"That there is good in dialect none may deny; but that good is only when it chances, as rarely, to be good dialect; when it is used with just discretion and made the effect of circumstances naturally arising, not the cause and origin of the circumstance itself. When the negro, the 'cracker' or the mountaineer dialect occurs naturally in an American story, it often gives telling effects of local color and of shading. But the negro or 'cracker' story per se can be made bearable only by the pen of a master; and even then it may be very doubtful if that same pen had not proved keener in portraiture, more just to human nature in the main, had the negro or the 'cracker' been the mere episode, acting on the main theme, and itself reacted on by that."[30]
Study carefully, as models of good character analysis and presentation, Stevenson's "Markheim;" Hawthorne's "The Great Stone Face;" Ichabod Crane in Irving's "The Legend of Sleepy Hollow;" Poe's "William Wilson;" Louisa Ellis in Wilkins' "A New England Nun;" Van Bibber in Davis' "Van Bibber and Others;" Henry St. George in James' "The Lesson of the Master."
FOOTNOTES:
[28] "Rudimentary Suggestions for Beginners in Story Writing," by E. F. Andrews. Cosmopolitan. Feb., '97.
[29] "Names in Fiction," by H. H. F. Literature. Jan. 19, '99.
[30] "The Day of Dialect," by T. C. De Leon. Lippincott's. Nov., '97.