However, the authority of Lucian is so great, and the manner itself so taking, that for these reasons, but chiefly for the sake of variety, the FIRST of the following Dialogues (and in part too, the SECOND) pretends to be of this class.
But to return to our proper subject, the serious or philosophic Dialogue.
1. I observed (and the reason now appears) that character is a subordinate consideration, in this Dialogue. The manners are to be given indeed, but sparingly, and, as it were, by accident. And this grace (which so much embellishes a well-composed work) can only be had by employing REAL, KNOWN, and RESPECTED speakers. Each of these circumstances, in the choice of a speaker, is important. The first, excites our curiosity: the second, affords an easy opportunity of painting the manners by those slight and careless strokes, which alone can be employed for this purpose, and which would not sufficiently mark the characters of unknown or fictitious persons: and the last gives weight and dignity to the whole composition.
By this means, the dialogue becomes, in a high degree, natural, and, on that account, affecting: a thousand fine and delicate allusions to the principles, sentiments, and history of the Dialogists keep their characters perpetually in view: we have a rule before us, by which to estimate the pertinence and propriety of what is said: and we are pleased to bear a part, as it were, in the conversation of such persons.
Thus the old writers of Dialogue charm us, even when their subjects are unpleasing, and could hardly merit our attention: but when the topics are of general and intimate concern to the reader, by being discussed in this form, they create in him the keenest appetite; and are, perhaps, read with a higher pleasure, than we receive from most other compositions of literary men.
2. It being now apprehended what persons are most fit to be shewn in Dialogue, the next inquiry will be, concerning their style or manner of expression. And this, in general, must be suited to the condition and qualities of the persons themselves: that is, it must be grave, polite, and something raised above the ordinary pitch or tone of conversation; for, otherwise, it would not agree to the ideas we form of the speakers, or to the regard we owe to real, known, and respected persons, seriously debating, as the philosophic dialogue imports in the very terms, on some useful or important subject.
Thus far the case is plain enough. The conclusion flows, of itself, from the very idea of a philosophic conversation between such men.
But as it appeared that the speaker’s proper manners are to be given, in this Dialogue, it may be thought (and, I suppose, commonly is thought) that the speaker’s proper style or expression should be given, too.
Here the subject begins to be a little nice; and we must distinguish between the general cast of expression, and its smaller and more peculiar features.
As to the general cast or manner of speaking, it may be well to preserve some resemblance of it; for it results so immediately from the speaker’s character, and sometimes makes so essential a part of it, that the manners themselves cannot, otherwise, be sufficiently expressed.