When your narrations have had success, keep a modest countenance; leave others to point out the striking parts which have pleased them. The surest means of not having the approbation of others, in actions as well as other things, is to solicit it, whether it be by looks, or by words.
As every hearer is obliged to listen or understand without objecting, the consequence is, that we should feel our ground before speaking, and ask if such or such a thing is known to the company. When a story has been published in the newspapers, so that [p115] it is not entirely new, or seems borrowed from a compilation of anas
, if we attribute it to some person of our acquaintance, (of course one that is absent,) an ineffable ridicule very properly stigmatizes the narrator.
We come now to what seems to me the most difficult part of conversation, and if you are not sure of being able to class your ideas with regularity, to express them with much clearness, and an easy elegance, do not have the temerity to wish to analyze a book, or a dramatic piece. You would be laying up for yourself a rude mortification, which would have an unfavorable influence on your entrée
into society. You would be wrong, however, in concluding, that I condemn you to perpetual silence; I only wish to inspire you with a salutary diffidence, in order to preserve you from such a rude check, and to put it in your power some future day to answer, in this particular, the wishes of a distinguished and brilliant assembly.
Begin by putting down upon paper a hasty sketch of a short piece, as for instance a vaudeville, or a little comedy. You will do this until, being sure of the manner in which you would embrace the ensemble, and dispose of the details, you can produce it without embarrassment. When arrived at this point, abstain from these kinds of analysis, which though indeed more correct, seem labored. They [p116] have besides less freedom, appropriateness, and grace.
Know this, and remember it well, that every other preparation than thinking what you are about to say, will make you acquire two intolerable faults, affectation and stiffness.
To conclude, I give this advice only to those persons who, by a quick and penetrating perception, by a love of the fine arts, and by a peculiar readiness, find themselves able to speak properly of literary productions.
Those who are less engaged in these things, should content themselves with simply and briefly explaining a subject, and of mentioning the emotion they felt; with speaking of some brilliant passage, and adding that they do not pretend to pronounce judgment.
The first degree of digression is the parenthesis; provided it is short, natural, and seldom repeated; and that you take care to announce it always; and finally, in order not to abuse it, you should make a skilful use of it. The second degree of digression becomes more nice, for it includes those accessory reflections, those common but agreeable and well-settled expressions; those general or particular allusions, which are only to be used with a peculiar emphasis, which is to language what the [p117] italic character is to printing. This method of speaking in italics may be striking and artless; but it often becomes obscure and trivial; the habit is dangerous, and one should use this difficult digression only before intimate friends.