the balcony that overlooks the Tuileries garden--these are as
marked an example of the representational virtue that insists here
and there on being, for the charm of opposition and renewal, other
than the scenic. It wouldn't take much to make me further argue
that from an equal play of such oppositions the book gathers an
intensity that fairly adds to the dramatic--though the latter is
supposed to be the sum of all intensities; or that has at any rate
nothing to fear from juxtaposition with it. I consciously fail to
shrink in fact from that extravagance--I risk it rather, for the
sake of the moral involved; which is not that the particular
production before us exhausts the interesting questions it raises,
but that the Novel remains still, under the right persuasion, the
most independent, most elastic, most prodigious of literary forms.


HENRY JAMES.





Book First




I


Strether's first question, when he reached the hotel, was about his