Henry James

  Governor Aiken of S.C. came up to Hdqrs to-day to call on the Gen’l, and they had a long talk. He is a “gradual Emancipationist” and says the worst of the President’s acts was his sweeping Proclamation. Before that every one in this State was ready to come back on the gradual system, and would have done so if Lincoln’s act hadn’t driven them to madness. This is all fine talk, but there is nothing in it. They had at least 5 months’ warning and could have in that time perfectly returned within the fold; in fact the strong Abolitionists of the North were afraid the President had made the thing but too easy for them and that they would get ahead of us and themselves emancipate. This poor gentleman is simple crazy and weakminded. Between Davis and us he is puzzled beyond measure, and doesn’t know what line to take. One thing though troubled him most, namely the ingratitude of the negro. He can’t conceive how the creatures he has treated with such extraordinary kindness and taken such care of should all be willing to leave him. He says he was the first man in the South to introduce religion among the blacks and that his plantation of 600 of them was a model of civilisation and peace. Just think of this immense slaveholder telling me as I drove him home that the coat he had on had been turned three times and his pantaloons the only ones he possessed. He stated this so simply and touchingly that I couldn’t help offering him a pair of mine—which he refused, however. There are some 10,000 people in the town, mostly women and negroes, and it’s tremendously ravaged by our shell, about which they have naturally lied from beginning to end.

  “Bob has just come down from Charleston,” he writes in March—“he has been commissioned captain in the 103rd U.S.C.T. I am sorry he has left his regiment, still he seemed bent on doing so and offers all kinds of reasons for it. He may judge rightly, but I fear he’s hasty;” and indeed this might appear from a glimpse of our younger brother at his ease given by him in a letter of some days before, written at two o’clock in the morning and recording a day spent in a somewhat arduously performed visit to Charleston. “I drove out to the entrenchments to-day to see B., and found him with Hartwell (R. J.’s colonel) smoking their long pipes on the verandah of a neat country cottage with a beautiful garden in front of them and the birds chirping and rambling around. Bob looks remarkably well and seemed very nice indeed. He speaks very highly of Hartwell, and the latter the same of him. They seemed settled in remarkable comfort at Charleston and to be taking life easy after their 180 miles march through South Carolina.” He mentions further that his visit to the captured city, begun the previous day, had been made in interesting conditions; there is in fact matter for quotation throughout the letter, the last of the small group from which I shall borrow. He had, with his general, accompanied a “large Senatorial delegation from Washington and shown them round the place.” He records the delegation’s “delight” in what they saw; how “a large crowd of young ladies” were of the party, so that the Senatorial presences were “somewhat relieved and lightened to the members of the staff;” and also that they all went over to Forts Sumter and Moultrie and the adjacent works. The pleasure of the whole company in the scene of desolation thus presented is one of those ingenuous historic strokes that the time-spirit, after a sufficient interval, permits itself to smile at—and is not the only such, it may be noted, in the sincere young statement.

  To-morrow they go to Savannah, returning here in the evening, when there is to be a grand reception for them at Hdqrs. We expect Gen’l Robert Anderson (the loyalist commandant at Sumter when originally fired upon) by the next steamer, with Gideon Welles (secretary of the Navy) and a number of other notables from Washington. Anderson is going to raise the old flag on Sumter, and of course there will be a great shindy here—I only wish you were with us to join in it. I never go to Sumter without the deepest exhilaration—so many scenes come to my mind. It’s the centre of the nest, and for one to be there is to feel that the whole game is up. These people have always insisted that there the last gun should be fired. But the suffering and desolation of this land is the worst feature of the whole thing. If you could see what they are reduced to you couldn’t help being touched. The best people are in utter penury; they look like the poorest of the poor and they talk like them also. They are deeply demoralised, in fact degraded. Charleston is more forsaken and stricken than I can describe; it reminds me when I go through the streets of some old doomed city on which the wrath of God has rested from far back, and if it ever revives will do so simply through the infinite mercy and charity of the North. But for this generation at least the inhabitants are done for. Can’t H. come down and pay us a visit of 2 or 3 weeks? I can get him a War Dept. pass approved by General Gillmore.

  H. knew and well remembers the pang of his inability to accept this invitation, to the value of which for emphasis of tragic life on the scene of the great drama the next passage adds a touch. Mrs. William Young, the lady alluded to, was a friend we had known almost only on the European stage and amid the bright associations of Paris in particular. Whom did we suppose he had met on the arrival of a steamer from the North but this more or less distracted acquaintance of other days?—who had come down “to try and get her stepmother into our lines and take her home. She is accompanied by a friend from New York, and expects to succeed in her undertaking. I hardly think she will, however, as her mother is 90 miles out of our lines and a very old woman. We have sent a negro out to give her Mrs. Young’s news, but how can this poor old thing travel such a distance on foot and sleep in the swamp besides? It’s an absurd idea, but I shall do everything in my power to facilitate it.” Of what further befell I gather no account; but I remember how a later time was to cause me to remark on the manner in which even dire tragedy may lapse, in the individual life, and leave no trace on the ground it has ravaged—none at least apparent unless pushingly searched for. The last thing to infer from appearances, on much subsequent renewal of contact with Mrs. Young in Paris again, was that this tension of a reach forth across great war-wasted and swamp-smothered spaces for recovery of an aged and half-starved pedestrian female relative counted for her as a chapter of experience: the experience of Paris dressmakers and other like matters had so revived and supervened. But let me add that I speak here of mere appearances, and have ever inclined to the more ironic and more complicating vision of them. It would doubtless have been too simple for wonder that our elegant friend should have lived, as it were, under the cloud of reminiscence—and wonder had always somewhere to come in.

  10My youngest brother’s ingenuity was to know as little rest during much of his life as his strong faculty of agitation—to the employment of which it was indeed not least remarkably applied. Many illustrations of it would be to give, had I more margin; and not one of them anything less than striking, thanks to the vivacity of his intelligence, the variety of his gifts and the native ability in which he was himself so much less interested than was the case with everyone he met, however casually, that he became, many years before his death in

  1910, our one gentleman of leisure: so far as this condition might consort with the easiest aptitude for admirable talk, charged with natural life, perception, humour and colour, that I have perhaps ever known. There were times when Bob’s spoken overflow struck me as the equivalent, for fine animation, of William’s epistolary. The note of the ingenious in him spent itself as he went, but I find an echo of one of its many incidents in the passage of verse that I am here moved to rescue from undue obscurity. It is too “amateurish” and has too many irregular lines, but images admirably the play of spirit in him which after ranging through much misadventure could at last drop to an almost effective grasp of the happiest relation.

  Although I lie so low and still

  Here came I by the Master’s will;

  He smote at last to make me free,

  As He was smitten on the tree

  And nailèd there. He knew of old

  The human heart, and mine is cold;

  And I know now that all we gain

  Until we come to Him is vain.
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  Thy hands have never wrought a deed,

  Thy heart has never known a need,

  That went astray in His great plan

  Since far-off days when youth began.

  For in that vast and perfect plan

  Where time is but an empty span

  Our Master waits. He knows our want,

  We know not his—till pale and gaunt

  With weariness of life we come

  And say to Him, What shall I be?

  Oh Master, smite, but make me free

  Perchance in these far worlds to know

  The better thing we sought to be.

  And then upon thy couch lie down

  And fold the hands which have not sown;

  And as thou liest there alone

  Perhaps some breath from seraph blown

  As soft as dew upon the rose

  Will fall upon thee at life’s close.

  So thou wilt say, At last, at last!

  All pain is love when pain is past!

  And to the Master once again:

  Oh keep my heart too weak to pray;

  I ask no longer questions vain

  Of life and love, of loss and gain—

  These for the living are and strong;

  I go to Thee, to Thee belong.

  Once was I wakened by Thy light,

  But years have passed, and now the night

  Takes me to Thee. I am content;

  So be it in Thy perfect plan

  A mansion is where I am sent

  To dwell among the innocent.

  XII

  IT HAD been, however, neither at Newport nor at Cambridge—the Cambridge at least of that single year—that the plot began most to thicken for me: I figure it as a sudden stride into conditions of a sort to minister and inspire much more, all round, that we early in 1864 migrated, as a family, to Boston, and that I now seem to see the scene of our existence there for a couple of years packed with drama of a finer consistency than any I had yet tasted. We settled for the interesting time in Ashburton Place—the “sympathetic” old house we occupied, one of a pair of tallish brick fronts based, as to its ground floor, upon the dignity of time-darkened granite, was lately swept away in the interest of I know not what grander cause; and when I wish to think of such intercourse as I have enjoyed with the good city at its closest and, as who should say its kindest, though this comes doubtless but to saying at its freshest, I live over again the story of that sojourn, a period bristling, while I recover my sense of it, with an unprecedented number of simultaneous particulars. To stick, as I can only do, to the point from which my own young outlook worked, the things going on for me so tremendously all at once were in the first place the last impressions of the War, a whole social relation to it crowding upon us there as for many reasons, all of the best, it couldn’t have done elsewhere; and then, more personally speaking, the prodigious little assurance I found myself gathering as from one day to another that fortune had in store some response to my deeply reserved but quite unabashed design of becoming as “literary” as might be. It was as if, our whole new medium of existence aiding, I had begun to see much further into the question of how that end was gained. The vision, quickened by a wealth, a great mixture, of new appearances, became such a throbbing affair that my memory of the time from the spring of ’64 to the autumn of ’66 moves as through an apartment hung with garlands and lights—where I have but to breathe for an instant on the flowers again to see them flush with colour, and but tenderly to snuff the candles to see them twinkle afresh. Things happened, and happened repeatedly, the mere brush or side-wind of which was the stir of life; and the fact that I see, when I consider, how it was mostly the mere side-wind I got, doesn’t draw from the picture a shade of its virtue. I literally, and under whatever felt restriction of my power to knock about, formed independent relations—several; and two or three of them, as I then thought, of the very most momentous. I may not attempt just here to go far into these, save for the exception of the easiest to treat, which I also, by good fortune, win back as by no means the least absorbing—the beautiful, the entrancing presumption that I should have but to write with sufficient difficulty and sufficient felicity to get once for all (that was the point) into the incredibility of print. I see before me, in the rich, the many-hued light of my room that overhung dear Ashburton Place from our third floor, the very greenbacks, to the total value of twelve dollars, into which I had changed the cheque representing my first earned wage. I had earned it, I couldn’t but feel, with fabulous felicity: a circumstance so strangely mixed with the fact that literary composition of a high order had, at that very table where the greenbacks were spread out, quite viciously declined, and with the air of its being also once for all, to “come” on any save its own essential terms, which it seemed to distinguish in the most invidious manner conceivable from mine. It was to insist through all my course on this distinction, and sordid gain thereby never again to seem so easy as in that prime handling of my fee. Other guerdons, of the same queer, the same often rather greasy, complexion followed; for what had I done, to the accompaniment of a thrill the most ineffable, an agitation that, as I recapture it, affects me as never exceeded in all my life for fineness, but go one beautiful morning out to Shady Hill at Cambridge and there drink to the lees the offered cup of editorial sweetness?—none ever again to be more delicately mixed. I had addressed in trembling hope my first fond attempt at literary criticism to Charles Eliot Norton, who had lately, and with the highest, brightest competence, come to the rescue of the North American Review, submerged in a stale tradition and gasping for life, and he had not only published it in his very next number—the interval for me of breathless brevity—but had expressed the liveliest further hospitality, the gage of which was thus at once his welcome to me at home. I was to grow fond of regarding as a positive consecration to letters that half-hour in the long library at Shady Hill, where the winter sunshine touched serene bookshelves and arrayed pictures, the whole embrowned composition of objects in my view, with I knew not what golden light of promise, what assurance of things to come: there was to be nothing exactly like it later on—the conditions of perfect rightness for a certain fresh felicity, certain decisive pressures of the spring, can occur, it would seem, but once. This was on the other hand the beginning of so many intentions that it mattered little if the particular occasion was not repeated; for what did I do again and again, through all the years, but handle in plenty what I might have called the small change of it?

  I despair, however, as I look back, of rendering the fusions in that much-mixed little time, every feature of which had something of the quality and interest of every other, and the more salient, the more “epoch-making”—I apply with complacency the portentous term—to drape themselves romantically in the purple folds of the whole. I think it must have been the sense of the various climaxes, the enjoyed, because so long postponed, revenges of the War, that lifted the moment in the largest embrace: the general consciousness was of such big things at last in sight, the huge national emergence, the widening assurance, however overdarkened, it is true, by the vast black cost of what General Grant (no light-handed artist he!) was doing for us. He was at all events working to an end, and something strange and immense, even like the light of a new day rising above a definite rim, shot its rays through the chinks of the immediate, the high-piled screen of sacrifice behind which he wrought. I fail to seize again, to my wonder, the particular scene of our acclamation of Lee’s surrender, but I feel in the air the exhalation of our relief, which mingled, near and far, with the breath of the springtime itself and positively seemed to become over the land, over the world at large in fact, an element of reviving Nature. Sensible again are certain other sharpest vibrations then communicated from the public consciousness: Ashburton Place resounds for me with a wild cry, rocks as from a convulsed breast, on that early morning of our news of Lincoln’s death by murder; and, in a different order, but also darkening the early day, there associat
es itself with my cherished chamber of application the fact that of a sudden, and while we were always and as much as ever awaiting him, Hawthorne was dead. What I have called the fusion strikes me as indeed beyond any rendering when I think of the peculiar assault on my private consciousness of that news: I sit once more, half-dressed, late of a summer morning and in a bedimmed light which is somehow at once that of dear old green American shutters drawn to against openest windows and that of a moral shadow projected as with violence—I sit on my belated bed, I say, and yield to the pang that made me positively and loyally cry. I didn’t rise early in those days of scant ease—I now even ask myself how sometimes I rose at all; which ungrudged license withal, I thus make out, was not less blessedly effective in the harmony I glance at than several showier facts. To tell at all adequately why the pang was fine would nevertheless too closely involve my going back, as we have learned to say, on the whole rich interpenetration. I fondly felt it in those days invaluable that I had during certain last and otherwise rather blank months at Newport taken in for the first time and at one straight draught the full sweet sense of our one fine romancer’s work—for sweet it then above all seemed to me; and I remember well how, while the process day after day drew itself admirably out, I found the actual exquisite taste of it, the strain of the revelation, justify up to the notch whatever had been weak in my delay. This prolonged hanging off from true knowledge had been the more odd, so that I couldn’t have explained it, I felt, through the fact that The Wonder-Book and Twice-Told Tales had helped to enchant our childhood; the consequence at any rate seemed happy, since without it, very measurably, the sudden sense of recognition would have been less uplifting a wave. The joy of the recognition was to know at the time no lapse—was in fact through the years never to know one, and this by some rare action of a principle or a sentiment, I scarce know whether to call it a clinging consistency or a singular silliness, that placed the Seven Gables, the Blithedale Romance and the story of Donatello and Miriam (the accepted title of which I dislike to use, not the “marble” but very particularly the human Faun being throughout in question) somewhere on a shelf unvisited by harsh inquiry. The feeling had perhaps at the time been marked by presumption, by a touch of the fatuity of patronage; yet wasn’t well-nigh the best charm of a relation with the works just named in the impulse, known from the first, somehow to stand in between them and harsh inquiry? If I had asked myself what I meant by that term, at which freedom of appreciation, in fact of intelligence, might have looked askance, I hope I should have found a sufficient answer in the mere plea of a sort of bêtise of tenderness. I recall how once, in the air of Rome at a time ever so long subsequent, a friend and countryman now no more, who had spent most of his life in Italy and who remains for me, with his accomplishment, his distinction, his extraordinary play of mind and his too early and too tragic death, the clearest case of “cosmopolitan culture” I was to have known, exclaimed with surprise on my happening to speak as from an ancient fondness for Hawthorne’s treatment of the Roman scene: “Why, can you read that thing, and here?—to me it means nothing at all!” I remember well that under the breath of this disallowance of any possibility of association, and quite most of such a one as I had from far back positively cultivated, the gentle perforated book tumbled before me from its shelf very much as old Polonius, at the thrust of Hamlet’s sword, must have collapsed behind the pictured arras. Of course I might have picked it up and brushed it off, but I seem to feel again that I didn’t so much as want to, lost as I could only have been in the sense that the note of harsh inquiry, or in other words of the very stroke I had anciently wished to avert, there fell straight upon my ear. It represented everything I had so early known we must have none of; though there was interest galore at the same time (as there almost always is in lively oppositions of sensibility, with the sharpness of each, its special exclusions, well exhibited), in an “American” measure that could so reject our beautiful genius and in a Roman, as it were, that could so little see he had done anything for Rome. H. B. Brewster in truth, literary master of three tongues at least, was scarce American at all; homely superstitions had no hold on him; he was French, Italian, above all perhaps German; and there would have been small use, even had there been any importance, in my trying to tell him for instance why it had particularly been, in the gentle time, that I had settled once for all to take our author’s case as simply exquisite and not budge from that taking. Which indeed scarce bears telling now, with matters of relative (if but of relative!) urgence on hand—consisting as it mainly did in the fact that his work was all charged with a tone, a full and rare tone of prose, and that this made for it an extraordinary value in an air in which absolutely nobody’s else was or has shown since any aptitude for being. And the tone had been, in its beauty—for me at least—ever so appreciably American; which proved to what a use American matter could be put by an American hand: a consummation involving, it appeared, the happiest moral. For the moral was that an American could be an artist, one of the finest, without “going outside” about it, as I liked to say; quite in fact as if Hawthorne had become one just by being American enough, by the felicity of how the artist in him missed nothing, suspected nothing, that the ambient air didn’t affect him as containing. Thus he was at once so clear and so entire—clear without thinness, for he might have seemed underfed, it was his danger; and entire without heterogeneity, which might, with less luck and to the discredit of our sufficing manners, have had to be his help. These remarks, as I say, were those I couldn’t, or at any rate didn’t, make to my Roman critic; if only because I was so held by the other case he offered me—that of a culture for which, in the dense medium around us, Miriam and Donatello and their friends hadn’t the virtue that shines or pushes through. I tried to feel that this constatation left me musing—and perhaps in truth it did; though doubtless if my attachment to the arranger of those images had involved, to repeat, my not budging, my meditation, whatever it was, respected that condition.