The Wings of the Dove - Henry James (classic literature books TXT) 📗

movements regulated, the forms and ambiguities made charming. All of which proceeds, obviously, from her painter’s tenderness of imagination about her, which reduces him to watching her, as it were, through the successive windows of other people’s interest in her. So, if we talk of princesses, do the balconies opposite the palace gates, do the coigns of vantage and respect enjoyed for a fee, rake from afar the mystic figure in the gilded coach as it comes forth into the great place. But my use of windows and balconies is doubtless at best an extravagance by itself, and as to what there may be to note, of this and other supersubtleties, other arch-refinements, of tact and taste, of design and instinct, in The Wings of the Dove, I become conscious of overstepping my space without having brought the full quantity to light. The failure leaves me with a burden of residuary comment of which I yet boldly hope elsewhere to discharge myself.

Henry James.

The Wings of the Dove Book I I

She waited, Kate Croy, for her father to come in, but he kept her unconscionably, and there were moments at which she showed herself, in the glass over the mantel, a face positively pale with the irritation that had brought her to the point of going away without sight of him. It was at this point, however, that she remained; changing her place, moving from the shabby sofa to the armchair upholstered in a glazed cloth that gave at once⁠—she had tried it⁠—the sense of the slippery and of the sticky. She had looked at the sallow prints on the walls and at the lonely magazine, a year old, that combined, with a small lamp in coloured glass and a knitted white centrepiece wanting in freshness, to enhance the effect of the purplish cloth on the principal table; she had above all, from time to time, taken a brief stand on the small balcony to which the pair of long windows gave access. The vulgar little street, in this view, offered scant relief from the vulgar little room; its main office was to suggest to her that the narrow black house-fronts, adjusted to a standard that would have been low even for backs, constituted quite the publicity implied by such privacies. One felt them in the room exactly as one felt the room⁠—the hundred like it or worse⁠—in the street. Each time she turned in again, each time, in her impatience, she gave him up, it was to sound to a deeper depth, while she tasted the faint, flat emanation of things, the failure of fortune and of honour. If she continued to wait it was really, in a manner, that she might not add the shame of fear, of individual, personal collapse, to all the other shames. To feel the street, to feel the room, to feel the tablecloth and the centrepiece and the lamp, gave her a small, salutary sense, at least, of neither shirking nor lying. This whole vision was the worst thing yet⁠—as including, in particular, the interview for which she had prepared herself; and for what had she come but for the worst? She tried to be sad, so as not to be angry; but it made her angry that she couldn’t be sad. And yet where was misery, misery too beaten for blame and chalk-marked by fate like a “lot” at a common auction, if not in these merciless signs of mere mean, stale feelings?

Her father’s life, her sister’s, her own, that of her two lost brothers⁠—the whole history of their house had the effect of some fine florid, voluminous phrase, say even a musical, that dropped first into words, into notes, without sense, and then, hanging unfinished, into no words, no notes at all. Why should a set of people have been put in motion, on such a scale and with such an air of being equipped for a profitable journey, only to break down without an accident, to stretch themselves in the wayside dust without a reason? The answer to these questions was not in Chirk Street, but the questions themselves bristled there, and the girl’s repeated pause before the mirror and the chimney-place might have represented her nearest approach to an escape from them. Was it not in fact the partial escape from this “worst” in which she was steeped to be able to make herself out again as agreeable to see? She stared into the tarnished glass too hard indeed to be staring at her beauty alone. She readjusted the poise of her black, closely-feathered hat; retouched, beneath it, the thick fall of her dusky hair; kept her eyes, aslant, no less on her beautiful averted than on her beautiful presented oval. She was dressed altogether in black, which gave an even tone, by contrast, to her clear face and made her hair more harmoniously dark. Outside, on the balcony, her eyes showed as blue; within, at the mirror, they showed almost as black. She was handsome, but the degree of it was not sustained by items and aids; a circumstance moreover playing its part at almost any time in the impression she produced. The impression was one that remained, but as regards the sources of it no sum in addition would have made up the total. She had stature without height, grace without motion, presence without mass. Slender and simple, frequently soundless, she was somehow always in the line of the eye⁠—she counted singularly for its pleasure. More “dressed,” often, with fewer accessories, than other women, or less dressed, should occasion require, with more, she probably could not have given the key to these felicities. They were mysteries of which her friends were conscious⁠—those friends whose general explanation was to say that she was clever, whether or no it were taken by the world as the cause or as the effect of her charm. If she