History Characters / TheGreatDivorce

* BecomingTheMask: Played with: Frank "became" the Tragedian all right, but only because the Tragedian has consumed Frank, and as a personality without substance, this destroys the Tragedian. What's left of Frank most probably goes back to Hell at this point.

* IncredibleShrinkingMan: Consumed with selfish desires to be pitied, Frank begins to implode back down to the minuscule state of Hell's existence, and Sarah has no way to stop this as long as Frank won't stop.
* IgnoredEpiphany: The narrator notes that after Sarah confirms that she's here for ''Frank'' and not the Tragedian, Frank realizes how silly the Tragedian is and exactly what Sarah is talking about -- but then rejects it because it's not the meeting pictured beforehand (which was presumably the 'pity me' shtick actually working and Frank going back to emotionally abusing Sarah).

* PointOfNoReturn: Eventually the Dwarf shrinks so much it's effectively invisible, and the Tragedian disposes of the chain, completely taking over.
* {{Pride}}: Part of the reason Frank won't go with Sarah is because of wanting to set the terms for their meeting, not have it be on ''"her"'' terms; and both the Dwarf and the Tragedian can't accept that people can be happy without or in spite of Frank. In Frank Smith's worldview, people should only be happy when Frank ''lets'' them be.
* SplitPersonalityTakeover: The Dwarf eventually disappears completely and the Tragedian takes over, then collapses in on himself.
* WoundedGazelleGambit: Frank's FatalFlaw is using other people's pity to manipulate them and make them miserable. This trait is represented by the Tragedian. Even as a boy, Frank would selfishly use other people's pity. It no longer works on Sarah, who sees through the ruse and calls him out for what it is -- and while Frank would literally rather go to hell than repent, it no longer has any power over her.

* AllTakeAndNoGive: "Sir" Archibald wants to be a Giver and isn't allowed, literally having nothing to offer the residents of Heaven -- and until accepting this fact, couldn't enjoy paradise at all. It's worse because all Archibald wants to give are things that would only work on Earth.

* BeautyIsNeverTarnished: One of the two main points of the story is that there is no room for evil or sin whatsoever in Heaven. While many of the Ghosts refuse to go to Heaven because it will mean giving up their quirks, the contrapositive of that statement (which also falls under this trope) is seen in the Lizard Ghost. Everything in us can find its fullest and most joyful expression in Heaven, if it will only submit first to God. Specifically seen in the case of the Lizard, which represented uncontrollable lust. After the Lizard is killed by an Angel (with the Ghost's permission), the Ghost turns into a Person, and the Lizard is reincarnated as a Stallion, an expression of joyful, holy physicality.
* BondCreatures: Whether it's earthly lust, or heavenly desires, the lizard (or the reincarnated stallion) is a part of him.

* {{Lust}}: The Lizard Ghost's fatal flaw--and his redemption also shows the flip side of this: even the deadly sin of lust is based on a desire humans are supposed to have, and when it submits to God and is killed and reborn, it becomes a beautiful thing.
* ReptilesAreAbhorrent: The ghost's lust is manifested as a lizard. When killed, it returns as a stallion.

* ThrowTheDogABone: The ghost allows an angel to kill the lizard--causing it to rise again as a stallion and help him to go to Heaven.
* WhiteStallion: The lizard representing his lust transforms [[VirileStallion into]] a [[CoolHorse giant horse]] when he is freed of that flaw.

* BaritoneOfStrength: PlayedForLaughs -- the Tragedian, an illusion of a man created by Frank, tries to assert dominance over Frank's Heavenly wife Sarah by periodically lowering the pitch of its voice. Considering it's a projection chained to a transparent dwarf (and it's uncertain if she, who's as good as an angel, can even see it) it comes off as quite [[LargeHam pathetic]].

* TheTreacheryOfImages: Discusses with a resident of Heaven whether the purpose of art is for its own sake or to depict particular matters; the Artist is obsessed with the paint, while the Bright One is trying to induce a focus on a far worthier subject.

Michael's mother, who was very possessive of Michael and neglectful towards the rest of the family. Pam is very eager to see Michael again, but unwilling to give up the monomaniacal obsession with him to do it.

* EvilVirtues: Maternal love. [=MacDonald=] notes that because it's more like heavenly love, when it falls it's worse than just an appetite would be.

* LoveMakesYouEvil: Pam's in hell because of exalting "mother-love" for Michael above all other things, including love of God. George [=MacDonald=] notes that that's how it is in Hell, since all things are good when they align with God and evil when they turn away from Him.
* LoveRedeems: Not ''quite'' averted. [=MacDonald=] also notes that even as perverted and warped as Pam's love for Michael has become, there is still a little spark in there of something that is not just self-centered, and that might yet be fanned into a flame. But he also cautions that ''because'' there's some good in her, [[LoveMakesYouEvil it's all the more insidious when perverted and all the harder to be rid of]].

* MotherhoodIsSuperior: ''Fanatical'' belief in this trope (at least insomuch as she refers to Michael) is why Pam ended up in in Hell.

* NeverMyFault: Pam has a bad case of this, believing that Dick and Muriel started to keep their distance right during the (excessive) grief for Michael's death; because they didn't care enough about supporting each other after losing a family member, or understand what it meant to be a mother.

A ghost troubled by uncontrollable lust, which is manifested as a lizard on his shoulder. While he recognizes that the lizard is quite unsuitable for heaven, he is unwilling to give it up--until he does.

A formerly famous artist who paints less out of a desire to depict a subject as seen and experienced, than as an end in itself.

* ScrewThisImOuttaHere: Upon hearing that he and his work are about to be rejoiced in Heaven, but forgotten on Earth, the artist's ghost runs back to Hell in a rage.
* TheTreacheryOfImages: Discusses with another artist (who is a resident of Heaven), whether the purpose of art is for its own sake or to depict particular matters; the Artist is obsessed with the paint, while the Bright One is trying to induce a focus on a far worthier Subject.

A controlling woman who was ambitious by proxy -- Robert's wife made absolutely sure to keep complete control over Robert's life, and made sure he had the lucrative career ''of his wife's choosing''.

* AllTakeAndNoGive: Of the pathological Giver variant: the interest in "helping" Robert was less a desire to genuinely see him be happy and successful, and more of a need for [[SecretlySelfish someone to control]] and use as a means to act out [[VicariouslyAmbitious ambition by proxy]]. Though this isn't much of a secret to anyone except Robert's wife.

* SelfDisposingVillain: The other Ghosts have a genuine back and forth debate with the Bright Ones, returning to hell when their only choice is to accept defeat or cling to their damnation. ''This'' ghost shows up, gives a two-page hate-filled monologue and vanishes back to hell, all before the Spirit can get out a full sentence.

* UnreliableNarrator: The ghost of Robert's wife paints herself as a diligent wife who sacrificed everything for an ungrateful husband. In reality, he was badly abused, and had ''very'' good reason to not appreciate what was done to him.

* WellIntentionedExtremist: According to Robert's wife, all the things done to him were ''necessary'', because those were in his own best interests. See the tropes above for how truthful this is.

* NoNameGiven: Not making their acquaintance, the narrator is a bystander, and doesn't know her name.
* {{Wangst}}: Spends most of the time angsting about her ghostly state and worrying about being judged for it, despite the Bright One's assurances that it's ''Heaven'' and no one will care.
* WhatHappenedToTheMouse: The Narrator doesn't see the end of this conversation, though George [=MacDonald=] does give an educated guess about what will happen -- the ghost ''might'' be saved, if the unicorn stampede could provide enough of a distraction from her self-centeredness.

* NoNameGiven: Like with the Ghost with the unicorns, the narrator doesn't know her name.
* WhatHappenedToTheMouse: The Narrator doesn't see what became of the Grumbler, although George [=MacDonald=] tells him that if there ''is'' still a grumbler (that is, a little bit of personality left under all the grumbling), then salvation is not only possible, but almost certain -- but if there's just a grumble left that keeps going and won't stop, then it won't happen.

* ExtremeOmnisexual: The Seductive Ghost is ''obsessed'' with sex, and completely unable to conceive of any purpose for interaction other than seduction. Which includes actually trying to seduce the Bright Ones who are attempting to talk to the ghost about entering Heaven.

* {{Lust}}: The Seductive Ghost's FatalFlaw, so much so that there's little left of them, but the compulsion to initiate seduction.

* WantingIsBetterThanHaving: Argues this by saying it were better to travel hopefully than to arrive. Dick deconstructs this mindset by returning that if you knew that to be true, you could not travel in hope -- because how can you hope to reach an inferior destination? If the destination isn't good enough, then there'd be no point in traveling at all.

* FatalFlaw: Bitterness, believing everything that's good in the world ''is contrived'' and done so to manipulate people into being used and abused. The Hard-Bitten Ghost knows enough about Heaven to feel indifferent to it, and ultimately hate it. The manifest cynic makes sure the Bright Ones or Angels don't approach, and is often seen by the narrator as the TheAloner.
* GodAndSatanAreBothJerks: Both are on the same side (according to the Hard-Bitten Ghost), and just fake being mortal enemies to torment everyone else. It's pretty clear from the narration that this is ''not'' objectively the case in-story, though -- the JadeColoredGlasses just keep the ghost from seeing that GodIsGood.
* JerkassHasAPoint: Notes that when it ''does'' rain in Heaven, the rain will drill through Ghosts like bullets.

* SillyRabbitIdealismIsForKids: Despite ''also'' being an ultimate cynic, the Hard-Bitten Ghost deconstructs cynicism and the thought that the cynical view of the world is more reliable (the Narrator describes the ghost as appearing as the type that he -- the Narrator -- has always found reliable, and trusts what is said about the conspiracy enough to go into a HeroicBSOD because of it). As a conspiracy theorist who has lost all ability to enjoy anything because of cynicism, the Hard-Bitten Ghost thinks that all of the Wonders of the World are just tourist traps run by a World Combine. Being in Hell now, the sorry creature can't accept that he could get into Heaven because of not trusting the Bright One's assurances that those who choose to go to Heaven can become more solid. Heck -- doesn't believe in Heaven at all; thinking that Heaven and Hell are secretly on the same side, faking the war [[GodAndSatanAreBothJerks to extort]] from the Ghosts.

A female Ghost who doesn't want to be seen in Heaven -- being ashamed of appearing phantasmal, and afraid of how the Bright Ones will react to her. When the unicorn-herd who stopped by to help fails at all persuasion attempts to stop focusing on appearances, he calls the unicorns to stampede, to hopefully cause enough of a distraction to get the ghost out of the eternal mental loop of self-reflection about looks.

* AppearanceAngst: Unlike many of the [[{{Pride}} proud arrogant]] hellish ghosts, is aware of ghostly [[FreakinessShame near-intangibility]]. This is not awareness of the fallen state, though -- being vain as a flock of peacocks, her acute shame is about how the "ugly" ghostly nature ''looks'' when in the company of the Bright Ones. The Ghost tries to retreat back to Hell, unwilling to face this perceived shame (much less the very real shame of a fallen state that ''should'' be in the vanity's place) by going to Heaven with one of the Bright Ones.
* FreakinessShame: Ashamed of the near-intangible form that comes with being a denizen of Hell, the Unicorn Ghost can't bear to look upon (let alone journey with) the Bright Ones. Even though they don't hate anyone, least of all for looks; having only the Ghosts' true best interest at heart.

* NoSympathyForGrudgeholders: ''Gets'' sympathy from the Bright Ones, but refuses to let go of grudges. Literally ''cannot'' comprehend how Heaven would happily admit murderers, even in the context of Len and his victim having become friends and putting the matter behind them in the afterlife. The Big Ghost insists that his past [[BadBoss own]] [[DomesticAbuse faults]] are minor in comparison.

* DrivenToSuicide: After a bad breakup (described as 'the last straw') with a woman who wanted [[PrenupBlowup a marriage]] the Tousle-Headed Poet did not want, by his own account the latter was driven to jump under a train. Presumably the suicide ''did'' happen, but since the Poet has a bad case of NeverMyFault, it's quite possible that suicide wasn't ''quite'' as "driven to" as [[UnreliableNarrator insisted on]].

* UnreliableNarrator: That the sorry creature was ''not'' as ill-used by the world as the story alleges is ''very'' likely.

* WhatHappenedToTheMouse: The narrator doesn't see how the exchange with the waterfall angel ends. If anything, it's very possible Ikey is saved, because there was still enough good inside to want the ''impossible'' and bring community spirit to Hell. A lost soul lifting an apple in Heaven is no joke.

* InsaneTrollLogic: The Episcopal Ghost actually expresses surprise that Dick believes in an Objective Reality writ large, or that it could render one's opinions and beliefs objectively correct or incorrect.

* TheHeretic: As it turns out, the ghost claims a prior commitment to present a paper at a theological society in the other place, lecturing on how the significance of the Crucifixion is the tragedy that we never got to hear Jesus [[ComicallyMissingThePoint develop more mature views]] later in life. \\
The Episcopal Ghost's apostasy goes to the point of not believing in a literal Heaven and Hell in spite of currently being ''in'' Heaven. In the end, even ''an invitation to see the face of {{God}} this very minute'' is turned down:

* SecretlySelfish: Dick undermines the apostate bishop's claim that said apostasy was the result of "honest opinions fearlessly followed" by pointing out that it was neither: the Episcopal Ghost didn't become an apostate primarily because of truly thinking Christianity was false (rather it was for wanting the material benefits that came with declaring agnosticism); and the beliefs weren't really followed fearlessly because there was nothing to ''fear'' (there was no real chance of persecution, and the most likely result of coming out as an apostate was gaining wealth and fame).
* TheTreacheryOfImages: Near the end of the talk with Dick the Episcopal Ghost goes ''so'' far off the deep end that it becomes ''admonishing Dick for'' "implying some sort of static, ready-made reality which is, so to speak, 'there', and to which our minds have simply to conform."
* UnreliableNarrator: The Episcopal Ghost paints himself as a heroic figure fearlessly following beliefs even when they meant persecution -- but Dick points out those beliefs weren't really honest, and that there was no risk in following them.

* UnreliableNarrator: The Narrator's FatalFlaw, per WordOfGod -- though it only [[RewatchBonus shows]] in the narration if you know. [=MacDonald=], being someone he really looks up to, is able to gradually get him out of it a bit -- most notably when he calls Lewis out [[HypocriticalHumor for being]] a KnowNothingKnowItAll:

The one who drives the bus that ferries Ghosts up to Heaven.

* HisOwnWorstEnemy: All Ghosts are neither able to admit their shortcomings nor confront them; most of them not even with help from the Bright Ones. They find any welcoming invitation or reunion unbearable, and many of them flat out refuse to venture any further and leave.