ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
YOGYAKARTAzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA 2 0 1 3
By
BAGAS SULARSONO ADI
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra
in English Letters
AN UNDERGRADUATE THESIS
IDENTIFYING THE CHARACTERlSTICS AND CAUSES OF MISOGYNY
THROUGH THE MAIN CHARACTER
IN AUGUST STRlNGBERG'S 114155
JULIE
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAENGLISH LETTERS STUDY PROGRAMME
DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY
YOGYAKARTA
2013Student Number: 084214003
By
BAGAS SULARSONO ADI
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra
in English Letters
AN UNDERGRADUATE THESIS
IDENTIFYING THE CHARACTERISTICS AND CAUSES OF MISOGYNY THROUGH THE MAIN CHAR<\.CTER
n
January 7,2013 Harris Hemlansyah Setiajid ,M.Hum.
Co-Advisor
December 3,2012 Approved by
Student Number: 084214003
SAGAS SULARSONO ADI
By
IDENTIFYL'fG THE CHARACTERISTICS
AND CAUSES OF
IHISOGYNY THROUGH THE MAIN CHARACTER
iii
Chairman
: Dr. F.X. Siswad .
i.
!..!M~'!.2A~.
---:
__.JI.~::;s;;;;;:-:-:__",,~-Secretary
: Dra. Sri Mulyanl M.A., Ph.D.
Member
1 . :Elisa Dwi Wardani S.S., M.Hum.
Member 2.
:
Hams
Hermansyah Setiajid S.S., M.Hum.
Member
:
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBADewiWidyastuti S.Pd., M.Hurn.
Name
BOARD OF EXAMINERS
And Declared Acceptable
On January 25,2013
Defended before the Board of Examiners
Student Number: 084214003
BAGAS SULARSONO ADI
By
IDENTlFYh'l"G THE CHARETERlSTICS
AND CAUSES OF MISOGYNY
THROUGH THE MAIN CHARACTER'S
CHARACTERIZATION
iv
(Samuel. Beckett)
Where
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAI
ant,
I
don't know,
I'II.
never know,
in the silence you don't know,
you must
go on,
v
:for
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAT fie
(j{ory
Of
vi
Bagas Sularasono Adi. .:-=-S :: ~ Aould like to express my gratitude to God for his unwavenng
guidance. ::J:n::n.i::.ating the light onto my path in completing my journey. The
revelation of discoveries that I made in this thesis, in return, hereby I dedicate to
the glory of God alone. For
1
am one of his many creations and thus seekdependence and refuge beneath the warmth of his grace and love, Itruly cannot accomplish this goal, even just slightly. Therefore no words, sighs, thoughts, and
gestures go by without the watchful eye of his might. This is by no means a
pompous exaggeration or giving an impression that God is over-glorified but then
again for one such as myself whose existance and purpose in
lite
is firmlyentrenched within his wisdom and knowledge, one simply does not ru n out of
words in giving appraisal to because it is simply inexhaustable. Once again, his
influence on me is definitely ahsolute for I simply cannot say enough and
moreover, I could go on forever on how much gratitude 1 would thank him.
Secondly, I would like to thank my advisor Dewi W idyastuti for also her
equally unwavering support. W ith her typically acute perfectionism and rigorous
eye for even the smallest detail, the thesis underwent several tough processes and
revisions, changing and upgrading the format as well as the content, but in the end
thiszyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
is
all for the pursuit of substance and originality which is obviously important. For this reason, her influence on me and the thesis is also absolute andv ii
084214003 Bagas Sularsono A di Y ogyakarta, 17 January 2013
The W riter, references, as a scientific paper should.
parts of the w ork of other people, except those cited in the quotations and the I honestly declare that this thesis, w hich I have w ritten, does not contain the w ork or
v iii (Bagas Sularsono Adi)
Yang menyaiakan,
I'ada tanggal: 17 Januari 2013 Dibuat di Yogyakarta
Demikian pemyataan ini yang saya buat dengan sebcnarnya.
beserta perangkat yang diperlukan (bila ada). Dengan dernikian saya mernberikan kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam benruk pangkalan data, mendistribusikan secara terbatas, dan mernpublikasikannya di internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagain penulis.
IDENTIFYING THE CHARACTERISTICS AND CAUSES OF MISOGYNY
THROUGH THE MAIN CHARACTER
IN AUGUST STRINGBERG'SzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
MISS JULIE
Dengan pengembangan ilmu pengetahuan, saya mernberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul:
Nomor Mahasiswa : 084214003
: Bagas Sularsono Adi Nama
Yang betanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma:
PUBLlKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS
ix
BIBLIOGRAPHY...
50
CHAPTER V: CONCLUSION...
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA48CHAPTER IV: ANALYSIS
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAn
A. The Characteristics of Jean
28
B .The Characteristics of Jean's Misogyny
37
C. The Cause of Jean's Misogyny
43
CHAPTER III: METHODOLOGY
,.. 22
A .
Object of the Study...
22
B .
Approach of the Study...
23
C. Method of the Study...
25
CHAPTER II: THEORETICAL
REVIEW...
5
A. Review of Related Studies...
5
B. Review of Related Theories...
8
1.
Theory of Character and Characterization
,. . ..
82. Theory of Misogyny.
14
C. Theoretical Framework...
...
.. . .
. ..
.
..
.. .. .. .
18
CHAPTER I: INTRODUCTION
.
A. Background of the Study
.
B. Problem Formulation
2
C. Objectives of the Study...
3
D. Definitions of Terms
3
TITLE PAGE
..
APPROVAL PAGE
iiACCEPTANCE PAGE
111MOTTO PAGE...
IVDEDICATIONPAGE
VACKNOWLEDGEMENTS...
VISTATEMENT OF WORK'S ORIGINALITY
VllLEMBAR PERNYATAAN PERSETUJUAN PUBLlKASI
viii
TABLE OF CONTENTS
'"
'"
IXABSTRACT
Xlx
A PPEN D ICES . . . . .. . .. . .. . . . . . .. . . ..zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA51
A ppendix 1 51
xi
Miss Julie is a dramatic play written by August Strindberg, a Swedish playwright, in 1888. The version of the play that the writer used is the re-released version published in
1992.
The writer intends to discuss Miss Julie because it simultaneously portrays, famously and infamously, the taboo-natured issue of misogyny and its embedment into the main character. Moreover, the embedment is revelatory because it exposes a profound knowledge about the main character's inner world and how other elements playa crucial role in shaping this issue.The analysis in this thesis is based on three objectives. First is to know how the main character, Jean, is characterized, second is to know how the characteristics of misogyny is revealed through his characterization, and the third is to know, stemming from his characterization again of course, what is the cause of him being a misogynist.
In answering the problems and collecting the information, the primary sources were the play itself and some supporting books as well as articles. Therefore, the
method used was the library research method. The writer also used intemet research to gain some additional information about the play.
The writer finds three answers to the problems. In the beginning, the writer finds that Jean is submissive, ambitious, and malicious. Then, the writer takes the third characteristic and, as a start, rationalized it based on the definition of misogyny. After finding the answer, the writer proceeds by finding the suitable quotations, still from that same characteristic because it is by now proven that malicious and misogynist are in fact interchangeable, to provide evidence and support for the characteristics of a misogynist. As it turns out, the chosen quotations reveal the intended characteristics and thus the first half on Jean's nature. Lastly, by means of referring back to the three characteristics that define him, the writer finds out that class - of which he belongs to the lower domain - apart from ideology and
psychology are the causes of him being a misogynist. Moreover, the other two
characteristics, submissive and ambitious, arc also rooted in the same cause, so this strengthens the argument because it provides further evidence - that class affects characteristics other than misogyny. In the last putt of the thesis, the writer concludes that Jean's misogynist persona is identified through several characteristics and is caused by ideology, class, and psychology.
xii
Miss Julie adalah sebuah karya drama yang ditulis oleh August Strindberg, seorang pengarang berdarah Swedia, di tahun 1888. Versi drama yang digunakan oleh penulis adalah versi yang diterbitkan ulang pada tahun 1992. Penulis in gin membahas Miss Julie karena drama ini menggambarkan secara bersamaan, dari sisi positif maupun negatif, isu yang dianggap sangat tabu yaitu misogini dan bagaimana elemen ini hidup dalarn karakter utama. Terlebih lagi, karakteristik ini sangat bennakna karena itu menunjukkan pengetahuan yang unik tentang dunia dalam karakter itu dan bagaimana elemen lain mempengaruhi pembentukan isu itu.
Analis dalam skripsi ini didasari oleh tiga obyektif. Pertama adalah untuk mengetahui bagaimana tokoh utama, Jean, digambarkan; kedua adalah mengetahui karakteristik seorang misogini melalui gambaran tersebut; dan yang ketiga adalah untuk mengetahui penyebab timbulnya miscgini rnelalui, sekali lagi, gambaran karakter.
Surnber data primer yang digunakan oleh penulis dalam menjawab rumusan-rumusan masalah di atas dan dalarn pengumpulan infonnasi-informasi terkait adalah drama itu sendiri dan beberapa buku sekaligus artikel acuan yang rnendukung. Oleh karena itu, metode yang digunakan penulis dalam penyusunan tesis ini adalah metode kepustakaan. Penulis juga menggunakan beberapa sumber dari internet dalam mcncari informasi-informasi tambahanmengenai drama tersebut.
Penulis telah menemukan tiga jawaban yang berhubungan dengan rumusan-rumusan masalah tersebut. Penulis mengetahui bahwa Jean memiliki tiga karakteristik, yaitu penurut, ambisius, dan kejam. Setelah itu penulis mengkaji karakteristik yang ketiga dan, sebagai pennulaan, mengrasionalisasikan berdasarkan definisi misogini. Setelah menernukan jawabannya, penulis berJanjut dengan mencari kutipan, masih dari karakreristik yang sarna karena sekarang kejarn dan misogini faktanya adalah sama, untuk meneari bukti dan bantuan dengan karakteristik seorang misogini. Ternyata, kutipan yang dipilih menunjukkan karakteristik yang diperlukan
dan karcnn itu )H,giai awal alamnya Jean terbuktikan. Tcrukhir, dcngan eara
mengarahkan kembali riga karakteristik yang mcndefinisikan dia, penulis menemukan hahwa kelas - dimana dia tergolong eli tempat bawah - selain ideology and psikologi adalah penyebab utama dia menjadi misogini. Terlebih lagi, dua karakreristik yang lain, penurut dan ambisius, juga didasari dari penyebab yang sarna, jadi ini menguatkan argumen karena ini menyediakan bukti lagi bahwa kelas mempengaruhi karakteristik selain misogini. Pada bagian akhir dari tesis ini, penulis menarik kesimpulan bahwa persona misogini Jean dapat di identifikasian melalui beberapa karakteristik dan disebabkan oleh ideologi, kelas, dan psikologi.
BAGAS SULARSONO AD!. Identifying the Characteristics and Causes of Misogyny through the Main Character. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas Sanata Dharma, 2012.
1
attributes can be quite difficult to pin down his true nature because from the beginning right to the end of the story he displays a wide range of characteristics. So this is, on one part, an interesting challenge to take up with. On the other hand, the concept of misogyny is also equally interesting because of how this is imbedded
that the main character possesses. The constant progress and change of his personal A play is a form of art - classified as both literature and performing arts - that
IS written by a playwright. The basic composition of a play consists of scripted
dialogue for characters and its main purpose is to be performed as a theatre. Within the form of a play, there exist various genres with each possessing their own unique traits, starting from its basic structure and composition to its effect of the performance. One of the most famous genres in a play is tragedy. As a genre that Miss Julie belongs to, it is noted for its strong dramatic effect because it conveys all sorts of emotions. The common theme for this genre mostly revolves on death as this is intended to cause viewers to feel sadness. This kind of tone is reflected by either or both internal and external influences: it can portray a nebulous, subtle 'atmosphere' of the author's life or it can portray the cold reality in which the author is
undoubtedly a part of in which he desire to protest, uphold justice, and other morallyzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
noble
endeavors, or he wants show the dark side of humanity (Crane, 2004).The topic is put [011h as a study because of the rich and complex personality.' A. Background of the Study
CHAPTER I
zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA1. H ow is the m ain character characterized in the play?
2. H ow are the characteristics of m isogyny revealed through the m ain character's
characterization?
3. W hat is the cause of him being a m isogynist?
B . Pro ble m Fo rm ulatio n
w ithin the character. This m isogynic tendency is exhibited, m inoring the character's
com plex personality,zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAin very subtle w ay that, for exam ple, varies in intensity as the story progresses. Therefore, Jean and m isogyny are tw o entities that are w ell
connected to each other and using their relation as a topic for study is both interesting
and necessary.
The w orkzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAMiss Julie is suitable for the study of the topic because it provides
all the necessary inform ation to give analysis regarding the character Jean and his
m isogyny. W hen looking for Jean's characteristics, it is very obvious that the w ork
presents all of this inform ation w hen one exam ines the dialogues and overal1 plot. So
this is, on one part, a testam ent to the suitability of the w ork for the study of the topic.
The w ork is even m ore im portant for giving key inform ation about the concept of
m isogyny and its relation to that particular character. This inform ation is presented in
a quite sim ilar w ay to that of w hen one looks for Jean's traits, w hich are in the
dialogues and plot, am ong other intrinsic elem ents. Since this relation is pretty m uch
the objective of the study, the w ork therefore proved to be im portant for the study of
D .zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAD e finitio nzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAof T erm s
T he definition of term s that are going to be explained and dissected stem from
the w ords stated in the research title and the second problem form ulation. In this case
there are apparently only one single term that are going to be exposed for this section, characters characterization and identify the cause of his m isogyny.
C .O bjectives o f the S tudy
T he objectives of the study correspond to the three problem s m entioned on the
previous segm ent. T herefore its explanation of each m ust be based on the order of the
problem form ulation. T he first objective focuses on the characterization of the m ain
character. T his particular objective is designed to identify the characteristics that the
m ain character possesses. T o achieve this objective, one m ust look at the intrinsic
elem ents present in the play such as dialogues to be able to understand the idea of that
character. T he second objective takes up the m antle that the first left because it
explores sim ilar vision; it focuses on identifying the characteristics of m isogyny and
how itis revealed through that character's characterization. T his obj ective is designed to identify the characteristics of m isogyny w ithin the character's characterization and
it is basically one of the tw o m ain points of thesis. T o achieve this objective, one
m ust analyze the character's characterization and identify the characteristics of
m isogyny in that character. L astly, the second point as w ell as the third objective
focuses on cause of his m isogyny w hich, again, is identified through the character's
characterization. T his purpose of this objective is to identify cause of m isogyny
severe.
and decision-m aking are for the m ost part lim ited, m aking their lives difficult and position as they live under the dom ination of their m ale counterparts; rights to pow er m en. For long years, societies that adhere to this ideology have put w om en into unfair m isogyny against other w om en or even them selves, this is m ost usual to notice in The definition of m isogyny is the hatred of w om en. A lthough som e w om en practice
M isogyny is the hatred of w om en. Though m ost com m on in m en, m isogyny
also exists in and is practiced by w om en against other w om en or even
them selves. M isogyny functions as an ideology or belief system that has
accom panied patriarchal, or m ale-dom inated, societies for thousands of years
and continues to place w om en in subordinate positions w ith lim ited access to
pow er and decision-m aking (Flood, 2007: 44J).
Encyclopedia of M en and M asculinitiesas follow s.
prem ise of the thesis. This term is defined by M ichael Flood in his book international
s
iconoclastic German philosopher Nietzsche and to the French psychologist are all strong footing to the naturalist tradition. Ideas derived from Darwin, the eccentric and references to a diverse palette of intellectual disciplines, all the while keeping a conceptualized the characterization of the 111~0orcharacter, Miss Julie, by making
From the quotation above, we can see that the author, A111311sl Strindbcrg
Strindberg is anxious to reassure the reader that he had followed the naturalists' call for characters defined by the triple forces of heredity, environment, and the given moment. Allusions to a rich intellectual foundation - including Darwinist science on biological determinism; the philosophy of Nietzsche and his followers concerning the superiority of an intellectual aristocracy; French psychologists on the complexity and multiplicity of the personality - were meant to ensure the modernity and contemporary relevance of the play (Tornqvist and Jacobs, 1988: 11- I 9). he wants readers to believe that he belongs to that particular movement.
confines of the movement by adhering to conventions it permits. This is done because Being part of the naturalist movement, Strindberg attempts to create her within the synthesized them to make a forceful, convincing character that she is known for. are quite in contrast to each other but the author managed to pull them together, of the play touch upon several fields of studies like class, gender, and psychology that radical actions. These two elements of hers that can be observed within the dialogue upon various influences to make her into what she is famous for: unique outlook and
August Strindberg's concept when creating and realizing Miss Julie draw A. Review of Related Studies
of allusions to a diverse psychological studies that the author intentionally m ade. levels. The m ind battles that they fight contain, w hen one analyze carefully, a w ealth because they are endow ed w ith com plex interactions that are quite puzzling on m any Psychology is an integral elem ent of the play for both M iss Julie and Jean m irrors that
or
S triudberg am l Essen.can be clearly seen sim ply by analyzing both M iss Julie and Jean, w hose relationship noblew om an therefore is a clear influence on the play itself This particular influence and Strindberg him self. Being the son of a m aid, his relationship w ith the life connection betw een a noblew om en nam ed Siri von Essen (Strindbergs first w ife) form s the basic tem plate for this particular w ork of his. It is m entioned here the real The quotation above explains one of the episodes of the author'S life that eventually A s w ith Strindberg's other plays, subject of M iss Julie can be read against the
com plex background of the dram atist's life. A bove all, there is an apparent
parallel w ith the m isalliance betw een Siri von Essen, a noblew om an, and
Strindberg, the son of a serving m aid - one of his m ost enduring roles
(Szalczer, 2011: 77). w ays w ithin the play.
various incidents that took place during the author's life m anifest itself in discreet being one of his m any fam ed m asterpieces, is im bued by these personal details. The speculation that his life plays a huge role as an inspiration to his ow n art. M iss Julie, com plex and difficult life that Strindberg have been through, it is no longer m ere are, how ever, several subtle elem ents that one m ight consider it as such. D ue to the A lthough the play is not considered as an autobiography w ork per se, there relevance.
som etim es interrelated areas of studies w ith com plex subject m atter regarding each of This is because m isogyny is an all-encom passing entity; it touches num erous and psychology in particular, it still thread a path that is certainly individual and different. exploration m ade by the thesis are rooted in several ideas associated w ith the studies; divorced from the influences of those related studies because of the fact that the topic sets a different path of avenue to explore A lthough the thesis is not entirely This thesis is different from the tw o previous scholars because the choice of psychiatric literature during his day.
from the topic of psychology w ere considered as hot topics for discussion in his suggestion, hypnotism , and thought transference. The three of these ideas derived dram atic effect. To dissect even further, these ideas, to be precise, consist of m ental personalityzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAas these ideas, he incorporated them into the tw o characters for great from the innovations of m odem psychiatry. W ith m ultiplicity and com plexity of the It can be inferred, from the quotation above, that the author used ideas for his w ork
Strindberg took pride m his dram atization of the findings of m odem
psychiatry regarding the m ultiplicity and com plexity of the personality. In
his efforts to create m odem , internally tom , fragm ented characters, he
utilized ideas such as m ental suggestion, hypnotism , and thought
transference, w hich w ere vigorously discussed in his psychiatric literature of
his day (Szalczer, 2011: 80). relation to other ke y elem ents.
character is also a figure with inner qualities, which means that their existence is not definition of character is more than just a figure who merely exist in a literary work; a
fonn of either drama or narration. It should be noted however, that Abrams'
definition, character is a figure that exists in a work of literature which could be in the The quotation above reveals that the term "character". According to Abrams'
characters are the persons presented in a dramatic or narrative work, who are interpreted by the reader as being endowed with moral, dispositional, and emotional qualities that are expressed in what they say-the dialogue-and what they do-the action (Abrams, 1993:23).
character as well as a literary critic,zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAM .H. Abrams made a statement as follows. character there wouldn't be any product inthe first place. A theorist on the concept of
say for example, plot and setting. SozyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAit is safe to say that without the element of functions as a constitution to form a work of literature.
It
is as vitally important as, letprovides the answer for the first problem. Character is indeed an integral element that A theory on character is deemed necessary for this particular research because it 1. Theory of Character and Characterization
B. Review of Related Theories originali ty of the thesis.
element, this study explores a different, independent facet - hence this legitimizes the Julie's characterization, Strindberg's personal influence, and (modem) psychological researchers above. W hilst the previous studies explored ideas on the roots of Miss
misogyny with the form and content of the play is clearly different from the
The former defines itself simply through the actions that characters commit in the
story. By observing this throughout the entire duration of a play, one is able to
delineate the character's characteristics - his behavior, the differentiation of behavior
of one characterzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAto another in similar situation, his thoughts and motives exposed through his actions, and also the theme of a play in connection with the actions,
among countless others. It is the matter of asking oneself w h y a character does what
he does and the subsequent conclusion
or
the individualityor
that character (1984:40). M otivation, on the other hand, differs from action but at the S2111erelated because
through action the motivation of a character is revealed. Reaske identifies seven
motivations associated with a character often found in a play (1984: 41-42).
The very first, basic elements are about characters in action and motivation. acknowledged simply by their physical attribute but also their morality, disposition,
and emotion. These qualities, perhaps even more than what is considered as surface
appearance, define the essence of a character. He also mentioned that these are found
by observing the dialogue and action of a character.
Characterization, on the other hand, is quite different fro m the concept of
character in a way. Holman and Harmon inzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAA Handbook to Literature theorized that
characterization is the creation of imaginary persons so that they exist for the reader
as if they are in real life (1986: 81). Regarding the matter of identifying characteristic
of a character, specifically in a play, on the other hand, the book How To Analyze
Drama by Christopher Reaske mentioned· several important elements that are
required to understand the identification process (1984: 40-49).
iv, Religious feelings
The character occasionally does certain actions because he is motivated hy religious
faith.zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAH e acts as a result of deep feelings and convictions because he believes God directs him so. Additionally, this type of motivation is limited to the fact that he
acts as he thinks he is supposed to act.
In opposition to the hope for reward, the character does certain actions in a certain
way because he fears that he will fail if he does not. His actions are done so that it
will stall or prevent the occurrence of failure, which can be either literal or spiritual.
This motive sometimes manifests itself as the fear someone else' failure or the fear
of punishment because, considering the latter, he has been threatened with death or
torture if he does not obey as told.
1 . Hope for reward
The desire. often committed by a major character, to bring about happiness and
wealth to himself or to those whom he feels kinship. M ost if not all of his actions
are for the sake of this cause and he constantly work towards this goal.
11. Love
Similar to that of hope for reward, the character is motivated because of the love
that he has, the love that he desires, or the love that someone has for him. Although
it bears similarity to the first type of motive (hope for reward), the validity of love
as a motive is strong.
v. Revenge
This motivation is often indicated by the character's willingness to suffer or even lose his ownzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAlife if necessary, as long as he accomplishes his goal of murdering someone who has wronged him.
VI. Greed
This motive is within the category of hope for reward and it is unique motivation in
its own right. Examples of dramas that offer greed as a central motive are Jonson'szyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
Volpone and Shakespeare's The Merchant of Venice.
Vll. Jealousy
Related to both love and the fear of failure, jealousy is cne the most famous and strongest motives ever used in all genres of dramas. It
is
sometimes simply defined as human envy but other times as intense hatred - as one usually observes from most human relationships and thus receives an immense amount of attention in the plays by famous dramatist from Moliere to Ibsen, from Shaw to Yeats.straightforwardly; the character's actions throughout the entire duration arises from a
single, dominant personality trait (1984: 43).
Other remaining elements include caricature which is about character whose
characteristics are so outstanding that it is considered unbelievable. This character is
usually designated as a minor character because there is apparently no reason to fully
develop him whose role is small within a drama (1984: 43). Active and passive
characters are characters whose roles differ to great extent from one to another. The
former is often identified as those who is endowed with big roles in the play and
undergo dynamic changeszyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAas a result of the action. Conversely, as opposed to dynamic, the latter is portrayed as static which means they begin as well as end as the
kinds of characters (1984: 43-44).
Characters determining plot is about a character whose actions throughout the
entire play determine the trajectory of the plot. W hatever direction that the plot takes
completely rests in the hands of the characters (1984: 44). M eanwhile number of
characters simply refers to number of characters present in a play, both major and
minor characters and also their respective active/passive roles (1984: 44).
The rest of remaining elements include the basic character roles which are
about the role that a character is assigned to. This means a character is going to be
labeled as either The protagonist or the antagonist (19~4: 45). M oreover, character in
time refers to the explanation about a character's past life and at the same time, his
possible future so that he will have a personality, as opposed to an empty one. (1984:
45-46). To successfully implement the character's in time method, one must
and soliloquies, dialogue between characters, hidden narration, language, and
character in action (1984: 46-48). The appearance of the character simply refers to the
physical descriptions that define him/her as soon as that character steps onto the stage
and this is seen through their attire, age, height, etc (1984: 46). M eanwhile asides and
soliloquies referzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAto the dialogue that the character speaks by and to himself. Through this, one can see the various motives that he espouse to the audience which can be, in
general, either belongs in the domain of good or evil. M oreover what differentiate
asides and soliloquies are their duration: the former is usually a brief commentary and
therefore it is short while soliloquies are like speeches, thus it is longer (1984: 46).
Dialogue between characters also sheds light of implications into a character's
characterization because through that relationship one can understands another
different layer of his nature. An example of this would happen when there is a
conversation between a master and an underling: from this relationship alone, one is
able to derive certain information implied such as the use of language that separates
them may define particular trait. In addition,
if
there is a rather wide gap of differencebetween the kind of language used in soliloquies and the kind of language used when
conversing with others, thus one is presented with numerous implications (I984: 47).
Hidden narration, on the other hand, is about the characterization about a character
made hy another character 11is hidden in the sense that it is not directly stated hy the
playwright but functions as if a character describes another character. Thus one can
conceive information about the characterization not only from the latter but also the
former (1984: 47). Language refers to the kind of words and most importantly, the
portraying a character's personal attribute (1984: 47-48). Lastly, character in action is
about the how a progression of a play demands more involvement from a character,
thus it reveals more about his nature, e.g. his behavior, action and motive (1984: 48).
Lastly, character development and relationship to other characters are also
important elements because through these two medium allow one analyze and
understand a character" s characteristics. Through studying all of the events
chronologically, from beginning to the end, occurred within the play - dialogues and
actions alike - one can grasp how and why a character change or if they do not
change. In addition, a character's relationship to other characters, through similar
means to that of the previous element, bequeaths one with invaluable information.
His speeches and dialogues will show that whether his relationship to other characters
is that of an enemy slowly becomes a friend, or vice versa (1984: 48-49).zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
2 . The o ry o f M isogyny
The next theory focuses deeper on one of many aspects of Jean's
characterization: misogyny. This term, regardless of its simple definition, is actually
complicated on many levels because it touches upon diverse element of human
nature. Stretching from psychology, class, history, gender, literature, politic, to
biology, all of these different areas of intellectual studies contain element of
misogyny as an integralzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAm o d u le Although i1S complexity is daunting, the application of the term for the purpose of the thesis is in fact very bare in essence; simplicity is
the vehicle in understanding the nature of lean's misogyny. In his bookzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAMisogyny:
The Male Malady, David Gilmore theorized misogyny as follows.
because it bear proximate resemblance.
since not all symptoms accurately depict Jean's misogyny, only a selected few is used provides little, varied details and perspectives that constitute a misogynist, however, m if)o [? ,y n is l (1998) These symptoms depict specifically on the characteristics: each M ahanidhi Dasa identifies twenty six symptoms that might be associated with a
personality.
In
her article entitledzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAThe Twenty-six Characteristics0/
a Misogynist,which are depicted according to different aspects that constitute this kind of do such. These categories are analyses of real life experiences from actual misogynist
Identifying a person as a misogynist requires several categories to be able to effort, it is possible to continue using the theory in this simplified form.
constitutes the term is inseparable. Nevertheless, with this in mind and as a conscious t11es to define misogyny, the external influences, be it culture or society, which closely related to religion), or in other activity. In the end, no matter how simple one tangible actions that are echoed in cultural institutions, writings, rituals (possibly further. According to the theory, this kind of outlook, in society, takes form of viewed as an undifferentiated social category which emphasizes their inferiority hatred manifests itself, obviously, in social lives from different places and they are The definition of misogyny, based on the theory above, is the hatred of women. This M isogyny is an unreasonable fear or hatred of women that takes on some
palpable form in any given society. Itis a feeling of enmity toward the female
sex, a disgust or abhorrence toward women as an undifferentiated social
category. This sentiment finds social expression in the concrete behavior: in
1. He is hostile. aggressive, contem ptuous, or cruel to her.
The m isogynist is very cruel in tem peram ent to the victim , which takes form
physically and or psychologically (1998).
II. He has no rem orse or guilt for the pain he causes wom en.
The m isogy .nist is com pletely without conscience in the presence or reference of the
victim for the pain he caused (1998).
Ill. He feels powerful by subjugating wom en.
The m isogynist, by m eans of subjugating the victim , considers him self to be of
superior or higher authority (1998).
Only three of the characteristics m entioned above are considered as a handful
few because they are needed to identify the m isogynic traits within the m ain character
in the play. This is because there are few m isogynic traits in the character that are
explained usingzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAthis particular theory. The identification extracted from the character
is explained according to the elem ents that correspond to the theory because of the
depiction that the author m ade.
Exam ining the cause and origin of a m isogyny, or a m isogynist to m ake
m atter precise, is very inclusive because it touches upon num erous and diverse field
of studies. Each of these constitutes to the idea of m isogyny by offering analytical
perspective in accordance to their respective fields. Kate M illet, in her hook Sexu(l!
Politics, theorizes that there are eight fields of m isogyny's cause and origm :
ideological, biological, sociological, class, econom ic and educational, force,
111. Sociological
M ale's grant of near total power and control in a patriarchal-oriented fam ily system .
This m eans every decision about econom y or welfare for example is left in the
hands of the m an, leaving the wom en to subm it to his will. Legitim acy insists the
absolute influence of the m an; this m eans it decrees the status of both child and
m other ultim ately dependent upon the m ale (1969: 48-54). (1969: 43-48).
1. Ideological
Tem peram entally, the creation of hum an personality according to stereotyped lines
of sex category ("m asculine" and "fem inine"), devised by the dom inant group for
their needs and values and what they find 'appropriate' for the subordinate group:
aggression, intelligence, force, and efficacy in the m ale; passivity, ignorance,
docility, "virtue," and ineffectuality in the fem ale. On the other hand, sex roles
assign m ale and fem ale differently: dom estic service and attendance for infants to
the fem ale and hum an achievem ent, interest, and am bition to the m ale (1969: 43).
n. Biological
M an's naturally strong m usculature and this usage as a superior feature to dom inate
wom en. M oreover, the physical feature inherent in a m ale is used as a sym bol for
m asculinity; sex organ such as scrotum is sym bolized as aggression through
encom ium s such as "that guy has balls". Likewise, this sam e process is applied to
Cruelties and barbarities against women present itself with clarity within the context
of history: the suttee execution in India, the crippling deformity ofzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAt0 0 t-h in d in r:; in China, and lifelong ignominy in the veil of Islam. These are of course in a physical
sense, but it is able to manifest in a psychological sense: misogynist literature. Writings dating back to Ancient, Medieval, and Renaissance expressed this idea, some even frankly propagandistic (1969: 65-69).
IV. Class
Depends on the level of the class, lower class males seeks dominance by sexist chauvinism - proclaiming his masculinity to the female. Meanwhile, male of higher strata is not
as
intense because their position and power is secure. As for women, regardless of their class, in a patriarchal society whose existence is parasitic to its rulers remains obliged to the male and they identify their own survival withprosperity of those who feed them (1969: 54-59).zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
v.
Economic and EducationalIn traditional patriarchal societies, women have little to none economic rights because of their poor legal standing and earn less than men. In regards to education, women are allowed minimal literacy while higher education was closed to them; also, the studies offered in institutions are divided according to the 'masculine' and 'feminine' criteria. For example sciences, technology, and business are nearly exclusive for male because it reflects 'masculine' personality, e.g., a certain predatory or aggressive character (1969: 59-65).
VIL Anthropological: Myth and Religion
The concern of both myth and religion in a patriarchal sense, although differ in method, are unifiedzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAintheir goal: to simply make men superior to women by means of stories that show their supposed inferiority This can be understood through both side of the lenses: the myth of Pandora and tale of Adam and Eve which puts the condemnation entirely on the female (1969: 69-73).
V lll. Psychology
The reality around women affects their mentality greatly- social beliefs, ideology, and tradition - whose effect is bound to be pernicious. In addition, the persistent though often subtle denigration women face daily through personal contacts, the impressions gathered from the images and media about them, and the discrimination in matters of behavior, employment, and education which they endure, cause women to develop group characteristics that is essentially inferior. This commonality is found on those who suffer minority status (1969: 73-77).
Eight of these theories provide important details on the cause of misogyny. Having said that, with respects to their importance, only a few of them is chosen for the analysis because it is impossible for all of them to be included as the characteristics explained In the character allows limited connection TO the eight
theories. The cause of misogyny identified in the character is explained according LO
1 :;,~zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAreviews and especially the L.'IC(Ir:;::s ~.3.Iheredin this chapter serve as the guideline 10 answer the three problems then has been stated before. To explain the
importance of each single theories and how they are applied to the problems for the
purpose of the study, the explanation will be done according to the order of the
problem formulations; starting from the basic first problem which is then followed by
the second and the third. This is done because it allows clarity in grasping. the
underlying framework of the theories.
The first problem formulation concerns about the characterization of Jean, and the
theories that support as well as answer that problem can be found on the quotation by
Abrams which is about the concept of character. This theory is of great importance
because not only does it provide the framework for the next problem but also it gives
insight on that character; what sort of a person Jean is by measuring equally his
thoughts, feelings, and actions within the course of the story. Applying this theory to
the problem is rather simple in a way because one only needs to look, adhering to
Abrams' theory, at the character's dialogues and actions. By analyzing those two
elements, lean's characterization can be easily identified. The theory by Holman and
Harmon, though somewhat lesser in degree, is also valuable in understanding the
characterization inherent in Jean; the life-like qualities that Jean possess is well
entrenched with the theory. On the other hand, Reaske's theory, the last theory of
character and characterization, is applied by using several principles mentioned on
the character to find his characterization. To be precise, this is done by analyzing all
all of them are useful as not all the inform ation presented within the character is
always related to the theory, som e of them are useful enough as a m eans to identify
the characteristics from Jean.
The second and third problem form ulations specify further the focus of study of
that character, and in essence the whole thesis: m isogyny. Gilm ore's theory is
suitable for this problem because first and forem ost it corresponds with Jean's
characterization; that alone should confirm its im portance. The explanation provided
by the theory is used to give strong proof as well as em phasis on the character's
m isogyny so that the analysis wouldn't com e off as baseless and unfocused. To apply
this theory (in regards to the second problem ), one m ust identify the m isogynic trait
within the character and connected it with the theory to confirm the substance of the
analysis. The following theory about identifying the characteristics of a m isogynist
helps to pick out any specific m isogynic traits in the character. All three of the
identifications m entioned in the theory and its application in regards for the analysis
is done by exam ining the characteristics of the character and identifying his
m isogyny. Finally, this is then followed by m atching his m isogyny with the lists
m entioned in the theory. Applying M illet's theory on the cause of m isogyny (in
regards to the third problem ) is by m eans of analyzing, again, Jean's m isogyny and
linking this characterization to the eight possible causes of m isogyny Each of the
theories for both character/characterization and m isogyny is highly im portant because
2 2
following year of its publication caused a scandal and it was subsequently banned beyond mere writing and performance. The Copenhagen premiere of this play in the
The fame ofzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAMiss Julie does not simply rest on the innovations itself - it goes unprecedented perspective to the art realm.
performance technique or the writing itself, becausezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAil introduces
,I
new, (Strindberg, 1992: ix-xx ). Structurally, these innovations are unique, either inby means of abandoning conventional narratives associated with melodrama
character. This means Strindberg strived for the creation of the psychological aspects his innovation, following the footsteps of naturalism, is a new conception of play takes place for a single, continuous ninety-minute
performance).
Another one of bodily functions); staging (the abandonment of footlights and makeup); and time (the work's blunt realism, be it content (explicit allusions to menstruation, blasphemy, and couple of new conceptions that have helped M iss Julie attain its classic status: the aesthetic conviction. Despite this apparent adherence to convention, it introduces a deployment of dialogues, characters, and dramatic arcs to ensure coherence and of a play, structurally,it
follows certain established conventions such as the his most famous and critically acclaimed work Since the work takes shape in a form playwright August Strindberg. Originally written in 1888, even to this day, remainsMiss Julie is a play - classified as tragedy - written by the famous Swedish
A . O bje c t o f the S tudy
B . A ppro ac h o f the S tudyzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA According to an article by the Swedish Research Council's Committee on Gender Research, gender studies is a study on how people think, interpret, perceive,
throughout much of Europe. The work's blunt portrayal of sensitive issues such as misogyny and sexuality caused this ban; understandably so for a society whose belief and function at that time 'was conservative, although it had several underground acceptances. RealismzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAIII art was considered too progressive and idealist for
mainstream audiences and critics alike although its reception slowly warmed overtime; by mid
zo"
its ban was officially lifted and this is followed by plenty of successes, including frequent worldwide performances and laudation as an importantfacet of modem drama - a special achievement indeed (Goldman, 1914: 51-6l).zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA Miss Julie is a play that mostly centers on two characters whose relationship
is immensely complicated due to its various issues that they often fight against. Class, sex, and gender, among others, are the main themes that the plot revolves on. Both of the main characters, Miss Julie and Jean, engage in dialogues and actions that range from passionate love to fierce hatred to each other. As an aristocrat whose radical thinking baffles the people around her, she desires her own demise because of her dysfunctional upbringing. On the other hand, her lover, Jean is of the lower class who aspires to be in a position that she's in; for that he use all sorts of charm 1 0 conquer
her, and latter when she fall for him, he utterly condemns her to prove his authority. And so, this duality of indifference for both characters end in a sour note: Miss Julie
getting her demise through suicide while Jean remains in a position where he initially
Because its relation, as explained above, to biology, society, and culture,
gender studies is complex and wide-ranging. The interdisciplinary nature of this study
allows one to understand gender from a variety of perspectives possible. M oreover,
the knowledge obtained from this can be also used to understand problems inherent in
other disciplines that one unable to achieve alone.
Gender studies are used as the approach for this thesis because
it
allows one tounderstand the distinction between the male and female by means of isolating them
and studying their qualities. In the case ofzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAMiss Julie and more specifically Jean,
throughout his extensive metamorphoses as a character with complex personality,
there are obvious evidences that point toward gender issues. His progress from the
beginning towards the very end of the play reveals different aspects of masculine
qualities. These masculinities encompass a variety of temperaments: at one point it symbolize, feel, write, paint, dance, fantasize, wish, expenence, define - to put it
simple, "construct" - what we usually call sex and what this word means and also its
meaning used in the past. The common issue of this would be about the categories
that govern the description of masculine and feminine. This particular study is quite
young and an expanding discipline. Regardless of its rather brief history, it has
undergone several changes of context and application. Scope wise, as an
epistemological dimension of study, gender studies does not negate other important
disciplines such as the material, biological aspects. Ideas about the human body from
a biological perspective are intertwined with cultural and social consequences.
well as conclusion. On the other hand, regarding the secondary sources, these consist
of theories found in chapter two To be more precise, these are the theories on
character and characterization as well as misogyny. They are equally as important to
the primary source because, again it allows one to give a complete analysis to the
problem formulations imposed in chapter two. To round things off, these sources, be
c.
M ethod of the StudyThe methodology that fortifies the development process of the thesis consists
of library research. This means that the sources gathered are from both books and
internet. Both of the primary and secondary sources play an important rolezyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAIII providing the definitive conclusions for the analysis. The analytical process - to
understand Jean's characteristics and to identify the characteristics and causes of a
misogynist revealed through that particular characterization - cannot be completed
without these sources. Their importance is so exceedingly great that it is unthinkable
that the validity of the thesis would exist without the presence of the sources. The
primary source for the thesis chiefly rests in Strindberg's play M iss Julie because it
provides all the necessary information in answering the three problem formulations.
This is of course are stated in the first chapter, and hence its subsequent analysis as
shows decency and respectfulness while at the other end of the spectrum it's
oppressive and foreboding. Apa11 from that, other consideration such as the issue on
society plays a considerable role in regards how it affects the masculinity. Regardless
of that, and most importantly, Jean's masculinity confirms the relation with gender
studies is valid. In addition, the interdisciplinary nature of gender studies, as proven
it prim ary or secondary, are, again, highly im portant: the analysis w ouldn't existed
w ithout their aid, let alone the com pletion of the thesis.
The steps the w riter took for the analysis w as by m eans of: first,
understanding the theories or sources m entioned in chapter tw o. This w as done by
grasping their content effectively so that the application for the analysis w ould not be
m isguided and false. Second, after this process of understanding w as finished, the
prim ary source w as used to locate any necessary inform ation that w as com patihle
w ith the theories. Since M iss Julie is a play, it is often visible in the form of the
dialogues and, to a m inor degree, the depiction of setting, The dialogues, all of w hich
stem m ed from the conversations betw een Jean and M iss Julie, revealed the
com patibilities needed. Som e of them revealed them selves if read plain-sight w hile
others are rather subtle and im plied. Lastly these com patibilities are com bined,
m eaning to say that the inform ation the w riter took from the theories and play w as
unified, providing finn, detailed analysis according to the issue raised in the problem
form ulations.
A fter the analysis is com pleted and everything about the thesis seem s heading
tow ards a close, an end, there is apparently one final thing that needs to be done
before the curtain-closer - a confirm ation of validity of the thesis. In the vein of a
conclusion, one sim ply m ust rest m e all of the findings from the analysis inzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA3 S U C C 1 l1 ct
m anner and lastly gives a confirm ation that the analysis is thoroughly w ritten and
consequently valid. The issue raised in the thesis - the identification and origin of
m isogyny w ithin Jean's characteristics - is given a response (analysis) of finesse and
been said - is by m eans of clarity and, again, econom y. For no w ay is of utm ost,
truest path than this.
for the analysis, its details and w hatnot, is entirely on every level, as m entioned quite
a few tim es already, valid. T his w ill be the conclusion that is going to be w ritten in
the last chapter. Sim plicity and restraint are the guiding principles in com pleting this
part of the thesis because after all the grand, extravagant excess in the analysis though
not w ithout purpose and profundity, it is com pulsory that one should recapitulate all
the findings m ade in a m anner that sim ply strip everything off into its essence
-succinctness and direct in style. T o say everything that needs to be said econom ically
w ithout further unw arranted com plications is the m ethodological undertones for the
conclusion itself. It is im portant to conserve the use of this m ethod, furtherm ore,
because of the ram ification as an abstract term that codifies the w ord conclusion
28
InzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAthis chapter the very core of the thesis will be revealed entirely. Everything that has been m entioned in the previous three chapters - background introduction,
two problem form ulations, theories and its fram ework application, and last but not
least, m ethodology - function as a build up towards the clim ax. The ever rising
tension finally leads up to this chapter. For the sake of clarity, the argum ents
presented in the analysis are going to be explained sequentially according to the
problem form ulations. This m eans, to be precise, the sequence will be as follows: the
first half of the analysis will correspond to the first problem which is about the
characterization of Jean. It will be found how the author characterizes this character
in the play. On the other hand, the second half of the analysis will deal about the
characteristics and identification of a m isogynist as seen through Jean's
characterization - in essence, the second problem by relating to the first.
A .zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAThe Charac te ristic s o f Je an
Before dwelJing deeper into the first problem and its subsequent analysis, one
m ust reconsider the theories needed to accom plish this part. The theories on character
and characterization - each by Abram s, Holm an and H a rm o n , and Reaske - are the
chosen ones needed for this. Here, by using these theories, especially Reaskcs, the
writer found the author ofzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAMiss Julie only uses som e of the characterization m ethods,
nam ely: characterization by using dialogue between characters and characterization
by using language (1984: 46-48).
C H A P T E R
I V
time, the congregation of two different classeszyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAis against the norm. However, after to dance with her. He feels this way because, according to the social custom of the
because here is shown that he initially declines the offer made by Miss Julie for going The above quotation strongly implies Jean's characteristic as submissive JEAN. Frankly speaking, but not wishing to offend in any way, I cannot help
wondering if it's wise for Miss Julie to dance twice in succession with the same partner, especially as the people here are not slow in
throwing out hints ....
JULIE. [Flaring up) What is that? What kind of hints? What do you mean? JEAN. [Submissively) As you don't want to understand, I have to speak more
plainly.zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAItdoesn't look well to prefer one servant to all the rest who are expecting to be honored inthe same unusual way ....
JULIE. Prefer! What ideas! I'm surprised! 1, the mistress of the house, deign to honor this dance with m y presence, and when it so happens
that I actually want to dance, I want to dance with one who knows how to lead, so that I am not made ridiculous.
JEAN. As you command, Miss Julie! I am at your service! (Strindberg, 1992: 4)
based on the three quotations below.
will be put into explanation as to how this interaction relates to this characteristic to her will. Reaske's theory of characterization by using dialogue between characters strong pronouncements of her authority which left Jean to do nothing but only submit particular characteristic takes form of Miss Julie giving orders to Jean, often with interactions with Miss Julie. Throughout his interactions with her on this part, this characteristic is evident mostly in the first half of the play and to be precise, his obligatory for someone like him to be submissive to that of his superior. This importantly belonging to the lower class at that time when the play takes place, it is daughter whom he projects his love interest, Miss Julie. Being a valet and more Jean is a young, 30 year old valet working for the Count, who in tum has a
characteristic. Here IS shown that Jean hesitates to drink III the presence of his
The last quotation above provides, again, another example of the JULIE. Drink my health now!
JEAN hesitates.
JULIE. Are you bashful - a big, grown-up man?
JEAN. [Kneels with mock solemnity and raises his glass] To the health of my liege lady!
JULIE. Bravo: - And now you must also kiss my shoe in order to get it just right
JEAN [Hesitates a moment; then he takes hold of her foot and touches it
lightly with his lips] My lady. (Strindberg, 1992: 7-8)
quote, proof again that Jean is indeed submissive.
dialogues between these two characters, especially the fourth and sixth lines of this other hand, insists his in the manner of lashing out which left him only to submit. The very much a finn believer of the concept of social hierarchy, his counterpart, on the down in her presence because it is inappropriate for the lower class to do so. Still According to the words above, Jean, once again, declines Miss Julie's invitation to sit This quote offers another succinct example of this particular characteristic.
JULIE. \\zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAb ydon't you sit down?zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBA
lE A N . It wouldn't be proper in your presence. JULIE. But if Iobey you to do it?
JEAN. Then Iobey.
JULIE. Sit down, then! But wait a moment! Can you give me something to drink first?
JEAN . [Sits] As you wish. (Strindberg, 1992: 7)
the why he possess this particular characteristic.
JULIE. But then - 'what are we to do down there.
JEAN.zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAI'llstart a hotel, everything first class, including customers. JULIE. Hotel?
JEAN. That's the life, I rei! you! Constantly new faces and new languages. Never a minute free for nerves or brooding. No trouble about
what to do - for the work is calling to be done: night and day, bells that ring, trains that whistle, 'busses that come and go; and gold
pieces raining on the counter all the time. That's the life for you! present state: from a wealthy hotel owner to 3Count.
nothing that the scale of his ambition is so grand that it completely departs from his characteristic will be explained in the following three quotations below. It is worth theory of characterization by using dialogue between characters, this particular revealed in his dialogues with Miss Julie and, once again, as a reference to Reaske's middle part of the play, reveals his ambition with clarity. This ambitious persona is big success and throughout his conversation with Miss Julie, specifically in the betterment to lise up from his status. As a lower class, he possesses an ambition for a Jean's current life deeply depresses him, and so he yearns for a change and
2.zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAA m bitio us
Miss Julie.
ambition even to the smallest detail. From the treatment of slaves, the guests' reaction The second quotation above reveals that Jean manages to visualize his
JULIE. Yes, that is life. And I?
JEAN. The mistress of everything, the chief ornament of the house. With your looks - and your manners - oh, success will be assured! Enormous! You'll sit like a queen in the office and keep the slaves going by the touch of an electric button. The guests will pass in review before your throne and timidly deposit their treasures on your table. You cannot imagine how people tremble when a bill is
presented to them -zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAI'llhalt the items, and you'Jl sugar them with your sweetest smiles. Oh, let us get away from here - [pulling a time-table
from his pocket] - at once, with the next train! We'll be in
.\1almo at 6.30; in Hamburg at 8.40 tomorrow morning; in Frankfurt and Basel a day later. And to reach Como by way of the St. Gotthard it will take us - let me see - three days. Three days!
(Strindberg, 1992; 16)
true to this quotation and so does for the rest of the two quotations below.
meant by characterization by using dialogue between characters. Here, the writer and third lines of the dialogue. All three quotations mentioned above are what Reaske his side. The evidence ofzyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAh is characteristic, based on this quote, is verified on the first Romania to obtain an order and ultimately end up being as a Count with Miss Julie by manifest in the form of him,zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAa fte r ten years being a hotel owner, going to relocate to he is capable of achieving much marc. His ambitious persona, based on this quote, can infer from his words that he is deeply convinced, despite his present status, that huge ambition into even greater heights by proclaiming he wants to be a count. One This third and final quotation above shows that Jean has taken his already
JEAN. Let us only get to another country, where they have a republic, and you'll see them bend their backs double before my liveried porter. You see, backs have to be bent, but not mine. I wasn't born to that kind of thing. There's better stuff in me - character - and if I only get hold of the first branch, you'll see me do some climbing. Today J am a valet, but next year I'll be a hotel owner. In ten years I can Jive on the money 1have made, and then I'll go to Romania
and get myself an order. And I may - note well that I say may - end my days as a count.
JULIE. Splendid, splendid!
JEAN. Yes, in Romania the title of count can be had for cash, and so you'll be countess after all. My countess!
(Strindberg, 1992: 16)
Jean, again, having this particular characteristic.
and fragile from start, she breaks down, surprised that her lover would say something failure of a human being for doing nothing worthwhile like her predecessors. Weak belonging perfectly to this characteristic. Here, Jean insults Miss Julie for being a nature, and thus according to his use of language, that is the manner of his speech, as The quotation above commences the ascendency of Jean's truest, innermost JULIE. Do you think I am going to stay under this roof as your concubine?
Do you think I'll let the people point their fingers at me? Do you think I can look my father in the face after this? No, take me away from here, from all this humiliation and disgrace! - Oh, what have I done? My God, my God! [Breaks into tears]
JEAN. So we have got around to that tune now! - What you have done? Nothing but what many others have done before you.
JULIE. [Crying hysterically] And now you're despising me! -I'm falling, I'm falling!
JEAN. Fall down to me, and I'll lift you up again afterwards. (Strindberg, 1992: 17)
particular characteristic and the subsequent four quotations below as evidences.
decency. Reaske's theory of characterization by using language will be used for this is his slave or like a toy, to do anything he pleases - completely violates basic human whenever the chance arises. This is true for this part of the play; he treats her as if she Her fragility, both mind and spirit, ignites his malicious persona to jab at her Miss Julie being put down and then raising her back up, only to be put down again. Jean brashly condemns her for her various failings. Even worse, he revels seeing penniless, thus rendering Jean's plan to become wealthy near impossible to proceed, In the final part of the play when it was revealed that Miss Julie is actually
3.zyxwvutsrqponmlkjihgfedcbaZYXWVUTSRQPONMLKJIHGFEDCBAM alic io us
Miss Julie.
JEAN. You lackey-love, you mistress of menial- shut up and get out of here! You're the right one to come and tell me that I am vulgar.
People of my kind would never in their lives act as vulgarly as you have acted tonight. Do you think any servant girl would go for
a man as you did? Did you ever see a girl of my class throw helpless counterpart.
bait, Jean, with his full might, unleashes his true color by bashing his weakened and that he is good man and her true love. It can be inferred that once she falls for the told her is nothing but fabricated, fancy talks designed to lure her down into believing maliciousness based on the third and fifth lines: all this time, the romantic stories he manner. The most important point is that it reveals another horrid truth about Jean's insults Miss Julie by calling her a whore and she responds, as usual, in a hysterical As seen in the first line of the dialogue shows that Jean, in a harsh tone,
JEAN. And a whore a whore!
JULIE. [On her knees, with folded hands] 0 God in heaven, make an end of this wretched life! Take me out of the filth into which I am sinking! Save me! Save mel
JEAN. I cannot deny that I feel sony for you. When I was lying among the onions and saw you up there among the roses - I'll tell you now - 1 had the same nasty thoughts that all boys have.
JULIE. And you who wanted to die for my sake! JEAN. Among the oats. That was nothing but talk. (Strindberg, 1992: 18)
from a slightly different perspective.
sympathy and conscience towards Miss Julie for the horrible deed he commits as he example of this particular characteristic, this quote shows that Jean completely lack a silver coin, strongly hinting that her worth is only as little as that. As a another as seen in the third line of the dialogue, without complete remorse, simply throws out
really is. Here is shown that despite Miss Julie's protest at him for mining her life, he, This quotation above, like the previous three, shows how malicious Jean
JEAN. Of co
