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T ntlit heend o f t r e v o c s n i a m e r o h w r o t a r r a n n o s r e p d ri h t t n e i c s i n m o n a s i r o t a r r a n e h t , y r o t s e h t , l a n r e t x e , y l e m a n , w e i v f o t n i o p f o s d n i k e e r h t s e s u d n a e m it e h t f o t s o m r o f g n i d u l c n i ,s r e t c a r a h c o s l a e r a e r e h T . w e i v f o s t n i o p d e t c ir t s e r n u d n a , l a n r e t n
i the
e v it a r r a n w e n e t a it i n i d n a r o t a r r a n y r a d n o c e s a f o e l o r e h t e k a t t a h t ,r e t c a r a h c n i a m e h t n i s r e t p a h c e h t ll a f o n o it a u ti s e v it a r r a n e h t n o s i s y l a n a e h t f o t l u s e r e h T . s l e v e l y r o t s e h t f o e d i s t u o d e t a c o l s i r o t a r r a n e h t t a h t n o i s u l c n o c a o t s d a e l l e v o
n wo lrd.
l e v o n s i h o t k e s a H v a l s o r a J y b d e il p p a n o it a u ti s e v it a r r a n e h
T The Good
k i e w h c S r e i d l o
S i susedt oenhance ti ssaitirca lpower .Theuseo fomniscientt hrid d n a , l a n r e t n i , l a n r e t x e ( w e i v f o t n i o p f o s e p y t e e r h t e h t d n a r o t a r r a n n o s r e p ) d e t c ir t s e r n
u provide sdetalied i nformaiton oft hestory wo lrd so t hat t hereader s o t d e s u s i r o t a r r a n e h t f o s s e n tr e v o e h T . ll e w d lr o w y r o t s e h t d n e h e r p m o c n a c e h t s a e m a r f e m a s e h t k n i h t o t m e h t g n it c e ri d , s r e d a e r e h t f o d n i m e h t e c n e u lf n i e h t g n i w o h s s u h t d n a r o h t u
ii x . o t n a tr a H i r b a F n a n e
K TheLoca itono fNarratori nJaroslavHasek’ sTheGood k i e w h c S r e i d l o
S .Yogyakatra :Depatrmento fEngilsh Letters ,Facutly o fLetters , . 2 1 0 2 , y ti s r e v i n U a m r a h D a t a n a S i n e S . a ti r e c r e b i n e s a d a p s il u n e p i s a i s e r p a k u t n e b h a l a d a i n i n a it il e n e P s il u tr e t i s i d a rt i d a j n e m h a b u r e b h a l e t r u t u t i s i d a rt h a l a d a a y n u l u d g n a y a ti r e c r e b p i g o l o n k e t a y n l u c n u m k a j e
s ercetakan .Meskipunbegtiu ,sen ibercertiat akpernah . a y n n a r a s e b e k n a g n a li h e k k i e w h c S r e i d l o S d o o G e h
T adalah nove lyang sanga t memukau bag i n a k a n u g g n e m a g u j i n i l e v o N . t a u k t a g n a s g n a y r it a s r o m u h i a y n u p m e m a I .s il u n e p a ti r e c n e
p -pencertia sekunde runtuk menghaslikan certia d idalam certia .Penuil s i n i l e v o n n a g n e d a y n n a ti a k m a l a d t u b e s r e t k i n k e t a y n g n it n e p i r a c n e m a b o c n e m . n a h u r u l e s e k a r a c e s . h a l a s a m n a s u m u r h a u b a g it b a w a j n e m k u t n u a b o c n e m i n i n a it il e n e P u ti s a n a m i a g a b h a l a d a a m a tr e p g n a y h a l a s a m n a s u m u
R as inarait fdigambarkan d i i s k a t e l h a k a n a m i d h a l a d a a u d e k g n a Y . a y n i s g n u f n a g n e d s u g il a k e s i n i l e v o n k i n k e t a y n g n it n e p a p a h a l a d a r i h k a r e t g n a y n a d , l e v o n m a l a d a ti r e c n e P .i n i l e v o n g n a r a g n e p h e l o h il i p i d h a l e t g n a y n a a ti r e c n e p n e m s il u n e p , it il e n e m m a l a
D gambi l itga langkah utama .Langkah yang p a it e s i r a d f it a r a n i s a u ti s i r a d i s g n u f n a d k u t n e b n a k i s p ir k s e d n e m h a l a d a a m a tr e p n a d k u t n e b s i s il a n a g n e m h a l a d a a u d e k h a k g n a L . l e v o n m a l a d i d a d a g n a y b a b tr e p h a k g n a l ir a d t a p a d i d h a l e t g n a y f it a r a N i s a u ti S i s g n u
f amauntukmenentukan i r a d h a r e m g n a n e b k ir a n e m a b o c n e m s il u n e p , ri h k a r e T . a ti r e c n e p i s i r a d i s a k o l n a u m e t a u m e
s -temuannya dan mencar i pen itngnya teknik-teknik yang telah . a y n l e v o n m a l a d k e s a H v a l s o r a J n a k a n u g i d a i r a d a w h a b h a l a d a i n i n a it il e n e p i r a d l i s a
H wa lhingga akhi rcertia ,s i n a k a n u g g n e m a I . u h a t a l a g e s g n a y a g it e k g n a r o a ti r e c n e p g n a r o e s h a l a d a a ti r e c n e p , l a n r e t n i g n a d n a p t u d u s , l a n r e t s k e g n a d n a p t u d u s u ti a y , g n a d n a p t u d u s s i n e j a g it j a m i m a l a i d i y n u b m e s p a t e t n a d s a t a b r e b k a t g n a d n a p t u d u s a g u j n a
d ine rhampi r
n a k k u j n u n e m a i d a n a m i d t a a s a d a g n a d a k u a l a w , u t k a w g n a j n a p e s h o k o t k u s a m r e t , h o k o t k a y n a b t a p a d r e t a g u j l e v o n m a l a d i D . a y n n a i d a b ir p e k . u r a b f it a r a n n a t a k g n it n a k a t p i c n e m n a d r e d n u k e s a ti r e c n e p i d a j n e m g n a y , a m a t u n a u m e t i r a
D -temuan stiuas inarait f itap bab ,disimpulkan bahwa sang pencertia . a ti r e c a i n u d r a u l i d a d a r e b k u t n u i s g n u f r e b a y n l e v o n m a l a d k e s a H n a k a n u g i d g n a y k i n k e t a l a g e S u h a t a l a g e s g n a y a g it e k g n a r o a ti r e c n e p n a a n u g g n e P . a y n ri t a s k e p s a t a u k r e p m e m g n a d n a p t u d u s s i n e j a g it a g u j n a
d yatiu :sudu tpandang eksternal ,sudu tpandang i s g n u f r e b ) s a t a b r e b k a t g n a d n a p t u d u s n a d , l a n r e t n
i untuk menghadrikan dunia d e S . a c a b m e p a r a p i g a b h u t u a r a c e s a ti r e
c angkan , pencertia yang kadang , r e d n u k e s a ti r e c n e p a r a p a g u j n a d , a y n n a i d a b ir p e k n a k k u j n u n e
1
N O I T C U D O R T N I
.
A Backgroundoft heStudy
o t s
A ry i s ilkeamagicbox t ha tcontains everything .Inside i treader s h
ti w e c a f o t e c a f d n a t
s people , rtees ,oceans ,mountains ,stars ,animals ,and .s
d o g d n a , s n o g a r d , s e h c ti w n e v
e tI i sa s fit hewo lrd usq eezes tisefl t o fti i n .
e c a p s y n it a h c u s
r o , y r o t s e h t s ll e t o h w e h s / e h , d lr o w e h t s n i a t n o c t a h t x o b a s i y r o t s a f I
d n i m e h t n i d lr o w a s e t a e r c d n a x o b e h t s n e p o o h w n o s r e p a s i ,r e ll e t y r o t s e h t
k il d o g a s e m o c e b n a h t r e ll e t y r o t s e h T . s r e n e t s il r e h / s i h f
o e ifgure who
e h t f o e c a p s d n a e m it r e v o l o rt n o c d n a r e w o p e t u l o s b a s e s s e s s o
p wo lrd he/she
o h w e n o e h t s i e h s / e H . s e t a e r
c decidet hef ateo faperson ,whethe rhe/she ilve s n
e e h t t u o e p i w t a h t r e t s a s i d c i h p o rt s a t a c a h c u s e t a e r c ; s e i d r
o trieplanet ;anda
a
n rrato rev en possesses t he powert o bend and t wis t itme a she/she pleased . .s
e ir o t s ll e t o t e v o l e l p o e p y h w n o s a e r e h t s i t a h t ,s p a h r e P
Theo irgin o fstory and storytelilng remain unknown. Nobody can be a
h w g n i d i c e d n i e r u
s t ,when ,where ,andbywhomthe ifrsts tory sw a evert old. tI may be born in the same itme the human specie sbegan to communicate
h ti
w each othe.r I tmay be told by a hunte rin prehisto irc era to hi sfellow n
e m e v a
c around acampfrie ,telilng how brave he was i n hunitng hi sprey. tI y
a
. e l a t e h t ll e t o t
n e t s il y b y r o t s a t o g e l p o e p , g n it n ir p f o n o it n e v n i e h t e r o f e b g n o
L ingt o
e ll e t y r o t s
a r .He/s he had an impo tran trole such a sdetermining how people e
v il d l u o h
s theril fie.I nGreecepeopleused t o ilstentosto ire sabou tgod sand h c a e t y a m s e ir o t s e h t e s u a c e b n o it n e tt a e v a r g d n a e w a h ti w s e o r e h y r a d n e g e l
o t w o h m e h
t please the god sso that they can b irng them good harves tand .)
5 : 1 8 9 1 , h t u G ( n o it a v r a t s d n a e u g a l p y a w a e v ir
d Among many grea t
e l p o e p y b n w o n k s r e ll e t y r o t
s , the legendary Scheherazade in The Thousand t
h g i N e n O d n
a perhap scan beconsidered ast hegreatest .Shei sastorytelle r n a , h a ir h a h c S n a tl u S f o e v a l s a s a d e v il e h S . s e ir o t s r e h y b d e v a s s i e fi l e s o h w
d e v i v r u s e d a z a r e h e h c S . m i h d e s a e l p s i d t a h t e n o y r e v e d e d a e h e b o h w r e l u r li v e
a g n il l e t y b n a tl u S e h t d e n i a tr e t n e e h S . s e ir o t s l l e t o t y ti li b a r e h f o e s u a c e b
1 r o f t h g i n a y r o t
s 001 nights .The Su tlan wa sreally amused and spared he r s
e v i w s i h f o e n o r e h e d a m n e v e e h , e fi
l (TheHarvardClassics ,1995).
y lr a e n i s l e v o n f o e s ir e h t h ti w n a g e b g n il l e t y r o t s e h t f o l l a f e h T
. s e m it n r e d o
m The main dfiference between the latte rand the former i s ti s e
p e
d ndenceonbooks( Benjamin ,2007 :87) .Peoplenol onge rgatheredaround d
n a r e ll e t y r o t s
a began a soltiary proces so freading sto ire sin novels .The storyteller sarer eplacedby authors ,who usenarratorto r epresentt hei rvoice .
e h
T narrator sthenbecomet henews toryteller ,ani maginaryone.
. s e u q i n h c e t s u o ir a v e s u y a m r o h t u a n a , s r o t a r r a n g n i y o l p m e n
I The
e h t s i d e s u e u q i n h c e t n o m m o c t s o
e l p it l u
m narratorsi nwhichacharacte rcannarratehis/herowns to ire sandt hu s r
o t a r r a n a e m o c e
b (Keen ,2003 :36- )4 .2 Jaroslav Hasek’ sThe Good Soldie r k
i e w h c
S i sagoodexampleo faworkt ha tha smulitplenarrator .s
c S r e i d l o S d o o G e h
T hweiki saf ou rvolumed sait irca lpicaresquenovel. r e tf a d e i d k e s a H t u b s e m u l o v x i s n i n e tt ir w e b o t d e d n e t n i y ll a n i g ir o s a w t I
. h tr u o f e h t g n i h s i n
if The Good Soldie rScweik i sa novel which tell su sthe storyabou tSchweik ,an Aust iran soldie rdu irng t hefris tWo lrd Wari n 1914.
n
U kil eany nove labou twari tdoe snotpresen tu sany actua lwa rscene .The s
a y r a ti li m e h t t u o b a s i y r o t s e l o h
w asillyand irdiculousi nsttiuiton.
. e n o n i a m e h t e d i s e b s r o t a r r a n y n a m s y o l p m e k e s a H l e v o n s i h n I t s o m l
A throughou tthe entrie story the readers wli l ifnd character swho tel l .
y r o t s n w o r i e h
t The charactersi n t henovel i ncluding Schweik himsel fseem e h t m o r f e l p o e p d n a s e c n e ir e p x e t u o b a s e ir o t s g n il l e t , y b b o h e m a s e h t e r a h s o t
t s a p .
o t s i h c r a e s e r s i h t f o s u c o f e h
T ifnd t hel ocaitonoft he narratori n t he n
o it a u ti s e v it a r r a n e h t g n i b ir c s e d y b y r o t
s i n Hasek’ swork. In order to give y
rt l li w r e ti r w e h t n o it p ir c s e d e h
t ot analyzevairou selement soft henarraitve n
o it a u ti
s .Byconducitngt hisr esearchi ti shopedt ha tabette runderstandingo f f
o e r u t a n e h
t storyandstorytelilngcanbeachieved. .
B ProblemFormula iton
s e t a l u m r o f h c r a e s e r s i h
T three problem sto be answered .Those t hree m
e l b o r
.
2 Based on the narraitve stiuaiton ,where i sthe narrator’ slocaiton in the ?
y r o t s .
3 Whys uchnarraitves tiuaitoni susedi nt hes tory? .
C Objecitve soft heStudy
s n o it a l u m r o f m e l b o r p e h t n o d e s a
B menitoned above ,there are three .
y d u t s e h t f o s e v it c e j b
o Thefris tobjecitveist o giveclea rdesc irp iton sabou t y
r o t s e h t f o n o it a u ti s e v it a r r a n e h t f o s t n e m e l e e h
t . Thesecond objecitvei st o .
y r o t s e h t n i d e t a c o l s i r o t a r r a n e h t e r e h w d n
if Thel as tobjecitvewli lbet o ifnd e
s u r o h t u a e h t y h w t u
o s suchnarraitves tiuaitoni nw iritnghi swork. .
D De ifniitono fTerms
e m o s s e i g o l o n i m r e t e m o s e s u l li w r e ti r w e h t h c r a e s e r s i h t n
I o fwhich
n i d n u o f e b n a
c ther esearch itlte .Toavoidmisunderstanding ,st hewrtie rwli l g
o l o n i m r e t e h t t u o b a n o it i n if e d e h t f o e m o s e v i
g ies .Thet erminologieswli lbe w
o ll o f s a .
1 Narraitve
r o s t n e v e e v it c if r o l a e r o w t t s a e l t a f o n o it a t n e s e r p e r e h t s i e v it a r r a N
s n o it a u ti
s ina itmesequence ,netihe ro fwhichpresuppose so rentalist heother )
4 : 2 8 9 1 , e c n ir P
( . Inhi sDicitonaryo fNarratologyP irncedeifne sNarraitveas d n a e r u t c u rt s , t c a d n a t c e j b o , s s e c o r p d n a t c u d o r p s a ( g n it n u o c e r e h t‘
r o , o w t , e n o y b d e t a c i n u m m o c s t n e v e s u o it it c if e r o m r o e n o f o ) n o it a r u t c u rt s
s s e l r o e r o m ( l a r e v e s r o , o w t , e n o o t r o t a r r a n ) tr e v o s s e l r o e r o m ( l a r e v e s
s e e t a r a n ) tr e v
“ e b n a c e H . ” g n il l e t f o s t c a r o f e l b i s n o p s e r “ e n o e h t s i r o t a r r a
N posiitoned
“ e r a t u b ” , d lr o w y r o t s e h t e d i s n
i o tfenl ocatedoutsidethestorywo lrd”. (Keen , )
0 3 : 3 0 0 2 .
3 Narraitves tiuaiton s i n o it a u ti s e v it a r r a
N “the combinaiton o fnarrator ,perspecitve (poin to f t
s ri f n i d e v l o v n i l e v e l e v it a r r a n d n a , ) w e i
v -person and thrid-person ifcitona l n
o it a r r a
6
W E I V E R L A C I T E R O E H T
.
A Reviewo fRelatedStudies
k i e w h c S r e i d l o S d o o G e h
T i sconsidered ast hebes tknown Czech novel .
a e r e h
T remany scholarswhomakeanalysesaboutt henovel. I n t hi schapter
a I s i t s ri f e h t , m e h t f o o w t w e i v e r ll i w r e ti r w e h
t n Johnston andt hesecond i s
. a k s o G a h s u n a D
f r e r u t c e l a , n o t s n h o J n a
I romVancouverI slandUniverstiy ,give sabroad
l e v o n e h t n o s i s y l a n
a in oneo fhisl ecture .I tconsist sof t heanalysi son t he
d e m o c k c a l b s ti , t n e t n o c l a c ir it a s s ti , l e v o n e h t f o e r n e
g y ,and ti svairou s
. s r o t a r r a n d n a s r e t c a r a h c y l e m a n s t n e m e l e g n it c u rt s n o
c According to
, n o t s n h o
J TheGoodSoldie rSchweiki sapicaresquenovel ,anove labou t“the
w o l a ) y ll a u s u ( f o s e r u t n e v d
a -born rogue (picaro i sthe Spanish fo rrascal )
t a n s i h s e s u o h
w ivewtit o surviveaseire so fadventure.” Healsosaid tha ta
s a h l e v o n e u q s e r a c i
p afeature o fhaving anarrato r“who guide sus t hrough
l e d y ll a c i p y t d n a s e r u t n e v d a e h
t iver shi sownviewoncetrainissue swhicht he
a o r e h e h t f o s e r u t n e v d
a re explo irng or illusrtaitng.” Johnston said tha ta
w o ll a h c i h w l e v o n a s i l e v o n e u q s e r a c i
p s suchani nrtusivenarrato .r
e r u t c e l e h t f o t r a p r e h t o n a n
I Johnston reveal s to hi s students tha t
r e t c a r a h c n i a m e h t , k i e w h c
S of t he novel ,lovest o engage “in conversaiton
a h ti
w nyone and alway sha sready hi samazing store o fnarraitve sabou t
n k s a h e h e l p o e
y r o t s e h t t u o h g u o r h
t (http://records.viu.ca/~johnstoi/praguepage/hasek.htm). m
o r f t n e r e f fi
D Ian Johnston who focuse shi sanalysi sonly on TheGood
, k i e w h c S r e i d l o
S DanushaGoska ,aprofessori nt heDepa trmen to fWomen’ s
r e d n e G d n
a Studie sin Wiilam Paterson Universtiy ,compare sThe Good
k i e w h c S r e i d l o
S wtih a biographica lnove labou tAesop enitlted The Lfie o f
. p o s e
A Beforeb irngingt hereadersf u trheri nt hecompairson ,Goskaprovide s
. l e v o n h c a e f o s t c e p s a s u o ir a v n o w e i v e r f e ir
b Theaspect sreviewed aret he
l a c ir o t s i h , t o l p e h t d n a r e t c a r a h c e h t f o s n o it p ir c s e d , l e v o n e h t f o e l y t s
. s r o h t u a e h t f o e fi l l a n o s r e p e h t d n a l e v o n e h t f o d n u o r g k c a b
s k r o w o w t e h t t a h t d i a s a k s o
G have some impo tran tsimliairites .Both
d a e r e h t ll e t s l e v o
n erst hes toryabouti ndividua lwhoha snoauthortiyandha s
. m o d e e r f d e ti m
il Both oft hem arework sofl tieraturewhoseploti scentered
p o s e A d n a k i e w h c S h t o b , y ll a n i F . r e t c a r a h c n i a m e h t f o y e n r u o j e h t n o
t n e m o m a n i e r a y e h t r e v e n e h w s e ir o t s l l e t s y a w l
a o f cirsis
(http://www.codypubilshing.com/goska/aesop.html).
s e s y l a n a e h t f o h t o b m o r f t n e r e f fi d h c r a e s e r s ’ r e ti r w e h t s e k a m t a h W
r e ti r w e h T . s i s y l a n a e h t f o e p o c s e h t s i e v o b a d e w e i v e
r focuseson onenove l
s ’ k e s a H v a l s o r a J s i h c i h
w TheGoodSoldie rSchweikandt heanalysi swli lbe
e h t f o d a e t s n i n o it a u ti s e v it a r r a n e h t n o s i s y l a n a e h t o t n i d e w o r r a
n whole
k r o w e h t f o t c e p s
a .Thewrtie rstli lwantst ogiveadescirpitonaboutt hestory
m a n i t u
s i h t f o r e t p a h c t s ri f e h t n i d e t a t s s n o it a l u m r o f m e l b o r p e h t g n ir e w s n a n I
s e
r earcht hewrtie rwli lusesomet heo ires .Thet heo ire susedbyt hewrtie rwli l
: w o l e b d e w e i v e r e b
.
1 Narratology N& arra itve y
g o l o t a r r a
N i sthe study o f the form and funcitoning o fnarraitve . I t
a e v it a r r a n a f o s t n e m e l e g n it c u rt s n o c e h t s e z y l a n
a nd thei relaboraiton .
o t s t p m e tt a s t s i g o l o t a r r a
N descirbet henarraitveexpilcilty andgrasp abette r
g n i n o it c n u f s ti f o g n i d n a t s r e d n
u by f ristr ecognizingt heelaboraiton.(P irnce ,
4 : 2 8 9
1 - .)5 Wha tanarratologist od isj us t ilkeaf rogs urgeryi nbiologyclas s
d n a g o r f a e d i s n i s n a g r o e h t t u o d n if o t s e ir t t n e d u t s e h t h c i h w n
i understand
.s n o it c n u f ri e h t
n n
I arratology there i sa main disitnciton between ‘story ’and ‘plo’t .
n e p p a h y ll a e r ti s a s t n e v e f o e c n e u q e s e h t s i ’ y r o t S
‘ s ,wh liet he‘ plo’ti show
e h t o t d e t n e s e r p e r a ’ y r o t s ‘ e h t n i s t n e v e e h
t reader so r ilsteners .Thu sthe
e h t h ti w e m a s e h t e b t o n y a m ’ y r o t s ‘ e h t f o d n e d n a , e l d d i m , g n i n n i g e b
’t o l p ‘ e h t f o d n e d n a , e l d d i m , g n i n n i g e
b .Manynarratologist suseva iredt erm
T . ’t o l p ‘ d n a , ’ y r o t s ‘ r o
f he Russian Formailst ,fo rexample ,use sthe term
’t o l p ‘ r o f ’ t e z u j s ‘ d n a ’ y r o t s ‘ r o f ’ a l u b a f
‘ (Barry , 2002 : 223). Al l
s i d c i s a b s i h t d l o h s t s i g o l o t a r r a
n itnciton a s base o f thei r analysi s on
. e v it a r r a n
d e e s e lt ti l y n it a m o r f w o r g s e e rt l l
A , and so i s narratology . In
n i d n a , s n o it c a h g u o r h t d e l a e v e r e r a s r e t c a r a h C . y r o t s a f o s t n e m e l e l a it n e s s e
.t o l p h g u o r h t d e l a e v e r e r a s n o it c a , n r u
t A irstoltei denit ifest hreekeyelement s
e h t e r a h c i h w t o l p f
o hamarita t(hesinorf aul tcommittedbyt hecharacter) ,
s i s i r o n g a n
a t(hemomen to fsefl-recogniiton) ,andperipeteia t(her eversa lo f
k e e r G ( s e ir o t s f o t o l p f o s t n e m e l e e e r h t e s o h t g n i y fi t n e d n i y B . ) e n u tr o f e h t
d n if o t s i h c i h w y g o l o t a rr a n f o e c it c a r p e h t d e r e e n o i p d a h e h ) s e i d e g a rt
n i s e ir o t s f o r e b m u n a m o r f s t n e m e l e r a li m i
s ordert o beablet odfiferenitate
.) 4 2 2 : 2 0 0 2 , y r r a B ( m e h t
o s l a p p o r P r i m i d a l V d e m a n t s il a m r o F n a i s s u R a , e lt o t s ir A o t r a li m i S
. s e l a t k l o f n a i s s u R f o d e r d n u h f o s u p r o c a g n i z y l a n a y b y g o l o t a r r a n d e c it c a r p
h t w o ll o f s e l a t k l o f e s o h t f o l l a t a h t s i g n i d n if s i
H esameplo tpattern.I nt hi s
y r o t s o N . t o l p a r o f d e t p a d a y l n o m m o c e r a t a h t s n o it c n u f 1 3 e r a e r e h t n r e tt a p
. t s il e h t m o r f s m e ti t c e l e s s e ir o t s l l a t u b s n o it c n u f 1 3 e h t l l a s n i a t n o c
e h s n o it c n u f 1 3 e h t m o r f , e r o m r e h tr u
F group sthe funciton sinto seven
e h p s
‘ re so faciton ’which are t hevillain, t hedono ,r t he helpe,r t hep irnces s
. o r e h e s l a f e h t d n a , o r e h e h t , r e h c t a p s i d e h t , r e h t a f r e h d n
a From Propp’ s
t s ri f e h t t a t n e r e f fi d k o o l h g u o h t , s e ir o t s t a h t d e d u l c n o c e b n a c t i s g n i d n if
e c n a l
g ,migh tnott ha tdfiferen ta tall(Barry ,2002 :226-230).
, y r o t s e h t f o e r u t c u rt s e h t n o d e t a rt n e c n o c p p o r P d n a e lt o t s ir A e li h W
r o t s e h t w o h n o s e s u c o f e tt e n e G d r a r e
G y i sbeing t old .In hi sbook en itlted
e s r u o c s i D e v it a r r a
N he discusse saspect ssuch a sthe nature o fthe telilng
e h t d n a , )t o n r o d e m a r f ( y r o t s e h t f o g n i g a k c a p e h t , t o l p e h t d n a
t h g u o h t d n a h c e e p s f o n o it a t n e s e r p e
r (Barry ,2003 :231-239). Genette’ s
s u c o f e h t s tf i h s t I . y g o l o t a r r a n f o y r o t s i h e h t n i t n i o p g n i n r u t a s k r a m y r o e h t
.f l e s ti g n il l e t e h t o t n i d l o t g n i e b s i t a h w m o r f y d u t s e v it a r r a n f o
. e v it a r r a n s e s s u c s i d t a h t y r o e h t a s i y g o l o t a r r a n , e v o b a d e n o it n e m s A
r r a
N aitve tisel fha smany meaning sand definiiton ,each t heo irs tha shi so r
r e
h own understanding abou twha tanarraitve i s .In An Introduciton t o t he
e v it a r r a N f o s is y l a n A l a r u t c u r t
S Roland Batrhe ssaid tha tnarraitve ha s
m e h t f o l l a t a h t d n a s m r o f s s e lt n u o
c can accommodate man’ s sto ires .
n i e b n e v e n a c t i d n a , e g a u g n a l l a r o r o n e tt ir w f o m r o f e h t n i e b n a c e v it a r r a N
n i s t s i x e t I . e r u t c i p d n a e g a u g n a l h t o b f o e r u t x i m r o , e r u t c i p f o m r o f e h t
7 7 9 1 , s e h tr a B ( c t e , s w e n , s e i v o m , y r o t s i h , s e ir o t s tr o h s , d n e g e l , h t y
m :79 .)
n o it a n a l p x e ’ s e h tr a
B abou tnarraitve leave sa huge quesiton ,i fnarraitve
m r o f s s e lt n u o c s a
h , wli l everything in thi s wo lrd be considered a s a
? e v it a r r a
n In Dicitonary o fNarratology ,Gerald P irncedeifne snarraitve a s
e j b o , t c u d o r p , t c a , t c e j b o e h
t ct ,srtucture ,and srtucturaiton of t elilng sto ires
s e ir o t s e h T . e l p o e p r e h t o o
t told may contain one o rmore ifcititou sevent s
a r r a n e r o m r o e n o y b d e t a c i n u m m o c e r a h c i h
w to rto one o rmore naratee
(2003 : 58) . In hi s othe r book enitlted Narratology : The Form and
e v it a r r a N f o g n i n o it c n u
F P irnce offer sanothe rde ifniiton o fnarraitve .He
s t n e v e s u o it it c if r o l a e r o w t t s a e l t a f o n o it a t n e s e r p e r a s i e v it a r r a n a t a h t d i a s
d o h t e M n i y a s s E n
a ,abook wirtten by Gerard Genette .In hi sbook hesaid
t s ri f e h T . d o o t s r e d n u y l d a o r b e r a t a h t e v it a r r a n f o s g n i n a e m 3 e r a e r e h t t a h t
o it c n u f e h t e k a t o h w n e tt ir w r o l a r o , s t n e m e t a t s o t s r e f e r h c i h w e v it a r r a n s
i n
a t a h t s i g n i n a e m d n o c e s e h T . s t n e v e f o s e ir e s a r o t n e v e n a g n il l e t f o
n o it a l e r r i e h t h ti w , s u o it it c if r o l a e r , s t n e v e f o n o i s s e c c u s a s i e v it a r r a
n so f
s r e h t o y n a m d n a , n o it it e p e r , n o it i s o p p
o . The second meaning refer s to
a s n o it c a s a s t n e v e d n a s n o it c
a nd event sthemselve swtihou tregarding the
n a o t s r e f e r ti t a h t s i e v it a r r a n f o g n i n a e m t s e d l o e h t d n a d ri h t e h T . m u i d e m
g n i e b t n e v e e h t t o n s i g n i n a e m s i h t n i o t d e r r e f e r g n i e b t n e v e e h T . t n e v e
t s i s n o c h c i h w t n e v e e h t t u b d e t n u o c e
r s o fsomeonet elilngsto ires( 1980 :25
-.) 6
2 According to the fris tmeaning o fNarraitve given by Genette ,people
n i e d a z a r e h e h c S y b n e v i g h c e e p s e h t ll a c l li
w TheThousand andOneNights
d n o c e s e h t n i e v it a r r a n f o e l p m a x e e h T . e v it a r r a n a s a h a ir h a h c S g n i K o t
t n e v e e h t s i g n i n a e
m sexpeirenced byt hemerchantsi nNight s1- 3 seciton o f
s t h g i N e n O d n a d n a s u o h T e h
T ,from the itme he me tthe Jinn iand being
f d e e r f s i e h e m it e h t l li t d e s r u
c rom the curse .Finally ,based on the thrid
k o o b e h t , g n i n a e
m TheThousand and OneNight si swhatpeoplecallast he
. e d a z a r e h e h c S f o e v it a r r a n
.
2 Narra itveStiua iton
n i e v it a r r a n a f o n o it p ir c s e d a e v i g o t s i t s i g o l o t a r r a n a f o k s a t y r a m ir p e h T
. g n i n o it c n u f d n a m r o f s ti d n a t s r e d n u o t r e d r
o In orde rto do tha ttask, a n
a t a h t n o it p
r o t a r r a
n in a frist-person and thrid-person ifcitona lnarraiton. I tdesc irbe s
f e c n e s e r p r e h r o s i h s e k a m r o t a r r a n e h t y lt r e v o c r o y lt r e v o w o
h el tby the
s r e t c a r a h c e h t h ti w p i h s n o it a l e r r e h r o s i h o s l a d n a , s r e d a e
r (Keen ,2003 :30) .
r a l u c it r a p a n i s t s i x e t a h t s g n i h t l a r e v e s f o n o it a n i b m o c a s i n o it a u ti s A
n o it a u ti s e v it a r r a n e h t e b ir c s e d o t r e d r o n i , s u h t , e m it d n a e c a l
p there are
e c i s a b e m o
s lement stha tmus tbe descirbed .Those basic element sare the
, r o t a r r a
n theperspecitve( poin to fview) ,a endt h narraitvel evel( Keen ,2003 :
.) 0
3 In somecases ,anarraitvestiuaitoncan bemorecomplex when t herei s
r o t s e h t n i d e s u r o t a r r a n e n o n a h t e r o
m y .The use o fmulitple narrator s
d e b ir c s e d e b t s u m s n o i s n e t x e e s o h t d n a y r o t s e h t n i s n o i s n e t x e d e t a e r c
e v it a r r a n e h t f o n o it p ir c s e d e t a r u c c a n a e v a h o t r e d r o n i y lt n e d n e p e d n i
.) 1 4 : 3 0 0 2 , n e e K ( e v it c e p s r e p e h t d n a n o it a u ti
s A deepe rexplanaiton abou t
a r r a
n tor ,poin tandview ,andnarraitvel eve lwli lbe rteatedbelow.
.
3 Poin to fViewandNarrator
y r o t s a n i r o t a r r a n e h t f o n o it a c o l e h t d n if o t s k e e s n o it a u ti s e v it a r r a
N .In
d n if o t r e d r
o him o rhe rreadersmus tfris tunderstand hi so rher nature .By
t s r e d n
u anding t henarrator’s naturei twli lbe much easiert o ifnd wheret he
t a r r a
n o rmos tilkelydwel.l
f o t n i o p f o d n i k n i a tr e c a s t p o d a e h s r o e h , s e t a r r a n r o t a r r a n a r e v e n e h W
a e d i s n i , r e t c a r a h c a f o e d i s t u o e h t m o r f e t a r r a n y a m e h s r o e H . w e i v
t o b r o , r e t c a r a h
c h inside and outside the characte r(P irnce ,1982 :50 .) The
r o t a r r a n f o e p y t e h t e n i m r e t e d o s l a l li w w e i v f o t n i o p n i a tr e c a f o e s
.t u o b a g n il l e t s i e h d lr o w e h t s e v i e c r e p
s i t s ri f e h T . y r o t s a g n it a r r a n n i w e i v f o t n i o p f o s d n i k e e r h t e r a e r e h T
o n s i e r e h t h c i h w n i ,t n e i c s i n m o s a d e r r e f e r n e tf o , w e i v f o t n i o p d e t c ir t s e r n u
y n a n a h t e r o m s ll e t d n a s w o n k e h s / e H . ll e t n a c r o t a r r a n a t a h w o t n o it c ir t s e r
o n k n a c s r e t c a r a h c e h t f
o w o rtel la tany given itme and stiuaiton o fthe
n o it a r r a
n . The second one i scalled the interna lpoin to fview .In interna l
d n a , e g d e l w o n k , s g n il e e f e h t o t d e t c ir t s e r s i n o it a r r a n e h t , w e i v f o t n i o p
t s a l e h T . s r e t c a r a h c e n o n a h t e r o m r o e n o f o n o it p e c r e
p one i scalled the
f o e d i s t u o e h t o t y l n o d e ti m il s i n o it a r r a n e h t h c i h w n i w e i v f o t n i o p l a n r e t x e
: 2 8 9 1 , e c n ir P ( e c n a r a e p p a l a c i s y h p d n a s n o it c a r e h / s i h y l e m a n , r e t c a r a h c e h t
1 5 -5 2 .)
n
I Narra itveFo , rm Suzanne Keen said t hatt he fris tdemand of t hestudy
o fnarraitoni st hedisitncitonbetweenf rist-personandt hrid-personnarraiton .
f fi d g n i h s i u g n it s i d e h t s e k a m t a h
W icutli st ha taconclusioncannotbemade
u j y
b s tobservingt heuseoface trainpronoun. Theexamplecanbef ound i n
s r e p t s ri f a f o e s a c e h
t on narraiton. In anarraitont heuseoft hepronoun ‘ I ’
t o n s e o d e n o l
a makei taf rist-personnarraitonbecauseanyover tnarrato rcan
. ’ I ‘ g n i s u f l e s r e h r o f l e s m i h o t r e f e
r Keen explained tha tin a frist-person
fl e s a s i e r e h t n o it a r r a
n -narraitngcharacte rwho act salso a sanarrator .Here
e h s r o e H . d lr o w e m a s e h t n i e v il d n a t s i x e o c r e t c a r a h c d n a r o t a r r a n e h t h t o b
.’ I ‘ s a f l e s r e h r o f l e s m i h o t s r e f e r n e h
t Therearet hree kind so ffris tperson
p e h t o s l a s i fl e s g n it a r r a n e h t e r e h w s i t s ri f e h T . n o it a r r a
t s ri f e h t ,s e p y t o w t o t n i d e d i v i d e b n a c n o it a r r a n e h t y h p a r g o i b o t u a l a n o it c if
e h t o t e s o l c d e n o it i s o p s i r o t a r r a n e h t h c i h w n i n o it a r r a n t n a n o s n o c e h t s i
; e c n e ir e p x
e the second i sthe dissonan tnarraiton in which there i sa gap
t s ri f f o y t e ir a v r e h t o n A . d e t a r r a n s e c n e ir e p x e e h t d n a n o it a r r a n e h t n e e w t e
b
-e
p rson narraiton i swhere t henarraitng sel ffocuse son t heaciton o fothers .
t s ri f a f o d n i k d ri h t e h
T -person narration i sapluralf rist-person narraiton i n
s r e t c a r a h c s u o ir a v y b d e t a r r a n s i y r o t s e h t h c i h
w (Keen ,2003: 63 - )3 7
r e ti r w y b d e s u y l n o m m o c n o it a r r a n f o e p y t r e h t o e h
T si st het hrid person
it s i d n o m m o c t s o m e h t h c i h w n i , n o it a r r a
n nciton used i sto dfiferenitate
t n e i c s i n m o m o r f d e ti m
il th rid person narrators .In a thrid-person ilmtied
d e d u l c n i n o it p e c r e p e h t s e t a n i m o d e v it c e p s r e p s ’ r e t c a r a h c e l g n i s a n o it a r r a n
e h t s ti m il r e ti r w e h t n o it a r r a n f o d n i k s i h t n I . y r o t s e h t f o g n il l e t e h t n i
u o i c s n o c f o n o it a t n e s e r p e
r snes sto a single ifgure who i sno ta narrator .
d ri h t e h t m o r f t n e r e f fi
D -person ilmtied narraiton ,a t hrid-person omniscien t
g n i e B . d lr o w y r o t s e h t e d i s t u o s t s i x e o h w r o t a rr a n a s e ri u q e r n o it a r r a n
s a h r o t a r r a n s i h t d lr o w y r o t s e h t e d i s t u
o the p irvliege to be able to i nform
.s r e d a e r e h t o t s r e t c a r a h c l l a t u o b a s li a t e d
o w t o t n i d e d i v i d e b n a c r o t a r r a n a n o it a c if i n o s r e p f o e e r g e d e h t n o d e s a B
o h w r o t a r r a n a s i r o t a r r a n t r e v o n A . r o t a r r a n t r e v o c d n a r o t a r r a n t r e v o , s e p y t
a e r e h t o t e c n e s e r p r e h r o s i h s e c n u o n n
a der sbyusing seflr eference ,whliea
t r e v o c A . tl e f e b y l d r a h n a c e c n e s e r p e s o h w r o t a r r a n a s i r o t a r r a n t r e v o c
t o
n show any sign so fpersonailites .An over tnarrato rcan summairze itme
d ri b g n i v i g , g n i s s a
p -eye’ sview ,and offe rcommentary i(nterpretaiton o f
) s n o it a z il a r e n e g d n a , s r e t c a r a h c n o s t n e m g d u j ,s n o it c
a (Keen ,2003 :38).
a c il p m o c e r o m s g n i h t t e g o
T ted someauthor seven usemulitplenarrators
y r o t s r i e h t n
i .These narrator smay be paralleled wtih othe rcharacter so r
. n o it a r r a n s ’ r e h t o n a n i h ti w s t s i x
e There are two possible manner swhen a
ri f d r a w r o ft h g i a rt s f o e s u e h t s i t s ri f e h T . s e t a r r a n r e t c a r a h
c s -t person
n i s a n o it a r r a n y r a it r e t r o y r a d n o c e s f o e s u e h t s i d n o c e s e h t d n a n o it a r r a n
n o it a r r a n s ’ r e h t o n a n i s i r e t c a r a h c e h t n e h
w (Keen ,2003 :41- )4 2
.
4 Narra itveLevel
u ti s e v it a r r a n a s t c u rt s n o c h c i h w t n e m e l e r e h t o n
A aiton i scalled narraitve
d h c i h w l e v e
l eal swtihtheproces so f ifcitona lwo lrdmaking .Ficitona lwo lrd
y e h t r e v e n e h w s r e d a e r e h t f o d n i m e h t n i y ll a c it a m o t u a d e t a e r c d lr o w a s i
. e v it a r r a n a r e t n u o c n
e This i maginarywo lrd i sawo lrd wheret hecharacter s
e v il y r o t s a f o s t n e v e d n
a . I n somecases ,anarraitvedemand s tisr eaderst o
a s e m o c e b r e t c a r a h c a n e h w s n e p p a h h c i h w , s d lr o w e d i s n i s d lr o w e n i g a m i
.) 8 0 1 : 3 0 0 2 , n e e K ( r o t a r r a
n
e h s r o e h y r o t s n w o r e h r o s i h e t a r r a n o t s n i g e b r e t c a r a h c a r e v e n e h W
s u h t d n a r o t a r r a n y r a d n o c e s a s e m o c e b y l e t a i d e m m
i create sa new story
a e d i s n i r o t a r r a n y r a d n o c e s y b d l o t y r o t s w e n s i h T . d lr o
w p irmary narraitve
n a d e ll a c s
i embedded narraitve ,asigna loft hei niitaiton o fanew narraitve
r e y a l h c a E . l e v e
.) 1 1 1 : 3 0 0
2 Example so fembedded narraitve can be found in work so f
s ’ e o P n a ll A r a g d E s a h c u s e r u t a r e ti
l “TheOva lPorrtati” .InPoe’ s“TheOva l
ti a rt r o
P ” a wounded man take sa shetle rin a house in which he ifnd sa
r o
p rtai to fa beautfiu lyoung lady . The embedded narraitve i spresented
e h t f o y r o t s i h e h t t u o b a s g n it ir w d n if n a m d e d n u o w e h t n e h
w painitng . tI
t a h t e fi w s i h g n it n i a p f o y o j e h t y b d e t c a rt s i d o o t r e t n i a p a f o y r o t s a s ll e
t h e
e h s t a h t e c it o n o t d e li a
f i sdyingi nt heproces .s
v i d e r a e v it a r r a n a n i s l e v e l e h
T ided fu trhermore into exrtadiageitc ,
a i d a t e m d n a , c it e g a i
d geitc .Exrtadiageitc i sthe ac to fnarraitng the fris t
h t f o t c a g n it a r r a n e h t s i c it e g a i d e h t e li h w , e v it a r r a
n e second narraitve (a
) e v it a r r a n t s ri f e h t e d i s n i e v it a r r a
n . The event s narrated in the second
a c e r a e v it a r r a
n lledmetadiageitc( Genette ,1983 :228 .)
e h t d n a c it e g a i d a t e m e h t n e e w t e b s p i h s n o it a l e r f o s e p y t e e r h t e r a e r e h T
o it a l e r t s ri f e h T . l e v e l c it e g a i
d nship i sa relaitonship in which the second
y r o t a n a l p x e s e v r e s e v it a r r a n ) c it e g a i d a t e m
( funcitons . The second
e h t s i p i h s n o it a l e
r themaitc relaitonship ,in which the second narraitve can
a r r a n d n o c e s e h t e r e h w s i t s a l e h T . y g o l a n a n a r o t s a rt n o c a s a e v r e
s it ve
e v it a r r a n n i a m e h t m o r f n o it c a rt s i d a s e m o c e
b (Genette ,1983 :232-234) .The
d n u o f e b n a c n o it c a rt s i d f o d n i k t a h t f o e l p m a x
e in TheThousand and One
s t h g i
N . The l ayer so fembedded narraitve spresented t hrough sto iresi nside
a s r e d a e r e h t g n ir b s e ir o t
. y r o t s n i a m e h t
.
C Theore itca lFramework
e s u l li w r e ti r w e h t r e t p a h c t s ri f e h t n i d e t a l u m r o f s m e l b o r p e h t r e w s n a o T
f o y r o e h t e h
t narratology . Among many theo ire s formulated by vairou s
g o l o t a r r a
n ist ,s t hewrtie rwli luset het heo iresf ormulatedbyRoland Batrhes ,
e tt e n e G d r a r e G d n a , e c n ir p d l a r e
G . Thewrtie ralsousest het heo iresf ound i n
s ’ n e e K e n n a z u
S Narraitve Form in which she blend stheo ire sfrom many
r e h t
o narratologist .s
, ’ s e h tr a B o s l a d n a s i y g o l o t a r r a n t a h w t u o b a y r o e h t s ’ e c n ir P , ll a f o t s ri F
g n i d n a t s r e d n u c i s a b e h t e b l li w e v it a r r a n t u o b a y r o e h t s ’ e tt e n e G d n a , s ’ e c n ir P
. h c r a e s e r s i h g n i o d n i r e ti r w e h t r o
f Inansweirng t hefris tproblem,t hewrtie r
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T l lbeansweredby analyzingt heeffect sproducedbyt he
d n u o f s t c e f f e e h t n o d e s a b s u h t d n a l e v o n e h t n o d e il p p a n o it a u ti s e v it a r r a n
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6 9 : 5 0 0 2 , n ir e u G ( d i a
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u rrators ,
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c Thesecond step wa s
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h t f o s n o it c e
s wholenovel .Fromt hef ul ldescirpiton oft henove’l snarraitve .
d e t a c o l s i r o t a r r a n e h t e r e h w d e d u l c n o c n e h t r e ti r w e h t n o it a u ti
s The ifnals tep
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1 2
V I R E T P A H C
S I S
