life. But it must always be remembered that in such writing as Comedy and
Romance the strict rules of motivation must be relaxed, and indeed in all
literature, even in Tragedy, the idealization, condensation, and
heightening which are the proper methods of Art require them to be slightly
modified.

DESCRIPTIVE POWER. Usually secondary in appearance but of vital artistic
importance, is the author's power of description, of picturing both the
appearance of his characters and the scenes which make his background and
help to give the tone of his work. Perhaps four subjects of description may
be distinguished: 1. External Nature. Here such questions as the following
are of varying importance, according to the character and purpose of the
work: Does the author know and care for Nature and frequently introduce
descriptions? Are the descriptions concrete and accurate, or on the other
hand purposely general (impressionistic) or carelessly superficial? Do they
give fine variations of appearance and impression, such as delicate
shiftings of light and shade and delicate tones of color? Are they
powerfully sensuous, that is do they appeal strongly to the physical
senses, of sight (color, light, and movement), sound (including music),
smell, taste, touch, and general physical sensation? How great is their
variety? Do they deal with many parts of Nature, for example the sea,
mountains, plains, forests, and clouds? Is the love of external beauty a
passion with the author? What is the author's attitude toward Nature--(1)
does he view Nature in a purely objective way, as a mass of material
things, a series of material phenomena or a mere embodiment of sensuous
beauty; or (2) is there symbolism or mysticism in his attitude, that
is--does he view Nature with awe as a spiritual power; or (3) is he
thoroughly subjective, reading his own moods into Nature or using Nature
chiefly for the expression of his moods? Or again, does the author describe
with merely expository purpose, to make the background of his work clear?