Notes of a Son and Brother. Генри Джеймс
to add too that the blowing out of our bubble, the planting of our garden, the correction of our thinness, the discovery, under stress, of such scraps of colour and conversation, such saving echoes and redeeming references as might lurk for us in each other, all formed in themselves an active, and might at last even grow to suggest an absolutely bustling, process.
I come back with a real tenderness of memory for instance to that felicity of the personal, the social, the "literary and artistic," almost really the romantic, identity responding, after a fashion quite to bring tears to the eyes, in proportion as it might have seemed to feel by some divine insufflation what it practically could stand for. What should one call this but the brave triumph of values conscious of having to be almost missionary? There were many such that in "Europe" hadn't had to be missionary at all; in Europe, as it were, one hadn't—comparatively—seen, if not the forest for the trees, then the trees for the forest; whereas on this other great vacuous level every single stem seemed to enjoy for its distinction quite the totality of the daylight and to rise into the air with a gladness that was itself a grace. Of some of the personal importances that acted in that way I should with easier occasion have more to say—I shall as it is have something; but there could perhaps be no better sample of the effect of sharpness with which the forces of culture might emerge than, say, the fairly golden glow of romance investing the mere act of perusal of the Revue des Deux Mondes. There was the charm—though I grant of course that I speak here all for myself, constitutionally and, face to face with myself, quite shamelessly an inquirer, a hunter, for charm—that whereas the spell cast had more or less inevitable limits in the world to which such a quality as the best things of the Revue, such a performance of the intellectual and expressional engagement as these suggested, was native and was thereby relative to other generally like phenomena, so it represented among us, where it had to take upon itself what I have already alluded to as all the work, far more than its face value. Few of the forces about us reached as yet the level of representation (even if here and there some might have been felt as trying for it); and this made all the difference. Anything suggestive or significant, anything promising or interesting, anything in the least finely charming above all, immensely counted, claimed tendance and protection, almost claimed, or at any rate enjoyed, worship; as for that matter anything finely charming does, quite rightly, anywhere. But our care, our privilege, on occasion our felt felicity, was to foster every symptom and breathe encouragement to every success; to hang over the tenderest shoots that betrayed the principle of growth—or in other words to read devoutly into everything, and as straight as possible, the very fullest meaning we might hope it would learn to have. So at least quite at first—and so again very considerably after the large interval and grim intermission represented by the War; during which interest and quality, to say nothing of quantity, at the highest pitch, ceased in any degree to fail us, and what might be "read into" almost any aspect without exception paled in the light of what was inevitably read out from it. It must be added at the same time that with its long duration the War fell into its place as part of life at large, and that when it was over various other things still than the love of peace were found to have grown.
Immediately, at any rate, the Albany cousins, or a particular group of them, began again to be intensely in question for us; coloured in due course with reflections of the War as their lives, not less than our own, were to become—and coloured as well too, for all sorts of notation and appreciation, from irrepressible private founts. Mrs. Edmund Tweedy, bereft of her own young children, had at the time I speak of opened her existence, with the amplest hospitality, to her four orphaned nieces, who were also our father's and among whom the second in age, Mary Temple the younger, about in her seventeenth year when she thus renewed her appearance to our view, shone with vividest lustre, an essence that preserves her still, more than half a century from the date of her death, in a memory or two where many a relic once sacred has comparatively yielded to time. Most of those who knew and loved, I was going to say adored, her have also yielded—which is a reason the more why thus much of her, faint echo from too far off though it prove, should be tenderly saved. If I have spoken of the elements and presences round about us that "counted," Mary Temple was to count, and in more lives than can now be named, to an extraordinary degree; count as a young and shining apparition, a creature who owed to the charm of her every aspect (her aspects were so many!) and the originality, vivacity, audacity, generosity, of her spirit, an indescribable grace and weight—if one might impute weight to a being so imponderable in common scales. Whatever other values on our scene might, as I have hinted, appear to fail, she was one of the first order, in the sense of the immediacy of the impression she produced, and produced altogether as by the play of her own light spontaneity and curiosity—not, that is, as through a sense of such a pressure and such a motive, or through a care for them, in others. "Natural" to an effect of perfect felicity that we were never to see surpassed is what I have already praised all the Albany cousinage of those years for being; but in none of the company was the note so clear as in this rarest, though at the same tune symptomatically or ominously palest, flower of the stem; who was natural at more points and about more things, with a greater range of freedom and ease and reach of horizon than any of the others dreamed of. They had that way, delightfully, with the small, after all, and the common matters—while she had it with those too, but with the great and rare ones over and above; so that she was to remain for us the very figure and image of a felt interest in life, an interest as magnanimously far-spread, or as familiarly and exquisitely fixed, as her splendid shifting sensibility, moral, personal, nervous, and having at once such noble flights and such touchingly discouraged drops, such graces of indifference and inconsequence, might at any moment determine. She was really to remain, for our appreciation, the supreme case of a taste for life as life, as personal living; of an endlessly active and yet somehow a careless, an illusionless, a sublimely forewarned curiosity about it: something that made her, slim and fair and quick, all straightness and charming tossed head, with long light and yet almost sliding steps and a large light postponing, renouncing laugh, the very muse or amateur priestess of rash speculation. To express her in the mere terms of her restless young mind, one felt from the first, was to place her, by a perversion of the truth, under the shadow of female "earnestness"—for which she was much too unliteral and too ironic; so that, superlatively personal and yet as independent, as "off" into higher spaces, at a touch, as all the breadth of her sympathy and her courage could send her, she made it impossible to say whether she was just the most moving of maidens or a disengaged and dancing flame of thought. No one to come after her could easily seem to show either a quick inward life or a brave, or even a bright, outward, either a consistent contempt for social squalors or a very marked genius for moral reactions. She had in her brief passage the enthusiasm of humanity—more, assuredly, than any charming girl who ever circled, and would fain have continued to circle, round a ballroom. This kept her indeed for a time more interested in the individual, the immediate human, than in the race or the social order at large; but that, on the other hand, made her ever so restlessly, or quite inappeasably, "psychologic." The psychology of others, in her shadow—I mean their general resort to it—could only for a long time seem weak and flat and dim, above all not at all amusing. She burned herself out; she died at twenty-four.
At the risk perhaps of appearing to make my own scant adventure the pivot of that early Newport phase I find my reference to William Hunt and his truly fertilising action on our common life much conditioned by the fact that, since W. J., for the first six months or so after our return, daily and devotedly haunted his studio, I myself did no less, for a shorter stretch, under the irresistible contagion. The clearness of the whole passage for me, the clearest impression, above all, of the vivid and whimsical master, an inspirer, during a period that began a little later on, of numberless devotions and loyalties, is what this fond memory of my permitted contact and endeavour still has to give me. Pupils at that time didn't flock to his gates—though they were to do so in Boston, during years, later on; an earnest lady or two, Boston precursors, hovered and flitted, but I remember for the rest (and I speak of a short period) no thorough-going élèves save John La Farge and my brother. I remember, for that matter, sitting quite in solitude in one of the grey cool rooms of the studio, which thus comes back to me as having several, and thinking that I really might get to copy casts rather well, and might in particular see myself congratulated on my sympathetic rendering of the sublime uplifted face of Michael Angelo's "Captive" in the Louvre. I sat over this effort and a few others for long quiet hours, and seem to feel myself again aware, just to that tune,