The material of "The Ambassadors," conforming in this respect
exactly to that of "The Wings of the Dove," published just before
it, is taken absolutely for the stuff of drama; so that, availing
myself of the opportunity given me by this edition for some
prefatory remarks on the latter work, I had mainly to make on its
behalf the point of its scenic consistency. It disguises that
virtue, in the oddest way in the world, by just LOOKING, as we
turn its pages, as little scenic as possible; but it sharply
divides itself, just as the composition before us does, into the
parts that prepare, that tend in fact to over-prepare, for scenes,
and the parts, or otherwise into the scenes, that justify and
crown the preparation. It may definitely be said, I think, that
everything in it that is not scene (not, I of course mean,
complete and functional scene, treating ALL the submitted matter,
as by logical start, logical turn, and logical finish) is
discriminated preparation, is the fusion and synthesis of picture.
These alternations propose themselves all recogniseably, I think,
from an early stage, as the very form and figure of "The
Ambassadors"; so that, to repeat, such an agent as Miss Gostrey
pre-engaged at a high salary, but waits in the draughty wing with
her shawl and her smelling-salts.
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