STUDYING

NOVELS
ABOUT
AUTHORS AND
CHARACTERS
GROUP 2:
FARADILA MESFER
AKBAR FIRMASYAH
AUTHORS
 NOVELS ARE SPECIALLY MADE WORLDS
IN WORDS
 HOW AUTHORS ARRANGE EVENTS
 NARRATION: FIRST PERSON
 THIRD PERSON
 MULTIPLE NARRATION
 ISSUES IN NARRATION
 AUTHORS’ ATTITUDES, AND IRONY
NOVEL ARE SPECIALLY MADE WORLDS
IN WORDS

The traditional way of making this point is to say that

novels are fiction; in other words, they've been made up. This is
not in itself a difficult point to understand, yet it's surprising
how many students write about novels as if the events are real
and the characters the sort of people you might meet at the bus
stop. If you try to reflect on how you regard characters in a
novel, you might find that there's a shadow of this idea present
in your thinking.
All this has a bearing on how you should write about
novels. Instead of treating, say Jane Eyre, as if she were the girl
next door, you need to bring out two things.
CONTINUE….
In fact, in any consideration of novels, three elements are
present:
 the events of the book
 the author who made the book
 the reader who is responding

Another way of making this point is to say that in the

events of the book, the reader meets the author. Of course,
of these two, it's the author that's the most important. The
author controls what a character is like; the reader should
try to respond to that character in a way that is true to what
the author has done. Whenever, therefore, we look at a
novel we should consider what the novelist is doing in his
or her book.
HOW AUTHORS ARRANGE EVENTS
A question you can ask of any novel is:
 With what purpose does a novelist arrange the events of a
novel?
A number of answers can be given to that question. Among
these are:
 to create excitement and suspense
 to produce mystery
 to show something important about the way people live their
lives • to arouse expectation.
That list could continue, but already one thing has emerged:
what all those points have in common is the relationship
between the reader and what the novelist has written. Therefore,
a simple answer can be given to the question:
CONTINUE…
 The author arranges events in order to control what the reader thinks and feels.
What the reader thinks and feels will depend upon how the author allows him
or her to see what is going on. You can, therefore, talk about the author controlling
the reader's viewpoint or point of view. This is an important idea: because a novel
is a specially written work.
Whenever you read a novel, you can always ask yourselfthis question:
How is the author inviting me to view the events?
 Narration

The name usually given to the business of how authors relate events to readers is
narration. Narration is a matter both of viewpoint and of attitude. One of the basic
features of narration is grammatical. A verb (a word that indicates an action or
state of being) comes in three forms, known as the first, second or third person.
Here is the singularform of the verb to write:
First person:I write
Secondperson:you write
Third person:he, she, it, one writes
NARRATION: FIRST PERSON
 First person narrator is a point of view (who is telling the story) where the
story is narratd by one character at a time. This character may be speaking
about him or herself or sharing events that he or she is experiencing. First
person can be recognized by use of I or we.
 NARRATION : THIRD PERSON
 Third-person narrative is one of the most common techniques in
storytelling. Although there are several types of third-person narrative, its
common feature is that narration features third-person pronouns ("he" and
"she"), as opposed to the first-person pronoun ("I").
MULTIPLE NARRATION
 Multiple narratives bend the rules for conventional narratives
that have a linear structure, one overarching story arc, and a
single point of view. Instead, multiple narratives employ
tactics such as multiple narrators, telling a story within a
story or bringing together multiple story arcs. There are
many strategies that can be used for multiple narrative, and
they can help to enhance the theme, create a stronger story
arc, or deepen characterization.
ISSUES IN NARRATION
 Because narration is the basis of novels (and other forms of literary art) it's
not surprising that there are many aspects to it. This section deals with
some of them. We shall start with issues that are related to what has already
been said about the art of narrative.
 Issues of retrospection, knowledge and reliability all turn on perspective.
This is a word that comes from painting. It means what something looks
like from a particular point of view. It's not difficult to see how this can
apply to literature; all first-person narratives are from the perspective of the
narrator..

 Similar effects can be achieved with distance. There are moments in the
novel when Tess is pictured in the vast, sweeping Wessex countryside.
AUTHORS’ ATTITUDES, AND IRONY
 AUTHORS’ ATTITUDES
It is one of the principles of literary study that what we call form and content cannot be
separated.This is as true in novels as it is in poetry. You can't split off the sounds and
rhythms of a poem from its meaning, and nor can you talk about the way a novel is written
in isolation from what it is about. Infact, the indivisibility of these two things is present in
the language we use about novels
 IRONY

Irony occurs when a reader sees that the author is showing that there is a gap between
what is thought to be true and what actually is true.
these there are four with which you should be familiar:
I) A character can say something that the reader sees is mistaken. Here the gap is
between words and truth. (2) A character may say something, the real meaning or
implication of which is different from what the character supposes. Here the gap is
between words, and meaning. (3) A character can expect certain events to happen or
can set out to achieve something, but the reader can see that things won't work out
as expected. Here the gap is between intention and outcome. This is sometimes
called 'dramatic' irony. (4) A character can interpret the world in one way, but the
reader will see that this interpretation is wrong. Here the gap is between appearance
and reality.
CONTINUE….
Some features of irony
In the light of those examples, we can point out some ofthe features ofirony.
• Irony is aboutseeing and not seeing.
The reader must be percipient (able to see) and the character who is exposed
must be impercipient (unable to see). Irony, therefore is about awareness and
knowledge. When a reader sees and knows more than a character, irony is
possible.
• Irony is always against someone.
It is, therefore, related to power.The one who is percipient is in a superior
position to the one who is impercipient.
• Irony is often a kind of alliance between authorand reader.
The author has led the reader to see what a character can't see. The reader,
therefore, is close to the author and distant from the character.
Sometimes one irony undercuts another.
This is sometimes called double irony. In this case the reader's position can be
subverted.
CONTINUE
 Irony is not always immediately apparent to the reader.
The example above also brings out this feature of irony. The idea that in
spite of everything, Tess is, as the sub-title indicates, a 'pure woman', is
one that gradually emerges.
 Ironies are often enjoyable when they are hinted at rather than baldly
stated.
 Ifironies are too obvious or heavy, the reader is likely to feel that he or
she is being treated as a child.
 Finally, because many ironies are subtle, it is not surprising that many
readers (particularly new readers) are blind to them. All you can do is
to ask yourself some questions. These may prove useful.
• Is what this characteris saying true?
• Can I see more than the characters?
• Do these words mean more than the speakers think?
• Might events turn out differently from what the characters expect?
 CHARACTERS
 CHARACTER AND CHARACTERISITION
 THE CREATION OF CHARACTER
 THE RANGE OF CHARACTERS
 WRITING ABOUT CHATACTERS
 TELLING AND SHOWING
 QUESTION ABOUT CHARACTERS
 HOW CHARACTERS SPEAK
 HOW CHRACTERS THINK
 THE APPEARANCE OF CHARACTERS
 HOW CHARACTERS DRESS
 THE SOCIAL STANDING OF CHARACTERS
 THE NAMES OF CHARACTERS
 THE COMPANY OF CHARACTERS
 WHAT CHARACTERS DO
 CHARACTER AND CHARATERISITION
 There is an important distinction to be made between character and
characterisation.
• A characteris a person in a literary work.
• Characterisation is the way in which a character is created
A character is someone in a literary work who has some sort of identity (it
needn't be a strong one), an identity which is made up by appearance,
conversation, action, name and (possibly) thoughts going on in the head.
There's no reason why we should call these literary creations 'characters.
Characterisation is a methodand characterthe product.
 THE CREATION OF CHARACTER
 We may imagine an author looking at those aspects of people that make
up their personalities and selecting some which are then put together. In
this putting together, the author might play up some features and
subdue others. The character so produced might be interesting, and we
might react to him or her in ways similar to how we do to real people,
but the fact remains that our reactions will be what they are because of
the way the character has been made. Hence, of any character, you can
ask this question.
 How is this charactercreated?

This important question forms the basis of this chapter. What we shall
do is think about the range of characters and then look at the number of
ways in which characters are created and, therefore, our responses
controlled.
 THE RANGE OF CHARACTERS
 One of the things that makes characters different from each other is the
range and richness of their lives. Some characters are, so to speak,
lightly sketched in, while others are very detailed. No reader can
intelligently respond to the first kind in the same way as the second.
How the character is created controls how we respond. Let's look at
some examples
 WRITTING ABOUT CHARACTERS
 The words indicate that one of the distinctions between the characters is
their capacity to change. Yet another distinction is that between
caricature (a simple, stylised figure) and portraiture (a carefully drawn,
complex figure). You might also use terms such as:
• inflexible or flexible
• surface and depth
• one-sided or multi-faceted.
There are three points you should bear in mind when writing about a
character's range.
(l) It's a mistake to think that even apparently closed characters have a
fixed range throughout a novel.
(2) A simple charactercan be as interesting and effective as a complex onc.
(3) Not all the characters in a book have a similar range.
CONTINUE….

 Let's explore each ofthese ideas in tum by looking at some examples.

 It's a mistake to think that even apparently closed characters have a
fixed range throughout a novel.
 Some characters are closed and flat for most of the novel and then
surprise the reader by displaying characteristics the reader did not think
they ha
 A simplecharactercan be as interesting and effective as a complex one.

When we see more of a character it's understandable that we should judge

that character as being more interesting than a closed and flat one. It's true
that a fully realised character gives an author more opportunity, but this is a
different matter from success. Dickens is a test case.
 Not all the characters in a book have a similar range.

A lot of English writing is mixed in style and approach. English art, unlike,
say, French art, does not consciously stick to rules; it deliberately uses
different styles and genre in single works. The word for this is eclectic; it
means made up of things from a wide variety of sources
CONTINUE….
 Comparing and contrasting characters
Because in one novel there can be characters who differ in the way in
which they have been created, it is a mistake to assume that they can easily
be compared. This is something of a problem, because one of the things
you are frequently asked to do in literature examinations is compare and
contrast characters. It is possible to do this just as long as you remember
that you are not comparing like with like.
 TELLING AND SHOWING
 Broadly speaking, there are two ways in which novelists (and any other
storytellers) present characters.These are:
• telling
• showing
The distinction is not a difficult one to grasp. In telling, the narrator
directly informs the reader about a character; whereas in showing, the
reader is left to gather what the character is like from what he or she sees.
• Telling and showing are not exclusive of each other
A novelist can both tell and show. When, in Mansfield Park, Mary
Crawford is introduced, the narrator tells us that she was 'remarkably
pretty'. That is telling. Later, when she spends a long time riding (so long
that Fanny, the central figure, is denied the opportunity of riding), we are
shown that she is impulsive and self-centred.
• Telling and showing are not, ofcourse, confined to matters of character.
Novelists can also show or tell us about settings and actions.
CONTINUE….

• Direct telling is often employed when a character first appear.

There are, of course, problems. First-person narratives can't be treated in
the same way. We have to be sure we can trust the narrator, so we must be
on our guard lest we miss a note of irony.
• Showing is a subtle mode of narration.
That's why many readers like it. The novelist is treating them as
intelligent in that they are trusted to see things. Humour and irony, for
instance, can become tedious if the author insists on spelling out to the
reader what is going on.
• Some authors reserve showing for what matters most
In this first-person narration, she records how, as children, they used to
playa game of running up to the Radley's house to touch the door. This
was thought to be daring, because it was the home of Boo Radley, the
strange and rarely seen son of the house who suffered from mental
problems
 QUESTION ABOUT CHARACTERS
 So far we have been dealing broadly with the issue of characterisation.
What follows is still concerned with that, because the focus will be on
the kind of characters we find in novels. But the process of
characterisation will be taken for granted in a good deal of what we say,
and attention will be taken by what characters are like. We shall be
looking at the various ways in which a character emerges. In particular,
we shall be looking at how the identities of a character is present in the
individual elements that make them what they are.
 HOW CHARACTERS SPEAK
Authors frequently make characters distinctive by giving them
recognisable and memorable ways of speaking, so it's important to ask:
• How do characters speak?
A character might, for instance, speak in a very complicated way, repeat
certain words and phrases, use lots of illustrations, rely upon common
sayings and proverbs, say a great deal or very little.
• In some writers the fluidity is even more pronounced: James Joyce in
Ulysses abandons punctuation to convey the rapid passage of thoughts
through the mind.
 HOW DO CHARACTER THINK
Of course, when a characterspeaks, that character is thinking. A character
might, for instance, use lots of vivid images (Mrs Poyser in George
Eliot'sAdam Bede is like this); or might be given a vocabulary which is
laden with moral words.
Yet there is another way in which a character's thought can be evident to the
reader. This is in their undeclared thoughts. If an author chooses to have
access to the thoughts in a character's head, the readercan be aware not only
of what he or she is thinking, but can be acquainted with the manner of
thought - how the character's mind is made up, and how they approach
problems and challenges.
This type of thinking is one that a number of early twentieth-century writers
have tried to convey. Under the influence of psychological ideas, they
regarded these private, undeclared thoughts as being particularly expressive
of what a character is like. In the stories of Katherine Mansfield, for
instance, these inner moments have the force of a revelation.
 THE APPEARANCE OF CHARACTERS
• What does the author show or tell us about a character's appearance?
It's often useful to ask why an author seeks to convey a lot or a little about
the appearance of characters. In the case of Jane Austen's Emma a number
of questions spring to mind. If we don't know exactly what Emma looks
like, we can enjoy the confusion as to whether Mr Elton's charade (which
praises a woman) is intended for Harriet Smith (Emma's view) or, as it
turns out, Emma herself.
• It is worth noticing that physical appearance is rarely described on its
own.
When an author writes about the appearance of a character, he or she is
usually telling or showing the reader something about the inner world of
the character's personality. It is not surprising in the Lawrence passage
above that he goes on from saying that Paul's face was 'mobile' to tell us
that he 'was full of life, and warm' - both of which are qualities of the inner
self.
 HOW CHARACTERS DRESS
• Is there anything significant in the way in which this characterdresses?
Clothes have several functions in novels.
• Clothes as an expression of personality.
If you look back to the passage about Dorothea Brooke from Middlemarch (p.
129), you'll see that her character in part emerges from the way she dresses.
Her clothes are an extension or expression of her personality; their plainness
not only sets off her beauty, but is also expressive of her seriousness.
• Clothes are sometimes used to indicate social status.
This is particularly true of nineteenth-century novels. In Hardy's The Mayor
of Casterbridge, Elizabeth-Jane's clothes both establish her character and
show the way she adjusts to her new social status. In a very different novel
Margaret Atwood's The Handmaid's Tale, clothes distinguish the several strata
of society. As a handmaid, the central character wears a headscarf. This, in
fact, is a common ploy used by novelists who are imagining a different
society.
CONTINUE…
• Clothes can also help to create the atmosphere ofa book.
Graham Greene, for instance, presents a world of seedy characters, whose
shabby, dirty and scruffy clothes enact the very strong feeling in his
novels of corruption, decay and failure.
• Clothes can sometimes be an essential element in the development ofthe
plot.
 THE SOCIAL STANDING OF CHARACTERS

• What is the class of the character?

Class is not an easy term to handle. We use it with so many presuppositions
in mind that we are always in danger of importing these into our thinking.
Initially, it's best to take a simple line and view class as a kind of rank, a
rank established by wealth, social standing and culture. With this in mind,
there are a few questions that a readercan ask.
• How is class evident?
Obvious answers to this question are:
-in dress
-in employment
-(sometimes) in names.
 Class is also evident in other uses of language. For instance, many
novelists show characters from what we wouldcall the working class as
speaking a lot of the time in proverbs and stories.
CONTINUE…
• What kind of class orclasses is the novelist interested in?
Dickens is similar. At the opening of Our Mutual Friend there is a scene in
which a message is delivered by a working-class boy to the home of a
man rising rapidly through the middle class. They don't meet (that's part
of the point Dickens is establishing about the stratification of society) but
the presence of representatives from both classes establishes the social
dimensions of the book.
• What view of class and society emerges in the presentation of
characters?
Dickens is aware of how class divides people. It is always, for instance, a
problem for him when he wants to marry off two characters of very
different classes. (He sometimes does this, as in Our Mutual Friend, by
severely injuring the upper-class character, so that the lower-class one
can't be said to have quite so good a bargain.)
 THE NAME OF CHARACTERS
• Is there anything significant about a character's name?
Often the answer will be 'no', but there are novels in which the names
suggest the nature ofthe characters.
In 1984 the central character is Winston Smith. His name is clearly
symbolic. Smith is the commonest surname in England, so the character
can be seen as standing for the ordinary man; and Winston is the name
borne by the great war leader Winston Churchill. The novel was written in
1948, so the boldness and determination associated with the name Winston
would be very much in readers' minds. The name is thus important for the
meaning of the novel. Orwell intends readers to see the central character as
one who fights tyranny just as Churchill fought it. The terrible irony of the
name is that whereas Winston Churchill won, Winston Smith did not.
 THE COMPANY OF CHARACTERS
• In what company do characters appear?
One of the very many powerful aspects ofthe opening of Jane Eyre is the
way in which the first event that is referred to is her banishment from the
family circle. That establishes how we see Jane - a lonely character who
has no real family. One way of reading that novel is to see it as a search
(there are many journeys in it) for a place in which she can belong.
In that respect, Great Expectations is the very reverse of Jane Eyre. Pip
wants to leave home and live the life ofa gentleman in London, but the
events of his life bring home to him that the place in which he most truly
belongs is the place where he is loved, and that is his childhood home.
That is why Dickens writes with such loving care about the way, as a
child, Pip spent his evenings with Joe. It' s important to remember that
what matters is not what we know about a character's family or society
but how we actually see them in the novel.
 WHAT CHARACTERS DO
• What does a character do?
The way in which a character is shown as acting or reacting is one of the chief
ways in which authors establish personality. An author can make everything a
character does important.
• Even an action that is normally thought of as slight, can be made significant.
Jane Austen is particularly skilful in showing how everyday events can express
the moral standing of characters. Mary Crawford's habit of riding the horse
usually reserved for Fanny Price shows that she is selfish. At another point in
Mansfield Park, Mrs Norris's character is revealed through her insistence that
she must have a spare room in her house and therefore can't accommodate
Fanny.
• Sometimes the action that reveals what a characteris like isdramatic.
Jane Eyre has to decide whether to live with a man whom she cannot marry,
Hetty Sorrel must cope with an illegitimate child, and Winston Smith must
revolt against the state.
CONTINUE…
• You must be prepared to find some characters' actions to be complex.
Not every character reacts in the same way throughout the novel. In the case
of such characters you must look at everything they do and balance one
action against another. Authors sometimes want to show tensions within
characters and therefore show them acting in contrary ways.
THANK YOU