THE BATTLE BETWEEN THE PLEASURE AND REALITY PRINCIPLES IN OSCAR WILDE’S THE PICTURE OF DORIAN GRAY

  THE BATTLE BETWEEN THE PLEASURE AND REALITY PRINCIPLES IN OSCAR WILDE’S THE PICTURE OF

DORIAN GRAY

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

  By PATRICIA DIAN VIRNANDI

  Student Number: 024214111

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008

  THE BATTLE BETWEEN THE PLEASURE AND REALITY PRINCIPLES IN OSCAR WILDE’S THE PICTURE OF

DORIAN GRAY

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

  By PATRICIA DIAN VIRNANDI

  Student Number: 024214111

ENGLISH LETTERS STUDY PROGRAMME DEPARTMENT OF ENGLISH LETTERS FACULTY OF LETTERS SANATA DHARMA UNIVERSITY YOGYAKARTA 2008

  iii

  “Mother to Son” Well, son, I’ll tell you: Life for me ain’t been no crystal stair, It’s had tacks in it, And splinters.

  And boards torn up, And places with no carpet on the floor-

Bare-

But all the time I’se been climbin’on

  And reachin’ landin’s And turnin’ corners, And sometimes goin’in the dark Where ain’t no light

  So boy, don’t you turn back Don’t you fall now, For I’se still goin’ honey, I’se still climbin And life for me ain’t been no crystal stair

  La n g s t o n H u g h e s , 19 2 2

  

LEMBAR PERNYATAAN PERSETUJUAN

PUBLIKASI KARYA ILMIAH UNTUK KEPENTINGAN AKADEMIS

  Yang bertandatangan di bawah ini, saya mahasiswa Universitas Sanata Dharma : Nama : Patricia Dian Virnandi Nomor Mahasiswa : 024214111

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

  

The Battle Between The Pleasure And Reality Principles In Oscar

Wilde’s The Picture Of Dorian Gray

  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 mempubliksikannya di Internet atau media lain untuk kepentingan akademis tanpa perlu meminta ijin kepada saya maupun memberikan royalti kepada saya selama tetap mencantumkan nama saya sebagai penulis. Demikian pernyataan ini saya buat dengan sebenarnya. Dibuat di Yogyakarta Pada tanggal: 18 Oktober, 2008 Yang menyatakan, (Patricia Dian Virnandi)

  

ACKNOWLEDGEMENTS

  My greatest gratitude first and foremost goes to Jesus Christ. I thank Him for guiding me and keeping my faith. I thank my mom and dad for giving me everything. I dedicated this thesis for them. I thank my dearly annoying brothers and lovely sisters for always walking me through the ‘rain’ and for their unconditional love.

  Next my huge gratitude goes to my Advisor and Co-Advisor, Dewi Widyastuti, S.Pd., M.Hum. and Ni Luh Putu Rosiandani, S.S., M.Hum. whose guidance and support have made this thesis possible to be finished. I can never thank them enough for the wisdom, knowledge and especially patience that they have shown me.

  Thirdly, my deepest gratitude goes to those who never give up on me. To friends I called best friends, The Prue Family: Ardi, Hendy, Ferdi, Nana, Kartika, Debby, Jeff, Niko, Fitra, Alfa, and Rudi. I thank them for showing me what happiness means. To my second home, the Language Institute of Sanata Dharma University, to Tante Di, Miss Hippo, Mas Andri, Ucy, Tika, Mas Sandi and to all the CEIC and ILCIC staffs. I thank them for loving me and never giving up on me. I would also like to say my gratitude to friends that I called sisters, Iig, mbak Inten, mbak Ari, mbak Anis and mbak Irien. I thank them for sharing their lives.

  Last but not least, my gratitude goes to my best friend, my love, Gregorius Yose Ade Candra. I thank him for always by my side, for lending me his computer and for his unconditional love and patience.

  TABLE OF CONTENTS TITLE PAGE ……………………………………………………………………. i

APPROVAL PAGE …………………………………………….……………….. ii

ACCEPTANCE PAGE ………………………………………….………………. iii

MOTTO PAGE ………………………………………………….………………. iv

ACKNOWLEDGEMENTS ……………………………………….……………. v

TABLE OF CONTENTS …………………………………………….…………. vi

ABSTRACT ………………………………………………………….………….. vii

ABSTRAK …………………………………………………………….…………. viii

  d. Theory on the Relation between Psychology and Literature ….… 17

  B. The Battle between the Pleasure and Reality Principles ……………….. 45

  3. Characteristics of Dorian Gray ……………………………………... 42

  2. Characteristics of Lord Henry Wotton ……………………………… 38

  1. Characteristics of Basil Hallward …………………………………... 34

  

CHAPTER III: METHODOLOGY………….………………………………….. 28

A. Object of the Study ………………………………………….…………. 28 B. Approach to the Study ………………………………………………….. 29 C. Method of the Study …………………………………………..………... 31

CHAPTER IV: ANALYSIS …………………………………………………..…. 34

A. The Characterization of the Main Characters in the Novel …………… 34

  C. Theoretical Framework ………….………………………………….….. 26

  3. Biography of Oscar Wilde …….….………………………………… 22

  a. Theory on Psychoanalysis and Pleasure and Reality Principles .... 18

  2. Theories on Psychology ……..……………………………………… 18

  c. Theory on the Relation between Literary Work and Its Author .... 15

  CHAPTER I: INTRODUCTION …………………………………….………… 1 A. Background of the study ……………………………………….………

  b. Theory on Conflict ………………………………………………. 12

  a. Theory on Character and Characterization ……………………… 9

  1. Theories on Literature ……………………………………………… 9

  B. Review of Related Theories …………………………………….……… 9

  A. Review of Related Studies ……………………………………..………. 7

  5 CHAPTER II: THEORETICAL REVIEW ……………………………………. 7

  5 D. Definition of Terms ………………………………………....................

  4 C. Objectives of the Study ………………………………………….……..

  1 B. Problem Formulation ………………………………………….……….

  C. The Author’s Inner Conflict ……………………………..……………... 56

  

CHAPTER V: CONCLUSION …………………..……………………………… 67

BIBLIOGRAPHY ……………………………..…………………………………. 71

APPENDIX ……………………………………………………………………..... 74

  

ABSTRACT

  PATRICIA DIAN V. The Battle Between the Pleasure and Reality Principles

  

in Oscar Wilde’s The Picture of Dorian Gray. Yogyakarta: Departement of

English Letters, Faculty of Letters, Sanata Dharma University (2008).

  Literary works are means of expressing what people think or feel about their surrounding. This undergraduate thesis focuses on Oscar Wilde’s only novel

  

The Picture of Dorian Gray. This novel has gained a notorious popularity not only

  because of its content but also its later function as evidence of the author’s misdeed. Therefore, this novel is worth studying in order to see that the novel truly reflects the author’s misdeed.

  This undergraduate thesis analyzes three main problems. The first one is the characteristics of the main characters in the novel. The characteristics then will be analyzed together with the conflicts to see the battle between the pleasure and reality principle in the story. Finally, the battle between the pleasure and reality principle which is seen through the characteristics of the main characters and the conflicts in the story are used to see the reflection of the internal conflicts of the author.

  The study of the novel was conducted through library research using related books, and internet resources. In conducting the study, first the characteristics of the main characters were analyzed using theories on characters and characterization. Next, the conflicts in the story were also analyzed using the theories on conflict to see the battle between the pleasure and reality principle. The final step was answering the third problem which is the author’s internal conflicts using the biography of the author.

  In the novel, the three main characters, Dorian Gray, Lord Henry Wotton and Basil Hallward are characterized as having completely different characteristics. The differences of characteristics among the three arouse conflicts among them. The conflicts among the characters are seen as the battle between the pleasure and reality principles. The conflicts of the characters or the battle between the pleasure and reality principles in the story are the reflection of the author’s internal conflicts.

  

ABSTRAK

  PATRICIA DIAN V. The Battle Between The Pleasure and Reality Principle

  

in Oscar Wilde’s The Picture of Dorian Gray. Yogyakarta: Departement of

English Letters, Faculty of Letters, Sanata Dharma University (2008).

  Karya-karya sastra merupakan sarana seseorang untuk mengekspresikan apa yang dirasakan maupun dilihatnya tentang hal-hal disekitarnya. Skripsi ini menitikberatkan pada satu-satunya novel karya Oscar Wilde yang berjudul The

  

Picture of Dorian Gray. Karya sastra ini memperoleh reputasi yang tidak baik

  bukan hanya karena ceritanya tetapi juga karena novel ini juga digunakan sebagai bukti perilaku menyimpang sang penulis. Karya seperti ini layak untuk diteliti untuk membuktikan apakah benar novel ini sungguh mencerminkan perilaku menyimpang sang penulis.

  Skripsi ini menganalisis tiga masalah utama. Yang pertama adalah karakteristik tiga tokoh utama. Karakteristik-karakteristik tiga tokoh utama tersebut kemudian akan dianalisis bersamaan dengan konflik-konflik yang terjadi dalam cerita untuk melihat perang antara pleasure principle dan reality principle. Pada akhirnya perang antara pleasure principle dan reality principle yang dilihat dari karakteristik tiga tokoh utama dan konflik-konflik yang terjadi di cerita digunakan untuk melihat konflik internal yang terjadi pada sang pengarang.

  Analisis novel ini dilaksanakan dengan cara studi pustaka menggunakan buku, artikel serta sumber-sumber online yang berkaitan. Dalam proses analisis, mula-mula karakteristik dari tiga tokoh utama yang akan dipelajari dianalisis menggunakan teori karakter dan karakterisasi. Kemudian konflik-konflik dalam cerita juga dianalisis mengggunakan teori konflik untuk melihat perang antara

  

pleasure principle dan reality principle. Langkah terakhir adalah menganalisis

konflik internal sang pengarang dengan melihat biografi sang pengarang.

  Dalam novel ini, tiga tokoh utama yang dianalisis, Lord Henry Wotton, Basil Hallward dan Dorian Gray memiliki karakteristik yang sangat berbeda antara satu dan yang lainnya. Perbedaan karakteriristik tersebut memicu timbulnya konflik diantara tokoh-tokoh ini. Konflik-konflik yang terjadi diantara mereka dilihat sebagai bentuk perang antara pleasure principle dan reality

  

principle . Perang antara pleasure principle dan reality principle dalam cerita

dilihat sebagai gambaran konflik internal yang dialami oleh sang pengarang.

CHAPTER I INTRODUCTION A. Background of the Study People could learn many fascinating things in literature. Literature often

  reflects aspects of human life, such as moral, history, psychology, society, and many more. Reading literary works enables human to enrich their soul, gives new perspectives in seeing things, and sees deeper than what is seen. Moreover, literature is both beautiful and useful.

  Literary works, such as a novel is said to be beautiful in ways that it gives pleasure to the reader. It is said to be useful since it gives contemplation to its readers. People could learn about the complexity of life and problem solving through the characters of certain literary works. Even though those characters are unreal figures, they are able to touch their readers’ heart through the similarities of life experiences. Some of the life experiences in the novel might be rather different than ours; still it could give us a new perspective, a media to have self- awareness.

  Hudson points out in An Introduction to Study of Literature (1958: 10) that literature is a vital record of what men have seen in life, what they have experienced of it, what they have thought and felt which have the most immediate and enduring interest for all of us, it is thus fundamentally an expression of life through the medium of language.

  The great playwright, Oscar Wilde, had written his only and most popular novel The Picture of Dorian Gray in 1890. He opened an opportunity to researchers to study many things from his novel. Desire or sexual drive is the major theme in this novel. Sexual drive is considered as the most powerful instinct within human mind. It is located in the unconscious that mostly tied to the biological desires and obey what Freud called the pleasure principle.

  On the other hand, within human mind there is also what is called as the

  

consciousness . According to Freud, the conscious mind is a survival system that

  has logic and reason that is forced by the external environment. Freud said that this rational process of the mind obeys the reality principle. “For all his lawlessness there is one venue where the subject of desire featured in The Picture

  

of Dorian Gray has proven himself as the most exemplary citizen” (Butler, 2000:

  240)

  The Picture of Dorian Gray is the only novel published as the lead story in

  Lippincott’s Monthly Magazine on 20 June 1890. Wilde later revised this edition, made several alterations, and added new chapters, and Ward, Lock, and Company published the new edition in April 1891 (http://findarticles.com/p/articles/mi qa3708/is 200310/ai n9329138/pg 2)

  The Victorian age or Wilde’s time believed that art could be used as a tool for social education and moral enlightenments illustrated in literary works by writers such as Charles Dickens and George Gissing. This view is contradictory to Wilde’s perspective in which art does not need to posses any other purpose than being beautiful (http://oascentral.sparknotes.com/RealMedia/ads/click_1x.ads/ww w.sparrknotes.com/lit/doriangray) This thesis tries to reveal the complexities of human psyche. It is believed that in human’s psyche there is an inner-psychological conflict, which according to Freud’s term called as the battle between the pleasure and the reality principles. These two principles, the reality and the pleasure principles, represent two opposite natures of human. According to Freud, it is the battle between the pleasure principle (immediate gratification) and the reality principle (delayed gratification) that causes consciousness to emerge in a child.

  The novel by Oscar Wilde tells about a man who adores himself too much. To gain eternal beauty and youth he sells his soul to the devil. This novel is a perfect reflection of the battle between the body and soul within a human, the characters and the conflicts in the novel portray the battle between two principles of Freud, the pleasure principle and the reality principle.

  According to Freud, the pleasure principle represents human’s wildest desires, such as sexual desires. On the other hand, the reality principle is the filter of the pleasure principle or part of the psyche that recognizes the boundaries or the norms made by the society or the societal standards.

  The novel tells Dorian Gray’s developing desire describes a trajectory of de-essentialism, in which his erotic passions appear less and less an expression of inherent attribute, and more and more a function of external influence, less and less like natural hunger that arises from within the subject and more and more like infection” (Butler, 2000: 240)

  Therefore, this paper tries to discuss Freud’s theory on the pleasure and reality principles seen in Wilde’s The Picture of Dorian Gray, about the battle between two principles within the characters, and that are represented by the characters and the conflicts within the story. In other words, the writer tries to relate literature and psychology. Wellek and Waren (1956: 81) in their book

  

Theory of Literature state that analyzing literary works relating to psychology

means studying theory of psychology that may exist within works of literature.

  In reproduction of literary works, the author gave the biggest influence. The story plays a role as the author’s media to share and express his or her messages, minds, feelings, and also imagination. According to Van De Laar and Schoonder Woerd novels or other literary works are, whether directly or indirectly, the portrayal of the author’s experience of life. Consequently, besides revealing the battle between the two principles brought by Freud, the writer also wants to discuss about the author’s inner conflicts related to Wilde’s novel.

  Directly or indirectly, conscious or unconscious, every novelist necessarily presents in his novel a certain way of life and some of the problems of life. He represents incidents, characters, motives and etc. in such a way to reveal more or less directly and clearly the way in which he looks upon the problems of life (1969: 174).

B. Problem Formulation

  Regarding the explanation above, the problems can be formulated as follows.

  1. How are the main characters characterized in the novel?

  2. How is the battle between the pleasure and reality principle depicted in Wilde’s The Picture of Dorian Gray?

  3. How does this battle reflect the author’s internal conflicts?

  C. Objectives of the Study

  In the objectives of the study, the writer tries to find out the answers of the formulated problems in the previous part.

  The first objective is to see how the main characters are characterized in the story. The second objective is to find out how the battle between the pleasure and reality principles is depicted in Wilde’s The Picture of Dorian Gray, seen through the intrinsic elements. Therefore, the third objective is to find out how this battle between the two principles depicted in the novel reflects the author’s inner conflicts.

  D. Definition of Terms

  To avoid misunderstanding that may occur in this thesis the writer provides the definition of terms.

  1. Pleasure principle. According to Freud in Bressler’s book, pleasure principle craves only pleasure, and it desires instaneous satisfaction of instinctual drives, ignoring moral and sexual boundaries established by society. This principle governs the id in which it contains our secret desires, our darkest wishes, and our most intense fears (Bressler, 1999: 150).

  Reality principle. According to Freud in Bressler’s book, the reality 2.

  principle is part of the psyche that recognizes the need for societal standards and regulations on pleasure. This principle governs the ego, the rational, logical waking part of the mind. Its job is to regulate the instinctual desires of the id, and to allow these desires to be released in nondestructive way (Bressler, 1999: 150).

  3. Psychoanalysis. It is a type of psychotherapy developed by Freud, in which the chief tools are free association, study of dreams, slips of the tongue, and transference. Psychoanalysis attempts to give patients insight into his unconscious conflicts, which he can then control as they come into their awareness (Kagan, 1972: 595).

CHAPTER II THEORETICAL REVIEW A. Review of Related Studies The Picture of Dorian Gray is Wilde’s only novel that made a sensational

  appearance in 1890. This novel is one of Wilde’s most popular works. The novel was said to be a successful scandal. Early readers were shocked by its hints at unspeakable sins and the book later was used as evidence against Wilde at the Old Bailey in 1895 (http://www.powells.com/biblio?isbn=0141439572).

  Mighall Robert from Powell.com considers this book as one of the last works of classic gothic horror fiction with a strong Faustian theme. It deals with artistic movements and homosexuality, both of which caused some controversy when the book was first published. However, in modern times, the book has been referred to as “one of the modern classic of Western literature.”

  Enthralled by his own exquisite portrait, Dorian Gray makes a Faustian bargain to sell his soul in exchage for eternal youth and beauty. Under the influence of Lord Henry Wotton, he is drawn into a corrupt double life, where he is able to induldge his desires while remaining gentleman in the eyes of the polite society. Only Dorian’s picture bears the traces of his decadence (http://www.powells.com/biblio?isbn=0141439572).

  Terrence Dawson, a senior lecturer in National University of Singapore in his literary review “Basil, Lord Henry, and Wilde: A Jungian Approach to The Picture of Dorian Gray “ states that Basil and Lord Henry represent the actual life of Wilde in which his adoration for Lord Alfred Douglas is the same as Basil’s fascination for Dorian (http://www.victorianweb.org/books/06g.html).

  Ackroyd’s preface in the original Penguin Classic said that this novel leads us to know about the secret life and an analysis of the darker side of late Victorian society. The Picture of Dorian Gray offers a disturbing portrait of an individual coming face to face with the reality of his soul. This novel talks about spiritual corruption in which a young man exchanges his soul for eternal youth to indulge in his desires (Edinburgh, 2003: ix ).

  Meanwhile, Camille Cauti, Ph.D. points out that The Picture of Dorian

  

Gray is a fantasy story about a young man who sells his soul for eternal youth and

  beauty. According to her, this novel is not only about immortality but also about the life of the upper class people at that time since the main characters are upper class society that shows hypocrisy (http://www.awerty.com/The Picture of Dorian Gray.htm).

  There have been many studies related to Wilde’s work The Picture of

  

Dorian Gray from many different points of view. Most of the previous studies

  discussed The Picture of Dorian Gray from psychological point of view, in which this thesis will also discuss the novel from the same point of view. Diiferent from the others, this thesis is focusing on two opposing principles brought by Freud that is said to be the battle between the flesh and spirit seen from the characters and the conflicts within the story. This thesis also tries to see whether or not the battle between the two principles within the novels reflects the author’s inner conflicts.

B. Review of Related Theories

1. Theories on Literature The first group of theories being used in this thesis is theories on literature.

  Since the thesis starts analyzing the intrinsic elements of the literary work, therefore it is appropriate to put literary theories at the beginning.

a. Theory on Character and Characterization

  Character, according to Abrams (1993: 23) in his book A Glossary of

  

Literary Terms, is the person “presented in a dramatic or narrative work …

  interpreted by the reader as being endowed with moral, dispositional, and emotional qualities that are expressed in what they say-the dialogue-and by what they do-the action”. While according to Holman and Harmon (1986: 81) in A

  

Handbook to Literature , a character is a complicated term including the idea of

  moral constitution of human personality, the moral uprightness, and the presence of creatures in works of art which seem to be human in one way or the other.

  From these sources it can be concluded that character is a complicated term presented in literary work which has the idea of moral constitution in human’s personality and having moral uprightness which the readers interpret as having the qualities of human in one way or the other.

  A character may be flat or having only a single idea or quality without much detail or round, that is having more complex characteristics as real life person. A character may also be static, experiencing only slight changes in the plot, or dynamic, influenced by actions and experiences and used to reveal the consequences of his or her actions (Holman and Harmon, 1986: 24).

  Characterization is the way in which the author reveals or creates the characters in his/her work, making them ‘alive’ for the reader (Holman and Harmon, 1986: 81). In his book Holman and Harmon (1986:81) state that there are three fundamental methods of characterization in fiction. First, the explicit presentation by the author, second, the character’s own presentation in action without any comment from the author, and the last one is the representation from within a character of the impact of certain events towards the character’s inner self, also without any interference from the author.

  Meanwhile M.J. Murphy (1972: 161-173) in Understanding Unseens An

  Introduction to English Poetry and the English Novel for Overseas Students

  explained that there are nine ways of how an author makes his character understandable for the reader. Sometimes the steps are not all used by authors to show their characters’ characteristics, however some of them must exist.

  a. Personal Description The author can describe a person’s appearance and clothes in details so that the readers will be able to figure the personality of the character based on his or her appearance.

  b. Character as seen by another Instead of describing a character directly the author can describe him through the eyes and opinions of another character in the novel. c. Speech The author can give us an insight into the character of one of the characters in the book through what that person says.

  d. Past Life By allowing 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 can be done by direct comment by the author, through the person’s thoughts, through his conversation or through the medium of another person.

  e. 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.

  f. Reactions The author can give us a clue in a person’s character by allowing us to know how that person reacts to various situation and events.

  g. Direct comment The author can describe or comment on a person’s character directly through the narration (especially in third-person narrator).

  h. Thoughts The author can give us direct knowledge of what we cannot do in real life.

  He can tell us what different people are thinking from the omniscient narrator. i. Mannerisms

  The author can describe a person’s mannerisms, habits of idiosyncrasies that may also tell us something about his character.

b. Theories on Conflict

  Beaty and Hunter (1986: 998) in their book New World of Literature, says that most people try hard to avoid conflict. People choose to live in peace.

  Nevertheless, no one can escape conflicts for long, even without wars or a large- scale disagreement. Dealing with their statement, we know then that conflicts exist in our lives.

  In literary work, characters sometimes develop with the interference of some conflicts that appear in the story. Conflict in literature means a struggle between opposing forces. The protagonist engages in the conflict with the antagonist, which may take the form of a character, society, nature, or an aspect of the protagonist’s personality (http://www.bedfordstmartins.com/literature /bedlit/glossary_ a.htm#top).

  While according to Dowling, there are two main kinds of conflict, external and internal conflicts. External conflict is a struggle between a character and an outside force. Characters may face several types of outside forces. The outside force may be another character (man against man). It may be the character and the community. The outside force may also be force of nature (man against nature) (http://www.dowlingcentral.com/MrsD/area/literature/Term/conflict .html).

  In comparison, a struggle that takes place in the character’s mind is called internal conflict. For example, a character may have to decide between right and wrong or between two solutions to a problem. Sometimes, a character must deal with his or her mixed feelings or emotions (man against self) (http://www.dowlingcentral.com/MrsD/area/literature/Terms/conflict.html).

  Henceforth Perrine (1974: 44) states that conflict itself is a clash of action, ideas, desires, or will between two individuals, or among people in the story.

  Similarly, Stanton (1965: 16) explains that internal conflict is conflict between two desires within a character or between a character and his or her environment.

  External conflict means conflict coming from outside the characters such as people or other characters and society.

  Redman (1964: 363) asserts that a conflict is the struggle between two opposing forces, ideas, or belief. According to him, there are two kinds of conflict. They are inner or internal conflict meaning a struggle within the heart and mind of the protagonist, while the other is external conflict meaning a struggle between the protagonist and an outside force.

  Since this research is going to use psychoanalysis study in its approach, the writer includes the definition of conflict seen from psychology. According to Kagan and Havemann in their book Psychology: An Introduction (1972: 373), a conflict is the simultaneous arousal of two or more incompatible motives, resulting in unpleasant emotions. The person in conflict experiences uncertainty, hesitation, and the feeling of being “tron” and distressed –elements that are an integral parts of conflict that make conflicts such an unpleasant part of life and a potential threat to normal behaviour.

  In this book, Kagan and Havemann divide conflicts into two general classes. One class includes conflicts between motives and standards, or conflict with internal standard; the other includes conflicts over incompatible goals or called conflicts over external goals.

  Conflicts with internal standards is when a motive urges us toward behaviour that is incompatible with our standards, we have a conflict that often results in intense anxiety. On the other hand, conflicts over external goals occur when two motives for different and incompatible external goals are aroused at the same time. Life is full of conflicts over pairs of goals that cannot both be attained.

  Almost similar to Kagan and Havemann, Atkinson, et al. stated that a major source of frustration is conflict between two opposing motives. When two motives are conflicting, the satisfaction of one leads to the frustration of the other. Even when only one motive is involved, conflict may arise if the goal can be approached in several different ways (1981:10).

  Sometimes conflict arises between a motive and a person’s internal standards rather than between two external goals. An individual’s sexual desires may conflict with his or her standards of acceptable social behavior. Achievement motives may conflict with individual standards of helpful and cooperative behavior. Conflicts between motives and internal standards often can be more difficult to resolve than conflicts between external goals. Most conflicts involve goals that are simultaneously desirable and undesirable-both positive and negative (Kagan, 1981:10).

  There are two kinds of conflicts, approach avoidance conflict which indicates that the two motives operate somewhat differently and avoidance- avoidance conflict which means having to choose two negatives alternatives (Kagan, 1981:10).

c. Theories on the Relation between Literary Work and Its Author

  Wordsworth believes that people’s psychological structure is paralleled in the workings of the universe as a whole. He believes that literary works, such as poems could tell the truth. Similar to what Pope said that “in every work regards the writer’s end, since none can compass more than they intend” (Daiches 1981: 261)

  Northrop Frye as cited in Reichert (1977: x) said that forms of literature are the forms of life. People make sense of character, a dialogue, a plot, as they make sense of each other and their life, and experiences take the shape of literature and make it meaningful.

  To read or interpret or assess a work of literature is to read or interpret or assess it as something as an expression of thought or feeling, as a complicated statement about life, as a subtly persuasive of rhetoric (Reichert, 1977: 134)

  Longinus in Daiches (1981:47) says that the true nature of literature is defined by a discussion of its greatness and the definition in moral and intellectual qualities of the author. In other words, to produce the greatness effect to readers the author must possess certain qualities as a man as well as certain skills as a writer. As a man he must have impressiveness of thought and emotion.

  Junus (1983: ix) in his book Dari Peristiwa ke Imajinasi: Wajah Sastra

  

dan Budaya Indonesia states that literature is the product of a hard and intense

  experience toward reality. In the high level of consciousness a work of art is a result of a dialogue between the artist and its surrounding reality. While in the lower level of consciousness, a work of art is the reflection of the reality itself. He also believed that literature is an effort to show the meaning of life, while literary review is the effort to make the literary work understood.

  Schooles in his book Structural Fabulation as cited in Dari Peristiwa ke

  

Imajinasi: Wajah Sastra dan Budaya (1983: 3) states that it is impossible to see

reality without individual interpretation which may connect with imagination.

  Similarly it is impossible to have an imagination without any knowledge about reality. Therefore, imagination is always attached to reality and reality cannot be separated from imagination.

  It is undisputable that in producing a work, the author gives a big portion of influence. The story plays a role as the author’s media to share and express his or her messages, minds, feelings, and also imagination. According to Van De Laar and Woerd novels or other literary works, whether directly or indirectly, are the portrayal of the author’s experience of life.

  Directly or indirectly, conscious or unconscious, every novelist necessarily presents in his novel a certain way of life and some of the problems of life. He represents incidents, characters, motives and etc. in such a way to reveal more or less directly and clearly the way in which he looks upon the problems of life (1969: 174). According to Wellek and Warren (1956: 75-78), the author is definitely important since he is the creator of literary works. There is a close relation between the author and his or her works that cannot be separated.

  There is a close relationship between the work of art and the life of the author, but the work of art is not mere copy of life. A work of art may be only a place to hide his or her weakness and so that in writing a literary work the author depends on his or her mood.

  Rohrberger and Woods in their book Reading and Writing about

  

Literature , also say that there is an indirect relationship and similarity between the work and the author. An author’s work, including characters, perhaps is “a kind of mask which is surely based on the author’s experience of life” (1971: 8).

d. Theory on the Relation between Psychology and Literature

  Literature and Psychology are two subjects that can be a media to explore human’s life. Bornstein (1984:144) in the book Psychology and its Allied

  

Disciplines Humanities volume I states that literature is best at describing the

  human condition in dramatic form, while psychology has the strength to investigate human’s character or behavior in systematic ways. The statement means that literature depicts human condition in dramatic way while psychology studies human characteristics systematically. Both subjects have one common purpose that is to depict human condition.

  According to Jung psychology as a study of process of the mind, can be brought to bear the study of literature in which the human mind is the center of all arts and sciences. Therefore, the study of the mind should be able to explain the psychological structure of work of art and to reveal the factors that make a person artistically creative (Jung, 1966: 86).

  On the other hand, Kalish (1973: 8) in his book The Psychology of Human

  

Behaviour states that literature “holds the mirror up to the man.” A good writer or

  novelist can communicate the feelings of their character and make them seem more life-like than the real people whose behavior are tried to be described by the psychologist. The writers can use the understanding provided by psychologist to enrich the stories, and psychologist can gain their understanding of human behaviour by drawing the deep sensitivity of good authors.

  Moreover, Freud said as in Bressler (1999: 153) that any unresolved conflicts given rise to any neurosis are the stuff of literature. A work of literature, he believes, is the external expression of the author’s unconscious mind. Accordingly, the literary work must be treated like a dream, applying psychoanalytic techniques to the text to uncover the author’s hidden motivations or repressed desires.

  Wellek and Warren (1956: 91) also discuss that characters in plays and novels are judged to be “psychologically” true. Sometimes, a psychological theory, held either consciously or dimly by an author, seems to fit a figure or situation. Psychological truth is naturalistic standard without universal validity. In some cases, psychological insight seems to enhance artistic values.

2. Theories on Psychology

a. Theory on Psychoanalysis, Pleasure Principle, and Reality Principle

  Psychoanalysis is a type of psychotherapy developed by Freud, in which the chief tools are free association, study of dreams and slips of the tongue, and transference. Psychoanalysis attempts to give the patient insight into his unconscious conflicts, which he can then control as they come into their awareness as taken from Kagan’s book Psychology: An Introduction (1972: 595)

  Psychoanalysis is based on the theories of Sigmund Freud. According to Freud as taken from Understanding Psychology (Kasschau, 1995: 397-398), psychological disturbances are due to anxiety about hidden conflicts between the unconscious components of one’s personality. These theories suggest that psychoanalyst should be aware of the unconscious impulses, desires, and fears that are causing anxiety. Psychoanalysts believe that if the patients can understand their unconscious motives, they have taken the first step toward gaining control over their behavior and freeing themselves of their problems.

  According to Freud, unconscious impulses find expression in dreams, slips of speech, mannerism, and symptoms of mental illness as well as through such socially approved behavior as artistic literary activity. Freud believed that all of our actions have a cause but that the cause are some unconscious motives rather than the rational reason we may give for our behavior. We are driven by the same basic instincts as animals (primarily sex and aggression) and are continually struggling against society that stresses the control of these impulses. Because Freud believed that aggression was a basic instinct, he was pessimistic about the possibility of people ever living together peacefully (Kasschau, 1995: 397-398).