myself of the opportunity given me by this edition for some
prefatory remarks on the latter work, I had mainly to make on its
behalf the point of its scenic consistency. It disguises that
virtue, in the oddest way in the world, by just LOOKING, as we
turn its pages, as little scenic as possible; but it sharply
divides itself, just as the composition before us does, into the
parts that prepare, that tend in fact to over-prepare, for scenes,
and the parts, or otherwise into the scenes, that justify and
crown the preparation. It may definitely be said, I think, that
everything in it that is not scene (not, I of course mean,
complete and functional scene, treating ALL the submitted matter,
as by logical start, logical turn, and logical finish) is
discriminated preparation, is the fusion and synthesis of picture.
These alternations propose themselves all recogniseably, I think,
from an early stage, as the very form and figure of "The
Ambassadors"; so that, to repeat, such an agent as Miss Gostrey
pre-engaged at a high salary, but waits in the draughty wing with
her shawl and her smelling-salts. Her function speaks at once for
itself, and by the time she has dined with Strether in London and
gone to a play with him her intervention as a ficelle is, I hold,
expertly justified. Thanks to it we have treated scenically, and
scenically alone, the whole lumpish question of Strether's "past,"
which has seen us more happily on the way than anything else could
have done; we have strained to a high lucidity and vivacity (or at
least we hope we have) certain indispensable facts; we have seen
our two or three immediate friends all conveniently and profitably
in "action"; to say nothing of our beginning to descry others, of
a remoter intensity, getting into motion, even if a bit vaguely as
yet, for our further enrichment. Let my first point be here that
the scene in question, that in which the whole situation at