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Catherine Sloper:

A young woman, daughter of the rich Dr. Sloper. Her mother died while giving birth to her, leading to Dr. Sloper’s bias against the fact that Catherine’s character and physical beauty never amounted to her mother’s. As a result, Catherine lived a repressed existence as she faces neglect and the lack of love from her father. Her closed upbringing leads to the impression that she is very easily swayed by other people -

The author characterises Catherine in the beginning through the eyes of other characters, including Dr. Sloper, who describes her as a “commonplace child”, and Mrs. Penniman, who points out that while she is not “clever” as Austin wants, Catherine is kind and “good”.

If we discuss this in terms of Style: choice of using the omniscient narrator in constructing his characters to give added dimension to the seemingly simple character of Catherine in the beginning of the novel building up to her eventual development.

Development: She may arguably be the only character who goes through a drastic development throughout the novel - in response to her father’s abuse and Morris’ abandonment, she gains the courage to defy her father, and gains the resolve to shut out Morris.

Style: irony in that Morris says, “[Catherine has] not changed—the years have passed happily for you. They have left no marks; [she is] admirably young.”, when in reality his actions have broken her down and built her up again, again highlighting the struggles over which Catherine prevails.

Dr. Sloper:

Dynamic presentation of Dr Sloper’s character in the novel — both by the narrator’s apparent attitudes towards him, and by what his own actions reveal:

Beginning of novel: As presented by the narrator, Dr Sloper is presented as being in the best society of New York. His character contrasts that of Catherine’s, who is depicted as average where he excels. He is portrayed as being in complete control of his family, and his wishes are obeyed.

Development: While intelligent, Dr Sloper shows a sense of naivety. He believes that his positions are truth, and that he need change the views of others to fit his own.

The irony of Dr Sloper’s character:

He is a renowned and successful doctor, but is unable to save his wife and son

He blames Catherine (or at least treat her in such a way that would suggest it) for his Wife’s death — Ironic that his love for his wife, prevents him from feeling love towards his daughter

He is intelligent, but his intelligence makes him more naive — he becomes certain that Catherine is not strong enough to overcome his control, which she does. Where he could not conceive he was wrong (that Catherine would marry Morris after hi death) was in fact proven wrong by catherine. Furthermore, his act of nullifying her inheritance, in turn freed her to live a life outside of his control.the intelligence that he uses to nurture others as a doctor, is instead used to hurt his own daughter

‘Would have liked to be proud of his daughter, but there was nothing to be proud of’ He is a proud man, but is unable to be proud of his daughter

Morris Townsend:

A young man that seeks the hand of Catherine. His mode of life suggests that he is incredibly selfish, as he leeches off his sister’s savings. His primary motive for marrying Catherine is to gain access to the fortune Catherine will inherit after Dr. Sloper’s death.

His character is first viewed through the subjective perspective of Catherine, with the narrator alongside correcting her in an attempt to introduce objectivity. An air of ambiguity shrouds Morris’ character as noted by the narrator that he has “never concealed” his “great follies”, but has never revealed them either. His actions are merely substantiated by rumor, and his own confessions of him being “wild”, yet never specifying detail to confirm these claims.

Similarly to Dr. Sloper, Morris’ character can be described as manipulative, and “clever”. This is first established when his character is introduced, where all his virtues and accomplishments are laid out for the reader to see. Throughout the novel, hints towards his manipulative personality are given to the reader. For example, this is evident in his exaggerated account of his meeting with Dr. Sloper, claiming that the doctor has been “terribly violent” with him. From the narrator’s point of view, it can also be seen that the subjective account given by Morris is “not identical at all points with that offered in these pages”, revealing that Morris did indeed deliberately omit certain points in order to win Catherine’s favor.

The irony in Morris’ actions is seen when Catherine tells him that she has been disinherited by her father. His voice becomes “hard and unnatural” as he learns of this. As he turns to leave her, she cries out that he won’t come back, he retorts saying that she shouldn’t believe that and promises her that she shall see him again. However his actions betrays his last words as he is described to have “managed to get away”, suggesting that he is cannot wait to flee from this no longer beneficial marriage.

Morris arguably initiates Catherine’s character development as their fatal meeting, as noted by the narrator to be “the beginning of something very important” pushes Catherine out of her repressed nature and places her into an active role of conflict with her father. When met with Morris’ advances and schemes, Catherine is forced to become “clever”, rather than the “good” child she has played her entire life.

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Dialogue between Morris and Catherine

Morris frequently visits Catherine. This time, it was rather long exchange lasting more than an hour.

Morris is characterized as a relatively positive, strong-willed man through Ms. Penniman

“...a young man of a great force of character, and of remarkable powers of satire, a keen, resolute, brilliant nature...exercise a great deal of tact (thoughtfulness). ”

Morris seems to hold a genuine affection towards Catherine.

“There was a smile of respectful devotion in his handsome eyes which seemed to Catherine almost solemnly beautiful”

He also likes things to be “natural.” He compliments Catherine on being natural and remarks that he himself is as well. The two discuss music, especially the singers that Morris has heard in Europe.

He suggests that he may sing for her at some other time. Catherine clings to that veiled promise of another visit.  This is reciprocated through Catherine’s subtle reactions: “she was thinking only that ‘some other time’ had a delightful sound; it seemed to spread itself over the future.” →  Catherine is thinking already of their next meeting, and perhaps their many meetings to come in the future

Dialogue between Sloper and Almond:
Morris used to be in the Navy, inherited a “small property”, spent it in Europe where he “amused himself”

Almond: “I believe it was a system, a theory he had.” Unlike Sloper, who believes that Morris was irresponsible and “lazy” (34) during his time in Europe, Almond believes that Morris has planned his future.

Almond to Sloper: “You appear to have never been properly aware [of Catherine’s merits” (34)

Almond sympathetic towards Catherine

“Catherine does very well...she dresses so richly”

Supports the descriptions of Catherine’s passion towards theatre and music earlier in the chapter

Almond is described as being “impatient” towards Sloper

Sloper’s attitude towards Catherine

“[Catherine] is absolutely unattractive...neither pretty nor lively ” (35)

From the shift in the characterisation of Mr. Morris in the passage, the readers’ perception/attitude of Mr. Morris also shifts from positive to doubtful. It could be argued that there is a turning point in the readers’ perception of Mr. Morris in this chapter. In the beginning of the chapter, as we view Mr. Morris as quite a decent character.

We see in the line “There was a smile of respectful devotion in his handsome eyes which seemed to Catherine almost solemnly beautiful”, which presents him as genuine and devoted.

“Charming smile” → amiable

“To see for yourself -- that was the great thing; he always tried to see for himself. He had seen all the principal actors -- he had been to all the best theatres in London and Paris.” → passionate, quite knowledgeable about theatre

“That’s what I like you for” → sweet talk

However, towards the end of the chapter, particularly in the conservation between Dr. Sloper and Ms. Almond, we see that Mr. Morris may not be as charming and dependable as we once have believed.

Dr. Sloper’s questioning: “Only he is lazy, eh?” “Do you mean he lives UPON her?” “Did you say the Second Avenue?” He made a note of the Second Avenue.

Mrs. Almond: “He hasn’t got any (job); he is looking for something.”

This may plant a seed of doubt in the readers’ mind regarding Mr. Morris

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The mentioning of the area in which the characters live reflect their class and social standing. For example, Mrs Almond described: “Her name is Mrs Montgomery; she is a widow, with a little property and five children. She lives in the Second Avenue.’ By explicitly mentioning Mrs Montgomery’s address, the readers’ attention is directed towards her class and social standing. While Doctor Sloper’s home is located at Washington Square, an upper class district in New York, Mrs Montgomery is located at Second Avenue, which is considered to be a middle-class area in New York. The comparison between Dr. Sloper and Mrs. Montgomery’s addresses demonstrate the difference in wealth, class, and social status, which also reveals a historical aspect about New York and its culture.

It is also important to note that at the end of chapter six, Doctor Sloper asked, “Did you say the Second Avenue?” and the narrator described the doctor making a note of the Second Avenue. This directly reflects the attention the characters pay towards the other characters’ social standing and wealth.

Mr. Morris getting familiar with the environment. This suggests that he is trying to associate himself with aristocracy and immerse himself among the upper class: “He seemed more at home this time - more familiar; lounging a little in the chair, slapping a cushion that was near him with his stick, and looking round the room a good deal and at the objects it contained…”

Catherine is often described as looking out the window and the door, which indicates her desire to escape not only the house, but also the entrapment in her life. The window and the door function as metaphors for Catherine’s means of escaping. “Turning away to the window, where the dusk had deepened to darkness” (ominous, Catherine’s perspective of the outside world); “She only stood, with her hand on the door” “Catherine, with her forehead touching the window-panes, listened to this exchange of epigrams as reservedly as if they had not each been a pin-prick in her own destiny.” “Her father stopped her just as she reached the door”