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II. The Story

She cannot do it without abolishing the sequence between the sentences. But this is not effective unless the order of the words in the sentences is also abolished, which in its turn entails the abolition of the order of the letters or sounds in the words. And now she is over the precipice. There is nothing to ridicule in such an experiment as hers. It is much more important to play about like this than to rewrite the Waverley Novels. Yet the experiment is doomed to failure. The time-sequence cannot be destroyed without carrying in its ruin all that should have taken its place; the novel that would express values only becomes unintelligible and therefore valueless.

Por eso debo pedirle que me acompañe a repetir con el tono de voz exacto las palabras con las que se abrió esta conferencia.

No las diga con vaguedad y de buen humor como un chófer de autobús: no tiene derecho a ello.

No las diga con presteza y agresividad como un golfista: usted sabe comportarse mejor.

Dígalas con un poco de tristeza, y acertará.

Sí⁠—ay, Dios, sí⁠—, la novela cuenta una historia.

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