PREFACE
"The Abasement of the Northmores" and "The Tree of Knowledge": the idea in these examples (1900) being developmental with a vengeance and the need of an apparent ease and a general congruity having to enforce none the less as on behalf of some victim of the income tax who would minimise his "return"—an almost heroic dissimulation of capital. These things, especially the former, are novels intensely compressed, and with that character in them yet keeping at bay, under stress of their failing else to be good short stories, any air of mutilation. They had had to be good short stories in order to earn, however precariously, their possible wage and "appear"—so certain was it that there would be no appearance, and consequently no wage, for them as frank and brave nouvelles. They could but conceal the fact that they were "nouvelles"; they could but masquerade as little anecdotes. I include them here by reason of that successful, that achieved and consummate—as it strikes me—duplicity: which, however, I may add, was in the event to avail them little—since they were to find nowhere, the unfortunates, hospitality and the reward of their effort. It is to "The Tree of Knowledge" I referred just above, I may further mention, as the production that had cost me, for keeping it "down," even a greater number of full revolutions of the merciless screw than "The Middle Years." On behalf also of this member of the group, as well as for "The Author of Beltraffio," I recover exceptionally the sense of the grain of suggestion, the tiny air-blown particle. In presence of a small interesting example of a young artist long dead, and whom I had yet briefly seen and was to remember with kindness, a friend had made, thanks to a still greater personal knowledge of him and of his quasi-conspicuous father, likewise an artist, one of those brief remarks that the
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