become limitations.

He was born in New York city in the year 1843, and his first lessons in life and letters were the best which the metropolis—so small in the perspective diminishing to that date—could afford. In his twelfth year his family went abroad, and after some stay in England made a long sojourn in France and Switzerland. They returned to America in 1860, placing themselves at Newport, and for a year or two Mr. James was at the Harvard Law School, where, perhaps, he did not study a great deal of law. His father removed from Newport to Cambridge in 1866, and there Mr. James remained till he went abroad, three years later, for the residence in England and Italy which, with infrequent visits home, has continued ever since.

It was during these three years of his Cambridge life that I became acquainted with his work. He had already printed a tale—"The Story of a Year"—in the "Atlantic Monthly," when I was asked to be Mr. Fields's assistant in the management, and it was my fortune to read Mr. James's second contribution in manuscript. "Would you take it?" asked my chief. "Yes, and all the stories you can get from the writer." One is much securer of one's judgment at twenty-nine than, say, at forty-five; but if this was a mistake of mine I am not yet old enough to regret it. The story was called "Poor Richard," and it dealt with the conscience of a man very much in love with a woman who loved his rival. He told this rival a lie, which sent him away to his death on the field,—in that day nearly every fictitious personage had something to do with the war,—but Poor Richard's lie did not win him his love. It still seems to me that the situation was strongly and finely felt. One's pity went, as it should, with the liar; but the whole story had a pathos which lingers in my mind equally with a sense of the new literary qualities which gave me such delight in it. I admired, as we must in all that Mr. James has written, the finished workmanship in which there is no loss of vigor; the luminous and uncommon use of words, the originality of phrase, the whole clear and beautiful style, which I confess I weakly liked the better for the occasional gallicisms remaining from an inveterate habit of French. Those who know the writings of Mr. Henry James will recognize the inherited felicity of diction which is so striking in the writings of Mr. Henry James, Jr. The son's diction is not so racy as the father's; it lacks its daring, but it is as fortunate and graphic; and I cannot give it greater praise than this, though it has, when he will, a splendor and state which is wholly its own.

Mr. James is now so universally recognized that I shall seem to be making an unwarrantable claim when I express my belief that the popularity of his stories was once largely confined to Mr. Field's assistant. They had characteristics which forbade any editor to refuse them; and there are no anecdotes of thrice-rejected manuscripts finally printed to tell of him; his work was at once successful with all the magazines. But with the readers of "The Atlantic," of "Harper's," of "Lippincott's," of "The Galaxy," of "The Century," it was another affair. The flavor was so strange, that, with rare exceptions, they had to "learn to like" it. Probably few writers have in the same degree compelled the liking of their readers. He was reluctantly accepted, partly through a mistake as to his attitude—through the confusion of his point of view with his private opinion—in the reader's mind. This confusion caused the tears of rage which bedewed our continent in behalf of the "average American girl" supposed to be satirized in Daisy Miller, and prevented the perception of the fact that, so far as the average American girl was studied at all in Daisy Miller, her indestructible innocence, her invulnerable new-worldliness, had never been so delicately appreciated. It was so plain that Mr. James disliked her vulgar conditions, that the very people to whom he revealed her essential sweetness and light were furious that he should have seemed not to see what existed through him. In other words, they would have liked him better if he had been a worse artist—if he had been a little more confidential.

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

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

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

The analytic tendency seems to have increased with him as his work has gone on. Some of the earlier tales were very dramatic: "A Passionate Pilgrim," which I should rank above all his other short stories, and for certain rich poetical qualities, above everything else that he has done, is eminently dramatic. But I do not find much that I should call dramatic in "The Portrait of a Lady," while I do find in it an amount of analysis which I should call superabundance if it were not all such good literature. The novelist's main business is to possess his reader with a due conception of his