Notes on Novelists, with Some Other Notes. Henry Foss James

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СКАЧАТЬ romantic is by no means necessarily expensive, but of the many ways in which the practical, the active, has to be paid for this departure from frugality would be, it is easy to conceive, not the least. And we perceive his recognising this as he recognised everything—if not in time, then out of it; accepting inconsistency, as he always did, with the gaiety of a man of courage—not being, that is, however intelligent, priggish for logic and the grocer’s book any more than for anything else. Only everything made for keeping it up, and it was a great deal to keep up; though when he throws off “The Ebb-Tide” and rises to “Catriona,” and then again to “Weir of Hermiston,” as if he could rise to almost anything, we breathe anew and look longingly forward. The latest of these letters contain such admirable things, testify so to the reach of his intelligence and in short vibrate so with genius and charm, that we feel him at moments not only unexhausted but replenished, and capable perhaps, for all we know to the contrary, of new experiments and deeper notes. The intelligence and attention are so fine that he misses nothing from unawareness; not a gossamer thread of the “thought of the time” that, wafted to him on the other side of the globe, may not be caught in a branch and played with; he puts such a soul into nature and such human meanings, for comedy and tragedy, into what surrounds him, however shabby or short, that he really lives in society by living in his own perceptions and generosities or, as we say nowadays, his own atmosphere. In this atmosphere—which seems to have had the gift of abounding the more it was breathed by others—these pages somehow prompt us to see almost every object on his tropic isle bathed and refreshed.

      So far at any rate from growing thin for want of London he can transmit to London or to its neighbourhood communications such as it would scarce know otherwise where to seek. A letter to his cousin, R. A. M. Stevenson, of September 1894, touches so on all things and, as he would himself have said, so adorns them, brimming over with its happy extravagance of thought, that, far again from our feeling Vailima, in the light of it, to be out of the world, it strikes us that the world has moved for the time to Vailima. There is world enough everywhere, he quite unconsciously shows, for the individual, the right one, to be what we call a man of it. He has, like every one not convenienced with the pleasant back-door of stupidity, to make his account with seeing and facing more things, seeing and facing everything, with the unrest of new impressions and ideas, the loss of the fond complacencies of youth.

      But as I go on in life, day by day, I become more of a bewildered child; I cannot get used to this world, to procreation, to heredity, to sight, to hearing; the commonest things are a burthen. The prim obliterated polite face of life, and the broad, bawdy and orgiastic—or mænadic—foundations, form a spectacle to which no habit reconciles me; and “I could wish my days to be bound each to each” by the same open-mouthed wonder. They are anyway, and whether I wish it or not. … I remember very well your attitude to life—this conventional surface of it. You have none of that curiosity for the social stage directions, the trivial ficelles of the business; it is simian; but that is how the wild youth of man is captured.

      The whole letter is enchanting.

      But no doubt there is something great in the half success that has attended the effort of turning into an emotional region Bald Conduct without any appeal, or almost none, to the figurative, mysterious and constitutive facts of life. Not that conduct is not constitutive, but dear! it’s dreary! On the whole, conduct is better dealt with on the cast-iron “gentleman” and duty formula, with as little fervour and poetry as possible; stoical and short.

      The last letter of all, it will have been abundantly noted, has, with one of those characteristically thrown-out references to himself that were always half a whim, half a truth and all a picture, a remarkable premonition. It is addressed to Mr. Edmond Gosse.

      It is all very well to talk of renunciation, and of course it has to be done. But for my part, give me a roaring toothache! I do like to be deceived and to dream, but I have very little use for either watching or meditation. I was not born for age. … I am a childless, rather bitter, very clear-eyed, blighted youth. I have, in fact, lost the path that makes it easy and natural for you to descend the hill. I am going at it straight. And where I have to go down it is a precipice. … You can never write another dedication that can give the same pleasure to the vanished Tusitala.

      Two days later he met his end in the happiest form, by the straight swift bolt of the gods. It was, as all his readers know, with an admirable unfinished thing in hand, scarce a quarter written—a composition as to which his hopes were, presumably with much justice and as they were by no means always, of the highest. Nothing is more interesting than the rich way in which, in “Weir of Hermiston” and “Catriona,” the predominant imaginative Scot reasserts himself after gaps and lapses, distractions and deflections superficially extreme. There are surely few backward jumps of this energy more joyous and à pieds joints, or of a kind more interesting to a critic. The imaginative vision is hungry and tender just in proportion as the actual is otherwise beset; so that we must sigh always in vain for the quality that this purified flame, as we call it, would have been able to give the metal. And how many things for the critic the case suggests—how many possible reflections cluster about it and seem to take light from it! It was “romance” indeed, “Weir of Hermiston,” we feel, as we see it only grow in assurance and ease when the reach to it over all the spaces becomes more positively artificial. The case is literary to intensity, and, given the nature of the talent, only thereby the more beautiful: he embroiders in silk and silver—in defiance of climate and nature, of every near aspect, and with such another antique needle as was nowhere, least of all in those latitudes, to be bought—in the intervals of wondrous international and insular politics and of fifty material cares and complications. His special stock of association, most personal style and most unteachable trick fly away again to him like so many strayed birds to nest, each with the flutter in its beak of some scrap of document or legend, some fragment of picture or story, to be retouched, revarnished and reframed.

      These things he does with a gusto, moreover, for which it must be granted that his literary treatment of the islands and the island life had ever vainly waited. Curious enough that his years of the tropics and his fraternity with the natives never drew from him any such “rendered” view as might have been looked for in advance. For the absent and vanished Scotland he has the image—within the limits (too narrow ones we may perhaps judge) admitted by his particular poetic; but the law of these things in him was, as of many others, amusingly, conscientiously perverse. The Pacific, in which he materially delighted, made him “descriptively” serious and even rather dry; with his own country, on the other hand, materially impossible, he was ready to tread an endless measure. He easily sends us back again here to our vision of his mixture. There was only one thing on earth that he loved as much as literature—which was the total absence of it; and to the present, the immediate, whatever it was, he always made the latter offering. Samoa was susceptible of no “style”—none of that, above all, with which he was most conscious of an affinity—save the demonstration of its rightness for life; and this left the field abundantly clear for the Border, the Great North Road and the eighteenth century. I have been reading over “Catriona” and “Weir” with the purest pleasure with which we can follow a man of genius—that of seeing him abound in his own sense. In “Weir” especially, like an improvising pianist, he superabounds and revels, and his own sense, by a happy stroke, appeared likely never more fully and brightly to justify him; to have become even in some degree a new sense, with new chords and possibilities. It is the “old game,” but it is the old game that he exquisitely understands. The figure of Hermiston is creative work of the highest order, those of the two Kirsties, especially that of the elder, scarce less so; and we ache for the loss of a thing which could give out such touches as the quick joy, at finding herself in falsehood, of the enamoured girl whose brooding elder brother has told her that as soon as she has a lover she will begin to lie (“ ‘Will I have gotten my jo now?’ she thought with secret rapture”); or a passage so richly charged with imagination as that in which the young lover recalls her as he has first seen and desired her, seated at grey of evening on an old tomb in the moorland and unconsciously making him think, by her scrap of song, both of his mother, who sang it and whom he has lost, and

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