What does static character mean




















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The very first sentence uses traduce , and I don't know what that means. What does the cormorant bird symbolize in mythology? I saw the word badinage in the book Uncle Tom's Cabin. Do you think that's a typo that really should be bandage? Static Character Definition What is a static character?

Some additional key details about static characters: The opposite of a static character is a dynamic character : one who does undergo internal changes over the course of a story. Static characters can be protagonists, antagonists, or other minor characters, and a narrative can have more than one static character. Just because a character is static does not mean that they are "bad" or overly simplistic.

On the contrary, many static characters—like Romeo, for instance—are quite complex. Many of literature's most lifelike and memorable characters are static. How to Pronounce Static Character Here's how to pronounce static character: stat -ik kar -ik-ter Static Characters in Depth Most stories contain more static characters than dynamic characters.

Static Character vs. Dynamic Character Learning to spot a static character is much easier when you understand its opposite, dynamic character: A dynamic character undergoes substantial internal changes as a result of one or more plot developments. The dynamic character's change can be extreme or subtle, as long as his or her development is important to the book's plot or themes. Unlike a static character, a dynamic character is a different person at the end of the story relative to who they were when the story began.

But because these changes are typically implied by the character's actions or thoughts rather than being stated outright, spotting them often depends on close reading and careful analysis of the text. How to Spot a Static Character Here are few things to look for when trying to determine if a story contains a static character: What is the character like at the story's beginning and its end?

Think about what defined each character when you first encountered them in the story. Take stock of their values, personality traits, goals, motivations, and beliefs. By the end of the story, has something happened to change any of these things for the character? If not, they're probably a static character. What is the character's ambition? Often, static characters have an unwavering sense of who they are and what they want. Take the western film High Noon as an example: the antagonist, Frank Miller, is driven by an obsessive desire to take revenge on another character—a desire which is unwavering throughout the story.

His goal does not change as the plot develops, which makes him a static character. How do others react to this character? The film The Big Lebowski centers around a character referred to simply as "the Dude," a lovable slacker with a laid-back attitude who is assaulted by robbers who break into his house and leave it in shambles. The Dude enlists his two best friends Walter and Donnie to help him track down the robbers. Their various foibles annoy each other, but never really threaten their friendship, and never cause any of them to re-assess themselves or change other than the fact that one of them dies.

Gauging the way others treat him over the course of the film is one clue that the Dude is a static character. It also shows that Walter and Donnie are static characters, too.

In fact, every character in The Big Lebowski is static, which in now way reduces its greatness as a movie. Is the character's environment shaping him or her?

In Lewis Caroll's Alice's Adventures in Wonderland , Alice falls through a rabbit hole and spends most of the novel wandering around Wonderland and encountering zany characters.

While Alice reacts to her environment she cries, becomes insulted, is afraid, and even physically grows and shrinks , she isn't fundamentally altered by her adventures.

This makes her a good example of a static character. The same goes if his impressive stock portfolio goes up in the smoke in a bear market. He might remain the same cheerful, humble, easy-going, out-going fellow he was before this fortunate turn of events. Or he might remain the same bitter, cynical, resentful, suspicious, selfish person he had always been. Or he might continue to be the same smug, arrogant snob he's already exhibited himself to be.

In any of these cases, we'd have an instance of static character. Of course such a drastic change in one's circumstances whether good fortune or bad might motivate a change in one's outlook on life. And if -- but only if -- it results in this sort of change, we are confronted with a dynamic character. This means that, while we certainly do want to take account of what the story implies as the motivation of this "change in character," we don't want to include these causal or conditional factors as part of our description of what the change in character consists in.

A "factor" is not an "element. But we will not do ourselves justice if we are content with merely recalling the details of his worsening physical condition, and never get round to reflecting on j ust what are the exact changes in assumptions and feelings he undergoes between his awareness that he is not physically well and the moment of his death.

Among other things, we'll miss the central paradox of the story, that while he was "doing well," he was spiritually gravely ill, and that in gradually taking stock of this and in facing up to some newly emerging concerns, he eventually achieves a soundness of spirit more profound than that which he left behind with his childhood.

Even the formulation just given is too general to do justice to what we should take stock of, on the level of particulars, in the change of character Tolstoy wants to acquaint us with. Note, by the way, that what is going on "inside the body" counts as "external circumstance" from the point of view we are adopting here. It is not a "change internal to the character" in the sense in which we are using the terms "internal" and "character" at the moment! Some tips on using these concepts in a clear and tactful way.

She never realized that the reserve of her own character had much, perhaps everything, to do with this. Messa urges the king to send a new governor, and gives his advice as to the character of him who should be sent.

Some peculiar lines between these contracted brows gave a character of ferocity to this forbidding and sensual face. New Word List Word List.



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