A Structural Analysis On The Act Of Violence In Charles Perrault’s Little Thumb A Thesis

APPENDICES

• Story of Little Thumb

Once upon a time there lived a woodcutter and his wife; they had seven children, all boys. The eldest was but ten years old, and the youngest only seven. People were astonished that the woodcutter had had so many children in such a short time, but his wife was very fond of children, and never had less than two at a time

They were very poor, and their seven children inconvenienced them greatly, because not one of them was able to earn his own way. They were especially concerned, because the youngest was very sickly. He scarcely ever spoke a word, which they considered to be a sign of stupidity, although it was in truth a mark of good sense. He was very little, and when born no bigger than one's thumb, for which reason they called him Little Thumb.

The poor child bore the blame of everything that went wrong in the house. Guilty or not, he was always held to be at fault. He was, notwithstanding, more cunning and had a far greater share of wisdom than all his brothers put together. And although he spoke little, he listened well.

There came a very bad year, and the famine was so great that these poor people decided to rid themselves of their children. One evening, when the children were all in bed and the woodcutter was sitting with his wife at the fire, he said to her, with his heart ready to burst with grief, "You see plainly that we are not able to keep our children, and I cannot see them starve to death before my face. I am resolved to lose them in the woods tomorrow, which may very easily be done; for, while they are busy in tying up the bundles of wood, we can leave them, without their noticing."

"Ah!" cried out his wife; "and can you yourself have the heart to take your children out along with you on purpose to abandon them?"

In vain her husband reminded her of their extreme poverty. She would not consent to it. Yes, she was poor, but she was their mother. However, after having considered what a grief it would be for her to see them perish with hunger, she at last consented, and went to bed in tears.

Little Thumb heard every word that had been spoken; for observing, as he lay in his bed, that they were talking very busily, he got up softly, and hid under his father's stool, in order to hear what they were saying without being seen. He went to bed again, but did not sleep a wink all the rest of the night, thinking about what he had to do. He got up early in the morning, and went to the riverside, where he filled his pockets with small white pebbles, and then returned home.

They all went out, but Little Thumb never told his brothers one syllable of what he knew. They went into a very thick forest, where they could not see one another at ten paces distance. The woodcutter began his work, and the children gathered up the sticks into bundles. Their father and mother, seeing them busy at their work, slipped away from them without being seen, and returned home along a byway through the bushes.

When the children saw they had been left alone, they began to cry as loudly as they could. Little Thumb let them cry, knowing very well how to get home again, for he had dropped the little white pebbles all along the way. Then he said to them, "Don't be afraid, brothers. Father and mother have left us here, but I will lead you home again. Just follow me."

They did so, and he took them home by the very same way they had come into the forest. They dared not go in, but sat down at the door, listening to what their father and mother were saying.

The woodcutter and his wife had just arrived home, when the lord of the manor sent them ten crowns, which he had owed them a long while, and which they never expected. This gave them new life, for the poor people were almost famished. The woodcutter sent his wife immediately to the butcher's. As it had been a long while since they had eaten, she bought three times as much meat as would be needed for two people.

When they had eaten, the woman said, "Alas! Where are our poor children now? They would make a good feast of what we have left here; but it was you, William, who decided to abandon them. I told you that we would be sorry for it. What are they now doing in the forest? Alas, dear God, the wolves have perhaps already eaten them up. You are very inhuman to have abandoned your children in this way."

The woodcutter at last lost his patience, for she repeated it more than twenty times, that they would be sorry for it, and that she was right for having said so. He threatened to beat her if she did not hold her tongue. It was not that the woodcutter was less upset than his wife, but that she was nagging him. He, like many others, was of the opinion that wives should say the right thing, but that they should not do so too often.

She nearly drowned herself in tears, crying out, "Alas! Where are now my children, my poor children?"

She spoke this so very loud that the children, who were at the gate, began to cry out all together, "Here we are! Here we are!"

She immediately ran to open the door, and said, hugging them, "I am so glad to see you, my dear children; you are very hungry and tired. And my poor Peter, you are horribly dirty; come in and let me clean you."

Now, you must know that Peter was her eldest son, whom she loved above all the rest, because he had red hair, as she herself did.

They sat down to supper and ate with a good appetite, which pleased both father and mother. They told them how frightened they had been in the forest, speaking almost always all together. The parents were extremely glad to see their children once more at home, and this joy continued while the ten crowns lasted; but, when the money was all gone, they fell again into their former uneasiness, and decided to abandon them again. This time they resolved to take them much deeper into the forest than before.

Although they tried to talk secretly about it, again they were overheard by Little Thumb, who made plans to get out of this difficulty as well as he had the last time. However, even though he got up very early in the morning to go and pick up some little pebbles, he could not do so, for he found the door securely bolted and locked. Their father gave each of them a piece of bread for their breakfast, and he fancied he might make use of this instead of the pebbles, by throwing it in little bits all along the way; and so he put it into his pocket.

Their father and mother took them into the thickest and most obscure part of the forest, then, slipping away by an obscure path, they left them there. Little Thumb was not concerned, for he thought he could easily find the way again by means of his bread, which he had scattered along the way; but he was very much surprised when he could not find so much as one crumb. The birds had come and had eaten every bit of it up. They were now in great distress, for the farther they went the more lost and bewildered they became.

Night now came on, and there arose a terrible high wind, which made them dreadfully afraid. They fancied they heard on every side of them the howling of wolves coming to eat them up. They scarcely dared to speak or turn their heads. After this, it rained very hard, which drenched them to the skin; their feet slipped at every step they took, and they fell into the mire, getting them muddy all over. Their hands were numb with cold.

Little Thumb climbed to the top of a tree, to see if he could discover anything. Turning his head in every direction, he saw at last a glimmering light, like that of a candle, but a long way from the forest. He came down, but from the ground, he could no longer see it no more, which concerned him greatly. However, after walking for some time with his brothers in the direction where he had seen the light, he perceived it again as he came out of the woods.

They came at last to the house where this candle was, but not without many fearful moments, for every time they walked down into a hollow they lost sight of it. They knocked at the door, and a good woman opened it. She asked them what they wanted.

Little Thumb told her they were poor children who had been lost in the forest, and begged her, for God's sake, to give them lodging.

The woman, seeing that they were good looking children, began to weep, and said to them, "Alas, poor babies, where are you from? Do you know that this house belongs to a cruel ogre who eats up little children?"

"Ah! dear madam," answered Little Thumb (who, as well as his brothers, was trembling all over), "what shall we do? If you refuse to let us sleep here then the wolves of the forest surely will devour us tonight. We would prefer the gentleman to eat us, but perhaps he would take pity upon us, especially if you would beg him to."

The ogre's wife, who believed she could hide them from her husband until morning, let them come in, and had them to warm themselves at a very good fire. There was a whole sheep on the spit, roasting for the ogre's supper.

After they warmed up a little, they heard three or four great raps at the door. This was the ogre, who was come home. Hearing him, she hid them under the bed and opened the door. The ogre immediately asked if supper was ready and the wine drawn, and then sat down at the table. The sheep was still raw and bloody, but he preferred it that way. He sniffed about to the right and left, saying, "I smell fresh meat."

His wife said, "You can smell the calf which I have just now killed and flayed."

"I smell fresh meat, I tell you once more," replied the ogre, looking crossly at his wife, "and there is something here which I do not understand."

As he spoke these words he got up from the table and went directly to the bed. "Ah, hah!" he said. "I see then how you would cheat me, you cursed woman; I don't know why I don't eat you as well. It is fortunate for you that you are tough old carrion. But here is good game, which has luckily arrived just in time to serve to three ogre friends who are coming here to visit in a day or two."

With that he dragged them out from under the bed, one by one. The poor children fell upon their knees, and begged his pardon; but they were dealing with one of the cruelest ogres in the world. Far from having any pity on them, he had already devoured them with his eyes. He told his wife that they would be delicate eating with good savory sauce. He then took a large knife, and, approaching the poor children, sharpened it on a large whetstone which he held in his left hand.

He had already taken hold of one of them when his wife said to him, "Why do it now? Is it not tomorrow soon enough?"

"Hold your chatter," said the ogre; "they will be more tender, if I kill them now."

"But you have so much meat already," replied his wife. "You have no need for more. Here are a calf, two sheep, and half a hog."

"That is true," said the ogre. "Feed them so they don't get too thin, and put them to bed."

The good woman was overjoyed at this, and offered them a good supper, but they were so afraid that they could not eat a bit. As for the ogre, he sat down to drink, being highly pleased that now had something special to treat his friends. He drank a dozen glasses more than ordinary, which went to his head and made him sleepy.

The ogre had seven little daughters. These young ogresses all had very fine complexions, because they ate fresh meat like their father; but they had little gray eyes, quite round, hooked noses, and very long sharp teeth, well spaced from each other. As yet they were not overly mischievous, but they showed great promise for it, for they had already bitten little children in order to suck their blood.

They had been put to bed early, all seven in a large bed, and each of them wearing a crown of gold on her head. The ogre's wife gave the seven little boys a bed just as large and in the same room, then she went to bed to her husband.

Little Thumb, who had observed that the ogre's daughters had crowns of gold upon their heads, and was afraid lest the ogre should change his mind about not killing them, got up about midnight, and, taking his brothers' caps and his own, went very softly and put them on the heads of the seven little ogresses, after having taken off their crowns of gold, which he

put on his own head and his brothers', that the ogre might take them for his daughters, and his daughters for the little boys whom he wanted to kill.

All of this happened according to his plan for, the ogre awakened about midnight and, regretting that he had put off until morning that which he might have done tonight, he hastily got out of bed and picked up his large knife. "Let us see," he said, "how our little rogues are doing! We'll not make that mistake a second time!"

He then went, groping all the way, into his daughters' room. He came to the bed where the little boys lay. They were all fast asleep except Little Thumb, who was terribly afraid when he felt the ogre feeling about his head, as he had done about his brothers'. Feeling the golden crowns, the ogre said, "That would have been a terrible mistake. Truly, I did drink too much last night."

Then he went to the bed where the girls lay. Finding the boys' caps on them, he said, "Ah, hah, my merry lads, here you are. Let us get to work." So saying, and without further ado, he cut all seven of his daughters' throats. Well pleased with what he had done, he went to bed again to his wife.

As soon as Little Thumb heard the ogre snore, he wakened his brothers and told them to put on their clothes immediately and to follow him. They stole softly down into the garden, and climbed over the wall. They kept running nearly the whole night, trembling all the while, and not knowing which way they were going.

The ogre, when he awoke, said to his wife, "Go upstairs and dress those young rascals who came here last night."

The ogress was very much surprised at this goodness of her husband, not dreaming how he intended that she should dress them, thinking that he had ordered her to go and put their clothes on them, she went up, and was horribly astonished when she saw her seven daughters with their throats cut and lying in their own blood.

She fainted away, for this is the first expedient almost all women find in such cases. The ogre, fearing his wife would be too long in doing what he had ordered, went up himself to help her. He was no less amazed than his wife at this frightful spectacle.

"What have I done?" he cried. "Those wretches shall soon pay for this!" He threw a pitcher of water on his wife's face, and, having brought her to herself, cried, "Bring me my seven-league boots at once, so that I can catch them."

He went out, and ran this way and that over a vast amount of ground. At last he came to the very road where the poor children were, and not more than a hundred paces from their father's house. They saw the ogre coming, who was stepping from mountain to mountain, and crossing over rivers as easily as if they were little streams. Little Thumb hid himself and his brothers in a nearby hollow rock, all the while keeping watch on the ogre.

The ogre was very tired from his long and fruitless journey (for seven-league boots are very tiring to wear), and decided to take a rest. By chance he sat on the rock where the little boys had hid themselves. He was so tired that he fell asleep, and began to snore so frightfully that the poor children were no less afraid of him than when he had held up his large knife and was about to cut their throats. However, Little Thumb was not as frightened as his brothers were, and told them that they immediately should run away towards home while the ogre was asleep so soundly, and that they should not worry about him. They took his advice, and soon reached home. Little Thumb came up to the ogre, pulled off his boots gently and put them on

his own feet. The boots were very long and large, but because they were enchanted, they became big or little to fit the person who was wearing them. So they fit his feet and legs as well as if they had been custom made for him. He immediately went to the ogre's house, where he saw his wife crying bitterly for the loss of her murdered daughters.

"Your husband," said Little Thumb, "is in very great danger. He has been captured by a gang of thieves, who have sworn to kill him if he does not give them all his gold and silver. At the very moment they were holding their daggers to his throat he saw me, and begged me to come and tell you the condition he is in. You should give me everything he has of value, without keeping back anything at all, for otherwise they will kill him without mercy. Because his case is so very urgent, he lent me his boots (you see I have them on), that I might make the more haste and to show you that he himself has sent me to you."

The good woman, being sadly frightened, gave him all she had, for although this ogre ate up little children, he was a good husband. Thus Little Thumb got all the ogre' s money. He returned with it to his father's house, where he was received with great joy.

REFRENCES

Ahimsa-Putra, HeddyShri. 2012. Strukturalisme Levi Strauss, MitosdanKarya Sastra.Yogyakarta.Kepel Press,

Danandjaja,James.2002.FolklorIndonesia.Jakarta:PustakaUtamaGrafiti

Danandjaja, James. 2007. Folklor Indonesia, IlmuGosip, Dongeng, dan lain-lain. Jakarta: Pustaka. UtamaGrafiti.

Endraswara, Suwardi. 2009.MetodologiPenelitianFolklorKonsep, Teori, dan Aplikasi.Yogyakarta, Media Pressindo

Leach, Edmund.1970, 1973.Levi-Strauss. Great Britain: William Collins Sons and Co. Ltd, Glasgow.

Scholes, Robert. 1974. Structuralism in Literature an Introduction. New Haven and London, Yale University Press.

Wellek, Rene and Austin Warren. 1948. Theory of Literature. New York: Harvest Harcourt Brace Jovanovich Books.

Internet Source

June 2011. Louis XIV. Retrieved from

(Desember 2016)

July 2012. Structuralism Theory. Retrieved from

June 2013. Charles Perrault’s Mother Goose Tales. Retrieved

February 2014. Structuralism.Retrieved from

(November 2016)

April 2015. Legend. Retrieved from

October 2016. Louis XIV. Retrieved from

CHAPTER III

METHOD OF RESEARCH

3.1 Research Design

Writing this research needed some data which relevant to the research. Without data in writing research is going to be difficult to finish moreover it is going to be error. The method of the study, used qualitative methods. Qualitative methods explained word or phrase. This method is considered the most suitable for oral literature like legends. The writer collects the plot of every stories and selects the plot which contents events. The plot is made in a diagram to be interpreted and be analyzed, from the analysis to take the conclusions.

3.2 Data Source

The writer gets the data source by reading the folklore from internet.Tales of Mother Goose (French;Histoiresoucontes du temps passé) is a book collection of French fairy tales published in 1697 by Charles Perrault. Little ThumbLe petit Poucet) story contained in this book.But the writer gets the stories result print out.

3.3 Data Collection

To complete this research the writer applies two methods to collect the data, they are library research and internet research. Method of library research for finding data is collection some book which relevant with the analysis of this paper and copy part of material in the book to be reference. Method of Internet research is visiting the website that relevant to this research to find the material then the data is copied to be reference.

3.4 Data Analysis

The steps that writer will do to analyze the data in this study as follow;

1) Read the text studied intensively or repeat of this folklore.

2) Looking for data and classifying data in accordance with terms to be studied. 3) Analyzing the structure of the respective folklore, includes analysis of plot. 4) Thenanalysis of character got the act of violence and then got the causes of

Figure 3.1. Figure of Research Design

Read the Text Selection

Text

Conclusion and

Suggestion Classifying Data

Analyzing Selected EpisodeSurface

Structure Take The Act of

Violence and The Causes of

CHAPTER IV

ANALYSIS AND FINDINGS

A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE INCHARLES PERRAULT’S LITTLE THUMB

4.1 Structural Analysis

In this chapter, the writer will try to analyzewhat are the act of violence and the causes of violence that can be found in the Little Thumb Legend.

Episode 1: One Night Before Banishment

There lived woodcutter and his wife and their seven children, all boys. Their youngest child was very little and when born no bigger than one’s thumb, for which reason they called him Little Thumb. They have very little to eat, and once, when there is a great famine in the land. So one evening the woodcutter gives advice her wife toabandon their children into the thick forest due to food shortage. The woodcutter was sitting with his wife at the fire, and he said to her,

"You see plainly that we are not able to keep ourchildren, and I cannot see them starve to death before my face. I am resolved to lose them in the woods tomorrow, which may very easily be done; for, while they are busy in tying up the bundles of wood, we can leave them, without their noticing."

But his wife doesn’t agree with her husband

"Ah!" cried out his wife; "and can you yourself have the heart to take your children out along with you on purpose to abandon them?"

Little Thumb tried to know what his father said to her mother

‘He lay in his bed, that they were talking very busily, he got up softly, and hid under his father's stool, in order to hear what they were saying without being seen.’

Little Thumb went to bed again, but did not sleep a wink all the rest of the night, thinking about what he had to do. He woke up early in the morning, and went to the riverside, where he stoops and fill the little pocket with small white pebbles as full as it would hold. Then he goes back to home.

Episode 2: The First Banishment to The Forest

They went all together on their way to the thick forest.But all the way into the forest, Little Thumb took the small white pebbles from his pocket and dropping it on all along the way.

The woodcutter and his wife began their work and the children picked up the stick into bundles. The parents saw their children busy at their work, theyslipped away from themand back to home along a byway through the bushes. Then, the children saw they had been left alone, they cried as loudly as they could. But, Little Thumb kept silent because he knew very well how to return home again. He said to his brothers;

"Don't be afraid, brothers. Father and mother have left us here, but I will lead you home gain. Just follow me."

They listened Little Thumb and finally they arrived at home but they afraid to go in and sat down the door while listening to what their parents were said.

Episode 3: Return Home

When the woodcutter and his wife arrived home, the lord of the manor gave them ten crownswhich he had owed them a long while, and they never expected. The woodcutter ordered his wife to the butcher's. When they had eaten, the woman said;

"Alas! Where are our poor children now?” They would make a good feast of what we have left here; but it was you, William, who decided to abandon them. I told you that we would be sorry for it. “What are they now doing in the forest?” Alas, dear God, the wolves have perhaps already eaten them up. “You are very inhuman to have abandoned your children in this way."

Finally the woodcutter lost his patience because of his wife still asked where their children is. His wife still crying out and still said;

"Alas! Where are now my children, my poor children?"

Little Thumb and his brothers had arrived home and cry out together

"Here we are! Here we are!"

Her mother directly open the door and hug her children and said;

"I am so glad to see you, my dear children; you are very hungry and tired. And my poor Peter, you are horribly dirty; come in and let me clean you."

Banished to the Forest

Trying to go Home 

Figure 4.1. Structure of Episode 3 of Little Thumb

The smart of Little Thumb trying to get home usingthe stones to mark in any way they travel. Then, finally they succeed to return home.

Episode 4:The SecondBanishment to The Forest

Because of the woodcutter and his wife’s money was all gone, they decide to abandon their children again to the thickest forest. The woodcutter tried talk to his wife secretly but all their plans were heard by Little Thumb. Early morning, Little Thumb woke up to pick up some pebbles but the door was locked securely. Before they went to the forest, the woodcutter gave a piece of bread for his children’s breakfast. However, Little Thumbcrumbled the bread in his pocket to throwing it in all along the way.

‘Their father and mother took them into the thickest and most obscure part of the forest, then, slipping away by an obscure path, they left them there. Little Thumb was not concerned, for he thought he could easily find the way again by means of his bread, which he had scattered along the way; but he was very much surprised when he could not find so much as one crumb.The birds had come and had eaten every bit of it up. They were now in great distress, for the farther they went the more lost and bewildered they became.’

Night came on, they became afraid because of a terrible high wind. Then, they heard the howling of wolves coming to eat them.

Banished to the Forest

Trying to go Home



Figure 4.2. Structure of Episode 4 of Little Thumb The second effort of the children to return home failed. Because they failed to get stone, so replace the stones with crumbs of bread, which in turn eaten by birds.

Episode 5: Find The House and Meet The Ogre

Little Thumb climbed the tree and he saw a glimmering light. He came down from the tree but he could not see the light anymore. However, he and his bother continued their way then he perceived the light again as they came out of the forest. At last, they came the house, knocked the door and a good woman opened the door. The woman (ogre’s wife) saw them that they were a good children and began weep and said to them;

"Alas, poor babies, where are you from? Do you know that this house belongs to a cruel ogre who eats up little children?"

But Little Thumb perceived his intention, and said,

"Ah! dear madam," answered Little Thumb (who, as well as his brothers, was trembling all over), "what shall we do? If you refuse to let us sleep here then the wolves of the forest surely will devour us tonight. We would prefer the gentleman to eat us, but perhaps he would take pity upon us, especially if you would beg him to."

The ogre’s wife believed that she could hide Little Thumb and his brothers from the ogre until morning so that she let them came in and had warm to themselves at fireplace.

Episode 6: Occuring the acts of violence in Ogre’s house

There is a great raps at the door. The ogre came home so the ogre’swife directly hid them unter the bed and opened the door. The ogre asked his supper and then sat down at the table. There was a sheep which still bloody and raw and wine drawn. But, he smell another one and saying,

"I smell fresh meat.

"His wife said, "You can smell the calf which I have just now killed and flayed."

"I smell fresh meat, I tell you once more," replied the ogre, looking crossly at his wife, "and there is something here which I do not understand."

The ogre got up from his table and directly went toward to the bed,

"Ah, hah!" he said. "I see then how you would cheat me, you cursed woman; I don't know why I don't eat you as well. It is fortunate for you that you are tough old carrion. But here is good game, which has luckily

arrived just in time to serve to three ogre friends who are coming here to visit in a day or two."

The ogre dragged one by one from under the bed. Little Thumb and his brothers begged his pardon with the cruelest ogre. But the ogre did not having pity on them, he had already kill them. He took a knife, sharpened it on whetstone and approching the poor children. When he had already taken one of them, his wife said to him,

"Why do it now? Is it not tomorrow soon enough?"

"Hold your chatter," said the ogre; "they will be moretender, if I kill them now."

"But you have so much meat already," replied his wife. "You have no need for more. Here are a calf, two sheep, and half a hog."

"That is true," said the ogre. "Feed them so they don't get too thin, and put them to bed."

The ogre’s wife heard it joy, and gavesupper for them, but Little Thumb and his brothers were afraid that they could not eat a bit. Then, the ogre sat down and drank a dozen glasses of wine more than ordinary, so that it made him sleepy.

Little Thumb and his brothers had been put in a large bed. Obviously, they are in the bedroom of the Ogre’s seven little daughters. The ogre’s children wore a crowns of gold on each of their head. Little Thumb had observed it and he tried to change the ogre’s mind about not killed them. He woke up midnight, took his own and brother’s caps, put it on the head of the Ogre’s children and Little Thumb and his brothers wore the crowns of gold. The Ogre awakened about midnight and regret that he put off unti morning. He directly go out and picked up the knife.

"Let us see," he said,

"how our little rogues are doing!We'll not make that mistake a second time!"He then went, groping all the way, into his daughters' room.

He came to the bed where the little boys lay. They were all fast asleep except Little Thumb, who was terribly afraid when he felt the ogre feeling about his head, as he had done about his brothers'.

Feeling the golden crowns, the ogre said, "That would have been a terrible mistake. Truly, I did drink too much last night.

"Then he went to the bed where the girls lay. Finding the boys' caps on them, he said, "Ah, hah, my merry lads, here you are. Let us get to work."

‘So saying, and without further ado, he cut all seven of his daughters' throats. Well pleased with what he had done, he went to bed again to his wife.’

Episode 7: Escaping from The Ogre

Little Thumb heard the ogre snore, he wakened his brothers and told them to follow him. They walked softly into the garden then climbed the wall. The rannearly the night, not knew which they were gone. Early morning, the Ogre woke up and said to his wife,

"Go upstairs and dress those young rascals who came here last night."

The ogre’s wife went up and she was suprised that she saw her children lied down in their own blood with their throats cut. She fainted away. The Ogre came to his wife because of she would be too long in doing what he had ordered. He was no less suprised what has happened.

He threw a pitcher of water on his wife's face, and, having brought her to herself, cried, "Bring me my seven-league boots at once, so that I can catch them."

The ogre ran this way with his seven-league boots and that over a vast amount of groud. Little Thumb and his brothers saw him crossing over mountain and rivers as easily as if they were little streams. Then, they hid in a nearby hollow rock. Evidently, the Ogre was very tired from his long journey and he decided to take a rest on the rock. He fell asleep and began to snore hardly. However, Little Thumb was not as afraid as his brothers and he told them to ran away towards home. His brothers took his advice and reached home soon.

Episode 8: Return Home

Little Thumb came to the ogre, he tried to pull off his boots and put on his feet. The boots were very large and long but they became big or little to fit who was wearing them because they were enchanted. Little Thumb directly went to the ogre’s house and he saw the ogre’s wife crying hardly for the loss of her murdere children.

"Your husband," said Little Thumb, "is in very greatdanger. He has been captured by a gang of thieves, who have sworn to kill him if he does not give them all his gold and silver. At the very moment they were holding their daggers to his throat he saw me, and begged me to come and tell you the condition he is in. You should give me everything he has of value, without keeping back anything at all, for otherwise they will kill him without mercy. Because his case is so very urgent, he lent me his boots (you see I have them on), that I might make the more haste and to show you that he himself has sent me to you."

Heard it, the good woman was being sadly, gave him all she had, for although this ogre ate up little children, he was a good husband. Thus Little Thumb got all the ogre' s money. He returned with it to his father's house, where he was received with great joy.

Figure 4.3. Structure of Meaning of Forest

The Meaning andFunction of Little Thumb

The forest is a mysterious place, in legends and fairy tales, they are usually inhabited by mysterious creatures, symbols of all of the dangers with which young people must contend if they are to become adults. It is a place of testing, a realm of death holding the secrets of nature which man must penetrate to find meaning. Inanalytical psychology, the forest represents feminity in the eyes of a young man, an unexplored realm full of the unknown. It stands for the unconscious and its mysteries.The woodcutterand his wife abandon his children to the forest which is unknown place. It appears that the woodcutter really couldn’tkeephis children, so mean to vanish the traces of children, and the function of this legend to no affliction to have many children, if they all are good looking, courteous, and strong, but if one is sickly or slow-witted, he will be scorned, ridiculed, and despised. However, it is often the little urchin who brings good fortune to the entire family

30 Figure 4.4. Structure of Meaning of Home

Based on the structure illustrated, can be seen that the child character in the story try to go home repeatedly. The writer find meaning in this story, where a child should be at home. Although they have been thrown into the forest and got lost, even to the end they were still trying to back home.

Banished to the Forest

Trying to Go Home

Banished to the Forest

Trying to Go Home

HOME _UNKNOWN

HOME

_FOREST

The woodcutter and his wife abandon their children to forest

Find House and Meet TheOgre

Back to Home

Figure 4.5. Structure ofLittle Thumb

The views of the syntagmatic and paradigmatic diagram.

Syntagmatic P a r a d i g m a t i The woodcutter wanted to banish

his children The woodcutter and his wife took

their children to the forest

Their children could back to

home

Escaping from The Ogre

Occur the acts of violence

c The woodcutter and his wife banish their child

again

Their child couldn’t back

to home

They find the ogre’s house They meet

the ogre Occuring the

acts of violence in Ogre’s house

They escape from the ogre’s

house They could

back to home Stay Alive

4.2 The Causes of the Act of Violence in Little Thumb

4.2.1 The Act of Violence in Little ThumbLegend

From the structural analysis that has been done, it can be concludedthat the plot contained in Little Thumb legend moves forward. This is in accordance with the plot of folklores in general which is simple without anyplot that moves backward.

The plot is ended with woodcutter family happiness for their children survived because of the ingenuity and courage Little Thumb and their lives are affluent with money belonging the Ogre.

It will be explained the various types of violence contained in the legend Little Thumb.

a.Physical Violence

Physical violence occurs when someone uses a part of their body or an object to control a person’s actions.Physical violence described in this legend is mostly done by the Ogre. But, his seven little daughters do it.

 The Ogre

In this legend, the Ogre is a figure who likeseat little children. For find moredetails, it can be seen in this case below:

‘They knocked at the door, and a good woman opened it.She asked them what they wanted.Little Thumb told her they were poor children who had been lost in the forest, and begged her, for God's sake, to give them lodging.The woman, seeing that they were good looking children, began to weep, and said to them, "Alas, poor babies, where are you from? Do you know that this house belongs to a cruel ogre who eats up little children?"

In addition, the Ogre did the acts of physical violence by killing theirownchildren even though it was due to negligence. He thought that those children are Little Thumb and his brothers.

For find moredetails, it can be seen in the case below:

‘He then went, groping all the way, into his daughters' room. He came to the bed where the little boys lay. They were all fast asleep except Little Thumb, who was terribly afraid when he felt the ogre feeling about his head, as he had done about his brothers'. Feeling the golden crowns, the ogre said, "That would have been a terrible mistake. Truly, I did drink too much last night.

"Then he went to the bed where the girls lay. Finding the boys' caps on them, he said,

"Ah, hah, my merry lads, here you are. Let us get to work."

So saying, and without further ado, he cut all seven of his daughters' throats.

The second description of story above is an example of physical violence committed by the Ogre. The Ogre is the most cruel character in this story because he had killed seven daughters with his own hands. His habit of eating little children and animals can also be categorized into physical violence.

 The seven little daughters of the Ogre

The character of Ogre’s daughters do not play a lot in this legend. They are described as the characters who did a physical violence by killing small children to suck their blood.

For find moredetails, it can be seen in the case below:

‘The ogre had seven little daughters. These young ogresses all had very fine complexions, because they ate fresh meat like their father; but they had little gray eyes, quite round, hooked noses, and very long sharp teeth, well spaced from each other. As yet they were not overly mischievous, but they showed great promise for it, for they had already bitten little children in order to suck their blood.’

b. Emotional Violence

Emotional violence occurs when someone says or does something to make aperson feel stupid or worthless.Emotional violence described in this legend is done by the Woodcutter and his wife.

 The Woodcutter and His Wife

They area figure whocan not protect their children because theyabandoned the children in the dangerous forest.

For find moredetails, it can be seen in the case below:

‘They all went out, but Little Thumb never told his brothers one syllable of what he knew. They went into a very thick forest, where they could not see one another at ten paces distance. The woodcutter began his work, and the children gathered up the sticks into bundles. Their father and mother, seeing them busy at their work, slipped away from them without being seen, and returned home along a byway through the bushes.’

The behavior of children abandoned in the forest including emotional violence because it may endanger them. Forest is a place full of temptations and dangers. By leaving hisseven children in the forest, it can be saidthat they intimidated their children; causing fear to gain control.

c. Verbal Abuse

Verbal abuse occurs when someone uses language, whether spoken or written, to cause harm to a person.Verbal abuse described in this legend is done by the ogre and the woodcutter.

 The Ogre

Verbal abuse had done by him, can be seen as he threatened to kill Little Thumb and when he insulted his wife with abusive words.

In this legend,the Ogre said a abusive word to his wife. The treatment can be categorized as an act of verbal abuse that hurts the feelings of his wife.

For find moredetails, it can be seen in the case below:

"Ah, hah!" he said. "I see then how you would cheat me, you cursed woman; I don't know why I don't eat you as well. It is fortunate for you that you are tough old carrion. But here is good game, which has luckily arrived just in time to serve to three ogre friends who are coming here to visit in a day or two."

The Ogre also doverbal abuse against Little Thumb and his brothers such as treathened to kill them.

For find moredetails, it can be seen in the case below:

‘With that he dragged them out from under the bed, one by one. The poor children fell upon their knees, and begged his pardon; but they were dealing with one of the cruelest ogres in the world. Far from having any pity on them, he had already devoured them with his eyes. He told his wife that they would be delicate eating with good savory sauce. He then took a large knife, and, approaching the poor children, sharpened it on a large whetstone which he held in his left hand.’

 The Woodcutter or Father of Little Thumb

Verbal abuse shown from the attitude of woodcutters threatenedto beat his wife if she did not stop blaming her for the loss of their children.

For find moredetails, it can be seen in the case below:

‘The woodcutter at last lost his patience, for she repeated it more than twenty times, that they would be sorry for it, and that she was right for having said so. He threatened to beat her if she did not hold her tongue.’

Woodcutter can be said to do verbal abuse because he allowed her children to be in a place filled with danger.It causes children to feel sad since they are neglected and have a fear to face the dangers that exist without protection.

d. Psychological violence

Psychological violence occurs when someone uses threats and causes fear in a person to gain control.Psychological described in this legend is done by Little Thumb, Mother of Little Thumb and Broter of Little Thumb.

 Little Thumb

In this legend, the main character who represents the character of Little Thumb is shown as victim of violence abondoned by his parents, his brothers who always understimate him, as well as the ogre who threatened to eat it. Besides being in the position of victims, it has also become a person who acts violence as seen indirectly, he became the

cause of death of Ogre’s children and when he tricked the Ogre's wife so that he get the money belonged to the Ogre.

For find moredetails, it can be seen in the case below:

‘Little Thumb, who had observed that theogre's daughters had crowns of gold upon their heads, and was afraid lest the ogre should change his mind about not killing them, got up about midnight, and, taking his brothers' caps and his own, went very softly and put them on the heads of the seven little ogresses, after having taken off their crowns of gold, which he put on his own head and his brothers', that the ogre might take them for his daughters, and his daughters for the little boys whom he wanted to kill.’

Little Thumb did psychological violence when he committed fraudagainst the Ogre's wife to get possession of the Ogre although the Ogre's wife is very well against him and his brothers.

For find moredetails, it can be seen in the case below:

‘He immediately went to the ogre's house, where he saw his wife crying bitterly for the loss of her murdered daughters."Your husband," said Little Thumb, "is in very great danger. He has been captured by a gang of thieves, who have sworn to kill him if he does not give them all his gold and silver. At the very moment they were holding their daggers to his throat he saw me, and begged me to come and tell you the condition he is in. You should give me everything he has of value, without keeping back anything at all, for otherwise they will kill him without mercy. Because his case is so very urgent, he lent me his boots (you see I have them on), that I might make the more haste and to show you that he himself has sent me to you."

 Mother of Little Thumb

She did psychological violence in terms of the division of affection that are unfair to the children. Sheprefers love her eldest son only because like her.

For find moredetails, it can be seen in the case below:

"I am so glad to see you, my dear children; you are very hungry and tired. And my poor Peter, you are horribly dirty; come in and let me clean you." ‘Now, you must know that Peter was her eldest son, whom she loved above all the rest, because he had red hair, as she herself did.’

 Brothers of Little Thumb

These figures represent the figure of children who are committhe act ofviolence, especially psychological abuse to underestimate their brother.

For find moredetails, it can be seen in the case below:

‘He was very little, and when born no bigger than one's thumb, for which reason they called him Little Thumb.The poor child bore the blame of everything that went wrong in the house. Guilty or not, he was always held to be at fault.’

From the description of the characters, it can be concluded that almost all the characters to do violence in different types. Only one character that does not do violence that is the Ogre’s wife. She became a victim of violence by Little Thumb.

Violence and other forms of abuse are most commonly understood as a pattern of behaviour intended to establish and maintain control over family, household members, intimate partners, colleagues, individuals or groups. While violent offenders are most often known to their victims (intimate or estranged

partners and spouses, family members, relatives, peers, colleagues, etc.), acts of violence and abuse may also be committed by strangers.

Violence and abuse may occur only once, can involve various tactics of subtle manipulation or may occur frequently while escalating over a period of months or years. In any form, violence and abuse profoundly affect individual health and well-being. The roots of all forms of violence are founded in the many types of inequality which continue to exist and grow in society.

Violence and abuse are used to establish and maintain power and control over another person, and often reflect an imbalance of power between the victim and the abuser.

4.2.2 The Causes of the Act of Violence in Little Thumb Legend

All acts of violence that occurred in this legend are caused by some various factors, whether it is form character itself, like a character from the Ogre who committed the murder because he likes to kill, nor of urgent situation as the woodcutter who abandon their children because of economic problem.

All the sequence of events in this legend show causes and effectsas well as increased violence that occurred. From the events of the abandonment Little thumb and his older brothers, until the events of the Ogre’s daughters killed by anOgre himself.

Based on the cause and effect of acts of violence committed by the characters, it can be seen that those violences consists of violence committed because of the desire of the actors of violence, such as the Ogre threatened to kill Little Thumband his older brothers because he really wants to eat them, and violence due to other factors outside himselves, such as the condition that forced the actors of violence. For example, the woodcutters who abandoned the children in the forest.

CHAPTER V

CONCLUSIONAND SUGGESTION

5.1. CONCLUSION

According to the problems of studies, the writer conclude that there are two conclusions, they are:

1. The act of violence in the Little Thumb legend, there are various types of the act of violence such as physical violence, emotional violence, verbal abuse and physicological violence.Violence and other forms of abuse are most commonly understood as a pattern of behaviour intended to establish and maintain control over family, household members, intimate partners, colleagues, individuals or groups. While violent offenders are most often known to their victims (intimate or estranged partners and spouses, family members, relatives, peers, colleagues, etc.), acts of violence and abuse may also be committed by strangers.

2. The causes of violence in the Little Thumb legend, caused by some various factors, whether it is form character itself, like a character from the Ogre who committed the murder because he likes to kill, nor of urgent situation as the woodcutter who abandon their children because of economic problem.

5.2SUGGESTION

After analyzingthis legends the writer realizes that is very interesting to talk about folklore. There are a lot of lessons, moral, message, that can be shared to the readers. The writer hopes that the readers get more knowledge by the object and also expect that the readers will be interested in reading and discussing folklore.

Hopefully, this analysis can be reference for further study of literature research. The writer realizes that this thesis is far from being perfect and would be glad to invite the readers to give corrections, suggestions, or any other input for the weakness of this writing in order to be better.

CHAPTER II

REVIEW OF LITERATURE

2.1 Structural Theory

In analyzing this thesis, the witer gets some theories of the book An Introduction Structuralism in Literature by Robert Scholes. Structuralism literary theory is a theory of approaching literary texts that emphasize the overall relationship between the various elements of the text. Text elements independently is not important. Structuralism analysis is an approach that aims to see something cultural phenomenon as read able text. According to the model of textual approach, cultural phenomena of any nature can be understood as an event that can be read and interpreted through existence of structural analysis system. The existence of the text will be seen from the elements are interlinked. The unity of the relationship between the elements will only be meaningful in relation to other elements.

In general, text structuralism approach is seen as a structure consisting of the elements are intertwined and then build the text as a whole. Thus, it can be understood that the structural analysis aims to uncover and expose as carefully, as accurately as, in as much detail, with the deepest possible linkages and entanglement of all aspects of the cultural phenomenon that is ultimately jointly produce a comprehensive meaning.

Ahimsa Putra in his book Strukturalisme Levi Strauss MitosdanKaryaSastra describes the Lévi-Strauss's structuralism,

Gejalakebudayaansamahalnyadengangejala-gejalasepertibahasa, yang mengekspresikanstrukturberpikirmanusia. Dengan kata

lainstrukturadalah relations of relations atau system of relations.(Cultural symptoms similar with symptoms such as language, which expresses the structure of human thought. In other words, the structure is the relations of relations or system of relations).

The relationship between language and culture is a reciprocal relationship that affects each other or one-way relationship, culture affects language or vice versa. Folklore or legend is part of the spoken language and it is a description of a culture. The language is used by a society as a reflection of the overall culture of that society. In short, according to Lévi-Strauss, language and culture is a product or result of the activity of the human’s mind.

Although there are a few figure’s name of structuralism, which were introduced by the structural linguistics, Ferdinand de Saussure (1857-1913. In his theory found three distinctions that eventually became the basic principles were used by the structuralists, including Lévi-Strauss.

Ahimsa Putra also explained that there are two aspects on which the theory Lévi-Strauss drawn from structural linguistics, namely:

1) aspect of language and speech of individuals (parole),

2) the difference between the aspects of the paradigmatic and syntagmatic aspects of language.

In the structural analysis, Lévi-Strauss distinguishes the structure into two kinds; surface structure and deep structure. The deep structure is relations between elements that can be made or wake up based on external features or characteristics of empirical of these relations, while the inner structure is a specific arrangement which is built based on the structure of birth that has been successfully made, but it does not always appear on the empirical side of phenomenon are learned. In the analysis, the writer uses the outer structure, which is part of the plot. Analysis ofthestructuraltheoryto literaturecan bedone byidentifying, assessing, anddescribingthe meaning and functionsbetween elements that is intrinsicallyinterconnected as Teeuw stated in above quotation. The intrinsic elements will be identified, in this study, the plot is the most important element to devide into episodes that the whole episodes can give a clear explanation of the three selected legends.

Levi Strauss structuralism assumes that a variety of social activities and the results such as fairy tales, ceremonies, kinship and marriage systems, patterns of shelter, clothing, and so forth can all be said to be the language (Lane in Ahimsa-Putra, 2001: 67)

Levi Strauss (in Endraswara, 2005: 215) menyatakanbahwadalampandanganstruktural,

akanmampumelihatfenomenasosialbudaya yang mengekspresikanseni, ritual, danpola-polakehidupan.(states

that in view of the structural, will be able to look at the socio-cultural phenomenon that expresses the art, rituals, and patterns of life. This is a representation of the outer structure that will describe the human mind).

Levi Strauss (in Endraswara, 2005: 232) explains that in myth correlation units (which is a structure) that is not isolated, but the unity of relations that relationship can be combined and used to uncover the meaning behind the myth.

Myth for Lévi-Strauss as well as a fairy tale for us. In it there is a story or a story that was born from the reason and the human imagination, and of the human imagination. However, one thing that appeals to Lévi-Strauss is the fact that if ever a fantasy or human reasoning that got the expression of the most free in the fairy tale, why often found tales that are similar or somewhat similar to one another, either on some elements, in several parts or in several episodes. In such cases, the three legends that would be the writer analyzed has the same case, the similarity or likeness stories with each other, this is what will be discussed using structural theory.

As noted earlier, Lévi-Strauss's thinking was much influenced by other scientists. As well he looked myth. Myth or legend for Lévi-Strauss has the same characteristics as the language. It also distinguishes it with other anthropologists-such as Malinowski or Radcliffe Brown in the structural-functionalist perspective that does not mention at all about contiguity between languages with myth.

For Lévi-Strauss, first, the language is a medium, a tool, or means of communication, to convey messages from one individual to another, from one group to another group. Similarly, with legend.Legends conveyed through language and contains messages through the process of storytelling, as well as the messages conveyed through language known to find its pronunciation.

Lévi-Strauss's structural analysis looked at the legend is no longer just a bedtime fairy tale, but a story that contains a number of messages. Thus, in an effort

to disclose it, Lévi-Strauss emphasizes two main things that need to be considered, namely with regard to methods and procedures. Which is arranged in syntagmatic and paradigmatic.

2.2 Folklore

Folklore can be described as a traditional art, literature, knowledge, and practices that are passed on in large part through oral communication and example. Wellek&Waren (1982:84) said that “literature is a social institution, using as it’s medium language, a social creation”. Since literature is a social creation, literature is also expression of society that contains social reality, and express through the language. As well as folklore is an oral literature conveyed through language.

American folklore, Dundes(1965: 3) defines folklore etymologically. According to him, folklore derived from the folk and lore. From the both of word it means there is a dependency with each other, thus forming the meaning of folklore. Folk collective meaning.The term lore, by Dundes not explain further. on the other part. Source of folklore was actually an oral culture. Oral and written traditions will support each other to realize a more effective folklore (Endraswara, 2009:17). William R Bascom found folkore also contains elements of legend, myths, beliefs, and as an expression of culture. In folklore using metrics and prose word means.

Dundes (1965:277) explain in Endraswara’s book MetodologiPenelitianFolklorKonsep, Teori, danAplikasithat there is some function of folklore in general, that is:

1) Aiding in education of young

3) Providing socially sanctioned way is for individuals to act superioror to censure other individuals

4) Serving as a vehicle for social protest 5) Offering and enjoyableescape from reality 6) Converting dull work into play

Genres of folklore include Material culture such as folk art, Music such as folk songs, Narratives such as legends, Sayings such as proverbs, Beliefs as in folk religion, and Food as in traditional cooking. Among the most common types of narrative folklore are folktales. A folktale is a story that forms part of an oral tradition, and does not have asingle, identifiable author. The stories are passed down from one generation to the next, and over time become expanded and reshaped with each retelling. Folktales often reflect the values and customs of the culture from which they come. They have been used to teach character traits. Folktales are often not connected to a specific time, place, or historical persons. The characters are usually ordinary people. Similar folktales are found in different cultures around the world. Vladimir Propp found a uniform structure in Russian fairy tales. A folk narrative can have both a moral and psychological aspect, as well as entertainment value, depending upon the nature of the teller, the style of the telling, the ages of the audience members, and the overall context of the performance. A skilled storyteller will adapt the narrative to his particular audience.

2.3 Legend

Legend is one of genres of folklorethat is the narrative type. According ofDanandjaja (2007:50) legend is prose folk that have characteristics similiar to myths, which are considired never actually happen, but it is not considered to be sacred. Legend is traditional story or group of stories told about a particular person or place. Formerly the term legend meant a tale about a saint. Legends resemble folktales in content; they may include supernatural beings, elements of mythology, or explanations of natural phenomena, but they are associated with a particular locality or person and are told as a matter of history. Legend is stories that reflect the life and culture of local communities. Character of legend is secular, occur in the past period, and is hosed in theworld as it is known. Thus, it can be said that the legend is indeed tied to the life history of the past although it is true often are not pure.

A legend is a narrative of human actions that are perceived both by teller and listeners to take place within human history and to possess certain qualities that give the tale verisimilitude. Legend, for its active and passive participants includes no happenings that are outside the realm of "possibility" but which may include miracles. Legends may be transformed over time, in order to keep it fresh and vital, and realistic (Wikipedia). The Brothers Grimm defined legend as folktale historically grounded.

A modern folklorist's professional definition of legend was proposed by Timothy R. Tangherlini in 1990:

Legend, typically, is a short (mono-) episodic, traditional, highly ecotypifiedhistoricized narrative performed in a conversational mode, reflecting on a psychological level a symbolic representation of folk belief

and collective experiences and serving as a reaffirmation of commonly held values of the group to whose tradition it belongs.

Legends are used as a source of folklore, providing historical information regarding the culture and views of a specific legend's native civilization.

2.4 Theories of Violence

Gregg Barak’s (2003; 2004; 2005a; 2005b) reciprocal theory of violence and nonviolence is derived from an extension of the same logic used by the more traditional integrative, pathway, and multidimensional life-course theories. At its core, my approach to violence maintains that the key to understanding the dialectics of violence and nonviolence can be discovered, on the one hand, in the adversarial and mutualistic tendencies of social intercourse and, on the other hand, in the reciprocal relations of violent and nonviolent properties and pathways. More specifically, the reciprocal theory argues that the struggle between violence and nonviolence is a struggle about the contradictory relations or tensions between adversarialism and mutualism, that universally intersects virtually all individuals, groups, and nation-states alike, as these express themselves as competing properties. In addition, my theory contends that there are also pathways for culturally organizing personal and societal identities that, ultimately, navigate and guide individual, institutional, and structural behavior with respect to non/violent outcomes.

Found throughout families, neighborhoods, classrooms, boardrooms, workplaces, country clubs, or in a variety of settings involving other groups of people or institutions such as the military, law enforcement, judiciary, mass media, and the church, there are a diversity of violence and nonviolent expressions. There

are also common or established “properties” and “pathways” that operate across a two-sided continuum of interpersonal, institutional, and structural relations of social and cultural organization that simultaneous promote violence (adversarialism) and nonviolence (mutualism). The interconnections between the interpersonal, institutional, and structural spheres constitute a reciprocal playing field where the constellations of pathways to non/violence are mutually reinforced, resisted, or negotiated.

Properties of violence refers to the essential attributes, characteristics, elements, factors, situations, routines, hot spots, conditions, and so on identified by any of the ad hoc, life-course/developmental, and integrative theories of antisocial behavior. These properties of violence, unsanctioned and sanctioned, may include negative emotional states involving feelings of alienation, shame, humiliation, mortification, rejection, abandonment, denial, depression, anger, hostility, projection, and displacement. They may also include a lack of emotional states associated with the properties of nonviolence such as empathy and compassion stemming from positive experiences of love, security, attachment, bonding, identification, altruism, mutualism, and so on.

When the properties of violence or “emotional pathogens” as James Gilligan (1997) refers to them, form in the familiar, subcultural, and cultural interactions between individuals and their social environments, and these states of being are not checked or countered by the states of being associated with the properties of nonviolence, then the potential for violent interactions involving the battered psyches of persons, groups, and nation-states alike, persists. That is to say, feelings of shame and humiliation, or of self-esteem and well-being, may be experienced by

individuals, families, communities, tribes, nations, and other social groupings or subcultural stratifications based on age, gender, class, religion, ethnicity, sexuality, and so on. In short, to the extent that individuals and groups feel abandoned by or bonded with their parents, peers, schools, communities, and nation-states, or to the extent that people experience connection or disconnection, they will be prone to relate or not relate, to identify or not identify, to empathize or not to empathize, to take or not take responsibility, to project or not project hostility and aggression, to make war or love, to make violence or nonviolence, to be anxious and uptight, or to be contented and calm.

As for the production of violence, over time and space, the transitions or trajectories toward or away from non/violence accumulate, forming an array of divergent pathways that may facilitate or impede one state of being over the other. It makes sense, therefore, to view adversarialism, violence, and abuse, or mutualism, nonviolence, and empathy, as occurring along a two-sided continuum where the actions of individuals, groups, and nation-states are capable of stimulating, accommodating, or resisting pathways to one or the other. In terms of time and place, these pathways refer to the spatial webs of violence and nonviolence expressed at the familiar, subcultural, and cultural levels of social, political, and economic organization.

All combined, there are nine possible pathways to violence and nine possible pathways to nonviolence. In the structural spheres of violence and nonviolence alone, for example, there are the same informational, financial, and media networks that form an underside of global capitalism, global terrorism, and global peacemaking. Whether operating for prosocial, antisocial, or no particular purposes, these

expanding infrastructures have created virtual realities in which once-secure societies now find themselves becoming “permeable webs that both allow and require new communication systems, circulation patterns and organizational structures” (Taylor 2001: B14). As societies and people adapt, as we find ourselves moving from industrial to network organization, and as the new technologies interact with both isolated individuals and collective villages of globalized culture, pathways to violence and nonviolence are reproduced.

CHAPTER I

INTRODUCTION

1.1Background of the study

Legend is a prose folk which is considered never actually happen and it does not have a background as well as the exact time (Danandjaja 2002: 83). It is characterized by the initial sentence used as 'once upon a time'. The diction as it gives the impression that everything that happens in folklore do not really happen in the real world. Folklore tells the adventures of animal/ human and folklore of all things can happen, so it is considered unrealistic folklore.

In modern era, people are more interested in watching and reading novel although many legends are made into movie. Nowadays, technologies are more advanced and sophisticated. The story of the legend can be seen on television or in books. Most people are less interested in listening or reading legend.

There is so many legend among primitive people, information was passed verbally from one generation to another way oral tradition. This may be transmitted in a speech or a song and it was taken from the form of folktales. Folklore is given orally, it can only be imagined through the imagination. It makes the writer wants to analyze the legends, public is now rarely discussed.

Folklore can describe and explain the situation of the culture. Therefore, the oral traditions that exist within the community or a culture has important value and a specific function. Its function is to the shape of the story, can contain meaning that

educate, or other message behind the folklore story itself. Therefore, the writer concludes that folklore still deserves to be maintained in the life of this era.

Folklore can help the children to develop a sense of morality. It helps children to sort out good or bad and to identify the good things. By story telling through folklore,it can give advice to the audience, adults and children. Cultural overview of the origin of the folklore will be discussed further in the content.

Levi Strauss (in Endraswara, 2005: 232) explains that in myth correlation units (which is a structure) that is not isolated, but the unity of relations that relationship can be combined and used to uncover the meaning behind the myth.

Based on the statement, the writer uses the structural theory by Levi Strauss to analyze folklore. Folklore research that should be done by the folklore collector directly, this is a challenge for the writer as a researcher this time.

The elements of folklore are different from the real world. Folklore has almost always happy ending and presenting positive moral for the children. In fact, folklore is not always intended for children but also adults because it refers to violence, murder, fighting, and suffering.

Charles Perrault wrote folklore which is known in the community intended for adults. Therefore, folklore does not directly describe the moral values with the use of metaphors that allow readers to develop their creativity in imagination. Perrault does not only rewrite the folklore that have been known to the public directly, but change the folklore and adapted in accordance with the context of the era that was prevailing at thattime, for example, re-create the famine in 1693 as in the story of Little Thumb. Having read some of the works of Perrault, it is found that a form of violence in several of his works, such as the cruelty of stepmother in

Cinderella, the desire of a witch to kill a girl in The Sleeping Beauty in Wood, and the act of abandoning a child in Little Thumb.

The causes of violence in a family are various, such as influences of poverty and under pressure in life, family needs can not be fulfilled, accompanied by anger or disappointment in parents for helplessness in solving economic problems, causing the parents easy to vent emotions, anger and disappointment to their children.

To find out the acts of violence contained in the Little Thumb, therefore it will be presented the following story. This folklore tells the story of seven boys who were left intentionally in the woods by their parents for economic reasons. Little Thumb is the youngest of seven children in a poor woodcutter's family. His greater wisdom compensates for his smallness of size. When the children are abandoned by their parents, he finds a variety of means to save his life and the lives of his brothers. After being threatened and pursued by a

In the Little Thumb, there are moral values in accordance with the realities of today's society, especially in the economic fields. Poverty makes parents do all ways to earn money, even make an exploitation of their children or abandon their children. Little Thumb is a child who underestimated, but finally he can prove that he can give benefit to his families. Little Thumb is one of legends that is different from other legends for children featuring a main character who is victim and a person doing violence. Little Thumb not only to fraud the ogre, but also to a good figure (the ogre's wife). He was giving back to a ogre’ wife treatments protecting him and his older brothers of the ogre with the death of the seven daughters of ogre. Although not Little Thumb killed them, it still was cause of indirect death of her children.

In this thesis, the writer discusses about the act of the violence in folklore written by Charles Perrault. The writer chooses to discuss this folklore since the writer is attracted to the simple plot, meaning and function that are important to readers. Perrault's folklore entitled Little Thumb is a folklore featuring violence clearly. Violence contained in this legend makes the writer surprised, remembers that there is a presumption that the legend is familiar with the child and always show kindness.

1.2 Problem of the Study

The writer thinks that it’s important to decide the problems that are going to be analyzed. The problems of the analysis in this paper are:

1. What are the acts of violence that can be found in the Little Thumb Legend?

2. What are the causes of the acts violence that can be found in the Little Thumb Legend?

1.3 Objective of the Study

The objectives of the analysis tend to answer the problem of the analysis. Based on the problem above, the objectives of this analysis mainly:

1. To find out the act of violence in the Little Thumb Legend.

1.4 Scope of the Study

To avoid a broadening in the analysis, the writer limits the range of this research in order to make the analysis more specific. In this case, the writer limits the research on what are the act of violence that can be found in the Little Thumb Legend and what are the causes of violence that can be found in the Little Thumb Legend.

1.5 Significance of the Study

Theoretically, the significance of this research is to help the student by doing a structural analysis to analyze some literary work. Practically this study, may give information to the readers about legend that be rarely discussed in society especially through this thesis. The writer wants to preserve the legend in the community to restorebecome the object that interesting to be appointed. To give knowledge for the readers to understand the act of violence happened in Thumb so that it can give moral lesson to imitate the act of violence.

ABSTRACT

This thesis entitled “A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE FOR A CHILD IN LITTLE THUMB LEGEND BY CHARLES PERRAULT” discusses about the act of violence and the causes of violence contained in the Little Thumb legend was written by Charles Perrault. In this analyzing, used structural theory.Structuralism literary theory is a theory of approaching literary texts that emphasize the overall relationship between the various elements of the text. The method of the study, used qualitative methods. Qualitative methods explained word or phrase. This method is considered the most suitable for oral literature like legends. The writer gets the data source by reading the folklore from internet. Little Thumb is one of legends that contained in book collection published in 1697 by Charles Perrault. The act of violence that can be found in Little Thumb legend perfomed by several figures as the woodcutter and his wife, Little Thumb and the ogre. The types of violence in this legend are physical violence, emotional violence, verbal abuse and physicological violence. All acts of violence that occurred in this legend are caused by some various factors such as the woodcutter and his wife forced to abandon their children in the forest because of economic problem andthe Ogre who committed the murder because he likes to kill or eat the children.

ABSTRAK

Skripsi ini berjudul “A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE FOR A CHILD IN LITTLE THUMB LEGEND BY CHARLES PERRAULT” membahas tentang tindak kekerasan dan penyebab kekerasan yang terdapat dalam dogeng Little Thumb yang dituliskan oleh Charles Perrault. Teori yang digunakan dalam penelitian ini adalah teori strukturalisme. Teori strukturalisme adalah pendekatan teori teks-teks sastra yang menekankan hubungan keseluruhan antara berbagai elemen teks. Metode yang digunakan di dalam penelitian ini adalah metode kualitatif. Metode kualitatif menjelaskan kata atau frase. Metode ini dianggap paling cocok untuk sastra lisan seperti legenda. Penulis memperoleh sumber data dari membaca dongeng di internet. Dogeng Little Thumb adalah salah satu cerita yang ada di dalam koleksi buku Charles Perrault yang berjudul Tales of Mother Goose yang terbit pada tahun 1697. Tindak kekerasan yang terdapat dalam dogeng Little Thumb dilakukan oleh beberapa tokoh seperti si penebang kayu dan istrinya, Little Thumb dan raksasa. Tindak kekerasan yang ditampilkan dalam dogeng ini ialah kekerasan fisik, penganiayaan emosional, kekerasan kata-kata dan kekerasan psikis. Segala tindakan kekerasan yang terjadi dalam dogeng ini disebabkan oleh faktor yang berbeda-beda seperti si penebang kayu dan istrinya terpaksa menelantarkan anak-anaknya di hutan karna masalah ekonomi dan seorang raksasa yang melakukan pembunuhan karna ia suka memakan anak-anak kecil. Kata kunci: Dogeng Little Thumb, Strukturalisme, Tindak Kekerasaan

A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE IN CHARLES PERRAULT’S LITTLE THUMB

A THESIS

BY

YUNI RAHAYU NINGSIH GINTING

REG.NO.110705055

DEPARTMENT OF ENGLISH

FACULTY OF CULTURAL STUDIES

UNIVERSITY OF SUMATERA UTARA

A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE IN CHARLES PERRAULT’S LITTLE THUMB

A THESIS

BY:

YUNI RAHAYU NINGSIH GINTING REG. NO. 110705077

SUPERVISOR, CO-SUPERVISOR,

Dra. Martha Pardede, M.S Drs. SiamirMarulafau, M.Hum NIP. 19521229 197903 2 001 NIP. 19580517 198503 1 003

Submitted to Faculty of Cultural Studies University of Sumatera Utara Medan in partial fulfillment of the requirements for the degree of SarjanaSastra from

Department of English

DEPARTMENT OF ENGLISH FACULTY OF CULTURAL STUDIES UNIVERSITY OF SUMATERA UTARA

Approved by the Department of English, Faculty of Cultural Studies University of Sumatera Utara (USU) Medan as thesis for The SarjanaSastra Examination.

Head, Secretary,

Dr. H. MuhizarMuchtar, M.S. RahmadsyahRangkuti, M.A., Ph.D. NIP. 19541117 198003 1 002 NIP. 19750209 200812 1 002

Accepted by the Board of Examiners in partial fulfillment of requirements for the degree of SarjanaSastra from the Department of English, Faculty of Cultural Studies University of Sumatera Utara, Medan.

The examination is held in Department of English Faculty of Cultural Studies University of Sumatera Utara on Monday, 19th December 2016

Dean of Faculty of Cultural Studies University of Sumatera Utara

Dr. Budi Agustono, M.S. NIP. 19511013 197603 1 001

Board of examiners

Dr. H. MuhizarMuchtar, M.S. _____________

RahmadsyahRangkuti, M.A., Ph.D. _____________

Dr. Martha Pardede, M.S. _____________

AUTHOR’S DECLARATION

I, YUNI RAHAYU NINGSIH GINTING, DECLARE THAT I AM THE SOLE AUTHOR OF THIS THESIS EXCEPT WHERE REFERENCE IS MADE IN THE TEXT OF THIS THESIS. THIS THESIS CONTAINS NO MATERIAL PUBLISHED ELSEWHERE OR EXTRACTED IN WHOLE OR IN PART FROM A THESIS BY WHICH I HAVE QUALIFIED FOR OR AWARDED ANOTHER DEGREE. NO OTHER PERSON’S WORK HAS BEEN USED WITHOUT DUE ACKNOWLEDGEMENTS IN THE MAIN TEXT OF THIS THESIS. THIS THESIS HAS NOT BEEN SUBMITTED FOR THE AWARD OF ANOTHER DEGREE IN ANY TERTIARY EDUCATION.

Signed :

COPYRIGHT DECLARATION

NAME : YUNI RAHAYU NINGSIH GINTING

TITLE OF THESIS : A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE IN CHARLES PERRAULT’S LITTLE THUMB

QUALIFICATION : S-1/ SARJANA SASTRA DEPARTMENT : ENGLISH

I AM WILLING THAT MY THESIS SHOULD BE AVAILABLE FOR REPRODUCTION AT THE DISCRETION OF THE LIBRARIAN OF DEPARTMENT OF ENGLISH, FACULTY OF CULTURAL STUDIES, UNIVERSITY OF SUMATERA UTARA ON THE UNDERSTANDING THAT USERS ARE MADE AWARE OF THEIR OBLIGATION UNDER THE LAW OF THE REPUBLIC OF INDONESIA.

Signed :

ACKNOWLEDGEMENTS

First of all, I would like to say thank you ever so much for my God, Allah SWT who gives me a blessed so that the writer is able to finish the study in English Department, Faculty of Cultural Studies, University of Sumatera Utara.

Relating to the process of this thesis, I would like to say thank you to my best Supervisor,Dra. Martha Pardede, M.S. and my Co-Supervisor, Drs. Siamir Marulafau, M.Hum for their help, correction, time and advice during the process of completion of this thesis. As well as to Dr. Budi Agustono, M.S., the Dean of Faculty of Cultural Studies and Dr. H. MuhizarMuchtar, M.S., the Head of English Department and RahmadsyahRangkuti, MA. Ph.D, the Secretary of English Department all of lectures for their valuable knowledge, kindness and patience during my study at English Department.

I would like to say thank you so much for my beloved father in heaven, Alm. H.Mhd.Jamil Ginting and my the only and one mother, Hj.Endang Rahayu Tarigan for their patience, unconditional love, and financial support. Because of their pray, finally i reach my new first step in my life. I also give thank to my siblings, Rifky Takarullah and Raendra Takarullah. You all have been the best brothers for me. So, here your sister’s thesis, you know, i did it.

Beside of them, I would like to say special thanks to my best partner in my life, Dicky Rachmatulloh S.S.T.Pel for his fully love and supports in finishing my thesis. You really save me in a kind of hard times.

And for the last but not the least, i would like to express bunches of thanks to my best friends ever, Agnes Aey, Kiki Matondang, Mesrani and Putri Pratiwi.

vii ACKNOWLEDGEMENTS

First of all, I would like to say thank you ever so much for my God, Allah SWT who gives me a blessed so that the writer is able to finish the study in English Department, Faculty of Cultural Studies, University of Sumatera Utara.

Relating to the process of this thesis, I would like to say thank you to my best Supervisor,Dra. Martha Pardede, M.S. and my Co-Supervisor, Drs. Siamir Marulafau, M.Hum for their help, correction, time and advice during the process of completion of this thesis. As well as to Dr. Budi Agustono, M.S., the Dean of Faculty of Cultural Studies and Dr. H. MuhizarMuchtar, M.S., the Head of English Department and RahmadsyahRangkuti, MA. Ph.D, the Secretary of English Department all of lectures for their valuable knowledge, kindness and patience during my study at English Department.

I would like to say thank you so much for my beloved father in heaven, Alm. H.Mhd.Jamil Ginting and my the only and one mother, Hj.Endang Rahayu Tarigan for their patience, unconditional love, and financial support. Because of their pray, finally i reach my new first step in my life. I also give thank to my siblings, Rifky Takarullah and Raendra Takarullah. You all have been the best brothers for me. So, here your sister’s thesis, you know, i did it.

Beside of them, I would like to say special thanks to my best partner in my life, Dicky Rachmatulloh S.S.T.Pel for his fully love and supports in finishing my thesis. You really save me in a kind of hard times.

And for the last but not the least, i would like to express bunches of thanks to my best friends ever, Agnes Aey, Kiki Matondang, Mesrani and Putri Pratiwi.

Thank you so much for the kindness, supports and the nice time having spent together. I wish all of us be long lasting and success. May Allah always gives His bless on us. Amin.

The Writer

ix ABSTRACT

This thesis entitled “A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE FOR A CHILD IN LITTLE THUMB LEGEND BY CHARLES

PERRAULT” discusses about the act of violence and the causes of violence

contained in the Little Thumb legend was written by Charles Perrault. In this analyzing, used structural theory.Structuralism literary theory is a theory of approaching literary texts that emphasize the overall relationship between the various elements of the text. The method of the study, used qualitative methods. Qualitative methods explained word or phrase. This method is considered the most suitable for oral literature like legends. The writer gets the data source by reading the folklore from internet. Little Thumb is one of legends that contained in book collection published in 1697 by Charles Perrault. The act of violence that can be found in Little Thumb legend perfomed by several figures as the woodcutter and his wife, Little Thumb and the ogre. The types of violence in this legend are physical violence, emotional violence, verbal abuse and physicological violence. All acts of violence that occurred in this legend are caused by some various factors such as the woodcutter and his wife forced to abandon their children in the forest because of economic problem andthe Ogre who committed the murder because he likes to kill or eat the children.

ABSTRAK

Skripsi ini berjudul “A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE FOR A CHILD IN LITTLE THUMB LEGEND BY CHARLES

PERRAULT” membahas tentang tindak kekerasan dan penyebab kekerasan yang

terdapat dalam dogeng Little Thumb yang dituliskan oleh Charles Perrault. Teori yang digunakan dalam penelitian ini adalah teori strukturalisme. Teori strukturalisme adalah pendekatan teori teks-teks sastra yang menekankan hubungan keseluruhan antara berbagai elemen teks. Metode yang digunakan di dalam penelitian ini adalah metode kualitatif. Metode kualitatif menjelaskan kata atau frase. Metode ini dianggap paling cocok untuk sastra lisan seperti legenda. Penulis memperoleh sumber data dari membaca dongeng di internet. Dogeng Little Thumb adalah salah satu cerita yang ada di dalam koleksi buku Charles Perrault yang berjudul Tales of Mother Goose yang terbit pada tahun 1697. Tindak kekerasan yang terdapat dalam dogeng Little Thumb dilakukan oleh beberapa tokoh seperti si penebang kayu dan istrinya, Little Thumb dan raksasa. Tindak kekerasan yang ditampilkan dalam dogeng ini ialah kekerasan fisik, penganiayaan emosional, kekerasan kata-kata dan kekerasan psikis. Segala tindakan kekerasan yang terjadi dalam dogeng ini disebabkan oleh faktor yang berbeda-beda seperti si penebang kayu dan istrinya terpaksa menelantarkan anak-anaknya di hutan karna masalah ekonomi dan seorang raksasa yang melakukan pembunuhan karna ia suka memakan anak-anak kecil. Kata kunci: Dogeng Little Thumb, Strukturalisme, Tindak Kekerasaan

xi TABLE OF CONTENTS

AUTHOR’S DECLARATION ... v

COPYRIGHT DECLARATION ... vi

ACKNOWLEDGEMENTS ... vii

ABSTRACT ... ix

ABSTRAK ... x

TABLE OF CONTENTS ... xi

CHAPTER I: INTRODUCTION ... 1

1.1 Background of the Study ... 1

1.2 Problem of the Study ... 4

1.3 Objective of the Study ... 5

1.4 Scope of the Study……….... ... 5

1.5 Significance of the Study ... 5

CHAPTER II: REVIEW OF LITERATURE 2.1 Structural Theory ... 6

2.2 Folklore …..………... 10

2.3 Legend………... ... 11

2.4 Theoris of Violence ... 13

CHAPTER III: METHOD OF RESEARCH ... 17

3.1 Research Design ... 17

3.2 Data Source ... 17

3.3 Data Collection ... 18

CHAPTER IV: A STRUCTURAL ANALYSIS ON THE ACT OF VIOLENCE

4.1 Structural Analysis ... 20

4.2 The Causes of the Act of Violence in Little Thumb ... 34

4.2.1 The Act of Violence in Little Thumb...34

4.2.2 The Causes of the Act of Violence in Little Thumb...41

CHAPTER V : CONCLUSION AND SUGGESTION ... 43

5.1 Conclusion ... 43

5.2 Suggestion ... 44