I replied, “That he confounded the operations of the pencil and the pen; that the serene and silent art, as painting has been called by one of our first living poets, necessarily appealed to the eye, because it had not the organs for addressing the ear; whereas poetry, or that species of composition which approached to it, lay under the necessity of doing absolutely the reverse, and addressed itself to the ear, for the purpose of exciting that interest which it could not attain through the medium of the eye.”

Dick was not a whit staggered by my argument, which he contended was founded on misrepresentation.  “Description,” he said, “was to the author of a romance exactly what drawing and tinting were to a painter:  words were his colours, and, if properly employed, they could not fail to place the scene which he wished to conjure up as effectually before the mind’s eye as the tablet or canvas presents it to the bodily organ.  The same rules,” he contended, “applied to both, and an exuberance of dialogue, in the former case, was a verbose and laborious mode of composition which went to confound the proper art of fictitious narrative with that of the drama, a widely different species of composition, of which dialogue was the very essence, because all, excepting the language to be made use of, was presented to the eye by the dresses, and persons, and actions of the performers upon the stage.  But as nothing,” said Dick, “can be more dull than a long narrative written upon the plan of a drama, so where you have approached most near to that species of composition, by indulging in prolonged scenes of mere conversation, the course of your story has become chill and constrained, and you have lost the power of arresting the attention and exciting the imagination, in which upon other occasions you may be considered as having succeeded tolerably well.”

I made my bow in requital of the compliment, which was probably thrown in by way of placebo, and expressed myself willing at least to make one trial of a more straightforward style of composition, in which my actors should do more, and say less, than in my former attempts of this kind.  Dick gave me a patronising and approving nod, and observed that, finding me so docile, he would communicate, for the benefit of my muse, a subject which he had studied with a view to his own art.

“The story,” he said, “was, by tradition, affirmed to be truth, although, as upwards of a hundred years had passed away since the events took place, some doubts upon the accuracy of all the particulars might be reasonably entertained.”