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c. Climax is the most intense of all the incidents. It is the highest intensity in which the various causes, forces and counter forces have met and determined
the flowing of action Tennyson, 1976, p. 22. In climax, there is “crucial shift” in the main character’s life, whether he will get success or suffer
Tarigan, 1991, p. 128. d. Falling action follows the climax and usually presents the ways in which the
author begins to perform the resolution of conflicts, as Forster insisted that “after the climax the solution mast follow” Forster, 1927, p. 31.
e. Denouement is the outcome of the conflict or the resolution. It refers to the
answer given the question raised in the exposition Rahardja, 1994, p. 19.
2. Character
Character can be defined as a person who shows human’s life experience in the story of the novel. M. H Abrams said that “the characters are the persons
presented in dramatic or narrative work, who are interpreted by the reader as being endowed with moral and dispositional qualities that are expressed in what
they say – the dialogue, and what they do – the action.” Abrams, 1981, p. 20. E.M Forster in his Aspect of the Novel divided the characters of fiction into “flat”
and “round” characters. A flat character is built around a single idea or quality and is presented without much in detail, and usually can be described in one
sentence or two. A round character is more complex in temperament and motivation Forster, 1927 : 26. He is obviously more lifelike than the simple
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character, because in life people are not simply embodiments of single attitude Kenney, 1966, p. 29.
3. Setting
According to Kenney, the term setting refers to the point in time and space at which the events of the plot occur Kenney, 1966, p. 38. Everything happens
somewhere and sometime which reveals the “where” and “when” of events. Consequently, there are two major categories of setting: setting of time and setting
of place. The first one is the period in which the action occurs in many works of fiction on its highest importance that can be seen clearly especially in historical
fiction. The second one refers to where the action takes place in the works of fiction.
Sometimes, the author’s principal concern is plot or character; therefore he has no real interest in his setting. He sketches in only enough of setting which
have relationship to the action. However, setting never exists by itself; it is always part of a unified artistic whole. Therefore, we must regard setting on what
it contributes to the complex whole of fictional work.
4. Theme
