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Updated: May 16, 2025
The infant, on his side, in random and non-specific ways, calls out to her. He cries and makes his simple movements. She responds to his cries with her care. He responds to her care by sleeping and waking, by crying and cooing. And thus begins the dialogical nature of relationship. Relationship Is Dialogue Relationship is dialogue.
Shakspeare's Iambics are sometimes highly harmonious and full sounding; always varied and suitable to the subject, at one time distinguished by ease and rapidity, at another they move along with ponderous energy. They never fall out of the dialogical character, which may always be traced even in the continued discourses of individuals, excepting when the latter run into the lyrical.
The monological argument against the dialogical process is that the ignorant and untutored have nothing to contribute, so that the addition of zero and zero equals zero. This kind of comment, which is made by surprisingly intelligent and otherwise perceptive people, and all too often by educators, demonstrates how little they know about the processes of learning.
It is out of the dialogical encounter that the individual emerges. Only by the process of dialogical teaching can children really learn. The relationship between parent and child is not one-sided. The child may protest against the authority of the parent. This is the child's part of the dialogue.
The quality of the life of the individual and of the social order depends upon the results of the dialogue between them. I am thinking of two families. In one, the parents helped their children work through their difficulties with each other, thus assuming dialogical responsibility for what happened between them.
Furthermore, it is quite possible for a person giving a lecture to give it in such a way that he draws his hearers into active response to his thought, and although they remain verbally silent, the effect is that of dialogue. As a matter of fact, one should not confuse the different methods of teaching with the dialogical concept of communication.
Shakespeare's iambics are sometimes highly harmonious and full-sounding; always varied and suitable to the subject, at one time distinguished by ease and rapidity, at another they move along with ponderous energy. They never fall out of the dialogical character, which may always be traced even in the continued discourses of individuals, excepting when the latter run into the lyrical.
Nicomedes is a political comedy, the dryness of which is hardly in any degree relieved by the ironical tone which runs through the speeches of the hero. This is nearly all of Corneille's that now appears on the stage. His later works are, without exception, merely treatises or reasons of state in certain difficult conjunctures, dressed out in a pompous dialogical form.
Our Lord's method, which we may call the dialogical, has been vindicated by modern research into the dynamics of communication, which has demonstrated conclusively that the to-and-fro process between teacher and pupil, between parent and child, provides the most dependable and permanent kind of education. What is that to-and-fro between one who knows and one who does not?
He had not only read, but studied the earlier English poets; but he drew his language immediately from life itself, and he possessed a masterly skill in blending the dialogical element with the highest poetical elevation. I know not what certain critics mean, when they say that Shakspeare is frequently ungrammatical.
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