“Why,
Sir, you find no man, at all intellectual, who is willing to leave London. No,
Sir, when a man is tired of London, he is tired of life; for there is in London
all that life can afford.”
Here
is James writing in 1881-82 on London, in The
Complete Notebooks of Henry James (Oxford University Press, 1987):
“It
is difficult to speak adequately or justly of London. It is not a pleasant
place; it is not agreeable, or cheerful, or easy, or exempt from reproach. It
is only magnificent. You can draw up a tremendous list of reasons why it should
be insupportable. The fogs, the smoke, the dirt, the darkness, the wet, the
distances, the ugliness, the brutal size of the place, the horrible numerosity
of society, the manner in which this senseless bigness is fatal to amenity, to
convenience, to conversation, to good manners – all this and much more you may
expatiate upon. You may call it dreary, heavy, stupid, dull, inhuman, vulgar at
heart and tiresome in form. I have felt these things at times so strongly that
I have said – `Ah London, you too then are impossible?’ But these are
occasional moods; and for one who takes it as I take it, London is on the whole
the most possible form of life. I take it as an artist and as a bachelor; as
one who has the passion of observation and whose business is the study of human
life. It is the biggest aggregation of human life – the most complete
compendium of the world.”
Johnson
on London: “all that life can afford.” James on London: “the most complete
compendium of the world.” Both emphasize more than mere magnitude; rather,
comprehensiveness.
James
owned Boswell’s Life and Johnsonian Miscellanies, both edited by George Birkbeck Hill. In an 1871
story, “A Passionate Pilgrim,” James has his narrator living in a part of
London he calls “Johnsonian City,” and in “A London Life” (1888), a man and
woman “lingered to talk of Johnson and Goldsmith.” Late in life, Leon Edel reports
in his biography, James developed a “large Johnsonian body,” and his nephew, Harry,
“realized the great authority and solemnity of the Johnsonian dictator.” Edel reports
James acknowledged “he looked more and more like Sir Joshua [Reynolds’] Dr.
Johnson and others who saw the picture had the same impression.” The biographer
suggests John Singer Sargent, who painted James’ portrait in 1913, modeled it
on Reynolds’ Johnson.
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