Transcendental Aesthetic - The Categories

I sincerely wish that there was a way to derive all the categories for judging novels a priori, and thus exhaust the list of all possible categories; however, this is impossible, and doing so would be a significant application of Transcendental Idealism, which would be rightfully conceived as dogmatism by Kant. Furthermore, in the first place, such a thing is impossible by definition, since it is concerned with a complete objectivity of aesthetics, which may be even more foolish than claiming a complete subjectivity of aesthetics. 

Thus we follow the example of the physical sciences; that is, we will be based on categories and principles that look infinitely close to being the truth, and therefore never certainly the truth, yet universally treated as so. Obviously this does not diminish the application, as evidenced by advances in medicine, technology, engineering, and much more. We will be within this scope, and as such, our usefulness will also see past the inevitable incompleteness that plagues empiricism. 

The Categories:

Pace

Prose

Complexity

Progression

Logic

Reception

Pace, Progression, and Prose follow from their natural definitions, while Complexity as I use it will encompass more than the traditional use, as will be shown in future sections. 

Logic will be composed of World Logic and Universal Logic, the latter of which may be associated with the strictest and most prevalent of standards. 

Reception will be the category that accounts for the subjectivity of taste.

I strongly dislike rephrasing my sentences and summarizing ideas, but I feel as though this is such an important point that I must say it a second time: The first 5 categories refer to the objective quality of a novel, while Reception refers to objective personal qualities about novels, and their relation to hypothetical readers.