In Jane Austen’s Pride and Prejudice Characterization, etc. In Jane Austen’s Pride and Prejudice

Direct vs. indirect characterization Explicit presentation by the author of the character through direct exposition, either in an introductory block or piecemeal throughout the work. The presentation of the character in action, with little or no explicit comment by the author, in the expectation that the reader can deduce the attributes of the actor from the actions.

Which is indirect characterization? Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character. “People who suffer as much as I do from nervous complaints can have no great inclination for talking. Nobody can tell what I suffer! But it is always so. Those who do not complain are never pitied!" (Spoken by Mrs. Bennet)

Round vs. flat characters Round Characters Flat Characters Also called three-dimensional characters Multifaceted, human being Capable of inconsistencies Subject to growth Example: Elizabeth, Aunty Ifeoma, Father Amadi Also called two-dimensional characters More a type than a human being Usually not subject to growth Example: Jane, Father Benedict

Dynamic vs. static characters Dynamic Character Changes little if at all Things happen to a character without things happening within. Example: Bingley, Papa Modified by the actions and experiences One objective of the work is to reveal the consequences of these actions Example: Darcy, Kambili

caricature Writing that exaggerates certain individual qualities of a person and produces a ridiculous effect. Unlike satire, caricature is likely to treat merely personal qualities Example: Mr. Collins’s obsequiousness

Foil Literally a leaf of bright metal placed under a jewel to increase its brilliance In literature, the term is applied to any person who through contrast underscores the distinctive characteristics of another. Example: Wickham is a FOIL for Darcy; Amaka and Kambili

Epistolary novel A novel in which the narrative is carried forward by LETTERS written by one or more of the characters. It has the merit of giving the opportunity to present the feelings and reactions without the intrusion of the author; it furthers gives a sense of immediacy because the LETTERS are written in the thick of the action. Pride and Prejudice is NOT an EPISTOLARY NOVEL, but it does involve several examples of EPISTOLARY WRITING.

SARCASM VS. VERBAL IRONY A caustic and bitter expression of strong disapproval. Personal, jeering, and intended to hurt The actual intent is expressed in words that carry the opposite meaning Usually less harsh than sarcasm

examples Sarcasm Verbal Irony “There is a mixture of servility and self-importance in his letter which promises well. I am impatient to see him.” (Mr. Bennet after reading the letter from Mr. Collins) “You will have a charming mother-in-law, indeed; and, of course, she will always be at Pemberley with you.” (Miss Bingley to Darcy upon learning of his admiration for Elizabeth)

Focalization The perspective through which a narrative is presented. By presenting the narrative through the eyes and words of various characters, the narrator is less removed from the story and the reader is more intimate with the characters (more in their heads). Austen does this in a variety of ways such as epistles and indirect speech, in which the language and thoughts of the characters mix with the voice of the narrator.

Example: “Mrs John Dashwood did not at all approve of what her husband intended to do for his sisters. To take three thousand pounds from the fortune of their dear little boy, would be impoverishing him to the most dreadful degree. She begged him to think again on the subject. How could he answer it to himself to rob his child, and his only child too, of so large a sum?”