PREFACE
is to be able, under stress, to be separate, to be solus, to know at need the interlunar swoon of some independent consciousness. Yes, had our dazzling friend any such alternative, could he so unattestedly exist, and was the withdrawn, the sequestered, the unobserved and unhonoured condition so much as imputable to him? Wasn't his potentiality of existence public, in fine, to the last squeeze of the golden orange, and when he passed from our admiring sight into the chamber of mystery what, the next minute, was on the other side of the door? It was irresistible to believe at last that there was at such junctures inveterately nothing; and the more so, once I had begun to dramatise, as this supplied the most natural opposition in the world to my fond companion-view—the other side of the door only cognisant of the true Robert Browning. One's harmless formula for the poetic employment of this pair of conceits couldn't go much further than "Play them against each other"—the ingenuity of which small game "The Private Life" reflects as it can.
I fear I can defend such doings but under the plea of my amusement in them—an amusement I of course hoped others might succeed in sharing. But so comes in exactly the principle under the wide strong wing of which several such matters are here harvested; things of a type that might move me, had I space, to a pleading eloquence. Such compositions as "The Jolly Corner," printed here not for the first time, but printed elsewhere only as I write and after my quite ceasing to expect it; "The Friends of the Friends," to which I here change the colourless title of "The Way It Came" (1896), "Owen Wingrave" (1893), "Sir Edmund Orme" (1891), "The Real Right Thing" (1900), would obviously never have existed but for that love of "a story as a story" which had from far back beset and beguiled their author. To
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