It is a feature of life in this place that the longer it lasts the more one's liabilities of every kind accumulate—the more things there are to be done, every hour of the day. I have so many to do that I am thinking of inventing some new day with 40 or 50 hours—or else some newer one still, with only half a dozen, as that would simplify a large proportion of one's diurnal duties out of existence.... I am having a "quieter" winter than I have had for some years (in London) and have seen very few new people and not even many old friends. My quietness (comparative of course) is my solemn choice, and means that I have been dining out much less than at most former times, for the sacred purpose of getting my evenings to myself. I have been sitting at the festive British board for so many years now that I feel as if I had earned the right to give it up save in really seductive cases. You can guess the proportion of these! It is the only way to find any time to read—and my reading was going to the dogs. Therefore I propose to become henceforth an occasional and not a regular diner, with the well-founded hope that my mind, body, spirits, temper and general view of the human understanding and of the conversational powers of the English race, will be the gainers by it. Moreover, there is very little "going on"—the country is gloomy, anxious, and London reflects its gloom. Westminster Hall and the Tower were half blown up two days ago by Irish Dynamiters, there is a catastrophe to the little British force in the Soudan in the air (rather an ominous want of news since Gen. Stewart's victory at Aboukir a week ago,) and a general sense of rocks ahead in the foreign relations of the country—combined with an exceeding want of confidence—indeed a deep disgust—with the present ministry in regard to such relations. I find such a situation as this extremely interesting and it makes me feel how much I am attached to this country and, on the whole, to its sometimes exasperating people. The possible malheurs—reverses, dangers, embarrassments, the "decline," in a word, of old England, go to my heart, and I can imagine no spectacle more touching, more thrilling and even dramatic, than to see this great precarious, artificial empire, on behalf of which, nevertheless, so much of the strongest and finest stuff of the greatest race (for such they are) has been expended, struggling with forces which perhaps, in the long run, will prove too many for it. If she only will struggle, and not collapse and surrender and give up a part which, looking at Europe as it is to-day, still may be great, the drama will be well worth watching from [such] a good, near standpoint as I have here. But I didn't mean to be so beastly political! Another drama interesting me is the question of poor dear J. R. Lowell's possible recall after Cleveland mounts the throne. This, to me, is tragic, pathetic. His position here is in the highest degree honourable, useful, agreeable—in short perfect; and to give it all up to return, from one day to another, to John Holmes and the Brattle Street horsecar (which is very much what it amounts to—save when he goes to see you) seems to me to be the sport of a cruel, a barbaric, fortune.... I haven't asked you about yourself—the complexion of your winter, etc. But there are some things I know sufficiently without asking. So do you—as that I am always praying for you (though I don't pray, in general, and don't understand it, I make this brilliant exception for you!)
Your very faithful friend,
HENRY JAMES.
To William James.
The first number of The Bostonians appeared this month in the Century Magazine, containing scenes in which the veteran philanthropist "Miss Birdseye" figured.
3 Bolton St., W.
Feb. 14th [1885].
Dear William,
I am quite appalled by your note of the 2nd, in which you assault me on the subject of my having painted a "portrait from life" of Miss Peabody! I was in some measure prepared for it by Lowell's (as I found the other day) taking for granted that she had been my model, and an allusion to the same effect in a note from Aunt Kate. Still, I didn't expect the charge to come from you. I hold, that I have done nothing to deserve it.... I should be very sorry—in fact deadly sick, or fatally ill—if I thought Miss Peabody herself supposed I intended to represent her. I absolutely had no shadow of such an intention. I have not seen Miss P. for twenty years, I never had but the most casual observation of her, I didn't know whether she was alive or dead, and she was not in the smallest degree my starting-point or example. Miss Birdseye was evolved entirely from my moral consciousness, like every other person I have ever drawn, and originated in my desire to make a figure who should embody in a sympathetic, pathetic, picturesque, and at the same time grotesque way, the humanitary and ci-devant transcendental tendencies which I thought it highly probable I should be accused of treating in a contemptuous manner in so far as they were otherwise represented in the tale. I wished to make this figure a woman, because so it would be more touching, and an old, weary, battered, and simple-minded woman because that deepened the same effect. I elaborated her in my mind's eye—and after I had got going reminded myself that my creation would perhaps be identified with Miss Peabody—that I freely admit. So I have in mind the sense of being careful, at the same time that I didn't see what I could do but go my way, according to my own fancy, and make my image as living as I saw it. The one definite thing about which I had a scruple was some touch about Miss Birdseye's spectacles—I remembered that Miss Peabody's were always in the wrong place; but I didn't see, really, why I should deprive myself of an effect (as regards this point) which is common to a thousand old people. So I thought no more about Miss P. at all, but simply strove to realize my vision. If I have made my old woman live it is my misfortune, and the thing is doubtless a rendering, a vivid rendering, of my idea. If it is at the same time a rendering of Miss P. I am absolutely irresponsible—and extremely sorry for the accident. If there is any chance of its being represented to her that I have undertaken to reproduce her in a novel I will immediately write to her, in the most respectful manner, to say that I have done nothing of the kind, that an old survivor of the New England Reform period was an indispensable personage in my story, that my paucity of data and not my repletion is the faulty side of the whole picture, that, as I went, I had no sight or thought of her, but only of an imaginary figure which was much nearer to me, and that in short I have the vanity to claim that Miss Birdseye is a creation. You may think I protest too much: but I am alarmed by the sentence in your letter—"It is really a pretty bad business," and haunted by the idea that this may apply to some rumour you have heard of Miss Peabody's feeling atteinte. I can imagine no other reason why you should call the picture of Miss Birdseye a "bad business," or indeed any business at all. I would write to Miss P. on this chance—only I don't like to assume that she feels touched, when it is possible that she may not, and knows nothing about the matter. If you can ascertain whether or no she does and will let me know, I will, should there be need or fitness, immediately write to her. Miss Birdseye is a subordinate figure in the Bostonians, and after appearing in the first and second numbers vanishes till toward the end, where she re-enters, briefly, and pathetically and honourably dies. But though subordinate, she is, I think, the best figure in the book; she is treated with respect throughout, and every virtue of heroism and disinterestedness is attributed to her. She is represented as the embodiment of pure, the purest philanthropy. The story is, I think, the best fiction I have written, and I expected you, if you said anything about it, would intimate that you thought as much—so that I find this charge on the subject of Miss Peabody a very cold douche indeed....
Ever yours,
H. JAMES.