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- Herausgeber: e-artnow
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
- Veröffentlichungsjahr: 2018
This great Victorian Collection contains the complete 22 novels of Henry James, including the autobiographies of the author. Introduction: Henry James by William Dean Howells Novels: Watch and Ward Roderick Hudson The American The Europeans Confidence Washington Square The Portrait of a Lady The Bostonians The Princess Casamassima The Reverberator The Tragic Muse The Other House The Spoils of Poynton What Maisie Knew The Awkward Age The Sacred Fount The Wings of the Dove The Ambassadors The Golden Bowl The Outcry The Ivory Tower The Sense of the Past Autobiographies: A Small Boy and Others Notes of a Son and Brother The Middle Years
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The Complete Novels of Henry James
Table of Contents
Introduction
Henry Jamesby William Dean Howells
The events of Mr. James’s life — as we agree to understand events — may be told in a very few words. His race is Irish on his father’s side and Scotch on his mother’s, to which mingled strains the generalizer may attribute, if he likes, that union of vivid expression and dispassionate analysis which has characterized his work from the first. There are none of those early struggles with poverty, which render the lives of so many distinguished Americans monotonous reading, to record in his case: the cabin hearth-fire did not light him to the youthful pursuit of literature; he had from the start all those advantages which, when they go too far, become limitations.
He was born in New York city in the year 1843, and his first lessons in life and letters were the best which the metropolis — so small in the perspective diminishing to that date — could afford. In his twelfth year his family went abroad, and after some stay in England made a long sojourn in France and Switzerland. They returned to America in 1860, placing themselves at Newport, and for a year or two Mr. James was at the Harvard Law School, where, perhaps, he did not study a great deal of law. His father removed from Newport to Cambridge in 1866, and there Mr. James remained till he went abroad, three years later, for the residence in England and Italy which, with infrequent visits home, has continued ever since.
It was during these three years of his Cambridge life that I became acquainted with his work. He had already printed a tale —“The Story of a Year”— in the “Atlantic Monthly,” when I was asked to be Mr. Fields’s assistant in the management, and it was my fortune to read Mr. James’s second contribution in manuscript. “Would you take it?” asked my chief. “Yes, and all the stories you can get from the writer.” One is much securer of one’s judgment at twenty-nine than, say, at forty-five; but if this was a mistake of mine I am not yet old enough to regret it. The story was called “Poor Richard,” and it dealt with the conscience of a man very much in love with a woman who loved his rival. He told this rival a lie, which sent him away to his death on the field — in that day nearly every fictitious personage had something to do with the war — but Poor Richard’s lie did not win him his love. It still seems to me that the situation was strongly and finely felt. One’s pity went, as it should, with the liar; but the whole story had a pathos which lingers in my mind equally with a sense of the new literary qualities which gave me such delight in it. I admired, as we must in all that Mr. James has written, the finished workmanship in which there is no loss of vigor; the luminous and uncommon use of words, the originality of phrase, the whole clear and beautiful style, which I confess I weakly liked the better for the occasional gallicisms remaining from an inveterate habit of French. Those who know the writings of Mr. Henry James will recognize the inherited felicity of diction which is so striking in the writings of Mr. Henry James, Jr. The son’s diction is not so racy as the father’s; it lacks its daring, but it is as fortunate and graphic; and I cannot give it greater praise than this, though it has, when he will, a splendor and state which is wholly its own.
Mr. James is now so universally recognized that I shall seem to be making an unwarrantable claim when I express my belief that the popularity of his stories was once largely confined to Mr. Field’s assistant. They had characteristics which forbade any editor to refuse them; and there are no anecdotes of thrice-rejected manuscripts finally printed to tell of him; his work was at once successful with all the magazines. But with the readers of “The Atlantic,” of “Harper’s,” of “Lippincott’s,” of “The Galaxy,” of “The Century,” it was another affair. The flavor was so strange, that, with rare exceptions, they had to “learn to like” it. Probably few writers have in the same degree compelled the liking of their readers. He was reluctantly accepted, partly through a mistake as to his attitude — through the confusion of his point of view with his private opinion — in the reader’s mind. This confusion caused the tears of rage which bedewed our continent in behalf of the “average American girl” supposed to be satirized in Daisy Miller, and prevented the perception of the fact that, so far as the average American girl was studied at all in Daisy Miller, her indestructible innocence, her invulnerable new-worldliness, had never been so delicately appreciated. It was so plain that Mr. James disliked her vulgar conditions, that the very people to whom he revealed her essential sweetness and light were furious that he should have seemed not to see what existed through him. In other words, they would have liked him better if he had been a worse artist — if he had been a little more confidential.
But that artistic impartiality which puzzled so many in the treatment of Daisy Miller is one of the qualities most valuable in the eyes of those who care how things are done, and I am not sure that it is not Mr. James’s most characteristic quality. As “frost performs the effect of fire,” this impartiality comes at last to the same result as sympathy. We may be quite sure that Mr. James does not like the peculiar phase of our civilization typified in Henrietta Stackpole; but he treats her with such exquisite justice that he lets US like her. It is an extreme case, but I confidently allege it in proof.
His impartiality is part of the reserve with which he works in most respects, and which at first glance makes us say that he is wanting in humor. But I feel pretty certain that Mr. James has not been able to disinherit himself to this degree. We Americans are terribly in earnest about making ourselves, individually and collectively; but I fancy that our prevailing mood in the face of all problems is that of an abiding faith which can afford to be funny. He has himself indicated that we have, as a nation, as a people, our joke, and every one of us is in the joke more or less. We may, some of us, dislike it extremely, disapprove it wholly, and even abhor it, but we are in the joke all the same, and no one of us is safe from becoming the great American humorist at any given moment. The danger is not apparent in Mr. James’s case, and I confess that I read him with a relief in the comparative immunity that he affords from the national facetiousness. Many of his people are humorously imagined, or rather humorously SEEN, like Daisy Miller’s mother, but these do not give a dominant color; the business in hand is commonly serious, and the droll people are subordinated. They abound, nevertheless, and many of them are perfectly new finds, like Mr. Tristram in “The American,” the bill-paying father in the “Pension Beaurepas,” the anxiously Europeanizing mother in the same story, the amusing little Madame de Belgarde, Henrietta Stackpole, and even Newman himself. But though Mr. James portrays the humorous in character, he is decidedly not on humorous terms with his reader; he ignores rather than recognizes the fact that they are both in the joke.
If we take him at all we must take him on his own ground, for clearly he will not come to ours. We must make concessions to him, not in this respect only, but in several others, chief among which is the motive for reading fiction. By example, at least, he teaches that it is the pursuit and not the end which should give us pleasure; for he often prefers to leave us to our own conjectures in regard to the fate of the people in whom he has interested us. There is no question, of course, but he could tell the story of Isabel in “The Portrait of a Lady” to the end, yet he does not tell it. We must agree, then, to take what seems a fragment instead of a whole, and to find, when we can, a name for this new kind in fiction. Evidently it is the character, not the fate, of his people which occupies him; when he has fully developed their character he leaves them to what destiny the reader pleases.
The analytic tendency seems to have increased with him as his work has gone on. Some of the earlier tales were very dramatic: “A Passionate Pilgrim,” which I should rank above all his other short stories, and for certain rich poetical qualities, above everything else that he has done, is eminently dramatic. But I do not find much that I should call dramatic in “The Portrait of a Lady,” while I do find in it an amount of analysis which I should call superabundance if it were not all such good literature. The novelist’s main business is to possess his reader with a due conception of his characters and the situations in which they find themselves. If he does more or less than this he equally fails. I have sometimes thought that Mr. James’s danger was to do more, but when I have been ready to declare this excess an error of his method I have hesitated. Could anything be superfluous that had given me so much pleasure as I read? Certainly from only one point of view, and this a rather narrow, technical one. It seems to me that an enlightened criticism will recognize in Mr. James’s fiction a metaphysical genius working to aesthetic results, and will not be disposed to deny it any method it chooses to employ. No other novelist, except George Eliot, has dealt so largely in analysis of motive, has so fully explained and commented upon the springs of action in the persons of the drama, both before and after the facts. These novelists are more alike than any others in their processes, but with George Eliot an ethical purpose is dominant, and with Mr. James an artistic purpose. I do not know just how it should be stated of two such noble and generous types of character as Dorothea and Isabel Archer, but I think that we sympathize with the former in grand aims that chiefly concern others, and with the latter in beautiful dreams that primarily concern herself. Both are unselfish and devoted women, sublimely true to a mistaken ideal in their marriages; but, though they come to this common martyrdom, the original difference in them remains. Isabel has her great weaknesses, as Dorothea had, but these seem to me, on the whole, the most nobly imagined and the most nobly intentioned women in modern fiction; and I think Isabel is the more subtly divined of the two. If we speak of mere characterization, we must not fail to acknowledge the perfection of Gilbert Osmond. It was a profound stroke to make him an American by birth. No European could realize so fully in his own life the ideal of a European dilettante in all the meaning of that cheapened word; as no European could so deeply and tenderly feel the sweetness and loveliness of the English past as the sick American, Searle, in “The Passionate Pilgrim.”
What is called the international novel is popularly dated from the publication of “Daisy Miller,” though “Roderick Hudson” and “The American” had gone before; but it really began in the beautiful story which I have just named. Mr. James, who invented this species in fiction, first contrasted in the “Passionate Pilgrim” the New World and Old World moods, ideals, and prejudices, and he did it there with a richness of poetic effect which he has since never equalled. I own that I regret the loss of the poetry, but you cannot ask a man to keep on being a poet for you; it is hardly for him to choose; yet I compare rather discontentedly in my own mind such impassioned creations as Searle and the painter in “The Madonna of the Future” with “Daisy Miller,” of whose slight, thin personality I also feel the indefinable charm, and of the tragedy of whose innocence I recognize the delicate pathos. Looking back to those early stories, where Mr. James stood at the dividing ways of the novel and the romance, I am sometimes sorry that he declared even superficially for the former. His best efforts seem to me those of romance; his best types have an ideal development, like Isabel and Claire Belgarde and Bessy Alden and poor Daisy and even Newman. But, doubtless, he has chosen wisely; perhaps the romance is an outworn form, and would not lend itself to the reproduction of even the ideality of modern life. I myself waver somewhat in my preference — if it is a preference — when I think of such people as Lord Warburton and the Touchetts, whom I take to be all decidedly of this world. The first of these especially interested me as a probable type of the English nobleman, who amiably accepts the existing situation with all its possibilities of political and social change, and insists not at all upon the surviving feudalities, but means to be a manly and simple gentleman in any event. An American is not able to pronounce as to the verity of the type; I only know that it seems probable and that it is charming. It makes one wish that it were in Mr. James’s way to paint in some story the present phase of change in England. A titled personage is still mainly an inconceivable being to us; he is like a goblin or a fairy in a storybook. How does he comport himself in the face of all the changes and modifications that have taken place and that still impend? We can hardly imagine a lord taking his nobility seriously; it is some hint of the conditional frame of Lord Warburton’s mind that makes him imaginable and delightful to us.
It is not my purpose here to review any of Mr. James’s books; I like better to speak of his people than of the conduct of his novels, and I wish to recognize the fineness with which he has touched-in the pretty primness of Osmond’s daughter and the mild devotedness of Mr. Rosier. A masterly hand is as often manifest in the treatment of such subordinate figures as in that of the principal persons, and Mr. James does them unerringly. This is felt in the more important character of Valentin Belgarde, a fascinating character in spite of its defects — perhaps on account of them — and a sort of French Lord Warburton, but wittier, and not so good. “These are my ideas,” says his sister-in-law, at the end of a number of inanities. “Ah, you call them ideas!” he returns, which is delicious and makes you love him. He, too, has his moments of misgiving, apparently in regard to his nobility, and his acceptance of Newman on the basis of something like “manhood suffrage” is very charming. It is of course difficult for a remote plebeian to verify the pictures of legitimist society in “The American,” but there is the probable suggestion in them of conditions and principles, and want of principles, of which we get glimpses in our travels abroad; at any rate, they reveal another and not impossible world, and it is fine to have Newman discover that the opinions and criticisms of our world are so absolutely valueless in that sphere that his knowledge of the infamous crime of the mother and brother of his betrothed will have no effect whatever upon them in their own circle if he explodes it there. This seems like aristocracy indeed! and one admires, almost respects, its survival in our day. But I always regretted that Newman’s discovery seemed the precursor of his magnanimous resolution not to avenge himself; it weakened the effect of this, with which it had really nothing to do. Upon the whole, however, Newman is an adequate and satisfying representative of Americanism, with his generous matrimonial ambition, his vast good-nature, and his thorough good sense and right feeling. We must be very hard to please if we are not pleased with him. He is not the “cultivated American” who redeems us from time to time in the eyes of Europe; but he is unquestionably more national, and it is observable that his unaffected fellow-countrymen and women fare very well at Mr. James’s hand always; it is the Europeanizing sort like the critical little Bostonian in the “Bundle of Letters,” the ladies shocked at Daisy Miller, the mother in the “Pension Beaurepas” who goes about trying to be of the “native” world everywhere, Madame Merle and Gilbert Osmond, Miss Light and her mother, who have reason to complain, if any one has. Doubtless Mr. James does not mean to satirize such Americans, but it is interesting to note how they strike such a keen observer. We are certainly not allowed to like them, and the other sort find somehow a place in our affections along with his good Europeans. It is a little odd, by the way, that in all the printed talk about Mr. James — and there has been no end of it — his power of engaging your preference for certain of his people has been so little commented on. Perhaps it is because he makes no obvious appeal for them; but one likes such men as Lord Warburton, Newman, Valentin, the artistic brother in “The Europeans,” and Ralph Touchett, and such women as Isabel, Claire Belgarde, Mrs. Tristram, and certain others, with a thoroughness that is one of the best testimonies to their vitality. This comes about through their own qualities, and is not affected by insinuation or by downright petting, such as we find in Dickens nearly always and in Thackeray too often.
The art of fiction has, in fact, become a finer art in our day than it was with Dickens and Thackeray. We could not suffer the confidential attitude of the latter now, nor the mannerism of the former, any more than we could endure the prolixity of Richardson or the coarseness of Fielding. These great men are of the past — they and their methods and interests; even Trollope and Reade are not of the present. The new school derives from Hawthorne and George Eliot rather than any others; but it studies human nature much more in its wonted aspects, and finds its ethical and dramatic examples in the operation of lighter but not really less vital motives. The moving accident is certainly not its trade; and it prefers to avoid all manner of dire catastrophes. it is largely influenced by French fiction in form; but it is the realism of Daudet rather than the realism of Zola that prevails with it, and it has a soul of its own which is above the business of recording the rather brutish pursuit of a woman by a man, which seems to be the chief end of the French novelist. This school, which is so largely of the future as well as the present, finds its chief exemplar in Mr. James; it is he who is shaping and directing American fiction, at least. It is the ambition of the younger contributors to write like him; he has his following more distinctly recognizable than that of any other English-writing novelist. Whether he will so far control this following as to decide the nature of the novel with us remains to be seen. Will the reader be content to accept a novel which is an analytic study rather than a story, which is apt to leave him arbiter of the destiny of the author’s creations? Will he find his account in the unflagging interest of their development? Mr. James’s growing popularity seems to suggest that this may be the case; but the work of Mr. James’s imitators will have much to do with the final result.
In the meantime it is not surprising that he has his imitators. Whatever exceptions we take to his methods or his results, we cannot deny him a very great literary genius. To me there is a perpetual delight in his way of saying things, and I cannot wonder that younger men try to catch the trick of it. The disappointing thing for them is that it is not a trick, but an inherent virtue. His style is, upon the whole, better than that of any other novelist I know; it is always easy, without being trivial, and it is often stately, without being stiff; it gives a charm to everything he writes; and he has written so much and in such various directions, that we should be judging him very incompletely if we considered him only as a novelist. His book of European sketches must rank him with the most enlightened and agreeable travelers; and it might be fitly supplemented from his uncollected papers with a volume of American sketches. In his essays on modern French writers he indicates his critical range and grasp; but he scarcely does more, as his criticisms in “The Atlantic” and “The Nation” and elsewhere could abundantly testify.
There are indeed those who insist that criticism is his true vocation, and are impatient of his devotion to fiction; but I suspect that these admirers are mistaken. A novelists he is not, after the old fashion, or after any fashion but his own; yet since he has finally made his public in his own way of story-telling — or call it character-painting if you prefer — it must be conceded that he has chosen best for himself and his readers in choosing the form of fiction for what he has to say. It is, after all, what a writer has to say rather than what he has to tell that we care for nowadays. In one manner or other the stories were all told long ago; and now we want merely to know what the novelist thinks about persons and situations. Mr. James gratifies this philosophic desire. If he sometimes forbears to tell us what he thinks of the last state of his people, it is perhaps because that does not interest him, and a large-minded criticism might well insist that it was childish to demand that it must interest him.
I am not sure that any criticism is sufficiently large-minded for this. I own that I like a finished story; but then also I like those which Mr. James seems not to finish. This is probably the position of most of his readers, who cannot very logically account for either preference. We can only make sure that we have here an annalist, or analyst, as we choose, who fascinates us from his first page to his last, whose narrative or whose comment may enter into any minuteness of detail without fatiguing us, and can only truly grieve us when it ceases.
Novels
Watch and Ward
Table of Contents
Chapter 1
Roger Lawrence had come to town for the express purpose of doing a certain act, but as the hour for action approached he felt his ardor rapidly ebbing. Of the ardor that comes from hope, indeed, he had felt little from the first; so little that as he whirled along in the train he wondered to find himself engaged in this fool's errand. But in default of hope he was sustained, I may almost say, by despair. He should fail, he was sure, but he must fail again before he could rest. Meanwhile he was restless enough. In the evening, at his hotel, having roamed aimlessly about the streets for a couple of hours in the dark December cold, he went up to his room and dressed, with a painful sense of having but partly succeeded in giving himself the figure of an impassioned suitor. He was twenty-nine years old, sound and strong, with a tender heart, and a genius, almost, for common-sense; his face told clearly of youth and kindness and sanity, but it had little other beauty. His complexion was so fresh as to be almost absurd in a man of his age,—an effect rather enhanced by a too early baldness. Being extremely short-sighted, he went with his head thrust forward; but as this infirmity is considered by persons who have studied the picturesque to impart an air of distinction he may have the benefit of the possibility. His figure was compact and sturdy, and, on the whole, his best point; although, owing to an incurable personal shyness, he had a good deal of awkwardness of movement. He was fastidiously neat in his person, and extremely precise and methodical in his habits, which were of the sort supposed to mark a man for bachelorhood. The desire to get the better of his diffidence had given him a certain formalism of manner which many persons found extremely amusing. He was remarkable for the spotlessness of his linen, the high polish of his boots, and the smoothness of his hat. He carried in all weathers a peculiarly neat umbrella. He never smoked; he drank in moderation. His voice, instead of being the robust barytone which his capacious chest led you to expect, was a mild, deferential tenor. He was fond of going early to bed, and was suspected of what is called "fussing" with his health. No one had ever accused him of meanness, yet he passed universally for a cunning economist. In trifling matters, such as the choice of a shoemaker or a dentist, his word carried weight; but no one dreamed of asking his opinion on politics or literature. Here and there, nevertheless, an observer less superficial than the majority would have whispered you that Roger was an undervalued man, and that in the long run he would come out even with the best. "Have you ever studied his face?" such an observer would say. Beneath its simple serenity, over which his ruddy blushes seemed to pass like clouds in a summer sky, there slumbered a fund of exquisite human expression. The eye was excellent; small, perhaps, and somewhat dull, but with a certain appealing depth, like the tender dumbness in the gaze of a dog. In repose Lawrence may have looked stupid; but as he talked his face slowly brightened by gradual fine degrees, until at the end of an hour it inspired you with a confidence so perfect as to be in some degree a tribute to its owner's intellect, as it certainly was to his integrity. On this occasion Roger dressed himself with unusual care and with a certain sober elegance. He debated for three minutes over two cravats, and then, blushing in his mirror at his puerile vanity, he reassumed the plain black tie in which he had travelled. When he had finished dressing it was still too early to go forth on his errand. He went into the reading-room of the hotel, but here soon appeared two smokers. Wishing not to be infected by their fumes, he crossed over to the great empty drawing-room, sat down, and beguiled his impatience with trying on a pair of lavender gloves.
While he was so engaged there came into the room a person who attracted his attention by the singularity of his conduct. This was a man of less than middle age, good-looking, pale, with a pretentious, pointed mustache and various shabby remnants of finery. His face was haggard, his whole aspect was that of grim and hopeless misery. He walked straight to the table in the centre of the room, and poured out and drank without stopping three full glasses of ice-water, as if he were striving to quench some fever in his vitals. He then went to the window, leaned his forehead against the cold pane, and drummed a nervous tattoo with his long stiff finger-nails. Finally he strode over to the fireplace, flung himself into a chair, leaned forward with his head in his hands, and groaned audibly. Lawrence, as he smoothed down his lavender gloves, watched him and reflected. "What an image of fallen prosperity, of degradation and despair! I have been fancying myself in trouble; I have been dejected, doubtful, anxious. I am hopeless. But what is my sentimental sorrow to this?" The unhappy gentleman rose from his chair, turned his back to the chimney-piece, and stood with folded arms gazing at Lawrence, who was seated opposite to him. The young man sustained his glance, but with sensible discomfort. His face was as white as ashes, his eyes were as lurid as coals. Roger had never seen anything so tragic as the two long harsh lines which descended from his nose, beside his mouth, in seeming mockery of his foppish, relaxed mustache. Lawrence felt that his companion was going to address him; he began to draw off his gloves. The stranger suddenly came towards him, stopped a moment, eyed him again with insolent intensity, and then seated himself on the sofa beside him. His first movement was to seize the young man's arm. "He is simply crazy!" thought Lawrence. Roger was now able to appreciate the pathetic disrepair of his appearance. His open waistcoat displayed a soiled and crumpled shirt-bosom, from whose empty buttonholes the studs had recently been wrenched. In his normal freshness he must have looked like a gambler with a run of luck. He spoke in a rapid, excited tone, with a hard, petulant voice.
"You 'll think me crazy, I suppose. Well, I shall be soon. Will you lend me a hundred dollars?"
"Who are you? What is your trouble?" Roger asked.
"My name would tell you nothing. I 'm a stranger here. My trouble,—it 's a long story! But it 's grievous, I assure you. It 's pressing upon me with a fierceness that grows while I sit here talking to you. A hundred dollars would stave it off,—a few days at least. Don't refuse me!" These last words were uttered half as an entreaty, half as a threat. "Don't say you have n't got them,—a man that wears such pretty gloves! Come; you look like a good fellow. Look at me! I 'm a good fellow, too. I don't need to swear to my being in distress."
Lawrence was touched, disgusted, and irritated. The man's distress was real enough, but there was something horribly disreputable in his manner. Roger declined to entertain his request without learning more about him. From the stranger's persistent reluctance to do more than simply declare that he was from St. Louis, and repeat that he was in a tight place, in a d—d tight place, Lawrence was led to believe that he had been dabbling in crime. The more he insisted upon some definite statement of his circumstances, the more fierce and peremptory became the other's petition. Lawrence was before all things deliberate and perspicacious; the last man in the world to be hustled and bullied. It was quite out of his nature to do a thing without distinctly knowing why. He of course had no imagination, which, as we know, should always stand at the right hand of charity; but he had good store of that wholesome discretion whose place is at the left. Discretion told him that his companion was a dissolute scoundrel, who had sinned through grievous temptation, perhaps, but who had certainly sinned. His misery was palpable, but Roger felt that he could not patch up his misery without in some degree condoning his vices. It was not in his power, at any rate, to present him, out of hand, a hundred dollars. He compromised. "I can't think of giving you the sum you ask," he said. "I have no time, moreover, to investigate your case at present. If you will meet me here to-morrow morning, I will listen to anything you shall have made up your mind to say. Meanwhile, here are ten dollars."
The man looked at the proffered note and made no movement to accept it. Then raising his eyes to Roger's face,—eyes streaming with tears of helpless rage and baffled want,—"O, the devil!" he cried. "What can I do with ten dollars? D—n it, I don't know how to beg. Listen to me! If you don't give me what I ask, I shall cut my throat! Think of that. On your head be the penalty!"
Lawrence pocketed his note and rose to his feet. "No, decidedly," he said, "you don't know how to beg!" A moment after, he had left the hotel and was walking rapidly toward a well-remembered dwelling. He was shocked and discomposed by this brutal collision with want and vice; but as he walked, the cool night-air suggested sweeter things. The image of his heated petitioner was speedily replaced by the calmer figure of Isabel Morton.
He had come to know Isabel Morton three years before, through a visit she had then made to one of his neighbors in the country. In spite of his unventurous tastes and the even tenor of his habits, Lawrence was by no means lacking, as regards life, in what the French call les grandes curiosités; but from an early age his curiosity had chiefly taken the form of a timid but strenuous desire to fathom the depths of matrimony. He had dreamed of this gentle bondage as other men dream of the "free unhoused condition" of celibacy. He had been born a marrying man, with a conscious desire for progeny. The world in this respect had not done him justice. It had supposed him to be wrapped up in his petty comforts: whereas, in fact, he was serving a devout apprenticeship to the profession of husband and father. Feeling at twenty-six that he had something to offer a woman, he allowed himself to become interested in Miss Morton. It was rather odd that a man of tremors and blushes should in this line have been signally bold; for Miss Morton had the reputation of being extremely fastidious, and was supposed to wear some dozen broken hearts on her girdle, as an Indian wears the scalps of his enemies.
It is said that, as a rule, men fall in love, with their opposites; certainly Lawrence's mistress was not fashioned in his own image. He was the most unobtrusively natural of men; she, on the other hand, was pre-eminently artificial. She was pretty, but not really so pretty as she seemed; clever, but not intelligent; amiable, but not sympathetic. She possessed in perfection the manner of society, which she lavished with indiscriminate grace on the just and the unjust, and which very effectively rounded and completed the somewhat meagre outline of her personal character. In reality, Miss Morton was keenly ambitious. A woman of simpler needs, she might very well have accepted our hero. He offered himself with urgent and obstinate warmth. She esteemed him more than any man she had known,—so she told him; but she added that the man she married must satisfy her heart. Her heart, she did not add, was bent upon a carriage and diamonds.
From the point of view of ambition, a match with Roger Lawrence was not worth discussing. He was therefore dismissed with gracious but inexorable firmness. From this moment the young man's sentiment hardened into a passion. Six months later he heard that Miss Morton was preparing to go to Europe. He sought her out before her departure, urged his suit afresh, and lost it a second time. But his passion had cost too much to be flung away unused. During her residence abroad he wrote her three letters, only one of which she briefly answered, in terms which amounted to little more than this: "Dear Mr. Lawrence, do leave me alone!" At the end of two years she returned, and was now visiting her married brother. Lawrence had just heard of her arrival, and had come to town to make, as we have said, a supreme appeal.
Her brother and his wife were out for the evening; Roger found her in the drawing-room, under the lamp, teaching a stitch in crochet to her niece, a little girl of ten, who stood leaning at her side. She seemed to him prettier than before; although, in fact, she looked older and stouter. Her prettiness, for the most part, however, was a matter of coquetry; and naturally, as youth departed, coquetry filled the vacancy. She was fair and plump, and she had a very pretty trick of suddenly turning her head and showing a charming white throat and ear. Above her well-filled corsage these objects produced a most agreeable effect. She always dressed in light colors, but with unerring taste. Charming as she may have been, there was, nevertheless, about her so marked a want of the natural, that, to admire her particularly, it was necessary to be, like Roger, in love with her. She received him with such flattering friendliness and so little apparent suspicion of his purpose, that he almost took heart and hope. If she did not fear a declaration, perhaps she desired one. For the first half-hour Roger's attack hung fire. Isabel talked to better purpose than before she went abroad, and for the moment he sat tongue-tied for very modesty. Miss Morton's little niece was a very pretty child; her hair was combed out into a golden cloud, which covered her sloping shoulders. She kept her place beside her aunt, clasping one of the latter's hands, and staring at Lawrence with that sweet curiosity of little girls. There glimmered mistily in the young man's brain a vision of a home-scene in the future,—a lamp-lit parlor on a winter night, a placid wife and mother wreathed in household smiles, a golden-haired child, and, in the midst, his sentient self, drunk with possession and gratitude. As the clock struck nine the little girl was sent to bed, having been kissed by her aunt and rekissed—or unkissed shall I say?—by her aunt's lover. When she had disappeared Roger proceeded to business. He had proposed so often to Miss Morton, that, actually, practice had begun to tell. It took but a few moments to make his meaning plain. Miss Morton addressed herself to her niece's tapestry, and, as her lover went on with manly eloquence, glanced up at him from her work with feminine keenness. He spoke of his persistent love, of his long waiting and his passionate hope. Her acceptance of his hand was the only thing that could make him happy. He should never love another woman; if she now refused him, it was the end of all things; he should continue to exist, to work and act, to eat and sleep, but he should have ceased to live.
"In Heaven's name," he said, "don't answer me as you have answered me before."
She folded her hands, and with a serious smile, "I shall not, altogether," she said. "When I have refused you before, I have simply told you that I could not love you. I cannot love you, Mr. Lawrence! I must repeat it again to-night, but with a better reason than before. I love another man; I am engaged."
Roger rose to his feet like a man who has received a heavy blow and springs forward in self-defence. But he was indefensible, his assailant inattackable. He sat down again and hung his head. Miss Morton came to him and took his hand and demanded of him, as a right, that he should be resigned. "Beyond a certain point," she said, "you have no right to thrust your regrets upon me. The injury I do you in refusing you is less than that I should do you in accepting you without love."
He looked at her with his eyes full of tears. "Well! I shall never marry," he said. "There is something you cannot refuse me. Though I shall never possess you, I may at least espouse your memory and live in intimate union with you image. I shall live with my eyes fixed upon it." She smiled at this fine talk; she had heard so much in her day! He had fancied himself prepared for the worst, but as he walked back to his hotel, it seemed intolerably bitter. Its bitterness, however, quickened his temper, and prompted a violent reaction. He would now, he declared, cast his lot with pure reason. He had tried love and faith, but they would none of him. He had made a woman a goddess, and she had made him a fool. He would henceforth care neither for woman nor man, but simply for comfort, and, if need should be, for pleasure. Beneath this gathered gust of cynicism the future lay as hard and narrow as the silent street before him. He was absurdly unconscious that good-humor was lurking round the very next corner.
It was not till near morning that he was able to sleep. His sleep, however, had lasted less than an hour when it was interrupted by a loud noise from the adjoining room. He started up in bed, lending his ear to the stillness. The sound was immediately repeated; it was that of a pistol-shot. This second report was followed by a loud, shrill cry. Roger jumped out of bed, thrust himself into his trousers, quitted his room, and ran to the neighboring door. It opened without difficulty, and revealed an astonishing scene. In the middle of the floor lay a man, in his trousers and shirt, his head bathed in blood, his hand grasping the pistol from which he had just sent a bullet through his brain. Beside him stood a little girl in her nightdress, her long hair on her shoulders, shrieking and wringing her hands. Stooping over the prostrate body, Roger recognized, in spite of his bedabbled visage, the person who had addressed him in the parlor of the hotel. He had kept the spirit, if not the letter, of his menace. "O father, father, father!" sobbed the little girl. Roger, overcome with horror and pity, stooped towards her and opened his arms. She, conscious of nothing but the presence of human help, rushed into his embrace and buried her head in his grasp.
The rest of the house was immediately aroused, and the room invaded by a body of lodgers and servants. Soon followed a couple of policemen, and finally the proprietor in person. The fact of suicide was so apparent that Roger's presence was easily explained. From the child nothing but sobs could be obtained. After a vast amount of talking and pushing and staring, after a physician had affirmed that the stranger was dead, and the ladies had passed the child from hand to hand through a bewildering circle of caresses and questions, the multitude dispersed, and the little girl was borne away in triumph by the proprietor's wife, further investigation being appointed for the morrow. For Roger, seemingly, this was to have been a night of sensations. There came to him, as it wore away, a cruel sense of his own accidental part in his neighbor's tragedy. His refusal to help the poor man had brought on the catastrophe. The idea haunted him awhile; but at last, with an effort, he dismissed it. The next man, he assured himself, would have done no more than he; might possibly have done less. He felt, however, a certain indefeasible fellowship in the sorrow of the little girl. He lost no time, the next morning, in calling on the wife of the proprietor. She was a kindly woman enough, but so thoroughly the mistress of a public house that she seemed to deal out her very pity over a bar. She exhibited toward her protégée a hard, business-like charity which foreshadowed vividly to Roger's mind the poor child's probable portion in life, and repeated to him the little creature's story, as she had been able to learn it. The father had come in early in the evening, in great trouble and excitement, and had made her go to bed. He had kissed her and cried over her, and, of course, made her cry. Late at night she was aroused by feeling him again at her bedside, kissing her, fondling her, raving over her. He bade her good night and passed into the adjoining room, where she heard him fiercely knocking about. She was very much frightened; she fancied he was out of his mind. She knew that their troubles had lately been thickening fast; now the worst had come. Suddenly he called her. She asked what he wanted, and he bade her get out of bed and come to him. She trembled, but she obeyed. On reaching the threshold of his room she saw the gas turned low, and her father standing in his shirt against the door at the other end. He ordered her to stop where she was. Suddenly she heard a loud report and felt beside her cheek the wind of a bullet. He had aimed at her with a pistol. She retreated in terror to her own bedside and buried her head in the clothes. This, however, did not prevent her from bearing a second report, followed by a deep groan. Venturing back again, she found her father on the floor, bleeding from the face. "He meant to kill her, of course," said the landlady, "that she might n't be left alone in the world. It's a wonderful mixture of cruelty and kindness!"
It seemed to Roger an altogether pitiful tale. He related his own interview with the deceased, and the latter's menace of suicide. "It gives me," he said, "a sickening sense of connection with this bloodshed. But how could I help it? All the same, I wish he had taken my ten dollars."
Of the antecedent history of the dead man they could learn little. The child had recognized Lawrence, and had broken out again into a quivering convulsion of tears. Little by little, from among her sobs, they gathered a few facts. Her father had brought her during the preceding month from St. Louis; they had stopped some time in New York. Her father had been for months in great want of money. They had once had money enough; she could not say what had become of it. Her mother had died many months before; she had no other kindred nor friends. Her father may have had friends, but she never saw them. She could indicate no source of possible assistance or sympathy. Roger put the poor little fragments of her story together. The most salient fact among them all was her absolute destitution.
"Well, sir," said the proprietress, "living customers are better than dead ones; I must go about my business. Perhaps you can learn something more." The little girl sat on the sofa with a pale face and swollen eyes, and, with a stupefied, helpless stare, watched her friend depart. She was by no means a pretty child. Her clear auburn hair was thrust carelessly into a net with broken meshes, and her limbs encased in a suit of rusty, scanty mourning. In her appearance, in spite of her childish innocence and grief, there was something undeniably vulgar. "She looks as if she belonged to a circus troupe," Roger said to himself. Her face, however, though without beauty, was not without interest. Her forehead was symmetrical and her mouth expressive. Her eyes were light in color, yet by no means colorless. A sort of arrested, concentrated brightness, a soft introversion of their rays, gave them a remarkable depth. "Poor little betrayed, unfriended mortal!" thought the young man.
"What is your name?" he asked.
"Nora Lambert," said the child.
"How old are you?"
"Twelve."
"And you live in St. Louis?"
"We used to live there. I was born there."
"Why had your father come to the East?"
"To make money."
"Where was he going to live?"
"Anywhere he could find business."
"What was his business?"
"He had none. He wanted to find some."
"You have no friends nor relations?"
The child gazed a few moments in silence. "He told me when he woke me up and kissed me, last night, that I had not a friend in the world nor a person that cared for me."
Before the exquisite sadness of this statement Lawrence was silent. He leaned back in his chair and looked at the child,—the little forlorn, precocious, potential woman. His own sense of recent bereavement rose powerful in his heart and seemed to respond to hers. "Nora," he said, "come here."
She stared a moment, without moving, and then left the sofa and came slowly towards him. She was tall for her years. She laid her hand on the arm of his chair and he took it. "You have seen me before," he said. She nodded. "Do you remember my taking you last night in my arms?" It was his fancy that, for an answer, she faintly blushed. He laid his hand on her head and smoothed away her thick disordered hair. She submitted to his consoling touch with a plaintive docility. He put his arm round her waist. An irresistible sense of her childish sweetness, of her tender feminine promise, stole softly into his pulses. A dozen caressing questions rose to his lips. Had she been to school? Could she read and write? Was she musical? She murmured her answers with gathering confidence. She had never been to school; but her mother had taught her to read and write a little, and to play a little. She said, almost with a smile, that she was very backward. Lawrence felt the tears rising to his eyes; he felt in his heart the tumult of a new emotion. Was it the inexpugnable instinct of paternity? Was it the restless ghost of his buried hope? He thought of his angry vow the night before to live only for himself and turn the key on his heart. "From the lips of babes and sucklings...."—he softly mused. Before twenty-four hours had elapsed a child's fingers were fumbling with the key. He felt deliciously contradicted; he was after all but a lame egotist. Was he to believe, then, that he could not live without love, and that he must take it where he found it? His promise to Miss Morton seemed still to vibrate in his heart. But there was love and love! He could be a protector, a father, a brother. What was the child before him but a tragic embodiment of the misery of isolation, a warning from his own blank future? "God forbid!" he cried. And as he did so, he drew her towards him and kissed her.
At this moment the landlord appeared with a scrap of paper, which he had found in the room of the deceased; it being the only object which gave a clew to his circumstances. He had evidently burned a mass of papers just before his death, as the grate was filled with fresh ashes. Roger read the note, which was scrawled in a hurried, vehement hand, and ran as follows:—
"This is to say that I must—I must—I must! Starving, without a friend in the world, and a reputation worse than worthless,—what can I do? Life 's impossible. Try it yourself. As regards my daughter,—anything, everything is cruel; but this is the shortest way."
"She has had to take the longest, after all," said the proprietor, sotto voce, with a kindly wink at Roger. The landlady soon reappeared with one of the ladies who had been present overnight,—a little pushing, patronizing woman, who seemed strangely familiar with the various devices of applied charity. "I have come to arrange," she said, "about our subscription for the little one. I shall not be able to contribute myself, but I will go round among the other ladies with a paper. I have just been seeing the reporter of the 'Universe'; he is to insert a kind of 'appeal,' you know, in his account of the affair. Perhaps this gentleman will draw up our paper? And I think it will be a beautiful idea to take the child with me."
Lawrence was sickened. The world's tenderness had fairly begun. Nora gazed at her energetic benefactress, and then, with her eyes, appealed mutely to Roger. Her glance, somehow, moved him to the soul. Poor little disfathered daughter,—poor little uprooted germ of womanhood! Her innocent eyes seemed to more than beseech,—to admonish almost, and command. Should he speak and rescue her? Should he subscribe the whole sum, in the name of human charity? He thought of the risk. She was an unknown quantity. Her nature, her heritage, her good and bad possibilities, were an unsolved problem. Her father had been an adventurer; what had her mother been? Conjecture was useless; she was a vague spot of light on a dark background. He was unable even to decide whether, after all, she was plain.
"If you want to take her round with you," said the landlady to her companion, "I had better just sponge off her face."
"No indeed!" cried the other, "she is much better as she is. If I could only have her little nightgown with the blood on it! Are you sure the bullet did n't strike your dress, deary? I am sure we can easily get fifty names at five dollars apiece. Two hundred and fifty dollars. Perhaps this gentleman will make it three hundred. Come, sir, now!"
Thus adjured, Roger turned to the child. "Nora," he said, "you know you are quite alone. You have no home." Her lips trembled, but her eyes were fixed and fascinated. "Do you think you could love me?" She flushed to the tender roots of her tumbled hair. "Will you come and try?" Her range of expression of course was limited; she could only answer by another burst of tears.
Chapter 2
I have adopted a little girl, you know," Roger said, after this, to a number of his friends; but he felt, rather, as if she had adopted him. He found it somewhat difficult to make his terms with the sense of actual paternity. It was indeed an immense satisfaction to feel, as time went on, that there was small danger of his repenting of his bargain. It seemed to him more and more that he had obeyed a divine voice; though indeed he was equally conscious that there was something comical in a sleek young bachelor turning nurse and governess. But for all this he found himself able to look the world squarely in the face. At first it had been with an effort, a blush, and a deprecating smile that he spoke of his pious venture; but very soon he began to take a robust satisfaction in alluding to it freely. There was but one man of whose jocular verdict he thought with some annoyance,—his cousin Hubert Lawrence, namely, who was so terribly clever and trenchant, and who had been through life a commentator formidable to his modesty, though, in the end, always absolved by his good-nature. But he made up his mind that, though Hubert might laugh, he himself was serious; and to prove it equally to himself and his friends, he determined on a great move. He withdrew altogether from his profession, and prepared to occupy his house in the country. The latter was immediately transformed into a home for Nora,—a home admirably fitted to become the starting-point of a happy life. Roger's dwelling stood in the midst of certain paternal acres,—a little less than a "place," a little more than a farm; deep in the country, and yet at two hours' journey from town. Of recent years a dusty disorder had fallen upon the house, telling of its master's long absences and his rare and restless visits. It was but half lived in. But beneath this pulverous deposit the rigid household gods of a former generation stand erect on their pedestals. As Nora grew older, she came to love her new home with an almost passionate fondness, and to cherish its transmitted memories as a kind of compensation for her own obliterated past. There had lived with Lawrence for many years an elderly woman, of exemplary virtue, Lucinda Brown by name, who had been a personal attendant of his mother, and since her death had remained in his service as the lonely warden of his villa. Roger had an old-time regard for her, and it seemed to him that her housewifely gossip might communicate to little Nora a ray of his mother's peaceful domestic genius. Lucinda, who had been divided between hope and fear as to Roger's possibly marrying,—the fear of a diminished empire having exceeded, on the whole, the hope of company below stairs,—accepted Nora's arrival as a very comfortable compromise. The child was too young to menace her authority, and yet of sufficient importance to warrant a gradual extension of the household economy. Lucinda had a vision of new carpets and curtains, of a regenerated kitchen, of a series of new caps, of her niece coming to sew. Nora was the narrow end of the wedge; it would broaden with her growth. Lucinda therefore was gracious.
