the cause of the moment, of the particular bit in itself, have to
be kicked out of the path! All the sophistications in life, for
example, might have appeared to muster on behalf of the menace--
the menace to a bright variety--involved in Strether's having all
the subjective "say," as it were, to himself.

Had I, meanwhile, made him at once hero and historian, endowed him
with the romantic privilege of the "first person"--the darkest
abyss of romance this, inveterately, when enjoyed on the grand
scale--variety, and many other queer matters as well, might have
been smuggled in by a back door. Suffice it, to be brief, that the
first person, in the long piece, is a form foredoomed to looseness
and that looseness, never much my affair, had never been so little
so as on this particular occasion. All of which reflexions flocked
to the standard from the moment--a very early one--the question of
how to keep my form amusing while sticking so close to my central
figure and constantly taking its pattern from him had to be faced.
He arrives (arrives at Chester) as for the dreadful purpose of
giving his creator "no end" to tell about him--before which
rigorous mission the serenest of creators might well have quailed.
I was far from the serenest; I was more than agitated enough to
reflect that, grimly deprived of one alternative or one substitute
for "telling," I must address myself tooth and nail to another. I
couldn't, save by implication, make other persons tell EACH OTHER
about him--blest resource, blest necessity, of the drama, which
reaches its effects of unity, all remarkably, by paths absolutely
opposite to the paths of the novel: with other persons, save as
they were primarily HIS persons (not he primarily but one of
theirs), I had simply nothing to do. I had relations for him none
the less, by the mercy of Providence, quite as much as if my