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But that artistic impartiality which puzzled so many in the treatment of Daisy Miller is one of the qualities most valuable in the eyes of those who care how things are done, and I am not sure that it is not Mr. James’s most characteristic quality. As “frost performs the effect of fire,” this impartiality comes at last to the same result as sympathy. We may be quite sure that Mr. James does not like the peculiar phase of our civilization typified in Henrietta Stackpole; but he treats her with such exquisite justice that he lets US like her. It is an extreme case, but I confidently allege it in proof.

His impartiality is part of the reserve with which he works in most respects, and which at first glance makes us say that he is wanting in humor. But I feel pretty certain that Mr. James has not been able to disinherit himself to this degree. We Americans are terribly in earnest about making ourselves, individually and collectively; but I fancy that our prevailing mood in the face of all problems is that of an abiding faith which can afford to be funny. He has himself indicated that we have, as a nation, as a people, our joke, and every one of us is in the joke more or less. We may, some of us, dislike it extremely, disapprove it wholly, and even abhor it, but we are in the joke all the same, and no one of us is safe from becoming the great American humorist at any given moment. The danger is not apparent in Mr. James’s case, and I confess that I read him with a relief in the comparative immunity that he affords from the national facetiousness. Many of his people are humorously imagined, or rather humorously SEEN, like Daisy Miller’s mother, but these do not give a dominant color; the business in hand is commonly serious, and the droll people are subordinated. They abound, nevertheless, and many of them are perfectly new finds, like Mr. Tristram in “The American,” the bill-paying father in the “Pension Beaurepas,” the anxiously Europeanizing mother in the same story, the amusing little Madame de Belgarde, Henrietta Stackpole, and even Newman himself. But though Mr. James portrays the humorous in character, he is decidedly not on humorous terms with his reader; he ignores rather than recognizes the fact that they are both in the joke.

If we take him at all we must take him on his own ground, for clearly he will not come to ours. We must make concessions to him, not in this respect only, but in several others, chief among which is the motive for reading fiction. By example, at least, he teaches that it is the pursuit and not the end which should give us pleasure; for he often prefers to leave us to our own conjectures in regard to the fate of the people in whom he has interested us. There is no question, of course, but he could tell the story of Isabel in “The Portrait of a Lady” to the end, yet he does not tell it. We must agree, then, to take what seems a fragment instead of a whole, and to find, when we can, a name for this new kind in fiction. Evidently it is the character, not the fate, of his people which occupies him; when he has fully developed their character he leaves them to what destiny the reader pleases.

The analytic tendency seems to have increased with him as his work has gone on. Some of the earlier tales were very dramatic: “A Passionate Pilgrim,” which I should rank above all his other short stories, and for certain rich poetical qualities, above everything else that he has done, is eminently dramatic. But I do not find much that I should call dramatic in “The Portrait of a Lady,” while I do find in it an amount of analysis which I should call superabundance if it were not all such good literature. The novelist’s main business is to possess his reader with a due conception of his characters and the situations in which they find themselves. If he does more or less than this he equally fails. I have sometimes thought that Mr. James’s danger was to do more, but when I have been ready to declare this excess an error of his method I have hesitated. Could anything be superfluous that had given me so much pleasure as I read? Certainly from only one point of view, and this a rather narrow, technical one. It seems to me that an enlightened criticism will recognize in Mr. James’s fiction a metaphysical genius working to aesthetic results, and will not be disposed to deny it any method it chooses to employ. No other novelist, except George Eliot, has dealt so largely in analysis of motive, has so fully explained and commented upon the springs of action in the persons of the drama, both before and after the facts. These novelists are more alike than any others in their processes, but with George Eliot an ethical purpose is dominant, and with Mr. James an artistic purpose. I do not know just how it should be stated of two such noble and generous types of character as Dorothea and Isabel Archer, but I think that we sympathize with the former in grand aims that chiefly concern others, and with the latter in beautiful dreams that primarily concern herself. Both are unselfish and devoted women, sublimely true to a mistaken ideal in their marriages; but, though they come to this common martyrdom, the original difference in them remains. Isabel has her great weaknesses, as Dorothea had, but these seem to me, on the whole, the most nobly imagined and the most nobly intentioned women in modern fiction; and I think Isabel is the more subtly divined of the two. If we speak of mere characterization, we must not fail to acknowledge the perfection of Gilbert Osmond. It was a profound stroke to make him an American by birth. No European could realize so fully in his own life the ideal of a European dilettante in all the meaning of that cheapened word; as no European could so deeply and tenderly feel the sweetness and loveliness of the English past as the sick American, Searle, in “The Passionate Pilgrim.”