The University of Edinburgh | WK3 CONVENTIONAL DIALOGUE AND CAREFUL READING

The most conventional way we encounter dialogue in a novel is when each new line of speech by a different
character is given a new line on the page. The narrator might occasionally step in with, "She said" or, "He

mumbled", or the conversation may be allowed to continue unimpeded. There tends to be little doubt as to who is
speaking, so we as readers feel as though we are standing on the sidelines, witnesses to a real conversation.

Consider the following exchange early on in Jane Austen's 1817 novel, Northanger Abbey, when the novel's

heroine, Catherine Morland, first meets her future husband, Henry Tilney, in Bath.

"'I see what you think of me,' said he gravely; 'I shall make but a poor figure in your journal tomorrow'.

'My journal!'

'Yes; I know exactly what you will say: Friday, went to the Lower Rooms; wore my sprigged muslin robe with blue
trimmings - plain black shoes - appeared to much advantage, but was strangely harassed by a queer half-witted
man, who would make me dance with him, and distressed me by his nonsense.'

'Indeed I shall say no such thing.'

'Shall I tell you what you ought to say?'

'If you please.'

'I danced with a very agreeable young man, introduced by Mr. King; had a great deal of conversation with him -

seems a most extraordinary genius - hope I may know more of him. That, madam, is what I wish you to say.'"

But this conversation is also useful for what it reveals about the characters at this stage of the novel. Henry is

amusing and flirtatious and gently teases Catherine. The two are clearly enjoying this lighthearted exchange,

which carries on for much longer than this excerpt. And they seem attracted to each other.

With most authors, and certainly here with Austen, the point is to create a scene in which the conversation feels

entirely natural. But of course it never is. The lines of dialogue are carefully placed, and there are rarely any of
those hesitations or stumbling words, the ums and ers that we get in real life.

While some authors will offer clues as to how a line of dialogue is said - i.e. "She murmured sarcastically", "He
shouted" - others will leave it to the reader to infer the tone in which the words are uttered. In the passage just

quoted, for instance, we are expected to realise that Henry is not really speaking that first line in a grave manner.

And we supposed to realise that the tone is light and playful, without ever being told so.
So, when the narrator takes a back seat, the onus is placed on us to gauge the mood of the conversation. There

are sometimes moments where, if we don't read carefully, we might miss out some subtle moments of tension, or
a misunderstanding that's taking place as a result of characters speaking at cross purposes.

In another novel by Austen, Emma, which I've referred to in earlier weeks, a misunderstanding takes place when
the title character believes that her young friend and protege, Harriet Smith, is confessing to Emma her affection

for Frank Churchill, a love match Emma would approve of. When, in fact, Harriet is declaring her feelings for

another character, Mr. Knightley, who Emma will later marry, and whom Harriet feels inferior to. Because the man
in question is not named, and either of them would match the description, the women have a conversation about

two very different people without realising it.

Emma leads us off here.

"Harriet, I will not affect to be in doubt of your meaning. Your resolution, or rather your expectation of never

marrying, results from an idea that the person whom you might prefer, would be too greatly superior in situation to

think of you. Is it not so?'

'Oh! Miss Woodhouse, believe me I have not the presumption to suppose - Indeed I am not so mad - But it is a

pleasure to me to admire him at a distance - and to think of his infinite superiority to all the rest of the world, with

the gratitude, wonder, and veneration, which are so proper, in me especially.'

'I am not at all surprised at you, Harriet. The service he rendered you was enough to warm your heart.'

'Service! oh! it was such an inexpressible obligation! - The very recollection of it, and all that I felt at the time -

when I saw him coming - his noble look - and my wretchedness before. Such a change! In one moment such a

change! From perfect misery to perfect happiness.'

'It is very natural. It is natural, and it is honourable - Yes, honourable, I think, to choose so well and so gratefully.'"

There are several moments of subtle humour in this passage. Emma's supreme confidence that she has caught

Harriet's meaning - "I will not affect to be in doubt of it", "I am not at all surprised." And of course, her approving

response to Harriet's choice, which will later turn to horror when she grasps his true identity.