A Small Boy and Others. Генри Джеймс
I should be addressed as "Buttons." It had been revealed to me thus in a flash that we were somehow queer, and though never exactly crushed by it I became aware that I at least felt so as I stood with my head in Mr. Brady's vise. Beautiful most decidedly the lost art of the daguerreotype; I remember the "exposure" as on this occasion interminably long, yet with the result of a facial anguish far less harshly reproduced than my suffered snapshots of a later age. Too few, I may here interject, were to remain my gathered impressions of the great humourist, but one of them, indeed almost the only other, bears again on the play of his humour over our perversities of dress. It belongs to a later moment, an occasion on which I see him familiarly seated with us, in Paris, during the spring of 1857, at some repast at which the younger of us too, by that time, habitually flocked, in our affluence of five. Our youngest was beside him, a small sister, then not quite in her eighth year, and arrayed apparently after the fashion of the period and place; and the tradition lingered long of his having suddenly laid his hand on her little flounced person and exclaimed with ludicrous horror: "Crinoline?—I was suspecting it! So young and so depraved!"
A fainter image, that of one of the New York moments, just eludes me, pursue it as I will; I recover but the setting and the fact of his brief presence in it, with nothing that was said or done beyond my being left with my father to watch our distinguished friend's secretary, who was also a young artist, establish his easel and proceed to paint. The setting, as I recall it, was an odd, oblong, blank "private parlour" at the Clarendon Hotel, then the latest thing in hotels, but whose ancient corner of Fourth Avenue and—was it Eighteenth Street?—long ago ceased to know it; the gentle, very gentle, portraitist was Mr. Eyre Crowe and the obliging sitter my father, who sat in response to Mr. Thackeray's desire that his protégé should find employment. The protector after a little departed, blessing the business, which took the form of a small full-length of the model seated, his arm extended and the hand on the knob of his cane. The work, it may at this time of day be mentioned, fell below its general possibilities; but I note the scene through which I must duly have gaped and wondered (for I had as yet seen no one, least of all a casual acquaintance in an hotel parlour, "really paint" before,) as a happy example again of my parent's positive cultivation of my society, it would seem, and thought for my social education. And then there are other connections; I recall it as a Sunday morning, I recover the place itself as a featureless void—bleak and bare, with its developments all to come, the hotel parlour of other New York days—but vivid still to me is my conscious assistance for the first time at operations that were to mean much for many of my coming years. Those of quiet Mr. Crowe held me spellbound—I was to circle so wistfully, as from that beginning, round the practice of his art, which in spite of these earnest approaches and intentions never on its own part in the least acknowledged our acquaintance; scarcely much more than it was ever to respond, for that matter, to the overtures of the mild aspirant himself, known to my observation long afterwards, in the London years, as the most touchingly resigned of the children of disappointment. Not only by association was he a Thackerayan figure, but much as if the master's hand had stamped him with the outline and the value, with life and sweetness and patience—shown, as after the long futility, seated in a quiet wait, very long too, for the end. That was sad, one couldn't but feel; yet it was in the oddest way impossible to take him for a failure. He might have been one of fortune's, strictly; but what was that when he was one of Thackeray's own successes?—in the minor line, but with such a grace and such a truth, those of some dim second cousin to Colonel Newcome.
VIII
I feel that at such a rate I remember too much, and yet this mild apparitionism is only part of it. To look back at all is to meet the apparitional and to find in its ghostly face the silent stare of an appeal. When I fix it, the hovering shade, whether of person or place, it fixes me back and seems the less lost—not to my consciousness, for that is nothing, but to its own—by my stopping however idly for it. The day of the daguerreotype, the August afternoon, what was it if not one of the days when we went to Union Square for luncheon and for more ice-cream and more peaches and even more, even most, enjoyment of ease accompanied by stimulation of wonder? It may have been indeed that a visit to Mrs. Cannon rather on that occasion engaged us—memory selects a little confusedly from such a wealth of experience. For the wonder was the experience, and that was everywhere, even if I didn't so much find it as take it with me, to be sure of not falling short. Mrs. Cannon lurked near Fourth Street—that I abundantly grasp, not more definitely placing her than in what seemed to me a labyrinth of grave bye-streets westwardly "back of" Broadway, yet at no great distance from it, where she must have occupied a house at a corner, since we reached her not by steps that went up to a front door but by others that went slightly down and formed clearly an independent side access, a feature that affected me as rich and strange. What the steps went down to was a spacious room, light and friendly, so that it couldn't have been compromised by an "area," which offered the brave mystification, amid other mystifications, of being at once a parlour and a shop, a shop in particular for the relief of gentlemen in want of pockethandkerchiefs, neckties, collars, umbrellas and straw-covered bottles of the essence known in old New York as "Cullone"—with a very long and big O. Mrs. Cannon was always seated at some delicate white or other needlework, as if she herself made the collars and the neckties and hemmed the pockethandkerchiefs, though the air of this conflicts with the sense of importation from remoter centres of fashion breathed by some of the more thrilling of the remarks I heard exchanged, at the same time that it quickened the oddity of the place. For the oddity was in many things—above all perhaps in there being no counter, no rows of shelves and no vulgar till for Mrs. Cannon's commerce; the parlour clearly dissimulated the shop—and positively to that extent that I might uncannily have wondered what the shop dissimulated. It represented, honestly, I made out in the course of visits that seem to me to have been delightfully repeated, the more informal of the approaches to our friend's brave background or hinterland, the realm of her main industry, the array of the furnished apartments for gentlemen—gentlemen largely for whom she imported the Eau de Cologne and the neckties and who struck me as principally consisting of the ever remarkable Uncles, desirous at times, on their restless returns from Albany or wherever, of an intimacy of comfort that the New York Hotel couldn't yield. Fascinating thus the implications of Mrs. Cannon's establishment, where the talk took the turn, in particular, of Mr. John and Mr. Edward and Mr. Howard, and where Miss Maggie or Miss Susie, who were on the spot in other rocking chairs and with other poised needles, made their points as well as the rest of us. The interest of the place was that the uncles were somehow always under discussion—as to where they at the moment might be, or as to when they were expected, or above all as to how (the "how" was the great matter and the fine emphasis) they had last appeared and might be conceived as carrying themselves; and that their consumption of neckties and Eau de Cologne was somehow inordinate: I might have been judging it in my innocence as their only consommation. I refer to those sources, I say, the charm of the scene, the finer part of which must yet have been that it didn't, as it regularly lapsed, dispose of all mystifications. If I didn't understand, however, the beauty was that Mrs. Cannon understood (that was what she did most of all, even more than hem pockethandkerchiefs and collars) and my father understood, and each understood that the other did, Miss Maggie and Miss Susie being no whit behind. It was only I who didn't understand—save in so far as I understood that, which was a kind of pale joy; and meanwhile there would be more to come from uncles so attachingly, so almost portentously, discussable. The vision at any rate was to stick by me as through its old-world friendly grace, its light on the elder amenity; the prettier manners, the tender personal note in the good lady's importations and anxieties, that of the hand-made fabric and the discriminating service. Fit to figure as a value anywhere—by which I meant in the right corner of any social picture, I afterwards said to myself—that refined and composed significance of Mrs. Cannon's scene.
Union Square was a different matter, though with the element there also that I made out that I didn't make out (my sense of drama was in this case, I think, rather more frightened off than led on;) a drawback for which, however, I consoled myself by baked apples and custards, an inveterate feature of our Sunday luncheon there (those of weekdays being various and casual) and by a study of a great store, as it seemed to me, of steel-plated volumes, devoted mainly to the heroines of Romance, with one in particular, presenting those of Shakespeare, in which the plates were so artfully coloured and varnished, and complexion and dress thereby so endeared