The Middle Years
Scribner’s Magazine, May 1893. In an 1892 note-book entry, the genesis of this tale concerns the “idea of the old artist, or man of letters, who, at the end, feels a kind of anguish of desire for a respite, a prolongation—another period of life to do the real thing he has in him—the things for which all the others have been but a slow preparation.” James’s later preface mainly addresses the tale’s formal requirements—“not that of the nouvelle, but that of the concise anecdote”—and he notes the need “to squeeze my subject into the five or six thousand words” allowed him for the particular publication. He would use the title again; in 1913 he would begin work on the fragmentary last volume—The Middle Years—of his three-volume autobiography.
The April day was soft and bright, and poor Dencombe, happy in the conceit of reasserted strength, stood in the garden of the hotel, comparing, with a deliberation in which, however, there was still something of languor, the attractions of easy strolls. He liked the feeling of the south, so far as you could have it in the north, he liked the sandy cliffs and the clustered pines, he liked even the colourless sea. “Bournemouth as a health-resort” had sounded like a mere advertisement, but now he was reconciled to the prosaic. The sociable country postman, passing through the garden, had just given him a small parcel, which he took out with him, leaving the hotel to the right and creeping to a convenient bench that he knew of, a safe recess in the cliff. It looked to the south, to the tinted walls of the Island, and was protected behind by the sloping shoulder of the down. He was tired enough when he reached it, and for a moment he was disappointed; he was better, of course, but better, after all, than what? He should never again, as at one or two great moments of the past, be better than himself. The infinite of life had gone, and what was left of the dose was a small glass engraved like a thermometer by the apothecary. He sat and stared at the sea, which appeared all surface and twinkle, far shallower than the spirit of man. It was the abyss of human illusion that was the real, the tideless deep. He held his packet, which had come by book-post, unopened on his knee, liking, in the lapse of so many joys (his illness had made him feel his age), to know that it was there, but taking for granted there could be no complete renewal of the pleasure, dear to young experience, of seeing one’s self “just out.” Dencombe, who had a reputation, had come out too often and knew too well in advance how he should look.
His postponement associated itself vaguely, after a little, with a group of three persons, two ladies and a young man, whom, beneath him, straggling and seemingly silent, he could see move slowly together along the sands. The gentleman had his head bent over a book and was occasionally brought to a stop by the charm of this volume, which, as Dencombe could perceive even at a distance, had a cover alluringly red. Then his companions, going a little further, waited for him to come up, poking their parasols into the beach, looking around them at the sea and sky and clearly sensible of the beauty of the day. To these things the young man with the book was still more clearly indifferent; lingering, credulous, absorbed, he was an object of envy to an observer from whose connection with literature all such artlessness had faded. One of the ladies was large and mature; the other had the spareness of comparative youth and of a social situation possibly inferior. The large lady carried back Dencombe’s imagination to the age of crinoline; she wore a hat of the shape of a mushroom, decorated with a blue veil, and had the air, in her aggressive amplitude, of clinging to a vanished fashion or even a lost cause. Presently her companion produced from under the folds of a mantle a limp, portable chair which she stiffened out and of which the large lady took possession. This act, and something in the movement of either party, instantly characterised the performers—they performed for Dencombe’s recreation—as opulent matron and humble dependant. What, moreover, was the use of being an approved novelist if one couldn’t establish a relation between such figures; the clever theory, for instance, that the young man was the son of the opulent matron, and that the humble dependant, the daughter of a clergyman or an officer, nourished a secret passion for him? Was that not visible from the way she stole behind her protectress to look back at him?—back to where he had let himself come to a full stop when his mother sat down to rest. His book was a novel; it had the catchpenny cover, and while the romance of life stood neglected at his side he lost himself in that of the circulating library. He moved mechanically to where the sand was softer, and ended by plumping down in it to finish his chapter at his ease. The humble dependant, discouraged by his remoteness, wandered, with a martyred droop of the head, in another direction, and the exorbitant lady, watching the waves, offered a confused resemblance to a flying-machine that had broken down.
When his drama began to fail Dencombe remembered that he had, after all, another pastime. Though such promptitude on the part of the publisher was rare, he was already able to draw from its wrapper his “latest,” perhaps his last. The cover of “The Middle Years” was duly meretricious, the smell of the fresh pages the very odour of sanctity; but for the moment he went no further—he had become conscious of a strange alienation. He had forgotten what his book was about. Had the assault of his old ailment, which he had so fallaciously come to Bournemouth to ward off, interposed utter blankness as to what had preceded it? He had finished the revision of proof before quitting London, but his subsequent fortnight in bed had passed the sponge over colour. He couldn’t have chanted to himself a single sentence, couldn’t have turned with curiosity or confidence to any particular page. His subject had already gone from him, leaving scarcely a superstition behind. He uttered a low moan as he breathed the chill of this dark void, so desperately it seemed to represent the completion of a sinister process. The tears filled his mild eyes; something precious had passed away. This was the pang that had been sharpest during the last few years—the sense of ebbing time, of shrinking opportunity; and now he felt not so much that his last chance was going as that it was gone indeed. He had done all that he should ever do, and yet he had not done what he wanted. This was the laceration—that practically his career was over: it was as violent as a rough hand at his throat. He rose from his seat nervously, like a creature hunted by a dread; then he fell back in his weakness and nervously opened his book. It was a single volume; he preferred single volumes and aimed at a rare compression. He began to read, and little by little, in this occupation, he was pacified and reassured. Everything came back to him, but came back with a wonder, came back, above all, with a high and magnificent beauty. He read his own prose, he turned his own leaves, and had, as he sat there with the spring sunshine on the page, an emotion peculiar and intense. His career was over, no doubt, but it was over, after all, with that.
He had forgotten during his illness the work of the previous year; but what he had chiefly forgotten was that it was extraordinarily good. He lived once more into his story and was drawn down, as by a siren’s hand, to where, in the dim underworld of fiction, the great glazed tank of art, strange silent subjects float. He recognised his motive and surrendered to his talent. Never, probably, had that talent, such as it was, been so fine. His difficulties were still there, but what was also there, to his perception, though probably, alas! to nobody’s else, was the art that in most cases had surmounted them. In his surprised enjoyment of this ability he had a glimpse of a possible reprieve. Surely its force was not spent—there was life and service in it yet. It had not come to him easily, it had been backward and roundabout. It was the child of time, the nursling of delay; he had struggled and suffered for it, making sacrifices not to be counted, and now that it was really mature was it to cease to yield, to confess itself brutally beaten? There was an infinite charm for Dencombe in feeling as he had never felt before that diligence vincit omnia. The result produced in his little book was somehow a result beyond his conscious intention: it was as if he had planted his genius, had trusted his method, and they had grown up and flowered with this sweetness. If the achievement had been real, however, the process had been m
anful enough. What he saw so intensely to-day, what he felt as a nail driven in, was that only now, at the very last, had he come into possession. His development had been abnormally slow, almost grotesquely gradual. He had been hindered and retarded by experience, and for long periods had only groped his way. It had taken too much of his life to produce too little of his art. The art had come, but it had come after everything else. As such a rate a first existence was too short—long enough only to collect material; so that to fructify, to use the material, one must have a second age, an extension. This extension was what poor Dencombe sighed for. As he turned the last leaves of his volume he murmured: “Ah for another go!—ah for a better chance!”
The three persons he had observed on the sands had vanished and then reappeared; they had now wandered up a path, an artificial and easy ascent, which led to the top of the cliff. Dencombe’s bench was half-way down, on a sheltered ledge, and the large lady, a massive, heterogeneous person, with bold black eyes and kind red cheeks, now took a few moments to rest. She wore dirty gauntlets and immense diamond ear-rings; at first she looked vulgar, but she contradicted this announcement in an agreeable off-hand tone. While her companions stood waiting for her she spread her skirts on the end of Dencombe’s seat. The young man had gold spectacles, through which, with his finger still in his red-covered book, he glanced at the volume, bound in the same shade of the same colour, lying on the lap of the original occupant of the bench. After an instant Dencombe understood that he was struck with a resemblance, had recognised the gilt stamp on the crimson cloth, was reading “The Middle Years,” and now perceived that somebody else had kept pace with him. The stranger was startled, possibly even a little ruffled, to find that he was not the only person who had been favoured with an early copy. The eyes of the two proprietors met for a moment, and Dencombe borrowed amusement from the expression of those of his competitor, those, it might even be inferred, of his admirer. They confessed to some resentment—they seemed to say: “Hang it, has he got it already?—Of course he’s a brute of a reviewer!” Dencombe shuffled his copy out of sight while the opulent matron, rising from her repose, broke out: “I feel already the good of this air!”
“I can’t say I do,” said the angular lady. “I find myself quite let down.”
“I find myself horribly hungry. At what time did you order lunch?” her protectress pursued.
The young person put the question by. “Doctor Hugh always orders it.”
“I ordered nothing to-day—I’m going to make you diet,” said their comrade.
“Then I shall go home and sleep. Qui dort dine!”
“Can I trust you to Miss Vernham?” asked Doctor Hugh of his elder companion.
“Don’t I trust you?” she archly inquired.
“Not too much!” Miss Vernham, with her eyes on the ground, permitted herself to declare. “You must come with us at least to the house,” she went on, while the personage on whom they appeared to be in attendance began to mount higher. She had got a little out of ear-shot; nevertheless Miss Vernham became, so far as Dencombe was concerned, less distinctly audible to murmur to the young man: “I don’t think you realise all you owe the Countess!”
Absently, a moment, Doctor Hugh caused his gold-rimmed spectacles to shine at her.
“Is that the way I strike you? I see—I see!”
“She’s awfully good to us,” continued Miss Vernham, compelled by her interlocutor’s immovability to stand there in spite of his discussion of private matters. Of what use would it have been that Dencombe should be sensitive to shades had he not declared in that immovability a strange influence from the quiet old convalescent in the great tweed cape? Miss Vernham appeared suddenly to become aware of some such connection, for she added in a moment: “If you want to sun yourself here you can come back after you’ve seen us home.”
Doctor Hugh, at this, hesitated, and Dencombe, in spite of a desire to pass for unconscious, risked a covert glance at him. What his eyes met this time, as it happened, was on the part of the young lady a queer stare, naturally vitreous, which made her aspect remind him of some figure (he couldn’t name it) in a play or a novel, some sinister governess or tragic old maid. She seemed to scrutinise him, to challenge him, to say, from general spite: “What have you got to do with us?” At the same instant the rich humour of the Countess reached them from above: “Come, come, my little lambs, you should follow your old bergère!” Miss Vernham turned away at this, pursuing the ascent, and Doctor Hugh, after another mute appeal to Dencombe and a moment’s evident demur, deposited his book on the bench, as if to keep his place or even as a sign that he would return, and bounded without difficulty up the rougher part of the cliff.
Equally innocent and infinite are the pleasures of observation and the resources engendered by the habit of analysing life. It amused poor Dencombe, as he dawdled in his tepid air-bath, to think that he was waiting for a revelation of something at the back of a fine young mind. He looked hard at the book on the end of the bench, but he wouldn’t have touched it for the world. It served his purpose to have a theory which should not be exposed to refutation. He already felt better of his melancholy; he had, according to his old formula, put his head at the window. A passing Countess could draw off the fancy when, like the elder of the ladies who had just retreated, she was as obvious as the giantess of a caravan. It was indeed general views that were terrible; short ones, contrary to an opinion sometimes expressed, were the refuge, were the remedy. Doctor Hugh couldn’t possibly be anything but a reviewer who had understandings for early copies with publishers or with newspapers. He reappeared in a quarter of an hour, with visible relief at finding Dencombe on the spot, and the gleam of white teeth in an embarrassed but generous smile. He was perceptibly disappointed at the eclipse of the other copy of the book; it was a pretext the less for speaking to the stranger. But he spoke notwithstanding; he held up his own copy and broke out pleadingly:
“Do say, if you have occasion to speak of it, that it’s the best thing he has done yet!”
Dencombe responded with a laugh: “Done yet” was so amusing to him, made such a grand avenue of the future. Better still, the young man took him for a reviewer. He pulled out “The Middle Years” from under his cape, but instinctively concealed any tell-tale look of fatherhood. This was partly because a person was always a fool for calling attention to his work. “Is that what you’re going to say yourself?” he inquired of his visitor.
“I’m not quite sure I shall write anything. I don’t, as a regular thing—I enjoy in peace. But it’s awfully fine.”
Dencombe debated a moment. If his interlocutor had begun to abuse him he would have confessed on the spot to his identity, but there was no harm in drawing him on a little to praise. He drew him on with such success that in a few moments his new acquaintance, seated by his side, was confessing candidly that Dencombe’s novels were the only ones he could read a second time. He had come the day before from London, where a friend of his, a journalist, had lent him his copy of the last—the copy sent to the office of the journal and already the subject of a “notice” which, as was pretended there (but one had to allow for “swagger”) it had taken a full quarter of an hour to prepare. He intimated that he was ashamed for his friend, and in the case of a work demanding and repaying study, of such inferior manners; and, with his fresh appreciation and inexplicable wish to express it, he speedily became for poor Dencombe a remarkable, a delightful apparition. Chance had brought the weary man of letters face to face with the greatest admirer in the new generation whom it was supposable he possessed. The admirer, in truth, was mystifying, so rare a case was it to find a bristling young doctor—he looked like a German physiologist—enamoured of literary form. It was an accident, but happier than most accidents, so that Dencombe, exhilarated as well as confounded, spent half an hour in making his visitor talk while he kept himself quiet. He explained his premature possession of “The Middle Years” by an allusion to the friendship of the publisher, who, know
ing he was at Bournemouth for his health, had paid him this graceful attention. He admitted that he had been ill, for Doctor Hugh would infallibly have guessed it; he even went so far as to wonder whether he mightn’t look for some hygienic “tip” from a personage combining so bright an enthusiasm with a presumable knowledge of the remedies now in vogue. It would shake his faith a little perhaps to have to take a doctor seriously who could take him so seriously, but he enjoyed this gushing modern youth and he felt with an acute pang that there would still be work to do in a world in which such odd combinations were presented. It was not true, what he had tried for renunciation’s sake to believe, that all the combinations were exhausted. They were not, they were not—they were infinite: the exhaustion was in the miserable artist.
Doctor Hugh was an ardent physiologist, saturated with the spirit of the age—in other words he had just taken his degree; but he was independent and various, he talked like a man who would have preferred to love literature best. He would fain have made fine phrases, but nature had denied him the trick. Some of the finest in “The Middle Years” had struck him inordinately, and he took the liberty of reading them to Dencombe in support of his plea. He grew vivid, in the balmy air, to his companion, for whose deep refreshment he seemed to have been sent; and was particularly ingenuous in describing how recently he had become acquainted, and how instantly infatuated, with the only man who had put flesh between the ribs of an art that was starving on superstitions. He had not yet written to him—he was deterred by a sentiment of respect. Dencombe at this moment felicitated himself more than ever on having never answered the photographers. His visitor’s attitude promised him a luxury of intercourse, but he surmised that a certain security in it, for Doctor Hugh, would depend not a little on the Countess. He learned without delay with what variety of Countess they were concerned, as well as the nature of the tie that united the curious trio. The large lady, an Englishwoman by birth and the daughter of a celebrated baritone, whose taste, without his talent, she had inherited, was the widow of a French nobleman and mistress of all that remained of the handsome fortune, the fruit of her father’s earnings, that had constituted her dower. Miss Vernham, an odd creature but an accomplished pianist, was attached to her person at a salary. The Countess was generous, independent, eccentric; she travelled with her minstrel and her medical man. Ignorant and passionate, she had nevertheless moments in which she was almost irresistible. Dencombe saw her sit for her portrait in Doctor Hugh’s free sketch, and felt the picture of his young friend’s relation to her frame itself in his mind. This young friend, for a representative of the new psychology, was himself easily hypnotised, and if he became abnormally communicative it was only a sign of his real subjection. Dencombe did accordingly what he wanted with him, even without being known as Dencombe.