Love and belongingness as Mrs. Lovett`s motive to hide Lucy`s identity seen in Hugh Wheeler`S Sweeney Todd, The Demon barber of Fleet Street.

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LOVE AND BELONGINGNESS AS MRS. LOVETT’S

MOTIVE

TO HIDE

LUCY’S IDENTITY SEEN IN HUGH WHEELER’S

SWEENEY TODD, THE DEMON BARBER OF FLEET STREET

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

YULIANA SERE

Student Number: 124214067

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

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ii

LOVE AND BELONGINGNESS AS MRS. LOVETT’S

MOTIVE

TO HIDE

LUCY’S IDENTITY SEEN IN HUGH WHEELER’S

SWEENEY TODD, THE DEMON BARBER OF FLEET STREET

AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra

in English Letters

By

YULIANA SERE

Student Number: 124214067

ENGLISH LETTERS STUDY PROGRAM DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS SANATA DHARMA UNIVERSITY

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STATEMENT OT' ORIGINALITY

I

certify that this undergraduarc thesis contains no material which has been

previously submitted for the award of any other degree at any unriversity, and ftaq

to the best

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LEMBAR PERTYYATAAI{ PERSETUJUAIY PUBLIKASI KARYA ILMIAH UTIMUK KEPENTINGAN AKAI}EMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dhamra

Nama

: Yuliana Sere NomorMahasiswa :124214067

Dani pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan Universitas Sanata Dharma karya ilmiah saya yang berjudul

LOVE

AND BELONGINGNESS AS MRS.

LOVETT'S

MOTTVE TO

HIDE LUCY'S

IDENTITY

SEEN

IN

ITUGH

WHEELER'S

SWEENEY TODD, THE DEMON BARBER OF FLEET STREET

beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberjkan

kepada Perpustakaan Universitas Sanata Dharma

hak

untuk menyimpan, mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data, mendiyuibusikan secara terbatas, dan me,mpublikasikannya di internet atau media lain unhrk kepentingan akaderris tanpa perlu meminta ijin kepada saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis.

Demikian pernyataan ini saya buat dengan sebenarnya.

Dibuat di Yogyakarta

Pada tanggal05 Februari 2017

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vii

IF YOU ARE ALWAYS TRYING TO BE NORMAL,

YOU WILL NEVER KNOW HOW AMAZING YOU

CAN BE.

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viii

FOR

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ix

ACKNOWLEDGEMENTS

I would like to express my first gratitude for Jesus Christ and Virgin Mary who always give me their blessing through the people I love so I could finish my undergraduate thesis. Particularly, I would like to thank my advisor, Theresia Enny Anggraini, Ph.D., who always helps me to develop this undergraduate thesis. I thank her for her time, suggestions, and patience, and for my reader Elisa Dwi Wardani, S.S., M.Hum, I thank her for her suggestions to make this undergraduate thesis better.

I would like to give my special thanks for my beloved parents, Antonius Baba and Nandi Margaretha who always pray for me, give me advice, and support me in every condition. To my sisters, Antonia Adeleide Anutopi for always being my role model, Maria Agung Lestari and Caecilia Gisela Baba for always making me smile and even laugh by their unexpected behavior. Thank you for supporting me from afar.

To all my friends, in Wisma Goreti, Elsa, Ceper, Kak Lenny, Kak Ory, Kak Cicix and Kak Oppy for being my amazing motivators. C.A.N.T.I.K, Ade, Indri, Dewi, Nita, Kezia and Tyas for being my trusted friends during the college. S.O.U, Dimas, Stefianatalia, Aldo, Kak Gratianus, Kak Bertha, and Alexander for being the professional fake artists in every single moment. And also Natalia Dessensia, Kak Dimas Sedyo, and Noval Rumangun for always help me. The last, Orang Gila, Gratia Deo and Anyes Jawan for being my lovely crazy friends. Thank you my friends for give me unforgettable moment.

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x

This study tries to find the motive of Mrs. Lovett, therefore there are two problems formulated in this study. The first is to find out the characteristics of Mrs. Lovett in the play. The second is to identify the motive of Mrs. Lovett to hideLucy’s identity revealed through Mrs. Lovett’s characteristics.

This study uses a library research in order to answer the two problems. Since this study discusses the motive, then the psychological approach is applied here.

The result of the analysis shows that from the first page until almost the end of the play, Mrs. Lovett is described as a dangerous woman for the people around her. It can be described that she is manipulative, heartless and greedy. By using the Basic Needs theory, it can be explained that only her two characteristics that can be identified to find out her motive. First, is manipulative and the second is heartless. In the manipulative characteristic, Mrs. Lovett is described as a woman who always deceives people she thinks can speed up her plan. In this case, Sweeney Todd, a man whom she is very fond of, becomes the most frequently deceived character even until the end of the story. Furthermore, her heartless characteristic also describes her behavior to hide Lucy’s identity because she keeps Lucy away from Todd. She hides Lucy’s identity from Todd because she

wants towin Todd’s heart and replaces Lucy’s position, or in the other words, it is

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xiii

ABSTRAK

SERE, YULIANA. Love and Belongingness As Mrs. Lovett’s Motive to Hide

Lucy’s Identity Seen in Hugh Wheeler’sSweeney Todd, The Demon Barber of

Fleet Street. Yogyakarta: Program Studi Sastra Inggris, Fakultas Sastra,

Universitas Sanata Dharma, 2017.

Berawal dari drama musikal Broadway, cerita Sweeney Todd, The Demon

Barber of Fleet Street kemudian dibuat ke dalam versi buku oleh Hugh Wheeler.

Drama ini menceritakan Sweeney Todd, seorang lelaki yang ingin membalas dendam kepada orang-orang yang telah memisahkan dirinya dari keluarganya. Namun, fokus utama skripsi ini adalah pada salah satu karakter wanita dalam cerita yaitu Mrs. Lovett. Skripsi ini menganalisa mengapa Mrs. Lovett menyembunyikan identitas Lucy yang adalah istri dari Sweeney Todd demi kepentingan pribadinya.

Untuk mengetahui motif Mrs. Lovett dalam menyembunyikan identitas Lucy, terdapat dua rumusan masalah yang perlu untuk dianalisis. Pertama, menemukan karakteristik Mrs. Lovett melalui karakterisasinya. Kedua, mengidentifikasi motif Mrs. Lovett dalam menyembunyikan identitas Lucy yang ditunjukkan melalui karakteristiknya.

Metode yang digunakan dalam penelitian ini adalah studi pustaka. Sementara penelitian ini juga menggunakan pendekatan psikologi karena tujuan dari penelitian ini adalah untuk mencari motif.

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1 CHAPTER I INTRODUCTION

A. Background of the Study

One of the literary works discussed in this study is a play by Hugh Wheeler. The reasons for choosing Sweeney Todd, The Demon Barber of Fleet

Street as the object of this study because beside talking about the vengeance and

romantic relationship of some characters in the play, this literary work also talking about the motive of one of the female character. The researcher wants to make the reader know that through the study of motive, the reader can get the knowledge about the needs that every single person must fulfill. The character of Mrs. Lovett is chosen because only few people write about this literary work as their research object especially about her. Besides, there is another reasons for choosing Mrs. Lovett as the character to be analyzed because she has the dominant role in the play.

Literature is known as a collection of literary genres and texts. It is an imaginative art which expresses thoughts and feelings of the artist on events around him. According to William Henry Hudson,

Literature is a vital record of what men have seen in life, what they have experienced of it, what they have thought and felt about those aspects of it which have the most immediate and enduring interest for all of us. It is thus fundamentally an expression of life through the medium of language (1910: 10).

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drama is a work of literature or a composition which delineates life and human activity by means of presenting various actions of – and dialogues between – a

group of characters” (Reaske, 1966: 5). Besides, Onyeka Iwuchukwu also states,

“drama is used for plays that are acted on stage or screen”(2008: 4).

Furthermore, Harold R. Walley defines, “drama is an art not only of

expression but of successful communication” (1950: 8). It uses the actors to communicate the message. This statement makes drama different from other literary works. It is not only to be read, but also to be performed on the stage which gives the message to the audience. Despite the fact that in a common sense drama is a form of narrative, its distinguishing way of expression is not narration but representation, or in the other words, drama is an imitation of life.

As one of the literary forms, there must be several elements in building a drama. For instance, plot, setting, theme and character. One of the important elements is character. The characters act out their roles as the action is performed on stage. According to Walley, “Characters on the stage are real people, always present in their totality even when they have nothing of importance to do”, he also adds that “they do not appear or vanish as convenience dictates, but have to be

moved about and on and off thestage adroitly and unobtrusively”(1950: 7).

William J. Free also gives a statement about character that, “Character in

drama consists of a sequence of impressions communicated from the actor to the

audience”(1969: 2). More importantly, Free argues,

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When the word character is used, it has the connection with behavior. Elizabeth B. Hurlock notes, “character relates to behavior that is regulated by personal effort and will” (1974: 8). Robert B. Ewen also states, “Personality refers

to important and relatively stable aspects of behavior” (2003: 4). The characters’

action may be in a positive or negative manner. It depends on the way they deal with the thing that happen to them. They make a good relationship with others or even they destroy it. All of the actions they perform on the stage must be based on certain reasons. According to Reaske (1966: 41), “characters usually do things for certain reasons.” For example, a character maybe loves another because he or she has beautiful look and good behavior. Another example is a character kills another maybe because he or she wants to take revenge on people who destroy his or her family. Based on those examples, they show clearly that a character has reasons for conducting their action. In other words, a character has motive.

A motive is the reason why a person makes a certain action. According to Iso-Ahola in Crompton and Mackay (1997: 425), “a motive is an internal factor

that arouses, directs, and integrates a person’s behavior (1980: 230). Kagan and Havemann define motive as “a desire for goal that has acquired value for the individual” (1972: 344). They add, “motives are related to biological drives, stimulus needs, and perhaps other inborn characteristics of the human organism”

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In the very first few chapters of this play, the readers are offered with Mrs. Lovett and her romantic relationship with Mr. Sweeney Todd who wants to take revenge on people who have sent him to prison and have destroyed his family.

Mrs. Lovett tries to hide Sweeney Todd’s wife identity, Lucy, for her own benefit and because of that, then this study is going to analyze why she does that.

Since this play concerns with the motive of one of the main characters, then this study tries to deeper analyze what and why she acts that way. In order to know what her reason, in other words, her motive is, this study uses a theory of Basic Needs proposed by Abraham Maslow. This theory claims that the needs of human being have to be fulfilled. On the other side, the main character has some basic needs that is unfulfilled or the needs itself are being disturbed which basically became the motive of her action. Through this study, the readers are expected to have the understanding about the needs of a character. In this case, this study identifies further what her motive is by seeing from her needs and her characteristics.

B. Problem Formulation

In this study, there are two problems to be analyzed. 1. What areMrs. Lovett’s characteristics in the play?

2. How is Mrs. Lovett’s motive to hide Lucy’s identityrevealed through

Mrs. Lovett’s characteristics? C. Objectives of the Study

This study tries to find out what are the characteristics of Mrs. Lovett in

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helpful for the reader in having the insight of her characteristics in that play. Those characteristics are important to understand in order to know how her motive to hideLucy’s identity.

D. Definition of Terms

In order to avoid misunderstanding on the term appeared on the title, this study tries to make the same understanding about the term motive.

According to Charles G. Morris,“motive is a specific need, desire, or want

such as hunger, thirst or achievement, that energizes and directs goal-oriented

behavior” (1990: 408). Holman and Harmon (1986: 314) explain that a motive is

the product of the “combination of the character’s moral value with the

circumstances in which the character is placed”. From those explanations above, the researcher can define that motive is the desire or need in a person’s mind that

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6 CHAPTER II

REVIEW OF LITERATURE

This chapter consists of three parts. The first part is the review of related studies. The second is review of related theories and the third is theoretical framework.

A. Review of Related Studies

In this part, the researcher reviews two theses from several students in Sanata Dharma University that have similar topic with this study.

The first is a thesis conducted by Yuliana Kusumaningsih in 2004, a

student of English Language Education Study Program, titled “A Study on

Maggie Morans’s Motive to Reunite Jesse and Fiona as Seen in Tyler’sBreathing

Lessons”.The second,“Motives behind Character’s Decision Making in Choosing Good and Evil Deed in J.R.R Tolkien’s The Lord Of The Rings: The Fellowship

Of The Ring” donein 2012 by a student of English Letters Study Program, Anggi Georgie Christiansent.

Kusumaningsih, in her thesis, analyzes what motivates Maggie to reunite Jesse and Fiona. Besides, she also tries to describe the character of Maggie. Through her thesis, she explains that every single person has reasons of their action.

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Moreover, she adds, “motives give a strong influence to human actions.

Motives have power to encourage people to do actions in their life” (2004: 4).

The other study still deals with motive. Christiansent, tries to find out not

only the character’s motives in making decision in the novel The Lord of the

Rings: The Fellowship of the Ring, but also how these motives show their good

and evil decisions. According to Christiansent, “A motive is the reason why

somebody makes a certain action” (2012: 4).

In everyday life, making an action is a common thing, such as getting up in the morning, having breakfast, and going to work. However, someone does not deal with trivial things all the time. Sometimes, a person has to deal with a more serious thing that concern with other’s necessity, like

whether he has to use an atomic bomb in the battle to win the war or not. In this case, he has to make a right decision since many human lives depend on his decision. Therefore, knowing one’s motive is important to understand the decision one’s makes (2012: 4).

Besides those studies which discuss the same topic, there is a paper discusses on the same object with this study, Sweeney Todd: The Demon Barber

of Fleet Street. This paper entitled “Pretty Women: Urban Crisis and Female

Objectification in Stephen Sondheim’s Sweeney Todd” conducted by Ashley

Marian Pribyl, M. Music in 2013. The paper focuses on the character of Johanna and the three songs sung about her by the three main male leads. According to Pribyl,

Understanding the role of Johanna and the other women in Sweeney Todd became even more important for me after viewing the play and seeing and hearing the female characters become victims of rape, incest, and murder, all as Sweeney Todd and Judge Turpin, two of the male leads, sing about

“Pretty Women”(2013: 1)

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that play. It also shows the perspective of female characters that has been silenced by the time of Industrial Revolution London.

Those studies are related with this study. The two of them have the same topic, while the last one has the same object with this study. The first and the second focus on the motive. Both of them analyze the motive based on the novel, while this study tries to find out the motive based on a play. Besides, the theory of motive which is used in the two studies is different with this study. The two studies use the theory by Worchel and Shebilske and also by Morris while this study focuses onthe motive’stheory by Abraham Maslow.

The last study uses the same object, Sweeney Todd: The Demon Barber of

Fleet Street but it has different focus. It focuses on Johanna as one of the female

characters in the play, while this study focuses on Mrs. Lovett. B. Review of Related Theories

This is the second part of this chapter. This part includes two theories to answer several problems. The first theories are the theories of character and characterization and the second is the theory of basic needs.

1. Theories of Character and Characterization According to Abrams and Harpham, characters are,

the persons represented in a dramatic or narrative work, who are interpreted by the reader as possessing particular moral, intellectual, and emotional qualities by inferences from what the persons say and their distinctive ways of saying it – the dialog – and from what they do – the action (2009: 42).

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dimensional”). It refers to a character which shaped in a “single idea or quality”

(2009: 43). The second type of character is a round character. It means a character thatis “complex in temperament and motivation”(2009: 43).

There are six elements used in analyzing the characterization of a character in a drama as stated by Christopher Russell Reaske in 1966. The following are the ways to analyze the character.

a. The appearance of the character

According to Reaske, a character can be described by the physical

appearance, “in the mere appearance of the character, we locate our first

understanding of him” (1966: 46). The description by the playwright can give the insight to the reader about the characterization of a character through the description of how he looks like and the way he dresses.

b. Asides and soliloquies

Reaske also adds another ways to analyze the characterization is by seeing the speech of a character. Asides and soliloquies are the ways to identify the

characterization through the speech in order to know what character’s wants. In

this case, a character tells to the audience about his characteristics, as Reaske

gives the example, “if he is villain, he usually explains his evil intentions or at

least his malicious hopes;”(1966: 46). c. Dialogue between characters

“speaking to others also sheds a great deal of light on his personality”

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d. Hidden Narration

The description about the characterization of a character can be seen through the opinion, thought, and idea of the other characters. As Reaske notes,

“One of the devices of characterization frequently employed is having one

character in a play narrate something about another character” (1966: 47).

e. Language

This is the very important aspect in analyzing the characterization of a character. The language of a character can be one way to identify the personality of a character. Reaske explains, “In short, the way a character speaks and the

expressions he uses should always be our first concern” (1966: 47-48). Furthermore, the characterization can be observed by seeing the attitude while a character expresses the speech.

f. Character in action

As Reaske argues, “As the characters become more involved in the action of the play we quite naturally learn more about them” (1966: 48). Moreover, Reaske adds that the characters must have certain reasons in doing an action in a particular way on the stage.

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2. Theory of Basic Needs

Both literature and psychology are related one and another, as stated by Rene Wellek and Austin Warren,

By ‘psychology of literature’, we may mean the psychological study ofthe writer, as type and as individual, or the study of the creative process, or the study of the psychological types and laws present within works of literature, or, finally, the effects of literature upon its readers (audience psychology) (1956: 81).

Furthermore, they add that “Characters in plays and novels are judged by us to be ‘psychologically’ true”(1956: 91). In another statement, David H. Russell

argues, “Both may attempt to describe human lives not only in terms of overt

action but in relation to personality” (1964: 421). Russell also notes, “The

delineation of character and the record of human behavior may be explicitly set

down or it may be subtly implied in a short story, in a play, or in other literature”

(1964: 421). In addition, Russell adds that the understanding of psychology is able to help us to know more about a writer and his surroundings.

Another argument by Dasmard et al.,“Literature and psychology both, pay attention to fancy, thinks, feelings sensations and soul psychical issues” (2012:

9420). According to them, “The relation between psychology and literature is a

bilateral relation. Human’s soul makes the literature and literature nourishes

human’s soul” (2012: 9420).

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become motivating (or even recognizable) until lower level needs have been satisfied.

Abraham H. Maslow notes, “The needs that are usually taken as the starting point for motivation theory are the so-called physiological drives” (1954: 35). According to Maslow in Barbara Jo Krieger (1996: 288), “basic

psychological and safety needs must be satisfied before a person will attempt to

fulfill “higher” order needs such as the desire for love or self-esteem”. The most basic drives are physiological needs (air, water, food, shelter, sleep, sex). After that, comes the need for safety (protection from danger and threats), then the desire for love and belongingness, and then quest for esteem. We are driven to satisfy the lower needs, but we are drawn to meet the higher ones.

a. Physiological Needs

Maslow claims that these psychological needs are the most significant of

all needs. It becomes the major motivation for a person. “A person who is lacking food, safety, love, and esteem would most probably hunger for food more strongly

than for anything else” (1954: 37). According to Maslow in Ewen (2003: 220),

“The lowest level of the hierarchy involves the psychological needs, including

hunger, thirst, sex, oxygen, sleep, and elimination”.Maslow also explains,

At once other (and higher) needs emerge and these, rather than

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From that statement, it clearly shows that the psychological needs are the most basic needs from all needs. The other needs will come after these basic needs are already fulfilled.

b. Safety Needs

“These safety needs involve the quest for an environment that is stable,

predictable, and free from anxiety and chaos (Ewen, 2003: 220). These needs will be satisfied if the psychological needs have been fulfilled. Maslow emphasizes,

we may generalize and say that the average child and, less obviously, the average adult in our society generally prefers a safe, orderly, predictable, lawful, organized world, which he can count on and in which unexpected, unmanageable, chaotic, or other dangerous things do not happen, and in which, in any case, he has powerful parents or protectors who shield him from harm (1954: 41).

The explanation above shows that each person needs safety for themselves. They may need a protector or a leader to keep them from a danger or any other unexpected thing that occur to them.

c. The Belongingness and Love Needs

If both the physiological and the safety needs are satisfied then there will appear the third need. The need of belongingness and love are on the third level on the hierarchy of human needs proposed by Maslow. According to Maslow,

Once the physiological and safety needs have been more or less satisfied, the belongingness and love needs come to the forefront as motivators. The individual now hungers for affectionate relationships with friends, a sweetheart or spouse, and/or offspring (Ewen, 2003: 221).

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achieve this goal” (Maslow, 1954: 43). According to Maslow, the feeling of affection and elation, yearning for someone that a person loves, and (often) intense sexual arousal are included in love. In addition, when these needs are often not fulfilled, and as a result a person may involves manipulative effort to get the love from the other. Maslow also states in C. George Boeree,

In our day-to-day life, we exhibit these needs in our desires to marry, have a family, be a part of a community, a member of a church, a brother in the fraternity, a part of a gang or a bowling club. It is also a part of what we look for in a career (2006: 5)

It can be seen that these needs of love and belongingness make a person wants to be with another person he loves and feels the affection from them.

d. The Esteem Needs

Maslow underlines, “We strive to achieve self-confidence and mastery of

the environment, and to obtain recognition and appreciation from others” (Ewen, 2003: 221-222). Additionally, according to Maslow, when this need is not fulfilled, a person will feel week, helpless, and worthless.

e. The Need for Self-Actualization

This is the highest needs in the hierarchy of human needs. Maslow emphasizes,

Self-actualization is idiosyncratic, since every person s different… The

individual (must do) what he, individually, is fitted for. A musician must make music, an artist must paint, a poet must write, if he is to be ultimately at peace with himself. What a man can be, he must be (Ewen, 2003: 222).

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By giving the overview about those needs, Maslow tries to explain to the reader that the physiological and safety needs are included in the lower needs which are rigid. On the other hand, the belongingness and love, esteem, and self-actualization needs are included in the higher needs which are not rigid. Maslow adds, for the part of higher needs, the order can be different for every individual. This hierarchy of basic needs are very important in dealing with the motive. C. Theoretical Framework

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16 CHAPTER III METHODOLOGY

A. Object of the Study

This study takes a play, a musical thriller, as an object to be discussed here. Sweeney Todd: The Demon Barber of Fleet Street by composer or lyricist Stephen Sondheim and it is consisted of 198 pages. It was written by a British playwright, Hugh Wheeler in 1979. It is based on a version of “Sweeney Todd”

by Christopher Bond. The original production premiered on Broadway, March 1, 1979, directed by the renowned Harold Prince. It ran for 557 performances. In 1979, it received Tony Award Nominations for best musical, best book of a musical, best original score, best actor and actress in a musical, best scenic design, best costume design and best direction of a musical. In 2006 Tony Award Nomination, this musical thriller again won several awards, such as best direction of a musical and best orchestrations, and for Drama Desk Award Nomination there are outstanding revival of music, director of a musical, orchestrations and lighting design.

Generally, this story tells about Sweeney Todd as one of the main characters, whose real name is Benjamin Barker. He uses his new alias to resume

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corps over to a female accomplice in the shop below his. She then bakes the flesh of human into meat pies.

B. Approach of the Study

Since this study concerns with the psychological aspects such as the human motivation, therefore the psychological approach will be applied here. According to Rohrberger and Woods, psychological approach is an approach that

“involves the effort to locate and demonstrate certain recurrent patterns” (1971:

13). Further they say that psychology is a study of man’s life together with his

mind and behavior. It shows clearly that this approach is related with human’s

behavior and mind.

C. Method of the Study

This study applies a library research as the method. To support this study, there are several sources which are used. It consists of primary and secondary sources. The primary source is a screenplay of Sweeney Todd: The Demon Barber

of Fleet Street by Hugh Wheeler, and the secondary sources are How To Analyze

Drama by Christopher R. Reaske and Motivation and Personality by Abraham H.

Maslow. Besides, this study also uses related journals, and papers.

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19 CHAPTER IV

ANALYSIS

This chapter discusses the two problems that have been mentioned in the previous chapter. It is divided into two sub-chapters. First, the characteristics of Mrs. Lovett and the second is the motive of her to hideLucy’s identity.In the first

part of the analysis, the researcher discusses the characteristics using Reaske’s

theory. Then in the second part,the researcher uses Maslow’s theory to answer the

second problem formulation.

A. Mrs. Lovett’sCharacteristics

The play Sweeney Todd written by Hugh Wheeler tells about the barber Benjamin Barker who is married to the beautiful Lucy and they have a lovely child, Johanna. The beauty of Lucy attracts the attention of the Judge Turpin who then wrongly sends the barber to the prison so that he can have Lucy to himself. Fifteen years later, Benjamin returns to London with the new identity –Sweeney Todd to seek revenge by killing Judge Turpin and his beadle. He meets Mrs. Lovett, a widow who is the owner of the meat pie shop, telling him that Lucy poisons herself and her daughter is adopted by Turpin. Then he opens a barber shop above her shop in order to revenge those who destroy his family.

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described in the play. First, she is a manipulative, second she is heartless and then the third, she is greedy.

1. Manipulative

From the very beginning of the play, it can be seen that she has the qualities of the devil. Her manipulative characteristic can be seen when she makes others believe or do things that are in the interest of her. She is described as a manipulative woman particularly when she already knows that Sweeney Todd is Barker. For instance, she makes Sweeney Todd believes about Lucy, also she tells something that is not true to the people around her or in the other words she deceives people in order to get her own advantage. She has the talent in

controlling people’s mind and belief which in turn control their action. Here, the researcher provides several evidences of her manipulative way.

TODD. Isn’t that a room up there over the shop? If times are so hard, why don’t you rent it out? That should bring in something.

MRS. LOVETT. Up there? Oh, no one will go near it. People think it’s

haunted. You see – years ago, something happened up there. Something not very nice.

[Sings] There was a barber and his wife, And he was beautiful,

A proper artist with a knife, But they transported him for life. [Sighs] And he was beautiful . . .

[Speaks, music continuing under] Barker, his name was –

Benjamin Barker.

TODD. Transported? What was his crime?

MRS. LOVETT. Foolishness. (Wheeler, 1979:15)

The quotation above is her conversation with Todd after he enters her meat pie shop then tries to eat the pie that is well-known as the worst pie in London. Here, because of she does not know Todd’s identity then she tells something true about

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Her honest explanation about Todd and his family is clearly explained in a song Poor Thing. In this song, Mrs. Lovett tells what happens to the family of Benjamin Barker chronologically. Lovett tells that at that time there is a barber named Barker. He is a beautiful barber. He lives with his wife and a year-old kid. Unfortunately, because of his foolishness, he is moved to a place far from his family by Judge Turpin and his Beadle who are rich and respectable persons in the city. Furthermore, Lovett tells thatJudge Turpin really fond of Barker’s wife and

wants to have her because of her beauty. Lovett describes Barker’swife, Lucy, as a fool by using the word ‘poor thing’ because she wastes the opportunity to live together with Judge Turpin and still believes in him after knowing that her husband is moved to a strange place by him. Lovett adds, Lucy’s belief is proven by her participation in a ball where there is no one she knows. She is invited by the Beadle to meet Judge Turpin there and in shame, an incident happening to her. At the party, she is raped by Judge Turpin with no single person helps her. Moreover, from the quotation above Todd believes to Mrs. Lovett because the event is similar with what has happened to him. It can be seen from Todd’s

statement to Antony, a man who helps him from the ocean after his escape from prison in The Barber and His Wife song.

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information about Lucy although the truth appears when it is too late. She does not tell the full information shortly after she realizes that Todd is Barker.

TODD. [A wild shout] Would no one have mercy on her?

[The dumb show vanishes. TODD and MRS. LOVETT gaze at each

other]

MRS. LOVETT. [Coolly] So it is you–Benjamin Barker.

TODD. [Frighteningly vehement] Not Barker! Not Barker! Todd now! Sweeney Todd! Where is she?

MRS. LOVETT. So changed! Good God, what did they do to you down there in bloody Australia or wherever?

TODD. Where is my wife? Where’s Lucy?

MRS. LOVETT. She poisoned herself. Arsenic from the apothecary on the

corner. I tried to stop her but she wouldn’t listen to me.

TODD. And my daughter?

MRS. LOVETT. Johanna? He’s got her.

TODD. He? Judge Turpin?

MRS. LOVETT. Even he had a conscience tucked away, I suppose. Adopted her like his own. You could say it was good luck for her . . . almost. (Wheeler, 1979:18-19)

It happens after she sings Poor Thing song. The conversation above proves that Lovett does not give a straight answer to a straight question from Todd. In this case, she decides not to tell Todd about Lucy. She wants Todd. She wants to win Todd’s heart.

The second evidence is when Mrs. Lovett hides the identity of Sweeney Todd from the Beadle. The incident occurs just after Sweeney Todd successfully beat Pirelli, a famous Italian barber, for the second time in the razor contest in the Dunstan's Marketplace.

BEADLE. Mr. Todd . . . Strange, sir, but it seems your face is known to me.

MRS. LOVETT. [Concealing agitation] Him? That’s a laugh –him being

my uncle’s cousin and arrived from Birmingham yesterday.

TODD. [Very smooth] But already, sir, I have heard Beadle Bamford spoken of with great respect.

BEADLE. [Whatever dim suspicions he may have had allayed by the

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[To MRS. LOVETT] Fleet Street? Over your pieshop, ma’am? MRS. LOVETT. That’s it, sir. (Wheeler, 1979:53-54)

Lovett hides the identity of Todd. She does not want anyone knows Todd’s new

identity especially the beadle and the judge. The dishonesty done by Lovett is an attempt to protect Todd since she knows Todd wants to avenge the beadle then she does keep for not telling others about the secret. Although in the beginning of

Beadle’s speech the figure of Todd is seemed familiar for him, Beadle who has a duty as a judge in the contest, eventually believes in what is said by Mrs. Lovett and promises to Todd and Lovett to come to the barbershop before the week is out.

Lovett often does something unfairly or dishonestly in order to get what she wants. In the song A Little Priest in which it is the third evidence, Lovett expresses her manipulative way by persuades Todd to accept her plan. It is happened in the end of act 1.

MRS. LOVETT. [Pause. Chord] You know me. Sometimes ideas just pop into me head and I keep thinking . . .

[Sings] Seems a downright shame . . . TODD. Shame?

MRS. LOVETT. Seems an awful waste . . . Such a nice plump frame

Wot’s –his–name Has . . .

Had . . . Has . . .

Nor it can’t be traced.

Business needs a lift–

Debts to be erased–

Think of it as thrift, As a gift . . .

If you get my drift . . .

[TODD stares into space] No? [She sighs]

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I mean,

With the price of meat what it is When you get it,

If you get it–

TODD. [Becoming aware] Ah!

MRS. LOVETT. Good, you got it. (Wheeler, 1979:97-98)

This song contains the bad idea of Mrs. Lovett. She sings when Todd already kills Pirelli in his barbershop. They both are confused to hide the body of him. Pirelli becomes a threat to Sweeney Todd because he knows the real identity of Todd and he wants to blackmail him and because of this reason Todd eventually kills Pirelli. This condition finally makes Mrs. Lovett feels that the body of Pirelli can be used to increase her business. She wants to use the body as the filling of the pie. Mrs. Lovett does not run this idea alone, but she also persuades Todd to take part of this shortcut and Todd agrees to join with her.

The fourth sign to prove she is a manipulative is in the small conversation between Mrs. Lovett and Todd after she sings By the Sea song.

TODD. [Back with his obsession] I’ll make them pay for what they did

to Lucy.

MRS. LOVETT. [Almost scolding] Now, dear, you listen to me. It’s high time you forgot all them morbid fancies. Your Lucy’s gone, poor thing. It’s your Nellie now. Here.(Wheeler, 1979:141)

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The fifth evidence showing that she is a manipulative woman is when both Lovett and Tobias have some conversation in the song entitled Not While I’m

Around. This song describes how Tobias is really care of Lovett. He does not

want anything bad befalls to Lovett. He also emphasize that if someone hurts her, then he will rip it apart with his bare fists. On the other hand, unfortunately Lovett does not have the same feeling with him.

TOBIAS. . . .

Nothing can harm you,

Not while I’m around.

[Music continues]

MRS. LOVETT. What is this foolishness? What’re you talking about? TOBIAS. Little things wot I’ve been thinking and wondering about. . . .

It’s him, you see –Mr. Todd. Oh, I know you fancy him, but men

ain’t like women, they ain’t wot you can trust, as I’ve lived and

learned.

[She looks at him uneasily] . . .

MRS. LOVETT. Now Toby dear, haven’t we had enough foolish chatter? Let’s just sit nice and quiet for a bit. Here.

[She pulls out the chatelaine purse, which is now immediately

recognizable to the audience as PIRELLI’s money purse, and

starts to fumble in it for a bon-bon] (Wheeler, 1979:150-151)

Still in the same song, Lovett shows her tactics to manipulate Tobias. MRS. LOVETT. [Concealing what is now almost panic]

Silly boy! It’s just a silly little something Mr. T. gave me for my birthday.

TOBIAS. Mr. Todd gave it to you! And how did he get it? How did he get it?

MRS. LOVETT. Bought it, dear. In the pawnshop, dear. [To distract him,

she lifts the unfinished muffler on its needles]

Come on now. [Sings]

Nothing’s gonna harm you, Not while I’m around!

. . .

TOBIAS. You don’t understand.

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It was in Mr. Todd’s parlor that the guvnor disappeared.

MRS. LOVETT. [With a weak laugh] Boys and their fancies! What will we think of next! Here, dear. Sit here by your Aunt Nellie like a

good boy and look at your lovely muffler. How warm it’s going to keep you when the days draw in. And it’s so becoming on you.

(Wheeler, 1979:152-153)

The tactic to manipulate Tobias is seen clearly in both conversations above. She uses the same tactic in the song Not While I’m Around. In the first quotation, she steers the conversation to another topic. She asks Tobias to sit quiet and nice, and from the conversation it also seems that Lovett does not want to talk about that topic. It can be seen when she wants to distract him by telling that the conversation is a foolish conversation and giving him a bon-bon from Pirelli’s

purse in which in the second quotation Tobias realizes that purse. While in the second quotation, she manipulates Tobias by refusing to admit that she has done something wrong. Mrs. Lovett lies to Tobias about the purse. In fact, the purse is taken after Sweeney Todd kills Pirelli in his parlor because Pirelli already recognizes him when they first met in the Dunstan's Marketplace. Moreover, in that quotation she refuses to pay attention to anything beyond her desire and by

saying ‘boys and their fancies’ Lovett wants to show that actually she does not

want to hear about what Tobias says.

The sixth evidence is when the Beadle informs Lovett about the bad smell from her chimney.

BEADLE. That’s it, ma’am. You see, there’s been complaints –

MRS. LOVETT. Complaints?

BEADLE. About the stink from your chimney. They say at night it’s something foul. Health regulations being my duty, I’m afraid I’ll

have to ask you to let me take a look.

MRS. LOVETT. [Hiding extreme anxiety] At the bakehouse?

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MRS. LOVETT. [Improvising wildly] But, it’s locked and . . . and I don’t have the key. It’s Mr. Todd upstairs – he’s got the key and he’s

not here right now. BEADLE. When will he be back?

MRS. LOVETT. Couldn’t say, I’m sure.(Wheeler, 1979:157-158)

Due to her secret job as a pie maker, Lovett lies to the Beadle. She hides her anxiety from the Beadleby saying the bakehouse’s key is in the Todd just because

she is afraid if the Beadle knows the truth. She does not want the Beadle knows that her meat pies is made of human flesh and the bakehouse is full of it, so that with the trick, she successfully makes Beadle believes that the key of her bakehouse is in Sweeney Todd.

The seventh evidence is proven through the hidden narration when Mrs. Lovett and the Beadle talk to each other about the arrival of Sweeney Todd.

MRS. LOVETT. [Another “inspiration”] Oh yes, of course! Mr. Todd’s gone down to Wapping. Won’t be back for hours. And he’ll be

ever so sorry to miss you. Why, just the other day he was saying,

“If only the Beadle would grace my tonsorial parlor I’d give him a

most stylish haircut, the daintiest shave– all for nothing.” So why don’t you drop in some other time and take advantage of his offer?

BEADLE. Well, that’s real friendly of him.

[Immovable, he starts to sing another verse] (Wheeler, 1979:159-160)

Lovett chooses her own path based on her desire. The word ‘inspiration’ which is

in the bracket shows that it is Mrs. Lovett’s negative idea in order to make the

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This is the eighth evidence to show her characteristic as a manipulative woman. It is happened in the same location which is in the pieshop. The conversation between the Beadle, Mrs. Lovett and Todd happens when Todd already back to the pieshop.

MRS. LOVETT. [With a huge smile of relief] Back already! Look who’s

here, Mr. T., on some foolish complaint about the bakehouse or something. He wants the key and I told him you had it. But . . . [Coquettishly, to the BEADLE]

. . . there’s no hurry, is there, sir? Why don’t you run upstairs

with Mr. Todd and let him fix you up nice and pretty– there’ll be

plenty of time for the bakehouse later.

BEADLE. [Considering] Well . . . tell me, Mr. Todd, do you pomade the hair? I dearly love a pomaded head.

MRS. LOVETT. Pomade? Of course! And a nice facial rub with bay rum too. All for free!

BEADLE. [To TODD] Well, sir, I take that very kindly.

TODD. [Bowing to the BEADLE] I am, sir, entirely at your – disposal. (Wheeler, 1979:160-161)

The evidence above is still related with the seventh evidence that has been outlined which is giving the offer to the Beadle in this context is shaving. Beadle who originally wants to complain the foul smell coming from the chimney eventually forgotten by the offer given by Mrs. Lovett. Here, she uses her skillful way for her own purpose. Beadle finally agrees to take the offer and from this moment, Mrs. Lovett fells that her effort is successful.

Next evidence is set in the pieshop. The speech comes from beggar woman when Mrs. Lovett and Sweeney Todd are in the bakehouse looking for Tobias.

BEGGAR WOMAN. Beadle! . . . Beadle! . . . No good hiding, I saw you!

Are you in there still, Beadle? . . . Beadle? . . . Get her, but watch it!

She’s a wicked one, she’ll deceive you

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And her fancy airs

And her–[Suddenly shrieking] Mischief! Mischief!

Devil’s work!(Wheeler, 1979:170-171)

The speech above shows the beggar woman knows the evil deed done by Lovett. She knows that Mrs. Lovett does something wrong, in this case to the beadle. In her speech, it seems she knows that Lovett deceives the beadle in order to run her bad work. The way the beggar woman says that Lovett is a wicked one and with her fancy gown will deceive the beadle, it can be concluded that actually beggar woman wants to tell the beadle that Lovett is a manipulative woman who uses her trick to get her need.

2. Heartless

This is the second characteristics possessed by Lovett. The depiction of Mrs. Lovett as a heartless woman can be proven through her language to Beggar Woman.

BEGGAR WOMAN. [Sing] Alms . . . alms . . .

MRS. LOVETT. [Imitating her nastily, singing] Alms . . . alms . . .

[Music continues] How many times have I told you? I’ll not have

trash from the gutter hanging around my establishment!

BEGGAR WOMAN. Not just a penny, dear? Or a pie? One of them pies that give the stomach cramps to half the neighborhood?

[A cackling laugh] Come on, dear. Have a heart, dear.

MRS. LOVETT. Off. Off with you or you’ll get a kick on the rump that’ll

make your teeth chatter! (Wheeler, 1979:55)

The harsh words uttered by Mrs. Lovett replies that she does not have a heart to the people especially to beggar woman. Not only through Lovett’s speech, but by

saying ‘have a heart’, Lucy also gives the depiction regarding Lovett’s

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Then, the second evidence to prove she is a heartless woman can be identified by analyzing the dialogue between herself, Anthony and Todd.

MRS. LOVETT. Johanna?

ANTHONY. That’s her name ma’am, and Turpin that of the abominable

parent. A judge, it seems. But, as I said, a monstrous tyrant. Oh

Mr. Todd, once the Judge has gone to court, I’ll slip into the house

and plead with her to fly with me tonight. Yet when I have her –

where can I bring her till I have hired a coach to speed us home to Plymouth? Oh, Mr. Todd, if I could lodge her here just for an hour or two!

[He gazes at the inscrutable TODD] MRS. LOVETT. [After a beat] Bring her, dear.

. . .

MRS. LOVETT. Johanna! Who’d have thought it! It’s like Fate, isn’t it? You’ll have her back before the day is out.

TODD. For a few hours? Before he carries her off to the other end of England?

MRS. LOVETT. Oh, that sailor! Let him bring her here and then, since

you’re so hot for a little . . .

[Makes a throat–cutting gesture] . . . that’s the throat to slit, dear. Oh Mr. T., we’ll make a lovely home for her. You and me. The

poor thing! All those years and not a scrap of motherly affection!

I’ll soon change that, I will, for if ever there was a maternal heart, it’s mine. (Wheeler, 1979:59-61)

Mrs. Lovett is a dangerous type of female character in the play. Seeing the hidden narration in which she makes a throat – cutting gesture, it can be concluded that she wants Todd kills Anthony after he brings Johanna. She wants only Todd and Johanna who live with her. She does not worry about other people. She also said that she will make a lovely home for her if the three of them live together. She does not want anybody to live with her except Todd and her daughter because she wants to be a mother for Todd’s daughter since she spent fifteen years with no

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The third indicator is when Mrs. Lovett has an idea to increase her business and invites Todd to join with her.

TODD. Mrs. Lovett,

What a charming notion, MRS. LOVETT.

Eminently practical and yet Well, it does seem a Appropriate, as always. Waste . . .

Mrs. Lovett

How I’ve lived without you It’s an idea . . .

All these years I’ll never know! Think about it . . .

How delectable! Lots of other gentleman’ll

Also undetectable. Soon be coming for a shave

Won’t they?

Think of

How choice! All them

How rare! Pies! (Wheeler, 1979:98) Todd and Lovett sing simultaneously in the end of scene 1. It can be seen that the idea of Mrs. Lovett is very cruel. She thinks that all men who come to shave in the

Todd’s barbershop will be her pies. From the quotation, it can be concluded that she does not really care about people even those who have never committed crime against her. She does not have the sense of humanity. Therefore, her speech is characterized as a speech from a heartless woman.

The fourth sign to show Lovett is a heartless woman is based on beggar

woman’s speech.It happens when Todd meets beggar woman in his parlor. TODD. [Looking anxiously out the window for the JUDGE]

Out of here, woman.

BEGGAR WOMAN. [Still clutching his arm]

She’s the Devil’s wife! Oh, beware her, sir. Beware of her. She with no pity . . . in her heart. (Wheeler, 1979:174-175)

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no pity in her heart, it obviously shows that Lovett has the characteristic of a heartless woman.

3. Greedy

From the beginning of the play, the author has described the characteristics of Mrs. Lovett as a greedy woman implicitly. In the first scene, the sign indicating that she is a greedy can be identified by seeing her speech to Todd. It happens when she just realized that Sweeney Todd is Benjamin Barker.

TODD. No money.

MRS. LOVETT. Then how you going to live even?

TODD. I’ll live. If I have to sweat in the sewers or in the plague hospital,

I’ll live –andI’ll have them.

MRS. LOVETT. Oh, you poor thing! You poor thing! [A sudden thought] Wait!

[She disappears behind a curtained entrance leading to her

parlor. For a beat TODD stands alone, almost exalted. MRS. LOVETT returns with a razor case. She holds it out to him]

See! It don’t have to be the sewers or the plague hospital. When they come for the little girl, I hid ‘em. I thought, who knows? Maybe the poor silly blighter’ll be back again someday and need ‘em. Cracked in the head, wasn’t I? Times as bad as they are, I

could have got five, maybe ten quid for ‘em, any day. See? You

can be a barber again. (Wheeler, 1979:20)

The conversation is happened in the Sweeney Todd’s parlor. What in her mind is all about money. Mrs. Lovett seems does not believe if Sweeney Todd can live without the money, but then she gives the razor case to him in order to make Todd becomes a barber again. In the last sentence of her, for the second time she talks about how to get the money. This is clearly illustrates that from the very beginning of the story the characteristics of greed can be identified. Then, there is also another evidences which prove that she is a greedy woman.

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I am Mr. Sweeney Todd and I have opened a bottle of Pirelli’s

Elixir, and I say to you it is nothing but an arrant fraud, concocted from piss and ink.

[MRS. LOVETT takes the bottle from TODD, sniffs it]

MRS. LOVETT. He’s right. Phew! Better to throw your money down the

sewer.

[She tosses the bottle to the ground. The onlookers “ooh and aah”

with shocked excitement] (Wheeler, 1979:42)

The conversation is occurred in the St. Dunstan’s Marketplace. Both Todd and Mrs. Lovett are in that place at that time in order to see where the Beadle is. Again, Mrs. Lovett talks about the money. She says in the end of her speech that Tobias should throw the money in the sewer. From this evidence, it proves that in her mind, only money she thinks about.

The third evidence is set in Todd’s parlor shortly after Todd kills Pirelli.

Mrs. Lovett who always thinks about the money then takes Pirelli’s pursefrom his pocket.

MRS. LOVETT. Oh well, that’s a different matter! What a relief, dear! For a moment I thought you’dlost your marbles.

[Turns to peer down again into the chest] Ooh! All that blood!

Enough to make you come all over gooseflesh, ain’t it. Poor

bugger. Oh, well!

[She starts to close the lid, sees something, bends to pick it up. It

is PIRELLI’s purse. She looks in it]

Three quid! Well, waste not, want not, as I always say.

[She takes out the money and puts it down her bosom. She is about

to throw the purse away when something about it attracts her. She slips it too down her dress. She shuts the chest lid and, quite composed again, sits down on it] Now, dear, we got to use the old

noggin. (Wheeler, 1979:82-83)

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worst-pie business makes Mrs. Lovett lives in a poor condition in very long time and makes her has a trouble in getting the money. Therefore, she uses various ways to get the money even doing thing she should not to do.

B. Mrs. Lovett’s Motiveto HideLucy’s Identity

Based on the Maslow’s belief that every basic needs have to be fulfilled

start from the bottom before meet the higher need, then the researcher categorizes Mrs. Lovett in the third level of basic needs which is the need of love and belongingness. Lovett has fulfilled the first and the second need, in which the first is physiological needs and the second is safety needs. Those two needs are categorized in the lower needs. Before Todd comes, she can live by herself. She is able to fulfill all of her needs, for instance she can provide food, water and a house for herself. Even, she rents the room above her meat pieshop after Todd comes. It means her two needs – her physiological and safety needs are more or less have been fulfilled. Therefore, the researcher puts Mrs. Lovett in the third level which is categorized in the higher needs.

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In the first characteristic which is manipulative, the researcher finds two evidences that showing her motive to hide Lucy’s identity. Firstly, when Mrs. Lovett meets Sweeney Todd for the first time and she tells the whole story of his family and after some moments, she just realizes that Sweeney Todd is Benjamin Barker. This evidence can be found in the very first explanation of her manipulative characteristic.

TODD. Isn’t that a room up there over the shop? If times are so hard, why don’t you rent it out? That should bring in something.

MRS. LOVETT. Up there? Oh, no one will go near it. People think it’s

haunted. You see – years ago, something happened up there. Something not very nice.

[Sings] There was a barber and his wife, And he was beautiful,

A proper artist with a knife, But they transported him for life. [Sighs] And he was beautiful . . .

[Speaks, music continuing under] Barker, his name was –

Benjamin Barker.

TODD. Transported? What was his crime?

MRS. LOVETT. Foolishness. (Wheeler, 1979:15)

Mrs. Lovett’s characteristic as a manipulative woman makes her behave honestly in the beginning of the story. This is because Mrs. Lovett does not know at all who Sweeney Todd is actually. She only considers Todd as an ordinary consumer. But then, shortly a significant change occurs. She quickly changes her mind by not giving complete information or in other words she hides a significant amount of the truth regarding Lucy – his wife, after she already knows the real identity of Todd.

TODD. [A wild shout] Would no one have mercy on her?

[The dumb show vanishes. TODD and MRS. LOVETT gaze at each

other]

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TODD. [Frighteningly vehement] Not Barker! Not Barker! Todd now! Sweeney Todd! Where is she?

MRS. LOVETT. So changed! Good God, what did they do to you down there in bloody Australia or wherever?

TODD. Where is my wife? Where’s Lucy?

MRS. LOVETT. She poisoned herself. Arsenic from the apothecary on the

corner. I tried to stop her but she wouldn’t listen tome. TODD. And my daughter?

MRS. LOVETT. Johanna? He’s got her.

TODD. He? Judge Turpin?

MRS. LOVETT. Even he had a conscience tucked away, I suppose. Adopted her like his own. You could say it was good luck for her . . . almost. (Wheeler, 1979:18-19)

She hides Lucy’s identity because she is very fond of Sweeney Todd. To strengthen the first evidence above, here the researcher provides a brief conversation between Lovett and Todd as a tool showing Lovett really fond of Todd.

TODD. You there, my friend. MRS. LOVETT. Come, let me hold you. I’m your friend too, Mr. Todd.

If you only knew, Mr. Todd–

Now, with a sigh Ooh, Mr. Todd, You grow warm You’re warm

In my hand, In my hand.

My friend, You’ve come home.

My clever friend. Always had a fondness for you. [Putting it back] I did. (Wheeler, 1979:22)

Both of them sing simultaneously in My Friends song. In her conversation above, there is an obvious statement showing that Lovett has a fondness for Todd from long time ago. It can be seen from the use of the word ‘did’ in her last speech – My Friends song, showing that she has already loved Todd from the time when he

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as a manipulative woman –based on the very first explanation of the first part of the analysis, Lovett does not tell that Lucy is still alive.

According to Maslow, this kind of person is categorized in the third stage of the basic needs theory. Lovett’s need of love and belongingness is unfulfilled for a long time. This unfulfilled need happens since her husband’s death. Then, it makes her live alone in her meat pieshop therefore she needs what is called the affection from people. Moreover, this need culminates when Sweeney Todd comes. Her feeling of love and affection is increased when she knows Sweeney Todd is Benjamin Barker who she fond of from long time ago. Her characteristic as a manipulative woman in this case indicates that she needs love from a person. Since her needs of physiological and safety needs have been more or less satisfied, then she comes to the need of love. Love is included in the belongingness and love needs which is in the third stage. In this stage, Maslow also states that someone may involve manipulative efforts to get the love from the other. In addition, the absence of a spouse or a sweetheart makes a person needs love from others. Lovett needs the affection from people around her. She needs the affection from Todd because she loves Todd and for that reason she hides

Lucy’s identity.The way she does not tell the whole story makes Todd thinks that Lucy has died and also she wants to separate Todd with Lucy. By doing so, she has an opportunity to live with Todd.

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TODD. [Back with his obsession] I’ll make them pay for what they did

to Lucy.

MRS. LOVETT. [Almost scolding] Now, dear, you listen to me. It’s high time you forgot all them morbid fancies. Your Lucy’s gone, poor thing. It’s your Nellie now. Here. (Wheeler, 1979:141)

By seeing her speech, this conversation indicates that her love for Todd is the reason to hideLucy’s identity.Since she loves Todd and she has the characteristic as a manipulative woman therefore for the second time, Lovett still deceives Todd about Lucy. She wants Todd forgets about Lucy and starts to think about her. In his theory, Maslow emphasizes a person often includes manipulative way to win

the loved one’s affection.Here Maslow also states that the unfulfilled need of love within several years makes a person hunger for affectionate and needs affection from the people around her and this condition that makes Lovett finally takes the manipulative action to have the love from Todd. She tells the untruth about Lucy in fact Lucy is still alive.

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Here, the researcher provides another proof to strengthen the evidence above. It shows Lovett’s confession toward herlove to Todd.

TODD. [Slowly looking up] You lied to me. MRS. LOVETT. [Sings] No, no, not lied at all.

No, I never lied.

TODD. [To the BEGGAR WOMAN] Lucy . . .

MRS. LOVETT. Said she took the poison–she did–

Never said that she died–

Poor thing, She lived–

. . .

TODD. Oh my God . . .

MRS. LOVETT. Better you should think she was dead.

Yes, I lied ‘cos I love you!

TODD. Lucy . . .

MRS. LOVETT.I’d be twice the wife she was!

I love you! (Wheeler, 1979:183-184)

It happens when Todd mistakenly kills the beggar woman who turns out to be his wife and realizes it when he sees her blonde hair. He accuses Lovett that she has deceived him about his wife. Lovett, however, justifies herself by saying she does not lie at all. Lucy does take the poison but it makes her insane. But then, Lovett admits that she lies because she loves Sweeney Todd. From those evidences and explanations stated, it can be concluded that the reason or the motive Lovett hides

Lucy’s identity is love.

On the other hand, in the second characteristic which is heartless the researcher finds an evidence supporting Lovett’s motive to hide Lucy’s identity. This evidence can be seen in the first evidence in her heartless characteristic.

BEGGAR WOMAN. [Sing] Alms . . . alms . . .

MRS. LOVETT. [Imitating her nastily, singing] Alms . . . alms . . .

[Music continues] How many times have I told you? I’ll not have

trash from the gutter hanging around my establishment!

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[A cackling laugh] Come on, dear. Have a heart, dear.

MRS. LOVETT. Off. Off with you or you’ll get a kick on the rump that’ll

make your teeth chatter! (Wheeler, 1979:55)

Seeing her rude speech, Lovett wants beggar woman leaves her meat pieshop and never comes again. She does not want any kind of beggar woman around her meat pieshop especially when she knows that the beggar woman is Lucy. Lovett does not want her place to be entered by the kind of that people and the worst thing she worries about is she is afraid if Todd realizes the beggar woman is Lucy. Then he will think that Lovett has deceived him and automatically he will decide to live with his wife, Lucy. The condition like this makes the researcher concludes that

the reason Lovett hides Lucy’s identity from Todd is because she loves Todd and she does not want Todd leaves her.

One of the important things that is re-emphasized in Maslow’s theory

regarding basic needs in the third stage is a person may involve anxiety to achieve his goal. Moreover, in achieving his goal this person will use manipulative way. These points are fulfilled by Lovett. First, she worries about someone who can thwart her plan. She worries if Lucy can stop her goal in which she wants to live and grow old with Todd. She worries if Todd leaves her and chooses a woman he loves to live with. Second, because of some worries she is afraid of then she uses her trick to get what she wants. She asks beggar woman roughly to leave her place so that there is no one especially Todd knows that the beggar woman is Lucy.

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42 CHAPTER V CONCLUSION

In order to know the motive that is revealed through the characteristics of one of the femal

Love and belongingness as Mrs. Lovett`s motive to hide Lucy`s identity seen in Hugh Wheeler`S Sweeney Todd, The Demon barber of Fleet Street.