It is very difficult duly to delineate a bore in a narrative, for the very reason that he is a bore. A tale must aim at condensation, but a bore acts in solution. It is only on the long-run that he is ascertained. Then, indeed, he is felt; he is oppressive; like the sirocco, which the native detects at once, while a foreigner is often at fault. Tenet occiditque. Did you hear him make but one speech, perhaps you would say he was a pleasant, well-informed man; but when he never comes to an end, or has one and the same prose every time you meet him, or keeps you standing till you are fit to sink, or holds you fast when you wish to keep an engagement, or hinders you listening to important conversation—then there is no mistake, the truth bursts on you, apparent diræ facies, you are in the clutches of a bore. You may yield, or you may flee; you cannot conquer. Hence it is clear that a bore cannot be represented in a story, or the story would be the bore as much as he. The reader, then, must believe this upright Mr. Bateman to be what otherwise he might not discover, and thank us for our consideration in not proving as well as asserting it.
John Henry Newman, Loss and Gain, Part I, Chapter 2, "The Bore".
