{"schema":"record/v1","id":"art_01M5MV0ZR9BNJE2MRR1YTXWPJW","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What is the 'second dialogue' under the spoken one, and does Maeterlinck give any technique for writing it?","summary":"Maeterlinck (1896, trans. Sutro) argues that beside the necessary dialogue there is another, seemingly superfluous one that addresses the soul, and that its quality sets the quality of the work; he names Ibsen's The Master Builder as the drama where this 'second degree' dialogue is deepest. It is a theory and an appeal to reflect on real conversation, not a technique list: in the essay text read it gives no steps. Useful as a definition and a standard to check against; no evaluation is given.","status":"active","body":{"text":"Maeterlinck (1896, trans. Sutro) argues that beside the necessary dialogue there is another, seemingly superfluous one that addresses the soul, and that its quality sets the quality of the work; he names Ibsen's The Master Builder as the drama where this 'second degree' dialogue is deepest. It is a theory and an appeal to reflect on real conversation, not a technique list: in the essay text read it gives no steps. 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