The differences of Edmund’s characterization that influence the plot in the novel and in the screenplay of c.s. Lewis’ The Chronicles of Narnia: The Witch, The Lion, And The Wardrobe - USD Repository

  

THE DIFFERENCES OF EDMUND’S CHARACTERIZATION

THAT INFLUENCE THE PLOT IN THE NOVEL AND IN THE

SCREENPLAY OF C.S. LEWIS’ THE CHRONICLES OF

NARNIA: THE WITCH, THE LION, AND THE WARDROBE

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

  By

DERDIANA MARIA LUSINDA

  Student Number: 014214004

  

ENGLISH LETTERS STUDY PROGRAMME

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2009

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ACKNOWLEDGEMENTS

  I was given a chance to finish my study, but I did not take it. Oneday, I realized that I made a very big mistake. For the second time, the chance came again and I took it. I will never make a mistake for the second time and I know that it is just the beginning of my life.

  First of all, I would like to thank Jesus Christ, for His love and guidance. Without Him, it is impossible for me to finish this thesis. I thank Him for answering my prayer when I am down and low.

  I would like to express my gratitude to Dewi Widyastuti, S.Pd., M. Hum. as my advisor and Drs. Hirmawan Wijanarka, M.Hum. as my co-advisor . I am thankful for correcting my thesis during this time. Whatever the result is, this thesis is so meaningful for me.

  My special gratitude goes to my parents Papa (Opa) and Mama (Oma), my brother (Tommy), my sister (Linda), my brother in law (Bowo), my cousins (Orvis and Rafa), the big family of Seimahuira and the big family of Atmo Sumitro; I am thankful for everything they have done to help me in completing my study in Sanata Dharma University; although it took me a long time to complete. This undergraduate thesis is dedicated for them as a symbol of my responsibility to them.

  I also would like to thank Kurt “i’an” Cobain, Dita “iToel”, “The Remainers of EL ’01” (Dian “Kitink”, Ayu “Mba Ay”, Monda “Mondae”), The People at the Secretary, Sadhar’s security and staff, “Kakak-kakak” Domby Kid’s Hope Gajah Wong, Teachers and staff of Bambini Montessori Yogyakarta, Ms. Retno, Tante vi Lanni, Ms. Yuni, Ms. Anita, Margareth Aritonang, Okta “Liyul”, Ferdi “Parakan”, “Blacky”, “Little Blacky”, Mr. “T”, Miss “Supra”, Miss. “Kaze”; I am thankful for everything. I owe them, especially for helping me during the completion of my study and this thesis. My gratitude also goes to all of my classmates in English Letters 2001 for the magnificent years before and for the support to finish my study as well as to this thesis.

  Finally, I am sincerely thankful to the aid and good-wishes for all of my friends that I cannot mention one by one. God bless them all! Derdiana Maria Lusinda

  

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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TABLE OF CONTENTS

  TITLE PAGE ................................................................................................... i APPROVAL PAGE ......................................................................................... ii ACCEPTANCE PAGE .................................................................................... iii STATEMENT OF WORK’S ORIGINALITY ................................................ iv LEMBAR PERNYATAAN PERSETUJUAN PUBLIKASI KARYA

  ILMIAH UNTUK KEPENTINGAN AKADEMIS ......................................... v ACKNOWLEDGEMENTS ............................................................................. vi TABLE OF CONTENTS ................................................................................. viii ABSTRACT ..................................................................................................... x ABSTRAK ....................................................................................................... xi

  

CHAPTER I. INTRODUCTION .................................................................. 1

A. Background of the Study ...................................................................... 1 B. Problem Formulation ............................................................................ 2 C. Objective of the Study .......................................................................... 3 D. Definition of Terms .............................................................................. 3

CHAPTER II. THEORETICAL REVIEW ................................................. 6

A. Review of Related Studies ................................................................... 6 B. Review of Related Theories ................................................................. 8 1. Character and Characterization in a Novel ................................. 8 a. Character in a Novel .............................................................. 8 b. Characterization in a Novel .................................................... 9 2. Character and Characterization in a Play .................................... 11 a. Character in a Play ................................................................. 11 b. Characterization in a Play ...................................................... 12 3. Plot in a Novel and in a Play ....................................................... 14 a. Plot in a Novel ........................................................................ 14 b. Plot in a Play .......................................................................... 16 C. Theoretical Framework ........................................................................ 18

CHAPTER III. METHODOLOGY ............................................................. 20

A. Object of the Study ............................................................................... 20 B. Approach of The Study ........................................................................ 20 C. Method of the Study ............................................................................. 21

CHAPTER IV. ANALYSIS .......................................................................... 23

A. The Differences of Edmund’s Characteristics in the Novel and

  in the Screenplay ............................................................................. 23 1.

  Characteristics of Edmund in the Novel ..................................... 23 2. Characteristics of Edmund in the Screenplay ............................. 28 viii

  B.

  The Differences of Characteristics That Influence The Plot ................ 35 1.

  The Plot in the Novel .................................................................. 35 2. The Plot in the Play ..................................................................... 40

  

CHAPTER V. CONCLUSION ..................................................................... 50

BIBLIOGRAPHY .......................................................................................... 53

APPENDIX……..………………………………………………………… ... 55  

                                       

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  ABSTRACT

  DERDIANA MARIA LUSINDA. The Differences of Edmund’s

  Characteization that Influence the Plot in the Novel and in the Screenplay of

C.S. Lewis’ The Chronicles of Narnia: The Witch, The Lion, and The

Wardrobe. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2009.

  This study compares C.S. Lewis’ The Chronicles of Narnia: The Witch,

  The Lion, and The Wardrobe with the screenplay with the same title which was

  written by Ann Peacock. The novel itself was written by C.S. Lewis in 1968 and the screenplay was written in 2006. Both the novel and the screenplay tell the story about the children of the Pevensies that were sent away from London during the war because of the air-raids. They were sent to the house of an old Professor. In the Professor’s house, one of the Pevensies children named Edmund, found a way to the world called Narnia. He entered Narnia and met Jadis. Because of his meeting with Jadis, Edmund became a traitor for his family.

  Even though the novel and the screenplay have the same story, the plots in both works are different. In the novel, the writer told about all the children of the Pevensies, but the screenplay writer gives more details to Edmund’s characteristics. So, this study deals with characterization, as they are considered to have affects to the plot between the novel and the screenplay.

  This study discusses: “What are the differences of Edmund’s characteristics in the novel and the screenplay?”. “How do the differences in Edmund’s characteristics influence the two plots?”

  In collecting the sources, the writer applied library research method. In doing the analysis, the writer was using formalistic approach. The theories applied are concerned with characteristics and plot both in the novel and in the screenplay. The theories on the differences between novel and play were also used.

  This thesis provided some results, which are: that there some differences on Edmund’s characterization in the novel and in the screenplay. The characteristics of Edmund in the novel are more details than in the screenplay. For example, in the novel, Edmund described as a young, disobedient, ridiculous, cowardly, naïve, impolite, traitorous, labile, tricky, and innocent. In the play, Edmund described as a loving, curious, greedy, selfish, brave, rude, and labile. There are some points from Edmund’s characteristics that can influence the plot in the novel and in the screenplay that is the characterizations of Edmund in the screenplay has a big role in the creation of the plot, even though the characteristics of Edmund in the screenplay do not describe as details as in the novel. For example, in the novel the climax is when Edmund in the battle. But, in the screenplay, the climax is when Edmund left beavers’ house when the others (Peter, Susan, Lucy, and beavers) had discussed about Aslan.

     

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  ABSTRAK

  DERDIANA MARIA LUSINDA. The Differences of Edmund’s

  Characteization that Influence the Plot in the Novel and in the Screenplay of

C.S. Lewis’ The Chronicles of Narnia: The Witch, The Lion, and The

Wardrobe. Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University, 2009.

  Penelitian ini menganalisis dari karya C.S. Lewis dengan judul The Chronicles of Narnia: The Witch, The Lion, and The Wardrobe yang dibandingkan dengan naskah film dengan judul yang sama dan ditulis oleh Ann Peacock. Novel tersebut ditulis pada tahun 1968, sedangkan naskah filmnya ditulis pada tahun 2006. Novel dan naskah filmnya mempunyai cerita yang sama, yaitu menceritakan tentang anak-anak keluarga Pevensie yang dikirim keluar dari London karena terjadi perang. Mereka dikirim kerumah seorang Profesor. Di rumah tersebut, salah satu anak yang bernama Edmund menemukan sebuah jalan kesebuah dunia lain bernama Narnia. Dia pergi ke Narnia dan bertemu dengan Jadis. Karena pertemuannya dengan Jadis, Edmund menjadi seorang pengkhianat bagi keluarganya.

  Meskipun pada novel dan naskah film mempunyai cerita yang sama, tetapi keduanya mempunyai jalan penceritaan yang berbeda. Dalam novelnya, C.S. Lewis menceritakan semua anak-anak Pevensie. Berbeda dengan naskah filmnya, Ann Peacock menceritakan secara detail dari penokohan Edmund. Jadi, penelitian ini berhubungan dengan penokohan dari Edmund yang mana hal tersebut mempunyai pengaruh terhadap plot.

  Penelitian ini membahas mengenai: “Apa saja perbedaan penggambaran tokoh Edmund yang ada dinovel dan dinaskah film?”. “Bagaimana pengaruh perbedaan-perbedaan tersebut terhadap plot yang terdapat pada novel dan pada naskah film?”

  Dalam pengumpulan berbagai sumber penelitian, penulis menggunakan data-data yang terdapat diperpustakaan. Dalam melakukan penelitian, penulis menggunakan pendekatan formalistics. Teori-teori yang digunakan mengacu kepada teori-teori yang berkaitan dengan penokohan dan plot. Karena penulis menggunakan novel dan naskah film, maka penulis menggunakan teori-teori yang terdapat dinovel dan difilm.

  Hasil dari penelitian yang diperoleh adalah: terdapat perbedaan terhadap penggambaran tokoh Edmund yang terdapat pada novel dan film. Sifat Edmund yang terdapat pada novel digambarkan secara jelas dibanding pada naskah film. Pada novel, penokohan Edmund digambarkan sebagai seorang muda, tidak patuh, konyol, pengecut, polos, tidak sopan, pengkhianat, mudah terbujuk, licik, dan tidak bersalah. Pada naskah film, Edmund digambarkan sebagai seorang yang penyayang, selalu ingin tahu, serakah, mementingkan diri sendiri, berani, kasar, dan mudah terbujuk. Ada beberapa hal dari penokohan Edmund yang mempengaruhi plot pada novel dan naskah film, yaitu pada novel, klimaks terjadi ketika Edmund berperang, tetapi pada naskah film klimaks terjadi ketika Edmund meninggalkan rumah berang-berang.   xi

CHAPTER I INTRODUCTION A. Background of the Study Nowadays, there are many films that are adapted from a novel, like The Lord of The Ring, Forest Gum, Frankenstein, and Narnia: The Witch, the Lion, and the Wardrobe . These films are adapted from novels with the same title. Sometimes, people just see the film or read the novel, and sometimes they are

  watching the film and reading the novel. By doing this, then people try to compare and criticize between both, novel and film, and will say where the better one is.

  Barnet, Burto, and Cair stated in Literature An Introduction to Fiction, Poetry,

  

and Drama that “After seeing a film based on a novel or short story that we know,

  most of us are drawn to compare the two and make judgment about which one is better” (1999: 308).

  From the example above, Daniel Talbot in Film: An Anthology stated that film has two categories; the first one is Filmed Theater, for which the cinema is solely a means of dissemination; and films endeavoring to utilize the particular resources of the screen, for which the cinema is a means of expression. The second category can be further subdivided into films whose themes were specially conceived for cinematic rendering, and films based on scenarios adapted from literary or dramatic works (Talbot, 1959: 226).

  This thesis is based on the screenplay of The Chronicles of Narnia: The

  

Witch, The Lion, and The Wardrobe directed by Andrew Adamson and the script

  2 wrote by Ann Peacock. The reason why the writer used this novel is because the novel and the screenplay have many differences in the characteristics of Edmund that caused the plot in the novel and in the screenplay are different. The second is using the screenplay will make it easy for the writer to understand the characters and the plot.

  This screenplay that is adapted from the novel by C.S. Lewis with the same title The Chronicles of Narnia: The Witch,The Lion, and The Wardrobe told about the children of Pevensies, Lucy, Peter, Edmund, Susan who moved into Professor Kirke’s house during World War II. In the house, the children found a wardrobe that led them to another world called Narnia. In Narnia, they had an unforgettable experience. There, the children have to fight against White Witch, named Jadis. In the end of the story, the children won and became the kings and the queens of Narnia.

  In this thesis, the writer is interested to discuss about the characters and plot both in the screenplay and the novel because the writer has found many differences when the screenplay compared with the novel even though they have the same story. To help the writer in analyzing the work, the writer uses the screenplay of the film because, when compared, the screenplay showed the differences with the novel.

B. Problem Formulation

  In order to obtain deeper analysis, this thesis will focus on the problems stated as follows:

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  1. What are the differences of Edmund’s characteristics in the novel and in the screenplay?

2. How do the differences in Edmund’s characteristics influence the two plots? C.

   Objectives of the Study

  This thesis will focus on the differences of characterization and plot between the novel and the screenplay of C.S. Lewis’ The Chronicles of Narnia:

  

The Witch, the Lion, and the Wardrobe . This thesis will answer on the questions

that have mentioned in the problem formulation.

  First, the question is to mention the differences of Edmund’s characteristics in the novel and in the screenplay. The writer has found many differences which can differentiate between the novel and the screenplay even though they have the same story. Second, the problem formulation is to explain further about the differences in Edmund’s characteristics can influence the two plots.

D. Definition of Term

  There are some terms which are used by the writer to make the thesis clearly.

1. Plot

  As stated by Murphy’s Understanding Unseens , plot is a carefully thought-out plan in which all the events, all the actions and reactions of the characters, contribute towards the forward movement of the story (1988:134).

  4 Aristotle stated in Holman and William Harmon, A Handbook to

  

Literature , “the arrangement of the incident” as the term of plot. Each element

  cannot be apart, it has unity Aristotle’s concept point out that plot in a drama is divided into five parts: exposition, rising action, climax or turning point, falling action, a denouement or a catastrophe.

  2. Character

  M. H. Abrams in A Glossary and Literary Terms says that characters are the persons in a dramatic or narrative work. The characters are known by the reader as some people who have moral and dispositional qualities. These qualities are usually expressed in what they say (the dialogue) and what they do (the action) (Abrams, 1985: 23)

  In How to Analyze Drama , Reaske said that a character is the fictitious creation of person presented in dramatic or narrative work that can be interpreted through the combination of the dialogue and action expressed (1966: 40).

  3. Characterization

  Rohrberger and Woods in Reading and Writing about Literature say that characterization is the way the author creates characters. It means, characterization is to create an image that is good in order that readers can have their own perception (1971: 20).

  5 Reaske in his book, How to Analyze Drama, says that there are six devices of characterization. They are (1966: 44-48): the appearance of the character, asides and soliloquies, dialogue between characters, hidden narration, language, character in action

CHAPTER II THEORETICAL REVIEW A. Review of Related Studies  The novel of The Chronicles of Narnia: The Lion, The Witch and The Wardrobe was written in 1968, and the screenplay was written in 2006. Both have

  been criticized by the critics. Critics may give comments, ideas, and reviews about particular literary work. These comments, ideas, and reviews are called as literary criticism. Through literary criticism, we may be enabled to understand both the author and the work. These criticism may be favorable may be not.

  In this study criticism is needed to support the idea or topic discussed here. Quotations will also be used within this study. Theories that are used in this study will be discussed furthermore in this chapter.

  Talking about the work, there is a study done by Margareth Aritonang, student of The English Department of Sanata Dharma University in 2007. Her thesis, entitled A Re-examination that Female Antagonists are Representations of

  

Misogyny in C.S. Lewis’ The Chronicles of Narnia, examines the portrayal of

  female antagonists in the seven books of C.S. Lewis’ The Chronicles of Narnia which is assumed as the representations of misogyny or of hatred towards women.

  In her thesis she also concludes that the misogynistic accusation leveled at Lewis and his works is still unproven, and therefore is worth re-evaluating (Margareth, 2007: x).

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  Many other studies used C.S. Lewis’ The Chronicles of Narnia as their work. One of them is Peter J. Schakel. In his book Reading with the Heart, he mentioned that The Chronicles of Narnia are, at present, the best-known and most influential works of a well-known and very influential writer. They outsell the rest of C. S. Lewis’s works combined, at a rate now of several hundred thousand volumes per year. Regarded as classics by many authorities on children’s literature, they are read and loved also by college students and other adults from all around the world in many languages.

  (http://readingwiththehearth.com) There are other studies by R. Andrew Newman who is a freelance in

  Nebraska. His writing entitled Stay Out of Our Wardrobe said about the story of

  The Chronicles of Narnia The Lion, The Witch and the Wardrobe is one of

  freedom. The White Witch’s icy tyranny is overthrown – Christmas, freedom, and spring return to the land – and all this is faithfully translated to the screen in Disney and Walden Media's beautifully done movie adaptation. The struggle mirrors the war in the world of men, implicitly in the book and explicitly in the movie. The movie opens with the Nazi bombardment of London. Two wars in two worlds: both worth the sacrifice and fight. He also said that neither the book nor the movie is a policy manual or a political-philosophy tract gussied up with fauns, centaurs, dwarves, and Narnia clearly is a land where freedom is valued and where the good state knows its limits.

  Those studies which have mentioned above gave the writer an idea to make different analysis than they did. It will be interesting to have analysis

   

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  between C.S. Lewis’ The Chronicles of Narnia: The Witch, the Lion, and the

  

Wardrobe the novel and the screenplay wrote by Ann Peacock. In the analysis, the

  writer uses the two of intrinsic elements such as character and plot. That is why this study will be different from the other studies which have been mentioned previously.

B. Review of Related Theories 

  In this thesis, the writer uses two kinds of theories. The first is the theory in novel and the theory in screenplay since the writer discusses the differences of characterization and plot in the screenplay and in the novel between the film and the novel of C.S. Lewis’ The Chonicles of Narnia: The Witch, The Lion, and The

  Wardrobe .

1. Character and Characterization in a Novel

a. Character in a Novel  M.

  H. Abrams in A Glossary and Literary Terms says that characters are the persons in a dramatic or narrative work. The characters are known by the reader as some people who have moral and dispositional qualities. These qualities are usually expressed in what they say (the dialogue) and what they do (the action) (Abrams, 1985: 23). While in An Introduction to the Study of Literature, William Henry Hudson says that we may also regard soliloquy as a means of characterization (1958: 197).

  

 

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  In his book, Approach to Literature, Little mentioned that a character can be studied from (1981:93):

  1. His or her basic characteristic. This is visible through: a. The physical condition of the character, including of his or her age.

  b. The social relationship, which mean the personal relationship with other character or wider social relationship.

  c. Mental qualities that is the typical way of thinking, feeling, and acting.

  2. His or her appearances from various points of view. This includes: a. How the character sees himself or herself.

  b. How various other characters see him or her.

  c. How he or she develop or fail to develop during the course of the story.

  3. His or her place in the work. This means:

  a. This treatment of the author (sketched/ fully rounded a portrayed descriptively or dramatically, treated sympathetically or unsympathetically).

  b. His or her place in the story (a leading character or a minor one)

  c. His or her relationship In An Approach to English Literature, Van de Laar (1963:171) stated that the character in a novel should not be static. The development is a must. Action and incident spring out of character and, having occurred, they change it, so that at the end of a novel, a character should have changed, have develop, and should be different from what it was at the beginning at the novel.

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b. Characterization in a Novel

  Rohrberger and Woods in Reading and Writing about Literature say that characterization is the way the author creates characters. It means, characterization is to create an image that is good in order that readers can have their own perception (1971: 20).

  In Understanding Unseens , Murphy explains that there are nine ways in which an author describes a character to be understandable. The ways are (1988:161-173): 1.

  Personal Description Personal description is how an author describes the character’s appearance, which is his clothes, face and body. Using appearance can help the reader to imagine how the character is. ii. Character as Seen by Another

  Instead of describing a character directly the author can describe him through the eyes and opinions of another. iii.

  Speech The author can give us an insight into the character of one of the persons in the book through what that person says. Whenever a person speaks, whenever he is in conversation with another whenever he puts forward an opinion, he is giving us some clue to his character. iv.

  Past Life By letting the reader learn something about a person’s past life the author can give us a clue to events that have helped to shape a person’s character. This

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  can be done by direct comment by the author, though the person’s thought, through his conversation or through the medium of another person. v.

  Conversation of Others The author can also give us clues to a person’s character through the conversations of other people and the things they say about him. People do talk about other people and the things they say often give as a clue to the character of the person spoken about. vi.

  Reaction The author can also give us a clue to a person’s character by letting us know how that person reacts to various situations and events. vii.

  Direct Comment The author can describe or comment on a person’s character directly. viii. Thought The author can give us direct knowledge of what a person is thinking about. ix.

  Mannerism The author can describe a person’s mannerism, habits or idiosyncrasies which may also tell us something about his character (1973:161-173).

2. Character and Characterization in a Play

a. Character in a Play

  In How to Analyze Drama, Reaske said that a character is the fictitious creation of person presented in dramatic or narrative work that can be interpreted through the combination of the dialogue and action expressed (1966; 40).

  

 

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  Goldstone in his book, Context of Drama, writes an explanation of how a character is established. It is through (1962:6):

  1. Dialogue spoken by the character This means that what the character’s said will show his characteristics (age, social class, and educated or not).

  2. Dialogue spoken about the character This means that we also understand about the characters’ characteristic through other characters that are talking about him.

  3. Action taken by the characters What the characters’ action in handling problems will show what kind of person he is.

  4. The personality interpretation of the actor playing the role. Playwrights have often composed a role with a specific actors or actress in mind.

b. Characterization in a Play

  There is another theory that talks about how to analyze a character’s characterization in a play. Reaske in his book, How to Analyze Drama, says that there are six devices of characterization. These theories will be used in this study. They are (1966: 44-48):

  1. The appearance of the character We can learn about the character from his appearance, which is often described by the playwright on the prologue or in the stage direction. Through character’s appearance we can know whether the character is old or young, small or large, attractive or unattractive, etc. This appearance may be visible

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  as well from narrator’s description or other character’s opinion towards the particular character.

  2. Asides and soliloquies Through aside and soliloquies, we also can learn about the character. When a character speaks in short asides or in longer soliloquies, he is telling his specific characteristics. For example; a lover, will have tendency to use poetic statements. Therefore, we may learn that the person is a lover for using poetic statements which one speaks in short asides.

  3. Dialogue between characters This means that we learn characters from dialogue between characters.

  Through character’s language when he speaks to other character, we can know his personality.

  4. Hidden narration Sometimes, there is a character in the play who is never directly described by the playwright. In that case, we understand that characters through hidden narration, i.e. a narration of one character about another character.

  5. Language Language can also help to understand character. Both the kind of words which the character uses and how the character speaks are two important parts of language that can be used to learn the characters’ characteristics.

  

 

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  6. Character in action This means that we can determine what kind of person a character is when he acts on the stage. We can learn more about character through his action in the play. The above theories are helpful in understanding the character’s characterization. By learning the character’s characterization, we may also learn about the plot of the story.

3. Plot

a. Plot in a Novel

  When we think about plot in a novel, we will think about how the story is created through the events that support the story. When we know the plot, automatically we will understand the story which is being told. It means that plot gives important contribution in a story.

  As stated by Murphy’s Understanding Unseens, plot is a carefully thought-out plan in which all the events, all the actions and reactions of the characters, contribute towards the forward movement of the story (1973:134)

  Murphy also mentioned that novels can be divided into three categories based on the construction. From the constructions described by Murphy, the way to understand the plot has become clearer. These constructions are also used in conducting the study. The constructions are as follows:

  

 

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    i.

  Novels with Tight and Well-Defined Plots (conventional plots) The plot begins with exposition, complication, crisis, climax, and denouement. ii.

  Novels with Loose and Rambling Plots The plot is not well define and many of the early novels written in the eighteenth century are of this type, especially those which are written around a central hero who wanders from place to place and has various adventures. iii.

  Novels with No Plot in the Normal Sense Many novels, especially modern ones, do not at all have a plot in the sense in which we have been discussing it. This doesn’t mean that an author does not plan their novels. Most authors try to plan their novels. However, many do not think in terms of a plot, tightly planned and leading to a climax and a satisfactory and neat conclusion.

  From the explanation above, we may understand that the plot is not all important in a novel. Plot is just a way to understand a story. It is just an aspect in a novel that we can consider. In this case, it will be the aspect that is the main object in this study.

  There is another theory of plot by Roberts and Jacobs in An Introduction in

  

Reading and Writing. . They stated that there are five elements in a plot (1987:89-

  90). These theories are used in the study to learn about the plot both in the novel and in the movie script. The theories are:

  

 

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  1. Exposition It is the laying out or the materials of the story. It provides many things that are important in the story. The position is usually at the beginning of the story, but sometimes it can be found everywhere.

  2. Complication It marks the major conflict in the story. The protagonist and the antagonist start to represent whatever ideas they want to represent, such as good and evil, love and hate.

  3. Crisis It is the separation between what has gone before and what will come after.

  It is usually an action or decision undertaken in an effort to resolve the conflict.

  4. Climax It is the high point in the action, in which the conflict and the consequent tension are brought out to the fullest extent.

  5. Resolution or denouement It is the set of action that bring the story to its conclusion.

  In Mastering English Literature, Richard Gill shows the relation between a plot and character. He states that what a character tries to complete is the cause of a plot of a story. (1995:74)

b. Plot in a Play

  In drama, the important thing of the story is plot. Plot can develop out the character. For example; a character has a certain action. Then this character meets

  

 

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  another character and they will create a story that has a conflict and also the resolution. Plot holds a crucial role in a play. It is obvious since play has its own limitation in any ways. However, when on films and novel, plot is just an aspect; as mentioned earlier in this chapter. Though it may be an aspect, it may also be a way in understanding a story clearly.

  Aristotle stated in Holman and William Harmon, “the arrangement of the incident” as the term of plot. Each element cannot be separated, it is a unity.

  Aristotle’s concept point out that plot in a drama is divided into five parts:

  1. Exposition Provides the background information which is required to understand the story. It can be such as information about the character, the basic conflict, the setting, and so on.

  2. Rising action Contain the basic conflict

  3. Climax or turning point Marks a change with the things that going from good to bad or the opposite condition.

  4. Falling action The conflict between protagonist and the antagonist unravels.

  5. A denouement or a catastrophe The comedy ends with a denouement in which the main character is better off that he or she was at the beginning. The tragedy particularly ends with a

  

 

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  catastrophe in which the main character is worse off than the starting point of the narrative.

  Both the novel and the movie script have different plot. These differences will be visible when the above theories are applied. The first explanation about the cause of differentiation is, obviously, because both have different writers. The original writer of the story is C. S. Lewis. Based on Lewis’ novel, the movie script is then created.

  Due to different perspectives between the original writer and the director of the film, the film is somehow different with the novel; even though, the script was basically written based on the novel.

  Since there are many differences visible between the novel and the movie script, the writer of this thesis chooses to focus on the plot. Further explanation will be described in the next chapter.

C. Theoretical Framework

  

  This study aims to find out the differences of characterization, plot,

  setting, and theme between C.S. Lewis’ The Chronicles of Narnia: The Witch, the

Lion, and the Wardrobe the novel and the film directed by Andrew Adamson.

  There are some theories that are related to this study to use. They are the theories of character which are used to know the characters in the novel and in the film; the theory of characterization by M. H. Abrams and Boogs are used to identify how each characters are being presented; the theory of plot by Murphy and Boggs are used to find out the story line in the novel and the film; the theory of setting by Murphy and Boggs are used in order to get deeper understanding about the

  

 

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  setting; and the theory of theme by Perrine and Boggs is used to know about the theme. These theories are used by the writer to help in analyzing the problems that have been formulated in the previous chapter. To answer the first problem that is about the major differences between the novel and the film and the second problem that is by comparing the novel and the film.

   

 

CHAPTER III METHODOLOGY A. Object of the Study The novel that is analyzed in this thesis is written by C.S. Lewis and

  published by C.S. Lewis Pte. Ltd, in 1950. In analyzing the novel, the writer used First Harper Trophy edition in the year of 2000. Clive Staples Lewis was born in Belfast, Ireland, on November 29, 1898. During his life, his friends called him Jack. He is the best friend of J.R.R. Tolkien, the author of the Lord of the Rings trilogy.

  The screenplay that is analyzed in this thesis wrote by Ann Peacock and published by Walt Disney Picture and Walden Media, 2006. The scriptwriter itself used the same title with the original novel, The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe.

  Because of his likeness toward myth, fairy tales, and ancient legend, it brought C.S. Lewis to the creation of his book The Lion, the Witch and the

  

Wardrobe then followed by other six books and known as Chronicles of Narnia.

  The last book in the series, The Last Battle was awarded the Carnegie Medal, one of the highest marks of excellence in children’s literature.

B. Approach of the Study

  In analyzing C.S.Lewis’ The Chronicles of Narnia: The Witch, the Lion,

  

and the Wardrobe, the approach that will be used is Formalistic Approach. This

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  21 approach is chosen to analyze the novel and the screenplay, which is the screenplay, can be analyzed objectively because the data can be found in the text on the screenplay. In his book A Handbook of Critical Approaches to Literature, Guerrin explained in outline that formalistic criticism has for its sole object the discovery and explanation of from in the literary work, if there are question about “What is literary work? What are its shape and effect, and how are these achieved? All relevant answers to those questions have to come from the text itself” (1979: 10).

  Formalistic approach will be employed in examining not only the novel, but also the screenplay. Boggs asserts: “Perceptive film analysis rest on the principles used in literary analysis, and if we apply what we have learned in the study of literature to our analysis of film, we will far ahead of those who do not” (1078: 29). Since in formalistic approach the reader is taught to study the work of literary in a form, this approach necessitates the reader to understand the screenplay which also in a textual form to examine the content of its screenplay.

C. Method of the Study

  This study analyze of C.S.Lewis’ The Chronicles of Narnia: The Witch,

  

the Lion, and the Wardrobe and the screenplay of it wrote by Ann Peacock. To

  discuss the problem formulations that have been mentioned before, the writer collected data from the library and to support much information about The

  

Chronicles of Narnia: The Witch, the Lion, and the Wardrobe. The writer also

gathered data from other reference, which from internet and other books.

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  The primary data from the book and the film entitled The Chronicles of

  

Narnia: The Witch, the Lion, and the Wardrobe . For the film, the writer used the

  script of the film in order to make easier in analyzing the work. The second data were taken from Kennedy and Dana Gioia’s Literature An Introduction to Fiction,

  

Poetry, and Drama, Talbot’s Film: An Anthology, Abrams’s A Glossary of

Literary Terms Six Edition,   Hudson’s An Introduction to the Study of Literature,

  Guerin’s A Handbook of Critical Approaches to Literature, Rohrberger & Woods’

  

Reading and Writing about Literature, Murphy’s Understanding Unseens, Boggs’

The Art of Watching Films.

  To complete the study, first the writer read and reread The Chronicles of

  

Narnia: The Witch, the Lion, and the Wardrobe . Second, the writer found the

  topic to be discussed and made the problem formulation to support the topic, and third the writer read other sources or references that related and to support the topic. Based on all of the data that the writer has gathered, the writer can develop the analysis.

                     

CHAPTER IV ANALYSIS This chapter is going to answer the problems that have been stated in the

  first chapter. Based on the two problems stated in the previous chapter, this chapter will be divided into two major parts. The first will analyze the first problem about the major differences of characters in the novel and in the screenplay. The second part will analyze about the differences between the novel and the screenplay that can affect the theme.

  

A. The differences of Edmund’s characteristic in the Novel and in the

Screenplay

1. Characteristics of Edmund Pevensie in the Novel

  In C.S. Lewis’ The Chronicles of Narnia: The Witch,The Lion, and The