Authors: Henry James
Had I, meanwhile, made him at once hero and historian, endowed him with the romantic privilege of the “first person”—the darkest abyss of romance this, inveterately, when enjoyed on the
grand scale—variety, and many other queer matters as well, might have been smuggled in by a back door. Suffice it, to be brief, that the first person, in the long piece, is a form foredoomed to looseness, and that looseness, never much my affair, had never been so little so as on this particular occasion. All of which reflexions flocked to the standard from the moment—a very early one—the question of how to keep my form amusing while sticking so close to my central figure and constantly taking its pattern from him had to be faced. He arrives (arrives at Chester) as for the dreadful purpose of giving his creator “no end” to tell about him—before which rigorous mission the serenest of creators might well have quailed. I was far from the serenest; I was more than agitated enough to reflect that, grimly deprived of one alternative or one substitute for “telling,” I must address myself tooth and nail to another. I couldn’t, save by implication, make other persons tell
each other
about him—blest resource, blest necessity, of the drama, which reaches its effects of unity, all remarkably, by paths absolutely opposite to the paths of the novel: with other persons, save as they were primarily
his
persons (not he primarily but one of theirs), I had simply nothing to do. I had relations for him none the less, by the mercy of Providence, quite as much as if my exhibition
was
to be a muddle; if I could only by implication and a show of consequence make other persons tell each other about him, I could at least make him tell
them
whatever in the world he must; and could so, by the same token—which was a further luxury thrown in—see straight into the deep differences between what that could do for me, or at all events for
him
, and the large ease of “autobiography.” It may be asked why, if one so keeps to one’s hero, one shouldn’t make a single mouthful of “method,” shouldn’t throw the reins on his neck and, letting them flap there as free as in
Gil Blas
or in
David Copperfield
, equip him with the double privilege of subject and object—a course that has at least
the merit of brushing away questions at a sweep. The answer to which is, I think, that one makes that surrender only if one is prepared
not
to make certain precious discriminations.
The “first person” then, so employed, is addressed by the author directly to ourselves, his possible readers, whom he has to reckon with, at the best, by our English tradition, so loosely and vaguely after all, so little respectfully, on so scant a presumption of exposure to criticism. Strether, on the other hand, encaged and provided for as
The Ambassadors
encages and provides, has to keep in view proprieties much stiffer and more salutary than any our straight and credulous gape are likely to bring home to him, has exhibitional conditions to meet, in a word, that forbid the terrible
fluidity
of self-revelation. I may seem not to better the case for my discrimination if I say that, for my first care, I had thus inevitably to set him up a confidant or two, to wave away with energy the custom of the seated mass of explanation after the fact, the inserted block of merely referential narrative, which flourishes so, to the shame of the modern impatience, on the serried page of Balzac, but which seems simply to appal our actual, our general weaker, digestion. “Harking back to make up” took at any rate more doing, as the phrase is, not only than the reader of to-day demands, but than he will tolerate at any price any call upon him either to understand or remotely to measure; and for the beauty of the thing when done the current editorial mind in particular appears wholly without sense. It is not, however, primarily for either of these reasons, whatever their weight, that Strether’s friend Waymarsh is so keenly clutched at, on the threshold of the book, or that no less a pounce is made on Maria Gostrey—without even the pretext, either, of
her
being, in essence, Strether’s friend. She is the reader’s friend much rather—in consequence of dispositions that make him so eminently require one; and she acts in that capacity, and
really
in that capacity alone, with exemplary devotion,
from beginning to end of the book. She is an enrolled, a direct, aid to lucidity; she is in fine, to tear off her mask, the most unmitigated and abandoned of
ficelles
. Half the dramatist’s art, as we well know—since if we don’t it’s not the fault of the proofs that lie scattered about us—is in the use of
ficelles;
by which I mean in a deep dissimulation of his dependence on them. Waymarsh only to a slighter degree belongs, in the whole business, less to my subject than to my treatment of it; the interesting proof, in these connexions, being that one has but to take one’s subject for the stuff of drama to interweave with enthusiasm as many Gostreys as need be.
The material of
The Ambassadors
, conforming in this respect exactly to that of
The Wings of the Dove
, published just before it, is taken absolutely for the stuff of drama; so that, availing myself of the opportunity given me by this edition for some prefatory remarks on the latter work, I had mainly to make on its behalf the point of its scenic consistency. It disguises that virtue, in the oddest way in the world, by just
looking
, as we turn its pages, as little scenic as possible; but it sharply divides itself, just as the composition before us does, into the parts that prepare, that tend in fact to over-prepare, for scenes, and the parts, or otherwise into the scenes, that justify and crown the preparation. It may definitely be said, I think, that everything in it that is not scene (not, I of course mean, complete and functional scene, treating
all
the submitted matter, as by logical start, logical turn, and logical finish) is discriminated preparation, is the fusion and synthesis of picture. These alternations propose themselves all recognizeably, I think, from an early stage, as the very form and figure of
The Ambassadors;
so that, to repeat, such an agent as Miss Gostrey, pre-engaged at a high salary, but waits in the draughty wing with her shawl and her smelling-salts. Her function speaks at once for itself, and by the time she has dined with Strether in London and gone to a play
with him her intervention as a
ficelle
is, I hold, expertly justified. Thanks to it we have treated scenically, and scenically alone, the whole lumpish question of Strether’s “past,” which has seen us more happily on the way than anything else could have done; we have strained to a high lucidity and vivacity (or at least we hope we have) certain indispensable facts; we have seen our two or three immediate friends all conveniently and profitably in “action”; to say nothing of our beginning to descry others, of a remoter intensity, getting into motion, even if a bit vaguely as yet, for our further enrichment. Let my first point be here that the scene in question, that in which the whole situation at Woollett and the complex forces that have propelled my hero to where this lively extractor of his value and distiller of his essence awaits him, is normal and entire, is really an excellent
standard
scene; copious, comprehensive, and accordingly never short, but with its office as definite as that of the hammer on the gong of the clock, the office of expressing
all that is in
the hour.
The “
ficelle
” character of the subordinate party is as artfully dissimulated, throughout, as may be, and to that extent that, with the seams or joints of Maria Gostrey’s ostensible connectedness taken particular care of, duly smoothed over, that is, and anxiously kept from showing as “pieced on,” this figure doubtless achieves, after a fashion, something of the dignity of a prime idea: which circumstance but shows us afresh how many quite incalculable but none the less clear sources of enjoyment for the infatuated artist, how many copious springs of our never-to-be-slighted “fun” for the reader and critic susceptible of contagion, may sound their incidental plash as soon as an artistic process begins to enjoy free development. Exquisite—in illustration of this—the mere interest and amusement of such at once “creative” and critical questions as how and where and why to make Miss Gostrey’s false connexion carry itself, under a due high polish, as a real one. Nowhere is it
more of an artful expedient for mere consistency of form, to mention a case, than in the last “scene” of the book, where its function is to give or to add nothing whatever, but only to express as vividly as possible certain things quite other than itself and that are of the already fixed and appointed measure. Since, however, all art is
expression
, and is thereby vividness, one was to find the door open here to any amount of delightful dissimulation. These verily are the refinements and ecstasies of method—amid which, or certainly under the influence of any exhilarated demonstration of which, one must keep one’s head and not lose one’s way. To cultivate an adequate intelligence for them and to make that sense operative is positively to find a charm in any produced ambiguity of appearance that is not by the same stroke, and all helplessly, an ambiguity of sense. To project imaginatively, for my hero, a relation that has nothing to do with the matter (the matter of my subject) but has everything to do with the manner (the manner of my presentation of the same) and yet to treat it, at close quarters and for fully economic expression’s possible sake, as if it were important and essential—to do that sort of thing and yet muddle nothing may easily become, as one goes, a signally attaching proposition; even though it all remains but part and parcel, I hasten to recognize, of the merely general and related question of expressional curiosity and expressional decency.
I am moved to add after so much insistence on the scenic side of my labour that I have found the steps of re-perusal almost as much waylaid here by quite another style of effort in the same signal interest—or have in other words not failed to note how, even so associated and so discriminated, the finest proprieties and charms of the non-scenic may, under the right hand for them, still keep their intelligibility and assert their office. Infinitely suggestive such an observation as this last on the whole delightful head, where representation is concerned, of possible variety, of effective
expressional change and contrast. One would like, at such an hour as this, for critical licence, to go into the matter of the noted inevitable deviation (from too fond an original vision) that the exquisite treachery even of the straightest execution may ever be trusted to inflict even on the most mature plan—the case being that, though one’s last reconsidered production always seems to bristle with that particular evidence,
The Ambassadors
would place a flood of such light at my service. I must attach to my final remark here a different import; nothing in the other connexion I just glanced at that such passages as that of my hero’s first encounter with Chad Newsome, absolute attestations of the non-scenic form though they be, yet lay the firmest hand too—so far at least as intention goes—on representational effect. To report at all closely and completely of what “passes” on a given occasion is inevitably to become more or less scenic; and yet in the instance I allude to,
with
the conveyance, expressional curiosity and expressional decency are sought and arrived at under quite another law. The true inwardness of this may be at bottom but that one of the suffered treacheries has consisted precisely, for Chad’s whole figure and presence, of a direct presentability diminished and compromised—despoiled, that is, of its
proportional
advantage; so that, in a word, the whole economy of his author’s relation to him has at important points to be redetermined. The book, however, critically viewed, is touchingly full of these disguised and repaired losses, these insidious recoveries, these intensely redemptive consistencies. The pages in which Mamie Pocock gives her appointed and, I can’t but think, duly felt lift to the whole action by the so inscrutably-applied side-stroke or short-cut of our just watching, and as quite at an angle of vision as yet untried, her single hour of suspense in the hotel salon, in our partaking of her concentrated study of the sense of matters bearing on her own case, all the bright warm Paris afternoon, from the balcony that
overlooks the Tuileries garden—these are as marked an example of the representational virtue that insists here and there on being, for the charm of opposition and renewal, other than the scenic. It wouldn’t take much to make me further argue that from an equal play of such oppositions the book gathers an intensity that fairly adds to the dramatic—though the latter is supposed to be the sum of all intensities; or that has at any rate nothing to fear from juxtaposition with it. I consciously fail to shrink in fact from that extravagance—I risk it, rather, for the sake of the moral involved; which is not that the particular production before us exhausts the interesting questions it raises, but that the Novel remains still, under the right persuasion, the most independent, most elastic, most prodigious of literary forms.
Strether’s first question, when he reached the hotel, was about his friend; yet on his learning that Waymarsh was apparently not to arrive till evening he was not wholly disconcerted. A telegram from him bespeaking a room “only if not noisy,” reply paid, was produced for the enquirer at the office, so that the understanding they should meet at Chester rather than at Liverpool remained to that extent sound. The same secret principle, however, that had prompted Strether not absolutely to desire Waymarsh’s presence at the dock, that had led him thus to postpone for a few hours his enjoyment of it, now operated to make him feel he could still wait without disappointment. They would dine together at the worst, and, with all respect to dear old Waymarsh—if not even, for that matter, to himself—there was little fear that in the sequel they shouldn’t see enough of each other. The principle I have just mentioned as operating had been, with the most newly disembarked of the two men, wholly instinctive—the fruit of a sharp sense that, delightful as it would be to find himself looking, after so much
separation, into his comrade’s face, his business would be a trifle bungled should he simply arrange for this countenance to present itself to the nearing steamer as the first “note,” of Europe. Mixed with everything was the apprehension, already, on Strether’s part, that it would, at best, throughout, prove the note of Europe in quite a sufficient degree.