2. The secondary persons who are introduced merely to add variety or to throw light upon the character of the hero, or to assist to bring about the events which center about him.
3. The appearance, dress and manners of the persons.
4. The ways in which the author makes his persons lifelike and shows the reader what they really are.
5. The characters of the persons as they appear or as they are developed in the progress of the story. This is the really important part of the study, the one which becomes increasingly interesting as readers grow older and the stories they study become more and more complex and difficult. The study of the characters of Shakespeare’s heroes and heroines is more than interesting pastime for men and women—it is good, hard work.
For a simple example of what is meant, let us undertake briefly the study of The Hardy Tin Soldier (Volume I, page 148).
- 1. The hero is the Hardy Tin Soldier himself.
- 2. Persons of secondary importance are:
- a. The twenty-four brothers.
- b. The little boy.
- c. The Dancing Lady.
- d. The Goblin.
- e. The servant-maid.
- f. The two street boys.
- g. The Water Rat.
- h. The fish.
- i. The cook.
Of these the Dancing Lady is second only to the lame Soldier; the Goblin, the two street boys, the little boy and the Water Rat are given considerable prominence, while the twenty-four brothers, the servant-maid, the fish and the cook are introduced merely to effect a certain incident or to give an air of truthfulness to the events. This is a fairy tale, and in it we must be faithful to our juvenile friends, considering the Goblin, the Water Rat and the fish as real persons, and the Tin Soldier as a very human being.
3. In appearance the Tin Soldier was tall and erect, but alas! he had only one leg! His uniform was red and blue and very splendid. He carried his musket across his shoulder as a marching soldier should, kept his eyes straight to the front, and stood very firmly upon his one foot. In the fire he lost the tinsel and the color from his uniform, and when the Dancer joined him he melted into a little tin heart.
4. While Andersen tells outright some of the characteristics of the little Soldier, he leaves others to be inferred from acts. The Soldier thinks, and sometimes the reader is told just what he thinks, but never once does he speak—to him silence is golden. Yet not once do we miss his voice, and it is only when we have finished that we suddenly think what a silent little body he is. That is part of the author’s art. The Soldier never once moves his eyes, or changes his attitude; the author never forgets that he is a tin soldier, but makes his every act consistent with his stiffness and rigidity. That is more of the author’s skill. There were other soldiers, twenty-four of them, and all were brothers. A less skilful author would have stopped in the telling of the fact, but Andersen adds in his whimsical, charming manner, “for they were all born of one tin spoon.” All the other brothers were perfect; our Soldier had but one leg, yet “it was just this soldier who became remarkable.” Even the missing leg creates an interest, and Andersen uses it to center our attention upon his little hero.
5. Andersen tells us the following things about the Tin Soldier’s character: