The Ambassadors. Генри Джеймс

"tightness" of the place (whatever the issue) on the strength of any respectable hint. It being thus the respectable hint that I had with such avidity picked up, what would be the story to which it would most inevitably form the centre? It is part of the charm attendant on such questions that the "story," with the omens true, as I say, puts on from this stage the authenticity of concrete existence. It then is, essentially—it begins to be, though it may more or less obscurely lurk, so that the point is not in the least what to make of it, but only, very delightfully and very damnably, where to put one's hand on it.

      In which truth resides surely much of the interest of that admirable mixture for salutary application which we know as art. Art deals with what we see, it must first contribute full-handed that ingredient; it plucks its material, otherwise expressed, in the garden of life—which material elsewhere grown is stale and uneatable. But it has no sooner done this than it has to take account of a PROCESS—from which only when it's the basest of the servants of man, incurring ignominious dismissal with no "character," does it, and whether under some muddled pretext of morality or on any other, pusillanimously edge away. The process, that of the expression, the literal squeezing-out, of value is another affair—with which the happy luck of mere finding has little to do. The joys of finding, at this stage, are pretty well over; that quest of the subject as a whole by "matching," as the ladies say at the shops, the big piece with the snippet, having ended, we assume, with a capture. The subject is found, and if the problem is then transferred to the ground of what to do with it the field opens out for any amount of doing. This is precisely the infusion that, as I submit, completes the strong mixture. It is on the other hand the part of the business that can least be likened to the chase with horn and hound. It's all a sedentary part—involves as much ciphering, of sorts, as would merit the highest salary paid to a chief accountant. Not, however, that the chief accountant hasn't HIS gleams of bliss; for the felicity, or at least the equilibrium of the artist's state dwells less, surely, in the further delightful complications he can smuggle in than in those he succeeds in keeping out. He sows his seed at the risk of too thick a crop; wherefore yet again, like the gentlemen who audit ledgers, he must keep his head at any price. In consequence of all which, for the interest of the matter, I might seem here to have my choice of narrating my "hunt" for Lambert Strether, of describing the capture of the shadow projected by my friend's anecdote, or of reporting on the occurrences subsequent to that triumph. But I had probably best attempt a little to glance in each direction; since it comes to me again and again, over this licentious record, that one's bag of adventures, conceived or conceivable, has been only half-emptied by the mere telling of one's story. It depends so on what one means by that equivocal quantity. There is the story of one's hero, and then, thanks to the intimate connexion of things, the story of one's story itself. I blush to confess it, but if one's a dramatist one's a dramatist, and the latter imbroglio is liable on occasion to strike me as really the more objective of the two.

      The philosophy imputed to him in that beautiful outbreak, the hour there, amid such happy provision, striking for him, would have been then, on behalf of my man of imagination, to be logically and, as the artless craft of comedy has it, "led up" to; the probable course to such a goal, the goal of so conscious a predicament, would have in short to be finely calculated. Where has he come from and why has he come, what is he doing (as we Anglo-Saxons, and we only, say, in our foredoomed clutch of exotic aids to expression) in that galere? To answer these questions plausibly, to answer them as under cross-examination in the witness-box by counsel for the prosecution, in other words satisfactorily to account for Strether and for his "peculiar tone," was to possess myself of the entire fabric. At the same time the clue to its whereabouts would lie in a certain principle of probability: he wouldn't have indulged in his peculiar tone without a reason; it would take a felt predicament or a false position to give him so ironic an accent. One hadn't been noting "tones" all one's life without recognising when one heard it the voice of the false position. The dear man in the Paris garden was then admirably and unmistakeably IN one—which was no small point gained; what next accordingly concerned us was the determination of THIS identity. One could only go by probabilities, but there was the advantage that the most general of the probabilities were virtual certainties. Possessed of our friend's nationality, to start with, there was a general probability in his narrower localism; which, for that matter, one had really but to keep under the lens for an hour to see it give up its secrets. He would have issued, our rueful worthy, from the very heart of New England—at the heels of which matter of course a perfect train of secrets tumbled for me into the light. They had to be sifted and sorted, and I shall not reproduce the detail of that process; but unmistakeably they were all there, and it was but a question, auspiciously, of picking among them. What the "position" would infallibly be, and why, on his hands, it had turned "false"—these inductive steps could only be as rapid as they were distinct. I accounted for everything—and "everything" had by this time become the most promising quantity—by the view that he had come to Paris in some state of mind which was literally undergoing, as a result of new and unexpected assaults and infusions, a change almost from hour to hour. He had come with a view that might have been figured by a clear green liquid, say, in a neat glass phial; and the liquid, once poured into the open cup of APPLICATION, once exposed to the action of another air, had begun to turn from green to red, or whatever, and might, for all he knew, be on its way to purple, to black, to yellow. At the still wilder extremes represented perhaps, for all he could say to the contrary, by a variability so violent, he would at first, naturally, but have gazed in surprise and alarm; whereby the SITUATION clearly would spring from the play of wildness and the development of extremes. I saw in a moment that, should this development proceed both with force and logic, my "story" would leave nothing to be desired. There is always, of course, for the story-teller, the irresistible determinant and the incalculable advantage of his interest in the story AS SUCH; it is ever, obviously, overwhelmingly, the prime and precious thing (as other than this I have never been able to see it); as to which what makes for it, with whatever headlong energy, may be said to pale before the energy with which it simply makes for itself. It rejoices, none the less, at its best, to seem to offer itself in a light, to seem to know, and with the very last knowledge, what it's about—liable as it yet is at moments to be caught by us with its tongue in its cheek and absolutely no warrant but its splendid impudence. Let us grant then that the impudence is always there—there, so to speak, for grace and effect and ALLURE; there, above all, because the Story is just the spoiled child of art, and because, as we are always disappointed when the pampered don't "play up," we like it, to that extent, to look all its character. It probably does so, in truth, even when we most flatter ourselves that we negotiate with it by treaty.

      All of which, again, is but to say that the STEPS, for my fable, placed themselves with a prompt and, as it were, functional assurance—an air quite as of readiness to have dispensed with logic had I been in fact too stupid for my clue. Never, positively, none the less, as the links multiplied, had I felt less stupid than for the determination of poor Strether's errand and for the apprehension of his issue. These things continued to fall together, as by the neat action of their own weight and form, even while their commentator scratched his head about them; he easily sees now that they were always well in advance of him. As the case completed itself he had in fact, from a good way behind, to catch up with them, breathless and a little flurried, as he best could. THE false position, for our belated man of the world—belated because he had endeavoured so long to escape being one, and now at last had really to face his doom—the false position for him, I say, was obviously to have presented himself at the gate of that boundless menagerie primed with a moral scheme of the most approved pattern which was yet framed to break down on any approach to vivid facts; that is to any at all liberal appreciation of them. There would have been of course the case of the Strether prepared, wherever presenting himself, only to judge and to feel meanly; but HE would have moved for me, I confess, enveloped in no legend whatever. The actual man's note, from the first of our seeing it struck, is the note of discrimination, just as his drama is to become, under stress, the drama of discrimination. It would have been his blest imagination, we have seen, that had already helped him to discriminate; the element that was for so much of the pleasure of my cutting thick, as I have intimated, into his intellectual, into his moral substance. Yet here it was, at the same time, just here, that a shade for a moment fell across the scene.

      There was the dreadful little old tradition, one of the platitudes of the human comedy, that people's moral scheme DOES break down