The Complete Works of Henry James

by Henry James

  The afternoons, however, glimmer back to me shamelessly different, for our circle had promptly been joined by the all-knowing and all-imposing Mademoiselle Danse aforesaid, her of the so flexible taille and the so salient smiling eyes, than which even those of Miss Rebecca Sharp, that other epic governess, were not more pleasingly green; who provided with high efficiency for our immediate looser needs—mine and Wilky’s and those of our small brother Bob (l’ingénieux petit Robertson as she was to dub him,) and of our still smaller sister at least—our first fine flâneries of curiosity. Her brave Vaudoise predecessor had been bequeathed by us in London to a higher sphere than service with mere earnest nomads could represent; but had left us clinging and weeping and was for a long time afterwards to write to us, faithfully, in the most beautiful copper-plate hand, out of the midst of her “rise”; with details that brought home to us as we had never known it brought the material and institutional difference between the nomadic and the solidly, the spreadingly seated. A couple of years later, on an occasion of our being again for a while in London, she hastened to call on us, and, on departing, amiably invited me to walk back with her, for a gossip—it was a bustling day of June—across a long stretch of the town; when I left her at a glittering portal with the impression of my having in our transit seen much of Society (the old London “season” filled the measure, had length and breadth and thickness, to an extent now foregone,) and, more particularly, achieved a small psychologic study, noted the action of the massive English machinery directed to its end, which had been in this case effectually to tame the presumptuous and “work over” the crude. I remember on that occasion retracing my steps from Eaton Square to Devonshire Street with a lively sense of observation exercised by the way, a perfect gleaning of golden straws. Our guide and philosopher of the summer days in Paris was no such character as that; she had arrived among us full-fledged and consummate, fortunately for the case altogether—as our mere candid humanity would otherwise have had scant practical pressure to bring. Thackeray’s novel contains a plate from his own expressive hand representing Miss Sharp lost in a cynical day-dream while her neglected pupils are locked in a scrimmage on the floor; but the marvel of our exemplar of the Becky type was exactly that though her larger, her more interested and sophisticated views had a range that she not only permitted us to guess but agreeably invited us to follow almost to their furthest limits, we never for a moment ceased to be aware of her solicitude. We might, we must, so tremendously have bored her, but no ironic artist could have caught her at any juncture in the posture of disgust: really, I imagine, because her own ironies would have been too fine for him and too numerous and too mixed. And this remarkable creature vouchsafed us all information for the free enjoyment—on the terms proper to our tender years—of her beautiful city.

  It was not by the common measure then so beautiful as now; the second Empire, too lately installed, was still more or less feeling its way, with the great free hand soon to be allowed to Baron Haussmann marked as yet but in the light preliminary flourish. Its connections with the past, however, still hung thickly on; its majesties and symmetries, comparatively vague and general, were subject to the happy accident, the charming lapse and the odd extrusion, a bonhomie of chance composition and colour now quite purged away. The whole region of the Champs-Elysées, where we must after all at first have principally prowled, was another world from the actual huge centre of repeated radiations; the splendid Avenue, as we of course already thought it, carried the eye from the Tuileries to the Arch, but pleasant old places abutted on it by the way, gardens and terraces and hôtels of another time, pavilions still braver than ours, cabarets and cafés of homely, almost of rural type, with a relative and doubtless rather dusty ruralism, spreading away to the River and the Wood. What was the Jardin d’Hiver, a place of entertainment standing quite over against us and that looped itself at night with little coloured oil-lamps, a mere twinkling grin upon the face of pleasure? Dim my impression of having been admitted—or rather, I suppose, conducted, though under conductorship now vague to me—to view it by colourless day, when it must have worn the stamp of an auction-room quite void of the “lots.” More distinct on the other hand the image of the bustling barrière at the top of the Avenue, on the hither side of the Arch, where the old loose-girt banlieue began at once and the two matched lodges of the octroi, highly, that is expressly even if humbly, architectural, guarded the entrance, on either side, with such a suggestion of the generations and dynasties and armies, the revolutions and restorations they had seen come and go. But the Avenue of the Empress, now, so much more thinly, but of the Wood itself, had already been traced, as the Empress herself, young, more than young, attestedly and agreeably new, and fair and shining, was, up and down the vista, constantly on exhibition; with the thrill of that surpassed for us, however, by the incomparable passage, as we judged it, of the baby Prince Imperial borne forth for his airing or his progress to Saint-Cloud in the splendid coach that gave a glimpse of appointed and costumed nursing breasts and laps, and beside which the cent-gardes, all light-blue and silver and intensely erect quick jolt, rattled with pistols raised and cocked. Was a public holiday ever more splendid than that of the Prince’s baptism at Notre Dame, the fête of Saint-Napoléon, or was any ever more immortalised, as we say, than this one was to be by the wonderfully ample and vivid picture of it in the Eugène Rougon of Emile Zola, who must have taken it in, on the spot, as a boy of about our own number of years, though of so much more implanted and predestined an evocatory gift? The sense of that interminable hot day, a day of hanging about and waiting and shuffling in dust, in crowds, in fatigue, amid booths and pedlars and performers and false alarms and expectations and renewed reactions and rushes, all transfigured at the last, withal, by the biggest and brightest illumination up to that time offered even the Parisians, the blinding glare of the new Empire effectually symbolised—the vision of the whole, I say, comes back to me quite in the form of a chapter from the Rougon-Macquart, with its effect of something long and dense and heavy, without shades or undertones, but immensely kept-up and done. I dare say that for those months our contemplations, our daily exercise in general, strayed little beyond the Champs-Elysées, though I recall confusedly as well certain excursions to Passy and Auteuil, where we foregathered with small resident compatriots the easy gutturalism of whose French, an unpremeditated art, was a revelation, an initiation, and whence we roamed, for purposes of picnic, into parts of the Bois de Boulogne that, oddly enough, figured to us the virgin forest better than anything at our own American door had done.

  It was the social aspect of our situation that most appealed to me, none the less—for I detect myself, as I woo it all back, disengaging a social aspect again, and more than ever, from the phenomena disclosed to my reflective gape or to otherwise associated strolls; perceptive passages not wholly independent even of the occupancy of two-sous chairs within the charmed circle of Guignol and of Gringalet. I suppose I should have blushed to confess it, but Polichinelle and his puppets, in the afternoons, under an umbrage sparse till evening fell, had still their spell to cast—as part and parcel, that is, of the general intensity of animation and variety of feature. The “amusement,” the æsthetic and human appeal, of Paris had in those days less the air of a great shining conspiracy to please, the machinery in movement confessed less to its huge purpose; but manners and types and traditions, the detail of the scene, its pointed particulars, went their way with a straighter effect, as well as often with a homelier grace—character, temper and tone had lost comparatively little of their emphasis. These scattered accents were matter for our eyes and ears—not a little even already for our respective imaginations; though it is only as the season waned and we set up our fireside afresh and for the winter that I connect my small revolution with a wider field and with the company of W. J. Again for that summer he was to be in eclipse to me; Guignol and Gringalet failed to claim his attention, and Mademoiselle Danse, I make out, deprecated his theory of exact k
nowledge, besides thinking him perhaps a little of an ours—which came to the same thing. We adjourned that autumn to quarters not far off, a wide-faced apartment in the street then bravely known as the Rue d’Angoulême-St.-Honoré and now, after other mutations, as the Rue La Boëtie; which we were again to exchange a year later for an abode in the Rue Montaigne, this last after a summer’s absence at Boulogne-sur-Mer; the earlier migration setting up for me the frame of a considerably animated picture. Animated at best it was with the spirit and the modest facts of our family life, among which I number the cold finality of M. Lerambert, reflected in still other testimonies—that is till the date of our definite but respectful rupture with him, followed as the spring came on by our ineluctable phase at the Institution Fezandié in the Rue Balzac; of which latter there will be even more to say than I shall take freedom for. With the Rue d’Angoulême came extensions—even the mere immediate view of opposite intimacies and industries, the subdivided aspects and neat ingenuities of the applied Parisian genius counting as such: our many-windowed premier, above an entresol of no great height, hung over the narrow and, during the winter months, not a little dusky channel, with endless movement and interest in the vivid exhibition it supplied. What faced us was a series of subjects, with the baker, at the corner, for the first—the impeccable dispenser of the so softly-crusty crescent-rolls that we woke up each morning to hunger for afresh, with our weak café-au-lait, as for the one form of “European” breakfast-bread fit to be named even with the feeblest of our American forms. Then came the small crêmerie, white picked out with blue, which, by some secret of its own keeping, afforded, within the compass of a few feet square, prolonged savoury meals to working men, white-frocked or blue-frocked, to uniformed cabmen, stout or spare, but all more or less audibly bavards and discernibly critical; and next the compact embrasure of the écaillère or oyster-lady, she and her paraphernalia fitted into their interstice much as the mollusc itself into its shell; neighboured in turn by the marchand-de-bois, peeping from as narrow a cage, his neat faggots and chopped logs stacked beside him and above him in his sentry-box quite as the niches of saints, in early Italian pictures, are framed with tightly-packed fruits and flowers. Space and remembrance fail me for the rest of the series, the attaching note of which comes back as the note of diffused sociability and domestic, in fact more or less æsthetic, ingenuity, with the street a perpetual parlour or household centre for the flitting, pausing, conversing little bourgeoise or ouvrière to sport, on every pretext and in every errand, her fluted cap, her composed head, her neat ankles and her ready wit. Which is to say indeed but that life and manners were more pointedly and harmoniously expressed, under our noses there, than we had perhaps found them anywhere save in the most salient passages of “stories”; though I must in spite of it not write as if these trifles were all our fare.

  XXV

  That autumn renewed, I make out, our long and beguiled walks, my own with W. J. in especial; at the same time that I have somehow the sense of the whole more broken appeal on the part of Paris, the scanter confidence and ease it inspired in us, the perhaps more numerous and composite, but obscurer and more baffled intimations. Not indeed—for all my brother’s later vision of an accepted flatness in it—that there was not some joy and some grasp; why else were we forever (as I seem to conceive we were) measuring the great space that separated us from the gallery of the Luxembourg, every step of which, either way we took it, fed us with some interesting, some admirable image, kept us in relation to something nobly intended? That particular walk was not prescribed us, yet we appear to have hugged it, across the Champs-Elysées to the river, and so over the nearest bridge and the quays of the left bank to the Rue de Seine, as if it somehow held the secret of our future; to the extent even of my more or less sneaking off on occasion to take it by myself, to taste of it with a due undiverted intensity and the throb as of the finest, which could only mean the most Parisian, adventure. The further quays, with their innumerable old bookshops and print-shops, the long cases of each of these commodities, exposed on the parapets in especial, must have come to know us almost as well as we knew them; with plot thickening and emotion deepening steadily, however, as we mounted the long, black Rue de Seine—such a stretch of perspective, such an intensity of tone as it offered in those days; where every low-browed vitrine waylaid us and we moved in a world of which the dark message, expressed in we couldn’t have said what sinister way too, might have been “Art, art, art, don’t you see? Learn, little gaping pilgrims, what that is!” Oh we learned, that is we tried to, as hard as ever we could, and were fairly well at it, I always felt, even by the time we had passed up into that comparatively short but wider and finer vista of the Rue de Tournon, which in those days more abruptly crowned the more compressed approach and served in a manner as a great outer vestibule to the Palace. Style, dimly described, looked down there, as with conscious encouragement, from the high grey-headed, clear-faced, straight-standing old houses—very much as if wishing to say “Yes, small staring jeune homme, we are dignity and memory and measure, we are conscience and proportion and taste, not to mention strong sense too: for all of which good things take us—you won’t find one of them when you find (as you’re going soon to begin to at such a rate) vulgarity.” This, I admit, was an abundance of remark to such young ears; but it did all, I maintain, tremble in the air, with the sense that the Rue de Tournon, cobbled and a little grass-grown, might more or less have figured some fine old street de province: I cherished in short its very name and think I really hadn’t to wait to prefer the then, the unmenaced, the inviolate Café Foyot of the left hand corner, the much-loved and so haunted Café Foyot of the old Paris, to its—well, to its roaring successor. The wide mouth of the present Boulevard Saint-Michel, a short way round the corner, had not yet been forced open to the exhibition of more or less glittering fangs; old Paris still pressed round the Palace and its gardens, which formed the right, the sober social antithesis to the “elegant” Tuileries, and which in fine, with these renewals of our young confidence, reinforced both in a general and in a particular way one of the fondest of our literary curiosities of that time, the conscientious study of Les Français Peints par Eux-Mêmes, rich in wood-cuts of Gavarni, of Grandville, of Henri-Monnier, which we held it rather our duty to admire and W. J. even a little his opportunity to copy in pen-and-ink. This gilt-edged and double-columned octavo it was that first disclosed to me, forestalling a better ground of acquaintance, the great name of Balzac, who, in common with every other “light” writer of his day, contributed to its pages: hadn’t I pored over his exposition there of the contrasted types of L’Habituée des Tuileries and L’Habituée du Luxembourg?—finding it very serré, in fact what I didn’t then know enough to call very stodgy, but flavoured withal and a trifle lubricated by Gavarni’s two drawings, which had somehow so much, in general, to say.

  Let me not however dally by the way, when nothing, at those hours, I make out, so much spoke to us as the animated pictured halls within the Palace, primarily those of the Senate of the Empire, but then also forming, as with extensions they still and much more copiously form, the great Paris museum of contemporary art. This array was at that stage a comparatively (though only comparatively) small affair; in spite of which fact we supposed it vast and final—so that it would have shocked us to foreknow how in many a case, and of the most cherished cases, the finality was to break down. Most of the works of the modern schools that we most admired are begging their bread, I fear, from door to door—that is from one provincial museum or dim back seat to another; though we were on much-subsequent returns to draw a long breath for the saved state of some of the great things as to which our faith had been clearest. It had been clearer for none, I recover, than for Couture’s Romains de la Décadence, recently acclaimed, at that time, as the last word of the grand manner, but of the grand manner modernised, humanised, philosophised, redeemed from academic death; so that it was to this master’s school that the young American contempo
rary flutter taught its wings to fly straightest, and that I could never, in the long aftertime, face his masterpiece and all its old meanings and marvels without a rush of memories and a stir of ghosts. William Hunt, the New Englander of genius, the “Boston painter” whose authority was greatest during the thirty years from 1857 or so, and with whom for a time in the early period W. J. was to work all devotedly, had prolonged his studies in Paris under the inspiration of Couture and of Edouard Frère; masters in a group completed by three or four of the so finely interesting landscapists of that and the directly previous age, Troyon, Rousseau, Daubigny, even Lambinet and others, and which summed up for the American collector and in the New York and Boston markets the idea of the modern in the masterly. It was a comfortable time—when appreciation could go so straight, could rise, and rise higher, without critical contortions; when we could, I mean, be both so intelligent and so “quiet.” We were in our immediate circle to know Couture himself a little toward the end of his life, and I was somewhat to wonder then where he had picked up the æsthetic hint for the beautiful Page with a Falcon, if I have the designation right, his other great bid for style and capture of it—which we were long to continue to suppose perhaps the rarest of all modern pictures. The feasting Romans were conceivable enough, I mean as a conception; no mystery hung about them—in the sense of one’s asking one’s self whence they had come and by what romantic or roundabout or nobly-dangerous journey; which is that air of the poetic shaken out as from strong wings when great presences, in any one of the arts, appear to alight. What I remember, on the other hand, of the splendid fair youth in black velvet and satin or whatever who, while he mounts the marble staircase, shows off the great bird on his forefinger with a grace that shows him off, was that it failed to help us to divine, during that after-lapse of the glory of which I speak, by what rare chance, for the obscured old ex-celebrity we visited, the heavens had once opened. Poetry had swooped down, breathed on him for an hour and fled. Such at any rate are the see-saws of reputations—which it contributes to the interest of any observational lingering on this planet to have caught so repeatedly in their weird motion; the question of what may happen, under one’s eyes, in particular cases, before that motion sinks to rest, whether at the up or at the down end, being really a bribe to one’s own non-departure. Especially great the interest of having noted all the rises and falls and of being able to compare the final point—so far as any certainty may go as to that—either with the greatest or the least previous altitudes; since it is only when there have been exaltations (which is what is not commonest), that our attention is most rewarded.