in matters of literature, a conversation between two or more persons either by writing or by word of mouth.

Composition and Style of written Dialogue. As the end of speech is conversation, no kind of writing can be more natural than dialogue, which represents this. And accordingly we find it was introduced very early, for there are several instances of it in the Mosaic history. The ancient Greek writers also fell very much into it, especially the philosophers, as the most convenient and agreeable method of communicating their sentiments and instructions to mankind. And indeed it seems to be attended with very considerable advantages, if well and judiciously managed. For it is capable to make the driest subjects entertaining and pleasant, by its variety, and the different characters of the speakers. Besides, things may be canvassed more minutely, and many lesser matters, which serve to clear up a subject, may be introduced with a better grace, by questions and answers, objections and replies, than can be conveniently done in a continued discourse.

There is likewise a further advantage in this way of writing, that the author is at liberty to choose his speakers: And therefore, as Cicero has well observed, when we imagine that we hear persons of an established reputation for wisdom and knowledge talking together, it necessarily adds a weight and authority to the discourse, and more closely engages the attention. The subject-matter of it is very intensive: for whatever is a proper argument of discourse, public or private, serious or jocular; whatever is fit for wise and ingenious men to talk upon, either for improvement or diversion; is suitable for a dialogue.

From this general account of the nature of dialogue, it is easy to perceive what kind of style best suits it. Its affinity with Epistles shows there ought to be no great difference between them in this respect. Indeed, some have been of opinion, that it ought rather to sink below that of an epistle, because dialogues should in all respects represent the freedom of conversation; whereas epistles ought sometimes to be composed with care and accuracy, especially when written to superiors. But there seems to be little weight in this argument, since the design of an epistle is to say the same things, and in the same manner, as the writer judges would be most fit and proper for him to speak, if present. And the very same thing is designed in a dialogue, with respect to the several persons concerned in it. Upon the whole, therefore, the like plain, easy, and simple style, suited to the nature of the subject, and the particular characters of the persons concerned, seems to agree to both.

But as greater skill is required in writing dialogues than letters, we shall give a more particular account of the principal things necessary to be regarded in their composition, and illustrate them chiefly from Cicero's excellent Dialogues concerning an Orator.—A dialogue, then, consists of two parts; an introduction, and the body of the discourse.

1. The introduction acquaints us with the place, time, persons, and occasion, of the conversation. Thus Cicero places the scene of his dialogues at Craffus's country seat; a very proper recess, both for such a debate and the parties engaged in it. And as they were persons of the first rank, and employed in the greatest affairs of state, and the discourse held them for two days; he represents it to have happened at the time of a festival, when there was no business done at Rome, which gave them an opportunity to be absent.

And because the greatest regard is to be had in the choice of the persons, who ought to be such as are well acquainted with the subject upon which they discourse; in these dialogues of Cicero, the two principal disputants are Craffus and Antony, the greatest orators of that age, and therefore the most proper persons to dispute upon the qualifications necessary for their art. One would think it scarce necessary to observe, that the conference should be held by persons who lived at the same time, and so were capable to converse together. But yet some good writers have run into the impropriety of feigning dialogues between persons who lived at distant times. Plato took this method, in which he has been followed by Macrobius. But others, who have been willing to bring persons to discourse together, who lived in different ages, without such inconsistency, have wrote dialogues of the dead. Lucian has. Dialogue has made himself most remarkable in this way. As to the number of persons in a dialogue, they may be more or less; so many as can conveniently carry on a conversation without disorder or confusion may be admitted. Some of Cicero's dialogues have only two, others three or more, and those concerning an orator seven. And it is convenient they should all, in some respects, be persons of different characters and abilities; which contributes both to the variety and beauty of the discourse, like the different attitude of figures in a picture. Thus, in Cicero's dialogues last mentioned, Crassus excelled in art, Antony principally for the force of his genius, Catullus for the purity of his style, Scevola for his skill in the law, Caesar for wit and humour; and though Sulpitius and Cotta, who were young men, were both excellent orators, yet they differed in their manner. But there should be always one chief person, who is to have the main part of the conversation; like the hero in an epic poem or a tragedy, who excels the rest in action; or the principal figure in a picture, which is most conspicuous. In Plato's dialogues, this is Socrates; and Crassus, in those of Cicero above mentioned.

It is usual, likewise, in the introduction, to acquaint us with the occasion of the discourse. Indeed this is not always mentioned; as in Cicero's dialogue of the parts of oratory, where the son begins immediately with desiring his father to instruct him in the art. But it is generally taken notice of, and most commonly represented, as accidental. The reason of which may be, that such discourses appear most natural; and may likewise afford some kind of apology for the writer in managing his different characters, since the greatest men may be supposed not always to speak with the utmost exactness in an accidental conversation. Thus Cicero, in his dialogues concerning an orator, makes Crassus occasionally fall upon the subject of oratory, to divert the company from the melancholy thoughts of what they had been discoursing of before, with relation to the public disorders, and the dangers which threatened their country. But the introduction ought not to be too long and tedious. Mr Addison complains of this fault in some authors of this kind.

"For though (as he says) some of the finest treatises of the most polite Latin and Greek writers are in dialogue, as many very valuable pieces of French, Italian, and English, appear in the same dress; yet in some of them there is so much time taken up in ceremony, that, before they enter on their subject, the dialogue is half over."

2. We come now to the body of the discourse, in which some things relating to the persons, and others to the subject, are proper to be remarked.

And as to the persons, the principal thing to be attended to is to keep up a justness of character through the whole. And the distinct characters ought to be so perfectly observed, that from the very words themselves it may be always known who is the speaker. This makes dialogue more difficult than single description, by reason of the number and variety of characters which are to be drawn at the same time, and each of them managed with the greatest propriety. The principal speaker should appear to be a person of great sense and wisdom, and best acquainted with the subject. No question ought to be asked him, or objection started to what he says, but what he should fairly answer. And what is said by the rest should principally tend to promote his discourse, and carry it through in the most artful and agreeable manner. Where the argument is attended with difficulties, one other person or more may be introduced, of equal reputation, or near it, but of different sentiments, to oppose him and maintain the contrary side of the question. This gives opportunity for a thorough examination of the point on both sides, and answering all objections. But if the combatants are not pretty equally matched, and masters of the subject, they will treat it but superficially. And through the whole debate there ought not to be the least wrangling, peevishness, or obstinacy; nothing but the appearance of good-humour and good breeding, the gentleman and the friend, with a readiness to submit to conviction and the force of truth, as the evidence shall appear on one side or the other. In Cicero, these two characters are Crassus and Antony. And from them Mr Addison seems to have taken his Philander and Cynthia, in his Dialogues upon the usefulness of ancient medals, which are formed pretty much on Cicero's plan. Where younger persons are present, or such who are not equally acquainted with the subject, they should be rather upon the inquiry than dispute: And the questions they ask should be neither too long nor too frequent; that they may not too much interrupt the debate, or appear over talkative before wiser and more experienced persons. Sulpitius and Cotta sustain this character in Cicero, and Eugenius in Mr Addison. And it is very convenient there should be one person of a witty and jocose humour, to enliven the discourse at proper seasons, and make it the more entertaining, especially when the dialogue is drawn out to any considerable length. Caesar has this part in Cicero. And in Mr Addison, Cynthia is a person of this turn, and opposes Philander in a merry way. Mr Addison's subject admitted of this; but the seriousness and gravity of Cicero's argument required a different speaker for the jocose part. Many persons ought not to speak immediately one after another. Horace's rule for plays is:

"To crowd the stage is odious and absurd.

I.e. no fourth actor strive to speak a word.

Though Scaliger and others think a fourth person may sometimes be permitted to speak in the same scene without confusion. However, if this is not commonly to be allowed upon the stage, where the actors are present, and may be distinguished by their voice and habit; much less in a dialogue, where you have only their names to distinguish them.

With regard to the subject, all the arguments should appear probable at least, and nothing be advanced which may seem weak or trivial. There ought also to be an union in dialogue, that the discourse may not ramble, but keep up to the main design. Indeed, short and pleasant progressions are sometimes allowable for the ease and entertainment of the reader. But everything should be so managed, that he may still be able to carry on the thread of the discourse in his mind, and keep the main argument in view, till the whole is finished. The writers of dialogue have not confined their discourses to any certain space of time; but either concluded them with the day, or broke off when their speakers have been tired, and resumed them again the next day. Thus Cicero allows two days for his his three dialogues concerning an orator; but Mr Addison extends his to three days, allowing a day for each. Nor has the same method always been observed in composing dialogues. For sometimes the writer, by way of narrative, relates a discourse which passed between other persons. Such are the dialogues of Cicero and Mr Addison last mentioned, and many others both of the ancients and moderns. But, at other times, the speakers are introduced in person, as talking to each other. This, as Cicero observes, prevents the frequent repetition of those words, he said, and he replied; and by placing the hearer, as it were, in the conversation, gives him a more lively representation of the discourse, which makes it the more affecting. And therefore Cicero, who wrote his dialogue of old age in this manner, in which Cato, who was then in years, largely recounts the satisfactions of life which may be enjoyed in old age, tells his friend Atticus, he was himself so affected with that discourse, that when he reviewed it sometimes, he fancied they were not his own words, but Cato's. There are some other dialogues of Cicero, written in the same way; as that Of friendship, and Of the parts of oratory. And both Plato and Lucian generally chose this method.

dramatic composition. See Poetry, chap. ii 22, 23.

DIALTHÆA, in pharmacy, an unguent much used as a solvent; so called from ALTHÆA, or marshmallows, which is the principal ingredient in it.