PREFACE
intricate, that shouldn't press it out as a mosaic. After which fashion the careful craftsman would have prepared himself the special inviting treat of scarce being able to say, at his highest infatuation, before any series, which might be the light thing weighted and which the dense thing clarified. The very attempt so to discriminate leaves him in fact at moments even a little ashamed; whereby let him shirk here frankly certain of the issues presented by the remainder of our company—there being, independently of these mystic matters, other remarks to make. Blankness overtakes me, I confess, in connexion with the brief but concentrated "Greville Fane"—that emerges, how concentrated I tried to make it—which must have appeared in a London weekly journal at the beginning of the "nineties"; but as to which I further retain only a dim warm pleasantness as of old Kensington summer hours. I re-read, ever so kindly, to the promotion of a mild aftertaste—that of a certain feverish pressure, in a cool north room resorted to in heavy London Augusts, with stray rare echoes of the town, beyond near roofs and chimneys, making harmless detonations, and with the perception, over my page, as I felt poor Greville grow, that her scant record, to be anything at all, would have to be a minor miracle of foreshortening. For here is exactly an illustrative case: the subject, in this little composition, is "developmental" enough, while the form has to make the anecdotic concession; and yet who shall say that for the right effect of a small harmony the fusion has failed? We desire doubtless a more detailed notation of the behaviour of the son and daughter, and yet had I believed the right effect missed "Greville Fane" wouldn't have figured here.
Nothing, by the same stroke, could well have been condemned to struggle more for that harmony than
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