i
THE DIFFERENCES OF EDMUND’S CHARACTERIZATION
THAT INFLUENCE THE PLOT IN THE NOVEL AND IN THE
SCREENPLAY OF C.S. LEWIS’
THE CHRONICLES OF
NARNIA: THE WITCH, THE LION, AND THE WARDROBE
AN UNDERGRADUATE THESIS
Presented as Partial Fulfillment of the Requirements for the Degree of Sarjana Sastra
in English Letters
By
DERDIANA MARIA LUSINDA
Student Number: 014214004
ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS SANATA DHARMA UNIVERSITY
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again and I took it. I will never make a mistake for the second time and I know that it is just the beginning of my life.
First of all, I would like to thank Jesus Christ, for His love and guidance. Without Him, it is impossible for me to finish this thesis. I thank Him for answering my prayer when I am down and low.
I would like to express my gratitude to Dewi Widyastuti, S.Pd., M. Hum. as my advisor and Drs. Hirmawan Wijanarka, M.Hum. as my co-advisor . I am thankful for correcting my thesis during this time. Whatever the result is, this thesis is so meaningful for me.
My special gratitude goes to my parents Papa (Opa) and Mama (Oma), my brother (Tommy), my sister (Linda), my brother in law (Bowo), my cousins (Orvis and Rafa), the big family of Seimahuira and the big family of Atmo Sumitro; I am thankful for everything they have done to help me in completing my study in Sanata Dharma University; although it took me a long time to complete. This undergraduate thesis is dedicated for them as a symbol of my responsibility to them.
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Lanni, Ms. Yuni, Ms. Anita, Margareth Aritonang, Okta “Liyul”, Ferdi “Parakan”, “Blacky”, “Little Blacky”, Mr. “T”, Miss “Supra”, Miss. “Kaze”; I am thankful for everything. I owe them, especially for helping me during the completion of my study and this thesis. My gratitude also goes to all of my classmates in English Letters 2001 for the magnificent years before and for the support to finish my study as well as to this thesis.
Finally, I am sincerely thankful to the aid and good-wishes for all of my friends that I cannot mention one by one. God bless them all!
Derdiana Maria Lusinda
APPROVAL PAGE ... ii
ACCEPTANCE PAGE ... iii
STATEMENT OF WORK’S ORIGINALITY ... iv
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS ... v
ACKNOWLEDGEMENTS ... vi
TABLE OF CONTENTS ... viii
ABSTRACT ... x
ABSTRAK ... xi
CHAPTER I. INTRODUCTION ... 1
A. Background of the Study ... 1
B. Problem Formulation ... 2
C. Objective of the Study ... 3
D. Definition of Terms ... 3
CHAPTER II. THEORETICAL REVIEW ... 6
A. Review of Related Studies ... 6
B. Review of Related Theories ... 8
1. Character and Characterization in a Novel ... 8
a. Character in a Novel ... 8
b. Characterization in a Novel ... 9
2. Character and Characterization in a Play ... 11
a. Character in a Play ... 11
b. Characterization in a Play ... 12
3. Plot in a Novel and in a Play ... 14
a. Plot in a Novel ... 14
b. Plot in a Play ... 16
C. Theoretical Framework ... 18
CHAPTER III. METHODOLOGY ... 20
A. Object of the Study ... 20
B. Approach of The Study ... 20
C. Method of the Study ... 21
CHAPTER IV. ANALYSIS ... 23
A.The Differences of Edmund’s Characteristics in the Novel and in the Screenplay ... 23
1. Characteristics of Edmund in the Novel ... 23
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B.The Differences of Characteristics That Influence The Plot ... 35
1. The Plot in the Novel ... 35
2. The Plot in the Play ... 40
CHAPTER V. CONCLUSION ... 50
BIBLIOGRAPHY ... 53
APPENDIX……..……… ... 55
Wardrobe. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2009.
This study compares C.S. Lewis’ The Chronicles of Narnia: The Witch, The Lion, and The Wardrobe with the screenplay with the same title which was written by Ann Peacock. The novel itself was written by C.S. Lewis in 1968 and the screenplay was written in 2006. Both the novel and the screenplay tell the story about the children of the Pevensies that were sent away from London during the war because of the air-raids. They were sent to the house of an old Professor. In the Professor’s house, one of the Pevensies children named Edmund, found a way to the world called Narnia. He entered Narnia and met Jadis. Because of his meeting with Jadis, Edmund became a traitor for his family.
Even though the novel and the screenplay have the same story, the plots in both works are different. In the novel, the writer told about all the children of the Pevensies, but the screenplay writer gives more details to Edmund’s characteristics. So, this study deals with characterization, as they are considered to have affects to the plot between the novel and the screenplay.
This study discusses: “What are the differences of Edmund’s characteristics in the novel and the screenplay?”. “How do the differences in Edmund’s characteristics influence the two plots?”
In collecting the sources, the writer applied library research method. In doing the analysis, the writer was using formalistic approach. The theories applied are concerned with characteristics and plot both in the novel and in the screenplay. The theories on the differences between novel and play were also used.
This thesis provided some results, which are: that there some differences on Edmund’s characterization in the novel and in the screenplay. The characteristics of Edmund in the novel are more details than in the screenplay. For example, in the novel, Edmund described as a young, disobedient, ridiculous, cowardly, naïve, impolite, traitorous, labile, tricky, and innocent. In the play, Edmund described as a loving, curious, greedy, selfish, brave, rude, and labile. There are some points from Edmund’s characteristics that can influence the plot in the novel and in the screenplay that is the characterizations of Edmund in the screenplay has a big role in the creation of the plot, even though the characteristics of Edmund in the screenplay do not describe as details as in the novel. For example, in the novel the climax is when Edmund in the battle. But, in the screenplay, the climax is when Edmund left beavers’ house when the others (Peter, Susan, Lucy, and beavers) had discussed about Aslan.
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ABSTRAK
DERDIANA MARIA LUSINDA. The Differences of Edmund’s
Characteization that Influence the Plot in the Novel and in the Screenplay of C.S. Lewis’ The Chronicles of Narnia: The Witch, The Lion, and The Wardrobe. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2009.
Penelitian ini menganalisis dari karya C.S. Lewis dengan judul The Chronicles of Narnia: The Witch, The Lion, and The Wardrobe yang dibandingkan dengan naskah film dengan judul yang sama dan ditulis oleh Ann Peacock. Novel tersebut ditulis pada tahun 1968, sedangkan naskah filmnya ditulis pada tahun 2006. Novel dan naskah filmnya mempunyai cerita yang sama, yaitu menceritakan tentang anak-anak keluarga Pevensie yang dikirim keluar dari London karena terjadi perang. Mereka dikirim kerumah seorang Profesor. Di rumah tersebut, salah satu anak yang bernama Edmund menemukan sebuah jalan kesebuah dunia lain bernama Narnia. Dia pergi ke Narnia dan bertemu dengan Jadis. Karena pertemuannya dengan Jadis, Edmund menjadi seorang pengkhianat bagi keluarganya.
Meskipun pada novel dan naskah film mempunyai cerita yang sama, tetapi keduanya mempunyai jalan penceritaan yang berbeda. Dalam novelnya, C.S. Lewis menceritakan semua anak-anak Pevensie. Berbeda dengan naskah filmnya, Ann Peacock menceritakan secara detail dari penokohan Edmund. Jadi, penelitian ini berhubungan dengan penokohan dari Edmund yang mana hal tersebut mempunyai pengaruh terhadap plot.
Penelitian ini membahas mengenai: “Apa saja perbedaan penggambaran tokoh Edmund yang ada dinovel dan dinaskah film?”. “Bagaimana pengaruh perbedaan-perbedaan tersebut terhadap plot yang terdapat pada novel dan pada naskah film?”
Dalam pengumpulan berbagai sumber penelitian, penulis menggunakan data-data yang terdapat diperpustakaan. Dalam melakukan penelitian, penulis menggunakan pendekatan formalistics. Teori-teori yang digunakan mengacu kepada teori-teori yang berkaitan dengan penokohan dan plot. Karena penulis menggunakan novel dan naskah film, maka penulis menggunakan teori-teori yang terdapat dinovel dan difilm.
A. Background of the Study
Nowadays, there are many films that are adapted from a novel, like The Lord of The Ring, Forest Gum, Frankenstein, and Narnia: The Witch, the Lion, and the Wardrobe. These films are adapted from novels with the same title. Sometimes, people just see the film or read the novel, and sometimes they are watching the film and reading the novel. By doing this, then people try to compare and criticize between both, novel and film, and will say where the better one is. Barnet, Burto, and Cair stated in Literature An Introduction to Fiction, Poetry, and Drama that “After seeing a film based on a novel or short story that we know, most of us are drawn to compare the two and make judgment about which one is better” (1999: 308).
From the example above, Daniel Talbot in Film: An Anthology stated that film has two categories; the first one is Filmed Theater, for which the cinema is solely a means of dissemination; and films endeavoring to utilize the particular resources of the screen, for which the cinema is a means of expression. The second category can be further subdivided into films whose themes were specially conceived for cinematic rendering, and films based on scenarios adapted from literary or dramatic works (Talbot, 1959: 226).
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wrote by Ann Peacock. The reason why the writer used this novel is because the novel and the screenplay have many differences in the characteristics of Edmund that caused the plot in the novel and in the screenplay are different. The second is using the screenplay will make it easy for the writer to understand the characters and the plot.
This screenplay that is adapted from the novel by C.S. Lewis with the same title The Chronicles of Narnia: The Witch,The Lion, and The Wardrobe told about the children of Pevensies, Lucy, Peter, Edmund, Susan who moved into Professor Kirke’s house during World War II. In the house, the children found a wardrobe that led them to another world called Narnia. In Narnia, they had an unforgettable experience. There, the children have to fight against White Witch, named Jadis. In the end of the story, the children won and became the kings and the queens of Narnia.
In this thesis, the writer is interested to discuss about the characters and plot both in the screenplay and the novel because the writer has found many differences when the screenplay compared with the novel even though they have the same story. To help the writer in analyzing the work, the writer uses the screenplay of the film because, when compared, the screenplay showed the differences with the novel.
B. Problem Formulation
1. What are the differences of Edmund’s characteristics in the novel and in the screenplay?
2. How do the differences in Edmund’s characteristics influence the two plots?
C. Objectives of the Study
This thesis will focus on the differences of characterization and plot between the novel and the screenplay of C.S. Lewis’ The Chronicles of Narnia: The Witch, the Lion, and the Wardrobe. This thesis will answer on the questions that have mentioned in the problem formulation.
First, the question is to mention the differences of Edmund’s characteristics in the novel and in the screenplay. The writer has found many differences which can differentiate between the novel and the screenplay even though they have the same story. Second, the problem formulation is to explain further about the differences in Edmund’s characteristics can influence the two plots.
D. Definition of Term
There are some terms which are used by the writer to make the thesis clearly.
1. Plot
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Aristotle stated in Holman and William Harmon, A Handbook to Literature, “the arrangement of the incident” as the term of plot. Each element cannot be apart, it has unity Aristotle’s concept point out that plot in a drama is divided into five parts: exposition, rising action, climax or turning point, falling action, a denouement or a catastrophe.
2. Character
M. H. Abrams in A Glossary and Literary Terms says that characters are the persons in a dramatic or narrative work. The characters are known by the reader as some people who have moral and dispositional qualities. These qualities are usually expressed in what they say (the dialogue) and what they do (the action) (Abrams, 1985: 23)
In How to Analyze Drama, Reaske said that a character is the fictitious creation of person presented in dramatic or narrative work that can be interpreted through the combination of the dialogue and action expressed (1966: 40).
3. Characterization
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CHAPTER II
THEORETICAL REVIEW
A. Review of Related Studies
The novel of The Chronicles of Narnia: The Lion, The Witch and The Wardrobe was written in 1968, and the screenplay was written in 2006. Both have been criticized by the critics. Critics may give comments, ideas, and reviews about particular literary work. These comments, ideas, and reviews are called as literary criticism. Through literary criticism, we may be enabled to understand both the author and the work. These criticism may be favorable may be not.
In this study criticism is needed to support the idea or topic discussed here. Quotations will also be used within this study. Theories that are used in this study will be discussed furthermore in this chapter.
Many other studies used C.S. Lewis’ The Chronicles of Narnia as their work. One of them is Peter J. Schakel. In his book Reading with the Heart, he mentioned that The Chronicles of Narnia are, at present, the best-known and most influential works of a well-known and very influential writer. They outsell the rest of C. S. Lewis’s works combined, at a rate now of several hundred thousand volumes per year. Regarded as classics by many authorities on children’s literature, they are read and loved also by college students and other adults from all around the world in many languages. (http://readingwiththehearth.com)
There are other studies by R. Andrew Newman who is a freelance in Nebraska. His writing entitled Stay Out of Our Wardrobe said about the story of The Chronicles of Narnia The Lion, The Witch and the Wardrobe is one of freedom. The White Witch’s icy tyranny is overthrown – Christmas, freedom, and spring return to the land – and all this is faithfully translated to the screen in Disney and Walden Media's beautifully done movie adaptation. The struggle mirrors the war in the world of men, implicitly in the book and explicitly in the movie. The movie opens with the Nazi bombardment of London. Two wars in two worlds: both worth the sacrifice and fight. He also said that neither the book nor the movie is a policy manual or a political-philosophy tract gussied up with fauns, centaurs, dwarves, and Narnia clearly is a land where freedom is valued and where the good state knows its limits.
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between C.S. Lewis’ The Chronicles of Narnia: The Witch, the Lion, and the Wardrobe the novel and the screenplay wrote by Ann Peacock. In the analysis, the writer uses the two of intrinsic elements such as character and plot. That is why this study will be different from the other studies which have been mentioned previously.
B.Review of Related Theories
In this thesis, the writer uses two kinds of theories. The first is the theory in novel and the theory in screenplay since the writer discusses the differences of characterization and plot in the screenplay and in the novel between the film and the novel of C.S. Lewis’ The Chonicles of Narnia: The Witch, The Lion, and The Wardrobe.
1. Character and Characterization in a Novel
a. Character in a Novel
In his book, Approach to Literature, Little mentioned that a character can be studied from (1981:93):
1. His or her basic characteristic. This is visible through:
a. The physical condition of the character, including of his or her age. b. The social relationship, which mean the personal relationship with other
character or wider social relationship.
c. Mental qualities that is the typical way of thinking, feeling, and acting. 2. His or her appearances from various points of view. This includes:
a. How the character sees himself or herself. b. How various other characters see him or her.
c. How he or she develop or fail to develop during the course of the story. 3. His or her place in the work. This means:
a. This treatment of the author (sketched/ fully rounded a portrayed descriptively or dramatically, treated sympathetically or unsympathetically).
b. His or her place in the story (a leading character or a minor one) c. His or her relationship
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b. Characterization in a Novel
Rohrberger and Woods in Reading and Writing about Literature say that characterization is the way the author creates characters. It means, characterization is to create an image that is good in order that readers can have their own perception (1971: 20).
In Understanding Unseens, Murphy explains that there are nine ways in which an author describes a character to be understandable. The ways are (1988:161-173):
1. Personal Description
Personal description is how an author describes the character’s appearance, which is his clothes, face and body. Using appearance can help the reader to imagine how the character is.
ii. Character as Seen by Another
Instead of describing a character directly the author can describe him through the eyes and opinions of another.
iii. Speech
The author can give us an insight into the character of one of the persons in the book through what that person says. Whenever a person speaks, whenever he is in conversation with another whenever he puts forward an opinion, he is giving us some clue to his character.
iv. Past Life
can be done by direct comment by the author, though the person’s thought, through his conversation or through the medium of another person.
v. Conversation of Others
The author can also give us clues to a person’s character through the conversations of other people and the things they say about him. People do talk about other people and the things they say often give as a clue to the character of the person spoken about.
vi. Reaction
The author can also give us a clue to a person’s character by letting us know how that person reacts to various situations and events.
vii.Direct Comment
The author can describe or comment on a person’s character directly. viii. Thought
The author can give us direct knowledge of what a person is thinking about. ix. Mannerism
The author can describe a person’s mannerism, habits or idiosyncrasies which may also tell us something about his character (1973:161-173).
2. Character and Characterization in a Play
a. Character in a Play
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Goldstone in his book, Context of Drama, writes an explanation of how a character is established. It is through (1962:6):
1. Dialogue spoken by the character
This means that what the character’s said will show his characteristics (age, social class, and educated or not).
2. Dialogue spoken about the character
This means that we also understand about the characters’ characteristic through other characters that are talking about him.
3. Action taken by the characters
What the characters’ action in handling problems will show what kind of person he is.
4. The personality interpretation of the actor playing the role. Playwrights have often composed a role with a specific actors or actress in mind.
b. Characterization in a Play
There is another theory that talks about how to analyze a character’s characterization in a play. Reaske in his book, How to Analyze Drama, says that there are six devices of characterization. These theories will be used in this study. They are (1966: 44-48):
1. The appearance of the character
as well from narrator’s description or other character’s opinion towards the particular character.
2. Asides and soliloquies
Through aside and soliloquies, we also can learn about the character. When a character speaks in short asides or in longer soliloquies, he is telling his specific characteristics. For example; a lover, will have tendency to use poetic statements. Therefore, we may learn that the person is a lover for using poetic statements which one speaks in short asides.
3. Dialogue between characters
This means that we learn characters from dialogue between characters. Through character’s language when he speaks to other character, we can know his personality.
4. Hidden narration
Sometimes, there is a character in the play who is never directly described by the playwright. In that case, we understand that characters through hidden narration, i.e. a narration of one character about another character.
5. Language
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6. Character in action
This means that we can determine what kind of person a character is when he acts on the stage. We can learn more about character through his action in the play.
The above theories are helpful in understanding the character’s characterization. By learning the character’s characterization, we may also learn about the plot of the story.
3. Plot
a. Plot in a Novel
When we think about plot in a novel, we will think about how the story is created through the events that support the story. When we know the plot, automatically we will understand the story which is being told. It means that plot gives important contribution in a story.
As stated by Murphy’s Understanding Unseens, plot is a carefully thought-out plan in which all the events, all the actions and reactions of the characters, contribute towards the forward movement of the story (1973:134)
i. Novels with Tight and Well-Defined Plots (conventional plots)
The plot begins with exposition, complication, crisis, climax, and denouement.
ii.Novels with Loose and Rambling Plots
The plot is not well define and many of the early novels written in the eighteenth century are of this type, especially those which are written around a central hero who wanders from place to place and has various adventures.
iii. Novels with No Plot in the Normal Sense
Many novels, especially modern ones, do not at all have a plot in the sense in which we have been discussing it. This doesn’t mean that an author does not plan their novels. Most authors try to plan their novels. However, many do not think in terms of a plot, tightly planned and leading to a climax and a satisfactory and neat conclusion.
From the explanation above, we may understand that the plot is not all important in a novel. Plot is just a way to understand a story. It is just an aspect in a novel that we can consider. In this case, it will be the aspect that is the main object in this study.
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1. Exposition
It is the laying out or the materials of the story. It provides many things that are important in the story. The position is usually at the beginning of the story, but sometimes it can be found everywhere.
2. Complication
It marks the major conflict in the story. The protagonist and the antagonist start to represent whatever ideas they want to represent, such as good and evil, love and hate.
3. Crisis
It is the separation between what has gone before and what will come after. It is usually an action or decision undertaken in an effort to resolve the conflict.
4. Climax
It is the high point in the action, in which the conflict and the consequent tension are brought out to the fullest extent.
5. Resolution or denouement
It is the set of action that bring the story to its conclusion.
In Mastering English Literature, Richard Gill shows the relation between a plot and character. He states that what a character tries to complete is the cause of a plot of a story. (1995:74)
b. Plot in a Play
another character and they will create a story that has a conflict and also the resolution. Plot holds a crucial role in a play. It is obvious since play has its own limitation in any ways. However, when on films and novel, plot is just an aspect; as mentioned earlier in this chapter. Though it may be an aspect, it may also be a way in understanding a story clearly.
Aristotle stated in Holman and William Harmon, “the arrangement of the incident” as the term of plot. Each element cannot be separated, it is a unity. Aristotle’s concept point out that plot in a drama is divided into five parts:
1. Exposition
Provides the background information which is required to understand the story. It can be such as information about the character, the basic conflict, the setting, and so on.
2. Rising action
Contain the basic conflict 3. Climax or turning point
Marks a change with the things that going from good to bad or the opposite condition.
4. Falling action
The conflict between protagonist and the antagonist unravels. 5. A denouement or a catastrophe
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catastrophe in which the main character is worse off than the starting point of the narrative.
Both the novel and the movie script have different plot. These differences will be visible when the above theories are applied. The first explanation about the cause of differentiation is, obviously, because both have different writers. The original writer of the story is C. S. Lewis. Based on Lewis’ novel, the movie script is then created.
Due to different perspectives between the original writer and the director of the film, the film is somehow different with the novel; even though, the script was basically written based on the novel.
Since there are many differences visible between the novel and the movie script, the writer of this thesis chooses to focus on the plot. Further explanation will be described in the next chapter.
C.Theoretical Framework
This study aims to find out the differences of characterization, plot,
setting; and the theory of theme by Perrine and Boggs is used to know about the theme. These theories are used by the writer to help in analyzing the problems that have been formulated in the previous chapter. To answer the first problem that is about the major differences between the novel and the film and the second problem that is by comparing the novel and the film.
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CHAPTER III
METHODOLOGY
A. Object of the Study
The novel that is analyzed in this thesis is written by C.S. Lewis and published by C.S. Lewis Pte. Ltd, in 1950. In analyzing the novel, the writer used First Harper Trophy edition in the year of 2000. Clive Staples Lewis was born in Belfast, Ireland, on November 29, 1898. During his life, his friends called him Jack. He is the best friend of J.R.R. Tolkien, the author of the Lord of the Rings trilogy.
The screenplay that is analyzed in this thesis wrote by Ann Peacock and published by Walt Disney Picture and Walden Media, 2006. The scriptwriter itself used the same title with the original novel, The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe.
Because of his likeness toward myth, fairy tales, and ancient legend, it brought C.S. Lewis to the creation of his book The Lion, the Witch and the Wardrobe then followed by other six books and known as Chronicles of Narnia. The last book in the series, The Last Battle was awarded the Carnegie Medal, one of the highest marks of excellence in children’s literature.
B. Approach of the Study
approach is chosen to analyze the novel and the screenplay, which is the screenplay, can be analyzed objectively because the data can be found in the text on the screenplay. In his book A Handbook of Critical Approaches to Literature, Guerrin explained in outline that formalistic criticism has for its sole object the discovery and explanation of from in the literary work, if there are question about “What is literary work? What are its shape and effect, and how are these achieved? All relevant answers to those questions have to come from the text itself” (1979: 10).
Formalistic approach will be employed in examining not only the novel, but also the screenplay. Boggs asserts: “Perceptive film analysis rest on the principles used in literary analysis, and if we apply what we have learned in the study of literature to our analysis of film, we will far ahead of those who do not” (1078: 29). Since in formalistic approach the reader is taught to study the work of literary in a form, this approach necessitates the reader to understand the screenplay which also in a textual form to examine the content of its screenplay.
C. Method of the Study
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The primary data from the book and the film entitled The Chronicles of Narnia: The Witch, the Lion, and the Wardrobe. For the film, the writer used the script of the film in order to make easier in analyzing the work. The second data were taken from Kennedy and Dana Gioia’s Literature An Introduction to Fiction, Poetry, and Drama, Talbot’s Film: An Anthology, Abrams’s A Glossary of Literary Terms Six Edition, Hudson’s An Introduction to the Study of Literature, Guerin’s A Handbook of Critical Approaches to Literature, Rohrberger & Woods’ Reading and Writing about Literature, Murphy’s Understanding Unseens, Boggs’ The Art of Watching Films.
To complete the study, first the writer read and reread The Chronicles of Narnia: The Witch, the Lion, and the Wardrobe. Second, the writer found the topic to be discussed and made the problem formulation to support the topic, and third the writer read other sources or references that related and to support the topic. Based on all of the data that the writer has gathered, the writer can develop the analysis.
This chapter is going to answer the problems that have been stated in the first chapter. Based on the two problems stated in the previous chapter, this chapter will be divided into two major parts. The first will analyze the first problem about the major differences of characters in the novel and in the screenplay. The second part will analyze about the differences between the novel and the screenplay that can affect the theme.
A. The differences of Edmund’s characteristic in the Novel and in the
Screenplay
1. Characteristics of Edmund Pevensie in the Novel
In C.S. Lewis’ The Chronicles of Narnia: The Witch,The Lion, and The Wardrobe, the character of Edmund Pevensie and the problems that he faced have a big role on the creation of the story. Edmund is one of the major characters and his characteristic is the most develop than the others. He is the third child of Pevensies. From the experiences that Edmund has in the story, his characteristic development will be known and he will be the focus in the analyze.
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analyzing the characteristic of Edmund Pevensie. In the novel and in the screenplay, the characteristic of Edmund can be seen through many ways. Then, it will describe as follow.
a. Disobedient
When the children of Pevensies were in Professor’s house and met him on the first time, they were involved in a conversation. In the conversation, the writer knows that Edmund is a disobedience person and he has bad-tempered. He always has the answer to what the older said to him.
… said Susan; “and anyway, it’s time you were in bed.”
“Trying to talk like Mother,” said Edmund. “And who are you to say when I’m to go to bed? Go to bed yourself.” (Lewis, 1986:4)
From the quotation above, it can be known that Edmund had a reaction about what Susan had already asked him. So, the theory from Murphy number six, we can know the characterization of a person by knowing the reaction toward various situations or events can be used.
b. Ridiculous
Edmund is also ridiculous. It is known from when Lucy had been into Narnia by herself. Nobody trusted her story. The elders never talked about it anymore, but Edmund always mocked at Lucy.
From the statement above, the characteristic of Edmund is known from Murphy’s theory number nine, that is we can know the person’s characterization from mannerism.
c. Cowardly
Edmund ever gone into Narnia by himself, but he never told to anybody about it. After Edmund went into Narnia, his characteristic is more develop. In Narnia he met Jadis. When he met Jadis, he was afraid. It is very different when he with Lucy.
“And what, pray, are you?” said the Lady, looking hard at Edmund.
“I’m-I’m-my name’s Edmund,” said Edmund rather awkwardly. (Lewis 1968:32)
Because of his fears toward Jadis, so he became obedience. It can be seen from the statement below.
Edmund did not like this arrangement at all but he dared not disobey; he stepped onto the sledge and sat at her feet, and she put a fold of her fur mantle round him and tucked it well in. (Lewis 1968:35)
From the explanation above, we know the characteristic of Edmund is from speech and reaction. So the theory from Murphy number three and six can be used.
d. Naïve
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At last the Turkish delight was all finished and Edmund was looking very hard at the empty box and wishing that she would ask him whether he would like some more…
“Son of Adam, I should so much like to see your brother and your two sisters. Will you bring them to see me?”
“I’ll try,” said Edmund, still looking at the empty box. (Lewis 1968:38) Murphy’s theory that said thought, theory number eight, is one of the ways to know a person’s characteristic is described in the explanation above.
e. Impolite
From the Murphy’s theory number nine that talked about mannerism, it can be used to know one of Edmund’s characters. Edmund has an impolite manner. He ate Turkish Delights while he was speaking, so his mouth full of Turkish Delights.
… and Edmund, with his mouth full of Turkish Delight, kept on saying, “Yes, I told you before,” and forgetting to call her “Your Majesty,” but she didn’t seem to mind now. (Lewis 1968: 37)
Character of Edmund is more develop. When in Narnia, finally he met Aslan. They had conversation and after that, Edmund changed. He is not selfish anymore and he becomes an obedience person.
“You have a traitor there, Aslan,” said the witch. Of course everyone present knew that she meant Edmund. But Edmund had got past thinking about himself after all he’d been through and after the talk he’d had that morning. He just went on looking at Aslan. It didn’t seem to matter what the Witch said. (Lewis 1968: 141)
h. Labile
Edmund is really easy to persuade. It happen when Edmund met Jadis and Jadis persuaded Edmund to bring his brother and sister went into Narnia. At that time, Jadis offered Edmund something to eat, so Edmund choose Turkish Delight. With the Turkish delight, so the secret of Pevensies can be bought.
“Because, if you did come again-bringing them with you of course-I’d be able to give you some more Turkish Delight. I can’t do it now, the magic will only work once. In my own house it would be another matter.” (Lewis 1986: 38)
From the statement above, we know the characteristic of Edmund from theory number three, speech.
i. Tricky
Another characteristic of Edmund is tricky. Edmund followed Lucy when she went into Narnia. But, Edmund could not find Lucy. But, in Narnia, Edmund met Jadis. When Jadis was gone, Finally Edmund met with Lucy. Lucy was so happy when knowing that Edmund went into Narnia too. So, when they went back, Lucy tried to tell Peter about this. But, what Edmund told is very different. He told to Peter that they just pretended that Narnia is exist. Heard what Edmund told to Peter, Lucy felt very disappointed to Edmund.
“Oh, yes, Lucy and I have been playing-pretending that all her story about a country in the wardrobe is true. Just for fun, of course. There’s nothing there really.”
Poor Lucy gave Edmund one look and rushed out of the room. (Lewis 1968: 45).
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j. Innocent
Edmund is also innocent. He did not tell anyone that he ever went into Narnia. So, it is a secret. But, Edmund made a mistake. When all the children finally went into Narnia, accidentally, Edmund told about the direction in Narnia.
He had forgotten for the moment thet he must pretend never to have been in the wood before. The moment the words were out of his mouth he realized that he had given himself away. Everyone stopped; everyone stared at him. (Lewis 1986: 56)
2.. Characteristic of Edmund Pevensie in the Screenplay
There is another theory that talks about how to analyze a character’s characterization in a play. Reaske in his book, How to Analyze Drama, says that there are six devices of characterization. They are (1966: 44-48): the appearance of the character, asides and soliloquies, dialogue between characters, hidden narration, language, character in action.
In this part, the writer wants to analyze the characteristic of Edmund in screenplay. The writer will use the theory of characteristic in play by Reaske. The theory has has explained above. The characteristic of Edmund will describe as follows.
a. Loving boy
In the screenplay, the character of Edmund is made clearer than in the novel. Through the screenplay, Edmund is described as a child that loves his father. It happens when they are running to the shelter, hide from air raid.
Edmund: Wait! Dad!
Mrs. Pevensie: Edmund! No! Peter: I’ll get him!
(Peter follows Edmund as he runs inside and grabs a picture of a man in a RAF uniform. Suddenly, the window blows in and Peter and Edmund are thrown to the floor) (Anne Peacock 2006:3)
From the quotation above, the characteristic of Edmund is known from Reaske’s theory number six, character in action.
b. Curious
In the movie script, Edmund described as a curious boy. He followed Lucy enter to the wardrobe when Lucy enter the wardrobe at night.
(Flushing toilet as Edmund comes out and sees Lucy. He follows her to wardrobe. Lucy’s candle blows out when she opens the wardrobe door and walks in as Edmund enters the room)
Edmund: Lucy, Lucy? *Opens the wardrobe door* Boo! *Edmund enters the wardrobe* I hope you’re not afraid of the dark. *shuts door, forgetting how very silly this is* Lucy? (Anne Peacock 2006: 10)
From the statement above, we can know the character of Edmund from Reaske’s theory number four, hidden narration.
c. Greedy
When Edmund tried to look for Lucy, he could not find her. Finally, he enters into Narnia and he met Jadis, The White Witch. Jadis offered Edmund with Turkish Delight and Edmund became greedy.
White Witch: Beyond these woods, you see those two little hills? My house is right between them. You'd love it there Edmund. It has whole rooms simply stuffed with Turkish Delight.
Edmund: Couldn’t I have some more now?
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Finally, in Narnia, Edmund met with Lucy. Lucy is so exited because knowing Edmund can be in Narnia. When they arrived at their house, Lucy star to tell what he see.
Peter (to Edmund): You saw the faun? (Edmund shakes his head)
Lucy: Well, he didn't actually go there with me. … What were you doing Edmund?
Edmund: I-I was just playing along. I’m sorry, Peter. I shouldn’t have encouraged her. You know what little children are like these days. They just don't know when to stop pretending *sits on his
bed looking smugly at Lucy*
(Lucy starts to cry and runs out of the room. Susan runs after her and so does Peter, shoving Edmund over) (Ann Peacock 2006: 12)
From the explanation above, we know the characterization of Edmund based on the theory Reaske’s theory number three, dialogue between characters.
d. Selfish
Edmund has selfish characterization. But, after he met and had conversation, he has changed. He is not selfish anymore. Edmund: I've seen what the White Witch can do…and I’ve helped her do it. And we can't leave these people behind to suffer for it. (Anne Peacock 2006: 34). From the statement, we know the character of Edmund from Reaske’s theory number two, asides and soliloquies.
Beside of not being selfish anymore, the characterization of Edmund more develops. When they were in battle, Edmund encourage Peter to lead the army. He tried to convince Peter. Here, we can see Reaske’s theory number three, dialogue between characters.
Dryad: Fear not, my princes. I bring grave news from your sisters. (Peter walks out of Aslan’s tent)
Peter: She’s right. He’s gone
Edmund: Then you'll have to lead us. Peter, there's a whole army out there and it’s ready to follow you.
Peter: I can't.
Edmund: Aslan believed you could. And so do I. (Anne Peacock 2006: 37)
e. Brave
Edmund is also able to prove his regretless of being betrayal by being a brave boy in the battle. He tried to save Peter’s life from White Witch. He shows it through his action. As the same as Reaske’s theory number six.
(Edmund and Mr. Beaver starts to leave. But Edmund looks and sees the Witch with her wand heading towards Peter )
Beaver: Peter said to go! Edmund: Peter's no King yet!
(Edmund rushes down the hill and swings at the Witch. She doges. Then she tries to turn him into stone and he doges. He breaks her wand. Using the remains of her wand, the Witch throws Edmund’s sword out of the way and stabs him )
Peter (silenced): Edmund!!
(Edmund falls down. Peter stabs an opponent on the ground and the rushes to meet the Witch. The Witch picks up Edmund’s sword and waits for Peter. He runs up and they start fighting. They hear a roar and look behind them. Aslan and the girls have come, bringing an army with them)
f. Rude
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Lucy: Well, he didn't actually go there with me. … What were you doing Edmund?
Edmund: I-I was just playing along. I’m sorry, Peter. I shouldn’t have encouraged her. You know what little children are like these days. They just don't know when to stop pretending *sits on his bed looking smugly at Lucy*
(Lucy starts to cry and runs out of the room. Susan runs after her and so does Peter, shoving Edmund over). (Ann Peacock 2006: 12).
From the explanation above, we can know the characteristic of Edmund is from theory by Reaske number three, dialogue between characters.
g. Labile
In the screenplay, it is also told that Edmund is easy to persuade. To get the Turkish Delight, he would give his brother and sisters to Jadis. We can know his characteristic is from theory number three by Reaske, dialogue between characters
Edmund: I guess I could bring them.
White Witch: Beyond these woods, you see those two little hills? My house is right between them.
You'd love it there Edmund. It has whole rooms simply stuffed with Turkish Delight.
Edmund: Couldn't I have some more now?
White Witch: No! …*smiles* Don't want to ruin you appetite. Besides, you and I are going to be seeing each other again very soon, aren’t we? (Ann Peacock: 2006: 11-12)
h. Traitorous
The other steps to know the characteristic of Edmund is after his visited to Narnia. Nobody knows about his visited in Narnia. When he curious and followed Lucy until he came into Narnia, actually he wanted to apologize that he made a mistake by cornered Lucy. But, after his visit into Narnia, he changed his mind. He betrayed Lucy and said that he never went into Narnia and it made Lucy very disappointed. He agrees not to reveal his knowledge of the Witch to his siblings and consequently ends up lying to his brother and sisters about his discovery of Narnia.
Peter: It’s out of our hands. I’m sorry but it’s time the four of us were getting home. Ed?
(Peter turns around…but there is no Edmund) Peter: Ed? … I’m going to kill him.
Mr. Beaver: You may not have to.. … Has Edmund ever been in Narnia before? (Ann Peacock 2006: 19-20)
From the statement above, the characteristic of Edmund is known from Reaske’s theory number three, that is we can know the person’s characterization from action taken by the characters.
i. Ambitious
Edmund is also ambitious person. It is different with the characteristics of Edmund in the novel. In the novel, when Edmund wanted to give his brother and sisters to Jadis, he did it because Edmund just wanted the Turkish Delight. But in the novel, he did it because he wanted to be the king of Narnia.
White Witch: You see, Edmund, I have no children of my own. And you are exactly the sort of boy
who I could see one day becoming Prince of Narnia. Maybe even King. Edmund (mouth full): Really?
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Edmund: Oh, you mean…Peter would be king too? White Witch: No. But a king needs servants.
Edmund: I guess I could bring them. ( Ann Peacock, 2006: 11)
In the screenplay, it has been described clearly why Edmund behaving selfishly a selfish and turned rebellious. He is also disobedient boy. The reason of Edmund’s particular behavior is because he really misses his father that becomes an army and his father is going to war. We can see it clearly from the screenplay that printed in italic, on the first scene. We know that there are air raids and the children of Pevensies tried to escape and went to the shelter. In this scene, we also can see that Edmund tried to grab a picture of a man in a RAF uniform. We also know that it was the picture of his father. From this scene we know the reasons why Edmund acted as a naughty boy. He just missed his father.
However, in the novel, Edmund has a same portion to be the character, as same as his brother and his sisters. He also has an ordinary life like other children at that time. However, in the movie, Edmund has a big role in the story. How his life before sent to the professor Kirke’s house because of air raid. The life when in the professor’s house until his experiences in Narnia, from his betrayal, regretless, until his sacrifice in saving Peter’s life.
B. The Differences in Edmund’s characteristics influence the two plots
1. The Plot in the Novel
In Mastering English Literature, Richard Gill shows the relation between a plot and character. He states that what a character tries to complete is the cause of a plot of a story (1995:74). As a result, if the writer wants to analyze, the best answer can be found from the main character that has an important role in the story.
The writer has done the analysis of Edmund’s charactrization Pevensie that has become one of the main characters in the story. Edmund was born from the Pevensies family that has to send away from London during the war because of the air-raids. They were sent to the house of an old Professor named Kirke. In professor’s house, they found a way to go to a new world named Narnia. There is always winter in Narnia. With the coming of Pevensies children, Narnia has a new hope to go out from the “dark” world that controlled by White Witch named Jadis. In the end of the story, the children of Pevensie can bring Narnia from the “dark” world into the new world.
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a. Exposition
In the novel, C.S Lewis introduces Edmund as one of the main characters. Edmund is described as the younger boy in Pevensies.
Once there were four children whose names were Peter, Susan, Edmund and Lucy. They were sent away from London during the war because of the air-raids. They were sent to the house of and old Professor. When they met the Professor, Edmund (who was the next youngest) wanted to laugh and had to keep pretending he was blowing his nose to hide.. (Lewis 1968:1).
Like other children, Edmund also have childish behavior at that time, like curious, selfish, disobedience, etc. Then, one day, he found a door that could lead him into the new world named Narnia. There he had many experiences.
b. Complication
The complication part begins when Edmund went into Narnia. There, he met Jadis, the White Witch. When he met her is the starting point of his experiences.
He looked round him again and decided he did not much like this place, and had almost made up his mind to go home, when he heard, very far off in the wood, a sound of bells. He listened and the sound came nearer and nearer and at last there swept into sight a sledge drawn by two reindeer…on a much higher seat in the middle of the sledge sat a very different person-a great lady, taller than any woman that Edmund ever seen. (Lewis 1968: 30-31)
Then, Edmund had a conversation with Jadis. Jadis also gave Edmund drink and Turkish Delight.
“Perhaps something hot to drink?” said the Queen. “Should you like that?” “Yes please, your Majesty,” said Edmund, whose teeth were chattering. “It is dull, Son of Adam, to drink without eating,” said the Queen presently. “What would you like best to eat?”
“I will make your brother a Duke and your sister Duchesses.”
“There’s nothing special about them,” said Edmund, “and, anyway, I could always bring them some other time.” (Lewis 1968: 39)
After they had the conversation, then they made an agreement that Edmund would help Jadis to bring his family go to Narnia and Edmund had to keep the secret that he ever met Jadis in Narnia.
“And, by the way,” said the Queen, “you needn’t tell them about me. It would be fun to keep it a secret between us two, wouldn’t it? Make it a surprise fo them. Just bring them along to the two hills- a clever boy like you will easily think of some excuse for doing that-and when you come to my house you could say ‘Let’s see who lives here’ or something like that. (Lewis 1968:40)
The next thing is when Edmund met Lucy after Edmund met Jadis. The first reason why Edmund could go into Narnia is because Edmund wanted to look for Lucy. But he could not find Lucy. Then Lucy came when Jadis had already gone. Because of Jadis had told Edmund not to tell anyone about their meeting, so Edmund did not tell Lucy. He pretended that he met no one in Narnia.
Edmund was still staring after the sledge when he heard someone calling his own name, and looking round he saw Lucy coming toward him from another part of the wood. (Lewis 1968: 41)
At that time, Lucy was so happy because Edmund went into Narnia too. So Edmund promised to Lucy that he would tell the truth about Narnia to Peter and Susan. But, in the reality Edmund did not tell the truth toward Peter and Susan. It made Lucy so sad.
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After that event, the children of Pevensie do the daily activities as usual. When they were playing in the house, suddenly Mrs. Macready approached in the room where they were. When they heard the sound of Mrs. Macready, so they run away and went inside into the large wardrobe. They did not realize that they were already in Narnia that the place covered with snow.
And now there was no mistaking it, and all four children stood blinking in the daylight of a winter day. Behind them were coats hanging on pegs, in front of them were snow-covered trees. (Lewis 1968: 55)
The children (except Lucy and Edmund) were surprised when they found Narnia. So, they decided to explore Narnia. They did not know where they should go. Suddenly Edmund said something and it made the others surprised and got angry with Edmund. So, they already known that Edmund lied to them, because not to tell about Narnia and pretended that Narnia never exist.
“I say,” began Edmund presently, “oughtn’t we to be bearing a bit more to the left, that is, if we are aiming for the lamp-post?” He had forgotten for the moment that he must pretend never to have been in the wood before. The moment the words were out of his mouth he realized that he had given himself away. Everyone stopped; everyone stared at him. Peter whistled. (Lewis1968: 56)
c. Crisis
The crisis begin when Edmund leave beavers’ house quietly and he went to the Jadis’ castle. Edmund also left his brother and sisters. Because he had promised Jadis that he will bring his brother and sisters for Jadis. He betrayed Peter, Susan, Lucy, and beavers family.
Then during the moment of silence that followed his last remark, Lucy suddenly said:
There was a dreadful pause, and then everyone began asking “Who saw him last? How long has he been missing? Is he outside? and then all rushed to the door and looked out. (Lewis 1968:82-83)
After Edmund was missing, the others left the beavers’ house and begun to look for Aslan. From this event, the plot starts to rise. It is told in the novel that Peter, Susan, Lucy, and the beavers have their own experience. Edmund also has his own experiences
d. Climax
After they are through all the experiences, finally they meet again in the battle. In the novel, the battle is the climax. Here, Edmund is not betrayer anymore. He had repent. In the battle, Edmund in the Aslan’s side and against Jadis.
There stood Peter and Edmund and all the rest of Aslan’s army fighting desperately against the crowd of horrible creatures whom she had seen last night; only now, in the daylight, they looked even stranger and more evil and more deformed. (Lewis 1968: 175-176)
e. Resolution or denouement
Finally, they won the battle. It becomes the resolution or denouement. Because when they won the battle, it means the set of actions that bring the story to its conclusion.
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2. The Plot in the Play
a. Exposition
In the screenplay, the story was beginning by the air-raid of world war. In the beginning of the story, the screenplay tried to give something different. Edmund Pevensie, the third child of the Pevensies has a big role in the story. Edmund described as a naughty boy. Anne Peacock as the writer of the screenplay has given a reason why Edmund described as a naughty boy. He misses his father whose become an army and went for a war. Because of it, he has a terrible behavior.
(Blue clouds. The roar of engines becomes gradually louder. Then, germen bombers appear. They start dropping bombs on the houses. Edmund looks out the window)
(Pevensies are running to the shelter, we hear them shouting, "Hurry up!" and "Run!". Edmund turns around, as if forgetting something.)
(Peter follows Edmund as he runs inside and grabs a picture of a man in a RAF uniform. Suddenly, the window blows in and Peter and Edmund are thrown to the floorl) (Ann Peacock 2006: 1)
When in the middle of the war, these children were sent away to London to avoid air-raids. There, they continuous their life there and have many activities.
b. Rising action
In the screenplay, the rising action begins when Edmund is curious about Narnia and he went to follow Lucy to go into Narnia. Then in Narnia, he with Jadis. From this meeting, all Edmund’s experiences begun.
(Flushing toilet as Edmund comes out and sees Lucy. He follows her to wardrobe. Lucy’s candle blows out when she opens the wardrobe door and walks in as Edmund enters the room)
(Edmund finds the lamp-post. He walks around for a while shouting for Lucy. Finally, he comes to a road. He hears bells) (Ann Peacock 2006: 10)
When Edmund met Jadis there, they talk to each other. Jadis made Edmund to tell everything about his family by giving him his favourite food named Turkish Delight. Edmund liked it so much and he told everything about his family. He did not realize with what he did but the only thing in his mind is enjoying the Turkish Delight.
White Witch: Anything you would like to eat. Edmund: Turkish Delight?
(Another drop comes down and makes the box of Turkish Delight and the Dwarf give it to Edmund)( Ann Peacock 2006: 11)
White Witch: And how, Edmund, did you come to enter my dominion? Edmund: I’m not sure. I was just following my sister and--
White Witch: Your sister? How many are you?
Edmund: Four. Lucy is the only one that’s been here before. She said she met a faun called…Tumnus. Peter and Susan didn’t believe her. (Ann Peacock 2006: 11)
Beside that, the rising action when the other knew that Edmund had lied that he ever gone into Narnia.
Edmund: Ow! *rubs his arm* Stop it! (They all become quiet and stare at Edmund) Peter: You little liar!
Edmund: You didn't believe her either!
But, even though they already knew that Edmund ever went into Narnia, they still do not know that Edmund ever met Jadis.
c. Climax or Turning Point
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Peter: It’s out of our hands. I’m sorry but it’s time the four of us were getting home. Ed?
(Peter turns around…but there is no Edmund) Peter: Ed? … I’m going to kill him.
Mr. Beaver: You may not have to.. … Has Edmund ever been in Narnia before?
(Shot of Edmund walking to the Witch's castle without his coat - shot of the others trying to catch up to him)(Ann Peacock 2006: 19-20)
After Edmund is gone, his brother and sisters tried to look for Edmund. But, they cannot find him. Edmund had gone far away went to Jadis’ house. Edmund became a betrayal. We can also feel the climax when in the battle. In the battle, we could see that Edmund had repented and became the army of Aslan. In battle Edmund tried hard to defeat Jadi’s army and he also against Jadis face to face. He also help Peter when Peter cornered.
(Edmund and Mr. Beaver starts to leave. But Edmund looks and sees the Witch with her wand heading towards Peter )
Beaver: Peter said to go!
Edmund: Peter's no King yet! (Ann Peacock 2006: 39)
d. Falling Action
The falling action is the conflict between protagonist and the antagonist unravels. In the screenplay, the falling action is when Edmund and Jadis got fight and Edmund beaten down by Jadis.
(Edmund rushes down the hill and swings at the Witch. She doges. Then she tries to turn him into stone and he doges. He breaks her wand. Using the remains of her wand, the Witch throws Edmund’s sword out of the way and stabs him )
Peter (silenced): Edmund!!
e. A Denouement or a Catastrophe
The denouement of the screenplay is when the children of Pevensies become the kings and queens of Narnia and it is told they live happily.
(The coronation of the Pevensies began. With Aslan in the middle. They walk up the aisle happily, and stand next to their cool chairs) (Ann Peacock 2006: 40)
Besides, the denouement is when the Pevensies have grown up and they hunted white stag in the wood. In the wood, Pevensies found a way that leads them to go back to their world, not in Narnia.
When they went through the door, they became children again and they live as normal children again. It was the first time for Pevensies children to go to Narnia and it is just the beginning to go to others adventures.
(The adult Pevensies pursue the White Stag. Edmund slows down) (After they walk a little…)
Peter: Lu? Lucy: Come on!
Peter: These aren't branches... Susan: They’re coats.
(Voices start to change)
Edmund: Susan, you’re on my foot…
(Wardrobe door flies open and all four fall on floor, the door to the room opens and Professor Digory Kirke walks in with the ball) (Ann Peacock 2006: 41)
In Mastering English Literature, Richard Gill shows the relation between a plot and character. He states that what a character tries to complete is the cause of a plot of a story. (1995:74)
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Edmund as an ordinary boy that moved to London because of war. So it makes the plot seem ordinary.
In novel, the element of the plot is five. There are expositions, complication, crisis, climax, resolution or denouement. In each of the element, Edmund has its role but not as much in screenplay. While in play, Aristotle stated that plot is divided into five points; exposition, rising action, climax or turning point, falling action, and a denouement or a catastrophe.
In the novel, the exposition is he with his brother and sisters were sent away from London because of air-raids. This scene can be found in the beginning of the story.
Once there were four children whose names were Peter, Susan, Edmund, and Lucy. This story is about something that happened to them when they were sent away from London during the war because of the air-raids. (Lewis 1968: 3)
The statement above can be a clue to the exposition, because exposition is the laying out or the materials of the story. It provides many things that are important in the story. In my opinion, this information is important because it can be the opening of their adventures and creates the plot.
While in the screenplay, the exposition is also at the beginning of the story. But, on the screenplay, the plot is more detail. In this plot, Edmund has an important role. Ann Peacock as the screenplay writer tried to gather deeper with the characteristic of Edmund. So, at the beginning of the story, Ann Peacock described clearly and it is really affected the creation of the plot.
(Pevensies are running to the shelter, we hear them shouting, "Hurry up!" and "Run!". Edmund turns around, as if forgetting something.)
(Peter follows Edmund as he runs inside and grabs a picture of a man in a RAF uniform. Suddenly, the window blows in and Peter and Edmund are thrown to the floorl) (Ann Peacock 2006: 1)
The next part on the novel’s plot is complication. In novel we know that complication marks the major conflict in the story. The protagonist and the antagonist start to represent whatever ideas they want to represent, such as good and evil, love and hate. In the novel, the complication part is when Edmund met Jadis in Narnia. Jadis is representing the evil and Edmund represent the good. But, when they got on a conversation, Edmund persuade easily by Jadis and became a traitor.
“And what, pray, are you?” said the Lady, looking hard at Edmund.
“I’m-I’m-my name’s Edmund,” said Edmund rather awkwardly. He did not like the way she looked at him.
The Lady frowned. “Is that how you address a Queen?” she asked, looking sterner than ever. (Lewis 1968: 32-33)
While in the screenplay, the second part is rising action. We know that rising action contains the basic conflict. In this screenplay, the rising action is when Edmund followed Lucy entered into Narnia. It will be his basic conflict. Because he is so curiuous, so it can lead him into the next experiences. He will meet Jadis and be the person that really trust Jadis and finally, it can bring him to be a betrayal. In this plot, Edmund is really exposed and it can affect the plot.
Flushing toilet as Edmund comes out and sees Lucy. He follows her to wardrobe. Lucy’s candle blows out when she opens the wardrobe door and walks in as Edmund enters the room)
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In the novel, the next plot is crisis. It is the separation between what has gone before and what will come after. It is usually an action or decision undertaken in an effort to resolve the conflict. So, the crisis is when Edmund left beavers’ house to go to Jadis house. When the others realize that Edmund was not around, so they tried to look for Edmund. But Edmund already had gone away.
Then during the moment of silence that followed his last remark, Lucy suddenly said:
“I say-where’s Edmund?”
There was a dreadful pause, and then everyone began asking “Who saw him last? How long has he been missing? Is he outside? And then all rushed to the door and looked out (Lewis 1968:82-83).
While in the screenplay, the next is called climax or turning point. It marks a change with the things that going from good to bad or the opposite condition. When in the novel, the leaving of Edmund will be the crisis. But, in the screenplay, the leaving of Edmund will be the turning point. Edmund at first be the good boy. But, because of he had already been persuaded by Jadis, so he is a bad boy and became a betrayal. When the other children realize that Edmund was missing, so they were looking for them but it was too late.
Peter: It’s out of our hands. I’m sorry but it’s time the four of us were getting home. Ed?
(Peter turns around…but there is no Edmund) Peter: Ed? … I’m going to kill him.
Mr. Beaver: You may not have to.. … Has Edmund ever been in Narnia before? (Ann Peacock 2006: 19-20)
Beside that, this is the climax of Edmund character to be the bad boy and betrayed his family.
The next plot in the novel is the climax. It is the high point in the action, in which the conflict and the consequent tension are brought out to the fullest extent. The climax on the novel is when they have their battle. It will be the high point in the action, because all the goods and the evils meet together in the battle area and try to be the winner, and of course, the good things are always be the winner.
There stood Peter and Edmund and all the rest of Aslan’s army fighting desperately against the crowd of horrible creatures whom she had seen last night; only now, in the daylight, they looked even stranger and more evil and more deformed. (Lewis 1968: 175-176)
In the novel, the character of Edmund does not really appear. He does not be the centre when in battle. Only Peter that describe clearly. So in the novel, the climax is like it is. The thing in climax is that goods and evils meet.
In the screenplay, the next is falling action. The meaning itself is the conflict between protagonist and the antagonist unravels. In the screenplay, the falling action is when Edmund was beaten down by Jadis. It described that the fight of evils and goods have finished.
(Edmund rushes down the hill and swings at the Witch. She doges. Then she tries to turn him into stone and he doges. He breaks her wand. Using the remains of her wand, the Witch throws Edmund’s sword out of the way and stabs him )
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Even though Edmund fell down, but Edmund’s side is still the winner. Because of at that time, Aslan came and helped Edmund and then Aslan killed Jadis. In this plot, the character of Edmund is really affecting the plot. Because, during the battle, the character of Edmund shown more dominant than other characters. The focus is in the fight of Edmund. Different with the novel, character of Peter that was more ominant
The last plot in the novel is the resolution or denouement. The meaning of this is the set of action that bring the story to its conclusion. In the novel, the resolution or denouement is when the battle was over. In the end of the story in the novel, it is just told that Edmund had a big role in the victory of the battle. he could defeat Jadis but he got injuries
The battle was all over a few minutes after their arrival… “It was all Edmund’s doing, Aslan,” Peter was saying
They found Edmund in charge of Mrs. Beaver a little way back from the fighting line. He was covered with blood, his mouth was open, and his face a nasty green color. (Lewis 1968: 178-179)
So, at the end of the story, it is told that Edmund has a big role in the battle. It can affect the presence of Edmund in the plot.
The last plot in the screenplay is denouement or catastrophe. It is happened when Edmund and his brother and sisters became the kings and queens of Narnia.
(The coronation of the Pevensies began. With Aslan in the middle. They walk up the aisle happily, and stand next to their cool chairs)
Aslan: (As Tumnus crowns them): To the glistening eastern sea, I give you Queen Lucy the Valiant. To the great western woods, King Edmund the Just. To the radiant southern sun, Queen Susan the Gentle. And to the clear northern skies, King Peter the Magnificent. Once a king or queen of Narnia,
Everyone: Long live King Peter! Long live Queen Susan! Long live King Edmund! Long live Queen Lucy! (Ann Peacock 2006: 40)
