# The American (New York: Charles Scribner's Sons, 1907)/Preface

PREFACE
"The American," which I had begun in Paris early in the winter of 1875-76, made its first appearance in "The Atlantic Monthly" in June of the latter year and continued there, from month to month, till May of the next. It started on its course while much was still unwritten, and there again come back to me, with this remembrance, the frequent hauntings and alarms of that comparatively early time; the habit of wondering what would happen if anything should "happen," if one should break one's arm by an accident or make a long illness or suffer, in body, mind, fortune, any other visitation involving a loss of time. The habit of apprehension became of course in some degree the habit of confidence that one would pull through, that, with opportunity enough, grave interruption never yet had descended, and that a special Providence, in short, despite the sad warning of Thackeray's "Denis Duval" and of Mrs. Gaskell's "Wives and Daughters" (that of Stevenson's "Weir of Hermiston" was yet to come) watches over anxious novelists condemned to the economy of serialisation. I make myself out in memory as having at least for many months and in many places given my Providence much to do: so great a variety of scenes of labour, implying all so much renewal of application, glimmer out of the book as I now read it over. And yet as the faded interest of the whole episode becomes again mildly vivid what I seem most to recover is, in its pale spectrality, a degree of joy, an eagerness on behalf of my recital, that must recklessly enough have overridden anxieties of every sort, including any view of inherent difficulties.
I seem to recall no other like connexion in which the case was met, to my measure, by so fond a complacency, in which my subject can have appeared so apt to take care ​of itself. I see now that I might all the while have taken much better care of it; yet, as I had at the time no sense of neglecting it, neither acute nor rueful solicitude, I can but speculate all vainly to-day on the oddity of my composure. I ask myself indeed if, possibly, recognising after I was launched the danger of an inordinate leak—since the ship has truly a hole in its side more than sufficient to have sunk it—I may not have managed, as a counsel of mere despair, to stop my ears against the noise of waters and pretend to myself I was afloat; being indubitably, in any case, at sea, with no harbour of refuge till the end of my serial voyage. If I succeeded at all in that emulation (in another sphere) of the pursued ostrich I must have succeeded altogether; must have buried my head in the sand and there found beatitude. The explanation of my enjoyment of it, no doubt, is that I was more than commonly enamoured of my idea, and that I believed it, so trusted, so imaginatively fostered, not less capable of limping to its goal on three feet than on one. The lameness might be what it would: I clearly, for myself, felt the thing go—which is the most a dramatist can ever ask of his drama; and I shall here accordingly indulge myself in speaking first of how, superficially, it did so proceed; explaining then what I mean by its practical dependence on a miracle.
It had come to me, this happy, halting view of an interesting case, abruptly enough, some years before: I recall sharply the felicity of the first glimpse, though I forget the accident of thought that produced it. I recall that I was seated in an American "horse-car" when I found myself, of a sudden, considering with enthusiasm, as the theme of a "story," the situation, in another country and an aristocratic society, of some robust but insidiously beguiled and betrayed, some cruelly wronged, compatriot: the point being in especial that he should suffer at the hands of persons pretending to represent the highest possible civilisation and to be of an order in every way superior to his own. What would he "do" in that predicament, how would he right himself, or how, failing a remedy, would he conduct ​self under his wrong? This would be the question involved, and I remember well how, having entered the horse-car without a dream of it, I was presently to leave that vehicle in full possession of my answer. He would behave in the most interesting manner—it would all depend on that: stricken, smarting, sore, he would arrive at his just vindication and then would fail of all triumphantly and all vulgarly enjoying it. He would hold his revenge and cherish it and feel its sweetness, and then in the very act of forcing it home would sacrifice it in disgust. He would let them go, in short, his haughty contemners, even while feeling them, with joy, in his power, and he would obey, in so doing, one of the large and easy impulses generally characteristic of his type. He wouldn't "forgive"—that would have, in the case, no application; he would simply turn, at the supreme moment, away, the bitterness of his personal loss yielding to the very force of his aversion. All he would have at the end would be therefore just the moral convenience, indeed the moral necessity, of his practical, but quite unappreciated, magnanimity; and one's last view of him would be that of a strong man indifferent to his strength and too wrapped in fine, too wrapped above all in other and intenser, reflexions for the assertion of his "rights." This last point was of the essence and constituted in fact the subject: there would be no subject at all, obviously,—or simply the commonest of the common,—if my gentleman should enjoy his advantage. I was charmed with my idea, which would take, however, much working out; and precisely because it had so much to give, I think, must I have dropped it for the time into the deep well of unconscious cerebration: not without the hope, doubtless, that it might eventually emerge from that reservoir, as one had already known the buried treasure to come to light, with a firm iridescent surface and a notable increase of weight.
This resurrection then took place in Paris, where I was at the moment living, and in December 1875; my good fortune being apparently that Paris had ever so promptly offered me, and with an immediate directness at which I now ​marvel (since I had come back there, after earlier visitations, but a few weeks before), everything that was needed to make my conception concrete. I seem again at this distant day to see it become so quickly and easily, quite as if filling itself with life in that air. The objectivity it had wanted it promptly put on, and if the questions had been, with the usual intensity, for my hero and his crisis—the whole formidable list, the who? the what? the where? the when? the why? the how?—they gathered their answers in the cold shadow of the Arc de Triomphe, for fine reasons, very much as if they had been plucking spring flowers for the weaving of a frolic garland. I saw from one day to another my particular cluster of circumstances, with the life of the splendid city playing up in it like a flashing fountain in a marble basin. The very splendour seemed somehow to witness and intervene; it was important for the effect of my friend's discomfiture that it should take place on a high and lighted stage, and that his original ambition, the project exposing him, should have sprung from beautiful and noble suggestions—those that, at certain hours and under certain impressions, we feel the many-tinted medium by the Seine irresistibly to communicate. It was all charmingly simple, this conception, and the current must have gushed, full and clear, to my imagination, from the moment Christopher Newman rose before me, on a perfect day of the divine Paris spring, in the great gilded Salon Carré of the Louvre. Under this strong contagion of the place he would, by the happiest of hazards, meet his old comrade, now initiated and domiciled; after which the rest would go of itself. If he was to be wronged he would be wronged with just that conspicuity, with his felicity at just that pitch and with the highest aggravation of the general effect of misery mocked at. Great and gilded the whole trap set, in fine, for his wary freshness and into which it would blunder upon its fate. I have, I confess, no memory of a disturbing doubt; once the man himself was imaged to me (and that germination is a process almost always untraceable) he must have walked into the situation as by taking a pass-key from his pocket.
​But what then meanwhile would be the affront one would see him as most feeling? The affront of course done him as a lover; and yet not that done by his mistress herself, since injuries of this order are the stalest stuff of romance. I was not to have him jilted, any more than I was to have him successfully vindictive: both his wrong and his right would have been in these cases of too vulgar a type. I doubtless even then felt that the conception of Paris as the consecrated scene of rash infatuations and bold bad treacheries belongs, in the Anglo-Saxon imagination, to the infancy of art. The right renovation of any such theme as that would place it in Boston or at Cleveland, at Hartford or at Utica—give it some local connexion in which we had not already had so much of it. No, I should make my heroine herself, if heroine there was to be, an equal victim—just as Romeo was not less the sport of fate for not having been interestedly sacrificed by Juliet; and to this end I had but, to imagine "great people" again, imagine my hero confronted and involved with them, and impute to them, with a fine free hand, the arrogance and cruelty, the tortuous behaviour, in given conditions, of which great people have been historically so often capable. But as this was the light in which they were to show, so the essence of the matter would be that he should at the right moment find them in his power, and so the situation would reach its highest interest with the question of his utilisation of that knowledge. It would be here, in the possession and application of his power, that he would come out strong and would so deeply appeal to our sympathy. Here above all, it really was, however, that my conception unfurled, with the best conscience in the world, the emblazoned flag of romance; which venerable ensign it had, though quite unwittingly, from the first and at every point sported in perfect good faith. I had been plotting arch-romance without knowing it, just as I began to write it that December day without recognising it and just as I all serenely and blissfully pursued the process from month to month and from place to place; just as I now, in short, reading the book ​over, find it yields me no interest and no reward comparable to the fond perception of this truth.
The thing is consistently, consummately—and I would fain really make bold to say charmingly—romantic; and all without intention, presumption, hesitation, contrition. The effect is equally undesigned and unabashed, and I lose myself, at this late hour, I am bound to add, in a certain sad envy of the free play of so much unchallenged instinct. One would like to woo back such hours of fine precipitation. They represent to the critical sense which the exercise of one's whole faculty has, with time, so inevitably and so thoroughly waked up, the happiest season of surrender to the invoked muse and the projected fable: the season of images so free and confident and ready that they brush questions aside and disport themselves, like the artless schoolboys of Gray's beautiful Ode, in all the ecstasy of the ignorance attending them. The time doubtless comes soon enough when questions, as I call them, rule the roost and when the little victim, to adjust Gray's term again to the creature of frolic fancy, does n't dare propose a gambol till they have all (like a board of trustees discussing a new outlay) sat on the possibly scandalous case. I somehow feel, accordingly, that it was lucky to have sacrificed on this particular altar while one still could; though it is perhaps droll—in a yet higher degree—to have done so not simply because one was guileless, but even quite under the conviction, in a general way, that, since no "rendering" of any object and no painting of any picture can take effect without some form of reference and control, so these guarantees could but reside in a high probity of observation. I must decidedly have supposed, all the while, that I was acutely observing—and with a blest absence of wonder at its being so easy. Let me certainly at present rejoice in that absence; for I ask myself how without it I could have written "The American."
Was it indeed meanwhile my excellent conscience that kept the charm as unbroken as it appears to me, in rich retrospect, to have remained?—or is it that I suffer the mere influence of remembered, of associated places and ​hours, all acute impressions, to palm itself off as the sign of a finer confidence than I could justly claim? It is a pleasure to perceive how again and again the shrunken depths of old work yet permit themselves to be sounded or—even if rather terrible the image—"dragged": the long pole of memory stirs and rummages the bottom, and we fish up such fragments and relics of the submerged life and the extinct consciousness as tempt us to piece them together. My windows looked into the Rue de Luxembourg—since then meagrely renamed Rue Cambon—and the particular light Parisian click of the small cab-horse on the clear asphalt, with its sharpness of detonation between the high houses, makes for the faded page to-day a sort of interlineation of sound. This sound rises to a martial clatter at the moment a troop of cuirassiers charges down the narrow street, each morning, to file, directly opposite my house, through the plain portal of the barracks occupying part of the vast domain attached in a rearward manner to one of the Ministeres that front on the Place Vendôme; an expanse marked, along a considerable stretch of the street, by one of those high painted and administratively-placarded garden walls that form deep, vague, recurrent notes in the organic vastness of the city. I have but to re-read ten lines to recall my daily effort not to waste time in hanging over the window-bar for a sight of the cavalry the hard music of whose hoofs so directly and thrillingly appealed; an effort that inveterately failed—and a trivial circumstance now dignified, to my imagination, I may add, by the fact that the fruits of this weakness, the various items of the vivid picture, so constantly recaptured, must have been in themselves suggestive and inspiring, must have been rich strains, in their way, of the great Paris harmony. I have ever, in general, found it difficult to write of places under too immediate an impression—the impression that prevents standing off and allows neither space nor time for perspective. The image has had for the most part to be dim if the reflexion was to be, as is proper for a reflexion, both sharp and quiet: one has a horror, I think, artistically, of agitated reflexions.
​Perhaps that is why the novel, after all, was to achieve, as it went on, no great—certainly no very direct—transfusion of the immense overhanging presence. It had to save as it could its own life, to keep tight hold of the tenuous silver thread, the one hope for which was that it should n't be tangled or clipped. This earnest grasp of the silver thread was doubtless an easier business in other places—though as I remount the stream of composition I see it faintly coloured again: with the bright protection of the Normandy coast (I worked away a few weeks at Etretat); with the stronger glow of southernmost France, breaking in during a stay at Bayonne; then with the fine historic and other "psychic" substance of Saint-Germain-en-Laye, a purple patch of terraced October before returning to Paris. There comes after that the memory of a last brief intense invocation of the enclosing scene, of the pious effort to unwind my tangle, with a firm hand, in the very light (that light of high, narrowish French windows in old rooms, the light somehow, as one always feels, of "style" itself) that had quickened my original vision. I was to pass over to London that autumn; which was a reason the more for considering the matter—the matter of Newman's final predicament—with due intensity: to let a loose end dangle over into alien air would so fix upon the whole, I strenuously felt, the dishonour of piecemeal composition. Therefore I strove to finish—first in a small dusky hotel of the Rive Gauche, where, though the windows again were high, the days were dim and the crepuscular court, domestic, intimate, "quaint," testified to ancient manners almost as if it had been that of Balzac's Maison Vauquer in "Le Père Goriot": and then once more in the Rue de Luxembourg, where a black-framed Empire portrait-medallion, suspended in the centre of each white panel of my almost noble old salon, made the coolest, discreetest, most measured decoration, and where, through casements open to the last mildness of the year, a belated Saint Martin's summer, the tale was taken up afresh by the charming light click and clatter, that sound as of the thin, quick, quite feminine ​surface-breathing of Paris, the shortest of rhythms for so huge an organism.
I shall not tell whether I did there bring my book to a close—and indeed I shrink, for myself, from putting the question to the test of memory. I follow it so far, the old urgent ingenious business, and then I lose sight of it: from which I infer—all exact recovery of the matter failing—that I did not in the event drag over the Channel a lengthening chain; which would have been detestable. I reduce to the absurd perhaps, however, by that small subjective issue, any undue measure of the interest of this insistent recovery of what I have called attendant facts. There always has been, for the valid work of art, a history—though mainly inviting, doubtless, but to the curious critic, for whom such things grow up and are formed very much in the manner of attaching young lives and characters, those conspicuous cases of happy development as to which evidence and anecdote are always in order. The development indeed must be certain to have been happy, the life sincere, the character fine: the work of art, to create or repay critical curiosity, must in short have been very "valid" indeed. Yet there is on the other hand no mathematical measure of that importance—it may be a matter of widely-varying appreciation; and I am willing to grant, assuredly, that this interest, in a given relation, will nowhere so effectually kindle as on the artist's own part. And I am afraid that after all even his best excuse for it must remain the highly personal plea—the joy of living over, as a chapter of experience, the particular intellectual adventure. Here lurks an immense homage to the general privilege of the artist, to that constructive, that creative passion—portentous words, but they are convenient—the exercise of which finds so many an occasion for appearing to him the highest of human fortunes, the rarest boon of the gods. He values it, all sublimely and perhaps a little fatuously, for itself as the great extension, great beyond all others, of experience and of consciousness; with the toil and trouble a mere sun-cast shadow that falls, shifts and vanishes, the result ​of his living in so large a light. On the constant nameless felicity of this Robert Louis Stevenson has, in an admirable passage and as in so many other connexions, said the right word: that the partaker of the "life of art" who repines at the absence of the rewards, as they are called, of the pursuit might surely be better occupied. Much rather should he endlessly wonder at his not having to pay half his substance for his luxurious immersion. He enjoys it, so to speak, without a tax; the effort of labour involved, the torment of expression, of which we have heard in our time so much, being after all but the last refinement of his privilege. It may leave him weary and worn; but how, after his fashion, he will have lived! As if one were to expect at once freedom and ease! That silly safety is but the sign of bondage and forfeiture. Who can imagine free selection—which is the beautiful, terrible whole of art—without free difficulty? This is the very franchise of the city and high ambition of the citizen. The vision of the difficulty, as one looks back, bathes one's course in a golden glow by which the very objects along the road are transfigured and glorified; so that one exhibits them to other eyes with an elation possibly presumptuous.
Since I accuse myself at all events of these complacencies I take advantage of them to repeat that I value, in my retrospect, nothing so much as the lively light on the romantic property of my subject that I had not expected to encounter. If in "The American" I invoked the romantic association without malice prepense, yet with a production of the romantic effect that is for myself unmistakeable, the occasion is of the best perhaps for penetrating a little the obscurity of that principle. By what art or mystery, what craft of selection, omission or commission, does a given picture of life appear to us to surround its theme, its figures and images, with the air of romance while another picture close beside it may affect us as steeping the whole matter in the element of reality? It is a question, no doubt, on the painter's part, very much more of perceived effect, effect after the fact, than of conscious design—though indeed I have ever failed ​to see how a coherent picture of anything is producible save by a complex of fine measurements. The cause of the deflexion, in one pronounced sense or the other, must lie deep, however; so that for the most part we recognise the character of our interest only after the particular magic, as I say, has thoroughly operated—and then in truth but if we be a bit critically minded, if we find our pleasure, that is, in these intimate appreciations (for which, as I am well aware, ninety-nine readers in a hundred have no use whatever). The determining condition would at any rate seem so latent that one may well doubt if the full artistic consciousness ever reaches it; leaving the matter thus a case, ever, not of an author's plotting and planning and calculating, but just of his feeling and seeing, of his conceiving, in a word, and of his thereby inevitably expressing himself, under the influence of one value or the other. These values represent different sorts and degrees of the communicable thrill, and I doubt if any novelist, for instance, ever proposed to commit himself to one kind or the other with as little mitigation as we are sometimes able to find for him. The interest is greatest—the interest of his genius, I mean, and of his general wealth—when he commits himself in both directions; not quite at the same time or to the same effect, of course, but by some need of performing his whole possible revolution, by the law of some rich passion in him for extremes.
Of the men of largest responding imagination before the human scene, of Scott, of Balzac, even of the coarse, comprehensive, prodigious Zola, we feel, I think, that the deflexion toward either quarter has never taken place; that neither the nature of the man's faculty nor the nature of his experience has ever quite determined it. His current remains therefore extraordinarily rich and mixed, washing us successively with the warm wave of the near and familiar and the tonic shock, as may be, of the far and strange. (In making which opposition I suggest not that the strange and the far are at all necessarily romantic: they happen to be simply the unknown, which is quite a different matter. The ​real represents to my perception the things we cannot possibly not know, sooner or later, in one way or another; it being but one of the accidents of our hampered state, and one of the incidents of their quantity and number, that particular instances have not yet come our way. The romantic stands, on the other hand, for the things that, with all the facilities in the world, all the wealth and all the courage and all the wit and all the adventure, we never can directly know; the things that can reach us only through the beautiful circuit and subterfuge of our thought and our desire.) There have been, I gather, many definitions of romance, as a matter indispensably of boats, or of caravans, or of tigers, or of "historical characters," or of ghosts, or of forgers, or of detectives, or of beautiful wicked women, or of pistols and knives, but they appear for the most part reducible to the idea of the facing of danger, the acceptance of great risks for the fascination, the very love, of their uncertainty, the joy of success if possible and of battle in any case. This would be a fine formula if it bore examination; but it strikes me as weak and inadequate, as by no means covering the true ground and yet as landing us in strange confusions.
The panting pursuit of danger is the pursuit of life itself, in which danger awaits us possibly at every step and faces us at every turn; so that the dream of an intenser experience easily becomes rather some vision of a sublime security like that enjoyed on the flowery plains of heaven, where we may conceive ourselves proceeding in ecstasy from one prodigious phase and form of it to another. And if it be insisted that the measure of the type is then in the appreciation of danger—the sign of our projection of the real being the smallness of its dangers, and that of our projection of the romantic the hugeness, the mark of the distinction being in short, as they say of collars and gloves and shoes, the size and "number" of the danger—this discrimination again surely fails, since it makes our difference not a difference of kind, which is what we want, but a difference only of degree, and subject by that condition to the indignity of a sliding scale and a shifting measure. There are immense ​and flagrant dangers that are but sordid and squalid ones, as we feel, tainting with their quality the very defiances they provoke; while there are common and covert ones, that "look like nothing" and that can be but inwardly and occultly dealt with, which involve the sharpest hazards to life and honour and the highest instant decisions and intrepidities of action. It is an arbitrary stamp that keeps these latter prosaic and makes the former heroic; and yet I should still less subscribe to a mere "subjective" division—I mean one that would place the difference wholly in the temper of the imperilled agent. It would be impossible to have a more romantic temper than Flaubert's Madame Bovary, and yet nothing less resembles a romance than the record of her adventures. To classify it by that aspect—the definition of the spirit that happens to animate her—is like settling the question (as I have seen it witlessly settled) by the presence or absence of "costume." Where again then does costume begin or end?—save with the "run" of one or another sort of play? We must reserve vague labels for artless mixtures.
The only general attribute of projected romance that I can see, the only one that fits all its cases, is the fact of the kind of experience with which it deals—experience liberated, so to speak; experience disengaged, disembroiled, disencumbered, exempt from the conditions that we usually know to attach to it and, if we wish so to put the matter, drag upon it, and operating in a medium which relieves it, in a particular interest, of the inconvenience of a related, a measurable state, a state subject to all our vulgar communities. The greatest intensity may so be arrived at evidently—when the sacrifice of community, of the "related" sides of situations, has not been too rash. It must to this end not flagrantly betray itself; we must even be kept if possible, for our illusion, from suspecting any sacrifice at all. The balloon of experience is in fact of course tied to the earth, and under that necessity we swing, thanks to a rope of remarkable length, in the more or less commodious car of the imagination; but it is by the rope we know where ​we are, and from the moment that cable is cut we are at large and unrelated: we only swing apart from the globe—though remaining as exhilarated, naturally, as we like, especially when all goes well. The art of the romancer is, "for the fun of it," insidiously to cut the cable, to cut it without our detecting him. What I have recognised then in "The American," much to my surprise and after long years, is that the experience here represented is the disconnected and uncontrolled experience—uncontrolled by our general sense of "the way things happen"—which romance alone more or less successfully palms off on us. It is a case of Newman's own intimate experience all, that being my subject, the thread of which, from beginning to end, is not once exchanged, however momentarily, for any other thread; and the experience of others concerning us, and concerning him, only so far as it touches him and as he recognises, feels or divines it. There is our general sense of the way things happen—it abides with us indefeasibly, as readers of fiction, from the moment we demand that our fiction shall be intelligible; and there is our particular sense of the way they don't happen, which is liable to wake up unless reflexion and criticism, in us, have been skilfully and successfully drugged. There are drugs enough, clearly—it is all a question of applying them with tact; in which case the way things don't happen may be artfully made to pass for the way things do.
Amusing and even touching to me, I profess, at this time of day, the ingenuity (worthy, with whatever lapses, of a better cause) with which, on behalf of Newman's adventure, this hocus-pocus is attempted: the value of the instance not being diminished either, surely, by its having been attempted in such evident good faith. Yes, all is romantic to my actual vision here, and not least so, I hasten to add, the fabulous felicity of my candour. The way things happen is frankly not the way in which they are represented as having happened, in Paris, to my hero: the situation I had conceived only saddled me with that for want of my invention of something better. The great house of ​Bellegarde, in a word, would, I now feel, given the circumstances, given the whole of the ground, have comported itself in a manner as different as possible from the manner to which my narrative commits it; of which truth, moreover, I am by no means sure that, in spite of what I have called my serenity, I had not all the while an uneasy suspicion. I had dug in my path, alas, a hole into which I was destined to fall. I was so possessed of my idea that Newman should be ill-used—which was the essence of my subject—that I attached too scant an importance to its fashion of coming about. Almost any fashion would serve, I appear to have assumed, that would give me my main chance for him; a matter depending not so much on the particular trick played him as on the interesting face presented by him to any damnable trick. So where I part company with terra-firma is in making that projected, that performed outrage so much more showy, dramatically speaking, than sound. Had I patched it up to a greater apparent soundness my own trick, artistically speaking, would have been played; I should have cut the cable without my reader's suspecting it. I doubtless at the time, I repeat, believed I had taken my precautions; but truly they should have been greater, to impart the air of truth to the attitude—that is first to the pomp and circumstance, and second to the queer falsity—of the Bellegardes.
They would positively have jumped then, the Bellegardes, at my rich and easy American, and not have "minded" in the least any drawback—especially as, after all, given the pleasant palette from which I have painted him, there were few drawbacks to mind. My subject imposed on me a group of closely-allied persons animated by immense pretensions—which was all very well, which might be full of the promise of interest: only of interest felt most of all in the light of comedy and of irony. This, better understood, would have dwelt in the idea not in the least of their not finding Newman good enough for their alliance and thence being ready to sacrifice him, but in that of their taking with alacrity everything he could give them, only asking ​for more and more, and then adjusting their pretensions and their pride to it with all the comfort in life. Such accommodation of the theory of a noble indifference to the practice of a deep avidity is the real note of policy in forlorn aristocracies—and I meant of course that the Bellegardes should be virtually forlorn. The perversion of truth is by no means, I think, in the displayed acuteness of their remembrance of "who" and "what" they are, or at any rate take themselves for; since it is the misfortune of all insistence on "worldly" advantages—and the situation of such people bristles at the best (by which I mean under whatever invocation of a superficial simplicity) with emphasis, accent, assumption—to produce at times an effect of grossness. The picture of their tergiversation, at all events, however it may originally have seemed to me to hang together, has taken on this rococo appearance precisely because their preferred course, a thousand times preferred, would have been to haul him and his fortune into their boat under cover of night perhaps, in any case as quietly and with as little bumping and splashing as possible, and there accommodate him with the very safest and most convenient seat. Given Newman, given the fact that the thing constitutes itself organically as his adventure, that too might very well be a situation and a subject: only it would n't have been the theme of "The American" as the book stands, the theme to which I was from so early pledged. Since I had wanted a "wrong" this other turn might even have been arranged to give me that, might even have been arranged to meet my requirement that somebody or something should be "in his power" so delightfully; and with the signal effect, after all, of "defining" everything. (It is as difficult, I said above, to trace the dividing-line between the real and the romantic as to plant a milestone between north and south; but I am not sure an infallible sign of the latter is not this rank vegetation of the "power" of bad people that good get into, or vice versa. It is so rarely, alas, into our power that any one gets!)
It is difficult for me to-day to believe that I had not, as ​my work went on, some shade of the rueful sense of my affront to verisimilitude; yet I catch the memory at least of no great sharpness, no true critical anguish, of remorse: an anomaly the reason of which in fact now glimmers interestingly out. My concern, as I saw it, was to make and to keep Newman consistent; the picture of his consistency was all my undertaking, and the memory of that infatuation perfectly abides with me. He was to be the lighted figure, the others—even doubtless to an excessive degree the woman who is made the agent of his discomfiture—were to be the obscured; by which I should largely get the very effect most to be invoked, that of a generous nature engaged with forces, with difficulties and dangers, that it but half understands. If Newman was attaching enough, I must have argued, his tangle would be sensible enough; for the interest of everything is all that it is his vision, his conception, his interpretation: at the window of his wide, quite sufficiently wide, consciousness we are seated, from that admirable position we "assist." He therefore supremely matters; all the rest matters only as he feels it, treats it, meets it. A beautiful infatuation this, always, I think, the intensity of the creative effort to get into the skin of the creature; the act of personal possession of one being by another at its completest—and with the high enhancement, ever, that it is, by the same stroke, the effort of the artist to preserve for his subject that unity, and for his use of it (in other words for the interest he desires to excite) that effect of a centre, which most economise its value. Its value is most discussable when that economy has most operated; the content and the "importance" of a work of art are in fine wholly dependent on its being one: outside of which all prate of its representative character, its meaning and its bearing, its morality and humanity, are an impudent thing. Strong in that character, which is the condition of its really bearing witness at all, it is strong every way. So much remains true then on behalf of my instinct of multiplying the fine touches by which Newman should live and communicate life; and yet I still ask myself, I ​confess, what I can have made of "life," in my picture, at such a juncture as the interval offered as elapsing between my hero's first accepted state and the nuptial rites that are to crown it. Nothing here is in truth "offered"—everything is evaded, and the effect of this, I recognise, is of the oddest. His relation to Madame de Cintré takes a great stride, but the author appears to view that but as a signal for letting it severely alone.
HENRY JAMES.