It is like trying to extend the range of
the voice too far. One desires a voice with the greatest possible
range; but if in forcing the voice up one breaks into a falsetto,
the effect is disastrous. So in seeking range of character expression
one must be very careful not to break into a falsetto, while straining
the true voice to its utmost in order to extend its range.
Let us now pass from the contrast of characters and situations of the
most general kind to contrasts of a more particular sort. Let us
consider the use of language first. Light conversation must not last
too long or it becomes monotonous, as we all know. But if the writer
can pass sometimes rapidly from tight conversation to serious narrative,
both the light dialogue and the serious seem the more expressive for the
contrast. The only thing to be considered is, can you do it with
perfect ease and grace? If you cannot, better let it alone.
Likewise, the long sentence may be used in one paragraph,
and a fine contrast shown by using very short sentences in the next.
But let us distinguish between variety and contrast.
The writer may pass from long sentences to short ones when the reader
has tired of long ones, and _vice versa,_ he may pass from a tragic
character to a comic one in order to rest the mind of the reader.
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