in what remains to be read of this strange fragment,
but it is less calculated than any other part to explain
what of its nature can never be anything but dream and confusion.
I do not know, moreover, whether in striving at a better connection
of certain parts, one would not run the risk of detracting from
the only merit to which so singular a production can pretend --
that of giving a tolerably precise idea of the manner (genre)
which it can merely indicate. This unpretending opening,
this stir of passion, which first increases, and then gradually subsides,
these transports of the soul, this sudden return upon himself,
and above all, my friend's quite peculiar turn of mind,
have made alterations almost impossible. The reasons which
he elsewhere asserts, and others still more cogent, have secured
my indulgence for this paper, which otherwise I should have advised him
to throw into the fire. I believe none the less in the great principle
of all composition -- in that principle of Shakespeare, of Raphael,
and of Beethoven, according to which concentration of ideas
is due much more to their conception than to their execution;
I have every reason to fear that the first of these qualities
is still foreign to my friend, and I much doubt whether redoubled labour
would enable him to acquire the second. It would be best to burn this,
but what can I do?" -- (Mrs. Orr.)
--

"Pauline" is a confession, fragmentary in detail but synthetic in range,
of a young man of high impulses but weak determination.
In its over-emphasis upon errors of judgment, as well as upon
real if exaggerated misdeeds, it has all the crudeness of youth.
An almost fantastic self-consciousness is the central motive:
it is a matter of question if this be absolutely vicarious.