The Wings of the Dove

is Kate Croy who is, “for all she is worth,” turned on. She is turned on largely at Venice, where the appearances, rich and obscure and portentous (another word I rejoice in) as they have by that time become and altogether exquisite as they remain, are treated almost wholly through her vision of them and Densher’s (as to the lucid interplay of which conspiring and conflicting agents there would be a great deal to say). It is in Kate’s consciousness that at the stage in question the drama is brought to a head, and the occasion on which, in the splendid saloon of poor Milly’s hired palace, she takes the measure of her friend’s festal evening, squares itself to the same synthetic firmness as the compact constructional block inserted by the scene at Lancaster Gate. Milly’s situation ceases at a given moment to be “renderable” in terms closer than those supplied by Kate’s intelligence, or, in a richer degree, by Densher’s, or, for one fond hour, by poor Mrs. Stringham’s (since to that sole brief futility is this last participant, crowned by my original plan with the quaintest functions, in fact reduced); just as Kate’s relation with Densher and Densher’s with Kate have ceased previously, and are then to cease again, to be projected for us, so far as Milly is concerned with them, on any more responsible plate than that of the latter’s admirable anxiety. It is as if, for these aspects, the impersonal plate⁠—in other words the poor author’s comparatively cold affirmation or thin guarantee⁠—had felt itself a figure of attestation at once too gross and too bloodless, likely to affect us as an abuse of privilege when not as an abuse of knowledge.

Heaven forbid, we say to ourselves during almost the whole Venetian climax, heaven forbid we should “know” anything more of our ravaged sister than what Densher darkly pieces together, or than what Kate Croy pays, heroically, it must be owned, at the hour of her visit alone to Densher’s lodging, for her superior handling and her dire profanation of. For we have time, while this passage lasts, to turn round critically; we have time to recognise intentions and proprieties; we have time to catch glimpses of an economy of composition, as I put it, interesting in itself: all in spite of the author’s scarce more than half-dissimulated despair at the inveterate displacement of his general centre. The Wings of the Dove happens to offer perhaps the most striking example I may cite (though with public penance for it already performed) of my regular failure to keep the appointed halves of my whole equal. Here the makeshift middle⁠—for which the best I can say is that it’s always rueful and never impudent⁠—reigns with even more than its customary contrition, though passing itself off perhaps too with more than its usual craft. Nowhere, I seem to recall, had the need of dissimulation been felt so as anguish; nowhere had I condemned a luckless theme to complete its revolution, burdened with the accumulation of its difficulties, the difficulties that grow with a theme’s development, in quarters so cramped. Of course, as every novelist knows, it is difficulty that inspires; only, for that perfection of charm, it must have been difficulty inherent and congenital, and not difficulty “caught” by the wrong frequentations. The latter half, that is the false and deformed half, of The Wings would verily, I think, form a signal object lesson for a literary critic bent on improving his occasion to the profit of the budding artist. This whole corner of the picture bristles with “dodges”⁠—such as he should feel himself all committed to recognise and denounce⁠—for disguising the reduced scale of the exhibition, for foreshortening at any cost, for imparting to patches the value of presences, for dressing objects in an air as of the dimensions they can’t possibly have. Thus he would have his free hand for pointing out what a tangled web we weave when⁠—well, when, through our mislaying or otherwise trifling with our blest pair of compasses, we have to produce the illusion of mass without the illusion of extent. There is a job quite to the measure of most of our monitors⁠—and with the interest for them well enhanced by the preliminary cunning quest for the spot where deformity has begun.

I recognise meanwhile, throughout the long earlier reach of the book, not only no deformities but, I think, a positively close and felicitous application of method, the preserved consistencies of which, often illusive, but never really lapsing, it would be of a certain diversion, and might be of some profit, to follow. The author’s accepted task at the outset has been to suggest with force the nature of the tie formed between the two young persons first introduced⁠—to give the full impression of its peculiar worried and baffled, yet clinging and confident, ardour. The picture constituted, so far as may be, is that of a pair of natures well-nigh consumed by a sense of their intimate affinity and congruity, the reciprocity of their desire, and thus passionately impatient of barriers and delays, yet with qualities of intelligence and character that they are meanwhile extraordinarily able to draw upon for the enrichment of their relation, the extension of their prospect and the support of their “game.” They are far from a common couple, Merton Densher and Kate Croy, as befits the remarkable fashion in which fortune was to waylay and opportunity was to distinguish them⁠—the whole strange truth of their response to which opening involves also, in its order, no vulgar art of exhibition; but what they have most to tell us is that, all unconsciously and with the best faith in the world, all by mere force of the terms of their superior passion combined with their superior diplomacy, they are laying a trap for the great innocence to come. If I like, as I have confessed, the “portentous” look, I was perhaps never to set so high a value