to the question of application. When the author of “Clayhanger” has put down upon the table, in dense unconfused array, every fact required, every fact in any way invocable, to make the life of the Five Towns press upon us, and to make our sense of it, so full-fed, content us, we may very well go on for the time in the captive condition, the beguiled and bemused condition, the acknowledgment of which is in general our highest tribute to the temporary master of our sensibility. Nothing at such moments—or rather at the end of them, when the end begins to threaten—may be of a more curious strain than the dawning unrest that suggests to us fairly our first critical comment: “Yes, yes—but is this _all_? These are the circumstances of the interest—we see, we see; but where is the interest itself, where and what is its centre, and how are we to measure it in relation to _that_?” Of course we may in the act of exhaling that plaint (which we have just expressed at its mildest) well remember how many people there are to tell us that to “measure” an interest is none of our affair; that we have but to take it on the cheapest and easiest terms and be thankful; and that if by our very confession we have been led the imaginative dance the music has done for us all it pretends to. Which words, however, have only to happen to be for us the most unintelligent conceivable not in the least to arrest our wonderment as to where our bedrenched consciousness may still not awkwardly leave us for the pleasure of appreciation. That appreciation is also a mistake and a priggishness, being reflective and thereby corrosive, is another of the fond dicta which we are here concerned but to brush aside—the more closely to embrace the welcome induction that appreciation, attentive and reflective, inquisitive and conclusive, is in this connection absolutely the golden _key_ to our pleasure. The more it plays up, the more we recognise and are able to number the sources of our enjoyment, the greater the provision made for security in that attitude, which corresponds, by the same stroke, with the reduced danger of waste in the undertaking to amuse us. It all comes back to our amusement, and to the noblest surely, on the whole, we know; and it is in the very nature of clinging appreciation not to sacrifice consentingly a single shade of the art that makes for that blessing. From this solicitude spring our questions, and not least the one to which we give ourselves for the moment here—this moment of our being regaled as never yet with the fruits of the movement (if the name be not of too pompous an application where the flush and the heat of accident too seem so candidly to look forth), in favour of the “expression of life” in terms as loose as may pretend to an effect of expression at all. The relegation of terms to the limbo of delusions outlived so far as ever really cultivated becomes of necessity, it will be plain, the