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Now and then character analysis
Now and then character analysis
Now and then character analysis
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The categories associated with the means of means of characterization are considered to be explicit vs. implicit characterization, auto- vs. alterocharacterization and figural and narratorial as the foci of characterization. The use of certain means of characterization depends upon the preference of the author: his style, intentions and choice of focus. The characters are characterized by 1) what they say themselves, 2) what they do, 3) what the narrator says about them and 4) what other characters say about them. One should not, however, take for granted what is said by other characters since they might not be reliable, especially if one notices certain inconsistencies. This essay focuses on a story called Witness for the Prosecution written by the famous writer of detective stories, Agatha Christie. The plot centers around a crime (the murder of Miss Emily French) and starts with the discourse between Mr. Mayherne, the solicitor, and Mr. Vole, the accused person who swears being innocent of the crime. Later in the story appears Mr. Vole's wife and, acting extremely skillfully, plays the major role in acquitting her husband. The essay attempts to analyse Mr. Mayherne's (Agarha Christie's Witness for the Prosecution) characterization according to the aforementioned characterization parameters.
Firstly, one should distinguish the focus of characterization and in this respect, one can notice that throughout the story, Mr. Mayherne is characterized only by the narrator. Characterization by the narrator is attributed to the narratorial characterization. Therefore, one can conclude that characterization is narratorial, that is, Mr. Mayherne is presented by the narrator. Mr. Mayherne is not discussed and evaluated by oth...
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...ittle prejudiced against women ("Women were the devil when they got their knife into you" (Christie, p. 371) and underestimating their capacities. He is discredited in a way and this is at the same time has ironic effect: male logics failed against women's acting spontaneously and inventively. One might say that he achieves his aims as a solicitor because his defendant is acquitted but Mr. Mayherne was not able to see his client through. He is cheated, he is discredited and belittled ("little Mr. Mayherne" (Christie, p. 378). So, the narrator can laugh that the reader lets to be easily deceived by taking for granted what he says. In turn, the reader is satisfied to get aroused, excited and stimulated by the unexpected turnout.
LIST OF REFERENCES
Christie, Agatha. "The Witness for the Prosecution." MASTERPIECES OF MURDER. New Work: Kodd, Mead and Co. 1977.
Characterization is an essential component in a short story. Characterization is based on two things , indirect or direct characterization. Indirect Characterization shows the audience what the personality of the character is , and Direct tells the audience what the personality of the character is. Authors make characters be presented by means of description,through their actions,speech,thoughts and interactions with other characters. Authors frequently apply characterization to their stories to develop a theme or moral to the stories. Practically every novel that was made in the history of literature has a theme.This means any kind of short story like The Whistle by Anne Estevis and Marigold by Eugenia Collier has characterization.
The birth of classic detective fiction was originated just in the mid nineteenth century, and was producing its own genre. Classical detective fiction follows a set of rules called the ‘Ten commandments of detective fiction’. The genre is so popular it can bee seen by the number of sales in any good book stores. Many of these books have been created a long time ago and there is still a demand for these types of books. The popularity is still ongoing because it provides constant entertainment, and also the reader can also have a role of detective trying to solve the crime/case committed. Classical detective fiction has a formula, the detective story starts with a seemingly irresolvable mystery, typically a murder, features the astute, often unconventional detective, a wrongly accused suspect to whom the circumstantial evidence points, and concludes with a startling or unexpected solution to the mystery, during which the detective explains how he or she solved the mystery. Formula that includes certain elements such as, a closed location to keep the number of suspects down, red hearings spread around the stories to keep the reader entertained yet interacted.
In “The Tell-Tale Heart” and “The Cask of the Amontillado’ Montresor and the unknown narrator are both murders through their confessions they reveal both their similarities and differences. The unknown narrator is trying to convince the auditor of his sanity while Montresor is attempting to convince the auditor of justifiable revenge. It is through these confessions they are trying to convince the auditor of their humanity and of their innocence through the justification of these horrible acts (Dern 53).
In contrast, syntax provides a new perspective to the narrator s behavior as sentence structure draws attention to her erratic behavior. By her last entry, the narrator s sentences have become short and simple. Paragraphs 227 through 238 contain few adjectives resulting in limited descriptions yet her short sentences emphasize her actions providing plenty of imagery. The syntax quickly pulls the reader through the end as the narrator reaches an end to her madness.
The characters are some of the major parts of any narrative. The ways in which they have been developed to satisfy the ideological purpose of the story determines the direction that they take in achieving the roles and the aspects of the stories. Based on this information, the sole purpose of this paper is to determine the characterization of two of the characters in Recicitatif. The paper will develop and explain some of the key ways in which Toni Morrison has developed the characters to satisfy the ideological needs of the novel as well as the development of the major themes that have been portrayed in the novel. The identification of what the character is like through the direct and indirect methods and the ways in which they portray their
The idea of a detective catching an elusive convict or solving an improbable crime has been prevalent in all corners of the world, spread throughout many cultures and societies. The detective genre is held as the idea that an individual has to solve a crime. This detective usually has nothing to gain from solving the crime, but they see it more as an obstacle. The detective doesn’t always take every case, as human beings, we are too often curious of the impossible; our natural instinct is to question why and how things work in this world. People crave mystery, to taste a bit of improbable, to see what the detectives see, to see what is overlooked by many. The idea of an intelligent witty, sharp “sleuth” with an obedient sidekick has been prevalent
The male characters carefully look around in the bedroom and outside in the barn for clues. Why, the women are sent into gather some things for Mrs. Wright, who is the main suspect to her husband’s death. The women are mocked at by the men. The attitude the men at this time had toward women is provided by Glaspell in the opening of the investigation when the men noticed the kitchen. For example the male characters don’t take the Mrs. Wright when telling them about the important of having the heat on so that the jars of preserves wouldn’t break because of the cold weather. Yet, the male characters didn’t take Mrs. Wright seriously. As if they are just good for nothing women which lack the smarter to understand how to solve a homicide.
I was troubled to see women made the Jest of every Pretender to Wit and expos’d by Scurrilous Pamphlet rather than a Sermon to the Malicious Censures of invidious Detractors of Men, who think they cannot be obedient Wives, without being Slaves, nor pay their Husbands that Respect they owe them, without sacrificing their Reason to their Humor (Lonsdale 1).
The struggle the other characters face in telling Mrs. Mallard of the news of her husband's death is an important demonstration of their initial perception of her strength. Through careful use of diction, Mrs. Mallard is portrayed as dependent. In mentioning her "heart trouble" (12) Chopin suggests that Mrs. Mallard is fragile. Consequently, Josephine's character supports this misconception as she speaks of the accident in broken sentences, and Richards provides little in the way of benefiting the situation. In using excess caution in approaching the elderly woman, Mrs. Mallard is given little opportunity to exhibit her strength. Clearly the caution taken towards Mrs. Mallard is significant in that it shows the reader the perception others have of her. The initial description the author provides readers with creates a picture that Mrs. Mallard is on the brink of death.
In “Oxford Concise Dictionary Literary Terms” by Chris Baldick, characterization is defined as the representation of persons in narrative and dramatic works which include direct and indirect methods in inviting the readers to infer qualities from characters’ actions, speech, or appearance. However, modals in literature context serve as an eye opener to the personality and traits of the characters in short stories. It enables the readers to learn of the characters’ abilities, capabilities, prohibitions, obligations and so forth. The appearance of modals in literary texts serves its own specific purposes in accordance to the author’s wish. In David Leavitt’s “Territory” which describes the relationship between a mother (Mrs. Campbell) and her son (Neil) who is a homosexual, gives me an interest to explore and find out more about the characters. Through the use of modals found in the extract, it enables me to go in depth and examine the characterization in the story.
The literary technique of characterization is often used to create and delineate a human character in a work of literature. When forming a character, writers can use many different methods of characterization. However, there is one method of characterization that speaks volumes about the character and requires no more than a single word - the character's personal name. In many cases, a personal name describes the character by associating him with a certain type of people or with a well known historical figure. Therefore, since the reader learns the character's name first, a personal name is a primary method of characterization; it creates an image in the reader's mind that corresponds with the name of the character. Once this image has been created, all subsequent actions and beliefs of the character are somehow in accordance with this image; otherwise, the character does not seem logical and the reader is not be able to relate to the work. In the novels The Sailor Who Fell From Grace with the Sea, by Yukio Mishima, and Wonderful Fool, by Shusako Endo, each author gives one of his characters a personal name that guides the character's actions and beliefs.
In Fenstad’s Mother, by Charles Baxter, character is a very essential element to the story. The main character, Harry Fenstad, is a complicated person, but it is his mother, Mrs. Clara Fenstad, who I feel is a more important and complex person. In this brief paper, I will explain why it is my opinion that both of these characters play a crucial role in the story by complementing and developing each other’s character.
Suskind, Patrick. Perfume, The Story of a Murderer. Trans. John E. Woods. New York: Vintage
Characterization has been established as an important part of literature as it allows authors to fully develop characters’ personalities, allowing readers to understand the characters and their actions. In the poem Judith, the author uses adjective phrases to describe Judith and Holofernes’ personalities. The diverse contrast in their nature highlights the heroic qualities in Judith, which teach the reader to have faith in God, as that is where her courage and strength stems from. Therefore, characterization can further be used as a technique to establish major themes in a work of
The point of view in The Murder on the Orient Express is third-person omniscient, which is crucial to the book. The reader can see an example when Christie first introduces Mrs. Debenham. Christie tells all about Mrs. Debenham’s adventure up until that point and also gives a brief description of her thoughts and feelings about Hercule (Christie 6). Christie does not, however, reveal any of Mrs. Debenhams involvement in the murder. Knowing the thoughts of the characters is very important in keeping the reader interested and trying to figure out the murder without giving away. Critics supports this idea by saying, although the thoughts and feelings of all characters are given, the restricted information Christie leaves out, gives the readers a dramatic effect ("Murder on the Orient" 152). Christie’s style in The Murder on the Orient Express also included some stereotyping of individuals on the train. This stereotyping was shown when it was decided that the stab wounds seemed to be inflicted by a woman based on the lack of intensity (Christie 56). Another place stereotyping was concerned was when Antonio was suspected solely based on his Italian nationality (Christie 122). The stereotyping Christie includes in her book shows importance to the plot by distracting the readers from more valid evidence. This distraction is another tactic used to keep the reader intrigued in the story. Greg Wilson comments about Christie’s insensitive remarks and says she might use these shallow, stereotypical comments about the characters as a crucial part of the murder plot ("Murder on the Orient" 155). The author’s style draws the reader in by utilizing distracting elements to elude them from the