III
If the interest then was large, this particular interest of the “social” side of the general scene, more and more likely to emerge, what better proof could I want again than the differences of angle at which it continued to present itself? The differences of angle—as obvious most immediately, for instance, “north of the mountains,” and first of all in the valley of the Saco—gathered into their train a hundred happy variations. I kept tight hold of my temporary clue, the plea of the country’s amiability, as I have called it, its insinuating appeal from too rigorous a doom; but there was a certain strain in this, from day to day, and relief was apparent as soon as the conditions changed. They changed, notably, by the rapid and complete drop of the sordid element from the picture; it was, for all the world, of a sudden, as if Appearance, precious principle, had again asserted its rights. That confidence, clearly, at North Conway, had come to it in the course of the long years, too many to reckon over, that separated my late from my early vision—though I recognized as disconcerting, toward the close of the autumn day, to have to owe this perception, in part, to the great straddling, bellowing railway, the high, heavy, dominant American train that so reverses the relation of the parties concerned, suggesting somehow that the country exists for the “cars,” which overhang it like a conquering army, and not the cars for the country. This presence had learned to penetrate the high valleys and had altered, unmistakably, the old felicity of proportion. The old informal earthy coach-road was a firm highway, wide and white—and ground to dust, for all its firmness, by the whirling motor; without which I might have followed it, back and back a little, into the near, into the far, country of youth—left lying, however, as thecase stood, beyond the crest of a hill. Only the high rock-walls of the Ledges, the striking sign of the spot, were there; grey and perpendicular, with their lodged patches of shrub-like forest growth, and the immense floor, below them, where the Saco spreads and turns and the elms of the great general meadow stand about like candelabra (with their arms reversed) interspaced on a green table. There hung over these things the insistent hush of a September Sunday morning; nowhere greater than in the tended woods enclosing the admirable country home that I was able to enjoy as a centre for contemplation; woods with their dignity maintained by a large and artful clearance of undergrowth, and repaying this attention, as always, by something of the semblance of a sacred grove, a place prepared for high uses, even if for none rarer than high talk. There was a latent poetry—old echoes, ever so faint, thatwouldcome back; it made a general meaning, lighted the way to the great modern farm, all so contemporary and exemplary, so replete with beauty of beasts and convenience of man, with a positive dilettantism of care, but making one perhaps regret a little the big, dusky, heterogeneous barns, the more Bohemian bucolics, of the earlier time. I went down into the valley—that was an impression to woo by stages; I walked beside one of those great fields of standing Indian corn which make, to the eye, so perfect a note for the rest of the American rural picture, throwing the conditions back as far as our past permits, rather than forward, as so many other things do, into the age to come. The maker of these reflections betook himself at last, in any case, to an expanse of rock by a large bend of the Saco, and lingered there under the infinite charm of the place. The rich, full lapse of the river, the perfect brownness, clear and deep, as of liquid agate, in its wide swirl, the large indifferent ease in its pace and motion, as of some great benevolent institution smoothly working;all this, with the sense of the deepening autumn about, gave I scarce know what pastoral nobleness to the scene, something raising it out of the reach of even the most restless of analysts. The analyst in fact could scarce be restless here; the impression, so strong and so final, persuaded him perfectly to peace. This, on September Sunday mornings, was what American beautyshouldbe; it filled to the brim its idea and its measure—albeit Mount Washington, hazily overhung, happened not to contribute to the effect. It was the great, gay river, singing as it went, like some reckless adventurer, goodhumoured for the hour and with his hands in his pockets, that argued the whole case and carried everything assentingly before it.
Who, for that matter, shall speak, who shall begin to speak, of the alacrity with which, in the New England scene (to confine ourselves for the moment only to that), the eye and the fancy take to the water?—take to it often for relief and security, the corrective it supplies to the danger of the common. The case is rare when it is not better than the other elements of the picture, even if these be at their best; and its strength is in the fact that the common has, for the most part, to stop short at its brink; no water being intrinsically less distinguished—save when it is dirty—than any other. By a fortunate circumstance, moreover, are not the objects usually afloat on American lakes and rivers, to say nothing of bays and sounds, almost always white and wonderful, high-piled, characteristic, fantastic things, begotten of the native conditions and shining in the native light? Let my question, however, not embroider too extravagantly my mere sense of driving presently, though after nightfall, and in the public conveyance, into a village that gave out, through the dusk, something of the sense of a flourishing Swiss village of the tourist season, as one recalls old Alpine associations: the swing of the coach,the cold, high air, the scattered hotels and their lighted windows, the loitering people who might be celebrated climbers or celebrated guides, the resonance of the bridge as one crossed, the gleam of the swift river under the lamps. My village had no happy name; it was, crudely speaking, but Jackson, N. H., just as the swift river that, later on, in the morning light, to the immediate vision, easily surpassed everything else, was only the river of the Wildcat—a superiority strictly comparative. The note of this superiority was in any case already there, for the first, for the nocturnal impression; scarce seen, only heard as yet, it could still give the gloom a larger lift than any derived from a tour of the piazzas of the hotels. This tour, undertaken while supper was preparing, in the interest of a study of manners, left room, all the same, for much support to the conviction I just expressed, the conviction that, name for name, the stream had got off better than the village, that streamscouldn’t, at the worst, have such cruel names as villages, and that this too, after all, was an intimation of their relative value. That inference was, for the actual case, to be highly confirmed; the Wildcat River, on the autumn morning, in its deep valley and its precipitous bed, was as headlong and romantic as one could desire; though, indeed, I am not, in frankness, prepared to say better things of it than of the great picture, the feature of the place, to a view of which I mounted an hour or two after breakfast.
Here, at least, where a small and charming country-house had seated itself very much as the best box, on the most expensive tier, rakes the prospect for grand opera—here might manners too be happily studied, save perhaps for their being enjoyed at too short range. Here, verily, were verandahs of contemplation, but admitting to such images of furnished peace, within, as could but illustrate a rare personal history. This was a felicity apart; whereas down in the valley, the night before, the storytold at the lighted windows of the inns was precisely, was above all, of advantages impartially diffused and shared. That, at any rate, would seem in each instance the most direct message of the life displayed to the observer, on the fresher evenings, in the halls and parlours, the large, clean, bare spaces (almost penally clean and bare), where plain, respectable families seemed to sit and study in silence, with a kind of awe indeed, as from a sense of inevitable doom, their reflected resemblances, from group to group, their baffling identities of type and tone, their inability to escape from participations and communities. My figure of the opera-box, for the other, the removed, case, is justified meanwhile by the memory of the happy vision that was to make up to me for having missed Mount Washington at Intervale; the something splendidly scenic in the composition of the “Presidential range,” hung in the air, across the valley, with its most eminent object holding exactly the middle of the stage and the grand effect stretching without a break to either wing. Mount Washington, seen from such a point of vantage, a kind of noble equality of intercourse, looks admirably, solidlyseated, as with the other Presidential peaks standing at his chair; and the picture is especially sublime far off to the right, with the grand style of Carter’s Dome, a masterly piece of drawing against the sky, and the romantic dip of Carter’s Notch, the very ideal of the pass (other than Alpine) that announces itself to the winding wayfarer, for beauty and interest, from a distance. The names, “Presidential” and other, minister little to the poetry of association; but that, throughout the American scene, is a source of irritation with which the restless analyst has had, from far back, to count. Charming places, charming objects, languish, all round him, under designations that seem to leave on them the smudge of a great vulgar thumb—which is precisely a part of what the pleading land appears to hint to youwhen it murmurs, in autumn, its intelligent refrain. If it feels itself better than so many of the phases of its fate, so there are spots where you see it turn up at you, under some familiar tasteless infliction of this order, the plaintive eye of a creature wounded with a poisoned arrow.
You learn, after a little, not to insist on names—that is not to inquire of them; and are happiest perchance when the answer is made you as it was made me by a neighbour, in a railway train, on the occasion of my greatly admiring, right and left of us, a tortuous brawling river. I had supposed it for a moment, in my innocence, the Connecticut—which it decidedly was not; it was only, as appeared, a streamquelconque, a stream without an identity. That was better, somehow, than the adventure of a little later—my learning, too definitely, that another stream, ample, admirable, in every way distinguished, a stream worthy of Ruysdael or Salvator Rosa, was known but as the Farmington River. This I could in no manner put up with—this taking by the greater of the comparatively common little names of the less. Farmington, as I was presently to learn, is a delightful, a model village; but villages, fords, bridges are not the godparents of the element that makes them possible, they are much rather the godchildren. So far as such reflections might be idle, however, in an order so differently determined, they easily lost themselves, on the morrow of Jackson, N. H., in an impression of sharper intensity; that of a drive away, on the top of the coach, in the wondrous, lustrous early morning and in company that positively gave what it had to give quite as if it had had my curiosity on its conscience. That curiosity held its breath, in truth, for fear of breaking the spell—the spell of the large liberty with which a pair of summer girls and a summer youth, from the hotel, took all nature and all society (so far as society was present on the top of the coach) into the confidence oftheir personal relation. Their personal relation—that of the young man was with the two summer girls, whose own was all withhim; any other, with their mother, for instance, who sat speechless and serene beside me, with the other passengers, with the coachman, the guard, the quick-eared four-in-hand, being for the time completely suspended. The freedoms of the young three—who were, by the way, not in their earliest bloom either—were thus bandied in the void of the gorgeous valley without even a consciousness of its shriller, its recording echoes. The whole phenomenon was documentary; it started, for the restless analyst, innumerable questions, amid which he felt himself sink beyond his depth. The immodesty was too colossal to be anything but innocence—yet the innocence, on the other hand, was too colossal to be anything but inane. And they were alive, the slightly stale three: they talked, they laughed, they sang, they shrieked, they romped, they scaled the pinnacle of publicity and perched on it flapping their wings; whereby they were shown in possession of many of the movements of life. Life, however, involved in some degree experience—if only the experience, for instance, of the summer apparently just spent, at a great cost, in the gorgeous valley. How wasthat, how was the perception of any concurrent presence, how was the human or social function at all, compatible with thedegreeof the inanity? There was, as against this, the possibility that the inanity was feigned, if not the immodesty; and the fact that there would have been more immodesty in feigning it than in letting it flow clear. These were maddening mystifications, and the puzzle fortunately dropped with the arrival of the coach at the station.
Clearly, none the less, there were puzzles and puzzles, and I had almost immediately the amusement of wakingup to another—this one of a different order altogether. The point was that if the bewilderments I have just mentioned had dropped, most other things had dropped too: the challenge to curiosity here was in the extreme simplification of the picture, a simplification on original lines. Not that there was not still much to think of—if only because one had to stare at the very wonder of a picture so simplified. The thing now was to catch this note, to keep it in the ear and see, really, how far and how long it would sound. The simplification, for that immediate vision, was to a broad band of deep and clear blue sea, a blue of the deepest and clearest conceivable, limited in one quarter by its far and sharp horizon of sky, and in the other by its near and sharp horizon of yellow sand over-fringed with a low woody shore; the whole seen through the contorted cross-pieces of stunted, wind-twisted, far-spreading, quite fantastic old pines and cedars, whose bunched bristles, at the ends of long limbs, produced, against the light, the most vivid of all reminders. Cape Cod, on this showing, was exactly a pendent, pictured Japanese screen or banner; a delightful little triumph of “impressionism,” which, during my short visit at least, never departed, under any provocation, from its type. Its type, so easily formulated, so completely filled, was there the last thing at night and the first thing in the morning; there was rest for the mind—for that, certainly, of the restless analyst—in having it so exactly under one’s hand. After that one could read into it other meanings without straining or disturbing it. There was a couchant promontory in particular, half bosky with the evergreen boskage of the elegant kakemono, half bare with the bareness of refined, themostrefined, New England decoration—a low, hospitable headland projected, as by some water-colourist master of the trick, into a mere brave wash of cobalt. It interfered, the sweet promontory, with its generous Boston bungalow, itsverandahs still haunted with old summer-times, and so wide that the present could elbow and yet not jostle the past—it interfered no whit, for all its purity of style, with the human, the social question always dogging the steps of the ancient contemplative person and making him, before each scene, wish really to getintothe picture, to cross, as it were, the threshold of the frame. It never lifts, verily, this obsession of the story-seeker, however often it may flutter its wings, it may bruise its breast, against surfaces either too hard or too blank. “Themanners, the manners: where and what are they, and what have they to tell?”—that haunting curiosity, essential to the honour of his office, yet making it much of a burden, fairly buzzes about his head the more pressingly in proportion as the social mystery, the lurking human secret, seems more shy.
Then it is that, as he says to himself, the secret must be most queer—and it might therefore well have had, so insidiously sounded, a supreme queerness on Cape Cod. For not the faintest echo of it trembled out of the blankness; there were always the little white houses of the village, there were always the elegant elms, feebler and more feathery here than further inland; but the life of the little community was practically locked up as tight as if it hadallbeen a question of painted Japanese silk. And that was doubtless, for the story-seeker, absolutely the little story: the constituted blankness was the whole business, and one’s opportunity was all, thereby, for a study of exquisite emptiness. This was stuff, in its own way, of a beautiful quality; that impression came to me with a special sweetness that I have not forgotten. The help in the matter was that I had not forgotten, either, a small pilgrimage or two of far-away earlier years—the sense as of absent things in other summer-times, golden afternoons that referred themselves for their character simply to sandy roads and primitive “farms,” crookedinlets of mild sea and, at the richest, large possibilities of worked cranberry-swamp. I remembered, in fine, Mattapoisett, I remembered Marion, as admirable examples of that frequent New England phenomenon, the case the consummate example of which I was soon again to recognize in Newport—the presence of anunreasonedappeal, in nature, to the sense of beauty, the appeal on a basis of items that failed somehow, count and recount them as one would, to justify the effect and make up the precious sum. The sum, at Newport above all, as I was soon again to see, is the exquisite, the irresistible; but you falter before beginning to name the parts of the explanation, conscious how short the list may appear. Thus everything, in the whole range of imagery, affirms itself and interposes; you will, you inwardly determine, arrive at some notation of manners even if you perish in the attempt. Thus, as I jogged southward, from Boston, in a train that stopped and stopped again, for my fuller enlightenment, and that insisted, the good old promiscuous American car itself, on having as much of its native character as possible for my benefit, I already knew I must fall back on old props of association, some revival of the process of seeing the land grow mild and vague and interchangeably familiar with the sea, all under the spell of the reported “gulf-stream,” those mystic words that breathe a softness wherever they sound.
It was imperative here that they should do what they could for me, and they must have been in full operation when, on my arrival at the small station from which I was to drive across to Cotuit—“across the Cape,” as who should say, romantic thought, though I strain a point geographically for the romance—I found initiation awaiting me in the form of minimized horse-and-buggy and minimized man. The man was a little boy in tight knickerbockers, the horse barely an animal at all, a mere ambling spirit in shafts on the scale of a hairpin, thebuggy disembodied save for its wheels, the whole thing the barest infraction of the road, of the void: circumstances, altogether, that struck the note, the right, the persistent one—that of my baffled endeavour, while in the neighbourhood, to catch life in the fact, and of my then having to recognize it as presentwithoutfacts, or with only the few (the little white houses, the feathery elms, the band of ocean blue, the stripe of sandy yellow, the tufted pines in angular silhouette, the cranberry-swamps stringed across, for the picking, like the ruled pages of ledgers), that fell, incorruptibly silent, into the picture. We were still far from our goal, that first hour, when I had recognized the full pictorial and other “value” of my little boy and his little accessories; had seen, in the amiable waste that we continued to plough till we struck, almost with a shock, the inconsistency of a long stretch of new “stone” road, that, socially, economically, every contributive scrap of this detail was required. I drained my small companion, by gentle pressure, of such sidelights as he could project, consisting almost wholly, as they did, of a prompt and shrill, an oddly-emphasized “Yes,sir!” to each interrogative attempt to break ground. The summer people had already departed—with, as it seemed to me, undue precipitation; the very hotel offered, in its many-windowed bulk, the semblance of a mere huge brittle sea-shell that children tired of playing with it have cast again upon the beach; the alignments of white cottages were, once more, as if the children had taken, for a change, to building houses of cards and then had desertedthem. I remember the sense that somethingmustbe done for penetration, for discovery; I remember an earnest stroll, undertaken for a view of waterside life, which resulted in the perception of a young man, in a spacious but otherwise unpeopled nook, a clear, straightforward young man to converse with, for a grandopportunity, across the water, waist-high in the quiet tide and prodding the sea-bottom for oysters; also in the discovery of an animated centre of industry of which oysters again were the motive: a mute citizen or two packing them in boxes, on the beach, for the Boston market, the hammer of some vague carpentry hard by, and, filling the air more than anything else, the unabashed discourse of three or four school-children at leisure, visibly “prominent” and apparently in charge of the life of the place. I remember not less a longish walk, and a longer drive, into low extensions of woody, piney, pondy landscape, veined with blue inlets and trimmed, on opportunity, with blond beaches—through all of which I pursued in vain the shy spectre of a revelation. The only revelation seemed really to be that, quite as in New Hampshire, so many people had “left” that the remaining characters, on the sketchy page, were too few to form a word. With this, accordingly, of what, in the bright air, for the charmed visitor, were the softness and sweetness of impressionmade? I had again to take it for a mystery.
This was really, for that matter, but the first phase of a resumed, or rather of a greatly-enlarged, acquaintance with the New England village in its most exemplary state: the state of being both sunned and shaded; of exhibiting more fresh white paint than can be found elsewhere in equal areas, and yet of correcting that conscious, that doubtless often somewhat embarrassed, hardness of countenance with an art of its own. The descriptive term is of the simplest, the term that suffices for the whole family when at its best: having spoken of them as “elm-shaded,” you have said so much about them that little else remains. It is but a question,throughout, of the quantity, the density, of their shade; often so thick and ample, from May to November, that their function, in the social, in the economic, order would seem on occasion to consist solely of their being passive to that effect. To note the latter, accordingly, to praise it, to respond to its appeal for admiration, practically represents, as you pass beneath the great feathery arches, the only comment that may be addressed to the scene. The charming thing—if that be the best way to take it—is that the scene is everywhere the same; whereby tribute is always ready and easy, and you are spared all shocks of surprise and saved any extravagance of discrimination. These communities stray so little from the type, that you often ask yourself by what sign or difference you know one from the other. The goodly elms, on either side of the large straight “street,” rise from their grassy margin in double, ever and anon in triple, file; the white paint, on wooden walls, amid open dooryards, reaffirms itself eternally behind them—though hanging back, during the best of the season, with a sun-checkered, “amusing” vagueness; while the great verdurous vista, the high canopy of meeting branches, has the air of consciously playing the trick and carrying off the picture. “See with how little we do it; count over the elements and judge how few they are: in other words come back in winter, in the months of the naked glare, when the white paint looks dead and dingy against the snow, the poor dear old white paint—immemorial, ubiquitous, save as venturing into brown or yellow—which is really all we have to build on!” Some such sense as that you may catch from the murmur of the amiable elms—if you are a very restless analyst indeed, that is a very indiscreet listener.
As you wouldn’t, however, go back in winter on any account whatever, and least of all for any such dire discovery, the picture hangs undisturbed in your gallery,and you even, with extended study of it, class it among your best mementos of the great autumnal harmony. The truth is that, for six or seven weeks after the mid-September, among the mountains of Massachusetts and Connecticut, the merefusionof earth and air and water, of light and shade and colour, the almost shameless tolerance of nature for the poor human experiment, are so happily effective that you lose all reckoning of the items of the sum, that you in short find in your draught, contentedly, a single strong savour. By all of which I don’t mean to say that this sweetness of the waning year has not more taste in the presence of certain objects than in the presence of certain others. Objects remarkable enough, objects rich and rare perhaps, objects at any rate curious and interesting, emerge, for genial reference, from the gorgeous blur, and would commit me, should I give them their way, to excesses of specification. So I throw myself back upon the fusion, as I have called it—with the rich light hanging on but half-a-dozen spots. This renews the vision of the Massachusetts Berkshire—land beyond any other, in America, to-day, as one was much reminded, of leisure on the way to legitimation, of the social idyll, of the workable, the expensively workable, American form of country life; and, in especial, of a perfect consistency of surrender to the argument of the verdurous vista. This is practically the last word of such communities as Stockbridge, Pittsfield, Lenox, or of such villages as Salisbury and Farmington, over the Connecticut border. I speak of consistency in spite of the fact that it has doubtless here and there, under the planted elms, suffered some injury at the hands of the summer people; for really, beneath the wide mantle of parti-coloured Nature, nothing matters but the accidental liability of the mantle here and there to fall thickest. Thus it is then that you do, after a little, differentiate, from place to place, and compare and even prefer; thusit is that you recognize a scale and a range of amplitude—nay, more, wonderful to say, on occasion an emergence of detail; thus it is, in fine, that, while accepting the just eminence of Stockbridge and Pittsfield, for instance, you treat yourself on behalf of Farmington to something like a luxury of discrimination.
I may perhaps not go the length of asserting that Farmington might brave undismayed the absolute removal of the mantle of charity; since the great elm-gallery there struck me as not less than elsewhere essentially mistress of the scene. Only there were particular felicities there within the general—and anything very particular, in the land at large, always gave the case an appearance of rarity. When the great elm-gallery happens to be garnished with old houses, and the old houses happen to show style and form and proportion, and the hand of time, further, has been so good as to rest on them with all the pressure of protection and none of that of interference, then it is that the New England village may placidly await any comer. Farmington sits with this confidence on the top of a ridge that presents itself in its fringed length—a straight avenue seen in profile—to the visitor taking his way from the station across a couple of miles of level bottom that speak, for New England, of a luxury of culture; and nothing could be more fastidious and exceptional, and thereby more impressive in advance, than such upliftedness of posture. What is it but the note of the aristocratic in an air that so often affects us as drained precisely, and well-nigh to our gasping, of any exception to the common? The indication I here glance at secures for the place in advance, as you measure its detachment across the valley, a positively thrilled attention. Then comes, under the canopy of autumn, your vision of the grounds of this mild haughtiness, every one of which you gratefully allow. Stay asmany hours as you will—and my stay was but of hours—they don’t break down; you trace them into fifty minor titles and dignities, all charming aspects and high refinements of the older New England domestic architecture. Not only, moreover, are the best houses so “good”—the good ones are so surprisingly numerous. That is all they seem together to say. “We are good, yes—we are excellent; though, if we know it very well, we make no vulgar noise about it: we only just stand here, in our long double line, in the manner of mature and just slightly-reduced gentlewomen seated against the wall at an evening party (some party where mature gentlewomen unusually abound), and neither too boldly affront the light nor shrink from the favouring shade.” That again, on the spot, is the discreet voice of the air—which quavered away, for me, into still other admissions.
It takes but the barest semitone to start the story-seeker curious of manners—the story-seeker impenitent and uncorrected, as happened in this case, by a lesson unmistakably received, or at least intended, a short time before. He had put a question, on that occasion, with an expectancy doubtless too crude; he had asked a resident of a large city of the middle West what might be, credibly, the conditions of the life “socially” led there. He had not, at Farmington, forgotten the ominous pause that had preceded the reply: “The conditions of the life? Why, the same conditions as everywhere else.” He had not forgotten, either, the thrill of his sense of this collapse of his interlocutor: the case being, obviously, that it is of the very nature of conditions, as reported on by the expert—and it was to the expert he had appealed—to vary from place to place, so that they fall into as many groups, and constitute as many stamps, as there are different congregations of men. His interlocutor was not of the expert—thathad really been the lesson; and it was with a far different poetry, the sweetshyness of veracity, that Farmington confessed to idiosyncrasies. I have too little space, however, as I had then too little time, to pretend to have lifted more than the smallest corner of this particular veil; besides which, if it is of the essence of the land, in these regions, to throw you back, after a little, upon the possible humanities, so it often results from the social study, too baffling in many a case, that you are thrown back upon the land. That agreeable, if sometimes bewildering, seesaw is perhaps the best figure, in such conditions, for the restless analyst’s tenor of life. It was an effect of the fusion he has endeavoured to suggest; it is certainly true, at least, that, among the craggy hills, among little mountains that turned so easily, at any opening, to clearness of violet and blue, among the wood-circled dells that seemed to wait as for afternoon dances, among the horizons that recalled at their will the Umbrian note and the finer drawing, every ugliness melted and dropped, any wonderment at the other face of the medal seemed more trouble than it was worth. It was enough that the white village or the painted farm could gleam from afar, on the faintly purple slope, like a thing of mystery or of history; it was enough that the charming hill-mass, happily presented and foreshortened, should lie there like some beast, almost heraldic, resting his nose on his paws.
Those images, for retrospect, insistently supplant the others; though I have notes enough, I find, about the others too—about the inscrutability of the village street in general, for instance, in any relation but its relation to its elms. Whattheyseemed to say is what I have mentioned; but what secrets, meanwhile, did the rest of the scene keep?Werethere any secrets at all, or had the outward blankness, the quantity of absence, as it were, in the air, its inward equivalent as well? There was the high, thin church, made higher, made highest, and sometimes, as at Farmington, made as pretty as amonstrous Dutch toy, by its steeple of quaint and classic carpentry; but this monument appeared totestifyscarce more than some large white card, embellished with a stencilled border, on which a message or a sentence, an invitation or a revelation, might be still to be inscribed. The present, the positive, was mainly represented, ever, by the level railway-crossing, gaining expression from its localization of possible death and destruction, where the great stilted, strident, yet so almost comically impersonal train, which, with its so often undesignated and so always unservanted stations, and its general air of “bossing” the neighbourhoods it warns, for climax of its characteristic curtness, to “look out” for its rush, is everywhere a large contribution to one’s impression of a kind of monotony of acquiescence. This look as of universal acquiescence plays somehow through the visible vacancy—seems a part of the thinness, the passivity, of that absence of the settled standard which contains, as I more and more felt, from day to day, the germ of the most final of all my generalizations. I needn’t be too prompt with it—so much higher may it hold its head, I foresee, when it flowers, perfectly, as a conclusion, than when it merely struggles through the side of the subject as a tuft for provisional clutching. It sprouts in that soil, none the less, betimes, this apprehension that the “common man” and the common woman have here their appointed paradise and sphere, and that the sign of it is the abeyance, on many a scene, of any wants, any tastes, any habits, any traditions but theirs. The bullying railway orders them off their own decent avenue without a fear that they will “stand up” to it; the tone of the picture is the pitch of their lives, and when you listen to what the village street seems to say, marking it, at the end, with your “Is thatall?” it is as if you had had your account of a scheme fashioned preponderantly in their image.
I mean intheirsexactly, with as little provision for what is too foul for them as for what is too fair: the very middle, the golden mean, of the note of the common, to which the two extremes of condition are equally wanting; though with the mark strongest, if anywhere, against dusky misfortune and precarious dependence. The romance of costume, for better or worse, the implication of vices, accomplishments, manners, accents, attitudes, is as absent for evil as for good, for a low connection as for a high: which is why the simplification covers so much ground, that of public houses, that of kinds of people, that of suggestions, however faint, of discernible opportunity, of any deviation, in other words, into theuncommon. There are no “kinds” of people; there are simply people, very, very few, and all of one kind, the kind who thus simply invest themselves for you in the grey truth that they don’t go to the public house. It’s a negative garment, but it must serve you; which it makes shift to do while you keep on asking, from the force of acquired habit, what may be behind, what beneath, what within, what may represent, in such conditions, the appeal of the senses or the tribute to them; what, in such a show of life, may take the place (to put it as simply as possible) of amusement, of social and sensual margin, overflow and by-play. Of course there is by-play here and there; here and there, of course, extremesaretouched: otherwise, the whole concretion, in its thinness, would crack, and the fact is that two or three of these strong patches of surface-embroidery remain with me as curious and interesting. Never was such by-play as in a great new house on a hilltop that overlooked the most composed of communities; a house apparently conceived—and with great felicity—on the lines of a magnified Mount Vernon, and in which an array of modern “impressionistic” pictures, mainly French, wondrous examples of Manet, of Degas, ofClaude Monet, of Whistler, of other rare recent hands, treated us to the momentary effect of a large slippery sweet inserted, without a warning, between the compressed lips of half-conscious inanition. One hadn’t quite known one was starved, but the morsel went down by the mere authority of the thing consummatelyprepared. Nothing else had been, in all the circle, prepared to anything like the same extent; and though the consequent taste, as a mixture with the other tastes, was of the queerest, no proof of the sovereign power of art could have been, for the moment, sharper. It happened to be that particular art—it might as well, no doubt, have been another; it made everything else shrivel and fade: it was like the sudden trill of a nightingale, lord of the hushed evening.
These appeared to be, over the land, always possible adventures; obviously I should have others of the same kind; I could let them, in all confidence, accumulate and wait. But, if that was one kind of extreme, what meanwhile was the other kind, the kind portentously alluded to by those of the sagacious who had occasionally put it before me that the village street, the arched umbrageous vista, half so candid and half so cool, is too frequently, in respect to “morals,” but a whited sepulchre? They had so put it before me, these advisers, but they had as well, absolutely and all tormentingly, so left it: partly as if the facts were too abysmal for a permitted distinctness, and partly, no doubt, as from the general American habit of indirectness, of positive primness, of allusion to those matters that are sometimes collectively spoken of as “the great facts of life.” It had been intimated to me that the great facts of life are in high fermentation on the other side of the ground glass that never for a moment flushes, to the casual eye, with the hint of a lurid light: so much, at least, one had no alternative, under pressure, but to infer. The inference, however, still left thequestion a prey to vagueness—it being obvious that vice requires forms not less than virtue, or perhaps even more, and that forms, up and down the prospect, were exactly what one waited in vain for. The theory that no communitycanlive wholly without by-play, and the confirmatory word, for the particular case, of more initiated reporters, these things were all very well; but before a scene peeled as bare of palpable pretext as the American sky is often peeled of clouds (in the interest of the slightly acid juice of its light), where and how was the application to be made? It came at last, the application—that, I mean, of the portentous hint; and under it, after a fashion, the elements fell together. Why the pictureshouldn’tbristle with the truth—that was all conceivable; that the truth could only strike inward, horribly inward, not playing up to the surface—this too needed no insistence; what was sharpest for reflection being, meanwhile, a couple of minor appearances, which one gathered as one went. That our little arts of pathetic, of humorous, portrayal may, for all their claim to an edifying “realism,” have on occasion small veracity and courage—that again was a remark pertinent to the matter. But the strangest link in the chain, and quite the horridest, was this other, of high value to the restless analyst—that, as the “interesting” puts in its note but where it can and where it will, so the village street and the lonely farm and the hillside cabin became positively richer objects under the smutch of imputation; twitched with a grim effect the thinness of their mantle, shook out of its folds such crudity and levity as they might, and borrowed, for dignity, a shade of the darkness of Cencidrama, of monstrous legend, of old Greek tragedy, and thus helped themselves out for the story-seeker more patient almost of anything than of flatness.
There was not flatness, accordingly, though there might be dire dreariness, in some of those impressionsgathered, for a climax, in the Berkshire country of Massachusetts, which forced it upon the fancy that here at last, in far, deep mountain valleys, where the winter is fierce and the summer irresponsible, was that heart of New England which makes so pretty a phrase for print and so stern a fact, as yet, for feeling. During the great loops thrown out by the lasso of observation from the wonder-working motor-car that defied the shrinkage of autumn days, this remained constantly the best formula of the impression and even of the emotion; it sat in the vehicle with us, but spreading its wings to the magnificence of movement, and gathering under them indeed most of the meanings of the picture. The heart of New England, at this rate, was an ample, a generous, heart, the largest demands on which, as to extent and variety, seemed not to overstrain its capacity. But it was where the mountain-walls rose straight and made the valleys happiest or saddest—one couldn’t tell which, as to the felicity of the image, and it didn’t much matter—that penetration was, for the poetry of it, deepest; just as generalization, for an opposite sort of beauty, was grandest on those several occasions when we perched for a moment on the summit of a “pass,” a real little pass, slowly climbed to and keeping its other side, with an art all but Alpine, for a complete revelation, and hung there over the full vertiginous effect of the long and steep descent, the clinging road, the precipitous fall, the spreading, shimmering land bounded by blue horizons. We liked the very vocabulary, reduced to whatever minimum, of these romanticisms of aspect; again and again the land would do beautifully, if that were all that was wanted, and it deserved, the dear thing, thoroughly, any verbal caress, any tenderness of term, any share in a claim to the grand manner, to which we could responsively treat it. The grand manner was in the winding ascent, the rocky defile, the sudden rest for wonder, andall the splendid reverse of the medal, the world belted afresh as with purple sewn with pearls—melting, in other words, into violet hills with vague white towns on their breasts.
That was, at the worst, for October afternoons, the motor helping, our frequent fare; the habit of confidence in which was, perhaps, on no occasion so rewarded as on that of a particular plunge, from one of the highest places, through an ebbing golden light, into the great Lebanon “bowl,” the vast, scooped hollow in one of the hither depths of which (given the quarter of our approach) we found the Shaker settlement once more or less, I believe, known to fame, ever so grimly planted. The grimness, even, was all right, when once we had admiringly dropped down and down and down; it would have done for that of a Buddhist monastery in the Himalayas—though more savagely clean and more economically impersonal, we seemed to make out, than the communities of older faiths are apt to show themselves. I remember the mere chill of contiguity, like the breath of the sepulchre, as we skirted, on the wide, hard floor of the valley, the rows of gaunt windows polished for no whitest, stillest, meanest face, even, to look out; so that they resembled the parallelograms of black paint criss-crossed with white lines that represent transparency in Nuremberg dolls’-houses. It wore, the whole settlement, as seen from without, the strangest air of active, operative death; as if the state of extinction were somehow, obscurely, administered and applied—the final hush of passions, desires, dangers, converted into a sort of huge stiff brush for sweeping away rubbish, or still more, perhaps, into a monstrous comb for raking in profit. The whole thing had the oddest appearance of mortification made to “pay.” This was really, however, sounding the heart of New England beyond its depth, for I am not sure that the New York boundary had not been, just there, overpassed;there flowered out of that impression, at any rate, another adventure, the very bravest possible for a shortened day, of which the motive, whether formulated or not, had doubtless virtually been to feel, with a far-stretched arm, for the heart of New York.HadNew York, the miscellaneous monster, a heart at all?—this inquiry, amid so much encouraged and rewarded curiosity, might have been well on the way to become sincere, and we kept groping, between a prompt start and an extremely retarded return, for any stray sign of an answer.
The answer, perhaps, in the event, still eluded us, but the pursuit itself, away across State lines, through zones of other manners, through images of other ideals, through densities of other values, into a separate sovereign civilization in short—this, with “a view of the autumnal Hudson” for an added incentive, became, in all the conditions, one of the finer flowers of experience. To be on the lookout for differences was, not unnaturally, to begin to meet them just over the border and see them increase and multiply; was, indeed, with a mild consistency, to feel it steal over us that we were, as we advanced, in a looser, shabbier, perhaps even rowdier world, where the roads were of an easier virtue and the “farms” of a scantier pride, where the absence of the ubiquitous sign-post of New England, joy of lonely corners, left the great spaces with an accent the less; where, in fine, the wayside bravery of the commonwealth of Massachusetts settled itself, for memory, all serenely, to suffer by no comparison whatever. And yet it wasn’t, either, that this other was not also a big, bold country, with ridge upon ridge and horizon by horizon to deal with, insistently, pantingly, puffingly, pausingly, before the great river showed signs of taking up the tale with its higher hand; it wasn’t, above all, that the most striking signs by which the nearness of the river was first announced, three or four fine old houses overlookingthe long road, reputedly Dutch manors, seats of patriarchs and patroons, and unmistakably rich “values” in the vast, vague scene, had not a nobler archaic note than even the best of the New England colonial; it wasn’t that, finally, the Hudson, when we reached the town that repeats in so minor a key the name of the stream, was not autumnal indeed, with majestic impenetrable mists that veiled the waters almost from sight, showing only the dim Catskills, off in space, as perfunctory graces, cheaply thrown in, and leaving us to roam the length of a large straight street which was, yes, decidedly, for comparison, for curiosity, not as the streets of Massachusetts.
The best here, to speak of, was that the motor underwent repair and that its occupants foraged for dinner—finding it indeed excellently at a quiet cook-shop, about the middle of the long-drawn way, after we had encountered coldness at the door of the main hotel by reason of our French poodle. This personage had made our group, admirably composed to our own sense as it was, only the more illustrious; but minds indifferent to an opportunity of intercourse, if but the intercourse of mere vision, with fine French poodles, may be taken always as suffering where they have sinned. The hospitality of the cook-shop was meanwhile touchingly, winningly unconditioned, yet full of character, of local, of national truth, as we liked to think: documentary, in a high degree—we talked it over—for American life. Wasn’t it interesting that with American life so personally, so freely affirmed, the superstition of cookery should yet be so little denied? It was the queer old complexion of the long straight street, however, that most came home to me: Hudson, in the afternoon quiet, seemed to stretch back, with fumbling friendly hand, to the earliest outlook of my consciousness. Many matters had come and gone, innumerable impressions had supervened; yet here, in the stir of the senses, a whole range of small forgottenthings revived, things intensely Hudsonian, more than Hudsonian; small echoes and tones and sleeping lights, small sights and sounds and smells that made one, for an hour,assmall—carried one up the rest of the river, the very river of life indeed, as a thrilled, roundabouted pilgrim, by primitive steamboat, to a mellow, mediæval Albany.
It is a convenience to be free to confess that the play of perception during those first weeks was quickened, in the oddest way, by the wonderment (which was partly also the amusement) of my finding how many corners of the general, of the local, picture had anciently never been unveiled for me at all, and how many unveiled too briefly and too scantly, with quite insufficient bravery of gesture. That might make one ask by what strange law one had lived in the other time, with gaps, to that number, in one’s experience, in one’s consciousness, with so many muffled spots in one’s general vibration—and the answer indeed to such a question might carry with it an infinite penetration of retrospect, a penetration productive of ghostly echoes as sharp sometimes as aches or pangs. So many had been the easy things, the contiguous places, the conspicuous objects, to right or to left of the path, that had been either unaccountably or all too inevitably left undiscovered, and which were to live on, to the inner vision, through the long years, as mere blank faces, round, empty, metallic, senseless disks dangling from familiar and reiterated names. Why, at the same time, one might ask, had the consciousness of irritation from these vain forms not grown greater? why had the inconvenience, or the disgrace, of early privation become an accepted memory? All, doubtless, in the very interest, precisely, of this eventual belated romance, and so thatadventures, even of minor type, so preposterously postponed should be able to deck themselves at last with a kind of accumulation of freshness.
So the freshness, all the autumn, kept breaking through the staleness—when the staleness, so agreeably flavoured with hospitality, and indeed with new ingredients, was a felt element at all. There was after all no moment perhaps at which one element stood out so very sharply from the other—the hundred emendations and retouches of the old picture, its greater depth of tone, greater show of detail, greater size and scale, tending by themselves to confound and mislead, in a manner, the lights and shades of remembrance. Very promptly, in the Boston neighbourhoods, the work of time loomed large, and the difference made by it, as one might say, for the general richness. The richness might have its poverties still and the larger complexity its crudities; but, all the same, to look back was to seem to have been present at an extraordinary general process, that of the rapid, that of the ceaseless relegation of theprevious(on the part of the whole visible order) to one of the wan categories of misery. What was taking place was a perpetual repudiation of the past, so far as there had been a past to repudiate, so far as the past was a positive rather than a negative quantity. There had been plenty in it, assuredly, of the negative, and that was but a shabbiness to disown or a deception to expose; yet there had been an old conscious commemorated life too, and it was this that had become the victim of supersession. The pathos, so to call it, of the impression was somehow that it didn’t, the earlier, simpler condition, still resist or protest, or at all expressively flush through; it was consenting to become a past with all the fine candour with which it had tried to affirm itself, in its day, as a present—and very much, for that matter, as with a due ironic forecast of the fate in store for the hungry, triumphant actual.
This savours perhaps of distorted reflection, but there was really a light over it in which the whole spectacle was to shine.The will to growwas everywhere written large, and to grow at no matter what or whose expense. I had naturally seen it before, I had seen it, on the other side of the world, in a thousand places and forms, a thousand hits and misses: these things are the very screeches of the pipe to which humanity is actually dancing. But here, clearly, it was a question of scale and space and chance, margin and elbow-room, the quantity of floor and loudness of the dance-music; a question of the ambient air, above all, the permitting medium, which had at once, for the visitor’s personal inhalation, a dry taste in the mouth. Thin and clear and colourless, what would it ever say “no” to? or what would it ever paint thick, indeed, with sympathy and sanction? With so little, accordingly, within the great frame of the picture, to prevent or to prescribe, it was as if anything might be done there that any sufficient number of subscribers to any sufficient number of sufficiently noisy newspapers might want. That, moreover, was but another name for the largest and straightest perception the restless analyst had yet risen to—the perception that awaits the returning absentee from this great country, on the wharf of disembarkation, with an embodied intensity that no superficial confusion, no extremity of chaos any more than any brief mercy of accident, avails to mitigate. The waiting observer need be little enough of an analyst, in truth, to arrive at that consciousness, for the phenomenon is vivid in direct proportion as the ship draws near. The great presence that bristles for him on the sounding dock, and that shakes the planks, the loose boards of its theatric stage to an inordinate unprecedented rumble, is the monstrous form of Democracy, which is thereafter to project its shifting angular shadow, at one time and another, acrossevery inch of the field of his vision. It is the huge democratic broom that has made the clearance and that one seems to see brandished in the empty sky.
That is of course on one side no great discovery, for what does even the simplest soul ever sail westward for, at this time of day, if not to profit, so far as possible, by “the working of democratic institutions”? The political, the civic, the economic view of them is a study that may be followed, more or less, at a distance; but the way in which they determine and qualify manners, feelings, communications, modes of contact and conceptions of life—this is a revelation that has its full force and its lively interest only on the spot, where, when once caught, it becomes the only clue worth mentioning in the labyrinth. The condition, notoriously, represents an immense boon, but what does the enjoyment of the boon represent? The clue is never out of your hands, whatever other objects, extremely disconnected from it, may appear at the moment to fill them. The democratic consistency, consummately and immitigably complete, shines through with its hard light, whatever equivocal gloss may happen momentarily to prevail. You may talk of other things, and you do, as much as possible; but you are really thinking of that one, which has everything else at its mercy. What indeed is this circumstance that the condition is thus magnified but the commanding value of the picture, its message and challenge to intelligent curiosity? Curiosity is fairly fascinated by the sense of the immensity of the chance, and by the sense that the whole of the chance has been taken. It is rarely given to us to see a great game played as to the very end—and that was where, with his impression of nothing to prevent, of nothing, anywhere around him, to prevent anything, the ancient contemplative person, floating serenely in his medium, had yet occasionally to gasp before the assault of the quantity of illustration.The illustration might be, enormously, of something deficient, absent—in which case it was for the aching void to be (as an aching void) striking and interesting. As an explication or an implication the democratic intensity could always figure.
There was little need, for that matter, to drag it into the foreground on the evening of my renewed introduction to the particular Boston neighbourhood—the only one of them all—with which I had been formerly somewhat acquainted. I had alighted in New York but three days before, and my senses were all so full of it that as I look back I can again feel it, under the immediate Cambridge impression, assert itself by turning quite to insidious softness, to confused and surprised recognition. I had driven out from Boston through the warm September night and through a town-picture as of extraordinary virtuous vacancy (without so much as the figure of a policeman in sight from the South Station to the region of Harvard Square), and I remember how the odorous hour—charged with the old distinctively American earth-smell, which in the darkness fairly poetized the suburbs, and with the queer, far, wild throb of shrilling insects—prescribed to me the exact form of the response to the question as to one’s sense of a “great change” already so often sounded. “A great change? No change at all. Where then would the ‘intensity’ be? Butchanges—ever so many and so amusing and so agreeable. The intensity is compatible withthem—nothing, clearly, is going to be so interesting as to make out, with plenty of good-will, how compatible!” There was unmistakably everywhere a more embroidered surface—the new free figures played over the canvas; so thatat this rate, in the time to come, how far might the embroidery not go, what silk and gold mightn’t it weave into the pattern? It wasn’t of course a question of rhapsodizing—Cambridge was Cambridge still, and all faithful to its type; but the rustle of the trees in the summer night had a larger tone, the more frequent lamplight slept on ampler walls, the body of impression was greater and the University, above all, seemed in more confident possession. It massed there in multiplied forms, with new and strange architectures looming through the dark; it appeared to have wandered wide and to be stretching forth, in many directions, long, acquisitive arms.
This vision, for the moment, of a great dim, clustered but restlessly expansive Harvard, hushed to vacation stillness as to a deep ambitious dream, was, for the impressible story-seeker, practically the germ of the most engaging of the generalized images of reassurance, the furniture, so to speak, of theotherscale, that the extension of his view was to cause him to cultivate. Reassurance is required, before the spectacle of American manners at large, whenever one most acutely perceives how little honour they tend to heap on the art of discrimination, and it is at such hours that, turning in his frequent stupefaction, the restless analyst reaches out for support to the nearest faint ghost of a constituted Faculty. It takes no exceptional exposure to the promiscuous life to show almost any institution pretending to university form as stamped here with the character and function of the life-saving monasteries of the dark ages. They glow, the humblest of them, to the imagination—the imagination that fixes the surrounding scene as a huge Rappacini-garden, rank with each variety of the poison-plant of the money-passion—they glow with all the vividness of the defined alternative, the possible antidote, and seem to call on us to blow upon the flame till it is madeinextinguishable. So little time had it taken, at any rate, to suggest to me that a new and higher price, in American conditions, is attaching to the cloister, literally—the place inaccessible (to put it most pertinently) to the shout of the newspaper, the place to perambulate, the place to think, apart from the crowd. Doubtless indeed I was not all aware of it at the time, but the image I touch upon in connection with those first moments was to remain with me, the figure of the rich old Harvard organism brooding, exactly, through the long vacation, brooding through the summer night, on discriminations, on insistences, on sublime and exquisite heresies to come.
After that arrived daylight recognitions, but they were really for the most part offered me, as in a full cup, by the accident of a couple of hours that were to leave me the pure essence, the finer sense of them. These were a matter of a fortnight later, as I had had immediately to make an absence, and the waning September afternoon of the second occasion took on a particular quality for this deferred surrender of a dozen stored secrets. “Secrets” I call them because the total impression was of the production of some handful of odds and ends that had lurked, for long, in a locked drawer, and which, being brought out, might promote, by their blinking consciousness, either derision or respect. They excited, as befell, an extraordinary tenderness—on which conclusion it was fortunate to be able afterwards to rest. I wandered, for the day’s end, with a young modern for whom the past had not been and who was admirably unconscious of the haunting moral of the whole mutation—the tune to which the pampered present made the other time look comparatively grim. Each item of the pampered state contributed to this effect—the finermise en scène, the multiplied resources, halls, faculties, museums, undergraduate and postgraduate habitations (these lastof so large a luxury); the pompous little club-houses, visited, all vacant, in the serious tell-tale twilight that seemed to give them, intellectually, “away”; the beautiful new Union, with its great grave noble hall, of which there would be so much more to be said; and above all, doubtless, the later majesties of the Law School, in the near presence of which the tiny old disinherited seat of that subject, outfaced and bedimmed, seemed unable to make even a futile plea for quaintness. I went into the new Law Library, immense and supreme—in the shadow of which I caught myself sniffing the very dust, prehistoric but still pungent, of the old. I saw in the distance a distinguished friend, all alone, belatedly working there, but to go to him I should have had to cross the bridge that spans the gulf of time, and, with a suspicion of weak places, I was nervous about its bearing me.
What such delicacies came to, then and afterwards, for the whole impression, was the instinct not to press, not to push on, till forced, through any half-open door of the real. The real was there, certainly enough, outside and all round, but there was standing-ground, more immediately, for a brief idyll, and one would walk in the idyll, if only from hour to hour, while one could. This could but mean that one would cultivate the idyllic, for the social, for the pictorial illusion, by every invoking and caressing art; and in fact, as a consequence, the reflection of our observer’s experience for the next few weeks—that is so long as the spell of the autumn lasted—would be but the history of his more or less ingenious arts. With the breaking of the autumn, later on, everything broke, everything went—everything was transposed at least into another key. But for the time so much had been gained—the happy trick had been played.