One very delicate and dainty device of Henry James is his trick of placing "inverted commas" round even the most harmless of colloquialisms. This has a curiously distinguished and refined effect. It seems constantly to say to his readers.--"one knows very well, _we_ know very well, how ridiculous and vulgar all this is; but there are certain things that cannot be otherwise expressed!" It creates a sort of scholarly "rapport"--this use of commas--between the gentility of the author and the assumed gentility of the reader, taking the latter into a kind of amiable partnership in ironic superiority. I say "gentility"--but that is not exactly the word; for there is not the remotest trace of snobbishness in Henry James. It is rather that he indicates to a small inner circle of intellectually detached persons, his recognition of their fastidiousness and their prejudices, and his sly humorous consciousness of the gulf between their classical mode of speech and the casual lapses of ordinary human conversation. In spite of all his detachment no novelist diffuses his personal temperament so completely through his work as Henry James does. In this sense--in the sense of temperamental style--he is far more personal than Balzac and incomparably more so than Turgenief. One does not, in reading these great authors, savour the actual style on every page, in every sentence. We have large blank spaces, so to speak, of straightforward colourless narrative. But there are no "blank spaces" in Henry James. Every sentence is penetrated and heavy with the fragrance of his peculiar grace. One might almost say--so strong is this subjective element in the great objective aesthete--that James writes novels like an essayist, like some epicurean Walter Pater, suddenly grown interested in common humanity, and finding in the psychology of ordinary people a provocation and a stimulus as insidious and suggestive as in the lines and colours of mediaeval art. This _essayist attitude_ accounts largely for those superior "inverted commas" which throw such a clear space of ironic detachment round his characters and his scenes. On the other hand, what a man he is for concealing his _opinions!_ Who can lay his finger on a single formal announcement of moral or philosophical partizanship in Henry James? Who can catch him for a moment declaring himself a conservative, a liberal, a Christian, a pagan, a pantheist, a pluralist, a socialist, a reactionary, a single taxer, a realist, a symbolist, an empiricist, a believer in ideals, a materialist, an advocate of New Thought, an esoteric Buddhist, an Hegelian, a Pragmatist, a Free Lover?