PREFACE
firmities is too great a number. Our friends' respective minds about them, on the other hand, are a different matter—challengeable, and repeatedly, if you like, but never challengeable without some consequent further stiffening of the whole texture. Which proposition involves, I think, a moral. The moving accident, the rare conjunction, whatever it be, doesn't make the story—in the sense that the story is our excitement, our amusement, our thrill and our suspense; the human emotion and the human attestation, the clustering human conditions we expect presented, only make it. The extraordinary is most extraordinary in that it happens to you and me, and it's of value (of value for others) but so far as visibly brought home to us. At any rate, odd though it may sound to pretend that one feels on safer ground in tracing such an adventure as that of the hero of "The Jolly Corner" than in pursuing a bright career among pirates or detectives, I allow that composition to pass as the measure or limit, on my own part, of any achievable comfort in the "adventure-story"; and this not because I may "render"—well, what my poor gentleman attempted and suffered in the New York house—better than I may render detectives or pirates or other splendid desperadoes, though even here too there would be something to say; but because the spirit engaged with the forces of violence interests me most when I can think of it as engaged most deeply, most finely and most "subtly" (precious term!) For then it is that, as with the longest and firmest prongs of consciousness, I grasp and hold the throbbing subject; there it is above all that I find the steady light of the picture.
After which attempted demonstration I drop with scant grace perhaps to the admission here of a general vagueness on the article of my different little origins. I have spoken of these in three or four connexions,
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