DEVELOPED AND UNDERDEVELOPED CHARACTERS

Character development

A well-developed character is one that has been thoroughly characterised, with many traits shown in the
narrative. The better the audience knows the character, the better the character development. Thorough
characterisation makes characters well-rounded and complex. This allows for a sense of realism.

Character development is very important in character-driven literature, where stories focus not on events, but
on individual personalities. In a tragedy, the central character generally remains fixed with whatever character
flaw seals his fate; in a comedy the central characters typically undergo some kind of epiphany (sudden
realization) whereupon they adjust their erratic beliefs and practices, and avert a tragic fate. Historically,
stories and plays focusing on characters became common as part of the 19th century Romantic Movement,
and character-driven literature rapidly supplanted more plot-driven literature that typically utilizes easily
identifiable archetypes rather than proper character development.

Direct vs. indirect characterization

There are two ways an author can convey information about a character:

Direct or explicit characterisation:

The author literally tells the audience what a character is like. This may be done via the narrator, another
character or by the character him- or herself.

Indirect or implicit characterisation:

The audience must deduce for themselves what the character is like through the characters thoughts, actions,
speech (choice of words, way of talking), looks and interaction with other characters, including other
characters reactions to that particular person.
 DEVELOPED UNDERDEVELOPED
The great realists of Charles: Edith:
BLITHE SPIRIT dramaturgy have relied His character is quite flat throughout She is the most flat
heavily on implicit the first act and half of the second act character in this play.
characterisation which of the play. She is Condomines new
occupies the main His personality suffers no big changes maid. She is nervous and
body of their character and it is predictable. tears around at breakneck
driven plays. Therefore He is wealthy and intelligent but speed trying to do things
characters are going to arrogant and full of acid humour. right and make a good
be portrayed in a Most of all he maintains a clear impression; that is all the
different way than in skepticism until reality strikes him. reader knows about her.
prose novels. Even though at the end of
Charles: I suspect the worst. A real the play the reader finds
professional charlatan. Thats what I am hoping out she is a Natural,
for, anyhow. The character I am planning for my during the rest of the play
book must be a complete impostor (Act I, her character remains
Scene I) almost unnoticed.
Charles: We have no reliable guarantee that
the afterlife will be any less exasperating than
this one, have we? (Act I, Scene I) Charles: Feeling fit?
Dr. Bradman: Did you hear anything that we Edith: Yes sir, thank you, sir.
didnt hear really? Charles: How is Cook?
Charles: (with a forced laugh) Of course notI Edith: I dont know sir, I havent
was only pretending. (Act I, Scene 2) asked her.
Elvira: Poor Ruth! Charles: You should begin everyday
Charles: This is obviously a hallucination, isnt by asking everyone how they are. It
it? (Act I, Scene 2) oils the wheels.
Edith: Yes, sir.
As Act II develops, Charles starts Charles: Greet her from me, will
changing his attitude towards Elvira you?
imminent existence or materialization. Edith: Yes, sir.
He starts to believe and even tries to Ruth: That will be all for the
convince Ruth that he is not mad. moment, Edith.
Edith: Yesm. (Act II, Scene I)
Charles: And later I was equally convinced that
she was in this room. I saw her distinctly and Madame Arcati: Wellso far so
talked to her. After youd gone up to bed we goodshes off all right.
had quite a cosy little chat. Charles: Off?
Ruth: And you seriously expect me to believe Madame Arcati: Shes a Natural. Just
that you werent drunk? the same as the Sudbury case, it
Charles: I know I wasnt drunk (Act II, Scene really is the most amusing
I). coincidence. Now thenwould you
ask your wives to stand close
Charles (rising and coming up stage above the together, please? (Act II, Scene II)
chair to face Ruth): Once and for all, Ruth, I
would like you to understand that what
happened last night was nothing whatever to
do with alcohol (Act II, Scene I).
 In this crime and Cordelia Gray:
AN UNSUITABLE mystery novel the This characters development is subtle
reader notices what on the outside but as the story
JOB FOR A the character is like progresses, her personality becomes
through the clearer and the reader is able to make
WOMAN characters thoughts, a deeper analysis of the importance
actions, speech (choice her role has in the whole novel.
of words, way of At the very beginning of the story the
talking), looks and reader finds hard to understand her
interaction with other true nature.
characters.
Cordelia had brought no qualifications or
relevant past experience to the partnership and
indeed no capital, except her slight but tough
twenty-two-year-old body, a considerable
intelligence which Bernie, she suspected, had
occasionally found more disconcerting than
admirable (Chapter I, page 2)
The first turning point of the story and
her character is caused by Prydes
death.
She is going to become a female
detective, a role which at the moment
of writing and in terms of genre is
unsuitable. However, she faces
everyone who underestimates her,
showing a strong and determine
attitude.
Mavis looked as if she saw his bright claws
lurking among the bottles. She said: Youll be
looking for a new job, I suppose? After all, you
can hardly keep the Agency going on your own.
It isnt a suitable job for a woman
No different from working behind a bar; you
meet all kinds of people. (Chapter I, page
12)
She keeps reinforcing that strength
and courage even when she takes
charge of Marks case.
Cordelia, tired after her journey at the end of a
momentous day, was in no mood for jokes
about poor Bernies pathetic pun. She said:
Sir Ronald, I have become here because your
secretary said that you might want to employ. If
shes wrong, I would be glad to know so that I
can get back to London.
She isnt my secretary and she isnt wrong. You
must forgive my discourtesy; its a little
disconcerting to expect a burly expoliceman
and to get you (Chapter I, page 18)
In spite of the power she always
shows, the reader can notice that as
the case goes darker, she experiences
moments of weakness and self-doubt.
Sir Ronald Callender:
There is no development for
this character.
His personality, which the
author perfectly describes
in the first chapter through
Cordelia, remains
unchanged the entire story.
But he was at once smaller and
more impressive than she had
imagined. She knew that she was
facing a man of authority and high
intelligence; his strength came over
like a physical forceThe arrogant
head was held high, the eyes were
keen and wary under the heavy lids.
Above all he looked successful.
Cordelia had seen that look before,
had recognized from the back of
crowds as, inscrutable, they had
watched the famous and notorious
pass on their way-that almost
physical glow, akin to sexuality and
undimmed by weariness or ill-health,
of men who knew and enjoyed the
realities of powers. (Chapter I, page
25)
As the story develops,
Ronalds personality
becomes clear not just
from Cordelias perspective
but from his actions and
reactions, especially when
the truth is coming to light.
[] And who undressed him again,
typed out that suicide note, washed
the lipstick from his face?
I think I know, but I shant tell you.
Thats really what you employed me
to discover, isnt it? Thats what you
couldnt bear not to know. But you
killed Mark. You even prepared an
alibi just in case it was needed []
You could rely on Lunn to back up
your story. But it wouldnt really
matter, wouldnt, even if he did talk?
No one would believe him.
No, any more that they will believe
you. Youve determined to earn your
fee, Miss Gray. Your explanation is
ingenious []But you know, and I
know, that no police officer in the
world would take it seriously []
(Chapter VI, page 169-170)
 She is courageous but vulnerable at
times.
In that moment Cordelia knew how close she
had come to giving up the case. She had been
suborned by the beauty of the day, by sunshine,
indolence, the promise of comradeship, even
friendship, into forgetting why she was here
(Chapter III, page 92)
For the first time since the case began
Cordelia doubted her ability to solve it alone. If
only there were someone reliable in whom she
could confide, someone who would reinforce
her confidence (Chapter III, page 110)
You are in mine, Sir Ronald.
You are mistaken. I am in no ones
hands. Unfortunately for you that
tape recorder is not working. We
have no witnesses. You will repeat
nothing that has been said in this
room to anyone outside. If you do I
shall have to ruin you. I shall make
you unemployable, Miss Gray. And
first of all I shall bankrupt that
pathetic business of yours.
[](Chapter VI, page 173)

All in all her character matures. Even

though she embodies an uncommon
feminine role, she follows every lesson
Bernie and indirectly Dalgliesh taught
her. Eventually that is what helps her
grow, make the right decisions and
solve the case.

..She told herself firmly that she mustnt be

drawn into discussing the case, mustnt talk
about herself, her life, her present job, her
ambitions. She remembered what Bernie had
told her. In this country, if people wont talk,
theres nothing you can do to make them,
mores the pity Cordelia reminded herself of
the advice she had given to Elizabeth Leaming:
Dont embroider, dont invent, dont be afraid
to say you cant remember. (Chapter VII, page
209)

She had won. She was free. She was safe, and
with Miss Leaming dead, that safety depended
only on herself. She neednt come back again to
this horrible place. The relief, so unexpected
and so unbelievable, was too great to be born.
[] (Chapter VII, page 217)

[] Theres only one person now alive who

knows the truth of these crimes and shes proof
against any interrogation we can use. I can
comfort myself with the reasonBut whatever
lies shes been telling, shes absolutely without
guilt. (Chapter VII, page 219)

Cordelia breaks the strict formulaic

demands of the genre as her role is
characterised by elasticity traversing
many separate spheres, with her being
victim - when she is in danger -
detective and criminal all at once.
 Then, some sixty Paul Morel: Annie Morel:
years ago, a sudden At first, it looks like this book is going The narrator never gives a
change took place. The to be centered in William Morel. close description to go on
SONS AND gin-pits were elbowed Just after William dies, Paul actually with this girl.
LOVERS aside by the large gets really sick himself. Nursing Paul We do know that, from a
mines of the back to health distracts Mrs. Morel young age, Annie is a:
financiers. (Chapter I) from the loss of William, and an
intense bond forms between Mrs. "Tomboy and a 'flybie-skybie', as her
This eagle-eye view of Morel and her son Paul. mother called her" (Chapter IV).
both local geography
and history tells us "The two knitted together in perfect intimacy" But she eventually grows up
right away that we're (Chapter VI, page 168). and marries a nice guy
dealing with a godlike, named Leonard like a
omniscient narrator. "Mrs. Morel's life now rooted itself in Paul" proper early-20th-century
(Chapter VI, page 168). lady.
We also find out that She has a close bond with
this narrator not only He becomes the new canvas for all the her mother, though the
knows everything hopes and joys Mrs. Morel originally book never really focuses
about the outer world poured all over William. on this bond the way it does
of the book, but also Throughout the rest of the story, Paul with Mrs. Morel's sons
the characters' inner has to struggle against his mother's (hence the title of the
worlds. attempts to control his lifeespecially book).
his love life.
Whenever he hangs out with a nice Like her mom, Annie does
girl named Miriam Leivers, he knows not like Miriam Leivers.
that: Now and then, she guilt-
trips Paul for not giving
"His mother wants to upbraid him [] [and] enough of his time and
There is a tense silence" (Chapter VIII). attention to their mother
and her. Especially after she
He feels terribly guilty whenever he (Annie) and Arthur have
mentions Miriam to his mother. both gotten married and
In the end, Paul feels good about moved away from home.
rejecting Miriam.
There is no development as
"In his soul is a feeling of the satisfaction of self- her character is not relevant
sacrifice because he is faithful to his mother to the story and the
(Chapter IX). message the author wants
to leave.
Clearly, Paul has been raised to believe The reader could just guess
that getting romantically involved with Annie was very scarred by
a woman is a betrayal to his mother. her dad, Walter's, violence,
After this final break with Miriam, Paul and the generally messed
knows that's he's destined to feel up dynamics of her family
empty. He's so lonely without his life.
mother around. So he starts to wonder
about committing suicide, which
would reunite him with his mommy,
after all.

At the last second, though, he musters

enough strength to decide that he
won't give into the pain of life. He
want's to live.
The fact that he turns back to the
"glowing town" in the final line shows
that he's ready to go rejoin the world
and be happy.
A STREETCAR As in Blithe Spirit, Blanche DuBois: Stella Kowalski:
NAMED DESIRE the characters She is the main character and even Although she is a relevant
features are mainly though from the beginning of the book character in this play, she is
reflected on their the reader can detect a peculiar a bit shadowed by Blanche
conversations and behavior in this woman, he would and even Stanley.
actions. never imagine her dramatic ending. She is a character that
When the play begins, Blanche is always shows the same
already a fallen woman in societys reaction when facing
eyes. problems, especially the
Behind her veneer of social snobbery ones she suffers with her
and sexual propriety, Blanche is an husband.
insecure, dislocated individual. She is the emotional center
She is an aging Southern belle who of the play. Stella is the
lives in a state of perpetual panic calm, reasonable foil to
about her fading beauty. Her manner Blanches frenetic hysteria,
is dainty and frail, and she sports a and she is the soothing,
wardrobe of showy but cheap evening feminine voice that
clothes. counteracts Stanleys
violence.
Blanche: How do I look? Although she loves Blanche
Stella: Lovely, Blanche. and is hurt when Blanche is
Blanche: I feel so hot and frazzled. Wait till I hurt, and although she is
powder before you open the door. Do I look wistful, Stella has no desire
done in? to return to her past: she
Stella: Why no. You look as fresh as a daisy. has chosen her present
(Scene III, page 29) circumstances willingly, and
she has made her life in
Her false propriety is not simply New Orleans with Stanley.
snobbery, however; it constitutes a Stellas pregnancy
calculated attempt to make herself underscores her
appear attractive to new male suitors. commitment to her
By marrying, Blanche hopes to escape Kowalski future, not her
poverty and the bad reputation that DuBois past.
haunts her. But because the chivalric Stanley dominates Stella:
Southern gentleman savior and she is drawn into the
caretaker (represented by Shep magnetic pull of his
Huntleigh) she hopes will rescue her is powerful physical presence.
extinct, Blanche is left with no realistic By modern-day standards,
possibility of future happiness. Stella is the victim of
domestic violence, but in
Blanche: Oh, let me think, if only my mind the play, her decision to
would function! Weve got to get hold of some return to Stanley even after
money, thats the way out! he hits her is not judged as
Stella: I guess that money is always nice to get definitively right or wrong.
hold of. By the end of the play, the
Blanche: Listen to me. I have an idea of some reader can clearly
kind. [] Do you remember Shep Huntleigh? understand that Stella
(Stella shakes her head). Of course you cannot believe Blanches
remember Shep Huntleigh. I went out with him story, but she cannot
at college and wore his pin for a while. Well completely deny it either.
Stella: Well? Ultimately, Stella cries for
Blanche: I ran into him last winter. [] (Scene herself, for Blanche, and for
IV, page 42) the fact that a part of her is
glad to see Blanche go. She
Stanleys relentless persecution of accepts the overdone
Blanche foils her pursuit of Mitch as comfort a Stanley offer,
well as her attempts to shield herself which is peppered with
from the harsh truth of her situation. endearments like now,
 The play chronicles the subsequent
crumbling of Blanches self-image and
sanity.
Stanley himself takes the final stabs at
Blanche, destroying the remainder of
her sexual and mental esteem by
raping her and then committing her to
an insane asylum.
In the end, Blanche blindly allows
herself to be led away by a kind
doctor, ignoring her sisters cries.
Whoever you areI have always depended on
the kindness of strangers. (Scene XI, page 107)
Her quiet determination to depend
on the kindness of strangers is
funny, because in the past Blanche has
slept with quite a few strangers, but it
also indicates the resignation and
defeat women in her position must
accept when it comes to counting on
their families.
This final image is the sad culmination
of Blanches vanity and total
dependence upon men for happiness.
love, and which conforms
to the script Stella needs for
life to go on.
Given what the audience
sees Stella and Eunice suffer
at the hands of their
husbands, it is unlikely that
these women believe
nothing of Blanches story.
However, acknowledging its
truth would require them to
acknowledge their
husbands brutality, and it
would interfere with their
survival. Life going on
depends on having the
social protection of
marriage and a family,
regardless of the cost.
Stella: I dont know if I did the right
thing.
Eunice: What else could you do?
Stella: I couldnt believe her story
and go on living with Stanley.
Eunice: Dont believe it. Life has to
go on. No matter what happens,
youve got to keep on going. (Scene
XI, page 99)

THE POWER AND Underdeveloped: Mr. Tench

THE GLORY Together with the priest, Mr. Tench is
the first character the reader
encounters. Therefore the reader
could expect that he will be central for
the story. However, as it develops this
character loses relevance.
Although Tench is not incredibly
important to the plot itself, Greene
occasionally returns to him briefly over
the course of the novel.
He is an Englishman living in Mexico
and working as a dentist. Mr. Tench is
living a life of apathy and vacancy. A
portrait of spiritual deadness,
estranged from his wife and filled with
a low-level loathing of Mexico.
Mr. Tench is a portrait of mental and
spiritual numbness.
Indifferent, detached, absent-minded,
almost vacant, Tench is a kind of
spiritual thermometer for the novel, an
indicator of the general atmosphere of
quietude and apathy.
Tench also serves here as something of
a contrast to the priest, arguing that it
is useless for him to journey with the
boy to visit his dying mother. She is
 going to die anyway, he reasons, so
what would be the point?
Mired in a feeling of utter futility,
Tench attaches little importance to
action of any kind, indicated by his
inability to complete a simple errand,
as well as his curious refusal to leave
Mexico, a place he dislikes.
Although he accompanies the boy
reluctantly, the priest still feels a sense
of duty and retains a feeling that his
actions are of some importance and
consequence.
Tench serves only as one of the people
(the first person) to whom
unconsciously leaves a positive
influence in his life.

[] You remember this place beforebefore

the Red Shirts came?
I suppose I do.
How happy it was then.
Was it? I didnt notice.
They had at any rateGod.
Theres no difference in the teeth, Mr. Tench
said. [] It was always an awful place. Lonely.
My God. People would have said romance. I
thought: five years here, and then Ill go. There
was plenty of work. Gold teeth. But then the
peso dropped. [] (Chapter I, page 20)

CHANGING PLACES

This novel is wholly devoted to the main characters, the two professors.

Therefore there are some characters that are interesting to mention, which could be regarded as underdeveloped since they are
relevant only to one part of the story and the message the author may wish to leave.

These two characters are Hilary Swallow and Dsire Zapp in particular. They do not have much in common; the only exception is
that they like the husband of the other.

Dsire is a strong feminist who is interested in writing her book about men and in Nice Work she is acknowledged by Robyn
Penrose as a representative of vulgar feminism (322).

Hilary, on the other hand, takes care of her family as a perfect woman. She devoted her whole life to her family, never finished her
studies because she married Phillip and had children with him. Only later in the story she employs herself with marriage guidance
and she is successful in her job for she saves her own marriage.

[] Dont worry about me, said Dsire. Forget about me.

How can I?

Ill just say one thing. Ive no intention of marrying again. Just in case it had crossed your mind.

Youre going to get a divorce, arent you?

Sure. But from now on Im a free woman. I stand on my own two feet and without a pair of balls round my neck. Perhaps he looked
hurt, for she continued: Nothing personal, Philip, you know I like you a lot. We get on fine together. The kids like you too. []
(Chapter V, page 173)
[] I dont know. I dont care who it is. I felt such a fool. There I was, tortured with guilt because I kissed you last night, because I
wanted to sleep with you

Did you, Hilary?

Of course I did.

Then what are you waiting for? Morris tried to pull her to her feet, but she shook her head and clung to the chair. []

All right, said Hilary. Lets go upstairs. [] (Chapter V, page 230)

THE PRIME OF MISS JEAN BRODIE

Miss Brodie, with her dark Roman profile, is a charismatic but unorthodox teacher at the Blaine Junior school.

She doesnt instruct her girls in history and arithmetic, say, so much as she shares with them poetry, makeup tips, the virtues of
fascism, her own romantic history and the like. Although she is a woman of culture and even has something of an artistic nature,
Miss Brodie can also be dogmatic, manipulative, and cruel.

Sandy recalled Miss Brodies admiration for Mussolinis marching troops, and the picture she had brought back from Italy showing
the triumphant march of the black uniforms in Rome. []

It occurred to Sandy, there at the end of the Middle Meadow Walk, that the Brodie set was Miss Brodies fascisti, not to the naked
eye, marching along, but all knit together for her need and in another way, marching along.[] (Chapter II, page 31)

Just as the predestining God of Calvinism elects the few to salvation, so does Miss Brodie elect six of her pupils to become her
special girls, girls whom she develops culturally and confides in, and who in turn loyally admire herthese six girls make up the
Brodie set.

Miss Brodies power over those around hernot just her pupils but also the men in her lifestems in part from her feeling that she
is in her prime, that is, at the height of her charisma both sexual and otherwise.

You girls are my vocation. [] I am dedicated to you in my prime. [] (Chapter II, page 23)

Indeed, she loves the Blaine art teacher Mr. Lloyd and he loves her, but, as he is married, Miss Brodie renounces her love for him,
becoming intimate instead with the singing teacher Mr. Lowther.

Nonetheless, she subtly grooms the instinctual Rose Stanley to have a love affair with Mr. Lloyd as her proxy, and she grooms her
favorite, the insightful Sandy, to serve as her informant in regards to the affair.

Have you not thought it remarkable, said Miss Brodie, that it is you six girls that Mr Lloyd has chosen to invite to his studio? []

It is because you are mine said Miss Brodie, I mean of my stamp and cut, and I am in my prime. (Chapter IV, page 97)

I am his Muse, said Miss Brodie. But I have renounced his love in order to dedicate my prime to young girls in my care. I am his
Muse but Rose shall take my place. (Chapter VI, page 120)

In this way, Miss Brodie plays God, determining the course of fate. But, in the end, all of Miss Brodies plots go awry: it is Sandy, not
Rose, who ends up sleeping with Mr. Lloyd, and it is Sandy who betrays Miss Brodie to the Blaine headmistress, for Miss Brodie in
her enthusiasm for fascism encouraged a Blaine student named Joyce Emily to fight in the Spanish Civil War.

So it is that Miss Brodie is forced into retirement, a pale memory in the minds of her special girls save Sandy, who both recognizes
that Miss Brodie had an enlarging effect on her, but also doubts whether Miss Brodie was worthy of her loyalty.

Even though she shows her personality from the beginning of the book, her true nature is unfold throughout the storys
development, especially from Sandys perception and later on from Brodies own words.