Генри Джеймс - Lady Barbarina, The Siege of London, An International Episode, and Other Tales

I have gathered into this volume several short fictions of the type I have already found it convenient to refer to as “international”—though I freely recognise, before the array of my productions, of whatever length and whatever brevity, the general applicability of that term. On the interest of contrasted things any painter of life and manners inevitably much depends, and contrast, fortunately for him, is easy to seek and to recognise; the only difficulty is in presenting it again with effect, in extracting from it its sense and its lesson. The reader of these volumes will certainly see it offered in no form so frequent or so salient as that of the opposition of aspects from country to country. Their author, I am quite aware, would seem struck with no possibility of contrast in the human lot so great as that encountered as we turn back and forth between the distinctively American and the distinctively European outlook. He might even perhaps on such a showing be represented as scarce aware, before the human scene, of any other sharp antithesis at all. He is far from denying that this one has always been vivid for him; yet there are cases in which, however obvious and however contributive, its office for the particular demonstration has been quite secondary, and in which the work is by no means merely addressed to the illustration of it. These things have had in the latter case their proper subject: as, for instance, the subject of “The Wings of the Dove,” or that of “The Golden Bowl,” has not been the exhibited behaviour of certain Americans as Americans, of certain English persons as English, of certain Romans as Romans. Americans, Englishmen, Romans are, in the whole matter, agents or victims; but this is in virtue of an association nowadays so developed, so easily to be taken for granted, as to have created a new scale of relations altogether, a state of things from which emphasised internationalism has either quite dropped or is well on its way to drop. The dramatic side of human situations subsists of course on contrast; and when we come to the two novels I have just named we shall see, for example, just how they positively provide themselves with that source of interest. We shall see nevertheless at the same time that the subject could in each case have been perfectly expressed had all the persons concerned been only American or only English or only Roman or whatever.

If it be asked then, in this light, why they deviate from that natural harmony, why the author resorts to the greater extravagance when the less would serve, the answer is simply that the course taken has been, on reflexion, the course of the greater amusement. That is an explanation adequate, I admit, only when itself a little explained—but I shall have due occasion to explain it. Let me for the moment merely note that the very condition I here glance at—that of the achieved social fusion, say, without the sense and experience of which neither “The Wings of the Dove,” nor “The Golden Bowl,” nor “The Portrait of a Lady,” nor even, after all, I think, “The Ambassadors,” would have been written—represents a series of facts of the highest interest and one that, at this time of day, the late-coming observer and painter, the novelist sometimes depressed by all the drawbacks of a literary form overworked and relaxed, can only rejoice to meet in his path and to measure more and more as a portent and an opportunity. In proportion as he intelligently meets it, and more especially in proportion as he may happen to have “assisted” from far back at so many of the odd and fresh phenomena involved, must he see a vast new province, infinitely peopled and infinitely elastic—by which I mean with incalculable power to grow—annexed to the kingdom of the dramatist. On this point, however, much more is to be said than I can touch on by the way—so that I return to my minor contention; which is that in a whole group of tales I here collect the principle of illustration has on the other hand quite definitely been that the idea could not have expressed itself without the narrower application of international terms. The contrast in “Lady Barbarina” depends altogether on the immitigable Anglicism of this young woman and that equally marked projection of New York elements and objects which, surrounding and framing her figure, throws it into eminent relief. She has her personal qualities, but the very interest, the very curiosity of the matter is that her imbroglio is able to attest itself with scarce so much as a reference to them. It plays itself out quite consistently on the plane of her general, her instinctive, her exasperatedly conscious ones. The others, the more intimate, the subtler, the finer—so far as there may have been such—virtually become, while the story is enacted, not relevant, though their relevancy might have come up on some other basis.

But that this is true, always in its degree, of each of the other contributions to the class before us, we shall sufficiently make out, I think, as we take them in their order. I am only struck, I may indeed parenthesise, with the inveteracy of the general ground (not to say of the extension I give it) over which my present remarks play. It does thus in truth come home to me that, combining and comparing in whatever proportions and by whatever lights, my “America” and its products would doubtless, as a theme, have betrayed gaps and infirmities enough without such a kicking-up of the dramatic dust (mainly in the foreground) as I could set my “Europe” in motion for; just as my Europe would probably have limped across our stage to no great effect of processional state without an ingenuous young America (constantly seen as ingenuous and young) to hold up its legendary train. At the same time I pretend not at all to regret my having had from the very first to see my workable world all and only as an unnatural mixture. No mixture, for that matter, is quite unnatural unless quite sterile, and the particular range of associations that betimes, to my eyes, blocked out everything else, blocked out aspects and combinations more simply conditioned, was at least not open to the reproach of not giving me results. These were but what they could be, of course; but such as they were, at all events, here am I at this time of day quite earnestly grouping, distinguishing, discussing them. The great truth in the whole connexion, however, is, I think, that one never really chooses one’s general range of vision—the experience from which ideas and themes and suggestions spring: this proves ever what it has had to be, this is one with the very turn one’s life has taken; so that whenever it “gives,” whatever it makes us feel and think of, we regard very much as imposed and inevitable. The subject thus pressed upon the artist is the necessity of his case and the fruit of his consciousness; which truth makes and has ever made of any quarrel with his subject, and stupid attempt to go behind that , the true stultification of criticism. The author of these remarks has in any case felt it, from far back, quite his least stupid course to meet halfway, as it were, the turn taken and the perceptions engendered by the tenor of his days. Here it is that he has never pretended to “go behind”—which would have been for him a deplorable waste of time. The thing of profit is to have your experience—to recognise and understand it, and for this almost any will do; there being surely no absolute ideal about it beyond getting from it all it has to give. The artist—for it is of this strange brood we speak—has but to have his honest sense of life to find it fed at every pore even as the birds of the air are fed; with more and more to give, in turn, as a consequence, and, quite by the same law that governs the responsive affection of a kindly-used animal, in proportion as more and more is confidently asked.