ing of the brow, drawing down of the corners of the mouth, and somewhat rasping voce di petto, to Falstaff's nine men in buckram. Everybody looked up. I believe the old gentleman opposite was afraid I should seize the carving-knife; at any rate, he slid it to one side, as it were carelessly.]
I think, I said, I can make it plain to Benjamin Franklin here, that there are at least six personalities distinctly to be recognized as taking part in that dialogue between John and Thomas.
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1. The real John; known only to his Maker. | |
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2. John's ideal John; never the real one, and often | |
| Three Johns. |  |
very unlike him. |
|
3. Thomas's ideal John; never the real John, nor | |
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John's John, but often very unlike either. |
|
1. The real Thomas. | |
| Three Thomases. | |
2. Thomas's ideal Thomas. |
|
3. John's ideal Thomas |
Only one of the three Johns is taxed; only one can be weighed on a platform-balance; but the other two are just as important in the conversation. Let us suppose the real John to be old, dull, and ill-looking. But as the Higher Powers have not conferred on men the gift of seeing themselves in the true light, John very possibly conceives himself to be youthful, witty, and fascinating, and talks from the point of view of this ideal. Thomas, again, believes him to be an artful rogue, we will say; therefore he is, so far as Thomas's attitude in the conversation is concerned, an artful rogue, though really simple and stupid. The same conditions apply to the three
