PREFACE
dead to revive; they were not, it is plain, good enough reasons to live. The only possible relation of the present mind to the thing is to dismiss it altogether. On the other hand, when it is not dismissed—as the only detachment is the detachment of aversion—the creative intimacy is reaffirmed, and appreciation, critical apprehension, insists on becoming as active as it can. Who shall say, granted this, where it shall not begin and where it shall consent to end? The painter who passes over his old sunk canvas the wet sponge that shows him what may still come out again makes his criticism essentially active. When having seen, while his momentary glaze remains, that the canvas has kept a few buried secrets, he proceeds to repeat the process with due care and with a bottle of varnish and a brush, he is "living back," as I say, to the top of his bent, is taking up the old relation, so workable apparently, yet, and there is nothing logically to stay him from following it all the way. I have felt myself then, on looking over past productions, the painter making use again and again of the tentative wet sponge. The sunk surface has here and there, beyond doubt, refused to respond: the buried secrets, the intentions, are buried too deep to rise again, and were indeed, it would appear, not much worth the burying. Not so, how ever, when the moistened canvas does obscurely flush and when resort to the varnish-bottle is thereby immediately indicated. The simplest figure for my revision of this present array of earlier, later, larger, smaller, canvases, is to say that I have achieved it by the very aid of the varnish-bottle. It is true of them throughout that, in words I have had occasion to use in another connexion (where too I had revised with a view to "possible amendment of form and enhancement of meaning"), I have "nowhere scrupled to re-write a sentence or a passage on judging it susceptible of a better turn."
To re-read "Roderick Hudson" was to find one remark so promptly and so urgently prescribed that I could at once only take it as pointing almost too stern a moral. It stared me in the face that the time-scheme of the story is quite
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