Barry Unsworth Character Analysis

While it may seem that Barry Unsworth’s character development is poor within Morality Play, when studying his work on a deeper level one notices that he rather implements the theme of identity and the symbolism of masks to build/construct/create this complex understanding (of the reader) that would have otherwise been lost.

The first manner which allows Unsworth to commence the formation of this relationship is by playing with the idea of perception versus reality. Throughout the novel he continues to reveal traits of certain characters which are contradictory to the initial general opinion of them, implying that the truth about reality is that it can be mistaken.

Key examples of this are introduced with the mystery of Thomas Wells; one of

However, as the plot thickens, the reader realises that he is in a fact a monster disguised by his ranking in the aristocracy. ‘The seed was there. There is a growing time for any plant and it may be long but the flowers open quickly when they come. And these had sun and water from the Monk, no doubt a subtle gardener enough.’(-pg.186 ch.16) This instant realization of the reader can be interpreted to be a type of character development on Unsworth’s part as his technique is of a more distant kind, one which does not involve close interaction with the characters but is associated more with the plot. This is observed in most of the characters, especially within the lesser ones such as the Monk, Lord de Guise or the convicted woman. However, his style is also viewed through the protagonists, such as Martin. Martin, being the master player, is thought to be considerate and possess all the attributes of a leader. Yet as the plot progresses, the reader’s opinion on his ownership of these traits falters, for his actions oppose his predicted persona: ‘[Martin/Superbia] turned very slowly,..., like some monstrous beast disturbed in repose and turning at last to threaten the disturber.

Although the masks do act as an aid within the novel, in some cases they hinder self-discovery and are thus likewise an obstacle: ‘... it is very easy to forget who you are. I felt it now this slipping of the soul…’(-pg.43 chp.5). This unfavourable aspect/angle is depicted through Nicholas, but, figuratively. All through the novel he continues to believe he holds the power to speak of God in the manner of a priest, even with having performed actions which should exile him from the diocese. Yet, he still defines himself as a priest and therefore one can only come to the conclusion that his profession was a mere diversion from his sinful past, ‘It is a series [of faults] to which I see no end, it goes back to my mother’s womb.’(-pg.13 chp.2). Hence, this relates back to the point that a mask may not be only to fool the audience, but the wearer also. With/in the case of Nicholas his mask of holiness deceived him into believing he had more of a ‘divining soul’(-pg.150 chp.13), thus narrowing his view as a mask would; ‘... I was the more restricted - the mask did not admit much light to my eyes and I could see nothing at all to the sides’(-pg.43 chp.5). Consequently the sub conscious decision to wear these masks, as they do not permit full understanding of oneself,