The Complete Works of Henry James

by Henry James

  III

  After this there were other places, mostly higher in the scale, and but a couple of which my memory recovers. There was also, as I recall, a snatched interlude—an associated dash into a small crammed convivial theatre, an oblong hall, bristling with pipe and glass, at the end of which glowed for a moment, a little dingily, sonic broad passage of a Yiddish comedy of manners. It hovered there, briefly, as if seen through a spy-glass reaching, across the world, to some far-off dowdy, Jewry then our sense of it became too mixed a matter—it was a scent, literally, not further to be followed. There remained with me none the less the patch of alien comedy, with all it implied of esoteric vision on the part of the public. Something of that admonition had indeed, earlier in the season, been sharp—so much had one heard of a brilliant Yiddish actress who was drawing the town to the East side by the promise of a new note. This lady, however, had disconcerted my own purpose by suddenly appearing, in the orthodox quarter, in a language only definable as not in intention Yiddish—not otherwise definable; and I also missed, through a like alarm, the opportunity of hearing an admired actor of the same school. He was Yiddish on the East side, but he cropped up, with a wild growth, in Broadway as well, and his auditors seemed to know as little as care to what idiom they supposed themselves to be listening. Marked in New York, by many indications, this vagueness of ear as to differences, as to identities, of idiom.

  I must not, however, under that interference, lose the echo of a couple of other of the impressions of my crowded summer night—and all the less that they kept working it, as I seem to remember, up to a higher and higher pitch. It had been intimated to me that one of these scenes of our climax had entered the sophisticated phase, that of sacrificing to a self-consciousness that was to be regretted—that of making eyes, so to speak, at the larger, the up-town public; that pestilent favour of “society” which is fatal to everything it touches and which so quickly leaves the places of its passage unfit for its own use and uninteresting for any other. This establishment had learned to lay on local colour with malice prepense—the local colour of its “Slav” origin—and was the haunt, on certain evenings of the week, of yearning groups from Fifth Avenue sated with familiar horizons. Yet there were no yearning groups—none, that is, save our own—at the time of our visit; there was only, very amply and pleasantly presented, another aspect of the perpetual process of the New York intermarriage. As the Venetian Republic, in the person of the Doge, used to go forth, on occasion, to espouse the Adriatic, so it is quite as if the American, incarnate in its greatest port, were for ever throwing the nuptial ring to the still more richly-dowered Atlantic. I speak again less of the nuptial rites themselves than of those immediate fruits that struck me everywhere as so characteristic—so equally characteristic, I mean, of each party to the union. The flourishing establishment of my present reference offered distinctly its outland picture, but showed it in an American frame, and the features of frame and picture arranged themselves shrewdly together. Quiet couples, elderly bourgeois husbands and wives, sat there over belated sausage and cheese, potato-salad and Hungarian wine, the wife with her knitting produced while the husband finished his cigar; and the indication, for the moment, might have been of some evening note of Dantzig or of Buda-Pesth. But the conditioning foreign, and the visibility of their quite so happily conjugal give-and-take, in New York, is my reason for this image of the repeated espousals. Why were the quiet easy couples, with their homely cafe habit (kept in the best relation to the growth, under the clicking needles, of the marital stocking), such remote and indirect results of our local anecdotic past, our famous escape, at our psychological moment, from King George and his works, with all sorts of inevitable lapses and hitches in any grateful consciousness they might ever have of that prime cause of their new birth? Yet why, on the other hand, could they affect one, even with the Fatherland planked under them in the manner of the praying-carpet spread beneath the good Mahometan, as still more disconnected from the historic consciousness implied in their own type, and with the mere moral identity of German or Slav, or whatever it might be, too extinct in them for any possibility of renewal? The exotic boss here did speak, I remember, fluent East-side New Yorkese, and it was in this wonderful tongue that he expressed to us his superior policy, his refined philosophy, announced his plans for the future and presented himself, to my vision, as a possibly far-reaching master-spirit. What remains with me is this expression, and the colour and the quality of it, and the free familiarity and the “damned foreign impudence,” with so much taken for granted, and all the hitches and lapses, all the solutions of continuity, in his inward assimilation of our heritage and point of view, matched as these were, on our own side, by such signs of large and comparatively witless concession. What, oh, what again, were he and his going to make of us?

  Well, there was the impression, and that was a question on which, for a certain intensity in it, our adventure might have closed; but it was so far from closing that, late though the hour, it presently opened out into a vast and complicated picture which I find myself thinking of, after an interval, as the splendid crown of the evening. Here were we still on the East side, but we had moved up, by stages artfully inspired, into the higher walks, into a pavilion of light and sound and savoury science that struck one as vaguely vast, as possibly gardened about, and that, blazing into the stillness of the small hours, dazzled one with the show of its copious and various activity. The whole vision was less intimate than elsewhere, but it was a world of custom quite away from any mere Delmonico tradition of one’s earlier time, and rich, as one might reckon it, in its own queer marks, marks probably never yet reduced—inspiring thought!—to literary notation; with which it would seem better to form a point of departure for fresh exploration than serve as tail-piece to the end of a chapter. Who were all the people, and whence and whither and why, in the good New York small hours? Where was the place after all, and what might it, or might it not, truly, represent to slightly-fatigued feasters who, in a recess like a privileged opera-box at a bal masque, and still communing with polyglot waiters, looked down from their gallery at a multitudinous supper, a booming orchestra, an elegance of disposed plants and flowers, a perfect organization and an abyss of mystery? Was it “on” Third Avenue, on Second, on fabulous unattempted First? Nothing would induce me to cut down the romance of it, in remembrance, to a mere address, least of all to an awful New York one; New York addresses falling so below the grace of a city where the very restaurants may on occasion, under restless analysis, flash back the likeness of Venetian palaces flaring with the old carnival. The ambiguity is the element in which the whole thing swims for me—so nocturnal, so bacchanal, so hugely hatted and feathered and flounced, yet apparently so innocent, almost so patriarchal again, and matching, in its mixture, with nothing one had elsewhere known. It breathed its simple “New York! New York!” at every impulse of inquiry; so that I can only echo contentedly, with analysis for once quite agreeably baffled, “Remarkable, unspeakable New York!”

  VI

  THE SENSE OF NEWPORT

  I

  NEWPORT, on my finding myself back there, threatened me sharply, quite at first, with that predicament at which I have glanced in another connection or two—the felt condition of having known it too well and loved it too much for description or definition. What was one to say about it except that one had been so affected, so distraught, and that discriminations and reasons were buried under the dust of use? There was a chance indeed that the breath of the long years (of the interval of absence, I mean) would have blown away this dust—and that, precisely, was what one was eager to see. To go out, to look about, to recover the sense, was accordingly to put the question, without delay, to the proof—and with the happy consequence, I think, of an escape from a grave discomfiture. The charm was there again, unmistakably, the little old strange, very simple charm—to be expressed, as a fine proposition, or to be given up; but the answer came in the fact that to have walked about for half-an-hou
r was to have felt the question clear away. It cleared away so conveniently, so blissfully, in the light of the benign little truth that nothing had been less possible, even in the early, ingenuous, infatuated days, than to describe or define Newport. It had clearly had nothing about it to describe or define, so that one’s fondness had fairly rested on this sweet oddity in it. One had only to look back to recognize that it had never condescended to give a scrap of reasoned account of itself (as a favourite of fortune and the haunt of the raffine); it had simply lain there like a little bare, white, open hand, with slightly-parted fingers, for the observer with a presumed sense for hands to take or to leave. The observer with a real sense never failed to pay this image the tribute of quite tenderly grasping the hand, and even of raising it, delicately, to his lips; having no less, at the same time, the instinct of not shaking it too hard, and that above all of never putting it to any rough work.

  Such had been from the first, under a chastened light and in a purple sea, the dainty isle of Aquidneck; which might have avoided the weak mistake of giving up its pretty native name and of becoming thereby as good as nameless—with an existence as Rhode Island practically monopolized by the State and a Newport identity borrowed at the best and applicable but to a corner. Does not this vagueness of condition, however, fitly symbolize the small virtual promontory, of which, superficially, nothing could be predicated but its sky and its sea and its sunsets? One views it as placed there, by some refinement in the scheme of nature, just as a touchstone of taste—with a beautiful little sense to be read into it by a few persons, and nothing at all to be made of it, as to its essence, by most others. I come back, for its essence, to that figure of the little white hand, with the gracefully-spread fingers and the fine grain of skin, even the dimples at the joints and the shell-like delicacy of the pink nails—all the charms in short that a little white hand may have. I see all the applications of the image—I see a special truth in each. It is the back of the hand, rising to the swell of the wrist, that is exposed—which is the way, I think, the true lover takes and admires it. He makes out in it, bending over it—or he used to in the old days—innumerable shy and subtle beauties, almost requiring, for justice, a magnifying-glass and he winces at the sight of certain other obtruded ways of dealing with it. The touchstone of taste was indeed to operate, for the critical, the tender spirit, from the moment the pink palm was turned up on the chance of what might be “in” it. For nine persons out of ten, among its visitors, its purchasers of sites and builders of (in the old parlance) cottages, there had never been anything in it at all—except of course an opportunity: an opportunity for escaping the summer heat of other places, for bathing, for boating, for riding and driving, and for many sorts of more or less expensive riot. The pink palm being empty, in other words, to their vision, they had begun, from far back, to put things into it, things of their own, and of all sorts, and of many ugly, and of more and more expensive, sorts; to fill it substantially, that is, with gold, the gold that they have ended by heaping up there to an amount so oddly out of proportion to the scale of nature and of space.

  This process, one was immediately to perceive with that renewal of impression, this process of injection and elaboration, of creating the palpable pile, had been going on for years to such a tune that the face of nature was now as much obliterated as possible, and the original shy sweetness as much as possible bedizened and bedevilled: all of which, moreover, might also at present be taken as having led, in turn, to the most unexpected climax, a matter of which I shall presently speak. The original shy sweetness, however, that range of effect which I have referred to as practically too latent and too modest for notation, had meanwhile had its votaries, the fond pedestrian minority, for whom the little white hand (to return for an instant to my figure, with which, as you see, I am charmed) had always been so full of treasures of its own as to discredit, from the point of view of taste, any attempt, from without, to stuff it fuller. Such attempts had, in the nature of the case, and from far back, been condemned to show for violations; violations of taste and discretion, to begin with—violations, more intimately, as the whole business became brisker, of a thousand delicate secret places, dear to the disinterested rambler, small, mild “points” and promontories, far away little lonely, sandy coves, rock-set, lily-sheeted ponds, almost hidden, and shallow Arcadian summer-haunted valleys, with the sea just over some stony shoulder: a whole world that called out to the long afternoons of youth, a world with its scale so measured and intended and happy, its detail so finished and pencilled and stippled (certainly for American detail!) that there comes back to me, across the many years, no better analogy for it than that of some fine foreground in an old “line” engraving. There remained always a sense, of course, in which the superimpositions, the multiplied excrescences, were a tribute to the value of the place; where no such liberty was ever taken save exactly because (as even the most blundering builder would have claimed) it was all so beautiful, so solitary and so “sympathetic.” And that indeed has been, thanks to the “pilers-on” of gold, the fortune, the history of its beauty: that it now bristles with the villas and palaces into which the cottages have all turned, and that these monuments of pecuniary power rise thick and close, precisely, in order that their occupants may constantly remark to each other, from the windows to the “grounds,” and from house to house, that it is beautiful, it is solitary and sympathetic. The thing has been done, it is impossible not to perceive, with the best faith in the world—though not altogether with the best light, which is always so different a matter; and it is with the general consequence only, at the end of the story, that I find myself to-day concerned.

  So much concerned I found myself, I profess, after I had taken in this fact of a very distinct general consequence, that the whole interest of the vision was quickened by it; and that when, in particular, on one of the last days of June, among the densely-arrayed villas, I had followed the beautiful “ocean drive” to its uttermost reach and back without meeting either another vehicle or a single rider, let alone a single pedestrian, I recognized matter for the intellectual thrill that attests a social revolution foreseen and completed. The term I use may appear extravagant, but it was a fact, none the less, that I seemed to take full in my face, on this occasion, the cold stir of air produced when the whirligig of time has made one of its liveliest turns. It is always going, the whirligig, but its effect is so to blow up the dust that we must wait for it to stop a moment, as it now and then does with a pant of triumph, in order to see what it has been at. I saw, beyond all doubt, on the spot—and there came in, exactly, the thrill; I could remember far back enough to have seen it begin to blow all the artless buyers and builders and blunderers into their places, leaving them there for half a century or so of fond security, and then to see it, of a sudden, blow them quite out again, as with the happy consciousness of some new amusing use for them, some other game still to play with them. This acquaintance, as it practically had been, with the whole rounding of the circle (even though much of it from a distance), was tantamount to the sense of having sat out the drama, the social, the local, that of a real American period, from the rise to the fall of the curtain—always assuming that truth of the reached catastrophe or denouement. How this climax or solution had been arrived at—that, clearly, for the spectator, would have been worth taking note of; but what he made of it I shall not glance at till I have shown him as first of all, on the spot, quite modestly giving in to mere primary beguilement. It had been certain in advance that he would find the whole picture overpainted, and the question could only be, at the best, of how much of the ancient surface would here and there glimmer through. The ancient surface had been the concern, as I have hinted, of the small fond minority, the comparatively few people for whom the lurking shy charm, all there, but all to be felt rather than published, did in fact constitute a surface. The question, as soon as one arrived, was of whether some ghost of that were recoverable.