HOW IT STRIKES A CONTEMPORARY
of them probably has a word to say about the matter outright, but everything depends on it. Only believe, we find ourselves saying, and all the rest will come of itself. Only believe, to take a very simple instance which the recent publication of The Watsons brings to mind, that a nice girl will instinctively try to soothe the feelings of a boy who has been snubbed at a dance, and then, if you believe it implicitly and unquestioningly, you will not only make people a hundred years later feel the same thing, but you will make them feel it as literature. For certainty of that kind is the condition which makes it possible to write. To believe that your impressions hold good for others is to be released from the cramp and confinement of personality. It is to be free, as Scott was free, to explore with a vigour which still holds us spell-bound the whole world of adventure and romance. It is also the first step in that mysterious process in which Jane Austen was so great an adept. The little grain of experience once selected, believed in, and set outside herself, could be put precisely in its place, and she was then free to make of it, by a process which never yields its secrets to the analyst, into that complete statement which is literature.
So then our contemporaries afflict us because they have ceased to believe. The most sincere of them will only tell us what it is that happens to himself. They cannot make a world, because they are not free of other human beings. They cannot tell stories because they do not believe the stories are true. They cannot
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