delightful dissimulation. These verily are the refinements and
ecstasies of method--amid which, or certainly under the influence
of any exhilarated demonstration of which, one must keep one's head
and not lose one's way. To cultivate an adequate intelligence
for them and to make that sense operative is positively to find
a charm in any produced ambiguity of appearance that is not
by the same stroke, and all helplessly, an ambiguity of sense.
To project imaginatively, for my hero, a relation that has
nothing to do with the matter (the matter of my subject) but has
everything to do with the manner (the manner of my presentation
of the same) and yet to treat it, at close quarters and for fully
economic expression's possible sake, as if it were important and
essential--to do that sort of thing and yet muddle nothing may
easily become, as one goes, a signally attaching proposition;
even though it all remains but part and parcel, I hasten to
recognise, of the merely general and related question of expressional
curiosity and expressional decency.

I am moved to add after so much insistence on the scenic side of
my labour that I have found the steps of re-perusal almost as much
waylaid here by quite another style of effort in the same signal
interest--or have in other words not failed to note how, even so
associated and so discriminated, the finest proprieties and charms
of the non-scenic may, under the right hand for them, still keep
their intelligibility and assert their office. Infinitely
suggestive such an observation as this last on the whole
delightful head, where representation is concerned, of possible
variety, of effective expressional change and contrast. One would
like, at such an hour as this, for critical licence, to go into
the matter of the noted inevitable deviation (from too fond an