triumph. But I had probably best attempt a little to glance in
each direction; since it comes to me again and again, over this
licentious record, that one's bag of adventures, conceived or
conceivable, has been only half-emptied by the mere telling of
one's story. It depends so on what one means by that equivocal
quantity. There is the story of one's hero, and then, thanks to
the intimate connexion of things, the story of one's story itself.
I blush to confess it, but if one's a dramatist one's a dramatist,
and the latter imbroglio is liable on occasion to strike me as
really the more objective of the two.

The philosophy imputed to him in that beautiful outbreak, the hour
there, amid such happy provision, striking for him, would have
been then, on behalf of my man of imagination, to be logically
and, as the artless craft of comedy has it, "led up" to; the
probable course to such a goal, the goal of so conscious a
predicament, would have in short to be finely calculated. Where
has he come from and why has he come, what is he doing (as we
Anglo-Saxons, and we only, say, in our foredoomed clutch of exotic
aids to expression) in that galere? To answer these questions
plausibly, to answer them as under cross-examination in the
witness-box by counsel for the prosecution, in other words
satisfactorily to account for Strether and for his "peculiar
tone," was to possess myself of the entire fabric. At the same
time the clue to its whereabouts would lie in a certain principle
of probability: he wouldn't have indulged in his peculiar tone
without a reason; it would take a felt predicament or a false
position to give him so ironic an accent. One hadn't been noting
"tones" all one's life without recognising when one heard it the
voice of the false position. The dear man in the Paris garden was