Book ONE, Part 2, chapter 11
[Charlotte Stant’s effect on Mrs. Rance and the Miss Lutches]He traced his impression, on coming to consider, back to a mere three words she had begun by using about Charlotte Stant. She simply “cleared them out”—those had been the three words, thrown off in reference to the general golden peace that the Kentish October had gradually ushered in, the “halcyon” days the full beauty of which had appeared to shine out for them after Charlotte’s arrival.
[Of Adam Verver] It was all, at bottom, in him, the aesthetic principle, planted where it could burn with a cold, still flame; where it fed almost wholly on the material directly involved, on the idea (followed by appropriation) of plastic beauty, of the thing visibly perfect in its kind; where, in short, in spite of the general tendency of the “devouring element” to spread, the rest of his spiritual furniture, modest, scattered, and tended with unconscious care, escaped the consumption that in so many cases proceeds from the undue keeping-up of profane altar-fires.
If the Prince had asked something of his wife every day in the year, this would be still no reason why the poor dear man should not, in a beautiful fit of homesickness, revisit, without reproach, his native country.
[Verver contemplating the similar, respectful manner with which Charlotte and the prince treat him] He might wonder what exactly it was that they so resembled each other in treating him like—from what noble and propagated convention, in cases in which the exquisite “importance” was to be neither too grossly attributed nor too grossly denied, they had taken their specific lesson; but the difficulty was here of course that one could really never know—couldn’t know without having been one’s self a personage; whether a Pope, a King, a President, a Peer, a General, or just a beautiful Author.
[Adam Verver] He should reduce to definite form the idea that he had lost her—as was indeed inevitable—by her own marriage; he should reduce to definite form the idea of his having incurred an injury, or at the best an inconvenience, that required some makeweight and deserved some amends. And he should do this the more, which was the great point, that he should appear to adopt, in doing it, the sentiment, in fact the very conviction, entertained, and quite sufficiently expressed, by Maggie herself, in her beautiful generosity, as to what he had suffered—putting it with extravagance—at her hands. If she put it with extravagance the extravagance was yet sincere, for it came—which she put with extravagance too—from her persistence, always, in thinking, feeling, talking about him, as young.
[Adam Verver] He was afterwards to recall how, just then, the autumn night seemed to clear to a view in which the whole place, everything round him, the wide terrace where he stood, the others, with their steps, below, the gardens, the park, the lake, the circling woods, lay there as under some strange midnight sun. It all met him during these instants as a vast expanse of discovery, a world that looked, so lighted, extraordinarily new, and in which familiar objects had taken on a distinctness that, as if it had been a loud, a spoken pretension to beauty, interest, importance, to he scarce knew what, gave them an inordinate quantity of character and, verily, an inordinate size.
[Adam Verver] Once he had recognised it there everything became coherent. The sharp point to which all his light converged was that the whole call of his future to him, as a father, would be in his so managing that Maggie would less and less appear to herself to have forsaken him. And it not only wouldn’t be decently humane, decently possible, not to make this relief easy to her—the idea shone upon him, more than that, as exciting, inspiring, uplifting. It fell in so beautifully with what might be otherwise possible; it stood there absolutely confronted with the material way in which it might be met.
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