INTRODUCTION
WHEN Henry James wrote the reminiscences of his youth he shewed conclusively, what indeed could be doubtful to none who knew him, that it would be impossible for anyone else to write his life. His life was no mere succession of facts, such as could be compiled and recorded by another hand; it was a densely knit cluster of emotions and memories, each one steeped in lights and colours thrown out by the rest, the whole making up a picture that no one but himself could dream of undertaking to paint. Strictly speaking this may be true of every human being; but in most lives experience is taken as it comes and left to rest in the memory where it happens to fall. Henry James never took anything as it came; the thing that happened to him was merely the point of departure for a deliberate, and as time went on a more and more masterly, creative energy, which could never leave a sight or sound of any kind until it had been looked at and listened to with absorbed attention, pondered in thought, linked with its associations, and which did not spend itself until the remembrance had been crystallised in expression, so that it could then be appropriated like a tangible object. To recall his habit of talk is to become aware that he never ceased creating his life in this way as it was lived; he was always engaged in the poetic fashioning of experience, turning his share of impressions into rounded and lasting images. From the beginning this had been his only method of dealing with existence, and in later years it even meant a tax upon his strength with which he had consciously to reckon. Not long before his death he confessed that at last he found himself too much exhausted for the 'wear and tear of discrimination'; and the phrase indicates the strain upon him of the mere act of living. Looked at from without his life was uneventful enough, the even career of a man of letters, singularly fortunate in all his circumstances. Within, it was a cycle of vivid and incessant adventure, known only to himself except in so far as he himself put it into words. So much of it as he left unexpressed is lost, therefore, like a novel that he might have written, but of which there can now be no question, since its only possible writer is gone.
Fortunately a great part of it survives in his letters, and it is of these that his biography must be composed. The material is plentiful, for he was at all times a copious letter-writer, overflowing into swift and easy improvisation to his family and to the many friends with whom he corresponded regularly. His letters have been widely preserved, and several thousands of them have passed through my hands, ranging from his twenty-fifth year until within a few days of his last illness. They give as complete a portrait of him as we can now hope to possess. His was a nature in which simplicity and complexity were very curiously contrasted, and it would need all his own power of fusing innumerable details into coherency to create a picture that would seem sufficient to those who knew him. Yet even his letters, varied as they are, give full expression to one side of his life only, the side that he shewed to the world he lived in and loved. After all the prodigal display of mind that is given in these volumes, the free outpouring of curiosity and sympathy and power, a close reader must still be left with the sense that something, the most essential and revealing strain, is little more than suggested here and there. The daily drama of his work, with all the comfort and joy it brought him, does not very often appear as more than an undertone to the conversation of the letters. It was like a mystery to which he was dedicated, but of which he shrank from speaking quite openly. Much as he always delighted in sociable communion, citizen of the world, child of urbanity as he was, all his friends must have felt that at heart he lived in solitude and that few were ever admitted into the inner shrine of his labour. There it was nevertheless that he lived most intensely and most serenely. In outward matters he was constantly haunted by anxiety and never looked forward with confidence; he was of those to whom the future is always ominous, who dread the treachery of apparent calm even more than actual ill weather. It was very different in the presence of his work. There he never knew the least failure of assurance; he threw his full weight on the belief that supported him and it was never shaken.
That belief was in the sanctity and sufficiency of the life of art. It was a conviction that needed no reasoning, and he accepted it without question. It was absolute for him that the work of the imagination was the highest and most honourable calling conceivable, being indeed nothing less than the actual creation of life out of the void. He did not scruple to claim that except through art there is no life that can be known or appraised. It is the artist who takes over the deed, so called, from the doer, to give it back again in the form in which it can be seen and measured for the first time; without the brain that is able to close round the loose unappropriated fact and render all its aspects, the fact itself does not exist for us. This was the standard below which Henry James would never allow the conception of his office to drop, and he had the reward of complete exemption from any chill of misgiving. His life as a creator of art, alone with his work, was one of unclouded happiness. It might be hampered and hindered by external accidents, but none of them could touch the real core of his security, which was his faith in his vocation and his knowledge of his genius. These certainties remained with him always, and he would never trifle with them in any mood. His impatience with argument on the whole aesthetic claim was equally great, whether it was argument in defence of the sanctuary or in profanation of it. Silence, seclusion, concentration, he held to be the only fitting answer for an artist. He disliked the idea that the service of art should be questioned and debated in the open, still more to see it organised and paraded and publicly celebrated, as though the world could do it any acceptable honour. He had as little in common with those who would use the artistic profession to persuade and proselytise as with those who would brandish it defiantly in the face of the vulgar.
Thus it is that he is seldom to be heard giving voice to the matters which most deeply occupied him. He preferred to dwell with them apart and to leave them behind when he emerged. Sometimes he would drop a word that shewed what was passing beneath; sometimes, on a particular challenge, or to one in whom he felt an understanding sympathy, he would speak out with impressive authority. But generally he liked to enter into other people's thought and to meet them on their own ground. There his natural kindliness and his keen dramatic interest were both satisfied at once. He enjoyed friendship, his letters shew how freely and expansively; and with his steady and vigilant eye he watched the play of character. He was insatiable for anything that others could give him from their personal lives. Whatever he could seize in this way was food for his own ruminating fancy; he welcomed any grain of reality, any speck of significance round which his imagination could pile its rings. It was very noticeable how promptly and eagerly he would reach out to such things, as they floated by in talk; it was as though he feared to leave them to inexpert hands and felt that other people could hardly be trusted with their own experience. He remembered how much of his time he had spent in exploring their consciousness when he spoke of himself as a confirmed spectator, one who looked on from the brink instead of plunging on his own account; but if this seemed a pale substitute for direct contact he knew very well that it was a much richer and more adventurous life, really, than it is given to most people to lead. There is no life to the man who does not feel it, no adventure to the man who cannot see the whole of it; the greatest share goes to the man who can taste it most fully, however it reaches him. Henry James might sometimes look back, as he certainly did, with a touch of ruefulness in reflecting on all the experience he had only enjoyed at second hand; but he could never doubt that what he had he possessed much more truly than any of those from whom he had taken it. There was no hour in which he was not alive with the whole of his sensibility; he could scarcely persuade himself that he might have had time for more. And indeed at other moments he would admit that he had lived in the way that was at any rate the right way for him. Even his very twinges of regret were not wasted; like everything else they helped to swell the sum of life, as they did to such purpose for Strether, the 'poor sensitive gentleman' of The Ambassadors, whose manner of living was very near his creator's.
These letters, then, while they shew at every point the abundant life he led in his surroundings, have to be read with the remembrance that the central fact of all, the fact that gave everything else its meaning to himself, is that of which least is told. The gap, moreover, cannot be filled from other sources; he seems to have taken pains to leave nothing behind him that should reveal this privacy. He put forth his finished work to speak for itself and swept away all the traces of its origin. There was a high pride in his complete lack of tenderness towards the evidence of past labour—the notes, manuscripts, memoranda that a man of letters usually accumulates and that shew