a harassed existence is represented. Such is the object gained by the
method of dramatization, applied in this way (as with Strether) to the
story of a mind. Milly's case, which seemed to be as pictorial, as
little dramatic, as could be--since it is all a condition and a
situation to be portrayed, not an action--has been turned into drama,
the advantages of drama have been annexed on its behalf. There is no
action, properly speaking, and yet the story of her troubles has acted
itself before our eyes, as we followed the transient expression of her
mood.

And now look at a single scene, later on, when the issue of Milly's
situation has at last been precipitated. Look, for example, at the
scene in which good Susan Stringham, her faithful companion, visits
Densher in his Venetian lodging, on an evening of wild autumn rain, to
make a last and great appeal to him. An appeal for what? Milly, in her
palace hard by, lies stricken, she has "turned her face to the wall."
The vision of hope which had supported her is at an end, not by reason
of her mere mortal illness, but because of some other blow which has
fallen. Susan knows what it is, and Densher is to learn. Till lately
Milly was living in ignorance of the plot woven about her, the
masterly design to make use of her in order that Densher and Kate Croy
may come together in the end. The design was Kate's from the first;
Densher has been much less resolute, but Kate was prepared to see it
through. Conceal from Milly that an old engagement holds between her
two friends, persuade her that neither has any interest in the other,
and all will go well. Milly, believing in Densher's candour, will fall
into the plot and enjoy her brief happiness. It cannot be more than
brief, for Milly is certainly doomed. But when she dies, and Densher
is free for Kate again, who will be the worse for the fraud? Milly
will have had what she wants, her two friends will have helped
themselves in helping her. So Kate argues plausibly; but it all
depends on keeping poor exquisite Milly safely in the dark. If she
should discover that Kate and Densher are in league to profit by her,
it would be a sharper stroke than the discovery of her malady. And by
this autumn evening, when Susan Stringham appears before Densher,
Milly _has_ discovered--has learned that she has been tricked, has
lost her desire of life, has turned her face to the wall.

Susan appears, big with the motive that has brought her. This visit