Exquisite--in illustration of this--
the mere interest and amusement of such at once "creative" and
critical questions as how and where and why to make Miss Gostrey's
false connexion carry itself, under a due high polish, as a real one.
Nowhere is it more of an artful expedient for mere consistency
of form, to mention a case, than in the last "scene" of the book,
where its function is to give or to add nothing whatever,
but only to express as vividly as possible certain things quite
other than itself and that are of the already fixed and appointed
measure. Since, however, all art is EXPRESSION, and is thereby
vividness, one was to find the door open here to any amount of
delightful dissimulation. These verily are the refinements and
ecstasies of method--amid which, or certainly under the influence
of any exhilarated demonstration of which, one must keep one's head
and not lose one's way. To cultivate an adequate intelligence
for them and to make that sense operative is positively to find
a charm in any produced ambiguity of appearance that is not
by the same stroke, and all helplessly, an ambiguity of sense.
To project imaginatively, for my hero, a relation that has
nothing to do with the matter (the matter of my subject) but has
everything to do with the manner (the manner of my presentation
of the same) and yet to treat it, at close quarters and for fully
economic expression's possible sake, as if it were important and
essential--to do that sort of thing and yet muddle nothing may
easily become, as one goes, a signally attaching proposition;
even though it all remains but part and parcel, I hasten to
recognise, of the merely general and related question of expressional
curiosity and expressional decency.
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