The location of narrator in Jaroslav Hasek`s The Good Soldier Schweik : a study on narrative situation.

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THE LOCATION OF NARRATOR IN JAROSLAV HASEK’S
THE GOOD SOLDIER SCHWEIK: A STUDY ON NARRATIVE
SITUATION
AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters

By
KENAN FABRI HARTANTO
Student Number: 074214027

ENGLISH LETTERS STUDY PROGRAMME
DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY
YOGYAKARTA
2013

PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI

THE LOCATION OF NARRATOR IN JAROSLAV HASEK’S
THE GOOD SOLDIER SCHWEIK: A STUDY ON NARRATIVE
SITUATION
AN UNDERGRADUATE THESIS

Presented as Partial Fulfillment of the Requirements
for the Degree of Sarjana Sastra
in English Letters

By
KENAN FABRI HARTANTO
Student Number: 074214027

ENGLISH LETTERS STUDY PROGRAMME
DEPARTMENT OF ENGLISH LETTERS
FACULTY OF LETTERS
SANATA DHARMA UNIVERSITY

YOGYAKARTA
2013
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…That’s why I say that people have their failings, they make mistakes, whether
they’re learned men or just damned fools who don’t know any better. Why,
even cabinet ministers can make mistakes.’
Schweik, the good soldier

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LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH
UNTUK KEPENTINGAN AKADEMIS

Yang bertandatangan di bawah ini, saya mahasiswa Universitas Sanata Dharma :
Nama

: Kenan Fabri Hartanto

Nomor Mahasiswa

: 074124027

Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan
Universitas Sanata Dharma karya ilmiah yang berjudul:

THE LOCATION OF NARRATOR IN JAROSLAV HASEK’S
THE GOOD SOLDIER SCHWEIK: A STUDY ON NARRATIVE

SITUATION
Beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan
kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan,
mengalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan
data, mendistribusikan secara terbatas, dan mempublikasikannya di internet atau
media lain untuk kepentingan akademis tanpa perlu ijin dari saya maupun
memberikan royalty kepada saya selam tetap mencantumkan nama saya sebagai
penulis.
Demikian pernyataan ini saya buat dengan sebenarnya.
Dibuat di Yogyakarta
Pada tanggal: 30 Februari 2013
Yang menyatakan,

(Kenan Fabri Hartanto)

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ACKNOWLEDGEMENTS

In this opportunity I would like to express my gratitude to all who have
given their contribution in the process of my thesis writing. First of all, I would
like to thank my advisor, Dra. A. B. Sri Mulyani, M.A., Ph.D , for the wonderful
assistance, the abundant supply of references, and also for the trust and
encouragement. I would also like to Dewi Widyastuti, S.Pd., M.Hum. for the
essential corrections that helped me improving my work.
Secondly, I would like to thank both of my parents, Tony Hartanto and
Diete Iriyanti, for giving me the chance to taste education, and for waiting
patiently for me to finish it. My thank also goes to my older sister, Sabrina
Hartanto, for always taking a good care of me and for keep yelling at me to finish
my thesis; and to Gracia, little sister, for always welcoming me with the warmest
way during my rare home-coming.
I would also like to thank all of my friends and fellow communities that
had helped me, not only during this thesis writing but also the process of my study
in this university: the big family of JAKSA for teaching me the complexity of
kekancan and also about hard work, passion, and responsibility; Media Sastra and
LIDAHIBU for teaching me to read and write; Wahmuji, and Alwi for the
wonderful references on Narratology; Wahyu Ginting for changing my view on
Linguistics; Sugeng Utomo for teaching me management; Teguh Sujarwadi for

his many valuable lessons; To my fellows in Faculty of Letters: Ani, Iyut, Irene
Ossy, Irene Jonathan, Simon, Samson, Aya, Dita, Herman, Sony, Dito, Sepi,
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Hario, Adul, Viktor, Widi, Rosa, Tyas, Bram, Tije, Doni, Pita, Saka, Tian, Fira,
Gilang, Wowok, Veta, Nino, and many other names that had given me such a
wonderful time in the past few years; my comrades in 1 Buku untuk Indonesia:
Rosa, Galuh, Anjar, Chendy, Nita, Febi, Satya, Jatu, Melina, Age, Irine, Erik, and
Dina for giving the beauty of sharing with others; My best buddy during KKN
XLI, Reddy, for the support and encouragements, as well as the prayers; Sona
Cermakova a friend that shares the same nationality with Jaroslav Hasek, thank
you for sharing the story about Schweik and your country.
Finally, I would like to thank deeply to He who is called with so many
names. I am so grateful for the unexpected and sudden ‘push’. Without it I might
not finish my thesis this soon.

Kenan Fabri Hartanto

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Table of Contents
TITLE PAGE ........................................................................................................ i
APPROVAL PAGE .............................................................................................. ii
ACCEPTANCE PAGE ......................................................................................... iii
MOTTO PAGE ..................................................................................................... iv
LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA ILMIAH
UNTUK KEPENTINGAN AKADEMIS ............................................................. v
ACKNOWLEDGEMENTS .................................................................................. vi
TABLE OF CONTENTS ...................................................................................... viii
ABSTRACT .......................................................................................................... xi
ABSTRAK ............................................................................................................ xii
CHAPTER I: INTRODUCTION .......................................................................... 1
A. Background of the Study ...................................................................... 1
B. Problem Formulations ......................................................................... 4
C. Objectives of the Study ........................................................................ 4
D. Definition of Terms .............................................................................. 4

CHAPTER II: THEORETICAL REVIEW ........................................................... 6
A. Review of Related Studies ................................................................... 6
B. Review of Related Theories ................................................................. 8
1. Narratology and Narrative .............................................................. 8
2. Narrative Situation ......................................................................... 11
3. Point of View and Narrator ............................................................ 12
3. Narrative Level ............................................................................... 15
C. Theoretical Framework ........................................................................ 16
CHAPTER III: METHODOLOGY ...................................................................... 18
A. Object of the Study............................................................................... 18
B. Approach of the Study .......................................................................... 19
C. Method of Study ................................................................................... 19
CHAPTER IV: ANALYSIS ................................................................................. 21
A. Narrative Situation ............................................................................... 21
1. Book One........................................................................................ 22
a. Chapter One: Schweik, the Good Soldier, Intervenes
in the Great War ...................................................................... 22
i. Point of View and Narrator ................................................... 22
ii. Narrative Level ..................................................................... 24
b. Chapter Two: Schweik at the Police Headquarter .................... 26

i. Point of View and Narrator ................................................... 27
ii. Narrative Level ..................................................................... 29
c. Chapter three: Schweik Before the Medical Authorities ............ 30
i. Point of View and Narrator ................................................... 31
ii. Narrative Level ..................................................................... 33
d. Chapter Four: Schweik is Ejected from the Lunatic Asylum...... 35
i. Point of View and Narrator .................................................. 36
ii. Narrative Level ..................................................................... 38
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e. Chapter Five: Schweik at the Commissariat of Police............... 39
i. Point of View and Narrator ................................................... 39
ii. Narrative Level ..................................................................... 41
f. Chapter Six: Schweik Home Again After Having Broken the
Vicious Circle ........................................................................... 43
i. Point of View and Narrator ................................................... 43
ii. Narrative Level ..................................................................... 46
g. Chapter Seven: Schweik Joins the Army ................................... 48

i. Point of View and Narrator ................................................... 48
ii. Narrative level ...................................................................... 50
h. Chapter Eight: Schweik as a Malingerer .................................. 50
i. Point of View and Narrator ................................................... 50
ii. Narrative Level ..................................................................... 52
i. Chapter Nine: Schweik at Detention Barracks ........................... 54
i. Point of View and Narrator ................................................... 54
ii. Narrative Level ..................................................................... 58
j. Chapter Ten: Schweik Becomes the Chaplain’s Orderly ........... 58
i. Point of View and Narrator ................................................... 58
ii. Narrative Level ..................................................................... 60
k. Chapter Eleven: Schweik Accompanies the Chaplain into
Celebration of Mass .................................................................. 61
i. Point of View and Narrator ................................................... 61
ii. Narrative Level ..................................................................... 64
l. Chapter Twelve: Religious Debate............................................. 66
i. Point of View and Narrator ................................................... 66
ii. Narrative Level ..................................................................... 68
m. Chapter Thirteen: Schweik Administers Extreme Unction ....... 69
i. Point of View and Narrator ................................................... 69

ii. Narrative Level ..................................................................... 71
n. Chapter Fourteen: Schweik Becomes Batman to Lieutenant
Lukash ....................................................................................... 72
i. Point of View and Narrator ................................................... 72
ii. Narrative Level ..................................................................... 74
o. Chapter Fifteen: The Catastrophe ............................................. 76
i. Point of View and Narrator ................................................... 76
ii. Narrative Level ..................................................................... 78
2. Book Two ....................................................................................... 79
a. Chapter One: Schweik’s Misadventures on the Train................ 80
i. Point of View and Narrator ................................................... 80
ii. Narrative Level ..................................................................... 83
b. Chapter Two: Schweik’s Anabasis ............................................ 84
i. Point of View and Narrator ................................................... 84
ii. Narrative Level ..................................................................... 87
c. Chapter Three: Schweik’s Adventures at Kiraly-Hida............... 88
i. Point of View and Narrator ................................................... 89
ii. Narrative Level ..................................................................... 90
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d. Chapter Four: Fresh Tribulations.............................................. 92
i. Point of View and Narrator ................................................... 92
ii. Narrative Level ..................................................................... 94
e. Chapter Five: From Bruck-on-the-Leitha to Sokal .................... 96
i. Point of View and Narrator ................................................... 96
ii. Narrative Level ..................................................................... 98
3. Book Three ..................................................................................... 99
a. Chapter One: Across Hungary .................................................100
i. Point of View and Narrator .................................................100
ii. Narrative Level ...................................................................102
b. Chapter Two: At Budapest......................................................104
i. Point of View and Narrator .................................................105
ii. Narrative Level ...................................................................107
c. Chapter Three: From Hatvan to the Frontiers of Galicia .......109
i. Point of View and Narrator .................................................109
ii. Narrative Level ...................................................................111
d. Chapter Four: Quick March.....................................................113
i. Point of View and Narrator .................................................113
ii. Narrative Level ...................................................................116
B. The Location of the Narrator ..............................................................117
C. The Significance of the Technique .....................................................122
1. Narrator and Point of View ..........................................................122
2. Narrative Level .............................................................................125
3. The Narrative Situation ................................................................129
CHAPTER V: CONCLUSION ...........................................................................138
BIBLIOGRAPHY ...............................................................................................143
APPENDIX .........................................................................................................144

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ABSTRACT

Kenan Fabri Hartanto. The Location of Narrator in Jaroslav Hasek’s The Good
Soldier Schweik. Yogyakarta: Department of English Letters, Faculty of Letters,
Sanata Dharma University, 2012.
This research is the writer’s form of appreciation toward the art of
storytelling. Storytelling that used to be an oral tradition had transformed into a
written tradition after the rise of printing technology. Nevertheless, the greatness
of storytelling still remains. It never lost its charming power and still worth
appreciating.
As a novel, The Good Soldier Schweik, amuses the writer with its satirical
humor and its technique of employing secondary narrators to produce stories
inside a story. The writer seeks to find the significance of such technique in
relation with the novel as a work of literature.
This research tries to answer three problem formulations. The first is how
the narrative situation presented in the novel together with their functioning, while
the second is to find the location of the narrator in the story. The last is to unveil
the significance of the technique used by the author.
The writer of the research takes three major steps in analyzing the work.
The first step is describing the form and functioning narrative situation of each
chapter of the novel. The second step is analyzing the data resulted from the first
step to find the location of the narrator. The last step analyzing the result of the
first and second step closely to find its significance.
The answer of the first question is that from the beginning until the end of
the story, the narrator is an omniscient third person narrator who remains covert
for most of the time and uses three kinds of point of view, namely, external,
internal, and unrestricted points of view. There are also characters, including the
main character, that take the role of a secondary narrator and initiate new narrative
levels. The result of the analysis on the narrative situation of all the chapters in the
novel leads to a conclusion that the narrator is located outside of the story world.
The narrative situation applied by Jaroslav Hasek to his novel The Good
Soldier Schweik is used to enhance its satirical power. The use of omniscient third
person narrator and the three types of point of view (external, internal, and
unrestricted) provides detailed information of the story world so that the readers
can comprehend the story world well. The overtness of the narrator is used to
influence the mind of the readers, directing them to think the same frame as the
author and thus showing the tone of the work itself. Finally, the secondary
narrators are the author’s way of speaking and criticizing through multiple voices.

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ABSTRAK
Kenan Fabri Hartanto. The Location of Narrator in Jaroslav Hasek’s The Good
Soldier Schweik. Yogyakarta: Department of English Letters, Faculty of Letters,
Sanata Dharma University, 2012.
Penelitian ini adalah bentuk apresiasi penulis pada seni bercerita. Seni
bercerita yang dulunya adalah tradisi tutur telah berubah menjadi tradisi tertulis
sejak munculnya teknologi percetakan. Meskipun begitu, seni bercerita tak pernah
kehilangan kebesarannya.
The Good Soldier Schweik adalah novel yang sangat memukau bagi
penulis. Ia mempunyai humor satir yang sangat kuat. Novel ini juga menggunakan
pencerita-pencerita sekunder untuk menghasilkan cerita di dalam cerita. Penulis
mencoba mencari pentingnya teknik tersebut dalam kaitannya dengan novel ini
secara keseluruhan.
Penelitian ini mencoba untuk menjawab tiga buah rumusan masalah.
Rumusan masalah yang pertama adalah bagaimana situasi naratif digambarkan di
novel ini sekaligus dengan fungsinya. Yang kedua adalah dimanakah letak si
Pencerita dalam novel, dan yang terakhir adalah apa pentingnya teknik
penceritaan yang telah dipilih oleh pengarang novel ini.
Dalam meneliti, penulis mengambil tiga langkah utama. Langkah yang
pertama adalah mendeskripsikan bentuk dan fungsi dari situasi naratif dari setiap
bab yang ada di dalam novel. Langkah kedua adalah menganalisis bentuk dan
fungsi Situasi Naratif yang telah didapat dari langkah pertama untuk menentukan
lokasi dari si pencerita. Terakhir, penulis mencoba menarik benang merah dari
semua temuan-temuannya dan mencari pentingnya teknik-teknik yang telah
digunakan Jaroslav Hasek dalam novelnya.
Hasil dari penelitian ini adalah bahwa dari awal hingga akhir cerita, si
pencerita adalah seorang pencerita orang ketiga yang segala tahu. Ia menggunakan
tiga jenis sudut pandang, yaitu sudut pandang eksternal, sudut pandang internal,
dan juga sudut pandang takberbatas dan tetap sembunyi di alam imajiner hampir
sepanjang waktu, walau kadang ada saat di mana dia menunjukkan
kepribadiannya. Di dalam novel juga terdapat banyak tokoh, termasuk tokoh
utama, yang menjadi pencerita sekunder dan menciptakan tingkatan naratif baru.
Dari temuan-temuan situasi naratif tiap bab, disimpulkan bahwa sang pencerita
berada di luar dunia cerita.
Segala teknik yang digunakan Hasek dalam novelnya berfungsi untuk
memperkuat aspek satirnya. Penggunaan pencerita orang ketiga yang segala tahu
dan juga tiga jenis sudut pandang yaitu: sudut pandang eksternal, sudut pandang
internal, dan sudut pandang takberbatas) berfungsi untuk menghadirkan dunia
cerita secara utuh bagi para pembaca. Sedangkan, pencerita yang kadang
menunjukkan kepribadiannya, dan juga para pencerita sekunder, berfungsi sebagai
alat bagi pengarang untuk berbicara dalam banyak suara.
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CHAPTER I
INTRODUCTION

A. Background of the Study
A story is like a magic box that contains everything. Inside it readers
stand face to face with people, trees, oceans, mountains, stars, animals, and
even witches, dragons, and gods. It is as if the world squeezes itself to fit in
such a tiny space.
If a story is a box that contains the world, he/she who tells the story, or
the storyteller, is a person who opens the box and creates a world in the mind
of his/her listeners. The storyteller than becomes a godlike figure who
possesses absolute power and control over time and space of the world he/she
creates. He/she is the one who decide the fate of a person, whether he/she lives
or dies; create such a catastrophic disaster that wipeout the entire planet; and a
narrator even possesses the power to bend and twist time as he/she pleased.
Perhaps, that is the reason why people love to tell stories.
The origin of story and storytelling remain unknown. Nobody can be
sure in deciding what, when, where, and by whom the first story was ever told.
It may be born in the same time the human species began to communicate
with each other. It may be told by a hunter in prehistoric era to his fellow
cavemen around a campfire, telling how brave he was in hunting his prey. It
may be in a form of a bedtime story told by a nomad to his children in a vast

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prairie, or by the first sailor who managed to cross the wildest ocean and lived
to tell the tale.
Long before the invention of printing, people got a story by listening to
a storyteller. He/she had an important role such as determining how people
should live their life. In Greece people used to listen to stories about gods and
legendary heroes with awe and grave attention because the stories may teach
them how to please the gods so that they can bring them good harvest and
drive away plague and starvation (Guth, 1981: 5). Among many great
storytellers known by people, the legendary Scheherazade in The Thousand
and One Night perhaps can be considered as the greatest. She is a storyteller
whose life is saved by her stories. She lived as a slave of Sultan Schahriah, an
evil ruler who beheaded everyone that displeased him. Scheherazade survived
because of her ability to tell stories. She entertained the Sultan by telling a
story a night for 1001 nights. The Sultan was really amused and spared her
life, he even made her one of his wives (The Harvard Classics, 1995).
The fall of the storytelling began with the rise of novels in early
modern times. The main difference between the latter and the former is its
dependence on books (Benjamin, 2007: 87). People no longer gathered around
a storyteller and began a solitary process of reading stories in novels. The
storytellers are replaced by authors, who use narrator to represent their voice.
The narrators then become the new storyteller, an imaginary one.
In employing narrators, an author may use various techniques. The
most common technique used is the use of a single narrator in which the

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readers only hear one voice throughout the story. In other cases, the author use
multiple narrators in which a character can narrate his/her own stories and thus
become a narrator (Keen, 2003: 36-42). Jaroslav Hasek’s The Good Soldier
Schweik is a good example of a work that has multiple narrators.
The Good Soldier Schweik is a four volumed satirical picaresque novel.
It was originally intended to be written in six volumes but Hasek died after
finishing the fourth. The Good Soldier Scweik is a novel which tells us the
story about Schweik, an Austrian soldier during the first World War in 1914.
Unlike any novel about war it does not present us any actual war scene. The
whole story is about the military as a silly and ridiculous institution.
In his novel Hasek employs many narrators beside the main one.
Almost throughout the entire story the readers will find characters who tell
their own story. The characters in the novel including Schweik himself seem
to share the same hobby, telling stories about experiences and people from the
pa s t .
The focus of this research is to find the location of the narrator in the
story by describing the narrative situation in Hasek’s work. In order to give
the description the writer will try to analyze various elements of the narrative
situation. By conducting this research it is hoped that a better understanding of
the nature of story and storytelling can be achieved.
B. Problem Formulation
This research formulates three problems to be answered. Those three
problems are as follow

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1. How is the narrative situation described in the story?
2. Based on the narrative situation, where is the narrator’s location in the
story?
3. Why such narrative situation is used in the story?
C. Objectives of the Study
Based on the problem formulations mentioned above, there are three
objectives of the study. The first objective is to give clear descriptions about
the elements of the narrative situation of the story. The second objective is to
find where the narrator is located in the story. The last objective will be to find
out why the author uses such narrative situation in writing his work.
D. Definition of Terms
In this research the writer will use some terminologies some of which
can be found in the research title. To avoid misunderstandings, the writer will
give some of the definition about the terminologies. The terminologies will be
as follow
1. Narrative
Narrative is the representation of at least two real or fictive events or
situations in a time sequence, neither of which presupposes or entails the other
(Prince, 1982: 4). In his Dictionary of Narratology Prince defines Narrative as
‘the recounting (as product and process, object and act, structure and
structuration) of one or more fictitious events communicated by one, two, or
several (more or less overt) narrator to one, two, or several (more or less
overt) naratees (Prince, 1987: 58).

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2. Narrator
Narrator is the one “responsible for acts of telling”. He can be “positioned
inside the story world,” but are “often located outside the story world”. (Keen,
2003: 30)
3. Narrative situation
Narrative situation is “the combination of narrator, perspective (point of
view), and narrative level involved in first-person and third-person fictional
narration”. (Keen, 2003: 30)

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CHAPTER II
THEORETICAL REVIEW

A. Review of Related Studies
The Good Soldier Schweik is considered as the best known Czech novel.
There are many scholars who make analyses about the novel. In this chapter
the writer will review two of them, the first is Ian Johnston and the second is
Danusha Goska.
Ian Johnston, a lecturer from Vancouver Island University, gives a broad
analysis on the novel in one of his lecture. It consists of the analysis on the
genre of the novel, its satirical content, its black comedy, and its various
constructing elements namely characters and narrators. According to
Johnston, The Good Soldier Schweik is a picaresque novel, a novel about “the
adventures of (usually) a low-born rogue (picaro is the Spanish for rascal)
who uses his native wit to survive a series of adventure.” He also said that a
picaresque novel has a feature of having a narrator “who guides us through
the adventures and typically delivers his own view on certain issues which the
adventures of the hero are exploring or illustrating.” Johnston said that a
picaresque novel is a novel which allows such an intrusive narrator.
In another part of the lecture Johnston reveals to his students that
Schweik, the main character of the novel, loves to engage “in conversation
with anyone and always has ready his amazing store of narratives about
people he has known or heard about or invented.” Schweik is a person who
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loves to talk as a way to cope with many misfortunes that happened to him
throughout the story (http://records.viu.ca/~johnstoi/praguepage/hasek.htm).
Different from Ian Johnston who focuses his analysis only on The Good
Soldier Schweik, Danusha Goska, a professor in the Department of Women’s
and Gender Studies in Wiliam Paterson University, compares The Good
Soldier Schweik with a biographical novel about Aesop entitled The Life of
Aesop. Before bringing the readers further in the comparison, Goska provides
brief review on various aspects of each novel. The aspects reviewed are the
style of the novel, descriptions of the character and the plot, historical
background of the novel and the personal life of the authors.
Goska said that the two works have some important similarities. Both
novels tell the readers the story about individual who has no authority and has
limited freedom. Both of them are works of literature whose plot is centered
on the journey of the main character. Finally, both Schweik and Aesop
always

tell

stories

whenever

they

are

in

a

moment

of

crisis

(http://www.codypublishing.com/goska/aesop.html).
What makes the writer’s research different from both of the analyses
reviewed above is the scope of the analysis. The writer focuses on one novel
which is Jaroslav Hasek’s The Good Soldier Schweik and the analysis will be
narrowed into the analysis on the narrative situation instead of the whole
aspect of the work. The writer still wants to give a description about the story
but in a more specific way.

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B. Review of Related Theories
In answering the problem formulations stated in the first chapter of this
research the writer will use some theories. The theories used by the writer will
be reviewed below:
1. Narratology & Narrative
Narratology is the study of the form and functioning of narrative. It
analyzes the constructing elements of a narrative and their elaboration.
Narratologists attempts to describe the narrative explicitly and grasp a better
understanding of its functioning by first recognizing the elaboration. (Prince,
1982: 4-5). What a narratologist do is just like a frog surgery in biology class
in which the student tries to find out the organs inside a frog and understand
their functions.
In narratology there is a main distinction between ‘story’ and ‘plot’.
‘Story’ is the sequence of events as it really happens, while the ‘plot’ is how
the events in the ‘story’ are presented to the readers or listeners. Thus the
beginning, middle, and end of the ‘story’ may not be the same with the
beginning, middle, and end of the ‘plot’. Many narratologists use varied term
for ‘story’, and ‘plot’. The Russian Formalist, for example, uses the term
‘fabula’ for ‘story’ and ‘sjuzet’ for ‘plot’ (Barry, 2002: 223). All
narratologists hold this basic distinction as base of their analysis on
narrative.
All trees grow from a tiny little seed, and so is narratology. In
narratology’s case the seed is the key concept introduced by Aristotle

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9

through his Poetics. According to Aristotle characters and actions are
essential elements of a story. Characters are revealed through actions, and in
turn, actions are revealed through plot. Aristotle identifies three key elements
of plot which are the hamartia (the sin or fault committed by the character),
anagnorisis (the moment of self-recognition), and peripeteia (the reversal of
the fortune). By indentifying those three elements of plot of stories (Greek
tragedies) he had pioneered the practice of narratology which is to find
similar elements from a number of stories in order to be able to differentiate
them (Barry, 2002: 224).
Similar to Aristotle, a Russian Formalist named Vladimir Propp also
practiced narratology by analyzing a corpus of hundred of Russian folktales.
His finding is that all of those folktales follow the same plot pattern. In this
pattern there are 31 functions that are commonly adapted for a plot. No story
contains all the 31 functions but all stories select items from the list.
Furthermore, from the 31 functions he groups the functions into seven
‘spheres of action’ which are the villain, the donor, the helper, the princess
and her father, the dispatcher, the hero, and the false hero. From Propp’s
findings it can be concluded that stories, though look different at the first
glance, might not that different at all (Barry, 2002: 226-230).
While Aristotle and Propp concentrated on the structure of the story,
Gerard Genette focuses on how the story is being told. In his book entitled
Narrative Discourse he discusses aspects such as the nature of the telling
itself (mimetic or diagetic), the focalization of the narrative (internal,

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10

external, or zero/omniscient narration), the narrators, the time of the story
and the plot, the packaging of the story (framed or not), and the
representation of speech and thought (Barry, 2003: 231-239). Genette’s
theory marks a turning point in the history of narratology. It shifts the focus
of narrative study from what is being told into the telling itself.
As mentioned above, narratology is a theory that discusses narrative.
Narrative itself has many meanings and definition, each theorist has his or
her own understanding about what a narrative is. In An Introduction to the
Structural Analysis of Narrative Roland Barthes said that narrative has
countless forms and that all of them can accommodate man’s stories.
Narrative can be in the form of written or oral language, and it can even be in
the form of picture, or mixture of both language and picture. It exists in
myth, legend, short stories, history, movies, news, etc (Barthes, 1977: 79).
Barthes’ explanation about narrative leaves a huge question, if narrative
has countless form, will everything in this world be considered as a
narrative? In Dictionary of Narratology, Gerald Prince defines narrative as
the object, act, product, object, structure, and structuration of telling stories
to other people. The stories told may contain one or more fictitious events
which are communicated by one or more narrator to one or more naratee
(2003: 58). In his other book entitled Narratology: The Form and
Functioning of Narrative Prince offers another definition of narrative. He
said that a narrative is a representation of at least two real or fictitious events
that are put in a time sequence (1982: 4).

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Other helpful meanings of narrative are provided in Narrative Discourse:
an Essay in Method, a book written by Gerard Genette. In his book he said
that there are 3 meanings of narrative that are broadly understood. The first
is narrative which refers to statements, oral or written who take the function
of telling an event or a series of events. The second meaning is that a
narrative is a succession of events, real or fictitious, with their relations of
opposition, repetition, and many others. The second meaning refers to
actions and events as actions and events themselves without regarding the
medium. The third and the oldest meaning of narrative is that it refers to an
event. The event being referred to in this meaning is not the event being
recounted but the event which consists of someone telling stories (1980: 2526). According to the first meaning of Narrative given by Genette, people
will call the speech given by Scheherazade in The Thousand and One Nights
to King Schahriah as a narrative. The example of narrative in the second
meaning is the events experienced by the merchants in Nights 1-3 section of
The Thousand and One Nights, from the time he met the Jinni and being
cursed till the time he is freed from the curse. Finally, based on the third
meaning, the book The Thousand and One Nights is what people call as the
narrative of Scheherazade.
2. Narrative Situation
The primary task of a narratologist is to give a description of a narrative in
order to understand its form and functioning. In order to do that task, an
option that a narratologist can take is to conduct a research on narrative

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12

situation. Narrative situation is a description about the location of the
narrator in a first-person and third-person fictional narration. It describes
how overtly or covertly the narrator makes his or her presence felt by the
readers, and also his or her relationship with the characters (Keen, 2003: 30).
A situation is a combination of several things that exists in a particular
place and time, thus, in order to describe the narrative situation there are
some basic elements that must be described. Those basic elements are the
narrator, the perspective (point of view), and the narrative level (Keen, 2003:
30). In some cases, a narrative situation can be more complex when there is
more than one narrator used in the story. The use of multiple narrators
created extensions in the story and those extensions must be described
independently in order to have an accurate description of the narrative
situation and the perspective (Keen, 2003: 41). A deeper explanation about
narrator, point and view, and narrative level will be treated below.
3. Point of View and Narrator
Narrative situation seeks to find the location of the narrator in a story. In
order to find him or her readers must first understand his or her nature. By
understanding the narrator’s nature it will be much easier to find where the
narrator most likely dwell.
Whenever a narrator narrates, he or she adopts a certain kind of point of
view. He or she may narrate from the outside of a character, inside a
character, or both inside and outside the character (Prince, 1982: 50). The
use of a certain point of view will also determine the type of narrator and its

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13

narration used in a story because it deals with how the teller of the story
perceives the world he is telling about.
There are three kinds of point of view in narrating a story. The first is
unrestricted point of view, often referred as omniscient, in which there is no
restriction to what a narrator can tell. He/she knows and tells more than any
of the characters can know or tell at any given time and situation of the
narration. The second one is called the internal point of view. In internal
point of view, the narration is restricted to the feelings, knowledge, and
perception of one or more than one characters. The last one is called the
external point of view in which the narration is limited only to the outside of
the character, namely his/her actions and physical appearance (Prince, 1982:
51-52).
In Narrative Form, Suzanne Keen said that the first demand of the study
of narration is the distinction between first-person and third-person narration.
What makes the distinguishing difficult is that a conclusion cannot be made
by just observing the use of a certain pronoun. The example can be found in
the case of a first person narration. In a narration the use of the pronoun ‘I’
alone does not make it a first-person narration because any overt narrator can
refer to himself or herself using ‘I’. Keen explained that in a first-person
narration there is a self-narrating character who acts also as a narrator. Here
both the narrator and character coexist and live in the same world. He or she
then refers to himself or herself as ‘I’. There are three kinds of first person
narration. The first is where the narrating self is also the protagonist or the

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14

central character which sometimes called fictional autobiography. In a
fictional autobiography the narration can be divided into two types, the first
is the consonant narration in which the narrator is positioned close to the
experience; the second is the dissonant narration in which there is a gap
between the narration and the experiences narrated. Another variety of firstperson narration is where the narrating self focuses on the action of others.
The third kind of a first-person narration is a plural first-person narration in
which the story is narrated by various characters (Keen, 2003: 36-37)
The other type of narration commonly used by writers is the third person
narration, in which the most common distinction used is to differentiate
limited from omniscient third person narrators. In a third-person limited
narration a single character’s perspective dominates the perception included
in the telling of the story. In this kind of narration the writer limits the
representation of consciousness to a single figure who is not a narrator.
Different from the third-person limited narration, a third-person omniscient
narration requires a narrator who exists outside the story world. Being
outside the story world this narrator has the privilege to be able to inform
details about all characters to the readers.
Based on the degree of personification a narrator can be divided into two
types, overt narrator and covert narrator. An overt narrator is a narrator who
announces his or her presence to the readers by using self reference, while a
covert narrator is a narrator whose presence can hardly be felt. A covert
narrator provides speech tags, indicates setting and temporal movements,

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15

identifies characters and narrates actions. Furthermore, a covert narrator does
not show any signs of personalities. An overt narrator can summarize time
passing, giving bird-eye’s view, and offer commentary (interpretation of
actions, judgments on characters, and generalizations) (Keen, 2003: 38).
To get things more complicated some authors even use multiple narrators
in their story. These narrators may be paralleled with other characters or
exists within another’s narration. There are two possible manners when a
character narrates. The first is the use of straightforward first-person
narration and the second is the use of secondary or tertiary narration as in
when the character is in another’s narration (Keen, 2003: 41-42)
4. Narrative Level
Another element which constructs a narrative situation is called narrative
level which deals with the process of fictional world making. Fictional world
is a world created automatically in the mind of the readers whenever they
encounter a narrative. This imaginary world is a world where the characters
and events of a story live. In some cases, a narrative demands its readers to
imagine worlds inside worlds, which happens when a character becomes a
narrator (Keen, 2003: 108).
Whenever a character begins to narrate his or her own story he or she
immediately becomes a secondary narrator and thus creates a new story
world. This new story told by secondary narrator inside a primary narrative
is called an embedded narrative, a signal of the initiation of a new narrative
level. Each layer of the story can then be labeled individually because each

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of them may have distinct narrator, plot, characters, and settings (Keen,
2003: 111). Examples of embedded narrative can be found in works of
literature such as Edgar Allan Poe’s “The Oval Portrait”. In Poe’s “The Oval
Portrait” a wounded man takes a shelter in a house in which he finds a
portrait of a beautiful young lady. The embedded narrative is presented
when the wounded man find writings about the history of the painting. It
tells a story of a painter too distracted by the joy of painting his wife that he
failed to notice that she is dying in the process.
The levels in a narrative are divided furthermore into extradiagetic,
diagetic, and metadiagetic. Extradiagetic is the act of narrating the first
narrative, while the diagetic is the narrating act of the second narrative (a
narrative inside the first narrative). The events narrated in the second
narrative are called metadiagetic (Genette, 1983: 228).
There are three types of relationships between the metadiagetic and the
diagetic level. The first relationship is a relationship in which the second
(metadiagetic)

narrative

serves

explanatory

functions.

The

second

relationship is the thematic relationship, in which the second narrative can
serve as a contrast or an analogy. The last is where the second narrative
becomes a distraction from the main narrative (Genette, 1983: 232-234). The
example of that kind of distraction can be found in The Thousand and One
Nights. The layers of embedded narratives presented through stories inside
stories bring the readers away from the main story world of Scheherazade.

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The danger of this distraction lies in the possibilities of the readers forgetting
the main story.
C. Theoretical Framework
To answer the problems formulated in the first chapter the writer will use
the theory of narratology. Among many theories formulated by various
narratologists, the writer will use the theories formulated by Roland Barthes,
Gerald prince, and Gerard Genette. The writer also uses the theories found in
Suzanne Keen’s Narrative Form in which she blends theories from many
other narratologists.
First of all, Prince’s theory about what narratology is and also Barthes’,
Prince’s, and Genette’s theory about narrative will be the basic understanding
for the writer in doing his research. In answering the first problem, the writer
will use Suzanne Keen’s theory of narrative situation. Descriptions about the
narrators will be mainly based on Prince’s theory of point of view, and
Keen’s theory of types of narrators, while the discussion of narrative levels of
each chapter of the novel will be made using the theory of Keen and Genette.
After the first problem is answered, the writer will be able to conclude where
the location of the narrator is and thus the second problem will be answered.
The third problem will be answered by analyzing the effects produced by the
narrative situation applied on the novel and thus based on the effects found
the writer will find the reason why certain narrative situation is applied.

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CHAPTER III
METHODOLOGY
A. Object of the Study
The object of the study is a novel written by Jaroslav Hasek entitled The
Good Soldier Schweik. It is a novel that every high school students must read
in Czech due to its historical content that depicts society at that time. The
novel also triggers a debate among its readers in Czech. Some consider it good
due to its rich content while others despise it because it reveals the bad side of
their country and its people.
The Good Soldier Schweik is a satirical picaresque novel that is
originally intended to be written in six volumes, however, the author died in
1923 because of tuberculosis after finishing the fourth. In this study, the writer
will use the four volumes which are compiled in one book by Penguin Books
and published in 1958.
The four volumes used in this study consists of 471 pages in a whole
which are divided into three major sections which are Book One, Book Two,
and Book Three. Book One is a 196 pages section with 15 smaller sections (115) within it. The second book consists of 149 pages which divided into 5
sections (1-5). The last one, the Book Three, is a 116 pages section which
consists of 4 sections (1-4).
The novel is generally about Schweik, a man who is drafted as a soldier
in Austrian army to battle in First World War in 1914. The story progresses as
his stupidity is confronted with the seriousness of the military institutions. He

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is a man cursed to make mistakes whenever he is being given orders or
instructions by his superior officers. The mistakes he make often send
Schweik into misadventures that take him to many places and make him goes
through many adventures and encounter many kinds of people.
B. Approach of the Study
Every job needs its proper tools to achieve its goal, a chef for example,
needs a knife to help him cooking. The chef will also have to choose a specific
knife for a specific purpose, a knife for meat is surely different than the one
used for cakes. In analyzing a work of literature, the writer will also have to
use a proper tool to achieve the goal which is an approach. Since the writer is
mainly dealing with the work of literature or the text itself, the writer will use
the formalist approach or the New Criticism.
A formalist critic’s emphasis is on the form of a work of literature. In
formalist approach a work is taken as an object which stands on its own. This
object is considered as an organic life form, an organism. It consists of many
organs that have their own specific func