A man does not talk to himself quite truly - not even to himself: the happiness or misery that he secretly feels proceeds from causes that he cannot quite explain, because as soon as he raises them to the level of the explicable they lose their native quality. The novelist has a real pull here. He can show the subconscious short-circuiting straight into action (the dramatist can do this too); he can also show it in its relation to soliloquy. He commands all the secret life, and he must not be robbed of this privilege. 'How did the writer know that?' it is sometimes said. 'What's his standpoint? He is not being consistent, he's shifting his point of view from the limited to the omniscient, and now he's edging back again.' Questions like this have too much the atmosphere of the law courts about them.