persons; whether they develop, as all real people must under the action of
significant experience, or whether the author merely presents them in brief
situations or lacks the power to make them anything but stationary. If
there are several of them it is a further question whether the author
properly contrasts them in such a way as to secure interest. And a main
requisite is that he shall properly motivate their actions, that is make
their actions result naturally from their characters, either their
controlling traits or their temporary impulses.

STRUCTURE. In any work of literature there should be definite structure.
This requires, (1) Unity, (2) Variety, (3) Order, (4) Proportion, and (5)
due Emphasis of parts. Unity means that everything included in the work
ought to contribute directly or indirectly to the main effect. Very often a
definite theme may be found about which the whole work centers, as for
instance in 'Macbeth,' The Ruin of a Man through Yielding to Evil.
Sometimes, however, as in a lyric poem, the effect intended may be the
rendering or creation of a mood, such as that of happy content, and in that
case the poem may not have an easily expressible concrete theme.

Order implies a proper beginning, arrangement, progress, and a definite
ending. In narrative, including all stories whether in prose or verse and
also the drama, there should be traceable a Line of Action, comprising
generally: (1) an Introduction, stating the necessary preliminaries; (2)
the Initial Impulse, the event which really sets in motion this particular
story; (3) a Rising Action; (4) a Main Climax. Sometimes (generally, in
Comedy) the Main Climax is identical with the Outcome; sometimes (regularly
in Tragedy) the Main Climax is a turning point and comes near the middle of
the story. In that case it really marks the beginning of the success of the
side which is to be victorious at the end (in Tragedy the side opposed to
the hero) and it initiates (5) a Falling Action, corresponding to the