The Portrait of a Lady By Henry James Chapters 19-20

"You mustn't think it strange her remaining here at such a time as this, when Mr. Touchett's passing away," that gentleman's wife remarked to her niece. "She is incapable of a mistake; she's the most tactful woman I know. It's a favour to me that she stays; she's putting off a lot of visits at great houses," said Mrs. Touchett, who never forgot that when she herself was in England her social value sank two or three degrees in the scale. "She has her pick of places; she's not in want of a shelter. But I've asked her to put in this time because I wish you to know her. I think it will be a good thing for you. Serena Merle hasn't a fault."

"If I didn't already like her very much that description might alarm me," Isabel returned.

"She's never the least little bit 'off.' I've brought you out here and I wish to do the best for you. Your sister Lily told me she hoped I would give you plenty of opportunities. I give you one in putting you in relation with Madame Merle. She's one of the most brilliant women in Europe."

"I like her better than I like your description of her," Isabel persisted in saying.

"Do you flatter yourself that you'll ever feel her open to criticism? I hope you'll let me know when you do."

"That will be cruel — to you," said Isabel.

"You needn't mind me. You won't discover a fault in her."

"Perhaps not. But I dare say I shan't miss it."

"She knows absolutely everything on earth there is to know," said Mrs. Touchett.

Isabel after this observed to their companion that she hoped she knew Mrs. Touchett considered she hadn't a speck on her perfection. On which "I'm obliged to you," Madame Merle replied, "but I'm afraid your aunt imagines, or at least alludes to, no aberrations that the clock-face doesn't register."

"So that you mean you've a wild side that's unknown to her?"

"Ah no, I fear my darkest sides are my tamest. I mean that having no faults, for your aunt, means that one's never late for dinner — that is for her dinner. I was not late, by the way, the other day, when you came back from London; the clock was just at eight when I came into the drawing-room: it was the rest of you that were before the time. It means that one answers a letter the day one gets it and that when one comes to stay with her one doesn't bring too much luggage and is careful not to be taken ill. For Mrs. Touchett those things constitute virtue; it's a blessing to be able to reduce it to its elements."

Madame Merle's own conversation, it will be perceived, was enriched with bold, free touches of criticism, which, even when they had a restrictive effect, never struck Isabel as ill-natured. It couldn't occur to the girl for instance that Mrs. Touchett's accomplished guest was abusing her; and this for very good reasons. In the first place Isabel rose eagerly to the sense of her shades; in the second Madame Merle implied that there was a great deal more to say; and it was clear in the third that for a person to speak to one without ceremony of one's near relations was an agreeable sign of that person's intimacy with one's self. These signs of deep communion multiplied as the days elapsed, and there was none of which Isabel was more sensible than of her companion's preference for making Miss Archer herself a topic. Though she referred frequently to the incidents of her own career she never lingered upon them; she was as little of a gross egotist as she was of a flat gossip.

"I'm old and stale and faded," she said more than once; "I'm of no more interest than last week's newspaper. You're young and fresh and of to-day; you've the great thing — you've actuality. I once had it — we all have it for an hour. You, however, will have it for longer. Let us talk about you then; you can say nothing I shall not care to hear. It's a sign that I'm growing old — that I like to talk with younger people. I think it's a very pretty compensation. If we can't have youth within us we can have it outside, and I really think we see it and feel it better that way. Of course we must be in sympathy with it — that I shall always be. I don't know that I shall ever be ill-natured with old people — I hope not; there are certainly some old people I adore. But I shall never be anything but abject with the young; they touch me and appeal to me too much. I give you carte blanche then; you can even be impertinent if you like; I shall let it pass and horribly spoil you. I speak as if I were a hundred years old, you say? Well, I am, if you please; I was born before the French Revolution. Ah, my dear, je viens de loin; I belong to the old, old world. But it's not of that I want to talk; I want to talk about the new. You must tell me more about America; you never tell me enough. Here I've been since I was brought here as a helpless child, and it's ridiculous, or rather it's scandalous, how little I know about that splendid, dreadful, funny country — surely the greatest and drollest of them all. There are a great many of us like that in these parts, and I must say I think we're a wretched set of people. You should live in your own land; whatever it may be you have your natural place there. If we're not good Americans we're certainly poor Europeans; we've no natural place here. We're mere parasites, crawling over the surface; we haven't our feet in the soil. At least one can know it and not have illusions. A woman perhaps can get on; a woman, it seems to me, has no natural place anywhere; wherever she finds herself she has to remain on the surface and, more or less, to crawl. You protest, my dear? you're horrified? you declare you'll never crawl? It's very true that I don't see you crawling; you stand more upright than a good many poor creatures. Very good; on the whole, I don't think you'll crawl. But the men, the Americans; je vous demande un peu, what do they make of it over here? I don't envy them trying to arrange themselves. Look at poor Ralph Touchett: what sort of a figure do you call that? Fortunately he has a consumption; I say fortunately, because it gives him something to do. His consumption's his carriere it's a kind of position. You can say: 'Oh, Mr. Touchett, he takes care of his lungs, he knows a great deal about climates.' But without that who would he be, what would he represent? 'Mr. Ralph Touchett: an American who lives in Europe.' That signifies absolutely nothing — it's impossible anything should signify less. 'He's very cultivated,' they say: 'he has a very pretty collection of old snuff-boxes.' The collection is all that's wanted to make it pitiful. I'm tired of the sound of the word; I think it's grotesque. With the poor old father it's different; he has his identity, and it's rather a massive one. He represents a great financial house, and that, in our day, is as good as anything else. For an American, at any rate, that will do very well. But I persist in thinking your cousin very lucky to have a chronic malady so long as he doesn't die of it. It's much better than the snuffboxes. If he weren't ill, you say, he'd do something? — he'd take his father's place in the house. My poor child, I doubt it; I don't think he's at all fond of the house. However, you know him better than I, though I used to know him rather well, and he may have the benefit of the doubt. The worst case, I think, is a friend of mine, a countryman of ours, who lives in Italy (where he also was brought before he knew better), and who is one of the most delightful men I know. Some day you must know him. I'll bring you together and then you'll see what I mean. He's Gilbert Osmond — he lives in Italy; that's all one can say about him or make of him. He's exceedingly clever, a man made to be distinguished; but, as I tell you, you exhaust the description when you say he's Mr. Osmond who lives tout betement in Italy. No career, no name, no position, no fortune, no past, no future, no anything. Oh yes, he paints, if you please — paints in water-colours; like me, only better than I. His painting's pretty bad; on the whole I'm rather glad of that. Fortunately he's very indolent, so indolent that it amounts to a sort of position. He can say, 'Oh, I do nothing; I'm too deadly lazy. You can do nothing to-day unless you get up at five o'clock in the morning.' In that way he becomes a sort of exception; you feel he might do something if he'd only rise early. He never speaks of his painting to people at large; he's too clever for that. But he has a little girl — a dear little girl; he does speak of her. He's devoted to her, and if it were a career to be an excellent father he'd be very distinguished. But I'm afraid that's no better than the snuff-boxes; perhaps not even so good. Tell me what they do in America," pursued Madame Merle, who, it must be observed parenthetically, did not deliver herself all at once of these reflexions, which are presented in a cluster for the convenience of the reader. She talked of Florence, where Mr. Osmond lived and where Mrs. Touchett occupied a medieval palace; she talked of Rome, where she herself had a little pied-a-terre with some rather good old damask. She talked of places, of people and even, as the phrase is, of "subjects"; and from time to time she talked of their kind old host and of the prospect of his recovery. From the first she had thought this prospect small, and Isabel had been struck with the positive, discriminating, competent way in which she took the measure of his remainder of life. One evening she announced definitely that he wouldn't live.

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