Five. Presentation of CharactersIf

Five. Presentation of Characters
If you want your public to believe in what you write you must believe in it yourself. When I am describing a scene I can as distinctly see what I am describing as I can see you now. So real are my characters to me that on one occasion I had fixed I upon the course which one of them was to pursue. The character, however, got hold of me and made me do exactly the opposite to wbat I bad intended; but I was so sure that he was right and I was wrong that I let him have his own way. — Charles Dickens, quoted by Henry Fielding Dickens, Harper's Monthly Magazine, CXXIX (1914)
It is remarkable that what we call the world, which is so very credulous in what professes to be true, is most incredulous in what professes to be imaginary; and that, while, every day in real life, it will allow in one , man no blemishes, and in another no virtues, it will seldom admit a very strongly-marked character, eitber good or bad, in a fictitious narrative, to be within the limits of probability. — Nicholas Nickleby, Preface
In seasons of pestilence, some of us will have a secret attraction to the disease — a terrible passing inclinationto die of it. And all of us have like wonders hidden in our breastsn only needing circumstances to evoke them. — A Tale of Two Cities, Book Three, Chapter 6
he characters in Dickens' novels are real in the same way that characters in plays are real, and in the same way, perhaps, that living people seem real to each other. Their true identities are masked even from themselves under conventionally prescribed poses, yet declare themselves through all kinds of surface clues: not only in the overt act, but in its accompanying gesture and facial expression; not just in the spoken word, but in the intonation and turn of speech with which it is uttered. Dickens' method of characterization does not allow for the delicate probing of psychological states of mind; rather its success depends on the artist's resourcefulness in creating consistent and emphatically defined patterns of individualized responses to external circumstance; in showing, that is to say, character in action. Like Browning's Fra Lippo, whose "soul and sense" grew "sharp alike" through early neglect, Dickens might have traced to his waiflike boyhood in the London streets his preternatural alermess to "the look of things," the tokens of dress or mannerism which differentiate one personage from another. But unless this acuity of vision had been tempered by the additional faculties of insatiable curiosity about human behavior [115/116] and a genial, if sometimes caustic, sympathy with its oddities, the novelist would never have achieved the comprehensive humanity which informs his attitude towards his creatures. "His genius," Forster well remarked, "was his fellow feeling with his race; his mere personality was never the bound or limit to his perceptions, however strongly sometimes it might colour them...."
Incredible though they often are, the beings who populate Dickens' stories command assent because of the vitality imparted to them by their creator's own transparent belief in their reality. "No man," according to Forster, "had ever so surprising a faculty as Dickens of becoming himself what he was representing . . ."; and the critic George Henry Lewes wrote: "Dickens once declared to me that every word said by his characters was distinctly heard by him...." These statements are corroborated by Mary Dickens' account of seeing her father act out the fictional roles which he was imagining. The novelist's instructions to his illustrators are further evidence of the fact that his characters had assumed in the mind's eye the lineaments of living people. And frequent references to works in hand indicate the extent to which the writer became immersed in the lives of their characters. As he approached the end of The Old Curiosity Shop, he confessed to his future biographer: "I went to bed last night utterly dispirited and done up. All night I have been pursued by the child; and this morning I am unrefreshed and miserable." Of the emotional toll exacted by his Christmas book, "The Chimes," he wrote to Forster:
Since I conceived, at the beginning of the second part, what must happen in the third, I have undergone as much sorrow and agitation as if the thing were real; and have [116/117] wakened up with it at night. I was obliged to lock myself in when I finished it yesterday, for my face was swollen for the time to twice its proper size, and was hugely ridiculous.

Hasil (Bahasa Indonesia) 1:

Lima. Presentasi dari karakterJika mau, Anda publik untuk percaya apa yang Anda tulis Anda harus percaya itu sendiri. Ketika sedang menggambarkan adegan aku dapat dengan jelas melihat apa yang saya gambarkan seperti aku bisa melihat Anda sekarang. Jadi nyata adalah karakter saya kepada saya bahwa pada suatu kesempatan saya tetap saya terhadap jalannya yang salah satunya adalah untuk mengejar. Karakter, bagaimanapun, memegang saya dan membuat saya melakukan justru sebaliknya untuk wbat buruk aku berniat; tapi aku begitu yakin bahwa ia benar dan aku sudah salah bahwa aku membiarkan dia memiliki caranya sendiri. -Charles Dickens, dikutip oleh Henry Fielding Dickens, majalah Harper's bulanan, CXXIX (1914)Hal ini luar biasa bahwa apa yang kita sebut dunia, yang begitu sangat mudah percaya dalam apa mengaku menjadi kenyataan, paling percaya dalam apa mengaku imajiner; dan bahwa, sementara, setiap hari dalam kehidupan nyata, itu akan memungkinkan dalam satu, manusia ada kecacatan, dan lain tidak ada kebajikan, itu akan jarang mengakui karakter sangat sangat menandai, eitber baik atau buruk, dalam narasi yang fiktif, dalam batas-batas kemungkinan. — Nicholas Nickleby, kata pengantarDi musim penyakit sampar, sebagian dari kita akan memiliki ketertarikan penyakit-inclinationto mengerikan lewat mati itu. Dan kita semua memiliki seperti keajaiban tersembunyi di breastsn kami hanya membutuhkan keadaan untuk membangkitkan mereka. -Sebuah kisah dua kota, buku ketiga, Bab 6he characters in Dickens' novels are real in the same way that characters in plays are real, and in the same way, perhaps, that living people seem real to each other. Their true identities are masked even from themselves under conventionally prescribed poses, yet declare themselves through all kinds of surface clues: not only in the overt act, but in its accompanying gesture and facial expression; not just in the spoken word, but in the intonation and turn of speech with which it is uttered. Dickens' method of characterization does not allow for the delicate probing of psychological states of mind; rather its success depends on the artist's resourcefulness in creating consistent and emphatically defined patterns of individualized responses to external circumstance; in showing, that is to say, character in action. Like Browning's Fra Lippo, whose "soul and sense" grew "sharp alike" through early neglect, Dickens might have traced to his waiflike boyhood in the London streets his preternatural alermess to "the look of things," the tokens of dress or mannerism which differentiate one personage from another. But unless this acuity of vision had been tempered by the additional faculties of insatiable curiosity about human behavior [115/116] and a genial, if sometimes caustic, sympathy with its oddities, the novelist would never have achieved the comprehensive humanity which informs his attitude towards his creatures. "His genius," Forster well remarked, "was his fellow feeling with his race; his mere personality was never the bound or limit to his perceptions, however strongly sometimes it might colour them...."Incredible though they often are, the beings who populate Dickens' stories command assent because of the vitality imparted to them by their creator's own transparent belief in their reality. "No man," according to Forster, "had ever so surprising a faculty as Dickens of becoming himself what he was representing . . ."; and the critic George Henry Lewes wrote: "Dickens once declared to me that every word said by his characters was distinctly heard by him...." These statements are corroborated by Mary Dickens' account of seeing her father act out the fictional roles which he was imagining. The novelist's instructions to his illustrators are further evidence of the fact that his characters had assumed in the mind's eye the lineaments of living people. And frequent references to works in hand indicate the extent to which the writer became immersed in the lives of their characters. As he approached the end of The Old Curiosity Shop, he confessed to his future biographer: "I went to bed last night utterly dispirited and done up. All night I have been pursued by the child; and this morning I am unrefreshed and miserable." Of the emotional toll exacted by his Christmas book, "The Chimes," he wrote to Forster:Since I conceived, at the beginning of the second part, what must happen in the third, I have undergone as much sorrow and agitation as if the thing were real; and have [116/117] wakened up with it at night. I was obliged to lock myself in when I finished it yesterday, for my face was swollen for the time to twice its proper size, and was hugely ridiculous.

Hasil (Bahasa Indonesia) 2:

Lima. Penyajian Karakter
Jika Anda ingin publik untuk percaya pada apa yang Anda tulis Anda harus percaya pada diri sendiri. Ketika saya menjelaskan adegan saya dapat sebagai jelas melihat apa yang saya menjelaskan yang saya lihat sekarang. Jadi sebenarnya adalah karakter saya kepada saya bahwa pada suatu kesempatan saya tetap saya pada kursus yang salah satunya adalah untuk mengejar. Karakter, bagaimanapun, berhasil meraih saya dan membuat saya melakukan hal yang berlawanan dengan wbat saya buruk dimaksudkan; tapi aku sangat yakin bahwa ia benar dan aku salah bahwa saya membiarkan dia memiliki caranya sendiri. - Charles Dickens, yang dikutip oleh Henry Fielding Dickens, Harper Bulanan Magazine, CXXIX (1914)
Sungguh luar biasa bahwa apa yang kita sebut dunia, yang begitu sangat mudah percaya pada apa yang mengaku menjadi kenyataan, paling percaya pada apa yang mengaku menjadi imajiner; dan bahwa, sementara, setiap hari dalam kehidupan nyata, itu akan memungkinkan dalam satu, manusia tidak ada noda, dan di lain tidak ada kebajikan, jarang akan mengakui karakter yang sangat kuat-ditandai, eitber baik atau buruk, dalam narasi fiktif, menjadi dalam batas-batas kemungkinan. - Nicholas Nickleby, Pengantar
Dalam musim wabah penyakit, sebagian dari kita akan memiliki daya tarik rahasia untuk penyakit - passing mengerikan inclinationto mati itu. Dan kita semua memiliki seperti keajaiban tersembunyi di breastsn kami hanya perlu untuk membangkitkan keadaan mereka. - Sebuah Kisah Dua Kota, Buku Tiga, Bab 6
dia karakter dalam novel Dickens 'adalah nyata dalam cara yang sama bahwa karakter dalam drama adalah nyata, dan dengan cara yang sama, mungkin, bahwa orang-orang yang tinggal tampak nyata satu sama lain. Identitas sejati mereka yang bertopeng bahkan dari diri mereka di bawah pose konvensional ditentukan, namun menyatakan diri melalui segala macam petunjuk permukaan: tidak hanya dalam tindakan nyata, tetapi dalam gerakan yang menyertainya dan ekspresi wajah; bukan hanya dalam kata yang diucapkan, tetapi dalam intonasi dan pergantian bicara dengan yang diucapkan. Metode Dickens 'karakterisasi tidak memungkinkan untuk halus menyelidik dari keadaan psikologis pikiran; bukan keberhasilannya tergantung pada akal artis dalam menciptakan pola yang konsisten dan tegas didefinisikan tanggapan individual untuk keadaan eksternal; di menunjukkan, yang mengatakan, karakter dalam tindakan. Seperti Browning Fra Lippo, yang "jiwa dan akal" tumbuh "tajam sama" melalui pengabaian awal, Dickens mungkin ditelusuri ke masa kanak-kanak waiflike di jalan-jalan London alermess supranatural untuk "tampilan hal," token gaun atau perangai yang membedakan satu tokoh dari yang lain. Tapi kecuali ketajaman ini visi telah marah oleh fakultas tambahan rasa ingin tahu tak pernah puas tentang perilaku manusia [115/116] dan ramah, jika kadang-kadang kaustik, simpati dengan keanehan yang, novelis akan pernah mencapai kemanusiaan yang komprehensif yang menginformasikan sikapnya terhadap makhluk-Nya. "Jenius Nya," Forster juga berkomentar, "itu sesama perasaan dengan ras, kepribadian hanya nya tidak pernah terikat atau batas persepsi, bagaimanapun sangat kadang-kadang mungkin warna mereka ...."
Luar biasa meskipun mereka sering, yang makhluk yang mengisi cerita Dickens 'perintah persetujuan karena vitalitas disampaikan kepada mereka oleh keyakinan transparan pencipta mereka sendiri dalam kenyataannya mereka. "Tidak ada orang," menurut Forster, "pernah jadi mengejutkan fakultas seperti Dickens menjadi dirinya sendiri apa yang ia mewakili..."; dan kritikus George Henry Lewes menulis: "Dickens pernah menyatakan kepada saya bahwa setiap kata yang dikatakan oleh tokoh-tokohnya itu jelas terdengar olehnya ...." Pernyataan ini dikuatkan oleh akun Mary Dickens 'melihat tindakan ayahnya keluar peran fiksi yang ia membayangkan. Instruksi novelis untuk ilustrator nya adalah bukti lebih lanjut dari fakta bahwa tokoh-tokohnya telah diasumsikan dalam mata pikiran roman muka orang yang hidup. Dan sering referensi untuk karya di tangan menunjukkan sejauh mana penulis menjadi tenggelam dalam kehidupan karakter mereka. Saat ia mendekati akhir The Old Curiosity Shop, ia mengaku biografi masa depannya: "Saya pergi tidur malam terakhir benar-benar putus asa dan naik Sepanjang malam aku telah dikejar oleh anak, dan pagi ini saya tak segar dan sengsara.. " Dari tol emosional dituntut oleh buku Natal, "The Chimes," tulisnya ke Forster:
Sejak aku hamil, pada awal bagian kedua, apa yang harus terjadi di ketiga, saya telah mengalami banyak kesedihan dan agitasi seolah-olah Hal yang nyata; dan telah [116/117] terbangun dengan itu di malam hari. Saya terpaksa mengunci diri di saat saya selesai kemarin, untuk wajah saya bengkak untuk waktu dua kali ukuran yang tepat, dan sangat konyol.