Prose Fiction by Ignasi Ribó

Chapter 4: Characterisation

Summarizing the main ideas & illustrations

What is Characterisation?

Chapter 4 argues that characters are entities in the story with agency, usually individuated, usually human or human‑like (though there are exceptions, e.g. animals or even abstractions).

Fig. 4.1 Alice by John Tenniel

Fig. 4.1 “Alice in Wonderland” illustration by John Tenniel, public domain – used to show non‑human / human‑like characters.

Individuation: Types, Universals, Typical Characters

The chapter distinguishes between well‑individuated characters (round, complex, dynamic) and those more typological or universal in scope.

Fig. 4.2 Voldemort & Nagini fan art (type character) Fig. 4.3 Madame Hessel reading

Fig. 4.2 Fan‑art: Lord Voldemort & Nagini by Mademoiselle Ortie, CC‑BY‑4.0 – shows a villain type / stock character.

Fig. 4.3 “Madame Hessel en robe rouge lisant” (Vuillard, public domain) – shows more individuated character, psychological/social nuance.

Universal Characters & Contrasts

Universal characters represent broader human attitudes; contrast between idealism/materialism as in Don Quixote & Sancho Panza (they embody conflicting worldviews).

Fig. 4.4 Don Quixote & Sancho Panza at a crossroad

Fig. 4.4 “Don Quixote and Sancho Panza at a crossroad” by Wilhelm Marstrand, public domain – illustrates universal / contrast in character types.

Dialogue, Voice & Polyphony

Fig. 4.7 Dostoevsky portrait

Fig. 4.7 Portrait of Fyodor Dostoevsky by Vasily Petrov (1872), public domain.

Dialogue is a major mode of direct characterisation; it evidences different voices, social backgrounds, perspectives. The polyphonic dimension: novels often combine multiple consciousnesses (Bakhtin)

Static vs Dynamic – Character Growth

Characters may or may not change over the course of the narrative. Static characters remain consistent; dynamic ones evolve (morally, psychologically, in roles). The chapter examines this distinction.

Vuillard reading – psychological nuance

Fig.4.3 Vuillard Reading.

Representation: Direct vs Indirect Characterisation

Direct: narrator explicitly states traits; Indirect: traits revealed by behaviour, speech, actions, dialogue, etc. Dialogue is a form of direct representation with speech tags, but much characterisation is indirect.

Alice Tenniel – showing non‑human / human‑like behaviour

Using Alice (Fig. 4.1) again to note how anthropomorphic behaviour serves indirect characterisation.

Summary & Discussion Questions

  • How does Ribó define what makes a character “real” or “convincing”?
  • What are the trade‑offs between typology (stock/archetype) and individuation?
  • Which mode of representation (direct, indirect, dialogue) is more effective in your favorite novel, and why?
  • Can a “type” character be dynamic? Where do static characters serve the story?