2.7: Character

Characters and Characterization

How do writers of prose fiction make us respond to the imaginary people they create? In order to encourage us to continue reading, writers must force us to react in some way to their characters, whether it is to identify, empathise, or sympathise with them; to dislike or disapprove of them; or to pass judgement on their actions, behaviour and values. As we have already seen, the fundamental question we repeatedly ask when we read a story is what happened next. Equally importantly we want to know to whom it happened, and we will only want to know this if we feel strongly one way or another about the characters in the story. In this respect the author's skill at characterisation is crucial.

We use the term characterisation to describe the strategies that an author uses to present and develop the characters in a narrative. This use of descriptive techniques will vary from character to character. Some characters are central to a story; often there will be one main character around whom the narrative revolves: Pip in Great Expectations, for example, or, we may reasonably surmise from the opening paragraph we looked at earlier, Catherine Morland in Northanger Abbey. We expect that such characters, and others close to the heart of narrative events, will be presented to us in great detail; we may be allowed access to their consciousness, either by the use of first-person narration or third-person focalisation, and it is extremely likely that they will undergo some sort of significant personal change (for better or worse) as a result of their experiences. These kinds of characters are sometimes known as dynamic. Other characters, often described as static, may be much less thoroughly-drawn; they may be introduced to the narrative primarily to perform a particular narrative or thematic function, and will probably undergo little or no change in the course of the story.

Terms Related to Characterization

You are probably already adept at identifying the characters of a story, but there are some terms that will be helpful in your literary analysis. Keep in mind that characters aren't necessarily people. They can be animals, divine beings, personifications, etc.

One of the most important terms you will use is conflict. Conflict occurs between two opposing sides in a story, usually centering on characters' values, needs, or interests. A conflict can be internal or external. Internal conflict takes place within an individual, such as when a character is torn between duty to his family and duty to the state. External conflict occurs when two individuals or groups of individuals clash. A struggle between a character and his best friend is an example of an external conflict.

Video

Click for video to discuss that conflict is a struggle between opposing forces.

By examining the conflict, we can determine the protagonist and antagonist. The protagonist is the focal point of the conflict, meaning that he or she is the main character of the story. All the action in a story will revolve around its protagonist. In addition, a story that contains a series of conflicts can contain several protagonists – no story is limited to just one. The antagonist is the character who stands in opposition of the protagonist. The antagonist is the other half of the conflict. Remember that an antagonist doesn't have to be a person – it can be a nation, a group, or even a set of ideas.

Sometimes, the protagonist can take the form of the antihero. The antihero is a protagonist who does not embody traditional “heroic” values. However, the reader will still sympathize with an antihero. For instance, a protagonist who is a scoundrel is an antihero, as a traditional hero would embody virtue.

In addition to the protagonist and antagonist, most stories have secondary or minor characters. These are the other characters in the story. They sometimes support the protagonist or antagonist in their struggles, and they sometimes never come into contact with the main characters.

Authors use minor characters for a variety of reasons. For instance, they can illustrate a different side of the main conflict, or they can highlight the traits of the main characters. One important type of minor character is called a foil. This character emphasizes the traits of a main character (usually the protagonist) through contrast. Thus, a foil will often be the polar opposite of the main character he or she highlights. Sometimes, the foil can take the form of a sidekick or friend. Other times, he or she might be someone who contends against the protagonist. For example, an author might use a decisive and determined foil to draw attention to a protagonist's lack of resolve and motivation.

Finally, any character in a story can be an archetype. We can define archetype as an original model for a type of character, but that doesn't fully explain the term. One way to think of an archetype is to think of how a bronze statue is made. First, the sculptor creates his design out of wax or clay. Next, he creates a fireproof mold around the original. After this is done, the sculptor can make as many of the same sculpture as he pleases. The original model is the equivalent to the archetype. Some popular archetypes are the trickster figure, such as Coyote in Native American myth or Brer Rabbit in African American folklore, and the femme fatale, like Pandora in Greek myth. Keep in mind that archetype simply means original pattern and does not always apply to characters. It can come in the form of an object, a narrative, etc. For instance, the apple in the Garden of Eden provides the object-based forbidden fruit archetype, and Odysseus's voyage gives us the narrative-based journey home archetype.

Flat and Round Characters

Another useful distinction between types of characters was proposed by E.M. Forster in Aspects of the Novel. "We may divide characters into flat and round," Forster suggested (1927, p. 65). What do you think he meant by these terms?

I expect you found this rather straightforward. The word "flat" suggests a one-dimensional figure, and what Forster meant by "flat" characters were those who are largely taken to represent a particular idea, human trait, or set of values, much like the static characters described above. They are caricatures who can be easily and quickly summarised; Forster gives an example:

The really flat character can be expressed in one sentence such as “I will never desert Mr Micawber.” There is Mrs Micawber – she says she won't desert Mr Micawber; she doesn't, and there she is.

(ibid.)

The reference is to a character in Dickens' David Copperfield who does not change in any significant way in spite of the varied experiences she and her family encounter. "Round" characters, by contrast, are described and developed in such a way as to achieve three-dimensionality, a physical and psychological complexity that mimics that of the real people we come to know in our everyday lives.

Jane Austen's Pride and Prejudice provides some interesting examples of "flat" and "round" characters. Note, however, that identifying those examples will largely depend on the reader's response to Austen's characters, but we might well place figures such as Mrs. Bennett in the former category, and the central character, her daughter Elizabeth, in the latter. As you may know, Austen sums up Mrs. Bennet in three short, direct sentences at the end of the opening chapter of the novel:

She was a woman of mean understanding, little information, and uncertain temper. When she was discontented she fancied herself nervous. The business of her life was to get her daughters married; its solace was visiting and news.

(Austen, 1813, p. 3)

Compare this with the opening of the final chapter of Pride and Prejudice:

Happy for all her maternal feelings was the day on which Mrs. Bennet got rid of her two most deserving daughters. With what delighted pride she afterwards visited Mrs. Bingley and talked of Mrs. Darcy may be guessed. I wish I could say, for the sake of her family, that the accomplishment of her earnest desire in the establishment of so many of her children, produced so happy an effect as to make her a sensible, amiable woman for the rest of her life; though perhaps it was lucky for her husband, who might not have relished domestic felicity in so unusual a form, that she still was occasionally nervous and invariably silly.

(ibid., p. 295)

These two descriptions of Mrs. Bennet, at the beginning and end of the novel are rare examples of Austen "telling" us about this particular character. More often, she "shows" us Mrs. Bennett by reporting her speech directly and allowing us to draw our own conclusions about Mrs. Bennet's attitudes and values. We are never given access to Mrs. Bennett's consciousness; events are never "focalised" through her. Why do you think this is?

It is probably because Mrs. Bennet's main function in the story is to represent a particular attitude of the period in which the novel is set, that the best, or only chance for women's social advancement and financial security was through marriage. By representing this view from the outside, as it were, Austen leads us to scrutinise it in a more rigorous way. To describe Mrs. Bennet as "flat" or "static" is not to imply that she is necessarily a negligible character. She may perform only one function in the novel, but it is a function that draws attention to the constrained position of women in the society Austen depicts.

That Elizabeth is a "round," or "dynamic," character is surely not in doubt. The entire novel revolves around her and we perceive much of the action through her eyes. The changes she experiences conform to Forster's template of "roundness," and the contrast with Mrs. Bennet demonstrates the necessity for combinations of "flat" and "round" that Forster sees as necessary for the successful creation of fictional narrative:

The test of a round character is whether it is capable of surprising in a convincing way. If it never surprises, it is flat. If it does not convince, it is a flat pretending to be round. It has the incalculability of life about it – life within the pages of a book. And by using it sometimes alone, more often in combination with the other kind, the novelist achieves his task of acclimatization, and harmonizes the human race with the other aspects of his work.

(Forster, 1927, p. 75)

Activity: Character Analysis

Most novels will have a hero, a good guy. There is no doubt that Harry Potter is the hero and protagonist, and he has a lot of good friends. How do we know that they are good? We have to depend on information about looks, behavior, and speech.

Study the extracts and then answer the questions which follow.

Extracts from the first chapter of Harry Potter and the Philosopher’s Stone used in the analysis.

EXTRACT 1

If the motorcycle was huge, it was nothing to the man sitting astride it. He was almost twice as tall as a normal man and at least five times as wide. He looked simply too big to be allowed, and so wild – long tangles of bushy black hair and beard hid most of his face, he had hands the size of trash can lids, and his feet in their leather boots were like baby dolphins. In his vast, muscular arms he was holding a bundle of blankets. (Description of Hagrid)

EXTRACT 2

“S-s-sorry,” sobbed Hagrid, taking out a large, spotted handkerchief and burying his face in it. “But I c-c-can’t stand it – Lily and James dead – an’ poor little Harry off ter live with Muggles–” (Hagrid talks about Harry’s dead parents and how he has to stay with the humans, the Muggles)

EXTRACT 3

“Yes, yes, it’s all very sad, but get a grip on yourself, Hagrid, or we’ll be found,” Professor McGonagall whispered, patting Hagrid gingerly on the arm as Dumbledore stepped over the low garden wall and walked to the front door. He laid Harry gently on the doorstep, took a letter out of his cloak, tucked it inside Harry’s blankets, and then came back to the other two. For a full minute the three of them stood and looked at the little bundle; Hagrid’s shoulders shook, Professor McGonagall blinked furiously, and the twinkling light that usually shone from Dumbledore’s eyes seemed to have gone out. (From the delivery of the orphan Harry at the Dursleys’ doorstep)

EXTRACT 4

“Look”– he murmured, holding out his arm to stop Malfoy. Something bright white was gleaming on the ground. They inched closer. It was the unicorn, all right, and it was dead. Harry had never seen anything so beautiful and sad. Its long, slender legs were stuck out at odd angles where it had fallen and its mane was spread pearly white on the dark leaves. Harry had taken one step toward it when a slithering sound made him freeze where he stood. A bush on the edge of the clearing quivered… Then, out of the shadows, a hooded figure came crawling across the ground like some stalking beast. Harry, Malfoy, and Fang stood transfixed. The cloaked figure reached the unicorn, lowered its head over the wound in the animal’s side, and began to drink its blood. (From the first time Harry meets Voldemort)

EXERCISES

Study Extracts 1, 2, and 3

1. How does the author introduce us to Hagrid and Professor Dumbledore? What kind of impression do you get? Do you like them? Why?
2. Describe in your own words Hagrid’s looks.
3. How is speech used to describe the characters?

Villains/Antagonists

In most novels we will also meet some “bad guys.” They are often called villains or antagonists. How do we know that they are evil? Study Extract 4 above.

1. Describe in your own words Voldemort’s looks and behavior.
2. How does the author tell us that Voldemort is an evil character (an antagonist)?

Character Development

Throughout the story Harry changes a lot. He develops from a loner into a sociable, more mature guy, and he also has to admit that he is mistaken. One of the characters that he thinks is “a bad guy” is actually “a good guy”! In most reports you will be asked to write a characterization of one of the main characters and to comment if they have changed or not.

Video 4.6.1 : Character

Contributors and Attributions

• Adapted from Writing About Literature: The Basics by CK-12, license CC-BY-NC
• Characters and Characterization by Ely M. Huseby, provided by NDLA., license: CC BY-NC-SA
• Adapted from the course, Approaching Prose Fiction from OpenLearn licensed under CC-BY-NC-SA