Character (arts)
The word character emerged from the Ancient Greek term χαρακτήρ, which originally described a stamp or impression. Dryden used this English sense in 1679 when discussing the chief character of a tragedy. He argued that such figures must possess more virtue than vice to be prudent choices for drama. The term gained widespread usage only after appearing in Henry Fielding's Tom Jones during 1749. Before this shift, writers relied on the Latin phrase dramatis personae to describe masks worn by actors. This older concept emphasized the literal physical aspect of theatrical performance rather than internal psychology. By the end of the eighteenth century, the phrase in character began describing effective impersonation by an actor. Since the nineteenth century, the art of creating these figures has been called characterization.
Writers often construct fictional beings using basic archetypes common across many cultural traditions. Carl Jung provided systems where elements like the father figure and mother figure serve as foundational traits. Some authors amplify specific character traits from real people into new fictional creations. George Orwell portrayed Soviet revolutionaries as pigs in his allegorical work Animal Farm. William Shakespeare transformed a boastful soldier stock character into the richly detailed John Falstaff. Charactonyms allow names to imply psychological makeup or make allegorical allusions. François Rabelais named a giant Gargantua while Mervyn Peake created a manipulative villain named Steerpike. Mary Sues appear frequently in fan fiction as characters virtually devoid of flaws. These flat figures contrast sharply with complex individuals who undergo significant development within narratives.
E.M. Forster defined two basic types of characters in his book Aspects of the Novel. Flat characters remain relatively uncomplicated and two-dimensional throughout a story. Round characters are complex figures possessing many different characteristics that may surprise readers. Psychological models suggest round characters might exhibit five personality dimensions under the Big Five framework. Extraversion measures outgoing energy against solitary reserve while agreeableness tracks compassion versus rational criticism. Openness to experience distinguishes inventiveness from caution and conscientiousness separates efficiency from carelessness. Neuroticism captures sensitivity compared to resilience and confidence. Stock characters usually remain one-dimensional and thin like walk-ons described by Seymour Chatman. Ebenezer Scrooge serves as a popular dynamic example transforming from bitter miser to kindhearted man. This transformation occurs over the course of Charles Dickens' A Christmas Carol narrative.
Regular characters appear in all or majority episodes of a television series chain. Recurring characters often play major roles in more than one episode during a show's run. Guest characters act only in a few scenes without needing careful incorporation into storyline ramifications. These minor figures create drama then disappear without consequences unlike core characters requiring significant conflict tracing. Sometimes guest characters gain unanticipated popularity and turn into regular ones known as breakout characters. Dynamic characters change over the course of a story while static figures remain unchanged. The relation between characters and action shifts historically mimicking societal changes about human individuality. An author creates these figures using various methods ranging from pure imagination to amplifying real person traits. Fictional beings may be entirely invented or based on actual historical figures known to the writer.
Aristotle defined character not as a fictional person but as quality revealing decision making within stories. He stated that character necessarily involves making ethical dispositions clear through actions performed by those acting. Without action a tragedy cannot exist yet it may exist without characters according to his writings. Aristotle argued for the primacy of plot over character in classical tragedy theory. Works were distinguished first by nature of persons creating them rather than their internal psychology. Grander people represented fine actions producing hymns and praise poems while ordinary people composed invectives. Tragedy represents serious people while comedy depicts individuals who are rather inferior. Comedy does not represent all kinds of ugliness but only what is laughable. Ancient Greek comedy involved three types including buffoons ironists and imposters central to Aristophanes' Old Comedy. Roman playwright Plautus established use of characters to define dramatic genres two centuries later.
Common questions
What is the origin of the word character in arts?
The word character emerged from the Ancient Greek term χαρακτήρ, which originally described a stamp or impression. Dryden used this English sense in 1679 when discussing the chief character of a tragedy.
How did writers describe fictional beings before the eighteenth century?
Before the shift to modern usage, writers relied on the Latin phrase dramatis personae to describe masks worn by actors. This older concept emphasized the literal physical aspect of theatrical performance rather than internal psychology.
Who defined flat and round characters in Aspects of the Novel?
E.M. Forster defined two basic types of characters in his book Aspects of the Novel. Flat characters remain relatively uncomplicated and two-dimensional throughout a story while round characters are complex figures possessing many different characteristics that may surprise readers.
What does Aristotle say about the relationship between plot and character?
Aristotle argued for the primacy of plot over character in classical tragedy theory. He stated that without action a tragedy cannot exist yet it may exist without characters according to his writings.
When did the phrase in character begin describing effective impersonation by an actor?
By the end of the eighteenth century, the phrase in character began describing effective impersonation by an actor. Since the nineteenth century, the art of creating these figures has been called characterization.