Her function speaks at once for
itself, and by the time she has dined with Strether in London and
gone to a play with him her intervention as a ficelle is, I hold,
expertly justified. Thanks to it we have treated scenically, and
scenically alone, the whole lumpish question of Strether's "past,"
which has seen us more happily on the way than anything else could
have done; we have strained to a high lucidity and vivacity (or at
least we hope we have) certain indispensable facts; we have seen
our two or three immediate friends all conveniently and profitably
in "action"; to say nothing of our beginning to descry others, of
a remoter intensity, getting into motion, even if a bit vaguely as
yet, for our further enrichment. Let my first point be here that
the scene in question, that in which the whole situation at
Woollett and the complex forces that have propelled my hero to
where this lively extractor of his value and distiller of his
essence awaits him, is normal and entire, is really an excellent
STANDARD scene; copious, comprehensive, and accordingly never
short, but with its office as definite as that of the hammer on
the gong of the clock, the office of expressing ALL THAT IS IN the
hour.
The "ficelle" character of the subordinate party is as artfully
dissimulated, throughout, as may be, and to that extent that, with
the seams or joints of Maria Gostrey's ostensible connectedness
taken particular care of, duly smoothed over, that is, and
anxiously kept from showing as "pieced on;" this figure doubtless
achieves, after a fashion, something of the dignity of a prime
idea: which circumstance but shows us afresh how many quite
incalculable but none the less clear sources of enjoyment for the
infatuated artist, how many copious springs of our never-to-be-slighted
"fun" for the reader and critic susceptible of contagion, may
sound their incidental plash as soon as an artistic process begins
to enjoy free development.
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