Of course, a story of 青年, which altogether 欠如（する）s that gustatory zest, that 誇張するd 関心 for trivialities, is scarcely successful. In L'ﾉducation the trivialities are there (for life is made up of them), but not the voracious appetite which 運動s young people through silly and vulgar experiences. The story of Fr馘駻ic is a story of 青年 with the heart of 青年 left out; and of course it is often dull. But the latter 一時期／支部s of the 調書をとる／予約する 正当化する one's 旅行 through it. Then all the hero's young life becomes more real than it was as one followed it from year to year, and the story ends on a high 高原. From that 広大な／多数の／重要な and 静かな last scene, seated by the 解雇する／砲火／射撃 with the two middle-老年の friends (who were never really friends, but who had been young together), one looks 支援する over Fr馘駻ic's life and finds that one has it all, even the dull stretches. It is something one has lived through, not a story one has read; いっそう少なく コースを変えるing than a story, perhaps, but more 必然的な. One is "left with it," in the same way that one is left with a weak heart after 確かな illnesses. A 影をつくる／尾行する has come into one's consciousness that will not go out again.

The old French lady and I talked for some time about L'ﾉducation sentimentale. She spoke with warm affection, with tenderness, of Madame Arnoux.

"Ah yes, Madame Arnoux, she is beautiful!" The moisture in her 有望な 注目する，もくろむs, the 紅潮／摘発する on her cheeks, and the general 軟化するing of her 直面する said much more. That charming and good woman of the middle classes, the wife who 持つ／拘留するs the story together (as she held Fr馘駻ic himself together), passed through the old lady's mind so vividly that it was as if she had entered the room. Madame Arnoux was there with us, in that hotel at Aix, on the evening of September 5, 1930, a physical presence, in the charming 衣装 of her time, as on the night when Fr馘駻ic first dined at 24 rue de Choiseul. The niece had a very special feeling for this one of her uncle's characters. She ぐずぐず残るd over the memory, 解任するing her as she first appears, sitting on the （法廷の）裁判 of a 乗客 boat on the Seine, in her muslin gown sprigged with green and her wide straw hat with red 略章s. Whenever the old lady について言及するd Madame Arnoux it was with some 示す of affection; she smiled, or sighed, or shook her 長，率いる as we do when we speak of something that is やめる unaccountably 罰金: "Ah yes, she is lovely, Madame Arnoux! She is very 完全にする."

The old lady told me that she had at home the 訂正するd manuscript of L'ﾉducation sentimentale. "Of course I have many others. But this he gave me long before his death. You shall see it when you come to my place at Antibes. I call my place the 郊外住宅 Tanit, 注ぐ la d馥sse," she 追加するd with a smile.

The hour grew late. The maid had been standing in the 回廊（地帯） a long while, waiting for her mistress. At last the old lady rose and drew her 包む about her.

"Good night, madame. May you have pleasant dreams. As for me, I shall not sleep; you have 解任するd too much." She went toward the 解除する with the energetic, unconquered step with which she always crossed the dining-room, carrying with hardihood a 団体／死体 no longer perfectly under her 支配（する）／統制する.

The fact remains that Balzac, like Dickens and Scott, has a strong 控訴，上告 for the 広大な／多数の／重要な multitudes of humanity who have no feeling for any form of art, and who read him only in poor translations. This is 圧倒的な 証拠 of the 決定的な 軍隊 in him, which no rough 扱うing can 減らす. Also it 暗示するs the 欠如（する） in him of 確かな 質s which 事柄 to only a few people, but 事柄 very much. The time in one's life when one first began to sense the things which Flaubert stood for, to

In one corner 郊外住宅 Tanit was written in purple 署名／調印する.

In the evening we sat in the 令状ing-room again, and Madame Grout's talk touched upon many things. On the フランス系カナダ人-Prussian War, for instance, and its 影響 upon her uncle. He had seen to it that she herself was comfortably settled in England through most of that troubled time. And during the late war of 1914 she had been in Italy a 広大な／多数の／重要な 取引，協定. She loved Italian best of all the languages she spoke so 井戸／弁護士席. (She spoke Swedish, even; she had lived for a time in Sweden during the life of her first husband, who had 商売／仕事 利益／興味s there.)

She talked of Turgeniev, of her uncle's affection for him and 広大な／多数の／重要な 賞賛 for him as an artist.¹ She liked to 解任する his pleasant visits to Croisset, which were the reward of long 予期 on the part of the hosts. Turgeniev usually 直す／買収する，八百長をするd the date by letter, changed it by another letter, then again by 電報電信--and いつかs he did not come at all. Flaubert's mother 用意が出来ている for these visits by 検査／視察するing all the her translation of Faust: "That noble man, to give his time to my childish 成果／努力s!" She 井戸／弁護士席 remembered the period during which he was 令状ing Les Eaux printani鑽es, and her own excitement when she first read that work. Like Henry James, she seemed to resent Turgeniev's position in the Viardot 世帯; 解任するing it, even after such a long stretch of time, with vexation. "And when they gave a 追跡（する）, he looked after the dogs!" she murmured under her breath. She talked one evening of his sad latter years: of his 失望 in his daughter, of his long and painful illness, of the way in which the death of his friends, going one after another, 契約d his life and made it 荒涼とした. But these were very personal memories, and if Madame Grout had wished to make them public, she would have written them herself.

Madame Viardot she had known very 井戸／弁護士席, and for many years after Turgeniev's death. "Pauline Viardot was a superb artist, very intelligent and engaging as a woman, with a 広大な／多数の／重要な charm--and, au fond, very Spanish!" she said. Of Monsieur Louis Viardot she did not think 高度に. I gathered that he was agreeable, but not much more than that. When I asked her whether Monsieur Viardot had not translated some of Turgeniev's 調書をとる／予約するs into French, the old lady 解除するd her brows and there was a mocking glint in her 注目する，もくろむs.

"Turgeniev himself translated them; Viardot may have looked over his shoulder!"

George Sand she did not like. Yes, she readily 認める, her men friends were very loyal to her, had a 広大な／多数の／重要な regard for her; mon oncle valued her comradeship; but Madame Grout 設立する the lady's personality distasteful.

I gathered that, for Madame Grout, George Sand did not really fill any of the 広大な／多数の／重要な r?es she 割り当てるd herself: the 充てるd mistress, the 信頼できる comrade and "good fellow," the self-sacrificing mother. George Sand's men friends believed her to be all these things; and certainly she herself believed that she was. But Madame Grout seemed to feel that in these さまざまな relations Madame Dudevant was self-満足させるd rather than self-forgetful; always self-admiring and a trifle unctuous. Madame Grout's distaste for this baffling 肉親，親類d of falseness was 即座の and 直感的に--it put her teeth on 辛勝する／優位. Turgeniev, that 侵入するing reader of women, seems never to have felt this shallowness in his friend. But in Chopin's later letters one finds that he, to his bitter cost, had become aware of it--curiously enough, through Madame Dudevant's behaviour toward her own children! It is （疑いを）晴らす that he had come upon something so subtly 誤った, so excruciatingly aslant, that when he 簡潔に 言及するs to it his 宣告，判決s seem to shudder.

Though I tried to let Madame Grout direct our conversations without suggestion from me, and never to question her, I did ask her whether she read Marcel Proust with 楽しみ.

"Trop dur et trop fatigant," she murmured, and 解任するd the greatest French writer of his time with a wave of her 手渡す.

When I made some 言及／関連 to Anatole フラン she said quickly: "Oh, I like him very much! But I like him most where he is most indebted to my uncle!"

When she was tired, or 深く，強烈に moved, Madame Grout usually spoke French; but when she spoke English it was as 柔軟な as it was 訂正する. She spoke like an Englishwoman, with no French accent at all.

What astonished me in her was her keen and 同情的な 利益／興味 in modern music; in Ravel, Scriabin, Alb駭iz, Stravinsky, De Falla. Only a few days before I quitted Aix I 設立する her at the box office in person, getting 正確に／まさに the seats she 手配中の，お尋ね者 for a 業績／成果 of Boris Godounov. She must change her habitual seat, as she had asked some friends to come over from Sallanches to hear the オペラ with her. "You will certainly hear it? Albert Wolff is 行為／行うing for the last time this season, and he does it very 井戸／弁護士席," she explained.

It was 利益／興味ing to 観察する Madame Grout at the オペラ that night, to watch the changes that went over her 直面する as she listened with an attention that never wandered, looking younger and stronger than she ever did by day, as if the music were some very potent 興奮剤. Any form of 楽しみ, I had noticed, made her keener, more direct and 肯定的な, more 権威のある, 生き返らせるd in her the stamp of a period which had 達成するd a 広大な／多数の／重要な style in and the 郊外住宅 Tanit, to see her Flaubert collection, and the 内部の of his 熟考する／考慮する, which she had brought 負かす／撃墜する there thirty-five years ago?

I told her I was afraid that visit must be put off until next summer.

She gave a very charming laugh. "At my age, of course, the 未来 is somewhat uncertain!" Then she asked whether, on her return to Antibes, she could send me some souvenir of our 会合; would I like to have something that had belonged to her uncle, or some letter written by him?

I told her that I was not a collector; that manuscripts and autographed letters meant very little to me. The things of her uncle that were 価値のある to me I already had, and had had for years. It rather 傷つける me that she should think I 手配中の，お尋ね者 any 構成要素 思い出の品 of her or of Flaubert. It was the Flaubert in her mind and heart that was to give me a beautiful memory.

On the に引き続いて day, at d駛euner, I said goodbye to Madame Grout; I was leaving on the two o'clock train. It was a hurried and mournful parting, but there was real feeling on both 味方するs. She had counted upon my staying longer, she said. But she did not for a moment take on a わずかに aggrieved トン, as many 特権d old ladies would have done. There was nothing "wayward" or self-indulgent about Madame Grout; the whole discipline of her life had been to the contrary. One had one's 客観的な, and one went toward it; one had one's 義務, and one did it as best one could.

The last glimpse I had of her was as she stood in the dining-room, the 砕く on her 直面する やめる destroyed by 涙／ほころびs, her features agitated, but her 長，率いる 築く and her 注目する，もくろむs flashing. And the last words I heard from her 表明するd a hope that I would always remember the 楽しみ we had had together in talking almost startled (in those letters written her when she was still a child) by his solicitude about her 進歩 in her English lessons--those lessons by which I was to 利益（をあげる） seventy-three years afterward!

The five hundred pages of that 調書をとる／予約する were now peopled for me with familiar 人物／姿／数字s, like the chronicles of a family I myself had known. It will always be for me one of the most delightful of 調書をとる／予約するs; and in 非，不，無 of his letters to other 特派員s does Gustave Flaubert himself seem so attractive.

In reading over those letters, covering a stretch of twenty-four years, with the 人物／姿／数字 of Madame Grout in one's mind, one feels a 肉親，親類d of happiness and contentment about the whole 状況／情勢--yes, and 感謝 to 運命／宿命! The 広大な／多数の／重要な man might have written very charming and tender and 温かく confidential letters to a niece who was selfish, vain, intelligent 単に in a 従来の way--because she was the best he had! One can never be sure about such things; a heartless and stupid woman may be so 井戸／弁護士席 educated, after all!

But having known Madame Grout, I know that she had the root of the 事柄 in her; that no one could be more 極度の慎重さを要する than she to all that was finest in Flaubert's work, or more quick to 収容する／認める the 質s he did not have--which is やめる as important.

During all his best working years he had in his house beside him, or within convenient distance for correspondence, one of his own 血, younger and more ardent than he, who 絶対 understood what he was doing; who could feel the 広大な／多数の／重要な 質s of his 失敗s, even. Could any 状況／情勢 be happier for a man of letters? How many writers have 設立する one understanding ear の中で their sons or daughters?

Moreover, Caroline was the daughter of a sister whom Flaubert had devotedly loved. He took her when she was an 幼児 into his house at Croisset, where he lived alone with his old mother. What delight for a 独房監禁 man of letters and an old lady to have a baby to take care of, the little daughter of a beloved daughter! They had all the 楽しみ of her little girlhood--and she must have been an irresistible little girl! Flaubert spent a 広大な／多数の／重要な 取引，協定 of time …に出席するing to her 早期に education, and when he was seated at his big 令状ing-（米）棚上げする／（英）提議する, or working in bed, he liked to have her in the room, lying on a rug in the corner with her 調書をとる／予約する. For hours she would not speak, she told me; she was so passionately proud of the fact that he 手配中の，お尋ね者 her to be there. When she was just beginning to read, she liked to think, as she lay in her corner, that she was shut in a cage with some powerful wild animal, a tiger or a lion or a 耐える, who had devoured his keeper and would spring upon anyone else who opened his door, but with whom she was "やめる 安全な and conceited," as she said with a chuckle.

Though she had been married twice, Madame Grout, in our conversations, did not talk of either of her husbands. Her uncle had always been the 広大な／多数の／重要な 人物／姿／数字 in her life, and even a short 知識 with her made me feel that she 所有するd every 質 for comradeship with him. Besides her devotion to him, her many gifts, her very unusual 知能 and intuition in art, she had moral 質s which he must have loved: 宙に浮く, 広大な／多数の／重要な good sense, and a love of fairness and 司法（官）. She had the habit of searching out facts and 重さを計るing 証拠, for her own satisfaction. Her speech, when she was explaining something, had the 質s of good Latin prose: economy, elegance, and exactness. She was not an idealist; she had lived through two wars. She was one of the least visionary and sentimental persons I have ever met. She knew that 条件s and circumstances, not their own wishes, dictate the 活動／戦闘s of men. In her mind there was a 肉親，親類d of large enlightenment, like that of the many-windowed workroom at Croisset, with the 冷静な／正味の, tempered northern light 注ぐing into it. In her, Flaubert had not only a companion, but a "daughter of the house" to 心にいだく and 保護する. And he had her

I sailed for Quebec in October. In November, while I was at Jaffrey, New Hampshire, a letter （機の）カム from Madame Grout; the envelope had been opened and almost destroyed. I have received letters from Borneo and Java that looked much いっそう少なく travel-worn. She had 演説（する）／住所d it to me in care of an obscure bookseller, on a small street in Paris, from whom she had got one of my 調書をとる／予約するs. (I suppose, in her day, all booksellers were publishers.) The letter had been 今後d through three publishing houses, and a part of

This enclosure had been 除去するd. I regretted its loss 主として because I 恐れるd it would 苦しめる Madame Grout. But I wrote her, やめる truthfully, that her wish that I should have one of her uncle's letters meant a 広大な／多数の／重要な 取引，協定 more to me than the actual

The novel, for a long while, has been over-furnished. The 所有物／資産／財産-man has been so busy on its pages, the importance of 構成要素 反対するs and their vivid 贈呈 have been so 強調する／ストレスd, that we take it for 認めるd whoever can 観察する, and can 令状 the English language, can 令状 a novel. Often the latter 資格 is considered unnecessary.

In any discussion of the novel, one must make it （疑いを）晴らす whether one is talking about the novel as a form of amusement, or as a form of art; since they serve very different 目的s and in very different ways. One does not wish the egg one eats for breakfast, or the morning paper, to be made of the stuff of immortality. The novel 製造（する）d to entertain 広大な／多数の／重要な multitudes of people must be considered 正確に／まさに like a cheap soap or a cheap perfume, or cheap furniture. 罰金 質 is a 際立った disadvantage in articles made for 広大な／多数の／重要な numbers of people who do not want 質 but 量, who do not want a thing that "wears," but who want change,--a succession of new things that are quickly threadbare and can be lightly thrown away. Does anyone pretend that if the Woolworth 蓄える／店 windows were piled high with Tanagra figurines at ten cents, they could for a moment compete with Kewpie brides in the popular esteem? Amusement is one thing; enjoyment of art is another.

Every writer who is an artist knows that his "力／強力にする of 観察," and his "力／強力にする of description," form but a low part of his 器具／備品. He must have both, to be sure; but he knows that the most trivial of writers often have a very good 観察. M駻im馥 said in his remarkable essay on Gogol: "L'art de choisir parmi les innombrable traits que nous offre la nature est, apr鑚 tout, bien 加える difficile que celui de les 観察者／傍聴者 avec attention et de les rendre avec exactitude."

There is a popular superstition that "realism" 主張するs itself in the 目録ing of a 広大な／多数の／重要な number of 構成要素 反対するs, in explaining mechanical 過程s, the methods of operating manufactories and 貿易（する）s, and in minutely and unsparingly 述べるing physical sensations. But is not realism, more than it is anything else, an 態度 of mind on the part of the writer toward his 構成要素, a vague 指示，表示する物 of the sympathy and candour with which he 受託するs, rather than chooses, his 主題? Is the story of a 銀行業者 who is unfaithful to his wife and who 廃虚s himself by 憶測 in trying to gratify the caprices of his mistresses, at all 増強するd by a 熟達した 解説，博覧会 of banking, our whole system of credits, the methods of the 在庫／株 交流? Of course, if the story is thin, these things do 増強する it in a sense,--any 量 of red meat thrown into the 規模 to make the beam 下落する. But are the banking system and the 在庫／株 交流 価値（がある） 存在 written about at all? Have such things any proper place in imaginative art?

The (a)自動的な／(n)自動拳銃 reply to this question is the 指名する of Balzac. Yes, certainly, Balzac tried out the value of literalness in the novel, tried it out to the uttermost, as Wagner did the value of scenic literalness in the music 演劇. He tried it, too, with the passion of 発見, with the inflamed zest of an unexampled curiosity. If the heat of that furnace could not give hardness and sharpness to 構成要素 従犯者s, no other brain will ever do it. To 再生する on paper the actual city of Paris; the houses, the upholstery, the food, the ワインs, the game of 楽しみ, the game of 商売／仕事, the game of 財政／金融: a stupendous ambition--but, after all, unworthy of an artist. In 正確に／まさに so far as he 後継するd in 注ぐing out on his pages that 集まり of brick and 迫撃砲 and furniture and 訴訟／進行s in 破産, in 正確に／まさに so far he 敗北・負かすd his end. The things by which he still lives, the types of greed and avarice and ambition and vanity and lost innocence of heart which he created--are as 決定的な today as they were then. But their 構成要素 surroundings, upon which he expended such 労働 and 苦痛s . . . the 注目する，もくろむ glides over them. We have had too much of the 内部の decorator and the "romance of 商売／仕事" since his day. The city he built on paper is already 崩壊するing. Stevenson said he 手配中の，お尋ね者 to blue-pencil a 広大な／多数の／重要な 取引，協定 of Balzac's "贈呈"--and he loved him beyond all modern 小説家s. But where is the man who could 削減（する） one 宣告，判決 from the stories of M駻im馥? And who wants any more 詳細（に述べる） as to how Carmencita and her fellow factory-girls made cigars? Another sort of novel? Truly. Isn't it a better sort?

In this discussion another 広大な／多数の／重要な 指名する 自然に occurs. Tolstoi was almost as 広大な／多数の／重要な a lover of 構成要素 things as Balzac, almost as much 利益／興味d in the way dishes were cooked, and people were dressed, and houses were furnished. But there is this 決定するing difference: the 着せる／賦与するs, the dishes, the haunting 内部のs of those old Moscow houses, are always so much a part of the emotions of the people that they are perfectly synthesized; they seem to 存在する, not so much in the author's mind, as in the emotional penumbra of the characters themselves. When it is fused like this, literalness 中止するs to be literalness--it is 単に part of the experience.

If the novel is a form of imaginative art, it cannot be at the same time a vivid and brilliant form of journalism. Out of the teeming, gleaming stream of the 現在の it must select the eternal 構成要素 of art. There are 希望に満ちた 調印するs that some of the younger writers are trying to break away from mere verisimilitude, and, に引き続いて the 開発 of modern 絵, to 解釈する／通訳する imaginatively the 構成要素 and social investiture of their characters; to 現在の their scene by suggestion rather than by enumeration. The higher 過程s of art are all 過程s of simplification. The 小説家 must learn to 令状, and then he must unlearn it; just as the modern painter learns to draw, and then learns when utterly to 無視（する） his 業績／成就, when to subordinate it to a higher and truer 影響. In this direction only, it seems to me, can the novel develop into anything more 変化させるd and perfect than all the many novels that have gone before.

One of the very earliest American romances might 井戸／弁護士席 serve as a suggestion to later writers. In The Scarlet Letter how truly in the spirit of art is the mise-en-sc鈩e 現在のd. That drudge, the 主題-令状ing high-school student, could scarcely be sent there for （警察などへの）密告，告訴（状） regarding the manners and dress and 内部のs of Puritan society. The 構成要素 investiture of the story is 現在のd as if unconsciously; by the reserved, fastidious 手渡す of an artist, not by the gaudy fingers of a showman or the mechanical 産業 of a department-蓄える／店 window-dresser. As I remember it, in the twilight melancholy of that 調書をとる／予約する, in its 一貫した mood, one can scarcely ever see the actual surroundings of the people; one feels them, rather, in the dusk.

Whatever is felt upon the page without 存在 特に 指名するd there--that, one might say, is created. It is the inexplicable presence of the thing not 指名するd, of the overtone divined by the ear but not heard by it, the 言葉の mood, the emotional aura of the fact or the thing or the 行為, that gives high 質 to the novel or the 演劇, 同様に as to poetry itself.

Literalness, when 適用するd to the 現在のing of mental reactions and of physical sensations, seems to be no more 効果的な than when it is 適用するd to 構成要素 things. A novel （人が）群がるd with physical sensations is no いっそう少なく a 目録 than one （人が）群がるd with furniture. A 調書をとる／予約する like The Rainbow by D. H. Lawrence はっきりと reminds one how 広大な a distance lies between emotion and mere sensory reactions. Characters can be almost dehumanized by a 研究室／実験室 熟考する／考慮する of the behaviour of their bodily 組織／臓器s under sensory stimuli--can be 減ずるd, indeed, to mere animal 低俗雑誌. Can one imagine anything more terrible than the story of Romeo and Juliet rewritten in prose by D. H. Lawrence?

How wonderful it would be if we could throw all the furniture out of the window; and along with it, all the meaningless reiterations 関心ing physical sensations, all the tiresome old patterns, and leave the room as 明らかにする as the 行う／開催する／段階 of a Greek theatre, or as that house into which the glory of Pentecost descended; leave the scene 明らかにする for the play of emotions, 広大な／多数の／重要な and little--for the nursery tale, no いっそう少なく than the 悲劇, is killed by tasteless amplitude. The 年上の Dumas enunciated a 広大な／多数の／重要な along a noisy street in Boston and rang at a door hitherto unknown to me. いつかs entering a new door can make a 広大な／多数の／重要な change in one's life. That afternoon I had 始める，決める out from the Parker House (the old, the real Parker House, before it was "modernized") to make a call on Mrs. Brandeis. When I reached her house in Otis Place she told me that we would go さらに先に: she thought I would enjoy 会合 a very charming old lady who was a 近づく 隣人 of hers, the 未亡人 of James T. Fields, of the publishing 会社／堅い of Ticknor and Fields. The 指名する of that 会社／堅い meant something to me. In my father's bookcase there were little 容積／容量s of Longfellow and Hawthorne with that imprint. I wondered how the 未亡人 of one of the partners could still be living. Mrs. Brandeis explained that when James T. Fields was a man in middle life, a publisher of international 評判 and a widower, he married Annie Adams, then a girl of nineteen. She had 自然に 生き残るd him by many years.

When the door at 148 Charles Street was opened we waited a few moments in a small 歓迎会-room just off the hall, then went up a 法外な, thickly carpeted stairway and entered the "long 製図／抽選-room," where Mrs. Fields and 行方不明になる Jewett sat at tea. That room ran the depth of the house, its 前線 windows, ひどく curtained, on Charles Street, its 支援する windows looking 負かす／撃墜する on a 深い garden. 直接／まっすぐに above the garden 塀で囲む lay the Charles River and, beyond, the Cambridge shore. At five o'clock in the afternoon the river was silvery from a half-hidden sun; over the 広大な／多数の／重要な open space of water the western sky was dove-coloured with little ripples of rose. The 空気／公表する was 十分な of soft moisture and the hint of approaching spring. Against this 審査する of pale winter light were the two ladies: Mrs. Fields reclining on a green sofa, 直接／まっすぐに under the youthful portrait of Charles Dickens (now in the Boston Art Museum), 行方不明になる Jewett seated, the low tea-（米）棚上げする／（英）提議する between them.

Mrs. Fields wore the 未亡人's lavender which she never abandoned except for 黒人／ボイコット velvet, with a scarf of Venetian lace on her hair. She was very slight and 壊れやすい in 人物／姿／数字, with a 広大な／多数の／重要な play of 活気／アニメーション in her 直面する and a delicate 紅潮／摘発する of pink on her cheeks. Like her friend Mrs. John Gardner, she had a 肌 which 反抗するd age. As for 行方不明になる Jewett--she looked very like the youthful picture of herself in the game of "Authors" I had played as a child, except that she was fuller in 人物／姿／数字 and a little grey. I do not at all remember what we talked about. Mrs. Brandeis asked that I be shown some of the treasures of the house, but I had no 注目する，もくろむs for the treasures, I was too 意図 upon the ladies.

That winter afternoon began a friendship, 貧窮化した by 行方不明になる Jewett's death sixteen months later, but 耐えるing until Mrs. Fields herself died, in February 1915.

In 1922 M. A. De Wolfe Howe, Mrs. Fields' literary executor, published a 調書をとる／予約する of 抽出するs from her diaries under the 肩書を与える Memories of a Hostess, a 調書をとる／予約する which delighted all who had known her and many who had not, because of its vivid pictures of the Cambridge and Concord groups in the '60s and '70s, not as "celebrities" but as friends and fellow 国民s. When Mr. Howe's 調書をとる／予約する appeared, I wrote for The Literary Review an 評価 of it, very あらましの, but done with 本物の a period of sixty years Mrs. Fields' Boston house, at 148 Charles Street, 延長するd its 歓待 to the aristocracy of letters and art. During that long stretch of time there was scarcely an American of distinction in art or public life who was not a guest in that house; scarcely a visiting foreigner of renown who did not 支払う／賃金 his 尊敬の印 there.

It was not only men of letters, Dickens, Thackeray, and Matthew Arnold, who met Mrs. Fields' friends there; Salvini and Modjeska and Edwin Booth and Christine Nilsson and Joseph Jefferson and Ole Bull, Winslow ホームラン and Sargent, （機の）カム and went, against the background of closely 部隊d friends who were a part of the very Charles Street scene. Longfellow, Emerson, Whittier, Hawthorne, Lowell, Sumner, Norton, Oliver Wendell Holmes--the 名簿（に載せる）／表（にあげる） sounds like something in a school-調書をとる／予約する; but in Mrs. Fields' house one （機の）カム to believe that they had been very living people--to feel that they had not been long absent from the rooms so 十分な of their thoughts, of their letters, their talk, their remembrances sent at Christmas to the hostess, or brought to her from foreign lands. Even in the garden 繁栄するd guelder roses and flowering shrubs which some of these 持参人払いのs of school-調書をとる／予約する 指名するs had brought in from Cambridge or Concord and 始める，決める out there. At 148 Charles Street an American of the Apache period and 領土 could come to 相続する a 植民地の past.

Although Mrs. Fields was past seventy when I was first 行為／行うd into the long 製図／抽選-room, she did not seem old to me. Frail, 減らすd in 軍隊, yes; but, emphatically, not old. "The personal beauty of her younger years, long 保持するd, and even at the end of such a stretch of life not やめる lost," to 引用する Henry James, may have had something to do with the impression she gave; but I think it was even more because, as he also said of her, "all her 関わりあい／含蓄s were gay." I had seldom heard so young, so merry, so musical a laugh; a laugh with countless shades of relish and 評価 and 親切 in it. And, on occasion, a short laugh from that same 壊れやすい source could 前向きに／確かに do police 義務! It could put an end to a conversation that had taken an unfortunate turn, 絶対 解任する and silence impertinence or presumption. No woman could have been so 広大な／多数の／重要な a hostess, could have made so many 高度に developed personalities happy under her roof, could have blended so many 堅固に 専攻するd and 熱心に 極度の慎重さを要する people in her 製図／抽選-room, without having a 広大な／多数の／重要な 力／強力にする to 支配（する）／統制する and 組織する. It was a 力／強力にする so 十分な that one seldom felt it as one lived in the harmonious atmosphere it created--an atmosphere in which one seemed 絶対 安全な from everything ugly. Nobody can 心にいだく the flower of social intercourse, can give it sun and sustenance and a tempered clime, without also 存在 able very 完全に to 配置する／処分する／したい気持ちにさせる of anything that 脅すs it--not only the slug, but even the 冷淡な draught that ruffles its petals.

Mrs. Fields was in her own person flower-like; the remarkable fineness of her 肌 and pinkness of her cheeks gave one the comparison--and the natural ruby of her lips she never lost. It always struck one afresh (along with her （疑いを）晴らす 注目する，もくろむs and their quick flashes of humour), that large, generous, 動きやすい mouth, with its rich freshness of colour. "A woman's mouth," I used to think as I watched her talking to someone who pleased her; "not an old woman's!" One rejoiced in her little 勝利s over colour-destroying age and its infirmities, as at the play one rejoices in the escape of the beautiful and frail from the 追跡 of things powerful and evil. It was a 演劇 in which the ヘロイン must be sacrificed in the end: but for how long did she make the outward voyage delightful, with how many a divertissement and 有望な scene did she illumine the 一時的休止，執行延期 and the long wait at Aulis!

Sixty years of 歓待, so smooth and unruffled for the 受取人s, cost the hostess something--cost her a 広大な／多数の／重要な 取引，協定. The Fieldses were never people of 自由主義の means, and the Charles Street house was not a convenient house to entertain in. The 地階 kitchen was a difficulty. On the first 床に打ち倒す were the 歓迎会-room and the dining-room, on the second 床に打ち倒す was the "long 製図／抽選-room," running the depth of the house. Mrs. Fields' own apartments were on the third 床に打ち倒す, and the guest-rooms on the fourth. A house so 建設するd took a 広大な／多数の／重要な 取引，協定 of managing. Yet there was never an hour in the day when the order and 静める of the 製図／抽選-room were not such that one might have sat 負かす／撃墜する to 令状 a sonnet or a sonata. The 広範囲にわたる and dusting were done very 早期に in the morning, the flowers arranged before the guests were awake.

Besides 存在 distinctly young on the one 手渡す, on the other Mrs. Fields seemed to me to reach 支援する to Waterloo. As Mr. Howe reminds us, she had talked to Leigh 追跡（する） about Shelley and his starlike beauty of 直面する--and it is now more than a century since Shelley was 溺死するd. She had known Severn 井戸／弁護士席, and it was he who gave her a lock of Keats' hair, which, under glass with a 製図／抽選 of Keats by the same artist, was one of the innumerable treasures of that house. With so much to tell, Mrs. Fields never became a 始める，決める story-teller. She had no favourite stories--there were too many. Stories were told from time to time, but only as things of today reminded her of things of yesterday. When we （機の）カム home from the オペラ, she could tell one what Chorley had said on such and such an occasion. And then if one did not "go at" her, but talked of Chorley just as if he were Philip Hale or W. J. Henderson, one might hear a 広大な／多数の／重要な 取引，協定 about him.

When one was staying at that house the past lay in wait for one in all the corners; it exuded from the furniture, from the pictures, the rare 版s, and the 閣僚s of manuscript--the beautiful, （疑いを）晴らす manuscripts of a typewriterless age, which even the printers had 尊敬（する）・点d and kept clean. The unique charm of Mrs. Fields' house was not that it was a place where one could hear about the past, but that it was a place where the past lived on--where it was 保護するd and 心にいだくd, had 聖域 from the noisy 押し進める of the 現在の. In casual conversation, at breakfast or tea, you might at any time unconsciously 圧力（をかける） a spring which 解放するd recollection, and one of the 広大な／多数の／重要な shades seemed 静かに to enter the room and to take the 議長，司会を務める or the corner he had preferred in life.

One afternoon I showed her an 利益／興味ing picture of Pauline Viardot I had brought from Paris, and my hostess gave me such an account of 審理，公聴会 Viardot sing Gluck's Orpheus that I felt I had heard it myself. Then she told me how, when she saw Dickens in London, just after he had returned from giving a reading in Paris, he said: "Oh, yes, the house was sold out. But the important thing is that Viardot （機の）カム, and sat in a 前線 seat and never took her glorious 注目する，もくろむs off me. So, of course," with a 繁栄する of his 手渡す, "nothing else 事柄d!" A little-known ロシアの gentleman, Mr. Turgeniev, must have been staying at Madame Viardot's country house at that time. Did he …を伴って her to the reading, one wonders? If he had, it would probably have meant very little to "Mr. Dickens."

It was at tea-time, I used to think, that the 広大な／多数の／重要な shades were most likely to appear; いつかs they seemed to come up the 深く，強烈に carpeted stairs, along with living friends. At that hour the long room was dimly lighted, the 解雇する／砲火／射撃 有望な, and through the wide windows the sunset was 炎上ing, or softly brooding, upon the Charles River and the Cambridge shore beyond. The ugliness of the world, all 可能性 of wrenches and jars and 負傷させるing 接触するs, seemed securely shut out. It was indeed the peace of the past, where the tawdry and cheap have been 除去するd and the 耐えるing things have taken their proper, happy places.

Mrs. Fields read aloud beautifully, 特に Shakespeare and

When she paused in the solemn evocation for breath, I tried to fill in the interval by 説 something about such lines calling up the tumult of Rome and Babylon.

"Or New York," she said slyly, ちらりと見ることing 味方する-wise, and then at once again attacked the mighty page.

自然に, she was rich in 言及／関連 and quotation. I 解任する how she once looked up from a long reverie and said: "You know, my dear, I think we いつかs forget how much we 借りがある to Dryden's prefaces." To my shame, I have not to this day discovered the 十分な extent of my indebtedness. On another occasion Mrs. Fields murmured something about "A bracelet of 有望な hair about the bone." "That's very nice," said I, "but I don't 認める it."

"Surely," she said, "that would be Dr. Donne."

I never pretended to Mrs. Fields--I would have had to pretend too much. "And who," I brazenly asked, "was Dr. Donne?"

I knew before morning. She had a beautiful patience with Bœotian ignorance, but I was 堅固に encouraged to take two fat 容積／容量s of Dr. Donne to bed with me that night.

I love to remember one charming visit in her summer house at Manchester-by-the-Sea, when Sarah Orne Jewett was there. I had just come from Italy bringing word of the places they most loved and about which they had often written me, entreating, nay, 命令（する）ing me to visit them. Had I gone riding on the Pincian Hill? Mrs. Fields asked. No, I hadn't; I didn't think many people 棒 there now. 井戸／弁護士席, said Mrs. Fields, the Brownings' little boy used to ride there, in his velvets. When he complained to her that the Pincio was the same every day, no variety, she 示唆するd that he might ride out into the Campagna. But he sighed and shook his 長，率いる. "Oh, no! My pony and I have to go there. We are one of the sights of Rome, you know!" As this was the son of a friend, one didn't comment upon the child's speech or the 未来 it 示唆するd.

The second evening after my arrival happened to be a 雨の one--no 訪問者s. After dinner Mrs. Fields began to read a little--warmed to her work, and read all of Matthew Arnold's Scholar Gypsy and Tristan and Iseult. 行方不明になる Jewett said she didn't believe the latter poem had been read aloud in that house since Matthew Arnold himself read it there.

At Manchester, when there were no guests, Mrs. Fields had tea on the 支援する veranda, overlooking a wild stretch of woodland. 負かす／撃墜する in this 支持を得ようと努めるd, 直接／まっすぐに beneath us, were a tea-（米）棚上げする／（英）提議する and seats built under the trees, where they used to have tea when the hostess was younger--now the climb was too 法外な for her. It was a little sad, perhaps, to sit and look out over a 縮むing kingdom; but if she felt it, she never showed it. 行方不明になる Jewett and I went 負かす／撃墜する into the 支持を得ようと努めるd, and she told me she hated to go there now, as it reminded her that much was already lost, and what was left was so at the mercy of chance! It seemed as if a strong 勝利，勝つd might blow away that beloved friend of many years. We talked in low 発言する／表明するs. Who could have believed that Mrs. Fields was to 生き延びる 行方不明になる Jewett, so much the younger, by nearly six years, as she 生き延びるd Mr. Fields by thirty-four! She had the very genius of 生き残り. She was not, as she once laughingly told me, "to escape anything, not even 解放する／自由な 詩（を作る） or the Cubists!" She was not in the least dashed by either. Oh, no, she said, the Cubists weren't any queerer than Manet and the Impressionists were when they first （機の）カム to Boston, and people used to run in for tea and ask her whether she had ever heard of such a thing as "blue snow," or a man's 黒人／ボイコット hat 存在 purple in the sun!

As in Boston tea was the most happy time for reminiscences, in Manchester it was at the breakfast hour that they were most likely to throng. Breakfasts were long, as country breakfasts have a 権利 to be. We had always been out of doors first and were very hungry.

One morning when the cantaloupes were 特に 罰金 Mrs. Fields began to tell me of Henry James' father,--apropos of the melons, though I forget whether it was that he liked them very much or couldn't がまんする them. She told me a 広大な／多数の／重要な 取引，協定 about him; but I was most 利益／興味d in what she said regarding his 約束 in his son. When the young man's first essays and stories began to come 支援する across the 大西洋 from Rome and Paris they did not 会合，会う with 是認 in Boston; they were thought self-conscious, 人工的な, shallow. His father's friends 恐れるd the young man had mistaken his calling. Mr. James the 年上の, however, was altogether pleased. He （機の）カム 負かす／撃墜する to Manchester one summer to have a talk with the 広大な／多数の／重要な publisher about Henry, and 表明するd his satisfaction and 信用／信任. "Believe me," he said, sitting at this very （米）棚上げする／（英）提議する, "the boy will make his 示す in letters, Fields."

The next summer I was visiting Mrs. Fields at Manchester in a season of 激しい heat. We were daily 推定する／予想するing the arrival of Henry James, Jr., himself. One morning （機の）カム a spluttery letter from the を待つd friend, 含む／封じ込めるing bitter 言及／関連s to the "広大な／多数の／重要な American summer," and 説 that he was "lying at Nahant," prostrated by the 天候. I was very much disappointed, but Mrs. Fields said wisely: "My dear, it is just 同様に. Mr. James is always 大いに put about by the heat, and at Nahant there is the chance of a 微風."

The house at Manchester was called Thunderbolt Hill. Mr. Howe thinks the 指名する incongruous, but that depends on what 協会s you choose to give it. When I went a-calling with Mrs. Fields and left her card with Thunderbolt Hill engraved in the corner, I felt that I was 支払う／賃金ing calls with the lady Juno herself. Why shouldn't such a 指名する に適する a hill of high 決定／判定勝ち（する）s and judgments? Moreover, Mrs. Fields was not at all responsible for that 指名する; it （機の）カム, as she and 行方不明になる Jewett liked proverbs and place-指名するs to come, from the native folk. Long years before James T. Fields bought the hill to build a summer cottage, some 罰金 trees at the 最高の，を越す of it had been destroyed by 雷; the country people thereabouts had ever afterward called it Thunderbolt Hill.

Mrs. Fields' 定期刊行物 tells us how in her young married days she always moved from Boston to Manchester-by-the-Sea in 早期に summer, just as she still did when I knew her. I remember one characteristic passage in the 定期刊行物, written at Manchester and 時代遅れの July 16, 1870:

It is a perfect summer day, she says. Mr. Fields does not go up to town but stays at home with a 捕らえる、獲得する 十分な of MSS. He and his wife go to a favourite 位置／汚点／見つけ出す in a pasture by the sea, and she reads him a new story which has just come in from Henry James, Jr., then a very young man--Compagnons de Voyage, in "execrable" handwriting. They find the 質 good. "I do not know," Mrs. Fields wrote in her diary that evening, "why success in work should 影響する／感情 one so powerfully, but I could have wept as I finished reading, not from the 甘い, low pathos of the tale, but from the knowledge of the writer's success. It is so difficult to do anything 井戸／弁護士席 in this mysterious world."

Yes, one says to oneself, that is Mrs. Fields, at her best. She rose to 会合，会う a 罰金 業績／成果, always--to the end. At eighty she could still entertain new people, new ideas, new forms of art. And she brought to her 迎える／歓迎するing of the new all the richness of her rich past: a long, 無傷の chain of splendid 接触するs, beautiful friendships.

As one follows the diary 負かす／撃墜する through the years, the reader must feel a 確かな pride in the 決定するd way in which the New England group 辞退するd to be patronized by glittering foreign celebrities--by any celebrities! At dinner Dr. Holmes 持つ／拘留するs himself a little apart from the actor guests, Jefferson and 過密な住居, and 演説（する）／住所s them as "you gentlemen of the 行う／開催する／段階" in a way that やめる 乱すd Longfellow and, one may 裁判官, the hostess. They all come to dine with Dickens in his long stays with the Fieldses, come 繰り返して, but they seem ever a little on their guard. Emerson cannot be got to believe him altogether 本物の and sincere. He 主張するs to Mrs. Fields that Dickens has "too much talent for his genius," and that he is "too consummate an artist to have a thread of nature left"! Thackeray made a long visit at 148 Charles Street. (It is said that he finished Henry Esmond there.) In the guest-room which he 占領するd, with an alcove 熟考する／考慮する, hung a little 製図／抽選 he had made of himself, でっちあげる，人を罪に陥れるd with the 公式文書，認める he had written the hostess telling her that, happy as he was here, he must go home to England for Christmas.

When Mrs. Fields was still a young woman, she 公式文書，認めるd in her diary that Aristotle says: "Virtue is 関心d with 活動／戦闘; art with 生産／産物." "The problem in life," she 追加するs, "is to 調和させる these two." In a long life she went far toward working out this problem. She knew how to 高く評価する／（相場などが）上がる the noble in behaviour and the noble in art. In the 愛国者, the philanthropist, the 政治家, she could 許す abominable taste. In the artist, the true artist, she could 許す vanity, sensitiveness, selfishness, 不決断, and vacillation of will. She was generous and just in her judgment of men and women Street. Only in memory 存在するs the long, green-carpeted, softly lighted 製図／抽選-room, and the dining-（米）棚上げする／（英）提議する where Learning and Talent met, enjoying good food and good wit and rare vintages, looking confidently 今後 to the growth of their country in the finer amenities of life. Perhaps the garage and all it stands for 代表する the only real 開発, and have altogether taken the place of things 以前は 心にいだくd on that 位置／汚点／見つけ出す. If we try to imagine those dinner-parties which Mrs. Fields 述べるs, the scene is certainly not to us what it was to her: the lighting has changed, and the guests seem hundreds of years away from us. Their portraits no longer hang on the 塀で囲むs of our 学院s, nor are their "作品" much discussed there. The English classes, we are told, can be "利益／興味d" only in 同時代の writers, the newer the better. A letter from a prep-school boy puts it tersely: "D. H. Lawrence is rather 率d a 支援する-number here, but Faulkner keeps his 結局最後にはーなる."

Not the prep-school boys only are blithe to leave the past untroubled: their 指導者s pretty 一般に agree with them. And the retired professors who taught these 指導者s do not see Shelley plain as they once did. The 約束 of the 年上のs has been shaken.

Just how did this change come about, one wonders. When and where were the Arnolds overthrown and the Brownings devaluated? Was it at the Marne? At Versailles, when a new 地理学 was 存在 made on paper? Certainly the literary world which 現れるd from the war used a new coinage. In England and America the "masters" of the last century 減らすd in stature and pertinence, became remote and shadowy.

But Mrs. Fields never entered this strange twilight. She 一連の会議、交渉／完成するd out her period, from Dickens and Thackeray and Tennyson, through Hardy and Meredith to the 広大な／多数の／重要な War, with her 基準s unshaken. For her there was no revaluation. She died with her world (the world of "letters" which 事柄d most to her) unchallenged. Marcel Proust somewhere said that when he （機の）カム to die he would take all his 広大な／多数の／重要な men with him: since his Beethoven and his Wagner could never be at all the same to anyone else, they would go with him like the 捕虜s who were 殺害された at the funeral pyres of Eastern potentates. It was thus Mrs. Fields find this 観察: "The thing that teases the mind over and over for years, and at last gets itself put 負かす／撃墜する lightly on paper--whether little or 広大な／多数の／重要な, it belongs to Literature." 行方不明になる Jewett was very conscious of the fact that when a writer makes anything that belongs to Literature (限界ing the 称する，呼ぶ／期間／用語 here to imaginative literature, which she of course meant), his 構成要素 goes through a 過程 very different from that by which he makes 単に a good story. No one can define this 過程 正確に／まさに; but certainly persistence, 生き残り, 再発 in the writer's mind, are 高度に characteristic of it. The 形態／調整s and scenes that have "teased" the mind for years, when they do at last get themselves rightly put 負かす／撃墜する, make a much higher order of

In some of 行方不明になる Jewett's earlier 調書をとる／予約するs, Deephaven, Country Byways, Old Friends and New, one can find first sketches, first impressions, which later crystallized into almost flawless examples of literary art. One can, as it were, watch in 過程 the two 肉親，親類d of making: the first, which is 十分な of perception and feeling but rather fluid and formless; the second, which is tightly built and 重要な in design. The design is, indeed, so happy, so 権利, that it seems 必然的な; the design is the story and the story is the design. The "Pointed モミ" sketches are living things caught in the open, with light and freedom and 領空s about them. They melt into the land and the life of the land until they are not stories at all, but life itself.

A 広大な／多数の／重要な many stories were 存在 written upon New England 主題s at the same time that 行方不明になる Jewett was 令状ing; stories that to many 同時代の readers may have seemed more 利益／興味ing than hers, because they dealt with more 限定された "状況／情勢s" and were more ひどく accented. But they are not very 利益／興味ing to reread today; they have not the one thing that 生き残るs all 逮捕（する）ing 状況／情勢s, all good 令状ing and clever story-making--inherent, individual beauty.

Walter Pater said that every truly 広大な／多数の／重要な 演劇 must, in the end, ぐずぐず残る in the reader's mind as a sort of ballad. One might say that every 罰金 story must leave in the mind of the 極度の慎重さを要する reader an intangible residuum of 楽しみ; a cadence, a 質 of 発言する／表明する that is 排他的に the writer's own, individual, unique. A 質 which one can remember without the 容積／容量 at 手渡す, can experience over and over again in the mind but can never 絶対 define, as one can experience in memory a melody, or the summer perfume of a garden. The magnitude of the 支配する-事柄 is not of 最初の／主要な importance, seemingly. An idyll of Theocritus, 関心d with sheep and goats and shade and pastures, is today as much alive as the most 劇の passages of the Iliad--動かすs the reader's feeling やめる as much, perhaps.

It is a ありふれた fallacy that a writer, if he is talented enough, can 達成する this poignant 質 by 改善するing upon his 支配する-事柄, by using his "imagination" upon it and 新たな展開ing it to 控訴 his 目的. The truth is that by such a 過程 (which is not imaginative at all!) he can at best produce only a brilliant sham, which, like a 不正に built and pretentious house, looks poor and shabby after a few years. If he 達成するs anything noble, anything 耐えるing, it must be by giving himself 絶対 to his 構成要素. And this gift of sympathy is his 広大な／多数の／重要な gift; is the 罰金 thing in him that alone can make his work 罰金.

The artist spends a lifetime in 追求するing the things that haunt him, in having his mind "teased" by them, in trying to get these conceptions 負かす／撃墜する on paper 正確に／まさに as they are to him and not in 従来の 提起する／ポーズをとるs supposed to 明らかにする／漏らす their character; trying this method and that, as a painter tries different lightings and different 態度s with his 支配する to catch the one that 現在のs it more suggestively than any other. And at the end of a lifetime he 現れるs with much that is more or いっそう少なく happy 実験ing, and comparatively little that is the very flower of himself and his genius.

The best of 行方不明になる Jewett's work, read by a student fifty years from now, will give him the characteristic flavour, the spirit, the cadence, of an American writer of the first order,--and of a New England which will then be a thing of the past.

Even in the stories which 落ちる short of 存在 行方不明になる Jewett's best, one has the 楽しみ of her society and companionship--if one likes that sort of companionship. I remember she herself had a fondness for "The Hiltons' Holiday,"--the slightest of stories: a hard-worked New England 農業者 takes his two little girls to town, some seventeen miles away (a long 運動 by wagon), for a 扱う／治療する. That is all, yet the story is a little 奇蹟. It 簡単に is the look--shy, 肉親，親類d, a little wistful--which 向こうずねs out at one from good country 直面するs on remote farms; it is the look itself. To have got it 負かす／撃墜する upon the printed page is like bringing the tenderest of 早期に spring flowers from the 深い 支持を得ようと努めるd into the hot light of noon without bruising its petals.

To 公式文書，認める an artist's 制限s is but to define his talent. A reporter can 令状 平等に 井戸／弁護士席 about everything that is 現在のd to his 見解（をとる）, but a creative writer can do his best only with what lies within the 範囲 and character of his deepest sympathies. These stories of 行方不明になる Jewett's have much to do with fisher-folk and seaside villages; with juniper pastures and lonely farms, neat grey country houses and delightful, 井戸／弁護士席-seasoned old men and women. That, when one thinks of it in a flash, is New England. I remember 審理，公聴会 an English actor say that until he made a モーター trip through the New England country he had supposed that the Americans killed their 老年の in some 慈悲の fashion, for he saw 非，不，無 in the cities where he played.

There are many 肉親，親類d of people in the 明言する／公表する of Maine, and 隣人ing 明言する／公表するs, who are not 設立する in 行方不明になる Jewett's 調書をとる／予約するs. There may be Othellos and Iagos and Don Juans; but they are not 高度に characteristic of the country, they do not come up spontaneously in the juniper pastures as the everlasting does. 行方不明になる Jewett wrote of everyday people who grew out of the 国／地域, not about exceptional individuals at war with their 環境. This was not a creed with her, but an 直感的に preference.

Born within the scent of the sea but not within sight of it, in a beautiful old house 十分な of strange and lovely things brought home from all over the globe by seafaring ancestors, she spent much of her childhood 運動ing about the country with her doctor father on his professional 一連の会議、交渉／完成するs の中で the farms. She 早期に learned to love her country for what it was. What is やめる as important, she saw it as it was. She happened to have the 権利 nature, the 権利 temperament, to see it so--and to understand by intuition the deeper meaning of what she saw.

She had not only the 注目する，もくろむ, she had the ear. From her 早期に years she must have treasured up those pithy bits of 地元の speech, of native idiom, which 濃厚にする and enliven her pages. The language her people speak to each other is a native tongue. No writer can invent it. It is made in the hard school of experience, in communities where language has been undisturbed long enough to take on colour and character from the nature and experiences of the people. The "説s" of a community, its proverbs, are its characteristic comment upon life; they 暗示する its history, 示唆する its 態度 toward the world and its way of 受託するing life. Such an idiom makes the finest language any writer can have; and he can never get it with a notebook. He himself must be able to think and feel in that speech--it is a gift from heart to heart.

Much of 行方不明になる Jewett's delightful humour comes from her delicate and tactful 扱うing of this native language of the waterside and countryside, never overdone, never 押し進めるd a shade too far; from this, and from her own 罰金 態度 toward her 支配する-事柄. This 態度 in itself, though unspoken, is everywhere felt, and 構成するs one of the most potent elements of grace and charm in her stories. She had with her own stories and her own characters a very charming relation; spirited, gay, tactful, noble in its essence and a little arch in its 表現. In this particular 関係 many of our most gifted writers are unfortunate. If a writer's 態度 toward his すぐに upon 会合 行方不明になる Jewett: a lady, in the old high sense. It was in her 直面する and 人物／姿／数字, in her carriage, her smile, her 発言する／表明する, her way of 迎える／歓迎するing one. There was an 緩和する, a graciousness, a light touch in conversation, a delicate unobtrusive wit. You quickly 認めるd that her gift with the pen was one of many charming personal せいにするs. In the short period when I knew her, 1908 and 1909, she was not 令状ing at all, and 設立する life 十分な enough without it. Some six years before, she had been thrown from a carriage on a country road (sad 運命／宿命 for an enthusiastic horsewoman) and 苦しむd a slight concussion. She 回復するd, after a long illness, but she did not 令状 again--felt that her best working 力／強力にする was spent.

She had never been one of those who "live to 令状." She lived for a 広大な／多数の／重要な many things, and the stories by which we know her were one of many 最大の関心事s. After the carriage 事故 she was not strong enough to go out into the world a 広大な／多数の／重要な 取引，協定; before that occurred her friendships 占領するd perhaps the first place in her life. She had friends の中で the most 利益／興味ing and gifted people of her time, and 得点する／非難する／２０s of friends の中で the village and country people of her own 明言する／公表する--people who knew her as Doctor Jewett's daughter and regarded "Sarah's 令状ing" as a ladylike 業績／成就. These country friends, she used to say, were the wisest of all, because they could never be fooled about 根底となるs. Even after her long illness she was at home to a few 訪問者s almost every afternoon; friends from England and フラン were always coming and going. Small dinner-parties and 昼食s were part of the 正規の／正選手 決まりきった仕事 when she was with Mrs. Fields on Charles Street or at Manchester-by-the-Sea. When she was at home, in South Berwick, there were the old friends of her childhood to whom she must be always accessible. At the time I knew her she had, as she said, forgone all customary 演習s--except a little gardening in spring and summer. But as a young woman she 充てるd her mornings to horseback riding in 罰金 天候, and was skilful with a 帆船. Every day, in every season of the year, she enjoyed the beautiful country in which she had the good fortune to be born. Her love of the Maine country and seacoast was the 最高の happiness of her life. Her salt inlets fringe the 深い-削減（する） shore line; where balsam モミs and bayberry bushes send their fragrance far seaward, and song-sparrows sing all day, and the tide runs plashing in and out の中で the weedy ledges; where cowbells tinkle on the hills and her. She loved it by instinct, and in the light of wide experience, from 近づく and from afar.

"You must know the world before you can know the village," she once said to me. 引用するd out of its 状況 this 発言／述べる sounds like a wise pronouncement, but 行方不明になる Jewett never made wise pronouncements. Her personal opinions she 発言する／表明するd lightly, half-humorously; any 表現 of them was spontaneous, the outgrowth of the 即座の conversation. This 発言／述べる was a 補足の comment, apropos of a story we had both happened to read: a story about a mule, introduced by the magazine which published it with an 編集（者）の 公式文書，認める to the 影響 that (besides 存在 "fresh" and "約束ing") it was authentic, as the young man who wrote it was a mule-driver and had never been anything else. When I asked 行方不明になる Jewett if she had seen it, she gave no affirmative but a soft laugh, rather characteristic of her, something between amusement and forbearance, and exclaimed:

"Poor lad! But his mule could have done better! A mule, by Elizabethan age and the nineteenth century put together could 召集（する）. 行方不明になる Jewett 適用するd that adjective very seldom (to Tolstoi, Flaubert, and a few others), certainly never to herself or to anything of her own. She spoke of "the Pointed モミ papers" or "the Pointed モミ sketches"; I never heard her call them stories. She had, as Henry James said of her, "a sort of elegance of humility, or 罰金 炎上 of modesty." She was content to be slight, if she could be true. The の近くにing 宣告，判決s of "沼 for that 事柄? The gray primness of the 工場／植物 is made up from a hundred colors if you look の近くに enough to find them. This 沼 Rosemary stands in her own place, and 持つ／拘留するs her 乾燥した，日照りの leaves and tiny blossoms 刻々と toward the same sun that the pink lotus Indeed, she was reading a new 容積／容量 of Conrad, late in the night, when the slight cerebral h詢orrhage occurred from which she died some months later.

At a time when machine-made historical novels were the literary fashion in the 部隊d 明言する／公表するs, when the magazines were 十分な of dreary dialect stories, and the 作品 of John Fox, Jr., were considered 深遠な 単に because they were very dull and 激しい as clay, 行方不明になる Jewett 静かに developed her own medium and 限定するd herself to it. At that time Henry James was the 命令（する）ing 人物／姿／数字 in American letters, and his was surely the keenest mind any American ever 充てるd to the art of fiction. But it was 充てるd almost 排他的に to the 熟考する／考慮する of other and older societies than ours. He was 利益／興味d in his countrymen 主として as they appeared in relation to the European scene. As an American writer he seems to （人命などを）奪う，主張する, and richly to deserve, a sort of personal 控除. Stephen Crane （機の）カム upon the scene, a young man of 限定された talent, brilliant and brittle,--取引，協定ing altogether with the surfaces of things, but in a manner all his own. He died young, but he had done something real. One can read him today. If we ちらりと見ること 支援する over the many novels which have challenged our attention since Crane's time, it is like taking a stroll through a World's Fair grounds some years after the show is over. Palaces with the stucco peeling off, oriental villages stripped to beaver-board and 固く結び付ける, broken fountains, lakes gone to mud and 少しのd. We realize that whatever it is that makes a 調書をとる／予約する 持つ／拘留する together, most of these hadn't it.

の中で those glittering novelties which have now become old-fashioned 行方不明になる Jewett's little 容積／容量s made a small showing. A taste for them must always remain a special taste,--but it will remain. She wrote for a 限られた／立憲的な audience, and she still has it, both here and abroad. To enjoy her the reader must have a 同情的な relation with the 支配する-事柄 and a 極度の慎重さを要する ear; 特に must he have a sense of "pitch" in 令状ing. He must 認める when the 質 of feeling comes 必然的に out of the 主題 itself; when the language, the 強調する／ストレスs, the very structure of the 宣告，判決s are 課すd upon the writer by the special mood of the piece.

It is 平易な to understand why some of the young students who have turned 支援する from the 現在の to ちらりと見ること at 行方不明になる Jewett find very little on her pages. Imagine a young man, or woman, born in New York City, educated at a New York university, violently inoculated with Freud, hurried into journalism, knowing no more about New England country people (or country folk anywhere) than he has caught from モーター trips or 観察するd from summer hotels: what is there for him in The Country of the Pointed モミs?

This hypothetical young man is perhaps of foreign 降下／家系: German, ユダヤ人の, Scandinavian. To him English is 単に a means of making himself understood, of communicating his ideas. He may 令状 and speak American English 正確に, but only as an American may learn to speak French 正確に. It is a surface speech: he clicks the words out as a bank clerk clicks out silver when you ask for change. For him the language has no emotional roots. How could he find the talk of the Maine country people anything but "dialect"? Moreover, the temper of the people which lies behind the language is 理解できない to him. He can see what these Yankees have not (hence an 疫病／流行性の of "抑えるd 願望（する）" plays and novels), but what they have, their actual preferences and their 直す／買収する，八百長をするd 規模 of values, are 絶対 dark to him. When he tries to put himself in the Yankee's place, he 試みる／企てるs an impossible substitution.

But the 可決する・採択するd American is not alone in 存在 削減（する） off from an 直感的に understanding of "the old moral harmonies." There is us. We find our own 調書をとる／予約するs in the same way. We like a writer much as we like individuals; for what he is, 簡単に, underneath his 業績／成就s. Oftener than we realize, it is for some moral 質, some ideal which he himself 心にいだくs, though it may be Twain had it, at his best, and Hawthorne. But の中で fifty thousand 調書をとる／予約するs you will find very few writers who ever 達成するd a style at all. The 独特の thing about 行方不明になる Jewett is that she had an individual 発言する／表明する; "a sense for the finest 肉親，親類d of truthful （判決などを）下すing, the sober, tender 公式文書，認める, the temperately touched, whether in the ironic or pathetic," as Henry James said of her. During the twenty-半端物 clamorous years since her death "masterpieces" have been bumping 負かす／撃墜する upon us like trunks 注ぐing 負かす／撃墜する the baggage chutes from an overcrowded ocean steamer. But if you can get out from under them and go to a 静かな 位置／汚点／見つけ出す and take up a 容積／容量 of 行方不明になる Jewett, you will find the 発言する／表明する still there, with a 質 which any ear trained in literature must 認める.

Mann approaches an even more distant past by another 大勝する; he gets behind the 時代 of his story and looks 今後. He begins with a Prologue which is 知らせるd by all the 発見s science has lately made about the beginnings of human 存在 on this globe; the beginnings long before the known beginning, the long ages when men "did 戦う／戦い with the 飛行機で行くing イモリs" and life was little more than a 悲惨 which 固執するd. From the depths without a history he comes up through the ages of orally transmitted legend; every legend, he believes, having a fact behind it, an occurrence of 批判的な importance to the 産む／飼育する of man.

After the tremendous 準備 of the Prologue (a marvel of imaginative 力／強力にする), he rises out of the bottomless depths to the period of his story; not much more than three thousand years ago, he says, when men were very much like ourselves, "aside from a 手段 of dreamy indefiniteness in their habits of thought."

This same dreamy indefiniteness, belonging to a people without any of the relentless mechanical gear which directs every moment of modern life toward 正確, this indefiniteness is one of the most 効果的な elements of verity in this 広大な／多数の／重要な work. We are の中で a shepherd people; the story has almost the movement of grazing sheep. The characters live at that pace. Perhaps no one who has not lived の中で sheep can realize the rightness of the rhythm. A shepherd people is not 運動ing toward anything. With them, truly, as Michelet said of やめる another form of 旅行ing, the end is nothing, the road is all. In fact, the road and the end are literally one.

There is nothing in Joseph and His Brothers more admirable than the 速度, the 審議する／熟考する, 支えるd pace. (In this age of blinding 速度(を上げる） and 粉々にするing sound!) Never was there a happier 合同 of writer and 支配する-事柄. Thomas Mann's natural 速度 is 審議する／熟考する; his 宣告，判決s come out of reflection, not out of an impulse. It is possible for him to 令状 the story of a shepherd people at the 権利 pace and with the 権利 肉親，親類d of 開発,--continual circling and digression--which here is not digression since it is his 目的. He can listen to the herdsmen telling their stories over and over, go backward and 今後 with their "dreamily 不明確な／無期限の" habits of thought. He has all the time there is; Mediterranean time, 1700 B.C.

When I 言及する to a passage in the 調書をとる／予約する to refresh my memory, I find myself reading on and on, 大部分は from 楽しみ in this rich deliberateness which is never without intensity and 深い vibration. It is not a 肉親，親類d of 令状ing adapted to all 支配するs, certainly, but here it is in the very nature of the 主題; it gives, along with this 独特の rhythm, a warm homeliness, communicates a brooding tenderness which is in the author's mind. For in this 調書をとる／予約する Herr Mann is enamoured of his 主題, wholly given to it, and this favouritism, held in check by his native temperateness, is itself a source of 楽しみ; the strong feeling under the strong 手渡す.

At the end of his Prologue the author 宣言するs that he is glad to come up from the bottomless 炭坑，オーケストラ席 of 先史の struggle, and the undecipherable riddle of the old legends, to something 比較して 近づく, rather like a home-coming. We, too, are glad. With a sense of escape we approach something already known to us; not glacier ages or a 潜水するd Atlantis, but the very human Mediterranean shore, on a moonlight night in the season of spring.

We have all been there before, even if we have never crossed salt water. (Perhaps this is not 厳密に 正確な, but even the Agnostic and the Behaviourist would have to 収容する／認める that his 広大な／多数の／重要な-grandfather had been there.) The Bible countries along the Mediterranean shore were very familiar to most of us in our childhood. Whether we were born in New Hampshire or Virginia or California, パレスチナ lay behind us. We took it in unconsciously and unthinkingly perhaps, but we could not escape it. It was all about us, in the pictures on the 塀で囲むs, in the songs we sang in Sunday school, in the "開始 演習s" at day school, in the talk of the old people, wherever we lived. And it was in our language--fixedly, indelibly. The 影響 of the King James translation of the Bible upon English prose has been repeated 負かす／撃墜する through the 世代s, leaving its 示す on the minds of all children who had any but the most 不振の emotional nature.

We 現れる from Mann's Prologue to find ourselves not only in a familiar land, but の中で people we have always known, Joseph and Jacob: and they are talking about their remote ancestors, whom we also know. The 調書をとる／予約する of Genesis lies like a faded tapestry 深い in the consciousness of almost every individual who is more than forty years of age. Moreover, as it is the background of nearly all the art of Western Europe, even today's college 上級の must have come upon it, if only by the cheerless road of 言及／関連 reading. We are familiar with Mann's characters and their history, not only through Moses and the Prophets, but through Milton and Dante and Racine, Bach and Hayden and Handel, through painters and architects and 石／投石する-切断機，沿岸警備艇s innumerable. We begin the 調書をとる／予約する with the 広大な／多数の／重要な imaginings and the 広大な／多数の／重要な imaginators from other tribes and sects, the 関係 between each man and a long line of grandfathers was very の近くに. There were 外部の features ありふれた to all the Semitic 宗教s; hence the shallow and light-minded of the 子孫s of Abraham were often backsliders, marrying with women of other tribes and troubling themselves very little about the one 広大な／多数の／重要な idea that had brought Abraham out of Chaldea and 孤立するd him from his own and all other peoples. Whenever that conception of God was very strong in one of Abraham's 子孫s (was indeed the 燃やすing 目的 of his inner life, as it was of Jacob's), that man was 事実上 Abraham's grandson, no 事柄 how many physical 世代s had gone between, and he was the true and direct inheritor of the "blessing," aside from any 事故 of primogeniture.

Throughout this first 容積／容量 one 徐々に becomes aware that Abraham's seed were not so much the "chosen people" as they were the people who chose. They chose to 放棄する not only sacred images, "idols," but all the （一定の）期間s and incantations and 儀式s to which men 訴える手段／行楽地d for 慰安 of mind, and to wander 前へ／外へ searching for a God of whom no image could be made by mortal 手渡す. A God who was not a form, but a 軍隊, an essence; felt, but not 拘留するd in 事柄. "The God of the

"What had 始める，決める him in 動議 was 不安 of the spirit, a need of God, and if--as there can be no 疑問--免除s were vouchsafed him, they had 言及／関連 to the irradiations of his personal experience of God, which was of a new 肉親，親類d altogether; and his whole 関心 from the beginning had been to 勝利，勝つ for it sympathy and 固守. He 苦しむd; and when he compared the 手段 of his inward 苦しめる with that of the 広大な／多数の／重要な 大多数, he drew the 結論 that it was 妊娠している with the 未来. Not in vain, so he heard from the newly beheld God, shall have been thy torment and thine 不安; for it shall fructify many souls and make proselytes in numbers like to the sands of the seas; and it shall give impulse to 広大な／多数の／重要な 拡大s of life hidden in it as in a seed; and in one word, thou shalt be a blessing. A blessing? It is ありそうもない that the word gives the true meaning of that which happened to him in his very sight and which corresponded to his temperament and to his experience of himself. For the word 'blessing' carries with it an idea which but ill 述べるs men of his sort: men, that is, of roving spirit and discomfortable mind, whose novel conception of the deity is 運命にあるd to make its 示す upon the 未来. The life of men with

The idea was a leap centuries ahead into the dark. Yet it must have been born in the mind of one man: such 発覚s never come to 委員会s or bureaus of 研究. Abraham's 子孫s could not always live up to it, but tradition held them together, and the 儀式 of circumcision 始める，決める them apart. The 儀式 and the form can be continued even in the 不振の 世代s when the significance is lost. But Mann's work begins when the 追求（する），探索（する） which drove Abraham out of a stupefied materialistic world is 燃やすing 有望な again in Jacob, who, by stratagems outwardly crooked but inwardly 必然的な, "had saved his life, his precious, covenanted life, for God and the 未来." Jacob, 明らかに, was the first of Abraham's 子孫s who had the 力／強力にする of realizing and experiencing God more and more はっきりと through all the variations of a life incredibly eventful and long. He experienced Him in meditation, in the unforeseeable but strangely 論理（学）の working-out of events in his own life--and in dreams. Dreams so 十分な of meaning that they were to him 約束s. After Abraham's people had 削減（する） themselves off from the comfortableness and commonplaceness of anthropomorphic gods, there still remained the ladder of dreams, by which the 孤児 soul could 開始する and the 大臣s of grace descend.

Jacob the constant lover, who served seven years for Rachel: the trickery of Laban: the 競争 between the sisters: these are 広大な／多数の／重要な stories which have lived through the centuries. But the greatest, the most moving story is what the author 条件 "Jacob's 労働ing upon the Godhead." Jacob is a many-味方するd man,--but the 絵 of his contradictions must be left to Thomas Mann himself. He has done it as no one else could. The 創造 of Jacob, in the flesh and in the spirit, is the 広大な／多数の／重要な 業績／成就 of his work. The man who knows that he 耐えるs the "blessing" and who sees その上の into 運命 than any of his tribe or time, must, いつかs by 目的d indirection, いつかs by stepping aside and shutting his 注目する，もくろむs, "save his precious, covenanted life for God and the 未来." For the 目的（とする） of the 法律 is 価値（がある） more than any letter of it, and a trivial 処理／取引 or a question of family 政府 must not be 許すd to 干渉する with those 実りの多い／有益な seasons of thought which are 井戸／弁護士席 called "労働 upon the Godhead."

For every lapse in 行為／行う and shirking of 責任／義務 Jacob paid, of course. But the 支払い（額）, however cruel, seems always to 始める，決める him a long way 今後 in his incommunicable spiritual 追求（する），探索（する）,--which certainly 証明するs that his way was for him the 権利 way. With every 悲しみ he brought upon himself for failing in a plain 義務, the immortal jewel he carried within became brighter, and his 約束 in the way his fathers had chosen more sure. His shirking in the 事柄 of 抑制するing Leah's sons from their 復讐 for Dinah cost him Rachel, who died because she was 軍隊d to travel by mule-支援する when she was の近くに upon her confinement. (Another 与える／捧げるing 原因（となる） comes in here, very characteristic of Jacob, and, one might say, of the author's mind 同様に.) Rachel died by the 道端, giving birth to Benjamin. It was as Jacob sat beside her under the mulberry tree, aware that she was dying, that there （機の）カム over him the greatest of his "To such questions there is no answer. Yet it is the glory of the human spirit that in this silence it does not 出発／死 from God, but rather learns to しっかり掴む the majesty of the ungraspable and to 栄える thereon. Beside him the Chald訛n women and slaves 詠唱するd their litanies and invocations, thinking to 貯蔵所d to human wishes the unreasoning 力／強力にするs. But Jacob had never yet so 明確に understood as in this hour, why all that was 誤った, and why Abram had left Ur to escape it. The 見通し vouchsafed him into this

容積／容量 two is the 調書をとる／予約する of Young Joseph, but it is also still the 調書をとる／予約する of Jacob, though there is a なぎ in the vicissitudes of his life. The beauty and 約束 of Rachel's son fill his days,--until there occurs the 広大な／多数の／重要な shock which 誘発するs him again to the old struggle to comprehend, in some 手段, the 取引 of God with man; to 正当化する God, as it were, and find some benign 目的 behind the brutality of 事故 and mischance.

The character of the relation between father and son we have known ever since the long conversation between them on that spring night beside the 井戸／弁護士席. There all Jacob's 苦悩s were at once 明らかにする／漏らすd; his 恐れる that the nature of the boy's gifts may lead him astray to admire the softer graces of other peoples,--their arts and sciences, which were irrelevant to a life for the Godhead, and should not 関心 the boy to whom he would undoubtedly give the "blessing." In short, the lad was already worldly, and with scant 適切な時期 had managed to learn a 広大な／多数の／重要な 取引，協定 about other languages and other manners than those of his shepherd people. In this precocity Jacob sensed a danger. But he 恐れるd other dangers,--love can always see many. He is troubled to find the boy abroad at night, where a wild beast might 落ちる upon him; a lion has been seen in the neighbourhood. And he is always ill at 緩和する when the boy is 近づく a 井戸／弁護士席, a 穴を開ける in the earth. Before Joseph's birth his grandfather, Laban, had 協議するd a heathen seer who foretold of the child Rachel carried that he should go 負かす／撃墜する into a 炭坑，オーケストラ席.

As for Joseph's 態度 toward his father, it is what the good son's always will be. He loves Jacob because it is 平易な for him to love, 尊敬（する）・点s him for all he has been and is, and pities him because his mind is shut against whatever is new and

When the second 容積／容量 opens, Joseph is seventeen. He has learned many things since that night when he talked with Jacob by the 井戸／弁護士席, but he is scarcely more 円熟した. To 選ぶ up a new language easily, to astonish his father by his knowledge of tradition and the spiritual meaning of natural phenomena, to be the ornament and, indeed, the intellect, of his family; all this is やめる enough to fill the days pleasantly at seventeen.

Very seldom does the personal charm of a character mysteriously reach out to one from the printed page. All authors （人命などを）奪う，主張する it for their favourite 創造s, but their 失敗 to make good their （人命などを）奪う，主張する is so usual that we seldom stop to say to the writer: "But this is mere 令状ing, I get no feeling of this person." For me, at least, Herr Mann wholly 後継するs in communicating Joseph's 高度に individual charm. Mann's own consciousness of it is very strong, with something paternal in it, since he so often feels Joseph through Jacob's senses. When, only a few hours after its birth, Jacob first sees this baby which had seemed so unwilling to be born at all, when he regards the unusual 形態／調整 and firmness of the 長，率いる and the "strangely 完全にする little 手渡す," he knows that here is something different from all the other sturdy little animals which have been born to him. From that moment the reader also is able to believe in the special loveliness and equability and 罰金 fibre of this child; here is no shepherd clod, but something that can take a high finish.

The misfortune of young Joseph is that he never 会合，会うs with anything difficult enough to challenge his very unusual mind. What there is to be learned from his old teacher, and from the 決まりきった仕事 of a shepherds' （軍の）野営地，陣営, is mere child's play. Nothing very 利益／興味ing ever happens now in Jacob's 広大な／多数の／重要な family; so Joseph decorates the trivial events: he 誇張するs, gossips, 会談 too much, and is extravagantly given to dreams. These are not the dreams of lassitude, nor are they sensual. They are violent, dizzy,--nightmares of grandeur. The 質s which are to make his 広大な／多数の／重要な 未来 are in him, 可能性のある realities, just as they were in Napoleon at seventeen; and they have nothing to grapple with.

It was this "something," this innate 優越 in the boy himself, which the brothers hated even more than they hated the father's favourite: a deeper and more galling 肉親，親類d of jealousy. The story of Joseph and his brothers is not only forever repeated in literature, it forever repeats itself in life. The natural antagonism between the sane and commonplace, and the exceptional and inventive, is never so bitter as when it occurs in a family: and Joseph certainly did nothing to conciliate his stolid brethren. He 主張するd upon believing (he had to 主張する, for he was not vain to the point of stupidity) that all his family rejoiced in his good looks and brilliancy and general 優越. Was he not an ornament to them? It did not occur to him that families which lead self-尊敬（する）・点ing, simple, industrious

"無関心／冷淡 to the inner life of other human 存在s, ignorance of their feelings, 陳列する，発揮する an 完全に warped 態度 toward real life, they give rise to a 確かな blindness. Since the days of Adam and Eve, since the time when one became two, nobody has been able to live without wanting to put himself in his 隣人's place and 調査する his 状況／情勢, even while trying to see it objectively. Imagination, the art of divining the emotional life of others--in other words, sympathy--is not only commendable inasmuch as it breaks 負かす／撃墜する the 制限s of the ego; it is always an 不可欠の means of self-保護. But of these 支配するs Joseph knew nothing. His blissful self-信用／信任 was like that of a spoilt child; it 説得するd him, にもかかわらず all 証拠 to the contrary, that a long and 危険な servitude の中で a 敵意を持った people. Life put him to the 実験（する）, to many 実験（する）s, and 証明するd him; he was one of those whom mischances enlighten and 精製する. Behind the 有望な 約束 in him there was the sound seed which would grow to its 十分な 手段 under any circumstances and could not be 回避するd. The world is always 十分な of brilliant 青年 which fades into grey and embittered middle age: the first flowering takes everything. The 広大な／多数の／重要な men are those who have developed

our hopes for young talent would be disappointed いっそう少なく often. Yet in that very mystery lies much of the fascination which gifted young people have for their 年上のs. Kindly 成果／努力 to 避難所 them from struggle with the hard facts of 存在 is often to take away the bread (or the 欠如（する） of it) by which they grow, if the 力／強力にする of growth is in them. Perhaps if young Joseph had been sent into Egypt on a 年金 基金 or a travelling scholarship the end might have been very different.

The manner in which he 現実に 始める，決めるs out for Egypt is a challenge to 運命／宿命, certainly: disinherited, bruised in 団体／死体, 激しく揺するing on the camel of Ishmaelite merchants who have bought him as a slave. Thus he 消えるs from the story. We do not know at what point in his adventures we are first to see him again in Mann's third 容積／容量, but we know that his father is not to see him again until there has been such a 逆転 of fortune as seldom happens--even in old legends, with the direct 介入 of the gods. Though he is brought so low when he leaves us, his 明言する／公表する is not utterly hopeless. The brothers have beaten the conceit and joy out of him; all his sunny 青年 he has left behind him in the 炭坑，オーケストラ席, and he has come out into the world naked as when he was born, without father or family or friends, owning not even his own 団体／死体. But he is going toward a country where, if he really 所有するs the lively 知能 Jacob and old Eliezer imputed to him, it will find plenty to work upon.

The 調書をとる／予約する ends with Jacob, for however much the story is Joseph's, it is always Jacob's. He is the compass, the north 星／主役にする, the 捜し出すing mind behind events; he divines their hidden 原因（となる）s. He knows that even 外部の 事故s often have their roots, their true beginnings, in personal feeling. He 受託するs the 証拠 of the 血まみれの coat and believes that Joseph was devoured by a boar or a lion, yet his ちらりと見ること at the brothers is always 告発する／非難するing. But for their 憎悪, the wild beast might not have come 負かす／撃墜する upon Joseph.

Jacob is the understanding 証言，証人／目撃する of the whole play, and we know, when we の近くに the second 容積／容量, that he will live to behold the unimaginable 結論 in Egypt. This is one of the advantages of making a new story out of an old one which is a very part of the readers' consciousness. The course of 運命 is already known and 直す／買収する，八百長をするd for us, it is not some story-teller's make-believe (though for strangeness no 無謀な improviser could より勝る this one). What we most love is not bizarre 発明, but to have the old story brought home to us closer than ever before, 濃厚にするd by all that the 権利 man could draw from it and, by 同情的な insight, put into it. Shakespeare knew this fact very 井戸／弁護士席, and the Greek dramatists long before him.

Herr Mann 強調する／ストレスs Joseph's charm of person and 演説（する）／住所 with good 推論する／理由. They are 強調する／ストレスd even in the 高度に condensed account in the 調書をとる／予約する of Genesis. They are, indeed, the 支配する of Joseph's story. Had the Ishmaelites not 認めるd very exceptional values in him, they would have sold him in any slave market. 存在 sure of special 質s in this piece of 商品／売買する, they held him for a high purchaser and 性質の／したい気がして of him to the Captain of Pharaoh's guard. He charmed Potiphar and, to his misfortune, Potiphar's wife. When he was thrown into a dungeon, his jailor gave him the 管理／経営 of the 刑務所，拘置所. When he was brought before Pharaoh, he was given the 管理／経営 of the kingdom.

He had come into Egypt a slave, born of a half-savage people whom the cultivated Egyptians despised, and he had been trained to an 占領／職業 they despised. We are told in Genesis that "every shepherd was an abomination to the Egyptians." (We are not told why: perhaps because the Egyptian cotton market was already an important thing in the world?) It is not 平易な to find a 平行の 状況／情勢: suppose that a Navajo Indian shepherd boy had been gathered up by the Spanish explorers and sold to one of the world-roving merchant ships from Saint-Malo. Suppose, その上の, that we find this red Indian boy at the age of thirty become the 事実上の 支配者 of フラン, a Richelieu or a Mazarin.

How much of his remarkable career Herr Mann will 信じる／認定／派遣する to Joseph's aptness in worldly 事件／事情／状勢s (that 質 of which old Jacob was so distrustful), and how much to his direct 相続物件 from Jacob, that "blessing" (never 正式に given) which he carried with him into a land of subtleties and 高度に 組織するd social life, I wait with impatience to learn. I 嫌疑者，容疑者／疑う that I shall still find the father mightier than the son, and more remarkable as an imaginative 創造.

Jacob is the 棒 of 手段. He saw the beginning, the new-born creature, and believed even then that this was the child of 運命. He knew Joseph before Joseph knew himself. When the "true son" disappeared into 不明瞭 at the 夜明け of his 約束, it was Jacob, not Joseph, who bore the 十分な 負わせる of the 大災害 and tasted the bitterness of death. And he lived to see the beautiful 結論; not the worldly 勝利 only, but the greatness of heart which could 許す wrongs so shameful and cruel. Had not Jacob been there to 認める and to 予知する, to be destroyed by grief and raised up again, the story of Joseph would lose its highest value. Joseph is the brilliant actor in the scene, but Jacob is the mind which created the piece itself. His brooding spirit 包むs the legend in a loftiness and grandeur which actual events can never, in themselves, 所有する. Take Jacob out of the history of Joseph, and it becomes 簡単に the story of

Late in the autumn of 1920, on my way home from Naples, I had a glimpse of Katherine Mansfield through the 注目する，もくろむs of a fellow 乗客. As I have やめる forgotten his real 指名する, I shall call him Mr. J--. He was a New Englander, about sixty-five years of age, I conjectured; long, lean, bronzed, （疑いを）晴らす blue 注目する，もくろむs, not very talkative. His 直面する, however, had a way of talking to itself. When he sat reading, or 単に looking at the water, changes went over his thin lips and brown cheeks which betokened silent soliloquy; amusement, doubtful 審議, very often a good-humoured 肉親，親類d of 軽蔑（する）, …を伴ってd by an audible 匂いをかぐ which was not the result of a 冷淡な. His profession was the 法律, I gathered, though he seemed to know a 広大な／多数の／重要な 取引，協定 about 地雷s and 採掘 工学. 早期に American history was his personal passion, Francis Parkman and Sir George Otto Trevelyan. Though in both writers he 設立する inconsistencies, he referred to these not superciliously but rather affectionately.

The voyage was very rough (we were 延期するd three days by bad 天候), the cabin 乗客s were few and the 勝利，勝つd and 冷淡な kept most of them in their 特別室s. I 設立する Mr. J-- good company. He wore 井戸／弁護士席. Though I have forgotten his 指名する, I have not forgotten him. He was an 初めの, a queer stick, intelligent but whimsical and crochety, quickly prejudiced for or against people by trifling mannerisms. He dined alone at a small （米）棚上げする／（英）提議する and always dressed for dinner though no one else did.

He was an agreeable companion 主として because he was so 予期しない. For example: one morning when he was muttering 乾燥した，日照りの witticisms about the boat's having lost so much time, he threw off carelessly that he was trying to get home for his mother's ninetieth birthday 祝賀, "though we are not on good 条件, by any means," he chuckled.

I said I had supposed that family differences were 無法者d at ninety.

"Not in our family," he brought out with relish.

He was a true 半導体素子, and proud of the old 封鎖する. He was bringing a 現在の home to her--a 広大な／多数の／重要な bundle of ヒョウ 肌s, which he showed to me. (He had lately been in Africa.)

He was a bachelor, of course, but when we were filling out 宣言s for customs, he had a number of expensive toys to 宣言する (besides the ヒョウ 肌s) and sport 着せる／賦与するs for young men. 甥s, I asked? Not altogether, with a 新たな展開 of the 直面する. Some of his old friends had done him the compliment of 指名するing sons after him. Yes, I thought, a bachelor of this 腎臓 was just the man who would be welcome in other men's homes; he would be a cheerful interruption in the 国内の monotony of 訂正する, sound people like himself. かもしれない he would have friends の中で people very unlike himself.

One afternoon as he sat 負かす／撃墜する in his deck 議長，司会を務める he 選ぶd up a 容積／容量 of Synge's plays lying on my rug. He looked at it and 観察するd:

"Trevelyan is the one English writer I would really like to 会合，会う. The old man."

He ちらりと見ることd through my 調書をとる／予約する for a few moments, then put it 支援する on my 膝 and asked 突然の: "What do you think of Katherine Mansfield?"

I told him I had read her very little (English friends had sent me over a story of hers from time to time), but I thought her very talented.

"You think so, do you." It was not a question, but a 判決, 配達するd in his driest manner, with a slight 匂いをかぐ. After a moment he said he had letters to 令状 and went away. Why a specialist in the American 革命 and the French and Indian wars should ask me about a girl then scarcely heard of in America, and why he should be displeased at my answer--

The next morning I saw him doing his usual half-hour on the deck. "Climbing the deck," he called it, because now, in 新規加入 to the inconveniences of rough 天候, we had a very bad 名簿（に載せる）／表（にあげる）. Mr. J-- explained that it （機の）カム about because the coal hadn't been 適切に trimmed and had 転換d. Very dangerous with a 激しい sea every day . . . 不名誉 to seamanship . . . couldn't have happened on a British steamer . . . Italians and French in the engine room. After climbing and descending the deck until he had 満足させるd his 良心, he sat 負かす／撃墜する beside me and flapped his rug over his 膝s.

"The young lady we were speaking of yesterday: she 令状s under a nom de plume. Her true 指名する is not Mansfield, but Beauchamp."

"That I didn't know. I know nothing about her, really."

He relapsed into one of his long silences, and I went on reading.

"May I send the deck steward to my cabin for some sherry, instead of that logwood he would bring us from the 妨げる／法廷，弁護士業?"

The sherry appeared. After we had drunk a few glasses, Mr. J-- began: "The young lady we were speaking of; I happen to have seen her several times, though I certainly don't move in literary circles."

I 表明するd surprise and 利益／興味, but he did not go on at once. He sent the steward for more 薄焼きパン／素焼陶器, and got up to 実験（する） the lashings of his deck 議長，司会を務める and 地雷. We were on the port 味方する where the 勝利，勝つd was milder but the 名簿（に載せる）／表（にあげる） was worse. At last he made himself comfortable and began to tell me that he had once gone out to Australia and New Zealand on 商売／仕事 事柄s. He was very 明確な／細部 as to dates, 地理学, boat and 鉄道 関係s. He (a)手の込んだ／(v)詳述するd upon these 詳細（に述べる）s. I suppose because they were 安全な and sane, things you could check up on, while the real 支配する of his communication 証明するd to be very vague. I did not listen attentively; I had only the dimmest conception of those distant British 植民地s. He was telling me about a boat trip he had made from New Zealand to some Australian port, when 徐々に his manner changed; he rambled and was more 用心深い. As he became more 用心深い I became more 利益／興味d. I wish I could repeat his story 正確に／まさに as he told it, but his way of talking was peculiar to himself and I can only give the 輪郭（を描く）:

の中で the people who were coming on board his steamer when he left New Zealand, Mr. J-- noticed a family party: several children, a man who was evidently their father, and an old lady who seemed of やめる a different class than the other 乗客s. She was 静かな, gentle, had the children perfectly under 支配（する）／統制する. She 行為／行うd them below as soon as the boat took off. When they 再現するd on deck they had changed their shore things for play 着せる／賦与するs. Mr. J-- remembered very little about the father, "the usual 押し進めるing 植民地の type," but he distinctly remembered the old lady, and a little girl with thin 脚s and large 注目する，もくろむs who wandered away from the family and 明らかに wished to 調査する the steamer for herself. Presently she （機の）カム and sat 負かす／撃墜する next Mr. J--, which pleased him. She was shy, but so happy to be going on a 旅行 that she answered his questions and talked to him as if he were not a stranger. She was delighted with everything; the boat, the water, the 天候, the gulls which followed the steamer. "But have you ever seen them eat?" she asked. "That is terrible!"

The next morning Mr. J-- was up and out very 早期に; 設立する the deck washed 負かす／撃墜する and empty. But up in the 屈服する he saw his little friend of yesterday, doing some sort of 体操の 演習s, "quick as a bird." He joined her and asked if she had breakfasted. No, she was waiting for the others.

"Mustn't 演習 too much before breakfast," he told her. "Come and sit 負かす／撃墜する with me." As they walked toward his 議長，司会を務める he noticed that she had put on a fresh dress for the morning. Mr. J-- said it was "embroidered" (probably cross-stitched) with yellow ducks, all in a 列／漕ぐ／騒動 一連の会議、交渉／完成する the hem. He complimented her upon the ducks.

"I thought they would astonish you," she said complacently.

As they sat and talked she kept smoothing her skirt and settling her sleeves, which had a duck on each cuff. Something pleased Mr. J-- very much as he 解任するd the little girl, and her satisfaction with her fresh dress on that fresh morning 船内に a little coasting steamer. His 注目する，もくろむs twinkled and he chuckled. "She 可決する・採択するd me for the 残り／休憩（する） of the voyage," he 結論するd.

No, he couldn't say 正確に／まさに what the charm of the child was. She struck him as intensely 警報, with a 深い curiosity altogether different from the flighty, excited curiosity usual in children. She turned things over in her 長，率いる and asked him questions which surprised him. She was いつかs with her grandmother and the other children, but oftener alone, going about the boat, looking the world over with 静かな satisfaction. When she was with him, he did not talk to her a 広大な／多数の／重要な 取引，協定, because he liked better to watch her "taking it all in." It was on her account he had always remembered that short trip, out of many boat trips. She told him her 指名する, and he easily remembered it "because of Beauchamp's Career, you see."

"And now do you want 一時期／支部 two?" Mr. J-- asked me. He 新たな展開d his 直面する and rubbed his chin.

A few years ago he had been in London on a confidential 使節団 for a （弁護士の）依頼人 who was also an old friend. The nature of his 商売／仕事 took him more or いっそう少なく の中で people not of his 肉親，親類d and not 特に to his liking. (He paused here as if taking counsel with his discretion, and I wondered whether we were to have another 見解／翻訳／版 of Henry James' The 外交官／大使s.) In the places たびたび（訪れる）d by this uncongenial "circle" he heard talk of a girl from New Zealand who "could knock the 基準 British authors into a cocked hat," though she didn't very easily find a publisher. She 軽蔑（する）d 条約s, and had got herself talked about. He heard her 指名する spoken. There could be no 疑問; from the same part of the world, and the 指名する he had never forgotten. The young lady herself was pointed out to him once in a restaurant, by the young man whose 事件／事情／状勢s he had come over to manage. She was just 支援する from the Continent, and her friends were giving a dinner for her. As he 推定する／予想するd; the same 直面する, the same 注目する，もくろむs. She did not fit the gossip he had been 審理，公聴会; やめる the contrary. She looked to him almost demure,--except for something challenging in her 注目する，もくろむs, perhaps. And she seemed very frail. He felt a strong inclination to look her up. He decided to 令状 to her, but he thought he had better 知らせる himself a little first. He asked his （弁護士の）依頼人 whether he had anything 行方不明になる Mansfield had written. The young man, doubtless with humorous 意図, produced a 小冊子 which had been 個人として printed: Je ne parle pas fran軋is. After reading it, Mr. J-- felt there would be no point in 会合 the young writer. He saw her once afterward, at the theatre. When the play was on and the lights were 負かす／撃墜する, she looked, he thought, ill and unhappy. He heartily wished he had never seen or heard of her since that boat trip.

Mr. J-- turned to me はっきりと: "Je ne parle pas fran軋is--and what do you think of that story, may I ask?"

I had not read it.

"井戸／弁護士席, I have. I didn't 解任する it lightly; 人工的な, and felt that here was a very individual talent. At this particular time few writers care much about their medium except as a means for 表明するing ideas. But in Katherine Mansfield one 認めるd virtuosity, a love for the medium she had chosen.

The 質s of a second-率 writer can easily be defined, but a first-率 writer can only be experienced. It is just the thing in him which escapes 分析 that makes him first-率. One can 目録 all the 質s that he 株 with other writers, but the thing that is his very own, his timbre, this cannot be defined or explained any more than the 質 of a beautiful speaking 発言する／表明する can be.

It was usually 行方不明になる Mansfield's way to approach the major 軍隊s of life through comparatively trivial 出来事/事件s. She chose a small reflector to throw a luminous streak out into the shadowy realm of personal 関係s. I feel that personal 関係s, 特に the uncatalogued ones, the seemingly unimportant ones, 利益／興味d her most. To my thinking, she never 手段d herself up so fully as in the two remarkable stories about an English family in New Zealand, "序幕" and "At the Bay."

I 疑問 whether any 同時代の writer has made one feel more 熱心に the many 肉親，親類d of personal relations which 存在する in an everyday "happy family" who are 単に going on living their daily lives, with no crises or shocks or bewildering 複雑化s to try them. Yet every individual in that 世帯 (even the children) is 粘着するing passionately to his individual soul, is in terror of losing it in the general family flavour. As in most families, the mere struggle to have anything of one's own, to be one's self at all, creates an element of 緊張する which keeps everybody almost at the breaking-point.

One realizes that even in harmonious families there is this 二塁打 life: the group life, which is the one we can 観察する in our 隣人's 世帯, and, underneath, another--secret and 熱烈な and 激しい--which is the real life that stamps the 直面するs and gives character to the 発言する／表明するs of our friends. Always in his mind each member of these social 部隊s is escaping, running away, trying to break the 逮捕する which circumstances and his own affections have woven about him. One realizes that human 関係s are the 悲劇の necessity of human life; that they can never be wholly 満足な, that every ego is half the time greedily 捜し出すing them, and half the time pulling away from them. In those simple 関係s of loving husband and wife, affectionate sisters, children and grandmother, there are innumerable shades of sweetness and anguish which （不足などを）補う the pattern of our lives day by day, though they are not 負かす／撃墜する in the 名簿（に載せる）／表（にあげる） of 支配するs from which the 従来の 小説家 作品.

Katherine Mansfield's peculiar gift lay in her 解釈／通訳 of these secret （許可，名誉などを）与えるs and 反感s which 嘘（をつく） hidden under our everyday behaviour, and which more than any outward events make our lives happy or unhappy. Had she lived, her 開発 would have gone on in this direction more than in any other. When she touches this New Zealand family and those faraway memories ever so lightly, as in "The Doll's House," there is a 魔法 one does not find in the other stories, 罰金 as some of them are. With this 主題 the very letters on the page become alive. She communicates vastly more than she 現実に 令状s. One goes 支援する and runs through the pages to find the text which made one know 確かな things about Linda or Burnell or Beryl, and the text is not there--but something was there, all the same--is there, though no typesetter will ever 始める，決める it. It is this overtone, which is too 罰金 for the printing 圧力（をかける） and comes through without it, that makes one know that this writer had something of the gift which is one of the rarest things in 令状ing, and やめる the most precious. That she had not the happiness of developing her 力／強力にするs to the 十分な, is sad enough. She wrote the truth from Fontainebleau a few weeks before she died: "The old 機械装置 isn't 地雷 any longer, and I can't 支配（する）／統制する the new." She had lived through the first 行う／開催する／段階, had outgrown her young art, so that it seemed 誤った to her in comparison with the new light that was breaking within. The "new 機械装置," big enough to 伝える and by the physical hardships that war 条件s brought about in England and フラン. At the age of twenty-two (when most young people have a secret 有罪の判決 that they are immortal), she was already ill in a Bavarian 年金. From the time when she left New Zealand and （機の）カム 支援する to England to make her own way, there was never an interval in which she did not have to 運動 herself beyond her strength. She never reached the 行う／開催する／段階 when she could work with a relaxed 肘. In her story "序幕," when the family are moving, and the storeman 解除するs the little girl into the dray and tucks her up, he says: "平易な does it." She knew this, long afterward, but she never had a chance to put that method into practice. In all her earlier stories there is something 猛烈な／残忍な about her attack, as if she took up a new tale in the spirit of 打ち勝つing it. "Do or die" is the mood,--indeed, she must have 直面するd that 代案／選択肢 more than once: a girl come 支援する to make her living in London, without health or money or 影響力のある friends,--with no 資産s but talent and pride.

In her 容積／容量 of stories する権利を与えるd Bliss, published in 1920 (most of them had been written some years before and had appeared in 定期刊行物s), she throws 負かす／撃墜する her glove, utters her

A 罰金 態度, youthful and fiery: out of all the difficulties of life and art we will snatch something. No one was ever いっそう少なく afraid of the nettle; she was defrauded 不公平に of the physical vigour which seems the natural accompaniment of a high and daring spirit.

At thirteen Katherine Mansfield made the long voyage to England with her grandmother, to go to school in London. At eighteen she returned to her own family in Wellington, New Zealand. It was then the struggle against circumstances began. She afterward 燃やすd all her 早期に diaries, but it is those I should have liked to read. 追放する may be 平易な to 耐える for those who have lived their lives. But at eighteen, after four years of London, to be thrown 支援する into a 繁栄する 商業の 植民地 at the end of the world, was 餓死. There is no homesickness and no hunger so unbearable. Many a young artist would sell his 未来, all his chances, 簡単に to get 支援する to the world where other people are doing the only things that, to his inexperience, seem 価値（がある） doing at all.

Years afterward, when Katherine Mansfield had begun to do her best work but was 速く 沈むing in vitality, her homesickness stretched all the other way--backwards, for New Zealand and that same 天然のまま Wellington. Unpromising as it was for her 目的, she felt that it was the only 領土 she could （人命などを）奪う，主張する, in the deepest sense, as her own. The 定期刊行物 tells us how often she went 支援する to it in her sleep. She recounts these dreams at some length: but the 入ること／参加（者） which makes one realize that

By this, 1918, she had served her 見習いの身分制度. She had gone through a succession of enthusiasms for this master and that, formed friendships with some of the young writers of her own time. But the person who had 解放する／自由なd her from the self-consciousness and affectations of the 実験ing young writer, and had brought her to her realest self, was not one of her literary friends but, やめる 簡単に, her own brother.

He （機の）カム over in 1915 to serve as an officer. He was younger than she, and she had not seen him for six years. After a short visit with her in London he went to the 前線, and a few weeks later was killed in 活動／戦闘. But he had brought to his sister the New Zealand of their childhood, and out of those memories her best stories were to grow. For the remaining seven years of her life (she died just under thirty-five) her brother seems to have been almost 絶えず in her mind. A 広大な／多数の／重要な change comes over her feelings about art; what it is, and why it is. When she prays to become "humble," it is probably the わずかに showy 質 in the 早期に stories that she begs to be 配達するd from--and forgiven for. The 定期刊行物 from 1918 on is a 記録，記録的な／記録する of a readjustment to life, a changing sense of its deepest realities.

"Now it is May 1919. Six o'clock. I am sitting in my own room thinking of Mother: I want to cry. But my thoughts are beautiful and 十分な of gaiety. I think of our house, our garden, us children--the lawn, the gate, and Mother coming in. 'Children! she first （機の）カム to London. There had to be a long period of 令状ing for 令状ing's sake. The spontaneous untutored outpouring of personal feeling does not go very far in art. It is only the practised 手渡す that can make the natural gesture,--and the practised 手渡す has often to grope its way. She tells us that she made four 誤った starts on "At the Bay," and when she finished the story it took her nearly a month to 回復する.

The 定期刊行物, painful though it is to read, is not the story of utter 敗北・負かす. She had not, as she said, the physical strength to 令状 what she now knew were, to her, the most important things in life. But she had 設立する them, she 所有するd them, her mind fed on them. On them, and on the language of her greatest poet. (She read Shakespeare continually, when she was too ill to leave her bed.) The inexhaustible richness of that language seems to have been like a powerful cordial, warmed her when bodily nourishment failed her.

の中で the stories she left unfinished there is one of singular beauty, written in the autumn of 1922, a few months before her death, the last piece of work she did. She called it "Six Years After": Linda and Burnell grown old, and the boy six years dead. It has the same powerful slightness which distinguishes the other know, if the truth were known, I have a perfect passion for the island where I was born. 井戸／弁護士席, in the 早期に morning there I always remember feeling that this little island has dipped 支援する into the dark blue sea during the night only to rise again at gleam of day, all hung with 有望な spangles and glittering 減少（する）s. (When you ran over the dewy grass you 前向きに／確かに felt that your feet tasted salt.) I tried to catch that moment--with something of its sparkle and its flavour. And just as on those mornings white 乳の もやs rise and 暴露する some beauty, then smother it again and then again 公表する／暴露する it, I tried to 解除する that もや from my people and let them be seen and then to hide them again. . . . It's so difficult to 述べる all this and it sounds perhaps over-ambitious and vain."

knows from the different Lives and letters, went to work in very much the same way. The long novels, 同様に as the short tales, grew out of little family 演劇s, personal intolerances and predilections,--promptings not 明らかな to the casual reader and

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