ANALYSIS OF CHARACTERS AND CHARACTERIZATION IN ..., Lecture notes of Literature

Download ANALYSIS OF CHARACTERS AND CHARACTERIZATION IN ... and more Lecture notes Literature in PDF only on Docsity! ANALYSIS OF CHARACTERS AND CHARACTERIZATION IN THE COMPILATION OF MALAY POETRY “MIRROR” a final project submitted in partial fulfillment of the requirements for the degree of Sarjana Sastra in English by Kartika Peni Saraswati 2211414029 ENGLISH DEPARTMENT FACULTY OF LANGUAGES AND ARTS UNIVERSITAS NEGERI SEMARANG 2019 ii v DEDICATION This final project is dedicated to: My parents vi MOTTOS Choose with no regret. (Mary Anne Radmacher) No one knows what he can do until he tries. (Publilius Syrus) I have no need to conform to the stereotypes others have defined for me. (Jonathan Lockwood Huie) Life's burdens are lighter when I laugh at myself. (Jonathan Lockwood Huie) ACKNOWLEDGEMENTS First of all, all praise for Allah SWT, the Almighty for all the blessing so that I can complete the final project entitled "Analysis Character and Characterization in the Compilation of Malay Poetry “Mirror”. I would like to express my gratitude to the dean of Language and Arts Faculty, Prof. Dr. M. Jazuli, M.Ht ind the head of English Department, Dr. de to Maria Johana Ari vii x 3.3 Research Instruments ............................................................................................ 34 3.4 Data Collecting Technique.................................................................................... 35 3.5 Data Analysis Technique ...................................................................................... 35 CHAPTER IV 4.1 Analysis data ......................................................................................................... 37 4.2 Kind of Characters and Characterization Described in Malay Poems .................. 79 4.3 Character and Characterization in the Poems as a Revelation of Human Personality 84 CHAPTER V 5.1 Conclusion ............................................................................................................ 91 5.2 Suggestions ........................................................................................................... 92 REFERENCES ............................................................................................................... 93 APPENDIXES................................................................................................................ 96 xi LIST OF POETRY Poem 1. Alligator............................................................................................................ 96 Poem 2. Fairytale............................................................................................................ 97 Poem 3. Ugly Flower...................................................................................................... 98 Poem 4. Wait .................................................................................................................. 99 Poem 5. Fairy Tales by Shakespeare ............................................................................ 100 Poem 6. Little Heart ..................................................................................................... 101 Poem 7. A Game of Love ............................................................................................. 102 Poem 8. Truth ............................................................................................................... 103 1 CHAPTER I INTRODUCTION Chapter 1 presents background of the study, reasons for choosing the topic, statements of the problem, objectives of the study, significance of the study, and outline of the study. 1.1 Background of the Study In the world of literature we know many forms of literature such as prose, poetry, and drama. In this present time, many people prefer watching movies rather than reading because it has so many words that makes us be reluctant to read and makes us sleepy. However, some people prefer to read poetry, novels, prose, or others because reading is one of their hobbies. That is why they enjoy reading than watching. According to William Wordsworth (1770), “poetry is a spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquility.” Poetry describes one’s feelings very deeply more than a meaning in a novel. A lot of poems are very difficult to understand in a single reading even though the selection of words is not too complicated. Therefore, we have to read it over and over again as we read novels. The author thinks that poetry is shorter than novels, so there is no difficulty in searching for evidence on the page you are looking for. The writer chose some poems in this study entitled “Alligator” by Khairul Zaman Khobin, “Little Heart” by Vanhitha Kernagaran, “Fairytale” by Suhana Hussin, “Ugly Flower” and “A Game of Love” by Sezgin Khoo Kay Win, “Fairy 4 In this final project, the writer would like to describe kind of character and characterization of a person in poems of several poets from Malaysia namely Khairul Zaman Khobin, Vanhitha Kernagaran, Suhana Hussin, Sezgin Khoo Kay Win, Rushaida Ruslan, and Tan Cheng Cheng. 1.2 Reasons for Choosing the Topic Khairul Zaman Khobin, Vanhitha Kernagaran, Suhana Hussin, Sezgin Khoo Kay Win, Rushaida Ruslan, and Tan Cheng Cheng are Malaysian poets graduated from Universiti Pendidikan Sultan Idris (UPSI) Malaysia, majoring in the Teaching of English as a Second Language (TESL) with a minor in Literature in English. The writer is interested in choosing the poems for the following reasons: (1) Firstly, the writer wants to know how different characters and characterizations are from one to another poem of these selected works. Some poems talk about love, because the poets are very fond of romantic poems. For example, “Ugly Flower” by Sezgin Khoo Kay Win. A line that the writer likes most is, No matter how ugly you transform you sparkle when the rain is formed (2) The researcher chose this topic because of her curiosity about various characters in different poems by various poets. In a poem there must be an implied meaning that is suggested by different kinds of figures of speech that draw readers in some readings. 5 1.3 Statements of the problem In order to discuss the topic of the research, the writer formulates some questions as follows: (1) What kind of characters and characterizations are described in those Malay poems? (2) How does the poets’ revelation of character and characterization in their poems convey some values about human’s personality? 1.4 Objectives of the Studies The objectives of the study are: (1) To describe kind of characters and characterizations are described in those Malay poems, (2) To describe the poets’s revelation of character and characterization in their poems convey some values about human’s personality. 1.5 Significance of the Study The finding of this study can be very useful to understand more about characters and characterizations. The results of the study are expected to be able to give the following benefits: (1) An understanding about analysis of poems that do not obviously portray human's characters. (2) The results of the study would become a reference for students of English Department students of UNNES in analyzing the related topic. 6 1.6 Outline of the Report This final project is arranged in chapters. It is divided into five chapters. Chapter I presents introduction which consists of background of the study, reasons for choosing the topic, statements of the problem, objectives of the study, significance of the study, and outline of the study. Chapter II discusses review of the related literature including the definition of poetry, forms of Malaysian poetry, definition of character and characterization, and type of character and characterization, Chapter III describes the methods of investigation. It deals with the object of the study, types of the study, types of the data, technique of data collection, and techniques of data analysis. Chapter IV is the analysis. It is the most important chapter because it reveals the objectives of the study. Chapter V is the last chapter that contains conclusion and suggestions of the final project. 9 among individuals. We must be aware that these characteristics may affect social relationships. We may not look or judge the people around us by physical appearance but we have to consider about their personality first. It is true that we cannot live without social relationships. An article in an International Journal of Applied Linguistics & English Literature by Samya Achiri (2014) entitled “The Transcendental Selves of Women Characters in Katherine Mansfield’s “At the Bay”: The Case of Linda.” This journal focused on deconstructing a woman’s character. This paper takes the main female character in “At the Bay”, by disclosing how this woman is configured. In an article entitled “Character Education: Themes and Researches: An Academic Literature Review” by Chiara Pattaro (2016) in Journal of Sociology of Education. This study carried out the analysis of the attractive qualities possessed by Papa that could be praiseworthy followed by the discussion of his unattractive qualities that could be blameworthy. The study identified that use of tyranny and imposition of social restriction should be erased in family affairs. “Epideictic Rhetoric as A Means of Characterisation: An Example of Papa (Eugene) in Chimamanda Ngozi Adichie’s Purple Hibiscus” by Mohammed Attai Yakubu and Christiana B. Kinrin (2015). This study uses the “character education” analysis category to conduct an exploratory research on the main tendencies in the international literature, it defines the main topics, 10 explores the way these topics develop in terms of theory and empirical research, and analyzes how they relate to each other. An IOSR Journal of Humanities and Social Science entitled “Characterisation - an intrinsic aspect of dramatic text” by Vidhya B. & Dr. A. Arjunan (2015). This study explores the process of character development by the playwright in the dramatic text and perseverance of this character in the performance. The social dimension concentrated upon characters depict the background from which the character hails. This kind of characterization reflects the peculiarities of society and acts as the realistic representation of society and their morals. 2.2 Review of Related Theories 2.2.1 History of Poetry According to Joannou (2014), poetry as an art form predates literacy. Unlike other literary forms that we can date to precise texts and time periods, it’s a challenge to pinpoint the earliest work of poetry. In one form or another, poetry has been around for thousands of years. However, we might think of the epic poem as the first instance of poetry, appearing as early as the 20th century B.C. Jumping hundreds of years ahead, we might turn, then, to the sonnet form and its early appearance in the 13th century. When most of us think about poetry’s beginnings, we’re drawn to the work of notable Romantic poets or to the American fireside poets who responded to the work of those British writers, reusing old forms and creating new ones. Yet by the 20th 11 and 21st centuries, Modernism and the waves of change brought about by world war also influenced poetry, resulting in works by poets with distinct voices who came to enjoy global circulation. The Epic of Gilgamesh often is cited as one of the earliest works of epic poetry, dating back to the 18th century B.C. Consisting of Sumerian poems, it’s a text that was discovered through many different Babylonian tablet versions during archaeological excavations. Other examples of early epic poems might include the Mahabarata and the Ramayana, the latter of which has become an important narrative in both Hindu and Buddhist mythology throughout regions of Asia. A list of the most notable works of epic poetry—at least in the Western world—would have to include the Iliad and the Odyssey, both works of Greek mythology that have been attributed to the poet Homer. Written in dactylic hexameter, the Iliad recounts the battle between Achilles, a famed warrior, and King Agamemnon during the Trojan War. A companion of sorts to the Iliad, the Odyssey depicts the long journey of its hero, Odysseus. (Golden, 2015) 2.2.2 Types of Poetry 1. Lyric poetry According to Stefanie Lethbridge and Jarmila Mildorf (2004), lyric poem is a comparatively short, non-narrative poem in which a single speaker presents a state of mind or an emotional state. Lyric poetry retains some of the elements of song which is said to be its origin: For Greek writers the lyric was a song accompanied by the lyre. 14 a. Epics Epics usually operate on a large scale, both in length and topic, such as the founding of a nation (Virgil’s Aeneid) or the beginning of world history (Milton's Paradise Lost). They tend to use an elevated style of language and supernatural beings taking part in the action. b. Mock-epic The mock-epic makes use of epic conventions, like the elevated style and the assumption that the topic is of great importance, to deal with completely insignificant occurrences. c. Ballad A ballad is a song, originally transmitted orally, which tells a story. It is an important form of folk poetry which was adapted for literary uses from the sixteenth century onwards. The ballad stanza is usually a four-line stanza, alternating tetrameter and trimeter. 3. Descriptive and Didactic Poetry Both lyric and narrative poetry can contain lengthy and detailed descriptions (descriptive poetry) or scenes in direct speech (dramatic poetry). The purpose of a didactic poem is primarily to teach something. This can take the form of very specific instructions, such as how to catch a fish, as in James Thomson’s The Seasons (Spring 379-442) or how to write good poetry as in Alexander Pope’s Essay on Criticism. But it can also be meant as being instructive in a general way. Until the twentieth century all literature was 15 expected to have a didactic purpose in a general sense, that is, to impart moral, theoretical or even practical knowledge. Horace famously demanded that poetry should combine prodesse (learning) and delectare (pleasure). The twentieth century was more reluctant to proclaim literature openly as a teaching tool. (Lethbridge, 2004:146) 2.2.3 Elements of Poetry 1. Intrinsic elements Intrinsic element of poetry are elements contained in a poem, which are used by individuals to figure out the meaning and analyze elements of a poem. There are several intrinsic elements in poetry: a. Imagery Imagery is used, more narrowly, to signify only specific descriptions of visible objects and scenes, especially if the description is vivid and particularized. - Visual Imagery Visual imagery is the imagery that can be gained from the experience of the senses of sight (eyes). - Kinesthetic Imagery Kinesthetic imagery is the imagery produced from an experience that forms of movement. - Auditory Imagery Auditory imagery is the element of imagery associated with the sense of hearing. - Organic Imagery 16 Organic imagery is the imagery that emerged from our minds. Organic imagery can be seen in the disclosure of feelings such as hunger, thirst, fatigue, drunkenness, etc. - Tactile Imagery Imagery is directly related to our sense of touch. Tactile imagery can be seen from the description of feelings such as feeling hot, cold, smooth, rough, and anything that can be felt to be touched. - Gustatory Imagery Gustatory imagery is imagery that portrays the experience of our sense of taste, a taste of thing. Things like sweet, bitter, sour, tasteless are some examples of words that indicate gustatory imagery. - Olfactory Imagery Olfactory imagery is the imagery associated with our sense of smell, a smell of thing. Things that can be described based on the experience of smell from your nose, such as for example: the smell of fragrant, smells fishy, etc. (Abdi, 2010) b. Figurative Language There are several kinds of figures of speech that are commonly seen in a poem, namely: - Simile A simile is a figure of speech that makes a comparison, showing similarities between two different things. Unlike a metaphor, a simile draws resemblance with the help of the words “like” or “as.” Therefore, it is a direct comparison. 19 meaning of a poem can be shifted from what was intended by the author, if the poem is analyzed in the extrinsic elements only. Some elements of extrinsic poem are like: autobiography, social background, religion, and education of the author, and social circumstances at the time the poem was made. 2.2.4 Character and Characterization 2.2.4.1 Definition of Character and Characterization Character According to (Mandikdasmen - Ministry of National Education) The character is a way of thinking and behaving that characterizes each individual to live and work, both within the family, community, nation and state. Individuals of good character is an individual who can make decisions and be ready to account for any consequences of decisions he made. Klarer, (2004:17) defines that a typified character in literature is dominated by one specific trait and is referred to as a flat character. The term round character usually denotes a persona with more complex and differentiated features. Characters are the persons represented in a dramatic or narrative work, who are interpreted by the reader as being endowed with particular moral, intellectual, and emotional qualities by inferences from what the persons say and their instinctive ways of saying it—the dialogue—and from what they do—the action. The grounds in the characters' temperament, desires, and moral nature for their speech and actions are called their motivation. A character may remain essentially "stable," or unchanged in outlook and disposition, from beginning to end of a work 20 Prospero in Shakespeare’s The Tempest, Micawber in Charles Dickens’ David Copperfield, 1849–50), or may undergo a radical change, either through a gradual process of development (the title character in Jane Austen’s Emma, 1816) or as the result of a crisis (Shakespeare’s King Lear, Pip in Dickens’ Great Expectations). Whether a character remains stable or changes, the reader of a traditional and realistic work expects "consistency"—the character should not suddenly break off and act in a way not plausibly grounded in his or her temperament as we have already come to know it. (Abrams, 2009:42) Characterization Characterization is a method by which the writer reveals the personality of a character. Characterization is revealed through direct characterization and indirect characterization. A broad distinction is frequently made between alternative methods for characterizing (i.e., establishing the distinctive characters of) the persons in a narrative: showing and telling. In showing (also called "the dramatic method"), the author simply presents the characters talking and acting and leaves the reader to infer the motives and dispositions that lie behind what they say and do. The author may show not only external speech and actions, but also a character's inner thoughts, feelings, and responsiveness to events; for a highly developed mode of such inner showing, see stream of consciousness. In telling, the author intervenes authoritatively in order to describe, and often to evaluate, the motives and dispositional qualities of the characters. For example, in the terse opening chapter 21 of Pride and Prejudice (1813), Jane Austen first shows us Mr. and Mrs. Bennet as they talk to one another about the young man who has just rented Netherfield Park, then (in the quotation below) tells us about them, and so confirms and expands the inferences that the reader has begun to make from what has been shown. Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-and-twenty years had been insufficient to make his wife understand his character. Her mind was less difficult to develop. She was a woman of mean understanding, little information, and uncertain temper. Especially since the novelistic theory and practice of Flaubert and Henry James, a critical tendency has been to consider "telling" a violation of artistry and to recommend only the technique of "showing" characters; authors, it is said, should totally efface themselves in order to write "objectively," "impersonally," or "dramatically." Such judgments, however, privilege a modern artistic limitation suited to particular novelistic effects, and decry an alternative method of characterization which a number of novelists have employed to produce masterpieces. Innovative writers in the present century—including novelists from James Joyce to French writers of the new novel, and authors of the dramas and novels of the absurd and various experimental forms—often present the persons in their works in ways which run counter to the earlier mode of representing lifelike characters who manifest a consistent substructure of individuality. Recent structuralist critics have undertaken to dissolve even the lifelike characters of 24 5. Stock Characters Stock characters are similar to static characters, but they often represent a particular stereotype. They are difficult to pull off in fiction unless you are writing satire, and even then, there must be much thought behind including a stock character in your narrative. The purpose of a stock character is to move the story along by allowing the audience to already understand the character. For example, the main character might be on the run from the mob and encounters a mob enforcer. While it's unoriginal to present the character as a stereotypical goon, it does move the story along quicker because the audience already is familiar with what that stock character represents. 6. Protagonists Protagonists are the main characters in your fiction. They are round characters with whom readers sympathize. However, they are not always completely moral or likable. It's important for protagonists to be relatable even if they are not likable. Readers need to believe protagonists and understand their choices. Captain Ahab in Herman Melville's Moby Dick is a good example of a protagonist who is relatable yet unlikable. Ahab's stubbornness and obsession with the whale that bit off his leg negatively impact the rest of the characters in the story, yet readers can relate to the emotion of becoming obsessed to the point of detriment to themselves and those around them. 25 7. Antagonists Antagonists often are known as bad guys in works of fiction. They attempt to prevent protagonists from getting what they want or need. An antagonist also should be a round character. Making an antagonist evil is not as interesting as making the character conflicted. Pure evil is very hard to believe in fiction since people are multifaceted and inspired by their situations and personal histories. One of the most iconic antagonists in film history is Darth Vader from "Star Wars." At first, he seems to be little more than the embodiment of pure evil for reasons that are not clear. As the story develops, his character also is developed and viewers learn how and why he became such a violent and intimidating figure. 8. Confidantes Just as people in real life, characters in fiction need someone in whom they can confide. Confidantes work best when they are round characters dealing with their own conflicts and issues, but they serve the story as someone who can help the protagonist in his own conflict. In Leo Tolstoy's "Anna Karenina," Anna often turns to her sister-in-law, Dolly, to discuss the problems that have arisen because of her relationship with Vronsky. Dolly is an interesting choice because she herself has been victimized by her own husband's infidelities, and as the novel begins, it is Anna who is serving as Dolly's confidante. 26 9. Foils A foil is someone who possesses the opposite traits of a main character, often the protagonist. The purpose of the foil is to serve as a contrast, which can help bring out the main character's best traits. For example, if you create a character who is known for being honest, that can be highlighted by creating a foil for the main character who is consistently dishonest and perhaps challenges the main character's own commitment to honesty. Types of Characterization Direct Characterization According to Florman (2017) in direct characterization, the author directly describes a character's qualities. Such direct description may come from a narrator, from another character, or through self-description by the character in question. For instance, imagine the following dialogue between two characters: "That guy Sam seems nice." "Oh, no. Sam's the worst. He acts nice when you first meet him, but then he'll ask you for money and never return it, and eat all your food without any offering anything in return, and I once saw him throw a rock at a puppy. Thank God he missed." Here the second speaker is directly characterizing Sam as being selfish and cruel. Direct characterization is also sometimes called "explicit characterization." 29 matter. Because of its focus on the literary work in isolation from its attendant circumstances and effects, the New Criticism is often classified as a type of critical formalism. 2.) The principles of the New Criticism are basically verbal. That is, literature is conceived to be a special kind of language whose attributes are defined by systematic opposition to the language of science and of practical and logical discourse, and the explicative procedure is to analyze the meanings and interactions of words, figures of speech, and symbols. The emphasis is on the “organicunity,” in a successful literary work, of its overall structure with its verbal meanings, and we are warned against separating the two by what Cleanth Brooks called “the heresy of paraphrase.” 3.) The distinctive procedure for a New Critic is explication, or close reading: the detailed analysis of the complex interrelationships and ambiguities (multiple meanings) of the verbal and figurative components within a work. “Explication de texte” (stressing all kinds of information, whether internal or external, relevant to the full understanding of a word or passage) had long been a formal procedure for teaching literature in French schools, but the explicative analyses of internal verbal interactions characteristic of the New Criticism derives from such books as I. A. Richards’ Practical Criticism (1929) and William Empson’s Seven Types of Ambiguity (1930). 4.) The distinction between literary genres, although acknowledged, does not play an essential role in the New Criticism. The essential components of any work of literature, whether lyric, narrative, or dramatic, are conceived to be words, images, 30 and symbols rather than character, thought, and plot. These linguistic elements, whatever the genre, are often said to be organized around a central and humanly significant theme, and to manifest high literary value to the degree that they manifest “tension,” “irony,” and “paradox” in achieving a “reconciliation of diverse impulses” or an“ equilibrium of opposed forces. ”The form of a work, whether or not it has characters and plot, is said to be primarily a “structure of meanings,” which evolve into an integral and freestanding unity mainly through a play and counterplay of “ thematic imagery” and “symbolic action.” The basic orientation and modes of analysis in the New Criticism were adapted to the contextual criticism of Eliseo Vivas and Murray Krieger. Krieger defined contextualism as “the claim that the poem is a tight, compelling, finally closed context,” which prevents “our escape to the world of reference and action beyond,” and requires that we “judge the work’s efficacy as an aesthetic object.” (See Murray Krieger, The New Apologists for Poetry, 1956, and Theory of Criticism, 1976.) The revolutionary thrust of the mode had lost much of its force by the 1960s, when it gave way to various newer theories of criticism, but it has left a deep and enduring mark on the criticism and teaching of literature, in its primary emphasis on the individual work and in the variety and subtlety of the devices that it made available for analyzing its internal relations. Lyric Poetry: Beyond New Criticism, eds. Chaviva Hošek and Patricia Parker (1985), is a collection of structuralist, poststructuralist, and other essays which—often in express opposition to the New Criticism—exemplify the diverse newer modes of “close reading”; some of these essays claim that competing 31 forces within the language of a lyric poem preclude the possibility of the unified meaning that was a central tenet of the New Critics. 2.3 Theoretical Framework Based on the theoretical review, the study focuses on finding out characters and characterizations through Malaysian poetry collection entitled Mirror. This studies will find out the characters and characterizations of the poems. Those theories above were applied to analyze the characters and characterization. By conducting the study, the result of the study will give advantages in understanding of characters and characterizations through the poems. 92 one's appearance does not mean the same as their behavior and thoughts. It could be someone who looks ordinary and easily adjusts to the environment turns out to be a criminal in disguise. Therefore, do not be easy to believe in someone just seeing from their appearance. 5.2 Suggestions Based on the result of the research, this writer would like to give some suggestions. First, next researcher are expected to add more references related to the chosen topic. The references from journals and books that can add more data about the character and characterization of poems so that the next researcher will get more data and appropriate analysis. Second, this study can be a useful reference for students of the English Literature Department who are interested in analyzing topics about character and characterization in poetry and the same approach or other topics that are still related to character and characterization. Third, this study can be a reference for readers who want to discuss the character and characterization. If this study focuses on the poets’ revelation of character and characterization in poems that convey values about human’s personality, it would be better for readers to focus on different issues about character and characterization. 93 REFERENCES Abrams, M. H., & Harpham, G. G. (2009). A Glossary of Literary Terms (ninth ed.). USA: Wadsworth Cengage Learning. Achiri, S. (2014). The Transcendental Selves of Women Characters in Katherine Mansfield’s “At the Bay”: The Case of Linda. Abdi, F. (2010). The Intrinsic and Extrinsic Elements of poetry. Retrieved from Literary Face: https://literary-face.blogspot.com/2010/11/intrinsic-and-extrinsic- elements-of.html (January 17, 2019) Ahern, C. (2005). If You Could See Me Now . Ireland: HarperCollins. Arto, W. N. (2015). A Pragmatic Analysis of Maxim Flouting Perfomed by The Characters in This Boy's Life Movie. Chapman, W. (n.d.). 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