The Project Gutenberg eBook ofConversation

The Project Gutenberg eBook ofConversationThis ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.Title: ConversationAuthor: Mary Greer ConklinRelease date: January 18, 2009 [eBook #27830]Language: EnglishCredits: Produced by Sigal Alon, Carla Foust, Fox in the Stars andthe Online Distributed Proofreading Team athttp://www.pgdp.net*** START OF THE PROJECT GUTENBERG EBOOK CONVERSATION ***

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online atwww.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: ConversationAuthor: Mary Greer ConklinRelease date: January 18, 2009 [eBook #27830]Language: EnglishCredits: Produced by Sigal Alon, Carla Foust, Fox in the Stars andthe Online Distributed Proofreading Team athttp://www.pgdp.net

Title: Conversation

Author: Mary Greer Conklin

Release date: January 18, 2009 [eBook #27830]

Language: English

Credits: Produced by Sigal Alon, Carla Foust, Fox in the Stars andthe Online Distributed Proofreading Team athttp://www.pgdp.net

*** START OF THE PROJECT GUTENBERG EBOOK CONVERSATION ***

Transcriber's noteMinor punctuation errors have been changed without notice. Printer errors have been changed, and they are indicated with amouse-hoverand listed at theend of this book.

Minor punctuation errors have been changed without notice. Printer errors have been changed, and they are indicated with amouse-hoverand listed at theend of this book.

What to Say and How to Say It

MARY GREER CONKLIN

FUNK & WAGNALLS COMPANY

NEW YORK AND LONDON

1912

FUNK & WAGNALLS COMPANY

[Printed in the United States of America]

Published November, 1912

IN LOVING MEMORY

A. E. C.

WHOSE DELIGHTFUL CONVERSATION STIMULATED MY YOUTH

AND

IN GRATEFUL ACKNOWLEDGMENT

OF THEIR SEVERE CRITICISM AND FRIENDLY AID

CHARLES TOWNSEND COPELAND

ASSISTANT PROFESSOR OF ENGLISH AT HARVARD COLLEGE

AND

FRANK WILSON CHENEY HERSEY

INSTRUCTOR IN ENGLISH AT HARVARD COLLEGE

"The best book that was ever written upon good breeding," said Dr. Johnson to Boswell, "the best book, I tell you,Il Cortegianoby Castiglione, grew up at the little court of Urbino, and you should read it."Il Cortegianowas first published by the Aldine Press at Venice, in 1528. Before the close of the century more than one hundred editions saw the light; French, Spanish, English, and German versions followed each other in rapid succession, and theCortegianowas universally acclaimed as the most popular prose work of the Italian Renaissance. "Have you read Castiglione'sCortegiano?"asks the courtier Malpiglio, in Tasso's dialog. "The beauty of the book is such that it deserves to be read in all ages; as long as courts endure, as long as princes reign and knights and ladies meet, as long as valor and courtesy hold a place in our hearts, the name of Castiglione will be held in honor."

In hisBook of the Courtier, Castiglione said very little about perfection of speech; he discust only the standard of literary language and the prescribed limits of the "vulgar tongue," or the Italian in which Petrarch and Boccaccio had written. What he says about grace, however, applies also to conversation: "I say that in everything it is so hard to know the true perfection as to be well-nigh impossible; and this because of the variety of opinions. Thus there are many who will like a man who speaks much, and will call him pleasing;some will prefer modesty; some others an active and restless man; still others one who shows calmness and deliberation in everything; and so every man praises or decries according to his mind, always clothing vice with the name of its kindred virtue, or virtue with the name of its kindred vice; for example, calling an impudent man frank, a modest man dull, an ignorant man good, a knave discreet, and so in all things else. Yet I believe that there exists in everything its own perfection, altho concealed; and that this can be determined through rational discussion by any having knowledge of the thing in hand."

If this superb courtier could not reach decisions regarding perfection in matters of culture and polish, I could scarcely hope to have entirely reconciled the contending phases of conversation, even if I have succeeded in impressing positively the evident faults to be avoided, and the avowed graces of speech to be attained. With Castiglione as a model I can only say regarding conversation what he said about the perfect courtier: "I praise the kind of courtier that I most esteem, and approve him who seems to me nearest right, according to my poor judgment.... I only know that it is worse not to wish to do well than not to know how."

Those heretofore interested in agreeable speech will at once recognize my obligation to the few men and women who have written entertainingly on conversation, and from whom I have often quoted. My excuse for offering a new treatment is that I may perhaps have succeeded in bringing the subject more within the reach of the general public, and to have written more exhaustively. The deductions I have made are the result of an affectionate interest in mysubject and of notes taken during a period of many years. If the book affords readers one-half the pleasure and stimulus it has brought to me, my labors will be happily rewarded.

Beyond my chief critics, to whom I dedicate this volume, I express my gratitude to Mrs. Fannie Bloomfield Zeisler, the pianiste, and to Dr. Henrietta Becker von Klenze, formerly of the University of Chicago, whose interest in all I have ever attempted to do has been an unfailing support, and whose suggestions have added value to this work; to Dr. Gustavus Howard Maynadier, of Harvard College, for friendly assistance in many ways; and to Mr. George Benson Weston, of Harvard College, who has been kind enough to read the manuscript, and by whose knowledge of the literature of many languages I have greatly profited.

Boston, Massachusetts,August, 1912.

Chapter I

INTRODUCTORY

WHAT CONVERSATION IS AND WHAT IT IS NOT

Chapter II

DISCUSSIONVERSUSCONTROVERSY

Chapter III

GOSSIP

Chapter IV

WHAT SHOULD GUESTS TALK ABOUT AT DINNER?

Chapter V

TALK OF HOST AND HOSTESS AT DINNER

Chapter VI

INTERRUPTION IN CONVERSATION

Chapter VII

POWER OF FITNESS, TACT, AND NICETY IN BUSINESS WORDS.

Chapter VIII

CONCLUSION

What Is the Aim of Conversation?—The Talk of Coleridge and Macaulay—Browning's Delightful Conversation—Why We Go into Society—The Elements of Good Conversation—What It Is Not—Genius and Scholarship Not Essential to Good Conversation.

Good conversation is more easily defined by what it is not than by what it is. To come to any conclusions on this subject, one should first determine: What is the aim of conversation? Should the intention be to make intercourse with our fellows a free school in which to acquire information; should it be to disseminate knowledge; or should the object be to divert and to amuse? It might seem that any person with a good subject must talk well and be interesting. Alas! highly cultivated people are sometimes the most silent. Or, if they talk well, theyare likely to talktoowell to be good conversationalists, as did Coleridge and Macaulay, who talked long and hard about interesting subjects, but were nevertheless recorded as bores in conversation because they talkedatpeople instead of talkingwiththem. In society Browning was delightful in his talk. He would not discuss poetry, and was as communicative on the subject of a sandwich or the adventures of some woman's train at the last drawing-room as on more weighty subjects. Tho to some he may have seemed obscure in his art, all agreed that he was simple and natural in his discourse. Whatever he talked about, there could not be a moment's doubt as to his meaning.

From these facts concerning three men of genius, it can be inferred that we do not go into society to get instruction gratis; that good conversation isnot necessarily a vehicle of information; that to be natural, easy, gay, is the catechism of good talk. No matter how learned a man is, he is often thrown with ordinary mortals; and the ordinary mortals have as much right to talk as the extraordinary ones. One can conceive, on the other hand, that when geniuses have leisure to mix in society their desire is to escape from the questions which daily burden their minds. If they prefer to confine themselves to an interchange of ideas apart from their special work, they have a right to do so. In this shrinking of people of genius from discussing the very subjects with regard to which their opinion is most valuable, there is no doubt a great loss to the world. But unless they themselves bring forth the topic of their art, it must remain in abeyance. Society has no right to force their mentioning it. This leads us, then, to the conclusion that the aim of conversation is to distract, to interest, to amuse; not to teach nor to be taught, unless incidentally. In good conversation people give their charm, their gaiety, their humor, certainly—and their wisdom, if they will. But conversation which essentially entertains is not essentially nonsense. Some one has drawn this subtle distinction: "I enter a room full of pleasant people as I go to see a picture, or listen to a song, or as I dance—that I may amuse myself, and invigorate myself, and raise my natural spirits, and laugh dull care away. True, there must be ideas, as in all amusements worthy of the name there is a certain seriousness impossible to define; only they must be kept in the background."

The aim and design of conversation is, therefore, pleasure. This agreed, we can determine its elements. Conversation, above all, is dialog, not monolog. It is a partnership, not an individual affair. It is listening as well as talking. Monopolizing tyrants of society who will allow no dog to bark in their presence are not conversationalists; they are lecturers. There are plenty of people who, as Mr. Benson says, "possess every qualification for conversing except the power to converse." There are plenty of people who deliver one monolog after another and call their talk conversation. The good conversationalists are not the ones who dominate the talk in any gathering. They are the people who have the grace to contribute something of their own while generously drawing out the best that is in others. They hazard topics for discussion and endeavor each to give to the other the chance of enlarging upon them. Conversation is the interchange of ideas; it is the willingness to communicate thought on all subjects,personal and universal, and in turn to listen to the sentiments of others regarding the ideas advanced.

Good conversation is the nimbleness of mind to take the chance word or the accidental subject and play upon it, and make it pass from guest to guest at dinner or in the drawing-room. It is the discussion of any topic whatever, from religion to the fashions, and the avoidance of any phase of any subject which might stir the irascible talker to controversy. As exprest by Cowper in his essay, "Conversation":

"Ye powers who rule the tongue, if such there are,And make colloquial happiness your care,Preserve me from the thing I dread and hate—A duel in the form of a debate."

Wearing one's heart on one's sleeve is good for one conversationally. Ready conversers are people who givetheir thought to others in abundance; who make others feel a familiar heartbeat. No one can approach so near to us as the sincere talker, with his sympathy and his willing utterances. Luther, who stands out as one of the giants of the Renaissance, came into close human touch with his friends in talk; in conversation with him they could always feel his fierce and steady pulse.

Another element of successful conversation is good-humored tolerance, the willingness to bear rubs unavoidably occasioned. The talker who cavils at anything that is said stops conversation more than if he answered only yes or no to all remarks addrest to him. Still another element of good conversation is the right sort of gossip; gossip which is contemporary and past history of people we know and of people we don't know; gossip which is in no way a temptation to detract. Raillery mayalso become a legitimate part of good conversation, if the ridicule is like a good parody of good literature—in no way malignant or commonplace. "Shop," if nicely adjusted to the conversational conditions, may have its rightful share in interesting talk. Friends often meet together just to talk things over, to get each other's point of view, to hear each other tell of his own affairs, of his work and of his progress. "Shop" talk was sometimes the essence of those famous conversations of the seventeenth century coffee-house. Anecdotes are a natural part of conversation, but they become the bane of talk unless kept in strict restraint.

There are times when good conversation is momentary silence rather than speech. It is only the haranguers who feel it their duty to break in with idle and insincere chatter upon a pleasant and natural pause. A part of the goodfellowship of acceptable conversation is what one might call "interest questions." "Interest questions" are just what the words imply, and have about them no suspicion of the inquisitive and impertinent catechizing which only fools, and not even knaves, indulge in.

The negative phase of conversation may largely grow out of a discussion of the positive. By discovering what conversation is, we find, in a measure, what it is not. It is not monolog nor monopolizing; it is not lecturing nor haranguing; it is not detracting gossip; it is not ill-timed "shop" talk; it is not controversy nor debate; it is not stringing anecdotes together; it is not inquisitive nor impertinent questioning. There are still other things which conversation is not: It is not cross-examining nor bullying; it is not over-emphatic, nor is it too insistent, nor doggedly domineering, talk. Nor is good conversationgrumbling talk. No one can play to advantage the conversational game of toss and catch with a partner who is continually pelting him with grievances. It is out of the question to expect everybody, whether stranger or intimate, to choke in congenial sympathy with petty woes. The trivial and perverse annoyances of one's own life are compensating subjects for conversation only when they lead to a discussion of the phase of character or the fling of fate on which such-and-such incidents throw light, because the trend of the thought then encourages a tossing back of ideas.

Perhaps the most important thing which good conversation is not, is this: It is not talking for effect, or hedging. There are two kinds of hedging in conversation: one which comes from failing to follow the trend of the discussion; another which is the result of talking at random merely to make bulk. The first is tolerable; the last is contemptible. The moment one begins to talk for effect, or to hedge flippantly, he is talking insincerely. And when a good converser runs against this sort of talker, his heart calls out, with Carlyle, for an empty room, his tobacco, and his pipe. It is maintained by some one that there are three kinds of a bore: the person who tells the plot of a play, the one who tells the story of a novel, and the one who tells his dreams. This may be going too far with regard to dreams; for dreams, if handled in the right way, are easily made a part of interesting talk. But in sophisticated society books and plays are discust only by talking about the prevailing idea round which the story centers. They are criticized, not outlined. The most learned and cultivated talkers do not attempt the difficult and unrewardedfeat of giving a concise summary of plots.

Good conversation, then, is the give and take of talk. A person who converses well also listens well. The one is inseparable from the other. Anything can be talked about in cultivated society provided the subjects are handled with humanity and discrimination. Even the weather and the three dreadful D's of conversation, Dress, Disease, and Domestics, may be made an acceptable part of talk if suited to the time, the place, and the situation. Nor is genius or scholarship essential to good conversation. The qualities most needed are tact, a sincere desire to please, and an appreciation of the truth that the man who never says a foolish thing in conversation will never say a wise one.

Dr. Johnson's and Robert Louis Stevenson's Opinion of Discussion—Politeness and Discussion—The Hostess in Discussion—Flat Contradiction in Discussion—Polemical Squabbles—Brilliant Discussion in France—The Secret of Delightful Conversation in France—Leading the Talk—Topics for Discussion—Gladstone's Conversation.

Many people object to discussion, but they are invariably those on the midway rounds of the conversational ladder; people to whom the joy of the amicable intellectual tussle is unknown, and to whom the highest standards of the art of talking do not appeal. Where there is much intellectual activity discussion is sure to arise, for the simple reason that people will not think alike. Polite discussion is the most difficult and the most happy attainment of society as it is of literature; and why should oral discussion be less attractive than written? Dr.Johnson used to express unbounded contempt for all talk that was not discussion; and Robert Louis Stevenson has given us frankly his view: "There is a certain attitude, combative at once and deferential, eager to fight yet most averse to quarrel, which marks out at once the talkable man. It is not eloquence, nor fairness, nor obstinacy, but a certain proportion of all these that I love to encounter in my amicable adversaries. They must not be pontiffs holding doctrine, but huntsmen questing after elements of truth. Neither must they be boys to be instructed, but fellow-students with whom I may argue on equal terms." From Mr. John B. Yeats, one of the many Irishmen who have written tellingly on this interesting subject of human intercourse, we have: "Conversation is an art, as literature is, as painting is, as poetry is, and subject to the same laws from which nothinghuman is excluded, not even argument. There is literature which argues, and painting which argues, and poetry which argues, so why not conversation which argues? Only argument is the most difficult to mold into the most blessed shape of art."

Some people conceive an everlasting opposition between politeness and earnest discussion. Politeness consists, they think, in always saying, "yes, yes," or at most a non-committal "indeed?" to every word addrest to them. This is apt to be our American vice of conversation, where, for lack of courage in taking up discussion, talk often falls into a series of anecdotes. In Germany the tendency is to be swept away in discussion to the point of a verbal dispute.

There is no greater bore in society than the person who agrees with everybody. Discussion is the arena in which we measure the strength of one another's minds and run a friendly tilt in pleasing self-assertiveness; it is the common meeting-ground where it is understood that Barnabas will take gentle reproof from Paul, and Paul take gentle reproof from Barnabas. Those who look upon any dissent from their views as a personal affront to be visited with signs of resentment are no more fit for brilliant talk than they are fit for life and its vicissitudes. "Whoso keepeth his mouth and his tongue keepeth his soul in peace," it is true; but he also keeps himself dead to all human intercourse and as colorless in the world as an oyster. "Too great a desire to please," says Stevenson, "banishes from conversation all that is sterling.... It is better to emit a scream in the shape of a theory than to be entirely insensible to the jars and incongruities of life and take everything as it comes in a forlorn stupidity." This is equivalent totelling the individual who treads too nicely and fears a shock that he had pleased us better had he pleased us less, which is the subtle observation of Mr. Price Collier writing in theNorth American Review: "It is perhaps more often true of women than of men that they conceive affability as a concession. At any rate, it is not unusual to find a hostess busying herself with attempts to agree with all that is said, with the idea that she is thereby doing homage to the effeminate categorical imperative of etiquette, when in reality nothing becomes more quickly tiresome than incessant affirmatives, no matter how pleasantly they are modulated. Nor can one avoid one of two conclusions when one's talk is thus negligently agreed to: either the speaker is confining herself entirely to incontradictable platitudes, or the listener has no mind of her own; and in either case silence were golden. In this connection it were well to recall the really brilliant epigram of the Abbé de Saint-Réal, that 'On s'ennuie presque toujours avec ceux que l'on ennuie.' For not even a lover can fail to be bored at last by the constant lassitude of assent expressing itself in twin sentiments to his own. 'Coquetting with an echo,' Carlyle called it. For, tho it may make a man feel mentally masterful at first, it makes him feel mentally maudlin at last; and, as the Abbé says, to be bored one's self is a sure sign that one's companion is also weary."

Tho polite dissent is desirable in discussion, flat contradiction is contemptible. Dean Swift affirms that a person given to contradiction is more fit for Bedlam than for conversation. In discussion, far more than in lighter talk, decency as well as honor commands that each partner to the conversational game conform to the niceties and fairness of it. "I don't think so," "Itisn't so," "I don't agree with you at all," are too flat and positive for true delicacy and refinement in conversation. "I have been inclined to think otherwise," "I should be pleased to hear your reasons," "Aren't you mistaken?" are more acceptable phrases with which to introduce dissent. In French society a discrepancy of views is always manifested by some courtesy-phrase, such as "Mais, ne pensez-vous pas" or "Je vous demande pardon"—the urbane substitutes for "No, you are wrong," "No, it isn't." Our own Benjamin Franklin, whose appreciation of the conversational art in France won completely the hearts of the French people, tells us in his autobiography that in later life he found it necessary to throw off habits acquired in youth: "I continued this positive methodfor some years, but gradually left it, retaining only the habit of expressing myself in terms of modest diffidence: never using when I advanced anything that might possibly be disputed, the words 'certainly,' 'undoubtedly,' or any others that give the air of positiveness to an opinion, but rather say, 'it appears to me,' or 'I should think it so-and-so, for such-and-such a reason,' or 'I imagine it to be so,' or it is so 'if I am not mistaken.'"

Unyielding obstinacy in discussion is deadening to conversation, and yet the extreme contrary is crippling. Open resentment of any attempt at warmth of speech is paralysis and torpor to talk. When one meets a hostess, or a conversational partner, "whose only pleasure is to be displeased," one is reminded of the railway superintendent who kept the wires hot with fault-finding messages bearing his initials "H. F. C." until hecame to be known along the road as "Hell For Certain." People of a resentful turn of mind, whose every sentence is a wager, and who convert every word into a missile, are fit for polemical squabbles, but not for polite discussion. Those raucous persons who, when their opponents attempt to speak, cry out against it as a monstrous unfairness, are very well adapted to association with Kilkenny cats, but not with human beings. It is in order to vanquish by this means one who might otherwise outmatch them entirely that they thus seek to reduce their opponent to a mere interjection. "A man of culture," says Mr. Robert Waters, "is not intolerant of opposition. He frankly states his views on any given subject, without hesitating to say wherein he is ignorant or doubtful, and he is ready for correction and enlightenment wherever he finds it." Such a man never presses hishearers to accept his views; he not only tolerates but considers opposed opinions and listens attentively and respectfully to them. Hazlitt said of the charming discussion of Northcote, the painter: "He lends an ear to an observation as if you had brought him a piece of news, and enters into it with as much avidity and earnestness as if it interested only himself personally."

Of all the tenets of good conversation to which the French give heed, their devotion to listening is the most notable. From this judiciously receptive attitude springs their uninterrupting shrug of assent or disapproval. But listening is only one of their many established conversational dicta: "The conversation of Parisians is neither dissertation nor epigram; they have pleasantry without buffoonery; they associate with skill, with genius, and with reason, maxims and flashes of wit, sharp satire, andsevere ethics. They run through all subjects that each may have something to say; they exhaust no subject for fear of tiring their hearer; they propose their themes casually and they treat them rapidly; each succeeding subject grows naturally out of the preceding one; each talker delivers his opinion and supports it briefly; no one attacks with undue heat the supposition of another, nor defends obstinately his own; they examine in order to enlighten, and stop before the discussion becomes a dispute." Such was Rousseau's description of Parisian conversation; and some one else has declared that the French are the only nation in the world who understand asalonwhether in upholstery or talk. "Every Britisher," said Novalis more than a hundred years ago, "is an island"; and Heine once defined silence as "a conversation with Englishmen." We Americans, tho not so reservedin talk as our English brothers, are less respectful to conversational amenities; and both of us are far behind the French in the gracious art of verbal expression. Not only is the spoken English of the cultured Irish the most cosmopolitan and best modulated of any English in the world, but the conversation of cultivated Irishmen more adequately approaches the perfection of the French.

It is as illuminating to study the best models in human intercourse as to study the best models in literature, or painting, or any other art. One of the distinct elements in French conversation is that it is invariably kept general; and by general I mean including in the talk all the conversational group as opposed totête-à-têtedialog. Many people disagree with the French in this. Addison declared that there is no such thing as conversation except between two persons; and Ralph Waldo Emerson and Walter Savage Landor said something of the same sort. Shelley was distinctly atête-à-têtetalker, as Mr. Benson, the present-day essayist, in some of his intimate discourses, proclaims himself to be. But Burke and Browning, the best conversationalists in the history of the Anglo-Saxon race, like all the famous women of the Frenchsalon, from Mme. Roland to Mme. de Staël, kept pace with any number of interlocutors on any number of subjects, from the most abstruse science to the lightestjeu d'esprit. Good talk between two is no doubt a duet of exquisite sympathy; but true conversation is more like a fugue in four or eight parts than like a duet. Furthermore, general andtête-à-têteconversation have both their place and occasion. At a dinner-table in France private chats are very quickly dispelled by some thoughtful moderator. Dinner guestswho devote themselves to each other alone are not tolerated by the French hostess as by the English and American. Becausetête-à-têteconversation is considered good form so generally among English-speaking peoples, I have in other essays adapted my comments on this subject to our customs; but talk which is distributed among several who conform to the courtesies and laws of good conversation is the best kind of talk. In general talk every one ought to have a voice. It is the undue humility of some and the arrogance and polemical tendency of others that prevent good general conversation. People have only to begin with three axioms: the first, that everybody is entitled, and often bound, to form his own opinion; second, that everybody is equally entitled to express that opinion; and third, that everybody's opinion is entitled to a hearing and to consideration, not onlyon the ground of courtesy, but because any opinion honestly and independently formed is worth something and contributes to the discussion.

Another principle of French conversation is that it is kept personal, in the sense, I mean, that the personality of the speakers suffuses it. "The theme being taken," as Stevenson says, "each talker plays on himself as on an instrument, affirming and justifying himself." This counter-assertion of personality, to all appearances, is combat, but at bottom is amicable. An issue which is essentially general and impersonal is lost in the accidental conflicts of personalities, because the quality which plays the most important part is presence of mind, not correct reasoning. A conversationalist whose argument is wholly fallacious will often, by exercise of verbal adroitness, dispose of an objection which is really fatal. The fullswing of the personalities of the speakers in a conversation is what makes the flint strike fire. It is only from heated minds that the true essence of conversation springs; and it is in talk which glances from one to another of a group, more than in dialog, that this personality is reflected. "It is curious to note," says an editorial inThe Spectator, "how very much dialog there is in the world, and how little true conversation; how very little, that is, of the genuine attempt to compare the different bearing of the same subject on the minds of different people. It is the rarest thing in the world to come, even in the best authors, on a successful picture of the different views taken by different minds on the same subject, and the grounds of the difference."

Quite as noticeable an element in French conversation is the attitude of the conversers to their subject. Theynever try to settle matters as if their decisions were the last court of appeal, and as if they must make frantic effort to carry their side of the question to victory. They discuss for the pleasure of discussing; not for the pleasure of vanquishing, nor even of convincing. They discuss, merely; they do not debate, nor do they enter into controversy.

One of the greatest conversational charms of the French is their amenity in leading talk. This grows out of a universal eagerness in France to take pains in conversation and to learn its unwritten behests. The uninitiated suspect little of the insight and care which matures even the natural conversational ability of a Madame de Staël or a Francisque Sarcey. The initiated know that the same principles which make the French prodigious conversationalists make them capable and charming hosts and hostesses. Thetalker who can follow in conversation knows how to lead, and vice versa. Without a leader or "moderator," as the admirable Scotch word has it, conversation is apt to become either tepid or demoralized; and often, for the want of proper and sophisticated leading, discussion that would otherwise be brilliant deteriorates into pandemonium. As paradoxical as it sounds on first thought, it is nevertheless true that thoroughly good conversation is impossible where there is too much talk. Some sort of order must be imperceptibly if not unconsciously maintained, or the sentences clash in general conversation. Leading conversation is the adroit speech which checks the refractory conversationalist and changes imperceptibly the subject when it is sufficiently threshed or grows over-heated; it is guiding the talk without palpable break into fresh fields of thought; it is thetact with which, unperceived, the too slow narration of a guest is hurried by such courteous interpolations as "So you got to the inn, and what then?" or, "Did the marriage take place after all?"; it is the art with which the skilful host or hostess sees that all are drawn into the conversational group; it is the watchfulness that sends the shuttle of talk in all directions instead of allowing it to rebound between a few; it is the interest with which a host or hostess solicits the opinions of guests, and develops whatever their answers may vaguely suggest; it is the care with which an accidentally interrupted speech of a guest is resuscitated; it is the consideration which puts one who arrives late in touch with the subject which was being discust just before his appearance. It is this concern for conversational cues which gives any host or hostess an almost unbounded power insocial intercourse; for he is the best talker who can lead others to talk well.

It goes without saying that a people who have assimilated all the foregoing tenets of good conversation are never disjointed in their talk. Their consummate art of listening is responsible for their skill in following the logical trend of the discourse. This may be considered a national trait. In decent French society there are no abrupt transitions of thought in the different speeches. The speech of each speaker grows naturally out of what some one of his conversational partners has just been saying, or it is duly prefaced by an introductory sentence connecting it with a certain preceding speech. They know that, once embarked, no converser can tell where the give and take of talk will carry him; but they also know that this does not necessitate awkward and direct changes of subject. The weakness ofinattention and of unconscious shunting in conversation is virtually unknown in good society in France.

Is it any wonder that in a country where conversation is considered an art capable of cultivation and having certain fixt principles, so many French women of humble birth, like Sophie Arnould and Julie Lespinasse, have earned their way to fame by their conversational powers? Is it any wonder that in France polite discussion is made the most exhilarating and delightful exercise in the world?

One reason there is so little acceptable conversational discussion is the indisposition of people in society to say what they think; their unwillingness to express their whole minds on any one subject. It is this element of unfettered expression or revelation which makes literature entertaining; why then withhold thought too cautiously from conversation? The habit of evasion is cowardly as well as unsocial; and nothing so augments conversation as being pleasantly downright; letting people know where to find you. The most preposterous views get respect if uttered intrepidly. Sincere speech is necessary to good conversation of any kind, and especially is it essential to discussion. One of the stupidest of conversational sins is quibbling—talking insincerely, just for the sake of using words, and shifting the point at issue to some incidental, subordinate argument on which the decision does not at all depend. It is the intellectually honest person who sparkles in discussion.

Another reason why discussion is waning is the disrespect we feel for great subjects. We only mention them, or hint at them; and this cannot lead to very brilliant talk. Tho prattle and persiflage have their place in conversation, talkers of the highest order tire of continually encouraging chit-chat. "What a piece of business; monstrous! I have not read it; impossible to get a box at the opera for another fortnight; how do you like my dress? It was immensely admired yesterday at the B——s; how badly your cravat is tied! Did you know that —— lost heavily by the crash of Thursday? That dear man's death gave me a good fit of crying; do you travel this summer? Is Blank really a man of genius? It is incomprehensible; they married only two years ago." This sort of nimble talk is all very well; but because one likes sillibub occasionally is no proof that one is willing to discard meat entirely. Conversational topics can be too trivial for recreation as well as too serious; and even important subjects can be handled in a light way if necessary. "Clever people are the best encyclopedias," said Goethe; and the great premier Gladstone was a charming man in society, though he never talked on any but serious subjects. He was noted for his ability to pump people dry without seeming in the least to probe. "True conversation is not content with thrust and parry, with mere sword-play of any kind, but should lay mind to mind and show the real lines of agreement and the real lines of divergence. Yet this is the very kind of conversation which seems to me so very rare." In order that a great subject shall be a good topic of conversation, it must provoke an enthusiasm of belief or disbelief; people must have decided opinions one way or the other. I believe with Stevenson that theology, of all subjects, is a suitable topic for conversational discussion, and for the reason he gives: that religion is the medium through which all the world considers life, andthe dialect in which people express their judgments. Try to talk for any length of time with people to whom you must not mention creeds, morals, politics, or any other vital interest in life, and see how inane and fettered talk becomes.

The tranquil and yet spirited discussion of great subjects is the most stimulating of all talk. The thing to be desired is not the avoidance of discussion but the encouragement of it according to its unwritten codes and precepts. "The first condition of any conversation at all," says Professor Mahaffy of Dublin, "is that people should have their minds so far in sympathy that they are willing to talk upon the same subject, and to hear what each member of the company thinks about it. The higher condition which now comes before us is, that the speaker, apart from the matter of the conversation, feels an interest in his hearers as distinct persons, whose opinions and feelings he desires to know.... Sympathy, however, should not be excessive in quality, which makes it demonstrative. We have an excellent word which describes the over-sympathetic person, and marks the judgment of society, when we say that he or she isgushing. To be too sympathetic makes discussion, which implies difference of opinion, impossible." Those who try to discover how far conversation is advanced by sympathy and hindered by over-sympathy; those who attempt to detect to what extent wholesome discussion is degraded by acrid controversy, need not be afraid of vigorous intellectual buffeting. Discussion springs from human nature when it is under the influence of strong feeling, and is as much an ingredient of conversation as the vocalizing of sounds is a part of the effort of expressing thought.

Gossip in Literature—Gossip Comes from Being of One Kindred Under God—Gossip and the Misanthrope—Personal History of People We Know and People We Don't Know—Gossip of Books of Biography—Interest in Others Gives Fellowship and Warmth to Life—Essential Difference Between Slander and Innocent Gossip—The Psychology of the Slanderer—The Apocryphal Slanderer—"Talking Behind Another's Back"—Personal Chat the Current Coin of Conversation.

It seems strange that, in all the long list of brilliant dissertations on every subject under the sun, no English essayist should have yielded a word under the seductive title of "Gossip." Even Leigh Hunt, who wrote vivaciously and exquisitely on so many light topics, was not attracted by the enticing possibilities of this subject to which both the learned and the unlearned are ready at all times to bestow a willing ear or eye. One usually conceives gossip as something to which one lends only one's ear, and never one's eye; but what are "Plutarch's Lives" but the right sort of gossip? That so many literary men and women havevaguely suspected the alluring tone-color of the word "gossip" is proved by:A Gossip in Romance, Robert Louis Stevenson;Gossip in a Library, Edmund William Gosse;Gossip of the Caribbees, William R. H. Trowbridge, Jr.;Gossip from Paris During the Second Empire, Anthony North Peet;Gossip in the First Decade of Victoria's Reign, Jane West;Gossip of the Century, Julia Clara Byrne;Gossiping Guide to Wales, Askew Roberts and Edward Woodall;Gossip with Girls and Maidens Betrothed and Free, Blanche St. John Bellairs. Yet no one has ever thought of writing about gossip for its own sweet sake.

Among every-day words perhaps the word "gossip" is more to be reckoned with than any other in our language. The child who runs confidingly to mother to report his grievance is a gossip; he is also an historian. Certainly gossip is in its tone familiar and personal; it is the familiar and personal touch which makesPlutarch's Livesinteresting. At the root of the word "gossip," say etymologists, there lies an honest Saxon meaning, "God's sib"—"of one kindred under God."

It would be only a misanthrope who would assert that he has no interest in his fellows. He is invariably a selfish person who shuns personality in talk and refuses to know anything about people; who says: "What is it to me whether this person has heard Slezak inTannhäuser; what do I care whether Mrs. So-and-So has visited the French play; what concern is it of mine if Mr. Millions of eighty marries Miss Beautiful of eighteen; what is it to me whether you have watched the agonies of a furnishing party at Marshall Field's and have observed the bridegroom of tenderyears victimized by his wife and mother-in-law with their appeals to his excellent taste; of what interest to me are the accounts of the dissolute excesses which interspersed the wild outbreaks of religious fanaticism of Henry the Third of France?" This selfish person is also very stupid, for nothing so augments conversation as a normal interest in other people.

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