INTRODUCTION: SECTION ONE
xix
William as a concept in psychology and by Henry, who developed
it into a method for writing the modern psychological novel.
12
At any rate, in the 1840s, Henry James Sr. and Emerson contin-
ued to follow each other around the country giving public lectures
and attending meetings of the same literary clubs when at home.
First it was the Town and Country Club, when Henry James, Sr.
lived in New York, then the famous Saturday Club when Henry
James Sr. moved his family to Boston, and later, the Chestnut
Street Radical Club when the two were doting in their old age.
William, meanwhile, maturing into a young and restless man by
the late 1850s, was still trying to settle on a vocation.
13
His father
had developed a sophisticated spiritual
philosophy of creation which,
the father believed, needed some kind of scientific justification,
and Henry James Sr. saw William, his eldest son, as just the man
for the job.
Henry James Sr.’s thesis was that, while oneness with the Divine
may characterize our earliest relation to God, the sense of egotistical
self-hood intervenes through socialization so that we come to believe
that the spiritual is a by-product of the natural world.
14
The natural
world, however, is actually derived from the spiritual to begin with.
But the ego maintains that by its own powers alone can reality be
fathomed, a position designed to lead to the abject poverty of its
own claim. The fall from egotistical self-hood is the result, followed
by a complete surrender to the workings of the Divine and a realiza-
tion that the natural is indeed derived from the spiritual and not
the other way around. The Divine can no longer manifest itself
in individual lives through an exclusive sense of oneness, however,
so that the person must now turn to relationship with others as
the vehicle for realizing God consciousness. One awakens to what
Henry James Sr. called the Divine Natural Humanity, responding
12
Rosenzweig, S., The Jameses’s stream of consciousness. Contemporary Psychology, 3,
250–257, 1959.
13
Perry, Ralph Barton, The thought and character of William James, as revealed in unpublished
correspondence and notes, together with his published writings. 2 vols. Boston: Little, Brown, and
Company, 1935; Allen, Gay Wilson, William James: A biography. New York, Viking Press
[1967].
14
James, Henry, Society the redeemed form of man and the earnest of God’s omnipotence in
human nature, affirmed in letters to a friend. Boston: Houghton, Osgood, 1879; James, Henry,
The secret of Swedenborg: Being an elucidation of his doctrine of the divine natural humanity.
Boston: Fields, Osgood, 1869.
xx
INTRODUCTION: SECTION ONE
to Swedenborg’s conception of the Grand Man within each soul in
the larger sense of relationships as spiritual community. Someone
just needed to prove it scientifically.
William, however, just wanted to paint. Reluctantly, his father
set both William and Henry up as students of William Morris Hunt,
a Barbizon stylist and portrait painter, in New Port, Rhode Island,
beginning in 1858.
Hunt encouraged James to paint the larger picture by playing
with the tension between light and dark, creating depth by not
painting a single line separating objects, but by shadowing, and by
fusing one’s subjective experience with an objective perception of
the object. Art historians have proposed that this was one of the
important origins of James’s radical empiricism.
15
Hunt also intro-
duced his students to another Barbizon painter, George Inness,
later acclaimed as America’s greatest landscape painter, a man with
artistic connections to the transcendentalists whose paintings were
soon to become deeply influenced bv Swedenborgian ideas.
16
By 1861, consciously or unconsciously fulfilling his father’s
wish, William James suddenly had a change of mind, and through
his father’s literary connections with the Concord transcendental-
ists (Emerson was an Overseer at Harvard by that time), entered
Agassiz’s Lawrence Scientific School to major in chemistry under
Charles William Eliot. William, it turns out, was essentially escaping
into science to avoid a direct confrontation with his father’s ideal-
istic, religious metaphysics.
Agassiz, a friend of both Emerson and Henry James Sr. through
the Saturday Club, was at that time the rising star for the creationist
theory of evolution in American science, just as Darwin’s theory
of natural selection burst upon the scene. The American Academy
of Arts and Sciences lined up against the American Philosophical
Society, and the national debate was soon raging over whether God
created all species at once or the different species evolved through
myriad forms, gradually, over long eons of time, guided by nothing
more spiritual than blind and random streams of beneficent variation.
15
Adams, Henry, William James, Henry James, John La Fargeand the foundations of
radical empiricism.
American Art Journal, 17:1, 1985, p. 60.
16
Taylor, E. I. The Interior Landscape: William James and George Inness on Art from a
Swedenborgian Point of View,
Archives of American Art Journal (Smithsonian Institution),
1997. 1&2, 2–10.