PLOT ANALYSIS OF SHORT STORY IS HE LIVING OR IS HE
DEAD?
BY MARK TWAIN
THESIS
Submitted to the Faculty of Adab and Humanities in Partial Accomplishment of the Requirements for the Degree Strata 1
By
Syarifah Humayrah Hassan
203026002108
ENGLISH LETTERS DEPARTMENT
FACULTY OF ADAB AND HUMANITIES
ISLAMIC STATE UNIVERSITY SYARIF HIDAYATULLAH
JAKARTA
ABSTRACT
Syarifah Humayrah Hassan. Plot analysis of is he living or is he dead? Short story by Mark Twain. Thesis. English Letters Department, Faculty of Adab and Humanities, Syarif Hidayatullah State Islamic University Jakarta 2010
The research is intended to know about the plot and how the plot developed the story is the short story of is he living or is he dead, by Mark Twain. How the exposition of the short story, How the rising action of the short story, How the climax of the short story, How the falling action of the short story, and how the resolution of the short story. Those are the questions that the writer tries to answer.
The writer uses the descriptive analysis of plot in is he living or is he dead? By Mark Twain. To get some data, information, and resources that can investigate and describe many research questions and with any instrument the data.
The writer tries to analyze the intrinsic of plot such as exposition, rising action, climax, falling action and resolution in the short story is he living or is he dead? Because the writer thinks that it is a unique short story it uses flashback as the plot. The writer also used descriptive analysis method in analyzing the plot of
DECLARATION
I hereby declare that submission in my own work and that, to the best of my knowledge and belief, it contains no material previously published or written by another person nor material which to a substation extent has been accepted for the award of any other degree of Diploma of the University or another instate of higher learning, except where due to acknowledgment has been in the text.
Jakarta. 10 August, 2010
TABLE OF CONTENT
ABSTRACT………….………i
APPROVAL SHEET ………ii
DECLARATION………..iii
ACKNOWLEDGMENT………..………..……..iv
TABLE OF CONTENT………..……vii
CHAPTER 1 INTRODUCTION………..……….…...1
1.1 Background of Study …….………….…………..……...………..………..1
1.2 Scope of Research….…….……….……..…………...……..3
1.3 Research Question..…………....……….………...…....4
1.4 Significance of Study …..……….………….………...4
1.5 Methodology of Research……….……….………..…..……..4
1.5.1 The Objective of the Research………4
1.5.2 Method of Research………4
1.5.3 Instrument………...5
1.5.4 Technique of Data Analysis………5
1.5.5 Unit of Analysis………..5
CHAPTER 2. THEORITICAL FRAMEWORK…….………..…....6
2.1.1 Exposition……..…………..………...………9
2.1.2 Rising Action…..………..……….…….………11
2.1.3 Crisis……...………...……….……13
2.1.4 Falling Action…….………14
2.1.5 Resolution…….………..……14
CHAPTER 3. ANALYSIS……….…….…..…16
3.1 The Synopsis of the Short Story………..………...….…….…..16
3.2 Analysis of Plot……….….……….17
3.2.1 Exposition……….……….………17
3.2.2 Rising Action……….………20
3.2.3 Crisis …….……….…..….25
3.2.4 Falling Action…….………29
3.2.5 Resolution …….………31
CHAPTER 4. CONCLUSSION AND SUGGESTIONS…....….…………...34
4.1 Conclusion…….………..………...………..34
4.2 Suggestion………...………...………..35
BIBLIOGRAPHY
ACKNOWLEDGMENT
In the name of Allah, the Most Gracious, The most Beneficent
For the first of all, the writer would like to thank to God for His Favor and Guidance to the Writer in completing this paper. The writer does believe that the writer could do nothing without His Help. All praises belongs to Him, the creator of all the living things and the non-living things from being nothing into exist.
May solution and benediction be unto the noblest of the prophets and messengers, Muhammad, who was selected as an intermediary and messenger to guide human beings to the way of felicity and comfort.
On this occasion, the writer would like to thank to her parents who has always given the writer their full support, financial, and otherwise during the process of this paper. The writer hereby thanks them for everything.
Next, the writer also wishes to thank to Mr. Moh Supardi. M. Hum, her advisor and the writer’s lectures that always guides her during the process of this paper. The writer realizes without his critics and help this paper will mean nothing.
Numbers of people and institutions have a great contribution while this thesis is in process until it becomes a complete work.
2. Dr. Muhammad Farkhan, M. Pd, the head of English Department. 3. Drs. Saefudin, M Pd, the secretary of English Department.
4. All lecturers of English Department who have taught and educated during the writer study at Syarif Hidayatullah State Islamic University.
5. The staff and officers of the Adab and Humanities library. The staff of State Islamic University library.
6. The writer beloved father, mother, and my 2 step moms who always give her their support and motivation to finish the thesis soon.
7. The writer beloved sister and 4 step sisters, who help her in everything. 8. The writer beloved husband, Hasan Al-Jufry.
9. The writer beloved best friends Dewi Pisca and Guruh.
10.All staff and teachers of Bimbingan Belajar Almamater 8 and LBUI (Lembaga Bahasa Universitas Indonesia) who always cheer her up and giving her support.
Finally, the writer hopes this would be advantage, particularly for her self and for those who are interested in it. The writer needs suggestion and comments from the reader for the improvement of this paper.
May God bless us, Amin.
The Writer CHAPTER 1
INTRODUCTION
1.1 Background of Study
The creation of literature is a uniquely human activity to understand, express and share experiences. Talking about literature, the author said that literature serves a document of social, laws, customs, institutions, attitudes, and value. The literature elements are divided into one or more. Mean that literatures are divided into three major genres: fiction, poetry, and drama1
In analyzing fiction, there are two important aspects, intrinsic and extrinsic. The intrinsic elements analyze the literature itself without looking at the relation to the external aspect. The intrinsic elements consist of plot, setting, character, theme, point of view and message. The reader has to analyze those five elements. These analyses have been explained clearly by Stanton Robert in An introduction to Fiction. Plot is the most important element in a fiction. Without plot there would be not a story. The primary attraction lies in the plot2
The plot is divided into several parts. First, exposition; The author introduces the reader with the situation in general; usually it will introduce the character, describe their background, the place and time of the events and suggest
1
James H.Pickering and Jeffrey D.Hoeper, Concise Companion to Literature, (New York:Macmillan Publishing Co.,Inc, 1981), p. 1
2
the basic lines of the conflict. Second, conflict. The author is supposed to describe all the troubles in the incidents of the action are dramatized into scenes (part of the story). And third, climax. It is the part that show us the main problem in the story and how it reaches a crest and made the story live and the last resolution is supposed to make clear all the consequences of the action perhaps it will tell what finally happened to all the character in the story.
Is he living or is he dead has plot that shows the story ended in farewell, because of that the author believes that the plot in this short story is an understanding of their destiny that is same as the fact in our life. Such as their struggle in any way to get a better life, with cheating and made a big lie to get that.
unusual plot because of its flashback. In modern short story, the author always uses flashback plot such as is he living or is he dead? For common short story the author usually use forward plot, it shows when people reads common short story this modern life and the story just talk about love and not about their social life, so the reader will just follow the story. Is he living or is he dead? Will bring the reader in the past of the story and felt like they also lived at that time because from the first until the last story it showed us flashback. It also had a little funny story because the author also had a unique idea in his story. The unique part of this short story is about Carl’s idea, his idea was he wanted one of his friend or someone who will be chosen later must pretend to die so that the paint that he had made before will cost expensive. It was all the merit of a death painter at that time even until right now. Based on the statements above, the writer is interested to analyses the flashback plot of the story such as the introduction of the character, describing their background, the place and time of events and it will suggest the basic line of conflict that known as the exposition and rising action and the other part called climax is to describe all the troubles in the story and to make clear all the trouble and find the way out. The plot shows flashback and then back again to the present time (the time when the story’s told first) and known as the falling action and resolution.
The writer tries to limit the discussion of is he living or is he dead
short story only in element of plot such as, Exposition, Rising Action, Climax, Falling Action and Resolution
1.3 Research Question
The question that may appear in the relation to the background and scope of the research is:
1. What is the plot of is he living or is he dead? 2. How does the plot develop the story?
1.4 Significance of Study
The writer hopes the result of this research can give some significant information for other researchers who want to do a deeper study about intrinsic elements of is he living or is he dead?
1.5 Methodology of Research
1.5.1 The Objective of the Research
To know the complete plot of the sort story is he living or is he dead?
1.5.2 Method of Research
1.5.3 Instrument
The instrument of the research is the writer herself as the subject of the research by reading, collecting and analyzing the acquired data. Those data are the short story of is he living or is he dead by Mark Twain
1.5.4 Technique of Data Analysis
This research uses descriptive content analysis through the plot of the story is he living or is he dead? In analysis the plot of the short story, the writer uses the analysis of plot of the story as an intrinsic element of short story “is he living or is he dead” by Mark Twain.
1.5.5 Unit of Analysis
CHAPTER 2
THEORITICAL FRAMEWORK
.
2.1 Plot
“The most importance in any work of fiction is the plot. The plot is the plan of action. It tells what the characters do and what happens to them. The action is usually beyond the capabilities of the characters and becomes sensational. In other well plotted books, the climax develops naturally from the interaction of characters and events. Plot is an element of good writing. When the readers refer to the plot of a work of fiction, then, the readers are referring to narrative structure which has always been divided up into three natural parts: the beginning, the middle, and the end.”3
Plot can also spread to every part of a story or the entire story as a whole. It is also a plan or a main story and built a story because it develops such as what happen first, what happen next, what happen after that, what are the conflicts, what are the resolutions, what is the rising action, the climax of the story, the falling action and what happen at the end.
“Plot is the central aspect of all short stories, which is primarily concerned with what happen. “Plot” is basically another term for structure.
3
When the writer discuses plot we more or less are committed to discussing everything that happens on the text. It’s not always a straight line from the beginning to the end of a short story, the shifting of time is the way we learn what happened and why, and need us to interest in the story.”4
Plot is the literary element that describes the structure of a story. It shows a casual arrangement of events and actions within a story. The writer always explains the connection of events to lives, that tasks is quite often left to the reader, its like the puzzle that the writer tries to solve as the reader and draws us more deeply into the world of the story and also the material is shaped to affect the reader.
“The beginning or exposition shows the reader the situation in general. Usually it will introduce the characters, describe their background, describe the place and time of the events and will suggests the basic lines of the conflict. The middle or rising action, is supposed to describe all the troubles in the conflict. Here that the incidents of the action are dramatized into scene. Each scene in theory rising above the one that came before in dramatic intensity until after crises a climax is reached, this point marking the end of the middle and the beginning of the end. The end or resolution is supposed to make clear all the consequences of the action: it will tell what finally happened to all the character in the story, perhaps it will point out the moral of the story, and it will knit up any of loose ends of plotting.”5
4
http://litera1no4.tripod.com/plot_frame.html
5
It is certainly true that every story must have the beginning, in the sense of the first sentence with a capital letter, but the beginning of a modern literary story is not likely to do all the things that the books on writing say a beginning ought to do.
Robert. C. Meredith in his book named The Professional Story Writer and his art proposes seven requirements or aims to make a good short story and several ways to make an easy read short story:
1. The beginning must be placed and in time as close to the ending as possible
2. If the complication itself is not immediately presented, a minor problem leading to the complication must be given
3. The scene must be set
4. The principal characters must be introduced with an indication of the approximate ages and the point of view must be established
5. The tone of the prose must let the reader know what type of story he is reading
6. The beginning must imply what ending is desired
7. The reader must be trapped into reading the story through the use of a Narrative hook” 6
“Complication” and “development” (the middle) are two terms are related to the role of the middle of the story. Terms used in the theory of prose fiction
6
Are mostly inherited from the theory of drama, so is the term “complication” and this term is used here to refer to the plot.”7
According to Aristotle Complication is all from the beginning of the story to the point just before the change of the hero’s fortune and the end a modern short story doesn’t require a long summary of what happened after the complication has been resolved”8
2.1.1 Exposition
In exposition, the background of information that is needed to understand the story proper is provided such information includes the protagonist, the antagonist, the basic conflict, the setting and so forth.
All of the characters in a story have a history, details about their pasts that are important to understand their personality and their present lives. It is important that readers know some of these details in order to understand the story. This is called exposition, it is the background information on the character and setting explained it at the beginning of the story. The exposition will often have information about events that happened before the story began; the exposition is often the very first part of the plot
The exposition and with the inciting moment which is the single incident in the story’s action there would be no story, the inciting moments sets the remainder of the story in motion beginning with the second act, the rising action.
7
Nicholas Marsh, An Introduction to Literary Studies.(London:Routledge.1999) 1st ed.p.2
8
Exposition includes the old information to inform the reader the moment before and it to understand the character of the story, exposition also includes foreshadowing which turn out the mere background of the story, it almost completely at the beginning of the story which the dialogues explain where in the action of the story.
Along with the argumentation, description and narration. The purpose of exposition is to explain, analyze or conveying information.
According to Robert Kernen, “exposition can be one of the most effective ways of creating and increasing the drama in your story. It can also be the quickest way to kill a plot’s momentum and get your story bogged down in detail. Too much exposition, or too much at one time, can seriously detail a story could be frustrating to the reader or view eager for a story to either get moving on move on”9
It is useful for explaining the events before stepping to the main story. The introduction of the story must be taken place in exposition.
“Every play needs dialogue which explains where we are in the total action of the part of the story; it is in the dialogue that we learn from the dramatist where the action is taking place, when it is taking place, who his people are, and what in the present and the past relations of his characters causes the action”10
9
Robert C. Roby and Barry Ulanov, Introduction to Drama, (USA: Mc Graw – Hill Book
Company, 1962), p.xii
10
2.1.2 Rising Action
Complication or rising action and development are two terms related to the role of the rising action of the story. According to the Aristotle, rising action is all from beginning of the story before the change of the hero’s fortunes.
Next step, complement or rising action is continuing from exposition. “The complement may be defined as the part of the dramatic plot that begins with the inciting force, gains in interest and power due the complications and struggles involving the opposing forces and terminates the climax”11
We can find evidence from a diagram proposed by a German novelist concerning the pattern of rising and falling action in a play. The diagram called
“Without conflict, there is no story (nothing would happen). More importantly, without conflict, the character themselves would not grow or change”12
“Freytag’s Pyramid is basically similar to other diagrams devised by drama critics picturing the structure of plot
11
ibid. p.1
12
Rising Action Falling Action
On the line of rising action or complication run as a number of “crisis”-being define as a turn in the action that affects the life of one or more of the major characters in some way. The climax it self is thought to occur properly at the end of the middle, at the beginning of the end”13
“During the rising action, the basic conflict is complicated by the introduction of related secondary conflict, including various obstacles that frustrate the protagonist attempt to reach his or her goal and include adversaries of lesser importance then the story antagonist, who may work with the antagonist or separately, by and for them selves, in view, the story begins the rising action, the part of the story (the rising action’s purpose is usually to build suspense all the way up the climatic finish. The rising action should not be confused with the middle of the story, but is the action right before the climax including the exposition) in which events start moving toward a climax”14
13
http://en.wikipedia.org/wiki/File:Freytags_pyramid.svg
14
Ibid. p.9
Crisis
Resolution Exposition
Such a plot structure, a short story will not accommodate many crises, it can only take one, and a subtle one at the point. For the short story, this single crises, or sometimes called “dynamic moment” or “moment of movement”, should in fact appear ideally at the end of the middle and the beginning of the end.
2.1.3 Crisis
The third act is climax, or turning point which marks a change for the better or the worse in the protagonist affairs if the stories comedy, thing will gone badly for the protagonist up to this point; now the tide, so to speak, will turn and things will begin to go well for him or for her. If the story is tragedy, the opposite state of affairs will transpire, with things going from good to bad for the protagonist,
“Another elements of the plot is the climax, the climax of the story is when the conflict of the plot is resolved The high point in the story – the turning point where the conflict comes to a head and decided for one side or the other – usually the most exiting point in the story” 15
Climax – the decisive moment in a drama, the climax is the turning point of the play to which the rising action leads. This is the crucial part of the drama, the part which determines the outcome the conflict.
15
2.1.4 Falling action
“After the climax, the story tapers off in a falling action; the subsequence events, including a resolution”16 during the falling action, the conflict between the protagonist and the antagonists unravels, with the protagonists winning or losing against the antagonist, the falling action may contain a moment of final suspense, during which the final outcome of the conflict is in doubt “Events that happen after the climax – usually wrap up the story and lead to the conclusion- sometimes the falling action is almost non-existent because the conclusion occurs immediately after the climax, The falling action is the series of events which take place after the climax. The falling action of a drama leads to the conclusion it is the part of the story, usually found in tragedies and short stories, following the climax and showing the effects of the climax usually found in tragedies and short stories, following the climax and showing the effect of the climax” 17
2.1.5 Resolution
“The final section of the plot is its resolution; it records the outcome of the conflicts and establishes some new equilibrium or stability
16
http://en.Wikipedia.org/wiki/falling_action
17
(however tentative and momentary) The resolution is also referred to as summary of what happened after the complication has been resolved. The contemporary short story writer need make no more explanations in his endings than in beginnings, still he must avoid being obscure. The freedom of the modern short story writer from the need to be explicit or obvious was hard. For the end of a story, Meredith and Fitzgerald propose only one requirement; it means the solution to the complication must be satisfactory and believable to the reader”19
“In a short story, the plot of a modern short story may interest or involve or even fascinate the reader. Any action in a story, whether it is in a short story or in a novel, must be justified by its contribution to the whole no
distinguishes a short story from a sketch. The fact of character – moved – by – action does equal what happens in the story, and what happens does.
CHAPTER 3
PLOT ANALYSIS OF
IS HE LIVING OR IS HE DEAD?
3.1 The Synopsis of the Short Story
Is he living or is he dead?, opened by an old man shouted to a boy that means to take in every detail of the other man outside the hotel, he is someone that the old man really knows when they are still young and spent their time together in the past. It was a long time ago he was a young artist in French that was presently joined by a couple of young Frenchmen around 1892 who were at the same kind of thing that he (the old man) was doing.
And then in the Breton village they met an artist as poor as ourselves and took and saved Claude Frere, Carl Boulanger and Smith from starving, he is Francois Millet. For a little two years they were spending their hard time to be a famous artist, until one time one of them, Carl had the idea that one of Carl’s friend including himself must die, to save the others, it didn’t mean that one of them must die in true life. So they just pretended. Carl believed that the merit of every great unknown and neglected artist must and will be recognized and his pictures climb to high prices after his death.
was selling his picture with a high price, during a few month they were rich, and make a plan that they must celebrate this but Francois Millet was lost contact with them. And that time when the old man recognized the man in front of the hotel was Francois Millet.
3.2 Analysis of Plot
3.2.1 Exposition
Exposition is the first part which situation of character is explained, it leads up to the further development of the plot. In exposition, the background information is needed to provide information of the whole story.
The author analyzes that the exposition take place when Smith took a look at the man who walked away from the lobby. He recognized him as his old friend. He also told his friend who’s having breakfast with him that morning. Smith’s friend knew that man, and told Smith that the man was in the hotel earlier than him.
Smith also told his friend about his past life with that man, and his friend was very surprised to hear that.
one of these. Partially to disguise him I will call him Smith. One retired, and very rich silk manufacturer from Lyons, they say, and I guess he is alone in the world, for he always looks sad and dreamy, and doesn't talk with anybody. His name is Theophile Magnan. 'A long time ago I was a young artist--a very young artist, in fact--and I wfact--andered about the country parts of France, sketching here and sketching there, and was presently joined by a couple of darling young Frenchmen who were at the same kind of thing that I was doing. We were as happy as we were poor, or as poor as we were happy--phrase it to suit yourself. Claude Frere and Carl Boulanger--these are the names of those boys; dear, dear fellows, and the sunniest spirits that ever laughed at poverty and had a noble good time in all weathers.
'At last we ran hard aground in a Breton village, and an artist as poor as ourselves took us in and literally saved us from starving--Francois Millet-- (p.1)
exposition because exposition always explains about the character and setting of the story and it showed in beginning. The reason why the writer chose this part as the exposition is because in the dialogue showed the introduction of character and setting of the story. For the character showed when the author tried to introduces some painters in the story by telling their name first but didn’t explain about their characteristic. And setting showed when the author open the story by explain to the reader where they are at that time.
'A long time ago I was a young artist--a very young artist, in fact--and I wfact--andered about the country parts of France, sketching here and sketching there, and was presently joined by a couple of darling young Frenchmen who were at the same kind of thing that I was doing. We were as happy as we were poor, or as poor as we were happy--phrase it to suit yourself. Claude Frere and Carl Boulanger--these are the names of those boys; dear, dear fellows, and the sunniest spirits that ever laughed at poverty and had a noble good time in all weathers.
'At last we ran hard aground in a Breton village, and an artist as poor as ourselves took us in and literally saved us from starving.
'Quick! Cast your eye on the man going out at the door. Take in every detail of him.'
'Why?'
'Do you know who he is?'
For the next part is about the character of Theophile Magnan who took the setting in the lobby hotel, when Francois Millet and his friend had their second breakfast in the lobby Hotel, Des Anglais, suddenly he recognized him (the man who walked away from the lobby) as his old friend. he still thinking and tried to remember who is he, is he the man the he realize as his old friend or not, That morning Smith sitting having breakfast with his friend and he told his friend about what is he thinking about, fortunately Smith’s friend knew that old man, even thought not so well, Smith’s friend told him (Smith) that the man was here (in the hotel) earlier than him (Smith), he knew him as a rich manufacturer that comes from Lyons. This is the part of exposition also because in this part still explain about character and setting which’s concluding in definition of exposition. this part is also explain about one of the character of Francois Millet and his other old friend named Theophile Magnan, but in this part the author tried to showed the characteristic of Theophile Magnan but showing a little his personal attitude that never talk to another person if there’s no something important.
3.2.2 Rising Action
thinking about, he wanted one of his friend pretended to die, because the experience from another painter said that if the painter had died, his picture will cost high, so they also made a plan that one of them must pretend to die, but before that he must enlarge his paint stock all he can and they will sell the paint with a high price ,they have a targets in fifty days, All of the paints must be done. So at that time the rest of them will be busy supported the moribund preparations for the coming event. The event they made as a dead day of Francois Millet. and people whole over the world waiting to watch the funeral.
'"Now, I have a perfectly serious thing to propose. I think it is the only way to keep us out of the almshouse, and I believe it to be a perfectly sure way. I base this opinion upon certain multitudinous and long-established facts in human history. I believe my project will make us all rich."
'"Rich! You've lost your mind." '"No, I haven't."
'"Yes, you have--you've lost your mind. What do you call rich?" '"A hundred thousand francs apiece."
'"He has lost his mind. I knew it."
'"Yes, he has. Carl, privation has been too much for you, and--" '"Carl, you want to take a pill and get right to bed."
'"Bandage him first--bandage his head and then--"
'"Shut up!" said Millet, with ostensible severity, "and let the boy have his say. Now, then--come out with your project, Carl. What is it?"
'"Well, then, by way of preamble I will ask you to note this fact in human history: that the merit of many a great artist has never been acknowledged until after he was starved and dead. This has happened so often that I make bold to found a law upon it. This law: that the merit of every great unknown and neglected artist must and will be recognized and his pictures climb to high prices after his death. My project is this: we must cast lots--one of us must die."
'"Yes, one of us must die, to save the others--and himself. We will cast lots. The one chosen shall be illustrious, all of us shall be rich. Hold still, now--hold still; don't interrupt--I tell you I know what I am talking about. Here is the idea. During the next three months the one who is to die shall paint with all his might, enlarge his stock all he can--not pictures, no! skeleton sketches, studies, parts of studies, fragments of studies, a dozen dabs of the brush on each--meaningless, of course, but his, with his cipher on them; turn out fifty a day, each to contain some peculiarity or mannerism easily detectable as his--they're the things that sell, you know, and are collected at fabulous prices for the world's museums, after the great man is gone; we'll have a ton of them ready--a ton! And all that time the rest of us will be busy supporting the moribund, and working Paris and the dealers--preparations for the coming event, you know; and when everything is hot and just right, we'll spring the death on them and have the notorious funeral. You get the idea?"(p.5)
never been known after he was starved and dead. So one of them must pretend to die, but before it, during the next three month, the one who selected to die will paint with all his mighty, after that they sell the paint with cheap price and for a several times they will publish to the people that the painter had gone. This part called rising action because this is one of the moments that will be arising.
'"Yes, one of us must die, to save the others--and him. We will cast lots. The one chosen shall be illustrious; all of us shall be rich.
Hold still, now--hold still; Don’t interrupt—
I tell you I know what I am talking about. Here is the idea. During the next three months the one who is to die shall paint with all his might, enlarge his stock all he can--not pictures, no! skeleton sketches, studies, parts of studies, fragments of studies, a dozen dabs of the brush on each--meaningless, of course, but his, with his cipher on them; turn out fifty a day, each to contain some peculiarity or mannerism easily detectable as his--they're the things that sell, you know, and are collected at fabulous prices for the world's museums, after the great man is gone; we'll have a ton of them ready--a ton! And all that time the rest of us will be busy supporting the moribund, and working Paris and the dealers--preparations for the coming event, you know; and when everything is hot and just right, we'll spring the death on them and have the notorious funeral. You get the idea?(p. 6)
not good idea. At first they don’t agree with him. Carl’s explained that during these three months, someone who will be selected to die must paint many picture, so when the time is coming they had ready to sell the entire picture.
'"Now, I have a perfectly serious thing to propose. I think it is the only way to keep us out of the almshouse, and I believe it to be a perfectly sure way. I base this opinion upon certain multitudinous and long-established facts in human history. I believe my project will make us all rich."
'"Rich! You've lost your mind." '"No, I haven't."
'"Yes, you have--you've lost your mind. What do you call rich?" '"A hundred thousand francs a piece."
'"He has lost his mind. I knew it."
'"Yes, he has. Carl, privation has been too much for you, and--" '"Carl, you want to take a pill and get right to bed."
'"Bandage him first--bandage his head, and then--"
'"No, bandage his heels; his brains have been settling for weeks--I've noticed it."
'"Shut up!" said Millet, with ostensible severity, "and let the boy have his say. Now, then--come out with your project, Carl. What is it?"
After through long discussions, all of the painters can accept Carl’s idea, even they know it has a big risk if they failed but they still through this. Carl wants during those 3 months. one of them who will be selected to die, should paint with all of his mighty to enlarge his stock all he can and it was not just the picture, but skeleton sketch, studies, parts of studies and fragments of study, it is because Carl want everything is going smooth so they didn’t meet any problem in the middle of the idea. A dozen dabs of the brush on each-meaningless, and their targets have to turn out 50 a day and a fabulous price for the world’s museums, so they already had a stock when the great man is gone. Carl got serious with his plan, and believes in his self that it will make them rich; one of them shouted the words that they are not sure with him. This is also part of rising action because the plans that will be the problem move one step to the climax of the story.
3.2.3 Crisis
“Now, it will surprise you to know what an easy and comfortable thing we had. I walked two days before I began business. Then I began to sketch a villa in the outskirts of a big town—because I saw the proprietor standing on an upper veranda. He came down to look on—I thought he would. I worked swiftly, intending to keep him interested. Occasionally he fired off a little ejaculation of approbation, and by-and-by he spoke up with enthusiasm, and said I was a master!
‘I put down my brush, reached into my satchel, fetched out Millet, and pointed to the cipher in the corner. I said, proudly:
”I suppose you recognize that? Well, he taught me! I should think I ought to know my trade!”
‘The man looked guiltily embarrassed, and was silent. I said sorrowfully:
”You don’t mean to intimate that you don’t know the cipher of Francois Millet!”
‘Of course he didn’t know that cipher; but he was the grate fullest man you ever saw, just the same, for being let out of an uncomfortable place on such easy terms. He said:
”No! Why, it is Millet’s, sure enough! I don’t know what I could have been thinking of. Of course I recognize it now.”
‘Next, he wanted to buy it; but I said that although I wasn’t rich I wasn’t that poor. However, at last, I let him have it for eight picture of that man’s house and I wanted to offer it to him for ten francs, but that wouldn’t answer, seeing I was the pupil of such a master, so I sold it to him for a hundred. I sent the eight hundred francs straight to Millet from that town and struck out again next day.
‘But I didn’t walk—no. I rode. I have ridden ever since. I sold one picture every day, and never tried to sell two. I always said to my customer:
‘”I am a fool to sell a picture of Francois Millet’s at all, for that man is not going to live three months, and when he dies his pictures can’t be had for love or money.”
‘I took care to spread that little fact as far as I could, and prepare the world for the event.
before giving it up for some other. It succeeded with all of us. I walked only two days, Claude walked two—both of afraid to make Millet celebrated too close to home—but Carl walked only half a day, the bright, conscienceless rascal, and after that he traveled like a duke. Now, it will surprise you to know what an easy and comfortable thing we had. I walked two days before I began business. Then I began to sketch a villa in the outskirts of a big town.” (p 8)
also the process in the climax, Carl’s journey to sell Millet’s picture and met someone who interested of the picture.
I saw the proprietor standing on an upper veranda. He came down to look on—I thought he would. I worked swiftly, intending to keep him interested. Occasionally he fired off a little ejaculation of approbation, and by-and-by he spoke up with enthusiasm, and said I was a master!
‘I put down my brush, reached into my satchel, fetched out Millet, and pointed to the cipher in the corner. I said, proudly:
‘”I suppose you recognize that? Well, he taught me! I should think I ought to know my trade!”
‘The man looked guiltily embarrassed, and was silent. I said sorrowfully:
‘”You don’t mean to intimate that you don’t know the cipher of Francois Millet!”
‘Of course he didn’t know that cipher; but he was the grate fullest man you ever saw, just the same, for being let out of an uncomfortable place on such easy terms. He said:
‘”No! Why, it is Millet’s, sure enough! I don’t know what I could have been thinking of. Of course I recognize it now.”(p. 8)
‘Next, he wanted to buy it; but I said that although I wasn’t rich I wasn’t that poor. However, at last, I let him have it for eight hundred francs.’
‘Eight hundred!’
‘Yes. Millet would have sold it for a pork chop. Yes, I got eight hundred francs for that little thing. I wish I could get it back for eighty thousand. But that time’s gone by. I made a very nice picture of that man’s house and I wanted to offer it to him for ten francs, but that wouldn’t answer, seeing I was the pupil of such a master, so I sold it to him for a hundred. I sent the eight hundred francs straight to Millet from that town and struck out again next day.(p.8)
The climax also in the part when the old man bought the picture even thought he didn’t thought he wasn’t a rich man but he also wasn’t that poor, however the painter let him to have it for eight hundred Francs. It made them shocked because it was just a little thing for them that shouldn’t be so expensive, after some while, the painter made very nice picture of that old man and asked him for ten francs. But he (the old man) didn’t want to buy it, so the painter sold it for him for a hundred. And he continues his journey for the next day.
3.2.4 Falling Action
“’Every now and then we got in with a country editor and started an item around through the press; not an item announcing that a new painter had been discovered, but an item which let on that everybody knew Francois Millet; not an item praising him in any way, but merely a word concerning the present condition of the “master”—sometimes hopeful, sometimes despondent, but always tinged with fears for the worst. We always marked these paragraphs, and sent the papers to all the people who had bought pictures of us.
‘Carl was soon in Paris and he worked things with a high hand. He made friends with the correspondents, and got Millet’s condition reported to England and all over the continent, and America, and everywhere.” (p 9)
The writer take this part as The falling action because the problem going down and they didn’t find any difficulties to sell the picture, because they already have the relation with the people who already knows who is Millet. Because they all had finish their targets that are finishing the paint. And it doesn’t mean to praise him but it just to present him, sometimes they felt hopeful and loss of hope, feeling afraid someone will uncover their drama, but always with fears for the worst could happen. After sometimes Carl was in Paris and do his job, he make a friend with the correspondents, it means that he want to share Francois’s conditions to be reported in England and all over the world.
“'At the end of six weeks from the start, we three met in Paris and called a halt, and stopped sending back to Millet for additional pictures. The boom was so high, and everything so ripe, that we saw that it would be a mistake not to strike now, right away, without waiting any longer. So we wrote Millet to go to bed and begin to waste away pretty fast, for we should like him to die in ten days if he could get ready.
"Angelus" for twenty-two hundred francs. How we did glorify him! --not foreseeing that a day was coming by-and-by when France would struggle to own it and a stranger would capture it for five hundred and fifty thousand, cash.(p. 10)
Here it comes the last day of six week from them start the plan. They met in Paris and asked Carl to stop sending Millet’s picture, because the selling of the pictures was so high, so soon they told Millet to die in ten days if he could ready. The arrangement of their drama would end in ten days so the real trouble that maybe they will face will coming soon to them.
They finally got Carl had mad the last sale and the most brilliant picture; he named it Angelous means angel it cost twenty-two hundred francs. Even there was someone ever asked the picture for five hundred and fifty thousand, cash, but he didn’t give it. They were very happy for their hard work.
3.2.5 Resolution
This is the end of the story which they succeeded with Carl’s idea, when the story get the normality activities for the character and the conflict also resolved they sold all the paint with a high price, they also to each other about their experience.
'You remember that great funeral, and what a stir it made all over the globe, and how the illustrious of two worlds came to attend it and testify their sorrow. We four--still inseparable--carried the coffin, and would allow none to help. And we were right about that, because it hadn't anything in it but a wax figure and any other coffin-bearers would have found fault with the weight. Yes, we same old four, who had lovingly shared privation together in the old hard times now gone for ever, carried the cof--'
'Which four?'
'We four--for Millet helped to carry his own coffin. In disguise, you know. Disguised as a relative--distant relative.'
'Astonishing!'
'But true just the same. Well, you remember how the pictures went up. Money? We didn't know what to do with it. There's a man in Paris to-day who owns seventy Millet pictures. He paid us two million francs for them. And as for the bushels of sketches and studies which Millet shoveled out during the six weeks that we were on the road, well, it would astonish you to know the figure we sell them at nowadays--that is, when we consent to let one go!'
'It is a wonderful history, perfectly wonderful!' 'Yes--it amounts to that.'
'Whatever became of Millet?' 'Can you keep a secret?' 'I can.'
'Do you remember the man I called your attention to in the dining room to-day? That was Francois Millet.'
'Great--' Scott! Yes. For once they didn't starve a genius to death and then put into other pockets the rewards he should have had himself. This song-bird was not allowed to pipe out its heart unheard and then be paid with the cold pomp of a big funeral. We looked out for that.'” (p 10)
.
when the funeral is successful everything’s done with perfect and so they had celebrate of the succeed Carl’s idea with supper champagne.
For the next day Claude and Smith went to see and nurse Millet for his last day and make them self look busy out of Millet’s house and send the news daily to Carl in Paris to announce the information about Millet. World was waiting for the information but finally the news about the death of the great painter announce that time to the public by the papers of several continents. This is the final their hard work to get rich.
CHAPTER 4
CONCLUSSION AND SUGGESTIONS
4.1 Conclusion
After analyzing the plot of is he living or is he dead, the writer concludes that this story has an unusual plot because, the unique way, the writer tries to make the reader imagine how the story goes, and also their dream to have a good living, become true by their own hard work. Although there was cheating on it but they are successes. And they are rich and famous painter also.
The plot of is he living or is he dead, Twain try to tell the reader about the education message that people could learn how to be a hard worker, have a good willing, Learn to be honest, to follow the own heart, and be a good man.
of the story during various problem arises . Climax, is the top part in the story, this is the crucial part of the story and the part which determines the outcome the conflictand falling action, shows the result of the climax when they spent the day with their idea get some troubles. Resolution, mean that the conflict resolved, it happened when they live with success because the idea. The classification shows flashback in this short story. In the beginning of the story, they are living apart with one other and the time when one of them met their old friends in the hotel makes him remind again what experience that he and his friends ever had. However, by the conclusion of story is he living or is he dead is the stories that telling us about the life about how to get a better live than before, try to wake up the poorness and to be the success one.the story of
is he living or is he dead is a drama fiction which has some personal value and also could be enjoyment for children. It can teach them how to live well and have self confidence in facing the future.
4.2 Suggestion
BIBLIOGRAPHY
J. Liloyd Hubenska, Garcia Reloy. The Design of Drama; an Introduction, USA: David McKay Company, Inc, 1973
James H. Pickering. Concise Companion to Literature, New York : Macmillan Publishing Co., Inc, 1981
John F. Genung, Introduction to Theme & Writing. Vol. 2 no. 7, Harvard University, 1893
L. James Colderwood and Harold E. Toliver, Form of Drama, New York : Pretince. Hall, Inc, 1969
Nicholas March. An Introduction to Literaty Studies, London : Routledge, 1999
Polking, K. Writing A to Z, Cincinati OH : (Writer's Digest Books, 1990)
Robert C. Roby and Barry Ulanov. Introduction to Drama, USA : Mc Graw – Hill Book Company, 1962
Stanton Robert. An Introduction to Fiction, New York : Hort Rinehart and Winston, Inc, 1965
X.J. Kennedy. Literature An Introduction to Fiction, Poetry and Drama, New York : Harper Collins Publisher, 1991
http://en.wikipedia.org/wiki/falling_action
http://en.wikipedia.org/wiki/File:Freytags_pyramid.svg http://litera1no4.tripod.com/plot_frame.html
http://www.learner.org/interactives/story/exposition.htm http://www.learner.org/interactives/story/resolution.html
Exposition
Is he living or is he dead?, opened by an old man shouted to a boy that means to take in every detail of the other man outside the hotel, he is someone that the old man really knows when they are still young and spent their time together in the past. It was a long time ago he was a young artist in French that was presently joined by a couple of young Frenchmen around 1892 who were at the same kind of thing that he (the old man) was doing.
And then in the Breton village they met an artist as poor as ourselves and took and saved Claude Frere, Carl Boulanger and Smith from starving, he is Francois Millet. For a little two years they were spending their hard time to be a famous artist, until one time one of them, Carl had the idea that one of Carl’s friend including him must die, to save the others, it didn’t mean that one of them must die in true life. So they just pretended. Carl believed that the merit of every great unknown and neglected artist must and will be recognized and his pictures climb to high prices after his death.
contact with them. And that time when the old man recognized the man in front of the hotel was Francois Millet.
Exposition is the first part which situation of character is explained, it leads up to the further development of the plot. In exposition, the background information is needed to provide information of the whole story.
The author analyzes that the exposition take place when Smith took a look at the man who walked away from the lobby. He recognized him as his old friend. He also told his friend who’s having breakfast with him that morning. Smith’s friend knew that man, and told Smith that the man was in the hotel earlier than him.
Smith also told his friend about his past life with that man, and his friend was very surprised to hear that.
day, in the Hotel des Anglais, at the second breakfast, he exclaimed:
'Quick! Cast your eye on the man going out at the door. Take in every detail of him.'
'Why?'
'Do you know who he is?'
'Yes. He spent several days here before you came. He is an old, retired, and very rich silk manufacturer from Lyons, they say, and I guess he is alone in the world, for he always looks sad and dreamy, and doesn't talk with anybody. His name is Theophile Magnan.
'At last we ran hard aground in a Breton village, and an artist as poor as ourselves took us in and literally saved us from starving--Francois Millet-- (p.1)
From the part of story above, the author introduces the character of Claude Frere, Carl Boulanger, Smith and Francois Millet and also tell about the setting or place showed in the beginning of the story. Smith is a young artist who wandered about the country over a France sketching here and there and he joined with a couple of man who came from France who is also a painter and lives in poverty, they are Carl Boulanger and Claude Frere they are nomadic. They moved from one place to another place. And when they lived in the Breton village they met Francois MIillet. It called exposition because exposition always explains about the character and setting of the story and it showed in beginning. The reason why the writer chose this part as the exposition is because in the dialogue showed the introduction of character and setting of the story. For the character showed when the author tried to introduces some painters in the story by telling their name first but didn’t explain about their characteristic. And setting showed when the author open the story by explain to the reader where they are at that time.
darling young Frenchmen who were at the same kind of thing that I was doing. We were as happy as we were poor, or as poor as we were happy--phrase it to suit yourself. Claude Frere and Carl Boulanger--these are the names of those boys; dear, dear fellows, and the sunniest spirits that ever laughed at poverty and had a noble good time in all weathers.
'At last we ran hard aground in a Breton village, and an artist as poor as ourselves took us in and literally saved us from starving.
'Quick! Cast your eye on the man going out at the door. Take in every detail of him.'
'Why?'
'Do you know who he is?'
'Yes. He spent several days here before you came. He is an old, retired, and very rich silk manufacturer from Lyons, they say, and I guess he is alone in the world, for he always looks sad and dreamy, and doesn't talk with anybody. His name is Theophile Magnan.(p. 2)
friend. he still thinking and tried to remember who is he, is he the man the he realize as his old friend or not, That morning Smith sitting having breakfast with his friend and he told his friend about what is he thinking about, fortunately Smith’s friend knew that old man, even thought not so well, Smith’s friend told him (Smith) that the man was here (in the hotel) earlier than him (Smith), he knew him as a rich manufacturer that comes from Lyons. This is the part of exposition also because in this part still explain about character and setting which’s concluding in definition of exposition. this part is also explain about one of the character of Francois Millet and his other old friend named Theophile Magnan.
Rising Action
be busy supported the moribund preparations for the coming event. The event they made as a dead day of Francois Millet. And people whole over the world waiting to watch the funeral.
'"Well, then, by way of preamble I will ask you to note this fact in human history: that the merit of many a great artist has never been acknowledged until after he was starved and dead. This has happened so often that I make bold to found a law upon it. This law: that the merit of every great unknown and neglected artist must and will be recognized and his pictures climb to high prices after his death. My project is this: we must cast lots--one of us must die."
great man is gone; we'll have a ton of them ready--a ton! And all that time the rest of us will be busy supporting the moribund, and working Paris and the dealers--preparations for the coming event, you know; and when everything is hot and just right, we'll spring the death on them and have the notorious funeral. You get the idea?"(p.5)
'"Yes, one of us must die, to save the others--and him. We will cast lots. The one chosen shall be illustrious; all of us shall be rich.
I tell you I know what I am talking about. Here is the idea. During the next three months the one who is to die shall paint with all his might, enlarge his stock all he can--not pictures, no! skeleton sketches, studies, parts of studies, fragments of studies, a dozen dabs of the brush on each--meaningless, of course, but his, with his cipher on them; turn out fifty a day, each to contain some peculiarity or mannerism easily detectable as his--they're the things that sell, you know, and are collected at fabulous prices for the world's museums, after the great man is gone; we'll have a ton of them ready--a ton! And all that time the rest of us will be busy supporting the moribund, and working Paris and the dealers--preparations for the coming event, you know; and when everything is hot and just right, we'll spring the death on them and have the notorious funeral. You get the idea?(p. 6)
during these three months, someone who will be selected to die must paint many picture, so when the time is coming they had ready to sell the entire picture.
'"Shut up!" said Millet, with ostensible severity, "and let the boy have his say. Now, then--come out with your project, Carl. What is it?"
'"Well, then, by way of preamble I will ask you to note this fact in human history: that the merit of many a great artist has never been acknowledged until after he was starved and dead. This has happened so often that I make bold to found a law upon it. This law: that the merit of every great unknown and neglected artist must and will be recognized and his pictures climb to high prices after his death. My project is this: we must cast lots--one of us must die."(p5)
and a fabulous price for the world’s museums, so they already had a stock when the great man is gone. Carl got serious with his plan, and believes in his self that it will make them rich; one of them shouted the words that they are not sure with him. This is also part of rising action because the plans that will be the problem move one step to the climax of the story.
Crisis
Climax is top part in story; this is the crucial part of the story, the part which determines the outcome the conflict. This part is the climax of the story, when they sell the paint to Franc, and get a little problem on trading but they did it. Carl also tried to make one old man who interest in his paint, those are Millet’s paint, firstly the old man is not sure about what Carl’s said but Carl did it and the old man trust him and bought one from him.
‘I put down my brush, reached into my satchel, fetched out Millet, and pointed to the cipher in the corner. I said, proudly:
”I suppose you recognize that? Well, he taught me! I should think I ought to know my trade!”
‘The man looked guiltily embarrassed, and was silent. I said sorrowfully:
”You don’t mean to intimate that you don’t know the cipher of Francois Millet!”
‘Of course he didn’t know that cipher; but he was the grate fullest man you ever saw, just the same, for being let out of an uncomfortable place on such easy terms. He said:
”No! Why, it is Millet’s, sure enough! I don’t know what I could have been thinking of. Of course I recognize it now.”
‘Next, he wanted to buy it; but I said that although I wasn’t rich I wasn’t that poor. However, at last, I let him have it for eight hundred francs.’
‘Eight hundred!’
francs, but that wouldn’t answer, seeing I was the pupil of such a master, so I sold it to him for a hundred. I sent the eight hundred francs straight to Millet from that town and struck out again next day.
‘But I didn’t walk—no. I rode. I have ridden ever since. I sold one picture every day, and never tried to sell two. I always said to my customer:
‘”I am a fool to sell a picture of Francois Millet’s at all, for that man is not going to live three months, and when he dies his pictures can’t be had for love or money.”
‘I took care to spread that little fact as far as I could, and prepare the world for the event.
This part was the climax of the story; it is the high point of the story, where culminations of events create the peak of the conflict. The author tried to show the problem in this short story by showing the struggle of their life to sell the picture and make sure the buyer to buy it with a high price. This is very the difficult moment because it is not easy to make sure someone that don’t know who is Francois Millet is. so here is the time when they were gone abroad over Franc to sell the picture. They find so many troubles on the way to sell the picture out of France. Each of them brought a dozen of Millet’s pictures to sell. Smith walked 2 days before he began the business, firstly he sketched a villa in the outskirts of a big town, he worked swiftly, intending to keep the man who stood on upper the veranda interested on him, and finally the man came down to look on, he spoke with enthusiasm and said that he was a master. and the painter put down his brush and reached into his satchel, fetched out Millet, and point to the chipper in the corner, the painter tried to made the man trusted him and recognized what the painter ought to know his trade to the man, and it made the man looked guilty embarrassed and silent. This is also the process in the climax, Carl’s journey to sell Millet’s picture and met someone who interested of the picture.
approbation, and by-and-by he spoke up with enthusiasm, and said I was a master!
‘I put down my brush, reached into my satchel, fetched out Millet, and pointed to the cipher in the corner. I said, proudly:
‘”I suppose you recognize that? Well, he taught me! I should think I ought to know my trade!”
‘The man looked guiltily embarrassed, and was silent. I said sorrowfully:
‘”You don’t mean to intimate that you don’t know the cipher of Francois Millet!” (p. 8)
‘Next, he wanted to buy it; but I said that although I wasn’t rich I wasn’t that poor. However, at last, I let him have it for eight hundred francs.’
‘Eight hundred!’
‘Yes. Millet would have sold it for a pork chop. Yes, I got eight hundred francs for that little thing. I wish I could get it back for eighty thousand. But that time’s gone by. I made a very nice picture of that man’s house and I wanted to offer it to him for ten francs, but that wouldn’t answer, seeing I was the pupil of such a master, so I sold it to him for a hundred. I sent the eight hundred francs straight to Millet from that town and struck out again next day.(p.8)
Falling Action
Falling action means the conflict between the protagonist and the antagonist unravels, or also the part of a story following the climax this part of a story shows the result of the climax. Falling actions also contains a moment of final suspense, usually wrapped up the story and lead to the conclusions.
“’Every now and then we got in with a country editor and started an item around through the press; not an item announcing that a new painter had been discovered, but an item which let on that everybody knew Francois Millet; not an item praising him in any way, but merely a word concerning the present condition of the “master”—sometimes hopeful, sometimes despondent, but always tinged with fears for the worst. We always marked these paragraphs, and sent the papers to all the people who had bought”(p 9)
