whether a writer of Romance makes his world seem convincingly real as we
read or whether he frankly abandons all plausibility. The presence or
absence of a supernatural element generally makes an important difference.
Entitled to special mention, also, is spiritual Romance, where attention is
centered not on external events, which may here be treated in somewhat
shadowy fashion, but on the deeper questions of life. Spiritual Romance,
therefore, is essentially idealistic.

DRAMATIC POWER. Dramatic power, in general, means the presentation of life
with the vivid active reality of life and character which especially
distinguishes the acted drama. It is, of course, one of the main things to
be desired in most narrative; though sometimes the effect sought may be
something different, as, for instance, in romance and poetry, an atmosphere
of dreamy beauty. In a drama, and to some extent in other forms of
narrative, dramatic power culminates in the ability to bring out the great
crises with supreme effectiveness.

CHARACTERS. There is, generally speaking, no greater test of an author's
skill than his knowledge and presentation of characters. We should consider
whether he makes them (1) merely caricatures, or (2) type characters,
standing for certain general traits of human nature but not convincingly
real or especially significant persons, or (3) genuine individuals with all
the inconsistencies and half-revealed tendencies that in actual life belong
to real personality. Of course in the case of important characters, the
greater the genuine individuality the greater the success. But with
secondary characters the principles of emphasis and proportion generally
forbid very distinct individualization; and sometimes, especially in comedy
(drama), truth of character is properly sacrificed to other objects, such
as the main effect. It may also be asked whether the characters are simple,
as some people are in actual life, or complex, like most interesting