by Henry James
XXVI
I ALLUDE of course in particular here to the æsthetic clue in general, with which it was that we most (or that I at any rate most) fumbled, without our in the least having then, as I have already noted, any such rare name for it. There were sides on which it fairly dangled about us, involving our small steps and wits; though others too where I could, for my own part, but clutch at it in the void. Our experience of the theatre for instance, which had played such a part for us at home, almost wholly dropped in just the most propitious air: an anomaly indeed half explained by the fact that life in general, all round us, was perceptibly more theatrical. And there were other reasons, whether definitely set before us or not, which we grasped in proportion as we gathered, by depressing hearsay, that the French drama, great, strange and important, was as much out of relation to our time of life, our so little native strain and our cultivated innocence, as the American and English had been directly addressed to them. To the Cirque d’Eté, the Cirque d’Hiver, the Théâtre du Cirque, we were on occasion conducted—we had fallen so to the level of circuses, and that name appeared a safety; in addition to which the big theatre most bravely bearing it, the especial home at that time of the glittering and multitudinous féerie, did seem to lift the whole scenic possibility, for our eyes, into a higher sphere of light and grace than any previously disclosed. I recall Le Diable d’Argent as in particular a radiant revelation—kept before us a whole long evening and as an almost blinding glare; which was quite right for the donnée, the gradual shrinkage of the Shining One, the money-monster hugely inflated at first, to all the successive degrees of loose bagginess as he leads the reckless young man he has originally contracted with from dazzling pleasure to pleasure, till at last he is a mere shrivelled silver string such as you could almost draw through a keyhole. That was the striking moral, for the young man, however regaled, had been somehow “sold”; which we hadn’t in the least been, who had had all his pleasures and none of his penalty, whatever this was to be. I was to repine a little, in these connections, at a much later time, on reflecting that had we only been “taken” in the Paris of that period as we had been taken in New York we might have come in for celebrities—supremely fine, perhaps supremely rank, flowers of the histrionic temperament, springing as they did from the soil of the richest romanticism and adding to its richness—who practised that braver art and finer finish which a comparatively homogenous public, forming a compact critical body, still left possible. Rachel was alive, but dying; the memory of Mademoiselle Mars, at her latest, was still in the air; Mademoiselle Georges, a massive, a monstrous antique, had withal returned for a season to the stage; but we missed her, as we missed Déjazet and Frédéric Lemaître and Mélingue and Samson; to say nothing of others of the age before the flood—taking for the flood that actual high tide of the outer barbarian presence, the general alien and polyglot, in stalls and boxes, which I remember to have heard Gustave Flaubert lament as the ruin of the theatre through the assumption of judgeship by a bench to whom the very values of the speech of author and actor were virtually closed, or at the best uncertain.
I enjoyed but two snatches of the older representational art—no particular of either of which, however, has faded from me; the earlier and rarer of these an evening at the Gymnase for a spectacle coupé, with Mesdames Rose Chéri, Mélanie, Delaporte and Victoria (afterwards Victoria-La-fontaine). I squeeze again with my mother, my aunt and my brother into the stuffy baignoire, and I take to my memory in especial Madame de Girardin’s Une Femme qui Déteste son Mari; the thrilling story, as I judged it, of an admirable lady who, to save her loyalist husband, during the Revolution, feigns the most Jacobin opinions, represents herself a citoyenne of citoyennes, in order to keep him the more safely concealed in her house. He flattens himself, to almost greater peril of life, behind a panel of the wainscot, which she has a secret for opening when he requires air and food and they may for a fearful fleeting instant be alone together; and the point of the picture is in the contrast between these melting moments and the heroine’s tenue under the tremendous strain of receiving on the one side the invading, investigating Terrorist commissaries, sharply suspicious but successfully baffled, and on the other her noble relatives, her husband’s mother and sister if I rightly remember, who are not in the secret and whom, for perfect prudence, she keeps out of it, though alone with her, and themselves in hourly danger, they might be trusted, and who, believing him concealed elsewhere and terribly tracked, treat her, in her republican rage, as lost to all honour and all duty. One’s sense of such things after so long a time has of course scant authority for others; but I myself trust my vision of Rose Chéri’s fine play just as I trust that of her physique ingrat, her at first extremely odd and positively osseous appearance; an emaciated woman with a high bulging forehead, somewhat of the form of Rachel’s, for whom the triumphs of produced illusion, as in the second, third and fourth great dramas of the younger Dumas, had to be triumphs indeed. My one other reminiscence of this order connects itself, and quite three years later, with the old dingy Vaudeville of the Place de la Bourse, where I saw in my brother’s company a rhymed domestic drama of the then still admired Ponsard, Ce qui Plaît aux Femmes; a piece that enjoyed, I believe, scant success, but that was to leave with me ineffaceable images. How was it possible, I wondered, to have more grace and talent, a rarer, cooler art, than Mademoiselle Fargeuil, the heroine?—the fine lady whom a pair of rival lovers, seeking to win her hand by offering her what will most please her, treat, in the one case, to a brilliant fête, a little play within a play, at which we assist, and in the other to the inside view of an attic of misery, into which the more cunning suitor introduces her just in time to save a poor girl, the tenant of the place, from being ruinously, that is successfully, tempted by a terrible old woman, a prowling revendeuse, who dangles before her the condition on which so pretty a person may enjoy every comfort. Her happier sister, the courted young widow, intervenes in time, reinforces her tottering virtue, opens for her an account with baker and butcher, and, doubting no longer which flame is to be crowned, charmingly shows us that what pleases women most is the exercise of charity.
Then it was I first beheld that extraordinary veteran of the stage, Mademoiselle Pierson, almost immemorially attached, for later generations, to the Théâtre Français, the span of whose career thus strikes me as fabulous, though she figured as a very juvenile beauty in the small féerie or allegory forming M. Ponsard’s second act. She has been playing mothers and aunts this many and many a year—and still indeed much as a juvenile beauty. Not that light circumstance, however, pleads for commemoration, nor yet the further fact that I was to admire Mademoiselle Fargeuil, in the after-time, the time after she had given all Sardou’s earlier successes the help of her shining firmness, when she had passed from interesting comedy and even from romantic drama—not less, perhaps still more, interesting, with Sardou’s Patrie as a bridge—to the use of the bigger brush of the Ambigu and other homes of melodrama. The sense, such as it is, that I extract from the pair of modest memories in question is rather their value as a glimpse of the old order that spoke so much less of our hundred modern material resources, matters the stage of to-day appears mainly to live by, and such volumes more of the one thing that was then, and that, given various other things, had to be, of the essence. That one thing was the quality, to say nothing of the quantity, of the actor’s personal resource, technical history, tested temper, proved experience; on which almost everything had to depend, and the thought of which makes the mere starved scene and medium of the period, the rest of the picture, a more confessed and more heroic battleground. They have been more and more eased off, the scene and medium, for our couple of generations, so much so in fact that the rest of the picture has become almost all the picture: the author and the producer, among us, lift the weight of the play from the performer—particularly of the play dealing with our immediate life and manners and aspects—after a fashion which does half the work, thus reducing the �
�personal equation,” the demand for the maximum of individual doing, to a contribution mostly of the loosest and sparest. As a sop to historic curiosity at all events may even so short an impression serve; impression of the strenuous age and its fine old masterful assouplissement of its victims—who were not the expert spectators. The spectators were so expert, so broken in to material suffering for the sake of their passion, that, as the suffering was only material, they found the æsthetic reward, the critical relish of the essence, all adequate; a fact that seems in a sort to point a moral of large application. Everything but the “interpretation,” the personal, in the French theatre of those days, had kinds and degrees of weakness and futility, say even falsity, of which our modern habit is wholly impatient—let alone other conditions still that were detestable even at the time, and some of which, forms of discomfort and annoyance, linger on to this day. The playhouse, in short, was almost a place of physical torture, and it is still rarely in Paris a place of physical ease. Add to this the old thinness of the school of Scribe and the old emptiness of the thousand vaudevillistes; which part of the exhibition, till modern comedy began, under the younger Dumas and Augier, had for its counterpart but the terrible dead weight, or at least the prodigious prolixity and absurdity, of much, not to say of most, of the romantic and melodramatic “output.” It paid apparently, in the golden age of acting, to sit through interminable evenings in impossible places—since to assume that the age was in that particular respect golden (for which we have in fact a good deal of evidence) alone explains the patience of the public. With the public the actors were, according to their seasoned strength, almost exclusively appointed to deal, just as in the conditions most familiar to-day to ourselves this charge is laid on almost everyone concerned in the case save the representatives of the parts. And far more other people are now concerned than of old; not least those who have learned to make the playhouse endurable. All of which leaves us with this interesting vision of a possibly great truth, the truth that you can’t have more than one kind of intensity—intensity worthy of the name—at once. The intensity of the golden age of the histrion was the intensity of his good faith. The intensity of our period is that of the “producer’s” and machinist’s, to which add even that of architect, author and critic. Between which derivative kind of that article, as we may call it, and the other, the immediate kind, it would appear that you have absolutely to choose.
XXVII
I SEE much of the rest of that particular Paris time in the light of the Institution Fezandié, and I see the Institution Fezandié, Rue Balzac, in the light, if not quite of Alphonse Daudet’s lean asylum for the petits pays chauds, of which I have felt the previous institutions of New York sketchily remind me, at least in that of certain other of his studies in that field of the precarious, the ambiguous Paris over parts of which the great Arch at the top of the Champs-Elysées flings, at its hours, by its wide protective plausible shadow, a precious mantle of “tone.” They gather, these chequered parts, into its vast paternal presence and enjoy at its expense a degree of reflected dignity. It was to the big square villa of the Rue Balzac that we turned, as pupils not unacquainted with vicissitudes, from a scene swept bare of M. Lerambert, an establishment that strikes me, at this distance of time, as of the oddest and most indescribable—or as describable at best in some of the finer turns and touches of Daudet’s best method. The picture indeed should not be invidious—it so little needs that, I feel, for its due measure of the vivid, the queer, the droll, all coming back to me without prejudice to its air as of an equally futile felicity. I see it as bright and loose and vague, as confused and embarrassed and helpless; I see it, I fear, as quite ridiculous, but as wholly harmless to my brothers and me at least, and as having left us with a fund of human impressions; it played before us such a variety of figure and character and so relieved us of a sense of untoward discipline or of the pursuit of abstract knowledge. It was a recreational, or at least a social, rather than a tuitional house; which fact had, I really believe, weighed favourably with our parents, when, bereft of M. Lerambert, they asked themselves, with their considerable practice, how next to bestow us. Our father, like so many free spirits of that time in New York and Boston, had been much interested in the writings of Charles Fourier and in his scheme of the “phalanstery” as the solution of human troubles, and it comes to me that he must have met or in other words heard of M. Fezandié as an active and sympathetic ex-Fourierist (I think there were only ex-Fourierists by that time,) who was embarking, not far from us, on an experiment if not absolutely phalansteric at least inspired, or at any rate enriched, by a bold idealism. I like to think of the Institution as all but phalansteric—it so corrects any fear that such places might be dreary. I recall this one as positively gay—bristling and bustling and resonant, untouched by the strenuous note, for instance, of Hawthorne’s co-operative Blithedale. I like to think that, in its then still almost suburban, its pleasantly heterogeneous quarter, now oppressively uniform, it was close to where Balzac had ended his life, though I question its identity—as for a while I tried not to—with the scene itself of the great man’s catastrophe. Round its high-walled garden at all events he would have come and gone—a throb of inference that had for some years indeed to be postponed for me; though an association displacing to-day, over the whole spot, every other interest. I in any case can’t pretend not to have been most appealed to by that especial phase of our education from which the pedagogic process as commonly understood was most fantastically absent. It excelled in this respect, the Fezandié phase, even others exceptionally appointed, heaven knows, for the supremacy; and yet its glory is that it was no poor blank, but that it fairly creaked and groaned, heatedly overflowed, with its wealth. We were externes, the three of us, but we remained in general to luncheon; coming home then, late in the afternoon, with an almost sore experience of multiplicity and vivacity of contact. For the beauty of it all was that the Institution was, speaking technically, not more a pensionnat, with prevailingly English and American pupils, than a pension, with mature beneficiaries of both sexes, and that our two categories were shaken up together to the liveliest effect. This had been M. Fezandié’s grand conception; a son of the south, bald and slightly replete, with a delicate beard, a quick but anxious, rather melancholy eye and a slim, graceful, juvenile wife, who multiplied herself, though scarce knowing at moments, I think, where or how to turn; I see him as a Daudet méridional, but of the sensitive, not the sensual, type, as something of a rolling stone, rolling rather down hill—he had enjoyed some arrested, possibly blighted, connection in America—and as ready always again for some new application of faith and funds. If fondly failing in the least to see why the particular application in the Rue Balzac—the body of pensioners ranging from infancy to hoary eld—shouldn’t have been a bright success could have made it one, it would have been a most original triumph.
I recover it as for ourselves a beautifully mixed adventure, a brave little seeing of the world on the happy pretext of “lessons.” We had lessons from time to time, but had them in company with ladies and gentlemen, young men and young women of the Anglo-Saxon family, who sat at long boards of green cloth with us and with several of our contemporaries, English and American boys, taking dictées from the head of the house himself or from the aged and most remarkable M. Bonnefons, whom we believed to have been a superannuated actor (he above all such a model for Daudet!) and who interrupted our abashed readings aloud to him of the French classics older and newer by wondrous reminiscences and even imitations of Talma. He moved among us in a cloud of legend, the wigged and wrinkled, the impassioned, though I think alas underfed, M. Bonnefons: it was our belief that he “went back,” beyond the first Empire, to the scenes of the Revolution—this perhaps partly by reason, in the first place, of his scorn of our pronunciation, when we met it, of the sovereign word liberté, the poverty of which, our deplorable “libbeté,” without r’s, he mimicked and derided, sounding the right, the revolutionary form out splend
idly, with thirty r’s, the prolonged beat of a drum. And then we believed him, if artistically conservative, politically obnoxious to the powers that then were, though knowing that those so marked had to walk, and even to breathe, cautiously for fear of the mouchards of the tyrant; we knew all about mouchards and talked of them as we do to-day of aviators or suffragettes—to remember which in an age so candidly unconscious of them is to feel how much history we have seen unrolled. There were times when he but paced up and down and round the long table—I see him as never seated, but always on the move, a weary Wandering Jew of the classe; but in particular I hear him recite to us the combat with the Moors from Le Cid and show us how Talma, describing it, seemed to crouch down on his haunches in order to spring up again terrifically to the height of “Nous nous levons alors!” which M. Bonnefons rendered as if on the carpet there fifty men at least had leaped to their feet. But he threw off these broken lights with a quick relapse to indifference; he didn’t like the Anglo-Saxon—of the children of Albion at least his view was low; on his American specimens he had, I observed, more mercy; and this imperfection of sympathy (the question of Waterloo apart) rested, it was impossible not to feel, on his so resenting the dishonour suffered at our hands by his beautiful tongue, to which, as the great field of elocution, he was patriotically devoted. I think he fairly loathed our closed English vowels and confused consonants, our destitution of sounds that he recognised as sounds; though why in this connection he put up best with our own compatriots, embroiled at that time often in even stranger vocables than now, is more than I can say. I think that would be explained perhaps by his feeling in them as an old equalitarian certain accessibilities quand même. Besides, we of the younger persuasion at least must have done his ear less violence than those earnest ladies from beyond the sea and than those young Englishmen qualifying for examinations and careers who flocked with us both to the plausibly spread and the severely disgarnished table, and on whose part I seem to see it again an effort of anguish to “pick up” the happy idiom that we had unconsciously acquired. French, in the fine old formula of those days, so much diffused, “was the language of the family”; but I think it must have appeared to these students in general a family of which the youngest members were but scantly kept in their place. We piped with a greater facility and to a richer meed of recognition; which sounds as if we might have become, in these strange collocations, fairly offensive little prigs. That was none the less not the case, for there were, oddly enough, a few French boys as well, to whom on the lingual or the “family” ground, we felt ourselves feebly relative, and in comparison with whom, for that matter, or with one of whom, I remember an occasion of my having to sink to insignificance. There was at the Institution little of a staff—besides waiters and bonnes; but it embraced, such as it was, M. Mesnard as well as M. Bonnefons—M. Mesnard of the new generation, instructor in whatever it might be, among the arts, that didn’t consist of our rolling our r’s, and with them, to help us out, more or less our eyes. It is significant that this elegant branch is now quite vague to me; and I recall M. Mesnard, in fine, as no less modern and cheap than M. Bonnefons was rare and unappraiseable. He had nevertheless given me his attention, one morning, doubtless patiently enough, in some corner of the villa that we had for the moment practically to ourselves—I seem to see a small empty room looking on the garden; when there entered to us, benevolently ushered by Madame Fezandié, a small boy of very fair and romantic aspect, as it struck me, a pupil newly arrived. I remember of him mainly that he had a sort of nimbus of light curls, a face delicate and pale and that deeply hoarse voice with which French children used to excite our wonder. M. Mesnard asked of him at once, with interest, his name, and on his pronouncing it sought to know, with livelier attention, if he were then the son of M. Arsène Houssaye, lately director of the Théatre Français. To this distinction the boy confessed—all to such intensification of our répétiteur’s interest that I knew myself quite dropped, in comparison, from his scheme of things. Such an origin as our little visitor’s affected him visibly as dazzling, and I felt justified after a while, in stealing away into the shade. The beautiful little boy was to live to be the late M. Henry Houssaye, the shining hellenist and historian. I have never forgotten the ecstasy of hope in M. Mesnard’s question—as a light on the reverence then entertained for the institution M. Houssaye the elder had administered.