The Ambassadors Henry James (novel24 txt) 📖

well know⁠—since if we don’t it’s not the fault of the proofs that lie scattered about us⁠—is in the use of ficelles; by which I mean in a deep dissimulation of his dependence on them. Waymarsh only to a slighter degree belongs, in the whole business, less to my subject than to my treatment of it; the interesting proof, in these connections, being that one has but to take one’s subject for the stuff of drama to interweave with enthusiasm as many Gostreys as need be.

The material of The Ambassadors, conforming in this respect exactly to that of The Wings of the Dove, published just before it, is taken absolutely for the stuff of drama; so that, availing myself of the opportunity given me by this edition for some prefatory remarks on the latter work, I had mainly to make on its behalf the point of its scenic consistency. It disguises that virtue, in the oddest way in the world, by just looking, as we turn its pages, as little scenic as possible; but it sharply divides itself, just as the composition before us does, into the parts that prepare, that tend in fact to over-prepare, for scenes, and the parts, or otherwise into the scenes, that justify and crown the preparation. It may definitely be said, I think, that everything in it that is not scene (not, I of course mean, complete and functional scene, treating all the submitted matter, as by logical start, logical turn, and logical finish) is discriminated preparation, is the fusion and synthesis of picture. These alternations propose themselves all recogniseably, I think, from an early stage, as the very form and figure of The Ambassadors; so that, to repeat, such an agent as Miss Gostrey pre-engaged at a high salary, but waits in the draughty wing with her shawl and her smelling-salts. Her function speaks at once for itself, and by the time she has dined with Strether in London and gone to a play with him her intervention as a ficelle is, I hold, expertly justified. Thanks to it we have treated scenically, and scenically alone, the whole lumpish question of Strether’s “past,” which has seen us more happily on the way than anything else could have done; we have strained to a high lucidity and vivacity (or at least we hope we have) certain indispensable facts; we have seen our two or three immediate friends all conveniently and profitably in “action”; to say nothing of our beginning to descry others, of a remoter intensity, getting into motion, even if a bit vaguely as yet, for our further enrichment. Let my first point be here that the scene in question, that in which the whole situation at Woollett and the complex forces that have propelled my hero to where this lively extractor of his value and distiller of his essence awaits him, is normal and entire, is really an excellent standard scene; copious, comprehensive, and accordingly never short, but with its office as definite as that of the hammer on the gong of the clock, the office of expressing all that is in the hour.

The ficelle character of the subordinate party is as artfully dissimulated, throughout, as may be, and to that extent that, with the seams or joints of Maria Gostrey’s ostensible connectedness taken particular care of, duly smoothed over, that is, and anxiously kept from showing as “pieced on,” this figure doubtless achieves, after a fashion, something of the dignity of a prime idea: which circumstance but shows us afresh how many quite incalculable but none the less clear sources of enjoyment for the infatuated artist, how many copious springs of our never-to-be-slighted “fun” for the reader and critic susceptible of contagion, may sound their incidental plash as soon as an artistic process begins to enjoy free development. Exquisite⁠—in illustration of this⁠—the mere interest and amusement of such at once “creative” and critical questions as how and where and why to make Miss Gostrey’s false connection carry itself, under a due high polish, as a real one. Nowhere is it more of an artful expedient for mere consistency of form, to mention a case, than in the last “scene” of the book, where its function is to give or to add nothing whatever, but only to express as vividly as possible certain things quite other than itself and that are of the already fixed and appointed measure. Since, however, all art is expression, and is thereby vividness, one was to find the door open here to any amount of delightful dissimulation. These verily are the refinements and ecstasies of method⁠—amid which, or certainly under the influence of any exhilarated demonstration of which, one must keep one’s head and not lose one’s way. To cultivate an adequate intelligence for them and to make that sense operative is positively to find a charm in any produced ambiguity of appearance that is not by the same stroke, and all helplessly, an ambiguity of sense. To project imaginatively, for my hero, a relation that has nothing to do with the matter (the matter of my subject) but has everything to do with the manner (the manner of my presentation of the same) and yet to treat it, at close quarters and for fully economic expression’s possible sake, as if it were important and essential⁠—to do that sort of thing and yet muddle nothing may easily become, as one goes, a signally attaching proposition; even though it all remains but part and parcel, I hasten to recognise, of the merely general and related question of expressional curiosity and expressional decency.

I am moved to add after so much insistence on the scenic side of my labour that I have found the steps of re-perusal almost as much waylaid here by quite another style of effort in the same signal interest⁠—or have in other words not failed to note how, even so associated and so discriminated, the finest proprieties