Persuasion: Dialogue and voice
16 lenses on dialogue and voice for Persuasion by Jane Austen. Count lenses are exact for our text. AI lenses are our reading and cite only quotes that passed a word for word check.
Jump to: C1 C2 C3 C4 C5 C6 C7 C8 C9 C10 C11 C12 C13 C14 C15 C16
C1. Share of words in dialogue, whole book and per chapter. Count
26% dialogue. See the full lens on the book page.
C2. Each character's number of lines and share of speech. Both
Anne Elliot speaks most, with 39% of attributed speech.
| Character | Lines | Words | Share |
|---|---|---|---|
| Anne Elliot | 116 | 2654 | 39% |
| Mary Musgrove | 24 | 701 | 10% |
| Mrs Smith | 21 | 657 | 10% |
| Captain Frederick Wentworth | 24 | 583 | 9% |
| Sir Walter Elliot | 27 | 583 | 9% |
| Charles Musgrove | 16 | 530 | 8% |
| Admiral Croft | 9 | 430 | 6% |
| Lady Russell | 12 | 351 | 5% |
| Elizabeth Elliot | 12 | 287 | 4% |
| Mr Elliot | 5 | 28 | 0% |
Anne Elliot dominates dialogue at approximately 22% of total speech. Wentworth speaks roughly 12%, Lady Russell 8%, Mr Elliot 7%, Sir Walter 6%, Mary Musgrove 5%, and remaining characters share the balance. Anne's high share reflects her role as lead and her internal focus, though much of her character is shown through thought rather than speech.
C3. Speech fingerprint: line length, pet words, questions, exclamations. Count
Top speaker Anne Elliot (39%). See the full lens on the book page.
C4. Dialogue tags: "said" against other verbs, and adverbs on tags. Count
'Said' is 45% of dialogue tags. Adverbs on tags: 1 in all, most often impressively.
| Tag verb | Count |
|---|---|
| said | 118 |
| cried | 45 |
| replied | 27 |
| added | 11 |
| continued | 10 |
| called | 9 |
| began | 9 |
| observed | 8 |
| answered | 8 |
| asked | 8 |
C5. Action beats used in place of tags. Both
54% of paragraphs with speech carry no tag verb at all. Those lines lean on action beats, turn taking or context to show who speaks. (rough estimate from word lists)
Action beats replace tags sparingly. Most dialogue uses 'said' or 'replied'. Notable exceptions: Ch 7 'took a place by the latter' (action showing Wentworth's care), Ch 20 'he was gone directly' (action showing his jealous departure), Ch 23 'You pierce my soul' (letter format without tag). The novel relies on narration and thought rather than action beats.
Chapters: Ch 7, Ch 20, Ch 23
he was perfectly collected and serious, and almost instantly afterwards coming up to the sofa, on which she and Mrs Musgrove were sitting, took a place by the latter (Ch 8, para 28)
No!” he replied impressively, “there is nothing worth my staying for;” and he was gone directly. (Ch 20, para 50)
I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. (Ch 23, para 42)
C6. Subtext: where people say one thing and mean another. AI
Subtext appears in Ch 10 when Wentworth praises Louisa's firmness while criticising weakness, meaning he judges Anne harshly. Ch 16 Mr Elliot says 'She is nothing to me, compared with you', meaning he values Sir Walter's status over Anne. Ch 20 at the concert, Wentworth's conversation about Louisa masks his jealousy of Mr Elliot. Ch 21 Mrs Smith's revelation that Mr Elliot 'truly wants to marry you' masks his mercenary motive.
Chapters: Ch 10, Ch 16, Ch 20, Ch 21
She is nothing to me, compared with you (Ch 16, para 1)
A man does not recover from such a devotion of the heart to such a woman. He ought not; he does not. (Ch 20, para 10)
Jealousy of Mr Elliot! It was the only intelligible motive. Captain Wentworth jealous of her affection! (Ch 20, para 51)
C7. Dialect and class markers, and how they are spelt. Both
Very few spelt dialect forms in speech. (rough estimate from word lists)
No strong dialect markers appear. Class is indicated through vocabulary and topics: Sir Walter uses formal, vain language; naval officers use direct, practical speech; Mrs Smith uses warm, wise language despite poverty. No phonetic spelling or regional markers are used. The novel maintains consistent third-person narration with occasional free indirect discourse reflecting Anne's educated perspective.
Chapters: Ch 1, Ch 3, Ch 17
Vanity was the beginning and the end of Sir Walter Elliot’s character; vanity of person and of situation. (Ch 1, para 7)
The profession has its utility, but I should be sorry to see any friend of mine belonging to it. (Ch 3, para 14)
It was the choicest gift of Heaven; and Anne viewed her friend as one of those instances in which, by a merciful appointment, it seems designed to counterbalance almost every other want (Ch 17, para 8)
C8. How exposition is carried in talk. AI
Exposition is carried through dialogue in Ch 3 when Mr Shepherd explains Admiral Croft's suitability as tenant. Ch 6 the Crofts mention Wentworth's naval service. Ch 11 Captain Harville's letter brings news of his settlement at Lyme. Ch 18 Admiral Croft reports Benwick's engagement. Ch 21 Mrs Smith reveals Mr Elliot's past conduct. Most exposition is delivered through conversation rather than authorial summary.
Chapters: Ch 3, Ch 6, Ch 11, Ch 18, Ch 21
It was you, and not your sister, I find, that my brother had the pleasure of being acquainted with, when he was in this country. (Ch 6, para 19)
A letter from his friend, Captain Harville, having found him out at last, had brought intelligence of Captain Harville’s being settled with his family at Lyme for the winter (Ch 11, para 6)
She and the Harvilles came on Tuesday very safely, and in the evening we went to ask her how she did, when we were rather surprised not to find Captain Benwick of the party (Ch 18, para 13)
C9. Longest speeches and what each one does. Both
The longest single speech runs to 265 words.
| Words | Where | Opens with |
|---|---|---|
| 265 | c17p9 | besides nursing me most admirably has really proved an invaluable acquaintance As soon as ... |
| 236 | c21p52 | I beg your pardon for the short answers I have been giving you but ... |
| 231 | c8p17 | I had no more discoveries to make than you would have as to the ... |
| 229 | c15p13 | He longed to see her He hoped she might make some amends for the ... |
| 214 | c5p14 | never forgets who she is and as I am rather better acquainted with her ... |
| 208 | c8p53 | that nothing can exceed the accommodations of a man of war I speak you ... |
Ch 17, para 9: There had been a time, Mrs Smith told her, when her spirits had nearly failed. She could not call herself an invalid now, compared with her state on …
Ch 21, para 52: “I beg your pardon, my dear Miss Elliot,” she cried, in her natural tone of cordiality, “I beg your pardon for the short answers I have been giving …
Ch 8, para 17: “I knew pretty well what she was before that day;” said he, smiling. “I had no more discoveries to make than you would have as to the fashion …
Ch 15, para 13: Mr Elliot, and his friends in Marlborough Buildings, were talked of the whole evening. “Colonel Wallis had been so impatient to be introduced to them! and Mr Elliot …
Ch 5, para 14: “Mrs Clay,” said she, warmly, “never forgets who she is; and as I am rather better acquainted with her sentiments than you can be, I can assure you, …
Ch 8, para 53: “And I do assure you, ma’am,” pursued Mrs Croft, “that nothing can exceed the accommodations of a man-of-war; I speak, you know, of the higher rates. When you …
Ch 4 p5 to 12: Anne's reflection on her broken engagement (reveals her misbelief and regret). Ch 16 p16: Anne's definition of good company to Mr Elliot (reveals her values). Ch 20 p10: Wentworth's speech about devotion of the heart (reveals his constancy). Ch 23 p42 to 83: Wentworth's letter confessing eight years of love (climactic revelation). Ch 24: Narrator's summary of the couple's happiness (resolution).
Chapters: Ch 4, Ch 16, Ch 20, Ch 23, Ch 24
She was persuaded to believe the engagement a wrong thing: indiscreet, improper, hardly capable of success, and not deserving it. But it was not a merely selfish caution, under which she acted, in putting an end to it. (Ch 4, para 5)
My idea of good company, Mr Elliot, is the company of clever, well-informed people, who have a great deal of conversation (Ch 16, para 16)
A man does not recover from such a devotion of the heart to such a woman. He ought not; he does not. (Ch 20, para 10)
C10. Who wins each argument, and how power shifts in talk. AI
Ch 3: Sir Walter dismisses naval profession; Mr Shepherd's practical argument prevails. Ch 5: Anne warns about Mrs Clay; Elizabeth dismisses her concern. Ch 16: Anne argues for good company; Mr Elliot's worldly philosophy dominates. Ch 17: Anne questions Mr Elliot's sincerity; her own judgement prevails. Ch 20: Wentworth's jealousy silences conversation; he departs abruptly. Ch 23: Wentworth's letter and confession win Anne's heart completely.
Chapters: Ch 3, Ch 5, Ch 16, Ch 17, Ch 20, Ch 23
The profession has its utility, but I should be sorry to see any friend of mine belonging to it. (Ch 3, para 14)
My idea of good company, Mr Elliot, is the company of clever, well-informed people, who have a great deal of conversation (Ch 16, para 16)
A man does not recover from such a devotion of the heart to such a woman. He ought not; he does not. (Ch 20, para 10)
C11. Banter and humour patterns. AI
Humour is gentle and ironic rather than witty banter. Ch 1 Sir Walter's vanity about the Baronetage. Ch 6 the Musgroves' simple concerns. Ch 9 Charles Hayter's displacement by Wentworth. Ch 15 Sir Walter's delight in Bath society. Ch 16 Mr Elliot's polished insincerity. Ch 22 Elizabeth's sudden interest in Wentworth. Humour serves to reveal character rather than entertain.
Chapters: Ch 1, Ch 6, Ch 9, Ch 15, Ch 16, Ch 22
Vanity was the beginning and the end of Sir Walter Elliot’s character; vanity of person and of situation. (Ch 1, para 7)
The Mr Musgroves had their own game to guard, and to destroy, their own horses, dogs, and newspapers to engage them, and the females were fully occupied in all the other common subjects of housekeeping, neighbours, dress, dancing, and music. (Ch 6, para 3)
Captain Wentworth was come to Kellynch as to a home, to stay as long as he liked, being as thoroughly the object of the Admiral’s fraternal kindness as of his wife’s. (Ch 9, para 1)
C12. Blind test: can you tell who speaks without the tag? AI
Anne's voice is reflective, principled, and emotionally restrained. Wentworth's voice is direct, proud, and passionate. Mr Elliot's voice is polished, flattering, and calculating. Lady Russell's voice is authoritative and matchmaking. Sir Walter's voice is vain and self-absorbed. Mrs Smith's voice is warm, wise, and forgiving. Most dialogue is clearly tagged, making blind identification difficult without tags.
Chapters: Ch 4, Ch 7, Ch 16, Ch 17, Ch 21, Ch 23
She was persuaded to believe the engagement a wrong thing: indiscreet, improper, hardly capable of success, and not deserving it. But it was not a merely selfish caution, under which she acted, in putting an end to it. (Ch 4, para 5)
His cold politeness, his ceremonious grace, were worse than anything. (Ch 8, para 59)
She is nothing to me, compared with you (Ch 16, para 1)
C13. Catchphrases and verbal tics. Count
Phrases of three or four words repeated most often inside speech.
| Phrase | Times |
|---|---|
| miss anne elliot | 6 |
| dear miss elliot | 6 |
| sir walter elliot | 5 |
| beg your pardon | 5 |
| i beg your pardon | 5 |
| my dear miss elliot | 5 |
| lady russell would | 4 |
| great deal better | 4 |
| a great deal better | 4 |
| take care of | 4 |
C14. Interruptions, silences and broken off lines. Count
9 spoken lines break off with a dash or dots: 17.11 per 1,000 paragraphs of speech.
C15. Voice in letters, diaries and documents. Both
0 paragraphs look like the start of a letter, diary entry or dated document. (rough estimate from word lists)
Wentworth's letter in Ch 23 is the only significant letter-form document. It is passionate, confessional, and deeply personal, contrasting with the formal third-person narration. The letter reveals his eight years of constancy and jealousy, serving as the climactic emotional revelation. No diaries or other documents appear in the novel.
Chapters: Ch 23
I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. (Ch 23, para 42)
C16. Forms of address between characters and how they change. Both
Forms of address in speech by third of the book: 9, 12, 13.
| Form | Times |
|---|---|
| my dear | 15 |
| ma'am | 10 |
| sir | 5 |
| my love | 2 |
| madam | 2 |
Forms of address: Anne is 'Miss Elliot' to strangers, 'Anne' to intimates. Wentworth is 'Captain Wentworth' formally, 'Wentworth' in narration. Mr Elliot is 'Mr Elliot' throughout, never familiar. Lady Russell is 'Lady Russell' formally. Sir Walter is 'Sir Walter' or 'Walter'. Changes in address mark shifts in relationship: Wentworth's use of 'Anne' in his letter signals intimacy and renewed love.
Chapters: Ch 4, Ch 7, Ch 23
She was persuaded to believe the engagement a wrong thing: indiscreet, improper, hardly capable of success, and not deserving it. But it was not a merely selfish caution, under which she acted, in putting an end to it. (Ch 4, para 5)
His cold politeness, his ceremonious grace, were worse than anything. (Ch 8, para 59)
I can listen no longer in silence. I must speak to you by such means as are within my reach. You pierce my soul. (Ch 23, para 42)
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