The Ivory Tower (London: W. Collins Sons & Co., 1917)/Notes for The Ivory Tower

by Henry James

For other versions of this work, see Notes for The Ivory Tower.

NOTES FOR

THE IVORY TOWER

NOTES FOR THE IVORY TOWER

Augusta Bradham, "Gussie" Bradham, for the big social woman. Basil Hunn I think on the whole for Hero. Graham Rising, which becomes familiarly Gray Rising, I have considered, but incline to keep for another occasion.

Horton Crimper, among his friends Haughty Crimper, seems to me right and best, on the whole, for my second young man. I don't want for him a surname intrinsically pleasing; and this seems to me of about the good nuance. My Third Man hereby becomes, I seem to see, Davey Bradham; on which, I think, for the purpose and association, I can't improve.

My Girl, in the relinquished thing, was Cissy Foy; and this was all right for the figure there intended, but the girl here is a very different one, and everything is altered. I want her name moreover, her Christian one, to be Moyra, and must have some bright combination with that; the essence of which is a surname of two syllables and ending in a consonant—also beginning with one. I am thinking of Moyra Grabham, the latter excellent thing was in the Times of two or three days ago; its only fault is a little too much meaning, but the sense here wouldn't be thrown into undue relief, and I don't want anything pretty or conventionally "pleasing." Everything of the shade of the real. Remain thus important the big, the heavy Daughter of the billionaire, with her father; in connection with whom I think I give up Betterman. That must stand over, and I want, above all, a single syllable. All the other names have two or three; and this makes an objection to the Shimple, which I originally thought of as about odd and ugly enough without being more so than I want it. But that also will keep, while I see that I have the monosyllable Hench put down; only put down for another connection. I see I thought of "Wenty" Hench, short for Wentworth, as originally good for Second Young Man. If I balance that against Haughty Crimper, I incline still to the latter, for the small amusement of the Haughty. On the other hand I am not content with Hench, though a monosyllable, for the dear Billionaire girl, in the light of whom it is alone important to consider the question, her Father so little mattering after she becomes by his death the great Heiress of the time. And I kind of want to make her Moyra; with which I just spy in the Times a wonderful and admirable "Chown"; which makes me think that Moyra Chown may do. Besides which if I keep Grabham for my "heroine" I feel the Christian name should there be of one syllable. All my others are of two; and I shall presently make the case right for this, finding the good thing. The above provides for the time for the essential. Yet suddenly I am pulled up—Grabham, after all, won't at all do if I keep Bradham for the other connection; which I distinctly prefer: I want nothing with any shade of a special sense there. Accordingly, I don't know but what I may go in for a different note altogether and lavish on her the fine Cantupher; which I don't want however really to waste. When Cantupher is used there ought to be several of it, and above all men: no, I see it won't do, and besides I don't want anything positively fine. I like Wither, and I like Augurer, and I like, in another note, Damper, and I even see a little Bessie as a combination with it, though I don't on the whole want a Bessie. At any rate I now get on.

^[1]What I want the first Book to do is to present the Gaws, the Bradhams and Cissy Foy, in Three Chapters or Scenes, call them Scenes of the Acts, in such a way that I thus present with them the first immediate facts involved; or in other words present the first essence of the Situation. What I see is, as I further reflect, that it is better to get Graham Fielder there within the Act, to have him on the premises already, and learnt so to be, before it has progressed beyond the first Scene; though he be not seen till the Second Book. When Rosanna goes over to her Father it befals before she has had more than twenty words with him that one of the Nurses who is most sympathetic to her appears in the long window that opens from the house on to the verandah, and it is thus at once disclosed that he has come. Rosanna has taken for granted from the quiet air of the place that this event hasn't yet occurred; but Gray has in fact arrived with the early morning, has come on the boat from New York, the night one, and is there above with, or ready to be with, the dying man. Perfectly natural and plausible I make it that he doesn't begin at once to pervade the place; delicacy, discretion, anxiety naturally operating with him; so that we know only he is there, and that matters are more or less taking place above, during the rest of the Book. But the fact in question immediately determines, for proprieties' and discretions' sake, the withdrawal of Rosanna and her Father; they return to their own abode; and I see the rest of the business of the act as taking place partly there and partly, by what I make out, on the Bradhams' own premises, the field of the Third Scene. Here is the passage between the two young women that I require, and my Heroine, I think, must be on a visit of a number of days to Gussie. I want Davey first with Rosanna, and think I get something like his having walked over, along the cliff, to their house, to bring her, at his wife's request, over to tea. Yes, I have Davey's walk back with Rosanna, and her Father's declining to come, or saying that he will follow afterward; his real design being to sneak over again, as I may call it, to the other house, in the exercise of his intense curiosity. That special founded and motived condition is what we sufficiently know him by and what he is for the time (which is all the time we have of him) identified by. I get thus for Book 2 that Gray, latish in the afternoon, coming down from his uncle's quarter, finds him, has a passage or scene with him, above all an impression of him; and this before he has had any other: we learn that he hasn't seen his uncle yet; the judgment of the doctors about this being operative and they wishing a further wait. I want Rosanna's Father for his first very sharp impression; this really making, I think, Scene First of Book 2. It gives me Scene 2 for what I shall then want without further delay of his first introduction to his Uncle's room and his half hour, or whatever, there; with the fact determined of the non-collapse of the latter, his good effect from the meeting quite rather, and the duration of him determined to end of Book 2. After Book 2 he is no more. Scene 3 of Book 2 then can only be, for Gray, with Rosanna; that scene having functions to be exercised with no more delay at all, by what I make out, and being put in, straight, then and there, that we may have the support of it. I by the same token see Book 3 now as functional entirely for the encounter of Gray with the two other women and, for the first time, with Davey; and also as preparing the appearance of Horton Vint, though not producing it. I see him, in fact, I think, as introduced independently of his first appearance to Gray, see it as a matter of his relation with Cissy, and as lighting up what I immediately want of their situation. In fact don't I see this as Horton's "Act" altogether, as I shall have seen and treated Book 1 as Rosanna's, and Book 2 as Gray's. By the blest operation this time of my Dramatic principle, my law of successive Aspects, each treated from its own centre, as, though with qualifications, The Awkward Age, I have the great help of flexibility and variety; my persons in turn, or at least the three or four foremost, having control, as it were, of the Act and Aspect, and so making it his or making it hers. This of course with the great inevitable and desirable preponderance, in the Series, of Gray's particular weight. But I seem to make out, to a certainty, at least another "Act" for Rosanna and probably another for Horton; though perhaps not more than one, all to herself, for Cissy. I say at least another for Horton on account of my desire to give Gray as affecting Horton, only less than I want to give Horton as affecting Gray. It is true that I get Gray as affecting Horton more or less in Book 3, but as the situation developes it will make new needs, determinations and possibilities. All this for feeling my way and making things come, more and more come. I want an Aspect under control of Davey, at all events—this I seem pretty definitely to feel; but things will only come too much. At all events, to retreat, remount, a little there are my 3 first Books sufficiently started without my having as yet exactly noted the absolutely fundamental antecedents. But before I do this, even, I memorise that Gray's Scene with Rosanna for 3 of Book 2 shall be by her coming over to Mr. Betterman's house herself that evening, all frankly and directly, to see him there; not by his going over to her. And I seem to want it evening; the summer night outside, with their moving about on the Terrace and above the sea etc. Withal, by the same token, I want such interesting things between them from immediately after the promulgation of Mr. Betterman's Will; I want that, but of course can easily get it, so far as anything is easy, in Book 4, the function of which is to present Gray as face to face with the situation so created for him. This is obviously, of course, one of Gray's Aspects, and the next will desirably be, I dare say too; can only be, so far as I can now tell, when I consider that the Book being my Fourth, only Six of the Ten which I most devoutly desire to limit the thing to then remain for my full evolution on the momentum by that time imparted. Certainly, at all events, the Situation leaves Newport, to come to life, its full life, in New York, where I seem to see it as going on to the end, unless I manage to treat myself to some happy and helpful mise-en-scène or exploitation of my memory of (say) California. The action entirely of American localisation, as goes without saying, yet making me thus kind of hanker, for dear "amusement's" sake, to decorate the thing with a bit of a picture of some American Somewhere that is not either Newport or N.Y. I even ask myself whether Boston wouldn't serve for this garniture, serve with a narrower economy than "dragging in" California. I kind of want to drag in Boston a little, feeling it as naturally and thriftily workable. But these are details which will only too much come; and I seem to see already how my action, however tightly packed down, will strain my Ten Books, most blessedly, to cracking. That is exactly what I want, the tight packing and the beautifully audible cracking; the most magnificent masterly little vivid economy, with a beauty of its own equal to the beauty of the donnée itself, that ever was.

However, what the devil are, exactly, the little fundamentals in the past? Fix them, focus them hard; they need only be perfectly conceivable, but they must be of the most lucid sharpness. I want to have it that for Gray, and essentially for Rosanna, it's a renewal of an early, almost, or even quite positively, childish beginning; and for Gray it's the same with Horton Vint—the impression of Horton already existing in him, a very strong and "dazzled" one, made in the quite young time, though in a short compass of days, weeks, possibly months, or whatever, and having lasted on (always for Gray) after a fashion that makes virtually a sort of relation already established, small as it ostensibly is. Such his relation with Rosanna, such his relation with Horton—but for his relation with Cissy———? Do I want that to be also a renewal, the residuum of an old impression, or a fresh thing altogether? What strikes me prima facie is that it's better to have two such pre-established origins for the affair than three; the only question is does that sort of connection more complicate or more simplify for that with Cissy? It more simplifies if I see myself wanting to give, by my plan, the full effect of a revolution in her, a revolution marked the more by the germ of the relation being thrown back, marked the more, that is, in the sense of the shade of perfidy, treachery, the shade of the particular element and image that is of the essence, so far as she is concerned, of my action. How this exactly works I must in a moment go into—hammer it out clear; but meanwhile there are these other fundamentals. Gray then is the son of his uncle's half-sister, not sister (on the whole, I think); whose dissociation from her rich brother, before he was anything like so rich, must have followed upon her marrying a man with whom he, Mr. Betterman, was on some peculiarly bad terms resulting from a business difference or quarrel of one of those rancorous kinds that such lives (as Mr. Betterman's) are plentifully bestrown with. The husband has been his victim, and he hasn't hated him, or objected to him for a brother-in-law, any the less for that. The objected-to brother-in-law has at all events died early, and the young wife, with her boy, her scant means, her disconnection from any advantage to her represented by her half-brother, has betaken herself to Europe; where the rest of that history has been enacted. I see the young husband, Gray's father, himself Graham Fielder the elder or whatever, as dying early, but probably dying in Europe, through some catastrophe to be determined, two or three years after their going there. This is better than his dying at home, for removal of everything from nearness to Mr. Betterman. Betterman has been married and has had children, a son and a daughter, this is indispensable, for diminution of the fact of paucity of children; but he has lost successively these belongings—there is nothing over strange in it; the death of his son, at 16 or 18 or thereabouts, having occurred a few years, neither too few nor too many, before my beginning, and having been the sorest fact of his life. Well then, young Mrs. Fielder or whoever, becomes thus in Europe an early widow, with her little boy, and there, after no long time, marries again, marries an alien, a European of some nationality to be determined, but probably an Englishman; which completes the effect of alienation from her brother—easily conceivable and representable as, "in his way," disliking this union; and indeed as having made known to her, across the sea, that if she will forbear from it (this when he first hears of it and before it has taken place) and will come back to America with her boy, he will "forgive" her and do for her over there what he can. The great fact is that she declines this condition, the giving up of her new fiancé, and thereby declines an advantage that may, or might have, become great for her boy. Not so great then—Betterman not then so rich. But in fine— With which I cry Eureka, eureka; I have found what I want for Rosanna's connection, though it will have to make Rosanna a little older than Gray, 2 or 3 or 3 or 4 years, instead of same age. I see Gray's mother at any rate, with her small means, in one of the smaller foreign cities, Florence or Dresden, probably the latter, and also see there Rosanna and her mother, this preceding by no long time the latter's death. Mrs. Gaw has come abroad with her daughter, for advantages, in the American way, while the husband and father is immersed in business cares at home; and when the two couples, mother and son, and mother and daughter, meet in a natural way, a connection is more or less prepared by the fact of Mr. Gaw having had the business association with Mrs. Fielder's half-brother, Mr. Betterman, at home, even though the considerably violent rupture or split between the two men will have already taken place. Mrs. Gaw is a very good simple, a bewildered and pathetic rich woman, in delicate health, and is sympathetic to Gray's mother, on whom she more or less throws herself for comfort and support, and Gray and Rosanna, Rosanna with a governess and all the facilities and accessories natural to wealth, while the boy's conditions are much leaner and plainer—the two, I say, fraternise and are good friends; he figuring to Rosanna (say he is about 13, while she is 16) as a tremendously initiated and informed little polyglot European, knowing France, Germany, Italy etc. from the first. It is at this juncture that Mrs. Fielder's second marriage has come into view, or the question and the appearance of it; and that, very simultaneously, the proposal has come over from her half-brother on some rumour of it reaching him. As already mentioned, Betterman proposes to her that if she will come back to America with her boy, and not enter upon the union that threatens, and which must have particular elements in it of a nature to displease and irritate him, he will look after them both, educate the boy at home, do something substantial for them. Mrs. Fielder takes her American friend into her confidence in every way, introduces to her the man who desires to marry her, whom Rosanna sees and with whom the boy himself has made great friends, so that the dilemma of the poor lady becomes a great and lively interest to them all; the prétendant himself forming also a very good relation with the American mother and daughter, the friends of his friend, and putting to Mrs. Gaw very eagerly the possibility of her throwing her weight into the scale in his favour. Her meeting, that is Mrs. Fielder's meeting, the proposition from New York involves absolutely her breaking off with him; and he is very much in love with her, likes the boy, and, though he doesn't want to stand in the latter's light, has hopes that he won't be quite thrown over. The engagement in fact, with the marriage near at hand, must be an existing reality. It is for Mrs. Fielder something of a dilemma; but she is very fond of her honourable suitor, and her inclinations go strongly to sticking to him. She takes the boy himself into her confidence, young as he is,—perhaps I can afford him a year or two more—make him 15, say; in which case Rosanna becomes 18, and the subsequent chronology is thereby affected. It isn't, I must remember, as a young man in his very first youth, at all, that I want Gray, or see him, with the opening of the story at Newport. On the contrary all the proprieties, elements of interest, convenience etc., are promoted by his being not less than 30. I don't see why I shouldn't make him 33, with Rosanna thus two years older, not three. If he is 15 in Dresden and she 17, it will be old enough for each, without being too old, I think, for Gray. 18 years will thus have elapsed from the crisis at Florence or wherever to the arrival at Newport. I want that time, I think, I can do with it very well for what I see of elements operative for him; and a period of some length moreover is required for bringing the two old men at Newport to a proper pitch of antiquity. Mr. Betterman dies very much in the fulness of years, and as Rosanna's parent is to pass away soon after I want him to have come to the end. If Gray is 15, however, I mustn't make his mother too mature to inspire the devotion of her friend; at the same time that there must have been years enough for her to have lived awhile with her first husband and lost him. Of course this first episode may have been very brief—there is nothing to prevent that. If she had married at 20 she will then be, say, about 36 or so at the time of the crisis, and this will be quite all right for the question of her second marriage. Say she lives a considerable number of years after this, in great happiness, her marriage having taken place; I in fact require her to do so, for I want Gray to have had reasons fairly strong for his not having been back to America in the interval. I may put it that he has, even, been back for a very short time, on some matter connected with his mother's interests, or his own, or whatever; but I complicate the case thereby and have to deal somehow with the question of whether or no he has then seen Mr. Betterman. No, I don't want him to have been back, and can't do with it; keep this simple and workable. All I am doing here is just to fix a little his chronology. Say he has been intending to go over at about 25, when his mother's death takes place, about 10 years after her second marriage. Say then, as is very conceivable, that his stepfather, with whom he has become great friends, then requires and appeals to his care and interest in a way that keeps him on and on till the latter's death takes place just previous to Mr. Betterman's sending for him. This gives me quite sufficiently what I want of the previous order of things; but doesn't give me yet the fact about Rosanna's connection in her young history which I require. I see accordingly what has happened in Florence or Dresden as something of this kind: that Mrs. Fielder, having put it to her boy that he shall decide, if he can, about what they shall do, she lets Mrs. Gaw, who was at this juncture in constant intercourse with her, know that she has done so—Mrs. Gaw and Rosanna being, together, exceedingly interested about her, and Rosanna extremely interested, in a young dim friendly way, about Gray; very much as if he were the younger brother she hasn't got, and whom, or an older, she would have given anything to have. Rosanna hates Mr. Betterman, who has, as she understands and believes, in some iniquitous business way, wronged or swindled her father; and isn't at all for what he has proposed to the Fielders. In addition she is infatuated with Europe, makes everything of being there, dreams, or would dream, of staying on if she could, and has already in germ, in her mind, those feelings about the dreadful American money-world of which she figures as the embodiment or expression in the eventual situation. She knows thus that the boy has had, practically, the decision laid upon him, and with the whole case with all its elements and possibilities before her she takes upon herself to act upon him, influence and determine him. She wouldn't have him accept Mr. Betterman's cruel proposition, as she declares she sees it, for the world. She proceeds with him as she would in fact with a younger brother: there is a passage to be alluded to with a later actuality, which figures for her in memory as her creation of a responsibility; her very considerably passionate, and thereby meddlesome, intervention. I see some long beautiful walk or stroll, some visit to some charming old place or things—and Florence is here indicated during which she puts it all to him, and from which he, much inspired and affected by her, comes back to say to his mother that he doesn't want what is offered—at any such price as she will have to pay. I see this occasion as really having settled it—and Rosanna's having always felt and known that it did. She and her mother separate then from the others; Mrs. Fielder communicates her refusal, sticks to her friend, marries him shortly afterward, and her subsequent years take the form I have noted. The American mother and daughter go back across the sea; the mother in time dies etc. I see also how much better it is to have sufficient time for these various deaths to happen. But the point is that the sense of responsibility, begetting gradually a considerable, a deepening force of reflection, and even somewhat of remorse, as to all that it has meant, is what has taken place for Rosanna in proportion as, by the sequence of events and the happening of many things, Mr. Betterman has grown into an apparently very rich old man with no natural heir. His losses, his bereavements, I have already alluded to, and a considerable relaxation of her original feeling about him in the light of more knowledge and of other things that have happened. In the light, for instance, of her now mature sense of what her father's career has been and of all that his great ferocious fortune, as she believes it to be, represents of rapacity, of financial cruelty, of consummate special ability etc. She has kept to some extent in touch with Gray, so far that is as knowing about his life and general situation are concerned; but the element of compunction in her itself, and the sense of what she may perhaps have deprived him of in the way of a great material advantage, may be very well seen, I think, as keeping her shy and backward in respect to following him up or remaining in intercourse. It isn't likely, for the American truth of things, that she hasn't been back to Europe again, more than once, whether before or after her mother's death; but what I can easily and even interestingly see is that on whatever occasion of being there she has yet not tried to meet him again. She knows that neither he nor his stepfather are at all well off, she has a good many general impressions and has tried to get knowledge of them, without directly appealing for it to themselves, whenever she can. Thus it is, to state things very simply, that, on hearing of the stepfather's death, during the Newport summer, she has got at Mr. Betterman and spoken to him about Gray; she has found him accessible to what she wants to say, and has perceived above all what a pull it gives her to be able to work, in her appeal, the fact, quite vivid in the fulness of time to the old man himself indeed, that the young man, so nearly, after all, related to him, and over there in Europe all these years, is about the only person, who could get at him in any way, who hasn't ever asked anything of him or tried to get something out of him. Not only this, but he and his mother, in the time, are the only ones who ever refused a proffered advantage. I think I must make it that Rosanna finds that she can really tell her story to Mr. Betterman, can make a confidant of him and so interest him only the more. She feels that he likes her, and this a good deal on account of her enormous difference from her father. But I need only put it here quite simply: she does interest him, she does move him, and it is as a consequence of her appeal that he sends for Gray and that Gray comes. What I must above all take care of is the fact that she has represented him to the old man as probably knowing less about money, having had less to do with it, having moved in a world entirely outside of it, in a degree utterly unlike anyone and everyone whom Mr. Betterman has ever seen.

But I have got it all, I needn't develope; what I want now independently is the beginning, quite back in the early years, of some relation on Gray's part with Horton Vint, and some effect, which I think I really must find right, of Horton's having done something for him, in their boyish time, something important and gallant, rather showy, but at all events really of moment, which has always been present to Gray. This I must find—it need present no difficulty; with something in the general way of their having been at school together—in Switzerland, with the service rendered in Switzerland, say on a holiday cours among the mountains, when Horty has fished Gray out of a hole, I don't mean quite a crevasse, but something like, or come to his aid in a tight place of some sort, and at his own no small risk, to bring him to safety. In fine it's something like having saved his life, though that has a tiresome little old romantic and conventional note. However I will make the thing right and give it the right nuance; remember that it is all allusional only now and a matter of reference on Gray's part. What must have further happened, I think, is that Horty has been in Europe again, in much later years, after College, indeed only a very few years previous, and has met Gray again and they have renewed together; to the effect of his apprehension of Gray's (to him) utterly queer and helpless and unbusinesslike, unfinancial, type; and of Gray's great admiration of everything of the opposite sort in him—combined, that is, with other very attractive (as they appear) qualities. He has made Gray think a lot about the wonderful American world that he himself long ago cut so loose from, and of which Horty is all redolent and reverberant; and I think must have told him, most naturally told him, of what happened in the far off time in Florence. Only when, then, was the passage of their being at school, or, better still, with the Swiss pasteur, or private tutor, together? If it was before the episode in Florence they were rather younger than I seem to see them; if it was after they were rather older. Yet I don't at all see why it should not have been just after—this perfectly natural at 16 for Gray, at 17 for Horty; both thoroughly natural ages for being with the pasteur, and for the incident afterwards; Gray going very naturally to the pasteur, whom in fact he may have been with already before, during the first year of his mother's new marriage. That provides for the matter well enough, and I've only to see it to possess it; and gives a basis for their taking up together somehow when they meet, wherever I may put it, in the aftertime. There are forms of life for Gray and his stepfather to be focussed as the right ones—Horty sees this pair together somewhere; and nothing is more arrangeable, though I don't think I want to show the latter as having dangled and dawdled about Italy only; and on the other hand do see that Gray's occupation and main interest, other than that of looking after his elder companions, must be conceived and presented for him. Again no difficulty, however, with the right imagination of it. Horty goes back to America; the 3 or 4, or at the most 4 or 5, years elapse, so that it is with that comparative freshness of mutual remembrance that the two men meet again. What I do see as definite is that Horty has had up to the time of Gray's return no sort of relation whatever with Mr. Betterman or his affairs, or any point of the question with which the action begins at Newport. He is on the other hand in relation with Cissy; and there are things I have got to account for in his actual situation. Why is he without money, with his interest in the getting of it etc.? But that is a question exactly of interest—I mean to which the answer may afford the greatest. And settle about the degree of his apprehension of, relation to, designs on, or general lively consciousness of Rosanna. Important the fact that the enormous extent of her father's fortune is known only after his death, and is larger even than was supposed; though it is to be remembered that in American financial conditions, with the immense public activity of money there taking place, these things are gauged in advance and by the general knowledge, or speculative measure, as the oldfashioned private fortune couldn't be. But I am here up against the very nodus of my history, the facts of Horty's connection with the affairs that come into being for Gray under his uncle's Will; the whole mechanism, in fine, of this part of the action, the situation so created and its consequences. Enormous difficulty of pretending to show various things here as with a business vision, in my total absence of business initiation; so that of course my idea has been from the first not to show them with a business vision, but in some other way altogether; this will take much threshing out, but it is the very basis of the matter, the core of the subject, and I shall worry it through with patience. But I must get it, plan it, utterly right in advance, and this is what takes the doing. The other doing, the use of it when schemed, is comparatively easy. What strikes me first of all is that the amount of money that Gray comes in for must, for reasons I needn't waste time in stating, so obvious are they, be no such huge one, by the New York measure, as in many another case: it's a tremendous lot of money for Gray, from his point of view and in relation to his needs or experience. Thus the case is that if Mr. Gaw's accumulations or whatever have distinctly surpassed expectation, the other old man's have fallen much below it—or at least have been known to be no such great affair anyhow. Various questions come up for me here, though there is no impossibility of settling them if taken one by one. The whole point is of course that Mr. Betterman has been a ruthless operator or whatever, and with doings Davey Bradham is able to give Gray so dark an account of; therefore if the mass of money of the acquisition of which such a picture can be made is not pretty big, the force of the picture falls a good deal to the ground. The difficulty in that event, in view of the bigness, is that the conception of any act on Horton's part that amounts to a swindle practised on Gray to such a tremendous tune is neither a desirable nor a possible one. As one presses and presses light breaks—there are so many ways in which one begins little by little to wonder if one may not turn it about. There is the way in the first place of lowering the pitch altogether of the quantities concerned for either men. I see that from the moment ill-gotten money is concerned the essence of my subject stands firm whatever the amount of the same—whatever the amounts in either case. I haven't proposed from the first at all to be definite, in the least, about financial details or mysteries—I need hardly say; and have even seen myself absolutely not stating or formulating at all the figure of the property accruing to Gray. I haven't the least need of that, and can make the absence of it in fact a positively good and happy effect. That is an immense gain for my freedom of conduct; and in fine there glimmers upon me, there glimmers upon me———! The idea, which was vaguely my first, of the absolute theft practised upon Gray by Horty, and which Gray's large appeal to his cleverness and knowledge, and large trust in his competence, his own being nil—this theft accepted and condoned by Gray as a manner of washing his own hands of the use of the damnosa hereditas—this thinkable enough in respect to some limited, even if considerable, amount etc., but losing its virtue of conceivability if applied to larger and more complicated things. Vulgar theft I don't want, but I want something to which Horty is led on and encouraged by Gray's whole attitude and state of mind face to face with the impression which he gets over there of so many of the black and merciless things that are behind the great possessions. I want Gray absolutely to inherit the money, to have it, to have had it, and to let it go; and it seems to me that a whole element of awkwardness will be greatly minimised for me if I never exactly express, or anything like it, what the money is. The difficulty is in seeing any one particular stroke by which Horty can do what he wants; it will have to be much rather a whole train of behaviour, a whole process of depredation and misrepresentation, which constitutes his delinquency. This, however, would be and could be only an affair of time; and my whole intention, a straight and compact action, would suffer from this. What I originally saw was the fact of Gray's detection of Horty in a piece of extremely ingenious and able malversation of his funds, the care of which he has made over to him, and the then determination on his part simply to show the other in silence that he understands, and on consideration will do nothing; this being, he feels in his wrought-up condition after what he has learnt about the history of the money, the most congruous way of his ceasing himself to be concerned with it and of resigning it to its natural associations. That was the essence of my subject, and I see as much in it as ever; only I see too that it is imaginable about a comparatively small pecuniary interest much more than about a great. It has to depend upon the kind of malpractice involved; and I am partly tempted to ask myself whether Horty's connection with the situation may not be thinkable as having begun somewhat further back. One thing is certain, however; I don't want any hocus-pocus about the Will itself—which an anterior connection for H. would more or less amount to: I want it just as I have planned it up to the edge of the circle in which his misdeed is perpetrated. What glimmers upon me, as I said just now, is the conception of an extreme frankness of understanding between the two young men on the question of Gray's inaptitudes, which at first are not at all disgusts—because he doesn't know; but which makes them, the two, have it out together at an early stage. Yes, there glimmers, there glimmers; something really more interesting, I think, than the mere nefarious act; something like a profoundly nefarious attitude, or even genius: I see, I really think I see, the real fine truth of the matter in that. With which I keep present to me the whole significance and high dramatic value of the part played in the action by Cissy Foy; have distinct to me her active function as a wheel in the machine. How it isn't simply Gray and Horty at all, but Gray and Horty and her—how it isn't She and Gray, any more than it's She and Horty, simply, but is for her too herself and the two men: in which I see possibilities of the most interesting. But I must put her on her feet perfectly in order to see as I should. Without at all overstraining the point of previous contacts for Gray with these three or four others—than which even at the worst there is nothing in the world more verisimilitudinous—I want some sort of relation for him with her started; this being a distinct economy, purchased by no extravagance, and seeing me, to begin with, so much further on my way. And who, when I bethink myself, have his contacts been with, after all, over there, but Horty and Rosanna—the relation to Mr. Betterman being but of the mere essence. Of the people who matter the Bradhams are new to him, and that is all right; Cissy may have been seen of him on some occasion over there that is quite recent, as recent as I like; all the more that I must remember how if I want her truly a Girl I must mind what I'm about with the age I'm attributing to Gray. I want a disparity, but not too great, at the same time that though I want her a Girl, I want her not too young a one either. Everything about her, her intelligence, character, sense of life and knowledge of it, imply a certain experience and a certain time for that. The great fact is that she is the poor Girl, and the "exceptionally clever," in a society of the rich, living her life with them, and more or less by their bounty; being, I seem to see, already a friend and protégée of Rosanna's, though it isn't Rosanna but the Bradhams who put her in relation with Gray, whether designedly or not. I seem to run here the risk a bit of exposure to the charge of more or less repeating the figure of Charlotte in The Golden Bowl, with the Bradhams repeating even a little the Assinghams in that fiction; but I shake this reflection off, as having no weight beyond duly warning; the situation being such another affair and the real characteristics and exhibited proceedings of these three persons being likewise so other. Say something shall have passed between Cissy at a then 25, or 24 at most, and Gray "on the other side"; this a matter of but two or three occasions, interesting to him, shortly before his stepfather's death—a person with whom she has then professed herself greatly struck, to whom she has been somehow very "nice": a circumstance pleasing and touching at the time to Gray, given his great attachment to that charming, or at any rate to Gray very attaching, though for us slightly mysterious, character. Say even if it doesn't take, or didn't, too much exhibition or insistence, that the meeting has been with the stepfather only, who has talked with her about Gray, made a point of Gray, wished she could know Gray, excited her interest and prepared her encounter for Gray, in some conditions in which Gray has been temporarily absent from him. Say this little intercourse has taken place at some "health resort", some sanatorium or other like scene of possibilities, where the stepfather, for whom I haven't even yet a name, is established, making his cure, staving off the affection of which he dies, while this interesting young American creature is also there in attendance on some relative whom she also has since lost. I multiply my orphans rather, Charlotte too having been an orphan; but I can keep this girl only a half-orphan perhaps if I like. I kind of want her, for the sake of the characteristic, to have a mother, without a father; in which case her mother, who hasn't died, but got better, will have been her companion at the health resort; though it breaks a little into my view of the girl's dependence, her isolation etc., her living so much with these other people, if her mother is about. On the other hand the mother may be as gently but a charge the more for her, and so in a manner conducive; though it's a detail, at any rate, settling itself as I get in close—and she would be at the worst the only mother in the business. What I seem to like to have at all events is that Gray and Cissy, have not met, yet have been in this indirect relation complicated further by the fact of her existing "friendship", say, as a temporary name for it, with Horton Vint. She arrives thus with her curiosity, her recollections, her intelligence—for, there's no doubt about it, I am, rather as usual, offering a group of the personally remarkable, in a high degree, all round. Augusta Bradham, really, is about the only stupid one, the only approach to a fool, though she too in her way is a force, a driving one—that is the whole point; which happens to mark a difference also, so far good, from the Assinghams, where it was the wife who had the intelligence and the husband who was in a manner the fool. The fact of the personal values, so to call them, thus clustered, I of course not only accept, but cherish; that they are each the particular individual of the particular weight being of course of the essence of my donnée. They are interesting that way—I have no use for them here in any other.

Horton has meanwhile become in a sort tied up with Cissy, as she has with him; through the particular conditions of their sentiment for each other—she in love with him, so far as she, by her conviction and theory, has allowed herself to go in that direction for a man without money, though destined somehow to have it, as she feels; and he in love with her under the interdict of a parity of attitude on the whole "interested" question. The woman whom he would give truly one of his limbs to commend himself to is Rosanna, who perfectly knows it and for whom he serves as the very compendium and symbol of that danger of her being approached only on that ground, the ground of her wealth, which is, by all the mistrusts and terrors it creates, the deep note of her character and situation; that he serves to her as the very type of what she most dreads, not only the victory, but the very approach of it, almost constituting thus a kind of frank relation, a kind of closeness of contact between them, that involves for her almost a sinister (or whatever) fascination. It is between him and my ambitious young woman (I call her ambitious to simplify) that they are in a manner allies in what may be called their "attitude to society"; the frankness of their recognition, on either side, that in a world of money they can't not go in for it, and that accordingly so long as neither has it, they can't go in for each other: though how each would—each makes the other feel—if it could all be only on a different basis! Horty's attitude is that he's going to have it somehow, and he to a certain extent infects her with this conviction—but that he doesn't wholly do so is exactly part of the evidence as to that latent limitation of the general trust in him which I must a good deal depend on to explain how it is that, with his ability, or the impression of this that he also produces, he hasn't come on further. Deep down in the girl is her element of participation in this mistrust too—which is part of the reason why she hangs back, in spite of the kind of attraction he has for her, from any consent to, say, marry him. He, for that matter, hasn't in the least urged the case either—it hasn't been in him up to now, in spite of a failure or two, in spite of the failure notably with Rosanna, to close by a positive act the always possibly open door to his marrying money. I see the recognition of all this between them as of well-nigh the crudest and the most typical, the most "modern"; in fact I see their relation as of a highly exhibitional value and interest. What the Girl indeed doesn't, and doesn't want to (up to now) express, is exactly that limit, and the ground of it, of her faith in him as a financial conqueror. She is willing more or less to believe, to confide, in his own confidence—she sees him indeed as more probably than not marked for triumphant acquisition; but the latent, "deep down" thing is her wonderment as to the character of his methods—if the so-called straight ones won't have served or sufficed. She sees him as a fine adventurer—which is a good deal too how she sees herself; but almost crude though I have called their terms of mutual understanding it hasn't come up for them, and I think it is absolutely never to come up for them, that she so far faces this question of his "honour", or of any capacity in him for deviation from it, as even to conjure it away. There are depths within depths between them—and I think I understand what I mean if I say there are also shallows beside shallows. They give each other rope and yet at the same time remain tied; that for the moment is a sufficient formula—once I keep the case lucid as to what their tie is.

What accordingly does her situation in respect to Gray come to, and how do I see it work out? The answer to that involves of course the question of what his, in respect to her, comes to, and what it gives me for interest. She has got her original impression about him over there as of the man without means to speak of; but it is as the heir to a fortune that she now first sees him, and as the person coming in virtue of that into the world she lives in, where her power to guide, introduce and generally help and aid and comfort him, shows from the first as considerable. She strikes him at once as the creature, in all this world, the most European and the most capable of, as it were, understanding him intellectually, entering into his tastes etc. He recognises quickly that, putting Davey Bradham perhaps somewhat aside, she is the being, up and down the place, with whom he is going to be able most to communicate. With Rosanna he isn't going to communicate "intellectually", aesthetically, and all the rest, the least little bit: Rosanna has no more taste than an elephant; Rosanna is only morally elephantine, or whatever it is that is morally most massive and magnificent. What I want is to get my right firm joints, each working on its own hinge, and forming together the play of my machine: they are the machine, and when each of them is settled and determined it will work as I want it. The first of these, definitely, is that Gray does inherit, has inherited. The next is that he is face to face with what it means to have inherited. The next to that is that one of the things it means—though this isn't the light in which he first sees the fact—is that the world immensely opens to him, and that one of the things it seems most to give him, to offer and present to him, is this brilliant, or whatever, and interesting young woman. He doesn't at first at all see her in the light of her making up to him on account of his money; she is too little of a crudely interested specimen for that, and too sincere in fact to herself—feeling very much about him that she would certainly have been drawn to him, after this making of acquaintance, even if no such advantages attached to him and he had remained what he had been up to then. But all the same it is a Joint, and we see that it is by seeing her as we shall; I mean I make it and keep it one by showing "what goes on" between herself and Horton. I have blessedly that view, that alternation of view, for my process throughout the action. The determination of her interest toward him—that then is a Joint. And let me make the point just here that at first he has nothing but terror, but horror, of seeing himself affected as Rosanna has been by her own situation—from the moment, that is, he begins to take in that she is so affected. He takes this in betimes from various signs—before that passes between them which gives him her case in the full and lucid way in which he comes to have it. She gives it to him presently—but at first as her own simply, holding her hand entirely from intimating that his need be at all like it; as she must do, for that matter, given the fact that it is really through her action that he was brought over to see his uncle. She thinks her feelings about her own case right and inevitable for herself; but I want to make it an interesting and touching inconsistency in her that she desires not to inspire him, in respect to his circumstances, with any correspondingly justified sense. Definite is it that what he learns, he learns not the least mite from herself, though after a while he comes quite to challenge her on it, but from Davey Bradham, so far as he learns it, for the most part, concretely and directly—as many other impressions as I can suggest helping besides. I want him at all events to have a full large clear moment or season of exhilaration, of something like intoxication, over the change in his conditions, before questions begin to come up. An essential Joint is constituted by their beginning to come up, and the difference that this begins to make. What I want of Davey Bradham is that he is a determinant in this shift of Gray's point of view, though I want also (and my scenario has practically provided for that) that the immediate amusement of his contact with Davey shall be quite compatible with his not yet waking up, not yet seeing questions loom. I must keep it well before me too that his whole enlarged vision of the money-world, so much more than any other sort of world, that all these people constitute, operates inevitably by itself, promotes infinite reflection, makes a hundred queer and ugly things, a thousand, ten thousand, glare at him right and left. A Joint again is constituted by Gray's first consciousness of malaise, first determination of malaise, in the presence of more of a vision, and more and more impression of everything; which determination, as I call it, I want to proceed from some sense in him of Cissy's attitude as affected by his own reactions, exhibition of questions, wonderments and, to put it simply and strongly, rising disgusts. She has appealed to him at the outset, on his first apprehension of her, exactly as a poor girl who wasn't meant to be one, who has been formed by her nature and her experience to rise to big brilliant conditions, carry them, take them splendidly, in fine do all justice to them; this under all the first flush of what I have called his own exhilaration. He hasn't then committed himself, in the vulgar sense, at all—had only committed himself, that is, to the appearance of being interested and charmed: his imaginative expansion for that matter being naturally too great to permit for the moment of particular concentration or limitations. But isn't his incipient fear of beginning to be, of becoming, such another example, to put it comprehensively, as Rosanna, doesn't this proceed precisely from the stir in him of certain disconcerting, complicating, in fact if they go a little further quite blighting, wonderments in respect to Cissy's possibilities? She throws her weight with him into the happy view of his own; which is what he likes her, wants her, at first encourages her to do, lending himself to it while he feels himself, as it were, all over. Mrs. Bradham, all the while, backs her up and backs him up, and is in general as crude and hard and blatant, as vulgar is what it essentially comes to, in her exhibited desire to bring about their engagement, as is exactly required for producing on him just the wrong effect. Gray's tone to the girl becomes, again to simplify: "Oh yes, it's all right that you should be rich, should have all the splendid things of this world; but I don't see, I'm not sure, of its being in the least right that I should—while I seem to be making out more and more, round me, how so many of them are come by."

It is the insistence on them, the way everyone, among that lot at any rate, appears aware of no values but those, that sets up more and more its effect on his nerves, his moral nerves as it were, and his reflective imagination. The girl counters to this of course—she isn't so crude a case as not to; she denies that she's the sort of existence that he thus imputes—all the while that she only sees in his attitude and his position a kind of distinction that would simply add to their situation, simply gild and after a fashion decorate it, were she to marry him. I want to make another Joint with her beginning, all the same, to doubt of him, to think him really perhaps capable of strange and unnatural things, which she doesn't yet see at all clearly; but which take the form for her of his possibly handing over great chunks of his money to public services and interests, deciding to be munificent with it, after the fashion of Rockefellers and their like: though with the enormous difference that his resources are not in the slightest degree of that calibre. He's rich; yes, but not rich enough to remain rich if he goes in for that sort of overdone idealism. Some passage bearing on this takes place, I can see, about at the time when he has the so to call it momentous season, or scene, or whatever, of confidence or exchange with Rosanna in which she goes the whole "figure", as they say, and puts to him that exactly her misery is in having come in for resources that should enable her to do immense things, but that are so dishonoured and stained and blackened at their very roots, that it seems to her that they carry their curse with them, and that she asks herself what application to "benevolence" as commonly understood, can purge them, can make them anything but continuators, somehow or other, of the wrongs in which they had their origin. This, dramatically speaking, is momentous for Gray, and it makes a sort of clearing up to realities between him and Rosanna which offers itself in its turn, distinctly, as a Joint. It makes its mark for value, has an effect, leaves things not as they were.

But meanwhile what do I see about Horton, about the situation between them, so part and parcel of the situation between Gray and Cissy and between Horton and Cissy. Absolute the importance, I of course recognise, of such a presentation of matters between her and Horton, and Horton and her, as shall stand behind and under everything that takes place from this point. In my adumbration of a scenario for these earlier aspects I have provided, I think, for this; at any rate I do hereby provide. I want to give the effect, for all it's worth, of their being constantly, chronically, naturally and, for my drama, determinatively, in communication; with which it more and more comes to me that when the great coup of the action effects itself Gray shall have been brought to it as much by the forces determining it on her behalf, in relation to her, in a word, as by those determining it in connection with Horton. She helps him to his solution about as much as Horton does, and, lucidly, logically, ever so interestingly, everything between them up to the verge is but a preparation for that. Enormous meanwhile the relation with Horton constituted by his making over to this dazzling person (by whom moreover he wants to be, consents to be, dazzled) the care or administration of his fortune; for which highly characteristic, but almost, in its freehandedness, abnormally, there must have been preparation, absolutely, and oh, as I can see, ever so interestingly, in Book 2, the section containing his face to face parts with Mr. Betterman. It comes to me as awfully fine, given the way in which I represent the old dying man as affected and determined, to sweep away everything in the matter of precautions and usualisms, provisions for trusteeships and suchlike, and lump the whole thing straight on to the young man, without his having a condition or a proviso to consider. What I have wanted is that he should at a stroke, as it were, in those last enshrouded, but perfectly possessed hours, make over his testament utterly and entirely, in the most simplified way possible; in short by a sweeping codicil that annihilates what he has done before and puts Gray in what I want practically to count as unconditioned possession. Thank the Lord I have only to give the effect of this, for which I can trust myself, without going into the ghost of a technicality, any specialising demonstration. I need scarcely tell myself that I don't by this mean that Gray makes over matters definitely and explicitly to Horton at once, with attention called to the tightness with which his eyes are shut and all his senses stopped or averted; but that naturally and inevitably, also interestingly, this result proceeds, in fact very directly and promptly springs, from his viewing and treating his friend as his best and cleverest and vividest adviser—whom he only doesn't rather abjectly beg to take complete and irresponsible charge because he is ashamed of doing so. Two things very definite here; one being that Gray isn't in the least blatant or glorious about his want, absolutely phenomenal in that world, of any faint shade of business comprehension or imagination, but is on the contrary so rather helplessly ashamed of it that he keeps any attitude imputable to him as much as possible out of the question and in fact proceeds in the way I know. He has moments of confidence—he tells Rosanna, makes a clean breast to her and with Horton doesn't need to be explicit, beyond a point, since all his conduct expresses it. What happens is that little by little, inevitably, as a consequence of first doing this for him and then doing that and then the other, Horton more and more gets control, gets a kind of unlimited play of hand in the matter which practically amounts to a sort of general power of attorney; as Gray falls into the position, under a feeling insurmountably directing him, of signing anything, everything, that Horton brings to him for the purpose—but only what Horton brings. The state of mind and vision and feeling, the state of dazzlement with reserves and reflections, the play of reserves and reflections with dazzlement (which is my convenient word covering here all that I intend and prefigure) is a part of the very essence of my subject—which in fine I perfectly possess. What happens is, further, that, even with the rapidity which is of the remarkable nature of the case, Horton shows for a more and more monied, or call it at first a less and less nonmonied individual; with an undisguisedness in this respect which of itself imposes and, vulgarly speaking, succeeds. I express these things here crudely and summarily, by rude signs and hints, in order to express them at all; but what is of so high an interest, and so bright and characteristic, is that Horton is "splendid", plausible, delightful, because exactly so logical and happily suggestive, about all this; he puts it to Gray that of course he is helping himself by helping Gray, that of course his connection with Gray does him good in the business world and gives him such help to do things for himself as he has never before had. I needn't abound in this sense here, I am too well possessed of what I see—as I find myself in general more and more. A tremendous Joint is formed, in all this connection, when the first definite question begins to glimmer upon Gray, under some intimation, suggestion, impression, springing up as dramatically as I can make it, as to what Horton is really doing with him, and as to whether or no he shall really try to find out. That question of whether or no he shall becomes the question; just as the way he answers it, not all at once, but under further impressions invoked, becomes a thing of the liveliest interest for us; becomes a consideration the climax of which represents exactly the Joint that is in a sense the climax of the Joints. He sees—well what I see him see, and it is of course not at all this act of vision in itself, but what takes place in consequence of it, and the process of confrontation, reflection, resolution, that ensues—it is this that brings me up to my high point of beautiful difficulty and clarity. An exquisite quality of representation here of course comes in, with everything that is involved to make it rich and interesting. A Joint here, a Joint of the Joint, for perfect flexible working, is Horton's vision of his vision, and Horton's exhibited mental, moral audacity of certainty as to what that may mean for himself. There is a scene of course in which, between them, this is what it can only be provisionally gross and approximate to call settled: as to which I needn't insist further, it's there; what I want is there; I've only to pull it out: it's all there, heaped up and pressed together and awaiting the properest hand. So much just now for that.

As to Cissy Foy meanwhile, the case seems to me to clear up and clear up to the last perfection; or to be destined and committed so to do, at any rate, as one presses it with the right pressure. How shall I put it for the moment, her case, in the very simplest and most rudimentary terms? She sees the improvement in Horton's situation, she assists at it, it gives her pleasure, it even to a certain extent causes her wonder, but a wonder which the pleasure only perches on, so to speak, and converts to its use; so does the vision appeal to her and hold her of the exercise on his part, the more vivid exercise than any she has yet been able to enjoy an exhibition of, of the ability and force, the doing and man-of-action quality, as to the show of which he has up to now been so hampered. She likes his success at last, plainly, and he has it from her that she likes it; she likes to let him know that she likes it, and we have her for the time in contemplation, as it were, of these two beautiful cases of possession and acquisition, out of which indeed poor little impecunious she gets as yet no direct advantage, but which are somehow together there for her with a kind of glimmering looming option well before her as to how they shall come yet to concern her. Awfully interesting and attractive, as one says, to mark the point (such a Joint this!) at which the case begins to glimmer for Gray about her, as it has begun to glimmer for him about Horton. I make out here, so far as I catch the tip of the tail of it, such an interesting connection and dependence, for what I may roughly call Gray's state of mind, as to what is taking place within Cissy, so to speak. Since I speak of the most primitive statement of it possible he catches the moment at which she begins to say to herself "But if Horton, if he, is going to be rich———?" as a positive arrest, say significant warning or omen, in his own nearer approach to her; which takes on thereby a portentous, a kind of ominous and yet enjoyable air of evidence as to his own likelihood, at this rate, of getting poor. He catches her not asking herself withal, at least then, "How is Horton going to be rich, how, at such a rate, has it come on, and what does it mean?"—it is only the "If Horton, oh if———?" that he comes up against; it's as if he comes up against, as well, some wondrous implication in it of "If, if, if Mr. Gray is, 'in such a funny way,' going to be poor———?" He sees her there, seeing at the same time that it's as near as she yet gets; as near perhaps even—for this splendid apprehension sort of begins to take place in him—as she's going to allow herself to get; and after the first chill of it, shock of it, pain of it (because I want him to be at the point at which he has that) fades a little away for him, he emerging or shaking himself out of it, the beautiful way in which it falls into the general ironic apprehension, imagination, appropriation, of the Whole, becomes for him the fact about it. She has them, each on his side, there in her balance—and this is between them, between him and her; I must have prepared everything right for its being oh such a fine moment. What I want to do of course is to get out of this particular situation all it can give; what it most gives being, to the last point, the dramatic quality, intensity, force, current or whatever, of Gray's apprehension of it, once this is determined, and of course wondering interest in it—as a light, so to speak, on both of the persons concerned. What I see is that she gives him the measure, as it were, of Morton's successful proceeding—and does so, in a sort, without positively having it herself, or truly wanting to have it beyond the fact that it is success, is promise and prospect of acquisition on a big scale. What it comes to is that he finds her believing in Horton just at the time and in proportion as he has found himself ceasing to believe, so far as the latter's disinterestedness is concerned. No better, no more vivid illustration of the force of the money-power and money-prestige rises there before him, innumerably as other examples assault him from all round. The effect on her is there for him to "study", even, if he will; and in fact he does study it, studies it in a way that (as he also sees) makes her think that this closer consideration of her, approach to her, as it were, is the expression of an increased sympathy, faith and good will, increased desire, in fine, to make her like him. All the while it is, for Gray himself, something other; yet something at the same time wellnigh as absorbing as if it were what she takes it for. The fascination of seeing what will come of it—that is of the situation, the state of vigilance, the wavering equilibrium, at work, or at play, in the young woman—this "fascination" very "amusing" to show, with everything that clusters about it. He really enjoys getting so detached from it as to be able to have it before him for observation and wonder as he does, and I must make the point very much of how this fairly soothes and relieves him, begins to glimmer upon him exactly through that consciousness as something like the sort of issue he has been worrying about and longing for. Just so something that he makes out as distinguishable there in Horton, a confidence more or less dissimulated but also, deeply within, more or less determined, operates in its way as a measure for him of Horton's intimate sense of how things will go for him; the confidence referring, I mustn't omit, to his possibility of Cissy, after all, whom his sentiment for makes his most disinterested interest, so to call it: all this in a manner corresponding to that apprehension in Gray of her confidence, which I have just been sketchily noting. The one disinterested thing in Horton, that is, consists of his being so attached to her that he really cares for her freedom, cares for her doing what on the whole she most wants to, if it will but come as she wants it, by the operation, the evolution, so to say, of her clear preference. He has somehow within him a sense that anyway, whatever happens, they shall not fail of being "friends" after all. I see myself wanting to have Gray come up against some conclusive sign of how things are at last between them—though I say "at last" as if he has had much other light as to how such things have been, precedently. I don't want him to have had much other light, though he needs of course to have had some; there being people enough to tell him, he being so in the circle of talk, reference, gossip; but with his own estimate of the truth of ever so much of the chatter in general, and of that chatter in particular, taking its course. What I seem to see just in this connection is that he has "believed" so far as to take it that she has "cared" for his friend in the previous time, but that Horton hasn't really at all cared for her, keeping himself in reserve as it is of his essence to do, and in particular (this absolutely known to Gray) never having wholly given up his views on Rosanna. Gray believes that he hasn't, at any rate, and this helps him not to fit the fact of the younger girl's renounced, quenched, outlived, passion, or whatever one may call it, to any game of patience or calculation, rooted in a like state of feeling, on Morton's part. I want the full effect of what I can only call for convenience Gray's Discovery, his full discovery of them "together", in some situation, and its illuminating and signifying, its in a high degree, to repeat again my cherished word, determinant character. This effect requires exactly what I have been roughly marking—the line of argument in which appearances, as interpreted for himself, have been supporting Gray. "She has been in love with him, yes—but nothing has come of it—nothing could come of it; because, though he has been aware, and has been nice and kind to her, he isn't affected in the same way—is, in these matters, too cool and calculating a bird. He likes women, yes; and has had lots to do with them; but in the way of what a real relation with her would have meant—not! She has given him up, she has given it up—whereby one is free not to worry, not to have scruples, not to fear to cut across the possibility of one's friend." That's a little compendium of what I see. But it comes to me that I also want something more—for the full effect and the exact particular and most pointed bearing of what I dub Gray's discovery. He must have put it to Horton, as their relations have permitted at some suggested hour, or in some relevant connection: "Do you mind telling me if it's true—what I've heard a good deal affirmed—that there has been a question of an engagement between you and Miss Foy?—or that you are so interested in her that to see somebody else making up to her would be to you as a pang, an affront, a ground of contention or challenge or whatever?" I seem to see that, very much indeed; and by the same token to see Horton's straight denegation. I see Horton say emphatically No—and this for reasons quite conceivable in him, once one apprehends their connection with his wishing above all, beyond anything else that he at this moment wishes, to keep well with Gray. His denegation is plausible; Gray believes it and accepts it all the more that at the moment in question he wants to, in the interest of his own freedom of action. Accordingly the point I make is that when he in particular conditions finds them all unexpectedly and unmistakably "together", the discovery becomes for him doubly illuminating. I might even better say trebly; showing him in the very first place that Horton has lied to him, and thereby that Horton can lie. This very interesting and important—but also, in a strange way, "fascinating" to him. It shows in the second way how much Cissy is "thinking" of Horton, as well as he of her; and it shows in the last place, which makes it triple, how well Horton must think of the way his affairs are getting on that he can now consider the possibility of a marriage—that he can feel, I mean, he can afford to marry; not having need of one of the Rosannas to make up for his own destitution. This clinches enormously, as by a flash of vision, Gray's perception of what he is about; and is thus very intensely a Joint of the first water! What I want to be carried on to is the point at which all that he sees and feels and puts together in this connection eventuates in a decision or attitude, in a clearing-up of all the troubled questions, obscurities and difficulties that have hung for him about what I call his Solution, about what he shall be most at ease, most clear and consistent for himself, in making up his mind to. The process here and the position on his part, with all the implications and consequences of the same in which it results, is difficult and delicate to formulate, but I see with the last intensity the sense of it, and feel how it will all come and come as I get nearer to it. What is a big and beautiful challenge to a whole fine handling of these connections in particular is the making conceivable and clear, or in other words credible, consistent, vivid and interesting, the particular extraordinary relation thus constituted between the two men. That one may make it these things for Gray is more or less calculable, and, as I seem to make out, workable; but the greatest beauty of the difficulty is in getting it and keeping it in the right note and at the right pitch for Horton. Horton's "acceptance"—on what prodigious basis save the straight and practical view of Gray's exalted queerness and constitutional, or whatever, perversity, can that be shown as resting? Two fine things—that is one of them strikes me as very fine—here come to me; one of these my seeing (don't I see it?) how it will fall in, not to say fall out, as of the essence of the true workability, that the extent to which i's are not dotted between them, are left consciously undotted, to which, to the most extraordinary tune, and yet with the logic of it all straight, they stand off, or rather Gray does, the other all demonstrably thus taking his cue—the way, I say, in which the standing-off from sharp or supreme clearances is, and confirms itself as being, a note of my hero's action in the matter, throws upon one the most interesting work. Horton accepts it as exactly part of the prodigious queerness which he humours and humours in proportion as Gray will have it that he shall; the "fine thing", the second of the two, just spoken of, being that Horton never flinches from his perfectly splendid theory that he is "taking care", consummately, of his friend, and that he is arranging, by my exhibition of him, just as consummately to show for so doing. No end, I think, to be got out of this wondrous fact of Gray's sparing Horton, or saving him, the putting of anything to a real and direct Test; such a Test as would reside in his asking straight for a large sum of money, a big amount, really consonant with his theoretically intact resources and such as he with the highest propriety in the world might simply say that he has an immediate use for, or can make some important application of. No end, no end, as I say, to what I see as given me by this—this huge constituted and accepted eccentricity of Gray's holdings-off. I have the image of the relation between them made by it in my vision thus of the way, or the ways, they look at each other even while talking together to a tune which would logically or consistently make these ways other; the sort of education of the look that it breeds in Horton on the whole ground of "how far he may go." The things that pass between them after this fashion quite beautiful to do if kept from an overdoing; with Horton's formula of his "looking after" Gray completely interwoven with his whole ostensibility. It is with this formula that Horton meets the world all the while—the world that at a given moment can only find itself so full of wonderment and comment. It is with it above all that he meets Cissy, who takes it from him in a way that absolutely helps him to keep it up; and it would be with it that he should meet Rosanna if, after a given day or season, he might find it in him to dare, as it were, to "meet" Rosanna at all. It is with Horton's formula, which I think I finally show him as quite publicly delighting in, that Gray himself meets Rosanna, whom he meets a great deal all this time; with such passages between them as are only matched in another sense, and with all the other values with which they swell, so to speak, by his passages with the consummate Horton. Charming, by which I mean such interesting, things resident in what I there touch on; with the way they look at each other, Rosanna and Gray, if one is talking about looks. Gray keeps it in comedy, so far as he can—making a tone, a spell, that Rosanna doesn't break into, as she breaks, anything to call really breaks, into nothing as yet: I seem to see the final, from-far-back-prepared moment when she does, for the first and last time, break as of a big and beautiful value. That will be a Joint of Joints; but meanwhile what is between them is the sombre confidence, tenderness, fascination, anxiety, a dozen admirable things, with which she waits on Gray's tone, not playing up to it at all (playings-up and suchlike not being verily in her) but taking it from him, accommodating herself to it with all her anxiety and her confidence somehow mixed together, as if to see how far it will carry her. Such a lot to be done with Gussie Bradham, portentous woman, even to the very cracking or bursting of the mould meanwhile—so functional do I see her, in spite of the crowding and pressing together of functions, as to the production of those (after all early-determined) reactions in Gray by the simple complete exhibition of her type and pressure and aggressive mass. She is really worth a book by herself, or would be should I look that way; and I just here squeeze what I most want about her into a sort of nutshell by saying that it marks for Gray just where and how his Solution, or at any rate some of its significant and attendant aspects, swims into his ken, with the very first scene she makes him about the meanness then of his conception of his opportunity. Then it is he feels he must be getting a bit into the truth of things—if that's the way he strikes her. His very measure of taste and delicacy and the sympathetic and the nice and the what he wants, becomes after a fashion what she will want most to make him a scene about. I have it at first that he lends himself, that her great driving tone and pressure, her would-be act of possession of him, Cissy and the question of Cissy being the link, have amounted to a sort of trouble-saving thing which he has let himself "go to", which he has suffered as his convenient push or handy determinant, for the hour (sceptical even then as to its lasting)—but which has inordinately overdosed him, overhustled him, almost, as he feels in his old habit of financial contraction, overspent and overruined him. He does the things, the social things, for the moment, that she prescribes, that she foists upon him as the least ones he can decently do; does them even with a certain bewildered amusement— while Rosanna, brooding apart, so to speak, out of the circle and on her own ground, but ever so attentive, draws his eye to the effect of what one might almost call the intelligent, the patience-inviting, wink! Oh for the pity of scant space for specific illustration of Mrs. Bradham; wherewith indeed of course I reflect on the degree to which my planned compactness, absolutely precious and not to be compromised with, must restrict altogether the larger illustrational play. Intensities of foreshortening, with alternate vividnesses of extension: that is the rough label of the process. I keep it before me how mixed Cissy is with certain of the consequences of this hustlement of Mrs. Bradham, and how bullyingly, so to call it almost, she has put the whole matter of what he ought to "do for them all," on the ground in particular of what it is so open to him, so indicated for him, to do for that poor dear exquisite thing in especial. Illustrational, illustrational, yes; but oh how every inch of it will have to count. I seem to want her to have made him do some one rather gross big thing above all, as against his own sense of fineness in these matters; and to have this thing count somehow very much in the matter of his relation with Cissy. I seem to want something like his having consented to be "put up" by her to the idea of offering Cissy something very handsome by way of a "kind" tribute to her mingled poverty and charm—jolly, jolly, I think I've exactly got it! I keep in mind that Mrs. Bradham wants him to marry her—this amount of "disinterestedness" giving the measure of Mrs. B. at her most exalted "best". Wherewith, to consolidate this, her delicacy being capable—well, of what we shall see, she works of course to exaggeration the idea of his "recognising" how nice Cissy was, over there in the other time, to his poor sick stepfather, who himself so recognised it, who wrote to her so charmingly a couple of times "about it", after her return to America and quite shortly before his death. Gray "knows about this", and of course will quite see what she means. Therefore wouldn't it be nice for Gray to give her, Cissy, something really beautiful and valuable and socially helpful to her—as of course he can't give her money, which is what would be most helpful. Under this hustlement, in fine, and with a sense, born of his goodnature, his imagination, and his own delicacy, such a very different affair, of what Gussie Bradham has done for him, by her showing, he finds himself in for having bought a very rare single row of pearls, such as a girl, in New York at least, may happily wear, and presenting it to our young person as the token of recognition that Mrs. Bradham has imagined for them. The beauty in which, I see, is that it may be illustrational in more ways than one—illustrational of the hustle, of the length Gray has "appreciatively" let himself go, and, above all, of Cissy's really interesting intelligence and "subtlety". She refuses the gift, very gently and pleadingly, but as it seems to him really pretty well finally—refuses it as not relevant or proportionate or congruous to any relation in which they yet stand to each other, and as oh ever so much overexpressing any niceness she may have shown in Europe. She does, in doing this, exactly what he has felt at the back of his head that she would really do, and what he likes her for doing—the effect of which is that she has furthered her interest with him decidedly more (as she of course says to herself) than if she had taken it. He is left with it for the moment on his hands, and what I want is that he shall the next thing find himself, in revulsion, in reaction, there being for him no question of selling it again etc., finds himself, I say, offering it to Mrs. Bradham herself, who swallows it without winking. Yet, in a way, this little history of the pearls, of her not having had them, and of his after a fashion owing her a certain compensation for that, owing her something she can accept, is there between him and my young person. They figure again between them, humorously, freely, ironically—the girl being of an irony!—in their appearances on Mrs. Bradham's person, to whose huge possession of ornament they none the less conspicuously add.

But my point here is above all that Gray exactly doesn't put the question of what is becoming of his funds under Horty's care of them to the test by any cultivation of that courage for large drafts and big hauls, that nerve for believing in the fairytale of his sudden fact of possession, which was briefly and in a manner amusingly possible to him at the first go off of his situation. He forbears, abstains, stands off, and finds himself, or in particular is found by others, to the extent of their observing, wondering and presently challenging him, to be living, to be drawing on his supposed income, with what might pass for the most extraordinarily timorous and limited imagination. He likes this arrest, enjoys it and feels a sort of wondrous refreshing decency, at any rate above all a refreshing interest and curiosity about it, or, rather, for it; but what his position involves is his explaining it to others, his making up his mind, his having to, for a line to take about it, without his thereby giving Horton away. He isn't to give Horton away the least scrap from this point on; but at the same time he is to have to deal with the world, with society, with the entourage consisting for him, in its most pressing form, of, say, three representative persons—he has to deal with this challenge, as I have called it, in some way that will sort of meet it without givings-away. These three persons are in especial Rosanna and the two Bradhams; and it is before me definitely, I think, that I want to express, and in the very vividest way, his sense of his situation here, of what it means, and of what he means, in it, through what takes place for him about it with Rosanna and with the Bradhams. It is by what he "says" to the Bradhams and to Rosanna (in the way, that is largely, of not saying) that I seem to see my values here as best got, and the presentation of their different states most vivified and dramatised. These are scenes, and the function of them to serve up for us exactly, and ever so lucidly, what I desire them to represent. If the greatest interest of them, of sorts, belongs to them in so far as they are "with" Rosanna, there are yet particular values that belong to the relation with Davey, and the three relations, at any rate, work the thing for me. They are perfectly different, on this lively ground, though the "point" involved is the same in each; and the having each of them to do it with should enable me to do it beautifully; I mean to squeeze all the dramatic sense from it. The great beauty is of course for the aspects with Rosanna, between whom and him everything passes and there is so much basis already in what has been between them without his "explaining", as I have called it, anything. Even without explanations—or all the more by reason of their very absence—there is so much of it all; of the question and the dramatic illumination. With Gussie Bradham—that aspect I needn't linger or insist on, here, so much as a scrap. I have that, see it all, it's there. But with Davey I want something very good, that is in other words very functional; and I think I even wonder if I don't want to see Davey as attempting to borrow money of him. This—if I do see it—will take much putting on the right basis; and it seems to kind of glimmer upon me richly what the right basis is. My idea has been from the first that the Bradham money is all Gussie's; I have seen Davey, by the very type and aspect, by all his detached irony and humour and indiscretion and general value as the unmoneyed young man who has married the heiress, as Horton would have been had he been able to marry Rosanna. But no interfering analogy need trouble me here; Horton's not having done that, and the essential difference between the men, eases off any such question. Only don't I seem to want it that Gussie's fortune, besides not having been even remotely comparable to Rosanna's, is, though with a fair outward face, a dilapidated and undermined quantity, much ravaged by Gussie's violent strain upon it, and representing thus, through her general enormous habit and attitude, an association and connection with the money world, but all the more characteristically so, for Gray as he begins to see, that almost everything but the pitch of Gussie's wants and arrangements and ideals has been chucked, as it were, out of its windows and doors. Don't I really see the Bradhams thus as predatory? Predatory on the very rich, that is; with Gussie's insistence that Gray shall be and shall proceed as quite one of the very, oh the very, very, exactly in order that she may so prey? Yes and so it is that Gray learns—so it is that a part of Davey's abysses of New York financial history, is his own, their own, but his in particular, abyss of inconvenience, abyss of inability to keep it up combined with all the social impossibility of not doing so. I somehow want such values of the supporting and functional and illustrative sort in Davey that I really think I kind of want him to be the person, the person, to whom Gray gives—as a kind of recognition of the remarkable part, the precious part, don't I feel it as being? that Davey plays for him. He likes so the illuminating Davey, whom I'm quite sure I want to show in no malignant or vicious light, but just as a regular rag or sponge of saturation in the surrounding medium. He is beyond, he is outside of, all moral judgments, all scandalised states; he is amused at what he himself does, at his general and particular effect and effects on Gray, who is his luxury of a relation, as it were, and whom I somehow seem to want to show him feel as the only person in the whole medium appreciating his genius; in other words his detached play of mind and the deep "American humour" of it. Don't I seem to want him even as asking for something rather big?—a kind of a lump of a sum which Gray, always with amusement, answers that he will have to see about. Gray's seeing about anything of this sort means, all notedly, absolutely all, as I think I have it, asking Horton whether he can, whether he may, whether Horton will give it to him, whether in short the thing will suit Horton; even without any disposition of the sum, any account of what he wants to do, indicated or reported or confessed to Horton? Don't I see something like this?—that Gray, having put it to Horton, has precisely determined, for his vision, on Horton's part, just that first important plea of "Really you can't, you know, at this rate"—even after Gray has been for some time so "ascetic"—"It won't be convenient for you just now; and I must ask you really, you know, to take my word for it that you'd much better not distract from what I am in the act of doing for you such a sum"—by which I mean, for I am probably using here not the terms Horton would use—"much better not make such a call (call is the word) when I am exactly doing for you etc." What I seem to see is that Davey does have money from him, but has it only on a scale that falls short, considerably, of his appeal or proposal or whatever; in other words that Gray accommodates him to the third, or some other fraction, of the whole extent; and that this involves for him practically the need of his saying that Horton won't let him have more. I want that, I see it as a value; I see Davey's aspect on it as a value, I see what is determined thus between them as a value; and I seem to see most this covering by Gray of Horton in answer to the insinuations, not indignant but amused, in answer to the humorously fantastic picture, on Davey's lips, of the rate at which Horton is cleaning him out or whatever, this taking of the line of so doing and of piling up plausibilities of defence, excuse etc., so far as poor Gray can be plausible in these difficult "technical" connections, as the vivid image, the vividest, I am most concerned to give of what I show him as doing. The covering of Horton, the covering of Horton—this is much more than not giving him away; this active and positive protection of him seems to me really what my subject logically asks. Well then if that is it, is what it most of all, for the dramatic value, asks, how can this be consistently less than Gray's act of going all the way indeed? I don't know why—as it has been hovering before me—I don't want the complete vivid sense of it to take the form of an awful, a horrible or hideous, crisis on Horton's part which, under the stress of it, he "suddenly" discloses to Gray, throwing himself upon him in the most fevered, the most desperate appeal for relief. What then constitutes the nature of the crisis, what then can, or constitute the urgency of the relief, unless the fact of his having something altogether dreadful to confess; so dreadful that it can only involve the very essence of his reputation, honour and decency, his safety in short before the law? He has been guilty of some huge irregularity, say—but which yet is a different thing from whatever irregularities he has been guilty of in respect to Gray himself; and which up to now, at the worst, have left a certain substantial part of Gray's funds intact. Say that, say that; turn it over, that is, to see if it's really wanted. I think of it as wanted because I feel the need of the effect of some acute determination play up as I consider all this—and yet also see objections; which probably will multiply as I look a little closer. I throw this off, at all events, for the moment, as I go, to be looked at straighter, to return to presently—after I've got away from it a bit, I mean from this special aspect a little, in order to come back to it fresher; picking up meanwhile two or three different matters.

The whole question of what my young man has been positively interested in, been all the while more or less definitely occupied with, I have found myself leaving, or at any rate have left, in abeyance, by reason of a certain sense of its comparative unimportance. That is I have felt my instinct to make him definitely and frankly as complete a case as possible of the sort of thing that will make him an anomaly and an outsider alike in the New York world of business, the N.Y. world of ferocious acquisition, and the world there of enormities enormities of expenditure and extravagance, so that the real suppression for him of anything that shall count in the American air as a money-making, or even as a wage-earning, or as a pecuniarily picking-up character, strikes me as wanted for my emphasis of his entire difference of sensibility and of association. I have always wanted to do an out and out non-producer, in the ordinary sense of non-accumulator of material gain, from the moment one should be able to give him a positively interested aspect on another side or in another sense, or even definitely a generally responsive intelligence. I see my figure then in this case as an absolutely frank example of the tradition and superstition, the habit and rule so inveterate there, frankly and serenely deviated from—these things meaning there essentially some mode of sharp reaching out for money over a counter or sucking it up through a thousand contorted channels. Yet I want something as different as possible, no less different, I mean, from the people who are "idle" there than from the people who are what is called active; in short, as I say, an out and out case, and of course an avowedly, an exceptionally fine and special one, which antecedents and past history up to then may more or less vividly help to account for. A very special case indeed is of course our Young Man—without his being which my donnée wouldn't come off at all; his being so is just of the very core of the subject. It's a question therefore of the way to make him most special—but I so distinctly see this that I need scarce here waste words———! There are three or four definite facts and considerations, however; conditions to be seen clear. I want to steer clear of the tiresome "artistic" associations hanging about the usual type of young Anglo-Saxon "brought up abroad"; though only indeed so far as they are tiresome. My idea involves absolutely Gray's taking his stand, a bit ruefully at first, but quite boldly when he more and more sees what the opposite of it over there is so much an implication of, on the acknowledgment that, no, absolutely, he hasn't anything at all to show in the way of work achieved—with such work as he has seen achieved, whether apologetically or pretentiously, as he has lived about; and yet has up to now not had at all the sense of a vacuous consciousness or a so-called wasted life. This however by reason of course of certain things, certain ideas, possibilities, inclinations and dispositions, that he has cared about and felt, in his way, the fermentation of. Of course the trouble with him is a sort of excess of "culture", so far as the form taken by his existence up to then has represented the growth of that article. Again, however, I see that I really am in complete possession of him, and that no plotting of it as to any but one or two material particulars need here detain me. He isn't, N.B., big, personally, by which I mean physically; I see that I want him rather below than above the middling stature, and light and nervous and restless; extremely restless above all in presence of swarming new and more or less aggressive, in fact quite assaulting phenomena. Of course he has had some means—that he and his stepfather were able to live in a quiet "European" way and on an income of an extreme New York deplorability, is of course of the basis of what has been before; with which he must have come in for whatever his late companion has had to leave. So with what there was from his mother, very modest, and what there is from this other source, not less so, he can, he could, go back to Europe on a sufficient basis: this fact to be kept in mind both as mitigating the prodigy of his climax in N.Y., and yet at the same time as making whatever there is of "appeal" to him over there conceivable enough. Note that the statement he makes, when we first know him, to his dying uncle, the completeness of the picture of detachment then and there drawn for him, and which, precisely, by such an extraordinary and interesting turn, is what most "refreshes" and works upon Mr. Betterman—note, I say, that I absolutely require the utterness of his difference to be a sort of virtual determinant in this relation. He puts it so to Rosanna, tells her how extraordinarily he feels that this is what it has been. Heaven forbid he should "paint"—but there glimmers before me the sense of the connection in which I can see him as more or less covertly and waitingly, fastidiously and often too sceptically, conscious of possibilities of "writing". Quite frankly accept for him the complication or whatever of his fastidiousness, yet of his recognition withal of what makes for sterility; but again and again I have all this, I have it. His "culture", his initiations of intelligence and experience, his possibilities of imagination, if one will, to say nothing of other things, make for me a sort of figure of a floating island on which he drifts and bumps and coasts about, wanting to get alongside as much as possible, yet always with the gap of water, the little island fact, to be somehow bridged over. All of which makes him, I of course desperately recognise, another of the "intelligent", another exposed and assaulted, active and passive "mind" engaged in an adventure and interesting in itself by so being; but I rejoice in that aspect of my material as dramatically and determinantly general. It isn't centrally a drama of fools or vulgarians; it's only circumferentially and surroundedly so—these being enormously implied and with the effect of their hovering and pressing upon the whole business from without, but seen and felt by us only with that rich indirectness. So far so good; but I come back for a moment to an issue left standing yesterday—and beyond which, for that matter, two or three other points raise their heads. Why did it appear to come up for me again—I having had it present to me before and then rather waved it away—that one might see Horton in the kind of crisis that I glanced at as throwing him upon Gray with what I called violence? Is it because I feel "something more" is wanted for the process by which my Young Man works off the distaste, his distaste, for the ugliness of his inheritance—something more than his just generally playing into Morton's hands? I am in presence there of a beautiful difficulty, beautiful to solve, yet which one must be to the last point crystal-clear about; and this difficulty is certainly added to if Gray sees Horton as "dishonest" in relation to others over and above his being "queer" in the condoned way I have so to picture for his relation to Gray. Here are complexities not quite easily unravelled, yet manageable by getting sufficiently close to them; complexities, I mean, of the question of whether———? Horton is abysmal, yes—but with the mixture in it that Gray sees. Ergo I want the mixture, and if I adopt what I threw off speculatively yesterday I strike myself as letting the mixture more or less go and having the non-mixture, that is the "bad" in him, preponderate. It has been my idea that this "bad" figures in a degree to Gray as after a fashion his own creation, the creation, that is, of the enormous and fantastic opportunity and temptation he has held out —even though these wouldn't have operated in the least, or couldn't, without predispositions in Horton's very genius. If Gray saw him as a mere vulgar practiser of what he does practise, the interest would by that fact exceedingly drop; there would be no interest indeed, and the beauty of my "psychological" picture wouldn't come off, would have no foot to stand on. The beauty is in the complexity of the question—which, stated in the simplest terms possible, reduces itself to Horton's practically saying to Gray, or seeing himself as saying to Gray should it come to the absolute touch: "You mind, in your extraordinary way, how this money was accumulated and hanky-pankied, you suffer, and cultivate a suffering, from the perpetrated wrong of which you feel it the embodied evidence, and with which the possession of it is thereby poisoned for you. But I don't mind one little scrap—and there is a great deal more to be said than you seem so much as able to understand, or so much as able to want to, about the whole question of how money comes to those who know how to make it. Here you are then, if it's so disagreeable to you—and what can one really say, with the chances you give me to say it, but that if you are so burdened and afflicted, there are ways of relieving you which, upon my honour, I should perfectly undertake to work—given the facilities that you so morbidly, so fantastically, so all but incredibly save for the testimony of my senses, permit me to enjoy." That, yes; but that is very different from the wider range of application of the aptitudes concerned. The confession, and the delinquency preceding it, that played a bit up for me yesterday—what do they do but make Horton just as vulgar as I don't want him, and, as I immediately recognise, Gray wouldn't in the least be able to stomach seeing him under any continuance of relations. I have it, I have it, and it comes as an answer to why I worried? Because of felt want of a way of providing for some Big Haul, really big; which my situation absolutely requires. There must be at a given moment a big haul in order to produce the big sacrifice; the latter being of the absolute essence. I say I have it when I ask myself why the Big Haul shouldn't simply consist of the consequence of a confession made by Horton to Gray, yes; but made not about what he has lost, whether dishonestly or not, for somebody else, but what he has lost for Gray. Solutions here bristle, positively, for the case seems to clear up from the moment I make Horton put his matter as a mere disastrous loss, of unwisdom, of having been "done" by others and not as a thing involving his own obliquity. What I want is that he pleads the loss—whether loss to Gray, loss to another party, or loss to both, is a detail. I incline to think loss to Gray sufficient—loss that Gray accepts, which is different from his meeting the disaster inflicted on another by Horton. What I want a bit is all contained in Gray's question, afterwards determined, not absolutely present at the moment, of whether this fact has not been a feigned or simulated one, not a genuine gulf of accident, but an appeal for relinquishment practised on Gray by the latter's liability to believe that the cause is genuine. I clutch the idea of this determinant of rightness of suspicion being one with the circumstance that Cissy in a sort of thereupon manner "takes up" with Horton, instead of not doing so, as figures to Gray as discernible if Horton were merely minus. Is it cleared up for Gray that the cause is not genuine?—does he get, or does he seek, any definite light on this? Does he tell any one, that is does he tell Rosanna of the incident (though I want the thing of proportions bigger than those of a mere incident)—does he put it to her, in short does he take her into his confidence about it? I think I see that he does to this extent, that she is the only person to whom he speaks, but that he then speaks with a kind of transparent and, as it were, (as it is in her sight) "sublime" dissimulation. Yes, I think that's the way I want it—that he tells her what has happened, tells it to her as having happened, as a statement of what he has done or means to do—perhaps his mind isn't even yet made up to it; whereby I seem to get a very interesting passage of drama and another very fine "Joint." He doesn't, no, decidedly, communicate anything to Davey Bradham—his instinct has been against that—and I feel herewith how much I want this D.B. relation for him to have all its possibility of irony, "comedy", humorous colour, so to speak. I want awfully to do D.B. to the full and give him all his value. However, it's of the situation here with Rosanna that the question is, and I seem to feel that still further clear up for me. There has been the passage, the big circumstance, with Horton—as to which, as to the sense of which and of what it involves for him, don't I after all see him as taking time? after all see him as a bit staggered quand même, and, as it were, asking for time, though without any betrayal of "suspicion", any expression tantamount to "What a queer story!" Yes, yes, it seems to come to me that I want the determination of suspicion not to come at once; I want it to hang back and wait for a big "crystallisation," a falling together of many things, which now takes place, as it were, in Rosanna's presence and under her extraordinary tacit action, in that atmosphere of their relation which has already given me, or will have given, not to speak presumptuously, so much. It kind of comes over me even that I don't want any articulation to himself of the "integrity" question in respect to Horton to have taken place at all—till it very momentously takes place all at once in the air, as I say, and on the ground, and in the course, of this present scene. Immensely interesting to have made Everything precedent to have consisted but in preparation for this momentousness, so that the whole effect has been gathered there ready to break. At the same time, if I make it break not in the right way, unless I so rightly condition its breaking, I do what I was moved just above to bar, the giving away of Horton to Rosanna in the sense that fixing his behaviour upon him, or inviting or allowing her to fix it, is a thing I see my finer alternative to. The great thing, the great find, I really think, for the moment, is this fact of his having gone to her in a sort of still preserved uncertainty of light that amounts virtually to darkness, and then after a time with her coming away with the uncertainty dispelled and the remarkable light instead taking its place. That gives me my very form and climax—in respect to the "way" that has most perplexed me, and gathers my action up to the fulness so proposed and desired; to the point after which I want to make it workable that there shall be but two Books left. In other words the ideal will be that this whole passage, using the word in the largest sense, with all the accompanying aspects, shall constitute Book 8, "Act" 8, as I call it, of my drama, with the dénoûment occupying the space to the end—for the foregoing is of course not in the least the dénoûment, but only prepares it, just as what is thus involved is the occupancy of Book 7 by the history with Horton. Of course I can but reflect that to bring this splendid economy off it must have been practised up to VII with the most intense and immense art: the scheme I have already sketched for I and II leaving me therewith but III, IV, V, and VI to arrive at the completeness of preparation for VII, which carries in its bosom the completeness of preparation for VIII—this last, by a like grand law, carrying in its pocket the completeness of preparation for IX and X. But why not? Who's afraid? and what has the very essence of my design been but the most magnificent packed and calculated closeness? Keep this closeness up to the notch while admirably animating it, and I do what I should simply be sickened to death not to! Of course it means the absolute exclusively economic existence and situation of every sentence and every letter; but again what is that but the most desirable of beauties in itself? The chapters of history with Rosanna leave me then to show, speaking simply, its effect with regard to (I assume I put first) Gray and Horton, to Gray and Cissy, to Cissy and Horton, to Gray and Mrs. Bradham on the one hand and to Gray and Davey on the other and finally and supremely to Gray and Rosanna herself. It is of course definitely on that note the thing closes—but wait a little before I come to it. Let me state as "plainly" as may be what "happens" as the next step in my drama, the next Joint in the action after the climax of the "scene" with Rosanna. Obviously the first thing is a passage with Horton, the passage after, which shall be a pendant to the passage before. But don't I want some episode to interpose here on the momentous ground of the Girl? These sequences to be absolutely planned and fitted together, of course, up to their last point of relation; to work such complexity into such compass can only be a difficulty of the most inspiring—the prize being, naturally, to achieve the lucidity with the complexity. What then is the lucidity for us about my heroine, and exactly what is it that I want and don't want to show? I want something to take place here between Gray and her that crowns his vision and his action in respect to Horton. As I of course want every point and comma to be "functional", so there's nothing I want that more for than for this aspect of my crisis—which does, yes, decidedly, present itself before Gray has again seen Horton. I seem even to want this aspect, as I call it, to be the decisive thing in respect to his "decision". I want something to have still depended for him on the question of how she is, what she does, what she makes him see, however little intending it, of her sensibility to the crisis, as it were—knowing as I do what I mean by this. But what does come up for me, and has to be faced, is all the appearance that all this later development that I have sketched and am sketching, rather directly involves a deviation from that help by alternations which I originally counted on, and which I began by drawing upon in the first three or four Books. What becomes after the first three or four then of that variation—if I make my march between IV and VIII inclusive all a matter of what appears to Gray? Perhaps on closer view I can for the "finer amusement" escape that frustration—though it would take some doing; and the fact remains that I don't really want, and can't, any other exhibition than Gray's own except in the case of Horton and the Young Woman. I should like more variation than just that will yield me withal—so at least it strikes me; but if I press a bit a possibility perhaps will rise. Two things strike me: one of these being that instead of making Book 9 Gray's "act" I may make it in a manner Cissy's own; save that a terrific little question here comes up as involved in the very essence of my cherished symmetry and "unity". The absolute prime compositional idea ruling me is thus the unity of each Act, and I get unity with the Girl for IX only if I keep it to her and whoever else. To her and Horton, yes, to her and Gray (Gray first) yes; only how then comes in the "passage" of Gray and Horton without her, and which I don't want to push over to X. It would be an "aesthetic" ravishment to make Book 10 balance with Book 1 as Rosanna's affair; which I glimmeringly see as interestingly possible if I can wind up somehow as I want to do between Gray and Horton. In connection with which, however, something again glimmers—the possibility of making Book 9 quand même Cissy and Horton and Gray; twisting out, that is, some admirable way of her being participant in, "present at", what here happens between them as to their own affair. I say these things after all with the sense, so founded on past experience, that, in closer quarters and the intimacy of composition, pre-noted arrangements, proportions and relations, do most uncommonly insist on making themselves different by shifts and variations, always improving, which impose themselves as one goes and keep the door open always to something more right and more related. It is subject to that constant possibility, all the while, that one does pre-note and tentatively sketch; a fact so constantly before one as to make too idle any waste of words on it. At the same time I do absolutely and utterly want to stick, even to the very depth, to the general distribution here imagined as I have groped on; and I am at least now taking a certain lightness and conclusiveness of parts and items for granted until the intimate tussle, as I say, happens, if it does happen, to dislocate or modify them. Such an assumption for instance I find myself quite loving to make in presence of the vision quite colouring up for me yesterday of Book 9 as given to Gray and Horton and Cissy Together, as I may rudely express it, and Book 10, to repeat, given, with a splendid richness and comprehensiveness, to Rosanna, as I hope to have shown Book 1 as so given. Variety, variety—I want to go in for that for all the possibilities of my case may be worth; and I see, I feel, how a sort of fond fancy of it is met by the distribution, the little cluster of determinations, or, so to speak, for the pleasure of putting it, determinatenesses, so noted. It gives me the central mass of the thing for my hero's own embrace and makes beginning and end sort of confront each other over it.

Is it vain to do anything but say, that is but feel, that this situation of the Three in Book 9 absolutely demands the intimate grip for clearing itself up, working itself out? Yes, perfectly vain, I reflect, as at all precluding the high urgency and decency of my seeing in advance just how and where I plant my feet and direct my steps. Express absolutely, to this end, the conclusive sense, the clear firm function, of Book 9 out of which the rest bristles. I want it, as for that matter I want each Book, with the last longing and fullest intention, to be what it is "amusing" and regaling to think of as "complete in itself"; otherwise a thoroughly expressed Occasion, or as I have kept calling it Aspect, such as one can go at, thanks to the flow of the current in it, in the firmest possible little narrative way. The form of the Occasion is the form that I somehow see as here very particularly presenting itself and contributing its aid to that impression of the Three Together which I try to focus. Where, exactly, and exactly how, are they thus vividly and workably together?—what is the most "amusing" way of making them so? It is fundamental for me to note that my action represents and embraces the sequences of a Year, not going beyond this and not falling short of it. I can't get my Unity, can't keep it, on the basis of more than a year, and can't get my complexity, don't want to, in anything a bit less. I see a Year right, in fine, and it brings me round therefore to the early summer from the time of my original Exposition. With which it comes to me of course that one of the things accruing to Gray under his Uncle's Will is the house at Newport, which belonged to the old man, and which I have no desire to go into any reason whatever for his heir's having got rid of. There is the house at Newport—as to which it comes over me that I kind of see him in it once or twice during the progress of the autumn's, the winter's, the spring's events. Isn't it also a part of my affair that I see the Bradhams with a Newport place, and am more or less encouraged herewith to make out the Scene of Book 9, the embracing Occasion, of the three, as a "staying"

of them, in the natural way, the inevitable, the illustrative, under some roof that places them vividly in relation to each other. Of course Mrs. Bradham has her great characteristic house away from N.Y., where anything and everything may characteristically find their background—the whole case being compatible with that lively shakiness of fortune that I have glanced at; only I want to keep the whole thing, so far as my poor little "documented" state permits, on the lines of absolutely current New York practice, as I further reflect I probably don't want to move Gray an inch out of N.Y. "during the winter", this probably a quite unnecessarily bad economy. Having what I have of New York isn't the question of using it, and it only, as entirely adequate from Book 4 to 8 inclusive? To keep everything as like these actualities of N.Y. as possible, for the sake of my "atmosphere", I must be wary and wise; in the sense for instance that said actualities don't at all comprise people's being at Newport early in the summer. How then, however, came the Bradhams to be there at the time noted in my Book 1? I reflect happily apropos of this that my there positing the early summer (in Book 1) is a stroke that I needn't at all now take account of; it having been but an accident of my small vague plan as it glimmered to me from the very first go-off. No, definitely, the time-scheme must a bit move on, and give help thereby to the place-scheme; if I want Gray to arrive en plein Newport, as I do for immediate control of the assault of his impressions, it must be a matter of August rather than of June; and nothing is simpler than to shift. Let me indeed so far modify as to conceive that 15 or 16 months will be as workable as a Year—practically they will count as the period both short enough and long enough; and will bring me for Nine and Ten round to the Newport or whatever of August, and to the whatever else of some moment of beauty and harmony in the American autumn. Let me wind up on a kind of strong October or perhaps even better still—yes, better still—latish November, in other words admirable Indian Summer, note. That brings me round and makes the circle whole. Well then I don't seem to want a repetition of Newport—as if it were, poor old dear, the only place known to me in the country!—for the images that this last suggestion causes more or less to swarm. By the blessing of heaven I am possessed, sufficiently to say so, of Lenox, and Lenox for the autumn is much more characteristic too. What do I seem to see then?—as I don't at all want, or imagine myself wanting at the scratch, to make a local jump between Nine and Ten. These things come—I see them coming now. Of course it's perfectly conceivable, and entirely characteristic, that Mrs. Bradham should have a place at Lenox as well as at Newport; if it's necessary to posit her for the previous summer in her own house at the latter place. It's perfectly in order that she may have taken one there for the summer—and that having let the Lenox place at that time may figure as a sort of note of the crack in her financial aspect that is part, to call it part, of my concern. All of which are considerations entirely meetable at the short range—save that I do really seem to kind of want Book 10 at Lenox and to want Nine there by the same stroke. I should like to stick Rosanna at the beautiful Dublin, if it weren't for the grotesque anomaly of the name; and after all what need serve my purpose better than what I already have? It's provided for in Book 1 that she and her father had only taken the house at Newport for a couple of months or whatever; so that is all to the good. Oh yes, all that New England mountain-land that I thus get by radiation, and thus welcome the idea of for values surging after a fashion upon Gray, appeals to one to "do" a bit, even in a measure beyond one's hope of space to do it. Well before me surely too the fact that my whole action does, can only, take place in the air of the last actuality; which supports so, and plays into, its sense and its portée. Therefore it's a question of all the intensest modernity of every American description; cars and telephones and facilities and machineries and resources of certain sorts not to be exaggerated; which I can't not take account of. Assume then, in fine, the Bradhams this second autumn at Lenox, assume Gussie blazing away as if at the very sincerest and validest top of her push; assume Rosanna as naturally there in the "summer home" which has been her and her father's only possessional alternative to N.Y. I violate verisimilitude in not brushing them all, all of the N.Y. "social magnates", off to Paris as soon as Lent sets in, by their prescribed oscillation; but who knows but what it will be convenient quite exactly to shift Gussie across for the time, as nothing then would be more in the line of truth than to have her bustle expensively back for her Lenox proceedings of the autumn. These things, however, are trifles. All I have wanted to thresh out a bit has been the "placing" of Nine and Ten; and for this I have more than enough provided.

What it seems to come to then is the "positing" of Cissy at Lenox with the Bradhams at the time the circumstances of Book Eight have occurred; it's coming to me with which that I seem exactly to want them to occur in the empty town, the New York of a more or less torrid mid-August—this I feel so "possessed of"; to which Gray has "come back" (say from Newport where he has been for a bit alone in his own house there, to think, as it were, with concentration); come back precisely for the passage with Horton. So at any rate for the moment I seem to see that; my actual point being, however, that Cissy is posited at Lenox, that the Book "opens" with her, and that it is in the sense I mean "her" Book. She is there waiting as it were on what Horton does, so far as I allow her intelligence of this; and it is there that Gray finds her on his going on to Lenox whether under constraint (by what has gone before) of a visit to the Bradhams, a stay of some days with them, or under the interest of a conceivable stay with Rosanna; a sort of thing that I represent, or at any rate "posit", as perfectly in the line of Rosanna's present freedom and attributes. Would I rather have him with Rosanna and "going over" to the Bradhams? would I rather have him with the Bradhams and going over to Rosanna?—or would I rather have him at neither place and staying by himself at an hotel, which seems to leave me the right margin? There has been no staying up to this point for him with either party, and I have as free a hand as could be. With which there glimmer upon me advantages—oh yes—in placing him in his own independence; especially for Book 10: in short it seems to come. Don't I see Cissy as having obtained from Gussie Bradham that Horton shall be invited—which fact in itself I here provisionally throw off as giving me perhaps a sort of starting value.

1. From this point the names of the characters, most of which were still uncertain, are given in accordance with Henry James' final choice; though it may be noted that he was to the end dissatisfied with the name of Cissy Foy and meant to choose another.