thougis generally they have been conscious of the humor in
their creations, and sometimes have exploited it, thelr pur-
pose has been truth. They have tied to presenta more literal
truth than they would have recorded withthe standard spell-
{ng and the conventional grammar. Hence, an examination
of their dialect writing, and a discussion of the principlos
facearding to whieh It has been writien and must be evall-
sted, i a matier of pertinent critical interest
In representing their dialect, these authors have been
seutely conscious that they were depicting something peeu-
lia, something different from their own conception of the
“standara” language. ‘The characters who speak “dialect”
are set off, either socially or geographically, from the main
body of those who epoak the language. Usually the suggest-
ed diference earvis some connotation of inferiority, but not
always. For example, in the eaves tories of P, G. Wode-
‘house ts the master, Berie Wooster, who speaks a alee,
‘and the servant, Jeeves, who speaks the conventional Jan”
guage, although the pedantic Mavor of his conversation itselt
suggests datect
‘The dlaleetcharaeters ere made to speak a language that
‘has unconventional features of promumciaton, grammar, and
‘oeabulary. Pronunciation features are suggested by syste=
‘matic variations from the conventional orthography, or
“phonetic” repelling; grammatia] forms are uced thet do
not appear in the textbooks — except as awl warnings; and
‘wordsare employed that arenot commonly found in abridged
letionarice ~ unless followed by an italicized eavest, Neariy
all examples of literary dlaleet are deliberately incomplete;
the author san artist, not a linguist or a soelologist, and his
Durpose is literary rather than selene, Ia working et his
compromise between art and linguistes, each author has
‘mate hls own decision ss to how many ofthe peculiarities in
his character's speech he ean profitably represent; conse.
quently, examples of literary dialect vary considerably in
the extent to whieh they are “sleet and no very definite
rules can be given regarding what to consider in tat eate-
sory. Regardless of the inclusiveness of the tert, however,
‘every variation from the conventional system of writing th
tanguage ia problem forthe Hinge a siete theory
tt lterarydloect must be worked out according to the pine
tips of lingustics and the fats of dale georrephy.
“Te flowing dncsson sen aterpt to formulate pine
copter by which tne representations of American ngich da.
fers Merature rey evaiated, Concomitant, the ie
{ition and pubis of such representations become prt
the eucunon. The grater part ot these principles had
their conception in a stay ofthe Uaele emus ries of
Sel Chandler Harris which T completed recently at i
‘Retaton under the diecion of E Bagby Atwoed hence
Seon ofthe practises of dialect writers will be ilustrted
{rom these stories However, both in connection with that
‘uy and leer Thave examined he wetings of mang other
‘itd, and those priveples whlch scom to be most general
in thelr application have been most fully developed
‘Tobe sure other tuces of terary dalect have been mid.
‘echt, an fl deine, analyls of Uterary dale! is
‘hat fou nthe fest ve af Cevrge Php Reap The
. ‘p Americe, ace
radtte af Rraopl wrk in American English ie wigely
Tito however there as bon a quartereenfury of seve
‘holaahip in he fla since the publication of is two vol
SECU cont important single projet as been, 1 think,
RE Lanna Adan of he United States ond Canada” Ths
Sana gpa the unpublished Beld records and the
rose paable mae cor'an generations sbout te
avs Jaded sol speech variations Ts inevitable that
soiree Wa A
Gr ate ate