The Ambassadors - Henry James - ebook
Kategoria: Obyczajowe i romanse Język: angielski Rok wydania: 1903

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Henry James

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Part 1
Chapter 1
Chapter 2

About James:

Henry James, son of theologian Henry James Sr. and brother of the philosopher and psychologist William James and diarist Alice James, was an American-born author and literary critic of the late 19th and early 20th centuries. He spent much of his life in Europe and became a British subject shortly before his death. He is primarily known for novels, novellas and short stories based on themes of consciousness and morality. James significantly contributed to the criticism of fiction, particularly in his insistence that writers be allowed the greatest freedom possible in presenting their view of the world. His imaginative use of point of view, interior monologue and possibly unreliable narrators in his own novels and tales brought a new depth and interest to narrative fiction. An extraordinarily productive writer, he published substantive books of travel writing, biography, autobiography and visual arts criticism. Source: Wikipedia

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Nothing is more easy than to state the subject of "The Ambassadors," which first appeared in twelve numbers of The North American Review (1903) and was published as a whole the same year. The situation involved is gathered up betimes, that is in the second chapter of Book Fifth, for the reader's benefit, into as few words as possible— planted or "sunk," stiffly and saliently, in the centre of the current, almost perhaps to the obstruction of traffic. Never can a composition of this sort have sprung straighter from a dropped grain of suggestion, and never can that grain, developed, overgrown and smothered, have yet lurked more in the mass as an independent particle. The whole case, in fine, is in Lambert Strether's irrepressible outbreak to little Bilham on the Sunday afternoon in Gloriani's garden, the candour with which he yields, for his young friend's enlightenment, to the charming admonition of that crisis. The idea of the tale resides indeed in the very fact that an hour of such unprecedented ease should have been felt by him AS a crisis, and he is at pains to express it for us as neatly as we could desire. The remarks to which he thus gives utterance contain the essence of "The Ambassadors," his fingers close, before he has done, round the stem of the full-blown flower; which, after that fashion, he continues officiously to present to us. "Live all you can; it's a mistake not to. It doesn't so much matter what you do in particular so long as you have your life. If you haven't had that what HAVE you had? I'm too old—too old at any rate for what I see. What one loses one loses; make no mistake about that. Still, we have the illusion of freedom; therefore don't, like me to-day, be without the memory of that illusion. I was either, at the right time, too stupid or too intelligent to have it, and now I'm a case of reaction against the mistake. Do what you like so long as you don't make it. For it WAS a mistake. Live, live!" Such is the gist of Strether's appeal to the impressed youth, whom he likes and whom he desires to befriend; the word "mistake" occurs several times, it will be seen, in the course of his remarks— which gives the measure of the signal warning he feels attached to his case. He has accordingly missed too much, though perhaps after all constitutionally qualified for a better part, and he wakes up to it in conditions that press the spring of a terrible question. WOULD there yet perhaps be time for reparation?—reparation, that is, for the injury done his character; for the affront, he is quite ready to say, so stupidly put upon it and in which he has even himself had so clumsy a hand? The answer to which is that he now at all events SEES; so that the business of my tale and the march of my action, not to say the precious moral of everything, is just my demonstration of this process of vision.

Nothing can exceed the closeness with which the whole fits again into its germ. That had been given me bodily, as usual, by the spoken word, for I was to take the image over exactly as I happened to have met it. A friend had repeated to me, with great appreciation, a thing or two said to him by a man of distinction, much his senior, and to which a sense akin to that of Strether's melancholy eloquence might be imputed—said as chance would have, and so easily might, in Paris, and in a charming old garden attached to a house of art, and on a Sunday afternoon of summer, many persons of great interest being present. The observation there listened to and gathered up had contained part of the "note" that I was to recognise on the spot as to my purpose—had contained in fact the greater part; the rest was in the place and the time and the scene they sketched: these constituents clustered and combined to give me further support, to give me what I may call the note absolute. There it stands, accordingly, full in the tideway; driven in, with hard taps, like some strong stake for the noose of a cable, the swirl of the current roundabout it. What amplified the hint to more than the bulk of hints in general was the gift with it of the old Paris garden, for in that token were sealed up values infinitely precious. There was of course the seal to break and each item of the packet to count over and handle and estimate; but somehow, in the light of the hint, all the elements of a situation of the sort most to my taste were there. I could even remember no occasion on which, so confronted, I had found it of a livelier interest to take stock, in this fashion, of suggested wealth. For I think, verily, that there are degrees of merit in subjects—in spite of the fact that to treat even one of the most ambiguous with due decency we must for the time, for the feverish and prejudiced hour, at least figure its merit and its dignity as POSSIBLY absolute. What it comes to, doubtless, is that even among the supremely good—since with such alone is it one's theory of one's honour to be concerned—there is an ideal BEAUTY of goodness the invoked action of which is to raise the artistic faith to its maximum. Then truly, I hold, one's theme may be said to shine, and that of "The Ambassadors," I confess, wore this glow for me from beginning to end. Fortunately thus I am able to estimate this as, frankly, quite the best, "all round," of all my productions; any failure of that justification would have made such an extreme of complacency publicly fatuous.

I recall then in this connexion no moment of subjective intermittence, never one of those alarms as for a suspected hollow beneath one's feet, a felt ingratitude in the scheme adopted, under which confidence fails and opportunity seems but to mock. If the motive of "The Wings of the Dove," as I have noted, was to worry me at moments by a sealing-up of its face—though without prejudice to its again, of a sudden, fairly grimacing with expression—so in this other business I had absolute conviction and constant clearness to deal with; it had been a frank proposition, the whole bunch of data, installed on my premises like a monotony of fine weather. (The order of composition, in these things, I may mention, was reversed by the order of publication; the earlier written of the two books having appeared as the later.) Even under the weight of my hero's years I could feel my postulate firm; even under the strain of the difference between those of Madame de Vionnet and those of Chad Newsome, a difference liable to be denounced as shocking, I could still feel it serene. Nothing resisted, nothing betrayed, I seem to make out, in this full and sound sense of the matter; it shed from any side I could turn it to the same golden glow. I rejoiced in the promise of a hero so mature, who would give me thereby the more to bite into—since it's only into thickened motive and accumulated character, I think, that the painter of life bites more than a little. My poor friend should have accumulated character, certainly; or rather would be quite naturally and handsomely possessed of it, in the sense that he would have, and would always have felt he had, imagination galore, and that this yet wouldn't have wrecked him. It was immeasurable, the opportunity to "do" a man of imagination, for if THERE mightn't be a chance to "bite," where in the world might it be? This personage of course, so enriched, wouldn't give me, for his type, imagination in PREDOMINANCE or as his prime faculty, nor should I, in view of other matters, have found that convenient. So particular a luxury —some occasion, that is, for study of the high gift in SUPREME command of a case or of a career—would still doubtless come on the day I should be ready to pay for it; and till then might, as from far back, remain hung up well in view and just out of reach. The comparative case meanwhile would serve—it was only on the minor scale that I had treated myself even to comparative cases.

I was to hasten to add however that, happy stopgaps as the minor scale had thus yielded, the instance in hand should enjoy the advantage of the full range of the major; since most immediately to the point was the question of that SUPPLEMENT of situation logically involved in our gentleman's impulse to deliver himself in the Paris garden on the Sunday afternoon—or if not involved by strict logic then all ideally and enchantingly implied in it. (I say "ideally," because I need scarce mention that for development, for expression of its maximum, my glimmering story was, at the earliest stage, to have nipped the thread of connexion with the possibilities of the actual reported speaker. HE remains but the happiest of accidents; his actualities, all too definite, precluded any range of possibilities; it had only been his charming office to project upon that wide field of the artist's vision—which hangs there ever in place like the white sheet suspended for the figures of a child's magic-lantern—a more fantastic and more moveable shadow.) No privilege of the teller of tales and the handler of puppets is more delightful, or has more of the suspense and the thrill of a game of difficulty breathlessly played, than just this business of looking for the unseen and the occult, in a scheme half-grasped, by the light or, so to speak, by the clinging scent, of the gage already in hand. No dreadful old pursuit of the hidden slave with bloodhounds and the rag of association can ever, for "excitement," I judge, have bettered it at its best. For the dramatist always, by the very law of his genius, believes not only in a possible right issue from the rightly-conceived tight place; he does much more than this—he believes, irresistibly, in the necessary, the precious "tightness" of the place (whatever the issue) on the strength of any respectable hint. It being thus the respectable hint that I had with such avidity picked up, what would be the story to which it would most inevitably form the centre? It is part of the charm attendant on such questions that the "story," with the omens true, as I say, puts on from this stage the authenticity of concrete existence. It then is, essentially—it begins to be, though it may more or less obscurely lurk, so that the point is not in the least what to make of it, but only, very delightfully and very damnably, where to put one's hand on it.

In which truth resides surely much of the interest of that admirable mixture for salutary application which we know as art. Art deals with what we see, it must first contribute full-handed that ingredient; it plucks its material, otherwise expressed, in the garden of life—which material elsewhere grown is stale and uneatable. But it has no sooner done this than it has to take account of a PROCESS—from which only when it's the basest of the servants of man, incurring ignominious dismissal with no "character," does it, and whether under some muddled pretext of morality or on any other, pusillanimously edge away. The process, that of the expression, the literal squeezing-out, of value is another affair—with which the happy luck of mere finding has little to do. The joys of finding, at this stage, are pretty well over; that quest of the subject as a whole by "matching," as the ladies say at the shops, the big piece with the snippet, having ended, we assume, with a capture. The subject is found, and if the problem is then transferred to the ground of what to do with it the field opens out for any amount of doing. This is precisely the infusion that, as I submit, completes the strong mixture. It is on the other hand the part of the business that can least be likened to the chase with horn and hound. It's all a sedentary part— involves as much ciphering, of sorts, as would merit the highest salary paid to a chief accountant. Not, however, that the chief accountant hasn't HIS gleams of bliss; for the felicity, or at least the equilibrium of the artist's state dwells less, surely, in the further delightful complications he can smuggle in than in those he succeeds in keeping out. He sows his seed at the risk of too thick a crop; wherefore yet again, like the gentlemen who audit ledgers, he must keep his head at any price. In consequence of all which, for the interest of the matter, I might seem here to have my choice of narrating my "hunt" for Lambert Strether, of describing the capture of the shadow projected by my friend's anecdote, or of reporting on the occurrences subsequent to that triumph. But I had probably best attempt a little to glance in each direction; since it comes to me again and again, over this licentious record, that one's bag of adventures, conceived or conceivable, has been only half-emptied by the mere telling of one's story. It depends so on what one means by that equivocal quantity. There is the story of one's hero, and then, thanks to the intimate connexion of things, the story of one's story itself. I blush to confess it, but if one's a dramatist one's a dramatist, and the latter imbroglio is liable on occasion to strike me as really the more objective of the two.

The philosophy imputed to him in that beautiful outbreak, the hour there, amid such happy provision, striking for him, would have been then, on behalf of my man of imagination, to be logically and, as the artless craft of comedy has it, "led up" to; the probable course to such a goal, the goal of so conscious a predicament, would have in short to be finely calculated. Where has he come from and why has he come, what is he doing (as we Anglo-Saxons, and we only, say, in our foredoomed clutch of exotic aids to expression) in that galere? To answer these questions plausibly, to answer them as under cross-examination in the witness-box by counsel for the prosecution, in other words satisfactorily to account for Strether and for his "peculiar tone," was to possess myself of the entire fabric. At the same time the clue to its whereabouts would lie in a certain principle of probability: he wouldn't have indulged in his peculiar tone without a reason; it would take a felt predicament or a false position to give him so ironic an accent. One hadn't been noting "tones" all one's life without recognising when one heard it the voice of the false position. The dear man in the Paris garden was then admirably and unmistakeably IN one—which was no small point gained; what next accordingly concerned us was the determination of THIS identity. One could only go by probabilities, but there was the advantage that the most general of the probabilities were virtual certainties. Possessed of our friend's nationality, to start with, there was a general probability in his narrower localism; which, for that matter, one had really but to keep under the lens for an hour to see it give up its secrets. He would have issued, our rueful worthy, from the very heart of New England—at the heels of which matter of course a perfect train of secrets tumbled for me into the light. They had to be sifted and sorted, and I shall not reproduce the detail of that process; but unmistakeably they were all there, and it was but a question, auspiciously, of picking among them. What the "position" would infallibly be, and why, on his hands, it had turned "false"—these inductive steps could only be as rapid as they were distinct. I accounted for everything—and "everything" had by this time become the most promising quantity—by the view that he had come to Paris in some state of mind which was literally undergoing, as a result of new and unexpected assaults and infusions, a change almost from hour to hour. He had come with a view that might have been figured by a clear green liquid, say, in a neat glass phial; and the liquid, once poured into the open cup of APPLICATION, once exposed to the action of another air, had begun to turn from green to red, or whatever, and might, for all he knew, be on its way to purple, to black, to yellow. At the still wilder extremes represented perhaps, for all he could say to the contrary, by a variability so violent, he would at first, naturally, but have gazed in surprise and alarm; whereby the SITUATION clearly would spring from the play of wildness and the development of extremes. I saw in a moment that, should this development proceed both with force and logic, my "story" would leave nothing to be desired. There is always, of course, for the story-teller, the irresistible determinant and the incalculable advantage of his interest in the story AS SUCH; it is ever, obviously, overwhelmingly, the prime and precious thing (as other than this I have never been able to see it); as to which what makes for it, with whatever headlong energy, may be said to pale before the energy with which it simply makes for itself. It rejoices, none the less, at its best, to seem to offer itself in a light, to seem to know, and with the very last knowledge, what it's about—liable as it yet is at moments to be caught by us with its tongue in its cheek and absolutely no warrant but its splendid impudence. Let us grant then that the impudence is always there—there, so to speak, for grace and effect and ALLURE; there, above all, because the Story is just the spoiled child of art, and because, as we are always disappointed when the pampered don't "play up," we like it, to that extent, to look all its character. It probably does so, in truth, even when we most flatter ourselves that we negotiate with it by treaty.

All of which, again, is but to say that the STEPS, for my fable, placed themselves with a prompt and, as it were, functional assurance—an air quite as of readiness to have dispensed with logic had I been in fact too stupid for my clue. Never, positively, none the less, as the links multiplied, had I felt less stupid than for the determination of poor Strether's errand and for the apprehension of his issue. These things continued to fall together, as by the neat action of their own weight and form, even while their commentator scratched his head about them; he easily sees now that they were always well in advance of him. As the case completed itself he had in fact, from a good way behind, to catch up with them, breathless and a little flurried, as he best could. THE false position, for our belated man of the world— belated because he had endeavoured so long to escape being one, and now at last had really to face his doom—the false position for him, I say, was obviously to have presented himself at the gate of that boundless menagerie primed with a moral scheme of the most approved pattern which was yet framed to break down on any approach to vivid facts; that is to any at all liberal appreciation of them. There would have been of course the case of the Strether prepared, wherever presenting himself, only to judge and to feel meanly; but HE would have moved for me, I confess, enveloped in no legend whatever. The actual man's note, from the first of our seeing it struck, is the note of discrimination, just as his drama is to become, under stress, the drama of discrimination. It would have been his blest imagination, we have seen, that had already helped him to discriminate; the element that was for so much of the pleasure of my cutting thick, as I have intimated, into his intellectual, into his moral substance. Yet here it was, at the same time, just here, that a shade for a moment fell across the scene.

There was the dreadful little old tradition, one of the platitudes of the human comedy, that people's moral scheme DOES break down in Paris; that nothing is more frequently observed; that hundreds of thousands of more or less hypocritical or more or less cynical persons annually visit the place for the sake of the probable catastrophe, and that I came late in the day to work myself up about it. There was in fine the TRIVIAL association, one of the vulgarest in the world; but which give me pause no longer, I think, simply because its vulgarity is so advertised. The revolution performed by Strether under the influence of the most interesting of great cities was to have nothing to do with any betise of the imputably "tempted" state; he was to be thrown forward, rather, thrown quite with violence, upon his lifelong trick of intense reflexion: which friendly test indeed was to bring him out, through winding passages, through alternations of darkness and light, very much IN Paris, but with the surrounding scene itself a minor matter, a mere symbol for more things than had been dreamt of in the philosophy of Woollett. Another surrounding scene would have done as well for our show could it have represented a place in which Strether's errand was likely to lie and his crisis to await him. The LIKELY place had the great merit of sparing me preparations; there would have been too many involved—not at all impossibilities, only rather worrying and delaying difficulties—in positing elsewhere Chad Newsome's interesting relation, his so interesting complexity of relations. Strether's appointed stage, in fine, could be but Chad's most luckily selected one. The young man had gone in, as they say, for circumjacent charm; and where he would have found it, by the turn of his mind, most "authentic," was where his earnest friend's analysis would most find HIM; as well as where, for that matter, the former's whole analytic faculty would be led such a wonderful dance.

"The Ambassadors" had been, all conveniently, "arranged for"; its first appearance was from month to month, in the _North American Review_ during 1903, and I had been open from far back to any pleasant provocation for ingenuity that might reside in one's actively adopting—so as to make it, in its way, a small compositional law—recurrent breaks and resumptions. I had made up my mind here regularly to exploit and enjoy these often rather rude jolts— having found, as I believed an admirable way to it; yet every question of form and pressure, I easily remember, paled in the light of the major propriety, recognised as soon as really weighed; that of employing but one centre and keeping it all within my hero's compass. The thing was to be so much this worthy's intimate adventure that even the projection of his consciousness upon it from beginning to end without intermission or deviation would probably still leave a part of its value for him, and a fortiori for ourselves, unexpressed. I might, however, express every grain of it that there would be room for—on condition of contriving a splendid particular economy. Other persons in no small number were to people the scene, and each with his or her axe to grind, his or her situation to treat, his or her coherency not to fail of, his or her relation to my leading motive, in a word, to establish and carry on. But Strether's sense of these things, and Strether's only, should avail me for showing them; I should know them but through his more or less groping knowledge of them, since his very gropings would figure among his most interesting motions, and a full observance of the rich rigour I speak of would give me more of the effect I should be most "after" than all other possible observances together. It would give me a large unity, and that in turn would crown me with the grace to which the enlightened story-teller will at any time, for his interest, sacrifice if need be all other graces whatever. I refer of course to the grace of intensity, which there are ways of signally achieving and ways of signally missing—as we see it, all round us, helplessly and woefully missed. Not that it isn't, on the other hand, a virtue eminently subject to appreciation—there being no strict, no absolute measure of it; so that one may hear it acclaimed where it has quite escaped one's perception, and see it unnoticed where one has gratefully hailed it. After all of which I am not sure, either, that the immense amusement of the whole cluster of difficulties so arrayed may not operate, for the fond fabulist, when judicious not less than fond, as his best of determinants. That charming principle is always there, at all events, to keep interest fresh: it is a principle, we remember, essentially ravenous, without scruple and without mercy, appeased with no cheap nor easy nourishment. It enjoys the costly sacrifice and rejoices thereby in the very odour of difficulty—even as ogres, with their "Fee-faw-fum!" rejoice in the smell of the blood of Englishmen.

Thus it was, at all events, that the ultimate, though after all so speedy, definition of my gentleman's job—his coming out, all solemnly appointed and deputed, to "save" Chad, and his then finding the young man so disobligingly and, at first, so bewilderingly not lost that a new issue altogether, in the connexion, prodigiously faces them, which has to be dealt with in a new light—promised as many calls on ingenuity and on the higher branches of the compositional art as one could possibly desire. Again and yet again, as, from book to book, I proceed with my survey, I find no source of interest equal to this verification after the fact, as I may call it, and the more in detail the better, of the scheme of consistency "gone in" for. As always— since the charm never fails—the retracing of the process from point to point brings back the old illusion. The old intentions bloom again and flower—in spite of all the blossoms they were to have dropped by the way. This is the charm, as I say, of adventure TRANSPOSED—the thrilling ups and downs, the intricate ins and outs of the compositional problem, made after such a fashion admirably objective, becoming the question at issue and keeping the author's heart in his mouth. Such an element, for instance, as his intention that Mrs. Newsome, away off with her finger on the pulse of Massachusetts, should yet be no less intensely than circuitously present through the whole thing, should be no less felt as to be reckoned with than the most direct exhibition, the finest portrayal at first hand could make her, such a sign of artistic good faith, I say, once it's unmistakeably there, takes on again an actuality not too much impaired by the comparative dimness of the particular success. Cherished intention too inevitably acts and operates, in the book, about fifty times as little as I had fondly dreamt it might; but that scarce spoils for me the pleasure of recognising the fifty ways in which I had sought to provide for it. The mere charm of seeing such an idea constituent, in its degree; the fineness of the measures taken—a real extension, if successful, of the very terms and possibilities of representation and figuration—such things alone were, after this fashion, inspiring, such things alone were a gage of the probable success of that dissimulated calculation with which the whole effort was to square. But oh the cares begotten, none the less, of that same "judicious" sacrifice to a particular form of interest! One's work should have composition, because composition alone is positive beauty; but all the while—apart from one's inevitable consciousness too of the dire paucity of readers ever recognising or ever missing positive beauty—how, as to the cheap and easy, at every turn, how, as to immediacy and facility, and even as to the commoner vivacity, positive beauty might have to be sweated for and paid for! Once achieved and installed it may always be trusted to make the poor seeker feel he would have blushed to the roots of his hair for failing of it; yet, how, as its virtue can be essentially but the virtue of the whole, the wayside traps set in the interest of muddlement and pleading but the cause of the moment, of the particular bit in itself, have to be kicked out of the path! All the sophistications in life, for example, might have appeared to muster on behalf of the menace— the menace to a bright variety—involved in Strether's having all the subjective "say," as it were, to himself.

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 and 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 recogniseably, 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 recognise, 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; noting 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.


Chapter 1


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.

That note had been meanwhile—since the previous afternoon, thanks to this happier device—such a consciousness of personal freedom as he hadn't known for years; such a deep taste of change and of having above all for the moment nobody and nothing to consider, as promised already, if headlong hope were not too foolish, to colour his adventure with cool success. There were people on the ship with whom he had easily consorted—so far as ease could up to now be imputed to him—and who for the most part plunged straight into the current that set from the landing-stage to London; there were others who had invited him to a tryst at the inn and had even invoked his aid for a "look round" at the beauties of Liverpool; but he had stolen away from every one alike, had kept no appointment and renewed no acquaintance, had been indifferently aware of the number of persons who esteemed themselves fortunate in being, unlike himself, "met," and had even independently, unsociably, alone, without encounter or relapse and by mere quiet evasion, given his afternoon and evening to the immediate and the sensible. They formed a qualified draught of Europe, an afternoon and an evening on the banks of the Mersey, but such as it was he took his potion at least undiluted. He winced a little, truly, at the thought that Waymarsh might be already at Chester; he reflected that, should he have to describe himself there as having "got in" so early, it would be difficult to make the interval look particularly eager; but he was like a man who, elatedly finding in his pocket more money than usual, handles it a while and idly and pleasantly chinks it before addressing himself to the business of spending. That he was prepared to be vague to Waymarsh about the hour of the ship's touching, and that he both wanted extremely to see him and enjoyed extremely the duration of delay—these things, it is to be conceived, were early signs in him that his relation to his actual errand might prove none of the simplest. He was burdened, poor Strether—it had better be confessed at the outset— with the oddity of a double consciousness. There was detachment in his zeal and curiosity in his indifference.

After the young woman in the glass cage had held up to him across her counter the pale-pink leaflet bearing his friend's name, which she neatly pronounced, he turned away to find himself, in the hall, facing a lady who met his eyes as with an intention suddenly determined, and whose features—not freshly young, not markedly fine, but on happy terms with each other—came back to him as from a recent vision. For a moment they stood confronted; then the moment placed her: he had noticed her the day before, noticed her at his previous inn, where—again in the hall—she had been briefly engaged with some people of his own ship's company. Nothing had actually passed between them, and he would as little have been able to say what had been the sign of her face for him on the first occasion as to name the ground of his present recognition. Recognition at any rate appeared to prevail on her own side as well—which would only have added to the mystery. All she now began by saying to him nevertheless was that, having chanced to catch his enquiry, she was moved to ask, by his leave, if it were possibly a question of Mr. Waymarsh of Milrose Connecticut—Mr. Waymarsh the American lawyer.

"Oh yes," he replied, "my very well-known friend. He's to meet me here, coming up from Malvern, and I supposed he'd already have arrived. But he doesn't come till later, and I'm relieved not to have kept him. Do you know him?" Strether wound up.

It wasn't till after he had spoken that he became aware of how much there had been in him of response; when the tone of her own rejoinder, as well as the play of something more in her face— something more, that is, than its apparently usual restless light— seemed to notify him. "I've met him at Milrose—where I used sometimes, a good while ago, to stay; I had friends there who were friends of his, and I've been at his house. I won't answer for it that he would know me," Strether's new acquaintance pursued; "but I should be delighted to see him. Perhaps," she added, "I shall—for I'm staying over." She paused while our friend took in these things, and it was as if a good deal of talk had already passed. They even vaguely smiled at it, and Strether presently observed that Mr. Waymarsh would, no doubt, be easily to be seen. This, however, appeared to affect the lady as if she might have advanced too far. She appeared to have no reserves about anything. "Oh," she said, "he won't care!"—and she immediately thereupon remarked that she believed Strether knew the Munsters; the Munsters being the people he had seen her with at Liverpool.

But he didn't, it happened, know the Munsters well enough to give the case much of a lift; so that they were left together as if over the mere laid table of conversation. Her qualification of the mentioned connexion had rather removed than placed a dish, and there seemed nothing else to serve. Their attitude remained, none the less, that of not forsaking the board; and the effect of this in turn was to give them the appearance of having accepted each other with an absence of preliminaries practically complete. They moved along the hall together, and Strether's companion threw off that the hotel had the advantage of a garden. He was aware by this time of his strange inconsequence: he had shirked the intimacies of the steamer and had muffled the shock of Waymarsh only to find himself forsaken, in this sudden case, both of avoidance and of caution. He passed, under this unsought protection and before he had so much as gone up to his room, into the garden of the hotel, and at the end of ten minutes had agreed to meet there again, as soon as he should have made himself tidy, the dispenser of such good assurances. He wanted to look at the town, and they would forthwith look together. It was almost as if she had been in possession and received him as a guest. Her acquaintance with the place presented her in a manner as a hostess, and Strether had a rueful glance for the lady in the glass cage. It was as if this personage had seen herself instantly superseded.

When in a quarter of an hour he came down, what his hostess saw, what she might have taken in with a vision kindly adjusted, was the lean, the slightly loose figure of a man of the middle height and something more perhaps than the middle age—a man of five-and-fifty, whose most immediate signs were a marked bloodless brownness of face, a thick dark moustache, of characteristically American cut, growing strong and falling low, a head of hair still abundant but irregularly streaked with grey, and a nose of bold free prominence, the even line, the high finish, as it might have been called, of which, had a certain effect of mitigation. A perpetual pair of glasses astride of this fine ridge, and a line, unusually deep and drawn, the prolonged pen-stroke of time, accompanying the curve of the moustache from nostril to chin, did something to complete the facial furniture that an attentive observer would have seen catalogued, on the spot, in the vision of the other party to Strether's appointment. She waited for him in the garden, the other party, drawing on a pair of singularly fresh soft and elastic light gloves and presenting herself with a superficial readiness which, as he approached her over the small smooth lawn and in the watery English sunshine, he might, with his rougher preparation, have marked as the model for such an occasion. She had, this lady, a perfect plain propriety, an expensive subdued suitability, that her companion was not free to analyse, but that struck him, so that his consciousness of it was instantly acute, as a quality quite new to him. Before reaching her he stopped on the grass and went through the form of feeling for something, possibly forgotten, in the light overcoat he carried on his arm; yet the essence of the act was no more than the impulse to gain time. Nothing could have been odder than Strether's sense of himself as at that moment launched in something of which the sense would be quite disconnected from the sense of his past and which was literally beginning there and then. It had begun in fact already upstairs and before the dressing glass that struck him as blocking further, so strangely, the dimness of the window of his dull bedroom; begun with a sharper survey of the elements of Appearance than he had for a long time been moved to make. He had during those moments felt these elements to be not so much to his hand as he should have liked, and then had fallen back on the thought that they were precisely a matter as to which help was supposed to come from what he was about to do. He was about to go up to London, so that hat and necktie might wait. What had come as straight to him as a ball in a well-played game—and caught moreover not less neatly—was just the air, in the person of his friend, of having seen and chosen, the air of achieved possession of those vague qualities and quantities that collectively figured to him as the advantage snatched from lucky chances. Without pomp or circumstance, certainly, as her original address to him, equally with his own response, had been, he would have sketched to himself his impression of her as: "Well, she's more thoroughly civilized—!" If "More thoroughly than WHOM?" would not have been for him a sequel to this remark, that was just by reason of his deep consciousness of the bearing of his comparison.

The amusement, at all events, of a civilisation intenser was what— familiar compatriot as she was, with the full tone of the compatriot and the rattling link not with mystery but only with dear dyspeptic Waymarsh—she appeared distinctly to promise. His pause while he felt in his overcoat was positively the pause of confidence, and it enabled his eyes to make out as much of a case for her, in proportion, as her own made out for himself. She affected him as almost insolently young; but an easily carried five-and-thirty could still do that. She was, however, like himself marked and wan; only it naturally couldn't have been known to him how much a spectator looking from one to the other might have discerned that they had in common. It wouldn't for such a spectator have been altogether insupposable that, each so finely brown and so sharply spare, each confessing so to dents of surface and aids to sight, to a disproportionate nose and a head delicately or grossly grizzled, they might have been brother and sister. On this ground indeed there would have been a residuum of difference; such a sister having surely known in respect to such a brother the extremity of separation, and such a brother now feeling in respect to such a sister the extremity of surprise. Surprise, it was true, was not on the other hand what the eyes of Strether's friend most showed him while she gave him, stroking her gloves smoother, the time he appreciated. They had taken hold of him straightway measuring him up and down as if they knew how; as if he were human material they had already in some sort handled. Their possessor was in truth, it may be communicated, the mistress of a hundred cases or categories, receptacles of the mind, subdivisions for convenience, in which, from a full experience, she pigeon-holed her fellow mortals with a hand as free as that of a compositor scattering type. She was as equipped in this particular as Strether was the reverse, and it made an opposition between them which he might well have shrunk from submitting to if he had fully suspected it. So far as he did suspect it he was on the contrary, after a short shake of his consciousness, as pleasantly passive as might be. He really had a sort of sense of what she knew. He had quite the sense that she knew things he didn't, and though this was a concession that in general he found not easy to make to women, he made it now as good-humouredly as if it lifted a burden. His eyes were so quiet behind his eternal nippers that they might almost have been absent without changing his face, which took its expression mainly, and not least its stamp of sensibility, from other sources, surface and grain and form. He joined his guide in an instant, and then felt she had profited still better than he by his having been for the moments just mentioned, so at the disposal of her intelligence. She knew even intimate things about him that he hadn't yet told her and perhaps never would. He wasn't unaware that he had told her rather remarkably many for the time, but these were not the real ones. Some of the real ones, however, precisely, were what she knew.

They were to pass again through the hall of the inn to get into the street, and it was here she presently checked him with a question. "Have you looked up my name?"

He could only stop with a laugh. "Have you looked up mine?"

"Oh dear, yes—as soon as you left me. I went to the office and asked. Hadn't YOU better do the same?"

He wondered. "Find out who you are?—after the uplifted young woman there has seen us thus scrape acquaintance!"

She laughed on her side now at the shade of alarm in his amusement. "Isn't it a reason the more? If what you're afraid of is the injury for me—my being seen to walk off with a gentleman who has to ask who I am—l assure you I don't in the least mind. Here, however," she continued, "is my card, and as I find there's something else again I have to say at the office, you can just study it during the moment I leave you."

She left him after he had taken from her the small pasteboard she had extracted from her pocket-book, and he had extracted another from his own, to exchange with it, before she came back. He read thus the simple designation "Maria Gostrey," to which was attached, in a corner of the card, with a number, the name of a street, presumably in Paris, without other appreciable identity than its foreignness. He put the card into his waistcoat pocket, keeping his own meanwhile in evidence; and as he leaned against the door-post he met with the smile of a straying thought what the expanse before the hotel offered to his view. It was positively droll to him that he should already have Maria Gostrey, whoever she was—of which he hadn't really the least idea—in a place of safe keeping. He had somehow an assurance that he should carefully preserve the little token he had just tucked in. He gazed with unseeing lingering eyes as he followed some of the implications of his act, asking himself if he really felt admonished to qualify it as disloyal. It was prompt, it was possibly even premature, and there was little doubt of the expression of face the sight of it would have produced in a certain person. But if it was "wrong"—why then he had better not have come out at all. At this, poor man, had he already—and even before meeting Waymarsh—arrived. He had believed he had a limit, but the limit had been transcended within thirty-six hours. By how long a space on the plane of manners or even of morals, moreover, he felt still more sharply after Maria Gostrey had come back to him and with a gay decisive "So now—!" led him forth into the world. This counted, it struck him as he walked beside her with his overcoat on an arm, his umbrella under another and his personal pasteboard a little stiffly retained between forefinger and thumb, this struck him as really, in comparison his introduction to things. It hadn't been "Europe" at Liverpool no—not even in the dreadful delightful impressive streets the night before—to the extent his present companion made it so. She hadn't yet done that so much as when, after their walk had lasted a few minutes and he had had time to wonder if a couple of sidelong glances from her meant that he had best have put on gloves she almost pulled him up with an amused challenge. "But why—fondly as it's so easy to imagine your clinging to it—don't you put it away? Or if it's an inconvenience to you to carry it, one's often glad to have one's card back. The fortune one spends in them!"

Then he saw both that his way of marching with his own prepared tribute had affected her as a deviation in one of those directions he couldn't yet measure, and that she supposed this emblem to be still the one he had received from her. He accordingly handed her the card as if in restitution, but as soon as she had it she felt the difference and, with her eyes on it, stopped short for apology. "I like," she observed, "your name."

"Oh," he answered, "you won't have heard of it!" Yet he had his reasons for not being sure but that she perhaps might.

Ah it was but too visible! She read it over again as one who had never seen it. "'Mr. Lewis Lambert Strether'"—she sounded it almost as freely as for any stranger. She repeated however that she liked it—"particularly the Lewis Lambert. It's the name of a novel of Balzac's."

"Oh I know that!" said Strether.

"But the novel's an awfully bad one."

"I know that too," Strether smiled. To which he added with an irrelevance that was only superficial: "I come from Woollett Massachusetts." It made her for some reason—the irrelevance or whatever—laugh. Balzac had described many cities, but hadn't described Woollett Massachusetts. "You say that," she returned, "as if you wanted one immediately to know the worst."

"Oh I think it's a thing," he said, "that you must already have made out. I feel it so that I certainly must look it, speak it, and, as people say there, 'act' it. It sticks out of me, and you knew surely for yourself as soon as you looked at me."

"The worst, you mean?"

"Well, the fact of where I come from. There at any rate it IS; so that you won't be able, if anything happens, to say I've not been straight with you."

"I see"—and Miss Gostrey looked really interested in the point he had made. "But what do you think of as happening?"

Though he wasn't shy—which was rather anomalous—Strether gazed about without meeting her eyes; a motion that was frequent with him in talk, yet of which his words often seemed not at all the effect. "Why that you should find me too hopeless." With which they walked on again together while she answered, as they went, that the most "hopeless" of her countryfolk were in general precisely those she liked best. All sorts of other pleasant small things-small things that were yet large for him—flowered in the air of the occasion, but the bearing of the occasion itself on matters still remote concerns us too closely to permit us to multiply our illustrations. Two or three, however, in truth, we should perhaps regret to lose. The tortuous wall—girdle, long since snapped, of the little swollen city, half held in place by careful civic hands—wanders in narrow file between parapets smoothed by peaceful generations, pausing here and there for a dismantled gate or a bridged gap, with rises and drops, steps up and steps down, queer twists, queer contacts, peeps into homely streets and under the brows of gables, views of cathedral tower and waterside fields, of huddled English town and ordered English country. Too deep almost for words was the delight of these things to Strether; yet as deeply mixed with it were certain images of his inward picture. He had trod this walks in the far-off time, at twenty-five; but that, instead of spoiling it, only enriched it for present feeling and marked his renewal as a thing substantial enough to share. It was with Waymarsh he should have shared it. and he was now accordingly taking from him something that was his due. He looked repeatedly at his watch, and when he had done so for the fifth time Miss Gostrey took him up.

"You're doing something that you think not right."

It so touched the place that he quite changed colour and his laugh grew almost awkward. "Am I enjoying it as much as THAT?"

"You're not enjoying it, I think, so much as you ought."

"I see"—he appeared thoughtfully to agree. "Great is my privilege."

"Oh it's not your privilege! It has nothing to do with me. It has to do with yourself. Your failure's general."

"Ah there you are!" he laughed. "It's the failure of Woollett. THAT'S general."

"The failure to enjoy," Miss Gostrey explained, "is what I mean."

"Precisely. Woollett isn't sure it ought to enjoy. If it were it would. But it hasn't, poor thing," Strether continued, "any one to show it how. It's not like me. I have somebody."

They had stopped, in the afternoon sunshine—constantly pausing, in their stroll, for the sharper sense of what they saw—and Strether rested on one of the high sides of the old stony groove of the little rampart. He leaned back on this support with his face to the tower of the cathedral, now admirably commanded by their station, the high red-brown mass, square and subordinately spired and crocketed, retouched and restored, but charming to his long-sealed eyes and with the first swallows of the year weaving their flight all round it. Miss Gostrey lingered near him, full of an air, to which she more and more justified her right, of understanding the effect of things. She quite concurred. "You've indeed somebody." And she added: "I wish you WOULD let me show you how!"

"Oh I'm afraid of you!" he cheerfully pleaded.

She kept on him a moment, through her glasses and through his own, a certain pleasant pointedness. "Ah no, you're not! You're not in the least, thank goodness! If you had been we shouldn't so soon have found ourselves here together. I think," she comfortably concluded, "you trust me."

"I think I do!—but that's exactly what I'm afraid of. I shouldn't mind if I didn't. It's falling thus in twenty minutes so utterly into your hands. I dare say," Strether continued, "it's a sort of thing you're thoroughly familiar with; but nothing more extraordinary has ever happened to me."

She watched him with all her kindness. "That means simply that you've recognised me—which IS rather beautiful and rare. You see what I am." As on this, however, he protested, with a good-humoured headshake, a resignation of any such claim, she had a moment of explanation. "If you'll only come on further as you HAVE come you'll at any rate make out. My own fate has been too many for me, and I've succumbed to it. I'm a general guide—to 'Europe,' don't you know? I wait for people—l put them through. I pick them up— I set them down. I'm a sort of superior 'courier-maid.' I'm a companion at large. I take people, as I've told you, about. I never sought it—it has come to me. It has been my fate, and one's fate one accepts. It's a dreadful thing to have to say, in so wicked a world, but I verily believe that, such as you see me, there's nothing I don't know. I know all the shops and the prices—but I know worse things still. I bear on my back the huge load of our national consciousness, or, in other words—for it comes to that— of our nation itself. Of what is our nation composed but of the men and women individually on my shoulders? I don't do it, you know, for any particular advantage. I don't do it, for instance—some people do, you know—for money."

Strether could only listen and wonder and weigh his chance. "And yet, affected as you are then to so many of your clients, you can scarcely be said to do it for love." He waited a moment. "How do we reward you?"

She had her own hesitation, but "You don't!" she finally returned, setting him again in motion. They went on, but in a few minutes, though while still thinking over what she had said, he once more took out his watch; mechanically, unconsciously and as if made nervous by the mere exhilaration of what struck him as her strange and cynical wit. He looked at the hour without seeing it, and then, on something again said by his companion, had another pause. "You're really in terror of him."

He smiled a smile that he almost felt to be sickly. "Now you can see why I'm afraid of you."

"Because I've such illuminations? Why they're all for your help! It's what I told you," she added, "just now. You feel as if this were wrong."

He fell back once more, settling himself against the parapet as if to hear more about it. "Then get me out!"

Her face fairly brightened for the joy of the appeal, but, as if it were a question of immediate action, she visibly considered. "Out of waiting for him?—of seeing him at all?"

"Oh no—not that," said poor Strether, looking grave. "I've got to wait for him—and I want very much to see him. But out of the terror. You did put your finger on it a few minutes ago. It's general, but it avails itself of particular occasions. That's what it's doing for me now. I'm always considering something else; something else, I mean, than the thing of the moment. The obsession of the other thing is the terror. I'm considering at present for instance something else than YOU."

She listened with charming earnestness. "Oh you oughtn't to do that!"

"It's what I admit. Make it then impossible."

She continued to think. "Is it really an 'order' from you?—that I shall take the job? WILL you give yourself up?"

Poor Strether heaved his sigh. "If I only could! But that's the deuce of it—that I never can. No—I can't."

She wasn't, however, discouraged. "But you want to at least?"

"Oh unspeakably!"

"Ah then, if you'll try!"—and she took over the job, as she had called it, on the spot. "Trust me!" she exclaimed, and the action of this, as they retraced their steps, was presently to make him pass his hand into her arm in the manner of a benign dependent paternal old person who wishes to be "nice" to a younger one. If he drew it out again indeed as they approached the inn this may have been because, after more talk had passed between them, the relation of age, or at least of experience—which, for that matter, had already played to and fro with some freedom—affected him as incurring a readjustment. It was at all events perhaps lucky that they arrived in sufficiently separate fashion within range of the hotel-door. The young lady they had left in the glass cage watched as if she had come to await them on the threshold. At her side stood a person equally interested, by his attitude, in their return, and the effect of the sight of whom was instantly to determine for Strether another of those responsive arrests that we have had so repeatedly to note. He left it to Miss Gostrey to name, with the fine full bravado as it almost struck him, of her "Mr. Waymarsh!" what was to have been, what—he more than ever felt as his short stare of suspended welcome took things in—would have been, but for herself, his doom. It was already upon him even at that distance—Mr. Waymarsh was for HIS part joyless.

Chapter 2


He had none the less to confess to this friend that evening that he knew almost nothing about her, and it was a deficiency that Waymarsh, even with his memory refreshed by contact, by her own prompt and lucid allusions and enquiries, by their having publicly partaken of dinner in her company, and by another stroll, to which she was not a stranger, out into the town to look at the cathedral by moonlight—it was a blank that the resident of Milrose, though admitting acquaintance with the Munsters, professed himself unable to fill. He had no recollection of Miss Gostrey, and two or three questions that she put to him about those members of his circle had, to Strether's observation, the same effect he himself had already more directly felt—the effect of appearing to place all knowledge, for the time, on this original woman's side. It interested him indeed to mark the limits of any such relation for her with his friend as there could possibly be a question of, and it particularly struck him that they were to be marked altogether in Waymarsh's quarter. This added to his own sense of having gone far with her-gave him an early illustration of a much shorter course. There was a certitude he immediately grasped—a conviction that Waymarsh would quite fail, as it were, and on whatever degree of acquaintances to profit by her.

There had been after the first interchange among the three a talk of some five minutes in the hall, and then the two men had adjourned to the garden, Miss Gostrey for the time disappearing. Strether in due course accompanied his friend to the room he had bespoken and had, before going out, scrupulously visited; where at the end of another half-hour he had no less discreetly left him. On leaving him he repaired straight to his own room, but with the prompt effect of feeling the compass of that chamber resented by his condition. There he enjoyed at once the first consequence of their reunion. A place was too small for him after it that had seemed large enough before. He had awaited it with something he would have been sorry, have been almost ashamed not to recognise as emotion, yet with a tacit assumption at the same time that emotion would in the event find itself relieved. The actual oddity was that he was only more excited; and his excitement-to which indeed he would have found it difficult instantly to give a name—brought him once more downstairs and caused him for some minutes vaguely to wander. He went once more to the garden; he looked into the public room, found Miss Gostrey writing letters and backed out; he roamed, fidgeted and wasted time; but he was to have his more intimate session with his friend before the evening closed.

It was late—not till Strether had spent an hour upstairs with him— that this subject consented to betake himself to doubtful rest. Dinner and the subsequent stroll by moonlight—a dream, on Strether's part, of romantic effects rather prosaically merged in a mere missing of thicker coats—had measurably intervened, and this midnight conference was the result of Waymarsh's having (when they were free, as he put it, of their fashionable friend) found the smoking-room not quite what he wanted, and yet bed what he wanted less. His most frequent form of words was that he knew himself, and they were applied on this occasion to his certainty of not sleeping. He knew himself well enough to know that he should have a night of prowling unless he should succeed, as a preliminary, in getting prodigiously tired. If the effort directed to this end involved till a late hour the presence of Strether—consisted, that is, in the detention of the latter for full discourse—there was yet an impression of minor discipline involved for our friend in the picture Waymarsh made as he sat in trousers and shirt on the edge of his couch. With his long legs extended and his large back much bent, he nursed alternately, for an almost incredible time, his elbows and his beard. He struck his visitor as extremely, as almost wilfully uncomfortable; yet what had this been for Strether, from that first glimpse of him disconcerted in the porch of the hotel, but the predominant notes. The discomfort was in a manner contagious, as well as also in a manner inconsequent and unfounded; the visitor felt that unless he should get used to it—or unless Waymarsh himself should—it would constitute a menace for his own prepared, his own already confirmed, consciousness of the agreeable. On their first going up together to the room Strether had selected for him Waymarsh had looked it over in silence and with a sigh that represented for his companion, if not the habit of disapprobation, at least the despair of felicity; and this look had recurred to Strether as the key of much he had since observed. "Europe," he had begun to gather from these things, had up to now rather failed of its message to him; he hadn't got into tune with it and had at the end of three months almost renounced any such expectation.

He really appeared at present to insist on that by just perching there with the gas in his eyes. This of itself somehow conveyed the futility of single rectifications in a multiform failure. He had a large handsome head and a large sallow seamed face—a striking significant physiognomic total, the upper range of which, the great political brow, the thick loose hair, the dark fuliginous eyes, recalled even to a generation whose standard had dreadfully deviated the impressive image, familiar by engravings and busts, of some great national worthy of the earlier part of the mid-century. He was of the personal type—and it was an element in the power and promise that in their early time Strether had found in him—of the American statesman, the statesman trained in "Congressional halls," of an elder day. The legend had been in later years that as the lower part of his face, which was weak, and slightly crooked, spoiled the likeness, this was the real reason for the growth of his beard, which might have seemed to spoil it for those not in the secret. He shook his mane; he fixed, with his admirable eyes, his auditor or his observer; he wore no glasses and had a way, partly formidable, yet also partly encouraging, as from a representative to a constituent, of looking very hard at those who approached him. He met you as if you had knocked and he had bidden you enter. Strether, who hadn't seen him for so long an interval, apprehended him now with a freshness of taste, and had perhaps never done him such ideal justice. The head was bigger, the eyes finer, than they need have been for the career; but that only meant, after all, that the career was itself expressive. What it expressed at midnight in the gas-glaring bedroom at Chester was that the subject of it had, at the end of years, barely escaped, by flight in time, a general nervous collapse. But this very proof of the full life, as the full life was understood at Milrose, would have made to Strether's imagination an element in which Waymarsh could have floated easily had he only consented to float. Alas nothing so little resembled floating as the rigour with which, on the edge of his bed, he hugged his posture of prolonged impermanence. It suggested to his comrade something that always, when kept up, worried him—a person established in a railway-coach with a forward inclination. It represented the angle at which poor Waymarsh was to sit through the ordeal of Europe.

Thanks to the stress of occupation, the strain of professions, the absorption and embarrassment of each, they had not, at home, during years before this sudden brief and almost bewildering reign of comparative ease, found so much as a day for a meeting; a fact that was in some degree an explanation of the sharpness with which most of his friend's features stood out to Strether. Those he had lost sight of since the early time came back to him; others that it was never possible to forget struck him now as sitting, clustered and expectant, like a somewhat defiant family-group, on the doorstep of their residence. The room was narrow for its length, and the occupant of the bed thrust so far a pair of slippered feet that the visitor had almost to step over them in his recurrent rebounds from his chair to fidget back and forth. There were marks the friends made on things to talk about, and on things not to, and one of the latter in particular fell like the tap of chalk on the blackboard. Married at thirty, Waymarsh had not lived with his wife for fifteen years, and it came up vividly between them in the glare of the gas that Strether wasn't to ask about her. He knew they were still separate and that she lived at hotels, travelled in Europe, painted her face and wrote her husband abusive letters, of not one of which, to a certainty, that sufferer spared himself the perusal; but he respected without difficulty the cold twilight that had settled on this side of his companion's life. It was a province in which mystery reigned and as to which Waymarsh had never spoken the informing word. Strether, who wanted to do him the highest justice wherever he COULD do it, singularly admired him for the dignity of this reserve, and even counted it as one of the grounds—grounds all handled and numbered—for ranking him, in the range of their acquaintance, as a success. He WAS a success, Waymarsh, in spite of overwork, or prostration, of sensible shrinkage, of his wife's letters and of his not liking Europe. Strether would have reckoned his own career less futile had he been able to put into it anything so handsome as so much fine silence. One might one's self easily have left Mrs. Waymarsh; and one would assuredly have paid one's tribute to the ideal in covering with that attitude the derision of having been left by her. Her husband had held his tongue and had made a large income; and these were in especial the achievements as to which Strether envied him. Our friend had had indeed on his side too a subject for silence, which he fully appreciated; but it was a matter of a different sort, and the figure of the income he had arrived at had never been high enough to look any one in the face.

"I don't know as I quite see what you require it for. You don't appear sick to speak of." It was of Europe Waymarsh thus finally spoke.

"Well," said Strether, who fell as much as possible into step, "I guess I don't FEEL sick now that I've started. But I had pretty well run down before I did start."

Waymarsh raised his melancholy look. "Ain't you about up to your usual average?"

It was not quite pointedly sceptical, but it seemed somehow a plea for the purest veracity, and it thereby affected our friend as the very voice of Milrose. He had long since made a mental distinction— though never in truth daring to betray it—between the voice of Milrose and the voice even of Woollett. It was the former he felt, that was most in the real tradition. There had been occasions in his past when the sound of it had reduced him to temporary confusion, and the present, for some reason, suddenly became such another. It was nevertheless no light matter that the very effect of his confusion should be to make him again prevaricate. "That description hardly does justice to a man to whom it has done such a lot of good to see YOU."

Waymarsh fixed on his washing-stand the silent detached stare with which Milrose in person, as it were, might have marked the unexpectedness of a compliment from Woollett, and Strether for his part, felt once more like Woollett in person. "I mean," his friend presently continued, "that your appearance isn't as bad as I've seen it: it compares favourably with what it was when I last noticed it." On this appearance Waymarsh's eyes yet failed to rest; it was almost as if they obeyed an instinct of propriety, and the effect was still stronger when, always considering the basin and jug, he added: "You've filled out some since then."

"I'm afraid I have," Strether laughed: "one does fill out some with all one takes in, and I've taken in, I dare say, more than I've natural room for. I was dog-tired when I sailed." It had the oddest sound of cheerfulness.

"I was dog-tired," his companion returned, "when I arrived, and it's this wild hunt for rest that takes all the life out of me. The fact is, Strether—and it's a comfort to have you here at last to say it to; though I don't know, after all, that I've really waited; I've told it to people I've met in the cars—the fact is, such a country as this ain't my KIND of country anyway. There ain't a country I've seen over here that DOES seem my kind. Oh I don't say but what there are plenty of pretty places and remarkable old things; but the trouble is that I don't seem to feel anywhere in tune. That's one of the reasons why I suppose I've gained so little. I haven't had the first sign of that lift I was led to expect." With this he broke out more earnestly. "Look here—I want to go back."

His eyes were all attached to Strether's now, for he was one of the men who fully face you when they talk of themselves. This enabled his friend to look at him hard and immediately to appear to the highest advantage in his eyes by doing so. "That's a genial thing to say to a fellow who has come out on purpose to meet you!"

Nothing could have been finer, on this, than Waymarsh's sombre glow. "HAVE you come out on purpose?"

"Well—very largely."

"I thought from the way you wrote there was something back of it."

Strether hesitated. "Back of my desire to be with you?"

"Back of your prostration."

Strether, with a smile made more dim by a certain consciousness, shook his head. "There are all the causes of it!"

"And no particular cause that seemed most to drive you?"

Our friend could at last conscientiously answer. "Yes. One. There IS a matter that has had much to do with my coming out."

Waymarsh waited a little. "Too private to mention?"

"No, not too private—for YOU. Only rather complicated."

"Well," said Waymarsh, who had waited again, "I MAY lose my mind over here, but I don't know as I've done so yet."

"Oh you shall have the whole thing. But not tonight."

Waymarsh seemed to sit stiffer and to hold his elbows tighter. "Why not—if I can't sleep?"

"Because, my dear man, I CAN!"

"Then where's your prostration?"

"Just in that—that I can put in eight hours." And Strether brought it out that if Waymarsh didn't "gain" it was because he didn't go to bed: the result of which was, in its order, that, to do the latter justice, he permitted his friend to insist on his really getting settled. Strether, with a kind coercive hand for it, assisted him to this consummation, and again found his own part in their relation auspiciously enlarged by the smaller touches of lowering the lamp and seeing to a sufficiency of blanket. It somehow ministered for him to indulgence to feel Waymarsh, who looked unnaturally big and black in bed, as much tucked in as a patient in a hospital and, with his covering up to his chin, as much simplified by it He hovered in vague pity, to be brief, while his companion challenged him out of the bedclothes. "Is she really after you? Is that what's behind?"

Strether felt an uneasiness at the direction taken by his companion's insight, but he played a little at uncertainty. "Behind my coming out?"

"Behind your prostration or whatever. It's generally felt, you know, that she follows you up pretty close."

Strether's candour was never very far off. "Oh it has occurred to you that I'm literally running away from Mrs. Newsome?"

"Well, I haven't KNOWN but what you are. You're a very attractive man, Strether. You've seen for yourself," said Waymarsh "what that lady downstairs makes of it. Unless indeed," he rambled on with an effect between the ironic and the anxious, "it's you who are after HER. IS Mrs. Newsome OVER here?" He spoke as with a droll dread of her.

It made his friend—though rather dimly—smile. "Dear no she's safe, thank goodness—as I think I more and more feel—at home. She thought of coming, but she gave it up. I've come in a manner instead of her; and come to that extent—for you're right in your inference—on her business. So you see there IS plenty of connexion."

Waymarsh continued to see at least all there was. "Involving accordingly the particular one I've referred to?"

Strether took another turn about the room, giving a twitch to his companion's blanket and finally gaining the door. His feeling was that of a nurse who had earned personal rest by having made everything straight. "Involving more things than I can think of breaking ground on now. But don't be afraid—you shall have them from me: you'll probably find yourself having quite as much of them as you can do with. I shall—if we keep together—very much depend on your impression of some of them."

Waymarsh's acknowledgement of this tribute was characteristically indirect. "You mean to say you don't believe we WILL keep together?"

"I only glance at the danger," Strether paternally said, "because when I hear you wail to go back I seem to see you open up such possibilities of folly."

Waymarsh took it—silent a little—like a large snubbed child "What are you going to do with me?"

It was the very question Strether himself had put to Miss Gostrey, and he wondered if he had sounded like that. But HE at least could be more definite. "I'm going to take you right down to London."

"Oh I've been down to London!" Waymarsh more softly moaned. "I've no use, Strether, for anything down there."

"Well," said Strether, good-humouredly, "I guess you've some use for me."

"So I've got to go?"

"Oh you've got to go further yet."

"Well," Waymarsh sighed, "do your damnedest! Only you WILL tell me before you lead me on all the way—?"

Our friend had again so lost himself, both for amusement and for contrition, in the wonder of whether he had made, in his own challenge that afternoon, such another figure, that he for an instant missed the thread. "Tell you—?"

"Why what you've got on hand."

Strether hesitated. "Why it's such a matter as that even if I positively wanted I shouldn't be able to keep it from you."

Waymarsh gloomily gazed. "What does that mean then but that your trip is just FOR her?"

"For Mrs. Newsome? Oh it certainly is, as I say. Very much."

"Then why do you also say it's for me?"

Strether, in impatience, violently played with his latch. "It's simple enough. It's for both of you."

Waymarsh at last turned over with a groan. "Well, I won't marry you!"

"Neither, when it comes to that—!" But the visitor had already laughed and escaped.