by Rachel Czarniak
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The dictionary describes the word characterization as “the creation and convincing representation of fictitious characters.” Perrine’s Literature, however, gives a deeper description of characterization based on the type of fiction it was pertaining to, literary or commercial. Commercial fiction has little use for true characterization because of its primary usage of plot. Fiction of true literary merit, however, greatly involves the use of characterization. Getting past the surface and truly depicting a character to its core is fundamental in the artistry of a short story. Throughout this essay we will be discussing types of characters, appropriate changes in personage (using two of O’Connor’s characters), and the importance of characterization in comparison to real life, all in connection with Flannery O’Connor’s short story, “A Good Man is Hard to Find.”
While the story has many supporting characters, the main character is the Grandmother. She easily meets the criteria of an acceptable character within literary fiction, displaying very lifelike qualities. She is easy to relate to, partly because of the fact that she is a stock character: a typical grandmotherly figure. Her behavior is consistent, without any abrupt detours that are not accounted for, and her every word or deed arises chiefly from inner motives, which is the sign of a true and lifelike character.
Another of O’Connor’s main characters is the Misfit. His character is markedly different from the Grandmother on multiple standpoints. The Misfit is an unprecedented person, most likely not like anyone you or I would encounter in real life. While the Grandmother is easy to predict from the beginning of the story, the Misfit is more mysterious. His behavior is consistent throughout the story portion that we see—he is characterized by bitterness towards life situations and apathy towards his victims. His behavioral motives are not as well accounted for in the story, however, but they are hinted at within his dialogue with the Grandmother about his past life. His character is still relatable in his bitterness and anger; these qualities are perhaps displayed in a melodramatic way, but are applicable nonetheless.
In a good work of fiction, most authors have at least one dynamic character. A dynamic character is one who encounters change throughout the course of the story, and is shown as a more in-depth and cultivated character by the end. Perrine’s also gives stipulations as to the changes that may occur in literary fiction—of course, these changes must remain parallel with the character’s previous development, as well as having adequate incentive and plenty of time for the adjustment to occur. One of the Grandmother’s changes—one regarding her emphasis on religion—is key in the course of the story, as well as the reader’s understanding of her character. Her sudden outburst of faith at the point of death helps us to read into her character and understand her motivations and her thoughts. Her change of attitude and suddenly desperate position display a selfishness and an insecurity that were previously unknown to such a degree. They also help readers to view her character as an extension of real-life feelings and emotions. Surprisingly, contrary to her seemingly predictable character, the events of the story really bring out a change in the Grandmother that gives her the title of a dynamic character.
A truly commendable author not only uses his characters to entertain his readers, but uses them as of key to understanding the real world around us. Characters in literary fiction should be able to parallel real people and circumstances, and can be used by an estimable author to better understand human nature. In this short story, the author uses her characters’ encounter with death to bring out true feelings and emotions that humans encounter when presented with something scary and previously ignored. She also uses Bailey’s responses to his mother as a window into the mind of an aggravated son, and the way we can easily take for granted the family members given to us because of small irritations. O’Connor uses many instances of her characters’ lifelike qualities to point back to real life attributes.
Characterization is a valuable tool that can be used by authors in minor or extraordinary ways to enlighten readers in both their works of fiction and in the real world around us. Character types, changes, and parallels are only a few ways that characterization can be used to its full potential in works of literary fiction, as they are used in Flannery O’Connor’s short story.
While the story has many supporting characters, the main character is the Grandmother. She easily meets the criteria of an acceptable character within literary fiction, displaying very lifelike qualities. She is easy to relate to, partly because of the fact that she is a stock character: a typical grandmotherly figure. Her behavior is consistent, without any abrupt detours that are not accounted for, and her every word or deed arises chiefly from inner motives, which is the sign of a true and lifelike character.
Another of O’Connor’s main characters is the Misfit. His character is markedly different from the Grandmother on multiple standpoints. The Misfit is an unprecedented person, most likely not like anyone you or I would encounter in real life. While the Grandmother is easy to predict from the beginning of the story, the Misfit is more mysterious. His behavior is consistent throughout the story portion that we see—he is characterized by bitterness towards life situations and apathy towards his victims. His behavioral motives are not as well accounted for in the story, however, but they are hinted at within his dialogue with the Grandmother about his past life. His character is still relatable in his bitterness and anger; these qualities are perhaps displayed in a melodramatic way, but are applicable nonetheless.
In a good work of fiction, most authors have at least one dynamic character. A dynamic character is one who encounters change throughout the course of the story, and is shown as a more in-depth and cultivated character by the end. Perrine’s also gives stipulations as to the changes that may occur in literary fiction—of course, these changes must remain parallel with the character’s previous development, as well as having adequate incentive and plenty of time for the adjustment to occur. One of the Grandmother’s changes—one regarding her emphasis on religion—is key in the course of the story, as well as the reader’s understanding of her character. Her sudden outburst of faith at the point of death helps us to read into her character and understand her motivations and her thoughts. Her change of attitude and suddenly desperate position display a selfishness and an insecurity that were previously unknown to such a degree. They also help readers to view her character as an extension of real-life feelings and emotions. Surprisingly, contrary to her seemingly predictable character, the events of the story really bring out a change in the Grandmother that gives her the title of a dynamic character.
A truly commendable author not only uses his characters to entertain his readers, but uses them as of key to understanding the real world around us. Characters in literary fiction should be able to parallel real people and circumstances, and can be used by an estimable author to better understand human nature. In this short story, the author uses her characters’ encounter with death to bring out true feelings and emotions that humans encounter when presented with something scary and previously ignored. She also uses Bailey’s responses to his mother as a window into the mind of an aggravated son, and the way we can easily take for granted the family members given to us because of small irritations. O’Connor uses many instances of her characters’ lifelike qualities to point back to real life attributes.
Characterization is a valuable tool that can be used by authors in minor or extraordinary ways to enlighten readers in both their works of fiction and in the real world around us. Character types, changes, and parallels are only a few ways that characterization can be used to its full potential in works of literary fiction, as they are used in Flannery O’Connor’s short story.
3 comments:
Rachel,
Good job analyzing characterization according to what you are learning in Perrine's. I'd like to know more about how you think the Grandmother changes. She has this one dramatic epiphany about life at the moment of her death. What's that all about? How does her view of mankind change in that instance? What did she believe before ( look at Emily's post on theme).
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