Ti-IENIE
ANALYSIS IN
JOHN
VAN
DRUTEN'S
1 REMEMBER MAMA
A Paper
Presented to Adab and Humanities Faculty
In Partial accomplishment of requirements for the Strata I (S I) degree
By:
V9vtJlry'LI5Jl
102026024543
ENGLISH LETTERS DEPARTMENT
ADAB AND HUMANITmSFACtJLTY
STATE ISLAMIC UNIVERSITY
SYARIF HIDAYATULLAH JAKARTA
By:
UMAYLISA. NIM. 102026024543
Approved by
Ｎｾｾ
DINI MASITAH, SS., M.Hum NIP. 150317724
ENGLISH LETTERS DEPARTMENT FACULTY ,OF ADAB AND HUMANITIES
STATE ISLAMIC UNIVERSITY SYARIF IIIDAYATULLAH JAKARTA
THE APPROVAL SHEET OF BOARD EXAMINER
A script titled "THEME ANALYSIS IN JOHN VAN DRUTEN'S
IREMEMBER MAMA"
was examined at the session of Adab and Humanities
Faculty State Islamic University Syarif Hidayatullah Jakarta in February, 7
2007. This script has fulfilled the requirements for Strata I (S I) Degree at the
English Letters Department.
Jakarta, February, 72007
Examination Committee
Chief of Committee
Examiner I
d§t.
f,._---.i ' L
-ｶｾ
Elve Oktaviani SS.,M.Hum
NIP. 150317725
ｾｬ［ｭｾＢ
Drs. A. Saefuddin, M.Pd
NIP. 150261902
Examiner II
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,
(
»Wko
ｾＭｾ
... ( J f ' _
Jakarta: English Letters Department Of Adaband Humanities Faeulty, State Islamic Uninrsity Syarif Hidayatullah. Decelnber 2006.
In this paper, the writer discusses the character and the themeofthe drama!
Remember /vIama, that is 10 know the major and minor characters, and their characteristic, and the theme viewed from the relationship between Mama and her children. T!le writer uses a descriptive method in which she describes the picture of
character and theme. It is analyzed qualitatively based on the relevant theory.
The writer employs herself to collect the data, by reading text, and marking, them to
make it easier to analyze. Tn this research, the writer uses the text of drama J
Remember Mama by John Van Druten publish-od in 1965 by Macmillan Comp2ny-New York as tll'e unit of ana Ivsis.
In this j)aper, the major characters are Mama ahel KatriIl, anelthe<minor
characters are Nels, Christine and Dagmar. They have ｧｯｴＬ､｣ｨ｡ｲ｡｣ｴ･ｲｩｳｴｩｾＬ｡ｮ､ lllostly
aelmirable with their dreams and their joys and their heartbreaks. The theme. ofthe drama is viewed from the rdationship between Mama and her children. They· have built a good, warm, and harmonious relation.
Mama is a fair mother, she gives her love equally. Katrinis haI'c!w(Yker
and ambitious to reach her (lream. Dagmar is an animal lover, so she wants to be vetcrinnrian. Nels. a kind boy, and has strength to go on his education. Christine, n slubborn lhdt cares to her sislers and brother.
The relationship between Mama and her ehildren ｩｾＺ ｷ｡ｲｭ｡Ｎｮ､ｨｴｉｲｮｬＰｮｩＨＩｉｪｾ［Ｎ
Mama gives her love to her ehildren anytime, anywhere, ancl anyfOrIll; bycnring, helping, saerificing and other. Mama attempts to present money forNel's education, Mama prioritizes Dagmar's Ileallh. Mama gives her help to Katrin to reaeh herdrcHm,
10 be an author, Mama trie, to make Katrin happy although Mama mustsacri lice,
Mama also givc3 Katrin neVi experience when Mama invites her to sec uncle ChI'is who is dying and tlnally died.
ACKNOWLEDGEMENT
In the n::lme ojAUah, most gracious, most merc!liil
Praise be to Allah SWT, The Lord of the world who has authority of creation in the whole world, and nol to forget May salutation and benediction be unto the noblest of the last prophet :lI1d beloved of ALLAH, Muhammad SAW, who was selected as an intermediary and messenger to guide human beings to the way of felicity, comfort and giving brighten us from the darkness to the lightness.
On this occasion, the writer would like say thanks to writer's beloved and wonderful parents Mr. and Mrs. Aslih, who have given their spiritual and material support during the writer's study and the process of finishing this paper, And also to the writer'5finest grandmother A1mh. Hj. Naisah, thank for your pray to the writer in
your lifetime. You always be in her heart.
Next, the writer also say thanks to her beautiful and nice advisor Mrs. Dini Masitah, S.S, M.Hum, for ller valuable suggestions for making and finishing this
paper better and more useful, and for her helpful COll1menlS onthis paper. And then, the writer would also like say thanks to:
I. Mr. Dr. Abdul Khair, the Dean of Adab and Humanities Faculty. 2. Mr. Dr.M. Farkhan, M.Pd., the Chief of English Letters Department. 3. Mr. Drs. A. Syaefudin, M.Pd., the Secretary of English Letters Department 4. All of English ｄ･ｰ｡ｲｴｾ･ｮｴ lecturers, Mr. Nurhasan, Mr. Amron,Mr. Munir,
6. The writer's funny nephews and mece, Adit, Omil, and Firyal, who have given inspiration to the writer.
7 The writer's tj'iends l';ia, Winda, Ummah, mba Menik, Nui, Alz, Keanz, Dina, whe have helped together in searching for sources of this paper. Keep our tj-iendship and let us .-each our dream together.
8. All The writer's ti'iends and best tj'iends at English Department State Islamic University Syarif Hidayatullah Jakarta.
9. The writer's best friend Ocu and Wisnu. who gIve motivation and gIve support the writer to finishing this paper.
10. The librarian of Statl;; Islamic University Jakarta. May Allah bless and alwvys protect us.
Finally, the writer realize, that t'Jis paper is far irom being perfect. Therefore, to make it much better, the writt,r would like to accept any suggestion with pleasure.
Jakarta, December, 2006
r
ABLE OF CONTENTAPI)ROVAL SHEET i
LEGALIZATION OF EXAMINATION ABSTRACT
.u ｾ · · ..
...
ii
iii ACKNOWLEDGEMENT
TABLE OF CONTENT
...
,..
ivvi CHAPTER I INTRODUCTION
A. Background of the Study B. Focus of the Research
...
, ,.
...
; " ; ;.
3C. Question ofｴｨＬｾ Research D. Benefit of the Rese<!rch
r
Methodology of the ResearchCHAPTER II THEORETICAL FRAMEWORK
1. Formalist Criticism 6
...
,.
2. Description of the Character3. Description of the Theme
. . . • ••• ·••• i •••••••••• ·•••·•• ·•• ·•·...••••••.•• , . 7
10 CHAPTEH III THE CHARACTERr t n r t D
A. Thc Major Characters and Minor Characters B. The Characteristic of the Character
1. Mama's Characteristic
CHAPTER IV THE THEME ANALYSIS OFI REMJ:.,il1lJER MAMA
A. The Relationship Between Mama and Katrin
B, The Relationship Petween Mama and Nels
C. The Relationship Between Mama and Christine
D. The Relationship Between Mama and Dagmar
E Thc 'Thcmc of thc Drama
CHAPTER V CONCLUSION AND SUGGESTION
34
45 46
47
49
A. Conciusion
B. Suggcstion
BIBLIOGRAPHY
... 5'2
CHAPTER I INTRODUCTION
A. Backgrcund of theStudy
The I Remember Afama is a work of John Van Drnten,
It
makes theaudience smile, laugh and also put on the edge of a tear more than once as wen. It is a Broadway hit, a semimelltal tribute to the Norwegian-American immigrant experience,I an oddity-very slow, almost entirely lacking in dramatic punch, but
surprisingly realistic,2 sweet, tender, sentimental tale, richly alive with old-fashioned humor and chat m which continues to be read and enjoyed by thousands
f • 3
o peop,e,
The story takes plac1J in the early part of the twentieth century, 1910, in San Francisco on Larkin Street of an immigrant Norwegian family (The Hanson), Itis a nostalgic piece that narrated by one of the daughters, Katrin Hansoll, who has just written a book about her family and is proofing it as shenamltes in flashback,4
It
tens about a harmonious family combined with humor and sorrow, There are dramatic moments in this drama, but its characters always remain convincingI Andrew Sanis, hllp://www.theamcricanacinema.com. (July,26"' 2006)
2David Bczanson.htlp:llwww.filmcritic.com/afilmreview/iremeIllbermmnI1!2004. (July, i:26u, 2006)
3John J, Pucio.htlpllwww.dvdtown.com/rt!view/irell1emberll1all1a114086It5281 (July, 26u, 2006)
5'
and true to life. There are parents, daughters, sons, also aunt and uncle and some subordinate character in this drama. They are mostly morally admirable with their dreams and their joys and their heartbreaks. They are portrayed a warm and realist family. Despite its ｰｯｴ･ｮｴｩｾｬ for sentimentally, the drama is redeemed by its nearly flawless execution as well as its insights into the most familiar aspects of
domestic life.6
The drama is much about Katrin as it is about her mother. They are both central figures in the story. The mother tends to appear into the woodwork than the fllther because Katlin remembers her mother as ,he best and feels closest to her, she also thinks of the importance of her mother role in the life ofa family7
J '?emember Mama is a drama of individual characters studies, beginning with M:nna and Katrin characters, both of them try hard to be success in their lives.x Mama has to do her role in any situation, she manages to make all feel equally loved, and she is looked up by her children as being able to do anything such as brother Nels' schooling, Katrin's writing ambitions, young Dagmar's illness, anc: other problems9
The relationship of 'Vlama and her children is
"iz.rm
and harmonious. Mama is a good mother for her children, because of that Katrin remembers Mama. Katrin feels proud to Mama for her act to her children.; Sister M. Agnes. Modern Americ'm.Drama.New York: The Macmillan Company. 1965. p. 58
" Terry. http://moviesgo.com/movies/movie?name=iremembermanlaＱＹＴＵＦｦＬ･ｮｲ｣］､ｲ｡ｭ｡Ｆｳｴｵ､ｩｯｾｒ｝Ｈｏ
(July, 26th20,l6l
7Pucio.Op.cil
xIhid..
3
The experience of Mama and her children is probably close enough to the experiences of most mother and children in the world The drama is a passing interest because the characters of mother and children that stand inI Relllember Mamaare greatest compensation, so universal, and inspire ahnost anyone.
In this research, the writer is interested to analyze thethenleviewed from the relationship between mother and her children in dramaI Remember Mama by John Van Druten.
B. Focus of the Research
Focus of the research will be limited to the characters and theme in the dramaJRemember Mamo.
C. QlwstiolJ of theｒ･ｳｾ｡ｲ｣ｨ
Base on the background of the study stated above, the writer has two problems to be analyzed Inthis paper. The questions of the research are:
1. Who are the major characters and minor characters, and how are their characteristic inI Remember Mama?
2. What i, the theme consisted in this drama viev,ed fmm the ｲ･ｬ｡ｴｩｯｮｾｨｩｰ
D. Significance of the Research
Tlte significance of the research is to identify and discuss the character and the theme of the drama. The writer hopes that thiB rese,trch can give knowlerlge about vclrious characters "nd theme of this drama tothll reader. The writer hcpes that the result of this research can give contribution to the literature study.
E. Melhodology of the Jlesearch
Subtitle of the objeGtive, the method, the analysis data, data collection and the unit of analysis. Base on the research queGtions and title above, objectives of the research are:
I. Research Objectives
/. To know the major characters and the minor characters, and their characteristic inI Remember Mama.
2. To know the theme consisted viewed from the relationship between mother and her children inI Remember Mama.
2. TheMetllOd
The writer uses research type of descriptive by content analysismeJhod in this research, it describes the picture of character and the theme in this drama. 3. Data Analysis
5
4. Data Collection
The writer employs herself to collecting the data, this is by reading the text, understanding, marking (to given mark), and analyzing the data is related to tbis research.
5. The Unit of Analysis
The unit of analysis of this research IS the text of drama I Remember
Mama by John Van Druten. In collect of Modern American Drama by Sister M. Agnes David, S.SJ. published in the Macmillan Company-New York,
1. Formalist Criticism
In this research the writer uses the formalist criticisn1.Formalist criticism is analyzing by considering the forlnal aspects, fornHlspeetsthatis elements of literary worklO Formalist criticism is the interpretation and analysis of the literary work themselves. To
a
formalist,· a story is a literary work that can be understood only by reference to its lntrinsic literary featHes that is, those elements found in the text itself11Formalist critics believe that what gives literary text its specia.lstatus as art is how all its elements work together to create the reader's total
. 12
expenence.
Formalist criticism is one
between the content ftnd the form which
that is esthetical funchon so that become alit"enl"V
work is a raw material, then it become matureafte.. pf()ce:ss(:d esthetil;all
_
..__
. _ - - -...._-10 Prof. Dr. Nyoman Kutlla RatnJ, S.U. Teori, Metode dan Tel;nik Pe,,.Ii,'ian
Pustaka Pclajar. 2004.p.49
II
x.J
Kenncdy and Dana Gioia.At! Introductionto Poetry.New York LOl1gInan.7
That proces's result will indicate that each element of form and also the content has celiain function,J]
In the formalist critici!>m, there are literary work stmctureperiphcral (intrinsic element) that finding an intact mining, •This elenlel1tmakes structural research ofliterary work to betl10re optimaLI4
The purpose of formalist criticism ｩｳ･ｲｵ､ｩｴＬｾｳｴｵ､ｹ about literature by paying attention to tile text nature that assumecl artistic, Thefeatllres of formalist criticism is to analyze the elements of literary work, then how the relation between elements to it totalize,15
Chatman summaries the early Formalists｡ｲｧｬＱｭｬｾｮｴ taken upthepositioh of characters thus:
They [ '" ] argue that characters are products of plots, that their staius is 'functional', that they are, in shOlt, pmiicipants or octants rather than personages, that is erroneous to consider them as real being!>, Narrative theOlY, they say, must avoid psychological p-ssences; aspects of character can only be 'function', They wish to analyze only what characters do in a story, not what they are - that is, 'are' by some outside the 'spheres of action' in which a character moves are 'comparatively small in number, typical and c1assable>16
2. The character
13 Suwardi Endaswara,Metodologi Penelitian Saslra, Cet-II. Yogyakar(ll: Pustaka Wi<1yatama,2il04,
Ｌｾ
.
P'ibid.,
15Nyoman,Op,cit, p, 50
16Jonathan Culpepar. Language and Characterization People in Place and Other Text,New York:
The ch'aracter is referring to a personage in a literary work such as in the drama, The term of character also denotes the essential of qtlalitiesand personality, the traits of a fictional or real individuaL The ability tocr,:ate compelling and belieuable characters is one of thehalll11arks of the literary artist.
The character ｩｾ an important meaning in the work of fiction, because who is to do and incurred something is business of the character. The term of charactcr refer to the person, the actor of the story, And it can mean as characterization, Among the character and his characterization is intact lmion. Itis often the call of certain character sign to his characterization,17
Character is dmwing of actor that standing in a stOly The charader supports LIS to assess them what they are foolish, v:,rulentor kind, etc, and another assessment through the making of special brand and theder,ortment formed by author.18
In English literature there are two means about character, that is, 1) Figure in litenry w0rk
2) Personality; the mental and moral qualities of a figure, as when we say that A's character is strong, weak, immoral, or whatever,19
17Dr. Burhan Nurgiyantoro, lvi.fd,T;ori Pengkajian Fiksi.Yogyakmta:GadjahMadaUniversity
Press, 2002, p, 165
,REmily Roy and Sandra Roy,Literature1.New York: MaemillariPuplishillg, Co"Inc.1976.p. 114
19 Barne!, Berman, and Burto. Literature For Composition. USA: Seolt, FOreSltlllllarid CCllupallY,
[image:16.595.112.543.37.718.2]9
According to AlJrams, character is people who presented in a narrative masterpiece, or the drama, what is by reader interpreted they have moral quality and certain tendency such as those which expressed in utterance lind what done in action20
E. M Forster have a notion that character own causality, that is something in story nappened at least because people on personality or character traits (moral quality, intellectual, and emotional) and give the nature for them, because they give reaction to other person lucidly. Figtlre and what seen in them assist to comprehend them, but the best guide to character is what they do and what they say2!
Gift of name is form of simplest figure. Each 'mention' is a kind of way to giving personality, <lnimating22
The assessment to a visible character from various picture which is in a story, that is:
1. What character say 2. What the character does
3. How other reaGt to another character
't. What the character want to do but is not done.23
5. What a character thinks
20Nurgiyantoro. Op.cit.p. 165 2J Barnet, Birman, Burto.Op.cit.p.712
22Rene Wellek and Austin Warren.Teori Kesusastraan. Jakarta: PT. GraJilCdia. 1995.p. 287
6. Huw'a charactf!r reacts to sUlToundings
7. Direct description and explallation24
A character sketch concentrates on a persona.! vision and character of a person. The purpose of the character sketch is to result the emphasis which live of a !Jerson than the story oflife25
A chief character or hero, it is known as the protagonist?6 'I'hischaracter is always the vocal point of the story27 This characters whose motivation and history p.re most fully established, who conflict and change as the StOly progress, who engage our respons more fully and steadily, ina way more complex though not necessarily more vivid than othercharacters.28
3. The Theme
Every wcrk of fiction of,coulrse COIltailGS of itself does not easy to chrmm
through other data amI story.
It shall be ｣ｏｬｮｰｉＧ･ｨｴｭ､Ｈｾ､
The theme for a:l authOr is not a rule gave outside of himself;
it
iSMta natty planning and precisely formulated. Theine is horn fTomand experience proceBs, reflection process, but it
24Boynton, Rubert and Mack. Introduction tothe
Company, In(:. 1960. p. 26-30
25Diane A Wilbnr Composition: rIl,,-clel and exercise
1966. p. 178
26Encyclopedia Americana6. USA:Glc)rierInc;olllOralted.
27Hubenka and Gmcia.The Design ofDrama. New COlupany.,
28 Philip Stevick. The Theory of the Novel. New York: of]M:m:millml ]>ul,lisl,il1g
II
later he go through the creation process. In course of that is theme, after the author likely to put it in the face of himself, it re-plunged, constructed, ,lnd grown. ,\s the result 'n the end come up of something, it named
by
literary1 29 worK.
The theme cannot be understood in isolation fr(lIn the story which embodier. it/obut the existence oftheme is much related to another element. It is caused that theme only in the form of a mea.ning or a common essential idea of a story. So, a theme will be the meaning of story if it related to another element, they are character, plot, setting thatundertaking to supporfand send the theme3l
There is a lot of meaning containedahd on the l11arketbythestory; hence its problem is which special meahing \Vhich expressed as thalthe111e.32 Thereby, to find the theme of a work of fiction shall be cohcluded fr()mthe whole of story, it does not only base on the certain parts only.33
According to Stanton, theme means of a about most of its element. Theme,accordihg to synonymous with a special idea (central idea) purpose,i4
29Goenawan Muhamad.Kesusastraau dan Kekuasaan.Jakarta: PT. Pustaka Fil'daus.199:J.p.84
30Boynton and Maok. Op.cit.p. 61
31 Nurgiyantoro.Op.cit.p.74
Still according to Stanton, likely enougll the theme contain the reassessment of a moral (possible also the view 6f live), either itthrongh direct and also indirectly, and according to Kenny, itself mOralC!lnbe viewed as one of the existence (and or part of) theme. Ina t1ction,the theine sent to be done by "justification" of something, goodness he is in the form of event, contlict, figure characterization, figure relation, and also the relevant of other element. The effort of that justification is generally marked with the occurrence appearance and the figure felt to be overdone35
The theme is what is made ofthe topic. It is the cOl11l11entonthe topic that is implied in the process of the story. The theme iSllot t6b.econfused with any ideas or pieces of information36
The theme classification or pursuant to threi.' vieW point:
a. Classification of dichotomist: the traditional and lion traditional theme.
Traditional theme is universal nature, the rights will be win fromunrighteoll'. Non traditional theme is against of traditional thelne,the power will. be win from the rights.
b. Classification of the level of soul experience ac,lording to Shipley: the physical level theme, it is more refers to physical activity than the soul. The organic level theme, it is refers to sexuality of the human being. The egoist level theme, it is mere to individualism. The socia! level theme, it is more to
35. lhltl.,.
p.73
J(, Brooks ane! Warrell. UnderstQndmg Piclion. Second cd. New York: Apple[()n:Cenltlly-Crofts,Inc.
13
human being as social. The last, divine level theme, it is refers to religiolls aspect.
c. Classification of the especial level: the especial theme (mayor) and additional theme (minor)3?
The criterion to find and to interpret the theme in more special and detailed according to Stanton, that is considering every the uppermOSt detail story, do nothave against to every detail story, do not rely On thee'lidence whk.h:isIlotexpressedby either through direct and also indirectly in that fiction,
arid
base itself at the evidence which directly in it.3837 Nurgiyantoro. Op. cit. p. 73
In this chapter the writer discusses the character of the drama1 Rememher lvlama. First of all, the writer describes the major and minor charactersofthcdrama. Then, thc writer describcs the characteristic ofthem.
A. The Major Charactcrs And Thc MilloI' Charactcrs
As thc play opcns, Katrin, the daughter of the Hanson writes about her family as shc rCl11c!nbcrs thcm whcn she grew up. Katrin tells that Marta, Mama manages the family. The others are Lms, her Papa, a carpenter, Christine, her sister, Daglmtr, hCl' smallest sistcr, Ncls, Katrin's only one brothel', Mr.llydc, an Englishman who rcnts Mama's boardinghouse, Trina, Sigrid, and Jenny, as Man1a's sisters, Uncle Chris, Mama's Uncle who has Norwegian pronunciation. The play begins when Katrin reaels her story that tcEs her memories to her family. She re111en1bersall her family member, out she says Sl1e most remembers her Mama.
Marta is a mother in the Hanson family. Her childre11 call her Mama. Mama is a congenial woman to all people in her environm·ent. Her relationship to people is gQod, it does not only for her family bnt also to another, such as her sisters, her Uncle Chris, anel Mr. Hyde,.a person who rents her hOlll'clinghouse.
Katrin (reading). "For as long as I could remember, the house on Steiner SO'eel had been h'Jme. Papa and Mama had bOlh been born in Nonray, but they came to ,,'an Francisco because Mama'ssislers were here. All oj'
J5
us lvere born here. Nels, the oldest and the only bOY-lny sister-Christine-and Ihe IiIllesl sis:er, Dagmar." (.':;he puts down her manuscriptCmd looks oul Fon!.) 11'.I' jimny, bUI when I look back, 1 always see Nels and Chrisline and myselflooking almost as we do today.! guess tlwl'sbecause Ihe people you see all the time stay the same age in your head. Dagmar diilet"el1l. She was always the baby-So1seehel'asa baby Even Manw-it'.I'
lill1n:;, bUll always see Mama as aroundjorty. (She puts oUfhercigarel/e, picks up her manuscript and stars to read again.)"Beside uS,there was
our boarder, Mr. Hyde, and Mama was velY impressed by his(lowery talk and cOl/rtly manners. He used to read aloud to us in the evenings.
13
iiifirst and .foremosl, 1rqmember lvJama. " ..."1 remember that eve,:)! S'atl/rday night Mama wOl/ld sit down by the kitchen tahle and count out the money Papa had brought home in Ihe IiI/Ie eJivelope." (Druten,editor by M. Agnes, 1965, p. 60)Kat!"in !"eads her story that tells her memories to herfamily.Shc ,.,'r""'111 the hOllse, within there arc h"r parents, her sistcrsand her brother, btlt especially she remembers her Mama. Beside. that, she tells her pareJ1ts' country, Norway.
The writer concludes that the major characters in l lIemembe"Mama arc Mama (Marla) a!ld Katrin (Marta's daughter). Katril1 always relY1'on,bersher Mama in her life as a good mother in the family. She narrates all her nlemories about Mami> in her stories when she becomes an author.
B. The Charae!('l'istie of the Chanleter
In Ihis point the writer describes the characteristic (lC the major characters and mll10r ehdracters, First of all, the writer describes Mama's characteristic, ',hcn followed by Katrin' s chmactcristic, Nels' characteristic, Christine's characteristic, and Dagmar's characteristi-:;,
1.Mama's Characteristic
The play begins when Katrin reads her story that teils her memories about her family, especially to h::r Mama, In her story she writes that her Mama about forty, but she does not see l.ler always as forty,
Kwrin writes in silehce for ajew moments, then pUis down her pen, takes up her manuscript, and begins to read aloud what she has wrillen
Kalrin (reading). "For as long as I could rememher, the house on Steiner Street had been liOme, Papa and Mama had botN been born in Nont'uy, but they came to San Francisco because Mama'.I' sisters were here, All
of us were bol'!' here, Nels, the oldest and the only boy-my sister-Chi istinc-and the lilliest sister, Dagmur," (.S'he puts down lwr manuscript and looks out front) It'.I' jimny, bui when 1 look back, 1
always see Nels and Christine and myself looking almost as we do today I guess that'.I' because the people you see all the time stay the
same age in your head Dagmar'.I' different, She was always thc baby-So
I see her as a buby, Even Mama-it'.I'funny, but 1 always see Mama as
around fort She couldn't always have been fewty, (.She puts out her cigarelle, picks up her manuscript and starts to read again) (Drulcn, editor by M. Agpes, 1965, p. (0)
17
important money ts. The writer concludes that Mamaisa good teacher 11)rho, children by giving chance to children to know abont money.
(By now the tableau is revealed in filII, and [he light on Katrin dwindles fi./l'ther. ｔｨｾ pictu.·e is as she aescribed Mama-looking around/arty-is in rhe armchair ati'ight of the table, emptying Ihe envelope .. a/its seiver dollars and smalier coins. Papa-looking a little older than Mama-stands above her. His English throughout is better than hers, with less accent. Mama. You call the children, Lars. Is good theyshould lmOl!'abou!rIHJney.
(Druten, editor by M. Agnes, 1965, p. 61)
When the whole cilildren are gathering with the parellts toku()w about money, Mama tries to treat her children equally. Itoccured when shenlanages the childrell req'lirements. She knows what their reqniremel1ts are and giVes them the money lo set right of it ｦｾｬｩｲｬｹＮ It shows sb.e is afair 111()ther to her LOW'lU'Xjj
equally loved by Mama.
Mama(passing it or.). For the landlord
Katrin(doing likewise). For the Landrord.
ｃｨｲＺｳｴｩｾｬ･ (passing it to Papa). The Landrod
Papa. For the landlord. (He dumps the pile(Ithis end
a piece ofpaper, which he wraps around the pile.)
Mama(who has been sorting). For the grocel'.
Mama.For Katrin 's shoes to be ha((-sold
K"trin (proudly). My shoes!
Christine (contemptlously). Katrin's old shoes.
Papa. Katrin's shoes.
Christine (rising and coming to Mama). Mama, teacher says need a notebook.
Mama. How much it will be?
Chrisline. A dime.
ｍｾｉｉＱｊ｡ (giving a dimer. For the noteboljk. You don'flose it.
by M. Agnes, 1965, p. 63-64)
money spend to the ch;rdren's requirements' So Malha saves the restor her husband salary in the small box
at
homeforelTlergencies.Katrin (fi'om the s/cps-herself again, in the presenl-lookil1gou/.fi'ontj little bank! Thar was the most important thing in the whole house..1/ a box we used to keep.fiJI' emergencies like the/ime when Dagnwr Had crcup and Papa had togo and get medicine 10 put in the steamkellle.I
can smell that medicine now! The things that corne the Litlle Bank! Mama was always going to bilY herself a 0/
when there wm enough, only there never was.
Agncs, 1965, p. 55)
M:.1I1111 cancellation 10 buy
dentist and to buy him roller skates. Mat1la <HUH\,0 another time.Itmeans that she prioritizes her childrell.
Mama (shaking her head). Is not nluch to the dentist, you rel'l1emL>er
Nels (his face falling). I know. And saving/or.
Mama. 'lhe coal I ,:'an get another head). (Druten. editor by M. Agnes, A,; a mother, she hasｲ･ｾ［ｰ｣ｬｮｳｪ｢ｪＱｊ
also has responsibility to the children. In
great. She has prepared lunch of her dallghters when the hospital. She puts the milk, fruit and cookies in the her daughter to eat it.
Mama. Jenny ... Thna, we go to the hosjJital. (She goes Chris/ine.) You willbe good children uJ1tilnwmaCrll:I1P.\·
19
Uncle Chris (callingji-om the ｣ｃｬＱｾＮ Matta, we go!
Mama (calling back). 1come! (She ｴｵｲＱＱＮｾ to the chilclrenagain.) There is a milk in the cooler, andjhdt and cookies for your lunch. (Druten, editol' by M. Agnes, 1965, p. 84)
Dagmar must be bro11'Sht to the hospital because something is wrong in her ear. Then the doctor says sbe has to have an operation. Be:r:Jre ｄｾｴｧｭ｡ｲ is brought to the hospital, Mama wants to wait for her husband. She looks afraid to make decision because she seems thinking about money to P8YDagmar's operation. So that, Mama wants to wait fur her husband to make dedsion.
Doctor. We mllst get her to a hospital. At once. We'll have to 6pdttle.
Mama. Operate?
Doctor. I'm ali'aid so.
Mama. Can H'ait? Vritil my husband comes homejrin1lwork?
Doctor. I'm a/i'aid not. Her best chaNce is/ill' us to operate imnrediately.
(Druten, editor by M. Agnes, 1965, P. 80)
Aliel' Dagmar has her operation, the hospital regulation says that Mama can't sec Dagmar in her tirst day after operatiol1. Bufthe mother wonlesabout Dagmar's condition. Because of that shepretet1dsas a flo()rc!ealler inthehaspilid to see Dagmar. It shows that she is a bravell1bther,shebrave t(Jagairtst hospital rule only to see Dagmar although she has to pretelld as aflooj'cleal1er
Mama. Doctor ....
Doctur. Well, Dagmar fine. She came throughit beau/ilitlly. She's back hed now, sleeping off the anesthetic.
M:llna. Thank you, I loctor. (I'he shakes hands widl him.)
Doclor. YOll're lvelcome.
rVlanw. Is good o!'y.Ju, Doctor. (She shakes hand with hinragain.) Where is
he? Jgo 10 herli01V.
Doctor. 011. I'm sorrY, but I'm (i/i'cdd thcl!'.I' agail1slthe rules..You .1'111111s,'e
he,. IOmoJ-ro\-v.
on it.
Katrin. But, 'Mama,
Mama (interrupting, Hl1'C7pr
bench for me. (She goes tv
Katrin stares after her in trephlati'on. Ma'i11a pail by Nurse's desk looks up. brightly.) Very
Nurse. Yes. I'm glad finally decided
to
clean working late?Mama (quickly, lowering her neela). Plonrs way, crawling on hands
up the coridor, still SCIC/l[IUli"l'. K{llril1
still dutching Mama 10IJ'/dr.I'"h,fh'I',I'I'f'lij'1!r1,,'I>"'l1rl
light dims, leaving her in a
(Druten, editor by M. Agnes,
According to Uncle Chris, Mama's uncle, Mama is Chris' other niece, she is a special one to
when she is doing relation to peoplle characteristic of her sisters that in cooking. That is one of loves her.
Uncle Chris (with a great roar whining. Is true! But youI' Mama aunts, they cannot cook at all talked of them so. It is a
me any more ... when we secret. like the aunts. And so that they do and clean your teeth goot, and snujJbox and partkes of its ｣ｏｾｬｴ･ｮｴｳＮＩ
p.83)
Dagmar also confesses that MiUl1a is Actually, Mama does
2
Dagmar asks Mama to help Dagmar's cat, Elizabeth \VI1O gets sick to n1ake him
survive and back to well. Mama tries to give chloroform and lets Elizabeth sleeping to make him back to well. Basically, Mama do;:s not assUlIle itwill be lucky, and she feels that it is a miracle.
Dagmar. Mama can do everything (another howl from offStage. Fheclutches Mama agonized!y.) Make him live, Mama. Make him well again. Please!
Mama. We see. LetItSsee how he gets through the night. And now, Dagmar, you must go to bed. I bring you your supper.
Dagmar. But you willflx Uncle Elizabeth? You pl'omise,Mama?
Mama. I promise I fry. Go now. (Dagmar goes out.) I must/Ix her supper. (She starts/or the pantry. Howls again. She and Papa stand and look at each other. Nels comes out.)
Nels. Mama, it's jus: cruelty, keeping thatCal alive.
rvi:lJ11i1. I know. (Dl'llten, editor by M. Agnes, 1965,p. 102)
Dagmar(heard in pantlJi. Off). Whitt ajill1ny,./ill1ny smell. Good Inorning, In)' darling Elizabet{l. (Mama and Papa stand stricken. Dagmar comes in, cill'/J1ing the cm, wrapped in an old shirt, 'with its head covered S'he come over to taiJIe.) my goodness, you put enough bla!lkets onhim ' J)id you think he'd catch cold?
Mama (horror-stricken.) Dagmar, yOll must not".(she stopsat lhesight ()(
look at, whose t:li! is twitching, quite obviously alive.) Dagmar Jet me see." let me see the cat! (She goes over to he,', belmll tablefi'ont, and uncovers the eat's head)
Dagmar. (oveljoyed) he's ·well. 011, Mama,
1
knew you'dfix him.Mama(appalled). But Dagmar, I didn't, I".
Dagmar (ignoring her). I'm going to take (She runs off, calling) Nels!
Mama (turning to Papa), Is a miracle! (She inFont o[:he table.)
Pap<\ (beside her, shn.gging). You cannot have usedem.JUgh r:h:m'o!,(Jrl17
just give him good sleep, and that cures him. We ｲ･ＬｾｩＱｉＧｉｓｪＧ･ｮ
Lazarus!
Mama. But, Lars, we must tell her. Is not good to let' her grow up believing I
Mama is an attentive woman to other people's problem; she is to share. Trina shares Mama about her plane to get n",,·l'if'.r1
advice lo Trina. Itshows that she is a congenial woman.
Mama. You love him, Trina? (D'ina 110dsecstatically.) Then She pals Trina's hand)
T1'iml. Marla will you ... will you help me to tell the a/hers?
Mama. Oh ... Jenny and Sigrid... they do not kno'w?
Trina. No. I was qfi'aid they'd laugh al me. But i(vou lell them ... Mama.Jenny will not like you tell me first.
Mama (genll)U. BUI. T/'ina, if he is to be your husband, he be limid. You are timid. Is not goodwheh both firmly.) No! .Jenny and Sigrid1speak to, but Mr.
/0 Uncle Chrzs. (Druten, editor by M.Agnes, 1965,
Mama also cares also to UncleCl1ris. 3heinvites her .<",1<,,'<
because he is dying in a place called Ukiah, 110rthSan
knows that her sislers (Trina, Jenny, and Sigrid) do not like Uncle Chris, butsl1e lrics to pcr:made them to see Uncle Chris. It proves that she is a cOllncelorJorher sisters to respect their Uncle.
Mama.Jenny, i8 nOI the lime to
Jenny. I don 'I believe it. He's too nrean ji'OJl1 wings and hands Mama a slip
!Vfama. Jenny, I cannot stop the argue. lakesfour hour;. You call Sigrid.
Jenny. Sigrid is here now.
Mama. Then you leli her.
Jenny. Whal do you say the name oflhe place is?
Mama. Ukiah-(spelling in Norwegian) U-K-I-A-H.
Jenny. I won 'I go.
Mama. Ihat you decide. (She hangs up. Her spotｧｯ･ｾＧ out.)
Mal11<1's linderstanding is also shown to other people, Fron1 the text below, lvlama understands Mr. l'lyde has not pay the rents, although her sisters do not like him beeause of it But Mama believes that he
will
pay it after he gets some money,Mama, Mr Hyde, these are my sisters,
Mr, Hyde, Entached, ladies, Madame, Madame The (he bows, Sigrid giggles coyly, He turns to leave the room) excuse me?
Mama, Sure, 1.11', Hyde,
Mr, Hyde, I shall be in 1I1y l'oom, (He goesoul)
Jcnny (moving to toble again), So that's YOJirfamous lJn,ur,lpr you his rent yet! Three months he'0'beenhere,hasn 't he?
Mama (at the other side of the table), Is hard to ask he will pay soon. (Druten, eHor by M, Agnes, 1965, p, 72)
Mr. Hyde (bowing again), Madam, my deepest gratitude, (He kisses her hand Mama, l('oks' astonished He boWs toPapcl) Sir-my sincerest admiration! (He opens the street door) It hasbef'n a privilege, Ave atque vale! Hail andfarewell! (He makes(fgeslureandgoes
Mama, Was 11'onderfitl man! Is' too bad (c,)he opens the leller,./Clkes()ut chuck.)
Papa.11o,v much ischeckfor?
Mama, Hundred ten dollar! Is fOllr m(}l'Ilns.
1965,p, 103)
2. Katrin's Characteristic
Atthe beginning of the play Katrin seats smokes cigarette, it shows that she habit
twenties, seems as a modern stylish girl with her blonde,
When the curtain rises, Katrin, in a spotlight, lUi I1table, facing the ,[/udience, She
Katrin somewhere ill her early twenties, who is small in stature, and capable
She 1l'em'S a vel:J! short dress, the skirt of which is concealed for the
prologlle by the desk behind 'which she is seated (Drllten, editol' by M.
Agnes, 1965, p. 59-60)
Katrin makes an old attic under the roof that she uses to study. Katrin is in
the old attic when Papa C3l1S her. Papa Seel11S little strange to Katrhlbecause she does not coming soon into him. But Mama tells him that K.atrin is in the old attic.
rVlama describes that Katrin wants to be an author, so she studies to reach her
dream. It is a sign that she is concern with education.
Papa.She iswhere?
Mama. Katrin make the old attic under the roofinto a study.
Papa(amused). So? (o'hollting) Katrin! Katrin!
Katrin (.\'ti1l at her desk). Yes, Pape. I heard.
Papa (retllrningto the room). A studynow, huh? Wha/does Katrin l,'tUt!V?
Mama. 1think Katrin wants to be authOr.
Papa. Allthor?
Mama. Stories she will write. For the magazines. And books, too,·nUlY be,
one day. (Druten, editor by M. Agnes, 1965, p. 61)
Katrin tries to reach her dream to bean author by l()Ving the literature. She
feels that the literature is wonderful. She feels it when 8he finished to hear the
story read by Mr. Hyde. She is a literature lover.
Katrin. 7here were muny nights I couldn't sleep for the way he had setmy
imagination dancing. (Reading /i'omherdiary again.)'.'What.a
wonderful thingis literature, transporting us to realism ｵｮｫｮｯｾＯｮＮＢＨｔｯ
herself) ｾｬｊＱ､ all the time my school teacher keptｴ･ｬｬｩｮｧｭ･ｴｨｾｴｬｄｵｧｨＡ
tu write about things I knew. I did write a piece for her once·. ab?ut Uncle Chris, and she said it wasn't nice to write like thataboutci member of one'.I'own family. Papa called Mal11Ci'.I' Uncle Chris a black
Norwegian, because ofhis dark hair andfierce mllstache, but there were Ulhers in the famil;! '(rho claimed that he was black in adi}ferent way.
25
Katrin's love of likrature makes her write stories. Then she sends the stories to the agent. Unfortunately, the writing is rejected and returned to>her. But she never gives up, she writes again until ten times.Itshows that she is a hard worker.
Katrin. Again is right. This is tenth lime. 1made this olie Ct test. It'sthe best I','e ever written, 01' ever shall write. 1knoW that. Well, it's no good.
She becomes a hard worker because she wants to be very rich and famo11s. She wants to be rich because she thinks that rich people have easy living. She wants to make her n1Q1.her happy; buy her warm coat, clothes, white satin, jewelry pearl necklace when she .become rich. It shows that IS
ambitious woman.
Katrin. But ... rich people ... aren't their lives easy?
Manm Idon't know, Katrin. 1have never known rich pe()fJle. Butl see them sometimes in stnres and in the streets, and they do not look as
if
they lVere ･｡ＮｾＺｶKatrin. Wouldn't you like to be rich?
Mama. 1would like to be rich the way1would like to be ten feet high. Would be goodfor sam:! things-badfor others.
Katrin. But didn't you come to America to get rich?
Mama (shocked). No. we come to Americabecaus·e·they are all here-C1llthe others. Isgoodforfamilies to be together.
Katrin. And {tid you like it right awdy. When we see San Francisco and all the family, 1say: better than Norway. And then you are all American citizen. But not to get rich.
Katrin: 1want to be rich. Rich and famous. I'd buy you yourwahncoat. When are you gcing to get the cOat, Manj{{?
Mama. Soon now, maybe-when we pay doctor, and Mr. ｈｹ､･ｰｾｶ hisrer;t.l think now 1 must ask him. 1 ask him tomorrow, ajler Dagmar comes hOl.'le.
Katrin wants the dress set very much, and she asks it to the parents when she wants to graduate from her school. According to Chtistine, Katrin'ssister,Katrin does a mistake to ask for the dress set, because her family does not have money. But Katrin forces it, and she thinks that the dress Set is the most impottant thing to a girl when 3he graduates and grows to be an adult. So, sometime she is a selfish girl.
Katrin: 1want the d"esser set. My gaodness,!rMamadoesn 'tretdizewhat',I' a suitable present ... why, it',I' practically thl! most important time girl's life when she graduates.
Christine:And you say you're not selfish.
Katrin: It's not selfishness.
Christine: Well, 1dOll 't know what else you'd cal! it..With Papan()!tl'otking, we need every penny we can lay our handl' on. Even the Little Bank',I'
･ｭｪｊｾｙＮ But you'll devil Mama into giving you 'the dresser set ,fOlnehow,
So why talk abo"t it? I'm going1wnw, (.She turns and goes through the curtains.) (Drutcn, editor by M, Agnes, 1965, p,ll 0)
Mama sells her brooch to buy Katrin, dress set. Firstly KatrindoesnotknJ\v that Mama does it, but Christine tells it to her. Thenshe makes
Nels and the father, and :hey say it is true. She regrets
it
very lllLl\Oll,good heart.
Christine. And made her go and sell her brooch thoi
gave her.
K3\rin, What?
Nels. Chris .. ,you weren't supposedlo telllhati
Christine.1didn't care. 1think she ought/a know.
Katrin, Is tha/true? Did Mama-Nels-?
Nels, IVell, yes, as a matter (!f/hct, she did. Now <:!Jmeon.
K"lr;n, No,110, 1don '( believe if. I'm going to ask Papa.
Nels. You haven 'ttime.
KHlr;r" 1 don't care. (She rushes back 10
kitchen. Christine goes ojl and Nels Tn/lm<)<
Papa ("bo;'e table). Christine should not have toldyou that,
K"trin, It's true, then?
Papa, She did not sellit. She traded it to Mr, SChiller/oJ' your present.
Katrin (near tears). 011, but she shouldn't'" 1never meant ",
Papa (taking her by the shoulders). Look, Kathn You )Fantedpresent. lvioma ,panted the present, Mama wanted your happiness; she wantedit
more than she wanted the brooch.
Katrin, but1never meant her to do that. (cl'ying) She
she had 0,[ Grandmother's, (Druten, editor by M,
'-,",w:;"
In)KaU'in returns the brooch that sold by the 1110ther
She feels regret about it because she knows that her mother lovesitIt refers that she is a kind girl.
J(atrin, Mama ." here's your brooch. (She gives i/ /0 her)
bad in the play. 1'1/go and help Chi-is/ine with the dishes. goes into the pm1tl:V). (Druten, editor by M. Agnes,]
ｊＨｾ｜ｴｲｩｮ is a polite sirl, it shows when heraul1t, Trina,
greeting to Aunt Trina eVl'Dthough she does not like the aunt.
,
Katrin (rising, entering the scene). And 1'n1 going/0 mys'hldy,
Mama (slOpping them). You cannot runa,vay. We mus/be Aunts. (She opens the door) Why, is Trina!
Papa, T'ina, and all by herself?
Ivlama. Say good evening to Aunt Trina, children.
Children (togethelJ Good evening Aun/ Trina, (Druten, 1905, p. 67)
3. Ncls' Charactcristic
Nels is an oldest and only a boy in the fan1ily.
/0 the
when Mama calls Nels. '-leis comes with his ttill,strapping V()]lna ,e"U1V. demeanor. He looks as ad"Jah gallant boy in his fiftee11.
Ncls (li'OIil upstairs). Coming, Mama!
Katrill (at her desl(!. Yes. Mama. I'm coming. (She risesinherfewmol11ents
in the desk, she has loosened her Imir to her shoulders,and lvesee lhat her skirt is shol,t as she walks fi'om her desk,and ｵｰｴｨｾ Hepsinto the set, As soon she has left ii, the turntable revo!vesout.Jmnlecliclte!yc[fier her, Nels comes in from the back He is a tall.strapping)lounglellow old enough to look eighteen or nineteen, orfitleen or sixteen,according to his dress, or demeanor. Now, he is about f!fleel7. Katri'1,lo Christme) Ahve over, (She shares Christine'.I' chair at the table with her.)(Druten, editor by M. Agnes, 1965, p. 63)
Nels' description about Katrin who gets the brooch again makes papa tells
that Nels is a kind brother, he cares to his sister. When Katrin gives back the
brooch to Mama, Mama feels strange about it. Then Nels describes
to
Mml1a howthe brooch returns to Katrin. Nels feels proudtoher sister who has greatheart to change her dress set with the brooch and gives itbaek to Mama. It meansthathe
is a gopd brother,
Katrin. Mama ... here'.I'your brooch. (She gives ilto her.) I'mson:y1was
bed in the play. I'll go and help Christine with the dishes. {She turns and goes into the pantry).
Mama (unwrapping the broochfi'om tissue pCifJe/).Mr. Schiller give it back to her?
Nels (behind table). We went to his house to
was planning to give it to his wife farlJer hll·I!1.'1aV and begged hin;. She even offered to gO and
vacation
if
he'd give it back.Papa(impressing). So? So?
Mama,And what did Mr. Schiller say?
Nels. He said that wasn't necessmy. Buthe gave her a job all the
She'.I' going to workfor him, afternoo/1s,for three dollars Week. Mama And the dresser set-she gave that back?
Nels. Yes. She was awfiil upset, Mama. It was kinrla hardfiJI' he/' lo
She '.I'a good kid Well, I'll say good night. I've got to be lip earZv. Papa. Good night. 1I'els.
Nels. Good night, Papa. (He goes out back.)
29
Papa. Nels Is the kind one. (He starts to refill Mama'01' c()ffee cup. She s:ops
hllll, putting her hand over her cup.) No? ＨｄｲｵｈｾｮＬ editor by M. Agnes,
1965,p.116)
Nels i3 a self supporting, It is shown when he wants to add money to eontim;e on his education, to high school. Actuall)', Mama already counts and tries to present the money to Nels' school but it is not enough. So, he will work to get the money after school to continue on high school.
Christine. You mean Nels can't go to high?
Mama. is not enough here. We do not want to have to go to the Bank, do
lve?
Nels. No, Mama, 110. I'll work in Dillon's grocery after school. (Druten, editor by M. Agnes, 1965, p.65)
4. Christine's characteristic
Christine is Katrin's older sister. She is different in the family. She is an introvert girl in her thirteen, cool, aloof, and simple. In that charactenstic she more likes to paint by her tools, crayon, scissors and of course a pictureb60k.
Dagmar. The honor of being the bravl'stcct1 InSah Franslsco(Chtistlne comes In. she, like Katrln, should be played by a small yOltngactress,
bw not a child. Her hair is to her shoulders, herdress,sh?rt,her age
Intermediate. Actually, she Is the cool,alo(){,m1tter-of:fac(one afthe family. She carries a box of crayons, scissors and a picture-book.)
Aren't you Elizabeth? (Druten, editor by M. Agnes, 1965, p.62)
Christine is a stubborn girl. It looks when Manla tells her disappointed to Christine because she says to Katrin that Mama sells her brooch topresel1t
dress set. Mama is angry to Christine, bl1tChristine consisted that she is done it. She does not regr,"t to her act.
Mama (rising with a sternness we have not Steen before,
Christine I Chrls/lne!
Christine. Becausej hated the smug way she was acting over that dress set.
Mama. Is no excuse. You make her unhappy. You make her no/good in the play.
Christine. Well, she made you unhappy, giving up your brooch for ·her sel/ishness.
Mama (moving towards her, behind table).!snot )lour business./Ich()ose to give my brooch. Ts not for you to judge. And you know Ido not want you tell. I am anglY '.vith you, Christine.
Christine. I'm sorry. But I'm not sorry I told. (She goes bclck t6 the petlttry with a set, obstinate face.)
Papa. Christine is the stubborn one. (Drtlten, editor by M. Agnes, 1965, p. 114-115)
Although Christine is a stubborn girl, but she is agooe! sister to Nds. She cares to Nels school, so Christine helps to get l110ney to Nels'
keeping the Maxwell ch ildren.It
Chri8tine. You mean Nels can't go 10
Mama. Is not enough here. We do not
lre?
Nels. No, Akuna, no. I'll work writes a figure on the paper and
looks over, and does the sum in his""",,./ Papa. !I'not enough here.
Mama (finishing on her fingers' against her collarbone). enough.
Papa (taking his pipe out ofhis nlouth
up tobacco. (Mama looks at him, Ullnu,>t S,ryNlk!,.
sleeve writes a,'10ther figure
Christine. I'll mind the Maxwell Child,"eI11<rI'do'1! ｭＧｾｭＬＧＮ 1<'"f>'",
me. (Mama writes anether figure. nods with sati"j'avtion.)
5. DagnHlI"'s Characteristic
Dag:l1ar is the It:st children 111 The I-Ianson. Her characteristic app'oafs
when Dagmar comes while brings a cat when MaI11n a'1d near ii'om the kitchen. Dagmar is a fat child in her eight.
Mama. Maybe. ButJ like she writes books. Like us. (Dagmar enters .from the pantry. She is
eight and carries an alley cattn her arms) J.)IJf!)ilar, (igain? (Druten, editor by M.Agnes,I 965,
She is an animals lover, especially to her cat, POri·7"])"·'h
and proud to the cat for his brave.
Dagmar. Sure, she's lily Eli'zabel'h-Iny
ha."'''''''''
.Citl2:ac'eU7! the chests und3r thePapa. Poor Elizabeth looks as
Dagmar. Nor poor Elizabeth.
She jights for her honor! (Druten,
Her love to anim?ls is also shown when she
anim,!! doctor. She thinks there are more aninltl1s 111 the
beings, but the veterinarian more little, and accordinglJer it decides to be an animal doctor.
Dagmar.
If
Nels g,Jing to be a dattoI',(looking at the book little, and slu'mC>/Iy.!5! veterinarian.
Mama. And whatis that?
Dagmar.A docrorfor animals,
Mama. Is good. Is good.
Dagmar. There are (ar more animals in the world thlln heings, and jill' 'in ore hWilan doctors
(She goes to the panlry door) J SUi'J!)()Se could we? (This only produces a ('{)I1{','>rleti
1111'11.1', sadly.) No ... I wasC(fi'aid we couleln't.
she has big willingness know to something. Mama. We do not have go to the Bank.
(Dagmar returns, without the cat.)
Dagmar (hearing the last line). Where is the bank?
Christine (leaving the table, cutting out' the pidul'e which she colored). Downtown.
Dagmar. What's i! look like? Chriytine. Just a building.
Dagmar (sitting 0'1the bench,beZo-w the table). Like
Christine (sharply). No, nothing like a prison. Dagmar. Well, then, why does manta a!HJays say
the Bank"? Dagmar. Why no('
Christine. Because
if
we went to the bankClll money lefl there. And then we cOl;ldn'tpCly like Mrs. Jensen down street.Dagmar. You mean, it's
i\;Jama (hU.I)} with coffee and cup$' Cit
Dagmar. Is exactly likesavil1g.yotlr candy. ·\1anUi. is enough about the Bank. (Druten,
66-67)
Fr"m the description above the writer concl,udes thal lVl'llllU woman to her environment, it looked from her act to
boarder whu rents her boarding house. The people in because of he" congeniality.
The ch ildren have gOQd characteristic.
In this chapter the wri ter discusses the theme of the dramaJRemember Mama
vie'vved from the relationship between Mama and her children. First of all, the writer describes the relntionship between Mama and he children. Then, the writer describes the theme of the drama.
A. The Reiatiollship Between Mama llnd Katl'in
In this point the writer deocribes the relationship between Mama and Katrin
j]'0111 the dialogues and some expression of Katrinthat shows to the relationship
between them.
The drama begins when Katrin reads her story about her 111emOl'ies for her family. Katrin remembers the house, within there are the parents, Katrin's sisters, and a brother, but especially Kmrin remembers her Mama. Kutrin rel11embers Mama's activity every Saturday night at the dining room; Mama counts the father's salary in the little envelope and fairJv she organizes the needs of the household. Katrin remembers i\llama's patienceVJ organize the small amount ofnlOney.
35
In the old attic. Slie knows Katrin studies to make her dIcam come true, to be an author.
Katrin ("eading). "For as long as I could remember, the house on Steiner )treet had been home. Papa and Mama had both been born in NOl'lvay, but they came to San Francisco because Mama'ssisters were here. All of us were bol'll here. Nels, the oldest and the onZy boy-my sister-Christtne-and the littlest sister, Dagmar." (She puts downher manuscript and looks (Jut //·ont.) It s funny, but when I look back, I always,I'ei! Nels alu! Chri.>'Iine and myselflooking almost as we do today.1guess that's because the people you see all the time stay the same age iJ:your head· Dagmar's diflerent. She was always the baby-So I see her as a baby. Even ManUI-it 's
./11I1I1Y, but I always see Mama as aroundforty. (She ]Juts out hercigarctte, picks up her manuscript and stars to read aga.in.) "Deside us, there Was our boarder, Mr. Hyde, and Mama was velY impressed by hisflowery talk lind courtly manncrs. He used to read aloudio us in the evenings. Butfit.st and foremost, I remember Mama. " ..."Iremember that every Saturday !light !I;fama would sit down by the kitchen taMe and count out the InO!ley Papa had brought home in the little envelope. "
Mama. You call the children, Lars.
Is
good they should kn01v about money. (Papa goes to door at the back and calls.)Papa. Children! Nels-Christine-Katrin!
Children's voices (off, answering). Comin[, Papa!
Marna. You call loud/01'Katrin. She is in her stuc6:, mClybe.
Papa. She is where?
Mama. KetIJ'in make the old attic under the1'01« into a study.
Papa(amused). So? (shouting) Katrin! Katrin!
Katrin(\'fillat her desk). Yes Papal heard.
Papa(returning the room). A study now,huh?TVhat､ｯ･Ｎｉﾷｋ｡ｴｲｩｮｳｬｬｬｷｾＩ＿
Mama. I think Katrin wants to be author. (Druten,editor by M. Agnes, 1965, p. 61)
To make Katrin's dream come true, Katrin always improves her skill in writing the stories. She writes the stories and sends itto the agent until ten tinles in diflerent stories, but it is reje.cted and return to Katrin. Because of that Katrin feels disappointed, then she gives up to be an author.
Katrin. Where's the letter?
,
(Kalrin lakes it ｮ･ｲｶｯｵｳｾｶＮ She looks al Ihe envelope, and her face .Ihlls. She opens ii, pulls out a manuscript and a rejection slip, looks at it a momenl, and Ihel replaces both in Ihe ･ｮｖ･ｬｩ［ｾｉｊ･Ｌ The others walch i1er covertly. Then she looks up, with determination)
Katrin (above table). Mama ... Papa ... 1want to say somelhing.
Papa. What is il?
Katrin, I'm not going to go to college.
Papa. Why not?
Katrin. Because it would be a waste oftime and money. The only point going to college was to te a writer. Well I'm not going10be one, so ...
Mar,la. Kalrin, is it your leiter that makes you say this? It is a st01:V come back again?
Katrin. Again is righ:, This is the lenth lime. 1made this one a test. 11's the best I've ever Hwitlen, or eve'- shall write. 1know thai. Well, it's nol good.
(Druten, editor by M. Agnes, 1965, p. 128-129)
Fortunately, there is news about a successful woman, a famous novelist, Miss. Moorhead. The mother kno\Vs it, and she planes to mel)! Miss. Moorhead to ask the secret of good in writing whib showing Katrin's stones.
Papa (looking at the "vening paper.) There is something here in the peljJer about a lady writer. 1just noticed the headline. Wait. (He looks back.IiJril .;rnd reads.) "Woman writer tells key10liteI'm)! success."
Katrin. Who?
Papa. A lady called Florence Dana MDorhead. It gives her picture. A fat lady. You have heard a/her?
Katrin. Yes, ofcourse. Everyone has. She's terribly successful. She's here on a leclure tour.
Mama. What does she say is the secret?
Papa. You read it, Kahn. (He hands her the paper.)
Katrin (grabbing the first part). "Florence Dana Moorhead, celebrated novelist and short stOI)! writer ... blah-blah ...blah ... interviewed today in her suite at the Fairmont ... blah-blah-blah ... pronunced sincerity the essential qualitY.lor success as a writer. " (Throyjling aside the paper.) A lot ofhelp that is.
Mama. Katrin, this lady ... maybe
if
you senl her yo III' slories, she cI)/tid :ell you 11'/101 is wrong 1Nth them? (Druten, editor by M. Agnes, 1%5, p.37
Mama succ'essflllly Eleets Miss. Moorhead. Mama does it to help Katrin to reach her dream to be an avthor. Katrin looks surprised when Manm tells it to her. Then Mama tells the secret of Miss, Moorhead's writing. Miss. Moorhead writes more things she knows, real things. Miss. Moorhead also gives her agent to send Katrin's stories.
Mama. }Catrin, 1haw been to see the Miss. Moorhead.
Katrin, Who's Miss ...
?
You don't mean Florence. Dana M'){)l'h"'(lfJ'? (J\J1a.ma nods.) you don't mean you look her l11y stories?Mama, She read five of them. I }lIas two hourswifh her. We sherly
K<ttrin. What ... did s:1e say ahoutthem?
Mama(quietly). She my they are not good.
Katrin (turning awa;;J. Well, 1knew that. It was hardly worth you going
te'
all the trouhlejust to be told that.Mama. She say more. Will you listen, Katrin?
Katrin (flying to be gracious). Sure. Sure.
Mama. 1will tlY and remember. She you have read in other books, have felt what they write about. people in the oMen times, llliti/
happen in her own tOl1l11 ...
understand ... and she feels she !nust her first good StOlY. She say mlist
(Druten, editor by M. Agnes, 1965, p. 133-134) Kalril1's strel1gth of writing appears nfter she knows the write. She trie" to write the 11rst story and gives it to
Katrin's writing is Mama and the Hospital. She writes
she dedicates it to Mama. AI; members of family seem to be happy when Katrin tells
about it. Her dream come true because of Mama's help, and it does noi hap;)en
without ｍ｡ｭ｡Ｇｾ help.
Kairin (Going back to her seat behind the desk). Papa. Yes,bul1vhat 'sever
done? What's ever happened to him? What's ever happened to any oflls? Except always being poor and having illness, like the time when Dagmar went to hospital and Mam" .. , (the Idea hits her/ike a.flash.) Oh .... Oh .... (Pause-then she becomes the Katrln of today.) And that was how it was born ... suddenly in a flash ... the StDlY of "Mama and the Hospital' ...
[he first of all stories. I wrote it ... 011, quite soon after that,1 didn't tell Mama or any ofthem, ButI sent it to Miss. Moorhead agent.lrwas a long lime befiJre I heard anything '" and then one evening the lettei'came. (-,)he lakes an envelope [I'om Ihe desk Infi'ont ofher.)For a momentlcouldn'l believe it. ThenI went rushing Into tlw kitchen, shouting .... (Sherisesfiom
Ihe desk, taking some papers with her, and rushes upslage, ClyIng,
"Mama, iV/mna, " The curtains have parted on the kitchen-anc!the family lableau-Mama, Pcpa, Chrisline, and Nels, Dagmar is not present. Kalrin ,'omes rushing in, up the steps, The turntable revolves out as SOiJl1 as she has lefi il.) Mama ,.. Mama ." I've sold(!story/
Mama(at table). A SIOIY?
Katrin. Yes, I got a lellerfi'om the agenl '.. ,l'ith a checkfor .. , (Ga,\]Jing) Five hundred dollars!
Nels (on the chest), NI' kidding? (He rises.)
Mama, Katrln .. , istrue?
Katrin. Here it Is, here's the leller, Maybe Jhaven'I reUdil righr(.'lhehand the letler, Papa and Mama huddle and gloat over it.) (Druiel1,ediior by M. Agnes, 1965, p, 135)
When Kairin geis five hundred dollars, she wants iobny a new \varn1 coai!'or
Mama. She wani.s to do it because she knows that Mmna drean's of buying a warm
coat from long time, but it n<;ver comes true because the money is always SPCl1tfor the children' s needs. Itshows that Katrin cares about Mama's dream.
Katrin. ,. The Ihings Ihat come out of the Little IJonk! Mmna was alwllys
going 10 buy a warm coat oul
I!l
it, when there was enough, OI1ZV the"£!Christine (Behind Ma'na'.I'chailJ What willyiJu do withjive hundred dollars?
Katl'in, I don'Iknow. I'll buy Mama her warm coal.J know Ihal.
Cl1l"stine. Coal don'Icost five hundred dollars.
Katrin. 1know. We '7.'pul Ihe reoi'I in the Bank. (Druten, editor byM. Agnes, 1965, p. 135)
Katrin ,1Iways remembers Mama. It shows ,vhen she says bUI jirst and foremost, I remember li1ama "eems that there is something that makes her remel11bers
Mama about how speeial Mama is to her.
Kalrin (reading). "FIJI' as long as J couldremenlber, the Street had been home. Papa and }vlanl{{ had bottl been hut they came 10San Francisco becaliseA1ama's SI,\,'m)",\'
us wc,'e born here, Nels, the oldest and the ({nd the litilesl sisler, Dagnwr."
,Jut .ii·ont.) II'.I' jimny, bUI I
Christine and myselflooking almosl as ,vedoioday. J
Ihe people you see all the time the s{{me di/li'renl. She was always the I see he!' jimny bUI I always see Mama as
picks up her manuscript and stars to our boarder, Mr. Hyde, and Manu./ ({nd courtly manners, He used to read cmdforemost, I ,'enlember ManIa." ＨｔＧ｜ＬＨＬＧＢＬｾ
p.60)
on
"t."'''n°oj'
She remembers of Mama's n,,:Hvitv she counts her husband's salary in the needs of the household.
Katrin (reading). ..,"I remember that every down by the kitchen table and count home in the little envelope," (Druten, Katrin remembers a
Dagmar come home ;rom the hospital. In ihatsituation
hersr:!j,' or her li.F! in Ihe old counlry, or what she jell about Ihings. Y01l had 10 calch her uncrwares, or when she had nOlhing 10 do, which was velY. VelY seldom. I don'l think I can ever remember seeingA1ama unoccupied. (Laying down the manuscripl and looking outji'ont.) I do mnember one occasion, though. II was the day ｢ｾｦｯｲ･ Dagmar came home from the ho.;pital. And as we left, Mama suggested trealing Ine
te
an ice-cream soda. (She rises, gets her hatji'ombeside her-ascllOolgirl hat-pUIS il on and crosses while she speaks the nextlines.) She hadnever done such a Ihing bejc)re, and I remember Mwproudit made me feeljust10sitand talk her quietly like a grown-up person. It was a kindojspecialtreal moment in my life tho' I'll always remember-quite aparl.fi'om the soda, whic.'1 was 'wonderjid. (Mama has comeji'om between the curtains, and slarls downlhe steps.) (Drl1ten, editor by M. Agnes,
1965,
p.98)
Mama shares and tells about her live anc! her husband live iIi Norway, they lived in the little house after they married. Mama she has
died when he is two years old. Then the parents Mama says they come there
'0
gather with Mama'3 is better than Norway. Then they live and havechilcJren American citizen. Mama says she has will to go to NOl"way children one summer time when Dagmar is big. She wants to seefjords, the little house when she lives in there, and the l1l6stiml)Ortal1t is to see grave of her son died.
Katrin (qfier a good pull at the Ihe old cOllnlly?
Marna. I like to go back onCe to look, InGlvbe.
Jlike 10 show Ihem once to
back once ... one summer ... like there J1.JW. would like know any more. And mayhe we See the little
41
ond J live when we }irst marry And ... (her eyes grow misty ond
reminiscent) something else1would look at,
Katrin, What is that? (Mama does not anstl'er,) What would you look at, J.1ama?
Mama. !(atrin, you do not know you have brother? Besides Ne!s?
Katrin. No! A brother? In Norway? Mama.".
Mama. He is my first baby1am eighteen 'I'henhe is'001'11,
Katnn, Is'he there now?
Mama (simp!y). He is dead
Katrin (disappointed), Oll. 1thought you memU '" I thought you Ineant rea! hrother, A long-lost one, like in stories. When did he die?
Mama, When he is two years old It is his
