Literary and Cinematic Examples

A Literary Example: Pollyanna

The novel Pollyanna by Eleanor H. Porter (1913), though its plot may seem simple, provides a clear portrait of the character’s traits. It is no surprise that we encounter a Social 9 character within the genre of children's literature. The disconnection from her painful reality, the lack of introspection, and the simplistic and optimistic outlook on life fit well within the scope of this story.

The narrative centers around an orphan who seeks to belong and aims to bring happiness to the small community that takes her in. Her passion for participation is evident, as is her compulsion to serve others. Most notably, she uses contentment as a mechanism to numb herself from the pain of her neglected childhood.

Pollyanna is a cheerful, active, and talkative girl, often providing excessive details that are irrelevant. Though she appears spontaneous and candid, her constant verbiage reflects how deeply she lives outside of herself in her desire to please others. She is perplexed by how indiscriminately friendly she is, failing to notice the coldness and mistreatment directed at her. Always looking away from herself, she is excessively empathic, focused on pleasing others and resolving the conflicts of those around her. Her actions are automatic and hasty as she puts herself at the service of everyone in town. She dedicates herself to good causes, collecting animals and even a homeless child, mediating between grieving neighbors, and bringing the community together. If others are happy, Pollyanna is happy. This is her way of trying to secure her place in the world.

The story begins when her father dies, and ten-year-old Pollyanna is sent to live with her wealthy and strict Aunt Polly. Her biographical background aligns with the traits of a Social

9. We learn that after several failed pregnancies, Pollyanna’s mother dies shortly after giving birth to her. She is raised by her missionary father and the Ladies of Charity who assist his work in Africa. We also discover that Pollyanna doesn’t even have her own name but rather a combination of her mother’s two sisters’ names, Anna and Polly.

What best exemplifies Pollyanna's character is her strategy of always putting on a brave face in difficult circumstances. Her pain barely escapes her, and no one would suspect that she has recently lost her father. Pollyanna continuously seeks to find the positive side of any situation, focusing her worldview on what she calls "the game of joy." Deprived of her mother's care, she belongs to her father, and for his sake, she learns to be happy, repeating everything he told her as a sign of her deep connection with him.

Pollyanna irritates her aunt, who takes her in out of a sense of duty, to "do the right thing." Aunt Polly does not hide her contempt for Pollyanna’s father. Upon receiving Pollyanna into her home, she forbids her from speaking about him. Pollyanna must adapt to earn her place and convinces herself that avoiding conflict and numbing her pain is the right approach.

“Pollyanna,” her aunt interrupted sternly, “there is something you must understand right now: I forbid you to say another word about your father.”

Silently, as Pollyanna followed her aunt out of the room, she tried to pretend that it didn’t hurt.

“After all,” Pollyanna thought to herself, “I guess I’m glad he doesn’t want me to talk about my father. It’ll be easier, maybe, if I don’t talk about him.” Pollyanna, once again convinced of her aunt’s "goodness," blinked back tears and looked around her with renewed hope.

In addition to pretending she is unaware of the mistreatment, Pollyanna’s familiarity with the maid she has just met is striking. She understands that if she wants to belong in this new place, she must please others and be there for them. However, her eagerness to please is so compulsive that it makes her seem foolish.

“I’m glad there isn’t a mirror here because then I won’t have to see my freckles.”

A few minutes later, gazing out the window, Pollyanna let out a joyful cheer and clapped her hands in delight.

“Nancy! I haven’t seen this before,” she exclaimed. “Look, in the distance, those trees, the houses, the beautiful church tower, and the river shining like silver. Well, Nancy, no one needs pictures on the walls to admire this view. I love you! I’m so glad they let me have this room!”

Later that night, when her aunt punishes her for being late to dinner by sending her to the kitchen with the maid to have bread and milk for dinner, Pollyanna thanks her.

Pollyanna ate her pudding with a good appetite. Then, at Nancy’s suggestion, she entered the living room where her aunt was sitting, reading. Miss Polly looked at her coldly.

“Have you had dinner, Pollyanna?”

“Yes, Aunt Polly.”

“I am sorry, Pollyanna, that I was forced so soon to send you to the kitchen for a supper of bread and milk.”

“But I was so glad you did, Aunt Polly. I love bread with milk, and I love Nancy, too. You shouldn’t feel bad at all.”

As if it were the most normal thing, Pollyanna went up to her aunt and hugged her warmly.

“I’ve had such a good time so far,” she sighed happily. “I know I’ll be delighted to live with you, but of course, I already knew that before I came. Good night,” she said in a giggly voice as she ran out of the room.

However, it is impossible for her to completely disconnect from her pain, and she cries secretly. Fifteen minutes later, alone in the attic, the girl sobs under the covers.

Another key feature of the subtype is described in the next scene, where Pollyanna brings a newly found orphan to her aunt’s house. She assumes her good intentions will be well received, but she acts impulsively, out of touch with reality. At the same time, she treats others the way she wishes to be treated.

“This is Jimmy Bean, Aunt Polly.”

“And what is he doing here?”

“Well, Aunt Polly, I just told you!” said Pollyanna, with an astonished look. “He’s here for you. I brought him home for him to live here, of course. He wants a home and a family. I told him how good you’ve been to me and the puppies, and I knew you’d be good to him, because, of course, he’s even nicer than the puppies.”

After spending the bulk of the story trying to fix people’s problems in the community, volunteering for the poor, and even organizing a fundraiser for the orphanage, Pollyanna has an accident toward the end of the story.

The accident itself highlights both the character’s typical distraction and the feeling of being unseen, which is central to the subtype. While walking home from school, Pollyanna is so absorbed in her thoughts that she fails to pay attention, and a car hits her. No one notices, not even the driver, who continues on his way unaware of the accident. The crash leaves Pollyanna paralyzed. When they can no longer hide the seriousness of her injuries, they try to talk her out of it. It is only when she is immobilized and confronted with her inability to continue serving others that her strategy of being cheerfully numb fails, and a moment of spontaneous crying and fear emerges.

“But I can't stop thinking about it,” she cried, gesturing wildly. “Now there’s nothing else to think about. How am I going to go to school, see Mr. Pendleton or Mrs. Snow, or... or anyone?”

She took a deep breath and cried briefly, intensely. Then, she suddenly stopped and looked at the nurse with terror in her eyes. “Ms. Hunt, if I can't walk, how am I going to be happy about anything?”

But she quickly resumes her neurotic strategies, though they no longer seem as effective.

“My father used to say that you can always find something worse in everything, but I guess I never had to hear that I wouldn’t walk again. I don't see how there can be anything worse than that. What do you think?”

Finally, trying to respond to her aunt’s encouragement, Pollyanna speaks of her need to belong and reverts to her old coping strategy.

“You see, since the accident, you’ve called me ‘dear’ many times. Before, you didn’t. I love being called ‘dear’ by the people I belong to. Some of the Ladies of Charity called me that, and of course, it was nice, but it’s not as nice to belong to them as it is to belong to you. Aunt Polly, I’m so glad to belong to you!”

There is no transformation in Pollyanna. She never truly looks back at herself. It is more important that others don’t see her depressed, as she cannot risk jeopardizing her place.

“Well, Aunt Polly, I think I can be glad I had my legs at least once.”

Pollyanna at the Movies

Although the novel is out of print in Spanish, the 1960 film produced by Walt Disney can be used as an example. It reflects many of the features discussed in this text and perhaps

even more vividly portrays the lack of introspection typical of extraversion and excessive activity aimed at solving the conflicts of others—traits central to the Social 9 character.

A Cinematic Example

After the Wedding (2006) Directed by Susanne Bier Social 9 Character: Jörgen

Jörgen, a Danish businessman, is an excellent representation of the characteristics we have discussed so far. Broadly speaking, he is a hardworking and active man, an attentive father and husband, and a generous host. He enjoys joking, loves children, and is especially fond of dancing to 80s music.

It is also clear that he downplays himself, prioritizing the care of others while anesthetizing himself with work and drink. We also notice his avoidance of pain, his tendency to sweep issues under the rug, and occasional outbursts of rage and despair. In addition to his hurried and sometimes robotic work habits, he neglects his own basic needs, even forgetting to sign the papers for an important donation after a difficult negotiation.

While Jörgen has many material comforts, he seems to possess them more to please others than for his own enjoyment. Both his house and office are open doors (no appointment necessary) and resemble social centers more than personal sanctuaries.

One striking aspect is his lack of ambition despite having become a millionaire. He doesn't seem to value the power he holds, as seen in a scene where a dozen people simultaneously offer him their pens, and he remains oblivious. He never suspects that his son-in-law married his daughter for personal gain.

Many plot details reveal that Jörgen, in line with his subtype, is not the protagonist of the film. He experiences his emotional journey almost behind the scenes. Though he knows he will die soon, he avoids attracting attention, insisting on bringing his daughter’s biological father back from India to care for his family after his passing. His sole focus in his final months is ensuring the well-being of his wife and children. Jörgen is deeply connected to his wife, who is equally aware of him.

Throughout the film, his strategy of “keeping a good face in bad weather” is apparent. He suppresses his anger and pain, disconnects through alcohol and work, and only when alone does the inner storm reflect on his face.

Jörgen's deep resignation, reflected in statements like “there’s nothing to do” (when discussing his illness), is closely linked to the neurotic need of the Social 9 to help others.

Above all, we see how Jörgen becomes active and pragmatic in providing solutions to the lives of his loved ones.

Despite his good intentions, his almost stoic dedication can make him appear harsh, callous, and clumsy at times. We question whether his good intentions justify the means by which he tries to make others happy. He operates on the idea that if those around him are okay, then he is okay. Yet, his well-meaning efforts often go unappreciated by those to whom they are directed.

Scene Breakdown

In the first scene, Jörgen is driving his car, listening to loud disco music as a distraction from his worries. The seriousness of his expression is only visible when he is alone. In the presence of his family, he is attentive, happy, and joking, putting on a good face for others. (Minutes 7:25 – 10:55)

In the next scene, he is a good host, showing off the sights and offering a drink to his guest, though he is really offering it to himself as an excuse to drink. During his conversation with Jacob, he is distracted, changes the subject, and watches television, unable to sit still. He insists that the stranger attend his daughter’s wedding, an unsolicited kindness. (15:15 – 19:00)

When alone again, Jörgen moves with haste, constantly putting on a good face in front of his daughter, prioritizing her well-being while neglecting his own. (20:00 – 22:00)

Jörgen’s playful nature emerges as he enjoys time with children. He clearly seeks anonymity in his struggle, not wanting to draw attention to his condition. (23:40 – 25:00)

He asks his wife to dance, again pretending everything is fine, even distracting her from confronting Jacob. He allows himself some pleasure in the dance. (35:00 – 35:15)

When alone, Jörgen drinks to numb himself. His distress is evident, but he remains in motion, perhaps seeking something to ease his discomfort. He lies awkwardly, preferring to look bad rather than reveal his true intentions, which he wishes to keep anonymous. (36:10 – 37:55)

In the midst of an argument, Jörgen tries to mediate: “Let’s all calm down.” (40:00 – 41:00)

He gets drunk at a restaurant, and when the bartender denies him more alcohol, he explodes, unleashing the rage he has been suppressing. (54:20)

Again, Jörgen’s focus is on the happiness of his loved ones. He takes his children fishing to please them and drives fast, trying to maintain a cheerful exterior. (1:00:40 – 1:03:05)

When Jörgen returns home after the fishing trip, his wife confronts him, already knowing about his illness. She gets angry and runs away. He would have preferred to sweep the issue under the rug and avoid confronting her pain. (1:15:40 – 1:18:00)

Jörgen receives papers from Jacob to sign. For the sake of his wife and children, he is willing to set clear boundaries and be firm. Only when he sees that the deal is about to collapse does he reveal his illness. (1:01:50 – 1:06:40)

Jörgen’s typical gestures as a Social 9 are evident as he drinks and works to disconnect. He jokes with his team, downplaying the importance of the deal he just closed while hiding the truth of his condition from them. When his daughter enters and confronts him about his illness, Jörgen avoids her gaze, focusing on papers on the table to avoid his emotions. Despite his daughter’s wish to have known sooner, Jörgen insists on giving what he believes others need, even at the cost of his own well-being. (1:14:40 – 1:19:15)

In another scene, Jörgen puts on a brave face for his last birthday. He is active, joking with his family and discussing future projects with his employees. His energy is entirely devoted to serving others. (1:19:20 – 1:21:10)

Despite his illness, Jörgen dances as usual, showing his love for music and embodying the typical traits of a Social 9. After the party, however, he can no longer hide his discomfort. While still concerned more with his family than himself, he finally breaks down and acknowledges his emotions. (1:21:15 – 1:24:40)

We wonder whether Jörgen seeks the happiness of others as a substitute for feeling his own emotions. It is unclear whether the news of his impending death marks a transformation in him. In a pivotal scene near the end of the film, after completing his task, he finally confronts his feelings.

Jörgen’s ability to downplay self-importance for the greater good could be seen as a virtue of his subtype, but true self-love remains elusive. His actions, however, are driven by an intuitive and underlying goodness that is hard to overlook. He leaves us with a sense of what “conscious action” might look like, or at least a glimpse of the bodhichitta spirit, even if it lacks true self-compassion.