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S T N E T N O C F O E L B A T
E G A P E L T I
T ... i
E G A P L A V O R P P
A ... ii
E G A P E C N A T P E C C
A ... i ii
E G A P O T T O
M ... v i
E G A P N O I T A C I D E
D ... v H
A I M L I I S A K I L B U P N A H A S E G N E P R A B M E
L ... v i S
A T I L A N I S I R O N A H A S E G N E P R A B M E
L ……… vii
S T N E M E G D E L W O N K C
A ... .... viii
S T N E T N O C F O E L B A
T ... .. x i
T C A R T S B
A ... x
K A R T S B
A ... x i
N O I T C U D O R T N I : I R E T P A H
C ... 1 .
A Backgroundoft heStudy ... 1 .
B ProblemFormulaitons ... 4 .
C Objecitve soft heStudy ... 4 .
D De ifniitono fTerms ... .... 5
W E I V E R L A C I T E R O E H T : I I R E T P A H
C ... 6 .
A Reviewo fRelatedStudies ... 6 .
B Reviewo fRelatedTheory ... 9 .
C Theoreitca lFramework ... 1 5
Y G O L O D O H T E M : I I I R E T P A H
C ... 1 6 .
A Objec toft heStudy ... 1 6 .
B Approachoft heStudy ... 1 7 .
C Methodoft heStudy ... .... 1 8
S I S Y L A N A : V I R E T P A H
C ... 2 0 .
A Desc irp itono fSaraCrewe ... 2 0 .
1 Mature ... 2 1 .
2 PoltieandWell-Mannered ... 2 3 .
3 Cairng ... 2 6 .
4 Opitmisti c ... 3 0 .
B TheMora lMessageRevealedThroughSara’ sResponse s... 3 2
.
1 TheI mpo tranceo fBeingToughi nDfiifculites ... 3 4
g n ir a C f o e c n a tr o p m I e h T .
2 ... 36 fl
e S f o e c n a tr o p m I e h T .
3 -Esteem ... 3 9
N O I S U L C N O C : V R E T P A H
C ... 4 2
Y H P A R G O I L B I
1
I R E T P A H C
N O I T C U D O R T N I
.
A Backgroundoft heStudy
y l n o t o n s i k r o w y r a r e ti
L a mediu m to expres s idea and to show
t u b , e c n e ir e p x
e ti can also lead people into the wo lrd and humantiy .When we
t a e r c g n i v il d n a s g n i e b n a m u h t a k o o l o s l a e w , k r o w y r a r e ti l a d a e
r ure ,s os we
y ti l a e r e h t m o r f d e t a e r c s i e r u t a r e ti L . e fi l t a k o o
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t c e lf e
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, s t c il f n o c e h
t behaviors, and atttiude so fhuman beings .Tha twas wha tWliilam
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H talkedabouti nAnI ntroducitont ot heStudyo fLtierature tt ha Wecaref orl tieraturep irmarliy on accoun to f ti sdeep and l asitnghuman
. e c n a c if i n g i
s A grea tbook grow sdrieclty ou tofl fie;i n r eading ti ,weare s e il t c a f t a h t n i d n a ; e fi l h ti w s n o it a l e r h s e r f d n a , e s o l c , e g r a l o t n i t h g u o r b
r e w o p s ti f o n o it a n a l p x e l a n if e h
t (1958 :10) .
e fi l f o s m e l b o r p e h t d n a e fi l t n e s e r p s y a w l a l e v o n d n a a m a r
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y a
w . Nove lmake speople who read i ttake apatr i n t hecharacters’ lfie ,because
n e v e s g n i e b n a m u h f o y ti l a e r e h t m o r f r a f t o n s i e fi l ’ s r e t c a r a h c e h
t though
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s Reader sexploret her oleoft hecharacterst hrough
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.s r e t c a r a h c n e e w t e b
n i y d o o
M The Teaching o fLtierature says t a hat ltierary work alway s e h t r o f e l g g u rt s , s r o i v a h e b e l b o n s ’ n a m u h h ti w d e t c e n n o c s e g a s s e m l a r o m s r e f f o
ti n g i d d n a t h g
o s l
a say tha t“the bes tch lidren’ sbook soffe rreader senjoymen ta swel la s
g i s n i e l b a u l a v d n a s n o it a u ti s d n a s r e t c a r a h c e l b a r o m e
m htsi nto humancondiiton”
e r u t a r e ti l s ’ n e r d li h c t a h t n o s a e r e h t s i t a h T . ) 3 : 9 9 9 1
( gives mora lmessage ,
. n o it i d n o c n a m u h o t n i s t h g i s n i e l b a u l a v e v a h y e h t e s u a c e b
f o e n
O author so fchlidren’ sltierature i sFrance sBurnet tHodgson .In
9 7 8
1 France sBurnet tHodgson had the fris to fmany sto ire spubilshed in St . e
n i z a g a M s a l o h c i
N ,the same pubilcaiton some o fEdna St .Vincen tMillay’s .
s 0 0 9 1 y lr a e e h t n i d e r a e p p a s m e o
p Burnet twrote a lo tof famou schlidren’ s
s a h c u s s k r o w y r a r e ti
l Ltilte Lord Faunlteroy ,The Secre tGarden ,Haworth ,A ,
y ti l a u Q f o y d a
L etc. A LtiltePrincessi soneo fh erworkstoo .AL tiltePrincess
s a
w fris tpubilshed i n1883 wtih t he itlteSara Crewe ro Wha tHappeneda tMis s s
’ n i h c n i
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s e c n i r P e lt ti
L (www.onilne-ltierature.com/burnet/tonFebruary10th2012 .)
e z y l a n a r e ti r w e h t , y d u t s s i h t n
I s A Ltilte Princess ,which i ssutiable fo r d
li h
c ren ove ran age o fseven year sold .The wrtie rbeileve sthe story contain s
r e t c a r a h c n i a m e h t h g u o r h t d e l a e v e r e b n a c t a h t e g a s s e m l a r o
m ’ sbehavio rand
e d u ti tt
a .Thi snove ltells abou ta-seven-years- do -l gri lnamed Sara Crewe .She
comesf romI ndia ,and he rfathe rsendshert o schoo la tMis sMinchin Seminary .
.s t n a w e h s g n i h t y r e v e s a h e h s d n a , y r u x u l n i s e v il , r e h t a f h c ir a s a h a r a
S Mis s
e k a m n a c t i d n a , h c ir s i e h s e s u a c e b r e h e k il o t s d n e t e r p t u b , r e h s e k il s i d n i h c n i M
.s u o m a f e r o m y r a n i m e s r e
. e n o y r e v
e Sara Crewe’ sresponse sthrough dfi ifculite sbegins when he rfathe r
M s s i M d n a , d e i
d inchinthreat she ra sfis hei she rmaid.
s s e c n i r P e lt ti L
A tell sabou thow to srtuggle and how to be srtong in a
tl u c if fi
d lfie .There are many misrteatment stoward Sara ,especially from Mis s
s e o d e h s t u b , n i h c n i
M not takear evenge on her. Themaincharacterf acest hose
y a w e r u t a m a n i s t n e m t a e rt s i
m .Thewrtie r ifnd soutt ha tSaraCrewe’ satttiudeand
r o i v a h e
b in he rexpeirence can give some mora lmessage s to readers .I ti s
w o h s o t l e v o n s i h t e z y l a n a o t t n a tr o p m
i tha ti tha sthe relfeciton o fhuman
i h c i h w s g n i e b n a m u h f o e g a m i e h t m o r f d e n r a e l e b n a c t a h t e c n e ir e p x
e s
. y a w n e tt ir w e h t n i d e s s e r p x
e Themora lmessage scan befound along t he story
h g u o r h
t theexpeirenceofthemaincharacter ,SaraCrewe.
.
B ProblemFormula iton
e h t f o d n u o r g k c a b e h t n o d e s a
B study,t herearet w oproblemst ha tcan be
.s w o ll o f s a d e t a l u m r o f
.
1 Howi sSaraCrewedescirbed?
.
2 Wha tmora lmessages ea r revealed t hrough t he main character’ satttiudeand
r o i v a h e
b ?
.
C Objec itve soft heStudy
m o r F . s m e l b o r p o w t e s o h t r e w s n a o t y l e t u l o s b a s i y d u t s e h t f o m i a e h T
d n u o f e b n a c e fi l s ’ a r a S f o e g a s s e m l a r o m e h t t a h t d e t c e p x e s i ti , s n o it s e u q e s o h t
s y l a n a e h t h g u o r h t t u
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. e w e r C a r a S , e fi l s ’ r e t c a r a h c n i a m e h t n i r o i v a h e
b The l ast , ti i s t o discover t he
d e s s e r p x e s e g a s s e m l a r o
m andr evealedthroughSaraCrewe’sresponses.
.
D Deifniitono fTerms
, n o it a t e r p r e t n i s i m d i o v a o
T at erm wli lbe deifned t o guidet hereaders i n
s i h t g n i d n a t s r e d n
u research.
e g a s s e M l a r o M
n i y e h t o g a F n it s u
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2 0 1 : 3 5 9 1 ( ” d o o g y ll a r o m s n a e m l a r o m m r e t e h T
“ Beaty and Hudson i n New
e ti L f o d l r o
W rature said ,“Message i sthe rea lmeaning inside tha tlead sto s ti r o f s t s i x e e r u t a r e ti l f o k r o w a t a h t n o i s u ll i e h t e v i g d n a n o it a c if il p m i s r e v o
9 9 8 : 9 8 9 1 ( ” t n e m e t a t
s .)
e h t m o r
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f
6
I I R E T P A H C
W E I V E R L A C I T E R O E H T
r e ti r w e h t , r e t p a h c s i h t n
I encloses some related studies .Related studie s s
c it ir c m o r f e m o
c w hhi llc fo ow t hei mprovemen toft henovel. I tcan bef ound in e
s e h
t sandj ournal .s o s l a r e ti r w e h
T uitilze ssome theo ire swhich are usefu lfo rthe wrtie rto e
z y l a n
a the nove lA Ltilte Princess .The fris tone i stheory of characte rand e
h T . n o it a z ir e t c a r a h
c secondonei stheoryo fmora lmessage.
.
A Reviewo fRelatedStudies t a h t s e e r g a r e ti r w e h
T A Ltilte Princesscontain sgood message sno tonly o
s l a t u b , n e r d li h c r o
f fo radutl swho read ti .Thi sch lidren’ s ltierature i seasy t o r
o f y ll a i c e p s e g n it s e r e t n i s i y r o t s e h t e s u a c e b , d n a t s r e d n
u chlidren.
s s e c n i r P e lt ti L
A i sanove labou tasrtong characte rwho i sable to ifgh t n
i a g a y ll u f s s e c c u
s s t new stiuaiton : pove try and the scorn o fhe rfellows .Even s t n e t n o c n i a m e h t t u b , n i a g a r e v o d n a n i a g a d e m r o f s n a rt s a w y r o t s e h t h g u o h t
. e m a s e h t s y a w l
a Thes tatemen tbelowcomesf romt heessayofJ ohannaEilzabeth e
lt it n e y ti s r e v i n U a n a i d n I m o r f r e l s e
R d Sara’ s Transformaiton : A Textua l s s e c n i r P e lt ti L A d n a e w e r C a r a S s ’t t e n r u B n o s g d o H s e c n a r F f o s i s y l a n A
(h ttps://scholarworksi.upu.iedu/b tisrteam/handle/1805/1614/ReslerThesi .spdf?seq 7
0 0 2 , 1 = e c n e
y l n
o focuse sonthet extsr elatedt oSaraCrewe’ ssuffeirngs .Hert hesisi sclosely y
d u t s s i h t o t d e t a l e
r .The main dfiference between Dew’i sundergraduate thesi s s
i s i s e h t e t a u d a r g r e d n u s i h t d n
a theobjec toft hestudy .WhlieDew iwa srtying t o t
p ir c s e d l e v o n e h t e z y l a n
a ively by focusing on Sara Crewe’ ssuffeirngs ,thi s e
h t e t a u d a r g r e d n
u sisi srtyingt or evealt hemora lmessagest hroughSaraCrewe’ s .
e d u ti tt a d n a r o i v a h e b
s i e r e h
T also an essay tha tfocused on the dfiferenc e o fSara Crewe’ s .
s m li f e h t d n a l e v o n e h t n i ’ s s e n r e e u q
‘ Theessay come sfrom Vibiana Bowman c
i v o k t e v
C ,aReferenceLibrairanandt heWeb Adminisrtato ratt hePau lRobeson w
e N , n e d m a C n i y ti s r e v i n U s r e g t u R , y r a r b i
L Jersey
(Redfeathejrourna.lorg/1_1_Feb_2010/p irnces .spdf)5March2012. b u o rt s i a r a S f o n o it a m r o f s n a rt m li f e h t t a h t r u c n o c
I ilng .In the nealry
e n
o - hundred yea rhistory o fSaraon flim ,Burnet't sheroine ha sbecome s u t e L “ : s e ti r w d n a l k ri K . e v i s r e v b u s y l g n i s a e r c e d d n a d n a l b y l g n i s a e r c n i
s i o h w e w e r C a r a S a e c u d o r p l li w r e k a m m li f e r u t u f a t a h t e p o h y lt s e n r a e
tt e n r u B o t l u f h ti a
f ' sowns rtongconcepitono fher”( 2010 :23 .)
The quotaiton i staken from Bowman’ sessay which wa sposted on Red r
e h t a e
F Journal .He ressayi senitlted TheNormailzaiton o fSara :An I nversion o f s
s e c n i r P e lt ti L A s 't t e n r u B f o s n o i s r e V d e m li F n i s s e n r e e u
Q . A t frist , she
e r a p m o
c d Burnet’t stex tand stage version ,and then she compared al lthree a
w e r e h t t a h t d n u o f s a w t I . s m li f s ti f o s n o i s r e
v sashitf i n t heporrtaya lo fSara , h
t o
b in visuailzaiton and characteirzaiton .Even though audience s ilke al lthe r
e
v sion so fthe flims ,Bowman stat d e a statemen tfrom Krikland’ sanalysi sof y
a s s e s ’ n a m w o B n I . m li f n i P L
A , Krikland sai td t ha shewa s rtoubledbyhowthe e
i v o
e d o m e l o r d e t u li d
a .l Bowman’ sessay wa stalking abou tthe dfiference sabou t s i s e h t e t a u d a r g r e d n u s i h t t u b , s m li f e h t n i d n a t x e t e h t n i s s e n r e e u q s ’ e w e r C a r a S
.l e v o n e h t n i a r a S t u o b a s s u c s i d o t g n i y rt y l n o s i
d e n o it n e m s e i d u t s e h t f o l l a h g u o h tl
A abovehavet hesameobject ,butt he .
t n e r e f fi d e r a s e u s s
i Resler’ sessaydiscussedt he rtansformaiton o fSara’ sstoryo f i w e D . e fi l s ’t t e n r u B s e c n a r F y b d e c n e u lf n i s i y r o t s e h t w o h d n a t t e n r u B s s e c n a r F
e c n e u lf n i e h t t u o h ti w s g n ir e f f u s s ’ e w e r C a r a S d e s s u c s i d a n a it s i
L s o fauthor’ s ilfe ,
y t e i c o s e h t f o d n u o r g k c a b e h
t , and t hebackground of t he l tierary work. Vibiana n i e w e r C a r a S n e e w t e b e c n e r e f fi d e h t s e r a p m o c d n a s e s s u c s i d y a s s e s ’ n a m w o B
. s m li f e h t n i d n a t x e t e h
t Thu ,sthemaini ssueoft hi sundergraduatet hesisi smora l r
f s e g a s s e
m omSaraCrewe’ satttiudeandbehaviortha tdeilvert hrought hes tory.
.
B Reviewo fRelatedTheories n o it s e u q e s o h t r o f r e w s n a e h
T s tha tarestated beforecan be answere d by .s
e ir o e h t f o e m o s
.
1 TheoryonCharacterandCharacteriza iton n
e m e l e c i s n ir t n i e h t f o e n
O t s in the ltierary work i s character . Thi s l
e v o n e h t n i r e t c a r a h c n i a m e h t e z y l a n a l li w s i s e h t e t a u d a r g r e d n
u A Ltilte
s s e c n i r
P ,Sara Crewe .According to M .H .Abrams in A Glossary o fLtierary s
m r e
T ,characteri s:
a r r a n r o c it a m a r d a n i d e t n e s e r p n o s r e p e h
T itvework who arei nterpreted t a h t s e it il a u q n o it i s o p s i d d n a l a r o m h ti w d e w o d n e g n i e b s a s r e d a e r e h t y b
) n o it c a ( o d y e h t t a h w y b d n a ) s e u g o l a i d ( y a s y e h t t a h w n i d e s s e r p x e e r a
) 0 2 : 1 8 9 1
t a h t d e t a t s s i t i , e v o b a n o it a t o u q e h t n o d e s a
B there i sa presentation o f
r i e h t y b s k r o w e h t n i n w o h s y ti l a n o s r e p ’ s r e t c a r a h
c expressions ,and t hereader s n
o t n a t S . t a h t d a e r n a
c menitons some indicaiton sto understand characters .The s
i t s ri
f the sound o fthe name fti sthe character .The second is the persona l n
o it p ir c s e
d and commen to fcharacte rfrom the author .The th srid i the othe r n
e m m o c d n a e d u ti tt a s ’ r e t c a r a h
c ttoward the othe rcharacters .The fou trh i sthe 7
1 : 5 6 9 1 ( r o i v a h e b d n a e u g o l a i d n w o s ’ r e t c a r a h
c -1 8 .) Accordingt oLuken ,st here f
; s r e t c a r a h c f o s e p y t o w t e r
a la tandr ound .“A lfa tcharacteri s sl s e wel ldeveloped r e h r o m i h e k a m t a h t s ti a rt f o y t e ir a v a s a h r e t c a r a h c d n u o r A . s ti a rt r e w e f s a h d n a
( ” e l b a v e il e
b 1995: 54 ) .I tmean sa lfa tcharacte ri sno treally developed from d
n u o r e h t t u b , s n o it a u ti s t n e r e f fi
d characte ri smore lfexible o rchange sa sthe e
g n a h c n o it i d n o
c .
n o it a z ir e t c a r a h
C i spresented i n t wo ways ,according t o Abrams :showing .
g n il l e t d n
a Showing o rdramaitc method mean sthe autho rmerely present shi s e
h t s e v a e l d n a g n it c a d n a g n i k l a t r e t c a r a h
c reade rto infe rwha tmoitve sand n
o it i s o p s i
d sl aybehindwhatt heyanddo .Byt elilng,t heautho rhimsefli ntervene s s e it il a u q l a n o it i s o p s i d d n a s e v it o m e h t , e t a u l a v e o t n e tf o d n a e b ir c s e d o t r e d r o n i
.) 1 2 : 1 8 9 1 ( s r e t c a r a h c s i h f
o
i y h p r u M o t g n i d r o c c
A n Understanding Unseens (1972 :161-173) ,there e h t f o n o it a z ir e t c a r a h c e h t t n e s e r p e r o t y l p p a n a c r o h t u a n a t a h t s y a w e n i n e r a
t ,s d o h t e m n e v e s s e s u y l n o r e ti r w e h t ,r e v e w o H . k r o w y r a r e ti l a n i s r e t c a r a h
c hey
.
a Character sas seenbyanother
Theautho rdescirbe sacharactert hrough t heeye sand opinion so fanother . .
e g a m i d e t c e lf e r a , e r e w t i s A . s t e g r e d a e r e h T .
b Speech
The autho rdescirbe sa characte rby giving reader san insigh t into the .s
y a s r e t c a r a h c e h t t a h w h g u o r h t s c it s ir e t c a r a h
c The reader sare able to
. e n o d r e t c a r a h c e h t t a h t s e u l c m o r f r e t c a r a h c a e z y l a n a .
c Conversaitono fothers
Theautho rcan also givereader scluest o aperson’ scharacteirsitcst hrough R . m i h t u o b a y a s y e h t s g n i h t e h t d n a e l p o e p r e h t o f o s n o it a s r e v n o
c eader s
.r e t c a r a h c e h t t u o b a y a s s r e h t o t a h w m o r f c it s ir e t c a r a h c e h t w o n k l li w .
d Reacitons
Theautho rcandesc irbeaperson’ scharacteirsitc sbyshowingr eader showa e v i g y a m n o it c a e r e h T . s t n e v e d n a s n o it a u ti s s u o ir a v o t s t c a e r r e t c a r a h c
l c s r e d a e
r uet o ifndoutt hecharacteirsitc so facharacter. .
e Driec tcomment
Theautho rcandescirbeaperson’ scharacteirsitc sbydriecltygivingr eader s t u o d n if o t s r e d a e r r o f y a w t s e b e h t e b y a m t I . r e t c a r a h c e h t n o s t n e m m o c
e s u a c e b , s c it s ir e t c a r a h c y n
a they know wha texaclty the autho rwant sto .l
a e v e r
.f Thoughts
. ) 0 9 4 : 8 8 9 1 ( s s e r p x e o t , d e d n e t n i s i t a h t , a e d i f o t h g u o h
t I tcanbeconcluded t ha t
. e s o p r u p d o o g a s a e l p o e p o t d e r e v il e d t a h t a e d i t h g ir a s i e g a s s e m l a r o
m Froma
e h t , e r u t a r e ti l n e r d li h c f o l e v o
n autho rwant sto deilve rto the reader shi sgood a
e d
i s. Usually hi sgood idea sbased on mora lvalue ,because i ti sa chlidren’ s .l
e v o n
.
C Theoreitca lFramework
. s i s y l a n a c i s a b e h t r o f e v o b a s e ir o e h t e l b a ti u s e m o s s e s o o h c r e ti r w e h T
n w o r i e h t e v a h s e ir o e h t e h
T contirbuitont ot heanalysi .s
d n a r e t c a r a h c y r o e h t s i d e s u r e ti r w e h t t a h t y r o e h t t s ri f e h T
g n o l a r o i v a h e b d n a e d u ti tt a s ’ a r a S e z y l a n a o t d e s u s i y r o e h t s i h T . n o it a z ir e t c a r a h c
e h t n i d e z ir e t c a r a h c s i a r a S r e t c a r a h c e h t w o h l a e v e r o t o s l a s i tI . y r o t s e h
t story.
l a r o m s i y r o e h t d n o c e s e h
T message . tIi susedtoidentfiy thef uncitonand e
g a s s e m l a r o m f o g n i n a e m e h
t .Thist heoryi salsot hebasei nformaitont o r evea l s
’ r e t c a r a h c e h t m o r f e g a s s e m l a r o
m descirpiton .Thist heory i sneeded t oanalyze e
g a s s e m e h
t tha tdescirbedf rom t hecharacter’ satttiude da n behavior .Thewrtie r l
li
w be able t o see t he l esson given by t he characte ro fSaraCrewe t hrough he r .
y r o t s e h t f o s e g a s s e m l a r o m e h t e m o c e b s n o s s e l e h T . e fi l
d e n i a l p x e s a h r e ti r w e h t t a h t s e ir o e h t e h t ll
A arer elatedt oeachother .One s i h t f o r e w s n a e h t d n if o t r e ti r w e h t s p l e h o s l a d n a r e h t o h c a e s tr o p p u s y r o e h t
6 1
I I I R E T P A H C
Y G O L O D O H T E M
.
A Objec toft heStudy
n o s g d o H s e c n a r F n o y d u t s a s i
tI Burnet’t schlidrenl tierature itltedALtilte
s s e c n i r
P .Thi snovelf ris tpubilshed on 1904 i n US byWarne . tIi sar evisedand
d e z il a ir e s 8 8 8 1 s 't t e n r u B f o n o i s r e v d e d n a p x
e novelen itltedSaraCrewe :or ,Wha t
l o o h c s g n i d r a o b s ' n i h c n i M s s i M t a d e n e p p a
h ,whichwa spub ilshedi nSt .Nichola s
e n i z a g a
M .The stage play tha tpreceded the novel ,a swel la san ea lry story ,
k c i r B e ti h W e h t d n i h e
B , allowingr eaderst os eehowALtiltePrincessevolved.
l a e d t a e r g a t u o d e s s i m d a h e h s t a h t d e r e v o c s i d e h s , tt e n r u B o t g n i d r o c c A
of t hing swhen w iritng t he novel .She had been composing a play based on t he
d e k s a r e h s il b u p e h T . d e s s i m d a h e h s s r e t c a r a h c f o t o l a t u o d n u o f e h s n e h w y r o t s
p o t r e
h ubilshanew,r eviseds toryoft henovel ,producingt henove.l
e h
T story fo llow s Sara Crewe , a young gi lr ow h
s
i thinki ngmature, tn o ilkeyoung gi lrsingeneral .Herf ather ,Captain Crewe,i sa
. r e h r o f g n i h t y r e v e s i r e h t a f r e h d n a r e t h g u a d y l n o s ’ r e h t a f r e h s i e h S . n a m h c ir
a n o s lr i G g n u o Y r o f y r a n i m e S t c e l e S s ’ n i h c n i M s s i M o t r e h s e k a t r e h t a f r e H
. a i d n I n i e m o h r i e h t m o r f y a w a s e li m f o s d n a s u o h t t e e rt s n o d n o
L Herf athe rwant s
n o m m o c n i n e r d li h c e k il d o o h d li h c r e p o r p a e v a h o t a r a
S ,because Sara read s
t o n s i e h s t u b , e n o y r e v e y b d e li o p s d n a r a l u p o p s e m o c e b a r a S . h c u m o o t s k o o b
t n e n i m o r p e h T . e l p o e p k a e w e h t y ll a i c e p s e , s r e h t o o t d n i k e b s y a w l a d n a t n a g o r r a
o h w e l p o e p k a e w e h t f
, y a d e n
O Saraha sabitrhdaypa try .WhenSara ,herf irends ,andBeckyenjoyst he
a t u o h ti w d a e d s i r e h t a f r e h t a h t r e h s ll e t n i h c n i M s s i M , y tr a
p penny ,becausehe r
d e li a f s i m i h f o d n e ir f a h ti w e n i m d n o m a i d e h t f o t s e v n i s ’ r e h t a
f and al lthe
n i h c n i M s s i M . w o n g n i h t o n s a h a r a S d n a , e n o g s i y e n o
m threat she rasi fshewas
. d i a m r e
h Sarahast o survive i n he rdfi ifculites .She hast o ilvei n t he atitc wtih
y r e ll u c s e h t , y k c e
B -maid .
t c e j b o e h
T i ve o fthi sthesi si sthe mora lmessage srevealed through the
n i a
m character’s responsesindfiifculites .Thi sbookconsist so fnineteenchapter s
s e t u b ir t n o c s tr a p e s o h t f o h c a E . g n i n n i g e b e h t n i e u g o l o r p a d n
a s eo m idea sabou t
.s e g a s s e m l a r o m
.
B Approachoft heStudy
, y d u t s s i h t t c u d n o c o
T a n approach i n which t hefocu so fanalysi s ile son
i s n ir t n i e h
t c element so fthe work tisefl i sneeded. In thi scase ,the int irnsic
t n e m e l
e i sthe element so fcharacte rand message. Formailsitc approach w sa
. h c a o r p p a e l b a ti u s t s o m e h t s a n e s o h
c Bressle rin chapte rNew C iritcism ni An
e c it c a r P d n a y r o e h T o t n o it c u d o r t n
I say sthe ltierary work concern sp irmarliy
k r o w e h t f o n o it a n i m a x e n a h ti
w tisel fand no thisto irca lcontex to rbiographica l
m s i c it ir c y r a r e ti l f o n o it a c if i s s a l c d a o r b a o t g n o l e b s c it ir C w e N e h t , s t n e m e l e
s c it ir C w e N e h t ,s t s il a m r o F g n i e B “ . m s il a m r o f d e ll a
c espousewha tmaycal l“the
t x e
t and tex talone” approach to ltierary analysis” (1992: )3 . 9 According to
k o o l d n a k r o w y r a r e ti l a e z y l a n a e w s n a e m h c a o r p p a c it s il a m r o f g n i y l p p a , n ir e u G
e u q i n u e h t o t e t u b ir t n o c t a h t s t n e m e l e r o
e h t o s l a d n a r e t c a r a h c n i a m e h t f o c it s ir e t c a r a h c e h t y fi t n e d
i good messagei nside
.t i
, e g a s s e m l a r o m t u o b a d e b ir c s e d t a h t a t a d t c e ll o c o t s a w p e t s d n o c e s e h T
l a r e ti r w e h T . s i s y l a n a e h t d e tr o p p u s t a h t s e ir o e h t r e h t o e h t d n a , m s i c it ir c e m o
s so
m e h t f o l l A . l e v o n e h t t u o b a s e c n e r e f e r e v a h h c i h w s e ti s b e w d n a s k o o b d a e r
. l e v o n e h t g n i z y l a n a n i r e ti r w e h t d e p l e
h To answert hefris tproblem, t he wrtie r
h t d e b ir c s e
d e characteirsitcs through Sara Crewe’ sresponses .The l ast problem
t n e d i y b d e r e w s n
a iifed the good message s revealed through Sara Crewe’ s
0 2 CHAPTERI V
S I S Y L A N A
t r e w s n a o t s e ir t r e ti r w e h t ,r e t p a h c s i h t n
I w o problem sstatedi nchapterI .
t s ri f e h
T eo sn i deailng wtih the characteirsitc so fSara Crewe .The second
n o it s e u
q ist or evea lmora lmessagest hroughSaraCrewe’ scharacte irsitc sandhe r
. g n i v il f o s y a w
.
A TheDescrip itono fSaraCrewe
n i y h p r u M . J. M , I I r e t p a h C n i d e t a t s s
A UnderstandingUnseenstatest ha t
e z ir e t c a r a h c o t s y a w e n i n e r a e r e h
t a character i n al tierary work .Howeve,r t hi s
s d o h t e m n e v e s s e s u y l n o y d u t
s o fnine ,because lony sevenmethod swhichr eally
. e w e r C a r a S t c i p e d o t t c e f r e
p Those method sare characte ra sseen by another ,
d n a , m s ir e n n a m , t n e m m o c t c e ri d , s n o it c a e r , s r e h t o f o n o it a s r e v n o c , h c e e p s
, r e t c a r a h c n i a m e h t f o s r e t c a r a h c e h t d n if o t d e s u s i y r o e h t e h T . s t h g u o h
t Sara
. e w e r C
, y r o t s e h t f o g n i n n i g e b e h t n
I Sara Crewe is descirbed asseven year sold
lr i
g .She il es v in a beautfiu lbungalow in India wtih he r irch father and many
a m o h w s t n a v r e
s kesalaamst ohe randcallshe r“MisseeSahib” .He rmotherdied
s a w e h s n e h
w born .Herf ather ,CaptainCrewe, is depictedasa irchf athe rwho i s
g n il li
w to spend a grea tdea lo fmoney for hi sltilte daughter .Sara w s a sen tto
y d u t s o t n o d n o
L in a Selec tSeminary fo rYoung Ladies .He rfathe rwants to
e b o t r e h e r a p e r
y h p r u M o t g n i d r o c c
A ’ s theory, he state s that a characte r can be
s t n e v e d n a s n o it a u ti s s u o ir a v o t n o it c a e r s ’ r e t c a r a h c e h t h g u o r h t d e z ir e t c a r a h c
) 8 6 1 : 2 7 9 1
( . tIi sfound tha tSara Crewe i sa matureperson ,becausesheknow s fl
e s r e h t e g w o
h inacondiiton ilkeanadutl.
t a h t s w o h s a r a
S characte irsitct hrough herr eaciton when herf atherl eaved
i r e h t a f r e H . y r a n i m e s n i r e
h severythingf o rher .Theyalway sshared itmesi nl ove
s s e n r e h t e g o t d n
a . Howeve ,ri tcome samomen twhent heyare ifnallyseparated. tI
i shardt obeseparated ,especiallyi nal ong itme.I nt hef o llowingquotaiton ,Sara
r u t a m r e h s w o h
s tiy toward he rfather’ sleaving .Sara doe sno tscream and no r
n e v
e k rickh e fee tilkemos to fkid sdowhent hei rparentsl eavet hem.
e h t n e h
W cab droveaway from t hedoor ,Sarawa sstiitngon t he lfoo ro f t i g n i w o ll o f s e y e r e h d n a n i h c r e h r e d n u s d n a h r e h h ti w , m o o r g n it ti s r e h
d n a , r e h y b g n it ti s s a w y li m E . e r a u q s e h t f o r e n r o c e h t d e n r u t d a h t i li t n u
i h c n i M s s i M n e h W . o o t ,t i r e tf a d e k o o l e h
s n sen the rsister ,Mis sAmeila ,
.r o o d e h t n e p o t o n d l u o c e h s d n u o f e h s , g n i o d s a w d li h c e h t t a h w e e s o t
e b o t t n a w I " . e d i s n i m o r f e c i o v e lt ti l e ti l o p , r e e u q a d i a s ", ti d e k c o l e v a h I "
e ti u
q bymysel,fi fyouplease" (1994 :17 .)
The quotaiton above shows u s tha t Sara take s an aciton tha t show s
. y ti r u t a
m Sheknowst ha tonlyhe rcanf ee land understandhe rloss ,thusshel ock s
m o o r r e h n i fl e s r e
h .Shef eel ssadt ha tshewli lno tbet ogethe rwtihherf atheri na
e h t a h t t p e c c a o t e l b a s i e h s t u b , e m it g n o
l rfathe rwantst hebestf o rhe randt his
n o it p ir c s e
d shows t ha tshei smature.Thesame atttiudeshow swhen shel os the r
, r e t s i s s ’ n i h c n i M s s i M , a il e m A s s i M . r e h t a
f i samazedo fSara’sr eacitonwhens he
t a h t a r a S s ll e
f o m a e l g t n i a f a , e s ir p r u s r e h o
T ilgh tcamei nto t hechlid' seyes--ashade .f
e il e r f o
t a h W . h c u m o s r e tt a m t o n l li w t i k r o w n a c I f I " . d i a s e h s " ? k r o w I n a C "
" ? o d I n a
c (1994:71 .)
o n s i e w e r C a r a S t a h t s e z i s a h p m e n i h c n i M s s i M , n o it a t o u q t a h t m o r F
a t u b , y r a n i m e S e h t n i t n e d u t s a r e g n o
l worke.r Sara Crewe need sto work in
n r a e o t s a h e h s t a h t s e z il a e r e h s e s u a c e b , y r a n i m e
S money to ilve .Sarareailze s
,l ri g h c ir d n a d e li o p s a r e g n o l o n s i e h s t a h
t sinceshehast o workhardt osurvive.
s ’ a r a
S reacitonint ha tquotaitons howst hats heunderstand shers tiuaitonandw hat
y h w s i t a h t , e v il o t o d o t d e s o p p u s s i e h
s Sara’sr eacitons how she rmaturti . y
e w e r C a r a
S usedt obei nal uxu irousl fieandha saf utureast heherit ot he
e n n a l p n e e b d a h s a r e g n o l o n s i e fi l r e h t a h t g n i w o n K . s e n i m d n o m a i
d d ,shesta tr s
t p a d a y b e v i v r u
s i ng thestiuaiton .Actually t ha treaciton i salmostt hesameas i n
n o it a t o u q t s ri f e h
t .Sara’sr eaciton show sa s fishecan handlei ton he rown .The
d n a n o it a u ti s e h t s d n a t s r e d n u e h s t a h t t c a
f shei sawaretha tsheneedst o work t o
e h s t a h t w o h s e v
il i samaturechlid.
e w e r C a r a
S depicted asalway spoltieand w -ell mannered ilkeap irncess , s
e m o c n o it p ir c s e d s i h t d n
a tn o only when she is in he rprospered lfie ,bu talso
e h s n e h
w becomespoor . tIi sfoundi ntheopinion so fothercharacter. WhenSara
d e r e d r o s
i by Mis sMinchin to buy something,shemeetsal tilte irch b , oy named
d l a n o
D , on t hesrteet .Donald givesSaraasixpence ,becauseheconsiders Saraas
a beggar wtih poo rappearance and thin face .Atlhough Sara reject s ti op ltiely,
n
if ally she accepts the sixpence and thanks to the ltilte boy .She accepts the
y e n o
d e t n i o p p a s i
d .She also says tha the i s “kind ltilte darilng thing” (1994:9 .6)
s s e l e h t e n o
N Donald’ s sisters who si tin a carirage nex tto them do no tbeileve
d r a e h t s u j e v a h y e h t t a h
w . Thequotaitoncomesf romt heopinionoft heauthor ro
t n e m m o c t c e ri
d andt heconversaitonbetweenDonald’ss isters ,NoraandJ anet.
t s y r a n i d r o n a e k il n u o s s a w e c i o v r e
H ree tchlid' svoice and he rmanne r
ll e w a f o r e n n a m e h t e k il o s s a
w -bredl tilteperson… (1994:9 .) 6
, y l d e m r a l a d e m i a l c x e t e n a J ,) e m a n s 'e c n e r a l C y u G s a w s i h t( ", d l a n o D , h O "
a t o n s i e h s e r u s m 'I ? e c n e p x i s r u o y l ri g e lt ti l t a h t r e f f o u o y d i d y h w "
" ! r a g g e b
"Shedidn' tspeak ilke abeggar!" c ired Nora ."And he rfacedidn' treally "
! e c a f s' r a g g e b a e k il k o o l
y r g n a e b t h g i m e h s d i a r f a o s s a w I " . t e n a J d i a s " , g e b t ' n d i d e h s , s e d i s e B "
n e h w s r a g g e b r o f n e k a t e b o t y r g n a e l p o e p s e k a m t i , w o n k u o Y . u o y h ti w
e r a y e h
t no tbeggars"( 1994 :97 .)
s ’ d l a n o
D sistersr ecognizetha tSaradoe sno tspeak ilkeascullery-m raido
r a g g e b
a . Sara speak spoltiely by saying ‘kind ltilte darilng’ ,a begga rwli lno t
g n i y a
s that .A begga rwli lsay and ac t ilke a begga r“’Thank ye rkindly ,ltilte
n a m e lt n e
g -thank yer ,si,r ’and perhap sshe would havebobbed acu trsey.”(1994 :
e v e il e b I . y d o b y n a o t s g n o l e b e h s e v e il e b t ' n o d I ‘ , d i a s o s l a r e t s i s s ’ d l a n o D . ) 7 9
. ) 7 9 : 4 9 9 1 ( ” s k o o l e h s y b b a h s r e v e w o h , r a g g e b a t o n s i e h s t u B . n a h p r o n a s i e h s
y e h
T seet ha the rappearancei sr eally poor ,butt hey beilevet hel tiltegri lwho si
.s k l a t e h s y a w e h t f o e s u a c e b r a g g e b a t o n s i l ri g r a g g e b a s a n w o n
k They ea r
d i a r f
a t hat Sara w eill b mad a tDonald ,becauset hey t hink Sarai sno tabeggar ,
p p a t o n s i ti d n
a rop iratet ogivemoneyt osomeonet hatt heyconside rasabeggar.
ll e w d n a e ti l o p e b s y a w l a o t r o i v a h e b s ’ a r a S , r e v e w o
H -mannered make ssome
m i s a w e h
s poltieandr udet ol aughi nt hemiddleoft heclass ,becauses hedisturb s
e h
t class .He rreaciton show stha tshe persist sto be poltie and watche s he r
r e n n a
m ,event houghs hei sas ervan .t
s i a r a
S also desc irbed sa acaring chlid. tI can beseen when Sarameet s .
c it t a r e h n i e it t o
L In the seminary ,there i sa ltilte gri lnamed Lotite .She i sa
d e t a e rt n e e b d a h d li h c e h t s a d n a , d e i d d a h r e h t o m g n u o y r e H . lr i g e lt ti l d e li o p s
e c n i s t e p d e li o p s e t u c e k
il thef ris thou ro fherl fie(1994:3 )3 .Shealway scires o n
s e m o c e b e h s , e d u ti tt a d e li o p s r e h f o e s u a c e B . t n a w t o n s e o d r o s t n a w e h s g n i h t y n a
a veryappalilngl tiltecreature .However ,Saracanalway smakeLotitestopcrying
t u o h ti
w yelilnga the ra sMis sMinchinused t o.Saraa sacairng chlid i sdepicted
h g u o h
t herr eaciton.
n i tr o f m o c f o t r o s a s a w e r e h T . h g u a l o t d e ir t d n a e s o l c r e h d e g g u h a r a S
d a h d n a y a d d r a h a d a h d a h e h S . y d o b h s i d li h c , p m u l p e h t f o h t m r a w e h t
: 4 9 9 1 ( s e y e t o h h ti w s w o d n i w e h t f o t u o g n ir a t s n e e
b 8 .) 5
e h
T abovequotaitonhappen swhenLotitesuddenlyappeari nSara’sr oom
. y r c t s o m l a d n
a Even t houghS araha sahardday andf eel sveryt ried ,shet irest o
h t r e h t s u rt d n a y p p a h e it t o L e k a
m ats hei sal irght .Theways he rteats Lotitea she r
g u a
d hte randt heways hef eel scomfo trablebyhuggingaltiltechlids howt hats he
e h T . y lr e h t o m s
i abovedescirpiton sindicatet hats hei saca irngchlid.
d li h c g n ir a c a s a a r a
S si also descirbed t hough he rspeech .Therei saday
s i e d r a g n e m E . m o o r r e h o t s e m o c e d r a g n e m r E , d e t s u a h x e o s s l e e f a r a S n e h w
s ’ a r a
S bes tf irend wtih fa tbody and not- os -smar tbrain .Ermengarde’ sfathe r
h c i h w t r a m s o s e b o t r e t h g u a d r e h s t n a
w late rmake she rdesperate since she
.s e h s
a Thenameoft heservan tgi lri sBecky .Becky i sdoinghe rworkslowly ,so
n e t s il n a c e h s t a h
t ot thes toryt ha tSarat ells .WhenSarar eailzingtha,ts he“raised
: 4 9 9 1 ( ” y lr a e l c e r o m e k o p s d n a d e c i o v r e
h 3 .) 9 Lavinia doe sno tagree tha ta
o h w l ri g a s i a i n i v a L . y r o t s s ’ a r a S o t s n e t s il t n a v r e
s si jealou swtih Sara ,so she
k n i h t s y a w l
a s tha tSarai sannoying .Shet hink saservanti sno tpropert o j oint he
.s lr i g y r a n i m e s
r o o p o s s e m o c e b e h s e r o f e b a r e h c ir s ’ a r a S n
I ,Sara ifnd sBecky falls
. ri a h c e ti r o v a f r e h n o p e e l s
a Even t hough t he di try Becky sleep son he rfavortie
i a h
c r ,SaraallowsBeckysleepanddoe sno tdisturbher .Saraj us twatiunit lBecky
t a d a m l li w a r a S t a h t d i a r f a s l e e f e h s p u s e k a w y k c e B n e h W . fl e s r e h y b p u s e k a w
, r e
h bu tSara doe sno tdo that .Sara understands tha tBecky i svery tried which
p r u s y k c e B s e k a
m irsed by Sara’ swarmth .Becky’ sfirghtened abou tSara being
s y a s a r a S s e k a m d a
m :
e m a s e h t t s u j e r a e w " , d i a s e h s " , y h W
" -- Iamonly al tiltegri l ilkeyou.I 't s :
4 9 9 1 ( " ! e m t o n e r a u o y d n a , u o y t o n m a I t a h t t n e d i c c a n a t s u
j 4 .) 4
t a h t s e t a t s n o it a t o u q e h
T ti isi mpossiblefo rSara being mad a tsomeone
t o n e r a u o y d n a , u o y t o n m a I t a h t t n e d i c c a n A “ . r o o p s i e h r o e h s e s u a c e b t s u j
e s o o h c t o n n a c e w d n a y n it s e d e h t s w o n k e n o o n t a h t n a e m e b n a c ” e
m whethe r
h c
ir famliy wli lbeourso rnot. Mos to f irch peoplewli lno taccep t fit hei rmaid s
a r a S t u b , e l p o e p h c ir o t s g n o l e b y l n o s u o ir u x u L . m e h t e k il s e it r e p o r p e m a s e h t e s u
s y a w l
a shareseverything wtih people .Fo rSara , irch o rpoo rareonly statu sand
r o k a e r b d o o g a n i r e v e r o f l li w e n o e m o s t a h t e r u s n e e n o o
n ni imschance. He r
g n ir a
a r a S n e h w s n e p p a h o s l
a isi nt hemiddleofs adnes swhenBeckycome sandasksi f
: s y a s a r a S . r e f f u s s ’ a r a S n o g n i y r c e li h w m o o r s ’ a r a S o t n i e m o c n a c e h s
k c e B , h O
" y,"she said ."It old you we werej ust t hesame--only t wo l tilte s
lr i
g --jus ttwo ltilte gilrs .You see how rtue i tis .Ther 'e sno dfiference :
4 9 9 1 ( " e r o m y n a s s e c n ir p a t o n m 'I . w o
n 7 ) 3
w o h s o s l a t i t u b , d li h c y l d n e ir f a s i e h s t a h t s w o h s e b y a m n o it c a e r r e
H s
a r a S . n o s r e p g n ir a c a s i e h s t a h
t c s yare b appreciati ng Becky’ ssympathy and
n i a l p x
e s thatt heyarej ustt hes ame ,whichcanmakeBeckycomfo trable.
s ’ e w e r C a r a
S atttiudeshow sopitmisitc ,soshei sanop itmisti cchlid .This a
y b d n u o f s i c it s ir e t c a r a h
c nalyzing Sara Crewe’ sthough tthrough Murphy’ s
n i s i e h s h g u o h tl a , w e i v f o t n i o p e v it i s o p a n i g n i h t e m o s s e e s s y a w l a a r a S . y r o e h t
. n o it a u ti s e l b ir r e t
a Herei shers peech:
I " , h t e e t t u h s , ll a m s r e h n e e w t e b y a s d l u o w e h s " , n i a l p m o c t ' n o d s r e i d l o S "
o g t o n m
a ingt odo ti ; Iwli lpretendt hisi spar to fawar" (1994 :77 .)
, e v o b a n o it a t o u q e h t n
I sheuse ssoldier sa sheri nspriaiton .Shet irest obe
s n a e m t I . r a w a s i h ti w g n il a e d s i e h s t a h w t a h t e n i g a m i r o g n i d n e t e r p y b h g u o t
b s g n ir e f f u s r e h t h g if o t s a h e h
s yhersel fanddoe sno tneedt obepiitedbypeople .
w l a e h s t u b , r e f f u s d n a t l u c if fi d e r o m g n it t e g e r a s y a d s ’ a r a
S ayst hink sposiitvely
y
b imagining something srtong .Thati swhyshedescirbedasan op itmisti cchlid .
. d u o r p d n a h g u o t r e h s e k a m t I
o n
A the r speech show she r a s an opitmisti c chlid .Sara Crewe i s an
s y a w l a e h S . r e tt e b l e e f r e h e k a m o t s g n i h t e n i g a m i o t s e k il e h S . d li h c e v it a n i g a m i
s e v e il e
b tha tshecanmaked fiifcul tstiuaitonbecome sbetterwtihi maginaitonand
s r e h s e k a m t i e s u a c e b , e g d e l w o n
t c e p s a l a r e v e s r o
f s i n ourl fie ,so t her eader scan l earnt obebette rbyr eadingthi s
.l e v o n
.
1 TheI mportanceo fBeingToughi nDfiifcul ites g
a s s e m t s ri f e h
T e obtained based on Sara Crewe as a mature person da n
r e
h op itmism. The message expressed in the nove li sthe impo trance o fbeing
n o it a u ti s t l u c if fi d a n i h g u o
t .By being mature and opitmisti c a si twas ,Sara
g n i e B . h g u o t g n i e b d n a y l h g u o r o h t s e it l u c if fi d r e h h g u o r h t o g o t e l b a s a w e w e r C
t l u c if fi d y r e v e n i g n i h t t n a tr o p m i e h t d n a o d o t g n i h t y r a s s e c e n a s i h g u o t
. n o it a u ti
s I tmake speople survive to ilve. Fo rexample ,Sara alway suses he r
t s i m it p o s p e e k r e h e k a m o t n o it a ri p s n i d n a n o it a n i g a m
i i . c Sara use s he r
o t n o it a n i g a m
i avoid the stiuaiton affec the rmind too much ,so she can be
r e h s e v i g o s l a d n a e fi l s ’ g o d a d a e l o t h t g n e rt s r e h s e v i g n o it a n i g a m i r e H . e v it i s o p
n i g a m i y b e v i v r u s n a c e l p o e p r e h t o r o e h s t a h t e p o h e l p o e p d n
a i nganything t hey
. e k
il sA men itoned above ,one o fthem i swhen Sara i s rteated a si fshe i s
e b l li w e h s d n a r a w a f o t r a p a s i e fi l r e h t a h t d n e t e r p l li w e h S . n r e c n o c s ’ y d o b o n
t a h t g n i d n e t e r p s a w a r a S . r a w r i e h t t u o b a n i a l p m o c r e v e n e v a h o h w s r e i d l o s e k il
r a w a n i s i e h
s ,a wa ri san image o fhe rdfiifcul tlfie ,bu tactually i ti she r
t s i m it p
o i c atttiude to make he rtough. I tmake she rsurvive ,because she keep s
.s e it l u c if fi d e h t h g u o r h t o g o t e l b a d n a n o e v o m
e s u o s l a a r a
S s rhe ab litiyt o t el lsto ire sandi maginaitontomakeherf irend
r e h s a h g u o t s
a .I tshow swhen therei sawretched winterand both o fSaraand
k n i h t s t n a v r e s r e d l o n e v e , r e d r a h k r o w o t e v a h y k c e
