binary opposition by examining the motifs in the narrative. It develops the other previous related structuralism studies and expectedly, to discover something new.
B. Review of Related Theories
To solve the problem formulations of the study, several principal and useful theories are used to analyze the issues in this research. There are three theories being
reviewed in this part: theory of motif, theory of binary opposition, and Greimas‟ theory of actant. The theory of motif is used to analyze the first problem intrinsic
element analysis. The theory of binary opposition is used to flesh out the opposing pairs in each motif. These dyads are important substances to the narrative structure
analysis. Geimas‟s theory of actant is applied in the narrative structure analysis.
1. Theory of Motif
Theory of motif begin s with critics‟ awareness that there is a certain intrinsic
element in literary work which function as the tool to convey the intended message of the narrative text. As William Freedman 1971: 123 introduces, critics search for
“clusters or families of related words or phrases that, by virtue of their frequency and particular use, tell us something about the author‟s intentions, conscious or
otherwise”. Critics realize that there are messages sent by the author repeatedly. Some of the critics Freedman mentions in his paper are Mark Schorer and
Reuben Brower. Schorer introduces the term “methaporic substructures” whereas Brower in Freedman 1971: 123 concerns about recurrent images or metaphors in a
literary work, thus offers the term “continuities”. These two critics agrees that this kind of intrinsic elements, combined with the figurative, “form a larger unit that may
prove revealing still” Freedman, 1971: 123. The combination of the literal and the figurative is called
“motif”. Essentially, a motif is a repeated element found in several literary texts or just
in a single work. Karl Beckson 1960: 129 provides the definition of motif as: A theme, character, or verbal pattern which recurs in literature or folklore …
A motif may be a theme which runs through a number of different works. The motif of the imperishability of art, for example, appears in Shakespeare,
Keats, Yeats, and many others. A recurring element within a single work is also called a motif.
According to Freedman 1971: 124, a motif recurs for a reason. The motif tells the reader something
, “to establish a convenient separation about the action of the story either its total structure or the events, the minds of the characters, the emotional
import or the moral or cognitive content of the works. Motif tells the reader that there is another meaning rather than the incidents in the novel say straightforwardly.
Freedman argues that motif and symbol are closely related elements in the story and the difference between the two is very slight. The first difference, according
to Freedman, 1971: 124 is that “the symbol may occur singly, the motif is
necessarily recurrent and its effect cumulative. ” A symbol may appears once
throughout the whole narrative, but a motif must be continuously emerges or repeating itself. Grace
Fleming 2014 assures that “ while a symbol might occur once
in literature to signify an idea or an emotion, a motif can be an element or idea that repeats throughout that piece of literature.
” Moreover, one motif can be represented by several symbols, as Freedman
1971: 124 says, “… to find scattered through the book frequent references or associational cluster”. Fleming 2014 gives clearer example of this, that “a
motif could be expressed by a collection of related symbols. For example, the motif of
fragmentation could come from several symbols that appear in a book: shattered
glass, an unfaithful spouse,
a runaway pet, teen, or car.” By now it is clear that motif differs from symbol in term of motif‟s appearances in a given work, compared to
symbol which requires to be mentioned at least once in the novel. Also, a symbol is always has the symbolic value, whereas a motif maybe has a symbolic value or it just
say the literal meaning in the text. Additionally, Freedman 1971: 124-125 explains another distinction between
symbol and motif, in relation to the thing a symbola motif refers to: “A symbol is something described; it is an event or it is a thing. It is always a
thing or event described. A motif, in the other hand, although it may appear as something described, perhaps even more often forms part of the description. It
slips, as it were, into the author‟s vocabulary, into the dialogue, and into his imagery, often even at times when the symbolized referent if not immediately
involved.
To find symbol in a given work, readers should recognize that the author provides several clues to the symbol such as the title or the relation between an object with the
narrative plot. To discover a motif, readers are required to see the text within larger
context, because motif becomes „part of the description‟ rather mere a „something described‟ as a symbol does.
Besides the investigation of the difference between symbol and motif, Freedman notes that there are at least four factors to be considered about motif:
frequency, unlike-hood, appropriateness, context and unity. The first factor, frequency, as Freedman 1971: 126 states:
“Obviously no specific numbers of references can possibly be fixed as requisite to the motif. That will vary with each work. But members of the
family of references should occur often enough to indicate that purposiveness rather than merely coincidence or necessity is at least occasionally responsible
for their presence. They should pervade the atmosphere sufficiently to assure that they will be at least subliminally felt.
” To be considered as a motif, there is no exact rule how many a certain element must
appear in a novel, as long as it is „occur often enough‟ and show that it has specific intention in the narrative text. The more it appears, as Freedman 1971: 126
emphases, “the deeper the impression it is likely to make on the reader—the effect, of course, will also be increased the more extensive t
he individual references are.” The second factor is unlike-hood or uniqueness of the motif in a novel. As
Freedman 1971: 126 states that “the more uncommon a reference is in a given context, the more likely it is to strike the reader, consciously or subconsciously, and
the greater will be its effect.” It is the author‟s right to choose hisher own motif, as there is no rule to shows “universal” subject. For example, author of a novel may
choose a unique object such as a less unknown flower rather than a rose more common symbol for love to reappear in a romantic story.
Concerning the symbolic function of the motif, it should be “appropriate to what it symbolizes” Freedman, 1971: 127. Although an author has the freedom to
choose hisher own motif, the motif should be make sense, related to the larger and whole text. Fre
edman cites the example of “constant references to doors, fences, gates, and the like are patently appropriate as symbolic representations of a
character‟s physical and spiritual isolation.” Motif is free-chosen, but it also should maintain the logicality and reasonableness.
The fourth factor should be considered about motif is the significance of the contexts in which it occurs. A
motif should be “relevant to the principal end as a whole and to which they fit together into a recognizable and coherent unit
” Freedman, 1971: 127. It is clearly seen that motif helps the reader to understand the
general theme of the text, or “the closer the association between the components of
the cluster the more unified their effects ” Freedman, 1971: 127.
To conclude this part, the motif has a great potential in structuralism analysis, as Freedman 1971: 125 settles, “the motif may become a part of the total
perspective, pervading the book‟s atmosphere and becoming and important thread in the fabric of the work
”. Motif contributes to the development of the novel‟s progress as it
“elaborate into a more general theme” Chris Baldick, 1996: 142. Motif gives the text medium to show the readers another way to absorb a novel‟s complete ideas.
