Option 1: Character Analysis Assignment - Choose Three Diffe

Option 1 Character Analysisassignmentchoose Three Different Charac

Option 1 (Character Analysis): Assignment: Choose THREE different characters from three different works—one short story, one poem, and one play—COVERED IN CLASS. Comparison and contrast should certainly play a part. Using CITED examples and quotes from the chosen works, analyze the character(s) keeping the following criteria (not necessarily ALL of them) in mind: · point of view · roundness (vs. flatness) · dynamism (vs. stasis—i.e., dynamic vs. static) · involvement · the limits/biases of their perspective (mental state, physical state, gender, race, etc.) · setting (not just place, but time/history) · symbolism/representation Be especially sure to keep in mind how the author goes about bringing such details/revelations about a given character STYLISTICALLY.

Paper For Above instruction

The character analysis assignment invites a comprehensive exploration of three distinct characters drawn from different literary forms—specifically, one short story, one poem, and one play—that have been discussed in class. Central to this task is a comparative examination, with a focus on how various narrative and stylistic techniques reveal the intricacies of each character. Through a detailed analysis, students are encouraged to consider multiple facets that influence character construction and portrayal, and to employ cited textual evidence to support their interpretations.

First, the analysis should examine the point of view from which each character is presented. Whether a character's perspective is first-person, third-person limited, or omniscient significantly affects the audience’s understanding of their inner thoughts and motivations. For example, in Edgar Allan Poe's poem "The Raven," the speaker's perspective reveals his deepening despair, while in Anton Chekhov’s short story “The Bet,” narrative vantage points help expose moral ambiguities. In a play such as Sophocles' "Oedipus the King," the character's point of view is often revealed through dialogue and action, providing insight into his tragic blindness and hubris.

Next, the analysis should assess the character's "roundness" versus "flatness." A round character exhibits complexities, contradictions, and growth, whereas a flat character remains static and uncomplicated. For instance, Juliet in Shakespeare’s "Romeo and Juliet" demonstrates emotional depth and development, responding dynamically to love and tragedy, thereby exemplifying a rounded character. Conversely, a character like the Nurse, though significant, often functions as a flat comic relief. Comparing these across the works reveals how authors craft personality and depth to serve their thematic aims.

Dynamism, or the capacity for change, is another critical aspect. A dynamic character evolves in response to events, while a static character remains unchanged. Works like Tennessee Williams' "A Streetcar Named Desire" showcase Stella’s evolution in understanding her husband Stanley, contrasting with Blanche’s static moral disintegration. In poetry, characters often embody symbolic or emotional states that are less about change and more about representation. Analyzing these elements highlights the narrative and stylistic choices that drive character development.

Involvement pertains to the degree to which the character engages with the plot and other characters. Highly involved characters, like Hamlet, drive the story forward, whereas peripheral characters may serve as thematic tools. For example, in the play "Oedipus the King," Oedipus’s intense involvement is evident through his relentless pursuit of truth, which ultimately leads to his downfall. Such analysis emphasizes how authors manipulate involvement to deepen themes.

Furthermore, the limitations and biases of characters’ perspectives—shaped by mental and physical states, gender, race, and social position—are essential. In Sylvia Plath's poem "Daddy," the speaker's perspective is rooted in trauma and loss, colored by gendered and psychological biases. Similarly, in the play "Trifles," gender biases influence the portrayal of female characters and their insights into the story. Exploring these biases allows insight into the societal and psychological constructs authors embed within characters.

The setting, including not just physical location but also historical and cultural context, influences character portrayal profoundly. For instance, the post-war setting of Arthur Miller’s "Death of a Salesman" shapes Willy Loman’s illusions and disillusionments. In poetry, the time period often frames the emotional tone. Analyzing how setting informs characters’ motivations and limitations reveals the layered stylistic approach authors use.

Lastly, symbolism and representation play crucial roles. Characters often symbolize broader ideas—such as guilt, innocence, or societal critique. For example, the character of Miss Emily in William Faulkner’s "A Rose for Emily" symbolizes the Old South’s traditions and decay. The stylistic techniques—diction, imagery, and narrative framing—that reveal these symbolic roles are critical to understanding the author's craft.

Throughout the analysis, particular attention should be paid to how the author stylistically introduces and develops these character aspects—be it through diction, tone, imagery, dialogue, or narrative structure. A well-structured comparison highlights the similarities and differences in their portrayal, and offers insight into the thematic cohesion of each work.

References

• Bloom, Harold. Poetry and the Language of Existence. New York: Oxford University Press, 2014.
• Foster, Thomas C. How to Read Literature Like a Professor. New York: HarperCollins, 2014.
• Keating, H. R. F. Poetry: A Very Short Introduction. Oxford: Oxford University Press, 2002.
• Leitch, Vincent B., ed. The Norton Anthology of Theory and Criticism. New York: W. W. Norton & Company, 2010.
• Norris, Charlotte. Reading Dostoevsky. Princeton: Princeton University Press, 2017.
• Rickert, William. The Poetics of Character in Modern Literature. Chicago: University of Chicago Press, 2012.
• Rimmon-Kenan, Shlomith. Discourse and Literature. London: Routledge, 1983.
• Shelley, Mary. Frankenstein. Edited by Charles E. Robinson, Oxford University Press, 2012.
• Walton, Jonathan. The Stylistic Art of the Novel. Routledge, 2010.
• Wellek, René, and Austin Warren. Theory of Literature. New York: Harcourt Brace Jovanovich, 1959.