Henry James

  I secured and preserved for long William’s finished rendering of the happy figure—which was to speak for the original, after his gallant death, in sharper and finer accents perhaps than aught else that remained of him; and it wanted but another occasion somewhat later on, that of the sitting to the pair of pupils under Hunt’s direction of a subject presented as a still larger challenge, to feel that I had irrecoverably renounced. Very handsome were the head and shoulders of Katharine Temple, the eldest of those Albany cousins then gathered at Newport under their, and derivatively our, Aunt Mary’s wing, who afterwards was to become Mrs. Richard Emmet—the Temples and the Emmets being so much addicted to alliances that a still later generation was to bristle for us with a delightful Emmetry, each member of it a different blessing; she sat with endless patience, the serenest of models, and W. J.’s portrait of her in oils survives (as well as La Farge’s, dealing with her in another view) as a really mature, an almost masterly, piece of painting, having, as has been happily suggested to me, much the air of a characteristic Manet. Such demonstrations would throw one back on regret, so far as my brother was concerned, if subsequent counter-demonstrations hadn’t had it in them so much to check the train. For myself at the hour, in any case, the beautiful success with Kitty Temple did nothing but hurry on the future, just as the sight of the charming thing to-day, not less than that of La Farge’s profil perdu, or presented ear and neck and gathered braids of hair, quite as charming and quite as painted, touchingly reanimates the past. I say touchingly because of the remembered pang of my acceptance of an admonition so sharply conveyed. Therefore if somewhat later on I could still so fondly hang about in that air of production—so far at least as it enveloped our friend, and particularly after his marriage and his setting up of his house at Newport, vivid proofs alike, as seemed to us all, of his consummate, his raffiné taste, even if we hadn’t yet, I think, that epithet for this—it was altogether in the form of mere helpless admirer and inhaler, led captive in part by the dawning perception that the arts were after all essentially one and that even with canvas and brush whisked out of my grasp I still needn’t feel disinherited. That was the luxury of the friend and senior with a literary side—that if there were futilities that he didn’t bring home to me he nevertheless opened more windows than he closed; since he couldn’t have meant nothing by causing my eyes to plunge so straight into the square and dense little formal garden of Mérimée. I might occasionally serve for an abundantly idle young out-of-doors model—as in fact I frequently did, the best perhaps of his early exhibitions of a rare colour-sense even now attesting it; but mightn’t it become possible that Mérimée would meanwhile serve for me?

  Didn’t I already see, as I fumbled with a pen, of what the small dense formal garden might be inspiringly symbolic? It was above all wonderful in the La Farge of those years that even as he painted and painted, very slowly and intently and belatedly—his habit of putting back the clock and ignoring every time-scheme but his own was matched only by his view of the constant timeliness of talk, talk as talk, for which no moment, no suspended step, was too odd or too fleeting—he remained as referentially and unexhaustedly bookish, he turned his back by the act as little on our theory of his omniscience as he ceased to disown his job, whatever it might be, while endlessly burying his salient and reinforced eyes and his visibly active organ of scent in some minutest rarity of print, some precious ancientry of binding, mechanically plucked, by the hazard of a touch, from one of the shelves of a stored collection that easily passed with us for unapproached.

  Portrait in oils of Miss Katharine Temple, 1861.

  He lost himself on these occasions both by a natural ease and by his early adoption and application of the principle of the imperturbable, which promised even from those days to govern his conduct well-nigh to the exclusion of every other. We were to know surely as time went on no comparable case of consistency of attitude—no other such prompt grasp by a nature essentially entire, a settled sovereign self, of the truth of what would work for it most favourably should it but succeed in never yielding the first inch of any ground. Immense every ground thus became by its covering itself from edge to edge with the defence of his serenity, which, whatever his fathomless private dealings with it, was never consentingly, I mean publicly, to suffer a grain of abatement. The artist’s serenity, by this conception, was an intellectual and spiritual capital that must never brook defeat—which it so easily might incur by a single act of abdication. That was at any rate the case for the particular artist and the particular nature he felt himself, armour-proof as they became against the appeal of sacrifice. Sacrifice was fallibility, and one could only of course be consistent if one inveterately had hold of the truth. There was no safety or, otherwise, no inward serenity or even outward—though the outward came secondly—unless there was no deflection; none into the question, that is, of what might make for the serenity of others, which was their own affair and which above all seemed not urgent in comparison with the supreme artistic. It wasn’t that the artist hadn’t to pay, to pay for the general stupidity, perversity and perfidy, from the moment he might have to deal with these things; that was the inevitable suffering, and it was always there; but it could be more or less borne if one was systematically, or rather if one was naturally, or even, better still, preternaturally, in the right; since this meant the larger, the largest serenity. That account of so fine a case of inward confidence would indeed during those very first years have sinned somewhat by anticipation; yet something of the beauty—that is of the unmatched virtuosity—of the attitude finally achieved did even at the early time colour the air of intercourse with him for those who had either few enough or many enough of their own reserves. The second of these conditions sprang from a due anxiety for one’s own interests, more or less defined in advance and therefore, as might be, more or less menaced; the other proviso easily went with vagueness—vagueness as to what things were one’s interests, seeing that the exhibited working of an esthetic and a moral confidence conjoined on that scale and at play together unhampered would perhaps prove for the time an attraction beyond any other. This reflection must verily, in our relation, have brought about my own quietus—so far as that mild ecstasy could be divorced from agitation. I recall at all events less of the agitation than of the ecstasy; the primary months, certain aspects even of the few following years, look out at me as from fine accommodations, acceptances, submissions, emotions, all melted together, that one must have taken for joys of the mind and gains of the imagination so clear as to cost one practically nothing. They are what I see, and are all I want to see, as I look back; there hangs about them a charm of thrilled good faith, the flush and throb of crowding apprehensions, that has scarce faded and of which I can only wish to give the whole picture the benefit. I bottle this imponderable extract of the loitering summers of youth, when every occasion really seemed to stay to be gathered and tasted, just for the sake of its faint sweetness.

  Some time since, in Boston, I spent an hour before a commemorative cluster of La Farge’s earlier productions, gathered in on the occasion of his death, with the effect as of a plummet suddenly dropped into obscure depths long unstirred, that of a remembered participation, it didn’t seem too much to say, in the far-away difficult business of their getting themselves born. These things, almost all finished studies of landscape, small and fond celebrations of the modest little Newport harmonies, the spare felicities and delicacies of a range of aspects that have ceased to appeal or to “count,” called back into life a hundred memories, laid bare the very footsteps of time, light and uncertain though so often the imprint. I seemed so to have been there by the projection of curiosity and sympathy, if not by having literally looked in, when the greater number of such effects worked themselves out, that they spoke to me of my own history—through the felt intensity of my commission, as it were, to speak for my old friend. The terms on which he was ever ready to draw out for us the interesting hours, terms of patience as they essentially were
for the edified party, lived again in this record, but with the old supposition of profit, or in other words the old sense of pleasure, of precious acquisition and intenser experience, more vivid than anything else. There recurs to me for instance one of the smallest of adventures, as tiny a thing as could incur the name and which was of the early stage of our acquaintance, when he proposed to me that we should drive out to the Glen, some six miles off, to breakfast, and should afterwards paint—we paint!—in the bosky open air. It looks at this distance a mythic time, that of felt inducements to travel so far at such an hour and in a backless buggy on the supposition of rustic fare. But different ages have different measures, and I quite remember how ours, that morning, at the neat hostel in the umbrageous valley, overflowed with coffee and griddle-cakes that were not as other earthly refreshment, and how a spell of romance rested for several hours on our invocation of the genius of the scene: of such material, with the help of the attuned spirit, may great events consent to be composed. My companion, his easel and canvas, his palette and stool and other accessories happily placed, settled to his subject, while I, at a respectful distance, settled to mine and to the preparation of this strange fruit of time, my having kept the impression as if it really mattered. It did indeed matter, it was to continue to have done so, and when I ask myself the reason I find this in something as rare and deep and beautiful as a passage of old poetry, a scrap of old legend, in the vagueness of rustling murmuring green and plashing water and woodland voices and images, flitting hovering possibilities; the most retained of these last of course being the chance that one’s small daub (for I too had my easel and panel and palette) might incur appreciation by the eye of friendship. This indeed was the true source of the spell, that it was in the eye of friendship, friendship full of character and colour, and full of amusement of its own, that I lived on any such occasion, and that I had come forth in the morning cool and had found our breakfast at the inn a thing of ineffable savour, and that I now sat and flurriedly and fearfully aspired. Yes, the interesting ineffectual and exquisite array of the Boston “show” smote for me most the chord of the prime questions, the admirations and expectations at first so confident, even that of those refinements of loyalty out of which the last and highest tribute was to spring; the consideration, I mean, of whether our extraordinary associate, neither promptly understood nor inveterately accepted, might not eventually be judged such a colourist and such a poet that owners of his first felicities, those very ones over which he was actually bending, and with a touch so inscrutable, such “tonalities” of his own, would find themselves envied and rich. I remember positively liking to see most people stupid about him, and to make them out, I dare say, more numerously stupid than they really were: this perhaps in some degree as a bright communication of his own spirit—which discerned from so far off that of the bitterest-sweet cup it was abundantly to taste; and partly because the case would after that fashion only have its highest interest. The highest interest, the very highest, it certainly couldn’t fail to have; and the beauty of a final poetic justice, with exquisite delays, the whole romance of conscious delicacy and heroic patience intervening, was just what we seemed to see meanwhile stow itself expectantly away.

  This view of the inevitable fate of distinguished work was thus, on my part, as it comes before me again, of early development, and I admit that I should appear to antedate it hadn’t I in renewed presence of each of the particular predestined objects of sacrifice I have glanced at caught myself in the very act of that invidious apprehension, that fondest contemporaneity. There were the charming individual things round the production of which I had so at once elatedly and resignedly circled; and nothing remained at the end of time but to test the historic question. Was the quiet chamber of the Boston museum a constitution of poetic justice long awaited and at last fully cognisant?—or did the event perhaps fail to give out, after all, the essence of our far-away forecast? I think that what showed clearest, or what I, at any rate, most sharply felt, was the very difficulty of saying; which fact meant of course, I recognise, that the story fell a little short, alas, of rounding itself off. Poetic justice, when it comes, I gather, comes ever with a great shining; so that if there is any doubt about it the source of the doubt is in the very depths of the case and has been from the first at work there. It literally seems to me, besides, that there was more history and thereby more interest recoverable as the matter stood than if every answer to every question about it hadn’t had a fine ambiguity. I like ambiguities and detest great glares; preferring thus for my critical no less than for my pedestrian progress the cool and the shade to the sun and dust of the way. There was an exquisite effort of which I had been peculiarly sure; the large canvas of the view of the Paradise Rocks over against Newport, but within the island and beyond the “second beach”—such were our thin designations! On the high style and the grand manner of this thing, even though a little uneasy before the absence from it of a certain crânerie of touch, I would have staked every grain of my grounded sensibility—in spite of which, on second thoughts, I shall let that faded fact, and no other contention at all, be my last word about it. For the prevailing force, within the Boston walls, the supreme magic anything was to distil, just melted into another connection which flung a soft mantle as over the whole show. It became, from the question of how even a man of perceptive genius had painted what we then locally regarded as our scenery, a question of how we ourselves had felt and cherished that scenery; which latter of these two memories swept for me everything before it. The scenery we cherished—by which I really mean, I fear, but four or five of us—has now been grossly and utterly sacrificed; in the sense that its range was all for the pedestrian measure, that to overwalk it was to love it and to love it to overwalk it, and that no such relation with it as either of these appears possible or thinkable to-day. We had, the four or five of us, the instinct—the very finest this must have been—of its scale and constitution, the adorable wise economy with which nature had handled it and in the light of which the whole seaward and insular extension of the comparatively futile town, untrodden, unsuspected, practically all inviolate, offered a course for the long afternoon ramble more in harmony with the invocations, or for that matter the evocations, of youth than we most of us, with appreciation so rooted, were perhaps ever to know. We knew already, we knew then, that no such range of airs would ever again be played for us on but two or three silver strings. They were but two or three—the sea so often as of the isles of Greece, the mildly but perpetually embayed promontories of mossy rock and wasted thankless pasture, bathed in a refinement of radiance and a sweetness of solitude which amounted in themselves to the highest “finish”; and little more than the feeling, with all this, or rather with no more than this, that possession, discrimination, far frequentation, were ours alone, and that a grassy rocky tide-washed, just a bare, though ever so fine-grained, toned and tinted breast of nature and field of fancy stretched for us to the low horizon’s furthest rim. The vast region—it struck us then as vast—was practically roadless, but this, far from making it a desert, made it a kind of boundless empty carpeted saloon. It comes back to me that nobody in those days walked, nobody but the three or four of us—or indeed I should say, if pushed, the single pair in particular of whom I was one and the other Thomas Sargeant Perry, superexcellent and all-reading, all-engulfing friend of those days and still, sole survivor, of these, I thus found deeply consecrated that love of the long, again and again of the very longest possible, walk which was to see me, year after year, through so many of the twists and past so many of the threatened blocks of life’s road, and which, during the early and American period, was to make me lone and perverse even in my own sight: so little was it ever given me then, wherever I scanned the view, to descry a fellow-pedestrian. The pedestrians came to succumb altogether, at Newport, to this virtual challenge of their strange agitation—by the circumstance, that is, of their being offered at last, to importunity, the vulgar road, under the invasion of whic
h the old rich alternative miserably dwindled.