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diff --git a/old/65683-0.txt b/old/65683-0.txt deleted file mode 100644 index db5d02a..0000000 --- a/old/65683-0.txt +++ /dev/null @@ -1,619 +0,0 @@ -The Project Gutenberg eBook of “A Most Unholy Trade”, by Henry James - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online at -www.gutenberg.org. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: “A Most Unholy Trade” - Being Letters on the Drama by Henry James - -Author: Henry James - -Engraver: Waldo Murray - -Release Date: June 24, 2021 [eBook #65683] - -Language: English - -Produced by: Charlene Taylor, Donald Cummings and the Online Distributed - Proofreading Team at https://www.pgdp.net (This file was - produced from images generously made available by The - Internet Archive/American Libraries.) - -*** START OF THE PROJECT GUTENBERG EBOOK A MOST UNHOLY TRADE *** - - - - - - “A MOST UNHOLY TRADE” - - - - -[Illustration] - - - - - “A MOST UNHOLY TRADE” - BEING LETTERS ON THE - DRAMA BY HENRY JAMES - - - [Illustration] - - - THE SCARAB PRESS - PRIVATELY PRINTED - MCMXXIII - - - - - Copyright, 1923, by Dunster House - Bookshop, Cambridge, Massachusetts. - - - - -NOTE - - -The four letters here printed for the first time are part of Henry -James’s informal correspondence with William Heinemann, the publisher. -They are selected for their unity of subject, in that they concern -themselves with James’s impressions of Ibsen’s “Little Eyolf” and -contain some general remarks on the drama. Written about the time of -the publication of the first and second series of James’s Theatricals, -they indicate his ideas at the time when his consideration of the -subject was most intense. Acknowledgment is made to Mrs. J. Tucker -Murray and to Pierre de Chaignon la Rose, Esq., for permission to print -two of these letters. - - - - -“A MOST UNHOLY TRADE” - - - Wednesday - 34, De Vere Gardens. W. - -My dear Heinemann, - -I feel as if I couldn’t thank you enough for introducing me to Ibsen’s -prodigious little performance! I return it to you, by the same post -conscientiously after two breathless perusals,――which leave me with a -yearning as impatient, an appetite as hungry, for the rest, as poor -Rita’s yearning & appetite are for the missing caresses of her Alfred. -Do satisfy me better or more promptly than he satisfied her. The thing -is immensely characteristic & immensely――immense. I quite agree with -you that it takes hold as nothing else of his has as yet done――it -appeals with an immoderate intensity & goes straight as a dose of -castor oil! I hope to heaven the thing will reach the London stage: -there ought to be no difficulty, if Rita, when she offers herself, can -be restricted to a chair, instead of lying on her back on the sofa. -Let her _sit_, and the objection vanishes――I mean let her eschew the -sofa. Of course I don’t know what the rest brings forth――but this act -& a half are a pure――or an impure――perfection. If he really carries -on the whole play simply with these four people――& at the same high -pitch (it’s the _pitch_ that’s so magnificent!) it will be a feat more -extraordinary than any he’s achieved――it will beat “Ghosts.” Admirable, -gallant old man! The success of this would be high! I greatly enjoyed -our “lovely luxurious” (as Rita wd. say), _fin de soirée_, on Monday. -Tree is as dewily infantine as Eyolf! - - Yours truly, - Henry James - -P.S. _Do_ remember that I’m on the sofa, with my hair down――and pink -lamp shades! - - -[Illustration] - - - 34, De Vere Gardens, W. - November 22nd, 1894. - -My dear Heinemann, - -All thanks for your prompt and adequate relief――the last “go” at Act -II. It is a very great little affair. If Act III doesn’t drop, it will -be Ibsen’s crown of glory――I mean the whole thing will. It is a little -masterpiece. It seems to me that he doesn’t make quite enough――(in -form, in the pause to take it in, and the indication of the amazement -and emotion of Allmers)――of the revelation of the non-relationship; but -that is a detail, and the stroke itself――coming where it does――immense. -The thing must and _can_ be represented. This Act 2 is such a crescendo -on 1. that if 3 is an equal crescendo on 2, the fortune of the thing -will be made, and it will be a big fortune. I hope 3 is already on the -stocks of translation. It’s a fine case for the British manager’s fine -old demand for a “happy ending!” What I seem dimly to divine is that -the she-Eyolf goes the same way as the He! i. e. the way of the fiord. - -I don’t see what _complete_ tragedy there is for it _but_ that. But the -Devil knows what queer card the old Roué has up his sleeve!――Perhaps -Rita “has” the roadmaster publicly on the stage, while Asta throws -herself into the fiord. Yes, Eyolf No. 2 does by design what Eyolf No. 1 -did by accident――and does it conjointly _with_ Alfred (at the risk of -repeating Rosmersholm and Hedda and the Wild Duck), while Rita falls -upon Borgheim and the Rat wife returns leading in a wild dance of -rodents! That, at least, is the way it _should_ be. But come to my aid! -I was so full of it yesterday that, being near you, I popped in――tho’ I -had already written, but only missed you. - - Yours ever, - H. J. - - - - - Nov. 28th. 1894. - 34, De Vere Gardens. W. - -Dear Mr. Pawling, - -Many thanks for your missive of yesterday & the message from the -publisher-dramatist, whose friendly thought of sending me the play -I much appreciate. I have read it, and, having done so, feel that -such reflections as it may have engendered had better be imparted to -Heinemann directly. Therefore I will write to him by the time he shall -have returned from Manchester――& I will in returning him the sheets -also send back the 3d. act of Ibsen, which I ought already to have -restored & of which I spoke perhaps a little too despairingly on Sunday -night at Gosse’s. On reading it over more deliberately the next day, -I saw more its great intention of beauty. It is meagre & inconclusive, -I think; but none the less I can imagine that, played with some real -effort――& in a scenic Scandinavian twilight, it may have a certain fine -solemnity & poetry of effect. - - Yours very truly - Henry James - - -[Illustration] - - - 34, De Vere Gardens. W. - November 30th, 1894. - -My dear Heinemann, - -All thanks for the privilege of perusal――which I greatly appreciate. -I applaud the boldness with which you attack _de front_ all the -difficulties of the damnable little art, and which ought to bring you -all honour. It is refreshingly courageous of you, for example, to have -staked your fortune on a dramatis personae of 3, when you might, like -H.A. Jones, have sought safety in 30 or so. I think the idea of the -_First Step_ interesting――the situation of the girl who has become a -man’s mistress, but rises in arms at the idea that her sister should -do so――but I am not certain that it stands forth, as the _subject_, -with that big dotting of the big _i_, that the barbarous art of the -actable drama requires. In that art one must specify one’s subject as -unmistakeably as one orders one’s _di_nner――I mean leave the audience -no trouble to disengage or disentangle it. Forget not that you write -for the stupid――that is, that your maximum of refinement must meet -the minimum of intelligence of the audience――the intelligence, in -other words, of the biggest ass it may conceivably contain. It is a -most unholy trade! But you are very brave and gay and easy with it. -You have attempted a _tour de force_ in trying to carry on 2 acts -with only three people (I can think of no other case but Maupassant’s -_Paix du Ménage_――performed at the Français after his death by Bartet, -Le Bargy & Worms), and with only one question, as it were, to create -in the bosom of the spectator that principle of _suspense_ which is -the essence of the function of a theatrical action――the suspense as -to whether or no, and _how_, by what means or by what catastrophe, a -certain thing will happen or fail. The particular thing, in the _First -Step_, is the fate of the young sister’s chastity, the “question” -whether or no Annie shall lose her or save her. It is interesting but -I am not sure it _fills_ the play enough――and whether in your very -laudable desire to be unconventional and real you haven’t simplified -too much. However, this will show in the test――though I pity you for -the ordeal of interpretation. I can’t help wishing Annie were rather -worse herself, for the dramatic effect of the contrast between her -own life and character and her intensity about the other girl; in -other words, I think you have made her too good and the man she lives -with too bad. The situation would have had a fuller force if his -entanglement with the actress had been more _represented_――so that -(with the actress _introduced_) the action would have been closer and -the effect of the circumstances leading Frank to sacrifice the girl -more pictured, more dramatic. Excuse this preachment. I didn’t mean to -pick holes in your so serious and honourable attempt――but only to show -you with what care I have read it and how much it has made me reflect! - -I owe you also long-delayed thanks for the Ibsen――I mean Act III, which -I also return. It is a great――a very great _drop_; but it has distinct -beauty and it could, in representation, I think be made fine. - -All success to your own tragic Muse. She is evidently much in earnest -and she is altogether in the movement. Do take with her also, after -this, another turn. - - Yours ever, my dear Heinemann, - Henry James. - -P.S. I long to hear about Manchester. - - -[Illustration] - - - - -Of this, the first book printed by The Scarab Press, one hundred -copies are for sale at Dunster House, 26 Holyoke Street & Mt. Auburn, -Cambridge, Massachusetts. [Illustration] The frontispiece was engraved -on wood by Waldo Murray of Cambridge, after a drawing by John S. -Sargent inscribed to his friend Henry James and published in The Yellow -Book, 1894. [Illustration] The cover was designed by Waldo Murray and -also cut by him on linoleum. - -[Illustration] - - -Copy Number 35 - - - * * * * * - - - Transcriber’s Notes: - - ――Underlined text is enclosed by underscores (_underline_). - - ――Punctuation and spelling inaccuracies were silently corrected, except - when they occur in the four correspondence letters. - - -*** END OF THE PROJECT GUTENBERG EBOOK A MOST UNHOLY TRADE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law means that no one owns a United States copyright in these works, -so the Foundation (and you!) can copy and distribute it in the -United States without permission and without paying copyright -royalties. 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