by Henry James
That must have been, in the whole pleasant incoherence, on my way back from the sweet old Carroll house, climax of an afternoon drive, yet before another, an ultimate visit, which was the climax of everything. I have sufficiently noted already the charming law under which, in the States, any approach to really ripe architectural charm—for the real ripeness is indispensable—enjoys advantages, those of mystery and sanctity, that are achieved in “Europe” but on greatly harder terms. The observed practice of this art, at times singularly subtle, is in fact half the reward of one’s attention, puzzled though the latter may none the less be to see how the trick is played. So much at any rate one remembers; yet where, after all, would the sweet old Carroll house, nestling under its wood in the late June afternoon, and with something vaguely haunted in its lonely refinement, not have made an insidious appeal? There are sweet old Carroll houses, I believe, on several other sites—the luckiest form perhaps in which a flourishing family may have been moved to write its annals. The intimation of “annals” hangs about the place, and again we try to capture, under the charming pillared portico, before the mild red brick and the pale pediment and facings, in the series of high chambers, quite instinct with style (small far-off cousins of such “apartments,” say, as those of Kensington Palace, though they cover, bungalow-fashion, scarce more than one floor), some lingering, living accents of such a profession of history. We capture verily, I think, nothing; we merely project a little, from one room and from one mild aspect of the void to another, our old habit of suppositions. Bred of other historic contacts, it instinctively puts forth feelers; but the feelers drop, after a little, like hands that meet nothing; our suppositions themselves, as I have called them, and which but return to us like toy ships that won’t sail, are all they find tangible. There is satisfaction of a sort, however, even in such arrested questions, when, as before this delicate faintly-resonant shell, each other element also helping, they have been vividly enough suggested. Later on, for the real crown of my day, no wonderments were checked and no satisfactions imperfect. Attained, for the high finish of the evening, by another plunge, behind vaguely-playing carriage-lamps, into the bosky, odorous, quite ridiculously-romantic suburban night, this was the case of an ancient home without lapses or breaks, where the past and the present were in friendliest fusion, so that the waiting future evidently slumbered with confidence; and where, above the easy open-air “Southern” hospitality, an impression now of shafts of mild candle-light across overlaced outer galleries and of throbs of nature’s voice in the dark vaster circle, the Maryland boughs, at their best, presided in the unforgettable grand manner.
XI
WASHINGTON
I
I WAS twice in Washington, the first time for a winter visit, the second to meet the wonderful advance of summer, to which, in that climate of many charms, the first days of May open wide the gates. This latter impression was perforce much the more briefly taken; yet, though I had gathered also from other past occasions, far-away years now, something of the sense of the place at the earlier season, I find everything washed over, at the mention of the name, by the rare light, half green, half golden, of the lovely leafy moment. I see all the rest, till I make the effort to break the spell, through that voluminous veil; which operates, for memory, quite as the explosion of spring works, even to the near vision, in respect to the American scene at large—dressing it up as if for company, preparing it for social, for human intercourse, making it in fine publicly presentable, with an energy of renewal and an effect of redemption not often to be noted, I imagine, on other continents. Nowhere, truly, can summer have such work cut out for it as here—nowhere has it to take upon itself to repaint the picture so completely. In the “European” landscape, in general, some, at least, of the elements and objects remain upon the canvas; here, on the other hand, one seems to see intending Nature, the great artist of the season, decline to touch that surface unless it be first swept clean—decline, at any rate, to deal with it save by ignoring all its perceived pretensions. Vernal Nature, in England, in France, in Italy, has still a use, often a charmed or amused indulgence, for the material in hand, the furniture of the foreground, the near and middle distances, the heterogeneous human features of the face of the land. She looks at her subject much as the portrait-painter looks at the personal properties, this or that household object, the official uniform, the badges and ornaments, the favourite dress, of his sitter—with an “Oh, yes, I can bring them in; they’re just what I want, and I see how they will help me out.” But I try in vain to recall a case in which, either during the New England May and June, or during those of the Middle States (since these groups of weeks have in the two regions a differing identity and value), the genius in question struck me as adopting with any frankness, as doing more than passively, helplessly accept, the supplied paraphernalia, the signs of existing life. The business is clearly to get rid of them as far as may be, to cover and smother them; dissimulating with the biggest, freest brush their impertinence and their ugliness.
I must ask myself, I meanwhile recognize, none the less, why I should have found Mount Vernon exquisite, the first of May, if the interest had all to be accounted for in the light of nature. The light of nature was there, splendid and serene; the Potomac opened out in its grandest manner; the bluff above the river, before the sweep of its horizon, raised its head for the historic crown. But it was not for a moment to be said that this was the whole story; the human interest and the human charm lay in wait and held one fast—so that, if one had been making light, elsewhere, of their suggestion and office, one had at least this case seriously to reckon with. I speak straightway, thus, of Mount Vernon, though it be but an outlying feature of Washington, and at the best a minor impression; the image of the particular occasion is seated so softly in my path. There was a glamour, in fine, for the excursion—that of an extraordinarily gracious hospitality; and the glamour would still have been great even if I had not, on my return to the shadow of the Capitol, found the whole place transfigured. The season was over, the President away, the two Houses up, the shutters closed, the visitor rare; and one lost one’s way in the great green vistas of the avenues quite as one might have lost it in a “sylvan solitude”—that is in the empty alleys of a park. The emptiness was qualified at the most, here and there, by some encounter with a stray diplomatic agent, wreathed for the most part in sincerer smiles than we are wont to attribute to his class. “This”—it was the meaning of these inflections—”was the real Washington, a place of enchantment; so that if the enchantment were never less who could ever bring himself to go away?” The enchantment had been so much less in January—one could easily understand; yet the recognition seemed truly the voice of the hour, and one picked it up with a patriotic flutter not diminished by the fact that the speaker would probably be going away, and with delight, on the morrow.
The memory of some of the smiles and inflections comes back in that light; Washington being the one place in America, I think, where those qualities are the values and vehicles, the medium of exchange. No small part of the interest of the social scene there consists, inevitably, for any restless analyst, in wonder about the “real” sentiments of appointed foreign participants, the delegates of Powers and pledged alike to penetration and to discretion, before phenomena which, whatever they may be, differ more from the phenomena of other capitals and other societies than they resemble them. This interest is susceptible, on occasion, of becoming intense; all the more that curiosity must, for the most part, pursue its object (that of truly looking over the alien shoulder and of seeing, judging, building, fearing, reporting with the alien sense) by subtle and tortuous ways. This represents, first and last, even for a watcher abjectly irresponsible, a good deal of speculative tension; so that one’s case is refreshing in presence of the clear candour of such a proposition as that the national capital is charming in proportion as you don’t see it. For that is what it came to, in the bowery condition; the as yet unsurmounted bourgeois charac
ter of the whole was screened and disguised; the dressing-up, in other words, was complete, and the great park-aspect gained, and became nobly artificial, by the very complexity of the plan of the place—the perpetual perspectives, the converging, radiating avenues, the frequent circles and crossways, where all that was wanted for full illusion was that the bronze generals and admirals, on their named pedestals, should have been great garden-gods, mossy mythological marble. This would have been the perfect note; the long vistas yearned for it, and the golden chequers scattered through the gaps of the high arches waited for some bending nymph or some armless Hermes to pick them up. The power of the scene to evoke such visions sufficiently shows, I think, what had become, under the mercy of nature, of the hard facts, as one must everywhere call them; and yet though I could, diplomatically, patriotically pretend, at the right moment, that such a Washington was the “real” one, my assent had all the while a still finer meaning for myself.
I am hanging back, however, as with a sacred terror, from Mount Vernon, where indeed I may not much linger, or only enough to appear not to have shirked the responsibility incurred at the opening of these remarks. There, in ample possession, was masking, dissimulating summer, the envelope and disguise to which I have hinted that the American picture owes, on its human side, all its best presentability; and at the same time, unmistakably, there was the spell, as quite a distinct matter, of the hard little facts in themselves. How came it that if they could throw a spell they were yet so abject and so negligible? How came it that if they had no intrinsic sweetness, no visible dignity, they could yet play their part in so unforgettable an impression? The answer to this can only be, I think, that we happen here to “strike,” as they say, one of the rarest of cases, a spot on which all sorts of sensibilities are touched and on which a lively emotion, and one yet other than the aesthetic, makes us its prey. The old high-placed house, unquestionably, is charming, and the felicity of the whole scene, on such a day as that of my impression, scarce to be uttered. The little hard facts, facts of form, of substance, of scale, facts of essential humility and exiguity, none the less, look us straight in the face, present themselves literally to be counted over—and reduce us thereby to the recognition of our supreme example of the rich interference of association. Association does, at Mount Vernon, simply what it likes with us—it is of so beautiful and noble a sort; and to this end it begins by making us unfit to say whether or no we would in its absence have noticed the house for any material grace at all. We scarce care more for its being proved picturesque, the house, than for its being proved plain; its architectural interest and architectural nullity become one and the same thing for us. If asked what we should think of it if it hadn’t been, or if we hadn’t known it for, Washington’s, we retort that the inquiry is inane, since it is not the possessive case, but the straight, serene nominative, that we are dealing with. The whole thing is Washington—not his invention and his property, but his presence and his person; with discriminations (as distinguished from enthusiasms) as invidious and unthinkable as if they were addressed to his very ears.
The great soft fact, as opposed to the little hard ones, is the beauty of the site itself; that is definitely, if ever so delicately, sublime, but it fails to rank among the artificial items that I began by speaking of, those of so generally compromising an effect in the American picture. Everything else is communicated importance, and the magic so wrought for the American sensibility—by which I mean the degree of the importance and the sustained high pitch of the charm—place it, doubtless, the world over, among the few supreme triumphs of such communication. The beauty of the site, meanwhile, as we stand there, becomes but the final aspect of the man; under which everything conduces to a single great representative image, under which every feature of the scene, every object in the house, however trivial, borrows from it and profits by it. The image is the largest, clearest possible of the resting, as distinguished from the restless, consciousness of public service consummately rendered. The terms we commonly use for that condition—peace with honour, well-earned repose, enjoyment of homage, recognition of facts—render but dimly the luminous stillness in which, on its commanding eminence, we see our image bathed. It hangs together with the whole bright immensity of air and view. It becomes truly the great white, decent page on which the whole sense of the place is written. It does more things even besides; attends us while we move about and goes with us from room to room; mounts with us the narrow stairs, to stand with us in these small chambers and look out of the low windows; takes up for us, to turn them over with spiritual hands, the objects from which we respectfully forbear, and places an accent, in short, through the rambling old phrase, wherever an accent is required. Thus we arrive at the full meaning, as it were—thus we know, at least, why we are so moved.
It is for the same reason for which we are always inordinately moved, on American ground, I think, when the unconscious minor scale of the little old demonstrations to which we owe everything is made visible to us, when their disproportionate modesty is proved upon them. The reason worked at Mount Vernon, for the restless analyst, quite as it had worked a few months before, on the small and simple scene of Concord Fight: the slight, pale, bleeding Past, in a patched homespun suit, stands there taking the thanks of the bloated Present—having woundedly rescued from thieves and brought to his door the fat, locked pocketbook of which that personage appears the owner. The pocket-book contains, “unbeknown” to the honest youth, bank-notes of incredible figure, and what breaks our heart, if we be cursed with the historic imagination, is the grateful, wan smile with which the great guerdon of sixpence is received. I risk, floridly, the assertion that half the intensity of the impression of Mount Vernon, for many a visitor, will ever be in this vision there of Washington only (so far as consciously) so rewarded. Such fantastications, I indeed admit, are refinements of response to any impression, but the ground had been cleared for them, and it ministered to luxury of thought, for instance, that we were a small party at our ease there, with no other circulation—with the prowling ghosts of fellow-pilgrims, too harshly present on my previous occasion, all conveniently laid. This alone represented privilege and power, and they in turn, with their pomp and circumstance of a charming Government launch, under official attendance, at the Navy-Yard steps, amid those large, clean, protecting and protected properties of the State which always make one think much of the State, whatever its actual infirmities—these things, to say nothing of other rich enhancements, above all those that I may least specify, flung over the day I scarce know what iridescent reflection of the star-spangled banner itself, in the folds of which I had never come so near the sense of being positively wrapped. That consciousness, so unfamiliar, was, under the test, irresistible; it pressed the spring, absolutely, of intellectual exaltation—with the consequent loud resonance that my account of my impressions doubtless sufficiently translates.
II
Washington itself meanwhile—the Washington always, I premise, of the rank outsider—had struck me from the first as presenting two distinct faces; the more obvious of which was the public and official, the monumental, with features all more or less majestically playing the great administrative, or, as we nowadays put it, Imperial part. This clustered, yet at the same time oddly scattered, city, a general impression of high granite steps, of light grey corniced colonnades, rather harmoniously low, contending for effect with slaty mansard roofs and masses of iron excrescence, a general impression of somewhat vague, empty, sketchy, fundamentals, however expectant, however spacious, overweighted by a single Dome and overaccented by a single Shaft—this loose congregation of values seemed, strangely, a matter disconnected and remote, though remaining in its way portentous and bristling all incoherently at the back of the scene. The back of the scene, indeed, to one’s quite primary sense, might have been but an immense painted, yet unfinished cloth, hung there to a confessedly provisional end and marked with the queerness, among many queernesses, of looking always the same; painted
once for all in clear, bright, fresh tones, but never emerging from its flatness, after the fashion of other capitals, into the truly, the variously, modelled and rounded state. (It appeared provisional therefore because looking as if it might have been unhooked and removed as a whole; because any one object in it so treated would have made the rest also come off.) The foreground was a different thing, a thing that, ever so quaintly, seemed to represent the force really in possession; though consisting but of a small company of people engaged perpetually in conversation and (always, I repeat, for the rank outsider) singularly destitute of conspicuous marks or badges. This little society easily became, for the detached visitor, the city itself, the national capital and the greater part of the story; and that, ever, in spite of the comparatively scant intensity of its political permeation. The political echo was of course to be heard in it, and the public character, in his higher forms, to be encountered—though only in “single spies,” not in battalions; but there was something that made it much more individual than any mere predominance of political or administrative colour would have made it; leaving it in that case to do no more than resemble the best society in London, or that in best possession of the field in Paris.