I am moved to add after so much insistence on the scenic side of
my labour that I have found the steps of re-perusal almost as much
waylaid here by quite another style of effort in the same signal
interest--or have in other words not failed to note how, even so
associated and so discriminated, the finest proprieties and charms
of the non-scenic may, under the right hand for them, still keep
their intelligibility and assert their office. Infinitely
suggestive such an observation as this last on the whole
delightful head, where representation is concerned, of possible
variety, of effective expressional change and contrast. One would
like, at such an hour as this, for critical licence, to go into
the matter of the noted inevitable deviation (from too fond an
original vision) that the exquisite treachery even of the
straightest execution may ever be trusted to inflict even on the
most mature plan--the case being that, though one's last
reconsidered production always seems to bristle with that
particular evidence, "The Ambassadors" would place a flood of such
light at my service. I must attach to my final remark here a
different import; noting in the other connexion I just glanced at
that such passages as that of my hero's first encounter with Chad
Newsome, absolute attestations of the non-scenic form though they
be, yet lay the firmest hand too--so far at least as intention
goes--on representational effect.
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