2. Theory of Character Development
According to Perrine in Literature: Structure, Sound and Sense, Tenth Edition, 1997: 164-165 explains that character is devided into two parts. The
first part is static character. Static character is one who does not undergo any change. It can be said that this type of character does not change from the
beginning until the end of the story. The second part of the division is dynamic character which is also called as developing character. Dynamic character is
described as a character who can change in the story. This character is developing if the person experiences a change in some aspects disposition, personality, or
outlook. The change itself can be worse or better and it can also be big or small one.
3. Theory of Symbol
Abrams in his book A Glossary of Literary Terms; 7th ed defines symbol as “anything which signifies something else” 1981: 195. He also mentions that
symbol relates to a word or a phrase and it shows other object or event “which in its turn signifies something, or has a range of reference, beyond itself” 1981:
195.
Furthermore, Roberts and Jacobs in Fiction: An Introduction to Reading and Writing also states that a symbol might be considered abritrary because there is no vivid
connection between the symbol and the things it stands for: In short stories and other types of literature, a symbol is usually a person, thing,
place, action, situation and even thought. It possesses its own reality and meaning and may function at the normal level of reality within story. There is often topical
and integral relationship between the symbol and things it stands for, but a symbol may have no apparent connection and therefore may be considered
abritrary. What is important, however, is that the symbols point beyond itself to greater and more complex meaning 1987: 279.
D.H. Lawrence explains also about a symbol. He says that dynamic, emotional, and belonging to the sense-consciousness of the body and soul are the
value of symbol: You can’t give a great symbol a “meaning”, any more than you give a cat
a “meaning”. Symbols organic units of consciousness with a life of their own, and you can never explain them away, because their value is
dynamic, emotional, belonging to the sense-consciousness of the body and soul, and not simply mental as cited in Barnet Berman, 1994: 56
Stanton in An Introduction to Fiction mentions the function of symbol that
is used to change ideas and emotion from invisible and intangible things to be real as any physical fact:
Ideas and emotions often seem as real as any physical fact; yet they are invisible, intangible things. In literature, one way of giving them this
vividness of reality is to use symbols – concrete, factual details that evoke
these ideas and emotions in the reader’s mind. 1965: 31 After understanding the concepts of symbol, it is also important to pay
attion the cautions in analysing symbol. Perrine in his book Literature: Structure, Sound, and Sense, Tenth Edition 1997: 298-290 gives cautions in analysing
symbol, as follows: 1.
The reader should be able to find a clue to be taken symbolically. Symbols nearly always signal their existance by emphasis, repetition, or position.
2. The meaning of a literary symbol must be established and supported by the
entire context of story. The symbol has its meaning in the context, not outside it.
3. The symbol must have a meaning different from its literal meaning.
C. Theoretical Framework
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