An Analysis of Intrinsic Elements in Stephenie Meyer’s Twilight

AN ANALYSIS OF INTRINSIC ELEMENTS IN STEPHENIEMEYER’S

TWILIGHT

A THESIS

By:

FARINA RIZKI AZIZ

REG. NO: 060705033

UNIVERSITY OF SUMATERA UTARA

FACULTY OF LETTERS

ENGLISH DEPARTMENT

MEDAN

ACKNOWLEDGMENTS

First and foremost, I would like to thank the Almighty Allah SWT who always gives me health, strength, bless, guidance, love, charity, and patience in my life and especially during the preparation and process of writing this thesis.

I would like to express my gratitude to all those who gave me the possibility to complete this thesis. I would like to thank the Dean of Faculty of letters, prof. Syaifuddin, M.A., Ph.D., the Head of English Department, Dra. Swesana Mardia Lubis, M.Hum., the Secretary of English Department, Drs. Parlindungan Purba M.Hum., for their helps during the days of my study in Faculty of Letters.

I am deeply indebted to my supervisor Dra. Swesana Mardia Lubis, M.Hum., and to my co-supervisor and also as my Academic Advisor Drs. Parlindungan Purba, M.Hum., who has helped, stimulated, and gave suggestions and encouragement to me in all the time of writing of this thesis.

Especially, I would like to give my special thanks to my beloved parents, Faradj Karamah Aziz and Hj. Harfinah who have been giving me support and motivation in finishing my thesis. Thank you for your prayers and unconditional love. Both of you are my spirit and motivation. To all my sisters kak Fitria Andhika Aziz, Kak Irany utami, and Kak Marissa Utami for their attention and prayers. To all my brothers Bang Ferry, Bang Fahd, Bang Fahmi that always helps me. And for all my big families.

Also special thanks to Kak Wenny that always helps me in doing this thesis, be a good sister and always makes me happy every day.

Thanks to all my friends in 2006 from Reg. number 001-064. Special thanks to my closest friends in this batch,Yosi Renata, Efa, Kiki Arfah, Rindi, Elpan, Kiki amalianti (kinoy), and Elsa. Thanks for a good time we have shared.

Thanks to adek2 2007 especially Evy, Eva, Liana, Debora, Mayalia, Dewi, Vita, Elisa, Tina and her gang, thanks for being good juniors and friends. Thanks to GE’08 especially to Tamie for being a good friend, and also to all of my beloved juniors in batch 2009.

Thanks to Bang Syamsul Khair Syam for helping me in administration matters and giving every useful information to me. I also state my thankful for all who help me in finishing my thesis that I can’t mention one by one. God bless you all.

Medan, February 2010

Farina Rizki Aziz

ABSTRAK

Skripsi ini berjudul “An Analysis of Intrinsic Elements in Stephenie Meyer’s Twilight”. Analisis mengenai unsur intrinsik yakni karakter, tema, plot dan setting yang terdapat pada novel karangan Stephenie Meyer yang berjudul Twilight. Di dalam skripsi ini secara keseluruhan, penulis ingin membuktikan keterkaitan antara unsur intrinsik yang terdapat pada novel Twilight karya Stephenie Meyer.

Adapun metode yang di pakai penulis dalam penulisan skripsi ini adalah metode analisis deskriptif. Keterkaitan antara unsur intrinsik ini dibuktikan penulis dengan menganalisis karakter, tema, plot, dan setting yang terdapat dalam novel Twilight.

TABLE OF CONTENTS

ACKNOWLEDGMENT ... i

ABSTRACT ………. iii

TABLE OF CONTENT ………. iv

CHAPTER I INTRODUCTION 1.1Background of Analysis ……… 1

1.2Statement of Problem ……… 4

1.3Objective of Analysis ……… 4

1.4Scope of Analysis ……… 4

1.5 Significance of Analysis ……… 4

1.6Method of Analysis ………. 5

1.7Review of Related Literature ………... 5

CHAPTER II METHOD OF STUDY 2.1 Data Collecting ……… 7

2.2 Data Selecting ……….. 7

2.3 Data Analyzing ……….... 8

CHAPTER III A BRIEF VIEW AT INTRINSIC ELEMENTS 3.1 Character ……….. 9

3.2 Plot ……… 20

3.3 Setting ……… 25

CHAPTER IV THE ANALYSIS OF INTRINSIC ELEMENTS IN

TWILIGHT

4.1 Characters ………. 29

4.1.1 Edward Cullen ………... 29

4.1.2 Bella Cullen ……….. 32

4.1.3 Jacob Black ……….. 36

4.2 Theme ………. 38

4.3 Plot ………. 41

4.4 Setting ………. 44

CHAPTER V CONCLUSION AND SUGGESTION 5.1 Conclusion ……….. 47

5.2 Suggestion ……….. 49

BIBLIOGRAPHY ………... vi

APPENDICES

Appendix A: SUMMARY OF TWILIGHT

ABSTRAK

Skripsi ini berjudul “An Analysis of Intrinsic Elements in Stephenie Meyer’s Twilight”. Analisis mengenai unsur intrinsik yakni karakter, tema, plot dan setting yang terdapat pada novel karangan Stephenie Meyer yang berjudul Twilight. Di dalam skripsi ini secara keseluruhan, penulis ingin membuktikan keterkaitan antara unsur intrinsik yang terdapat pada novel Twilight karya Stephenie Meyer.

Adapun metode yang di pakai penulis dalam penulisan skripsi ini adalah metode analisis deskriptif. Keterkaitan antara unsur intrinsik ini dibuktikan penulis dengan menganalisis karakter, tema, plot, dan setting yang terdapat dalam novel Twilight.

CHAPTER I INTRODUCTION

1.1Background of Analysis

Literature is said as medium of expressing ideas. Roberts and Henry (1993: 1) said that “literature refers to compositions that tell stories, dramatize situation, express emotion, an analyze and advocate ideas “. It means that literature is the art of writing that full of expression and idea because it is a product of imagination that comes from the author’s mind.

In general, literary work itself can be divided into three kinds which are known as “genre“, they are: poetry, drama, and prose. Poetry expresses a conversation or interchange that is grounded in the most deeply felt experiences of human beings. Drama is literature designed to be performed by actors. Prose is the ordinary form of written language. Edgar V. Roberts and Henry E. Jacobs (1993:2) classify prose into two, fiction prose and nonfiction prose. Fiction, originally meant anything made up or shaped, the prose stories based on the author’s creation and imagination. It includes myths, parables, novels, romances, and short stories. On the other hand, nonfiction is literary works which describe or interpret facts, present judgments, and opinions. It consists of news reports, essays, magazines, newspapers, historical and biographical works and many other forms of communication.

A novel (from the Italian novella, Spanish novella, French nouvelle for “new”, “news”, or “short story of something new”) today is a long narrative in

literary prose. Novel is the further development of romance. A novel is define as a fictitious prose narrative of considerable length and complexity, portraying characters and usually presenting a sequential organization of action and scenes (Quoted from http://en.wikipedia.org/wiki/novel). Richard Gill in Mastering English Literature (1985:77) explains that a novel is a world specially made in words by an author (Richard, 1985: 77). This means that novels are not real life. Novels are fictional and they have been made up because an author has chosen to put it together in particular way.

Twilight is the first book in a multi-volume series aimed at young adult readers written by Stephenie Meyer. Twilight was rejected by 14 agents, but became an instant bestseller when published originally in 2005. Twilight was

named of publishers weekly’s best children’s book of 2008 and having sold over 17 million copies around the globe, spent over 91 weeks on the New York times best seller list, and been translated into 37 different languages ( quoted from http://en.wikipedia.org/ wiki/Twilight).

A film adaptation of Twilight was released in 2008. It was a commercial success, grossing more than $382 million worldwide and an additional $157 million from North American DVD sales.

Twilight is the debut, young-adult vampire romance novel by Stephenie Meyer. The Twilight novel revolves around 17-year-old Isabella Swan, who prefers to be called Bella. She moves from sunny Phoenix, Arizona, to the rainy town of Forks, Washington, to live with her dad, Charlie. At first she’s depressed by the dismal weather and dreading her first day at the local high school. But then

she sees the pale brooding Edward Cullen and life in Forks becomes a whole lot more interesting. Even she finds her life in danger when she falls in love with a vampire, Edward Cullen. This thesis will analyze the intrinsic elements in Twilight.

E.M. Forsterquoted by Razali Kasim, MA in Introduction to Literature

(2005:16) stated that the important elements in prose are character, theme, plot, setting, and point of view. Those are called as intrinsic element. Intrinsic elements are the basic in literary work, without those elements the literary work can’t exist. Those intrinsic elements are interrelated to one another and they work as whole. As we know plot is a course of action taken by the characters, characters are the person that works in a fiction; Setting is the place and time in which a story happens. Setting can contribute to plot and to the reader's understanding of the characters; point of view is the relationship between the storytellers to the story. An author’s choice of narrator can sometimes reveal his or her opinion of events and characters in a story and theme is a story’s main idea. A theme usually extends beyond the confines of a story to form a general statement about life. A story’s theme is usually implied through changes in character or setting, or through the author’s choice of point of view.

Because of the statement above we know that there is interrelated between those element so in this thesis, I choose my title “An Analysis of Intrinsic Elements in Stephanie Meyer’s Twilight”.

1.2Statement of Problem

In analyzing a story, we can examine each element separately, but in a good story these elements interact for form one total effect, that impact on the reader. The problem of analysis is:

1. How are these elements interrelated in Twilight?

1.3Objective of the Analysis

The objective in writing this thesis is to find out and clarify the intrinsic elements interrelated in the novel Twilight. By doing this analysis, I can prove that there is the interrelated between those elements.

1.4The Scope of the Analysis

In this thesis, my analysis only focused in interrelated between these four elements that portraying three characters; Edward Cullen a vampire, Isabella swan an ordinary human, and Jacob black a werewolf, the plot; struggle of love between vampire and human, the setting is a placed in Seattle named Forks; the theme is love.

1.5The Significance of the Analysis

This analysis is purely literary field of study because it is about the intrinsic elements which the writer analyzed. The writer hopes this analysis will enrich the knowledge about literature especially novel. Hopefully; the readers can

get better understanding about intrinsic elements and also can help readers in getting better knowledge about how to deal with intrinsic elements in a novel.

1.6The Method of the Analysis

In analysis the novel from Stephanie Meyer’s Twilight, the writer use the methodological procedure that we know as data collecting and selecting, first the writer choose the novel by Stephanie Meyer’s; Twilight. The writer read whole of the story several times. Then the writer select data or taking some notes quotations on dialogues.

The second is data analyzing, in this step; the novel that have been choose are being analyzed based on the intrinsic elements such as: characters, theme, plot, and setting.

1.7The Review of Related Literature

The following books are the main source in finding data and information in analyzing this thesis, they are:

1. Theory of literature by Rene Wellek and Austin Warren (1982). This book provides the theory of literature. In his book, there are two kinds of approach in analyzing literary work, which are intrinsic and extrinsic approach. Intrinsic approach emphasizes it’s analysis on the elements of that literature itself such as characters, theme, plot, and setting, while extrinsic approach relates the literary work with the other objects of study such as history, religion, psychology, biography, etc.

2. Literature: An introduction to reading and writing, Fourth Edition by Edgar V. Roberts and Henry E. Jacobs (1995). This book provides the introduction to reading and writing. In their book, they explain a brief about literature and all their aspects such as fiction with all the elements (characters, theme, plot, and setting), Drama and Poetry.

3. Mastering English Literature by Richard Gill (1985). This book tells about novel and three thinks about a novel: the events of the novel, the author who has created them, and the reader for whom the novel is written.

CHAPTER II METHOD OF STUDY

This thesis is done by using library research. I use some books and many other sources as references that I think related to the subject matter that is being analyzed. Those books are related to intrinsic elements of literary works that are written by many scholars and I also browse some opinions about Twilight stories from the internet to add my understanding.

In doing the analysis, I use some steps as follows:

2.1 Data Collecting

For the first step, I read the novel on and on to get full understanding about what is being told about and to find out intrinsic elements that contained in the novel. I don’t read the English version only, but also the translation version. The primary source of the data is the text itself. I underlined and collected the important things from the novel such as the information about characteristics of each character, the way the characters interact with others and the ideas that characters posses in facing an event in the novel.

2.2 Data Selecting

The second step is selecting the data that has been collected in the first step that supported the problems that is being discussed. All the information that I had collected were being selected and only the very significant data or related data were used in the process of making the analysis of this thesis.

2.3 Data Analyzing

The last step is analyzing the data. I use the descriptive method. Descriptive method is a method of analysis by describing and analyzing the data in detail. All selected data were being analyzed to prove what are being written in the objective of this thesis and finally I can draw the conclusion for this thesis.

CHAPTER III

A BRIEF VIEW AT INTRINSIC ELEMENTS

3.1. Character

Character is one of the important elements of fiction. Characters are elements which can be found in a novel. Plot and characters are inseparable, because plot is not simply a series of event happens that come out of character to delineate characters. In other word, when we want to know ‘what happened to him or her’ and ‘how did it work out for them’, so we should find out the action of the character in a sequence of events. Analyzing a character is more difficult than a analyzing a plot, because character is more complex, variable, and ambiguous.

Character is any person, identify, or entity whose existence originates from a fictional work or performance. Such existence is presumed by those participating in the performance as audience, readers, or otherwise. In addition to people, characters can be aliens, gods, an artificial intelligence or, occasionally, inanimate objects. According to Edgar, a character may be defined as a verbal representation of a human being. Through action, speech, description, and commentary, authors portray characters that are worth caring about, rooting for, and even love, although there are also characters you may laugh at, dislike, or even hate.

The characters of a book are the fictional figures that move through the plot. They are invented by the author and are made of the words rather than a flesh and blood. Therefore they cannot be expected to have all the tributes of real human beings. Nevertheless, novelist does try to create fictional people whose

situations affect the reader as the situations of real people. Authors describe the more simple characters in novel with no more than few phrases that identify the character’s most important traits. These characters have little capacity for personal growth, and they appear in the novel as limited but necessary in elements of the plot. Despite their small parts, such characters are often vivid. To create complex, realistic characters, author usually combine traits that to do not correspond to any single real person. But are aspects of several people. To give these characters motives for their action, authors highlight the character’s thoughts, feelings, conflicting impulses, and capacity, and capacity for change.

In his book “A Guideto Books for Character – Fiction,” Starbuck (1930:12) said that character is the word stands for the deeper integrations of the selfhood in terms of conduct actual or potential. It is a descriptive word indicating how one will act and the spirit or temper in which the deed is done. It consists of the sum of one’s attitude at any given moment which determines how one will act and fell toward any specific situation. It has its integrating centers like kindliness or thoughtfulness or thrift or loyalty. Even these nuclei of conduct and attitude are shifting quantities that are subject to cultivation and training. They cannot be influence, however, without changing the entire personality. It is the nature of art to appeal directly and powerfully to fundamental attitude like courage, love, or curiosity. The entire personality shifts and drift in the direction of its dominant interest.

According to Steven Croft (2002:113) characters are the central feature in any play or novel. Here are some ways to get a picture of character:

• What the characters looks like (physical appearance, clothing, etc.) • What characters say and how it is said.

• What the characters thinks (often we learn about this from a character’s soliloquies)

• How character acts – watch out for reaction to different situations. • How character’s words match their actual deeds or their underlying

motives.

• What other character changes as the play goes on.

In their book “literature: an Introduction to Reading and Writing”, Robert and Jacob describe that in analyzing a literary character, the writer begins to determine the character’s outstanding traits. A trait is a quality of mind or habitual mode behavior, such as never repaying borrowed money, avoiding eye contact, or always thinking oneself the center of attention. Sometimes, of course the traits we encounter are minor and therefore negligible. But often a trait maybe a person’s primary characteristic (not only in fiction but also in life). Thus, characters may be ambitious, lazy, serene or anxious, aggressive or fearful, thoughtful or inconsiderate, open or secretive, confident or self-doubting, kind cruel, quite or noisy, visionary or practical, careful or careless, impartial or biased, straightforward or underhanded, “winner or loser,” and soon.

In his book Introduction to Literature Razali Kasim M.A told there are some types of characters (2005:24-27):

A. Stereotypes

A stereotype is a conventional character representing a particular group or class or occupation. Because the character is conventional, he acts according to set patterns. His appearance is familiar, his speech is predictable, and his actions are standardized. Stereotyping is a simplified way of looking at people representative of a group rather than as individuals.

Stereotypes often seems true to experience, not because they are exact replicas of people who walk in the streets, but because people whom we meet show of the same of the same traits of talking, dressing, and acting associated with types. Unquestionably, stereotypes in literature have had their effect on social attitudes. Despite the serious social and personal implications of stereotyping, it persists in literature as a quick means of characterization. The typical senator, the typical servant these are all characterizations that may be used by a writer for a purpose, perhaps for comedy or satire. Stereotypes may also be related to races and ethnic group. As an example it is often said that Irish are people who easily get angry.

B. Stock Characters

Closely related to stereotypes are stock characters. Even though the word `stock’ has close associations with drama, stock

figures appear in other genres as well. They are figures who because of their customary associations with a dramatic situation have become conventions.

C. Allegorical and Symbolical characters

Allegorical and Symbolical characters are not symbolical ones. Any character may be interpreted as symbolical when it appears that his actions and words seem to represent some thought or view or quality. A symbolical figure is one whose accumulated actions lead the readers to see him as something more than his own person, to see him as the embodiment of redemptive power of hope.

D. Full-Dimension Characters

Full-Dimension Characters in literary works are usually described at greater length and revealed in more detail-they are capable of greater individuation. No doubt, many people whom we encounter casually and see only as stereotypes—the waitress, the cab driver, the servant – would be interesting subject for study, but, just as in life, literature does not permit us to know every character equally well. Leading characters of a literary work are drawn in full; others are only sketched in to fill out the scene. Though poetry through ordinarily does not permit the same space for characters development that fiction and drama do, it is still possible to describe the full dimensionality of its` characters.

But necessary is in elements of the plot. Despite their small parts, such characters are often vivid. To create complex, realistic characters, authors usually combine traits that do not correspond to any single real person. But are aspects of several people. To give these characters motives for this action, author highlights the characters thought, feelings, conflicting impulse, and capacity for change.

There are no limits on the types of characters who can inhabit a story: male or female, rich or poor, young or old, prince or pauper. What is important is that the characters in a story all have the same set of emotions as the reader: happiness, sorrow, disappointment, pain, joy, and love.

Koesnobroto (1988; 67) distinguished two types of character, main or major character and minor character. Major character is the most important character in the story. Basically, a story is about this character, but he cannot stand on his own; he needs other characters to make the story more convincing and lifelike. Minor characters are of less important than those of the main. The main characters in fiction or in a play is called protagonist. In traditional fiction the protagonist is also the hero or heroine, an admirable character that embodies widely accepted strength and virtues, who is morally good. The antagonist is unsavory enough the world villain or villainess is used.

It has often been assumed that characters in a literary work can be judged from four levels of characterization. These four levels are helpful for us to see the very basic description of characters. The four levels of characterization are:

A. Physical : physical level supplies such basic facts, as sex, age, an size. It is simplest level of characterization because it reveals external traits only.

B. Social : social level of characterization includes economic status, profession, religion, family, and social relationship all those factors which place a character in his environment.

C. Psychological : this level reveals habitual responses, attitudes, desires, motivation, likes, and dislikes – the inner workings of the mind, both emotional and intellectual which lead to action. Since feeling, thought, and behavior define a character more fully than physical and social traits and since a literary work usually arises from desires in conflict, the psychological level is the most essential parts of characterized.

D. Moral : moral decisions more clearly differentiate characters than any other level of characterization. The choices made by a character when he is faced with a moral crisis show whether he is selfish, a hypocrite, or he is the one who always acts according to his belief. A moral decision usually causes a character to examine his own motives and values, and in the process his true nature is revealed both to himself and to the readers.

E.M Forster, in his book Aspect of the Novel (1990: 73-80) distinguish two kinds of character, those are:

1. Flat : a flat character is constructed round a single idea or quality; he is unchanging, static; at the end of the novel he is essentially what he has been throughout. His every response is predictable; the readers can anticipate exactly how the character will react.

2. Round : quite the opposite is a character portrayed in the round. He is profoundly altered by his experiences. His responses take us by surprise. He doesn’t embody a single idea or quality, but is much more complex. A round character is a major character in a work of fiction that encounters conflict and is changed by it. Round characters tend to be more fully developed and described than love in fiction, they probably seem as real to you as people you know in real life. This is a good sign that they are round characters. A writer employs a number of tools or elements to develop a character, making him or her round, includi or her internal dialogue are also revelatory. In contrast, one that does undergo an important change in the course of the story is. More specifically, the changes that we are referring to as being "undergone" here are not changes in circumstances, but changes in some sense within the character in question -- changes in insight or understanding (of circumstances, for instance), or changes in commitment, in values. The change (or lack of change) at stake in this

distinction is a change "in" the character (nature) of the character (fictional figure).

According to Gill (1995:128) there are some elements that the authors must pay attention creating a character. First is to range the character, something which makes one character different to other characters. Second, how character speaks in that how they use the words and phrases to express their personality. Third, the appearance of character, here the author must describe about the character that show the inner world of its characters so the reader will understand about the character’s personality. Fourth, is the way how the character dress up, which describe the social status or social class and also describe the character’s personality by wearing good clothes. Fifth, the social standing of characters, in that in what social class that the character I created. Sixth, is the name of the character. Seventh is the company of character should describe although not in details. Eight, the way the characters think in that when he speaks he uses a lot moral words, for instance. This though must be evident to a reader so that the reader will understand how the character thinks and how the characters approach the problems and challenges. The last is what the characters do, this is the action or reaction of the characters in the novel and an author can make everything a character does important.

In the novel that you have read, some of the characters are given positive, sympathetic portrayal. Others have negative, perhaps even villainous portrayal. Still others may begin with negative, qualities and gradually become more and more positive. Rarely does an authors rely on the reader’s personal sense of

morality to determine which characters are positive are negative. Instead, there are details, actions, and characteristic that helps to define who is ‘good’ and who is ‘bad’. Above all, these two kinds of characters commonly called ‘protagonist’ and ‘antagonist’. Here, the writer would like to distinguish between two those controversial characters with vivid explanation.

~ Protagonist

The protagonist is characterized by his or her ability to change or evolves. Although a novel may center on the actions of another character, it is a dynamic character that typically allows the novels to the progress in manner that is conducive to the thesis of the work and earns the respect or attention of the audience. In some stories, there can be more that is conducive to the thesis of the work and earns the respect or attention of the audience. In some stories, there can be more that one protagonist; ‘ensemble cast’ is popular in television stories.

The protagonist is vulnerable; it should be pointed out, not always the hero of the story. Many authors have chosen to unfold a story from the point of view of a character, while not central to the action of the story, is in a position to comment upon it. However, it is most common for the story to be ‘about’ the protagonist; even if the protagonist’s actions are not heroic, they are nonetheless usually vital to the progress of the story. Neither should the protagonists be confused with the confused with the narrator, they may be the same, but even the first – person narrator, they may be the same, but even the first – person narrator need not to be the protagonist, as they may simply be recalling the event while not living through

is as the audience is. The protagonist is often faced with a ‘foil’, and character known as the antagonist who most represent obstacles that the protagonist in a story. Sometimes, a work will initially highlight a particular character as a dramatic device. Such a character is called a false protagonist. When the work contains subplots, these may have different protagonist from the main plot. In some novel, the books protagonist from the main plots does not permit clear identification of one as the main plots. In this novel, Bella swan is the main character and protagonist.

In an ancient Greek drama, the protagonist was the leading actor and such there could only be one protagonist in a play. However, the word has been used the plural to mean ‘important actors’ or ‘principals characters’ since at least 1671. When there is more than one protagonist, the story becomes more complex. The use of ‘protagonist’ in place of ‘proponent’ has become common in the 20th century and may have been influenced by a misconception that the first syllable of the words represents the prefix pro – (ie. ‘Favoring’) rather proto - , meaning first (as opposed to deuter -,to deuter second, in deuteragonist, or tri – third, in tritogonist). For example, usage such as “He was an early protagonist of of nuclear power” can be replaced by ‘advocate’ or ‘proponent’.

~ Antagonist

An antagonist is fictional character or group of character, or, sometimes an institution of a story that represents the oppositions again which the hero (es) or protagonist (s) must contend. In the classic style of story where in action consists

of a hero fighting a villain, the two can be regarded as protagonist and antagonist, respectively.

Writers have also created more complex situations. In some instances, the story is told from the villain’s points of view, and any hero trying to stop said villain can be regarded as an antagonist. Such as antagonists are usually police offers or other law enforcement officials. More often, stories simply do not have characters that are readily identifiable as most heroic or villainous. Instead, the antagonist becomes that character, group, or metaphysical force which provides force which provides the chief obstruction to the protagonist (s) of the story. Note that the antagonist is not necessarily human; often, the forces of nature or psychological elements provide this elements of position. The protagonist – antagonist relationship is also sometimes completely ambiguous.

3.2 Plot

Plot is one of the elements of fiction and organized the sequence of events and actions that make up the story. A novelist uses plot to arrange the sequence of events. In most stories, these events arise out of conflict experienced by the main character. The conflict may come from something external, like a dragon or an overbearing mother, or it may stem from an internal issue, such as jealousy, loss of identity, or overconfidence. As the character makes choices and tries to resolve the problem, the story's action is shaped and plot is generated. In some stories, the author structures the entire plot chronologically, with the first event followed by the second, third, and so on, like beads on a string. However, many other stories

are told with flashback techniques in which plot events from earlier times interrupt the story's "current" events. According to Foster:

“A plot is a narrative of events the emphasis falling on causality. The king died and the queen died of grief is not plot, the time sequence is preserved, but the sense of causality overshadows it”

(Aspects of The Novel, E.M. Forster, 1980:87).

Plot must be effective and it includes a sequence of incidents that bear a significant causal relationship to each other. Causality is an important feature of realistic fictional plot because something happens because of a result something else. In other words, it's what mostly happened in the story or novel or what the story's general theme is based on, such as the mood, characters, setting, and conflicts occurring in a story. An intricate, complicated plot is known as an imbroglio, but even the simplest statements of plot can have multiple inferences, such as with songs the ballad tradition.

Talking about plot means we talk about the actions or events that are usually resolved at the end of a story. The fictional plot maybe a struggle between opposing forces, love and many others and it is usually resolved by the end if the story

There are five essential parts of plot:

a) Exposition - The beginning of the story where the characters and the setting is revealed. The exposition is the introduction to the characters and setting of the story. The exposition hooks the reader, providing enough interest and information to the intended audience to encourage the reader to continue reading.

b) Rising Action - This is where the events in the story become complicated and the conflict in the story is revealed (events between the introduction and climax). The rising action introduces the conflict or problem in the story. This part of the plot tells us what it is that the main character or protagonist is facing. During the rising action, the main character struggles with this conflict or problem. The conflict may be:

1. Character vs. character: the problem the protagonist faces is one involving another character

2. Character vs. society: the protagonist faces a problem involving something in the society in which they live (example: racism)

3. Character vs. self: the character has some internal struggle inside themselves

4. Character vs. nature: the protagonist struggles with some natural force (tornado, harsh climate, etc.)

c) Climax - the climax is the high point of the story where the conflict or problem changes or is resolved. Something happens in the climax to create a turning point for the characters in the story.

d) Falling action - The falling action is the series of events which take place after the climax; it is where the protagonist must react to the changes that occur during the climax of the story. The events and complications begin to resolve them. The reader knows what has happened next and if the conflict was resolved or not (events between climax and denouement).

e) Denouement - This is the final outcome or untangling of events in the story. The part of a story or drama which occurs after the climax and which establishes a new norm, a new state of affairs-the way things are going to be from then on. The author often ties up the loose ends of the story to have the plot reach a conclusion.

In a story, the events maybe rise and fall repeatedly and actually a plot develops a series of complications or intensification of the conflict that leads to a moment of great tension. Sometimes the author will use some techniques in writing the plot to make the story more interesting or to add a twist or turn. Foreshadowing is where the author may hint at what might happen in the future. Flashback is where the author might tell us something that has happened in the past to help explain the present. Irony is when the author has something happen in the story that is the opposite of what the reader expects.

In general, plot can be divided into two types, they are closed and open. This division is based on the way how an author presents the resolution of his story.

They are:

a. Closed plot: in this type of the plot the end of the story is clear because the author presents a definite resolution of conflict. Most narrative works use closed plot, because the end of the story is clear, readers do not have to think a lot about it.

b. Open plot: this type of plot has little or no resolution at all. The author, however, creates some clues in the story that will lead his readers to conclude the resolution of the story.

“R.S Crane in his work, The Concept of Plot states that any novel or drama represents a composite of three elements: action, character, and thought. Plot is, thus, the particular synthesis of the three elements. He divides plot into three kinds,

1. Plot of Action: in this kind of plot the interest lies in “what happens next”, while the character and thought are portrayed minimally. We rarely, if ever, find any serious or intellectual issues.

2. Plot of Character: this kind of plot deals with the process of change in the moral character of the protagonist.

3. Plot of Thought: this kind of plot deals with the process of change in the thought of the protagonist and in his feeling.” (Introduction to Literature, Razali Kasim M.A, 2005:20)

In a well plotted story, things precede or follow each other not simply because time ticks away, but more importantly because effects follow causes. In a good story nothing is relevant or accidental; everything is related and causative. The controlling impulse in a connected pattern of causes and effects is conflict, which refers generally to people or circumstances that a character (often the protagonist) must face and try to overcome (often the antagonist). Conflict brings out the extremes of human energy, causing characters to engage in the decisions, actions, responses, and interactions that make up most stories. Conflict is the major elements of plot because opposing forces arouse curiosity, cause doubt, create tension, and produce interest.

3.3 Setting

“The of a narrative or dramatic work is the general locate, historical time, and a social circumstances in which its action occurs; the setting of an episode or scene within a

The setting is not only shows the place or time of the sequence of events, but it also expresses the character in a story. For example: the setting describes in a house, and then the house will express the character of the owner. In this case, we can see from the interior of the house, if the owner is a rich man then his house is big and filled in the expansive things. According to Rene Wellek and Warren through their book Theory of Literature describe that,

“Setting is environment and environment especially domestic interior, maybe viewed as metonymic, or metaphoric, expression of character” (1977:221).

Setting is the natural, manufactured, political, and temporary environment, including everything that characters know and own. Like all human beings, fictional characters do not exist in isolation. Just they become human by interacting with other characters, they gain identity because of their cultural and political allegiances, their possessions, their jobs and their location where they live and move and have their being. Stories must therefore necessarily include description of places, objects, and backgrounds. So, setting includes the surroundings of the story. Elements of setting may include is considered one of the fundamental components of place and social environment a story takes place.

Writers describe the world they know. Sights, sounds, colors, and textures are all vividly painted in words as an artist paints images on canvas. A writer imagines a story to be happening in a place that is rooted in his or her mind. The location of a story's actions, along with the time in which it occurs, is the setting. Setting is created by language. How many or how few details we learn is up to the author. Many authors leave a lot of these details up to the reader's imagination.

Setting is a key role in plot, as in man vs. nature or man vs. society stories. In some stories the setting becomes a character itself. In such roles setting may be considered refer to the social milieu in which the events of a novel occur.

Characters may either helped or hurt by their surroundings, and they may fight about possession and goals. Further, as characters speak with each other, they reveal the degree to which they share the custom and ideas of their times.

a. Nature and the outdoors

The natural world is an obvious location of many narratives and plays. It is therefore important to note natural surroundings (hills, valleys, mountains, meadows, fields, trees, lakes, streams), living creatures (birds, dogs, horses, snakes), and also conditions in which things happen (sunlight, darkness, calm, wind, rain, snow, storm, heat, cold) – any or all of which may influence character and action.

b. Objects of human manufacture and construction

To reveal or highlight qualities of character, and also to make fiction life, authors include detail about buildings and objects of human manufacture

and construction. Houses, both interiors, are common, as are possessions such as walking sticks, fences, park benches, toys, automobiles, hair ribbon, necklace, and so on.

c. Cultural conditions and assumption

Just as physical setting influence characters, so do cultural conditions and assumptions, such as characters live, the primitive beliefs, human sacrifice, modern scientific beliefs, and so on.

3.4 Theme

The theme in a piece of fiction is its controlling idea or its central insight. It is the author's underlying meaning or main idea that he is trying to convey. The theme may be the author's thoughts about a topic or view of human nature. Fiction necessary embodies issues and ideas. Even stories written for entertainment alone are based in an idea or position. In fiction ideas take from of an underlying theme or central idea, which helps to tie the work together. Often the author makes theme obvious, it does not much imagination to state the theme.

In reading a story the reader will discover, not taught, human values. The meaning of the story with this `element discovery’ is a comment on human values embodying in the story as inseparable part of it, not something apart from the story. The observation and the way in which it is made trough the interrelationship of the various elements reveals what it is called the theme of the story. A novels theme is the main idea that the writer expresses. Sometimes the theme of the story is stated explicitly. However, frequently it is left implicit. Theme can also be

defined as the underlying meaning of the story. The theme of a novel is more than its subject matter, because an author’s technique can play as strong a role in developing a theme as the actions of the characters do. Rarely can a novels theme be interpreted in only way. Because of the length of novels, and the various characters, conflicts, and scenes found within them, readers can look at different aspects of the work to uncover different interpretations of the meaning of the tale.

A common theme in novels is the conflict between appearance and reality. Another common theme is the search for personality identity. The theme of individual who strikes out alone to face the world is used in many works. Some novels feature people who cannot break from their society’s convention and instead become disillusioned with conflict between their inspiration and the reality of their lives. Throughout the history of the novel, a major theme has been whether people can change their situation in life or whether they are in the grips of forces beyond their control. Other common themes in novels include how art and reflected in one another, the meaning of religion, and whether technology helps people or whether it is a harmful aspect of society.

CHAPTER IV ANALYSIS

4.1 Characters 4.1.1 Edward Cullen

Edward is a fictional character. Edward is a vampire and noted to be extremely attractive, like all other vampires in the series. Bella has often described his appearance as similar to the mythical Greek god Adonis. His skin is hard as marble, very pale, and ice cold as described by Bella. She describes his facial features as being perfect and angular—high cheekbones, strong jaw line, a straight nose, and full lips. His hair, which is always messy, retains the unusual bronze. His eyes, once green, are now described as topaz. His appearance changes if he goes long without feeding: his eyes darken, becoming almost black, and purple bruises appear beneath his eyes. . Edward was tall and had a slender but muscular body.

“The last was lanky, less bulky, with untidy, bronze- colored hair. He was more boyish than the others, who looked like they could be in college, or even teachers here rather than students.”

“And yet, they were exactly alike. Every one of them was chalky pale, the palest of all the Students living in this sunless town. Paler than me, the albino. They all had very dark eyes despite the range in hair tones. They also had dark shadows under those eyes–purplish, bruise like shadows. As if they were all suffering from a sleepless night, or almost done recovering from a broken nose. Thought their noses, all their features, were straight, perfect, and angular.”

“ I stared because their faces, so different, so similar, were devastatingly, inhumanly beautiful. They were faces you

pages of a fashion magazine. Or painted by an old master as the face of an angel. It was hard to decide who was the most beautiful- maybe the perfect blond girl, or the bronze-haired boy.” (Meyer, p: 11)

As we can see in the text above Edward is described in the book and by Bella as being charming, polite, determined, and very stubborn. He is part of the mysterious Cullen family at Forks high. They do not associate with any humans, for fear of exposure until, He fall in love with Bella swan. Edward always puts Bella's safety, humanity and welfare before anything else, and goes to great lengths to protect her from what he sees as danger. He often over-analyzes situations and has a tendency to overreact, especially in situations where Bella's safety is potentially at risk.

“put on your seat belt” he commanded (Meyer, p:81) “sometimes I have a problem with my temper, Bella.”

(Meyer, p:83)

“I followed you to Port Angles,” he admitted, speaking in rush.

“I’ve never tried to keep a specific person alive before, and it’s much troublesome than I would have believed. But that’s probably just because it’s you.” (Meyer, p:88)

Edward, like all vampires in the Twilight, possesses superhuman beauty, strength, speed, endurance, agility and durability. Edward is the fastest member of the Cullen family. He and Jasper are the best fighters in their coven, though they are not physically the strongest. His scent and voice are enormously seductive, so much so that he occasionally sends Bella into a pliant daze entirely by accident. In Twilight, Edward explains that like other vampires, he does not need to breathe, though he chooses to do so out of habit and because it is helpful to smell his

environment. He cannot digest regular food, and compares its attractiveness for him to the prospect of eating dirt for a regular person. As well, like other vampires, Edward is not able to sleep. Edward also possesses the ability to read people's thoughts from a distance as they think them. However he cannot read Bella's thoughts as she is a "shield". He finds this very frustrating.

In this book Edward character describe so fantastic and can make every women fall in love with him in the first time they meet. How his voice, eyes, and everything make an interest to other. Edward also describe as a good vampire that doesn’t drinks human blood even sometimes he feels his lust to kill, especially to Bella. Edward is the first to acknowledge that he has a dark side. When he and Bella are first getting to know each other, he warns her, "What if I'm not a superhero? What if I'm the bad guy?" Bella insists that he's "dangerous but not bad", but Edward says simply, "You're wrong". Despite his primal urges, Edward tells Bella, "I couldn't live with myself if I ever hurt you. You don't know how it's tortured me". Though he loves Bella, Edward struggles against his nature, and continues to worry that he won't be able to control himself and will accidentally hurt her. All the same, Bella can't resist him. Edward repeatedly tells her that he's dangerous, but Bella insists, "I would rather die than stay away from you". Edward is fiercely protective of Bella and is deeply conflicted by their relationship. Although he finds it almost impossible to resist being with her, he sees himself as a negative force in her life. He is distressed when she first tells him she wants to become a vampire because he believes that when she stops being

human, she will lose her soul. Edward is so in love with Bella that he would rather be dead than live in a world without her.

In my opinion, Edward is describe too perfect and has no flaws either. I think even vampires should have flaws besides wanting to suck human blood because it's natural to them.

4.1.2 Bella Swan

Bella swan is a protagonist in this novel. Bella is described in the novels as being very pale with brown hair, chocolate brown eyes, and a heart-shaped face. Beyond this, a detailed description of her appearance is never given in the novel. She described as very fair-skinned, with long, straight, dark brown hair and chocolate brown eyes. Her face is heart-shaped—a wide forehead with a widow's peak, large, wide-spaced eyes, prominent cheekbones, and then a thin nose and a narrow jaw with a pointed chin. Her lips are a little out of proportion, a bit too full for her jaw line. Her eyebrows are darker than her hair and straighter than they are arched

“ I was ivory-skinned, without even the excuse of blue eyes or red hair, despite the constant sunshine. I had always been slender, but somehow, obviously not an athlete; I didn’t have the necessary hand-eye coordination to play sport without humiliating myself-and harming both myself and anyone else who stood too close.”

My skin could be pretty- it was very clear, almost translucent- looking- but it all depended on color. I had no color. (Meyer, P:7) Bella isn't really exceptional in any way. She's not an Olympic-caliber athlete (in fact, she's quite uncoordinated), she's not a genius (although she seems to do well

in school), and she has no particularly remarkable skills. In essence, she's like most people – "absolutely ordinary."

I think some of it's because Bella is an everygirl. She doesn't always have to be cool, or wear the coolest clothes ever. She's normal. And there aren't a lot of girls in literature that are normal. Another thing is that Bella's a good girl, which is just sort of how the author imagine teenagers, because that's how every teenage year was. Bella Swan is also definitely not the materialistic type. She can have anything she wants and yet she wants nothing – nothing that is, except for her vampire boyfriend Edward. She could care less about the luxurious life Edward can offer her. She refuses to let him buy her expensive gifts or to replace her banged up old truck with one of his slinky fast cars. In fact, she barely tolerates him – or anyone - buying her anything at all.

She has a private mind, which is thought to be why Edward is unable to hear her thoughts. She is also said to a terrible liar, but occasionally demonstrates good acting ability. Bella becomes faint when she smells blood.

I couldn’t remember her name, so I smiled and nodded as she prattled about teachers and classes. I didn’t try to keep up. We sat at the end of a full table with several of her friends, who she introduced to me. I forgot all their names as soon as she spoke them. (p:11)

I put my cheek black tabletop and tried to hold on my

consciousness. All around me I could hear squeals, complaints, and giggles as my classmates skewered their fingers, I breathed out slowly in and out through my mouth.(p:50)

Bella is not good to relate with other persons like her friends, teacher, even her mother the person who she closer to than anyone else. She always thinks through her eyes and mined everything that her see just based on what she thinks. Bella is

not without social skills, but she feels like an outsider. She feels disconnected from most people. Even her mother, who is her best friend, feels somehow on a different plane. She and her father are alike in their reticence and appreciation of privacy, yet even with him Bella does not feel fully connected—although their dispositions are similar, their interests are not.

Bella has low self-esteem and can’t believe that anyone as remarkable as Edward would ever be interested in her. She has no idea of her own appeal or beauty and how many guys want to be with her. She is easily embarrassed, blushing often, and hates being the centre of attention.

I didn’t relate well to people my age. Maybe the truth was that I didn’t relate well to people, period. Even my mother, who I was closer to than anyone else on the planet, was never in harmony with me, never on exactly the same pages. Sometimes I wondered if I was seeing the same thing through my eyes that the rest of the world was seeing through theirs. (p:7)

This passage emphasizes how disjointed from the world Bella feels until she meets Edward. He shows her that there is some kind of glitch in her brain that makes her different—this is how he explains not being able to read her mind. He also provides for her the comfort of feeling completely in sync with someone else. These are common feelings for people Bella's age, feeling clumsy and out of place, yet feeling deeply close to one or a few others who also seem or feel uniquely unsuited to the regular world. This helps to explain why she is willing to give up everyone and everything to become a vampire so that she can be with Edward forever. She does not feel fully connected to the rest of the world, only to

Edward, so the sacrifice would, after all, not be as great as otherwise (or at least, so she believes).

She is selfless and she shows it by never thinking of herself and always worrying about others. She doesn't care if she dies just as long as the people she loved was safe. She risked her life going to save her mom when James tricked her into coming. She wanted to stop bothering the Cullens even though it was no bother to them because they were vampires and was in a less dangerous situation than she was.

She is clumsy. This is the most obvious trait of hers. She always falls and hurts herself accidentally or get into dangerous situations daily. She attracts dangers and accidents. And that is how she meets Edward. Edward is attracted to her scent and can't stand being away from her. And he is also afraid if he is away from her. She will die since danger is so close to her.

“I thought you were always right.”

“I used to be.” He shook his head again. “I was wrong about you on one other thing, as well. You’re not a magnet for accident- that’s not a broad enough classification. You’re a magnet for trouble. If there is anything dangerous within a ten-mile radius, it will invariably find you. (Meyer, p:88)

She’s responsible, more than any of us could say, and even if she has no confidence in herself she somehow manages herself to be true and sure about what is right for her, about what she wants and needs, that is Edward. Bella is too in love with Edward.

“And I knew in that I had my answer. I didn’t know if there ever was a choice, really. I was already in too deep. Now that I knew—if I knew—I could do nothing about my frightening secret. Because when I thought of him, of his

voice, his hypnotic eyes, the magnetic force of his personality, I wanted nothing more than to be with him right now.”

(Meyer, p:72)

Bella makes the decision that vampire or not, monster or not, she is not going to let the circumstances keep her from Edward. Unlike Carlisle, who can mentally overcome his strongest instincts, Bella cannot overcome her attraction to Edward, no matter how unnatural or dangerous. The power of this attraction is clear in the way she describes him—she uses the words "hypnotic" and "magnetic" to describe his eyes, his personality, expressing that the power is strong enough for her self-control to become irrelevant. Notably, she suggests that there never was really a choice—she has given in so completely to her desires that she cannot even see an alternative.

I think in this novel Bella has no personality and any loser can put themselves in her shoes. Bella is so 'plain' person. She can’t do anything without Edward. The truth that her father always leaves her alone and doesn't question her anything and the real parents aren't that way. Because of that Bella teaches women to let the man handle everything, which pretty much is a huge step backward for women everywhere, who have fought for equality.

4.1.3 Jacob Black

Jacob Black is a fictional character in this novel. Bella has known Jacob, the son of her father's close friend, since she was a child. He is described as a Though Jacob is two years younger than Bella, he's tall for his age and is describe

as having russet skin, black hair and dark eyes. In Twilight, he is described as a lanky fifteen-year-old with hair down to his shoulders.

“He looked fourteen, maybe fifteen, and had long, glossy black hair pulled back with a rubber band at the nape of his neck. His skin was beautiful, silky and russet-colored; his eyes were dark, set deep above the high planes of his cheekbones. He still had just a hint of childish roundness left around his chin. altogether, a very pretty face.” (Meyer, p:62)

Jacob actually has a personality. Bella always describes Jacob as bright and sunny. He is also as friendly as a friend.

He flashed a brilliant smile, looking at appreciatively in a way I was learning to recognize.

“You know Bella, Jacob?” Lauren asked

“we’ve sort of known each other since I was born,” he laughed, smiling at me again. (Meyer, p:63)

He hints to her that the Cullens are vampires. He also warns Bella to be careful and that "we'll be watching", which is a message from his father.

“And what are they?” I finally asked. “What are the cold ones?” He smiled darkly.

“Blood drinkers,” he replied in a chilling voice. “your people called them Vampires.” (Meyer, p:65)

All Characters in this novel are round character. Meyer describes the characters in details such as their conflicts and thought. They describe in convincing way. How their past is and who their family is, friends and all that relate. Everything is described complete and detail. The main character is extremely compelling. The protagonist is so consumed with her crush on him that she blocks everything else, and the fact that he's a vampire adds a whole other level.

4.2 Theme

The theme of this novel is about love. How their love becomes forbidden love because Edward is a vampire and Bella is a human, Edward technically should consider Bella his prey. While Edward does love Bella, his primal instincts lead him to thirst for her blood. Similarly, Bella's natural instincts should warn her that Edward is dangerous, that she should stay away from him, but instead she craves being near him at all times. For this couple, even kissing is dangerous, yet their passion is so intense that they each claim to have no choice but to be with the other. Although Edward’s instinct is to kill humans, he has risen above those feelings. Thus, he protects Bella, while her attackers, who were born without that killer instinct, have given way to their most base feelings and have chosen to attack her. Thus, again, it is self-control that keeps Edward from being a monster. The plot suspense, however, is in the reader’s not knowing what will happen while Bella is in danger.

“I tried to describe impossible things like the scent of creosote –bitter, slightly resinous, but still pleasant – the high, keening sound of the cicadas in July, the

feathery barrenness of the trees, the very size of the sky, extending white-blue from horizon to horizon, barely interrupted by the low mountains covered with purple volcanic rock. The hardest thing to explain was why it was so beautiful to me – to justify a beauty that didn’t depend on the sparse, spiny vegetation that often looked half dead, a beauty that had more to do with the exposed shape of the land, with the shallow bowls of valleys between the craggy hills, and the way they held on to the sun. I

found myself using my hands as I tried to describe it to him.” (Meyer, p:119)

A love that happen because fate. We can see that when Bella believes she is about to die, she looks back on her decision to come to Forks as the moment that led her to where she is. She cannot regret her choice, subconsciously showing her respect for fate. There were many smaller moments after that decision that could have led her on another path—most simply, if she had not gone to the Cullens’s baseball game. Yet for her, from the moment she decided to come to Forks, everything else felt fated. Fate is thus something more for her than the playing out of one's decisions. She makes this clear, also, when she describes herself as never really having had a choice of whether to stay with Edward or not. The depth of her love for him has never felt like a choice; it has felt like something fated. Edward’s feelings for her also seem to be on the level of inevitability, yet he has two competing desires, and it is his free agency that allows him to choose loving Bella over killing her. Meanwhile, they both joke about how she seems fated to die soon--sooner than the inevitable death of a mortal human being--presuming that she never becomes a vampire. Bella and Edward both make choices throughout the Twilight that impact the plots of the stories heavily. Especially in Twilight, choice is a powerful force. Bella makes the decision to leave her mother and move to a new town. Edward attempts to make the choice to stay away from Bella. Both make choices about what kinds of affection to share, whether the decisions are morally driven or driven by Edward’s desire not to hurt Bella. This includes the choice not to have sex, which a decision is hashed out even more as the book series continues. Edward is in a constant state of choice, continually having to make the choice not to harm Bella even though

his instincts might lead him to do so. Choices drive their relationship and the plot of the story. In order for Bella and Edward to ultimately be together, Bella must sacrifice her life and her family. Although Bella feels ready to make this profound sacrifice, Edward is not ready to accept it. Sacrifice is certainly a loss, but it can be acceptable or even noble when it is a free choice to gain something even better. Is it enough in this case, to do it for someone she loves. It is harder to accept when someone else has to make the sacrifice for one's own sake.

“That had always been my way, though. Making decisions was the painful part for me, the part I agonized over. But once the decision was made, I simply followed through – usually with relief that the choice was made. Sometimes the relief was tainted by despair, like my decision to come to

Forks. But it was still better than wrestling with the alternatives.” (Meyer, p:72)

In the end, Bella chooses to sacrifice her life to save her mother, Charlie, and hopefully the Cullens. As long as she believes that this sacrifice will have meaning, she can face death with more bravery than she otherwise would. Edward, however, again is not able to let her make that sacrifice. It also seems unlikely that, if she had died, he would have let James get away with it, as she hoped. Meyer thus sets a frame of sacrifice through which readers can see Bella’s and Edward’s love story. In particular, the preface makes it seem that Bella will have to sacrifice her life for love or for someone else who should live, and although she is scared. The contrast between Edward’s immortality and Bella’s mortality makes time and eternity into interesting themes in Twilight. For Edward, time moves slowly because he never changes physically, and he has seen so many years pass that the small changes become less noticeable. For Bella, however,

time seems to fly by, and she fears that every moment ages her and thus takes her farther from Edward. Her impending death, while hopefully a long way off, feels to her like it will come at any moment, for Edward will still have an eternity after she is gone, and if he would only change her, she could have an eternity with him. A human lifespan in comparison to eternity seems very, very short. Throughout the novel this feeling pervades Bella’s moments with Edward; she always feels that they are rushing by too quickly, that they are fleeting and passing by forever so that she will never be able to have the same thing again. Bella’s love for and faith in Edward are so profound that she lies to everyone about how she will be spending the day, partly to keep the relationship a secret but also, it seems, so that if he does kill her, he at least will be safe from suspicion. Likewise, when she reacts to the news that Rosalie hates her because her relationship with Edward puts Rosalie and the others in danger, she worries more about the possible repercussions for Edward and his family than about the prospect of being hurt her. She still values herself too low compared with others. Bella has ultimate faith in her love for Edward and in his for her, such that she is willing to risk her life to be alone with him--to kiss him--and she is willing to give up her family and her life to be with him forever. She also has faith in his goodness, even knowing that he has hunted humans before and that when he was first with her, he was not sure that he would be able to prevent himself from killing her. Faith involves elements of trust and hope, perhaps tinged with fear.

4.3 Plot

"About 3 things, I was absolutely positive. First, Edward was a vampire. Second, there was a part of him, and I was not sure how dominant that part may be, that thirsted for my blood. And third, I was unconditionally and irrevocably in love with him."

The plot is about a girl named Bella Swan who moves from Phoenix, Arizona to a small town called Forks in Washington. She meets a boy named Edward Cullen and falls in love with him. Through research and the help of a boy named Jacob Black, she discovers that Edward and his family are vampires.

Isabella "Bella" Swan moves from sunny Phoenix, Arizona to rainy Forks, Washington to live with her father, Charlie, while her mother, Renée, travels with her new husband, Phil Dwyer, a minor league baseball player. Bella attracts much attention at her new school and is quickly befriended by several students. Much to her dismay, several boys compete for shy Bella's attention.

When Bella is seated next to Edward Cullen in class on her first day of school, Edward seems utterly repulsed by her. He disappears for a few days, but warms up to Bella upon his return; their newfound relationship reaches a climax when Bella is nearly run over by a fellow classmate's van in the school parking lot. Seemingly defying the laws of physics, Edward saves her life when he instantaneously appears next to her and stops the van with his bare hands.

Bella becomes hell bent on figuring out how Edward saved her life, and constantly pesters him with questions. After tricking a family friend, Jacob Black, into telling her local tribal legends, Bella concludes that Edward and his family are vampires who drink animal blood rather than human. Edward confesses that

Over time, Edward and Bella fall in love. Soon after, Bella takes a trip to Port Angeles with a few friends, where she gets lost looking for a bookstore. Some thugs almost attack her in a dark alley, but Edward appears in his shiny Volvo and saves her. They have dinner together, and he drives her home. He reveals that yes, he is a vampire. Edward doesn’t want to be a monster, though, and actually only drinks the blood of animals. Bella knows now that he does thirst for her blood, yet she still is in love with him. Edward repeatedly warns Bella that she should be afraid of him and stay away, if she’s smart.

Their relationship is thrown into chaos when another vampire coven sweeps into Forks. James, a tracker vampire who is intrigued by the Cullens' relationship with a human, wants to hunt Bella for sport. The Cullens attempt to distract the tracker by splitting up Bella and Edward, and Bella is sent to hide in a hotel in Phoenix. There, Bella receives a phone call from James, who claims he is holding her mother captive. When Bella surrenders herself, James attacks her, but Edward, along with the other Cullens, rescues Bella and destroys James. Once they realize that James has bitten Bella's hand, Edward sucks the venom from her system before it can spread and transform her into a vampire, and she is then sent to a hospital. Upon returning to Forks, Bella and Edward attend their school prom and Bella expresses her desire to become a vampire, which Edward refuses.

“So I was hoping that you might have changes your mind…. that you were going to change me, after all.” (Meyer, P:258) “you can’t really believe that I would give in so easily,” he said with a Sour edge to his mocking tone.

“ A girl can dream.”

His eyebrows rose, “Is that what you dream about? Being a monster?”(Meyer, p:259)

4.4 Setting

Most of the story takes place in Forks, Washington, and its surrounding areas. According to Bella, Forks claims the highest rainfall per year in the United States. To put it bluntly, it's dreary and gray of the time. The cloudy, rainy climate is one of the reasons the Cullens have chosen to live in Forks – because it's rarely sunny, they can go out in the daylight without having the sun sparkling off their glittery skin and exposing them. The dreary weather allows vampires to live relatively normal lives.

In the Olympic Peninsula of northwest Washington State, a small town named Forks exist under a near-constant cover of clouds, it rains on this inconsequential town more than any other place in the United States of America. (Meyer, p:4)

Another factor that distinguishes Forks is that it's surrounded by forests and wildlife. The woods are especially important to the novel, since the Cullens rely on wildlife for their diet. Not to mention, the damp greenery adds a "dark" element to Forks's location. You could say that Forks is the land of the dark.

Forks in this novel not only describe a place but might have many meanings. It might have to do with forks in the road, various paths that might be followed, in spite of a fate that might dictate a specific path. It also might suggest a forked tongue in the sense of deception, which is how the vampires keep themselves unidentified in the town. Forks also invoke the forks used for eating, which is a significant theme in the novel in that vampires don't use tools like forks for the things that they eat.

therefore, is a child of the light; she readily admits she prefers dry, warm climates. When Bella first moves to Forks, she hates it. She tells us, "It was from this town and its gloomy, omnipresent shade that my mother escaped with me when I was only a few months old”. Later, Bella describes her feelings of confinement in Forks: "Thick fog was all I could see out my window in the morning, and I could feel the claustrophobia creeping up on me. You could never see the sky here; it was like a cage”. Over time, however, as Bella's relationship with Edward becomes more intense, Bella comes to like Forks. In fact, when she returns to Phoenix and is about to confront James, she says,

The sun was hot on my skin, too bright as it bounced off the white concrete and blinded me. I felt dangerously exposed. More fiercely than I would have dreamed I was capable of, I wished for the green, protective forests of Forks…of home.

By the end of the novel, Bella has experienced a complete reversal in her feelings about the two locations.

The forest is an interesting setting for a number of scenes. Commonly in literature, the forest represents a wilderness where evil and/or mystery may reside, the forest also represents safety from the confinement of society. The Cullens' home is nestled in the woods, away from the human world, and as Bella tries to sort out whether or not Edward is a vampire, she runs to the forest:

Here in the trees it was much easier to believe the absurdities that embarrassed me indoors. Nothing had changed in this forest for thousands of years, and all the myths and legends of a hundred different lands seemed much more likely in this green haze than they had in my clear-cut bedroom.

A secluded meadow in the middle of the forest hosts Bella's first sight of Edward's skin when exposed to the sun. Bella describes the meadow almost like we'd imagine the Garden of Eden:

The meadow was small, perfectly round, and filled with wildflowers – violet, yellow and soft white. Somewhere nearby, I could hear the bubbling music of a stream. The sun was directly overhead, filling the circle with a haze of buttery sunshine.

In this private setting, Edward can be himself in front of Bella for the first time. He shows her his super-speed and strength in addition to his sparkling skin. The meadow is also where Edward and Bella take their love affair to the next emotional level.

Lastly, La Push serves as the place of Bella's epiphany over Edward's "kind." Jacob Black, the son of one of Charlie's friends, fills in Bella on the local lore and informs Bella that the Cullens aren't allowed on La Push reservation. This new setting clues us into the competition between Jacob and Edward – each guy has his own territory on which neither can trespass, yet Bella is free to move between them.

It was only fifteen miles to La Push from Forks, with gorgeous, dense green forest edging the road most of the way and the wide Quillayute River sneaking beneath it twice.

CHAPTER V

CONCLUSION AND SUGGESTION

5.1 Conclusion

After analyzing this novel based on their literary elements such as; plot, character, theme and setting, the writer of this thesis can conclude that every character in this novel describe with round character. The characters describe in detail such as their conflicts and thought. They describe in convincing way. How is their past and who is their family, friends and all that relate. Everything describe complete and detail. Edward the good vampire can looks so frightful when he was angry to everyone. Bella looks like happy when she meets with her friends but the truth, she was only lying because she didn’t relate well with any people. Jacob try to be Bella’s friend even thought he love her so much.

Meyer’s write how the main characters only ever seem to scowl or throw “unreadable looks” at each other almost rendering the idea that they’re meant for each other pointless, there’s not enough of the romance that makes it barely readable, characters aren’t fleshed out enough and that all of the motivation behind anything that happens is implied and left hanging.

Twilight is so unique it is almost like it’s in its own genre. The story is told in first person from the perspective of Bella, so the reader only ever know what she knows, making Edward and his family a mystery that is slowly unraveled throughout the book. Bella herself is a well written and realistic character, shy and lacking in confidence, her sarcastic inner voice narrates the story for the reader. Twilight is simply and yet beautifully written. The

descriptions of Forks leave you feeling like you can almost smell the damp air and hear the rain falling on the roof.

The romance between Edward and Bella is both touching and compelling. There is a melancholic feel to their impossible love, yet at the same time they both are unwilling to give up hope that their relationship is not doomed. The book reaches a fever pitch of excitement as the romance between Bella and Edward turns into a frantic race to stay alive.

Meyer's other greatest achievement is writing a novel with such an imminent sense of danger. Danger can be sensed from the very first page and stays with readers until the book is finished. That kind of pace and excitement is hard for any author to accomplish let alone a new author. But despite the realism and the danger, Stephenie Meyer does bring a flaw to Twilight. Bella's identity is completely wrapped up in Edward. She lives because he lives. She'd rather die than live without him. While this fits with the Romeo and Juliet theme running through the book it doesn't necessarily fit in with today's society. Bella is the girl that every teenage girl aspires to be. But, it is Bella's lack of emotional strength that may send readers the message that it is ok to lose your identity in a relationship.

5.2 Suggestions

To end this writing, I would like to propose some suggestions in regarding to an analysis of the character in “Twilight”. In reading a novel, readers should not only pick an explicit meaning but also implicitly. Because some words, phrases, and sentences used by characters may have a deeper meaning than it looks like.

Then, there is a way can be used to encourage and challenge readers to read more and more, they could read other author’s books to get the understanding of improvisation and characterizing of characters in the novel and it would be more appreciated if the readers could share their experiences about excitement of reading novels with other readers to increase reading among other students.

Finally, I would like to recommend that it would be more appreciative if an author could create a story of his or her novel with moral values that can be appropriately consumed by every people

49 5.2 Suggestions

To end this writing, I would like to propose some suggestions in regarding to an analysis of the character in “Twilight”. In reading a novel, readers should not only pick an explicit meaning but also implicitly. Because some words, phrases, and sentences used by characters may have a deeper meaning than it looks like.

Then, there is a way can be used to encourage and challenge readers to read more and more, they could read other author’s books to get the understanding of improvisation and characterizing of characters in the novel and it would be more appreciated if the readers could share their experiences about excitement of reading novels with other readers to increase reading among other students.

Finally, I would like to recommend that it would be more appreciative if an author could create a story of his or her novel with moral values that can be appropriately consumed by every people

BIBLIOGRAPHY

Bain,C.E.et al. 1973. The Norton Introduction to Literature. New York: WW Norton company

Eagleton, Terry.1994. Literary Theory: An introduction. Oxford: Blackwell Publishing Company

G. Chistoper. 1978. Movement in English Literature. Cambridge University: Press Cambridge

Gollier. 1986. Gollie’s Encyclopedia. New York: MacMillan Educational Co. Gill,R. 1995. Mastering English Literature. Cambridge University:

Press Cambridge

Jacob,Sumarjo.1965. Memahami kesusastraan. Jakarta: Pustaka Jaya Jost, Francois. 1874. Introduction to Comperative Literature. Indianapolis:

The Bob-Merril Company,Inc

Kasim,Razali.2005.Introduction to Literature.Medan: USU Press.

Meyer, Stephenie. 2005. Twilight . New York: Little, Brown and Company. Meyer, Stephenie.2009. Twilight. Trans by Lily Devita Sari. Jakarta: PT

Gramedia Pustaka Utama.

Roberts,Edgar V and Henry E. Jacobs.1987.Literature:An Introduction to Reading and Writing,Fourth Edition,New Jersey: A Paramount Communications Company.

Taylor,Richard 1981. Understanding the Elements of Literature. New York: Macmillan Press Ltd.

Wellek, Rene and Austin Warren. 1963. Theory of literature. New York: Harcourt, Brace Javanovich.

APPENDIX A

SUMMARY OF TWILIGHT

Isabella "Bella" Swan moves from sunny Phoenix, Arizona to rainy Forks, Washington to live with her father, Charlie, while her mother, Renée, travels with her new husband, Phil Dwyer, a minor league baseball player. Bella attracts much attention at her new school and is quickly befriended by several students. Much to her dismay, several boys compete for shy Bella's attention.

When Bella is seated next to Edward Cullen in class on her first day of school, Edward seems utterly repulsed by her. He disappears for a few days, but warms up to Bella upon his return; their newfound relationship reaches a climax when Bella is nearly run over by a fellow classmate's van in the school parking lot. Seemingly defying the laws of physics, Edward saves her life when he instantaneously appears next to her and stops the van with his bare hands.

Bella becomes determined to find out how Edward saved her life, and constantly pesters him with questions. After tricking a family friend, Jacob Black, into telling her the local tribal legends, Bella concludes that Edward and his family are vampires who drink animal blood rather than human. Edward confesses that he initially avoided Bella because the scent of her blood was too desirable to him. Over time, Edward and Bella fall in love.

Their relationship is disturbed when another vampire coven sweeps into Forks. James, a tracker vampire who is intrigued by the Cullens' relationship with a human, wants to hunt Bella for sport. The Cullens attempt to distract the tracker by splitting up Bella and Edward, and Bella is sent to hide in a hotel in Phoenix. There, Bella receives a phone call from James, who claims to be holding her

mother captive. When Bella surrenders herself, James attacks her. Before she is killed, Edward, along with the other Cullens, rescues her and defeats James. Once they realize that James has bitten Bella's hand, Edward successfully sucks the venom from her bloodstream and prevents her from becoming a vampire, after which she is brought to a hospital. Upon returning to Forks, Bella and Edward attend their school prom and Bella expresses her desire to become a vampire, but Edward refuses.

APPENDIX B

BIOGRAPHY OF STEPHENIE MEYER

Stephenie Meyer (née Morgan, born December 24, 1973) is an known for her vampire romance seriesTwilight novels have gained worldwide recognition, won multiple literary awards and sold over 85 million

copies worldwide

globe. A

November 21, 2008. Meyer is also the author of the adult science-fiction novel

Meyer was named USA Today's "Author of the Year" in 2008. She was also the biggest selling author of the year, having sold over 29 million books in 2008 alone, with Twilight being the best selling book of the year. Meyer was ranked

#49 on

also included in the

celebrities in 2009, entering at #26 with annual earnings exceeding $50 million.

Personal life

Stephenie Meyer was born i Morgan. She grew up i Paul, and Heidi. She attende then attende when she was growing up in Arizona, and married him in 1994 when they both were 21. Together they have three sons: Gabe, Seth, and Eli. Christian Meyer, formerly an auditor, has now retired to take care of the children. Meyer is a member of is "straitlaced" about her beliefs, and does not drink alcohol or smoke. Meyer had

never written even a short story before

school because she felt she had no chance of becoming a writer; she later noted that the birth of her oldest son Gabe changed her mind, saying, "Once I had Gabe, I just wanted to be his mom." Before becoming an author, Meyer's only professional work was as a receptionist in a property company. Meyer currently lives

Subsequent novels

Following the success of

with three more books:

(2008). In its first week after publication, the first sequel,

#5 on the

second week rose to the #1 position, where it remained for the next eleven weeks. In total, it spent over 50 weeks on the list. After the release of Eclipse, the first three "Twilight" books spent a combined 143 weeks on the New York Times Best Seller list. The fourth installment of the Twilight series, released with an initial print run of 3.7 million copies. Over 1.3 million copies

were sold on the first day alone, setting a record in first-day sales performance for the

series as a whole has sold over 85 million copies worldwidein 37 languages. In 2008, the four books of the series claimed the top four spots ons year-end bestseller list, making Meyer the first author to ever achieve this feat and the bestselling author of the year. In August,

brokeTwilight books have

spent 52 straight weeks on the top 10. The books have also spent more than 102

weeks on th

Upon the completion of the fourth entry in the series, Meyer indicated that Breaking Dawn would be the final novel to be told from

the events of the novel Twilight, but from the perspective of

opposed tMidnight Sun published some

time shortly after the release of Breaking Dawn, but after an online leak of a rough draft of its first 12 chapters, Meyer chose to delay the project indefinitely. In addition, since Meyer has decided to pursue non-Twilight related books as a result of the leak, she made the rough chapters of "Midnight Sun" available on her website.

Other works

One of Meyer's short stories was published in Prom Nights from Hell, a collection of stories about bad prom nights with supernatural effects. Other authors who contributed to this collection ar Prom Nights from Hell was released in April 2007.

In May 2008, Meyer's adult sci-fi novel,

division of and Wanderer, a young woman and an invading alien "soul," who are forced to work as one. The Host debuted at #1 on the remained on the list for 26 weeks. In March 2008, Meyer stated that she was "almost done" writing a possible sequel toThe Soul. If she were to continue the series, the third book would be called The Seeker. Meyer mentions having several other book ideas on file, including a ghost story titled Summer House and a novel involving time travel, as well as another about mermaids. On August 28, 2008, it was announced that Meyer had written the treatment for following week.

In 2009, Meyer teamed with the skateboard and clothing company Hobo Skate Company to produce her own clothing line, consisting of a line of T-shirts and skateboards related to her science-fiction novel,