Characterization

 Welcome Readers,

CHARACTERIZATION

William Henry Hudson

1. Its Elementary Condition

            In fiction, characterisation is fundamental to a novelist's success. As Hudson explains, the first and most elementary question that arises is whether the novelist can make their characters "real" to the readers. Can these characters "stand upright on the ground," as Trollope put it, and appear to readers as if they were living beings? This realism in character creation is essential, as the great novelists imbue their creations with life so convincingly that readers come to believe in, love, or hate them as they would real people. These fictional figures, despite belonging to an imagined world, feel like individuals made of "flesh and blood" and remain with us long after we've forgotten the specific details of the novel. The test of good characterisation, therefore, lies in the novelist's ability to craft characters who feel alive, human, and capable of evoking genuine emotional responses from readers.

2. The Mystery of the Creative Process

        Hudson delves into the intriguing mystery behind the process of creating such vivid characters. He suggests that it is a process not entirely within the conscious control of the author. Thackeray, for example, described this power as "occult," implying a sense of involuntariness, where the characters seem to take on a life of their own, sometimes even surprising the author. Thackeray admitted that his characters sometimes acted independently, taking him in unexpected directions. This element of unpredictability is not unique to Thackeray but is rather a hallmark of true creative genius. Hudson contrasts this creative process with mere talent, emphasizing that the latter is more controlled, deliberate, and calculated, while true genius often works in ways that are beyond the author’s full understanding, creating characters that seem to transcend the bounds of conscious effort. This spontaneity and mystery are what distinguishes great novelists from those with just technical skill.

3. The Power of Graphic Description

        Hudson highlights the importance of description in making characters vivid in readers' minds. Unlike drama, where actors, costumes, and sets give physical life to characters, novels rely solely on the reader’s imagination. This makes the novelist's task of descriptive writing crucial, as they must help readers visualize their characters through words alone. However, Hudson warns that lengthy, item-by-item descriptions are not effective in bringing characters to life. Drawing from Lessing’s criticism of formal descriptions, he suggests that the art of selecting significant details—expressions, gestures, or mannerisms—is more important. Great novelists master the ability to accumulate details gradually and stimulate readers’ imaginations with subtle, occasional touches rather than extensive descriptions. The goal is to paint a clear picture of the character without overwhelming or disengaging the reader with unnecessary minutiae.

4. The Analytical and Dramatic Methods of Characterisation

        

        Hudson explains two primary methods of characterisation: the analytical and the dramatic.

• Analytical Method: In this method, the novelist takes an external approach, explaining characters from the outside. The author dissects their motives, thoughts, and feelings, often offering their commentary and judgment. This method gives the novelist the authority to guide the reader’s understanding of the character.

• Dramatic Method: The dramatic method, on the other hand, allows characters to reveal themselves through their actions, speech, and interactions with others. Here, the novelist steps back, letting the characters develop organically through dialogue and behavior, while allowing other characters in the story to provide commentary.

        Hudson points out that most novels are a combination of both methods, though some authors lean more heavily toward one. For instance, Jane Austen excels in the dramatic method, letting her characters show themselves through dialogue, while authors like George Eliot tend to overuse direct analysis, which can become a heavy-handed approach to characterization. Hudson also suggests that modern critics prefer the dramatic method, as it allows for a more immersive experience for the reader and enables the characters to come to life on their own, rather than being over-analyzed by the author.

5. The Character in the Making

        One of the great advantages of the novel over other forms of art, according to Hudson, is its ability to depict the development of character over time. Unlike drama, which is often constrained by unity of time and place, novels can explore the shaping of personality in a way that mirrors real life. This aspect of character development is particularly emphasized in modern fiction, where the "slow shaping of character" often forms the core of the novel. Hudson illustrates how novelists like George Eliot, for example, focus on the dynamics of character, showing how people evolve under the pressures of experience, relationships, and circumstance.

        Hudson notes that character transformation can be depicted in different ways: through a sudden crisis that alters a character’s trajectory or through gradual changes over time, such as moral deterioration or personal growth. The process by which a character’s personality unfolds or withers becomes central to the story, and the psychological truth of this transformation is essential to its effectiveness. George Eliot's character Tito Melema in Romola is one of the most notable examples Hudson offers—his moral decline is a meticulously drawn process that serves as a masterful study of character in development.

6. The Question of Range in Characterisation 

            

            Hudson stresses that range is a significant factor when evaluating an author’s skill in characterisation. Some authors, like Jane Austen, focus on a small, well-defined sphere of life, creating a few characters with extraordinary precision. Others, like Walter Scott, cover a broader range, creating a vast array of characters from different walks of life. Hudson argues that breadth of characterisation, while desirable, often results in varied success.

            For instance, Scott’s nominal heroes are generally weak and insipid, but he succeeds with his humorous eccentrics and characters drawn from the common people, such as Jeanie Deans and Saunders Mucklebackit. Hudson suggests that examining an author's range—his successes and failures across different types of characters—can give us insight into the essential qualities of their creative genius.

            Thus, while range adds to a novelist’s stature, even those with a narrow scope, like Jane Austen, can achieve greatness if they excel within that scope. The ability to handle different kinds of characters—those from different social classes or with diverse temperaments—helps to define a novelist's overall contribution to literature.

7. Characterisation and Knowledge of Life 

        Finally, Hudson highlights that good characterisation depends on the novelist’s knowledge of life. To portray characters accurately and convincingly, the novelist must have personal observation and experience. Fielding emphasized that one can only truly know people through interaction and observation in real life. A novelist’s ability to depict various social classes, manners, and modes of speech accurately stems from this lived experience.

        Yet Hudson also adds that an intimate knowledge of human nature—its common motivations, passions, and weaknesses—is perhaps even more important. Some characters, though fictional and never directly modeled on real people, can possess a "substantial reality" due to the novelist's insight into the essence of human nature. Creative power, dramatic sympathy, and emotional insight can together breathe life into characters even when they aren’t drawn directly from life experiences.

Reference: 

Hudson, William Henry. An introduction to the study of literature. Harrap, 1919.