Main Major Characters Minor Character

end of the story as at the beginning. The developing dynamic character undergoes a permanent change in same aspect of character, personality, or outlook‖. According to Foster 1974: 73 character in a story, generally consist of two types, flat character and round character. Flat character that is a character that has one side personality; and round character tends to be, that is the character that has more than one side personality. There is good or bad only and mutinous in flat character. On the contrary, round characters as character that has both good and bad qualities. Flat character only shows one side of character, good or bad. He cannot have attitude, sometimes good and other times bad. While round character is character, which show both good and bad sides. Round character has complication about his strength and weakness. Stanton 1965: 17-18 giv es his idea about the word ―character‖ in English literature that has two meanings; it can be a figure or a hero in the story or an attitude, attractiveness, eagerness, emotions or moral principle within the figure. The word ―character‖ and ―characterization‖ then can mean ―the story maker‖. He provides some basic knowledge about character and characterization, which can be applied to a short story. He divides characters into two categories:

a. Main Major Characters

A major character is the main part of the story. He or she is the most important character in the story. Usually the actions of the story are focused on this character from the beginning to the end parts. Major character consists of: protagonist and antagonist. The protagonist is considered as the central character in a fiction. This character has the important role in developing the story. Morner andRausch 1998: 176 state, ―Protagonist is the principal and central character of a novel, short story, play or the other literary work‖.

b. Minor Character

Minor characters appear in a certain setting, just necessarily to become the background for the major characters. The roles are less important than the major characters. On the other hand, the characters in literary work are divided into flat character and round character. A flat character only shows one side of character, whether it is good or bad. The flat character’s behavior and attitude is monotonous and shows one side of character only. Round character shows more than one side of character Nurgiyantoro, 2002: 182-183. Character itself also can be divided into static character and dynamic character. Altenbernd and Lewis as stated by Nurgiyantoro 2002: 188 explain that, static character is the character that does not show any change or development of their nature character as the result of the events. Those do not develop from the very beginning of the story until the story is over. On the contrary, the developing or dynamic character shows the development or their nature character and attitude along with the development of the events in the story Nurgiyantoro, 2002: 188. The changes are probably in the way they think, their personality , behavior, nature of character, appearance, etc. while characterization is wider than character, because it includes the following problems who the character is, how the description in a story so that the readers know about distinctly. Characterization refers to realization and development of a character in a story Nurgiyantoro, 2001: 166.

3.2 Conflicts

Dokumen yang terkait

Jean Baptiste Grenouille’s Psychological Disorder As An Impact Of Social Problems In Patrick Süskind’s Perfume: The Story Of A Murderer

10 136 71

The Clashes Of Jean Baptiste Grenouille In Patrick Suskind's Perfume.

0 4 25

THE DEFENSE OF JEAN-BAPTISTE GRENOULLE ON USING THE DEFENSE OF JEAN-BAPTISTE GRENOULLE ON USING HIS MINORITY OF SENSE IN TOM TYKWER’S PERFUME: THE STORY OF A MURDERER MOVIE: PSYCHOANALYTIC APPROACH.

0 1 99

JEAN-BAPTISTE GRENOUILLE’S AMBITION IN PATRICK SÜSKIND’S PERFUME: THE STORY OF Jean-Baptiste Grenouille’s Ambition In Patrick Süskind’s Perfume: The Story Of A Murderer Novel (1985): A Psychoanalytic Approach.

0 2 13

INTRODUCTION Jean-Baptiste Grenouille’s Ambition In Patrick Süskind’s Perfume: The Story Of A Murderer Novel (1985): A Psychoanalytic Approach.

1 5 12

JEAN-BAPTISTE GRENOUILLE’S AMBITION IN PATRICK SÜSKIND’S PERFUME: THE STORY OF Jean-Baptiste Grenouille’s Ambition In Patrick Süskind’s Perfume: The Story Of A Murderer Novel (1985): A Psychoanalytic Approach.

1 10 12

Jean-Baptiste Grenouille`s Alienation Symptoms in Patrick Suskind`s Perfume: Story of a Murderer.

0 0 73

Jean Baptiste Grenouille`s Alienation Symptoms in Patrick Suskind`s Perfume Story of a Murderer

1 7 71

THE ALTERATION OF GRENOUILLE’S PSYCHOSIS IN MURDERING SOME GIRLS IN PATRICK SUSKIND’S PERFUME : THE STORY OF A MURDERER.

0 6 54

ID, EGO AND SUPEREGO ANALYSIS OF JEAN BAPTISTE GRENOUILLE CHARACTER IN PERFUME BY PATRICK SUSKIND

0 3 2