Essential Novelists - Henry James. Генри Джеймс

was still all to be placed how came it to be vivid?—since we puzzle such quantities out, mostly, just by the business of placing them. One could answer such a question beautifully, doubtless, if one could do so subtle, if not so monstrous, a thing as to write the history of the growth of one’s imagination. One would describe then what, at a given time, had extraordinarily happened to it, and one would so, for instance, be in a position to tell, with an approach to clearness, how, under favour of occasion, it had been able to take over (take over straight from life) such and such a constituted, animated figure or form. The figure has to that extent, as you see, been placed—placed in the imagination that detains it, preserves, protects, enjoys it, conscious of its presence in the dusky, crowded, heterogeneous back-shop of the mind very much as a wary dealer in precious odds and ends, competent to make an “advance” on rare objects confided to him, is conscious of the rare little “piece” left in deposit by the reduced, mysterious lady of title or the speculative amateur, and which is already there to disclose its merit afresh as soon as a key shall have clicked in a cupboard-door.

      That may he, I recognise, a somewhat superfine analogy for the particular “value” I here speak of, the image of the young feminine nature that I had had for so considerable a time all curiously at my disposal; but it appears to fond memory quite to fit the fact—with the recall, in addition, of my pious desire but to place my treasure right. I quite remind myself thus of the dealer resigned not to “realise,” resigned to keeping the precious object locked up indefinitely rather than commit it, at no matter what price, to vulgar hands. For there are dealers in these forms and figures and treasures capable of that refinement. The point is, however, that this single small corner-stone, the conception of a certain young woman affronting her destiny, had begun with being all my outfit for the large building of “The Portrait of a Lady.” It came to be a square and spacious house—or has at least seemed so to me in this going over it again; but, such as it is, it had to be put up round my young woman while she stood there in perfect isolation. That is to me, artistically speaking, the circumstance of interest; for I have lost myself once more, I confess, in the curiosity of analysing the structure. By what process of logical accretion was this slight “personality,” the mere slim shade of an intelligent but presumptuous girl, to find itself endowed with the high attributes of a Subject?—and indeed by what thinness, at the best, would such a subject not be vitiated? Millions of presumptuous girls, intelligent or not intelligent, daily affront their destiny, and what is it open to their destiny to be, at the most, that we should make an ado about it? The novel is of its very nature an “ado,” an ado about something, and the larger the form it takes the greater of course the ado. Therefore, consciously, that was what one was in for—for positively organising an ado about Isabel Archer.

      One looked it well in the face, I seem to remember, this extravagance; and with the effect precisely of recognising the charm of the problem. Challenge any such problem with any intelligence, and you immediately see how full it is of substance; the wonder being, all the while, as we look at the world, how absolutely, how inordinately, the Isabel Archers, and even much smaller female fry, insist on mattering. George Eliot has admirably noted it—“In these frail vessels is borne onward through the ages the treasure of human affection.” In “Romeo and Juliet” Juliet has to be important, just as, in “Adam Bede” and “The Mill on the Floss” and “Middlemarch” and “Daniel Deronda,” Hetty Sorrel and Maggie Tulliver and Rosamond Vincy and Gwendolen Harleth have to be; with that much of firm ground, that much of bracing air, at the disposal all the while of their feet and their lungs. They are typical, none the less, of a class difficult, in the individual case, to make a centre of interest; so difficult in fact that many an expert painter, as for instance Dickens and Walter Scott, as for instance even, in the main, so subtle a hand as that of R. L. Stevenson, has preferred to leave the task unattempted. There are in fact writers as to whom we make out that their refuge from this is to assume it to be not worth their attempting; by which pusillanimity in truth their honour is scantly saved. It is never an attestation of a value, or even of our imperfect sense of one, it is never a tribute to any truth at all, that we shall represent that value badly. It never makes up, artistically, for an artist’s dim feeling about a thing that he shall “do” the thing as ill as possible. There are better ways than that, the best of all of which is to begin with less stupidity.

      It may be answered meanwhile, in regard to Shakespeare’s and to George Eliot’s testimony, that their concession to the “importance” of their Juliets and Cleopatras and Portias (even with Portia as the very type and model of the young person intelligent and presumptuous) and to that of their Hettys and Maggies and Rosamonds and Gwendolens, suffers the abatement that these slimnesses are, when figuring as the main props of the theme, never suffered to be sole ministers of its appeal, but have their inadequacy eked out with comic relief and underplots, as the playwrights say, when not with murders and battles and the great mutations of the world. If they are shown as “mattering” as much as they could possibly pretend to, the proof of it is in a hundred other persons, made of much stouter stuff; and each involved moreover in a hundred relations which matter to them concomitantly with that one. Cleopatra matters, beyond bounds, to Antony, but his colleagues, his antagonists, the state of Rome and the impending battle also prodigiously matter; Portia matters to Antonio, and to Shylock, and to the Prince of Morocco, to the fifty aspiring princes, but for these gentry there are other lively concerns; for Antonio, notably, there are Shylock and Bassanio and his lost ventures and the extremity of his predicament. This extremity indeed, by the same token, matters to Portia—though its doing so becomes of interest all by the fact that Portia matters to us. That she does so, at any rate, and that almost everything comes round to it again, supports my contention as to this fine example of the value recognised in the mere young thing. (I say “mere” young thing because I guess that even Shakespeare, preoccupied mainly though he may have been with the passions of princes, would scarce have pretended to found the best of his appeal for her on her high social position.) It is an example exactly of the deep difficulty braved—the difficulty of making George Eliot’s “frail vessel,” if not the all-in-all for our attention, at least the clearest of the call.

      Now to see deep difficulty braved is at any time, for the really addicted artist, to feel almost even as a pang the beautiful incentive, and to feel it verily in such sort as to wish the danger intensified. The difficulty most worth tackling can only be for him, in these conditions, the greatest the case permits of. So I remember feeling here (in presence, always, that is, of the particular uncertainty of my ground), that there would be one way better than another—oh, ever so much better than any other!—of making it fight out its battle. The frail vessel, that charged with George Eliot’s “treasure,” and thereby of such importance to those who curiously approach it, has likewise possibilities of importance to itself, possibilities which permit of treatment and in fact peculiarly require it from the moment they are considered at all. There is always the escape from any close account of the weak agent of such spells by using as a bridge for evasion, for retreat and flight, the view of her relation to those surrounding her. Make it predominantly a view of their relation and the trick is played: you give the general sense of her effect, and you give it, so far as the raising on it of a superstructure goes, with the maximum of ease. Well, I recall perfectly how little, in my now quite established connexion, the maximum of ease appealed to me, and how I seemed to get rid of it by an honest transposition of the weights in the two scales. “Place the centre of the subject in the young woman’s own consciousness,” I said to myself, “and you get as interesting and as beautiful a difficulty as you could wish. Stick to that—for the centre; put the heaviest weight into that scale, which will be so largely the scale of her relation to herself. Make her only interested enough, at the same time, in the things that are not herself, and this relation needn’t fear to be too limited. Place meanwhile in the other scale the lighter weight (which is usually the one that tips the balance of interest): press least hard, in short, on the consciousness of your heroine’s satellites, especially the male; make it an interest contributive only to the greater one. See, at all events, what can be done in this way. What better field could there be for a due ingenuity? The girl hovers, inextinguishable, as a charming creature, and the job will be to translate her into the highest terms of that formula, and as nearly as possible moreover into all of them. To depend upon her and her little concerns wholly to see you through will necessitate, remember, your really ‘doing’ her.”