PREFACE
Here comes in then the artist's bias and his range—determined, these things, by his own fond inclination. About what, good man, does he himself most wonder?—for upon that, whatever it may be, he will naturally most abound. Under that star will he gather in what he shall most seek to represent; so that if you follow thus his range of representation you will know how, you will see where, again, good man, he for himself most aptly vibrates.
All of which makes a desired point for the little group of compositions here placed together; the point that, since the question has ever been for me but of wondering and, with all achievable adroitness, of causing to wonder, so the whole fairy-tale side of life has used, for its tug at my sensibility, a cord all its own. When we want to wonder there's no such good ground for it as the wonderful—premising indeed always, by an induction as prompt, that this element can but be at best, to fit its different cases, a thing of appreciation. What is wonderful in one set of conditions may quite fail of its spell in another set; and, for that matter, the peril of the unmeasured strange, in fiction, being the silly, just as its strength, when it saves itself, is the charming, the wind of interest blows where it lists, the surrender of attention persists where it can. The ideal, obviously, on these lines, is the straight fairy-tale, the case that has purged in the crucible all its bêtises while keeping all its grace. It may seem odd, in a search for the amusing, to try to steer wide of the silly by hugging close the "supernatural"; but one man's amusement is at the best (we have surely long had to recognise) another's desolation; and I am prepared with the confession that the "ghost-story," as we for convenience call it, has ever been for me the most possible form of the fairy-tale. It enjoys, to my eyes, this honour by being so much the neatest—neat with
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