PREFACE
the same extent lose themselves; their attachment and reference to us, however strained, need n't necessarily lapse—while of the tie that binds us to them we may make almost anything we like. We are condemned, in other words, whether we will or no, to abandon and outlive, to forget and disown and hand over to desolation, many vital or social performances—if only because the traces, records, connexions, the very memorials we would fain preserve, are practically impossible to rescue for that purpose from the general mixture. We give them up even when we would n't—it is not a question of choice. Not so on the other hand our really "done" things of this superior and more appreciable order—which leave us indeed all licence of disconnexion and disavowal, but positively impose on us no such necessity. Our relation to them is essentially traceable, and in that fact abides, we feel, the incomparable luxury of the artist. It rests altogether with himself not to break with his values, not to "give away" his importances. Not to be disconnected, for the tradition of behaviour, he has but to feel that he is not; by his lightest touch the whole chain of relation and responsibility is reconstituted. Thus if he is always doing he can scarce, by his own measure, ever have done. All of which means for him conduct with a vengeance, since it is conduct minutely and publicly attested. Our noted behaviour at large may show for ragged, because it perpetually escapes our control; we have again and again to consent to its appearing in undress—that is in no state to brook criticism. But on all the ground to which the pretension of performance by a series of exquisite laws may apply there reigns one sovereign truth—which decrees that, as art is nothing if not exemplary, care nothing if not active, finish nothing if not consistent, the proved error is the base apologetic deed, the helpless regret is the barren commentary, and "connexions" are employable for finer purposes than mere gaping contrition.
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