tertiary narration which occurs when a character in another‟s narration becomes a narrator in his or her own right Keen, 2003:41-42.
4. Narrative Level
The last element which construct narrative situation of a story is the narrative level. Narrative level mainly deals with the process of fictional world
making. This fictional world is a world created automat ically in the reader‟s mind
when they are reading a story. Inside this fictional world, which may be described briefly or elaborately, resides the characters and events and stories happen. In
some cases, a narrative demands its readers to imagine a world inside a world when a character inside a story becomes the narrator of their own story Keen,
2003:108. When a character becomes a narrator for their own story he or she
automatically becomes a secondary narrator and thus creates a new imaginative story world inside the primary story world. This secondary narrative that exists
inside the primary narrative is called embedded story, which signals the initiation of a new narrative level. Embedded story is placed inside the primary story for
some reasons. It can be functioned as an explanation of a backstory, as a prediction, establishing thematic relationships throughout the story, or as
persuasive or revelatory tools Keen, 2003:111-112. The level of a narrative text is divided into three levels by Genette,
extradiegetic, diegetic, and metadiegetic. Extradiegetic is the act of narrating the first story while diegetic, also called intradiegetic, is the act of narrating the
second story inside the first story. The event that is narrated in the second story or the embedded story is called metadiegetic 1983: 228.
Genette also defines three types of relations between the metadiegetic and diegetic level. First is the explanatory relation in which the metadiegetic level
explains the diegetic level. Second is the thematic relation where the second narrative serves the purpose of a contrast or an analogy to the first narrative. The
third type is where the second narrative serves the purpose of a distraction or an obstruction to the first narrative. This kind of relationship can be found in the
Arabian story The Thousand and One Nights where Scheherazade told many stories to distract her husband from murdering her 1983: 232-234.
5. Theory of Theme
The last theory that is used in this study is the theory of theme. According to Cuddon, theme in of a literary work is not the subject the work is talking about
rather theme is the central idea of the work itself. The theme might be stated
directly or indirectly inside the work 2013:721.
Abrams defined theme as “a general concept or doctrine” that a literary work is trying its reader to follow that
concept or doctrine, whether explicitly or implicitly 1999: 170. In another word a theme of a story in a story is the center of the story
itself, the controlling idea of the story. The theme of a story is not only about what the story is about, but also about what attitudes or judgment it implies. The theme
of story should be summed up in a sentence.
