The significance of archetypal pattern within Frodo’s Journey In J.R.R. Tolkien’s The Lord Of The Rings - USD Repository

  THE SIGNIFICANCE OF ARCHETYPAL PATTERN WITHIN FRODO’S JOURNEY IN J.R.R. TOLKIEN’S THE LORD OF THE RINGS

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

  By

ASTRI ARINI WALUYO

  Student Number: 024214029

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2009

  

THE SIGNIFICANCE OF ARCHETYPAL PATTERN WITHIN

FRODO’S JOURNEY IN J.R.R. TOLKIEN’S THE LORD OF THE

RINGS

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

  By

ASTRI ARINI WALUYO

  Student Number: 024214029

  

ENGLISH LETTERS STUDY PROGRAMME

DEPARTMENT OF ENGLISH LETTERS

FACULTY OF LETTERS

SANATA DHARMA UNIVERSITY

YOGYAKARTA

2009

  A Sarjana Sastra Undergraduate Thesis

  

THE SIGNIFICANCE OF ARCHETYPAL PATTERN WITHIN

FRODO’S JOURNEY IN J.R.R. TOLKIEN’S THE LORD OF THE

RINGS

  By

ASTRI ARINI WALUYO

  Student Number: 024214029 Approved by

  Drs. Hirmawan Wijanarka, M.Hum. July 29, 2009 Advisor Dra. Th. Enny Anggraini, M.A. July 29, 2009 Co-Advisor

  A Sarjana Sastra Undergraduate Thesis

  

THE SIGNIFICANCE OF ARCHETYPAL PATTERN WITHIN

FRODO’S JOURNEY IN J.R.R. TOLKIEN’S THE LORD OF THE

RINGS

  By

ASTRI ARINI WALUYO

  Student Number: 024214029 Student Registration Number:

  Defended before the Board of Examiners On and Declared Acceptable

  

BOARD OF EXAMINERS

Name Signature

  Chairman : Dr. Fr. B. Alip, M. Pd., M.A. __ Secretary : Drs. Hirmawan Wijanarka, M.Hum. __ Member : Maria Ananta, S.S., M. Ed. __ Member : Drs. Hirmawan Wijanarka, M.Hum. __ Member : Dra. Th. Enny Anggraini, M.A. __

  Yogyakarta, August 31, 2009 Faculty of Letters

  Sanata Dharma University Dean Drs. I Praptomo Baryadi, M. Hum.

  

(anonymous)

  

LEMBAR PERNYATAAN PERSETUJUAN

PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS

Yang bertanda tangan di bawah ini, saya mahasiswa Universitas Sanata Dharma :

Nama : Astri Arini Waluyo

  Nomor Mahasiswa : 024214029

Demi pengembangan ilmu pengetahuan, saya memberikan kepada Perpustakaan

Universitas Sanata Dharma karya ilmiah saya yang berjudul :

THE SIGNIFICANCE OF ARCHETYPAL PATTERN WITHIN

FRODO’S JOURNEY IN J.R.R. TOLKIEN’S THE LORD OF

THE RINGS

  

beserta perangkat yang diperlukan (bila ada). Dengan demikian saya memberikan

kepada Perpustakaan Universitas Sanata Dharma hak untuk menyimpan, me-

ngalihkan dalam bentuk media lain, mengelolanya dalam bentuk pangkalan data,

mendistribusikan secara terbatas, dan mempublikasikannya di Internet atau media

lain untuk kepentingan akademis tanpa perlu meminta ijin dari saya maupun

memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai

penulis.

  Demikian pernyataan ini yang saya buat dengan sebenarnya. Dibuat di Yogyakarta Pada tanggal : 22 Agustus 2009 Yang menyatakan (Astri Arini Waluyo)

  

ACKNOWLEDGEMENTS

  First of all, I would like to thank to Allah SWT, for giving me all the blessing and staying with me through everything. Thank you for all the process and things that I went through and finally get me into writing this page.

  Thank you so much for all my best friends – Eling, Vera, Wanti, Maria. Thank you very much for the laugh and the shoulder to cry on. I will never get here and be the person I am right now without you. You girls are the best friend in the world, God bless you for that. For Angga and Nando, thank you so much for the valuable lesson learns, I will never ever forget all that through the rest of my life.

  Thank you so much Paulo for being a great father for me. I could never thank you enough for every single great lesson about life. I know that God is giving much blessing for me through you. God bless you and your family.

  I would also like to thank to all my students in Indonesian Air force Academy (AAU) and Taruna Nusantara High School. Thank you for so much encouragement and I think I learn more from you guys. Thank you also for teachers, lecturers and staffs from AAU and TN, Ibu Naning and Mayor Abi. Thank you for your kindliness, friendship and encouragement.

  Thanks for the members of English Debating Community Sanata Dharma – Karlina, Ambar and the newbies, also other EDS all across Jogja and Indonesia. Thank you so much for your support and encouragement through jokes and mockeries. Well, somehow they do work! I will never find a community where I can learn a lot about everything as much as I learned from members of EDS.

  Thanks for all my colleges my dear friends from Sanata Dharma University

• – English Letters Department. I would like to thank you all for each of your unique contribution for this thesis. I would also like to thank to my colleagues at work in NGOs, who each also provides unique encouraging motivation.

  I would also like to address thank to my family. For the constant Iyar and Puput. Thanks also for my parents, may you find happiness wherever you are.

  Last but not least, I would never able to finish this thesis without my advisors. I would like to thank to my major advisor, Drs. Hirmawan Wijanarka, M.Hum. Thank you so much for being patient as well as giving me guidance and valuable knowledge to get me through the long way. I would also like to thank and apologize for the previous advisors Paulus Sarwoto, S.S, M.A and Dra. A. B. Sri Mulyani, M.A. Thank you for providing guidance and valuable knowledge and I apologize for not getting this thesis done earlier.

  Astri Arini Waluyo

  

TABLE OF CONTENTS

  TITLE PAGE..................................................................................................................i APPROVAL PAGE.......................................................................................................ii ACCEPTANCE PAGE................................................................................................iii MOTTO PAGE.............................................................................................................iv DEDICATION PAGE...................................................................................................v ACKNOWLEDGEMENTS..........................................................................................vi TABLE OF CONTENTS...........................................................................................viii ABSTRACT..................................................................................................................x ABSTRAK....................................................................................................................xi

  CHAPTER I: INTRODUCTION..................................................................................1 A. Background of the Study...................................................................................1 B. Problem Formulation.........................................................................................3 C. Objectives of the Study.....................................................................................3 D. Definition of Terms...........................................................................................4 CHAPTER II: THEORETICAL REVIEW...................................................................5 A. Review of Related Studies................................................................................5 B. Review of Related Theories...............................................................................9

  1. Theory of Plot..............................................................................................9

  2. Theory of Archetypal Pattern....................................................................11

  C. Theoretical Framework....................................................................................16

  CHAPTER III: METHODOLOGY.............................................................................18 A. Object of the Study..........................................................................................18 B. Approach of the Study.....................................................................................20 C. Method of the Study........................................................................................22 CHAPTER IV: ANALYSIS........................................................................................24 A. The Plot of the Story........................................................................................24

  1. Exposition..................................................................................................24

  2. Complication..............................................................................................28

  3. Climax........................................................................................................59

  4. Failing Action............................................................................................60

  5. Resolution..................................................................................................63

  B. Monomyth in the Hero’s Journey....................................................................64

  1. Departure...................................................................................................64

  a. The Call to Adventure.........................................................................65

  b. Refusal to the Call...............................................................................67

  d. The Crossing of the First Threshold....................................................69

  e. The Belly of the Whale........................................................................71

  2. Initiation....................................................................................................71

  a. The Road of Trials...............................................................................72

  b. The Meeting with the Goddess............................................................74

  c. Woman as the Temptress.....................................................................76

  d. Atonement with the Father..................................................................77

  e. Apotheosis...........................................................................................79

  f. The Ultimate Boon..............................................................................79

  3. Return........................................................................................................80

  a. The Refusal of the Return....................................................................81

  b. The Magic Flight.................................................................................82

  c. Rescue from Without...........................................................................83

  d. Crossing of the Return Threshold........................................................83

  e. Master of the Two Worlds...................................................................84

  f. Freedom to Live...................................................................................86

  CHAPTER V: CONCLUSION...................................................................................87 BIBLIOGRAPHY......................................................................................................92

  

ABSTRACT

  ASTRI ARINI WALUYO (2009). The Significance of Archetypal Pattern within Frodo’s Journey in J.R.R. Tolkien’s The Lord of the Rings.

  Yogyakarta: Department of English Letters, Faculty of Letters, Sanata Dharma University. Archetypal study is a branch of structuralism. Thus, its application on literary study involves analyzing the structure of a novel. One of structuralism principals in analyzing literature is to see literature as part of wider structure. Moreover, archetypal study analyzes recurrent patterns or symbols presented within myth and literature.

  Based on the chosen topic, the writer formulates two problem formulation: First, how is the plot described in J. R. R. Tolkien’s The Lord of the Rings? Second, based on the plot analysis, how is archetypal pattern being reflected within the adventure of Frodo Baggins?

  Since this research is a library research, then the first source used is the novel itself, J. R. R. Tolkien’s The Lord of the Rings. The secondary sources include several theories and criticisms taken from books and internet. This research use structuralism approach, in which the writer analyze the plot structure within the novel and compare it with narrative pattern exists in many stories and myths illustrated in archetypal theory. Thus, the main theory used in this thesis is archetypal theory, which is important to analyze Frodo’s journey in order to conclude its significance. Other theory used in this thesis is theory of plot, which is used as a tool to analyze the whole plot of the story to help the writer of this thesis find Frodo’s journey within the plot.

  After having analyzed the novel, the writer discovers that the archetypal pattern within Frodo’s journey described within the plot of the novel signifies the hero of the story. The plot is analyzed by dividing the story into five stages of plot based on theory of plot from Pickering and Hoeper. By analyzing the plot of the story, the writer of the thesis analyzed how the archetypal pattern is reflected in the plot. The writer finds out that the three stages of hero’s journey, which consist of departure, initiation and return, as well as each of its sub-stages were found within Frodo’s journey. Since Campbell’s Monomyth theory illustrates the archetypal pattern within the hero’s adventure, the writer of this thesis believe that Frodo is the hero of the story. Therefore, the existence of archetypal pattern within the adventure of Frodo Baggins signifies that the hero of the story is Frodo Baggins.

  

ABSTRAK

  ASTRI ARINI WALUYO (2009). The Significance of Archetypal Pattern Within

  

Frodo’s Journey to Determine the Hero of the Story in J.R.R. Tolkien’s The

Lord of the Rings. Yogyakarta: Jurusan Sastra Inggris, Fakultas Sastra, Universitas

Sanata Dharma.

  Studi tentang arketipe merupakan salah satu cabang strukturalisme. Karenanya, penerapannya pada studi karya sastra termasuk menganalisa struktur pada suatu novel. Salah satu prinsip strukturalisme dalam menganalisa karya sastra adalah memandang bahwa karya sastra merupakan bagian dari struktur yang lebih luas. Selain itu, studi arketipe menganalisa pola dan simbol yang muncul secara berulang- ulang dalam mitos dan karya sastra.

  Berdasarkan topik yang telah dipilih, penulis menciptakan dua perumusan masalah: Pertama, bagaimana plot dijabarkan dalam novel The Lord of the Rings karya J. R. R. Tolkien? Kedua, berdasarkan analisa plot, bagaimana pola arketipe tercermin dalam petualangan Frodo Baggins?

  Karena penelitian ini merupakan penelitian perpustakaan, maka sumber utama yang digunakan adalah novel itu sendiri, The Lord of the Rings karya J. R. R. Tolkien. Sumber-sumber sekunder meliputi beberapa teori dan kritik yang diambil dari buku dan internet. Penelitian ini menggunakan pendekatan strukturalisme, dimana penulis menganalisa struktur plot cerita dan membandingkannya dengan pola naratif yang ada di banyak cerita dan mitos seperti yang diilustrasikan dalam teori arketipe. Karenanya, teori utama yang digunakan dalam penelitian ini adalah teori arketipe, yang merupakan teori penting untuk menganalisa perjalanan Frodo agar dapat mencapai kesimpulan mengenai signifikansinya. Teori lain yang digunakan dalam skripsi ini adalah teori plot, yang digunakan sebagai alat untuk menganalisa keseluruhan plot cerita untuk membantu penulis dalam menemukan perjalanan Frodo yang merupakan bagian dari plot itu sendiri.

  Setelah menganalisa novel tersebut, penulis menemukan bahwa pola arketipe dalam perjalanan Frodo yang digambarkan dalam plot novel tersebut menunjukkan pahlawan dalam cerita tersebut. Plot cerita dianalisa dengan membagi cerita menjadi lima tahap plot berdasarkan teori plot dari Pickering and Hoeper. Setelah menganalisa plot cerita, penulis menganalisa bagaimana pola arketipe tercermin dalam plot tersebut. Penulis menemukan bahwa tiga tahapan perjalanan pahlawan, yang terdiri atas keberangkatan, inisiasi dan kembali, dan masing-masing sub-tahapannya ditemukan dalam perjalanan Frodo. Karena teori Monomite dari Campbell mengilustrasikan pola arketipe dalam perjalanan pahlawan, penulis tesis ini percaya bahwa Frodo adalah pahlawan cerita tersebut. Karenanya, adanya pola arketipe dalam petualangan Frodo Baggins menunjukkan bahwa pahlawan cerita tersebut adalah Frodo Baggins.

CHAPTER I INTRODUCTION A. Background of the Study Theory of archetype, describing about collective unconscious pattern within

  human mind, is such a fascinating theory. The study came up from the combination between anthropology and psychology. While theory of anthropology points their evidence from the same structure that exists within cultural artefacts created by different culture during different periods, theory of psychology believes that the archetypal symbols in the cultural artefact are the reflection of collective unconscious mind that is genetically inherited. The most notable students of Freud, C. G. Jung, stated that the mind is not tabula rasa (a clean state), in which archetype to mind is like organ to the body. Both psychology and anthropology believe in the existence of archetypal pattern, which are reflected through various cultural artefacts all across the world such as myth, cultural practice, traditional ceremony, etc, while literature is also one form of cultural product.

  In 1928, a Russian formalist critic, Vladimir Propp, published The

  Morphology of the Folktale

  , after studying the structure of the plot of Russian folktales. He explained in the book, 32 points on plot structures and 3 characters generalized from the folktales. Two decades later, an anthropologist, Claude Lévi- Strauss believed that there is a similar pattern, which exists within various myths research opened a new passage to develop research on mythology through structuralism in 1950s. Structuralism believes that there is an underlying pattern within all myths existed all across the world although they came from very different cultures, are separated in different places, and existed in different periods. Being a structuralist, by researching similar pattern among hundreds of myth, Joseph Campbell managed to come up with study about a universal pattern of mythology within the plot of stories, published in The Hero with a Thousand Faces (1949).

  Nowadays, the pattern being applied as a reference for some famous authors such as J. K. Rowling’s Harry Potter series and George Lucas’ Star Wars series.

  As the oldest story, mythology usually involves the war between good or a heroic figure versus evil, and the use of magic in achieving greater good or victory against evil. The effort of writing mythology also existed since long time ago by some authors whose works are still today’s favourite such as Homer’s The Iliad. The writer of this thesis is excited to study how the pattern discovered by Joseph Campbell is reflected within the literature works of a man who tried to create the myth of England through literature, J.R.R. Tolkien. It has been more than half century since the work is published, yet the novel still exists in today’s bookstores and in billions of people’s bookshelf. Fans of Tolkien’s works all over the world also still actively engaged in many activities including reviewing his works, publishing journal, and even conducting festival. The writer of this thesis see that the survival of Tolkien’s works in reader’s heart is almost inherent with the survival of myth or archetypal as one of the factors behind the survival of myth, applies within Tolkien’s most successful work, The Lord of the Rings.

  As for the second reason, the writer of this thesis is excited to conduct a research using archetypal approach. Despite of the fact that archetypal is such an important finding within study of culture and psychology, Indonesian undergraduate researcher rarely use this approach to study literary text. In the other hand, in western world, theory of archetype has been playing a very significant role in producing many literature works including Star Wars and Harry Potter series, since many fantasy literatures are built based on theory archetypal pattern as the backbone of the plot. The writer of this thesis would like to present an attempt to maintain knowledge on archetypal theory by applying it within research on literature text. The writer hopes that the thesis can somehow provide contribution as a source for future attempts to study archetypal theory or to use archetypal theory as an approach of research.

  B. Problem Formulation

  1. How is the plot described in J. R. R. Tolkien’s The Lord of the Rings?

  2. How is the archetypal pattern reflected within Frodo’s journey?

  C. Objectives of the Study

  The first objective is to see how the plot is developed. In this case, the writer will give the stages of the plot development. After revealing the plot development, the The finding of the archetypal pattern within the plot, will be used as the basis to see the significance of the archetypal pattern reflected within the plot of Tolkien’s The

  Lord of the Rings.

D. Definition of Terms

  The key words that needs to be clarified is archetypal. According to A Handbook

  of Critical Approaches to Literature

  (Guerin et al, 1999:160), archetypes are similar motifs, themes, or certain images that recur in many different mythologies. Although the archetype might take form in specific shapes and wrapped in different culture, similar sense and pattern can be found.

  From the same source as mentioned above, archetype can be found in form of image and pattern or motif (Guerin et al, 1999:160-166). Archetypal image is image recur in many different mythology such as the trickster image or joker in Monkey King (Chinese legend) and Kancil, and mother-earth figure that can be found within many goddess in many cultures such as Kwan-In in Chinese mythology, Dewi Sri in Indonesian mythology and Gaia in western mythology. In the other hand, archetypal pattern or motif is the pattern recurs in many different mythologies such as in

  Oedipus Rex

  and Sangkuriang, which both tells a story about a son, who killed his father and married his mother, or a story about nasty stepmother that can be found in

  Bawang Merah – Bawang Putih

  as well as in Cinderella. This research is more related to archetypal pattern because the research studies the archetypal pattern reflected within the plot.

CHAPTER II THEORETICAL REVIEW A. Review of Related Studies In order to analyze the problem that has been formulated by the writer, it is

  also important to include some other review of previous studies on the work by other researchers or writers. This could be used to help the writer to develop the thesis and to show that the thesis is different from other previous studies done to Tolkien’s The Lord of the Rings trilogy.

  The related study being reviewed to help the writer develop the thesis and clarify the position of the study is written by Patrick Grant, a specialist in Renaissance literature, who teaches English at the University of Victoria, British Columbia. The essay is published in

  

http://www.cgjungpage.org/index.php?option=com_content&task=view&id=35&Ite

mid=40, (accessed on February 28, 2009) and the title of the essay is Tolkien:

Archetype and word . Patrick Grant believes that “the group of friends to whom

  Tolkien first read The Lord of the Rings, the so-called Inklings, found Jung temperamentally attractive”. Therefore, the essay that written by Patrick Grant “has been centrally concerned with the analogy between Tolkien and Jung, but it is not simply an "archetypal" assessment of The Lord of the Rings” since the essay is also discussed about the language and the individuation process reflected in the novel.

  In the website mentioned above, Patrick Grant mentions that “The Lord of the

  

Rings can be read, with surprising consistency, as an interior journey through the

  psyche as Jung describes it”. Thus, the first section of the essay describes the characters in The Lord of the Rings that correspond to Jungian archetypal symbol such as Tom Bombadil as “king of the forest, who is associated with wood and water in a manner”.

  During the next few paragraphs, Grant describes several theories by Jung. He said that The Lord of the Rings corresponds to a psychic process called “individuation”, which basically means the "realization of a whole man achieved in a balanced and fulfilled life when consciousness and the unconscious, are linked together in a living relation." Furthermore, Grant describes other archetypal images that are often revealed through dream or literature works such as shadow (“the elements which a person represses as incompatible with his chosen ideal”), anima or animus (the feminine side of a man's unconscious, and the masculine side of a woman's”), hero (someone who went through an adventure or a quest), and wise old man archetype (a figure who helps the hero during difficult situation).

  Grant described that Frodo is the hero in the novel since he was the one going through the adventure, which represent individuation process. Other heroic figure in the novel is Aragorn, the “king in exile, preserver of a noble lineage, who passes through the paths of the dead, fights a crucial turn in the epic battle, and proclaims a new dispensation”. Grant also stated that there is always opposite site or the shadow power of the Ring. Moreover,” the negative counterparts of the heroes, are the Black Riders” and the loss of self of the Black Riders “is indicated by the fact that the black riders have no faces”.

  Galadriel is the major anima in the novel, who had positive and negative side within herself that she managed to repress when Frodo showed her the Ring. “Shelob the spider-woman is the destructive anima who often poisons to kill” as the opposite site of Galadriel. Other anima figure is Arwen, and the marriage between Arwen and Aragorn represent “a divine pair” or “the ideal union of anima and animus”. In the other hand, Éowyn is the victim of her own negative animus, which then healed by Faramir Gandalf is the wise old man, especially appears when the hero is in trouble.

  As the white old man, Gandalf provided the hero with magical talisman, which is the One Ring itself. Just like other archetype, the wise old man also had a wicked aspect too, in this case is represented by Saruman, the wicked magician. According to Grant, “Sarumans multi-colors, like the facelessness of the riders, indicates a dissolution of identity” or the self.

  All of the archetypes within the characters of The Lord of the Rings are presented in such a way through the plot providing the reader with the experience of individuation while reading the novel. According to Grant, in the end, the most effective mediator between the ordinary reader and world of Middle-earth is “the character who is in the end closest to ourselves and who also must return to ordinary believes that “the trilogy seems to fully correspond to the Jungian classification”, in which the character of Sam Gamgee is employed to reflect the reader in the novel.

  In relation with myth, according to

  http://en.wikipedia.org/wiki/The_lord_of_the_rings

  , it is a common knowledge that Tolkien’s work represents his attempt to write myth for England. Along with C. S.

  Lewis, Tolkien believed that England does not have any myth of its own, thus they had to create it themselves. This effort turned out to be a great success, since the masterpiece still being people’s favourite even half century after its first publication proven by its achievement as "Nation's Best-loved Book" in BBC polling that conducted via the Web, SMS and telephone in 2003. The same website also suggest that in its early publication, Tolkien’s The Lord of the Rings received positive reviews from several mass media such as Sunday Telegraph, Sunday Times, New York Herald Tribune.

  Moreover, in 1957, the book achieved “International Fantasy Award” as the best fantasy literature ever published.

  Based on the assessment mentioned above, the writer of this thesis believes there are more things that connect Tolkien’s The Lord of the Rings with myth of England. After reviewing an essay proving that there are many Jungian archetypal images within the characters in the novel, the writer of this thesis wants to analyze the archetypal patterns within the plot based on a theory from a well-known anthropologist, Joseph Campbell, and to see the significance of the archetypal pattern within the plot of Tolkien’s The Lord of the Rings.

B. Review of Related Theories

1. Theory of Plot

  According to Robert Stanton in his book, An Introduction to Fiction, plot of a story is the entire sequence of events in the story. It is a chain of action formed by cause or result of the previous event. “These events may include not only physical occurrences, like a speech or action, but also a character’s change of attitude, a flash of insight, a decision – anything that alters the course of affairs.” In other words, plot is an important element, because it gives many information that are having a close relationship to one another about the novel itself and it cannot be omitted.

  Furthermore, according to Stanton, the plot is the backbone of a story and has its own laws: “It must have a true beginning, middle, and end; it must be plausible and logical, and yet it should occasionally surprise us; it must arouse and satisfy suspense.” Means that plot is a self-evident element and to understand the story further, we should have all the information about the events, the links of cause and effects about the story itself (1965:14-15).

  In terms of dividing the plot of a story into five elements representing five stages of the plot, the writer of this thesis used a theory from Pickering and Hoeper as illustrated below,

  a. Exposition It is the beginning of the stage in which the author provides the necessary background information, sets the scene. It gives description about the situation and the time when the action takes place. It may also introduce the characters and the conflict or the potential conflict.

  b. Complication It is the rising action, breaks the existing equilibrium and introduces the characters and the underlying or inciting conflict. It is place for conflict to be developed gradually and intensified.

  c. Crisis It is the climax. It is a moment at which the plot reaches its point of greatest emotional intensity; it is the turning point of the plot that may lead to its resolution.

  d. Falling action It is reflected as the tension subsides once the crisis has been reached and the plot moves toward its appointed conclusion.

  e. Resolution It is the final stage of the plot. It records the outcome of the conflict and establishes some new equilibrium or stability. The resolution is also referred to as the conclusion or denouement (1986: 21-22).

  The entire plot elements mentioned above are revolve around the conflict of the story as mentioned by Hogins that conflict is “the element of the plot around which all other elements revolve” (Hogins, 1975: 941). Moreover, Betty in her book, The

  Norton Introduction to Literature

  , added that conflict can be “a clash between characters, between a character and his environment, within himself, a clash of forces in the universe, even a struggle for meaning on the part of the reader” (Betty, 1973: 604).

2. Theory of Archetypal Pattern

  Based on a research on hundreds of tales and myths from all across the world, Campbell found an underlying pattern for all the hero’s journeys within the myths and tales. He described his founding within a theory, which he named Monomyth as illustrated briefly in the following quotation,

  The standard path of the mythological adventure of the hero is a magnification of the formula represented in the rites of passage: separation-initiation-return: which might be named the nuclear unit of the Monomyth.

  

A hero ventures forth from the world of the common day into a region of

supernatural wonder: fabulous forces are there encountered and a decisive victory is won: the hero comes back from this mysterious adventure with the power to bestow boons on his fellow man.

  (Campbell, 1948: 30) Theory of archetypal pattern applied as a tool in this research is Monomyth theory from a well-known American mythology professor Joseph Campbell in his book The

  

Hero with a Thousand Faces . This theory is regarded as one of the best because it is

  based on a very comprehensive research over hundreds of myth that spread all across the world. In his book The Hero with a Thousand Faces, Joseph Campbell compiled his findings within 3 main chapters, which are Prologue, Part One: The Adventure of the Hero, and Part Two: The Cosmogonic Cycle. The theory that is relevant to support this research is on the second chapters of the book, which is about the journey of the hero as described within the next paragraphs.

  “Part One: The Adventure of the Hero” is about theory of the fundamental pattern of a hero’s journey that applied to all myths, which also known as Monomyth. Three chapters from Part One describes the three stages of the hero’s journey, which consists of departure, initiation, and return as illustrated below.

  a. Departure This stage represent the phase of myth when the hero was about to depart to journey to achieve his quest. The phase begun as the hero receives or hears the call to adventure until the hero completely leaves the place where he originally came from. i. The call to adventure

  The call to adventure represents a situation in myth that encourages the hero to start his adventure. The call could be in form of threat towards his society, so that the hero should do his quest to the land unknown to him (Campbell, 1949: 58). ii. Refusal of the call

  Somehow the adventure can happen because the hero’s refusal to obey someone’s suggestion or he has the manner against the trait in his society. One of the examples given by Campbell is in the tale of Sidharta, in which he wanted to retire from life and become Buddha against his father, who provided him with many concubines (Campbell, 1949: 68). iii. Supernatural aid

  Supernatural aid represents the existent of a protective figure, usually in form of old man, who gave the hero many advises, amulet and even power that he needs to achieve his quest. One of the most famous examples of protective figures within fairy tale is Merlin in Arthur tale (Campbell, 1949: 69). Moreover, a more modern version iv. The Crossing of the First Threshold The first threshold means the border between the land familiar and the land unknown to the hero. He must cross this border and continue exploring the land unknown to him. Usually the border is guard by the threshold guardian that should not be challenged by anyone (Campbell, 1949: 82). v. The Belly of the Whale

  In this stage, the hero appeared death to his society. Campbell took examples from the tale of Joseph in the well or Jonah in the belly of the whale (Campbell, 1949: 92). Thus based on the example, later the hero would be back to his society bringing victory from the adventure he already accomplished.

  b. Initiation The second or the core stage is initiation, which often regarded as the whole point of the myth because this part illustrate the adventure of the hero in order to achieve his quest whether it is winning a war or accomplishing certain task to bring goodness to his community. In this stage, the hero undergoes a series of adventure with various challenges until he accomplished his quest or the task given to him. This stage is consisted of six sub-stages as illustrated in the following paragraphs. i. The Road of Trials

  The road of trials is the stage whereas the hero must undergo a set of problems or multiply tasks in his way to achieve his quest. Usually the hero is able to conquer every challenge by the help of magic or following suggestion from a protective figure ii. The Meeting with the Goddess In this stage, the hero met a mother-like figure or a universal mother or a Goddess and a unity happen between them. A mother represent provider of the knowledge, while the hero represent the one who will get the knowledge. In this phase, a mother or goddess figure is united with the hero that lead to development and enrichment of each soul (Campbell, 1949: 113-116). iii. Woman as the Temptress

  An irresistible woman figure is presented as a temptress for the hero. This sometimes seemed as if it was one of the trials. The hero’s success can be noticed from his rejection towards this woman figure (Campbell, 1949: 123-126). iv. Atonement with the Father

  The hero achieved understanding with a father-like or authority figure, in order to understand himself as well as this figure the hero develop and enrich his soul (Campbell, 1949: 133-136). v. Apotheosis

  The hero’s perception upon reality changed. In this stage, he usually attained new power, or can see things in larger point of view. The hero accept his destiny and usually started by a willingness to sacrifice himself (Campbell, 1949: 149-151). vi. The Ultimate Boon

  The hero now obtained his quest for his and his society benefit. This is the point when the adventure is accomplished and the turning point for the hero and the society c. Return Return is the hero’s journey to come back to his home after he accomplished the quest throughout the long journey described in the initiation phase. This is the part where the end of the myth is concluded. This stage is consisted of six sub-stages as illustrated in the following paragraphs. i. Refusal of the Return

  The hero might enjoy the life in other world and refused to go home. Usually, the world the hero desires is the world of eternal life like the Atlantis or something like paradise. In The Hero with a Thousand Faces, Campbell said “Numerous indeed are the heroes fabled to have taken up residence forever in the blessed isle of the unaging Goddess of Immortal Being” (Campbell, 1949: 193). ii. The Magic Flight

  As the hero journeyed home, a chase or pursuit from opposition might happen as written by Campbell “This flight may be complicated by marvels of magical obstruction and evasion” (Campbell, 1949: 197). iii. Rescue from Without

  The hero is attacked or successfully blocked, and he needs support from ordinary world. One of the most famous examples is “in the tale of Red Ridinghood, who was eaten by the wolf but rescued from its belly by the hunter” (Campbell, 1949: 211). iv. The Crossing of the Return Threshold

  The hero arrived at home and went through common and ordinary days. In this family and friends, and attending normal daily activities as he had before left for the adventure (Campbell, 1949: 217-224). v. Master of the Two Worlds

  The hero was not the same person anymore since he had new understanding or skill both from divine and human worlds from his experience accomplishing his quest. The hero attained knowledge or skill beyond nature of mankind. To illustrate the form of hero as the master of the two worlds, Campbell provided the example of Khrisna and Jesus, in which both figures were master of human and divine universe since they were human as well as God (Campbell, 1949: 229-237). vi. Freedom to Live

  This is the moment when the kingdom is restored and the world where the hero lives is set back into balance. In this phase, the hero often passed his experience and properties he gained during his adventure to his friend or as a contribution to his kingdom. The famous example of this phase was in the prince and princess story, when the prince brought back the princess to the castle in her kingdom (Campbell, 1949: 243).

C. Theoretical Framework

  There are two kinds of theories being applied in this research, which consists of theory of plot and archetypal pattern. Both theory of plot and theory of archetypal pattern provided tools for the writer of this thesis to study the novel.

  Since the topic of this study is about the plot of the story, the writer of the thesis should analyze the plot of the story based on theory of plot. Moreover, the theory of plot is used to answer the problem formulation number one about the plot of the story. The outcome from studying the story based on theory of plot is the analysis of plot of the story from the beginning until the end. The analysis of the plot is important in this thesis to provide the basis before finding the archetypal pattern within the plot.

  Finally, from the outcome of plot analysis, the writer of this thesis analyzed the archetypal pattern within the plot. Thus, theory of archetypal pattern becomes the tool for the writer to answer problem formulation number two to produce analysis about the archetypal pattern within the plot of the story.

CHAPTER III METHODOLOGY A. Object of the Study The object of this study is J. R. R. Tolkien’s The Lord of the Rings. The novel

  was usually published in three parts, yet it consists of six books, prologue, and appendices. George Allen and Unwin is the first publishing company, which published the first and the second series, The Fellowship of the Ring (prologue, book I and book II) and The Two Towers (book III and book IV) in London, in 1954. The same publisher published the third book, The Return of the King (book V, book VI, and appendices) in 1955.

  The edition used in this study is the film tie–in edition 2001, which was published by Harper Collin Publisher in London. The book, which covered all the story, consist of 1160 pages; 1137 pages contain the story from the whole six books of The Lord of

  

the Rings , prologue, appendices, and indexes; while the remaining pages contain the

  map and the editor’s and author’s personal comment. Each book consists of some chapters ranging from nine to twelve, and each chapter consists of around 20 pages.

  The prologue, which gives some background of the story, consists of 15 pages. The appendices consist of 98 pages divided into six parts, which tells about annals of the kings and rulers, chronology of the lands, family trees, calendars, writing and spelling, and languages spoken by different races.

  In 2003, Big Read survey which conducted by the BBC awarded The Lord of the

  

Rings the Nation’s Best-loved Book (taken from http://www.bbc.co.uk/arts/bigread/,

  accessed June 2009). In 1999 poll of www.amazon.com customers judged the Lord of

  the Rings

  to be their favourite book of the millennium (based on

  http://www.tolkienlibrary.com/press/802- The_Lord_Of_The_Rings_best_foreign_book.php

  , accessed June 2009). In 1998, New Line Cinema accept Peter Jackson’s proposal to make an adaptation of The Lord

  

of the Rings , and this time it was not an animated or cartoon version. The most

  sophisticated technology and the best actress and actors were brought into play. The movie was made in three series; The Fellowship of the Ring was released on December 19, 2001; The Two Towers was released on December 18, 2002; and The

  Return of the King

  was released on December 17, 2003. Based on

  

http://wiki.answers.com/Q/How_many_Oscars_did_the_Lord_of_the_Rings_trilogy_

win

  (accessed June 2009), the movies were a huge success as they won 17 Oscars, four for The Fellowship of the Ring, two for The Two Towers, and 11 for The Return

  of the King .