The Many Worlds Of Henry James

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To be a cosmopolite is not, I think, an ideal; the ideal should be to be a concentrated patriot. Being a cosmopolite is an accident, but one must make the best of it. If you have lived about, as the phrase is, you have lost that sense of the absoluteness and the sanctity of the habits of your fellow-patriots which once made you so happy in the midst of them…. There comes a time when one set of customs, wherever it may be found, grows to seem to you about as provincial as another: and then I suppose it may be said of you that you have become a cosmopolite.

—From Portraits of Places (1883)

 

I have not the least hesitation in saying that I aspire to write in such a way that it would be impossible to an outsider to say whether I am at a given moment an American writing about England or an Englishman writing about America (dealing as I do with both countries.) and far from being ashamed of such an ambiguity I should be exceedingly proud of it, for it ivould be highly civilized.

—Letter to William James (1888)

 

It is difficult to speak adequately or justly of London. It is not a pleasant place; it is not agreeable, or cheerful, or easy, or exempt from reproach. It is only magnificent. You can draw up a tremendous list of reasons why it should be insupportable. The fogs, the smoke, the dirt, the darkness, the wet, the distances, the ugliness, the brutal size of the place, the horrible numerosity of society, the manner in which this senseless bigness is fatal to amenity, to convenience, to conversation, to good manners—all this and much more you may expatiate upon. You may call it dreary, heavy, stupid, dull, inhuman, vulgar at heart, and tiresome in form. I have felt these things at times so strongly that I have said—“Ah London, you too are impossible?” But these are occasional moods; and for one who takes it as I take it, London is on the whole the most possible form of life. I take it … as one who has the passion of observation and whose business is the study of human life. It is the biggest aggregation of human life—the most complete compendium of the world.

—Personal journal (1881)

 

The brightness always seems to begin while you are still out in the channel, when you fairly begin to see the French coast. You pass into a region of intenser light—a zone of clearness and color. These properties brighten and deepen as you approach the land, and when you fairly stand upon that good Boulognese quay, among the blue and red douaniers and soldiers, the small ugly men in cerulean blouses, the charming fishwives, with their folded kerchiefs and their crisp cap-frills, their short striped petticoats, their tightly-drawn stockings, and their little clicking sabots—when you look about you at the smokeless air, at the pink and yellow houses, at the white-fronted café, close at hand, with its bright blue letters, its mirrors and marble-topped tables, its white-aproned, alert, undignified waiter, grasping a huge coffee-pot by a long handle—when you perceive all these things you feel the additional savor that foreignness gives to the picturesque; or feel rather, I should say, that simple foreignness may itself make the picturesque ….

—From Portraits of Places (1883)

 

In the garden of the Tuileries [Lambert Strether] had lingered, on two or three spots, to look; it was as if the wonderful Paris spring had stayed him as he roamed. The prompt Paris morning struck its cheerful notes—in a soft breeze and a sprinkled smell, in the light flit, over the garden-floor, of bareheaded girls with the buckled strap of oblong boxes, in the type of ancient thrifty persons basking betimes where terrace-walls were warm, in the blue-crocked, brass-labelled officialism of humble rakers and scrapers, in the deep references of a straight-pacing priest or the sharp ones of a white-gaitered, red-legged soldier. He watched little brisk figures, figures whose movement was as the tick of the great Paris clock, take their smooth diagonal from point to point; the air had a taste as of something mixed with art, something that presented nature as a white-capped master-chef.

—From The Ambassadors (1903)