I have still other memories of Greenwich, where there is a charming old park, on a summit of one of whose grassy undulations the famous observatory is perched. To do the thing completely you must take passage upon one of the little grimy sixpenny steamers that ply upon the Thames, perform the journey by water, and then, disembarking, take a stroll in the park to get up an appetite for dinner. I find an irresistible charm in any sort of river-navigation, but I scarce know how to speak of the little voyage from Westminster Bridge to Greenwich. It is in truth the most prosaic possible form of being afloat, and to be recommended rather to the enquiring than to the fastidious mind. It initiates you into the duskiness, the blackness, the crowdedness, the intensely commercial character of London. Few European cities have a finer river than the Thames, but none certainly has expended more ingenuity in producing a sordid river-front. For miles and miles you see nothing but the sooty backs of warehouses, or perhaps they are the sooty faces: in buildings so utterly expressionless it is impossible to distinguish. They stand massed together on the banks of the wide turbid stream, which is fortunately of too opaque a quality to reflect the dismal image. A damp-looking, dirty blackness is the universal tone. The river is almost black, and is covered with black barges; above the black housetops, from among the far-stretching docks and basins, rises a dusky wilderness of masts. The little puffing steamer is dingy and gritty—it belches a sable cloud that keeps you company as you go. In this carboniferous shower your companions, who belong chiefly indeed to the classes bereft of lustre, assume an harmonious greyness; and the whole picture, glazed over with the glutinous London mist, becomes a masterly composition. But it is very impressive in spite of its want of lightness and brightness, and though it is ugly it is anything but trivial. Like so many of the aspects of English civilisation that are untouched by elegance or grace, it has the merit of expressing something very serious. Viewed in this intellectual light the polluted river, the sprawling barges, the dead-faced warehouses, the frowsy people, the atmospheric impurities become richly suggestive. It sounds rather absurd, but all this smudgy detail may remind you of nothing less than the wealth and power of the British empire at large; so that a kind of metaphysical magnificence hovers over the scene, and supplies what may be literally wanting. I don’t exactly understand the association, but I know that when I look off to the left at the East India Docks, or pass under the dark hugely-piled bridges, where the railway trains and the human processions are for ever moving, I feel a kind of imaginative thrill. The tremendous piers of the bridges, in especial, seem the very pillars of the empire aforesaid.
It is doubtless owing to this habit of obtrusive and unprofitable reverie that the sentimental tourist thinks it very fine to see the Greenwich observatory lifting its two modest little brick towers. The sight of this useful edifice gave me a pleasure which may at first seem extravagant. The reason was simply that I used to see it as a child, in woodcuts, in school geographies, and in the corners of large maps which had a glazed, sallow surface, and which were suspended in unexpected places, in dark halls and behind doors. The maps were hung so high that my eyes could reach only to the lower corners, and these corners usually contained a print of a strange-looking house perched among trees upon a grassy bank that swept down before it with the most engaging steepness. I used always to think of the joy it must be to roll at one’s length down this curved incline. Close at hand was usually something printed about something being at such and such a number of degrees “east of Greenwich.” Why east of Greenwich? The vague wonder that the childish mind felt on this point gave the place a mysterious importance and seemed to put it into relation with the difficult and fascinating parts of geography—the countries of unintentional outline and the lonely-looking pages of the atlas. Yet there it stood the other day, the precise point from which the great globe is measured; there was the plain little façade with the old-fashioned cupolas; there was the bank on which it would be so delightful not to be able to stop running. It made me feel terribly old to find that I was not even tempted to begin. There are indeed a great many steep banks in Greenwich Park, which tumbles up and down in the most adventurous fashion. It is a charming place, rather shabby and footworn, as befits a strictly popular resort, but with a character all its own. It is filled with magnificent foreign-looking trees, of which I know nothing but that they have a vain appearance of being chestnuts, planted in long, convergent avenues, with trunks of extraordinary girth and limbs that fling a dusky shadow far over the grass; there are plenty of benches, and there are deer as tame as sleepy children; and from the tops of the bosky hillocks there are views of the widening Thames and the moving ships and the two classic inns by the waterside and the great pompous buildings, designed by Inigo Jones, of the old Hospital, which have been despoiled of their ancient pensioners and converted into a naval academy.
Taking note of all this, I arrived at a far-away angle in the wall of the park, where a little postern door stood ajar. I pushed the door open and found myself, by a thrilling transition, upon Blackheath Common. One had often heard, in vague, irrecoverable, anecdotic connections, of Blackheath: well, here it was—a great green, breezy place where lads in corduroys were playing cricket. I am, as a rule, moved to disproportionate ecstasy by an English common; it may be curtailed and cockneyfied, as this one was—which had lamp-posts stuck about on its turf and a fresh-painted banister all around—but it generally abounds in the note of English breeziness, and you always seem to have seen it water-coloured or engraved. Even if the turf be too much trodden there is to foreign eyes an intimate insular reference in it and in the way the high-piled, weather-bearing clouds hang over it and drizzle down their grey light. Still further to identify this spot, here was the British soldier emerging from two or three of the roads, with his cap upon his ear, his white gloves in one hand and his foppish little cane in the other. He wore the uniform of the artillery, and I asked him where he had come from. I learned that he had walked over from Woolwich and that this feat might be accomplished in half an hour. Inspired again by vague associations I proceeded to accomplish its equivalent. I bent my steps to Woolwich, a place which I knew, in a general way, to be a nursery of British valour. At the end of my half hour I emerged upon another common, where the water-colour bravery had even a higher pitch. The scene was like a chapter of some forgotten record. The open grassy expanse was immense, and, the evening being beautiful, it was dotted with strolling soldiers and townsfolk. There were half a dozen cricket-matches, both civil and military. At one end of this peaceful campus martius, which stretches over a hilltop, rises an interminable façade—one of the fronts of the Royal Artillery barracks. It has a very honourable air, and more windows and doors, I imagine, than any building in Britain. There is a great clean parade before it, and there are many sentinels pacing in front of neatly-kept places of ingress to officers’ quarters. Everything it looks out upon is in the smartest military trim—the distinguished college (where the poor young man whom it would perhaps be premature to call the last of the Bonapartes lately studied the art of war) on one side; a sort of model camp, a collection of the tidiest plank huts, on the other; a hospital, on a well-ventilated site, at the remoter end. And then in the town below there are a great many more military matters: barracks on an immense scale; a dockyard that presents an interminable dead wall to the street; an arsenal which the gatekeeper (who refused to admit me) declared to be “five miles” in circumference; and, lastly, grogshops enough to inflame the most craven spirit. These latter institutions I glanced at on my way to the railway-station at the bottom of the hill; but before departing I had spent half an hour in strolling about the common in vague consciousness of certain emotions that are called into play (I speak but for myself) by almost any glimpse of the imperial machinery of this great country. The glimpse may be of the slightest; it stirs a peculiar sentiment. I know not what to call this sentiment unless it be simply an admiration for the greatness of England. The greatness of England; that is a very off-hand phrase,
and of course I don’t pretend to use it analytically. I use it romantically, as it sounds in the ears of any American who remounts the stream of time to the head waters of his own loyalties. I think of the great part that England has played in human affairs, the great space she has occupied, her tremendous might, her far-stretching rule. That these clumsily-general ideas should be suggested by the sight of some infinitesimal fraction of the English administrative system may seem to indicate a cast of fancy too hysterical; but if so I must plead guilty to the weakness. Why should a sentry-box more or less set one thinking of the glory of this little island, which has found in her mere genius the means of such a sway? This is more than I can tell; and all I shall attempt to say is that in the difficult days that are now elapsing a sympathising stranger finds his meditations singularly quickened. It is the imperial element in English history that he has chiefly cared for, and he finds himself wondering whether the imperial epoch is completely closed. It is a moment when all the nations of Europe seem to be doing something, and he waits to see what England, who has done so much, will do. He has been meeting of late a good many of his country-people—Americans who live on the Continent and pretend to speak with assurance of continental ways of feeling. These people have been passing through London, and many of them are in that irritated condition of mind which appears to be the portion of the American sojourner in the British metropolis when he is not given up to the delights of the historic sentiment. They have declared with assurance that the continental nations have ceased to care a straw for what England thinks, that her traditional prestige is completely extinct and that the affairs of Europe will be settled quite independently of her action and still more of her inaction. England will do nothing, will risk nothing; there is no cause bad enough for her not to find a selfish interest in it—there is no cause good enough for her to fight about it. Poor old England is defunct; it is about time she should seek the most decent burial possible. To all this the sympathetic stranger replies that in the first place he doesn’t believe a word of it, and in the second doesn’t care a fig for it—care, that is, what the continental nations think. If the greatness of England were really waning it would be to him as a personal grief; and as he strolls about the breezy common of Woolwich, with all those mementoes of British dominion around him, he vibrates quite too richly to be distracted by such vapours.
He wishes nevertheless, as I said before, that England would do something—something striking and powerful, which should be at once characteristic and unexpected. He asks himself what she can do, and he remembers that this greatness of England which he so much admires was formerly much exemplified in her “taking” something. Can’t she “take” something now? There is the “Spectator,” who wants her to occupy Egypt: can’t she occupy Egypt? The “Spectator” considers this her moral duty—enquires even whether she has a right not to bestow the blessings of her beneficent rule upon the down-trodden Fellaheen. I found myself in company with an acute young Frenchman a day or two after this eloquent plea for a partial annexation of the Nile had appeared in the supersubtle sheet. Some allusion was made to it, and my companion of course pronounced it the most finished example conceivable of insular hypocrisy. I don’t know how powerful a defence I made of it, but while I read it I had found the hypocrisy contagious. I recalled it while I pursued my contemplations, but I recalled at the same time that sadly prosaic speech of Mr. Gladstone’s to which it had been a reply. Mr. Gladstone had said that England had much more urgent duties than the occupation of Egypt: she had to attend to the great questions of—What were the great questions? Those of local taxation and the liquor-laws! Local taxation and the liquor-laws! The phrase, to my ears, just then, sounded almost squalid. These were not the things I had been thinking of; it was not as she should bend anxiously over these doubtless interesting subjects that the sympathising stranger would seem to see England in his favourite posture—that, as Macaulay says, of hurling defiance at her foes. Mr. Gladstone may perhaps have been right, but Mr. Gladstone was far from being a sympathising stranger.
From Italian Hours
Italian Hours, 1909, a collection (with several new essays and several added sections in old essays) of twenty-two travel essays written from 1872 to 1909. “Two Old Houses,” Independent, September 1899. “The Saint’s Afternoon,” parts I-V first published in The May Book, compiled by Eliza Aria, 1901; parts VI and VII published for the first time in Italian Hours. This work is of particular interest in providing the range of James’s voice at various stages of his development, from the expression of youth to that of full maturity. The volume is also notable in its arrangement—the essays are often printed out of chronology—beginning with youthful consideration of the aesthetic experience of Venice, and then, somewhat surprisingly for Henry James, finally asserting “the last word” of Italy as the vigor of Naples. The distance traveled in terms of sensibility is enormous.
TWO OLD HOUSES AND THREE YOUNG WOMEN (1899, VENICE, FLORENCE)
There are times and places that come back yet again, but that, when the brooding tourist puts out his hand to them, meet it a little slowly, or even seem to recede a step, as if in slight fear of some liberty he may take. Surely they should know by this time that he is capable of taking none. He has his own way—he makes it all right. It now becomes just a part of the charming solicitation that it presents precisely a problem—that of giving the particular thing as much as possible without at the same time giving it, as we say, away. There are considerations, proprieties, a necessary indirectness—he must use, in short, a little art. No necessity, however, more than this, makes him warm to his work, and thus it is that, after all, he hangs his three pictures.
I.
The evening that was to give me the first of them was by no means the first occasion of my asking myself if that inveterate “style” of which we talk so much be absolutely conditioned—in dear old Venice and elsewhere—on decrepitude. Is it the style that has brought about the decrepitude, or the decrepitude that has, as it were, intensified and consecrated the style? There is an ambiguity about it all that constantly haunts and beguiles. Dear old Venice has lost her complexion, her figure, her reputation, her self-respect; and yet, with it all, has so puzzlingly not lost a shred of her distinction. Perhaps indeed the case is simpler than it seems, for the poetry of misfortune is familiar to us all, whereas, in spite of a stroke here and there of some happy justice that charms, we scarce find ourselves anywhere arrested by the poetry of a run of luck. The misfortune of Venice being, accordingly, at every point, what we most touch, feel and see, we end by assuming it to be of the essence of her dignity; a consequence, we become aware, by the way, sufficiently discouraging to the general application or pretension of style, and all the more that, to make the final felicity deep, the original greatness must have been something tremendous. If it be the ruins that are noble we have known plenty that were not, and moreover there are degrees and varieties: certain monuments, solid survivals, hold up their heads and decline to ask for a grain of your pity. Well, one knows of course when to keep one’s pity to oneself; yet one clings, even in the face of the colder stare, to one’s prized Venetian privilege of making the sense of doom and decay a part of every impression. Cheerful work, it may be said of course; and it is doubtless only in Venice that you gain more by such a trick than you lose. What was most beautiful is gone; what was next most beautiful is, thank goodness, going—that, I think, is the monstrous description of the better part of your thought. Is it really your fault if the place makes you want so desperately to read history into everything?
You do that wherever you turn and wherever you look, and you do it, I should say, most of all at night. It comes to you there with longer knowledge, and with all deference to what flushes and shimmers, that the night is the real time. It perhaps even wouldn’t take much to make you award the palm to the nights of winter. This is certainly true for the form of progression that is most characteristic, for every question of departure and arrival by gondola. The
little closed cabin of this perfect vehicle, the movement, the darkness and the plash, the indistinguishable swerves and twists, all the things you don’t see and all the things you do feel—each dim recognition and obscure arrest is a possible throb of your sense of being floated to your doom, even when the truth is simply and sociably that you are going out to tea. Nowhere else is anything as innocent so mysterious, nor anything as mysterious so pleasantly deterrent to protest. These are the moments when you are most daringly Venetian, most content to leave cheap trippers and other aliens the high light of the mid-lagoon and the pursuit of pink and gold. The splendid day is good enough for them; what is best for you is to stop at last, as you are now stopping, among clustered pali and softly-shifting poops and prows, at a great flight of water-steps that play their admirable part in the general effect of a great entrance. The high doors stand open from them to the paved chamber of a basement tremendously tall and not vulgarly lighted, from which, in turn, mounts the slow stone staircase that draws you further on. The great point is, that if you are worthy of this impression at all, there isn’t a single item of it of which the association isn’t noble. Hold to it fast that there is no other such dignity of arrival as arrival by water. Hold to it that to float and slacken and gently bump, to creep out of the low, dark felze and make the few guided movements and find the strong crooked and offered arm, and then, beneath lighted palace-windows, pass up the few damp steps on the precautionary carpet—hold to it that these things constitute a preparation of which the only defect is that it may sometimes perhaps really prepare too much. It’s so stately that what can come after?—it’s so good in itself that what, upstairs, as we comparative vulgarians say, can be better? Hold to it, at any rate, that if a lady, in especial, scrambles out of a carriage, tumbles out of a cab, flops out of a tram-car, and hurtles, projectile-like, out of a “lightning-elevator,” she alights from the Venetian conveyance as Cleopatra may have stepped from her barge. Upstairs—whatever may be yet in store for her—her entrance shall still advantageously enjoy the support most opposed to the “momentum” acquired. The beauty of the matter has been in the absence of all momentum—elsewhere so scientifically applied to us, from behind, by the terrible life of our day—and in the fact that, as the elements of slowness, the felicities of deliberation, doubtless thus all hang together, the last of calculable dangers is to enter a great Venetian room with a rush.