PREFACE
clear medium to represent a whole. This whole was to be the sum of what "happened" to him, or in other words his total adventure; but as what happened to him was above all to feel certain things happening to others, to Roderick, to Christina, to Mary Garland, to Mrs. Hudson, to the Cavaliere, to the Prince, so the beauty of the constructional game was to preserve in everything its especial value for him. The ironic effect of his having fallen in love with the girl who is herself in love with Roderick, though he is unwitting, at the time, of that secret—the conception of this last irony, I must add, has remained happier than my execution of it; which should logically have involved the reader's being put into position to take more closely home the impression made by Mary Garland. The ground has not been laid for it, and when that is the case one builds all vainly in the air: one patches up one's superstructure, one paints it in the prettiest colours, one hangs fine old tapestry and rare brocade over its window-sills, one flies emblazoned banners from its roof—the building none the less totters and refuses to stand square.
It is not really worked-in that Roderick himself could have pledged his faith in such a quarter, much more at such a crisis, before leaving America: and that weakness, clearly, produces a limp in the whole march of the fable. Just so, though there was no reason on earth (unless I except one, presently to be mentioned) why Rowland should not, at Northampton, have conceived a passion, or as near an approach to one as he was capable of, for a remarkable young woman there suddenly dawning on his sight, a particular fundamental care was required for the vivification of that possibility. The care, unfortunately, has not been skilfully enough taken, in spite of the later patching-up of the girl's figure. We fail to accept it, on the actual showing, as that of a young person irresistible at any moment, and above all irresistible at a moment of the liveliest other preoccupation, as that of the weaver of (even the highly conditioned) spell that the narrative imputes to her. The spell of attraction is cast upon young men by young women in all sorts of
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