Notes on Novelists, with Some Other Notes

by Henry James

Because such questions did come, we must at once declare, and we are still in presence of them, for all the world as if that case of the perfect harmony, the harmony between subject and author, were just marked with a flaw and didn’t meet the whole assault of restless criticism. What we make out Mr. Bennett as doing is simply recording his possession or, to put it more completely, his saturation; and to see him as virtually shut up to that process is a note of all the more moment that we see our selected cluster of his interesting juniors, and whether by his direct action on their collective impulse or not, embroiled, as we venture to call it, in the same predicament. The act of squeezing out to the utmost the plump and more or less juicy orange of a particular acquainted state and letting this affirmation of energy, however directed or undirected, constitute for them the “treatment” of a theme—that is what we remark them as mainly engaged in, after remarking the example so strikingly, so originally set, even if an undue subjection to it be here and there repudiated. Nothing is further from our thought than to undervalue saturation and possession, the fact of the particular experience, the state and degree of acquaintance incurred, however such a consciousness may have been determined; for these things represent on the part of the novelist, as on the part of any painter of things seen, felt or imagined, just one half of his authority—the other half being represented of course by the application he is inspired to make of them. Therefore that fine secured half is so much gained at the start, and the fact of its brightly being there may really by itself project upon the course so much colour and form as to make us on occasion, under the genial force, almost not miss the answer to the question of application. When the author of “Clayhanger” has put down upon the table, in dense unconfused array, every fact required, every fact in any way invocable, to make the life of the Five Towns press upon us, and to make our sense of it, so full-fed, content us, we may very well go on for the time in the captive condition, the beguiled and bemused condition, the acknowledgment of which is in general our highest tribute to the temporary master of our sensibility. Nothing at such moments—or rather at the end of them, when the end begins to threaten—may be of a more curious strain than the dawning unrest that suggests to us fairly our first critical comment: “Yes, yes—but is this all? These are the circumstances of the interest—we see, we see; but where is the interest itself, where and what is its centre, and how are we to measure it in relation to that?” Of course we may in the act of exhaling that plaint (which we have just expressed at its mildest) well remember how many people there are to tell us that to “measure” an interest is none of our affair; that we have but to take it on the cheapest and easiest terms and be thankful; and that if by our very confession we have been led the imaginative dance the music has done for us all it pretends to. Which words, however, have only to happen to be for us the most unintelligent conceivable not in the least to arrest our wonderment as to where our bedrenched consciousness may still not awkwardly leave us for the pleasure of appreciation. That appreciation is also a mistake and a priggishness, being reflective and thereby corrosive, is another of the fond dicta which we are here concerned but to brush aside—the more closely to embrace the welcome induction that appreciation, attentive and reflective, inquisitive and conclusive, is in this connection absolutely the golden key to our pleasure. The more it plays up, the more we recognise and are able to number the sources of our enjoyment, the greater the provision made for security in that attitude, which corresponds, by the same stroke, with the reduced danger of waste in the undertaking to amuse us. It all comes back to our amusement, and to the noblest surely, on the whole, we know; and it is in the very nature of clinging appreciation not to sacrifice consentingly a single shade of the art that makes for that blessing. From this solicitude spring our questions, and not least the one to which we give ourselves for the moment here—this moment of our being regaled as never yet with the fruits of the movement (if the name be not of too pompous an application where the flush and the heat of accident too seem so candidly to look forth), in favour of the “expression of life” in terms as loose as may pretend to an effect of expression at all. The relegation of terms to the limbo of delusions outlived so far as ever really cultivated becomes of necessity, it will be plain, the great mark of the faith that for the novelist to show he “knows all about” a certain congeries of aspects, the more numerous within their mixed circle the better, is thereby to set in motion, with due intensity, the pretension to interest. The state of knowing all about whatever it may be has thus only to become consistently and abundantly active to pass for his supreme function; and to its so becoming active few difficulties appear to be descried—so great may on occasion be the mere excitement of activity. To the fact that the exhilaration is, as we have hinted, often infectious, to this and to the charming young good faith and general acclamation under which each case appears to proceed—each case we of course mean really repaying attention—the critical reader owes his opportunity so considerably and so gratefully to generalise.

II

We should have only to remount the current with a certain energy to come straight up against Tolstoy as the great illustrative master-hand on all this ground of the disconnection of method from matter—which encounter, however, would take us much too far, so that we must for the present but hang off from it with the remark that of all great painters of the social picture it was given that epic genius most to serve admirably as a rash adventurer and a “caution,” and execrably, pestilentially, as a model. In this strange union of relations he stands alone: from no other great projector of the human image and the human idea is so much truth to be extracted under an equal leakage of its value. All the proportions in him are so much the largest that the drop of attention to our nearer cases might by its violence leave little of that principle alive; which fact need not disguise from us, none the less, that as Mr. H. G. Wells and Mr. Arnold Bennett, to return to them briefly again, derive, by multiplied if diluted transmissions, from the great Russian (from whose all but equal companion Turgenieff we recognise no derivatives at all), so, observing the distances, we may profitably detect an unexhausted influence in our minor, our still considerably less rounded vessels. Highly attaching as indeed the game might be, of inquiring as to the centre of the interest or the sense of the whole in “The Passionate Friends,” or in “The Old Wives’ Tale,” after having sought those luxuries in vain not only through the general length and breadth of “War and Peace,” but within the quite respectable confines of any one of the units of effect there clustered: this as preparing us to address a like friendly challenge to Mr. Cannan’s “Round the Corner,” say, or to Mr. Lawrence’s “Sons and Lovers”—should we wish to be very friendly to Mr. Lawrence—or to Mr. Hugh Walpole’s “Duchess of Wrexe,” or even to Mr. Compton Mackenzie’s “Sinister Street” and “Carnival,” discernibly, we hasten to add, though certain betrayals of a controlling idea and a pointed intention do comparatively gleam out of the two fictions last named. “The Old Wives’ Tale” is the history of two sisters, daughters of a prosperous draper in a Staffordshire town, who, separating early in life, through the flight of one of them to Paris with an ill-chosen husband and the confirmed and prolonged local pitch of the career of the other, are reunited late in life by the return of the fugitive after much Parisian experience and by her pacified acceptance of the conditions of her birthplace. The divided current flows together again, and the chronicle closes with the simple drying up determined by the death of the sisters. That is all; the canvas is covered, ever so closely and vividly covered, by the exhibition of innumerable small facts and aspects, at which we assist with the most comfortable sense of their substantial truth. The sisters, and more particularly the less adventurous, are at home in their author’s mind, they sit and move at their ease in the square chamber of his attention, to a degree beyond which the production of that ideal harmony between creature and creator could scarcely go, and all by an art of demonstration so familiar and so “quiet” that the truth and the poetry, to use Goethe’s distinction, melt utterly together and we see no difference between the subject of the show and the showman’s feeling, let alone the showman’s manner, about it. This felt identity of the elements—because we at least consciously feel—becomes in the novel we refer to, and not less in “Clayhanger,” which our words equally describe, a source for us of abject confidence, confidence truly so abject in the solidity of every appearance that it may be said to represent our whole relation to the work and completely to exhaust our reaction upon it. “Clayhanger,” of the two fictions even the more densely loaded with all the evidence in what we should call the case presented did we but learn meanwhile for what case, or for a case of what, to take it, inscribes the annals, the private more particularly, of a provincial printer in a considerable way of business, beginning with his early boyhood and going on to the complications of his maturity—these not exhausted with our present possession of the record, inasmuch as by the author’s announcement there is more of the catalogue to come. This most monumental of Mr. Arnold Bennett’s recitals, taking it with its supplement of “Hilda Lessways,” already before us, is so describable through its being a monument exactly not to an idea, a pursued and captured meaning, or in short to anything whatever, but just simply of the quarried and gathered material it happens to contain, the stones and bricks and rubble and cement and promiscuous constituents of every sort that have been heaped in it and thanks to which it quite massively piles itself up. Our perusal and our enjoyment are our watching of the growth of the pile and of the capacity, industry, energy with which the operation is directed. A huge and in its way a varied aggregation, without traceable lines, divinable direction, effect of composition, the mere number of its pieces, the great dump of its material, together with the fact that here and there in the miscellany, as with the value of bits of marble or porphyry, fine elements shine out, it keeps us standing and waiting to the end—and largely just because it keeps us wondering. We surely wonder more what it may all propose to mean than any equal appearance of preparation to relieve us of that strain, any so founded and grounded a postponement of the disclosure of a sense in store, has for a long time called upon us to do in a like connection. A great thing it is assuredly that while we wait and wonder we are amused—were it not for that, truly, our situation would be thankless enough; we may ask ourselves, as has already been noted, why on such ambiguous terms we should consent to be, and why the practice doesn’t at a given moment break down; and our answer brings us back to that many-fingered grasp of the orange that the author squeezes. This particular orange is of the largest and most rotund, and his trust in the consequent flow is of its nature communicative. Such is the case always, and most naturally, with that air in a person who has something, who at the very least has much to tell us: we like so to be affected by it, we meet it half way and lend ourselves, sinking in up to the chin. Up to the chin only indeed, beyond doubt; we even then feel our head emerge, for judgment and articulate question, and it is from that position that we remind ourselves how the real reward of our patience is still to come—the reward attending not at all the immediate sense of immersion, but reserved for the after-sense, which is a very different matter, whether in the form of a glow or of a chill.

If Mr. Bennett’s tight rotundity then is of the handsomest size and his manipulation of it so firm, what are we to say of Mr. Wells’s, who, a novelist very much as Lord Bacon was a philosopher, affects us as taking all knowledge for his province and as inspiring in us to the very highest degree the confidence enjoyed by himself—enjoyed, we feel, with a breadth with which it has been given no one of his fellow-craftsmen to enjoy anything. If confidence alone could lead utterly captive we should all be huddled in a bunch at Mr. Wells’s heels—which is indeed where we are abjectly gathered so far as that force does operate. It is literally Mr. Wells’s own mind, and the experience of his own mind, incessant and extraordinarily various, extraordinarily reflective, even with all sorts of conditions made, of whatever he may expose it to, that forms the reservoir tapped by him, that constitutes his provision of grounds of interest. It is, by our thinking, in his power to name to us, as a preliminary, more of these grounds than all his contemporaries put together, and even to exceed any competitor, without exception, in the way of suggesting that, thick as he may seem to lay them, they remain yet only contributive, are not in themselves full expression but are designed strictly to subserve it, that this extraordinary writer’s spell resides. When full expression, the expression of some particular truth, seemed to lapse in this or that of his earlier novels (we speak not here of his shorter things, for the most part delightfully wanton and exempt,) it was but by a hand’s breadth, so that if we didn’t inveterately quite know what he intended we yet always felt sufficiently that he knew. The particular intentions of such matters as “Kipps,” as “Tono-Bungay,” as “Ann Veronica,” so swarmed about us, in their blinding, bluffing vivacity, that the mere sum of them might have been taken for a sense over and above which it was graceless to inquire. The more this author learns and learns, or at any rate knows and knows, however, the greater is this impression of his holding it good enough for us, such as we are, that he shall but turn out his mind and its contents upon us by any free familiar gesture and as from a high window forever open—an entertainment as copious surely as any occasion should demand, at least till we have more intelligibly expressed our title to a better. Such things as “The New Machiavelli,” “Marriage,” “The Passionate Friends,” are so very much more attestations of the presence of material than attestations of an interest in the use of it that we ask ourselves again and again why so fondly neglected a state of leakage comes not to be fatal to any provision of quantity, or even to stores more specially selected for the ordeal than Mr. Wells’s always strike us as being. Is not the pang of witnessed waste in fact great just in proportion as we are touched by our author’s fine off-handedness as to the value of the stores, about which he can for the time make us believe what he will? so that, to take an example susceptible of brief statement, we wince at a certain quite peculiarly gratuitous sacrifice to the casual in “Marriage” very much as at seeing some fine and indispensable little part of a mechanism slip through profane fingers and lose itself. Who does not remember what ensues after a little upon the aviational descent of the hero of the fiction just named into the garden occupied, in company with her parents, by the young lady with whom he is to fall in love?—and this even though the whole opening scene so constituted, with all the comedy hares its function appears to be to start, remains with its back squarely turned, esthetically speaking, to the quarter in which the picture develops. The point for our mortification is that by one of the first steps in this development, the first impression on him having been made, the hero accidentally meets the heroine, of a summer eventide, in a leafy lane which supplies them with the happiest occasion to pursue their acquaintance—or in other words supplies the author with the liveliest consciousness (as we at least feel it should have been) that just so the relation between the pair, its seed already sown and the fact of that bringing about all that is still to come, pushes aside whatever veil and steps forth into life. To show it step forth and affirm itself as a relation, what is this but the interesting function of the whole passage, on the performance of which what follows is to hang?—and yet who can say that when the ostensible sequence is presented, and our young lady, encountered again by her stirred swain, under cover of night, in a favouring wood, is at once encompassed by his arms and pressed to his lips and heart (for celebration thus of their third meeting) we do not assist at a well-nigh heartbreaking miscarriage of “effect”? We see effect, invoked in vain, simply stand off unconcerned; effect not having been at all consulted in advance she is not to be secured on such terms. And her presence would so have redounded—perfectly punctual creature as she is on a made appointment and a clear understanding—to the advantage of all concerned. The bearing of the young man’s act is all in our having begun to conceive it as possible, begun even to desire it, in the light of what has preceded; therefore if the participants have not been shown us as on the way to it, nor the question of it made beautifully to tremble for us in the air, its happiest connections fail and we but stare at it mystified. The instance is undoubtedly trifling, but in the infinite complex of such things resides for a work of art the shy virtue, shy at least till wooed forth, of the whole susceptibility. The case of Mr. Wells might take us much further—such remarks as there would be to make, say, on such a question as the due understanding, on the part of “The Passionate Friends” (not as associated persons but as a composed picture), of what that composition is specifically about and where, for treatment of this interest, it undertakes to find its centre: all of which, we are willing however to grant, falls away before the large assurance and incorrigible levity with which this adventurer carries his lapses—far more of an adventurer as he is than any other of the company. The composition, as we have called it, heaven saving the mark, is simply at any and every moment “about” Mr. Wells’s general adventure; which is quite enough while it preserves, as we trust it will long continue to do, its present robust pitch.

We have already noted that “Round the Corner,” Mr. Gilbert Cannan’s liveliest appeal to our attention, belongs to the order of constatations pure and simple; to the degree that as a document of that nature and of that rigour the book could perhaps not more completely affirm itself. When we have said that it puts on record the “tone,” the manners, the general domestic proceedings and train de vie of an amiable clergyman’s family established in one of the more sordid quarters of a big black northern city of the Liverpool or Manchester complexion we have advanced as far in the way of descriptive statement as the interesting work seems to warrant. For it is interesting, in spite of its leaving itself on our hands with a consistent indifference to any question of the charmed application springing from it all that places it in the forefront of its type. Again as under the effect of Mr. Bennett’s major productions our sole inference is that things, the things disclosed, go on and on, in any given case, in spite of everything—with Mr. Cannan’s one discernible care perhaps being for how extraordinarily much, in the particular example here before him, they were able to go on in spite of. The conception, the presentation of this enormous inauspicious amount as bearing upon the collective career of the Folyats is, we think, as near as the author comes at any point to betraying an awareness of a subject. Yet again, though so little encouraged or “backed,” a subject after a fashion makes itself, even as it has made itself in “The Old Wives’ Tale” and in “Clayhanger,” in “Sons and Lovers,” where, as we have hinted, any assistance rendered us for a view of one most comfortably enjoys its absence, and in Mr. Hugh Walpole’s newest novel, where we wander scarcely less with our hand in no guiding grasp, but where the author’s good disposition, as we feel it, to provide us with what we lack if he only knew how, constitutes in itself such a pleading liberality. We seem to see him in this spirit lay again and again a flowered carpet for our steps. If we do not include Mr. Compton Mackenzie to the same extent in our generalisation it is really because we note a difference in him, a difference in favour of his care for the application. Preoccupations seem at work in “Sinister Street,” and withal in “Carnival,” the brush of which we in other quarters scarce even suspect and at some of which it will presently be of profit to glance. “I answer for it, you know,” we seem at any rate to hear Mr. Gilbert Cannan say with an admirably genuine young pessimism, “I answer for it that they were really like that, odd or unpleasant or uncontributive, and therefore tiresome, as it may strike you;” and the charm of Mr. Cannan, so far as up or down the rank we so disengage a charm, is that we take him at his word. His guarantee, his straight communication, of his general truth is a value, and values are rare—the flood of fiction is apparently capable of running hundreds of miles without a single glint of one—and thus in default of satisfaction we get stopgaps and are thankful often under a genial touch to get even so much. The value indeed is crude, it would be quadrupled were it only wrought and shaped; yet it has still the rude dignity that it counts to us for experience or at least for what we call under our present pitch of sensibility force of impression. The experience, we feel, is ever something to conclude upon, while the impression is content to wait; to wait, say, in the spirit in which we must accept this younger bustle if we accept it at all, the spirit of its serving as a rather presumptuous lesson to us in patience. While we wait, again, we are amused—not in the least, also to repeat, up to the notch of our conception of amusement, which draws upon still other forms and sources; but none the less for the wonder, the intensity, the actuality, the probity of the vision. This is much as in “Clayhanger” and in “Hilda Lessways,” where, independently of the effect, so considerably rendered, of the long lapse of time, always in this type of recital a source of amusement in itself, and certainly of the noblest, we get such an admirably substantial thing as the collective image of the Orgreaves, the local family in whose ample lap the amenities and the humanities so easily sit, for Mr. Bennett’s evocation and his protagonist’s recognition, and the manner of the presentation of whom, with the function and relation of the picture at large, strikes such a note of felicity, achieves such a simulation of sense, as the author should never again be excused for treating, that is for neglecting, as beyond his range. Here figures signally the interesting case of a compositional function absolutely performed by mere multiplication, the flow of the facts: the Orgreaves, in “Clayhanger,” are there, by what we make out, but for “life,” for general life only, and yet, with their office under any general or inferential meaning entirely unmarked, come doubtless as near squaring esthetically with the famous formula of the “slice of life” as any example that could be adduced; happening moreover as they probably do to owe this distinction to their coincidence at once with reality and charm—a fact esthetically curious and delightful. For we attribute the bold stroke they represent much more to Mr. Arnold Bennett’s esthetic instinct than to anything like a calculation of his bearings, and more to his thoroughly acquainted state, as we may again put it, than to all other causes together: which strikingly enough shows how much complexity of interest may be simulated by mere presentation of material, mere squeezing of the orange, when the material happens to be “handsome” or the orange to be sweet.

III

The orange of our persistent simile is in Mr. Hugh Walpole’s hands very remarkably sweet—a quality we recognise in it even while reduced to observing that the squeeze pure and simple, the fond, the lingering, the reiterated squeeze, constitutes as yet his main perception of method. He enjoys in a high degree the consciousness of saturation, and is on such serene and happy terms with it as almost make of critical interference, in so bright an air, an assault on personal felicity. Full of material is thus the author of “The Duchess of Wrexe,” and of a material which we should describe as the consciousness of youth were we not rather disposed to call it a peculiar strain of the extreme unconsciousness. Mr. Walpole offers us indeed a rare and interesting case—we see about the field none other like it; the case of a positive identity between the spirit, not to say the time of life or stage of experience, of the aspiring artist and the field itself of his vision. “The Duchess of Wrexe” reeks with youth and the love of youth and the confidence of youth—youth taking on with a charming exuberance the fondest costume or disguise, that of an adventurous and voracious felt interest, interest in life, in London, in society, in character, in Portland Place, in the Oxford Circus, in the afternoon tea-table, in the torrid weather, in fifty other immediate things as to which its passion and its curiosity are of the sincerest. The wonderful thing is that these latter forces operate, in their way, without yet being disengaged and hand-free—disengaged, that is, from their state of being young, with its billowy mufflings and other soft obstructions, the state of being present, being involved and aware, close “up against” the whole mass of possibilities, being in short intoxicated with the mixed liquors of suggestion. In the fumes of this acute situation Mr. Walpole’s subject-matter is bathed; the situation being all the while so much more his own and that of a juvenility reacting, in the presence of everything, “for all it is worth,” than the devised and imagined one, however he may circle about some such cluster, that every cupful of his excited flow tastes three times as much of his temperamental freshness as it tastes of this, that or the other character or substance, above all of this, that or the other group of antecedents and references, supposed to be reflected in it. All of which does not mean, we hasten to add, that the author of “The Duchess of Wrexe” has not the gift of life; but only that he strikes us as having received it, straight from nature, with such a concussion as to have kept the boon at the stage of violence—so that, fairly pinned down by it, he is still embarrassed for passing it on. On the day he shall have worked free of this primitive predicament, the crude fact of the convulsion itself, there need be no doubt of his exhibiting matter into which method may learn how to bite. The tract meanwhile affects us as more or less virgin snow, and we look with interest and suspense for the imprint of a process.

If those remarks represent all the while, further, that the performances we have glanced at, with others besides, lead our attention on, we hear ourselves the more naturally asked what it is then that we expect or want, confessing as we do that we have been in a manner interested, even though, from case to case, in a varying degree, and that Thackeray, Turgenieff, Balzac, Dickens, Anatole France, no matter who, can not do more than interest. Let us therefore concede to the last point that small mercies are better than none, that there are latent within the critic numberless liabilities to being “squared” (the extent to which he may on occasion betray his price!) and so great a preference for being pleased over not being, that you may again and again see him assist with avidity at the attempt of the slice of life to butter itself thick. Its explanation that it is a slice of life and pretends to be nothing else figures for us, say, while we watch, the jam super-added to the butter. For since the jam, on this system, descends upon our desert, in its form of manna, from quite another heaven than the heaven of method, the mere demonstration of its agreeable presence is alone sufficient to hint at our more than one chance of being supernaturally fed. The happy-go-lucky fashion of it is indeed not then, we grant, an objection so long as we do take in refreshment: the meal may be of the last informality and yet produce in the event no small sense of repletion. The slice of life devoured, the butter and the jam duly appreciated, we are ready, no doubt, on another day, to trust ourselves afresh to the desert. We break camp, that is, and face toward a further stretch of it, all in the faith that we shall be once more provided for. We take the risk, we enjoy more or less the assistance—more or less, we put it, for the vision of a possible arrest of the miracle or failure of our supply never wholly leaves us. The phenomenon is too uncanny, the happy-go-lucky, as we know it in general, never has been trustable to the end; the absence of the last true touch in the preparation of its viands becomes with each renewal of the adventure a more sensible fact. By the last true touch we mean of course the touch of the hand of selection; the principle of selection having been involved at the worst or the least, one would suppose, in any approach whatever to the loaf of life with the arrière-pensée of a slice. There being no question of a slice upon which the further question of where and how to cut it does not wait, the office of method, the idea of choice and comparison, have occupied the ground from the first. This makes clear, to a moment’s reflection, that there can be no such thing as an amorphous slice, and that any waving aside of inquiry as to the sense and value of a chunk of matter has to reckon with the simple truth of its having been born of naught else but measured excision. Reasons have been the fairies waiting on its cradle, the possible presence of a bad fairy in the form of a bad reason to the contrary notwithstanding. It has thus had connections at the very first stage of its detachment that are at no later stage logically to be repudiated; let it lie as lumpish as it will—for adoption, we mean, of the ideal of the lump—it has been tainted from too far back with the hard liability to form, and thus carries in its very breast the hapless contradiction of its sturdy claim to have none. This claim has the inevitable challenge at once to meet. How can a slice of life be anything but illustrational of the loaf, and how can illustration not immediately bristle with every sign of the extracted and related state? The relation is at once to what the thing comes from and to what it waits upon—which last is our act of recognition. We accordingly appreciate it in proportion as it so accounts for itself; the quantity and the intensity of its reference are the measure of our knowledge of it. This is exactly why illustration breaks down when reference, otherwise application, runs short, and why before any assemblage of figures or aspects, otherwise of samples and specimens, the question of what these are, extensively, samples and specimens of declines not to beset us—why, otherwise again, we look ever for the supreme reference that shall avert the bankruptcy of sense.

Let us profess all readiness to repeat that we may still have had, on the merest “life” system, or that of the starkest crudity of the slice, all the entertainment that can come from watching a wayfarer engage with assurance in an alley that we know to have no issue—and from watching for the very sake of the face that he may show us on reappearing at its mouth. The recitals of Mr. Arnold Bennett, Mr. Gilbert Cannan, Mr. D. H. Lawrence, fairly smell of the real, just as the “Fortitude” and “The Duchess” of Mr. Hugh Walpole smell of the romantic; we have sufficiently noted then that, once on the scent, we are capable of pushing ahead. How far it is at the same time from being all a matter of smell the terms in which we just above glanced at the weakness of the spell of the happy-go-lucky may here serve to indicate. There faces us all the while the fact that the act of consideration as an incident of the esthetic pleasure, consideration confidently knowing us to have sooner or later to arrive at it, may be again and again postponed, but can never hope not some time to fall due. Consideration is susceptible of many forms, some one or other of which no conscious esthetic effort fails to cry out for; and the simplest description of the cry of the novel when sincere—for have we not heard such compositions bluff us, as it were, with false cries?—is as an appeal to us when we have read it once to read it yet again. That is the act of consideration; no other process of considering approaches this for directness, so that anything short of it is virtually not to consider at all. The word has sometimes another sense, that of the appeal to us not, for the world, to go back—this being of course consideration of a sort; the sort clearly that the truly flushed production should be the last to invoke. The effect of consideration, we need scarce remark, is to light for us in a work of art the hundred questions of how and why and whither, and the effect of these questions, once lighted, is enormously to thicken and complicate, even if toward final clarifications, what we have called the amused state produced in us by the work. The more our amusement multiplies its terms the more fond and the more rewarded consideration becomes; the fewer it leaves them, on the other hand, the less to be resisted for us is the impression of “bare ruined choirs where late the sweet birds sang.” Birds that have appeared to sing, or whose silence we have not heeded, on a first perusal, prove on a second to have no note to contribute, and whether or no a second is enough to admonish us of those we miss, we mostly expect much from it in the way of emphasis of those we find. Then it is that notes of intention become more present or more absent; then it is that we take the measure of what we have already called our effective provision. The bravest providers and designers show at this point something still in store which only the second rummage was appointed to draw forth. To the variety of these ways of not letting our fondness fast is there not practically no limit?—and of the arts, the devices, the graces, the subtle secrets applicable to such an end what presumptuous critic shall pretend to draw the list? Let him for the moment content himself with saying that many of the most effective are mysteries, precisely, of method, or that even when they are not most essentially and directly so it takes method, blest method, to extract their soul and to determine their action.

It is odd and delightful perhaps that at the very moment of our urging this truth we should happen to be regaled with a really supreme specimen of the part playable in a novel by the source of interest, the principle of provision attended to, for which we claim importance. Mr. Joseph Conrad’s “Chance” is none the less a signal instance of provision the most earnest and the most copious for its leaving ever so much to be said about the particular provision effected. It is none the less an extraordinary exhibition of method by the fact that the method is, we venture to say, without a precedent in any like work. It places Mr. Conrad absolutely alone as a votary of the way to do a thing that shall make it undergo most doing. The way to do it that shall make it undergo least is the line on which we are mostly now used to see prizes carried off; so that the author of “Chance” gathers up on this showing all sorts of comparative distinction. He gathers up at least two sorts—that of bravery in absolutely reversing the process most accredited, and that, quite separate, we make out, of performing the manœuvre under salvos of recognition. It is not in these days often given to a refinement of design to be recognised, but Mr. Conrad has made his achieve that miracle—save in so far indeed as the miracle has been one thing and the success another. The miracle is of the rarest, confounding all calculation and suggesting more reflections than we can begin to make place for here; but the sources of surprise surrounding it might be, were this possible, even greater and yet leave the fact itself in all independence, the fact that the whole undertaking was committed by its very first step either to be “art” exclusively or to be nothing. This is the prodigious rarity, since surely we have known for many a day no other such case of the whole clutch of eggs, and these withal of the freshest, in that one basket; to which it may be added that if we say for many a day this is not through our readiness positively to associate the sight with any very definite moment of the past. What concerns us is that the general effect of “Chance” is arrived at by a pursuance of means to the end in view contrasted with which every other current form of the chase can only affect us as cheap and futile; the carriage of the burden or amount of service required on these lines exceeding surely all other such displayed degrees of energy put together. Nothing could well interest us more than to see the exemplary value of attention, attention given by the author and asked of the reader, attested in a case in which it has had almost unspeakable difficulties to struggle with—since so we are moved to qualify the particular difficulty Mr. Conrad has “elected” to face: the claim for method in itself, method in this very sense of attention applied, would be somehow less lighted if the difficulties struck us as less consciously, or call it even less wantonly, invoked. What they consist of we should have to diverge here a little to say, and should even then probably but lose ourselves in the dim question of why so special, eccentric and desperate a course, so deliberate a plunge into threatened frustration, should alone have seemed open. It has been the course, so far as three words may here serve, of his so multiplying his creators or, as we are now fond of saying, producers, as to make them almost more numerous and quite emphatically more material than the creatures and the production itself in whom and which we by the general law of fiction expect such agents to lose themselves. We take for granted by the general law of fiction a primary author, take him so much for granted that we forget him in proportion as he works upon us, and that he works upon us most in fact by making us forget him.