The selection of incidents for their bearing upon fate, the selection of significant traits for the construction of character, with the resulting unity and simplicity of the parts and the whole, is responsible for most of the ideality of fiction as compared with real life. Real life is a confused medley of impressions of people and events, a mixture of the important and the unimportant, the consequential and the inconsequential, with no evident pattern. Of this, literary art is the _verklartes Bild_. It is not because, in literature, men are happier and nobler that life seems superior there; but because its outlines are sharper, its design more perspicuous, the motives that sway it better understood. It has the advantage over life that a landscape flooded with sunshine has over one shrouded in darkness. The way the literary artist builds up the ideal social world of fiction follows closely the method which we all employ in constructing the real social world. In real life we start from certain perceived acts and utterances, to which we then attach purposive meanings, and between which we establish relations. The process of interpretation is so rapid that, although strictly inferential in character and having imagination as its seat, it seems, nevertheless, like direct perception. As we see people act and hear them talk, it is as if we had a vision, confused indeed, yet direct, of their inner lives. And yet, as we have insisted, the real social world is constructed, not perceived. The literary artist, unless he calls dramatic art to his aid, cannot present the persons and acts of his story; he can only describe them and report their talk. Description must take the place of vision, a recorded conversation the place of a heard one. Yet, by these means, the artist can give us almost as direct an intuition as we get from life itself; he can make us seem to see and overhear. From the acts which he describes we can infer the motives of the characters, and from the reported conversations we can learn their opinions and dreams. Or the novelist may insert a letter which we can read as if it were real. The resulting image of life will be clearer than any we could construct for ourselves; for the artist can report life more carefully than we could observe it; and he can make his characters more articulate in the expression of themselves than ordinary men, giving them a gift of tongues like his own. This last is especially characteristic of the drama, where sometimes, as in Shakespeare, men speak more like gods than like men. And we can listen to the intimate conversation of friends and lovers, upon which, in real life, we would not intrude.