Characterization in The Good Soldier

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In The Good Soldier, Ford Maddox Ford does not fully develop any of the characters. The reader is intended to use the narrator Dowell’s disconnected and inaccurate impressions to build a more complete version of who the characters are, as well as form a more accurate view of what actually happens with “the sad affair” (Ford 9) of Dowell’s pathetic life. This use of a single character’s various perceptions creates a work that follows the style of literary impressionism, which, to some extent, should be only a series of personal impressions that culminates in the portrayal of reality as “a subjective experience” (van Gunsteren 239). This very subjectivity of reality is clearly evident in Dowell’s perception of other people and events. Dowell seems to be inherently incapable of understanding anyone’s true disposition or the effects of happenings in his life. This is most clearly demonstrated with Dowell’s portrayal of his wife Florence. For most of the novel, Dowell ignores her character and her role in the story, while still managing to present a different view of her each time he mentions her. Yet, despite this, a relatively clear understanding of her can eventually be reached through Dowell’s confused impressions, so that her character is almost fully developed by the reader’s interpretation of his various perceptions. Ford uses this gradual and incomplete development of Florence’s character to show the path that Dowell takes to find a similarly limited understanding of what has happened to him. Dowell’s notion of who Florence is changes constantly as he slowly learns more about her and begins to better understand her role in what he considers to be the rather tragic history of the Ashburnhams, the couple that he and ... ... middle of paper ... ...on, his existence cannot help but be almost meaningless to himself, and completely so to other people. Florence, with her overwhelming desire for the aggrandizement of her own importance, is not much better. She cannot care about people, except to use them to try to get closer to her ultimate goals, and she has no problems with lying and deceiving to get what she wants. She does not even have Dowell’s dubious code of morality. Yet, even with all of her scheming, she never manages to attain that one desire of “her cold heart” (64), to own Bramshaw Manor. Both Dowell and Florence should be pitied, Dowell as the bland and passionless nonentity, and Florence as frustrated in all that she desires, both as incomplete characters that never achieve anything. Work Cited Ford, Madox Ford, The Good Solider. Ed. Thomas C. Moser. Oxford: Oxford UP, 1990. Print.

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