There is one point at which the moral sense and the artistic sense lie very near together; that is in the light of the very obvious truth that the deepest quality of a work of art will always be the quality of the mind of the producer. In proportion as that intelligence is fine will the novel, the picture, the statue partake of the substance of beauty and truth. To be constituted of such elements is, to my vision, to have purpose enough. No good novel will ever proceed from a superficial mind; that seems to me an axiom which, for the artist in fiction, will cover all needful moral ground: if the youthful aspirant take it to heart it will illuminate for him many of the mysteries of “purpose.” There are many other useful things that might be said to him, but I have come to the end of my article, and can only touch them as I pass. The critic in the Pall Mall Gazette, whom I have already quoted, draws attention to the danger, in speaking of the art of fiction, of generalizing. The danger that he has in mind is rather, I imagine, that of particularizing, for there are some comprehensive remarks which, in addition to those embodied in Mr. Besant’s suggestive lecture, might without fear of misleading him be addressed to the ingenuous student. I should remind him first of the magnificence of the form that is open to him, which offers to sight so few restrictions and such innumerable opportunities. The other arts, in comparison, appear confined and hampered; the various conditions under which they are exercised are so rigid and definite. But the only condition that I can think of attaching to the composition of the novel is, as I have already said, that it be sincere. This freedom is a splendid privilege, and the first lesson of the young novelist is to learn to be worthy of it. “Enjoy it as it deserves,” I should say to him; “take possession of it, explore it to its utmost extent, publish it, rejoice in it. All life belongs to you, and do not listen either to those who would shut you up into corners of it and tell you that it is only here and there that art inhabits, or to those who would persuade you that this heavenly messenger wings her way outside of life altogether, breathing a superfine air, and turning away her head from the truth of things. There is no impression of life, no manner of seeing it and feeling it, to which the plan of the novelist may not offer a place; you have only to remember that talents so dissimilar as those of Alexandre Dumas and Jane Austen, Charles Dickens and Gustave Flaubert have worked in this field with equal glory. Do not think too much about optimism and pessimism; try and catch the colour of life itself. In France to-day we see a prodigious effort (that of Emile Zola, to whose solid and serious work no explorer of the capacity of the novel can allude without respect), we see an extraordinary effort vitiated by a spirit of pessimism on a narrow basis. M. Zola is magnificent, but he strikes an English reader as ignorant; he has an air of working in the dark; if he had as much light as energy, his results would be of the highest value. As for the aberrations of a shallow optimism, the ground (of English fiction especially) is strewn with their brittle particles as with broken glass. If you must indulge in conclusions, let them have the taste of a wide knowledge. Remember that your first duty is to be as complete as possible—to make as perfect a work. Be generous and delicate and pursue the prize.”
From The Question of Our Speech
“Our national use of vocal sound, in men and women alike, is slovenly.”
Appleton’s Booklover’s Magazine, August 1905. “The Question of Our Speech” was delivered in 1905 as the Bryn Mawr College commencement address during the American tour of 1904-1905. In this quietly hammering lecture, James aims to correct the careless speech patterns and unappealing “tonal quality” of the young American woman. As Leon Edel notes in Henry James: The Master, the lecture raised controversy. Letters to the editor objected to James’s own overly complex language, and Woodrow Wilson, then president of Princeton University, declared a preference for the direct prose of the American newspaper over the novelist’s “laborious” style.
These truths, you see, are incontestable; yet though you are daughters, fortunate in many respects, of great commonwealths that have been able to render you many attentions, to surround you with most of the advantages of peace and plenty, it is none the less definite that there will have been felt to reign among you, in general, no positive mark whatever, public or private, of an effective consciousness of any of them; the consciousness, namely—a sign of societies truly possessed of light—that no civilized body of men and women has ever left so vital an interest to run wild, to shift, as we say, all for itself, to stumble and flounder, through mere adventure and accident, in the common dust of life, to pick up a living, in fine, by the wayside and the ditch. Of the degree in which a society is civilized the vocal form, the vocal tone, the personal, social accent and sound of its intercourse, have always been held to give a direct reflection. That sound, that vocal form, the touchstone of manners, is the note, the representative note—representative of its having (in our poor, imperfect human degree) achieved civilization. Judged in this light, it must frankly be said, our civilization remains strikingly unachieved: the last of American idiosyncrasies, the last by which we can be conceived as “represented” in the international concert of culture, would be the pretension to a tone-standard, to our wooing comparison with that of other nations. The French, the Germans, the Italians, the English perhaps in particular, and many other people, Occidental and Oriental, I surmise, not excluding the Turks and the Chinese, have for the symbol of education, of civility, a tone-standard; we alone flourish in undisturbed and—as in the sense of so many other of our connections—in something like sublime unconsciousness of any such possibility.
It is impossible, in very fact, to have a tone-standard without the definite preliminary of a care for tone, and against a care for tone, it would very much appear, the elements of life in this country, as at present conditioned, violently and increasingly militate. At one or two reasons for this strange but consummate conspiracy I shall in a moment ask you to glance with me, but in the meanwhile I should go any length in agreeing with you about any such perversity, on the part of parents and guardians, pastors and masters, as their expecting the generations, whether of young women or young men, to arrive at a position of such comparative superiority alone—unsupported and unguided. There is no warrant for the placing on these inevitably rather light heads and hearts, on any company of you, assaulted, in our vast vague order, by many pressing wonderments, the whole of the burden of a care for tone. A care for tone is part of a care for many other things besides; for the fact, for the value, of good breeding, above all, as to which tone unites with various other personal, social signs to bear testimony. The idea of good breeding—without which intercourse fails to flower into fineness, without which human relations bear but crude and tasteless fruit—is one of the most precious conquests of civilization, the very core of our social heritage; but in the transmission of which it becomes us much more to be active and interested than merely passive and irresponsible participants. It is an idea, the idea of good breeding (in other words, simply the idea of secure good manners), for which, always, in every generation, there is yet more, and yet more, to be done; and no danger would be more lamentable than that of the real extinction, in our hands, of so sacred a flame. Flames, however, even the most sacred, do not go on burning of themselves; they require to be kept up; handed on the torch needs to be from one group of patient and competent watchers to another. The possibility, the preferability, of people’s speaking as people speak when their speech has had for them a signal importance, is a matter to be kept sharply present; from that comes support, comes example, comes authority—from that comes the inspiration of those comparative beginners of life, the hurrying children of time, who are but too exposed to be worked upon, by a hundred circumstances, in a different and inferior sense. You don’t speak soundly and agreeably, you don’t speak neatly and consistently, unless you know how you speak, how you may, how you should, how you shall speak, unless you have discriminated, unless you have noticed differences and suffered from violations and vulgarities; and you have not this posit
ive consciousness, you are incapable of any reaction of taste or sensibility worth mentioning, unless a great deal of thought of the matter has been taken for you.
Taking thought, in this connection, is what I mean by obtaining a tone-standard—a clear criterion of the best usage and example: which is but to recognize, once for all, that avoiding vulgarity, arriving at lucidity, pleasantness, charm, and contributing by the mode and the degree of utterance a colloquial, a genial value even to an inevitably limited quantity of intention, of thought, is an art to be acquired and cultivated, just as much as any of the other, subtler, arts of life. There are plenty of influences round about us that make for an imperfect disengagement of the human side of vocal sound, that make for the confused, the ugly, the flat, the thin, the mean, the helpless, that reduce articulation to an easy and ignoble minimum, and so keep it as little distinct as possible from the grunting, the squealing, the barking or the roaring of animals. I do not mean to say that civility of utterance may not become an all but unconscious beautiful habit—I mean to say, thank goodness, that this is exactly what it may become. But so to succeed it must be a collective and associated habit; for the greater the number of persons speaking well, in given conditions, the more that number will tend to increase, and the smaller the number the more that number will tend to shrink and lose itself in the desert of the common. Contact and communication, a beneficent contagion, bring about the happy state—the state of sensibility to tone, the state of recognizing, and responding to, certain vocal sounds as tone, and recognizing and reacting from certain others as negations of tone: negations the more offensive in proportion as they have most enjoyed impunity. You will have, indeed, in any at all aspiring cultivation of tone, a vast mass of assured impunity, of immunity on the wrong side of the line, to reckon with. There are in every quarter, in our social order, impunities of aggression and corruption in plenty; but there are none, I think, showing so unperturbed a face—wearing, I should slangily say, if slang were permitted me here, so impudent a “mug”—as the forces assembled to make you believe that no form of speech is provably better than another, and that just this matter of “care” is an affront to the majesty of sovereign ignorance. Oh, I don’t mean to say that you will find in the least a clear field and nothing but favor! The difficulty of your case is exactly the ground of my venturing thus to appeal to you. That there is difficulty, that there is a great blatant, blowing dragon to slay, can only constitute, as it appears to me, a call of honor for generous young minds, something of a trumpet-sound for tempers of high courage.
Our national use of vocal sound, in men and women alike, is slovenly—an absolutely inexpert daub of unapplied tone. It leaves us at the mercy of a medium that, as I say, is incomplete; which sufficiently accounts, as regards our whole vocal manifestation, for the effect of a want of finish. Noted sounds have their extent and their limits, their mass, however concentrated, and their edges; and what is the speech of a given society but a series, a more or less rich complexity, of noted sounds? Nothing is commoner than to see throughout our country, young persons of either sex—for the phenomenon is most marked, I think, for reasons I will touch on, in the newer generations—whose utterance can only be indicated by pronouncing it destitute of any approach to an emission of the consonant. It becomes thus a mere helpless slobber of disconnected vowel noises—the weakest and cheapest attempt at human expression that we shall easily encounter, I imagine, in any community pretending to the general instructed state. Observe, too, that the vowel sounds in themselves, at this rate, quite fail of any purity, for the reason that our consonants contribute to the drawing and modeling of our vowels—just as our vowels contribute to the coloring, to the painting, as we may call it, of our consonants, and that any frequent repetition of a vowel depending for all rounding and shaping on another vowel alone lays upon us an effort of the thorax under which we inevitably break down. Hence the undefined noises that I refer to when consonantal sound drops out; drops as it drops, for example, among those vast populations to whose lips, to whose ear, it is so rarely given to form the terminal letter of our “Yes,” or to hear it formed. The abject “Yeh-eh” (the ugliness of the drawl is not easy to represent) which usurps the place of that interesting vocable makes its nearest approach to deviating into the decency of a final consonant when it becomes a still more questionable “Yeh-ep.”
Vast numbers of people, indeed, even among those who speak very badly, appear to grope instinctively for some restoration of the missing value even at the cost of inserting it between words that begin and end with vowels. You will perfectly hear persons supposedly “cultivated,” the very instructors of youth sometimes themselves, talk of vanilla-r-ice-cream, of California-r-oranges, of Cuba-r-and Porto Rico, of Atalanta-r- in Calydon, and (very resentfully) of “the idea-r-of” any intimation that their performance and example in these respects may not be immaculate. You will perfectly hear the sons and daughters of the most respectable families disfigure in this interest, and for this purpose, the pleasant old names of Papa and Mamma. “Is Popper-up stairs?” and “is Mommer-in the parlor?” pass for excellent household speech in millions of honest homes. If the English say throughout, and not only sometimes, Papa and Mama, and the French say Papa and Maman, they say them consistently—and Popper, with an “r,” but illustrates our loss, much to be regretted, alas, of the power to emulate the clearness of the vowel-cutting, an art as delicate in its way as gem-cutting, in the French word. You will, again, perfectly hear a gentle hostess, solicitous for your comfort, tell you that if you wish to lie down there is a sofa-r-in your room. No one is “thought any the worse of” for saying these things; even though it be distinct that there are circles, in other communities, the societies still keeping the touchstone of manners, as I have called our question, in its place, where they would be punctually noted. It is not always a question of an r, however—though the letter, I grant, gets terribly little rest among those great masses of our population who strike us, in the boundless West perhaps especially, as, under some strange impulse received toward consonantal recovery of balance, making it present even in words from which it is absent, bringing it in everywhere as with the small vulgar effect of a sort of morose grinding of the back teeth. There are, you see, sounds of a mysterious intrinsic meanness, and there are sounds of a mysterious intrinsic frankness and sweetness; and I think the recurrent note I have indicated—fatherr and motherr and otherr, waterr and matterr and scatterr, harrd and barrd, parrt, starrt, and (dreadful to say) arrt (the repetition it is that drives home the ugliness), are signal specimens of what becomes of a custom of utterance out of which the principle of taste has dropped.