“Of my miniaturists I told myself spontaneously, he was the most quiet and sensitive, but also the most guilty and traitorous, and by far the most devious.”
257. Sullivan defined personality as an energy system or tensions. These
tensions are divided into two such as need and anxiety as cited in Jess Gregory, 2009, p. 217. Olive becomes a sensitive person because of his
exaggerated need to be saved from the horrible situation which occurs in Istanbul. He also needs to be respected, and appreciated in his painting. It is a form of
tension of needs. Olive‟s needs are brought by unbalance tension of his interpersonal need which is called tenderness. He expresses his tenderness by
crying. He is afraid of the situation happened and people around him. He cannot hide his terrible feelings. It is a form of anxiety. Consequently, other people easily
know what he wants. As the result, he gets what he needs.
h. Stubborn
Murphy‟s theory of characterization has stated that another opinion can portray the character p. 162. Stu
bborn is Olive‟s personality. His personality is seen through Mater Osman‟s opinion. Master Osman explains Olive‟s
stubbornness to Black. He tells that Olive has been trained by Siyavush, the famous illustrator specializing in faces in the Persian, when he was ten years old.
His ancestor is Mongolian so that his painting is influenced by Mongol-Chinese. When he was apprentice, he painted young lovers with round-faced as if they
were Chinese. Master Osman thinks that Olive is stubborn because he gets difficulty to break his habit in using Chinese style. As a result, after teaching him
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Herat ‟s style patiently, Master Osman is able to change his style in painting. He
says “Neither during his apprenticeship nor during his time as a master was I able to lead this stubborn artist to other styles.” 256.
Olive stubbornness can be seen through the way he speaks. Enishte has taught much about this style. After knowing this style, he is extremely interesting
with it. On the contrary, Black disagrees with Olive because his desire only refers to his own ego. Nevertheless, Olive keeps maintaining his desire to use European
style in his illustration “Thanks to your Enishte, we‟ve all learned the meaning of „portrait,‟ ” I
said. “God willing, one day, we‟ll fearlessly tell the story of our own lives the way we actually live them.”
“All fables are everybody‟s fables,” said Black. “All illumination is God‟s illumination too,” I said, completing the verse
by the poet Hatifi of Heart. “But as the methods of the Europeans spread, everyone will consider it a special talent to tell other men‟s stories as if
they were one‟s own.” 397. Black tries to convince Olive that East and West are different but Olive
disagrees with Black‟s opinion. Olive say “To God belongs the East and the West,” I said in Arabic like the late Enishte. 400.
Skinner discussed a theory especially on behavioral analysis. This theory includes in learning theory. In this theory, there is operant conditioning which
discusses shaping. Shaping occurs in which the experimenter has been taught in a certain environment and imitated by the experimenter as cited in Jess
Gregory, 2009, p . 450. Olive‟s stubbornness deals with his experience of
learning process through shaping illustration from his previous master of miniaturist and his ancestor. He is good in Chinese style. This style is already
stuck to his memory. As the result, he surely holds his style and difficultly
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changes to another style. Olive also learns European style from Enishte. Consequently, he imitates what he has learned from Enishte in his painting. Olive
maintains this style, although Black totally disagrees.
i. Tricky
