PREFACE
we say, the heart in the mouth might renew itself imder this star; and in the recital in question, as in "The Friends of the Friends," "The Jolly Corner" and "The Real Right Thing," the pursuit of such verily leads us into rarefied air. Two sources of effect must have seemed to me happy for "Sir Edmund Orme"; one of these the bright thought of a state of unconscious obsession or, in romantic parlance, hauntedness, on the part of a given person; the consciousness of it on the part of some other, in anguish lest a wrong turn or forced betrayal shall determine a break in the blest ignorance, becoming thus the subject of portrayal, with plenty of suspense for the occurrence or non-occurrence of the feared mischance. Not to be liable herself to a dark visitation, but to see such a danger play about her child as incessantly as forked lightning may play unheeded about the blind, this is the penalty suffered by the mother, in "Sir Edmund Orme," for some hardness or baseness of her own youth. There I must doubtless have found my escape from the obvious; there I avoided a low directness and achieved one of those redoubled twists or sportive—by which I don't at all mean wanton—gambols dear to the fastidious, the creative fancy and that make for the higher interest. The higher interest—and this is the second of the two flowers of evidence that I pluck from the faded cluster—must further have dwelt, to my appraisement, in my placing my scene at Brighton, the old, the mid-Victorian, the Thackerayan Brighton; where the twinkling sea and the breezy air, the great friendly, fluttered, animated, many-coloured "front," would emphasise the note I wanted; that of the strange and sinister embroidered on the very type of the normal and easy.
This was to be again, after years, the idea entertained for "The Jolly Corner," about the composition
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