PREFACE
that neatness without which representation, and therewith beauty, drops. One's working of the spell is of course—decently and effectively—but by the represented thing, and the grace of the more or less closely represented state is the measure of any success; a truth by the general smug neglect of which it's difficult not to be struck. To begin to wonder, over a case, I must begin to believe—to begin to give out (that is to attend) I must begin to take in, and to enjoy that profit I must begin to see and hear and feel. This wouldn't seem, I allow, the general requirement—as appears from the fact that so many persons profess delight in the picture of marvels and prodigies which by any, even the easiest, critical measure is no picture; in the recital of wonderful horrific or beatific things that are neither represented nor, so far as one makes out, seen as representable: a weakness not invalidating, round about us, the most resounding appeals to curiosity. The main condition of interest—that of some appreciable rendering of sought effects—is absent from them; so that when, as often happens, one is asked how one "likes" such and such a "story" one can but point responsively to the lack of material for a judgement.
The apprehension at work, we thus see, would be of certain projected conditions, and its first need therefore is that these appearances be constituted in some other and more colourable fashion than by the author's answering for them on his more or less gentlemanly honour. This isn't enough; give me your elements, treat me your subject, one has to say—I must wait till then to tell you how I like them. I might "rave" about them all were they given and treated; but there is no basis of opinion in such matters without a basis of vision, and no ground for that, in turn, without some communicated closeness of truth. There are portentous situations, there are prodigies and
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