Suffice it, to be brief, that the
first person, in the long piece, is a form foredoomed to looseness
and that looseness, never much my affair, had never been so little
so as on this particular occasion. All of which reflexions flocked
to the standard from the moment--a very early one--the question of
how to keep my form amusing while sticking so close to my central
figure and constantly taking its pattern from him had to be faced.
He arrives (arrives at Chester) as for the dreadful purpose of
giving his creator "no end" to tell about him--before which
rigorous mission the serenest of creators might well have quailed.
I was far from the serenest; I was more than agitated enough to
reflect that, grimly deprived of one alternative or one substitute
for "telling," I must address myself tooth and nail to another. I
couldn't, save by implication, make other persons tell EACH OTHER
about him--blest resource, blest necessity, of the drama, which
reaches its effects of unity, all remarkably, by paths absolutely
opposite to the paths of the novel: with other persons, save as
they were primarily HIS persons (not he primarily but one of
theirs), I had simply nothing to do. I had relations for him none
the less, by the mercy of Providence, quite as much as if my
exhibition was to be a muddle; if I could only by implication and
a show of consequence make other persons tell each other about
him, I could at least make him tell THEM whatever in the world he
must; and could so, by the same token--which was a further luxury
thrown in--see straight into the deep differences between what
that could do for me, or at all events for HIM, and the large ease
of "autobiography.
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