To the exaltation of this wonderful unbosoming he had been brought by fifty years of devout and untiring service. Where so little is heard of it all, the amount of patience and energy that he had consecrated to it might easily be mistaken. His immense industry all through his crowded London years passes almost unnoticed, so little it seems to conflict with this life in the world, his share in which, with the close friendships he formed and the innumerable relations he cultivated, could have been no fuller if he had had nothing to do but to amuse himself with the spectacle. In one way, however, it is possible to divine how heavily the weight of his work pressed on him. The change that divides the general tone and accent of his younger and middle age from that of his later years is too striking to be overlooked. The impression is unmistakeable that for a long while, indeed until he was almost an old man, he felt the constant need of husbanding and economising his resources; so that except to those who knew him intimately he was apt to seem a little cold and cautious, hesitating to commit himself freely or to allow promiscuous claims. Later on all this was very different. There were certain habits of reserve, perhaps, that he never threw off; all his friends remember, for example, how carefully he distinguished the different angles of his affection, so to call themadjusting his various relations as though in fear lest they should cross each other and form an embarrassing complexity. Yet any scruples or precautions of this sort that still hung about him only enhanced the large and genial authority of his presence. There seemed to have come a time when after long preparation and cogitation he was able to relax and to enjoy the fruit of his labour. Not indeed that his labour was over; it never was that, while strength lasted; but he gave the effect of feeling himself to be at length completely the master of his situation, at ease and at home in his world. The new note is very perceptible in the letters, which broaden out with opulent vigour as time goes on, reaching their best comparatively late.
That at last he felt at home was doubtless indeed the literal truth, and it was enough to account for this ample liberation of spirit. His decision to settle in Europe, the great step of his life, was inevitable, though it was not taken without long reflection; but it was none the less a decision for which he had to pay heavily, as he was himself very well aware. If he regarded his own part as that of an onlooker, the sense in which he understood observation was to the highest degree exacting. He watched indeed, but he watched with every faculty, and he intended that every thread of intelligence he could throw out to seize the truth of the old historic world should be as strong as instruction, study, general indoctrination could make it. It would be useless for him to live where the human drama most attracted him unless he could grasp it with an assured hand; and he could never do this if he was to remain a stranger and a sojourner, merely feeding on the picturesque surface of appearances. To justify his expatriation he must work his own life completely into the texture of his new surroundings, and the story of his middle years is to be read as the most patient and laborious of attempts to do so. Its extraordinary success need hardly be insisted on; its failure, necessary and foredoomed, from certain points of view, is perhaps not less obvious. But the great fact of interest is the sight of him taking up the task with eyes, it is needless to say, fully open to all its demands, and never resting until he could be certain of having achieved all that was possible. So long as he was in the thick of it, the task occupied the whole of his attention. He took it with full seriousness; there never was a scholar more immersed in research than was Henry James in the study of his chosen world. There were times indeed when he might be thought to take it even more seriously than the case required. The world is not used to such deference from a rare critical talent, and it certainly has much less respect for its own standards than Henry James had, or seemed to have. His respect was of course very freely mingled with irony, and yet it would be rash to say that his irony preponderated. He probably felt that this, in his condition, was a luxury which he could only afford within limits. He could never forget that he had somehow to make up to himself for arriving as an alien from a totally different social climate; for his own satisfaction he had to wake and toil while others slept, keeping his ever-ready and rebellious criticism for an occasional hour of relief.
The world with which he thus sought to identify himself was a small affair, by most of our measurements. It was a circle of sensibilities that it might be easy to dismiss as hypertrophied and over-civilised, too deeply smothered in the veils of artificial life to repay so much patient attention. Yet the little world of urbane leisure satisfied him because he found a livelier interest, always, in the results and effects and implications of things than in the groundwork itself; so that the field of study he desired was that in which initial forces had travelled furthest from their prime, passing step by step from their origin to the level where, diffused and transformed, they were still just discernible to acute perception. It is not through any shy timidity that so often in his books he requires us to infer the presence of naked emotion from the faintest stirrings of an all but unruffled surface; it is because these monitory signals, transmitted from so far, tell a story that would be weakened by a directer method. The tiny movement that is the last expression of an act or a fact carries within it the history of all it has passed through on the waya treasure of interest that the act, the fact in itself, had not possessed. And so in the social scene, wherever its crude beginnings have been left furthest behind, wherever its forms have been most rubbed and toned by the hands of succeeding generations, there he found, not an obliteration of sharp character, but a positive enhancement of it, with the whole of its past crowded into its bosom. The kind of life, therefore, that might have been thought too trifling to bear the weight of his grave and powerful scrutiny was exactly the life that he pursued for its expressive value. He clung to civilisation, he was faithful throughout to a few yards of town-pavement, not because he was scared by the rough freedom of the wild, but rather because he was impatient of its insipidity. He is very often to be heard crying out against the tyrannous claims of his world, when they interfere with his work, his leisure, his health; but at the moment of greatest revulsion he never suggests that the claims may be fraudulent after all, or that this small corner of modernity is not the best and most fruitful that the age has to shew.
It must be a matter of pride to an English reader that this corner happened to be found among ourselves. Henry James came to London, however, more by a process of exhaustion than by deliberate choice, and plenty of chastening considerations for a Londoner will appear in his letters. If he elected to live among thick English wits rather than in any nimbler atmosphere, it was at first largely because English ways and manners lay more open to an explorer than the closer, compacter societies of the mainland. Gradually, as we know well, his affection was kindled into devoted loyalty. It remained true, none the less, that with much that is common ground among educated people of our time and place he was never really in touch. One has only to think of the part played, in the England he frequented, by school and college, by country-homes, by church and politics and professions, to understand how much of the ordinary consciousness was closed to him. Yet it is impossible to say that these limitations were imposed on him only because he was a stranger among strangers; they belonged to the conditions of his being from much further back. They were implied in his queer unanchored youth, in which he and his greatly gifted family had been able to grow in the free exercise of their talents without any of the foundations of settled life. Henry James's genius opened and flourished in the void. His ripe wisdom and culture seemed to have been able to dispense entirely with the mere training that most people require before they can feel secure in their critical outlook and sense of proportion. There could be no better proof of the fact that imagination, if only there is enough of it, will do the work of all the other faculties unaided. Whatever were the gaps in his knowledgeknowledge of life generally, and of the life of the mind in particularhis imagination covered them all. And so it was that without ever acquiring a thousand things that go to the making of a full experience and a sound taste, he yet enjoyed and possessed everything that it was in them to give.
His taste, indeed, his judgment of quality, seems to have been bestowed upon him in its essentials like a gift of nature. From the very first he was sure of his taste and could account for it. His earliest writing shews, if anything, too large a portion of tact and composure; a critic might have said that such a perfect control of his means was not the most hopeful sign in a young author. Henry James reversed the usual procedure of a beginner, keeping warily to matter well within his power of managementand this is observable too in his early lettersuntil he was ready to deal with matter more robust. In his instinct for perfection he never went wrongnever floundered into raw enthusiasms, never lost his way, never had painfully to recover himself; he travelled steadily forward with no need of guidance, enriching himself with new impressions and wasting none of them. He accepted nothing that did not minister in some way to the use of his gifts; whatever struck him as impossible to assimilate to these he passed by without a glance. He could not be tempted by any interest unrelated to the central line of his work. He had enough even so, he felt, to occupy a dozen lives, and he grudged every moment that did not leave its deposit of stuff appropriate to his purpose. The play of his thought was so ample and ardent that it disguised his resolute concentration; he responded so lavishly and to so much that he seemed ready to take up and transform and adorn whatever was offered him. But this in truth was far from the fact, and by shifting the recollection one may see the impatient gesture with which he would sweep aside the distraction that made no appeal to him. It was natural that he should care nothing for any abstract speculation or inquiry; he was an artist throughout, desiring only the refracted light of human imperfection, never the purity of colourless reason. More surprising was his refusal, for it was almost that, of the appeal of musicand not wordless music only, but even the song and melody of poetry. It cannot be by accident that poetry scarcely appears at all in such a picture of a literary life as is given by his letters. The purely lyrical ear seems to have been strangely sealed in himhe often declared as much himself. And poetry in general, though he could be deeply stirred by it, he inclined to put away from him, perhaps for the very reason that it meant too forcible a deflection from the right line of his energy. All this careful gathering up of his powers, in any case, this determined deafness to irrelevant voices, gave a commanding warrant to the critical panoply of his later life. His certainty and consistency, his principle, his intellectual integrityby all these the pitch of his opinions, wherever he delivered them, reached a height that was unforgettably impressive.
I have tried to touch, so far as possible, on the different strains in Henry James's artistic experience; but to many who read these letters it will be another aspect altogether that his name first recalls. They will remember how much of his life was lived in his relations with his countless friends, and how generously he poured out his best for them. But if, as I have suggested, much of his mind appears fitfully and obscurely in his letters, this side is fully irradiated from first to last. Never, surely, has any circle of friendship received so magnificent a tribute of expressed affection and sympathy. It was lavished from day to day, and all the resources of his art were drawn upon to present it with due honour. As time goes on a kind of personal splendour shines through the correspondence, which only becomes more natural, more direct a communication of himself, as it is uttered with increasing mastery. The familiar form of the letter was changed under his hand into what may really be called a new province of art, a revelation of possibilities hitherto unexplored. Perfect in expression as they are, these letters are true extemporisations, thrown off always at great speed, as though with a single sweep of the hand, for all their richness of texture and roundness of phrase. At their most characteristic they are like free flights of virtuosity, flung out with enjoyment in the hours of a master's ease; and the abundance of his creative vigour is shewn by the fact that there should always be so much more of it to spare, even after the exhausting strain of his regular work. But the greater wonder is that this liberal gesture never became mechanical, never a fixed manner displayed for any and all alike, without regard to the particular mind addressed. Not for a moment does he forget to whom he is speaking; he writes in the thought of his correspondent, always perceptibly turning to that relation, singled out for the time from all the rest. Each received of his best, but some peculiar, inalienable share in it.
If anything can give to those who did not know him an impression of Henry James's talk, it will be some of the finest of these later letters. One difference indeed is immediately to be marked. His pondering hesitation as he talked, his search over the whole field of expression for the word that should do justice to the picture forming in his mindthis gives place in the letters to a flow unchecked, one sonorous phrase uncoiling itself after another without effort. Pen in hand, or, as he finally preferred, dictating to his secretary, it was apparently easier for him to seize upon the images he sought to detach, one by one, from the clinging and populous background of his mind. In conversation the effort seemed to be greater, and save in rare moments of exceptional fervourno one who heard him will forget how these recurred more and more in the last year of his life, under the deep excitement of the warhe liked to take his time in working out his thought with due deliberation. But apart from this, the letters exactly reflect the colour and contour of his talkhis grandiose courtesy, his luxuriant phraseology, his relish for some extravagantly colloquial turn embedded in a Ciceronian period, his humour at once so majestic and so burly. Intercourse with him was not quite easy, perhaps; his style was too hieratic, too richly adorned and arrayed for that. But it was enough to surrender simply to the current of his thought; the listener felt himself gathered up and cared forfelt that Henry James assumed all the responsibility and would deal with the occasion in his own way. That way was never to give a mere impersonal display of his own, but to create and develop a reciprocal relation, to both sides of which he was more than capable of doing the fullest justice. No words seem satisfactory in describing the dominance he exerted over any scene in which he figuredyet exerted by no over-riding or ignoring of the presence of others, rather with the quickest, most apprehending susceptibility to it. But better than by any description is this memory imparted by the eloquent roll and ring of his letters.
He grew old in the honour of a wide circle of friends of all ages, and of a public which, if small, was deeply devoted. He stood so completely outside the evolution of English literature that his position was special and unrelated, but it was a position at last unanimously acknowledged. Signs of the admiration and respect felt for him by all who held the belief in the art of letters, even by those whose line of development most diverged from histhese he unaffectedly enjoyed, and many came to him. None the less he knew very well that in all he most cared for, in what was to him the heart and essence of life, he was solitary to the end. However much his work might be applauded, the spirit of rapt and fervent faith in which it was conceived was a hermitage, so he undoubtedly felt, that no one else had perceived or divined. His story of the Figure in the Carpet was told of himself; no one brought him what he could accept as true and final comprehension. He could never therefore feel that he had reached a time when his work was finished and behind him. Old age only meant an imagination more crowded than ever, a denser throng of shapes straining to be released before it was too late. He bitterly resented the hindrances of ill-health, during some of his last years, as an interruption, a curtailment of the span of his activity; there were so many and so far better books that he still wished to write. His interest in life, growing rather than weakening, clashed against the artificial restraints, as they seemed, of physical age; whenever these were relaxed, it leaped forward to work again. The challenge of the war with Germany roused him to a height of passion he had never touched before in the outer world; and if the strain of it exhausted his strength, as well it might, it gave him one last year of the fullest and deepest experience, perhaps, that he had ever known. It wore out his body, which was too tired and spent to live longer; but he carried away the power of his spirit still in its prime.