PREFACE
tor's adventure. This it had been but indirectly, being all the while in essence and in final effect another man's, his friend's and patron's, view and experience of him. One's luck was to have felt one's subject right—whether instinct or calculation, in those dim days, most served; and the circumstance even amounts perhaps to a little lesson that when this has happily occurred faults may show, faults may disfigure, and yet not upset the work. It remains in equilibrium by having found its centre, the point of command of all the rest. From this centre the subject has been treated, from this centre the interest has spread, and so, whatever else it may do or may not do, the thing has acknowledged a principle of composition and contrives at least to hang together. We see in such a case why it should so hang; we escape that dreariest displeasure it is open to experiments in this general order to inflict, the sense of any hanging-together precluded as by the very terms of the case.
The centre of interest throughout "Roderick" is in Rowland Mallet's consciousness, and the drama is the very drama of that consciousness—which I had of course to make sufficiently acute in order to enable it, like a set and lighted scene, to hold the play. By making it acute, meanwhile, one made its own movement—or rather, strictly, its movement in the particular connexion interesting; this movement really being quite the stuff of one's thesis. It had, naturally, Rowland's consciousness, not to be too acute—which would have disconnected it and made it superhuman: the beautiful little problem was to keep it connected, connected intimately, with the general human exposure, and thereby bedimmed and befooled and bewildered, anxious, restless, fallible, and yet to endow it with such intelligence that the appearances reflected in it, and constituting together there the situation and the "story," should become by that fact intelligible. Discernible from the first the joy of such a "job" as this making of his relation to everything involved a sufficiently limited, a sufficiently pathetic, tragic, comic, ironic, personal state to be thoroughly natural, and yet at the same time a sufficiently
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