Activity 8: The Creation of Fictional Characters
Fictional characters in literature are crafted to mimic the traits of real individuals, possessing emotions, beliefs, and relationships, which readers interpret using cognitive processes akin to real-life interactions. This activity focuses on how Dickens uses language to build the character of Mr. Dick in 'David Copperfield'.
Exploring Mr. Dick's Character:
1. Concordance Search for Mr. Dick
A concordance search in the CLiC web app reveals all mentions of "Dick" in 'David Copperfield'. Patterns indicate Mr. Dick's name is frequently preceded by "Mr.," emphasizing a formal address. This suggests respect for the character despite his perceived "simple" nature.
2. Narrative vs. Dialogue
Refining the search to include only 'non-quotes' highlights the narrator’s descriptions of Mr. Dick. These descriptions often portray him as passive, receiving actions rather than initiating them. For instance:
- Verbs associated with Mr. Dick, such as "leaning" or "watching," convey cognitive or perceptual actions rather than physical ones.
- The narrative rarely positions him as the agent of robust or assertive actions.
3. Speech Reporting Clauses
About one-third of the instances of "Mr. Dick" occur in reporting clauses, such as "said Mr. Dick." This emphasizes that while he speaks often, his dialogue is mediated heavily by the narrator's framing.
4. Body Language and Mental State
Searching terms like "head," "eyes," or "face" linked to Mr. Dick’s mentions reveals physical cues that align with his internal state. For instance:
- His "head" is frequently described, symbolic of his intellectual struggles.
- Such descriptions reinforce his vulnerability and sympathetic nature.
Through these textual features, Dickens portrays Mr. Dick as a compassionate, mentally strained, yet dignified individual, reflecting a nuanced view of mental illness.
Activity 9: Body Language and Characterization
Body language in literary texts is a potent tool for characterization, as it provides symbolic and descriptive cues about a character's emotional and psychological state. This activity explores the use of the word "chin" in Dickens’s novels compared to other authors, such as Jane Austen, to understand its narrative role.
Frequency Analysis of "Chin":
1. Comparing Corpora
The term "chin" appears far more frequently in Dickens’s novels (317 occurrences) than in Jane Austen’s works (1 occurrence). Calculations reveal:
- Dickens: 8.26 mentions per 100,000 words.
- Austen: 0.25 mentions per 100,000 words.
This stark contrast suggests Dickens uses physical descriptors more prominently to develop characters.
2. Adjectives and Symbolism
- In Dickens, "chin" is often accompanied by adjectives like "double," which symbolically suggest overindulgence, wealth, or pompousness (e.g., "a chin so very double").
- Characters with such descriptions often belong to the upper or indulgent classes, adding a layer of social critique.
3. Body Language as a Narrative Device
- Dickens uses physical actions involving the chin, such as "stroking," "rubbing," or "holding," to depict internal thought processes or scheming.
- In Austen, the single mention of "chin" occurs in 'Pride and Prejudice', where Lydia’s crude remark about a servant’s chin aligns with her frivolous and tactless characterization.
Broader Themes of Body Language:
Expanding beyond "chin," other body parts like "eyes," "hands," or gestures such as "nodding" and "smiling" could be examined. For instance:
- "Eyes" might signify insight or deceit.
- "Hands" could represent power dynamics or emotional states.
Conclusion:
Dickens's frequent use of physical descriptors like "chin" underscores his focus on detailed, often symbolic character portrayals. In contrast, Austen’s sparing use of such descriptions reflects her reliance on dialogue and internal monologue for character development. Body language, in Dickens, becomes a vivid tool for revealing personality, class, and emotional depth.
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