Page:The Novels and Tales of Henry James, Volume 2 (New York, Charles Scribner's Sons, 1907).djvu/17

 hours, all acute impressions, to palm itself off as the sign of a finer confidence than I could justly claim? It is a pleasure to perceive how again and again the shrunken depths of old work yet permit themselves to be sounded or—even if rather terrible the image—"dragged": the long pole of memory stirs and rummages the bottom, and we fish up such fragments and relics of the submerged life and the extinct consciousness as tempt us to piece them together. My windows looked into the Rue de Luxembourg—since then meagrely renamed Rue Cambon—and the particular light Parisian click of the small cab-horse on the clear asphalt, with its sharpness of detonation between the high houses, makes for the faded page to-day a sort of interlineation of sound. This sound rises to a martial clatter at the moment a troop of cuirassiers charges down the narrow street, each morning, to file, directly opposite my house, through the plain portal of the barracks occupying part of the vast domain attached in a rearward manner to one of the Ministeres that front on the Place Vendôme; an expanse marked, along a considerable stretch of the street, by one of those high painted and administratively-placarded garden walls that form deep, vague, recurrent notes in the organic vastness of the city. I have but to re-read ten lines to recall my daily effort not to waste time in hanging over the window-bar for a sight of the cavalry the hard music of whose hoofs so directly and thrillingly appealed; an effort that inveterately failed—and a trivial circumstance now dignified, to my imagination, I may add, by the fact that the fruits of this weakness, the various items of the vivid picture, so constantly recaptured, must have been in themselves suggestive and inspiring, must have been rich strains, in their way, of the great Paris harmony. I have ever, in general, found it difficult to write of places under too immediate an impression—the impression that prevents standing off and allows neither space nor time for perspective. The image has had for the most part to be dim if the reflexion was to be, as is proper for a reflexion, both sharp and quiet: one has a horror, I think, artistically, of agitated reflexions. xi