CHAPTER IV
CHARACTERS AND CHARACTERISATION
The Chief Character
In the plot previously outlined, which figure is supreme? It depends. In some senses the supremacy is not a matter of choice, but is decided by the nature of the story. If the man is making the greater sacrifice, it means that, whether you like it or not, his is the struggle that calls for a larger measure of sympathy; and you must assign him the chief place. Still, there are circumstances which would justify a departure from this law—something after the fashion of respecting the rights of a minority. But in our projected narrative, the woman is undoubtedly the supreme character; for the man's battle is mainly one of religious scruple, and only secondarily a question of race; whereas, the Jewess has a vigorous conflict with both race and religion.
Well, what do you know about women? Anything? Do you know how their minds work? how they talk? what they wear? and the thousand and one trivialities that go to make up character portrayal? If you do not know these things, it is a poor look-out for the success of your novel, and you might as well start another story at once. It may be a disputed question as to whether women understand women better than men: the point is, do you understand them? Perhaps you know enough for the purposes of a secondary character, but this Jewess is to be supreme; you must know enough to meet the highest demands.
Where to obtain this knowledge? Ah! Where! Only by studying human lives, human manners, human weaknesses—everything human. The life of the world must become your text-book; as for temperaments, you should know them by heart; social influences in their effect on action and outlook, ought to be within easy comprehension; and even then, you will still cry "Mystery!"