It is of the nature of many American impressions, accepted at the time as a whole of the particular story… — Henry James
It is of the nature of many American impressions, accepted at the time as a whole of the particular story, simply to cease to be, as soon as your back is turned — to fade, to pass away, to leave not a wreck behind. This happens not least when the image, whatever it may have been, has exacted the tribute of wonder or pleasure: it has displayed every virtue but the virtue of being able to remain with you. Its pressure and power have failed of some weight, some element of density or intensity, some property or quality in short that makes for the authority of a figure, for the complexity of a scene.
p. 454Source: Wikiquote · CC BY-SA 4.0
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What prevails, what sets the tune, is the American scale of gain, more magnificent than any other, and the fact that the whole assumption, the whole theory of life, is that of the individual's participation in it, that of his being more or less punctually and more or less effectually "squared." To make so much money that you won't, that you don't "mind," don't mind anything — that is absolutely, I think, the main American formula.
p. 237
He is confronted too often, to his sense, with the question of what may be "borne"; but what does he see about him if not a vast social order in which the parties to certain relations are all the while marvellously, inscrutably, desperately "bearing" each other? He may wonder, at his hours, how, under the strain, social cohesion does not altogether give way; but that is another question, which belongs to a different plane of speculation. For he asks himself quite as much as anything else how the shopman or the shoplady can bear to be barked at in the manner he constantly hears used to them by customers — he recognizes that no agreeable form of intercourse could survive a day in such air: so that what is the only relation finding ground there but a necessary vicious circle of gross mutual endurance?
p. 236
What was taking place was a perpetual repudiation of the past, so far as there had been a past to repudiate, so far as the past was a positive rather than a negative quantity. There had been plenty in it, assuredly, of the negative, and that was but a shabbiness to disown or a deception to expose; yet there had been an old conscious commemorated life too, and it was this that had become the victim of supersession. The pathos, so to call it, of the impression was somehow that it didn't, the earlier, simpler condition, still resist or protest, or at all expressively flush through; it was consenting to become a past with all the fine candour with which it had tried to affirm itself, in its day, as a present — and very much, for that matter, as with a due ironic forecast of the fate in store for the hungry, triumphant actual.
p. 53
