The Letters of Henry James (Vol. I)

by Henry James

My dear William,

Your beautiful and delightful letter of the 14th, from your country home, descended upon me two days ago, and after penetrating myself with it for 24 hours I sent it back to England, to Alice, on whom it will confer equal beatitude: not only because so copious, but because so "cheerful in tone" and appearing to show that the essentials of health and happiness are with you. I wish to delay no hour longer to write to you, though I am at this moment rather exhausted with the effort of a long letter, completed five minutes since, to Louis Stevenson, in answer to one I lately received from his wife, from some undecipherable cannibal-island in the Pacific. They are such far-away, fantastic, bewildering people that there is a certain fatigue in the achievement of putting one's self in relation with them. I may mention in this connection that I have had in my hands the earlier sheets of the Master of Ballantrae, the new novel he is about to contribute to Scribner, and have been reading them with breathless admiration. They are wonderfully fine and perfect—he is a rare, delightful genius.

I am sitting in our old family salon in this place, and have sat here much of the time for the last fortnight in sociable converse with family ghosts—Father and Mother and Aunt Kate and our juvenile selves. I became conscious, suddenly, about Oct. 10th, that I wanted very much to get away from the stale dingy London, which I had not quitted, to speak of, for 15 months, and notably not all summer—a detestable summer in England, of wet and cold. Alice, whom I went to see, on arriving at this conclusion, assured me she could perfectly dispense for a few weeks with my presence on English soil; so I came straight here, where I have a sufficient, though not importunate sense of being in a foreign country, with a desired quietness for getting on with work. I have had 16 days of extraordinarily beautiful weather, full of autumn colour as vivid as yours at Chocorua, and with the Mt. Blanc range, perpetually visible, literally hanging, day after day, over the blue lake. I have treated myself, as I say, to the apartments, or a portion of them, in which we spent the winter of '59-'60, and in which nothing is changed save that the hotel seems to have gone down in the world a little, before the multiplication of rivals—a descent, however, which has the agrément of unimpaired cleanliness and applies apparently to the prices as well. It is very good and not at all dear. Geneva seems both duller and smarter—a good deal bigger, yet emptier too. The Academy is now the University—a large, winged building in the old public garden below the Treille. But all the old smells and tastes are here, and the sensation is pleasant. I expect in three or four days to go to Paris for about three weeks—and back to London after that. I shall be very busy for the next three or four months with the long thing I am doing for the Atlantic and which is to run no less than 15—though in shorter instalments than my previous fictions; so that I have no time for wanton travelling. But I enjoy the easier, lighter feeling of being out of England. I suppose if one lived in one of these countries one would take its problems to one's self, also, or be oppressed and darkened by them—even as I am, more or less, by those which hang over me in London. But as it is, the Continent gives one a refreshing sense of getting away—away from Whitechapel and Parnell and a hundred other constantly thickening heavinesses.... It is always a great misfortune, I think, when one has reached a certain age, that if one is living in a country not one's own and one is of anything of an ironic or critical disposition, one mistakes the inevitable reflections and criticisms that one makes, more and more as one grows older, upon life and human nature etc., for a judgment of that particular country, its natives, peculiarities, etc., to which, really, one has grown exceedingly accustomed. For myself, at any rate, I am deadly weary of the whole "international" state of mind—so that I ache, at times, with fatigue at the way it is constantly forced upon me as a sort of virtue or obligation. I can't look at the English-American world, or feel about them, any more, save as a big Anglo-Saxon total, destined to such an amount of melting together that an insistence on their differences becomes more and more idle and pedantic; and that melting together will come the faster the more one takes it for granted and treats the life of the two countries as continuous or more or less convertible, or at any rate as simply different chapters of the same general subject. Literature, fiction in particular, affords a magnificent arm for such taking for granted, and one may so do an excellent work with it. I have not the least hesitation in saying that I aspire to write in such a way that it would be impossible to an outsider to say whether I am at a given moment an American writing about England or an Englishman writing about America (dealing as I do with both countries,) and so far from being ashamed of such an ambiguity I should be exceedingly proud of it, for it would be highly civilized. You are right in surmising that it must often be a grief to me not to get more time for reading—though not in supposing that I am "hollowed out inside" by the limitations my existence has too obstinately attached to that exercise, combined with the fact that I produce a great deal. At times I do read almost as much as my wretched little stomach for it literally will allow, and on the whole I get much more time for it as the months and years go by. I touched bottom, in the way of missing time, during the first half of my long residence in London—and traversed then a sandy desert, in that respect—where, however, I took on board such an amount of human and social information that if the same necessary alternatives were presented to me again I should make the same choice. One can read when one is middle-aged or old; but one can mingle in the world with fresh perceptions only when one is young. The great thing is to be saturated with something—that is, in one way or another, with life; and I chose the form of my saturation. Moreover you exaggerate the degree to which my writing takes it out of my mind, for I try to spend only the interest of my capital.

I haven't told you how I found Alice when I last saw her. She is now in very good form—still going out, I hear from her, in the mild moments, and feeling very easy and even jolly about her Leamington winter. My being away is a sign of her really good symptoms. She was wüthend after the London police, in connection with the Whitechapel murders, to a degree that almost constituted robust health. I have seen a great many (that is, more than usual) Frenchmen in London this year: they bring me notes of introduction—and the other day, the night before coming away, I entertained at dinner (at a club,) the French Ambassador at Madrid (Paul Cambon), Xavier Charmes of the French Foreign Office, G. du Maurier, and the wonderful little Jusserand, the chargé d'affaires in London, who is a great friend of mine, and to oblige and relieve whom it was that I invited the two other diplomatists, his friends, whom he had rather helplessly on his hands. THERE is the real difference—a gulf from the English (or the American) to the Frenchman, and vice versâ (still more); and not from the Englishman to the American. The Frenchmen I see all seem to me wonderful the first time—but not so much, at all, the second.—But I must finish this without having touched any of the sympathetic things I meant to say to you about your place, your work on it, Alice's prowesses as a country lady, the children's vie champêtre, etc. Aunt Kate, after her visit to you, praised all these things to us with profusion and evident sincerity. I wish I could see them—but the day seems far.—I haven't lain on the ground for so many years that I feel as if I had spent them up in a balloon. Next summer I shall come here—I mean to Switzerland, for which my taste has revived. I am full of gratulation on your enlarged classes, chances of reading, etc., and on your prospect of keeping the invalid child this winter. Give my tender love to Alice. You are entering the period of keen suspense about Cleveland, and I share it even here. I have lately begun to receive and read the Nation after a long interval—and it seems to me very rough. Was it ever so?... Ever your affectionate

HENRY JAMES.

IV
LATER LONDON YEARS
(1889-1897)

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.