The Complete Works of Henry James

by Henry James

  There was a lovely Sunday in particular, spent by him almost all in Balaklava Place—he arrived so early—when, in the afternoon, every sort of odd person dropped in. Miriam held a reception in the little garden and insisted on all the company’s staying to supper. Her mother shed tears to Peter, in the desecrated house, because they had accepted, Miriam and she, an invitation—and in Cromwell Road too—for the evening. Miriam had now decreed they shouldn’t go—they would have so much better fun with their good friends at home. She was sending off a message—it was a terrible distance—by a cabman, and Peter had the privilege of paying the messenger. Basil Dashwood, in another vehicle, proceeded to an hotel known to him, a mile away, for supplementary provisions, and came back with a cold ham and a dozen of champagne. It was all very Bohemian and dishevelled and delightful, very supposedly droll and enviable to outsiders; and Miriam told anecdotes and gave imitations of the people she would have met if she had gone out, so that no one had a sense of loss—the two occasions were fantastically united. Mrs. Rooth drank champagne for consolation, though the consolation was imperfect when she remembered she might have drunk it, though not quite so much perhaps, in Cromwell Road.

  Taken in connection with the evening before, the day formed for our friend the most complete exhibition of his young woman he had yet enjoyed. He had been at the theatre, to which the Saturday night happened to have brought the very fullest house she had played to, and he came early to Balaklava Place, to tell her once again—he had told her half-a-dozen times the evening before—that with the excitement of her biggest audience she had surpassed herself, acted with remarkable intensity. It pleased her to hear this, and the spirit with which she interpreted the signs of the future and, during an hour he spent alone with her, Mrs. Rooth being upstairs and Basil Dashwood luckily absent, treated him to twenty specimens of feigned passion and character, was beyond any natural abundance he had yet seen in a woman. The impression could scarcely have been other if she had been playing wild snatches to him at the piano: the bright up-darting flame of her talk rose and fell like an improvisation on the keys. Later, the rest of the day, he could as little miss the good grace with which she fraternised with her visitors, finding always the fair word for each—the key to a common ease, the right turn to keep vanity quiet and make humility brave. It was a wonderful expenditure of generous, nervous life. But what he read in it above all was the sense of success in youth, with the future loose and big, and the action of that charm on the faculties. Miriam’s limited past had yet pinched her enough to make emancipation sweet, and the emancipation had come at last in an hour. She had stepped into her magic shoes, divined and appropriated everything they could help her to, become in a day a really original contemporary. He was of course not less conscious of that than Nick Dormer had been when in the cold light of his studio this more detached observer saw too how she had altered.

  But the great thing to his mind, and during these first days the irresistible seduction of the theatre, was that she was a rare revelation of beauty. Beauty was the principle of everything she did and of the way she unerringly did it—an exquisite harmony of line and motion and attitude and tone, what was at once most general and most special in her performance. Accidents and instincts played together to this end and constituted something that was independent of her talent or of her merit in a given case, and which as a value to Peter’s imagination was far superior to any merit and any talent. He could but call it a felicity and an importance incalculable, and but know that it connected itself with universal values. To see this force in operation, to sit within its radius and feel it shift and revolve and change and never fail, was a corrective to the depression, the humiliation, the bewilderment of life. It transported our troubled friend from the vulgar hour and the ugly fact; drew him to something that had no warrant but its sweetness, no name nor place save as the pure, the remote, the antique. It was what most made him say to himself “Oh hang it, what does it matter?” when he reflected that an homme sérieux, as they said in Paris, rather gave himself away, as they said in America, by going every night to the same sordid stall at which all the world might stare. It was what kept him from doing anything but hover round Miriam—kept him from paying any other visits, from attending to any business, from going back to Calcutta Gardens. It was a spell he shrank intensely from breaking and the cause of a hundred postponements, confusions, and absurdities. It put him in a false position altogether, but it made of the crooked little stucco villa in Saint John’s Wood a place in the upper air, commanding the prospect; a nest of winged liberties and ironies far aloft above the huddled town. One should live at altitudes when one could—they braced and simplified; and for a happy interval he never touched the earth.

  It was not that there were no influences tending at moments to drag him down—an abasement from which he escaped only because he was up so high. We have seen that Basil Dashwood could affect him at times as a chunk of wood tied to his ankle—this through the circumstance that he made Miriam’s famous conditions, those of the public exhibition of her genius, seem small and prosaic; so that Peter had to remind himself how much this smallness was perhaps involved in their being at all. She carried his imagination off into infinite spaces, whereas she carried Dashwood’s only into the box-office and the revival of plays that were barbarously bad. The worst was its being so open to him to see that a sharp young man really in the business might know better than he. Another vessel of superior knowledge—he talked, that is, as if he knew better than any one—was Gabriel Nash, who lacked no leisure for hatefully haunting Balaklava Place, or in other words appeared to enjoy the same command of his time as Peter Sherringham. The pilgrim from Paris regarded him with mingled feelings, for he had not forgotten the contentious character of their first meeting or the degree to which he had been moved to urge upon Nick Dormer’s consideration that his talkative friend was probably one of the most eminent of asses. This personage turned up now as an admirer of the charming creature he had scoffed at, and there was much to exasperate in the smooth gloss of his inconsistency, at which he never cast an embarrassed glance. He practised indeed such loose license of regard to every question that it was difficult, in vulgar parlance, to “have” him; his sympathies hummed about like bees in a garden, with no visible plan, no economy in their flight. He thought meanly of the modern theatre and yet had discovered a fund of satisfaction in the most promising of its exponents; and Peter could more than once but say to him that he should really, to keep his opinions at all in hand, attach more value to the stage or less to the interesting a tress. Miriam took her perfect ease at his expense and treated him as the most abject of her slaves: all of which was worth seeing as an exhibition, on Nash’s part, of the beautifully imperturbable. When Peter all too grossly pronounced him “damned” impudent he always felt guilty later on of an injustice—Nash had so little the air of a man with something to gain. He was aware nevertheless of a certain itching in his boot-toe when his fellow-visitor brought out, and for the most part to Miriam herself, in answer to any charge of tergiversation, “Oh it’s all right; it’s the voice, you know—the enchanting voice!” Nash meant by this, as indeed he more fully set forth, that he came to the theatre or to the villa simply to treat his ear to the sound—the richest then to be heard on earth, as he maintained—issuing from Miriam’s lips. Its richness was quite independent of the words she might pronounce or the poor fable they might subserve, and if the pleasure of hearing her in public was the greater by reason of the larger volume of her utterance it was still highly agreeable to see her at home, for it was there the strictly mimetic gift he freely conceded to her came out most. He spoke as if she had been formed by the bounty of nature to be his particular recreation, and as if, being an expert in innocent joys, he took his pleasure wherever he found it.

  He was perpetually in the field, sociable, amiable, communicative, inveterately contradicted but never confounded, ready to talk to any one about anything and making disagreement—of which he lef
t the responsibility wholly to others—a basis of harmony. Every one knew what he thought of the theatrical profession, and yet who could say he didn’t regard, its members as embodiments of comedy when he touched with such a hand the spring of their foibles?—touched it with an art that made even Peter laugh, notwithstanding his attitude of reserve where this interloper was concerned. At any rate, though he had committed himself as to their general fatuity he put up with their company, for the sake of Miriam’s vocal vibrations, with a practical philosophy that was all his own. And she frankly took him for her supreme, her incorrigible adorer, masquerading as a critic to save his vanity and tolerated for his secret constancy in spite of being a bore. He was meanwhile really not a bore to Peter, who failed of the luxury of being able to regard him as one. He had seen too many strange countries and curious things, observed and explored too much, to be void of illustration. Peter had a sense that if he himself was in the grandes espaces Gabriel had probably, as a finer critic, a still wider range. If among Miriam’s associates Mr. Dashwood dragged him down, the other main sharer of his privilege challenged him rather to higher and more fantastic flights. If he saw the girl in larger relations than the young actor, who mainly saw her in ill-written parts, Nash went a step further and regarded her, irresponsibly and sublimely, as a priestess of harmony, a figure with which the vulgar ideas of success and failure had nothing to do. He laughed at her “parts,” holding that without them she would still be great. Peter envied him his power to content himself with the pleasures he could get; Peter had a shrewd impression that contentment wouldn’t be the final sweetener of his own repast.

  Above all Nash held his attention by a constant element of easy reference to Nick Dormer, who, as we know, had suddenly become much more interesting to his kinsman. Peter found food for observation, and in some measure for perplexity, in the relations of all these clever people with each other. He knew why his sister, who had a personal impatience of unapplied ideas, had not been agreeably affected by Miriam’s prime patron and had not felt happy about the attribution of value to “such people” by the man she was to marry. This was a side on which he had no desire to resemble Julia, for he needed no teaching to divine that Nash must have found her accessible to no light—none even about himself. He, Peter, would have been sorry to have to confess he couldn’t more or less understand him. He understood furthermore that Miriam, in Nick’s studio, might very well have appeared to Julia a formidable force. She was younger and would have “seen nothing,” but she had quite as much her own resources and was beautiful enough to have made Nick compare her with the lady of Harsh even if he had been in love with that benefactress—a pretension as to which her brother, as we know, entertained doubts.

  Peter at all events saw for many days nothing of his cousin, though it might have been said that Nick participated by implication at least in the life of Balaklava Place. Had he given Julia tangible grounds and was his unexpectedly fine rendering of Miriam an act of virtual infidelity? In that case to what degree was the girl to be regarded as an accomplice in his defection, and what was the real nature of Miriam’s esteem for her new and (as he might be called) distinguished ally? These questions would have given Peter still more to think about had he not flattered himself he had made up his mind that they concerned Nick and his sitter herself infinitely more than they concerned any one else. That young lady meanwhile was personally before him, so that he had no need to consult for his pleasure his fresh recollection of the portrait. But he thought of this striking production each time he thought of his so good-looking kinsman’s variety of range. And that happened often, for in his hearing Miriam often discussed the happy artist and his possibilities with Gabriel Nash, and Nash broke out about them to all who might hear. Her own tone on the subject was uniform: she kept it on record to a degree slightly irritating that Mr. Dormer had been unforgettably—Peter particularly noted “unforgettably”—kind to her. She never mentioned Julia’s irruption to Julia’s brother; she only referred to the portrait, with inscrutable amenity, as a direct consequence of this gentleman’s fortunate suggestion that first day at Madame Carré’s. Nash showed, however, such a disposition to dwell sociably and luminously on the peculiarly interesting character of what he called Dormer’s predicament and on the fine suspense it was fitted to kindle in the breast of the truly discerning, that Peter wondered, as I have already hinted, if this insistence were not a subtle perversity, a devilish little invention to torment a man whose jealousy was presumable. Yet his fellow-pilgrim struck him as on the whole but scantly devilish and as still less occupied with the prefigurement of so plain a man’s emotions. Indeed he threw a glamour of romance over Nick; tossed off toward him such illuminating yet mystifying references that they operated quite as a bait to curiosity, invested with amusement the view of the possible, any wish to follow out the chain of events. He learned from Gabriel that Nick was still away, and he then felt he could almost submit to instruction, to initiation. The loose charm of these days was troubled, however—it ceased to be idyllic—when late on the evening of the second Sunday he walked away with Nash southward from Saint John’s Wood. For then something came out.

  BOOK SIX

  XXXII

  It mattered not so much what the doctors thought—and Sir Matthew Hope, the greatest of them all, had been down twice in one week—as that Mr. Chayter, the omniscient butler, declared with all the authority of his position and his experience that Mr. Carteret was very bad indeed. Nick Dormer had a long talk with him—it lasted six minutes—the day he hurried to Beauclere in response to a telegram. It was Mr. Chayter who had taken upon himself to telegraph in spite of the presence in the house of Mr. Carteret’s nearest relation and only surviving sister, Mrs. Lendon. This lady, a large, mild, healthy woman with a heavy tread, a person who preferred early breakfasts, uncomfortable chairs and the advertisement-sheet of the Times, had arrived the week before and was awaiting the turn of events. She was a widow and occupied in Cornwall a house nine miles from a station, which had, to make up for this inconvenience as she had once told Nick, a fine old herbaceous garden. She was extremely fond of an herbaceous garden—her main consciousness was of herbaceous possibilities. Nick had often seen her—she had always come to Beauclere once or twice a year. Her sojourn there made no great difference; she was only an “Urania dear” for Mr. Carteret to look across the table at when, on the close of dinner, it was time for her to retire. She went out of the room always as if it were after some one else; and on the gentlemen’s “joining” her later—the junction was not very close—she received them with an air of gratified surprise.

  Chayter honoured Nick with a regard which approached, though not improperly competing with it, the affection his master had placed on the same young head, and Chayter knew a good many things. Among them he knew his place; but it was wonderful how little that knowledge had rendered him inaccessible to other kinds. He took upon himself to send for Nick without speaking to Mrs. Lendon, whose influence was now a good deal like that of some large occasional piece of furniture introduced on a contingency. She was one of the solid conveniences that a comfortable house would have, but you couldn’t talk with a mahogany sofa or a folding screen. Chayter knew how much she had “had” from her brother, and how much her two daughters had each received on marriage; and he was of the opinion that it was quite enough, especially considering the society in which they—you could scarcely call it—moved. He knew beyond this that they would all have more, and that was why he hesitated little about communicating with Nick. If Mrs. Lendon should be ruffled at the intrusion of a young man who neither was the child of a cousin nor had been formally adopted, Chayter was parliamentary enough to see that the forms of debate were observed. He had indeed a slightly compassionate sense that Mrs. Lendon was not easily ruffled. She was always down an extraordinary time before breakfast—Chayter refused to take it as in the least admonitory—but usually went straight into the garden as if to see that none of the plants had been stolen in the
night, and had in the end to be looked for by the footman in some out-of-the-way spot behind the shrubbery, where, plumped upon the ground, she was mostly doing something “rum” to a flower.

  Mr. Carteret himself had expressed no wishes. He slept most of the time—his failure at the last had been sudden, but he was rheumatic and seventy-seven—and the situation was in Chayter’s hands. Sir Matthew Hope had opined even on a second visit that he would rally and go on, in rudimentary comfort, some time longer; but Chayter took a different and a still more intimate view. Nick was embarrassed: he scarcely knew what he was there for from the moment he could give his good old friend no conscious satisfaction. The doctors, the nurses, the servants, Mrs. Lendon, and above all the settled equilibrium of the square thick house, where an immutable order appeared to slant through the polished windows and tinkle in the quieter bells, all these things represented best the kind of supreme solace to which the master was most accessible.