Thomas Mann and Albert Camus usage secondary characters to progress the primary character ‘s development in their novels Death in Venice and The Stranger. Nick Vernon wrote that there is no narrative to state “ without the chief or primary characters – readers read to happen out what happens to them. ” ( Vernon ) . However, I believe a good author can besides hook the reader ‘s involvement – and maintain readers engaged and involved – with good secondary characters. Think of it in a psychological sense. It has frequently been said that ‘we are a composite of all the people we have known and all the people who have impacted our lives. ‘ In add-on, ‘we are known by the company we keep. ‘ ( Answers.com ) . In short, the secondary characters help to enrich and specify the primary characters.

The relationship between Tadzio and Von Aschenbach in Death in Venice is one of compulsion and is cardinal for developing Aschennach. Tadzio happens to be holidaying at the same location as Aschenbach. He is 14 old ages old, has a little organic structure, light-haired hair, has aquiline characteristics and pale tegument. He remnds Aschenback of “ Grecian statues from the noblest period of antiquity. ” Throughout the narrative, von Aschenbach compares the male child to many Grecian characters such as Phaedrus, Hyacinthus, and Narcissus. Tadzio is besides described as sickly and seems to be headed in the way of an early decease. Tadzio knows that von Aschenbach is in secret stalking him but ne’er takes the clip to speak to or face him. On the last twenty-four hours of Von Aschenbach ‘s life Tadzio is out playing in the H2O. Aschenbach last sees him waving towards him.The relationship between the two ne’er progressed beyond the sense of sight. No words were spoken and no contact was made. However, Aschenbach ‘s desire grew every passing twenty-four hours. The young person of Tadzio and his “ genuinely divine beauty ” let von Aschenbach to reflect on his ain attenuation wellness. This causes him to acquire more despairing, to the point of really stalking the male child. Tadzio is used in many ways to uncover the true moral fibres of Aschenbach.

The 2nd point of comparing I would wish to speak about is the function of the more minor characters. I have noticed in novels that close groups of characters dominate the full narrative. Aside from this grouping, other minor characters are thrown in to move as secret plan and character development accelerators. These characters are frequently overlooked in my sentiment and I think it is clip to give them their due recognition. Thomas Mann and Albert Camus were true Masterss at making symbolism and boding with their secondary characters. However, that is merely half their mastermind. While I read Death in Venice, I noticed that these apparently inadvertent characters helped portray Von Aschenbach ‘s characteristics every bit good as his purposes. In short, Mann successfully brings Von Aschenbach ‘s motivations out into the visible radiation without straight adverting them ; and in my sentiment: devising for a truly alone and all right narrative. For illustration, In the beginning of the narrative, Aschenbach notices a traveller in a graveyard. He wears a straw chapeau and xanthous suit and is equipped with a walking stick and poke. The storyteller described his position as “ His position conveyed an feeling of disdainful surveillance, fortitude, even wildness. ” In add-on, the traveller bears his teeth “ threateningly ” merely like the old dandy and gondolier subsequently in the narrative. Von Aschenbach refused to run into the traveller ‘s hostile blaze and turned aside. Yet, the mere sight of this alien encouraged Aschenbach to reflect on his life and he begins to woolgather about going. With this, he snaps back out of the moony province and decides to travel for a holiday. Now that I look back, I am surprised how Thomas Mann initiated the action. He simply threw in a traveller. Small did I know, this traveller served as a veiled landmark throughout the narrative.

Camus did much of the same as Mann in his novel The Stranger. For illustration, the priest who attends to the spiritual demands of condemned work forces. The chaplain acts as a accelerator for Meursault ‘s psychological and philosophical development. After Meursault is found guilty of premeditated slaying and sentenced to decease, he repeatedly refuses to see the chaplain. The chaplain visits Meursault anyhow, and about demands that he take comfort in God. The chaplain seems threatened by Meursault ‘s obstinate godlessness. Finally, Meursault becomes enraged and angrily asserts that life is nonmeaningful and that all work forces are condemned to decease. This statement triggers Meursault ‘s concluding credence of the nonsense of the existence. In add-on, The Arab, the brother of Raymond ‘s kept woman, helps add to the cryptic shroud that surrounds Meaursault ‘s emotions. On that Sunday when Marie, Raymond, and Meursault resided at Masson ‘s house on the beach, Meursault murders the Arab with the gun given to him by Raymond. From the context of the narrative, the offense seems to be random and unprovoked – the Arab did nil to incur Meursault ‘s wrath. The Arab ‘s unfamiliarity as a character makes Meursault ‘s offense all the more unusual and hard to understand, taking to more inquiries, which is desired. I say this because I believe good quality literature and novels should non seek to reply ( though if it does reply some so that is an added fillip ) . These inquiries assistance in the assortment of personal sentiments and possible purposes of the character, ensuing in a richer experience for the reader.

Secondaries, in this sense, are true back uping dramatis personae to your hero or heroine. They can defend and help primary characters, assist them to turn and alter, or block and hinder chief characters in their on-going growing and advancement. Think of the host of people that fall into these classs in our ain lives: the work associate who is a hurting in the buttocks ; the negative, belittling household member ; the composure, logical friend you can ever trust on to see things sanely ; the play queen friend who rides every moving ridge over-reactively on her emotions ; the gabby chitchat ; the faithful buddy. The list is eternal. However, in developing side characters one must maintain in head the ways in which they help to uncover the chief characters ‘ personalities and farther your secret plan. Secondary characters should non be stuck in at random and without intent. Jennifer R. Hubbard wrote, “ If secondaries are non lending to the chief characters or the secret plan, they should be removed. ” ( Hubbard ) . In reading these books, I have gained new sentiments and grasp for secondary characters every bit good as for the writers who design them. From my new mentality, Strong secondary characters frequently make the difference in a good book or a bad book. Strong secondaries, good developed and good used in a novel, can direct a good narrative to new highs. At the terminal of a book – an writer should desire their readers to detest to state adieu to the characters you have created, to be left inquiring what might go on to them following. The writer should desire the characters you have created – both the primary and the secondary characters – to linger on in your readers ‘ heads. Therefore, secondary characters should have equal attending from any nice writer.