The Principles of the Art of Conversation

The cover image was created by the transcriber and is placed in the public domain.
J. P. MAHAFFY
London
MACMILLAN AND CO .
AND NEW YORK
1887
All rights reserved
MY SILENT FRIENDS
If the reader should inquire what special claims the present author can put forward to treat so complex and indeed novel a subject, the first reply is, of course, that he has thought a long time and with much care about it, and this, for a theorist, is sufficient vindication. But it may fairly be added that a writer on the principles of conversation ought to live in a country where the practice of it is confessedly on a high level, and where the average man is able to talk well. This is an additional justification. Lastly, though examples cannot teach the art, it is to be expected that the writer should not live altogether in his study, but should go out and hear as many good conversations as possible, in order to bring his theories to the practical test. These three conditions having been honestly fulfilled, the failure of the book will rather be due to want of ability than to want of honest preparation in the author.
The generality of the treatment may perhaps mislead the reader to think that there is nothing but speculation attempted. This is not so, each single case of general description being drawn from instances under the author’s own observation, so that not a few will be recognised by those who have moved in the same society. But, if justly drawn, they ought to be found in every society.
In seeking for advice among those whose conversation has supplied the best materials for his theory, the author has been fortunate enough to obtain the assistance of the Marchioness of Londonderry and Lady Audrey Buller, who have made suggestions and criticisms which he here cordially acknowledges.
Trinity College, Dublin,