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anger, dismissed him, and told him not to show his face again.

But the next day, after Stuart had arrived and was preparing to work, Washington rang the bell, and sent for Sam. He came in abashed and trembling. The President drew a new silver watch from his pocket, and said:

"Come here, Sam. Take this watch, and whenever you look at it, remember that your master, in a moment of passion, said to you what he now regrets, and that he was not ashamed to confess that he had done so."

Conversation and Dialogue.

93. The parts of a story in which the characters speak in their own person are always highly interesting. Most readers turn with satisfaction from the solid page in which things are reported by the author in his own words, to the page that is broken by conversation and dialogue of the characters themselves. Good conversation gives added life and significance to the story. It is part of the very genius of narrative since it carries. the story forward, whereas descriptive passages (often intentionally and properly) seem to delay the story. Readers who have the bad habit of "skipping" seldom skip the conversations. It is not always possible, or best, to use conversation in a story, and good conversation is the hardest part of a story to write; yet every story may contain some.conversation, and it is a good plan to use conversation wherever it suggests itself.

Good conversation should accomplish one or both of two things for the story.

(1) It should give hints of character; the reader makes constant inferences about the speaker's traits

from his talk. We infer also differences in the characters from what they say. When all of the conversation of a given speaker causes the reader to make harmonious and consistent inferences about that speaker's character, the talk of that speaker is said to be in character. When any remark of a speaker causes an inference not intended by the author, the remark is said to be not in character, because inconsistent with the conception that had been given. To make interesting conversation that shall at the same time be significant is the aim of every storyteller.

(2) Conversation should also give hints of action; it should help on the plot; if it does not actually carry the plot forward, it should deepen our sense of its significance. It must be admitted, however, that in some stories the cleverness of the conversation is prized for its own sake, regardless of other considerations.

94. Assignments on Conversation and Dialogue.

A. What inferences of character and personal traits do you make from the conversation of the following story? What lines carry forward the plot?

They nicknamed him Corp because he took fits, when he lay like one dead. He was proud of his fits, was Corp, but they were a bother to him, too, because he could make so little of them. They interested doctors and other carriage folk, who came to his aunt's house to put their fingers into him, and gave him sixpence, and would have given him more, but when they pressed him to tell them what he remembered about his fits, he could only answer dejectedly, "Not a thing."

"You might just as well no have them ava," his wrathful,

aunt, with whom he lived, would say, and she thrashed him until his size forbade it.

Soon after the Muckley came word that the Lady of the Spittal was to be brought to see Corp by Mr. Ogilvy, the schoolmaster of Glen Quharity, and at first Corp boasted of it, but as the appointed day drew near, he became uneasy.

"The worst o't," he said to any one who would listen, “is that my auntie is to be away frae hame, and so they'll put a' their questions to me."

The Haggerty-Taggertys and Birkie were so jealous that they said they were glad they never had fits, but Tommy made no such pretence.

"Oh, Corp, if I had thae fits of yours!" he exclaimed greedily.

"If they were mine to give awa'," replied Corp, sullenly, "you could have them and welcome." Grown meek in his trouble, he invited Tommy to speak freely, with the result that his eyes were partially opened to the superiority of that boy's attainments. Tommy told him a number of interesting things to say to Mr. Ogilvy and the lady about his fits, about how queer he felt just before they came on, and the visions he had while he was lying stiff. But though the admiring Corp gave attentive ear, he said hopelessly next day, "Not a dagont thing do I mind. When they question me about my fits, I'll just say I'm sometimes in them and sometimes out o' them, and if they badger me more, I can aye kick."

Tommy gave him a look that meant, "Fits are just wasted on you," and Corp replied with another that meant, "I ken they are." Then they parted, one of them to reflect.

"Corp," he said excitedly, when next they met, "has Mr. Ogilvy or the lady ever come to see you afore?"

They had not, and Corp was able to swear that they did not even know him by sight.

"They dinna ken me either," said Tommy.

"What does that matter?" asked Corp, but Tommy was too full to speak. He had "found a way."

The lady and Mr. Ogilvy found Corp such a success that the one gave him a shilling and the other took down his reminiscences in a note-book. But if you would hear of the rings of blue and white and yellow Corp saw, and of the other extraordinary experiences he described himself as having when in a fit, you need not search that note-book, for the page has been torn out. Instead of making inquiries of Mr. Ogilvy, try any other dominie in the district, Mr. Cathro, for instance, who delighted to tell the tale. This, of course, was when it leaked out that Tommy had personated Corp, by arrangement with the real Corp, who was listening in rapture beneath the bed.

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B. Preserving the general form of the following dialogue, supply incidents and motives which will make this commonplace conversation momentous in its significance to both speakers:

The General. You will see that the prisoner is hanged at daybreak. By the way, have you learned his name?

The Colonel. He still refuses to disclose it.

The General. Oh, does he? Well, he doubtless wishes to spare the feelings of his relatives. It would be extremely unpleasant to read in the dispatches that a brother or a son had been hanged for a spy - eh?

The Colonel. It would be horrible.

The General. But he will let the secret out before he swings. They always do. Perhaps you had better report to me after the affair is over. I am anxious to know who he is. He is not a bad looking fellow. It struck me as I was examining him yesterday- no offence, mind — that he

looked something as you did when I first met you, twenty

years ago.

The Colonel. I noticed it.

The General. You did, eh? Then I was right. Well, I shall expect you before breakfast.

thing to cheer you up.

The Colonel. I shall indeed.

The General. Good night.

C. Try one of the following:

You will need some

1. A conversation between two girls to show that one feels superior to the other in good taste in dress. Let them comment on a third person, not on one another.

2. A conversation between two boys on the merits of a certain member of the team, to show that one is prejudiced. If possible, let this in part reproduce an actual conversation.

3. A conversation between a person who uses very precise language and one who makes shocking blunders unexpectedly.

4. A conversation between a very pompous man who has lost his way, and a policeman.

5. A conversation between two laborers about Halley's Comet.

Kinds of Narrative.

95. The account of narrative which has been given thus far is that of the fictitious narrative. We must not overlook the fact that there are real stories as well as fictitious stories. History and biography are as important as novels. But the principles that have been laid down apply with equal force to writing of both kinds. The charm of history and biography arises in large part from the fact that in them the writer shows the struggle of men with men and of men with the obstacles of life, or that he makes striking revelations

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