[54] P. V. Stock, Paris.
[55] The Duchess of Malfi, Act I, Sc. 2. Webster. Belles-Lettres Series. M. W. Sampson, ed. D. C. Heath & Co., Boston and New York.
[56] Colombe’s Birthday, Act IV Scene 1. Robert Browning. Belles-Lettres Series A. Bates, ed. D. C. Heath & Co., Boston and New York.
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