A STUDY
Y OF SYMBOLS IN ANDREA HIRATA’S THE RAINBOW TROOPS
A THESIS
A STUDY
Y OF SYMBOLS IN ANDREA HIRATA’S THE RAINBOW TROOPS
A THESIS
A STUDY
Sponsor
Henny Herawati, S.Pd.,
ii A Thesis on
Y OF SYMBOLS IN ANDREA HIRATA’S THE RAINBOW TROOPS
By
Ernesa Novita Listyaningsih
Student Number: 071214001
Approved by
., M.Hum. 12 Octo
Date tober 2011
A STUDY
ia Tutyandari, S.Pd., M.Pd. __________
Frida Yulia, S.Pd., M.Pd. __________
Herawati, S.Pd., M.Hum. __________
ristiyani, S.Pd., M.Pd. __________
ia Tutyandari, S.Pd., M.Pd. __________
iv
STATE
I honestly declare that th
or parts of the other wor
the references, as a scien
vi
TEMENT OF WORK’S ORIGINALITY
this thesis, which I have written, does not contai
ork of other people, except those cited in the quo
entific paper should.
Yogyakarta, 12 October 2011
The Writer
Ernesa Novita Listyaningsih
071214001
ain the work
otations and
LEMB
di bawah ini, saya mahasiswa Universitas Sanata
Ernesa Novita Listyaningsih
: 071214001
lmu pengetahuan, saya memberikan kepada Perpu
arma karya ilmiah saya yang berjudul:
Y OF SYMBOLS IN ANDREA HIRATA’S THE RAINBOW TROOPS
diperlukan (bila ada). Dengan demikian saya m
Universitas Sanata Dharma hak untuk m
entuk media lain, mengelolanya dalam bentuk
secara terbatas, dan mempublikasikannya di in
pentingan akademis tanpa perlu meminta ijin
viii
ABSTRACT
Listyaningsih, Ernesa Novita. 2011. A Study of Symbols in Andrea Hirata’s The
Rainbow Troops. Yogyakarta: Sanata Dharma University.
Andrea Hirata’s The Rainbow Troops is a novel that tells about life struggle of ten fabulous students of SD Muhammadiyah Gantong, Belitong and their extraordinary teachers for education. This novel portrays certain life episodes of the narrator, Ikal. Symbols in the novel are not clearly seen. This happens because of the tendency of the author to connect it with reality. This also happens because everybody sees the novel as the biography of the writer instead of part of imaginative literature.
There are two research problems stated in this study: (1) What symbols are revealed in Andrea Hirata’s The Rainbow Troops? (2) What is the significance of the symbols on the theme conveyed in Andrea Hirata’s The Rainbow Troops?
To answer the research problems, the researcher applied a library study as the method of the study. The primary source of the study was the novel The Rainbow Troops while the secondary sources were all journals, internet sources, books and magazine which are related to the study. Furthermore, formalist approach was used as the approach of the study.
There are five major symbols found in the novel. The Rainbow Troops is a way for Mus to kindle the spirit of her students and to show her hope that these all students will give new life. While, Lintang stands for spirit or energy that guides and encourages people to be dare to dream. He also symbolizes an irony of life at the same time. The filicium tree, meanwhile, symbolizes the relation among God or Heaven, nature, and human. On the other hand, the Ferris wheel is a symbol of Ikal’s up and down feeling and emotion toward A Ling and also ups and downs of human life. Finally, the crocodile in the novel symbolizes symbolizes dangers, problems and obstacles in life. Symbols in the novel bring significance in conveying the theme of the novel. They support the unity of the theme. By the appearance of those all symbols, readers are allowed to feel the senses experienced by the writer. They are also able to understand the novel deeper and catch hidden message in the novel.
Keywords: symbols, theme, The Rainbow Troops
ix
ABSTRAK
Listyaningsih, Ernesa Novita. 2011. A Study of Symbols in Andrea Hirata’s The
Rainbow Troops. Yogyakarta: Universitas Sanata Dharma.
Laskar Pelangi karya Andrea Hirata adalah sebuah novel yang bercerita tentang perjuangan hidup sepuluh siswa hebat SD Muhammadiyah Gantong, Belitong dan guru mereka yang luar biasa dalam hal pendidikan. Novel ini melukiskan episode tertentu dari kehidupan sang narator, Ikal. Simbol dalam novel ini memang tidak jelas terlihat. Hal ini terjadi karena kecenderungan sang penulis untuk mengaitkan simbol tersebut dengan realita. Hal ini juga terjadi karena setiap orang melihat novel tersebut sebagai biografi penulis, bukan sebagai bagian dari sastra imajinatif.
Ada dua rumusan masalah yang dalam penelitian ini: (1) Simbol-simbol apakah yang muncul dalam novel Laskar Pelangi karya Andrea Hirata? (2) Bagaimana simbol-simbol tersebut memberikan pengaruhnya pada tema dalam novel Laskar Pelangi karya Andrea Hirata?
Untuk menjawab kedua rumusan masalah tersebut, peneliti menerapkan studi pustaka sebagai metode penelitian. Sumber utama penelitian ini adalah novel Laskar Pelangi sementara sumber sekundernya adalah semua jurnal, sumber internet, buku, dan majalah yang berkaitan dengan penelitian ini. Selanjutnya, pendekatan formalis digunakan sebagai pendekatan dalam penelitian ini.
Ada lima simbol utama yang ditemukan dalam novel ini. Laskar Pelangi adalah cara Bu Mus untuk mengobarkan semangat murid-muridnya sekaligus menunjukkan harapannya kepada para murid untuk memberikan hidup yang baru. Sementara itu, Lintang menunjukkan semangat atau energi yang membimbing dan mendorong orang-orang untuk berani bermimpi. Pada saat yang sama, ia juga menyimbolkan ironi dalam kehidupan. Pohon filicium menyimbolkan hubungan antara Tuhan, alam, dan manusia. Di sisi lain, roda bianglala menunjukkan gejolak perasaan dan emosi Ikal terhadap A Ling, sekaligus pasang surut dalam kehidupan manusia. Pada akhirnya, buaya dalam novel ini, menyimbolkan bahaya, permasalahan, dan rintangan dalam kehidupan. Simbol-simbol tersebut membawa arti penting dalam menyampaikan tema novel itu sendiri, mereka mendukung kesatuan tema novel tersebut. Lewat kehadirannya, pembaca diijinkan untuk merasakan perasaan yang dialami penulis. Pembaca pun mampu memahami novel tersebut secara lebih mendalam dan mampu menangkap pesan-pesan yang tersembunyi di dalam novel.
x
ACKNOWLEDGEMENTS
First and foremost, I would like to send my deepest gratitude to Jesus
Christ for the unlimited blessing, care, love, strength, and health given to me.
Thank you for loving and trusting me that I am able to finish these all.
Second, I am heartly thankful to my advisor Henny Herawati S.Pd.,
M.Hum. for willingly encouraging and guiding me, for answering my questions,
and for giving me solutions. I also owe my gratitude to Antonius Jody S.Pd. and
Leonie Irina Mutiara S.Pd. who gladly help me to check my work in order to
make it as good as possible.
I would also thank all PBI’s lecturers for the guidance and for willingly
share their knowledge with me. I am also grateful to PBI’s secretariat: Mbak
Danik and Mbak Tari for helping me a lot during these years.
Then, I offer my greatest thanks to my late mother, Lies Anindayati and
my dearest parents Drs. Dwi Prastowo Darminto, M.M., Akt., CPMA. and Eny
Listyaningsih for loving, caring, and supporting me all the time. I send my love
also to my only brother Laurentius Bagas Magista and my sisters Btari Bunga
Ceisari, Sukarti, and Adianeva for always staying beside me.
I am grateful to Benedictus Geovani Suharrukmana for always stay when I
am up and down, for the love and care given to me, for lots of supports I cannot
count. I am indebted to many of my bestfriends. The gabrut team: Nidya
Pudyastiwi, Rosa Galuh K., Agatha Wikandhita, Stefani Dwi Astuti, and Bella
Stasia, Nuswantara English Course: Herdiansari Hayuningrum, Leonie Irina
xi
Mutiara, Widya Warasita, Kudus Martha Uli, and Lusia Ping. My deepest
gratitude is also for my ex-4B friends: Desma Denny, Fransisca Ria, Reinha
Angelika, Janu Arfian and also for all PBI students (class of 2007), my partner in
struggle.
Lastly, I send my regards to all of those who supported me in everything
during the completion of this thesis.
Yogyakarta, 12 October 2011
xii
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI ……….... vii
ABSTRACT ……… viii
CHAPTER II. REVIEW OF RELATED LITERATURE A. Review of Related Theories ...……….... 7
1. Theory of Symbols ...………….………... 7
2. Theory of Formalist Approach .……… 13
B. Theoretical Framework ……….. 13
CHAPTER III. METHODOLOGY A. Object of the Study ...………... 15
xiii
B. Approach of the Study ...………... 16
C. Method of the Study ...……….. 16
CHAPTER IV. ANALYSIS A. Symbols Presented in The Rainbow Troops ……….. 19
B. The Significance of Symbols in Conveying Theme... 39
CHAPTER V. CONCLUSIONS, IMPLICATIONS AND SUGGESTIONS A. Conclusions ………...…. 42
B. Implications ………...…. 44
C. Suggestions ………...……. 47
REFERENCES ………. 49
xiv
LIST OF FIGURE
Figure Page
4.1: Ikal’s Feeling Represented by The Wheel ………... 32
xv
LIST OF APPENDICES
Appendix Page
A. Summary of Andrea Hirata’s The Rainbow Troops………... 50
B. Biography of Andrea Hirata………... 52
C. Pictures of Andrea Hirata’s The Rainbow Troops Quartet... 54
1. Sources of Pictures of Andrea Hirata’s novel The Rainbow Troops... 56
D. Pictures of Figures Behind the Success of The Rainbow Troops... 57
1. Sources of Pictures of Figures Behind the Success of The Rainbow Troops... 59
E. Pictures of Some Details Used in The Rainbow Troops ………... 60
1
CHAPTER I
INTRODUCTION
This chapter consists of five parts including background of the study,
problem formulation, objective of the study, benefits of the study, and definition
of terms.
A. Background of the Study
There is no single definition to define what literature is. Wellek and
Warren (1962) see literature as “an art” (p. 15). Meanwhile, Roberts and Jacobs
(1987) state that technically, literature is “anything spoken or written” (p. 1).
However, literature is not the same as any writing made by a scientist or a doctor.
What distinguishes literature from any other writing or utterance is that literature
is both interesting and entertaining. It is created to catch emotions or imagination
while the others are not.
Literature, still according to Roberts and Jacobs (1987), “has many things
to offer” (p. 2). Literature is like a window to see the world. It adds knowledge
about culture in different places that have never been visited. It also provides
pictures about human dreams and struggle in different societies. It helps to see
beauty in the world. Literature helps “to shape our judgements through the
constant comparison of the good against the bad” (Roberts and Jacobs, 1987, p.
2). It helps to develop personality and to build self identity. In short, literature
helps “to grow both personally and intellectually” (Roberts and Jacobs, 1987, p.
2). A work of literature can teach people about the nature of human more than a
psychologist does (Wellek and Warren, 1956).
One form of literary work is prose. Roberts and Jacobs (1987) classify
prose as a part of “imaginative literature” (p. 3). This means “ the truth of
literature is true to life and human nature, not necessarily to the world of historical
and scientific facts” (Roberts and Jacobs, 1987, p. 3). Novel and short story are
the example of prose. Thus, they are also categorized as imaginative literature. In
accordance with this, Andrea Hirata’s novel entitled The Rainbow Troops can also
be classified as imaginative literature. Most readers believe that the novel is about
the writer’s biography which tells about his childhood experience. However, it is
reasonable to categorize it as imaginative literature. It does not mean that his
writing is not truthful. It is just true to life and human nature. In this novel, Hirata
does not write a textbook, nor a historical work and biographical work. He does
not also write a news article which merely recounts facts. But rather, he writes a
novel which tells about certain life episodes of his childhood experience in such a
beautiful and dramatic way. His intention is not to convey information but to tell
and entertain people through series of dramatic situations. If his intention is to
recount facts, he will just write a biographical work. However, since his decision
is to write a novel, it should always be remembered that novel is a part of
imaginative literature.
The Rainbow Troops is a novel written by an Indonesian novelist, Andrea
Hirata. This novel has been sold for more than five million copies. It has also been
3
only in Indonesia but also worldwide. The Rainbow Troops portrays certain life
episodes about the inspiring childhood experience of the narrator, Ikal, who is
actually the writer himself. It tells about the struggle of ten students and their
teachers in SD Muhammadiyah Gantong for better life and future through
education; how a young teacher struggles for her students’ right for education
against poverty and marginalization in the society and how ten extra ordinary
students from the poorest community in the island learn and reach their dreams
and how a fatherly man defends the oldest Islamic school in the island from being
destructed.
The Rainbow Troops is amazing because: (1) this novel adapts a theme
which is considered different from other novelists, (2) the writer presents a story
of everyday life of certain group of people in certain place which is never been
exposed before, (3) the story flows simple and dynamic that makes readers cannot
stop reading, and (4) the characters and the conflicts are presented smoothly and
naturally.
The existence of symbols in this novel may not be recognized by most
readers because of author’s tendency to connect the story with real events. This
makes readers feel that the story is a reality without any imagination. It is also
possible that symbols are often unnoticeable. Readers who merely believe in what
is written in the story will not even realize the symbols. However, referring to the
fact that a novel is a creation of an author, readers will be able to see more than
what is written in the novel (Stanton, 1965).
In everyday life, most objects always have meanings. They bring
messages which are not only expressly stated but can also be inferred. It is found
in daily conversations, religious rituals, traffic signs, letters, flags or even our
clothes. It is for example, flag colored with red and white referred to certain
country named Indonesia; the red color symbolizes bravery while the white color
symbolizes purity. The letter “A” and “B”, if they are put together, mostly known
as the symbol of blood type or police number of certain area named Yogyakarta.
The word “chair” can be defined as a place to sit. Nevertheless, “chair” itself can
also be inferred as a position in certain organizations or power of certain people
which preside organization or community. In one hand, it can be said that “sun”
can be seen as a big star which is the source of light and heat for the planets in the
solar system. However, it is also possible to say that “sun” is a hope or guidance
that brings good things. At the same time, some people see “sun” as something
which causes drought, whitered trees, leaves and flowers. It causes fire, suffer,
thirst and despair. This interpretation can be different from one to another. It is
surely because of subjectivity and different attitude or experience in responding to
certain object or event.
On that ground, in reading a literary text, though the words used by the
author have their own meaning which have been compromised before by the
society, the meaning intended by the author may still cause different perceptions
from the readers. It is because of subjectivity from both the writer and the readers.
It is also possible that a reader may have different perception from another. If so,
5
the core of reading a literary work. This subjectivity makes the writing itself
beautiful, unique, and specific.
This study, which focuses on symbols in Andrea Hirata’s The Rainbow
Troops, is intended to appreciate the novel and to gain deeper understanding
toward the object of the study. As far as the researcher knows, there is no similar
study that explore the symbols in the novel The Rainbow Troops. Thus, it will be
very interesting, challenging and useful to study the novel and reveal the symbols
in it. Studying symbols is challenging, like solving a mystery or play with a
complex puzzle. However, as soon as the symbols are revealed, they will “add
reality to the story by letting us perceive directly, through the senses, some idea or
attitude which is part of the experience the author describes” (Stanton, 1965, p .
33).
B. Problem Formulation
According to the previous background of the study, the problem of this
study can be formulated as: (1) what symbols are revealed in Andrea Hirata’s The
Rainbow Troops? (2) what is the significance of the symbols on the theme
conveyed in Andrea Hirata’s The Rainbow Troops?
C. Objective of the Study
This study aims to reveal symbols in Andrea Hirata’s The Rainbow Troops
and also to discover the significance of the symbols on the theme conveyed in
Andrea Hirata’s The Rainbow Troops.
D. Benefits of the Study
Studying symbols in Andrea Hirata’s The Rainbow Troops gives much
benefits for both the researcher and the readers of this study. The result of this
study will add the readers’ understanding toward the story. It will also help
readers to feel the sense and emotion of the writer which are not conveyed
literally in the novel. Hence, those who read the result of this study are able to
figure out the messages hidden in the novel. Furthermore, this study is hoped to be
a useful reference for similar study of literature in the future.
E. Definition of Terms
Here is the definition of term needed to facilitate this study.
Symbol
In 1989, Luxemburg, Bal, and Weststeijn argued that symbol is something, which
based on agreement, refers to certain idea or meaning. According to Wellek and
Warren in the Theory of Literature (1956), symbol is a “specific literary
7
CHAPTER II
REVIEW OF RELATED LITERATURE
This chapter consists of two parts, namely: review of related theories and
theoretical framework. The review of related theories contains the theory of
symbols and the theory of formalist approach. Meanwhile, the theoretical
framework presents the relationship of the theories discussed in the research
problem and how the theories function in answering research problem.
A. Review of Related Theory
This subchapter includes the theory of symbols and the theory of formalist
approach. Here, the theory of symbols, in succession, reveals the basic theories of
symbols.
1. Theory of Symbols
According to Wellek and Warren in the Theory of Literature (1956),
symbol is “a specific literary movement” which “appears in widely different
contexts and very different purposes” (p. 188). In literature, symbol is “an object
which refers to another object but which demands attention also in its own right,
as a presentation” (p. 189). Similarly, Roberts and Jacobs (1987) in Fiction: An
Introduction to Reading and Writing state that symbol is “...the thing may be
understood to mean something beyond itself, something bigger than itself” (p. 69).
It is also explained that symbolism is “mode of literary expression that is designed
to extend meaning” (p. 279).A symbol, according to Roberts and Jacobs (1987)
connects “(1) a specific thing with (2) ideas, values, persons, or ways of life, in a
direct relationship that otherwise would not be apparent” (p. 279). However, a
symbol can also substitute “the elements being signified” (p. 279).
There are reasons why writers put certain details in the story as symbols
instead of telling the readers straight out. According to Arp and Johnson (2009) in
Perrine’s Literature: Structure, Sound, and Sense, a talented writer says “as much
as possible as briefly as possible” (p. 284) while a successful story does not waste
anything and that each word and detail are chosen effectively. Symbol is one of
the ways in creating successful stories:
Three of many resources available to writers for achieving compression are symbol, allegory, and fantasy. To varying degrees, each of these techniques is a way to depart from the strict adherence to factual language and representation of the kind a journalist uses, for instance, in writing a newspaper story. By modifying, enhancing and at times even abandoning such a factual or realistic approach to storytelling, an author can increase the emotional force and resonance of a story, suggesting a much larger and richer meaning than might be achieved with a strictly realistic approach. But such narrative strategies also require close attention on the reader’s part. (p. 284)
Reaske and Knott (1988) explain that symbol is used when the writer “cannot
convey” the meaning “in other ways”. They also state that the meaning of literary
symbol is not “fixed” and depends on the “context” established by the writer (p.
224). Here, Kennedy and Gioia (1999) advise, “One advantage of a symbol is that
it is so compact, and yet so fully laden” (p. 218).
Its function, according to Ogden and Richards (1923) is to “help us and
hinder us in reflecting on things” (p. 9). While, in his book An Introduction to
9
help writers give the ideas and emotions “vividness of reality” when they seem
“invisible” and “intangible” (p. 31). In other words the purpose of symbols in
literature is to enable readers to catch the writer’s meaning. He continues that
based on how it is used, symbolism has three common effects which include: (1)
emphasizing the significance of certain moment through a symbol that appears
during that crucial moment; (2) warning the readers of “some constant element in
the story’s world” through a symbol that is repeated several times; (3) defining
and clarifying the theme of the story through a symbol that appears repeatedly in
various contexts (p. 31).
Symbols, according to Roberts and Jacobs (1987), consist of two types.
Symbols which are “generally or universally recognized, and authors referring to
them rely on this common understanding” usually known as cultural or universal
symbols. Meanwhile, “objects and descriptions” that “gain their symbolic
meaning within the context of the specific work of fiction” and derived not from
common historical, cultural, or religious ground may be called private, authorial,
or contextual symbols (p. 280).
Roberts and Jacobs (1987) add that “a symbol is usually a person, thing,
place, action, situation, or even thought” which has “its own reality and meaning
and may function at the normal level of reality within a story” (p. 279). Similarly,
Arp and Johnson (2009) describe symbol may be an object, a person, a situation,
an action, or some other elements in the story that may bring other meaning
besides its literal meaning. Meanwhile, Kennedy and Gioia (1999) explain that
symbols “...are likely to be perceptible objects” (p. 218). Oftentimes, the symbols
are “inanimate objects”, characters which appear rarely “but are seen fleetingly
and remain slightly mysterious”, “parts of a character’s body or an attribute”, and
also “gesture with larger significance than usual” (p. 218).
Stanton (1965) reminds that symbols can be found in anything.
Unfortunately, their existence is probably difficult to recognize. It is because
symbols appear mostly as “plausible facts” and “express meanings for which no
conventional symbols exist” (p. 32). Breaking symbols, according to Stanton
(1965), “can be a pleasure in itself, like solving a complex puzzle” but as soon as
it is broken, the symbol will “add reality to the story by letting us perceive
directly, through the senses, some ideas or attitude which are part of the
experience the author describes” (p. 33).
According to Kennedy and Gioia (1999) certain detail cannot be
considered as a symbol if “it points clearly and unmistakably toward some one
meaning” (p. 219). They also advise, “But an object, an act, or a character is
surely symbolic...if, when we finish the story, we realize that it was that
item...which led us to the author’s theme, the essential meaning” (p. 219). Stanton
(1965) also suggests some clues to recognize certain details as symbols. First, if
certain detail is truly symbol, it will “repeat or resemble certain other details” that
makes the detail itself conspicuous (p. 32). Second, if certain details are obviously
contrast to each other, it can also be a clue to symbolism. Third, symbols also
appear through details which are linked together and forms certain pattern as long
as “the facts of the story do not fully account for the pattern” (p. 32). Fourth, when
11
symbolism. Fifth, when details are made “unusual for no apparent reason” or
when it is mentioned in the title, they may be considered as symbols (p. 32).
Likewise, Barnet, Berman, and Burto (1993) explain that writers help readers to
feel the symbols used in the story “by emphasizing them—for instance, by
describing them at some length, or by introducing them at times when they might
not seem strictly necessary, or by calling attention to them repeatedly” (p. 70).
The clues above are just the initial step of interpreting symbols. The next
step is to find what it symbolizes. Stanton (1965) has suggested some methods of
interpreting symbols in literary works. It can be done by connecting the detail
with its “familiar connotations” for example, “flowers suggest love, girls, and
Nature” (p. 32). Unfortunately, using connotations as a method can be misleading
because certain details may suggest more than one meaning. Another way of
interpreting symbol is “to compare the detail to its context” (p. 32). However,
comparing detail to its context is not enough. It is important for readers to see
“how these contexts are related to one another” (p. 32). Those all methods can be
used to interpret symbols in literary works. However, the best method of
interpreting symbols, according to him is still “close attention and thought” (p.
32). In order to be able to recognize certain details as symbols and to find out the
meanings, readers should be thorough. Those all methods must be supported by
readers’ previous personal knowledge with the author’s works, and “knowledge
about the plot, characters, and theme” (p. 32). Roberts and Jacobs (1987) also
suggest, “in determining whether a particular object or person in a story is a
symbol, you need to make decisions based on your judgement of its total
signficance” (p. 281). Here, readers can claim that certain object or person is
symbolic as long as “its scope and sustained reference beyond itself” are shown
(p. 281).
In interpreting symbols, Arp and Johnson (2009) suggest readers to be
aware of some cautions including: (1) the story itself has to provide a clue that a
detail should be taken symbolically; (2) the entire context of the story must
support the meaning of a literary symbol; (3) the meaning of an item must be
different from its literal meaning; (4) and a symbol may have more than one
meaning.
In recognizing and writing about symbols in literature, Kennedy and Gioia
(1999) remind “avoid far-fetched interpretations” (p. 242). They also remind that
“not every image or event...is symbolic”(p. 242). In recognizing symbols, they
suggest the readers not to look for symbols because the symbols will reveal
themselves as readers read or reread the story:
An image that has acquired symbolic resonance in the course of a story will feel different to the reader. It has acquired enough associations to suggest something else. A genuine symbol has an emotional or intellectual power beyond its literal importance. You will recognize its power intuitively, even if you don’t initially understand why (p. 242).
It is very much important to avoid “vagueness” and subjectivity in writing about
symbolism (p. 242).
2. Theory of Formalist Approach
Formalism, according to Klarer, emphasises on the intrinsic aspects of a
13
ignores historical, sociological, biographical, or psychological dimensions of
literary discourse. It regards an artwork as an independent entity and privileges
phonetic structures, rhythm, rhyme, meter, and sound as independent meaningful
elements of literary discourse. Formalism tries to analyze structural elements of a
text.
Formalism studies literary discourse without looking at the facts of the
author’s life, the genre of the work, or its social surrounding. It concerns with
demonstrating the harmonious involvement of all parts to the whole. The formalist
approach puts the emphasis on the literary object itself and its esthetic meanings .
(Rohrberger and Woods, 1971).
Guerin (2011) suggests that the process of formalist analysis, in which
reader should be alert to “form”, begin with close reading. In other words, there
must be sensitivity and awareness to the words of the text and all their denotative
and connotative values and implication.
In retrospect, we can say that what the author did was to make us see that internal relationships gradually reveal a form, a principle by which all subordinate patterns can be accomodated and accounted for. When allthe words, phrases, metaphors, images, and symbols are examined in terms of each other and of the whole, any literary text worth our efforts will display its own internal logic. When that logic has been established, the reader is close to identifying the overall form of the work (p. 74 – p. 75).
B. Theoretical Framework
The issues in this study are summarized in two research questions. The
first issue is about symbols that exist in Andrea Hirata’s The Rainbow Troops
while the second is about the significance of the symbols on the theme conveyed
in the novel.
Since this study applies formalist approach, it will emphasize the intrinsic
aspect and structural elements of the novel without looking at the author’s
background or the social surrounding. Based on the previous research questions,
the theory of symbol will be used as a guidance to reveal symbols in Andrea
Hirata’s The Rainbow Troops as intended by the first question. The definition of
symbols as suggested by Wellek and Warren, Odgen and Richard, and Arp and
Johnson will be the basic of identifying symbols that exist in the novel. While,
Stanton’s explanation about clues in determining symbols is referred to discover
which object that can be considered as symbols in the novel. The theory of
symbols as suggested by Robert and Jacobs, Kennedy and Gioia, Stanton, Arp and
Johnson, and Barnet et al., helps to see how symbols are revealed or shown by the
author.
The second question, meanwhile, is answered by the help of Stanton’s
theory about functions and effects of symbols. It is to see what the significance of
15
CHAPTER III
METHODOLOGY
Research methodology is a way in achieving the objectives of the study.
This chapter consists of four sub-chapters including the object of the study which
deals with the issue to be discussed, followed by the approach used in this study,
and the last is the method containing the procedure in conducting the study.
A. Object of the Study
The object of this study is a novel written by Andrea Hirata entitled The
Rainbow Troops which was first published in 2005 by Bentang Pustaka. This
novel is the first novel of The Rainbow Troops Quartet before the other three
books: Sang Pemimpi (The Dreamer), Edensor, and Maryamah Karpov. The
novel was first written in Bahasa Indonesia entitled “Laskar Pelangi”. It has been
translated into many languages and was translated into English by Angie Kilbane
in 2009. Andrea Hirata’s The Rainbow Troops has been sold for more than five
million copies and has been adapted into movie by Miles Production in 2008.
The Rainbow Troops consists of 470 pages. It is divided into 48 chapters.
The first 43 chapters are about their childhood memories while the rest 5 chapters
are about twelve years later memories. It tells about life portrait of ten poor
students of Muhammadiyah Elementary School and their beloved teacher, Ibu
Muslimah. It inspirationally portrays the irony of life, chronic poverty and
educational discrimination in a fabulously-rich-in-natural-resources island named
Belitong. It interestingly shows the struggle of a young and strong teacher to fight
for the rights of her students to an education and fascinatingly tells about an
endless struggle of ten poor students in reaching their dream.
B. Approach of the Study
In this study, formalist approach is applied to analyze symbols in Andrea
Hirata’s The Rainbow Troops. This approach is seen to be the most suitable
approach of the study because it analyzes the text itself aside from its
psychological, sociological, biographical, and historical elements. Rohrberger and
Woods (1971) explain the following:
The extreme formalist critic examines the literary piece without reference to facts of the author’s life, without reference to the genre of the piece or to its place in the development of the genre or in literary history and without reference to its social milieu. A vigorous movement, the New Criticism was a revolt against the traditional scholarly approach to literature, which was concerned with the ideas, personality, and development of the author and with the conception and dissemination of ideas through literary pieces in historical context (p. 7).
Other researchers have studied the work by using sociocultural-historical,
moral, and also psychological approach, however, it cannot be denied that the
work is a part of literature. Therefore, formalist approach is the most suitable
approach since it focuses on the elements inside the novel itself.
C. Method of the Study
In the completion of the study, library study was used as the method in
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sentences in Andrea Hirata’s The Rainbow Troops. They were all gathered by
reading and taking the important notes from the novel.
In this study, the sources of the data were classified into primary and
secondary source. Primary source is the original source of data used by the
researcher for study needs. The primary source of data in this study was the
English version of Laskar Pelangi written by Andrea Hirata which was translated
into The Rainbow Troops by Angie Kilbane and published by Bentang Pustaka,
were gathered through books, internet sources, and journals which explained
about symbols in literature.
The third step of this study was to analyze the novel. First, the writer
needed to observe the novel carefully and accurately to get the important data
needed in the study. After that, the writer recorded the data from the observation.
Here, the writer started to answer the problem formulated previously. The theories
of symbols were used to help the writer answering the problem.
The last step of this study was to draw conclusion. It was done after the
writer answered the problem formulation. This conclusion became the findings of
this study. As a qualitative study, the result of this study was analyzed
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CHAPTER IV
ANALYSIS
In this chapter, the analysis is divided into two parts. The first is about
symbols presented in Andrea Hirata’s The Rainbow Troops while the second part
is about the significance of symbols in conveying the theme.
A. Symbols Presented in The Rainbow Troops
Here are some major symbols found in Andrea Hirata’s The Rainbow
Troops. In this part, there will be explained how to determine whether the symbol
is really symbol, how to infer a reasonable interpretation from the novel, what the
extended meaning from the existing symbol is, and whether they give any special
strength to the novel.
1. The Rainbow Troops
The first symbol which appears in the novel is the name The Rainbow
Troops. This name is proven to bring symbolic meaning since the whole story of
the novel provides a clue that the name The Rainbow Troops is a symbol. Here,
the name is chosen as the title of the novel. It also appears as the center of the
novel, the point that the writer wants to tell to the readers. Second, the entire
context of the story supports the meaning of its literary symbol. Third, the
meaning of The Rainbow Troops found in the novel has been proven to be
different and wider from its literal meaning.
The title The Rainbow Troops (known in Indonesia as Laskar Pelangi) is
taken from the name given by Bu Muslimah to a group of children, students of
Muhammadiyah Elementary School, Gantong, the center of the story. This novel
explains that the name is given because of their habit to sit on the branches of
filicium tree after every rain and wait for the most spectacular natural phenomena
called rainbow. The Rainbow Troops is chosen as the title of the novel because it
is what the author wants to tell throughout the novel. However, it is believed that
behind the title The Rainbow Troops itself, there is something that the writer tries
to convey.
The “rainbow” itself is important. Hirata emphasizes it by mentioning the
word “rainbow” in some crucial moments. He also describes it so detail that the
readers see how adorable it is.
One evening, after a full day of heavy rains, a perfect rainbow stretched across the sky to the west, a half-circle shining brilliantly with seven rows of color. The right end of the rainbow departed from the Genting Delta like a sparkling carpet. The left end was planted in the dense pine forest at the slopes of Selumar Mountain. The rainbow curved, resembling millions of maidens wearing colorful kebayas jumping down into a remote lake, hiding bashfully because of their beauty (p. 125).
Mahar, one of main characters in the story, associates rainbows with time
tunnels, “If we were to succeed in crossing the rainbow, we would meet our
ancient Belitong ancestors and the Sawang’s predecessors.” (p. 126). Similarly,
Jack Tresidder in his book 1001 Symbols explains that “rainbow has the power to
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also claims rainbow as “a ladder or bridge between the temporal and the spiritual”
(p. 354). On the other hand, rainbow, according to Ensiklopedia Iptek (2007), is a
result of refraction or reflection of sunlight which happens when rain comes and
sunlight strongly penetrates or goes through the droplets of the rain. This
illumination results seven rows of beautiful colors known as rainbow. Regardless
of how it formed, rainbow is often considered as a symbol of new hope and life.
Most people assume that rainbow comes after the rain. Other than a gift or bless
which fertilizes soil, freshens and keeps us away from drought, rain can also be a
cause of suffer or pain when it darkens the sky and makes the sun disappeares.
Sometimes, rain is connected to the tears of heaven which symbolizes tears,
sorrow, misery, darkness, and frustration. Regarding to the explanation above, the
emergence of rainbow after the rain symbolizes a new hope for a new better life.
On the other hand, the word “troops”, according to Longman Dictionary of
Contemporary English, can be interpreted as soldiers, especially in organized
groups (“Troops”). It is often associated with strong people who struggle in a war
and fight for a victory.
In short, as a title given to the ten students of Muhammadiyah Elementary
School, The Rainbow Troops symbolizes a hope that these small children will be a
strong squad who struggles and fights for a new life and defeats suffer and pain
caused by discrimination and poverty. Ibu Muslimah calls them as The Rainbow
Troops to kindle the spirit of the students. Ibu Mus conveys her hope that her
students will give a new life for themselves, for their family, for the school, and
for Belitong.
2. Lintang
Lintang Samudera Basara or usually known as Lintang, is one of main
characters in the novel The Rainbow Troops. Lintang’s appearance in the novel
has drawn readers’ symphaty because of his extraordinary struggle for education.
He inspires people to be dare to dream and to struggle. Readers must be curious to
see who Lintang is in fact. They must want to know what he looks like or where
he lives.
However, it is not really important to investigate Lintang’s existence but
rather to see the purpose of the writer to put his character in the novel. Lintang’s
name is a symbol. It is supported by the writer because he himself writes the
following:
Lintang was like a star that exploded at dawn while people were still in bed. The light of the explosion lit up the sky without anyone knowing, without anyone caring. Like a shooting star, Lintang explored the planets of knowledge alone, then faded away, and today went out (p. 412).
The statement above implicitly explains the reason of using the name “Lintang”. It
deals with the meaning of the name Lintang which means star. Star is a massive
celestial body which emits light and becomes the source of energy for other
celestial body, for example, Sun, the nearest star to the Earth which becomes the
source of most of the energy on Earth. Stars shine in the dark night sky together
with the moon and other celestial body. Its existence never threaten the other
celestial body but appears together and gives a beautiful scenery for the people on
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Hirata builds the character that fulfills the characteristics of the star.
Firstly, he shines and brightens the dark night sky. The dark night sky is none
other than his chronic poor living, unjust-treated society, and nearly-collapsed
school. He is the one that makes the dark night beautiful. He lifts the prestige of
Muhammadiyah Elementary School up by winning the prestigious Academic
Challenge.
Before, everyone believed that our mentality, our system, and even our school would collapse within weeks. No one ever expected us to win these amazingly prestigious awards. But look at us, with our two glorious trophies. Look at how proudly we stood in front of our glass display case. We were stronger and sturdier than ever. Bu Mus’ and Pak Harfan’s perseverance and persistance in educating us were starting to show promising results. Those two fought hard to hold back tears as they gazed at the trophies because they knew that from this moment on, no one would never insult our school again (p. 320).
Secondly, just like a star which never threatens the existence of other celestial
body, Lintang with his beautiful personality never causes jealousy.
When we had trouble with subjects, he helped us patiently and always encouraged us. His superiority didn’t threaten those around him, his brilliance didn’t cause jealousy, and his greatness didn’t give off even the slightest hint of arrogance. We were proud of him and fell for him both as a humble friend and an extraordinarily intelligent student (p. 107).
Also, he defends his school from being insulted by those who want to humiliate
their intellectual.
Drs. Zulfikar slumped weakly, his face pallid. He sunk his flat bottom onto a chair, as if his skeletal structure was gone. He was all out of clever words. His glasses slid feebly down the curved bridge of his nose. He realized that blindly engaging in polemics about something he hadn’t mastered would make his own stupidity known in the eyes of bright people like Lintang. So he waved his white handkerchief; Lintang had knocked him out. Lintang forced him to swallow the bitter APC pill without water, and the efficacious pill was now stuck in his throat (p. 317).
Lintang posseses the same characteristic as the star that is the source of most of
the energy of other celestial body. Lintang is blessed with a generous beautiful
personality.
God didn’t just bless Lintang with brains. He also blessed him with a beautiful personality. When we had trouble with subjects, he helped us patiently and always encouraged us. His superiority didn’t threaten those around him, his brilliance didn’t cause jealousy, and his greatness didn’t
them dare to have their own aspirations,
But Lintang and his extraordinary abilities gave us confidence. He opened our eyes to the posibility that we could become more than we had ever dreamed. He gave us encouragement, even though we were full of limitations (p. 292).
In short, “Lintang” as a name symbolism means spirit or energy that
guides and encourages people to be dare to dream, to have higher aspirations for
the future, to lift their lives up and of course to leave the ‘dark’ side of their lives
with their own struggle.
Lintang’s appearance in the novel brings more than just name symbolism.
Lintang is described as “a small, dirty boy with the curly, red hair who smelled
like burnt rubber” (p. 9). He lives in a small “hut” on the edge of the sea with
thirteen other people who rely their live on Lintang’ father. From generation to
generation, the family has been living in poverty. As the eldest son, he is destined
25
way. His father dares to break the trap of poverty and backwardness by sending
his eldest son to school.
Without a doubt, all previous generations of men from the pine tree man’s family were unable to lift themselves from the endemic cycle of poverty, inevitably becoming fishermen in the Malay community. These fishermen were unable to work for themselves—not for lack of sea, but lack of boats. This year, Lintang’s father wanted to break that cycle. His eldest son, Lintang would sit beside the other small boy with curly hair—me—and would ride a bike to and from school every day (p. 11).
Lintang shows a great desire for a change. He also shows a great struggle
to break the fate. Lintang is a strong-willed boy who loves school
whole-heartedly. He rides his bicycle for 80 kilometers every day and risks his life for
education when he faces crocodile on his way to school. Obstacles, however, will
never make him stop going to school.
Another time, his bicycle chain broke. It couldn’t be fixed again because it has already broken one too many times and was now too short to be reconnected. But he wasn’t willing to give up. He pushed the bike about a dozen kilometers by hand. By the time, he got to school, we were getting ready to head home. The last lesson that day was music class. Lintang was happy because he got to sing the song Padamu Negeri (“For You Our Country”) in front of the class (p. 78).
Lintang is an astonishing small, dirty boy who is “obsessed to learn new
things” (p. 105).Throughout the story, it is concluded that Lintang is excellent in
almost all subjects especially science. He is smart or more than that, he is genius.
Our entire class was enchanted with Lintang. My God, that seashell-collecting boy was sharp. His index finger incessantly pointed upward as a sign that he knew the answer. His bright eyes radiated intelligence and his forehead lit up like a light bulb. Curiosity possessed him, and compelled him to constantly ask questions. (p. 101)
Unfortunately, fate has shattered his dream and burried it along with his
father’s body. After his father’s death, Lintang leaves the school to make a living
and support his mother, siblings, grandparents and uncles. Their lifes are now on
his shoulders. Concerning on the fact above, it is reasonable to say that Lintang’s
character is a symbol of an irony of life. How life can be so cruel to such an
innocent boy whose intelligence is the same or maybe higher than those sitting
behind luxurious desks in favorite school. Lintang is a representation of victim of
unjust society. Being smart is not a guarantee for someone to get either a proper
life or education.
...Just three months before the final examinations. I felt incredibly sad because a super genius boy, a native of the richest island in Indonesia, had to leave school because of poverty. Today a little mouse died of starvation in a barn full of rice (p. 412).
For the first time after twelve years of being apart, Ikal meets his
ex-deskmate, Lintang. Everybody including Ikal would expect to see him succeed:
...My thoughts flew away as I imagined him wearing long white pants...as he took the stage to present a paper at an honorable scientific forum. ...
Perhaps he was more deserving of coming from and going to foreign countries, being awarded a prestigious scholarship, than those who claim they are intellectuals but are no more than phony scientists who haven’t made any contributions to society other than their final projects and their marks (p. 443).
Unfortunately, it does not happen to him. Lintang is neither a scientist nor a
mathematician:
But today, Lintang was only a thin man sitting on his heels waiting for his shift of hard labor to begin. Work day and night, bitterly surrendering his noble aspiration to become a mathematician to the sand glass bosses for a petty weekly wage...now he was sitting in the corner of the barracks, looking unsure of his own future (p. 443–444)
He is still an irony of life. His brilliance does not bring him to his
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living in a coolie shack that “stretched along the shore” (p. 440). He still lives in
poverty, drops out of school and never comes back again.
In short, by using this character, Hirata has succeeded to convey his great
concern on discrimination, unfairness, and poverty in his beloved island, Belitong.
He shows that life and fate can be so unfair even to someone who is very brilliant
and has given his extraordinary struggle in life.
3. The Filicium Tree
The filicium tree (in Indonesian is known as kerai payung) takes an
important role in the novel. It appears in the first page of the novel ”...the branch
of an old filicium tree shaded me” (p. 1) and emerges oftenly throughout the
novel. Referring to Robert Stanton (1964), the fillicium tree is considered as a
symbol because its repeated emergence in the novel forms certain pattern which is
not fully explained by the story itself.
Tree, according to Chevalier and Cheerbrant (1996) in The Penguin
Dictionary of Symbols, is “one of the richest and most widespread symbolic
motifs” (p. 1026).Here, by referring to the novel, the most suitable meaning for
this is the connection among the “three levels of the cosmos – the Underworld
through their roots; the Earth’s surface with their trunk and lower branches; and
the Heavens with their upper branches and top” (Chevalier and Cheerbrant, 1996,
p. 1026). They also state “the trees is universally regarded as a symbol of the
relationships established between Heaven and Earth” (p. 1027). Through the
appearance of filicium tree, Hirata wants to emphasize the relation among human,
nature, and God in every moment in life.
The relation among human, nature, and God is like unbroken chain. They
are connected one another. In the novel, the relation among those three levels of
the cosmos exists. First, it appears through the habit of Ikal and his friends to
climb the filicium tree and sit on their own branches while watching the rainbow:
We soon invaded the filicium tree, climbing up and claiming our own separate branches. After every rain we climbed up the tree to watch the rainbows. Because of this habit, Bu Mus nicknamed us Laskar Pelangi.
Laskar means warriors, pelangi means rainbow, so literally, Rainbow Troops (p. 125).
If Ikal and his friends represent humans while the rainbow stands for both natural
phenomenon and Heaven due to its position in the sky, then the branches of the
tree symbolize the connection among Heaven or God, human, and nature. On the
branches of the tree, human and nature get together. On the branches of the tree
also, human sees God’s creation and is reminded that everything in life happens
as God’s will.
Another moment that shows the existence of the filicium tree is when Ikal
is in a great suffer because of Lintang’s disappearance:
I stared longingly at the empty seat beside me. I gazed sadly at the
filicium’s branch where he had perched to watch rainbows. He wasn’t there. We felt lost and fretful. While we were studying, I stared at the first place Academic Challenge trophy, the greatest achievement the poor coastal boy gave to our school. I missed Lintang (p. 409).
Soon after that, another sadness comes. Lintang comes back to say goodbye.
Again, this tearful moment occurs under the filicium tree. Hirata does not mention
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“...on its trunk we carved our promise to forever friends” (p. 52). All sadness and
suffer are God’s power. Ikal’s watching the filicium tree is an expression of his
longing but at the same time symbolizes his faith that only God knows what is the
best to happen. Meanwhile, The Rainbow Troops’s saying goodbyes under the
filicium tree shows their resignation to God. Based on the position of the tree and
The Rainbow Troops (The Rainbow Troops is under the tree), it is reasonable to
describe it as God’s protection for humans. The shade of the tree symbolizes
God’s shade while the action of saying goodbyes under the tree means willingness
to believe in God and to rely everything on Him.
The filicium tree also witnesses when Ikal is in a deep sadness looking at
the plane that brings A Ling, his first love, is gone:
We arrived at the school. Syahdan returned to class. I ran across the yard toward the filicium tree. I climbed into the tree and sat on my branch, my usual position for watching rainbows. My eyes didn’t blink staring at the empty blue sky, as empty as my heart (p. 258).
It is also a comfortable place for him to express his longing to his first love:
Those day, I felt lonely in the midst of festivity. I often drew away from my friends, sitting by myself under the filicium, not wanting to talk to anyone and not wanting company. My thoughts emerged out of the
filicium’s foliage, floating up and mixing with the clouds as if they had lost their way (p. 201).
Once again, the old tree is chosen as the only place to shed all sadness and pain. It
shows Ikal’s deepest heart, his greatest sorrow. His eyes are blurry and his heart is
empty. Sitting on the branch of the tree symbolizes how much he believes in the
power of God. He asks for strength to Him and gives all confussion and emptiness
to God the Almighty.
Hirata’s description about filicium tree in certain part of the novel
reinforces the fact that the old tree brings special meaning. The filicium tree is the
center of life for all living things around. The gorgeous parkeets, the jalak kerbau
birds, the ashy tailorbirds birds eat the small fruits of the filicium or peck at
caterpillars on the tree. Like the birds, The Rainbow Troops also enjoy being
around the old filicium tree:
That tree was a witness to the dramas of our childhood. In its branches we constructed tree houses. Behind its leaves we played hide-and-seek. On its trunk we carved our promise to be forever friends. On its protruding roots, we sat around listening to Bu Mus tell the story of Robin Hood. And under the shade of its leaves, we played leapfrog, rehearsed plays, laughed, cried, sang, studied, and quarelled (p. 52).
Here, the tree symbolizes the relation between human and nature. Harmonious life
of the birds and the members of The Rainbow Troops shows a harmonious
relation between human and the nature. Both the birds and The Rainbow Troops’
members love being around the tree without disturbing each other. They are
blended together. This shows how they naturally respect each other.
In short, the appearance of filicium tree in the novel symbolizes the
relation among God or Heaven, nature, and human. In this novel, it is shown how
close the connection between all the characters with God is and how harmonius
their relation with the nature is.
4. The Ferris wheel
Ferris wheel is the place where A Ling and Ikal spend their unforgetable
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highly anticipated cultural event on the Island” which is held every year. Ferris
wheel is a part of the event.
Ikal is very excited to meet her. He comes as soon as he finishes doing the
isya prayer. He has been waiting for almost five hours, but A Ling is yet to come.
It causes a great despair in his heart. His excitement when for the first time
reading A Ling’s message on the chalk box turns into despair and hopelessness:
I had been waiting for almost five hours, from isya prayer until midnight— A Ling had not shown up. She had broken her promise. Maybe she was picking bean sprout and had forgotten her promise? Didn’t she know how much the message on the chalk box meant to me? She wasn’t even coming (p. 221-222).
He is so suffered because of “longing mixed with hopelessness” (p. 222). He
almost gives up. Fortunately, shortly before he leaves, A Ling comes. She then
takes and draws his hand. They run together toward the Ferris wheel:
The Ferris wheel operator had already killed the lights. He was getting ready to go home. A Ling begged him to let it go round one more time. The operator apparently understood the plight of a couple drunk with love...and then we were silent, just silent, spinning around on the Ferris wheel, not wanting to get off (p. 223-224).
Here is the first appearance of the Ferris wheel.
Ferris wheel is considered as a symbol because it “has an emotional or
intellectual power beyond its literal importance” (Kennedy and Gioia, 1999, p.
242). Although the Ferris wheel does not appear by repetition, its appearance in a
very crucial moment for Ikal and A Ling brings power which can be recognized
“intuitively” with unknown reason (Kennedy and Gioia, 1999, p. 242). Here, it is
reasonable to include Ferris wheel as one of symbol because it is related with the
emotional feeling of the author himself. By using Ferris wheel, the author avoids
the novel from excessively talking about love. Thus, the novel still constantly
talks about injustice, discrimination and the dynamics of life without losing one
important aspect of life called love.
There is no reason explained by the writer about why A Ling is interested
in riding the Ferris wheel. It can be caused by her feeling that the Ferris wheel is
such a private and romantic place where she feels comfortable or because she is
used to ride the same Ferris wheel every year. No matter what the reason is, the
wheel brings certain emotional power to be conveyed by the author.
Ferris wheel as a symbol is related with its circular shape and rotation.
Here, it symbolizes Ikal’s up and down feeling and emotion. Up is another way to
say a feeling of happiness and down refers to despair, suffer, or longing. Ikal’s
feeling toward A Ling can be illustrated by the following figure:
Figure 4.1: Ikal’s Feeling Represented by The Wheel
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There were times when I felt curious to see what the owner of these heavenly nails looked like. Was she as lovely as her nails? Were the nails on her left hands as gorgeous as those on her right? Or did she only have one hand? Did she even have a face? But all of these thoughts were only in my heart. I had no intention of sneaking a peek at her face. The opportunity to look at her nails was more than enough to make me happy. My friend, I was not one of those boorish boys (p. 167).
This moment triggers the “wheel” to start spinning. Ikal’s feeling crepts up. He
starts to feel curious about who is sitting “behind the wooden wall in the back that
separated the stockroom from the rest of the shop” (p. 165). One day, after some
years of knowing each other there is an accident which brings blessing. Because
of her carelessness, A Ling drops the chalk box into the floor. Unexpectedly,
when Ikal gets down to pick the scattered chalks under the curtain, A Ling draws
the curtain back that causes their “faces to collide” (p. 169):
We were staring at each other closely...it was suddenly very quiet...at that moment it seemed as if all the hands on all the clocks in the entire world stood still. All moving things froze as if God had captured their movement with a giant camera from the sky...My heart stopped beating for a few seconds before starting up again with an irregular rhythm, like an SOS distress code. I guessed the young girl with the heavenly nails standing stunned before my nose felt the same way (p. 170).
This feeling of happiness brings him into the top of the “wheel”. He is falling in
love at the first sight:
The slam of the door woke me from an intoxicating spell. I was swaying, my head dizzy, my vision flashing. I fell to my shaking knees and tried to catch my breath. Blood tingled throughout my clammy body. I had just been hit forcefully by my very first love at very first sight—at most incredible feeling that only some are fortunate enough to experience (p. 171).
Love puts him in a strange feeling of happiness. He is now sitting on the top of the
“wheel”. He is soaring:
