dividual, _c__3 indicating the recognition of type or class qualities,
_c__4, the recognition of more individual traits of character. The
distinction here is merely one of matter of fact, a distinction not
always to be made with sureness, since it is one of degree rather than
altogether one of kind. When the way in which a man is good or cheerful
or avaricious is differentiated for us from the way in which another man
is good or cheerful or avaricious, he is so far individualized. Class
characterization, _c__3, may be found along with individualization. The
extreme accentuation of one or a few characteristics to the disregard of
others gives the effect of individualization, but we shall understand
this as in fact type characterization, since our natures are so complex
that in almost no case can the conduct of any one be understood through
knowledge of a few dominant traits of character. Individualization gives
us intimacy of acquaintance; type or class characterization makes us see
merely the striking, peculiar, or controlling expressions of
personality. Guy Mannering in Scott's "Guy Mannering" is but a type of
the conventional soldier. Tito Milema in George Eliot's "Romola"
presents so many sides of a complex nature that we easily distinguish
him from all other characters in fiction whatever.

=25. The Subjective and Objective.=--Writers, in their methods of
presentation, may be broadly divided into two classes, those who write
subjectively and those who write objectively. A subjective writer is one
whose own personality, point of view, feeling, is insistent in what he
writes. An objective writer, on the other hand, is one who leaves the
things of which he makes record to produce their own impression, the
writer himself remaining an almost impassive spectator, telling the
story with little or no comment. Chaucer, in the prologue to the
"Canterbury Tales," betrays his personal feeling for his characters
continually, and so is subjective. Shakespeare in his plays is
objective, presenting all sorts of men and women without show of his own
attitude toward them.

=26. Interest of the Plot and its Purpose.=--We have seen that interest
in incident is a first interest in the story. This interest, we must
understand further, is not to be maintained by having things happen in a
matter regulated only by chance or the exigencies of the author's
invention at the moment. The unification of a story that results from
the subordinatio