6 Shortly, Taylor 1981: 50 divided the prose fiction into seven sub
division, they are: the folk tale, the romance, allegory, satire novel, epic, and short story. Through the quotations above, it is known that the prose fiction is divided
into some sub divisions; one of them is the short story.
2.2 Novel
Taylor said that novel is a prose work of quite some length and complexity, which attempts to reflect and express the quality or value of human
experience or conduct. It means novel as a genre of literature isn’t merely an irrational imagination but it is a reflection of human experience to learn the value
of human experience itself. There are number of elements in a novel. They are plot, character, setting, point of view, and style. Plot is event and their sequence of
occurrence; character is agent of motivation and reactions to events; setting is point of reference for character and action; point of view focus of the narrator’s
knowledge and values; style focus of the author’s attitudes and values. Since, the writer will analyze the description of characters. This paper
only focuses on characters. A character in a novel is not a real human being and has no life outside the literary composition, how well the author has created the
illusion of reality. A character Taylor, 1981: 62 is a mere construction of words meant to express an idea or a view experience and must be considered in relation
to other features of the composition, such as actionplot, before its full significance can be appreciated. It means that it is impossible to have action
without characters; events are determined by character and character is also
7 defined by events. The conception and presentation of character therefore has a
great effect on the significance of a novel as the selection of events and their ordering.
Taylor 1981:77 said that there are some methods of characterization. The rendering of creation of character far more than the commonplace ideas of direct
description and reported dialogue: what the character says and does or what others say about him. Directs statement of character analysis and motive are often stated
by authors or narrators, but more subtle methods are also used in every work of fiction. The simple fact of choosing a name is a real indication of character.
Repeated mannerisms, such as oddities of speech and movement or an obsession, which is peculiar to one figure alone, also tend to characterize people, as do their
clothes or possessions. The faces and physiques of individuals are generally explicit indications of character or personality and an author may even include
physical elements, which have conventional associations or meanings in order to build up the desired qualities of personality. Characterization through association
with physical setting is another effective method for authors who wish to imply and suggest qualities of personality, while the use of figurative language and
patterns of images associated with different character is still another indirect way of investing a fictional creation with character. Regardless of what methods are
used in characterization, all characters are not developed to the same degree or depth. For the purpose of a particular plot and theme, the author may need a
character or characters of great psychological complexity, or, on the other hand, characters of great are of little interest in themselves but who represent a
8 particular attribute or quality. Taylor 1981: 78 also stated that there are two
kinds of character. The first include those fictional creations who have complex many-faceted personalities and an independent inner life which invites the
reader’s interest, while flat characters are those who exhibit only one character trait or motivation and whose main claim to the reader’s interest is in the actions
they perform or the quality they represent. Both round and flat characters are equally capable of changing their
natures, depending on what happens to them, but no one of these types is required to undergo such a development in order to be considered a successful creation.
The more fully developed characters will always draw attention to inner conflict and psychological complexities, while the flatter creations will direct attention
away from themselves towards the ideas and forces at work in that particular fiction.
2.3 Character
