Character construction in 'A Dill Pickle'

Hello BA English readers.  This is the third part of the essay that got 88%.

Question 3:

Discuss the methods of character construction used in ‘A Dill Pickle’ by Katherine Mansfield.

Hawthorne (p48) tells us that characters are constructed to represent something or to represent a particular individuality, or both.  In Katherine Mansfield’s ‘A Dill Pickle’ the major characters are constructed to both represent their own idiosyncratic individuality as well as a deeper layering where, through their binary opposition, they represent contrasting metaphors of the way that a woman and a man’s life diverge; she into powerlessness and he into powerfulness.  The flat character of the Russian carriage driver represents the life full of freedom that Vera covets.  In the female experience, represented by Vera, Mansfield identifies that women can be increasingly isolated from society and prosperity as they age if they don’t have a male protector.  In contrast, in the male experience, represented by the ‘Man’ protagonist, society has allowed him to pull himself out of his unfortunate upbringing and build a prosperous life where he engages with society.  This paper will outline some of the ways that Mansfield constructed her characters; dealing with how she illustrates the particular individuality of the major characters and delving into how the characters represent the contrasting themes of ‘alienation and belonging’ within the society peculiar to the World War I era setting. 

On the surface, the male protagonist (the ‘Man’) is confident and optimistic; engaged with the world around him; a symbol of prosperity and success.  Mansfield shows us the paradox within his character; successful by societies’ standards but still carrying the flaws and lingering stigma of his less privileged upbringing by using a range of character construction techniques.  Mansfield describes his loquacious enthusiasm ‘”You’ve changed very much,” he said, staring at her with that eager, lighted look.’  His actions show him to be delighted with Vera but self absorbed and somewhat controlling; cutting Vera’s conversation off to order food; interjecting in her few remarks; dominating the dialogue; grasping her glove as though he was holding her hand to stay her departure.

Mansfield uses all methods of character construction (description, action, conversation, symbolism) throughout the story but it is not until the very end that the narrator enters his head and ‘He sat there, thunder-struck, astounded beyond words.’  Here we lightly enter his thoughts and we see how oblivious he’s been to Vera’s reticence.

In contrast, Vera says very little; her actions are quiet; description is scant.  We know Vera mainly through her inner monologue; thoughts and memories.  She recalls the relationship in great detail but says very little.  She remembers: ‘she was thinking how well she remembered that trick of his – the trick of interrupting her – and of how it used to exasperate her six years ago.’  She’s a passive being and the Man’s conversation swamps her.  She vividly imagines the Russian Coachman and the freedom he represents but says little. It is not until the very end, where Mansfield uses free indirect speech (p51) that Vera’s character starts to exhibit energy and agitation ‘Ah, God!  What had she done!  How had she dared to throw away her happiness like this… she was the glove that he held in his fingers. . . .’  (Note, Mansfield reinforces the contrast in Vera’s mood by using exclamation marks to denote her agitation for the very first time – where they’ve been liberally applied to the Man’s conversation.)

Set in the UK between the wars (and written in 1920), that context the setting (p59) is important; it was a time when class mobility was emerging and young men could climb the social ladder; when women had been given some legal rights but had low expectations and opportunities for improvement; and when both of these forces served to accentuate the power imbalance between the sexes. 

Vera is educated and presumably of a privileged class.  She has ambition to travel; musical ability; refined diction.  The Man recalls that she describes travel as to ‘air oneself’.  In contrast he had unappealing manners: ‘he behaving like a maniac about the wasps… infuriated out of all proportion… How delighted the sniggering tea drinkers had been… how she had suffered.’  Still, despite this ‘air of a man who has found his place in life’ some social awkwardness and miserliness remains as he asks not to be charged for the unused cream at the conclusion of the story.  In sketching these characters, the upwardly mobile Man and the fading aristocratic Vera, Mansfield comments on the shifting class structures in society. 

Mansfield also illuminates the power distance between the male and female.  Vera is passive, quiet and lets the Man lead.  The Man dominates, like a benign dictator; organising her meal; directing the agenda; being her ‘magic carpet’ to whip her away from their social context.  This parallels the roles of men and women in society between the wars; men as active leaders, women still stuck in the role of passive recipients of male largess… but now without the sound class structures that underpinned their status and welfare.

In constructing her two characters in ‘A Dill Pickle’ Mansfield clusters the more active literary devices; conversation; action; detailed description around the persona of the Man.  The more passive devices; insight into thoughts; symbolism; free indirect speech, are mainly used to explain Vera’s character.  Together they represent the binary opposition of two gender roles in society; the passive, dependent female and the active, confident male.

754 words excluding quotes.