PREFACE
the character of well-nigh sole agent of his catastrophe that this unfortunate young woman has forced upon her, fails to commend itself to our sense of truth and proportion.
It was not, however, that I was at ease on this score even in the first fond good faith of composition; I felt too, all the while, how many more ups and downs, how many more adventures and complications my young man would have had to know, how much more experience it would have taken, in short, either to make him go under or to make him triumph. The greater complexity, the superior truth, was all more or less present to me; only the question was, too dreadfully, how make it present to the reader? How boil down so many facts in the alembic, so that the distilled result, the produced appearance, should have intensity, lucidity, brevity, beauty, all the merits required for my effect? How, when it was already so difficult, as I found, to proceed even as I was proceeding? It did n't help, alas, it only maddened, to remember that Balzac would have known how, and would have yet asked no additional credit for it. All the difficulty I could dodge still struck me, at any rate, as leaving more than enough; and yet I was already consciously in presence, here, of the most interesting question the artist has to consider. To give the image and the sense of certain things while still keeping them subordinate to his plan, keeping them in relation to matters more immediate and apparent, to give all the sense, in a word, without all the substance or all the surface, and so to summarise and foreshorten, so to make values both rich and sharp, that the mere procession of items and profiles is not only, for the occasion, superseded, but is, for essential quality, almost "compromised"—such a case of delicacy proposes itself at every turn to the painter of life who wishes both to treat his chosen subject and to confine his necessary picture. It is only by doing such things that art becomes exquisite, and it is only by positively becoming exquisite that it keeps clear of becoming vulgar, repudiates the coarse industries that masquerade in its name. This eternal time-question is accordingly, for the novelist, always there and always for-
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