i
Judul skripsi
: THE LAKOFFIAN CONCEPTUAL
METAPHOR ANALYSIS OF ERNEST HEMINGWAY’S
THE
OLD MAN AND THE SEA
NOVEL
Abstrak
:
Nurjannah, Diyan Putri. 2018. THELAKOFFIANCONCEPTUAL METAPHOR
ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE
SEA NOVEL. Counselor: Faizal Risdianto, S.S., M.Hum. Keywords: Semantic, Metaphor, Conceptual Metaphor
ii
b. E-mail
:
faizrisd@gmail.com
Fakultas
: Fakultas Tarbiyah dan Ilmu Keguruan
Jurusan
: Pendidikan Bahasa Inggris
iii
“THE
LAKOFFIAN CONCEPTUAL METAPHOR ANALYSIS
OF ERNEST HEMINGWAY’S
THE OLD MAN AND THE SEA
NOVEL”
A GRADUATING PAPER
Submitted to the Board Examiners as a Partial Fulfillment of the
Requirement for the Degree of Sarjana Pendidikan (S.Pd.) in English
Education Department
State Institute for Islamic Studies (IAIN) Salatiga
DIYAN PUTRI NURJANNAH
113 11 013
ENGLISH EDUCATION DEPARTMENT
TEACHER TRAINING AND EDUCATION FACULTY
STATE INSTITUTE FOR ISLAMIC STUDIES (IAIN)
SALATIGA
vii
MOTTO
“N
o matter who we are, the most important thing is what we
can do for other people”
viii
DEDICATION
This graduating paper is dedicated to:
This graduating paper is dedicated to the people who mean a lot to me, my
parents, Bapak Subandi, and Ibu Priyanti, for showing faith in meand giving me
the liberty to choose what I desired. I salute you all for the selfless love, care,
pain,and sacrifice youdid to shape my life. I would never be able to pay back the
love and affection showered upon by my parents. Also, Iexpress my thanks to my
brother and sister Yusuf, Yesi, andLilih, thanks for their love, support,and her
valuable prayers. I consider myself the luckiest in the world to have such a lovely
and caring family,standing beside me with their love and unconditional support.
I owe thanks to a very special gift, my son, Dhafin for his continued and
unfailing love, and support. You were always around at times. I thought that it is
impossible to continue, you helped me to keep strong every single day. Words
would never say how grateful I am to you
It’s my fortune to gratefully acknowledge the support of my friends, Faza,
Adin, Rizky, Puji, Lutfi for theirsupport. They were always beside me during the
happy andhard moments to push me and motivate me. Special thanks are extended
to Indah Ratna for her co-operation and support that made the completion of this
ix
Acknowledgment
Bismillaahirrahmaanirrahiim,
Assalamualaikum, Wr.Wb
In the name of Allah, The Most Gracious and The Most Merciful, The
Lord of Universe. Because of Him, the researcher could finish this graduating
paper as one of the requirements for SarjanaPendidikanin English Education Department of Teacher Training and Education Faculty of State Institute for
Islamic Studies (IAIN) Salatiga.
Secondly, peace and salutation always be given to our prophet Muhammad
SAW who has guided us from the darkness to the lightness. However, this success
would not be achieved without supports, guidance, advice, helps, and
encouragements from individual and institution, and the researcher somehow
realize that an appropriate moment for me to deepest gratitude for:
1. RahmatHariyadi, M. Pd. as the Rector of State Institute for Islamic Studies
(IAIN) Salatiga
2. Suwardi, M. Pd. as the Dean of Teacher Training and Education Faculty
3. Noor Malihah, Ph. D. as the Head of English Education Department
4. FaizalRisdianto, M. Hum as a counselor who has educated, supported, directed
and given the researcher advice, suggestions, and recommendations for this
graduating paper from the beginning until the end.
5. All of the lecturers in the English Education Department. Thanks for your
x
6. All of the staffs who have helped the researcher in the processing of graduating
paper administration
7. All of my close friends who I could not mention one by one
Finally, this graduating paper is expected to be able to provide useful
knowledge and information to the readers. Moreover, the researcher is pleased to
accept more suggestions and contributions from the readers for the improvement
of the graduating paper.
Salatiga, 28th May 2018
The Researcher
xi
ABSTRACT
Nurjannah, DiyanPutri. 2018. THELAKOFFIANCONCEPTUAL METAPHOR
ANALYSIS OF ERNEST HEMINGWAY’S THE OLD MAN AND THE
SEA NOVEL. Counselor: FaizalRisdianto, S.S., M.Hum. Keywords: Semantic, Metaphor, Conceptual Metaphor
xii
B. Problem questions of the research ... 4
C. Objectives of the research... 5
xiii
B. METAPHOR... 12
C. CONCEPTUAL METAPHOR ... 15
D. PREVIOUS STUDY ... 18
E. SYNOPSIS OF THE OLD MAN AND THE SEA NOVEL BY ERNEST HEMINGWAY... 20
E. Techniques of Data Analysis ... 37
CHAPTER IV ... 38
DATA PRESENTATION AND DISCUSSIONS ... 38
A. DATA DISPLAY ... 38
B. Metaphors found in Ernest Hemingway’s novel “The Old Man and The Sea”. ... 46
CHAPTER V... 61
CONCLUSION AND SUGGESTION ... 61
A. CONCLUSION ... 61
1. Metaphors found in Ernest Hemingway’s novel “The Old Man and The Sea” 61 2. The meanings of metaphors found in The Old Man and The Sea novel by Ernest Hemingway ... 62
xiv
LIST FIGURE AND TABLE
Table 4.1. Data result…………..………..……… 27
1
CHAPTER I
INTRODUCTION
A. Background of the Research
Human as a socialbeing needs the language to communicate with
others. Language is people intelligent that very needed by them (Gardner
taken in Sukardi, 2005:67). It means that language is the way people
express their reaction toa certain situation, reveal our thoughts, ideas,
emotions,and feelings. Therefore, it is difficult for people to communicate
without language.
Meanwhile, in order to build a good communication, it is needed an
understanding between the speaker and the listener. The objective of the
understanding is to encourage the indication of something that is known as
meaning. Meaning is very important to understand. The listener has to
comprehend the meaning that speaker says in order to avoid
misunderstanding of the word.
Kreidler (2002:2) states that there are three disciplines are
concerned with the systematic study of meaning in itself: psychology,
philosophy, and linguistics. In this research, the researcher is focusing on
the discussion of the study of meaning learn in linguistics. Kreidler
(2002:3) adds that linguistics want to understand how the language works.
2
specific languages. Linguistics also deals with the meanings expressed by modulations of a speaker’s voice and the processes by which hearers and
readers relate new information to the information they already have.
The study of meaning in linguistics is known as semantics.
Semantics is the systematic study of meaning, and linguistic semantics is
the study of how languages organize and express meaningsKreidler
(2002:3). Meaning in semantics divided into two parts, literal meaning,and
literal meaning. Literal means based on the actual words, while
non-literal is the other way around. There are two numbers ofways in
expressing ideas which deviate from the semantics convention, some of
them including the use of idiom and figurative language.
The term figurative language, there is a metaphor inside. In the
other word, the metaphor is one part of the figurative language which is
the most common and widely used. In literature, metaphor as one of
stylistic elements does not convey merely ideas. According to Subroto
(1986:45), metaphorical expression can be categorized as a metaphor if it
can give a new enjoyment and enliven inanimate object, and actualizing
something which actually crippled or paralyzed. Moreover, Subroto
(1995:39) adds that metaphor is created particularly based on the similarity
of two referents.
In the other discussion about metaphor, Lakoff and Johnson
(2003:4) introducing the conceptual metaphor. The metaphor is for most
3
matter of extraordinary rather than ordinary language. Moreover, the
metaphor is typically viewed as characteristic of language alone, a matter
of words rather than thought or action. For this reason, most people think
they can get along perfectly well without metaphor. We have found, on the
contrary, that metaphor is pervasive in everyday life, not just in language
but in thought and action. Our ordinary conceptual system, in terms of
which we both think and act, is fundamentally metaphorical in nature.
The concepts that govern our thought are not just matters of the
intellect. They also govern our everyday functioning, down to the most
mundane details. Our concepts structure what we perceive, how we get
around in the world, and how we relate to other people. Our conceptual
system thus plays a central role in defining our everyday realities. If we
are right in suggesting that our conceptual system is largely metaphorical,
then the way we think, what we experience, and what we do every day is
very much a matter of metaphor.
Therefore, metaphor also becomes a tool for literary writers to
adorn and give color to their works. The metaphor also used widely in
philosophy, religion, politics, commerce, history, and art. The novel is a
part of the art. Metaphor can be found also in the novel. According to
Scholes in Hartoko (1984:17), the novel is a story related to the obvious or
fiction imagined by the writers through their observation of the reality.
4
“The Old Man and The Sea” novel by Ernest Hemingway built an
optimistic for whom who read the novel. This novel writes by the author
when he lived in Kuba and achieve Pulitzer trophy 1953 for fiction
category and Award of Merit Medal for Novel from America which
conveys him to achieve Literature Nobel 1954. The researcher decided to
use this American novel as the object of analysis because some metaphor
was found and it is assumed that there are many metaphors existed in the
novel which is interesting to be analyzed semantically.
Therefore, by concerning on the background above, the researcher
interested to do the research entitled “THE LAKOFFIAN CONCEPTUAL METAPHOR ANALYSIS OF ERNEST HEMINGWAY’S THE OLD
MAN AND THE SEA NOVEL”
B. Problem questions of the research
Based on the background of the research above, the researcher
formulates the problems of the study as follows:
1. How many types of Lakoffianconceptual metaphor found in
The Old Man and The Sea novel by Ernest Hemingway?
2. What are the most dominant types of Lakoffianconceptual
metaphor in The Old Man and the Sea novel by Ernest
5 C. Objectives of the research
There are two objectives which are expected to be achieved from
this research, those are:
1. To find out the types of Lakoffianconceptual metaphors found
in The Old Man and The Sea novel by Ernest Hemingway.
2. To analyze the most dominant types of Lakoffianconceptual
metaphors found in The Old Man and The Sea novel by Ernest
Hemingway.
D. Limitation of the research
The limitation needs to be set to avoid misdirection or further
research on this topic. The analysis of this research focused on conceptual
metaphors and their most dominant types found in The Old Man and The
Sea novel by Ernest Hemingway.
E. Benefits of the research
The researcher expects that the results of the research are useful
for:
6
The researcher will get more knowledge and new experience in
literary works.
2. The reader
The result of this research can be used as a reference for other
reader and also the reader will get new information and
experiences.
3. Another researcher
The results of this research expected to give some knowledge
and references for whom which do the relevant research.
F. Method of the research
The researcher decided to use quantitative research to answer the
problem questions of the research.According to Hadi (1981: 221), research
methodology is a scientific method to collect the data with a goal and
certain application. In the other word, research methodology is the way the
research use to collect the data, analyze the data, and make a conclusion
from the data which has collected.
G. Definition of key terms
To avoid misunderstanding, the researcher gives explanations or
definitions of some key terms used in the research.
1. Semantics
In brief, semantics means the study of meaning. However, the
7
agreements among experts about the way in which it should be
described. Bright (1992:394) has states that semantics is the study and
representation of the meaning of language expression and the
relationship of meaning among them. Semantics has been parts of
linguistics.
2. Metaphor
The metaphor is an implicit comparison in which two, unlike
objects, are compared by identification or substitution of one for the
other to suggest common quality shared by the two. Goatly (1997:8)
states that metaphor occurs when the unit of discourse is used to refer
unconventionally way.Tarijan (1995:121) adds that metaphor a brief
comparison figure of speech in which there are two ideas inside. The
first is the fact, according to the feelings, and become an object. The
second is the comparison of the fact, and it will replace the first.
The metaphor is the best choice for describing reality when
literal language cannot.The metaphor is a kind of figurative language
which uses connotative meaning through the comparison without using the word “like” or “as”. The metaphor is considered difficult especially
in understanding the meaning. It depends on the background
knowledge of the readers. It needs a deeper attention since the
comparison is conveyed implicitly. In brief, the researcher concludes
8
understand the meaning built by the sentences inform figurative
language.
3. Conceptual Metaphor
The metaphor is for most people a device of the poetic
imagination and the rhetorical flourish—a matter of extraordinary
rather than ordinary language. Moreover, the metaphor is typically
viewed as characteristics of language alone, a matter of words rather
than thought or action. For this reason, most people think they can get
along perfectly well without metaphor. We have found, on the
contrary, that metaphor is pervasive in everyday life, not just in
language but in thought and action. Our ordinary conceptual system, in
terms of which we both think and act, is fundamentally metaphorical in
nature.
The concepts that govern our thought are not just matters of the
intellect. They also govern our everyday functioning, down to the most
mundane details. Our concepts structure what we perceive, how we get
around in the world, and how we relate to other people. Our conceptual
system thus plays a central role in defining our everyday realities. If
we are right in suggesting that our conceptual system is largely
metaphorical, then the way we think, what we experience, and what we
do every day is very much a matter of metaphor.
9
The analysis in this research means scientific process breaking
the word into its element (root and affixes) of the new words.
CHAPTER II
THEORETICAL REVIEW
A. SEMANTICS
1. Definition of Semantic
According to Kreidler(1998:3) Semantics is the
systematic study of meaning, and linguistic semantics is the study
of how languages organize and express meanings. Linguistic
semantics is the topic of this research, but we need to limit
ourselves to the expression of meanings in a single language. We
have to make comparisons with other languages, but these are
meant to be illustrative of language differences, not full accounts of
what differences exist.
Meaning in semantics divided into two parts, literal
10
actual words, while non-literal is the other way around. There are
two numbers of ways in expressing ideas which deviate from the
semantics convention, some of them including the use of idiom and
figurative language.
2. Semantics Representation Approach
Goddart and Schalley (2010:95) introduced the semantics
representation approaches. The explanation is as follow :
a. Logical Approach
Logical approaches to meaning generally address
problems in compositionality, on the assumption that the
meaning of supralexicalexpressions are determined by the
meaning of their part and the way in which those part are
combined. Logic predicate also includes specification of valid
conclusions or inferences.
b. Discourse Representation Theory
Discourse representation theory (DRT) was developed
in the early 1980s by Kamp (1981) (cf. Kamp andReyle 1993;
Blackburn and Bos 1999; van Eijck 2006; Geurts and Beaver
2008) in order to capture thesemantics of discourses or texts,
that is, coherent sequences of sentences or utterances, as
opposed toisolated sentences or utterances. The basic idea is
11
representation (represented by a so-called discourse
representation structure, DRS), andthat every incoming
sentence prompts additions to this representation. It is thus a
dynamic approach tonatural language semantics.
c. Pustejovsky’sGenerative Lexicon
Pustejovsky’s Generative Lexicon theory aims to
provide an adequate description of how ourlanguage
expressions have content, and how this content appears to
undergo continuous modification and modulation in new
contexts.
d. Natural Semantic Metalanguage
Natural semantic metalanguage (NSM) is a
decompositional system based on empirically established
semantic primes, that is simple indefinable meanings which
appear to be present as word-meanings in alllanguages. The
NSM system uses a metalanguage, which is essentially a
standardized subset of natural language: asmall subset of
word-meaning, together with a subset of their associated syntactic
(combinatorial) properties.
12
Object-oriented semantics is a new field in linguistic
semantics. Although it is rather restricted inits semantic
application domains so far mainly applied to the representation
of verbal meaning itpromises to become relevant for NLP
applications in the future, and due to the large body of research
incomputer science, a wealth of resources is already available
for object-oriented systems in general.
The term figurative language, there is a metaphor
inside. In the other word, the metaphor is one part of the
figurative language which is the most common and widely
used. In literature, metaphor as one of stylistic elements does
not convey merely ideas. Therefore, metaphor also becomes a
tool for literary writers to adorn and give color to their works.
The metaphor also used widely in philosophy, religion, politics,
commerce, history, and art. The discussion of metaphor will be
discussed in the next chapter.
B. METAPHOR
The metaphor is a kind of figurative language which uses
connotative meaning through the comparison without using the word “like” or “as”. The metaphor is considered difficult especially in
13
of the readers. It needs a deeper attention since the comparison is
conveyed implicitly.
According to Lakoff and Johnson (2003:4), Metaphor for
most people is a device of the poetic imagination and the rhetorical
flourish a matter of extraordinary rather than ordinary language.
Moreover, the metaphor is typically viewed as characteristic of
language alone, a matter of words rather than thought or action. This
may become the reason why metaphor contains connotative meaning
rather than denotative.
Moreover, Armstrong (2005:189) states that a metaphor is an
implicit comparison, most often using imagery. It means that metaphor
is a kind of figurative language comparing two objects implicitly.
According to Lakoff and Johnson (2003:152), the metaphor
could be divided into conventional metaphor and a new metaphor.
They are explained below.
1) Conventional metaphor.
It is often based on correlations which are perceived
in daily experience. That is metaphors that structured the
ordinary conceptual system of culture, which is reflected
in everyday language. For exampleTime is running out. 2) New Metaphor.
It is a metaphor which could create new meaning. This
14
understanding of experience. The new metaphor is an
active metaphor which is more creative and imaginative.
For exampleYou are my sun
Ullmann (1972:213) explains that the basic structure of
metaphor is very simple. There are two terms presents, the things we
are talking about and that to which we are comparing it. In addition,
Subroto (1995:38) explains that metaphor is created particularly based
on the similarity of two referents. The first referent in called tenor and the second is called vehicle. Moreover, Pradopo (1987: 66) states that categorically metaphor consists of two terms, main term or tenor (principal term) and the second term or vehicle (second term). The main term or tenor tells about the comparison or the things compared.
Then it is said that metaphor sees things by the medium of other
entities. This metaphor explains something with the same result which
actually has a different meaning. It can be concluded that metaphor
divided into two forms, they are tenor and vehicle.
After discussing the definition of metaphor, the researcher
will also present the conceptual metaphor adapted from George Lakoff
and Mark Johnson which it becomes the focus study in this research.
The further discussion about conceptual metaphor presents in the next
15
C. CONCEPTUAL METAPHOR
In cognitive linguistics, conceptual metaphor, or cognitive
metaphor, refers to the understanding of one idea, or conceptual
domain, in terms of another. An example of this is the understanding
of quantity in terms of directionality, for example "the price of peace is rising" or the understanding of time in terms of money, for example "I spent time at work today".
A conceptual domain can be any coherent organization of
human experience. The regularity with which different languages
employ the same metaphors, which often appear to be perceptually
based, has led to the hypothesis that the mapping between conceptual
domains corresponds to neural mappings in the brain.
Lakoff and Johnson introducing the conceptual metaphor
through their book entitled Metaphor We Live By. According to Lakoff and Johnson (2003:4), Metaphor is for most people a device of the
poetic imagination and the rhetorical flourish a matter of extraordinary
rather than ordinary language. Moreover, the metaphor is typically
viewed as characteristic of language alone, a matter of words rather
than thought or action. For this reason, most people think they can get
along perfectly well without metaphor. We have found, on the
contrary, that metaphor is pervasive in everyday life, not just in
16
terms of which we both think and act, is fundamentally metaphorical in
nature.
The concepts that govern our thought are not just matters of
the intellect. They also govern our everyday functioning, down to the
most mundane details. Our concepts structure what we perceive, how
we get around in the world, and how we relate to other people. Our
conceptual system thus plays a central role in defining our everyday
realities. If we are right in suggesting that our conceptual system is
largely metaphorical, then the way we think, what we experience, and
what we do every day is very much a matter of metaphor.
It is the way we understand metaphor through the concept of
mapping. The mapping processes of two domains that participle in
conceptual metaphor has special names. Kovecses (2002:4) adds that “the conceptual domain from which we draw metaphorical expressions
that to understand another conceptual domain is called source domain,
while the conceptual domain that understands this way is the target
domain”. By this condition, these domains will bring us into the
comprehension of the concept of the metaphor and map each other.
Source domains consist of common entities, attributes, processes and relationships, such as “The human body, Health and Illness, Animal,
Plants, Building and Construction, Movement and Direction”Kovecses
(2002:16-21). While the notion of target domain is the abstract concept
17
through conceptual metaphor, they are Emotion, Desire, Morality,
Thought, Society, Economy, Politics, Human Relationship,
Communication, and Religion, Kovecses(2002:21-25). In the mapping
process, they are believed as one structure that has a relationship to
contract with each other.
Further, an understanding of conceptual metaphor comes from Lakoff and Johnson’s (1980). They note that “LOVE IS
JOURNEY”. The concept of LIVE IS A JOURNEY can be understood
as a mapping from a source domain (JOURNEY) to a target domain
(LOVE). From the example above, the concept of love is far from the
concept of JOURNEY. LOVE cannot be understood as the image of
traveling. However, the concept of JOURNEY can construct the
concept of LOVE. It means LOVE now can be understood imaginatively as the concept of “going somewhere”.
Then, the concept can be realized in metaphorical
expressions. Here is an example,“We can go through this anymore”,
the word “go through” can be referred to the street that we usually
pass. It means that the word “we cannot” bring the relationship any
further of the JOURNEY. In this interpretation, the concept of LOVE
is conceptualized by everyday experience something into another thing
in a metaphor is called a conceptual metaphor. Technically, the
conceptual metaphor brings us to the process of reasoning of the
18 D. PREVIOUS STUDY
There are some people who have written about linguistics
analysis similar to the researcher do. In this study, the researcher takes
previous studies from other studies. As the comparison is the research from Amin (2015) entitled “Conceptual metaphor and the study of
conceptual change: research synthesis and future directions”. This
research discusses the relevance of the conceptual metaphor
perspective to the study of conceptual change. This paper first
presents a broad sketch of the study of conceptual change,
characterizing the goals of this body of work, its contributions to date,
and identifying open questions. Next, the literature on conceptual
metaphor in science education is reviewed against this background.
The review clarifies the natural theoretical connections between the
conceptual metaphor perspective and the phenomenon of conceptual
change.Thepaper concludes with a discussion of further avenues for
research into conceptual change, suggested by adopting a conceptual
metaphor perspective.
The second research comes from Putri (2013). She has done the research entitled “Metaphorical Expressions in Andre Hirata’s and
John Colombo’s Edensor”. In general, this research is intended to
know how the metaphoricalexpression in Bahasa Indonesia is
19
approach. The researcher uses from Andrea Hirata’s novel entitled
Edensor in Bahasa Indonesia and its English version translated byJohn
Colombo. The main instrument of this research is the researcher
herself andthe second instrument is the data sheets. The results of this
research show that there are two kinds of metaphor found in Andrea Hirata’s Edensor. They are a dead metaphor and live metaphor.
The third study is an analysis of metaphor translation strategy in “the fault in our stars” by John Green. This study is written by
Octavia (2015). This study is qualitative research. The data were
collecting by listing the metaphors from the source text and the
translated version. The data were analyzed by using metaphor
translation strategies which are proposed by Newmark and Larson
(1998). The finding of this research expected to help the study of
meaning related to translating the metaphor, also it can be useful for
the readers who intend to have a research on metaphor translation.
The different of the three studies with this research are, the
first study focused on the relevance of conceptual metaphor and
conceptual change, the second study analyzed the metaphorical
expression in the Edensor novel by Andrea Hirata, the third study
analyzed the metaphor translation strategy, while this research aims to
apply the Lakoffian theory about conceptual metaphor to find out the conceptual metaphor in “the old man and the sea” novel by Ernest
20
E. SYNOPSIS OF THE OLD MAN AND THE SEA NOVEL BY ERNEST HEMINGWAY
The Old Man and the Sea is a short novel written by the
American author Ernest Hemingway in 1951 in Cuba, and published in
1952. It was the last major work of fiction by Hemingway that was
published during his lifetime. One of his most famous works, it tells
the story of Santiago, an aging Cubanfisherman who struggles with a
giant marlin far out in the Gulf Stream off the coast of Cuba.
In 1953, The Old Man and the Sea was awarded thePulitzer
Prize for Fiction, and it was cited by the Nobel Committee as
contributing to their awarding of the Nobel Prize in Literature to
Hemingway in 1954.
The Old Man and the Sea tells the story of a battle between
an aging, experienced fisherman, Santiago, and a large marlin. The
story opens with Santiago having gone 84 days without catching a fish,
and now being seen as "salao", the worst form of unluckiness. He is so
unlucky that his young apprentice, Manolin, has been forbidden by his
parents to sail with him and has been told instead to fish with
successful fishermen. The boy visits Santiago's shack each night,
hauling his fishing gear, preparing food, talking about American
21
that on the next day, he will venture far out into the Gulf Stream, north
of Cuba in the Straits of Florida to fish, confident that his unlucky
streak is near its end.
On the eighty-fifth day of his unlucky streak, Santiago takes
his skiff into the Gulf Stream, sets his lines and by noon, has his bait
taken by a big fish that he is sure is a marlin. Unable to haul in the
great marlin, Santiago is instead pulled by the marlin, and two days
and nights pass with Santiago holding onto the line. Though wounded
by the struggle and in pain, Santiago expresses a compassionate
appreciation for his adversary, often referring to him as a brother. He
also determines that, because of the fish's great dignity, no one shall
deserve to eat the marlin.
On the third day, the fish begins to circle the skiff. Santiago,
worn out and almost delirious, uses all his remaining strength to pull
the fish onto its side and stab the marlin with a harpoon. Santiago
straps the marlin to the side of his skiff and heads home, thinking
about the high price the fish will bring him at the market and how
many people he will feed.
On his way in to shore, sharks are attracted to the marlin's
blood. Santiago kills a great mako shark with his harpoon, but he loses
the weapon. He makes a new harpoon by strapping his knife to the end
of an oar to help ward off the next line of sharks; five sharks are slain
22
nightfall the sharks have almost devoured the marlin's entire carcass,
leaving a skeleton consisting mostly of its backbone, its tail and its
head. Santiago knows that he is defeated and tells the sharks of how
they have killed his dreams. Upon reaching the shore before dawn on
the next day, Santiago struggles to his shack, carrying the heavy mast
on his shoulder, leaving the fish head and the bones on the shore. Once
home, he slumps onto his bed and falls into a deep sleep.
A group of fishermen gather the next day around the boat
where the fish's skeleton is still attached. One of the fishermen
measures it to be 18 feet (5.5 m) from nose to tail. Pedrico is given the
head of the fish, and the other fishermen tell Manolin to tell the old
man how sorry they are. Tourists at the nearby café mistakenly take it
for a shark. The boy, worried about the old man, cries upon finding
him safe asleep and at his injured hands. Manolin brings him
newspapers and coffee. When the old man wakes, they promise to fish
together once again. Upon his return to sleep, Santiago dreams of his
youth of lions on an African beach.
F. INTRINSIC ELEMENTS OF THE OLD MAN AND THE SEA NOVEL
1. Characters
Character is a fictional person described or impersonated in
a work of imaginative literature. The writer analyzes only the
23
involved in the novel are excluded from the analysis since they do
not have massive contribution in the story.
a. Santiago
Santiago is the hero of the story. He is an old Cuban
fisherman. In the beginning of the story he is told as having
bad luck for eighty four days without catching any single fish.
Santiago appearance is drawn in the beginning of this novel
into these descriptions:
“The old man was thin and gaunt with deep wrinkles in the
back of his neck. The brown blotches of the benevolent
skin cancer the sun brings from its reflection on the tropic
sea were on his cheeks. The blotches ran well down the
sides of his face and his hands had thedeep-creased scars
from handling heavy fish on the cords. But none of these
scars were fresh. They were as old as erosions in a fishless desert.” Ernest Hemingway (1952:5-6).
b. Manolin
Manolin, Santiago’s friend and disciple, is a good young boy.
Manolin highly respects his teacher, Santiago. Manolin believes that the eighty four days without fish of Santiago’s
will come to an end. Manolin usually goes fishing with
Santiago but when his parents command him to go with
24 c. The great marlin
The great marlin is a non-human character but this character is
important in the story line. The great marlin measures eighteen
feet from nose to tail which is two feet longer than the skiff.
His purple pectoral fins set wide as wings and the great erect
tail slicing through the dark while swimming in the water. His
eye is huge and a horse. His head and back are dark purple, the
stripes on his sides showed wide and a light lavender. The great marlin’s sword is as long as a baseball bat and tapered
like a rapier. The 87 great marlin’s tail is higher than a big
scythe blade and its color is a pale lavender.
2. Plot
The Old Man and the Sea is the story of an epic struggle
between an old, seasoned fisherman and the greatest catch of his
life. For eighty-four days, Santiago, an aged Cuban fisherman, has
set out to sea and returned empty-handed. So conspicuously
unlucky is he that the parents of his young, devoted apprentice
and friend, Manolin, have forced the boy to leave the old man in
order to fish in a more prosperous boat. Nevertheless, the boy
continues to care for the old man upon his return each night. He
helps the old man tote his gear to his ramshackle hut, secures food
25
baseball, especially the trials of the old man’s hero, Joe
DiMaggio. Santiago is confident that his unproductive streak will
soon come to an end, and he resolves to sail out farther than usual
the following day.
On the eighty-fifth day of his unlucky streak, Santiago does as promised, sailing his skiff far beyond the island’s shallow
coastal waters and venturing into the Gulf Stream. He prepares his
lines and drops them. At noon, a big fish, which he knows is a
marlin, takes the bait that Santiago has placed one hundred
fathoms deep in the waters. The old man expertly hooks the fish,
but he cannot pull it in. Instead, the fish begins to pull the boat.
Unable to tie the line fast to the boat for fear the fish would
snap a taut line, the old man bears the strain of the line with his
shoulders, back, and hands, ready to give slack should the marlin
make a run. The fish pulls the boat all through the day, through
the night, through another day, and through another night. It
swims steadily northwest until at last it tires and swims east with
the current. The entire time, Santiago endures constant pain from
the fishing line. Whenever the fish lunges, leaps, or makes a dash
for freedom, the cord cuts Santiago badly. Although wounded and
weary, the old man feels a deep empathy and admiration for the
26
On the third day the fish tires, and Santiago, sleep-deprived,
aching, and nearly delirious, manages to pull the marlin in close
enough to kill it with a harpoon thrust. Dead beside the skiff, the
marlin is the largest Santiago has ever seen. He lashes it to his
boat, raises the small mast, and sets sail for home. While Santiago
is excited by the price that the marlin will bring at market, he is
more concerned that the people who will eat the fish are unworthy
of its greatness.
As Santiago sails on with the fish, the marlin’s blood leaves
a trail in the water and attracts sharks. The first to attack is a great
mako shark, which Santiago manages to slay with the harpoon. In
the struggle, the old man loses the harpoon and lengths of
valuable rope, which leaves him vulnerable to other shark attacks.
The old man fights off the successive vicious predators as best he
can, stabbing at them with a crude spear he makes by lashing a knife to an oar, and even clubbing them with the boat’s tiller.
Although he kills several sharks, more and more appear, and by
the time night falls, Santiago’s continued fight against the scavengers is useless. They devour the marlin’s precious meat,
leaving only skeleton, head, and tail. Santiago chastises himself for going “out too far,” and for sacrificing his great and worthy
opponent. He arrives home before daybreak, stumbles back to his
27
The next morning, a crowd of amazed fishermen gathers
around the skeletal carcass of the fish, which is still lashed to the boat. Knowing nothing of the old man’s struggle, tourists at a
nearby café observe the remains of the giant marlin and mistake it
for a shark. Manolin, who has been worried sick over the old man’s absence, is moved to tears when he finds Santiago safe in
his bed. The boy fetches the old man some coffee and the daily
papers with the baseball scores, and watches him sleep. When the
old man wakes, the two agree to fish as partners once more. The
old man returns to sleep and dreams his usual dream of lions at
play on the beaches of Africa.
3. Setting
Most of the novella takes place in the old man’s boat out on
the sea. Santiago has to do battle not only with the fish, but also
with the elements, as he faces the sun and the night. The old man
interacts with his environment, commenting frequently on the sun,
moon, and stars.
4. Themes
a. The Honor in Struggle, Defeat & Death
From the very first paragraph, Santiago is characterized as
someone struggling against defeat. He has gone eighty-four
days without catching a fish—he will soon pass his own
28
Santiago’s struggle, the sail of his skiff resembles “the flag of
permanent defeat.” But the old man refuses defeat at every
turn: he resolves to sail out beyond the other fishermen to
where the biggest fish promise to be. He lands the marlin,
tying his record of eighty-seven days after a brutal three-day
fight, and he continues to ward off sharks from stealing his
prey, even though he knows the battle is useless.
Because Santiago is pitted against the creatures of the sea, some readers choose to view the tale as a chronicle of man’s
battle against the natural world, but the novella is, more accurately, the story of man’s place within nature. Both
Santiago and the marlin display qualities of pride, honor, and
bravery, and both are subject to the same eternal law: they
must kill or be killed. As Santiago reflects when he watches
the weary warbler fly toward shore, where it will inevitably
meet the hawk, the world is filled with predators, and no living
thing can escape the inevitable struggle that will lead to its death. Santiago lives according to his own observation: “man
is not made for defeat . . . man can be destroyed but not defeated.” In Hemingway’s portrait of the world, death is
inevitable, but the best men (and animals) will nonetheless
29
struggle to the death, just as hungry sharks will lay waste to an old man’s trophy catch.
The novel suggests that it is possible to transcend this
natural law. In fact, the very inevitability of destruction creates
the terms that allow a worthy man or beast to transcend it. It is
precisely through the effort to battle the inevitable that a man
can prove himself. Indeed, a man can prove this determination
over and over through the worthiness of the opponents he
chooses to face. Santiago finds the marlin worthy of a fight, just as he once found “the great negro of Cienfuegos” worthy.
His admiration for these opponents brings love and respect
into an equation with death, as their destruction becomes a point of honor and bravery that confirms Santiago’s heroic
qualities. One might characterize the equation as the working out of the statement “Because I love you, I have to kill you.”
Alternately, one might draw a parallel to the poet John Keats
and his insistence that beauty can only be comprehended in
the moment before death, as beauty bows to destruction.
Santiago, though destroyed at the end of the novella, is never defeated. Instead, he emerges as a hero. Santiago’s struggle
does not enable him to change man’s place in the world.
30
b. Pride as the Source of Greatness & Determination
Many parallels exist between Santiago and the classic
heroes of the ancient world. In addition to exhibiting terrific
strength, bravery, and moral certainty, those heroes usually
possess a tragic flaw a quality that, though admirable, leads to their eventual downfall. If pride is Santiago’s fatal flaw, he is
keenly aware of it. After sharks have destroyed the marlin, the
old man apologizes again and again to his worthy opponent.
He has ruined them both, he concedes, by sailing beyond the
usual boundaries of fishermen. Indeed, his last word on the
subject comes when he asks himself the reason for his undoing and decides, “Nothing . . . I went out too far.”
While it is certainly true that Santiago’s eighty-four-day run
of bad luck is an affront to his pride as a masterful fisherman,
and that his attempt to bear out his skills by sailing far into the
gulf waters leads to disaster, Hemingway does not condemn
his protagonist for being full of pride. On the contrary,
Santiago stands as proof that pride motivates men to greatness.
Because the old man acknowledges that he killed the mighty
marlin largely out of pride, and because his capture of the
marlin leads in turn to his heroic transcendence of defeat,
pride becomes the source of Santiago’s greatest strength.
31
have been fought, or more likely, it would have been
abandoned before the end.
Santiago’s pride also motivates his desire to transcend the
destructive forces of nature. Throughout the novel, no matter
how baleful his circumstances become, the old man exhibits
an unflagging determination to catch the marlin and bring it to shore. When the first shark arrives, Santiago’s resolve is
mentioned twice in the space of just a few paragraphs. First we are told that the old man “was full of resolution but he had
little hope.” Then, sentences later, the narrator says, “He hit
[the shark] without hope but with resolution.” The old man
meets every challenge with the same unwavering
determination: he is willing to die in order to bring in the
marlin, and he is willing to die in order to battle the feeding
sharks. It is this conscious decision to act, to fight, to never
give up that enables Santiago to avoid defeat. Although he
returns to Havana without the trophy of his long battle, he
returns with the knowledge that he has acquitted himself
proudly and manfully. Hemingway seems to suggest that
victory is not a prerequisite for honor. Instead, glory depends
upon one having the pride to see a struggle through to its end,
32
meat, would have been short-lived. The glory and honor
Santiago accrues comes not from his battle itself but from his
pride and determination to fight.
CHAPTER III
33 A. Method of Research
Research is a result of finding, developing, and testing the
knowledge corrections using method of research Hadi(1981: 4). In the
other word, when there is the problem about something that has not been
clear, research appearance is needed. In order to do the research,
methodology is necessary to help find the result of the research. Method
represents a compulsion to be used in the study and it is a way that is used
by the researcher in the collecting data
According to Hadi (1981: 221), research methodology is a
scientific method to collect the data with a goal and certain application. In
the other word, research methodology is the way the research use to collect
the data, analyze the data, and make a conclusion from the data which has
collected. In order to give valid and reliable data, the research method is
very important for a research and for accurate data (Arikunto, 2002: 136).
The researcher uses the quantitative descriptive study to identify,
describe, analyze and classify various types of Lakoffian conceptual
metaphor in The Old Man and The Sea novel. Johnson and Larry (2004:
359) state that quantitative descriptive study is designed to provide
systematic information about a phenomenon The researcher does not
usually begin with a hypothesis, but is likely to develop one after
collecting data. It can be tabulated along a continuum in numerical form,
such as scores on a test or the number of times a person chooses to use
34
information such as gender or patterns of interaction when using
technology in a group of situation.
In this study the researcher uses descriptive study to get information
about Lakoffian conceptual metaphor in The Old man and The Sea novel.
While the numeric data or the quantitative to present the data numerically
so the result of the study well understanding.
B. Object of The Research
The data of this research were taken from Ernest Hemingway’s
novel entitled “The Old Man and The Sea”. The data are in the form of
clauses or sentences considered as conceptual metaphor found in “The Old Man and The Sea” novel by Ernest Hemingway. This novel wrote by
Hemingway in 1952 under protected of Berne Convention. This novel
printed in the United States of America.
C. Data Sources
Data sources in a subject where the data acquired by
Arikunto(2010:172).Data source should original, however, if the original
source is difficult to get, photocopy or imitation is not be a problem, as
long as the evidence can be acquired.
In order to analyze the conceptual metaphor found in the old man
35
sources from the primary and secondary data. The explanations are as
follows:
1. Primary
The primary data source is the result of something found
in the field (Kurniadi, 2011: 10). It is the result of field
observation. In this research, the primary data source took from
utterances or dialogues with metaphor in The Old Man and The
Sea novel by Ernest Hemingway.
2. Secondary
The secondary data source is added data as an elaboration
of primary data and as a reference seeing the setting of the
problem (Kurniadi, 2011: 11). The researcher uses several books
related to semantics analysis, especially metaphor expression.
D. Step of Analysis
Therearemany waystocollectthedata,suchas observation, the use of
the instrument for collectingdataand documentation (Azwar, 2007:36).
Moreover, datacollectionisveryimportantinthisresearch. Since the
researcher becomes the main instrument of this research, the researcher
36
background knowledge and match them with the existing theory. The
data are collected through:
1. Re-reading the source and target versions of the Old Man and
The Sea novel by Ernest Hemingway.
2. Underlining the metaphorical expressions found in the Old
Man and The Sea Novel by Ernest Hemingway.
3. Seeking the translation of the metaphorical expressions in The
Old Man and The Sea novel By Ernest Hemingway
4. Gathering the data of metaphor in both Indonesian and English
versions of The Old Man and The Sea novel By Ernest
Hemingway.
5. Validating the data by consulting them with the experts
whether the data are considered as a metaphor or not.
6. Revising the data as a result of discussion done by the
researcher and the experts,
7. Categorizing the valid data based on the certain classification
of the conceptual metaphor found in The Old Man and The Sea
Novel by Ernest Hemingway.
8. Transferring the valid data into the table of data in certain
classifications.
9. Encoding the data in order to simplify the term of analysis data.
37 E. Techniques of Data Analysis
Bogdan in Sugiono (2013:224) define data analysis as a process of
systematically searching and arranging the interview transcripts, field
notes and other materials that accumulates to increase our own
understanding and enable you to present what you have discovered to
others. The researcher concludes that data analysis is the activity that is
heavy enough in formulating easily digest by thinking logically.
In the research, the researcher chooses four techniques of data
analysis. The explanations are as follows:
1. Data Collection
Data collection is the result of data collecting technique on
observation and documentation.
2. Data Reduction
Data reduction is the process to choose the main data to focus,
to focus on the most important data and throw up the
unnecessary one. The guideline of the data reduction is the
objectives of the research. Data reduction is a process to think
sensitively, the high intelligence and the broad knowledge.
38
Data display is a process to arrange the result of the data
reduction done by simply explaining, draft, and relation inter
categories and flowchart. The data display help the researcher
to understand what is happening and to do something further
analysis or caution on that understanding.
4. Data Verification/Conclusion
The conclusion verifies by seeing back of the data reduction
and data display after collecting the data, so the conclusion that
is take did not deviate from the problems of the research. On
the whole, to analyze the data the researcher must find and
collect the data in the field and then the data is being learned.
The researcher chooses the relevance data toward the study to
solve the problems.
CHAPTER IV
DATA PRESENTATION AND DISCUSSIONS
A. DATA DISPLAY
40
furled, it looked like
the flag of permanent defeat. (Hemingway’s
1952:9)
b. He was sorry for the
birds, especially the
small delicate dark
terns that were always
flying and looking and
almost never finding,
and he thought, the
birds have a harder life
than we do except for
the robber birds and
the heavy strong
ones.(Hemingway’s
1952:29)
B2
c. “If you were my boy I’d take you out and
gamble,” he said. “But
you are your father’s
41
and your mother’s and
you are in a lucky boat.”(Hemingway’s
1952:13)
d. “Eighty-five is a lucky number,” the old man
said. (Hemingway’s
1952:16)
e. But it is good that we
do not have to try to
kill the sun or the
moon or the
stars.(Hemingway’s
1952:75)
f. It was then he knew
the dept of his
tiredness (Hemingway’s
1952:121)
B4
B5
42
3. LIFE IS SUFFERING a. He lay in the stern in
the sun, compact and
bullet shaped, his big,
unintelligent eyes
staring as he thumped
his lifeout against the
planking of the boat
with the quick
shivering strokes of his
neat, fast-moving tail. (Hemingway’s
1952:38)
C1
b. It will uncramp
though, he thought.
Surely it will uncramp
to help my right hand.
There are three things
that are brothers: the
fish and my two
hands.(Hemingway’s
1952:64)
46
d. He was stillsleeping on
his face and the boy
was sitting by him
watching
him.(Hemingway’s
1952:127)
H4
From the data, the researcher will analyze the sentences according
to the problem questions of the research. In general, there are 21 sentences
found by the researcher with eight Lakoffian conceptual metaphor
mapping. The explanation of each part will be present in the next chapter.
B. Metaphors found in Ernest Hemingway’s novel “The Old Man and
The Sea”.
1. The first pattern:PERSON IS ALARM CLOCK
From the pattern “Person is alarm clock” the researcher found two metaphorical data in Ernest Hemingway’s novel “The Old Man and
The Sea”. The explanation can be seen as follows:
47
In the above metaphorical expression, the source domain is the abstract form of the word “you” whereas the target domain is
the concrete form of the word “alarm clock”.
In the expression above, the phrase "you are my alarm
clock ... " is used to express "the old man". If both are compared to
the element that has the same meaning would be "the waker (SL) /
tukangmembangunkan (TL)", and distinguishing the meaning of
"the old man" who is "human / manusia” and "alarm clock" is
"objects driven by mechanical power". It compares two concepts of
"alarm clock" that interact with "the old man".
The story context of the metaphorical expression above is
when the Old man tried to wake the boy up, then the boy said that
the old man is his alarm clock or the waker.
b. “Age is my alarm clock,” the old man said.(code: A2)
In the above metaphorical expression, the source domain is the abstract form of the word “age” whereas the target domain is
the concrete form of the word “alarm clock”.
In the expression above, the phrase "age is my alarm clock ... " is used to express "the old man’s age". If both are compared to
the element that has the same meaning would be "the waker /
48
old man’s age" and "alarm clock" is "objects driven by mechanical
power". It compared two concepts of "alarm clock" that interact with "the old man’s age".
The story context of the metaphorical expression above is
that the old man thinks that his age as his waker. In this case, the
researcher concludes that the old man wants to tell the boy that he
was old. For that reason, the old man should be wise in whatever
he does.
2. The second pattern:LIFE IS STRUGGLE
From the pattern “Life is a struggle” the researcher found five
metaphorical data in Ernest Hemingway’s novel “The Old Man and The Sea”. The explanation can be seen as follows:
a. The sail was patched with flour sacks and, furled, it looked like the flag of permanent defeat. (code:B1)
In the above metaphorical expression, the source domain is the abstract form of the word “furled” whereas the target domain is the
concrete form of the word “flag of permanent defeat”.
In the expression above, the phrase "furled, it looked like the flag of permanent defeat" is used to express "the old man bad condition where he had gone about eighty-four days without taking a
49
would be "struggle". The author tries to tell the reader about the
condition of the old man which have not taken a fish after he fished
about eighty-four days whereas the boy who accompanied him
fishing in the first forty days catch three good fish after he goes to
another place in the first. The boy thought that the old man was so
pity. It draws that the old man is struggling much in his life
b. He was sorry for the birds, especially the small delicate dark terns
that were always flying and looking and almost never finding, and he
thought, the birds have a harder life than we do except for the robber birds and the heavy strong ones.(code:B2)
In the above metaphorical expression, the source domain is the abstract form of the phrase “the birds have a harder life than we do”,
whereas the target domain is the concrete form of the sentence “except for the robber birds and the heavy strong ones”.
In the expression above, the phrase “the birds have a harder
life than we do except for the robber birds and the heavy strong
ones”is used to express "how hard the bird’s life". If both are compared to the element that has the same meaning would be
"struggle of the bird to catch fish to eat". The author tries to tell the
reader abouthow the bird found the food in this case fish. The old
man worried about the sea condition. He could not catch the fish for
