H
G
U
O
R
H
T
D
E
L
A
E
V
E
R
S
E
G
A
S
S
E
M
L
A
R
O
M
E
H
T
S
E
C
N
A
R
F
N
I
E
C
N
E
I
R
E
P
X
E
S
’
R
E
T
C
A
R
A
H
C
N
I
A
M
E
H
T
S
’
T
T
E
N
R
U
B
A
L
I
T
T
L
E
P
R
I
N
C
E
S
S
S I S E H T E T A U D A R G R E D N U N A
s t n e m e ri u q e R e h t f o t n e m ll if l u F l a it r a P s a d e t n e s e r P
f o e e r g e D e h t r o
f SarjanaSatra s r e tt e L h s il g n E n i
y
B
I
L
I
C
E
A
C
A
R
A
N
I
A
P
R
A
Y
A
S
T
I
A
N
T
I
4
2
0
4
1
2
4
8
0
:
r
e
b
m
u
N
t
n
e
d
u
t
S
D
U
T
S
S
R
E
T
T
E
L
H
S
I
L
G
N
E
Y
P
R
O
G
R
A
M
M
E
S
R
E
T
T
E
L
H
S
I
L
G
N
E
F
O
T
N
E
M
T
R
A
P
E
D
S
R
E
T
T
E
L
F
O
Y
T
L
U
C
A
F
Y
T
I
S
R
E
V
I
N
U
A
M
R
A
H
D
A
T
A
N
A
S
A
T
R
A
K
A
Y
G
O
Y
i
E
H
T
M
O
R
A
L
M
E
S
S
A
G
E
S
R
E
V
E
A
L
E
D
T
H
R
O
U
G
H
R
E
T
C
A
R
A
H
C
N
I
A
M
E
H
T
’
S
E
X
P
E
R
I
E
N
C
E
I
N
F
R
A
N
C
E
S
E
N
R
U
B
T
T
’
S
A
L
I
T
T
L
E
P
R
I
N
C
E
S
S
S I S E H T E T A U D A R G R E D N U N A
s t n e m e ri u q e R e h t f o t n e m ll if l u F l a it r a P s a d e t n e s e r P
f o e e r g e D e h t r o
f SarjanaSatra s r e tt e L h s il g n E n i
y
B
I
T
N
A
I
T
S
A
Y
A
R
P
A
I
N
A
R
A
I
L
I
C
E
A
C
4
2
0
4
1
2
4
8
0
:
r
e
b
m
u
N
t
n
e
d
u
t
S
D
U
T
S
S
R
E
T
T
E
L
H
S
I
L
G
N
E
Y
P
R
O
G
R
A
M
M
E
P
E
D
A
R
T
M
E
N
T
O
F
E
N
G
L
I
S
H
L
E
T
T
E
R
S
S
R
E
T
T
E
L
F
O
Y
T
L
U
C
A
F
Y
T
I
S
R
E
V
I
N
U
A
M
R
A
H
D
A
T
A
N
A
S
A
T
R
A
K
A
Y
G
O
Y
v i
r
a
e
T
h
c
a
E
r
a
e
t
h
c
a
e
n
I
,
n
o
s
s
e
l
a
s
'
e
r
e
h
T
e
r
o
f
e
b
n
a
h
t
r
e
s
i
w
u
o
y
s
e
k
a
M
u
o
y
n
a
h
t
r
e
g
n
o
rt
s
u
o
y
s
e
k
a
M
w
o
n
k
r
a
e
t
h
c
a
e
n
I
s
m
a
e
r
d
r
u
o
y
o
t
r
e
s
o
l
c
u
o
y
s
g
n
ir
B
k
a
e
r
b
tr
a
e
h
o
n
,
e
k
a
t
s
i
m
o
N
t
n
a
e
m
e
r'
u
o
y
t
a
h
w
y
a
w
a
e
k
a
t
n
a
C
e
b
o
t
v
:
o
t
k
r
o
w
s
i
h
t
d
e
t
a
c
i
d
e
d
I
d
n
a
y
li
m
a
f
y
M
m
y
f
u
t
u
r
e
d
n
a
a
y
r
e
s
i
m
n
i
e
v
il
o
h
w
n
e
r
d
li
h
C
n
d
g
n
ir
e
ff
u
s
.
d
a
b
y
r
e
v
e
n
i
e
p
o
h
a
s
’
e
r
e
h
T
“
i v
N A U J U T E S R E P N A A T A Y N R E P R A B M E L
S I M E D A K A N A G N I T N E P E K K U T N U H A I M L I A Y R A K I S A K I L B U P
: a m r a h D a t a n a S s a ti s r e v i n U i w s i s a h a m a y a s ,i n i h a w a b i d n a g n a t a d n a tr e b g n a Y
a m a
N :CaeciilaRaniaPrayasitanit m
o
N o rMahasiswa :084214024
n a a k a t s u p r e P a d a p e k n a k ir e b m e m a y a s , n a u h a t e g n e p u m li n a g n a b m e g n e p i m e D
:l u d u jr e b g n a y a y a s h a i m li a y r a k a m r a h D a t a n a S a ti s r e v i n U
N I A M E H T H G U O R H T D E L A E V E R S E G A S S E M L A R O M E H T
E L T T I L A S ’ T T E N R U B S E C N A R F N I D E C N E I R E P X E S ’ R E T C A R A H C
S S E C N I R P
n a k ir e b m e m a y a s n a i k i m e d n a g n e D . ) a d a a li b ( n a k a n u g i d g n a y t a k g n a r e p a tr e s e B
, n a p m i y n e m k u t n u k a h a m r a h D a t a n a S s a ti s r e v i n U n a a k a t s u p r e P a d a p e k
n a l a k g n a p k u t n e b m a l a d a y n a l o l e g n e m , n i a l a i d e m k u t n e b m a l a d n a k h il a g n e m
a r a c e s n a k i s u b ir t s i d n e m , a t a
d terbatas ,dan mempubilkasikannya d iInterne tatau a y a s i r a d n ij i a t n i m e m u lr e p a p n a t s i m e d a k a n a g n it n e p e k k u t n u n i a l a i d e m
a y a s a m a n n a k m u t n a c n e m p a t e t a m a l e s a y a s a d a p e k y tl a y o r n a k ir e b m e m n u p u a m
.s il u n e p i a g a b e s
n a g n e d t a u b a y a s i n i n a a t a y n r e p n a i k i m e
D sebenarnya.
3 1 0 2 i r a u r b e F 1 , a tr a k a y g o Y
n a k a t a y n e m g n a Y
ii v
S A T I L A N I S I R O N A A T A Y N R E P R A B M E L
: a m r a h D a t a n a S s a ti s r e v i n U a w s i s a h a m a y a s ,i n i h a w a b i d n a g n a t a d n a tr e b g n a Y
a m a
N : CaeciilaRaniaPrayasitanit u
d n I r o m o
N kMahasiswa : 084214024
: l u d u jr e b g n a y h a i m li a y r a k n u s u y n e p i a g a b e s a w h a b n a k a t a y n e m
H
G
U
O
R
H
T
D
E
L
A
E
V
E
R
E
G
A
S
S
E
M
L
A
R
O
M
E
H
T
S
E
C
N
A
R
F
N
I
E
C
N
E
I
R
E
P
X
E
S
’
R
E
T
C
A
R
A
H
C
N
I
A
M
E
H
T
S
’
T
T
E
N
R
U
B
A
L
I
T
T
L
E
P
R
I
N
C
E
S
S
n a s a g a g n a il s a e k s a t a h u n e p b a w a j g n u g g n a tr e b a y a
s -gagasan yang tetruang
e d i a l a g e S . i n i h a i m li a y r a k m a l a d h p a r g a r a p n a d , t a m il a k , a t a k k u t n e b m a l a d
r e b m u s a d a p k u j u r a y a s h a l e t ir i d n e s a y a s n a ri k i m e p l i s a h i r a d l a s a r e b n a k u b g n a y
.t i a k r e t i s n e r e f e r u a t a
. a y n r a n e b e s n a g n e d t a u b a y a s i n i n a a t a y n r e p n a i k i m e D
k a y g o
Y atra ,31J anuar i2013 n
a k a t a y n e m g n a Y
ii i v
S T N E M E G D E L W O N K C A
, . S . S , i n a d n a i s o R u t u P h u L i N , r o s i v d a y m o t s e o g e d u ti t a r g p e e d y M
s i s e h t y m e k a m o t e c i v d a d n a n o it s e g g u s r e h , e c n e it a p r e h r o f k n a h t I . . m u H . M
tt e
b er . Ialso t hankE ilsaDw iWardani ,S.S. ,M .Hum f ort heguidancealong t he .
e c n e f e d s i s e h t e h t e r o f e b s s e c o r p
, e v o l r i e h T . d a d d n a m o m y m o t o s l a s e o g e d u ti t a r g p e e d t x e n y M
I . p u e v i g y li s a e t o n d n a h g u o t e m e d a m e v a h g n i d n a t s r e d n u d n a , e c i v d a , e c n e it a p
y m o t n e t s il o t e c n e it a p s i h r o f a m a t U o d n a L n e v o N s u l u a P k n a h t o t t n a w o s l a
. m i h d e e n I r e v e n e h w e m y n a p m o c c a d n a y r o t s
r i e h t r o f y s s i S d n a , a y a Y , a s il i e M , s d n e ir f t s e b y m k n a h t o s l a d l u o w I
a w l a n a c I , y ti c s i h t n i t o n e r a m e h t f o l l a h g u o h tl A . tr o p p u
s ysf eelt hei rsuppo tr . I
, a s i G , e v a S , e m ir c n i s r e n tr a p y m g n i e b r o f n e c A d n a t a c u P k n a h t o t t n a w o s l a
, a il u A , i v E , n ir n i R , i n e
D Diana ,Momon ,and Yeyen . Iwli lno tforge tevery .r
e h t e g o t t n e p s e v a h e w t n e m o m
i n U a m r a h D a t a n a S e h t ll a k n a h t o s l a I , y ll a n i
F verstiy andEngilsh Letters
. e c i v d a d n a t r o p p u s ri e h t r o f m e h t k n a h t y ll a e r I .s f f a t s t n e m tr a p e D
x i
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
x T C A R T S B A it n a it s a y a r P a i n a R a il i c e a
C . THE MORAL MESSAGES REVEALED
E C N E I R E P X E S ’ R E T C A R A H C N I A M E H T H G U O R H
T IN FRANCES
S ’ T T E N R U
B A LITTLE PRINCESS Yogyakatra : Depatrmen t o f Engilsh a F , s r e tt e
L cutlyo fLetters ,SanataDharmaUniverstiy ,2013. s s e c n i r P e lt ti L
A i sa chlidren’ sltierature w irtten by France sHodgson d e lt it s a w l e v o n s i h t t s ri f t A . tt e n r u
B Sara Crewe or ,Wha thappened a tMis s l o o h c s g n i d r a o b s ' n i h c n i
M andpubilshedi namagazine .Burnet talsomadeaplay e m o s d a h l e v o n s i h t h g u o h tl A . e w e r C a r a S f o y r o t s e h t m o r
f revision ,s themain
e h t , e w e r C a r a S t u o b a s ll e t ti : e m a s e h t e r a y r o t s e h t f o t n i o p e h t d n a r e t c a r a h c f u s r e h n i s e v i v r u s e h s w o h s ll e t d n a r o o p s e m o c e b o h w l ri g e lt ti l h c
ir feirng a sa
d e l a e v e r s e g a s s e m l a r o m e h t e n i m a x e o t s m i a s i s e h t e t a u d a r g r e d n u s i h T . d i a m . e c n e ir e p x e s ’ r e t c a r a h c n i a m e h t h g u o r h t s i h t n i n o i s s u c s i d e h t t i m il d n a e d i u g o t d e t a l u m r o f e r a s m e l b o r p o w T e h t f o n o it p ir c s e d e h t s n o it s e u q m e l b o r p t s ri f e h T . y d u t
s main character .The
n i a m e h t h g u o r h t d e l a e v e r s a s e g a s s e m l a r o m e h t s n o it s e u q m e l b o r p d n o c e s . e c n e ir e p x e s ’ r e t c a r a h c o t h c r a e s e r y r a r b il s e ri u q e r s i s e h t e t a u d a r g r e d n u s i h t f o g n it ir w e h T s e h t ,s l a n r u o j ,s k o o b h g u o r h t d e t c e ll o c e r a a t a d e c r u o s e h T . t c u d n o
c es ,and web
-e h t s e z y l a n a t i e s u a c e b , h c a o r p p a c it s il a m r o f s e il p p a y d u t s s i h T . s e l c it r a d e s a b .t n e m e l e c i s n ir t n i s ti n o d e s a b k r o w y r a r e ti l s ’t t e n r u B n i r e t c a r a h c n i a m e h t , e w e r C a r a S t a h t s w o h s s i s y l a n a e h T A s s e c n i r P e lt ti
L ,ha ssevera ldominan tatttiudeandbehavior :shei smaturet ha tshe ll e w d n a e ti l o p d n a , tl u d a n a e k il n o it a u ti s n i a tr e c a n i fl e s r e h t e g o t w o h s w o n k s i e h s t a h t g n ir a c , s e it l u c if fi d r e h n i t a h t e k il e b o t s t s i s r e p e h s t a h t d e r e n n a m d n a , t a h w r e tt a m o n s r e h t o p l e h o t y d a e
r opitmistict ha tmake sherf ee lbette rand h
g u o
t .Thoseatttiudeandbehavio rares hownt hroughoutt henovelt hroughSara’ s d n a h c e e p s r e h , r e h t o n a y b n e e s s a a r a S , s n o it c a e r , m s ir e n n a m , s t h g u o h t .s r e h t o f o n o it a s r e v n o
c Somemora lmessagest ha tcanbegainedt hrought hemain e b o t l a it n e s s e s i t i , s e it l u c if fi d n i h g u o t e b o t l a it n e s s e s i t i t a h t e r a r e t c a r a h c h ti w e c n e d if n o c s a h d n a e r u s e b t s u m e n o t a h t d n a , k a e w e h t o t y ll a i c e p s e g n ir a c r e h r o s i
i x A R T S B A K it n a it s a y a r P a i n a R a il i c e a
C . THE MORAL MESSAGES REVEALED
R E T C A R A H C N I A M E H T H G U O R H
T ’S EXPERIENCE IN FRANCES
S ’ T T E N R U
B A LITTLE PRINCESS Yogyakatra : Jurusan Sasrta Ingg irs , a
F kutla sSasrta ,Universtia sSanataDharma ,2013. s s e c n i r P e lt ti L
A adalah sasrta anak-anak yang d i tuil soleh France s l u d u jr e b i n i l e v o n , a y n l a w a a d a P . tt e n r u B n o s g d o
H Sara Crewe atau 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 dan karya tiu dipub ilkasikan d i
. h a l a j a m h a u b e s m a l a
d Burnet tjuga membua tsebuah drama tentang bercertia e w e r C a r a
S .Walaupun nove lin itelah mengalam ibanyak revisi ,pemain utama g n a r o e s , e w e r C a r a S g n a t n e t a ti r e c r e b i n i l e v o n : h a b u r e b k a d it a y n a ti r e s i t n i n a d m a l a d n a h a tr e b a i d a n a m i a g a b n a d n i k s i m h u t a j g n a y a y a k l i c e k k a n a n u n a u j u tr e b i n i i s p ir k S . u t n a b m e p i a g a b e s a y n n a a ti r e d n e
p tuk menelti ipesan
a m a t u h o k o t n a m a l a g n e p i u l a l e m n a k p a k g n u i d g n a y l a r o m n a a y n a tr e P . i n i k i p o t s a h a b m e m k u t n u n a k s u m u ri d g n a y h a l a s a m a u d a d A . a m a t u h o k o t g n a s u k a li r e p n a d t a fi s n a r a b m a g g n e p n a g n e d n a a n e k r e b a m a tr e p a s e p n a g n e d n a a n e k r e b a u d e k n a a y n a tr e
P n mora l yang diungkapkan lewa t
. a m a t u h o k o t n a m a l a g n e p g n a y a t a d r e b m u S . a k a t s u p i d u t s n a k p a r e n e m i n i i s p ir k s n a s il u n e P u k u b i r a d h a l a d a n a k l u p m u k i
d -buku , tesis-tesis , dan aritkel-aritke l internet . a n e r a k , k it s il a m r o f n a t a k e d n e p n a k a n u g g n e m i n i n a it il e n e
P peneilitan in i
. a y n k i s n ir t n i r u s n u n a k r a s a d r e b a rt s a s a y r a k s i s il a n a g n e m l e v o n m a l a d a m a t u h o k o t , e w e r C a r a S a w h a b n a k k u j n u n e m s i s il a n a l i s a H s s e c n i r P e lt ti L
A karanganFrance sHodgsonBurnett ,memiilk isejumlahsfia tdan a s a w e d u ti a i d : n a n i m o d u k a li r e
p karena dia tahu bagaimana menempatkan n a u k a l e k r e b n a d n a p o s a g u j , a s a w e d g n a r o i tr e p e s u t n e tr e t i s i d n o k m a l a d a y n ir i d , n a h a d n e r u t n a b m e p i d a j n e m a y n s u t a t s n u p u a l a w u ti i tr e p e s p a t e t a i d n a k h a b k i a b y n u p a p a n a ti l u s e k g n a y n u p a p a i s u t n a b m e m p a i s a i d ; il u d e
p ang tejradi ,dan
s i m it p
o membuatnyamerasal ebihbaikdan t egar .Sfiat-sfiatt ersebu tdtiamplikan n i a l g n a r o i n i p o , a y n i s k a e r , a y n u k a li r e p , a r a S n a ri k i p i u l a l e m l e v o n g n a j n a p e s i d a p a r e b e B . a y n g n a t n e t n i a l h o k o t n a p a k a c r e p n a d , a y n a r a c i b a r a c , a y n g n a t n e t
pesan mora lyang dapa tdiambi ldar itanggapan-tanggapan tokoh utama adalah g n it n e p h a lt a g n a s , ti l u s i s a u ti s m a l a d i d r a g e t k u t n u g n it n e p h a lt a g n a s a w h a b n a d n i k a y s u r a h a ti k a w h a b n a d , h a m e l g n a y a d a p e k a m a t u r e t i l u d e p k u t n u li n n a d n a u p m a m e k n a g n e d a y a c r e
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
l orl fie .Peopleshouldcareabou t r
e ti
l ature ,becauset heycanl earnmanyt hingsf romal tierarywork .Ltierarywork s t
c e lf e
r seire so fhappeningo fhuman’sl fiesuchconfilct sandhowt os rtugglewtih ,
s t c il f n o c e h
t behaviors, and atttiude so fhuman beings .Tha twas wha tWliilam n
o s d u H y r n e
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
D ai n driec t
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
. n o it c if s i y r o t s e h t s e m it e m o
s Reader sexploret her oleoft hecharacterst hrough r
a n t a h
w rato ri s saying ,the plot ,setitngs ,characteirzaiton ,and conversaiton .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
e g a s s e
m s .Alll tierarywork smayconveyoneo rmoremessages .Reader sobserve s
d n e p e d t i e s u a c e b , y l e v it c e j b u s k r o w y r a r e ti l
a on thei r own expeirence ,
d n a , d n u o r g k c a b , e g d e l w o n
k so fo trh . Dfiferen t reader s may ge t d fiferen t k
r o w y r a r e ti l a m o r f s e g a s s e
m .
. e r u t a r e ti l s ’ n e r d li h c s i m e h t f o e n o ; e r u t a r e ti l f o s e r n e g f o t o l a e r a e r e h T
n i d a e r g n it s e r e t n i n a e b s y a w l a e r u t a r e ti l s ’ n e r d li h
C gf o rchlidrenandadutls ,even
r f t n e r e f fi d e r a n e r d li h c h g u o h
t om adutls .The story i sno ta scompilcated a s r
a r e ti
l y work sfo radu tl ,but i thasmany t hingst o l earn .RebeccaJ .Lukens i n A e
r u t a r e ti L s ’ n e r d li h C f o k o o b d n a H l a c it i r
C as sy tt ha
d n a t n e m y o j n e e m a s e h t e d i v o r p d l u o h s d n a n a c n e r d li h c r o f e r u t a r e ti L
r e d n
u standing a sdoe sltierature fo radu tls .Chlidren also seek pleasure t a h t o s , d e ti m il e r o m e r a e r u s a e l p r i e h t f o s e c r u o s e h t t u b , y r o t s a m o r f
e h t d n a t s r e d n u t o n y a m y e h
t samecomplextiyi deas(1992 :7 .) h
c i h w e s o p r u p a s a h e r u t a r e ti l s ’ n e r d li h
C simliart o theotherl tierature;t o e h t s a h e r u t a r e ti l s ’ n e r d li h c h g u o h t n e v E . y r o t s e h t m o r f e r u s a e l p e v i g o t , n i a tr e t n e
e b o t r e i s a e e b o t s a h e r u t a r e ti l s ’ n e r d li h c , s ’t l u d a s a e s o p r u p e m a
s understood ,
n a h t d e ti m il e r o m e r a s a e d i d n a s e c n e ir e p x e s ’ n e r d li h c e s u a c e
b adu tl .Atlhough
o t tr a e h d n a d n i m s ’ r e d a e r tl u d a n e p o o s l a n a c y r o t s e h t , n e r d li h c r o f s i y r o t s e h t
n e p p a h y ti l a e r e h t n r a e
l i ng in the wo lrd. Lynch-Brown and Tomilnson in e
r u t a r e ti L s ’ n e r d li h C f o s l a it n e s s
E ys a
f o s e c n e ir e p x e e h t t u o b a e r a s k o o b s ’ n e r d li h
C chlidhood ,both good and
n a m u h d n a l a r u t a n f o m it c i v a s a n e r d li h c w o h s s e ir o t s n e h W … d a
b -made
,s r e t s a s i
d thesto ire sshould emphasize t hehopefo ra bette rfuturerathe r t
n e m o m e h t f o r i a p s e d r e tt u d n a s s e n s s e l e p o h e h t n a h
t (1999 :2)
r u t a r e ti l s ’ n e r d li h
C e should show some expeirence swhich t each chlidren e
p o h a e v a h o
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
M .Burnettt hent urnedt henoveli nto at hree-ac tplayi n1902wtih itlteA n
U e lt ti
L -FairyPrincess.I n1905t henove lwasr evisedi ntoaf ul lpresentt o beA s
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
. 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
A Righ tandReason :Ethicsi nTheoryandPracitce say s .)
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
F abovemen itoned deifniiton , mora l message means an easy n
o i s u l c n o
c ori dea, whichi smorallygood, tha tcanbesummairzedinsideawork 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
s a n a g e b y r o t s s ’ a r a
S aseira lpubilcation i nachlidren’ smagazineandwa s e
h t r o f d e m r o f s n a rt y ll a u t n e v
e London and New York stage ,and then a
s a y ll a n
if novel . By studying these expanding state s o f autho ira l f o e c n a tr o p m i e h t n r a e l e w , e r u t a r e ti l f o s e r n e g e ri t n e s s o r c a n o it n e t n
i each
e t a t
s a sa single w irtten enttiy and how each subsequen tstateeffect sthe g
n il l e t e r t x e
n fo SaraCrewe .(2007 :17)
, t n e m e t a t s t a h t m o r
F i tcan besaidtha tResle rwantst odiscus sabou thow
w a r a S t u o b a y r o t s e h
t a s rtansformed .Resler’st hesi sexplained t ha tBurnet thad
o t n i m e h t m r o f s n a rt d n a d o o h d li h c f o s t c e p s a l a s r e v i n u e r u t p a c e r o t y ti li b a n a
d i a s o s l a r e l s e R . s e l a t y ri a f r o c it s a t n a f e h t f o s t n e m e l e g n i n i a t n o c s e ir o t s c it s il a e r
t a h
t wtihhe rstudy ,wel earn how each subsequen tstateaffectst henextr etelilng
.r e t c a r a h c n i a m e h t , e w e r C a r a S f
o I tcan be concluded tha tthrough Resler’ s
a r a S t u o b a t x e t t s ri f e h t f o s e c n e u lf n i e h t t u o b a n e e s e b n a c t i , y a s s
e i ssaidhaving
s e c n e u lf n
i to the othe rtext .s She also said tha the rresearch can show ralaiton
e e w t e
b nt heauthor’sl fie,t hei rsto ires ,andcharacters( 2007 :73 .)Meanwhlie,t hi s
s i s e h t e t a u d a r g r e d n
u doe sno tu sethe i n lfuence o fauthor’s l fieand background.
.s t n e m e l e c i s n ir t n i n o s e s u c o f y l n o s i s e h t e t a u d a r g r e d n u s i h T
e h
T thesi so fDew iSuilsitana from Universtia sMuhammadiyah Malang
. y d u t s s i h t s a t c e j b o e m a s e h t d e z y l a n
a In her thesi s itlted An Analy is so fSara g
n i r e ff u S s ’ e w e r
C (http://digiilb.umm.aci.d/gd.lphp? ,2005)10Septembe r2011. o t d e ir t e h s e s u a c e b n g i s e d h c r a e s e r e v it p ir c s e d d e s u r e ti r w e h
T analyze
e h T . s g n ir e f f u s s ’ e w e r C a r a S n o g n i s u c o f y b y l e v it p ir c s e d l e v o n e h t
e h t n o d e s u c o f y d u t s s i h t e s u a c e b , h c a o r p p a e v it c e j b o s a w d e s u h c a o r p p a
e h t f o d n u o r g k c a b e h t , e fi l s ’ r o h t u a g n ir e d i s n o c t u o h ti w t c u d o r p y r a r e ti l
h t f o d n u o r g k c a b e h t d n a y t e i c o
s e work. (http://digiilb.umm.aci.d ) 2 2
1 0 2 i r a u r b e F
s ’ r o h t u a f o 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 z y l a n a e h S
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 , e fi
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
The autho rgive sreader sdriec tknowledge o fwha ta person i sthinking
e l p o e p t n e r e f fi d t a h w s r e d a e r e h t l l e
t are thinking of .In the novel ,i ti s
t e r c e s a e v a h y e h t ; n o it i s o p d e g e li v ir p a n i e r a n e h t s r e d a e r e h T . e l b a t p e c c a
.l e v o n a n i n o s r e p a f o s t h g u o h t t s o m n i e h t o t n i d e g g u l p e c i v e d g n i n e t s il
.
g Manneirsm
Theautho rcan desc irbeaperson’ smanneirsm ,s habti sori diosyncrasies .I t
.s c it s ir e t c a r a h c s ’ r e t c a r a h c t u o b a g n i h t e m o s s r e d a e r ll e t y a m
.
2 Theoryo fMora lMessage e
m o c e r u t a r e ti
L s from events tt ha happenedi nhuman’sl fie .According t o
n i n o s d u H y r n e H m a il li
W An Introduciton t o t heStudy o fLtierature, “Ltierature , ti f o d e c n e ir e p x e e v a h y e h t t a h w , e fi l n i n e e s e v a h n e m t a h w f o d r o c e r l a ti v a s i
t s o m e h t e v a h h c i h w t i f o s t c e p s a e s o h t t u o b a t l e f d n a t h g u o h t e v a h y e h t t a h w
r u t a r e ti l t a h t s n a e m t I .) 0 1 : 8 5 9 1 ( ” s u f o l l a r o f t s e r e t n i g n ir u d n e d n a e t a i d e m m
i e
. e fi l s ’ n a m u h f o n o i s s e r p x e e h t s
i In l fie ,people need t o know how t o do good
n r a e l y b s g n i h
t i ngfromexpeirences;t hei rownexpeirence so rothe rpeople’s .Tha t
t y h w s
i heycan oa ls learnaboutl fiefromltieraryworks.
h c n y
L - oB wr n and Tomilnson say ,“Cetrainly a well-wirtten book may
y r o t s d o o g a l l e t o s l a d l u o h s t i t u b , e g a s s e m l a r o m a y e v n o
c from which the
d o o g a t a h t s w o h s t I . ) 0 3 : 9 9 9 1 ( ” s e v l o v e e g a s s e
m ltierature , especially fo r
n e r d li h
c ,ha smora lmessage .Even t hough mora lmessage i n chlidren’ s ilterature
t u o h ti w g n o r w d n a t h g ir f o e s n e s a p o l e v e d o t d e l e b n a c n e r d li h c “ , c it c a d i d s i
.) 1 3 : 9 9 9 1 ( ” d e t a n ir t c o d n i g n i e b e r a y e h t fi s a g n il e e
f “Mora lvaluesareembedded
) 1 3 : 9 9 9 1 ( ” y r o t s l u f r e w o p a f o c ir b a f e h t n i h ti
w ,sot hatt ha ttii ssubltyconveyed
.r e d a e r e h t o
n i r e n d r a G n h o J o t g n i d r o c c
A OnMora lFiciton, t“he rtadiitona lviewt ha t s
i rtuei smora:l i tseekst o i mprovel fie ,no tdebase ti”(1933 : 5 .) Mora laims t o
e h t o h c a e d n a s e v l e s r u o r o f n o s r e p r e tt e b a e b o t n a m u h a s a y ti l a u q e h t e v o r p m
i r ,
. g n o r w m o r f t h g ir g n il l e t s i l a r o m e s u a c e b n i y e h t o g a F n it s u
A Righ tandReason :Ethicsi nTheoryand Pracitcesay s t
a h
t “the oppostie o fmora li spropelry non-moral ,unmoral ,o ramoral , s s i t i t a h t , ll a t a e c n a c if i n g i s l a r o m o n s a h t c a e h t t a h t g n i n a e
m imply
y lr a e l c n e h W . d a b y ll a r o m s n a e m l a r o m m i m r e t e h T . s l a r o m o t d e t a l e r n u . ) 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 ,l a r o m m i o t d e s o p p o y e h t o g a F m o r f n o it a t o u q e h
T aboveist oemphasize t heword o fmoral si
.s g n i h t d o o g o t e t a l e r y l n o y t a e B e m o r e
J and Pau lHunte rin New World o fLtierature state tha t “messagemake seffo trt oi nformo rconvince” (1989 :899 .) I tmeanst ha tmessage
d n u o f e l p o e p t a h t n o i s u l c n o c a s
i whichtirest oi nformpeoplei deasi nsideawork ,
. e r u t a r e ti l f o k r o w a s i e s a c s i h t n i a h y ll a u s u l e v o n e k il n o it c i
F s message ,based on author’st hough tofi dea ,
e m o c e d a m r o h t u a e h t t a h t y r o t s e h T . t s e r e t n i d n a , f e il e
b s from t hewayhe ilves ,
s d n e p e d e g a s s e m e h t t e g l li w s r e d a e r e h T . d e c n e ir e p x e s i h d n a , s k n i h t e h y a w e h t f o n o i s i v e h t n
o thepersonwhomakest hes toryort heauthor’ spoin to fview .The
t i t e r p r e t n i o t e v a h k r o w y r a r e ti l a f o e g a s s e m e h t t e r p r e t n i o t t n a w o h w s r e d a e r n i d i a s n o s d u H e k il t s u J . y r o t s e h t e d i s n i e fi l e h t d n a y r o t s e h t n o d e s a
b An
L f o y d u t S e h t o t n o it c u d o r t n
I tierature,
s ti o t n i n a c e w s a y l p e e d s a e t a rt e n e p o t y rt e w d n a , k o o b t a e r g a e k a t e W r u o o d e w d n a , s u l l e t o t s a h e h t a h w o t y l e v it n e tt a n e t s il e W . e fi l l a n o s r e p e t o n e W . g n il e e f d n a t h g u o h t s i h o t n i y ll a c it e h t a p m y s r e t n e o t t s e b d e k o o l e h w o h y ll u f e r a
n i n e t s E l a s r u M . s r D o t g n i d r o c c
A Kesusastraan :Penganta rTeor idan h
a r a j e
S ,t herearet wowayst or evea lamessage: .
a Drieclty( expilcilty)
r e d a e r e h t o t y lt c e ri d e g a s s e m e h t s l a e v e r r o h t u a e h t , d o h t e m s i h t n
I tha t
t c e ri d s ’ r o h t u a e h t h g u o r h t y r o t s e h t f o t r a p s a s tr e s n i r o h t u a e h t
s r e d a e r t a h t s i d o h t e m t c e ri d f o e s o p r u p e h T . s t n e m m o
c gett hemessage
. y li s a e
.
b Indrieclty i(mpilcilty)
f o s t n e m e l e r e h t o h g u o r h t e g a s s e m e h t s l a e v e r r o h t u a e h t , d o h t e m s i h t n I
s a h c u s , k r o w y r a r e ti l e h
t plot ,confilcts ,characters ,and the character’ s
e d u l c n o c d n a t e r p r e t n i s r e d a e r e h T . s t n e v e d r a w o t e d u ti tt
a what t hestory
t u o b a m e h t s ll e t y ll a u t c
a freely .Thi smethod givesf reedom forr eaderst o
g n i h c a e t s ’ r o h t u a e h t t u o b a g n i k n i h t t u o h ti w r o h ti w , y r o t s e h t t e r p r e t n i
d n
a opinion( 1990 :22 .)
m r o f e h t n i s i e g a s s e m e h t , d o h t e m t c e ri d e h t n i t a h t r a e l c s i t
I of the
t c a rt s b a s i e g a s s e m e h t , d o h t e m y lt c e ri d n i e h t n i d n a , t n e m m o c t c e ri d s ’ r o h t u a
t e g s r e d a e r e h t y a w e h t s i e c n e r e f fi d r e h t o n A . y r o t s e h t f o s t n e m e l e r e h t o h g u o r h t
t c e ri d e h t n i e g a s s e m t e g y li s a e n a c s r e d a e r e h T . y r o t s e h t m o r f e g a s s e m e h t
d o h t e
m ,while in the indriec tway ,the reader shave to interpre tthe message
.s e v l e s m e h t
r e f f o d n a f o t s i s n o c k r o w y r a r e ti l f o s d n i k l l
A mora lmessage .Message
r i a l c n i S n h o J r o
f inColiln sCobulidEssenita lDicitonaryi san i deat ha tsomeone p
o t e t a c i n u m m o c o t s e ir
. ) 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 o analyze
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
d n a s n o it a t o n e d , s p i h s n o it a l e r r e t n i , y a l p r e t n i , e p a h s , e r u t c u rt s “
t o n n o
c aitons , contexts , images , symbols , repeated detalis , cilmax , r u o h c t a c t a h t s e m y h r d n a s m h t y h r , s n o i s n e t d n a s e c n a l a b , t n e m e u o n e d
e l g n i s a , e c i o v t n e r a p p a s ’ r e k a e p s e h t , e m a s e h t o d t a h t s d n u o s , n o it n e tt a
e n
il –o revenaword—se tof fal lby tisefl”( 1999 :96) .
k r o w e h t n o g n i s u c o f , s i s y l a n a r i e h t n i e v it c e j b o e b o t k e e s s t s il a m r o F
s n o it a r e d i s n o c l a n r e t x e g n i w e h c s e d n a f l e s
ti . Formails tapproachpay satteniton t o t e s s e c i v e d e s e h t s n r e tt a p e h t o t d n a k r o w e h t n i d e s u s e c i v e d y r a r e ti l
m t s d r o f d e b .s c b // : p tt h
( aritn .scom/vitruail/tpoerty/ciritcal_deifne/crti_form.html ) 2
1 0 2 y a M 5
2 .
.
C Methodoft heStudy
Thi sstudy wa sw irtten using ltierary research in analyzing Burnet’t sA e
lt ti
L Princess .Literary research i sused fort hep irmarysources .Thewrtie ralso k
o o
t somedataf romi nterneti nordert oge tcompletei nanalyzingt henove.l l e v o n e h t m o r f d e ri u q c a e s r u o c f o s a w h c r a e s e r e h t f o e c r u o s y r a m ir p e h T
s s e c n i r P e lt ti L
A by France s Burnet t Hodgson .The secondary source swere s
k o o b e r u t a r e ti l d e ri u q c
a and these sare related to theo ire so fcharacte rand ,
e g a s s e m l a r o m , n o it a z ir e t c a r a h
c and also some comment sto ge tcomplete the k o o t o s l a y d u t s y r a r e ti l s i h T . y r o t s e h t g n i z y l a n a r o f e g d e l w o n k d n a n o it a m r o f n i
m o s d d a o t r e d r o n i t e n r e t n i m o r f s e c r u o s e m o
s e informaiton in analyzing thi s .l
e v o n
n o d e s u c o f s i s y l a n a e h T . s i s e h t s i h t r o f n e k a t s p e t s e m o s e r e w e r e h T
p e t s t s ri f e h T . n o it a l u m r o f m e l b o r p e h t n i s n o it s e u q o w t f o r e w s n a e h t g n i n i a t b o
it l a r e v e s r o f y l h g u o r o h t d n a l i a t e d n i y r o t s e l o h w e h t g n i d a e r s a
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
