Aspects and Impressions. Gosse Edmund

he really and truly would produce him infallibly at no distant date, and poor Henry James could not but persevere. "I mean to wage this war ferociously for one year more," and he composed, with infinite agony and deliberation, the comedy of Guy Domvile.

      The night of January 5th, 1895, was the most tragical in Henry James's career. His hopes and fears had been strung up to the most excruciating point, and I think that I have never witnessed such agonies of parturition. Guy Domvile– which has never been printed – was a delicate and picturesque play, of which the only disadvantage that I could discover was that instead of having a last scene which tied up all the threads in a neat conclusion, it left all those threads loose as they would be in life. George Alexander was sanguine of success, and to do Henry James honour such a galaxy of artistic, literary, and scientific celebrity gathered in the stalls of the St. James's Theatre as perhaps were never seen in a London playhouse before or since. Henry James was positively storm-ridden with emotion before the fatal night, and full of fantastic plans. I recall that one was that he should hide in the bar of a little public-house down an alley close to the theatre, whither I should slip forth at the end of the second act and report "how it was going." This was not carried out, and fortunately Henry James resisted the temptation of being present in the theatre during the performance. All seemed to be going fairly well until the close, when Henry James appeared and was called before the curtain – only to be subjected – to our unspeakable horror and shame – to a storm of hoots and jeers and catcalls from the gallery, answered by loud and sustained applause from the stalls, the whole producing an effect of hell broke loose, in the midst of which the author, as white as chalk, bowed and spread forth deprecating hands and finally vanished. It was said at the time, and confirmed later, that this horrible performance was not intended to humiliate Henry James, but was the result of a cabal against George Alexander.

      Early next morning I called at 34 De Vere Gardens, hardly daring to press the bell for fear of the worst of news, so shattered with excitement had the playwright been on the previous evening. I was astonished to find him perfectly calm; he had slept well and was breakfasting with appetite. The theatrical bubble in which he had lived a tormented existence for five years was wholly and finally broken, and he returned, even in that earliest conversation, to the discussion of the work which he had so long and so sadly neglected, the art of direct prose narrative. And now a remarkable thing happened. The discipline of toiling for the caprices of the theatre had amounted, for so redundant an imaginative writer, to the putting on of a mental strait-jacket. He saw now that he need stoop no longer to what he called "a meek and lowly review of the right ways to keep on the right side of a body of people who have paid money to be amused at a particular hour and place." Henry James was not released from this system of vigorous renunciation without a very singular result. To write for the theatre the qualities of brevity and directness, of an elaborate plainness, had been perceived by him to be absolutely necessary, and he had tried to cultivate them with dogged patience for five years. But when he broke with the theatre, the rebound was excessive. I recall his saying to me, after the fiasco of Guy Domvile, "At all events, I have escaped for ever from the foul fiend Excision!" He vibrated with the sense of release, and he began to enjoy, physically and intellectually, a freedom which had hitherto been foreign to his nature.

II

      THE abrupt change in Henry James's outlook on life, which was the result of his violent disillusion with regard to theatrical hopes and ambitions, took the form of a distaste for London and a determination, vague enough at first, to breathe for the future in a home of his own by the sea. He thought of Bournemouth, more definitely of Torquay, but finally his fate was sealed by his being offered, for the early summer months of 1896, a small house on the cliff at Point Hill, Playden, whence he could look down, as from an "eagle's nest," on the exquisite little red-roofed town of Rye and over the wide floor of the marsh of Sussex. When the time came for his being turned out of this retreat, he positively could not face the problem of returning to the breathless heat of London in August, and he secured the Vicarage in the heart of Rye itself for two months more. Here, as earlier at Point Hill, I was his guest, and it was wonderful to observe how his whole moral and intellectual nature seemed to burgeon and expand in the new and delicious liberty of country life. We were incessantly in the open air, on the terrace (for the Vicarage, though musty and dim, possessed, like the fresher Point Hill, a sea-looking terrace), sauntering round the little town, or roving for miles and miles over the illimitable flats, to Winchelsea, to Lydd, to the recesses of Walland Marsh – even, on one peerless occasion, so far afield as to Midley Chapel and the Romneys.

      Never had I known Henry James so radiant, so cheerful or so self-assured. During the earlier London years there had hung over him a sort of canopy, a mixture of reserve and deprecation, faintly darkening the fullness of communion with his character; there always had seemed to be something indefinably non-conductive between him and those in whom he had most confidence. While the play-writing fit was on him this had deepened almost into fretfulness; the complete freedom of intercourse which is the charm of friendship had been made more and more difficult by an excess of sensibility. Henry James had become almost what the French call a buisson d'épines. It was therefore surprising and highly delightful to find that this cloud had ceased to brood over him, and had floated away, leaving behind it a laughing azure in which quite a new and charming Henry James stood revealed. The summer of 1896, when by a succession of happy chances I was much alone with him at Rye, rests in my recollection as made exquisite by his serene and even playful uniformity of temper, by the removal of everything which had made intercourse occasionally difficult, and by the addition of forms of amenity that had scarcely been foreshadowed. On reflection, however, I find that I am mixing up memories of June at Point Hill and of September at the Vicarage with the final Rye adventure, which must now be chronicled. When he was obliged to turn out of his second refuge, he returned to London, but with an ever-deepening nostalgia for the little Sussex town where he had been happy. In the following summer the voice of Venice called him so loudly that he stayed in London longer than usual, meaning to spend the autumn and winter in Italy. He thought meanwhile of Bournemouth and of Saxmundham. He went on his bicycle round the desolate ghost of Dunwich, but his heart was whispering "Rye" to him all the while. Nothing then seemed available, however, when suddenly the unexpected vacancy of the most eligible residence conceivable settled, in the course of a couple of days, the whole future earthly pilgrimage of Henry James. The huge fact was immediately announced in a letter of September 25th, 1897:

      I am just drawing a long breath from having signed – a few moments since – a most portentous parchment: the lease of a smallish, charming, cheap old house in the country – down at Rye – for 21 years. (It was built about 1705.) It is exactly what I want and secretly and hopelessly coveted (since knowing it) without dreaming it would ever fall. But it has fallen – and has a beautiful room for you (the King's Room – George II's – who slept there); together with every promise of yielding me an indispensable retreat from May to October (every year). I hope you are not more sorry to take up the load of life that awaits, these days, the hunch of one's shoulders than I am. You'll ask me what I mean by "life." Come down to Lamb House and I'll tell you.

      There were the most delightful possibilities in the property, which included a small garden and lawn, the whole hemmed in by a peaceful old red wall, plentifully tapestried with espaliers. The noble tower of Rye church looked down into it, and Henry James felt that the chimes sounded sweetly to him as he faced his garden in monastic quiet, the little market-town packed tightly about him, yet wholly out of sight.

      Meanwhile the intellectual release had been none the less marked than the physical. The earliest result of his final escape from the lures of the Vivian of the stage had been the composition of a novel, The Spoils of Poynton, in a manner entirely different from that of his earlier long romances. This was published in 1897, and in the meantime he had set to work on a longer and more ambitious romance, What Maisie Knew. In these he began the exercise of what has been called his "later manner," which it would be out of proportion to attempt to define in a study which purports to be biographical rather than critical. It is enough to remind the reader familiar with Henry James's writings that in abandoning the more popular and conventional method of composition he aimed at nothing less than a revolution in the art of the novelist. While thus actively engaged in a new scheme of life, he found it more and more difficult to break "the spell of immobility" which enveloped him. He who had been so ready to start