Chapter VIII: Dialogue

Modern dramatic dialogue had beginnings far from realistic. It originated, as the Latin tropes show, in speeches given in unison and to music--a kind of recitative. What was the aim of this earliest dramatic dialogue? It sought to convey, first, last, and always, the facts of the episode or incident represented: "Whom seek ye here, O Christians? Jesus of Nazareth, the Crucified, O Heavenly Ones." And that is what good dramatic dialogue has always done, is doing, and must always do as its chief work--state clearly the facts which an auditor must understand if the play is to move ahead steadily and clearly. Already enough has been said (chapter VI, pp. 154-183) as to the need of clear preliminary and later exposition to show how axiomatic is the statement that the chief purpose of good dialogue is to convey necessary information clearly.

Even, however, when dialogue is clear in its statement of needed information, it may still be confusing for reader or hearer. What is the trouble with the text in the left-hand column--from an early draft of a play dealing with John Brown and his fortunes?

SCENE: _The Prison at Harper's Ferry_

_Brown._ Mary! I'm glad to _Brown._ Mary! I'm glad to
see you, Mary. see you, Mary.
(_For a few seconds, silence._) (_For a few seconds, silence._)

_Mrs. Brown._ (_Crying out._) _Mrs. Brown._ (_Crying out._)
Oh, my dear husband, it is a Oh, my dear husband, it is a hard
hard fate. fate. It's been so long since
I heard your voice.

_Brown._ (_Strong in his _Brown._ (_Strong in his
composure._) Well, well, Mary, compposture._) Well, well, Mary,
let us be cheerful. We must all let us be cheerful. We must all
bear it the best we can. bear it the best we can.

(_Stroking her hair._) (_Stroking her hair._)

_Mrs. Brown._ Oh! You to go _Mrs. Brown._ Oh! You to go
from me forever. from me forever.

(_Sinks her head on his breast (_Sinks her head on his breast
again._) again._)

_Brown._ It must be,--and all _Brown._ It must be,--and all
is for the best. There, there. is for the best. There, there.

(_Pats her head in an effort (_Pats her head in an effort
to comfort her._) to comfort her._)

_Mrs. Brown._ But our poor _Mrs. Brown._ (_After a moment's
children, John. silence._) Do they treat you
well here John?
_Brown._ Those that have died
are at peace in the next world.
(_She breaks out weeping again._) _Brown._ Like Joseph, I have
Come, come, dry your tears; sit gained favor in the sight of the
down and tell me about those at prison-keeper. He is a most humane
home. (_He tries to lead her to gentleman--never mistreats or
chair on right of table, but she tries to humiliate me.
checks her grief and seats
herself. He goes slowly back to _Mrs. Brown._ May God bless such
the other chair._) It weakens a man. Do you sleep any, John?
me to stand. Now tell me about
home. _Brown._ Like a child,--all
night in peace.

_Mrs. Brown._ It's a sad place. _Mrs. Brown._ I am glad of
We couldn't believe the first that. I worried about it. Are
reports about you and the boys the days long and lonesome?
being taken prisoners. We
_couldn't_ believe you had _Brown._ All hours of the day
_failed._ Then a New York paper glorious thoughts come to me.
came. We sat by the fire in the I am kept busy reading and
living room. There was Watson's answering letters from my
widow-- friends. I have with me my Bible,
here. (_Placing his hand_
_Brown._ Poor Isabel, with _on the leather-bound volume at
her little Freddie. the end of the table._) It is of
infinite comfort. I never enjoyed
_Mrs. Brown._ And William life more than since coming to
Thompson's widow, our Ruth, prison. I wish all my poor family
and Annie, and Oliver's widow-- were as composed and as happy.

_Brown._ Poor Martha. When
the time came it was hard for
her to leave the farm house and _Mrs. Brown._ But our poor
Oliver behind. She kind of felt children, John. Poor Oliver and
that she wouldn't see him any Watson. We shall never see
more. them again.

_Mrs. Brown._ We said almost
nothing while Salmon read. We _Brown._ Those that have died
felt in our blindness God had are at peace. (_She breaks out
been unfaithful to you and the weeping again._) But we shall
boys. meet together in that other world
where they do not shoot and
_Brown._ My dear wife, you hang men for loving justice and
must keep up your spirits. desiring freedom for all men.
Don't blame God. He has taken Come, come, dry your tears.
away my sword of steel, but He Sit down and tell me about those
has given me the sword of the at home. (_He tries to lead her
Spirit. to chair on right of table, but
she checks her grief and seats
_Mrs. Brown. (Looking up herself. He goes slowly back to
into his face with almost a sad the other chair._) It weakens me
smile upon hers._) That sounds to stand. Now, tell me about home,
just like you, John. Oh, it's for that will give me comfort,
been so long since I heard your Mary. No man can get into
voice. difficulties too big to be
surmounted if he has a firm
_Brown._ Tell me more about foothold at home.
the family.

_Mrs. Brown._ Owen doesn't dare _Mrs. Brown._ It's a sad place.
come home yet. We couldn't believe the first
reports about you and the boys
_Brown._ Do you know where he is? being taken prisoners. _We
wouldn't_ believe you had failed.
_Mrs. Brown._ Hiding among
friends in Ohio. Poor boy, he is
called all kinds of vile names,
just for being with you. _Brown._ I have been a great
deal disappointed in myself for
_Brown._ For the cause we have not keeping to my plan.
all suffered much in the past;
we shall have to in the future. _Mrs. Brown._ You made a mistake
We should rejoice at his escape. only in judging how much you could
do.
_Mrs. Brown._ I do, John, but
O, poor Oliver and Watson! We _Brown._ I acted against my better
shall never see them again. judgment.

_Brown._ Not in this world, _Mrs. Brown._ But after taking the
but arsenal, why didn't you flee to the
we shall meet together in that mountains, as we thought you would?
other world where they do not
shoot and hang men for loving
justice and desiring freedom for _Brown._ The delay was my mistake.
all men. But in God's greater and broader
plan maybe it was infinitely
_Mrs. Brown._ Yes, and they _did better. It was fore-ordained to
die_ for a great and good cause! work out that way, determined
(_Said with spirit._) before the world was made.

_Brown._ Some day all the _Mrs. Brown._ His ways are
people of the earth will say mysterious and wonderful.
that. (_A moment's silence._) (_A slight pause as both think._)

_Mrs. Brown._ Do they treat _Brown._ How did you first get
you well here, John? the news?

_Brown._ Like Joseph, I have _Mrs. Brown._ A New York paper
gained favor in the sight of the came. We sat by the fire in the
prison-keeper. He is a most living room. There was Watson's
humane gentleman--never mistreats widow--
or tries to humiliate me.
_Brown._ Poor Isabel, with her
_Mrs. Brown._ May God bless little Freddie.
such a man. Do you sleep any,
John? _Mrs. Brown._ And William
Thompson's widow, our Ruth, and
_Brown._ Like a child,--all Annie, and Oliver's widow--
night in peace.

_Mrs. Brown._ I'm glad of that. _Brown._ Poor Martha.
I worried about it. Are the days When the time came, it was hard for
long and lonesome? her to leave the farm house and
Oliver behind. She kind of felt
_Brown._ All hours of the day she wouldn't see him any more.
glorious thoughts come to me.
I am kept busy reading and _Mrs. Brown._ We said almost
answering letters from my nothing while Salmon read. We
friends. I have with me my felt in our blindness God had
Bible, here. (_Placing his hand been unfaithful to you and the
on the leather-bound volume at the boys.
end of the table._) It is of
infinite comfort. I never enjoyed _Brown._ My dear wife, you must
life more than since coming to keep up your spirits. Don't blame
prison. I wish all my poor family god. He has taken away my sword of
were as composed and as happy. steel, but He has given me the
sword of the Spirit.

_Mrs. Brown._ We have become more _Mrs. Brown_. (Looking up _into
and more resigned. his face with almost a sad smile
upon her._) That sounds just like
_Brown._ Do any feel disgrace or you, John. We have become more
shame? and more resigned.

_Mrs. Brown._ Not one, John. _Brown._ Do any feel disgrace
You are, in our eyes, a noble or shame?
martyr. The chains on your legs
bind our hearts all the closer _Mrs. Brown._ Not one, John.
to you. You are, in our eyes, a noble
martyr. The chains on your
legs bind our hearts all the
_Brown._ That gives me comfort, closer to you.
Mary. No man can get
into difficulties too big to be _Brown._ Tell me more about the
surmounted, if he has a firm family.
foothold at home.
_Mrs. Brown._ Owen doesn't dare
_Mrs. Brown._ You made a mistake come home yet.
only in judging how much you
could do. _Brown._ Do you know where he is?

_Brown._ I have been a great
deal disappointed in myself for _Mrs. Brown._ Hiding among
not keeping to my plan. I acted friends in Ohio. Poor boy, he is
against my better judgment. called all kinds of vile names,
just for being with you.
_Mrs. Brown._ But after taking
the arsenal, why didn't you flee _Brown._ For the cause we have
to the mountains, as we thought all suffered much in the past;
you would? we shall have to in the future.
We should rejoice at his escape.
_Brown._ The delay was my mistake.
But in God's greater and broader _Mrs. Brown._ I do, John. And
plan, maybe it was infinitely Oliver and Watson _did die_ for
better. It was fore-ordained to a great and good cause!
work out that way, determined
before the world was made. (_Said with spirit._)

_Mrs. Brown._ His ways are _Brown._ Some day, all the
mysterious and wonderful. people of the earth will say that.

(_Avis comes in._) (_Avis comes in._)

There are several faults in the original dialogue, but perhaps the chief is not regarding the principle that clearness dramatically consists, not merely in stating needed facts, but in so stating them that interest is not allowed to lapse. The original dialogue was scrappy, lacking sequence, not so much of thought as of emotion. If it be said that at such a moment talk is often fitful, it must be remembered that our time-limits forbid giving every word said in such a scene. We must present merely its essentials. Only in that way may a play, a condensed presentation of life, hope to give a total effect for a scene equal to that of the original. The re-ordered dialogue of the right-hand column seeks merely to bring together ideas really closely related, and to move, in a way in keeping with the characters, from lesser to stronger emotion. With the disappearance of the scrappy effect, is not the result clearer? Even now, the dialogue might well be condensed and made emotionally more significant.

If we let the dialogue of a play merely state necessary facts, what is the result? At the worst, something like the left-hand column. Two young women, one the married hostess and the other the friend of her girlhood, are opening their morning mail on the piazza. Serena, the hostess, has known nothing of the engagement of Elise to Teddy.

ORIGINAL REVISION

_Elise._ (_Looking up from her_ _Elise._ Is he coming?
_letters._) Is he coming?
_Serena._ I don't know yet, but I
_Serena._ I don't know yet, but I wish he were still in South Africa.
wish he were still in South Look at this: (_Showing letter_.) A
Africa. If he does come, I don't letter from Aunt Deborah.
know what will happen. There's a
letter from Aunt Deborah. _Elise._ Yes?

_Elise._ Yes? What does she _Serena._ Aunt Deborah had a
want? terrible quarrel with Teddy just
before he went!
_Serena._ Did you know she
had a terrible quarrel with _Elise._ Oh, that must be all made
Teddy just before he went to up now.
South Africa?
_Serena._ Listen! (_Reading from
_Elise._ I had a vague idea letter_.) "If I see that man I'll
of it. It must all be made up have a shock," and (_with a
now and they'll be delighted despairing gesture_) she very
to meet here. gladly accepts our invitation!

_Serena._ No, she won't. She
says she's sure she'll have a
shock if she sees him and very
gladly accepts our kind
invitation because so she can
avoid meeting him.

From the left-hand column we surely do learn that a before-mentioned Teddy has been in South Africa; that he and a certain Aunt Deborah have quarreled; and that though she particularly does not wish to meet Teddy, she is coming, as he is, to visit at this house--three important points. Like everyday speech, the quoted dialogue lacks compactness. Let us first, therefore, cut out all that is not absolutely necessary. We do not need, in the first speech of Elise, anything more than the query, "Yes?" The inflection will give the rest. In the second speech of Serena we can cut "to South Africa," for we have already mentioned where Teddy has been. In the second speech of Elise, it is the words "It must be all made up now" that are important. What precedes and what follows may be omitted. Similarly, in the first and second speeches of Serena, it is the first and the third sentences which are important. The second, if given, really anticipates an effect which will be stronger later. If we change the second speech from a query to an assertion or an exclamation, we shall gain and slightly condense. It will then read, "Aunt Deborah had a terrible quarrel with Teddy just before he went!" Because we have cut the last speech of Elise, the first sentence of the next speech of Serena becomes unnecessary. It will be necessary, however, to re-phrase what remains of this final speech, so hard is it to deliver. The revised dialogue may still be poor enough, but it says all the original did in less space--that is condensation. The effect is better because we have cut out some parts, and have slightly changed others. That is selection. The slight changes have been made in order to make the sequence of ideas clearer, to suggest emotion more clearly, or to make the dialogue natural--and all that means the beginning of characterization. The final word on this dialogue is, however, that even now either speaker could utter the words of the other, and that is all wrong. Clearly, then, even in stating facts, dialogue may be bad, indifferent, and good.

The following opening of a Japanese No drama shows that even more trained writers may write dialogue with no virtue except its clearness:

TWO HEARTS

_A drama by J. Mushakoji_

SCENE: _A forest glade on the nobleman's estate. A cross for
crucifixion in the foreground. Two men A and B standing on either side
of the cross holding spears._

_A._ That fellow has behaved foolishly!

_B._ Yes, and the girl also.

_A._ It was certain that they would be killed when found out.

_B._ And nothing could prevent the discovery.

_A._ Our master is extremely indignant.

_B._ There has not been one person crucified since the present lord
succeeded.

_A._ Although the stewards have assured him that it is the established
law of the land, the present master has never given permission for the
punishment of criminals by crucifixion and fire. But now he has
announced that he will kill them in this manner, and we are
commissioned to carry out the disagreeable duty.

_B._ Even though we refused to obey the command at first and requested
him to excuse us he would not listen to our petition.

_A._ The master must have been very fond of this young girl.

_B._ Yes. Rumour has it that he became attached to her while the late
mistress was still living.

_A._ He did not care very much for his wife. Anyway, she was too
inferior to be his companion.

_B._ It was said that he did not grieve over her death.

_A._ And I have heard that the girl fainted when her mistress died.

_B._ She must have been a favourite among the other attendants who
accompanied the lady when she became the wife of the lord.

_A._ She was clever and pretty and had a strong character.

_B._ Why did the girl fall in love with that fellow, I wonder?

_A._ He is the kind of a man a woman admires.

_B._ And because the girl loved him he now receives such severe
punishment.

_A._ We can never tell. What seems good luck may mean unexpected
misfortune.

_B._ She would have been happier if she had obeyed the master's will
instead of rejecting him.

_A._ Probably she did not like him.

_B._ But he seemed to care a great deal for her.

_A._ It may not be right to say so, but his decision seems to have
been taken because of his jealousy.

_B._ Yes, that is true. I wonder why he has commanded us to prepare
only one cross.

_A._ Perhaps it is his plan to save one of them.

_B._ I don't think that could be done very well.

_A._ But someone said the master told the girl that he would save her
life if she would only desert the young man for him.

_B._ That may be so. Perhaps he intends to crucify the young man first
in the presence of the girl so as to break her obstinate spirit and
thus gain her love.

_A._ That may be so.

_B._ It is said that the young man has already repented of his love
for the girl. But she was not at all frightened when the punishment
was announced and she was informed that she was to be crucified. The
man, on the contrary, at once turned white and almost fainted when he
heard the judgment passed upon him.

_A._ But a woman is much braver in love affairs than a man.

_B._ You speak as though you had had experience!

_A._ Ha! Ha! Ha!

_B._ Perhaps the master wishes to kill the young man in as cruel a
manner as possible.

_A._ Hush! The lord is here! We are now obliged to remain silent and
witness a living drama.

_B._ And we have a dreadful task to perform.[1]

Though this omits nothing in the way of necessary information, how colorless it is! When we note how perfectly either A or B could speak the lines of the other, we see where the difficulty lies. The lines lack all characterization. The history of the drama shows that while the facts of a play may be interesting in themselves, they are much more interesting to an audience which hears them as they present themselves to well-defined characters of the story. It is axiomatic that sympathy quickens interest. Take a much better known illustration of the same point. The left-hand column gives the opening lines of the first quarto, _Hamlet_. The right-hand column shows the opening of the second quarto.

_Enter Barnardo and Francisco,
_Enter two Centinels_ two Centinels_

_1._ Stand: who is that? _Barnardo._ Whose there?

_2._ Tis I. _Francisco._ [Nay answere me.]
Stand and unfolde your selfe.

_Bar._ Long live the King.

_Fran._ Barnardo.

_Bar._ Hee.
_1._ O you come most carefully
upon your watch. _Fran._ You come most carefully
upon your houre.

_Bar._ Tis now strooke twelfe,
get thee to bed Francisco.

_Fran._ For this relief much
thanks, [tis bitter cold,] And I
am sick at heart.

_Bar._ Have you had quiet guard?

_Fran._ [Not a mouse stirring.]

_Bar._ Well, good night:
_2._ And if you meete Marcellus If you doe meete Horatio and
and Horatio, Marcellus,
The partners of my watch, bid The rivals of my watch, bid them
them make haste. make hast.

_1._ I will: See who goes there.

_Enter Horatio and Marcellus_ _Enter Horatio and Marcellus_

_Fran._ I think I heare them,
stand ho, who is there?

_Horatio._ Friends to this _Horatio._ Friends to this
ground. ground.

_Marcellus._ And leegemen to _Marcellus._ And leegemen to the
the Dane, Dane.

_Fran._ Give you good night.

O farewell honest souldier, who _Mar._ O, farewell honest souldiers,
hath relieved you? who hath relieved you?

_1._ Barnardo hath my place, _Fran._ Barnardo hath my
give you good night. place; give you good night.

(_Exit Francisco._)[2]

The first of these extracts, without question gives the necessary facts of the changing of the watch. It busies itself only with this absolutely necessary action. The second quarto identifies the speakers, and, by a different phrasing with additional lines, both characterizes them and gives the scene atmosphere. Study the re-phrasings and bracketed additions of the second scene--"Nay answere me," "Tis bitter cold," "Not a mouse stirring"--and note that this dialogue gains over the first in that it interests by what it adds as much as by the essential action.

A second quotation from _Hamlet_ in the two quartos illustrates the same point even better. The text in the left-hand column, merely stating the facts necessary to the movement of the scene, leaves to the actor all characterizing of Montano, and gives the player of Corambis only the barest hints. The second quarto text, in the right-hand column, makes Polonius so garrulous that he cannot keep track of his own ideas; shows his pride in his would-be shrewdness; indeed, rounds him out into a real character. It even makes Reynaldo a man who does not yield at once, but a person of honorable instincts who is overborne. Can there be any question which scene holds the attention better?

_Enter Corambis and Montano_ _Enter old Polonius, with his_
_man or two_

_Corambis._ Montano; here, _Polonius._ Give him this money and
these letters to my sonne, these notes Reynaldo.
And this same money with my
blessing to him, _Reynaldo._ I will my Lord.
And bid him ply his learning
good Montano. _Pol._ You shall doe marviles wisely
good Reynaldo
Before you visite him to make inquire
Of his behaviour.

_Montano._ I will my lord. _Rey._ My Lord, I did intend it.

_Cor._ You shall do very well _Pol._ Mary well said, very well
Montano, to say thus, said; look you sir,
Enquire me first what Danskers are
in Parris,
And how, and who, what meanes and
where they keepe,
What companie, at what expence, and
finding
By this encompasment, and drift of
question
That they doe know my sonne, come you
more neerer
Then your particular demands will
tuch it,
Take you as t'were some distant
knowledge of him,
I knew the gentleman, or know As thus, I know his father, and his
his father friends,
To inquire the manner of his And in part him, doe you marke this,
life, Reynaldo?
And thus; being amongst his
acquaintance, _Rey._ I, very well my Lord.
You may say, you saw him at
such a time, marke you mee, _Pol._ And in part him, but you may
say, not well,
But y'ft be he I meane, hee's very
wilde,
Adicted so and so, and there put on
him
What forgeries you please, marry none
so ranck
As may dishonour him, take heede of
that,
But sir, such wanton, wild, and
usuall slips
As are companions noted and most
knowne
To youth and libertie.

_Rey._ As gaming my Lord.

At game, or drincking, _Pol._ I, or drinking, fencing,
swearing, or drabbing, swearing.
You may go so farre. Quarrelling, drabbing, you may
go so far.
_Mon._ My Lord, that will
impeach his reputation. _Rey._ My Lord, that would dishonour
him.
_Cor._ I faith not a whit, no
not a whit, _Pol._ Fayth as you may season it in
the charge.
You must not put another scandell on
him,
That he is open to incontinencie.
That's not my meaning, but breath his
faults so quently
That they may seeme the taints of
libertie,
The flash and out-breake of a fierie
mind,
A savagenes in unreclamed blood
Of generall assault.

_Rey._ But my good Lord.

_Pol._ Wherefore should you do this?

_Rey._ I my Lord, I would know that.

_Pol._ Marry, sir, heer's my drift,
And I believe it is a fetch of wit,
You laying these slight sallies on my
sonne
As t'were a thing a little soyld with
working,
Marke you, your partie in converse,
him you would sound
Having ever seene in the prenominat
crimes
The youth you breath of guiltie, be
assur'd
Now happely hee closeth with He closes with you in this
you in the consequence, consequence,
As you may bridle it not Good sir, (or so,) or friend, or
disparage him a iote. gentleman,
According to the phrase, or the
addition
Of man and country.

_Rey._ Very good my Lord.

_Pol._ And then sir, doos a this,
What was I about to say, a doos, what was I about to say?
By the masse I was about to say
something,
Where did I leave?

_Mon._ He closeth with you _Rey._ At closes in the
in the consequence. consequence.[3]

Even the dialogue, which with broad characterization states necessary facts clearly, is by no means so effective as dialogue so absorbing by its characterization that we assimilate the facts unconsciously. Contrast the opening of _The Good Natur'd Man_ with that of _Hindle Wakes_. The first is so busy in characterizing an absent but important figure that it presents the two speakers only in the broadest way. That is, exposition exists here as its only excuse for being. In _Hindle Wakes_, the rapid development of an interesting situation through two characters who as individuals become more distinct and interesting with every line, probably conceals from most auditors or readers the fact that seven important bits of information are given before Fanny enters.