In the short history, The Brief Happy Life of Francis Macomber, the primary character Francis undergoes a major shift in personality between beginning and end from the story, changing from a coward into a courageous person. Various points of views on personality exist to explain this phenomenon, such as the type perspective, the trait point of view, and the motive/need perspective. In this paper, Let me assess Francis’s personality coming from all these perspectives and believe the motive/need perspective is the foremost explanation intended for Francis’s persona change, since motives and wishes fluctuate and alter depending on exterior stimuli, when types and traits do not.
Before I determine Francis’s persona in terms of types, it is important to keep in mind that types are under the radar categories the particular one either belongs to, or not. I will use the now-popular Meyers-Briggs Type Evaluation to determine Francis’s personality. We find Francis to be extraverted rather than introverted, sensing instead of intuitive, feeling rather than thinking, and perceiving rather than judging. I attained this bottom line because a lot of Francis’s actions appear to be natural and allergy, such as his harsh dialogue with his partner during his angry outbursts, and his sudden panic after seeing the wounded big cat charging at him. Even Francis’s decision to become even more courageous the next day was a decision motivated by emotion, since logical decisions do not fluctuate all the. Therefore , the important thing components of Francis’s type character are the sense, perceiving, and sensing qualities. The extraversion is hard to discern, but it appeared to be the best fit, presented Francis’s consistent dialogue through the entire story.
In contrast to type personality, characteristic personality landscapes characteristics since continuous and dichotomous, lying down somewhere on the scale among two extreme conditions. A person would as a result not always be “extraverted”, but instead possess a selected level of extraversion. I would characterize Francis because cowardly, cascarrabias, and prideful. The cowardice is apparent when Francis flees in the lion, nonetheless it is also noticed in his failure to face his better half ” until she smooches Wilson in front of him and he barely responds. Francis is also atrabiliario because he responds passive-aggressively toward his partner during their discussions (“let through to the bitchery just a little”), rather than devising a positive manner expressing his worries. Lastly, Francis is prideful, because the simply reason he elects to be less cowardly is out of self-interest for his manhood and reputation, certainly not out of the desire to grow as a person.
When it comes to motives and wishes, Francis’s persona is plainly characterized by an increased need for achievement and intimacy, but oriented more toward avoiding failure than achieving success. In other words, Francis needs to feel a sense of achievements because he is usually scared of faltering at responsibilities, and he needs to truly feel a sense of closeness because he is usually scared of getting alone with out a partner. This theory can be supported by the fact that people having a high need for achievement tend to prefer modest level responsibilities, which in Francis’s case can be hunting buffalo rather than lions, and the reality Francis appears to be controlled by his partner, out of fear of her leaving him. In addition , those people who are better characterized as wanting to avoid inability rather than become successful are more likely to end up being less emotionally satisfied, which explains Francis’s tumultuous mental swings through the entire story. Furthermore, the external influence, or press, of Francis’s manipulative wife and comparatively even more courageous partner (Wilson) probably also plays a role in Francis’s motives, since they produce a greater impression of emergency in terms of seeking achievement and intimacy.
In order to best explain Francis’s rapid enhancements made on behavior by the end of the tale, I believe the objective perspective is most effective to assess this change. The basis of type and attribute personality is that types and traits are static qualities that a person possesses, even though with slight differences in their classification (categorical vs continuous), and thus develop consistent behaviours. On the other hand, the basis of purpose personality is the fact behaviors arise from motives, which are powerful and rely upon the strength of the motive, the duration since the motive was last happy, the likely existence of any external stimuli (press), or the possible existence of competing motives. With Francis, I find that the press of his wife’s infidelity and his humiliation in front of the hunting group increased the strength of his motivation for achievement, which usually led to his seemingly even more courageous behavior by the end of the story. Furthermore, I would argue that before his incident with the lion, Francis was determined by attempting to preserve what ever intimacy he had with his better half, which was how come he would not stand up to her (except in passive intense ways). When ever Francis was then embarrassed in front of the hunting party and his wife, his need for achievement then outweighed his dependence on intimacy, which is why his patterns shifted.
It is clear that almost any instance in which a person’s individuality seemingly adjustments drastically, the motive/need perspective is the best zoom lens for evaluating this alter. Motives and needs explain situational inconsistencies perfectly, in contrast with traits and types, which usually imply relatively consistent behavior and do not allow much place for extreme character alter. The motive/need perspective as well better captures the complexity of human being behavior by simply addressing exterior factors that affect each of our decisions, rather than arguing that behaviors control from inside sources simply. Francis’s major character shift is as a result best the result of competing purposes that shifted when put into a embarrassing situation.