“Putting the thing crassly,” said Boon, “Deshman has got wind of a hoard, of a treasure, of something—Heaven as yet only knows what something—buried, imbedded, in some as yet unexplained way incorporated with Samphire House. On the whole the stress lies rather on treasure, the treasure of smuggling, of longshore practices, of illegality on the high seas. And still clearer is it that the amiable Deshman wants to get at it without the participation of Mr. Blandish. Until the very end you are never quite satisfied why Deshman wants to get at it in so private a fashion. As the plot thickens you are played about between the conviction that Deshman wants the stuff for himself and the firm belief of the lady that against the possible intervention of the Treasury, he wants to secure it for Mr. Blandish, to secure it at least generously if nefariously, lest perhaps it should fall under the accepted definition and all the consequent confiscations of treasure trove. And there are further beautiful subtleties as to whether she really believes in this more kindly interpretation of the refined but dubitable Deshman…. A friend of Deshman’s, shameless under the incredible name of Mimbleton, becomes entangled in this thick, sweet flow of narrative—the James method of introducing a character always reminds me of going round with the lantern when one is treacling for moths. Mimbleton has energy. He presses. Under a summer dawn of delicious sweetness Mimbleton is found insensible on the croquet lawn by Mr. Blandish, who, like most of the characters in the narrative from first to last, has been unable to sleep. And at the near corner of the house, close to a never before remarked ventilator, is a hastily and inaccurately refilled excavation….
“Then events come hurrying in a sort of tangled haste—making sibyl-like gestures.
“At the doorway Mutimer appears—swaying with some profound emotion. He is still in his evening attire. He has not yet gone to bed. In spite of the dawn he carried a burning candle—obliquely. At the sight of his master he withdraws—backwards and with difficulty….
“Then,” said Boon, “I get my crowning chapter: the breakfast, a peculiar something, something almost palpable in the atmosphere—Deshman hoarse and a little talkative, Mimbleton with a possibly nervous headache, husky also and demanding tea in a thick voice, Mutimer waiting uneasily, and Mr. Blandish, outwardly calm, yet noting every particular, thinking meanings into every word and movement, and growing more and more clear in his conviction that Mutimer knows—knows everything….
Mutimer as the plot thickens.
“Book two opens with Mr. Blandish practically in possession of the facts. Putting the thing coarsely, the treasure is—1813 brandy, in considerable quantities bricked up in a disused cellar of Samphire House. Samphire House, instead of being the fine claret of a refuge Mr. Blandish supposed, is a loaded port. But of course in the novel we shall not put things coarsely, and for a long time you will be by no means clear what the ‘spirit’ is that Mr. Blandish is now resolved to exorcise. He is, in fact, engaged in trying to get that brandy away, trying to de-alcoholize his existence, trying—if one must put the thing in all the concrete crudity of his fundamental intention—to sell the stuff….
“Now in real life you would just go and sell it. But people in the novels of Henry James do not do things in the inattentive, offhand, rather confused, and partial way of reality: they bring enormous brains to bear upon the minutest particulars of existence. Mr. Blandish, following the laws of that world, has not simply to sell his brandy: he has to sell it subtly, intricately, interminably, with a delicacy, with a dignity….
“He consults friends—impalpable, intricate, inexhaustible friends.
“There are misunderstandings. One old and trusted intimate concludes rather hastily that Mr. Blandish is confessing that he has written a poem, another that he is making a proposal of marriage, another that he wishes an introduction to the secretary of the Psychical Research Society…. All this,” said Boon, “remains, perhaps indefinitely, to be worked out. Only the end, the end, comes with a rush. Deshman has found for him—one never gets nearer to it than the ‘real right people.’ The real right people send their agent down, a curious blend of gentleman and commercial person he is, to investigate, to verify, to estimate quantities. Ultimately he will—shall we say it?—make an offer. With a sense of immense culmination the reader at last approaches the hoard….