The rate at which new readings, new conductors of sense interposed, to make any total sense at all right, became, to this wonderful tune, the very record and mirror of the general adventure of one's intelligence; so that one at all times quite marvelled at the fair reach, the very length of arm, of such a developed difference of measure as to what might and what might n't constitute, all round, a due decency of "rendering." What I have been most aware of asking myself, however, is how writers, on such occasions of "revision," arrive at that successful resistance to the confident assault of the new reading which appears in the great majority of examples to have marked their course. The term that superlatively, that finally "renders," is a flower that blooms by a beautiful law of its own (the fiftieth part of a second often so sufficing it) in the very heart of the gathered sheaf; it is THERE already, at any moment, almost before one can either miss or suspect it--so that in short we shall never guess, I think, the working secret of the revisionist for whom its colour and scent stir the air but as immediately to be assimilated. Failing our divination, too, we shall apparently not otherwise learn, for the ****** reason that no revisionist I (xx) can recall has ever been communicative. "People don't do such things," we remember to have heard it, in this connexion, declared; in other words they don't really re-read--no, not REALLY; at least they do so to the effect either of seeing the buried, the latent life of a past composition vibrate, at renewal of touch, into no activity and break through its settled and "sunk" surface at no point whatever--on which conclusion, I hasten to add, the situation remains ****** and their responsibility may lie down beside their work even as the lion beside the lamb; or else they have in advance and on system stopped their ears, their eyes and even their very noses. This latter heroic policy I find myself glancing at, however, to wonder in what particular cases--failing, as I say, all the really confessed--it can have been applied. The actual non-revisionists (on any terms) are of course numerous enough, and with plenty to say for themselves; their faith, clearly, is great, their lot serene and their peace, above all, equally protected and undisturbed. But the tantalising image of the revisionist who is n't one, the partial, the piecemeal revisionist, inconsequent and insincere, this obscure and decidedly louche personage hovers before me mainly, I think, but to challenge my belief. Where have we met him, when it comes to that, in the walks of interesting prose literature, and why assume that we HAVE to believe in him before we are absolutely forced?
If I turn for relief and contrast to some image of his opposite I at once encounter it, and with a completeness that leaves nothing to be desired, on any "old" ground, in presence of any "old" life, in the vast example of Balzac. He (and these things, as we know, grew behind him at an extraordinary rate) re-assaulted by supersessive terms, re-penetrated by finer channels, never had on the one hand seen or said all or had on the other ceased to press forward. His case has equal mass and authority--and beneath its protecting shade, at any rate, I move for the brief remainder of these remarks. We owe to the never-extinct operation of his sensibility, we have but meanwhile to recall, our greatest exhibition of felt finalities, our richest and hugest inheritance (xxi) of imaginative prose. That by itself might intensify for me the interest of this general question of the reviving and reacting vision--did n't my very own lucky experience, all so publicly incurred, give me, as my reader may easily make out, quite enough to think of. I almost lose myself, it may perhaps seem to him, in that obscure quantity; obscure doubtless because of its consisting of the manifold delicate things, the shy and illusive, the inscrutable, the indefinable, that minister to deep and quite confident processes of change. It is enough, in any event, to be both beguiled and mystified by evolutions so near home, without sounding strange and probably even more abysmal waters. Since, however, an agreeable flurry and an imperfect presence of mind might, on the former ground, still be such a source of refreshment, so the constant refrain humming through the agitation, "If only one COULD re-write, if only one COULD do better justice to the patches of crude surface, the poor morsels of consciously decent matter that catch one's eye with their rueful reproach for old stupidities of touch!"--so that yearning reflexion, I say, was to have its superlative as well as its positive moments. It was to reach its maximum, no doubt, over many of the sorry businesses of "The American," for instance, where, given the elements and the essence, the long-stored grievance of the subject bristling with a sense of over-prolonged exposure in a garment misfitted, a garment cheaply embroidered and unworthy of it, thereby most proportionately sounded their plaint. This sharpness of appeal, the claim for exemplary damages, or at least for poetic justice, was reduced to nothing, on the other hand, in presence of the altogether better literary manners of "The Ambassadors" and "The Golden Bowl"--a list I might much extend by the mention of several shorter pieces.
