mÉtier. His admirable habit and knowledge of work have saved him.... Rudyard and his wife and offspring depart presently for South Africa. They have settled upon a small propriÉtÉ at Rottingdean near the [Burne-Jones's], and the South Africa is but a parenthetic family picnic. It would do as well as anything else, perhaps, if one still felt, as one used to, that everything is grist to his mill. I don't, however, think that everything is, as the affair is turning out, at all; I mean as to the general complexity of life. His Ballad future may still be big. But my view of his prose future has much shrunken in the light of one's increasingly observing how little of life he can make use of. Almost nothing civilised save steam and patriotism—and the latter only in verse, where I hate it so, especially mixed up with God and goodness, that that half spoils my enjoyment of his great talent. Almost nothing of the complicated soul or of the female form or of any question of shades—which latter constitute, to my sense, the real formative literary discipline. In his earliest time I thought he perhaps contained the seeds of an English Balzac; but I have quite given that up in proportion as he has come steadily from the less simple in subject to the more simple—from the Anglo-Indians to the natives, from the natives to the Tommies, from the Tommies to the quadrupeds, from the quadrupeds to the fish, and from the fish to the engines and screws.... Goodbye, my dear Grace. Believe that through all fallacious appearances of ebb and flow, of sound and silence, of presence and absence, I am always constantly yours, HENRY JAMES.
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